Automobiles and Americans...Never to be Parted!!

American culture and American industry went hand-in-hand during the early to mid-20^th century. After all it was the “Machine Age,” when production and efficiency took a higher priority over “worker satisfaction” and “individuality” thanks to producers such as Henry Ford of the automobile business.[1] It was also the age of more mobility for the average American, particularly since developments such as the bike and  the “new” automobile were available to “all classes of Americans,” thus effecting the everyday life of Americans.[2] Speaking of the automobile…the automobile was a machine that revolutionized American industry and culture at the same time. As John Heitmann explains, the automobile “would transform her people and her land as no other technology during the twentieth century.”[3]

When it came to the automobile during the rise of industrialization and mass production, the automobile tended to take the lead in various ways. Henry Ford mastered the assembly line and “high volume and economies of scale” which led to the mass production of the well-known Model T that reached to the outskirts of rural America as early as 1906.[4] General Motors strategists organized their business in manner that was flexible to change, such as the “annual model change,” which bumped them up in the market when they sold more vehicles than Ford in 1927.[5] Of course Chrysler cannot be left out, when considering that its innovators engineered automobiles of a higher quality yet still offered them at a lower price.[6] Overall the automobile industry had a strong push of competition that led producers, often through trial and error, to learn how to read the market in order to outperform their competitors.[7]

The automobile was also closely connected with the ideals and personalities of American culture. Ned Jordan for example, devised an automobile called the Playboy that played to the outdoor interests of the upper classes in 1923.[8] The automobile went further than just emulating people’s interests, however, as Heitmann explains, the automobile became an extension of the home—“a sacred place to many.” It was also in many ways, a direct reflection of the individual who drove behind its wheel.[9] The mass production of the automobile in America also led to the development of gas stations, rest stops, restaurants and early motels which influenced small business owners and communities across the nation.[10] People became attached to their automobiles in a heartfelt and personal manner. Such as in the South where the suppressed Blacks saw it as a symbol of “freedom” or “hope” that led to “social and financial emancipation.”[11]

According to the historical evidence provided by Heitmann, it appears that the automobile was deeply intertwined with both the industrial progress and cultural developments of America during the early to mid-20^th century. Any attempt to neatly separate or compare the two seems almost entirely impossible. The automobile companies wanted to provide vehicles for the vast population of Americans to buy and Americans became overly dependent on their usage in their daily lives, as was discovered from the black market that emerged for gas during WWII.[12]

Here is the advertisment of Ned Jordan's automobile, the Playboy, as described in our text. I also included a photo of Ned Jordan as well.

1.    John Heitmann, The Automobile and American Life, (McFarland & Company, Inc., Publishers, North Carolina, 2009), pg. 32.

2.    Heitmann, pg. 71.

3.    Heitmann, pg. 9.

4.    Heitmann, pg. 19.

5.    Heitmann, pg. 60-61.

6.    Heitmann, pg. 64.

7.    Heitmann, pg. 62.

8.    Heitmann, pg. 71.

9.    Heitmann, pg. 96.

10. Heitmann, pg. 80-83.

11. Heitmann, pg. 115.

12. Heitmann, pg. 128.

What “Fences and Labels” Can Do to a Country

Charles Ives, an American composer at the turn of the century, wrote this anonymous quote on the page of one of his symphonies: “How can there be any bad music? All music is from heaven. […] Nature builds the mountains and meadows and man puts in the fences and labels.”[1] At this time in history, Charles Ives (among many other musicians and non-musicians) was faced with the unsettling development of this idea of “culture” which in many ways suppressed artistic development in America. After all it discharged the very “middle ground” (Shakespearian plays and Italian operas for example) that were once the unifying agents for Americans of all ages, genders, races and socio-economic backgrounds.[2]

For some groups, such as the elite or refined white Anglo Americans, this was the ideal since it set them above the less-distinguished masses. John Sullivan Dwight for example, an educated Boston critic, worked to “sacralize art” to keep it “pure” and untouched by the filthy and barbaric influence of the masses. [3]   Through this process of creating a higher artistic standard, which would in turn would allow America to finally obtain “real culture,” small elite groups began to emerge who placed the “good of the public” below the expectation for perfect art.[4]

