NAME CLASS DATE
I” ICAN PROFILES
Bessie Smith
C H “Blues”—the distinctly American music that bemoans the heartbreak of A p lost love, grinding poverty, or endless troubles—grew out of the experi T , ence of rural African Americans in the South. It migrated to the North E with them and became a major element in the development of jazz. R Bessie Smith, “Empress of the Blues,” was one of the greatest interpreters 21 of this music.
As you read thepassage below,think about how events in BessieSmith ‘slife contributed to making her a singer of the blues.
essie Smith never knew her father. He died Columbia alive. She soon became the country’s shortly after she was born in 1894 in Chattanooga, highest paid African American entertainer. Tennessee. Her mother struggled on, forced to Success, though, never made Smith lose her raise her seven children in poverty until she too feeling for the blues. In 1930 she wrote and sang died, when Bessie was nine. To keep going, the these lines in “Poor Man’s Blues”: “While you’re youngster began singing in the streets for nickels living in your mansion, you don’t know what and dimes. By age eighteen, her shining talent hard times mean. Poor working man’s wife is had won her ajob with an African American trav starving; your wife is living like a queen.” eling musical show that featured another future To those who knew her well, the singer was a jazz great, “Ma” Rainey. complex person. Sometimes, she was rough, drank Bessie Smith’s travels forced her to face too much, and made unreasonable demands on segregation at every turn. She and her fellow per her employers. At other times, she was kind, formers could ride only in the black sections of caring, and generous. Once she canceled all her trains, and they were barred from most hotels, engagements to care personally for the seriously which catered only to whites. Later, when Smith ill infant son of her business manager. headed her own successful traveling show, she Bessie Smith died as the result of an automo avoided some of these problems by having a rail bile accident in 1937.Jazz great Louis Armstrong way car custom-built for her. remembered, “She used to thrill me at all times, In 1923, after the death of her first husband, the way she could phrase a note with a certain Bessie Smith settled in Philadelphia. There she something in her voice no other blues singer entered a second, often stormy marriage. That could get. She had music in her soul and felt year also marked the beginning of her recording everything she did.” Her recordings, re-released career with the struggling Columbia record com in the 1970s, continue to influence today’s rhythm pany. Her records of songs like “Down Hearted and blues singers. Blues” became immediate big sellers and kept
1. What tragic events marked Bessie Smith’s personal life?
2. What kinds of discrimination did she experience in her professional life?
3. Making Comparisons How would you compare the conditions for African American entertainers of Bessie Smith’s time to those of today?
20 • Chapter 21 American Profiles © Prentice-Hall, Inc. Name Date
AMERICAN LIVES Ernesto Galarza Scholar, Educator, Activist .
Section 2 “When (Mexican-Americans] came to California, Anglo-Americans preached to us about our apathy and scolded us. (But] what is mistaken for apathy is simply a system of self-defense.... ‘La mula no naciô arisca’—the mule isn’t born stub born, he’s made stubborn. “—Ernesto Galarza “La mula no nació arisca” in Center Diary (September/October, 1966)6
rnesto Galarza. born in a small village in firm xvorkers.lie led several strikes from the late E Mexico in 1905, came to the United States 1940s through the mid-1950s. Each time, the union when he was six, one of hundreds of thousands of was defeated. He grew angry over the lack of sup Mexicans who fled the turmoil of the Mexican port from organized labor, which was more inter Revolution. He })ecalne a scholar, an educator, and ested in helping industrial workers. He also real an activist. ized that the bracero program—still in force even Galarza was first involved iii activism when he though the war had ended—hampered moves to wa in high school, while working picking crops. A unionize farm workers. te tch( r encoui aged C il in to pin sue his educa In fighting the braceros program, Galarza was tion and h i( ut to colleg A1t rwards he attcn(l largely alone. One study describes his lonely effort: ed Stanford Universit for his master’s degree and “He had neither large numbers of supporters. nor Columbia for his doctorate. While studying for his finances, nor friends in high places. His weapons degree. he and his wife also launched their own were highly personal: the shield of research and school. analytical thought, the sword of’the written and Galarza became a researcher for the Pan spoken word.” One of those swords was his 1955 American Union. In ten ‘ears there, he stu(hed a report. Strangers in Our Fields, a 1)00k based on a number of issues. Most prominent was the bracero tour of’150 migrant—workercamps in California and program of the 1940s. During World War 11, the Arizona. in 1964, he financed publication of’anoth . United States suffered a shortage of farm workers. er critical look at the growers, Merchants of Labor The government > signed an agreement with Mexico That year, the bracero program was finallyended. )1) Cl) to permit the entrance of temporal-v workers called Over the next two decades, before his death in ci) U) braceros (from the Spanish wor(l for “arm”). At first 1984, c;alarza remained active in ways. many He c,) the United States agreed to pro\isions required b taught at universities from Notre Dame to the Mexico that aimed to ensure timatthese University of California. workers He taught elementary C) were not discriminated against. in 1943, Congress school and—in San Diego—pioneered bilingual allowed those limitations to be ignored if doing so education. 1-Icwrote children’s books in Spanish 11) was required for -J the war effort, With the limits lift— and in both Spanish an(1English. He helped orga cci 0) ed, the number of braceros jumped. The large nize community groups and advised foundations on 0D C) growers used their economic power to take advan Mexican—Americanissues, lie had come far from C) tage of the workers. \‘Vhen other farm workers tried the small village where he was l)oruu. C) to organize and strike, the growers replaced thos( C) workers witl i I raceros. Galarza protested the bracero program. lie Questions Cl) cci C.) believed that workers should be admitted to the I . WI-matdoes Galarza mean li’’using the Spanish ci) United States as immigrants—so they could have ph1rLseabout the mule? E 2. the full rights of immigrants. l3ecause he thought What obstacles prex’eumt1the firm workers from 11) that timePan Anwnican Union did not (10enough to orgamzing? support the workers, he left that organization. 3. Why would a scholar and activist like Galarza Meanivhile, Gaiarza was working for the become involved in elementary education? National Farm Labor Union trying to organize
