American Entertainment History

As Glenn Altschuler reveals in All Shook Up, the rise of rock 'n roll--and the outraged reception to it--in fact can tell us a lot about the values of the United States in the 1950s, a decade that saw a great struggle for the control of popular culture. Altschuler shows, in particular, how rock's "switchblade beat" opened up wide fissures in American society along the fault-lines of family, sexuality, and race.

Benjamin Franklin is renowned for his landmark inventions, including bifocals, the Franklin stove, and the lightning rod. Yet his own favorite invention is unknown to the general public. The glass armonica, the first musical instrument invented by an American, was constructed of stacked glass bowls and played by rubbing one's fingers on the rims. It was so popular in the late 18th and early 19th centuries that Mozart, Beethoven, Handel, and Strauss composed for it. In Angelic Music, Corey Mead describes how Franklin's instrument fell out of popular favor.

The American theater was not ignorant of the developments brought on by World War II, and actively addressed and debated timely, controversial topics for the duration of the war, including neutrality and isolationism, racism and genocide, and heroism and battle fatigue. McLaughlin and Parry's work fills a significant gap in the history of theater and popular culture, showing that American society was more divided and less idealistic than the received histories of the WWII home front and the entertainment industry recognize.

An independent nation now exists forged in the fires of battle and founded upon lofty principles. But treaties with indigenous people have been broken, women had no rights, and slavery was still legal. Can integrity be legislated? Can equality be lived? Can truth be heard? Can individual rights be secured? These questions are answered in A Voice for the People.

Summer 1787. After a long, difficult, and devastating war for independence was won, the Articles of Confederation–our first form of government–was falling apart at the seams. Controversy and dissention reigned supreme as Congress convened at Independence Hall. Fiery passions, ablaze with visions of a new form of government “by and for the people,” hovered on the horizon. Would the sun of a New Age sink under a cloud of doubt and dissention? Or would it represent the dawn of a new era breaking over the world as A Rising Sun.

In 1836 in East Texas, nine-year-old Cynthia Ann Parker was kidnapped by Comanches. She was raised by the tribe and eventually became the wife of a warrior. Twenty-four years after her capture, she was reclaimed by the U.S. cavalry and Texas Rangers and restored to her white family, to die in misery and obscurity. Cynthia Ann's story has been told and re-told over generations to become a foundational American tale.

Born into poverty in Mississippi at the close of the 19th century, Charley Patton and Jimmie Rodgers established themselves among the most influential musicians of their era. In Tune tells the story of the parallel careers of these two pioneering recording artists - one white, one black - who moved beyond their humble origins to change the face of American music.

This Is Our Music, declared saxophonist Ornette Coleman's 1960 album title. But whose music was it? At various times during the 1950s and 1960s, musicians, critics, fans, politicians, and entrepreneurs claimed jazz as a national art form, an Afrocentric race music, an extension of modernist innovation in other genres, a music of mass consciousness, and the preserve of a cultural elite. This original and provocative book explores who makes decisions about the value of a cultural form and on what basis.

Script Culture and the American Screenplay treats the screenplay as a literary work in its own right, presenting analyses of screenplays from a variety of frameworks, including feminism, Marxism, structuralism, philosophy, and psychology. Boon demonstrates that whether we are concerned with aesthetics and identifying rules for distinguishing the literary from the non-literary, or whether we align ourselves with more contemporary theories, which recognize texts as distinguishable in their inter-relationships.

Throughout his career, Johnny Cash was depicted - and depicted himself - as a walking contradiction: social protestor and establishment patriot, drugged wildman and devout Christian crusader, rebel outlaw hillbilly thug and elder statesman. Leigh H. Edwards explores the allure of this paradoxical image and its cultural significance. She argues that Cash embodied irresolvable contradictions of American identity that reflect foundational issues in the American experience.

Today it is widely recognized that gay men played a prominent role in defining the culture of mid-20th-century America, with such icons as Tennessee Williams, Edward Albee, Aaron Copland, Samuel Barber, Montgomery Clift, and Rock Hudson defining much of what seemed distinctly "American" on the stage and screen. Even though few gay artists were "out," their sexuality caused significant anxiety during a time of rampant anti-homosexual attitudes.

Forged in the fires of the Bronx and Kingston, Jamaica, hip-hop became the Esperanto of youth rebellion and a generation-defining movement. In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style.

Everybody's Doin' It is the eye-opening story of popular music's 70-year rise in the brothels, dance halls, and dives of New York City. It traces the birth of popular music, including ragtime and jazz, to convivial meeting places for sex, drink, music, and dance. Whether coming from a single piano player or a small band, live music was a nightly feature in New York's spirited dives, where men and women, often black and white, mingled freely - to the horror of the elite.

The idea of American musical theater often conjures up images of bright lights and big city, but its lifeblood is found in amateur productions at high schools, community theaters, after-school programs, summer camps, and dinner theaters. In Beyond Broadway, author Stacy Wolf looks at the widespread presence and persistence of musical theater in US culture and examines it as a social practice - a live, visceral experience of creating, watching, and listening.

Since 2001, the US Department of State has been sending hip hop artists abroad to perform and teach as goodwill ambassadors. There are good reasons for this: Hip hop is known and loved across the globe, acknowledged and appreciated as a product of American culture. Hip hop has from its beginning been a means of creating community through artistic collaboration, fostering what hip hop artists call building.

Discover the moving, true story of the Native American named Squanto, who is captured from his beloved Pawtuxet tribe, taken to Spain, and sold into slavery. Years later, Squanto regains his freedom and embarks on a miraculous journey back to his homeland where he teaches the Pilgrims how to survive the difficult early years in the Plymouth colony - culminating in the first Thanksgiving celebration.

Keith Hatschek tells the story of three determined artists: Louis Armstrong, Dave Brubeck, and Iola Brubeck and the stand they took against segregation by writing and performing a jazz musical titled The Real Ambassadors. First conceived by the Brubecks in 1956, the musical's journey to the stage for its 1962 premiere tracks extraordinary twists and turns across the backdrop of the civil rights movement.

Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the "Hollywood Renaissance" or "New Hollywood" period of the early 1970s (including M*A*S*H and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema.

It was a time when music fans copied and traded recordings without permission. An outraged music industry pushed Congress to pass anti-piracy legislation. Yes, that time is now; it was also the era of Napster in the 1990s, of cassette tapes in the 1970s, of reel-to-reel tapes in the 1950s, even the phonograph epoch of the 1930s. Piracy, it turns out, is as old as recorded music itself. In Democracy of Sound, Alex Sayf Cummings uncovers the little-known history of music piracy and its sweeping effects on the definition of copyright in the United States.

Black Panther is one of the most financially successful and culturally impactful films to emerge from the American film industry in recent years. When it was released in 2018 it broke numerous records and resonated with audiences all around the world. In Black Panther: Interrogating a Cultural Phenomenon, author Terence McSweeney explores the film from a diverse range of perspectives, seeing it as not only a comic book adaptation and a superhero film, but also a dynamic contribution to the discourse of both African and African American studies.