The Making of Modern Michigan

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Photo, Man with war bond ticket. . . , 1943, The Making of Modern Michigan
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This archive affords access to the local history material and collections in more than 45 Michigan libraries, including photographs, family papers, oral histories, public reports, notices, and documents. More than 3,000 items are available, on a wide range of subjects that include architecture, automobiles, churches, cities and towns, commerce and business, factories and industry, families, farming, geography and landscapes, housing, schools, and sports and recreation. The time period of the material is primarily from the post-Civil War era to the early 20th century. The material can be browsed by subject or institution and a keyword search is also available. A useful site for researching the cultural history of Michigan and its localities.

A Summons To Comradeship: World War I and II Posters

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Poster, Howard Scott, 1943, A Summons to Comradeship
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Poster art shaped and reflected the nature of total war in the first half of the twentieth century, and remains a rich primary source for examining the political, military, social, and cultural history of World War I and World War II. This website provides a database of close to 6,000 of these posters. Posters from the U.S. constitute the bulk of the collection, followed by posters from Great Britain, and then France, Czechoslovakia, the Soviet Union, Italy, and Germany.

Descriptions are keyword searchable, and there are also categories for browsing. Fifteen posters under "Civilian participation" represent one of the key components of "total war": full participation of citizens both at the front and at home. Posters can be used to examine the ways in which citizens on the "home front" were drawn into the war effort, as well as messages about gender and class. Other subjects include organizations, war-related social groups, and individual political leaders.

Tobacco Archives

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Image, Philip Morris USA, 1987
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This archive offers more than 26 million pages of documents related to research, manufacturing, marketing, advertising, and sales of cigarettes. It was designed to provide free access to documents produced in States Attorney General reimbursement lawsuits against the tobacco industry. This site consist of links to databases that contain images of documents from the files of Philip Morris Incorporated, R.J. Reynolds Tobacco Company, Brown and Williamson Tobacco Corporation, Lorillard Tobacco Company, The Tobacco Institute, Inc., and The Council for Tobacco Research. Each company website is separately maintained and provides users with detailed instructions on how to view and print documents. Among the millions of documents, users will find print ads, marketing materials from the early 1900s, correspondence, reports, periodicals, and numerous scientific research studies. Those interested in tobacco use among racial or ethnic groups and women, the health risks of tobacco, and tobacco issues in the media will find this site very informative.

The Triangle Shirtwaist Fire

Description

The fire at the Triangle Shirtwaist factory in New York City was the deadliest workplace disaster in New York history until 9/11. David Von Drehle, the author of Triangle: The Fire that Changed America, discusses the fire in this segment from the NBC Today Show.

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Theatre of the People

Quiz Webform ID
22410
date_published
Teaser

Through performing art, U.S. minorities assert their identities. Answer these questions on multicultural music and theatre.

quiz_instructions

Arriving in the U.S. by choice or against their will, minority groups sought ways to express their uniqueness and maintain a sense of community. How better to come together than as an audience—or as a group of performers? Answer the following questions on multicultural performing arts in the U.S.

Quiz Answer

1. During World War I, New York City audiences (if they knew the language of the performance) could attend patriotic musicals with titles like ____ War Brides and ____ Martyrs of America. What ethnic group fills in the blanks?

a. Jewish

From the late 1880s to around 1940, Yiddish-language theatre found a home in New York City—as did the wave of Jewish immigrants who brought the performance form to the U.S. Fleeing persecution in Russia, these immigrants, whether they chose to be performing artists or audience members, developed a unique theatre culture. Unlike the short variety acts of contemporary vaudeville, Yiddish theatre presented full-evening-length plays, accompanied by music or broken up with song-and-dance numbers. Plays adapted popular works by authors like Shakespeare and Anton Chekhov, drew from folklore and folk customs, and/or commented on recent events in the U.S. and abroad. Some addressed issues of assimilation, such as intermarriage and generational gaps, while others praised the virtues of the immigrants' adopted country—as did the musicals mentioned above.

