An American Modernist Response: The Ashcan School

Posted on April 30, 2015 by bergka

“Head of Boxer”, painted by George Wesley Bellows

This week we toured the St. Olaf Flaten Art Museum and studied several objects, including this painting, “Head of Boxer” by George Wesley Bellows.

George Wesley Bellows

George Wesley Bellows (1882-1925) was an American realist painter, known for his depictions of urban life in New York City. He was an artist from the Ashcan school of art, that were a group of realist painters that wanted to challenge and be set a part from American impressionists.

Although Ashcan artists advocated for modern actualities, they were not so radical that they used their artwork for social criticism or reform. They identified with the vitality of the lower classes and illustrated the dismal aspects of urban existence. However, they themselves led middle-class lives and were influenced by New York’s restaurants, bars, theater and vaudeville.¹

Relating to other themes in our class, George Bellows was immersed in New York’s vaudeville scene around the same time of Charles Harris’ “After the Ball”, Howard and Emerson’s “Hello My Baby”, and Irving Berlin’s “Alexander’s Ragtime Band.”

“The Ashcan artists selectively documented an unsettling, transitional time in American culture that was marked by confidence and doubt, excitement and trepidation. Ignoring or registering only gently harsh new realities such as the problems of immigration and urban poverty, they shone a positive light on their era.”

— The Metropolitan Museum of Art

In this painting, perhaps the rough brush strokes represent the difficulties the lower classes faced in society? Perhaps the mix of light and shadow on the boxer’s forehead show the transitional time in American culture? And perhaps the sad expression of the boxer represents the doubt and trepidation of the lower classes who struggle with problems of immigration and urban poverty. George Bellows painted the realities of the lower classes he saw around him in New York City.

1 Weinberg, H. Barbara. “The Ashcan School.” The Metropolitan Museum of Art. 2000. http://www.metmuseum.org/toah/hd/ashc/hd_ashc.htm

Racism v. Nostalgia in Oklahoma!

Posted on April 20, 2015 by bergka

Oklahoma! the musical opened on Broadway in 1943, the first written by the Rodgers and Hammerstein duo. The musical premiered during WWII when this show was needed to provide an escape for Americans from the horrors of war. It ran on people’s nostalgia for the great American West and a time of “no conflict.” The show, interestingly, leaves out Native Americans and any hints of conflicts that actually occurred in the Midwest.

Oklahoma! centers around a cowboy named Curly, his romance farm girl Laurey, and Jud the farm hand who Laurey develops feelings for later on. It’s set in the town of Calremore, OK in 1906. Laurey and Curly represent the “wholesome American” ideal that was common in mythic story around WWII. Cleanliness and a separation from “animal nature” in humans was a critical part of this image, and it was science and technology that were seen as essential to their achievement. For example, women during this time were discouraged from nursing their babies; bottles were considered more hygienic than human tissue. “Scientifically-concocted” formal was said to be more wholesome and nutritious than breast milk. Modern was equated with wholesome and good.

By tapping into this “modern” movement, Oklahoma! became a raging success. It ran on Broadway for over 5 years. According to the Manitou Messenger, even the St. Olaf Theater Dept. put on its own production of Oklahoma! in 1962.

Recently, Seattle’s 5th Avenue Theatre’s 2012 made waves with its production of Oklahoma! with its choice to reflect the historical presence of African Americans in the Oklahoma territory because it amplified “one of the ugliest stereotypes in our history: an imposing black man ravaging a petite white woman and the white hero.”¹ It made “clear references to lynching…the “Dream Ballet” had a sinister, sexual tone and ended with Jud dragging Laurey away to be raped.”

Jud appears to be keeping Laurey and Curly apart in the “Dream Sequence” in 5th Ave. Theatre’s 2012 production of Oklahoma!³

One critic wrote “Rothstein’s (the director) Oklahoma! is now the story of a crazy, sex obsessed black man … lusting violently after his white mistress, who ends up murdered at the hands of a white man, who gets off scot free after a mock trial.”²

So what’s worse? The original Oklahoma! blatantly leaves out all minority groups to try an create this sense of nostalgia for “simpler times.” But, the 2012 Seattle version obviously reinforces horrendous stereotypes in an attempt to include African Americans in the show. Should we try to include minority groups that were originally written out of the show or try and fit them in? It seems like neither is a great option…

