""Family Portrait" to Engage Sing Twice Under the Joint Sponsorship of the Departments of Philosophy and for Vespers Art, Dr

Total Page:16

File Type:pdf, Size:1020Kb

elleGtcu «allege N ew!l XLIX 2311 WELLESLEY, MASS., DECEMBER 12, 1940 No. 12 Philosopher Will Choir Will Lecture on Orient And Philosophy ""Family Portrait" To Engage Sing Twice Under the joint sponsorship of the Departments of Philosophy and For Vespers Art, Dr. Freidrich Spiegelberg, Talents Of Barn Actresses authority in the fi eld of orient2.l Alumnae Dance to Follow Choir Will Sing Works Of philosophies and religions, will dis­ cuss "Philosophical and Religious Barn's Production Of Palestrina, Bach, And Ideas Exemplified in Hindu and " Family Portrait" Holst at Vespers Buddhistic Art" in P endleton Hall tonight at 8 :30 o'clock. Celebrating the story that is the In an attempt to eliminate the source of the whole spirit of Christ­ Dr. Spiegelberg is the author of crowded conditions of past years, mas, Barnswallows Association numerous publications of a philo­ will present Family Portrait at Christmas Vespers will depart sophic and religious nature. Hf. W inter Formals in Alumnae Hall, from tradition this year when the has written on Hatha,-Yoga and Friday, December 13 and Satur­ College Choir presents two identi­ Raja-Yoga, w2.s co-editor of Tlw day, December 14. The play em­ cal services, Sunday, December 15, Bible of the World and a contri­ phasizes the universal significance at Houghton Memorial Chapel. butor to the German Encyclo­ of the life of J es us, but is not &. The first is to be held at 11 a. m., pedia. sermon or a Sunday school lesson. and the second at 7 :30 p. m. Dr. Douglas Horton of the General Formerly associate professor at In the leading role of Mary is Council of Congregational and Dresden, Dr. Spiegelberg has Joan Guiterman '42. Other femi­ Christian Churches, New York, taught at Columbia and the Uni­ nine leads are Naomi, Ruth Na­ will conduct the service on both versity of Rochester. He has lec­ gel '42; Mary Magdalene, Mar­ occasions, and the Choir will re­ tured widely throughout the United garet Westheimer '41; Reba, Pris­ peat its morning program in the States, and has made a special cilla Blackett '42; and Mary Cleo­ evening. study of the relation of philosophi­ phas, Nancy McLaughlin, '42. As cal and religious ideas to Indian the posters announce, there is an From H eaven Above to Earth and Chinese literature and art. "able male cast," several of whom Come by 'Bach, and the Christmas have appeared in past Wellesley Motet of Palestrina, as well as productions. English, German, Dutch, and 'l'here have been some changes Polish carols will be included in Miss William8 To in the cast as announced in the the progr2. m. The Choir will also last issue of News. They are sing three selections by Holst. Jn Director and Members of "Family Portrait" Ca~t Daniel, Frank Soule; a child, Mar­ dir ist F reicde by Bach, and the Talk on Strategy Standi·ng: Priscilla Blackett '42, William Hughes, Ruth shall Murray; Mathias, Warren "Pastoral Symphony" from Han­ Na,gel '42. Sitting: Mr. Manulis, Director. Weldon; Amos, Robert Drepperd; del's Messiah will be played on the Miss Judith Williams, Professor Joshua, Jack Roberts and Nathan, organ by Miss Margaret Mac­ of History, will cent.er attention on the Mediterranean aspects of the Edgar Rices. Donald, Instructor in the Music 1 Department. war in her discussion of "British Verse Choir to Give Senio _s - ~It y l'ry After the play is over Satur­ Students are urged to cooperate Interests in the Mediterranean," Varied Program For day night, there will be a dance by telling their off-campus friends Monday, December 16, at 4 :40 p.m. For E~s y P ·h:e ' in Alumnae Hall, which may be of the double vesper service, and in Pendleton Hall. Christmas Offering supplemented by a dance in Sev­ erance. The orchestra will be that by attending only one of the ser­ Basing her discussion on cur­ The Departments of History and The Christmas r ecital by t he of Don Gahan, who has played at vices. rent British war strategy in the Political Science again offer two many Wellesley festivities. ·The backing of Greece and the block­ Verse-Speaking Choir tomorrow prizes which will be awarded at d::corations will h2.ve a Christmas ading of Italy, Mi ss Williams will will mark the continuation of an CommencEment and are open only Freshmen to Complete motif. point out the political and eco­ annual custom and the first appe a~ - to Seniors. The Erasmus Prize Tickets are 1.00 for the dance, Election of Officers nomic interests leading to Br it­ in H istory is for the best paper 2. nce