2. In 1852, a 42-member opera troupe arrived in the U.S. After giving successful performances to immigrants from its country of origin, it traveled to New York City, where non-immigrants panned its performances. Where did the troupe come from?

d. China

In 1852, the Tong Hook Tong Dramatic Company arrived in California, following the stream of Chinese immigrants who had come to the state with the 1848 gold rush. Greeted warmly by immigrant audiences, they accepted a contract to perform in New York City. In New York, they discovered the contract was a scam, and secured their own theatre space, performing for New Yorkers independently. Chinese opera bears little resemblance to European opera, and even less to the "Oriental" image of China then popular on the mainstream stage. Confused by what they were seeing, New Yorkers rejected genuine Chinese theatre that did not match up with contemporary media stereotypes.

3. In the 1960s and 1970s, a grassroots theatre movement, beginning in efforts to educate migrant farmers and encourage them to form unions, took off, spreading across the United States. Which minority group did this movement represent?

c. Chicanos

In 1965, Luis Valdez, the son of Chicano migrant farm workers, founded the theatrical company El Teatro Campesino. El Teatro Campesino took theatrical performances—often without props, sets, or written scripts—directly to the camps of migrant farm workers. In its performances, the company sought to inspire farm workers to form a farm workers' union, but it also performed pieces based on Mexican popular theatre: corridas (dramatized ballads), peladitos (comic skits with an underdog protagonist), and religious pageants.

El Teatro Campesino's success led to the growth of a national Chicano theatre movement, which peaked in the 1970s.

4. In the late 1910s and the 1920s, record companies including Okeh, Paramount, Vocalion, and Columbia began releasing records by performers from which minority group?

c. African Americans

Prior to the Great Migration of the early 20th century, when African Americans came north in search of a better life, major record companies released African American music, but only as performed by white performers. Sensing the potential for a new market, the companies began to record African American performers and release their music on special labels targeted at African American audiences. Called "race records," these records were later marketed to white audiences as well. African Americans also established their own companies to distribute records—the first African American owned label, Black Swan, was established in 1921. Many styles of music associated with race records would later be recategorized as "rhythm and blues."

For more information

The Library of Congress's American Variety Stage: Vaudeville and Popular Entertainment, 1870-1920 includes a subsection just for Yiddish-language playscripts. It encompasses 77 unpublished manuscripts, as well as an essay on Yiddish theatre. Brown University Library has digitized a collection of sheet music covers, including many songs from Yiddish musicals.

Today, only one professional Yiddish theater remains in the U.S.—the Folksbiene Yiddish Theatre, in New York City. Founded in 1915, the company now promotes the preservation of the Yiddish language and theatre traditions.

Also from the Library of Congress, The Chinese in California, 1850-1925 archives approximately 8,000 primary source images and documents on Chinese immigrant life in California from the gold rush years through the early 20th century. Try searching by keyword "theater" or "theatre" to find images of theatrical (though not operatic) productions. For other resources on Chinese immigrants, enter "Chinese" as a keyword in NHEC's History in Multimedia search for online lectures, podcasts, and other presentations or in the Website Reviews search for websites with valuable primary sources.

For more on the influx of Chicano migrant workers in the mid-20th century, refer to NHEC's blog post on teaching Mexican American history with the Bracero Program (the Bracero Program was the largest guest worker program in U.S. history). Also look at PBS' The Fight in the Fields: Cesar Chavez and the Farmworkers' Struggle, made to accompany the documentary of the same name, for information on Cesar Chavez, Mexican American labor activist. Luis Valdez established El Teatro Campesino to support and further Chavez's goals.

PBS' Jazz: A Film by Ken Burns, also designed to accompany a documentary, features an article on race records. NPR offers a short audio presentation on the first recorded blues song sung by an African American artist—"Crazy Blues," sung by Mamie Smith—one of the first steps in the establishment of the race records market.

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Back to the Future . . .