1 Brodeur, Nicole. “Oklahoma Seen in a New Light.” The Seattle Times. Feb 20, 2012. http://seattletimes.nwsource.com/html/nicolebrodeur/2017557140_nicole21m.html

2 Strangeways, Michael. “Oklahoma at the 5th Avenue Is a Bit Problematic.” Seattle Gay Scene. Feb 10, 2012. http://www.seattlegayscene.com/2012/02/review-oklahoma-at-the-5th-avenue-is-a-bit-problematic.html

3 http://cdn2-b.examiner.com/sites/default/files/styles/image_content_width/hash/61/81/61815e6423402c1fadfc2ce386832311.jpg?itok=9qmty_nQ

How Jewish should Fiddler be? The creative process behind “If I Were A Richman”

Posted on April 19, 2015 by bergka

“Fiorello” was the 1959 Tony Award-winning hit that had made Jerry Bock and Sheldon Harnick a famous Broadway duo. Their next project: turning Sholem Aleichem’s Tevye Stories into a musical that “just happened to be Jewish.”¹ Bock and Harnick had personally, for the most part, left Jewish religious observance and Yiddish behind. However, they still wanted to engage with Aleichem’s themes and historical implications with their next project.

mvsrch_front-2 ²In 1964, Fiddler on the Roof made its Broadway debut at the Imperial Theater, encompassing perceptions before and after WWII of Jewish identity, as well as bringing “Jewishness” into popular American culture.

Hal Prince, who was financially backing the show (and who also happened to be Jewish) made clear that he would only support the show if Jerome Robbins (who had just done West Side Story (1957)) directed. However, it was very unlikely that Robbins would want to work on the project, as he had made clear that he “didn’t want to be a Jew…he learned ballet to escape the wondrous and monstrous dance steps he feared he’d find by digging down to his Jew self.”³

However, in 1959, Robbins had taken a trip to Poland in search of the Jewish village Rozhanka, where his father was born and he had such fond childhood memories. However, the village had been destroyed in the war, which Solomon argues is what “primed Robbins to lavish such tenderness upon the fictional Anatevka” and he agreed to direct Fiddler.⁴

⁵Robbins drew from shtetl histories and hosted screenings of “Laughter through Tears,” a film that depicts Jewish life in pre-revolutionary Soviet Russia for the show’s costume and set designers in hopes that they would draw ideas for the show from it. Robbins also crashed Jewish weddings with cast members in hasidic dress in Brooklyn’s Borough Park to observe the “schnapps-fuelled dancing.” He even attempted to bring Othodox social customs to the rehearsal hall by enforcing gender segregation, but his attempt only lasted a few hours before the actors rebelled!

Robbins interviewed his father about his escape from Rozhanka and modeled Yente after his memories of his Yiddish-speaking maternal grandmother, whose “Jewish backward ways he’d previously despised.”⁶

if i were a rich man sheet music ⁷Zero Mostel, the original Tevye complimented Robbins with his superior knowledge of Yiddish literature and Jewish customs. It was Mostel who insisted that Tevye would never neglect to kiss the mezuza when passing through the doorway of his home, and Mostel who persuaded Harnick not to cut the verse in which Tevye dreams of a synagogue seat by the Eastern Wall from “If I Were a Rich Man.”

The song was inspired by the 1902 monologue by Sholem Aleichem in Yiddish, Ven ikh bin a Rothschild (If I were a Rothschild), a reference to the wealth of the Rothschild family. The lyrics are based on passages of Aleichem’s “The Bubble Bursts,” one of his short stories.

In the first two verses, Tevye dreams of the material comfort wealth would bring to him. I see this as Tevye’s character being drawn to “mainstream American culture” that values consumerism and capitalism, especially in postwar society.

In the final verse, Tevye further considers his devotion to God, expressing his sorrow that his long working hours are preventing him from spending more time in the synagogue praying and studying the Torah. I see this as Tevye’s character further being drawn back by his Jewish roots and culture and away from the temptation of materialism.

Finally he ends by asking God if “it would spoil a vast eternal plan” if he were wealthy. I believe this is Tevye summarizing his internal identity conflict with asking God how he can balance mainstream culture with his strong faith.