14 UNIT 6, CHAPTER 20
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For with
and
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ed
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tion
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pleted
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to
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cars
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onto
almost
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Ford
released
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industry.
mass
to
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automobile.
knocking
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1908
assembly-line
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of
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also
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car skilled
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with
cars
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ordinary
his
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durable, appeal.
peace
first,
reliable
20
Ford
electrical
he
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companies
of 3
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1914
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Meanwhile,
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knowledge
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investors
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to
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car
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he
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employment,
to goals
.
Business with
Ford
of
3.
2.
Questions
1.
before
lifestyle
Ford
life ings village.
new
allowing
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record.
severely
Ford
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helped
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the
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extreme
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and
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Assess
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crazy,
reaction?
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that Ford,
lii
celebrated
F’ord
family.
1920s,
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project.
line
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a
build
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mostly
you put
his
workers—many
was
is
sponsored
intrnded
nations
officially
1927,
investors,
This
but
design
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Vision
of
Ford’s a
cars
isn’t
Ford’s
cars. hit
ti
company
by
control
views,
think
meanwhile,
more,
service,
sufftred
only
suppressed
factories, of
UlliOll
nineteenth-century
workers
sales
The
short—lived lie
Department.”
giving
Ford’s
gave collection
Ford
from
he?”
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(1916)
the
Politics
Still
to
a
car the
Ford
also
contribution
and
in
retiring
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cost
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dwindled
founded
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firmly Date
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Ford
$5 not
control
W7hv
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other
shut
had
facing
had “peace
third
setbacks them
company.
thrifty
offset
and
became
preserved
1941. resented
day,
was
was
a
car—the
of
devoted
union the
workers’
of
bonanza.”
of bought
changed success.
a
down
did
in
send
in
the
biggest companies.
the
a them
a poor
$105
of
some
homes
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lives.
ship”
the
This
his
good
publisher
as
1945.
Ford’s
historical
too.
his
notonous
organizers
Roaring
to
resources
out
consumers the
By
boredom
his
hatred
hands
labor—relations
himself
the
out
rural
immigrants million.
Model
industry.
lives.
opposition
group
company
The
However,
that
employer? entirely
automaker.
During
the
the
and
factories
company’s
action
values
other
The
America—the
depression
hoped
mid—
of
said
other Finally,
of
museum
Twenties
was
A.
for
mainly
to
of
himself
until
idea
Jewish
‘World
stockholders
preferred
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get It
and
to
“He’s
afford
1930s,
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his
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and
set
from
arid
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was
to
others
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fiuiled
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during
tip assem
staff
to
con
and
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1938
peo
War
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and
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to
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to a
‘
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pared
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ter
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gasoline
and
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work.
evening
(latime
had
mistake
means
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making best
from
regard
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flight.
the-afternoon
reached Committee
had
dangerous
left
over
may
Indeed, to
W
Finished the
of
matter
Name
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United
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of States,
and
efforts.
flying
me
Europe—that
best
3
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night
and
hreakfiist
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care
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more
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of
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of
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better
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was
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of
the
Paris.
