Come Into My Parlor. a Biography of the Aristocratic Everleigh Sisters of Chicago
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Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection. -
Hizzoner Big Bill Thompson : an Idyll of Chicago
2 LI E> HAHY OF THE UNIVERSITY OF ILLINOIS B T478b cop. I . H . S . Hizzoner Big Bill Thompson JONATHAN CAPE AND HARRISON SMITH, INCORPORATED, 139 EAST 46TH STREET, NEW YORK, N. Y. AND 77 WELLINGTON STREET, WEST, TORONTO, CANADA; JONATHAN CAPE, LTD. 30 BEDFORD SQUARE, LONDON, W. C. 1, ENGLAND Digitized by the Internet Archive in 2012 with funding from University of Illinois Urbana-Champaign http://archive.org/details/hizzonerbigbilltOObrig ->-^ BIG BILL THOMPSON (CARICATURE BY CARRENO) BY JOHN BRIGHT Introduction by Harry Elmer Barnes Hizzoner Big Bill Thompson An Idyll of Chicago NEW YORK JONATHAN CAPE & HARRISON SMITH COPYRIGHT, 1930, BY JOHN BRIGHT FIRST PUBLISHED 1930 PRINTED IN THE UNITED STATES OF AMERICA BY J. J. LITTLE & IVES CO. AND BOUND BY THE J. F. TAPLEY CO. — r TH i This Book Is Respectfully Dedicated to MR. WALTER LIPPMANN ". Here and there some have found a way of life in this new world. They have put away vain hopes, have ceased to ask guaranties and are yet serene. But they are only a handful. They do the enduring work of the world, for work like theirs, done with no ulterior bias and for its own sake, is work done in truth, in beauty, and in goodness. There is not much of it, and it does not greatly occupy the attention of mankind. Its excellence is quiet. But it persists through all the spectacular commotions. And long after, it is all that men care much to remember." American Inquisitors. BIG BILL THE BUILDER A Campaign Ditty Scanning his fry's pages, we find names we love so well, Heroes of the ages—of their deeds we love to tell, But right beside them soon there'll be a name Of someone we all acclaim. -
Mmacarthur Foundation. the John D
Alphabetic-L Encyclopedia of Chicago UC-Enc-v.cls May , : LYRIC OPERA Further reading: Andreas, A. T. History of Cook At Krainik’s death in January she was W W I, and after a long lull, resumed County Illinois. • Benedetti, Rose Marie. Village succeeded by William Mason, the company’s in the decades after W W II. In the first on the River, –. • Lyons Diamond Ju- director of operations, artistic and produc- stage, thousands of Macedonians left the Old bilee, –. tion. As the Lyric entered the early twenty-first Country in the wake of the bloody Ilin- century, it remained internationally respected den Uprising against Ottoman control, which Lyric Opera. From to ,seven as a theater of high performance standards rest- ended with the ruin of some villages and companies—several merely different ing on an enviably secure financial base. exposed many Macedonian men to conscrip- names for the same reorganized company— John von Rhein tion in the Ottoman army. The rest came as presented seasons at Chicago’sA male labor migrants who sought to improve See also: Classical Music; Entertaining Chicagoans T and the Civic Opera House. All their families’ grim economic fortunes by re- Further reading: Cassidy, Claudia. Lyric Opera of turning home with earnings from American sunk in a sea of debt. From to the Chicago. • Davis, R. Opera in Chicago. city had no resident opera company. Three factories. After World War I, with their home people changed everything: Carol Fox, a stu- country divided between Bulgaria, Serbia, and dent singer; Lawrence Kelly, a businessman; Greece, the thousands of Chicago-area Mace- and Nicola Rescigno, a conductor and vocal donians recognized that they would not re- teacher. -
Prostitutes, Feminists, and the War on White Slavery
Decades of Reform: Prostitutes, Feminists, and the War on White Slavery By: Jodie Masotta Under the direction of: Professor Nicole Phelps & Professor Major Jackson University of Vermont Undergraduate Honors Thesis College of Arts and Sciences, Honors College Department of History & Department of English April 2013 Introduction to Project: This research should be approached as an interdisciplinary project that combines the fields of history and English. The essay portion should be read first and be seen as a way to situate the poems in a historical setting. It is not merely an extensive introduction, however, and the argument that it makes is relevant to the poetry that comes afterward. In the historical introduction, I focus on the importance of allowing the prostitutes that lived in this time to have their own voice and represent themselves honestly, instead of losing sight of their desires and preferences in the political arguments that were made at the time. The poetry