1 Solomon, Alisa. Wonder of Wonders: A Cultural History of Fiddler on the Roof. New York: Picador, 2014.

2 http://www.wliw.org/21pressroom/j/the-jews-of-new-york/561/

3 Solomon, 2014.

4 Ibid.

5 http://s65.photobucket.com/user/rojaki/media/worldkino3_zpsdc698faa.png.html

6 Solomon, 2014.

7 Bock, Jerry & Harnick, Sheldon. “If I were a rich man.” Fiddler on the Roof. New York: Sunbeam Music Corp., 1964. http://mainemusicbox.library.umaine.edu/musicbox/pages/full_record.asp?id=VP_002550

Recreating Jewish Identity in the postwar era: Is Fiddler on the Roof Jewish enough?

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Zero Mostel with ensemble in F... Digital ID: psnypl_the_5222. New York Public Library

Zero Mostel and ensemble in the original Broadway musical, Fiddler on the Roof (1964)¹

After World War II, American Jews felt an increase in security and prosperity. There was a general decline in anti-semitism and an increase in political power. In parallel, many Jews pushed to assimilate economically, culturally, and symbolically in America.² In the making of the 1964 musical, initially investors, particularly Jewish investors, feared the show would be considered “too ethnic,” meaning “too Jewish.” Later, with Rosie O’Donnell starring in the 2004 Broadway revival, it wasn’t Jewish enough.³

The story focuses on Tevye and his attempts to maintain his Jewish religious and cultural traditions, while outside influences encroach upon his family’s lives. He is forced to cope with the strong-willed actions of his three older daughters, who marry for love instead of following the matchmaker, Yente’s choice. Each daughter’s husband moves further away from the customs of Tevye’s faith and the edict the Tsar has made that evicts Jews from their village.

I find this storyline to be perfect for a postwar hit in line with the recreating of Jewish identity. Jews in America are no longer concerned with security and genocide, and therefore must come to terms with their faith–often questioning God, their faith, Jewish law as is seen in Tevye’s character.

I think this is clearly seen by the opening song, Tradition, which explains the traditional roles and social classes in Anatevka and the villagers trying to continue their traditions and keep their society running as the world around them changes. This echoes the real-life struggle to reshape Jewish identity in the postwar era in America.

In an interview with the original Tevye, Zero Mostel, he describes Tevye as “universal…he has no nationality, because he symbolizes the underprivelaged in every country– no matter what adversary he meets, he just puffs up his chest and goes on.”⁴ Even in Barbara Isenberg’s Tradition!: The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of Fiddler on the Roof, the World’s Most Beloved Musical, she writes

“Fiddler has become a sort of tabula rasa for terrorism, repression, and prejudice that seems eternally pertinent. Warning that “horrible things are happening all over the land” could apply to Nazi Germany, Vietnam, or Iraq as much as to pre-revolutionary Russia…If you are running a theater and you want to make money, Fiddler is a shoe-in: It’s a show people always want to see.” It’s a little like saying diamonds are pretty because they sparkle.”⁵

There seems to be quite a debate between Fiddler being too Jewish by creating a story centering around Jews so soon after World War II. But also and I think more so, that Fiddler isn’t Jewish enough because Jews (like the investors) wanted to tame the Jewishness of the show in order to appeal to a wide audience. Ultimately, the goal any Broadway is to sell tickets and fill seats. Perhaps though in the process of selling seats and appeasing a wide audience, much of Sholem Aleichem’s original story may have been misinterpreted and/or misrepresented.

1 http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=1894114&imageID=psnypl_the_5222&word=Fiddler%20on%20the%20Roof&s=1&notword=&d=&c=&f=&k=1&lWord=&lField=&sScope=&sLevel=&sLabel=&sort=&total=13&num=0&imgs=20&pNum=&pos=7

2 Ciment, James. “The Meaning of Jewishness.” Postwar America: An Encyclopedia of Social, Political, Cultural, and Economic History. New York: Routledge, 2015

3 Isenberg, Barbara. Too Jewish?: The Making of Fiddler on the Roof. Los Angeles: St. Martin’s Press, 2014

4 Stang, Joanne. “At Home With Tevye.” New York Times (1923-Current File), Oct 04, 1964. http://search.proquest.com/docview/115569663?accountid=351.