For other groups, such as American artists, Native Americans, children, the poor, immigrants and African Americans, it confined them to a hierarchy of what was acceptable and not acceptable in the public and (in some ways) private spheres. Some public parks, for example, were off limits to certain types of musicians and entertainers who were considered improper or immoral.[5] The new standards went so far as to dictate the appropriate dress and even mindset for concert attendance.[6] These high standards, codes and expectations became a type of force that pushed the majority of Americans away from the museum’s, opera houses and concert halls. The public were no longer were equal participants in discovering classical art, drama and music.

The upper elite did have a somewhat generous side. They felt it was their duty to refine the “mind and manners” of those who were uncultured--That is they could help “lift” those below them to a higher level.[7] In the Philip Deloria’s book, Playing Indian, he describes the uncertainties Americans faced during this period (rise of industrialization, big business, riots, mass immigration, etc…) and their use of “modern/antimodern practices” to help mold the unruly character of children through “Indian play” to become cultivated upper class citizens in the modern world.[8] Though real Indians were pushed to the side and overlooked completely, these groups did feel an obligation to promote “Indian authenticity” and preserve their practices.[9] In the world of the arts there were days given for the lower classes to attend the theatres, concert hall and museums for free or discounted price, but even then those in attendance were often ill-treated and given strict limitations. [10]

What I have learned from studying American culture from the Gilded Age through the Progressive Era is that culture is too vast and broad to be defined (and confined for that matter). When the human spirit or inner artist is suppressed, the country as a whole suffers from the lack of originality and vitality. Citizens who were once active and engaged helping create the American society begin to downplay their own artistic abilities and risk losing their connection with the nation as a whole.

Here is a song composed by Charles Ives (the American composer mentioned above) titled Songs My Mother Taught Me. It is a beautiful song whose title I think is somewhat ironic, since it does not mention some grand composer or classical artist, but rather the simple songs from a mother. I don't think this would have been considered equal with Beethoven or Mozart during that time, but to me it is deep, personl and real. Enjoy!

Songs My Mother Taught Me

1.       Lawrence W. Levine, Highbrow Lowbrow: The Emergence of Cultural Hierarchy in America, (Harvard University Press, Cambridge, 1988), pg. 141.

2.       Levine, pg. 225.

3.       Levine, pg. 121.

4.       Levine, pg. 127.

5.       Levine, pg. 186.

6.       Levine, pgs. 190-191.

7.       Levine, pg. 227.

8.       Philip J. Deloria, Playing Indian, (Yale University Press, New Haven, 1998), pg. 115.

9.       Deloria, pg. 125.

10.    Levine, pgs. 182-183.

All On Board or Overboard!!!

“To be or not to be” is whatever Americans choose it to be—this seems to sum up the early Republic in America. American citizens had found their voice during the Revolution and sometimes took it upon themselves to enforce the newly adopted ideals. These ideals resonated as one’s love for their country, duty to defend their liberties and the high moral character traits and expectations that came with the acceptance for Greco-Roman classicism.[1]

These common ideals and defenses were particularly prevalent in the theatres and secret societies, as we learned from the readings this week. For example The New York Tammany society that once focused solely on ancient Indian rituals and rebellion began incorporating Columbus into their societal thinking in order to promote this “unquestioning love of nation” which was necessary for the new nation to function.[2] “Obedient Patriotism” began to emerge among American citizens and this obedience was expected by the leading secret societies (such as The Improved Order).[3] When it came to theatrical productions, the audience (which included Americans from all different backgrounds) voiced their acceptance (or lack of acceptance) during the performance.[4] Sometimes their disapproval of at theatre’s un-American (or un-republican) actions led to yelling or even riots, as revealed from the Astor Place Riot of 1849.[5] They were particularly fond of, and devoted to, William Shakespeare, as noted by Lawrence Levine, because his plays promoted “moral values and patriotic principles” and personalized what each American felt and believed following the Revolutionary War.[6] Even Abraham Lincoln was known for reciting Shakespeare’s passages when confronted with hard situations during the Civil War.[7]