thus focuses on providing a creative and representational voice for these women. Historical poetry straddles the disciplines of history and English and “through the supremacy of figurative language and sonic echoes, the [historical] poem… remains fiercely loyal to the past while offering a kind of social function in which poetry becomes a ritualistic act of remembrance and imagining that goes beyond mere narration of history.”1 The creative portion of the project is a series of dramatic monologues, written through the voices of prostitutes that I have come to appreciate and understand as being different and individualized through my historical research The characters in these poems should be viewed as real life examples of women who willingly became prostitutes. -
SAINT JANE and The
"f/Vhen Jane Addams opc11ed Hull- House .for Chicago's im1m:~rants, she began asking q1testions a local politician preferred not to answer SAINT JANE and the By ANNE FIROR SCOTT Powers: the boss, and not eager to quit. f Alderman .John Powers of Chicago's teeming had some hand in nearly every corrupt ordinance nineLee11Lh ward had been prescient, he might passed by the council during his years in oflice. ln a have foreseen Lrouble when two young ladies not single year, 1 895, he was Lo help to sell six important I long out of the female semin;1ry in Rockford, ciLy franchises. \\7hen the mayor vetoed Powers' meas Illinois, moved into a dilapidated old house on Hal ures, a silent but sign i fica 11 t two-thirds vote appeared sLed StreeL in Sep tern ber, 1889, and announced Lhem to override the veto. selves "al home" LO Lite neighbors. The ladies, however, Ray Stannard Baker, who chanced to observe Powers were nol very noisy about it, and it is doubtful if in the late nineties, recorded that he was shrewd and Powers was aware of their existence. The nineteenth silent, letting other men make the speeches and bring ward was well supplied with people already- grm1·ing upon their heads the abuse of the public. Powers was numbers of Italians, Poles, Russians, lrish, and oLher a short, swcky man, Baker said, "\\'ith a flaring gray immigrants- and two more would hardly be noticed. pompadour, a smooth-shaven face [sic], rather heavy Johnny Powers was the prototype of the ward boss features, and a resLless eye." One observer remarked who was coming to be an increasingly decisive figure that "the shadow of sympathetic gloom is always about on the American political scene. -
The Chicago City Manual Was at the Time Regarded As an Experiment, but It Soon Came to Be Known As a Necessary Thing That Would Take Its Place As a Regular An
UNIVERSITY OF ILLINOIS LIBRARY Class Book Volume CENTRAL CIRCULATION BOOKSTACKS The person charging this material is re- sponsible for its renewal or its return to the library from which it was borrowed on or before the Latest Date stamped below. The Minimum Fee for each Lost Book is $50.00. Theft, mutilation, and underlining of boolcs ore reasons for disciplinary action and may result in dismissal from the University. TO RENEW CALL TELEPHONE CENTER, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN DEC 1 3 1994 ^ 2 2 1994 When renewing by phone, write new due date below previous due date. L162 CHICAGO CITY MANUAL 1909 CONTAINING The Names and Official Addresses of the Executive and All Other City Officers with Descriptions of Their Functions Lists of the Aldermen and of the Committees of the City Council and the Rules Governing That Body And Many Other Matters Relating to the City and Its Institutions Prepared by FRANCIS A.EASTMAN City Statistician CHICAGO: BUREAU OF STATISTICS AND MUNICIPAL LIBRARY 1909 nrir^ THE FRONTISPIECE. ^ The half-tone picture on the opposite page, gives a perfect view of the site of the City Hall as prepared by the contractors on the foundations and as turned over by them to the contractors for the super- structure. A few words of description will inform the reader of what has been placed below the surface of the site to support the enormous weight of the building when that is completed. From the records in the possession of Alderman Francis W. Taylor, Chairman of the City Hall building Committee, it appears that the wrecking of the old City Hall was commenced on August 11, 1908, and that work on the new foundations was begun on January 4, 1909. -
Reconstructing American Historical Cinema This Page Intentionally Left Blank RECONSTRUCTING American Historical Cinema