5 Isenberg, Barbara. Too Jewish?: The Making of Fiddler on the Roof. Los Angeles: St. Martin’s Press, 2014

Popularizing Jazz at the Symphony: Copland’s Dance Symphony

Posted on March 23, 2015 by bergka

Copland's Dance Symphony was written in 1925 during the height of symphonic jazz.

Copland’s Dance Symphony was written in 1925 during the height of the development of symphonic jazz.

The 1920’s in the United States welcomed a new type of distinctly American music that combined music created by African Americans and stylized it for white audiences. Duke Ellington, George Gershwin, Paul Whiteman and others can be credited with popularizing this new orchestral genre.

Distinct from New Orleans and Chicago styles of jazz, orchestral jazz included new style features like polyphony instead of homophony, the general expansion of instrumentation from big bands to orchestral instruments, and a shift to pre-arranged compositions rather than collective improvisation. Paul Whiteman commissoned several composers, including Gerswhin’s Rhapsody in Blue, to write music with the instrumentation and style features of jazz, but with the scale and structure of a symphony orchestra.

“In the twenties, most of those who listened at all regarded jazz as merely an energetic background for dancers; the few who sought more profound values in the music tended to accept Paul Whiteman’s concert productions… as the only jazz worth taking seriously.” – Paul Whiteman on symphonic jazz¹

Aaron Copland was a young composer during these “golden years” for American popular music and jazz. Determined to make it as a full time composer, Copland lived in a studio apartment near Carnegie Hall in New York. He created a group with several of his younger contemporaries, including Virgil Thomson, called the “commando unit” to help promote each other and their works, but also influence each other in what the American style would be in the 20th century.

Young Aaron Copland in New York²

The Dance Symphony is divided into three distinct sections, but there must not be any pause between movements. The first movement begins with a short slow introduction, followed by a light allegro. The tune is passed around in the woodwinds, starting in the bassoon, moving to the oboe and finally resting in the clarinet. Meanwhile, each time the tune is accompanied by soft plucked violins and harp. With each version of the tune, combos of instruments are used, like the jazz combos popular in the day.³

The second movement is more interesting in that it layers multiple melodies on top of each other. This is a technique popularized by Charles Ives around the same time.

The third movement is more interesting still because of its characterization of violence and syncopation. It begins with a jazzy motive using chords and blue notes popular in jazz. There is an extended development of all the material similar to the standard jazz form of numerous solos over a bass line ending with “all motives blazoned forth at once.”⁴

https://www.youtube.com/watch?v=b8FJtOqkmgo

1Hadlock, Richard. The World of Count Basie. New York: C. Scribner’s Sons, 1980

2 (picture of Aaron Copland in New York) http://www.pbs.org/keepingscore/copland-american-sound.html

3 Copland, Aaron, and Richard Kostelanetz. “His Own Works.” In Aaron Copland: A Reader; Selected Writings 1923-1972, 232-3. New York: Routledge, 2004.

4 Ibid., 232-3.

The folk music monarchy: Bob Dylan & Joan Baez

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Posted on March 8, 2015 by bergka

Perhaps the biggest stars of the 1960’s Folk craze, Bob Dylan and Joan Baez captured audiences performing duets in addition to their successful solo careers. Their relationship is filled with ups and downs, each giving and taking from the other over the years. This tumultuous relationship may have its roots in their motivations for performing this music.

Concert Poster for Joan Baez and Bob Dylan¹

At first sight, Dylan describes the first time he saw Baez singing on TV while he was still in Minnesota, “I couldn’t stop looking at her, didn’t want to blink. . . . The sight of her made me sigh. All that and then there was the voice. A voice that drove out bad spirits . . . she sang in a voice straight to God. . . . Nothing she did didn’t work.” ² Unfortunately Joan didn’t reciprocate Dylan’s admiration for him. She recalls being unfazed by what she heard when she first saw Dylan perform in 1961 at Gerde’s Folk City (a popular venue for the Greenwich village folk music scene artists in the 1960’s).