Quiz Webform ID
22414
date_published
Teaser

In the year 1900, what did Americans think the next century would bring? Did they make the following predictions?

quiz_instructions

In addition to looking to the past to understand our society, we also look to the future. In 1900, newspapers and magazines printed predictions for the turn of the 21st century. Decide, true or false, whether each of the following was predicted in 1900.

Quiz Answer

1. [The American] will live 50 years instead of 35 as at present—for he will reside in the suburbs. The city house will practically be no more. Building in blocks will be illegal. The trip from suburban home to office will require a few minutes only. A penny will pay the fare.

True. In the 20th century, transportation and sanitation advances led to the rise of developments around cities. Streetcars, trains, and, later, highways made it possible for workers to commute to urban centers for work and to travel outside of the city for their home life. Suburb development grew exponentially after World War II with the rapid spread of mass-produced housing such as Levittown.

2. Fleets of air-ships, hiding themselves with dense, smoky mists, thrown off by themselves as they move, will float over cities, fortifications, camps or fleets. They will surprise foes below by hurling upon them deadly thunderbolts. These aerial war-ships will necessitate bomb-proof forts, protected by great steel plates over their tops as well as at their sides.

True. Several aspects of this prediction came true, including the move to aircraft as a central defensive and offensive weapon. Later in the 20th century, the U.S. government spent significant resources on the research and development of a national missile defense system under the Strategic Defense Initiative Organization (SDIO), established in 1984.

3. Persons and things of all kinds will be brought within focus of cameras connected electrically with screens at opposite ends of circuits, thousands of miles at a span. American audiences in their theatres will view upon huge curtains before them the coronations of kings in Europe or the progress of battles in the Orient although they will not hear the crowds cheer or the guns of a distant battle as they boom.

False. In its actual form, this prediction foresaw the ability to see "live" events across the globe and also predicted the ability to hear events as they happened: "The instrument bringing these distant scenes to the very doors of people will be connected with a giant telephone apparatus transmitting each incidental sound in its appropriate place. Thus the guns of a distant battle will be heard to boom when seen to blaze, and thus the lips of a remote actor or singer will be heard to utter words or music when seen to move".

4. The owner of a [flying] machine, or even the man who did not own one, by patronizing the express lines, could live 50 miles away and yet do business in the city day by day, going by air line to his home each night.

False. Theodore Waters of the New York Herald actually predicted that workers could easily commute 500 miles to work each day, flying home each night, a further visualization of transportation innovation as well as of the relationship between work and home as the notion of suburbs emerged.

5. Coal will not be used for heating or cooking. It will be scarce, but not entirely exhausted. The earth's hard coal will last until the year 2050 or 2100; its soft-coal mines until 2200 or 2300. Meanwhile both kinds of coal will have become more and more expensive. Man will have found electricity manufactured by waterpower to be much cheaper.

True. Well into the 1800s, Americans met their needs by harvesting energy and materials from plants, animals, rivers, and wind. By the 1830s, though, large-scale coal extraction had begun in Pennsylvania, Virginia, and beyond. By the 1910s, more than 750,000 coal miners dug and blasted upwards of 550 million tons of coal a year. Fossil fuels changed daily life in America, from travel to shopping, daily life to leisure. America's industrial ascendancy, however, caused problems for humans and the environment and in 2009, the threat of diminishing supplies is a serious concern.

6. Ready-cooked meals will be bought from establishments similar to our bakeries of today. They will purchase materials in tremendous wholesale quantities and sell the cooked foods at a price much lower than the cost of individual cooking. Food will be served hot or cold to private houses in pneumatic tubes or automobile wagons. The meal being over, the dishes used will be packed and returned to the cooking establishments where they will be washed.