on campus of this year's 50 cents for the Friday perform­ ain's present action, giving a brief on some historical subject using The final election of the minor group. They will be assisted in ance of the play, and 75 cent~ for review of the historical back­ mainly source material while the officers of the Freshman class will the program which will take pl2.ce t he Se.turc!..i.y presentation. ground. Woodrow T-v' ilson Prize in Modern take place i.n P w lletc' Hall at jn the Chapel at 4 :40 p. m. by a Poli tics is for the be t paper on 3 :40 p.m., Thursday, December 12. Miss Williams' lectur.e will be choir of children from the Alex­ some political phase of t he nine­ At this meeting Nancy Dobson, the third in a series of talks on ander Hamilton School in Brighton. teenth or twentieth centuries. Choir Singers Revive president of the Sophomore class, topics of cunent inter est spon­ While the r ecital will include Rules governing the contests Old Madrigal Customs will present t he o·avcl to H elen sored by the Departments of Hi-­ a number of old favorites, such are: By Joan Pinanski Torbert, the new F reshman presi- to1·y, Economics and Political Sci- as I S aw Three Ships, Sing in E x­ 1. Papers must be left in Room "Supper being ended, and music dent. ence, and Forum. celsis Gloria and the reading from 118, Founders Hall, not later than books being brought to the table, Chapter 11 of St. Luke, it will May 31, 1941. the mistress of the house present­ also feature a good many pieces 2. Competitors must submit two ed me with a part, earnestly re­ Behind-Scenes Work Contributes new to Wellesley, including some typewritten copies of their papers. questing me to sing. But when, in costume. The children, whose Each copy must be signed by a after many excuses, I protested ages r ange up to eight, will give pseudonym and must specify the that I could not, everyone began To Success of "Family Portrait" several poems alone and with the prize for which it is submitted. to wonder; yes, some whispered to choir. By Rosalie Goldstein 3. Papers must be properly docu ­ others, demanding how was I The members of the college mented, must contain critical bio. brought up." This is a fair warn­ While the stars of Family Por­ stead of the flowing robes usually choir are Louise Belcher '43, Jane graphies, and must be based, as ing which News r eprints from the trait get their pictures in the associated with Biblical characters, Dewey '43, Suzanne Easton '43, far as po sible, on source material. Plaine awd Easy Introduction to papers, and th~ director has his and could belong to any period or Patricia Ennis '43, Eleanor Flet­ 4. No paper may be submitted Practical Music, written by name on posters, the builders of to no period. "The women are cher '43, Anne Jacobs '43, Bever­ for two prizes. Thomas Morley in the days of sets, the p2.inters of scenery, a~d ly Logan '43, H elen McConnell Queen Elizabeth. Lest they should dressed in print percale skirts and 5. No honors paper or 350 the sewers of costumes remam '43, Alathena Smith '42, Marcia be caught in a similar predica­ blouses," said Anne, "and the men paper may be submitted. No semi­ anonymous. Without them, how­ Van Kirk '43, Dorothy Walbridge ment, eight Wellesley students in wear Lord Byron shirts - pink nar p2.per may be submitted fol" ever, the actors would have to '43, Dorothy Whitcomb '43 and 1935 formed a madrigal group and or pistachio color." t he Erasmu prize, while no semi­ tread bare boards, and the show Louise Wilde '42 for the dark learned how p1·operly to "hold Because of the exotic back­ nar paper covering the work of .could not go on. voices, while t he light voices are their part." At present Welles­ ground of the play, Mary Shaugh­ more than one semester may be Elizabeth Adams, '41, Gloria Bos­ ley's madrigal singers number Designing and building the sets nessy '41 and her helpers on the submitted for the Woodrow Wil- has been one of the most impor­ Prop Committee have had to go etti '42, Allene Crissey '43, Doro­ on Prize. twelve, all Choi1· members selected thy Dann '42, Elizabeth Deem by a special competition. They tant parts in the production of on a series of wild goose chases. 6. The departments reserve the '41, Sally Eaton '42, Grace Gos­ have performed frequently on and the play, since there are four They almost gave up in despair right to withhold the award in changes of scene. Under the nell '43, Dorothy Kerr '43, Nellie off the campus, on the radio, at when they heard that they had to case no paper is sufficiently ex­ leadership of Marjorie Burns '41, Jane Mellow '43, Ruth Monroe rtarvard, and for Alumnae Clubs.