Joan Baez is originally from Staten Island, NY. Her father Albert, co-invented the electronic microscope as well as published a Physics textbook still commonly used today. Because of her father’s work in health care and with UNESCO, the family moved many times, living in towns across the U.S, as well as in England, France, Switzerland, Spain, Canada, and Iraq. Joan became involved with a variety of social causes early in her career, especially civil rights and an advocate of non violence. “Social Justice”, Baez says, “is the true core of her life looming larger than music.”³

https://www.youtube.com/watch?v=iqaD9DAO0yQ

Joan Baez performing “Mary Hamilton” at the Newport Festival in 1960, one of her earliest performances.

In contrast, Bob Dylan was born Robert Allen Zimmerman in Hibbing, MN. Dylan began attending the University of Minnesota in 1959, only to drop out a year later and move to New York City to pay tribute to his idol, Woody Guthrie who had taken ill from Polio at the time. Dylan’s motivations for writing and performing folk music seem less rooted in social justice and more in its connection to the human spirit. At the 1965 Newport Festival Dylan walked on stage with an electric guitar in hand and the Paul Butterfield Blues Band backing him up. He was booed offstage after only three songs, at which point he returned with an acoustic guitar and a message for all the folk purists: “It’s All Over Now, Baby Blue.”⁴ Dylan was later quoted as saying he switched from Rock n Roll to Folk because “it was more of a serious type of thing. The songs are filled with more despair, more sadness, more triumph, more faith in the supernatural, much deeper feelings.”

Bob Dylan covering “This Land is Your Land” in Minneapolis in 1961 before moving to New York City to meet his idol, Woody Guthrie.

It seems that Baez felt a stronger connection with the movement surrounding the folk revival of the 1960’s, while Bob Dylan saw it as more of a form of political expression as much as a way to make his living and see his name in lights. Perhaps this difference was so decisive, that it ultimately caused their romantic as well as professional relationship to end?

1 Ehrenreich, B. (2001, May). Positively 4th street: The lives and times of joan baez, bob dylan, mimi baez farina and richard farina. Mother Jones, 26, 105. Retrieved from http://search.proquest.com/docview/213812109?accountid=351

2 “Joan Baez: How Sweet The Sound.” American Masters. October 14, 2009. PBS. Retrieved March 7, 2015.

3 “The Rock and Roll Hall of Fame Museum.” Bob Dylan Biography. January 1, 2015. Accessed March 9, 2015. https://rockhall.com/inductees/bob-dylan/bio/. Retrieved from Popular Culture in Britain and America, 1950-1975. http://www.rockandroll.amdigital.co.uk

2 “Joan Baez: How Sweet The Sound.” American Masters. October 14, 2009. PBS. Retrieved March 7, 2015.

Bringing the Blues to the national stage: W.C. Handy

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William Christopher Handy, age 67

Widely acclaimed as “the father of the Blues,” William Christopher Handy experienced humble beginnings. Handy grew up in a log cabin in Florence, Alabama to former slaves. His father, a preacher, believed that musical instruments were tools of the devil and did not support his son’s musical endeavors.

As a teenager, Handy went against his parents’ wishes and secretly saved up to purchase a cornet by picking berries and nuts and making lye soap; he then joined a local band and spent every free minute practicing it. His troubles worsened after his band Lauzetta Quartet disbanded and he spent two years in St. Louis living under a bridge, homeless.

He would later reflect on his early days saying, “You’ve got to appreciate the things that come from the art of the Negro and from the heart of the man farthest down.”

In 1909, Handy self-published his song “Memphis Blues” while working in several clubs on Beale Street. Since then, the term “memphis blues” is used in lyrics of other tunes to describe a depressed mood.

“The Memphis Blues” is said to be based on a campaign song written by Handy for Edward Crump, a mayoral candidate in Memphis, TN and so is subtitled “Mr. Crump.”

For the 1914 recording of “Memphis Blues” by Morton Harvey, tenor, click the link below: http://www.loc.gov/jukebox/recordings/detail/id/117

The song introduced his style of 12-bar blues and is credited with inspiring the foxtrot dance step by Vernon and Irene Castle, a NY dance team. When Handy moved to New York City, his hit songs “Memphis Blues” along with “Yellow Dog Blues” and “St. Louis Blues” brought Handy’s musical style to the forefront of mainstream American culture.

By moving from Tennessee to New York, Handy was able to spread the Blues to the epicenter of music during the early 20th century. His struggles during his early days allowed him to draw on his tribulations in order to create a genre of music America could call its own.

For more information on W.C. Handy’s life and music, check out this documentary!