Reconstructing American Historical Cinema This page intentionally left blank RECONSTRUCTING American Historical Cinema From Cimarron to Citizen Kane J. E. Smyth THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2006 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com 10 09 08 07 06 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Smyth, J. E., 1977- Reconstructing American historical cinema : from Cimarron to Citizen Kane / J. E. Smyth. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8131-2406-3 (alk. paper) ISBN-10: 0-8131-2406-9 (alk. paper) 1. Historical films--United States--History and criticism. 2. Motion pictures and history. I. Title. PN1995.9.H5S57 2006 791.43’658--dc22 2006020064 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. Manufactured in the United States of America. Member of the Association of American University Presses For Evelyn M. Smyth and Peter B. Smyth and for K. H. and C. -
The New Sex Worker in American Popular Culture, 2006-2016
BEYOND THE MARKED WOMAN: THE NEW SEX WORKER IN AMERICAN POPULAR CULTURE, 2006-2016 By Lauren Kirshner Bachelor of Education, University of Toronto, 2009 Master of Arts, University of Toronto, 2007 Honours Bachelor of Arts, University of Toronto, 2005 A dissertation presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the joint program of Communication and Culture Toronto, Ontario, Canada, 2019 © Lauren Kirshner, 2019 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A DISSERTATION I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revision, as required by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to lend this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii BEYOND THE MARKED WOMAN: THE NEW SEX WORKER IN AMERICAN POPULAR CULTURE, 2006-2016 Doctor of Philosophy 2019 Lauren Kirshner Communication and Culture, Ryerson University and York University This dissertation argues that between 2006 and 2016, in a context of rising tolerance for sex workers, economic shifts under neoliberal capitalism, and the normalization of transactional intimate labour, popular culture began to offer new and humanizing images of the sex worker as an entrepreneur and care worker. This new popular culture legitimatizes sex workers in a growing services industry and carries important de-stigmatizing messages about sex workers, who continue to be among the most stigmatized of women workers in the U.S. -
Prudence and Controversy: the New York Public Library Responds to Post-War Anticommunist Pressures
City University of New York (CUNY) CUNY Academic Works Publications and Research Baruch College 2011 Prudence and Controversy: The New York Public Library Responds to Post-War Anticommunist Pressures Stephen Francoeur CUNY Bernard M Baruch College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bb_pubs/13 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Prudence and Controversy: The New York Public Library Responds to Post-War Anticommunist Pressures Stephen Francoeur Baruch College [Post-print version accepted for publication in the September 2011 issue of Library & Information History. http://maney.co.uk/index.php/journals/lbh/] Abstract As the New York Public Library entered the post-war era in the late 1940s, its operations fell under the zealous scrutiny of self-styled ‗redhunters‘ intent upon rooting out library materials and staffers deemed un-American and politically subversive. The high point of attacks upon the New York Public Library came during the years 1947-1954, a period that witnessed the Soviet atomic bomb, the Berlin airlift, and the Korean War. This article charts the narrow and carefully wrought trail blazed by the library‘s leadership during that period. Through a reading of materials in the library archives, we see how political pressures were perceived and handled by library management and staff. We witness remarkable examples of brave defense of intellectual freedom alongside episodes of prudent equivocation. At the heart of the library‘s situation stood the contradictions between the principled commitments of individual library leaders and the practical political considerations underlying the library‘s viability. -
The Independent Voice of the Visual Arts Volume 35 Number 1, October 2020