Recommended publications
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Valuations of Femininity in 1920S Stage Adaptations from Women's
    Capital Complex: Valuations of Femininity in 1920s Stage Adaptations from Women’s Culture By Bethany Wood A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Theatre and Drama) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 10/15/12 This dissertation is approved by the following members of the Final Oral Committee: Mary Trotter, Associate Professor, Theatre and Drama Aparna Bhargava Dharwadker, Professor, Theatre and Drama Michael Vanden Heuvel, Professor, Theatre and Drama Julie D’Acci, Professor, Gender and Women’s Studies Jonathan Gray, Professor, Communication Arts © Copyright by Bethany Wood 2012 All Rights Reserved i Acknowledgements I am truly grateful for the generous personal and institutional support I have received throughout the research and writing of this dissertation. I am deeply indebted to my advisor, Dr. Mary Trotter, for her careful reading and insightful comments and questions, which inspired and directed this dissertation. Her advice and queries consistently push and guide my work in productive directions, and I am thankful for her mentorship. I would also like to express my appreciation for my dissertation committee, Dr. Julie D’Acci, Dr. Aparna Dharwadker, Dr. Jonathan Gray, and Dr. Michael Vanden Heuvel, whose suggestions helped hone my initial proposal and advance the complexity of my analysis. I am grateful for their insights and inquiries. Financial support from several institutions assisted with the research and completion
    [Show full text]
  • TONY FENELON in AMERICA the Magnificent Sound of the WURLITZERORGAN Now Comesto You With
    JOURNAL OF THE AMERICAN THEATREORGAN SOCIETY TONY FENELON IN AMERICA The magnificent sound of the WURLITZERORGAN now comesto you with Total Tone® The Wurlitzer 4030R The Wu rlitze r 4502 More than 50 styles and finishes ... for amateur or professional, for home or church, for schoolor club~ The Wurlitzer 4300 Deluxe Now, many Wurlitzer Organsare available with the theatrical sound of Spectra-Tone® and Reverb, the fascinating effects of the Slide, the scintillating The Wurlitzer 4700 sounds of Ssh-Boom.® WuRLiTzER The Wurlitzer 4500 means Music to millions® pianos • organs • electronic pianos The Wurlitzer 4075 DeKalb, Illinois 60115 ·1 ··,.___, ~ .. • J .... ,:"" -:·: ; • ' ~ ~ .. .. ~.t. THE COVER PHOTO Tony Fenelon's visit to the U.S.A. was a series of personal and musical triumphs for the young Australian organist, seen here examining the wonders on the stoprail of the Robert Morton organ in the Carl Greer Inn in Sacramento, Calif . His first person account of his tours starts on page 5. Journal of the American Theatre Organ Society -Stufoto Volume 12, Number 1 In This Issue February, 1970 FEATURES 5 My Great Adventure 'UP OVER' ..................... ....... .................. ..... Tony Fenelon A.T.O.S. National Membership is $8 .00 per cal­ 8 A Rose Is a Rose .. ............... .. ............ .......... ....... Lloyd E. Klos endar year, which includes a subscription to 16 Don Thompson Concertizing in West ...................... .................... .............................. .. Elmer Fubb THEATRE ORGAN, the official publication of 17 The Young Radical Comes of Age .... ........... Billy Nalle the American Theatre Organ Society. Single 18 'Pipe 'n Pizza' Makes Southwest Scene .............. ................ ......... .......... Peg Nielsen copies: $ l .25 . Make check or money or.der 21 Cedar Rapids Has Smash Hit ......