Chenrow, Fred & Chenrow, Carol (1973). “W.C. Handy” Reading Exercises in Black History, Volume 1. Elizabethtown, PA: The Continental Press, Inc. p. 32.

Handy, W.C. “Memphis Blues. 1913.” Rare Book, Manuscript, and Special Collections Library, Duke University. Reproduction Number Music #725; 1-3. Web. 2 March 2015.

Van Vechten, Carl, photographer. Portrait of William Christopher Handy, 1941. Prints and Photographs Division, Library of Congress. Reproduction Number LC-USZ62-42531 DLC.

Richard Crawford, America’s Musical Life: A History, New York: W. W. Norton & Company, 2001, pp. 536-537

William Christopher Handy’s “Memphis Blues” Library of Congress. http://www.loc.gov (accessed March 2, 2015).

From Negro Spiritual to Folk Revival: “Swing Low, Sweet Chariot”

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Negro Spirituals began as religious songs written by enslaved African people that were usually unaccompanied monophonic songs. One of the most famous of these Negro Spirituals is “Swing Low, Sweet Chariot,” which was written by Wallace Willis, a Choctaw freedman in Hugo, Oklahoma in 1840.

He was inspired by the Red River, located in Mississippi, which reminded him of the Jordan River and of the Prophet Elijah’s being taken to heaven by a chariot (2 Kings 2:11). The song also uses lyrics that refer to the Underground Railroad, the network that helped Blacks escape from Southern slavery to freedom in the North.

The Jubilee Singers of Fisk University consisted of nine students under George L. White, the school’s treasurer and music director. The group began a U.S. on October 6, 1871 to raise money for the school. On this tour, The Jubilee Singers popularized many Negro Spirituals, including “Swing Low, Sweet Chariot.”

A few months into their tour, a review by the Oneida Circular, a newspaper that was “a weekly journal of home, science, and general intelligence” in Western New York praised the singers for their performance.

http://search.alexanderstreet.com/amso/view/work/74675

The song regained popularity in the 1960’s during the Civil Rights and Folk Revival movements. The same lyrics that made reference to the Underground Railroad were now being used to fight for equal rights and an end to segregation and Jim Crow laws. At the same time, the Folk Revival movement began as a way of bringing back earlier genres of music like Gospel and the Blues. Bridging the two movements together was Joan Baez, a White American folk songwriter, whose personal convictions – peace, social justice, anti-poverty – were reflected in the topical songs that made up a growing portion of her repertoire, to the point that Baez became a symbol for these particular concerns. She gave perhaps one of the most memorable performances of “Swing Low, Sweet Chariot” at the famous Woodstock Festival in 1969.

It’s evident that this song has continually been reused and repurposed for the people that connect with it. In the 1870’s, it promoted the idea of freedom from slavery. In the 1960’s, it promoted civil rights for all. What will it be used for next?

Allen, William Francis, Ware, Charles Pickard, and Garrison, Lucy McKim, eds. “Swing Low, Sweet Chariot.” Slave Songs of the United States. Chapel Hill, NC, USA: University of North Carolina Press, 2011. Accessed February 23, 2015. ProQuest ebrary.

H, W. B. “THE JUBILEE SINGERS.” Oneida Circular (1871-1876) 9, no. 16 (Apr 15, 1872): 126. http://search.proquest.com/docview/137675405?accountid=351.

Fisk Jubilee Singers Vol. 1 (1909-1911). Recorded January 1, 1997. Document Records, 1997, Streaming Audio. Accessed March 18, 2015. http://search.alexanderstreet.com/view/work/74675.

Music 345: Race, Identity, and Representation in American Music

Student Blogs and Library Exhibit Companion

Author Archives: bergka

An American Modernist Response: The Ashcan School

Racism v. Nostalgia in Oklahoma!

How Jewish should Fiddler be? The creative process behind “If I Were A Richman”

Recreating Jewish Identity in the postwar era: Is Fiddler on the Roof Jewish enough?

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Popularizing Jazz at the Symphony: Copland’s Dance Symphony

The folk music monarchy: Bob Dylan & Joan Baez

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Bringing the Blues to the national stage: W.C. Handy

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From Negro Spiritual to Folk Revival: “Swing Low, Sweet Chariot”

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