True. In the early 20th century, new household technology was both accomplished and inspired by the tremendous increase in American industrial production. As in industry, mechanization and scientific management were part of a larger reorganization of work. And as in industry, efficient housekeeping was partially a response to labor unrest—both the "servant problem" and the growing disquiet of middle-class wives. A major proponent of the new housekeeping, Christine Frederick published books, articles, and pamphlets on scientific management in the home with a focus on greater efficiency, from cooking to washing dishes. This plan, in some ways predictive of the late 20th-century shift to pre-cooked meals in stores and restaurants, likely drew on this emerging ideology.

7. The living body will to all medical purposes be transparent. Not only will it be possible for a physician to actually see a living, throbbing heart inside the chest, but he will be able to magnify and photograph any part of it.

True. X-rays were first identified in the late 19th century, but were not widely used for medical research and treatment in 1900 when this prediction was written. Since 2005, X-rays were listed as a carcinogenic by the U.S. government. The author likely would not have envisioned the 21st-century field of endoscopy that allows medical professionals to see and photograph many parts of the body through a small tube.

For more information

Contemporary understandings, issues, and conflicts lay behind the predictions of the past, as they do behind today's.

Learn about one of the first planned suburban communities—Levittown, NY—at Levittown: Documents of an Ideal American Suburb, or try the website of the Levittown Historical Society and Museum.

For more on the development and strife in the coal industry as it grew, try Thomas G. Andrews's Killing for Coal: America's Deadliest Labor War, from Harvard University Press. Though it focuses on the 1914 Ludlow Massacre, it looks at coal as a coming-together point for industry, class, nature, and the human manufactured world; for more on the Massacre, try the Colorado Coal Field War Project, which provides an overview, photographs, lesson plans, and other materials on the Massacre and the Colorado Coal Strike of 1913 through 1914.

Read a 1912 article by Ladies Home Journal editor Christine Frederick on the efficient, scientific method for washing dishes or an excerpt from her 1913 guide The New Housekeeping, at History Matters. Cornell University's Home Economics Archive also provides a collection of books and journals on the reimagining of domestic life between 1850 and 1950.

And do you have any eager readers in your classes? The young-adult-level memoir Cheaper by the Dozen lets students (and casual readers) into life growing up with Frank Bunker Gilbreth, Sr. (1868-1924), advocate of scientific household management and motion study in the same years as Christine Frederick. Warm, humorous, and personal, the book, written by two of Gilbreth's children, memorializes a time period and a very unique family.

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Yo, Ho, Ho and a . . . Bushel of Oysters?

Quiz Webform ID
22411
date_published
Teaser

Shellfish pirates stole from the rich to feed themselves—and make a little money on the side.

quiz_instructions

With Talk Like a Pirate Day on September 19th, students may be rolling their "Arrs." Popular media focuses on pirates pillaging at sea, but pirates didn't limit themselves to the open ocean. Consider these questions on oyster pirates, who made their living thieving shellfish in America's bays.

Quiz Answer

1. Oyster pirates were at the height of their trade during what years?
a. The 1700s, the Golden Age of piracy
b. The 1800s, prior to the Civil War
c. Approximately 1930 to 1940
d. Approximately 1870 to 1920

Oysters became a high-demand source of protein and nutrition following the Civil War. With the rise of industry and of shipping by rail, canneries and corporate oyster farming operations sprang up on both coasts, eager to supply the working class, and anyone else who wanted the tasty shellfish, with oysters shipped live or canned. In San Francisco, a center of oyster piracy, the boom years of the oyster industry corresponded, unsurprisingly, with those of the oyster industry—both took off in 1870, as the state began allowing major oyster farming operations to purchase the rights to underwater bay "land" (traditionally common property), and petered off in the 1920s, as silt and pollution disrupted the bay's ecosystem.

2. Which famous author spent time as an oyster pirate?
a. Jack London
b. Mark Twain
c. Ernest Hemingway
d. Upton Sinclair

At 15, Jack London bought a boat, the Razzle Dazzle, and joined the oyster pirates of San Francisco Bay to escape work as a child laborer. London wrote about his experiences in his semi-fictional autobiography, John Barleycorn, and used them in his early work, The Cruise of the Dazzler, and in his Tales of the Fish Patrol. The latter tells the story of oyster pirates from law enforcement's perspective—after sailing as an oyster pirate, London switched sides himself, to hunt his former compatriots.