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than
am
plane
my
instruments
but
correct, career.
my
vigorously
of
although
reception
it “Luck”
wouldn’t
Thousand,
I
after
At
France
than
lack
______
I
the Herrick.
PRIMARY
intended reception
I
was
going
never
hope
best
whole
I
a
what in
considerable
will
plans
equipped
flight
wish
no
was
a
the
here
number
I
than
I
the
Atlantic,
last
the
human
of
had
200
he
had
largely
plane
sooner
be
If
possible
age
in
and
I
I
going,
is, to
have
fuel,
to
to
hands
flight. across
arrived
in I
that
but
night.
be
made
I
fact
regarded
which able just
was
From
as
miles
what
thought
like
if
taxiing
expected.
get
fly
I
I
were
Uncle
of
I
eating
of to SOURCE
with
would the
that
got
luck
sea
and
undertaken
a
had
that
doesn’t
had
especially
my
under 25,
at
but
to
straight
Paris,
make
such
If
matter
of
good
instruments
gasoline
the
I
off
what
in
had was
souvenir
night.
swept
so
do
Reception
wind
that
regard
what
isn’t plane Charles
enough
American
up
my so
Sam’s
in
Paris,
a
and
that
never Atlantic,
my
good
deviations.
some
34
3-o’clock-in-
been
the
many
use
the
the
to
mean
plane
I
was
of
enough.
about
and
were
from
course, In
toward
hours.
still
was
have
Charles the
back
the
left
Embassy.
think
as
most
of
flight
guess
A.
that
it.
have
hunters
extra
the
one
flying
pre
flights
storm
the
what
I
going
Lindbergh
lat
for
you
seen
in
this
have
to
As
I
about
As
An
you
how
read 2.
made 1.
Research
Prosperity,
Encyclopaedia
Encvdopaedia
from
have
ing,
a
or
wearing
Interview
multimotor
important
there
son
enough
will
money.
but
from
pit.
switch
plane
some
cockpit,
classmates.
Find pened.
chart
to
that
the
A.
encyclopedia.
If
propeller,
Paris
you
tions
it.
the
gasoline,
part
But
I
you
buy
and New
why I
I
be Then,
it
It
a
his
That
didn’t
trip.
public
look
saw
human
ask
are
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good
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seemed
bank
than men
based and
of
Lindbergh I
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to
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can’t
make
when
bring
then
and
and
ship
want
time
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reacted
for
another
Britannica,
and
Britannica,
14
interview
i’iines,
sea.
on
one
interview
about
The
socks,
of
to
Options
me.
the
was
things
flight
I
I
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be
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thing.
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quickly
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from moment
Date
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Roaring Paris.
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to
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even
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1968),
research
his
1916—1928:
to
the
that
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23,
whether
It
it airplanes
______
preparations,
now.
the
flight?
clear
Lindbergh,
little
moment
found
be
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very
day something
other
accomplishment.
one
I
is
()f
more
gasoline.
to
1927.
clothes
have Long
was Lindbergh
had
of
557—561.
a
studied,
to
most
St.
cash
Life
when
of
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flying
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to
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get
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on
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and
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was
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Louis
the
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me
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today.