    [Show full text]
  • LONGACRE THEATER, 220-228 West 48Th Street , Manhattan
    Landmarks Preservation Commission December 8, 1987; Designation List 197 LP-1348 LONGACRE THEATER, 220-228 West 48th Street , Manhattan. Landmark Site: Borough of Manhattan Tax Map Block 1019, Lot 50. Built 1912-13; architect, Henry B. Herts. On June 14 and 15, 1982 , the Landmarks Preservation Commission held a pub 1 ic hearing on the proposed designation as a Landmark of the Longacre Theater and the proposed designation of the related Landmark Site (Item No.44). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Longacre Theater survives today as one of the historic playhouses that symbolize American theater for both New York and the nation. Constructed in 1912-13, the Longacre was built to house the productions of Broadway producer and baseball magnate Harry H. Frazee . Designed for Frazee by Henry Herts, prominent theater architect, the Longacre is among the earliest surviving Broadway theaters, and has an exceptionally handsome facade. Like most Broadway playhouses built before World War I, the Longacre was designed by a leading theater architect to house the offices and theatrical productions of its owner. Though known as a baseball magnate, and at one time the owner of the Boston Red Sox, Frazee was also an influential Broadway producer who, besides building the Longacre theater, at one time also owned two other Broadway houses (the Harris and the Lyric).
    [Show full text]
  • Dramatic Mirror, November 7, 1891, P. 8. 2. Helen Ten Broeck, “Rida Young—Dramatist and Garden Expert,” Theatre (April 1917): 202
    NOTES INTRODUCTION 1. Ali Baba, “Mirror Interview: XXI—Martha Morton,” Dramatic Mirror, November 7, 1891, p. 8. 2. Helen Ten Broeck, “Rida Young—Dramatist and Garden Expert,” Theatre (April 1917): 202. 3. See Progressive Era at http://www.wikipedia.com. 4. Rachel Crothers (1878–1958), considered America’s first modern feminist playwright for her social comedies and woman-centered themes, is the only woman usually included within the “canon” of playwrights during the Progressive Era. Her production in 1906 of The Three of Us marked the beginning of a thirty-year career as a professional playwright and director in American theater. Her plays were well-constructed and dealt with pertinent issues of the time, such as the unfairness of the double standard and women’s conflicts between career and motherhood; her plays are still revived today. Unlike the other women in this study who are essentially “unknown,” Crothers has been extensively written about in dissertations and journals and, therefore, is not included in this study. For a recent arti- cle on Crothers, see Brenda Murphy, “Feminism and the Marketplace: The Career of Rachel Crothers,” in The Cambridge Companion to American Women Playwrights, ed. Brenda Murphy (New York: Cambridge University Press, 1999), 82–97. 5. About fifty-one women dramatists achieved two or more productions in New York between 1890 and 1920. Portions of this chapter are from Sherry Engle, “An ‘Irruption of Women Dramatists’: The Rise of America’s Woman Playwright, 1890–1920,” New England Theatre Journal 12 (2001): 27–50. 6. A prime example is Morton’s The Movers (1907), which despite being a box office failure, was defended by several prominent critics.
    [Show full text]
  • The Elusive Eastern Film Corporation of Providence, Rhode Island: Resurrecting a Footnote in Film History" (2013)
    Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2013 The luE sive Eastern Film Corporation of Providence, Rhode Island: Resurrecting a Footnote in Film History Adam Tawfik Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Film and Media Studies Commons Recommended Citation Tawfik, Adam, "The Elusive Eastern Film Corporation of Providence, Rhode Island: Resurrecting a Footnote in Film History" (2013). Honors Projects Overview. 76. https://digitalcommons.ric.edu/honors_projects/76 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. Rhode Island College Digital Commons @ RIC Film Studies Honors Projects Rhode Island College Honors Projects 1-1-2013 The luE sive Eastern Film Corporation of Providence, Rhode Island: Resurrecting a Footnote in Film History Adam Tawfik Rhode Island College, [email protected] Follow this and additional works at: http://digitalcommons.ric.edu/film_hp Part of the Film and Media Studies Commons Recommended Citation Tawfik, Adam, "The Elusive Eastern Film Corporation of Providence, Rhode Island: Resurrecting a Footnote in Film History" (2013). Film Studies Honors Projects. Paper 1. http://digitalcommons.ric.edu/film_hp/1 This Honors is brought to you for free and open access by the Rhode Island College Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Film Studies Honors Projects by an authorized administrator of Digital Commons @ RIC.