The Independent Voice of the Visual Arts Volume 35 Number 1, October 2020 Established 1973 ART & POLITICS $15 U.S. ART AND POLITICS COVER CREDITS Front: Gran Fury, When A Government Turns Its Back On Its People; Joan_de_art & crew, Black Lives Matter;Hugo Gellert: Primary Accumulation 16 Back: Chris Burke and Ruben Alcantar, Breonna Taylor, Say Her Name!!!, Milwaukee; Sue Coe, Language of the Dictator; Lexander Bryant, Opportunity Co$t, Gran Fury, Kissing Doesn’t Kill. Established 1973 Vol. 35, No. 1 October 2020 Contents ARTICLES 3 Art and Politics: 39 COVID-19 and the Introduction Creative Process(es) Two more Interviews 5 Art of the Black Lives from Chicago Matter Movement Michel Ségard compiles BLM-related 39 Introduction art from across the country. 40 Stevie Hanley Stevie Hanley is a practicing artist and 11 It Can Happen Here— an instructor at the Art Institute of An Anti-Fascism Project Chicago. He is also the organizer of the Siblings art collective. Stephen F. Eisenman and Sue Coe mount their multimedia resistance to the Donald Trump administration. 43 Patric McCoy Patric McCoy is an art collector and 19 Have you given up hope co-founder of the arts non-profit for a cure? Diasporal Rhythms, an organization Paul Moreno revisits Gran Fury, an focused on the art of the African ‘80s art collective that responded to Diaspora. AIDS in unabashedly political ways. 25 In Tennessee, Art Itself Is Protest Kelli Wood leads us through Nashville’s art scene, advocating change to the tune of Dolly Parton’s “Down on Music REVIEWS Row.“ 47 “Problem Areas” 32 Iconoclasm Then Luis Martin/The Art Engineer reviews the first solo show from painter Paul and Now Moreno at New York’s Bureau of Gen- Thomas F.X. -
IDENTITY, PHYSICALITY, and the TWILIGHT of COLORADO's VICE DISTRICTS Submitted By
THESIS CRIMSON STREETS AND VIOLENT BODIES: IDENTITY, PHYSICALITY, AND THE TWILIGHT OF COLORADO’S VICE DISTRICTS Submitted by Nicholas Ryan Gunvaldson Department of History In partial fulfillment of the requirements For the Degree of Masters of Arts Colorado State University Fort Collins, Colorado Summer 2015 Master’s Committee: Advisor: Ruth Alexander James Lindsay Zachary Hutchins Copyright by Nicholas Ryan Gunvaldson 2015 All Rights Reserved ABSTRACT CRIMSON STREETS AND VIOLENT BODIES: IDENTITY, PHYSICALITY, AND THE TWILIGHT OF COLORADO’S VICE DISTRICTS This master’s project focuses on the changing moral and legal status of Colorado’s vice districts during the nineteenth and early-twentieth centuries. The thesis argues that once informally organized vice districts were formally regulated and geographically delineated as “red-light districts” at the behest of middle- and upper-class Progressives near the end of the century they became more vulnerable to actual suppression. This result had not been anticipated. Reformers considered commercial sex an offensive but ineradicable behavior, and they hoped districting would be an effective way to control, document, and tax this vice – while keeping it separate and hidden from respectable society. To the surprise of reformers, the establishment of special vice districts rendered them not only more visible and subject to regulation, but also, more vulnerable to suppression and eradication. This may have seemed like a victory for vice reformers, yet prostitution did not disappear. Rather, the formal elimination of vice districts early in the twentieth century worsened the circumstances in which prostitution was practiced, and widened the differential societal treatment of prostitutes and their customers. -
5 Shooting at Tuxedo Dance Hall
Tango Belt History - 1 Quotes in Books - 2 Intevriews - 5 Shooting at Tuxedo Dance Hall - 11 More Interviews - 17 The District - 21 The Tango Belt - 26 Photos of Dance Halls - 85 Bios - 98 A Trip to the Past - LaVida, Fern, Alamo - 102 Professors in Storyville - 105 Map of District - 108 List of Clubs - 111 May of Storyville - 114 Anna Duebler (Josie Arlington) - 117 Photos - 134 Tango Dance - 141 1 New Orleans is a port city and as such attracted visitors came from faraway places, especially from South America and the Caribbean. Around 1912 the world was experiencing a Tango dance craze. This craze sweep New Orleans and soon there was a part of the French Quarter that one newspaper reporter, in the part bordering Rampart Street of the Quarter, began calling it “The Tango Belt” with the concentration of halls, cabarets, saloons, restaurants and café centering around the 'unofficial' boundaries of Canal, Rampart, St. Peters and Rampart Streets. Other clubs around the nearby vicinity were also included in this distinction. Articles give other boundaries, but it is in the general area of the upper French quarter and still are considered 'in the District' along with Storyville. There were many places of entertainment within the 'district' (Storyville and the Tango Belt) The Blue Book listed 9 cabarets, four of them-two for whites and two for colored, were not within the boundaries of Storyville: Casino Cabaret (white) 1400 Iberville Street Union Cabaret (white) 135 n. Basin Street Lala's Cabaret (colored) 135 N. Franklin Street New Manhattan Cabaret colored) 1500 Iberville Street In 1917 when the Navy closed Storyville only 5 cabarets were affected, all restricted for the use of whites.