3. What was popular working-class opinion on the oyster pirates?
a. Oyster pirates should be hunted down and captured, as they gave a bad name to common fishermen
b. Oyster pirates meant very little to the working class in bay areas; a few people admired or condemned them, but most people ignored them
c. Oyster pirates were heroes, fighting back against corporate ownership of underwater property
d. Oyster pirates pulled attention from more important issues, such as urban crime rates and public health

The working class romanticized oyster pirates as Robin-Hood-like heroes, fighting back against the new big businesses' private control of what had once been common land. Traditionally, underwater "real estate" was commonly owned—anyone with a boat or oyster tongs could fish or dredge without fear of trespassing. Following the Civil War, states began leasing maritime "land" out to private owners; and the public protested, by engaging in oyster piracy, supporting oyster pirates, scavenging in tidal flats and along the boundaries of maritime property, and, occasionally, engaging in armed uprisings.

4. On April 3, 1883, the comic opera Driven from the Seas; or the Pirate Dredger's Doom played to an appreciative audience at the Norfolk Academy of Music in Virginia. What Chesapeake Bay event did the opera satirize?
a. A successful raid against Chesapeake oyster pirates by Virginia governor William Evelyn Cameron, in 1882
b. The sinking of two dredgers' ships in February 1883, when the dredgers ran against rocks while being chased by overzealous patrol boats
c. The misadventures of a group of drunk oyster pirates arrested for causing a public disturbance in Norfolk in March 1883
d. An unsuccessful raid against Chesapeake oyster pirates by Virginia governor William Evelyn Cameron, in February 1883

The opera satirized Governor William Evelyn Cameron's second raid against oyster pirates in the Chesapeake Bay, on February 27, 1883. Cameron had conducted a very successful raid the previous February, capturing seven boats and 46 dredgers, later pardoning most of them to appease public opinion—which saw the pirates as remorseful, hard-working family men. His second raid, in 1883, went poorly. Almost all of the ships he and his crews chased escaped into Maryland waters, including the Dancing Molly, a sloop manned only by its captain's wife and two daughters (the men had been ashore when the governor started pursuit). The public hailed the pirates as heroes and ridiculed the governor in the popular media—the Lynchberg Advance, for instance, ran a poem comically saluting the failed raid.

For more information

oyster_pirates_ctlm.jpg Oyster piracy highlights the class tensions that sprang up during post-Civil War industrialization. Big business and private ownership began to drive the economy, shaping the lives of the working class and changing long-established institutions and daily patterns. Young people such as Jack London turned to oyster piracy as an escape from the new factory work—and the working class chaffed against the loss of traditional maritime common lands to business owners.

For more on oyster piracy, consider Jack London's fiction on the subject. Full-text versions of The Cruise of the Dazzler, John Barleycorn, and Tales of the Fish Patrol are available at Project Gutenberg, which provides the full text of hundreds of out-of-copyright works.

The Smithsonian's online exhibit On the Water includes a section on the Chesapeake oyster industry, with a mention of oyster pirates.

The Oyster War: A Poem

The oyster war!
The oyster war!
The biggest sight you ever saw;
The Armada sailing up the Bay,
The oyster pirates for to slay.

With cannon, brandy, cards aboard,
They steam from out of Hampton Road,
The Govnor wearing all the while
A Face lit up with many a "smile."

But when the pirates hove in view
Quick to his post each sailor flew!
The squadron, with "Dutch courage" bold,
Sweeps like the wolf upon the fold.

They to the Rappahannock turn
To fight like Bruce at Bannockburn,
And give the oyster-dredgers fits,
Like Bonaparte at Austerlitz.

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Oyster, 1921
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"Gathering and dressing oysters under difficulties," 1879
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