Showing posts with label Media. Show all posts
Showing posts with label Media. Show all posts

Thursday, September 8, 2016

Chautauqua, revisited….



The 19th century successes of the Chautauqua Institution of New York have always appealed to me. I believe I would have been thrilled to attend the profoundly educational lectures of the itinerant speakers who followed the Chautauqua circuit. For some Americans—and for many middle-class women—the Chautauqua offerings were the closest thing they could get to a higher education.

The Chautauqua Institution was founded in 1874 as a teaching camp for Sunday school teachers. The concept spread through the United States. At its peak in the 1920s the movement offered a broad range of lectures and music on both religious and nondenominational topics, in more than 10,000 communities. By 1940 the network of originally Victorian-style centers of learning and culture had lost their mass appeal, after enriching the lives of more than 45 million men and women. Today, the Chautauqua Institution on the original site is alive and well, and still attracting many thousands of participants annually.

In the late 19th century, the notion of family vacations was becoming popular, partly as a result of increasing affluence and the expansion of rail travel. In a recent issue of The Massachusetts Historical Review, Anita C. Danker wrote:
“…a significant number of largely middle-class Americans chose to make constructive use of their increased leisure time, a by-product of industrialization, in ways consistent with their values and religious beliefs.”

Framingham train station
The Chautauqua centers were attractive destinations. One such place was the New England Chautauqua Sunday School Assembly at Mount Wayte in Framingham, MA. From 1880-1918 it offered a steadily diversifying assortment of lectures and performances, drawing a dedicated audience from the area that would become MetroWest Boston. Those folks wanted to vacation in comfort and style, and they also were committed to a high-quality experience. Rail service to Mount Wayte was busy.


Danker explains:
“One form of vacation consistent with middle-class values and the moral climate of the New England region was the religious retreat…A critical mass of ordinary Americans displayed another powerful need, compatible with the ideal of a Christian vacation: the purposeful employment of leisure time for education and individual self-improvement.”



A reliable corps of attendees was “middle-class women, whose access to higher education was restricted by tradition and circumstance […they] formed the bedrock of the institution.”

Think of TED Talks without the clip-on microphone.

Source:
Anita C. Danker, “Redeeming the Time: Learning Vacations at the New England Chautauqua Assembly,” The Massachusetts Historical Review, Massachusetts Historical Society, Vol. 17, 2015, 67-97.










Copyright © Richard Carl Subber 2016 All rights reserved.

Friday, April 15, 2016

“Mannish Boy”….hold that thought


When McKinley Morganfield was born 103 years ago, nobody knew that he would become “the father of modern Chicago blues.”


That’s because nobody knew he was Muddy Waters. That didn’t come out right away.

Lucky for us, folklorist Alan Lomax “discovered” Muddy Waters” in 1941 and made the first recordings of the unshackled voice of the blues that would make such an enduring, personal statement in such fully dimensioned classics as “Rollin’ Stone,” “Hoochie Coochie Man,” “Got My Mojo Workin,’” and “Mannish Boy.”

If you’ve never heard Muddy’s voice, listen to him here, singing
“…I spell mmm, aaa child, nnn
That represents man
No B, O child, Y…”

Waters can make you a believer about the good qualities of a mannish boy, in a Delta blues kind of way.



He was one of the genuine musicians who seriously influenced the likes of Bob Dylan and The Rolling Stones—who took their name from the classic Muddy Waters song.

Waters didn’t have to wrap his lips around the microphone to sing his full-throated songs that invoke zest, and longing, and desperately earnest immersion in life, always up to the hilt….


His mojo never stopped working.







Copyright © Richard Carl Subber 2016 All rights reserved.

Friday, March 18, 2016

Lest we forget….


Maybe it was mentioned in the recent “too white” Oscar flub-a-dub, but I’ll just rack ‘em up one more time for Hattie McDaniel.

If you’re asking “Who’s Hattie McDaniel?” you’re not a Gone With The Wind fan.

Hattie McDaniel (1895-1957) was “Mammy” in that remarkably durable romantic swashbuckler.


She also was the first black thespian to earn an Oscar. She took Best Supporting Actress in 1940, one of the eight Oscars awarded to Gone With The Wind.


Hattie had many talents. She sang in traveling minstrel groups as a teenager, and was one of the first black women to be a radio singer in the U. S.



She started doing films in 1932, and played the roles of maids and cooks in almost 40 films in the 1930s, capping that run with her memorable role as a house slave, opposite Clark Gable and Vivien Leigh.

Hattie’s portrayal of stereotypical black servants was criticized in some quarters, but she shrugged that off, saying she’d rather play a maid than be one.

Too bad it’s too late to say “You go, girl!”

p.s. my trusted personal advisor notes that Hattie—the only black person who was sitting down at the Oscar awards ceremony—wasn’t seated at one of the banquet tables with the white folks, she sat with her escort at a small round table near the kitchen door. Oh yeah, another thing: Clark Gable had intended to escort Hattie to the premiere of Gone With The Wind in Atlanta, but he was waved off—neither Hattie nor any other black person was allowed to attend the film showing.







Copyright © Richard Carl Subber 2016 All rights reserved.