    [Show full text]
  • The American Career of Maria Ouspenskaya (1887-1949): Actress and Teacher
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 The American Career of Maria Ouspenskaya (1887-1949): Actress and Teacher. Pamela Sue Heilman Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Heilman, Pamela Sue, "The American Career of Maria Ouspenskaya (1887-1949): Actress and Teacher." (1999). LSU Historical Dissertations and Theses. 6890. https://digitalcommons.lsu.edu/gradschool_disstheses/6890 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. 1 Juliet – A Role in Four Movies Anthony Leo Quinn 1 2 Declaration I hereby declare that this thesis ‘Juliet – A Role in Four Movies’, is entirely my own work. Any quotations or references are noted in the ‘Works Cited’ section and attributed to the original publication/source. This work has not been submitted previously for any degree or other professional qualification. Signature......................................................................... Date. 2 3 Contents Acknowledgements 4 List of Abbreviations 5 Introduction 6 Chapter One. 1936 - Juliet in the Modern Age 29 Chapter Two. 1954 - The Forgotten Juliet, 94 Chapter Three. 1968 - Juliet Conquers the World 165 Chapter Four. 1996 - Romeo + Juliet 237 Conclusion 307 Illustrations 314 Works Cited 334 3 4 Acknowledgements I have a great many people to thank for their contributions, help, advice and encouragement in the completion of this thesis.
    [Show full text]
  • MAJESTIC THEATER, 245-257 West 44Th Street, Manhattan
    Landmarks Preservation Commission December 8, 1987; Designation List 197 LP-1355 MAJESTIC THEATER, 245-257 West 44th Street, Manhattan. Built 1926-27; architect Herbert J. Krapp. Landmark Site: Borough of Manhattan Tax Map Block 1016, Lot 5. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Majestic Theater and the proposed designation of the related Landmark Site (Item No. 51) . The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eight y-one witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives , appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Majestic Theater survives today as one of the historic the aters that symbolize American theater for both New York and the nation. Built in 1926-27, the Majestic was among the half-doz en theaters constructe d b y the Chanin Organization in the mid-1920s, to the designs of Herbert J . Krapp, that typified the development of the Times Square/Broadway theater district. Founded by Irwin S. Chanin, the Chanin organization was a major construction company in New York. During the 1920s, Chanin b r anche d out into the building of theaters, and helpe d create much of the ambie nce of the heart of the theater district.
    [Show full text]
  • Morale Service and the Stage Door Canteen in World War II a Thesis
    Creating a Canteen Worth Fighting For: Morale Service and the Stage Door Canteen in World War II A thesis presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Katherine M. Fluker March 2011 © 2011 Katherine M. Fluker. All rights reserved. 2 This thesis titled Creating a Canteen Worth Fighting For: Morale Service and the Stage Door Canteen in World War II by KATHERINE M. FLUKER has been approved for the Department of History and the College of Arts and Sciences by ____________________________________________ Katherine Jellison Professor of History ____________________________________________ Benjamin M. Ogles Dean, College of Arts and Sciences 3 Abstract FLUKER, KATHERINE M., M.A., March 2011, History Creating a Canteen Worth Fighting For: Morale Service and the Stage Door Canteen in World War II Director of Thesis: Katherine Jellison From March 1942 to November 1945, the Stage Door Canteen in New York City provided an estimated 3 million servicemen with companionship, free food, and entertainment. This thesis explores the canteen‘s work and the meaning assigned to the work by volunteers, servicemen, and the American media. Run by the American Theatre Wing War Service, the canteen provided civilian workers in the entertainment industry with a way to ―do their part‖ for the war effort and repay servicemen for the sacrifice they were making. The canteen was open to United Nations servicemen of any nationality or race, making it an interracial and international contact point. In media, the canteen was frequently used as a symbol of wartime unity and an example of the type of selfless service that American civilians should aspire to.
    [Show full text]