seen
a
it
dangerous
on
of
with
back
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history
tear
down
transatlantic
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tomorrow
over
share single-motor
a
out
yet
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(Chicago:
case
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to
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away
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Of
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Make
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of
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it
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for
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part
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of
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27
of
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the
fr S Name Date
AMERICAN LIVES Georgia O’Keeffe Abstract Painter 4, Section 3 “I have used (my art) to say what is to me the wideness and wonder of the world as I live in it. “—Georgia O’Keeffe, quoted in World Artists (1984)
1915, Georgia O’Keeffe l)ecame dissatisfied feeling for the f’ormof the object. Often she paint Inwith everything she had painted until then. So ed the same object repeatedly. in each canvas, the she destroyed almost all of it. She then started over, object became less and less recognizable. The last developing a style that made her one of the most work in the series shows the forms and colors of important of all American artists. the Ol)ject.which could no longer be recognized as O’Keefft showed artistic talent when young and an object. studied in both Chicago and New York.She even O’Keefh painted what was around her. When won an award for a still-life painting. However, the she first settled with Stieglitz in New York, she work dissatisfied her. It seemed merely to imitate a painted the moon and sun over city buildings. They style that was accepted. “I began to realize that a had a summer home on a lake, and she painted the lot of people had done this same kind of thingS”she flowers she saw there. Later she visited New later recalled. “I didn’t think I could do it an bet Mexico and became enchanted by its landscape. ter.” She stopped painting and took work as a Many of the works painted there showed the mercial artist. bleached bones of cattle or horses. Critics sai(l this Illness forced her to abandon that work five work showed a preoccupation with death. O’Keeffe years later. After taking an art class, she became denied it. “There was no rain, so the flowers didn’t interested in the simplified style of Oriental art. come,’ she said. “Bones were easy to find, so I The interest quickened her desire to begin art began collecting bones.” Among her most well- again. First, though, she destroyed almost all the known works are a series looking at the sky through art she had created until tiiemi.She began to draw the holes in an animal skeleton. I
some charcoals in which she reduced real objects She returned to New Meco each summer C) > to their most abstract form. She sent them to a after that. When Stieghitzdied in 1946, she moved C) U) friend in New York,with the instruction to reveal there permanently Later, she began to travel ci) Cl) extensively to .c: them to nobody else. The friend, disobeying, Europe and the Orient. Flying gave c,) showed the work to Alfred Stieghitz,au art dealer her new subjects. She “noticed a surprising nuniber
and photographer. Stieglitz was so impressed lie of deserts and wonderful rivers....You see such C.) began to exhibit the drawings iii his gallery When marvelous things, such incredible colors.” She O’Keeffe found out, she protested. However, painted a new series that portrayed winding rivers ci) -J Stieglitz calnied her down, and they began a pro framed in a landscape seen from the air. cc’ D fessional and personal relationship that lasted the O’Keefft”sapproach was umquiein American 0 rest of his life. They were niarried in 1924, but art. She refused to be categorized with one school C) most important. Stieglitz encouraged O’Keeffi’ of’art or another. “I’m not a joiner.” she said, She to C) paint whatever she liked. painted until her death at age 99. 0’) She did so—formore than 60 years. O’Keeffe 0 became famous for her spare, clean work. She Questions 0U) drew, painted in watercolors, and painted in oil. She created small studies only seven-by-nine inches 1. Wh did O’Keeffe not like her early work? and huge canvasses that were eiglut-by-twenty-four 2. Would you say that O’Keeffe was more interest I feet. She painted flowers, doors, barns, and the ed in natural or human objects? Explain your sky—whatever interested her. Many of her paint answer. ings are so realistic that they have been called pun— 3. How is O’Keeffe’sart both realistic and abstract? tographic. Yet underlying them all is an abstract
32 UNIT 6, CHAPTER 21
d
bringing
these
the
rhythms.
escaped
historian
adding
the
series
Davis
trumpet, solos, perfected
same learned
famous and
to
net.
famous
Creole
Armstrong
“King” become
few the
noticed,
played
l)egan
afoul
other
iiiles. a tainer. (lied,
Name
New
L
part hear
Section
Over
Amstrong
horn
Oliver
“Hot
Armstrong
city.
technical
years
Armstrong
ouis
Satchino—was
recordings,
time,
Orleans
of
put
he
of lie
The
entertainment.
of
to
that
In
Jazz
in
Oliver,
Oliver’s
dance
in
to
their
the
greater
records
a
that and
the
was
He says
Five”
and
Armstrong—known
New
learn
returned
it countless
his later,
between,
the left
musician.
appreciate
experience
he
to “few
4
differently:
Band
law
next
showed
in
loved
Louis
made
ability
influence.”
that
traveled
skill
replace
and
world
band
for
took
the
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ly
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an
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of
popularity.
sound.
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syllables.
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of
became
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playing
era.
1937, he
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help
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voice one
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became
a
impact
the
could also entrenched
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1964,
importance
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from Superstar
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wide
critic “Louis
Armstrong
to
to
Beatles
than
and Jazz
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time
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material,”
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work,
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delight
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be his
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straightfonvard
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Satchmo’s
popularity thereafter
(1973)
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