Another theme that emerged was this expectation for excellence in the arts and literacy. The early citizens expected their new nation to reach “high cultural pursuits” had not been previously reach under England’s ruling.[8] Many worried when their claim to artistic fame was not met to their level. What is interesting, however, is that although many felt that they lacked this heightened culture, the American public was very advanced in its understanding of the oral language. Hence, Shakespeare was read, recited and adhered to by almost every American on the continent. As Levine explains that there was “no other country on earth in which Shakespeare and the Bible” were held “in such general high esteem.”[9] This mastery of language was lost by the 20^th century when Shakespeare became too deep and intellectual for the “ignorant audiences” to enjoy.[10] Maybe early Americans did have a type of heightened culture? One they did not realize existed? The ability for the general public to know and understand Shakespeare would be on the downslide after the Civil War, not to be seen again.[11]

There are aspects of American culture that are left out up to this point, such as African American traditions and lifestyles or immigrants who brought their own culture and heritage. Both of these groups would add a different and unique flavor to the study of American culture during this period. It would also be nice to learn about the fine arts, development of photography and dance of this time.

Here is a drawing of an audience showing their approval of the actor's performance. I also included an adverstisement of Romeo and Juliet starring Edwin Booth.

1.    Philip J. Deloria, Playing Indian, (Yale University, 1998), pg. 72.

2.    Deloria, pgs. 54-55.

3.    Deloria, pgs. 68-69.

4.    Lawrence W. Levine, Higbrow Lowbrow: The Emergence of Cultural Hierarchy in America, (Harvard University Press, Massachusettes, 1988), pgs. 28-29.

5.    Levine, pgs. 64-65.

6.    Levine, pgs. 40-41.

7.    Levine, pg. 37.

8.    Deloria, pg. 74.

9.    Levine, pg. 18.

10.  Levine, pg. 72.

11.  Levine, pgs. 78-81.

Statements By The Dozen!

The general cultural theme that I noticed from this weeks reading was the colonist’s involvement and infatuation with food. Even Martha Washington made the comment that “Virginia Ladies value themselves on the goodness of their bacon” and therefore George Washington himself personally supervised the smoke house.[1] I had not previously realized that food meant more than merely having the means to live, but was meant rather to make a statement.

These statements varied from showing ones class and social achievements to making a bold statement about ones beliefs and ideals. I found Philip J. Deloria’s book, Playing Indian, to be very interesting concerning the colonists’ search for an identity that they did not have, and how they used the Indian image to make a distinct connection to the land they now called home. [2] What was even more interesting to me was that the colonists (or pretend Indians) were using Indian foods to set them apart from their British counterparts. Such as found in the words of John Leacock in 1776 when describing how the colonist’s food differed from England.[3] This use of food to make a political statement, such as the dumping of British tea into the Boston Harbor or  creating a “mammoth cheese,” was used over and over by the colonists when trying to overcome their overpowering motherland.[4]

There were plenty of similarities of food preferences between the different regions during the Colonial and Revolutionary periods in America. Maize or corn was used by most if not all the colonists in the New World, in all its variety.[5] Ham was also a standard for all regions since hogs were at a surplus. [6] When it came to drinking, water was not recommended due to its contamination. Overall the colonists preferred cider, rum and other alcoholic beverages.[7] The main differences of food choice that existed among the different regions depended on their mode of trade. For example, the Northern colonies became reliant on fishing through their development of the schooner ships which caught cod, and therefore they adapted more fish and sea animals to their menu.[8] Whereas the middle colonies experiences a wider variety of foods and spices due to their heavy reliance on trading with other countries. [9]

In connection to this overarching theme of food and statements, I would like to learn more about what was found in the music and theatre of these periods (particularly the Revolutionary Period). I know that Jefferson played the violin and that it was customary to go to the theatre to watch a play, but I have always wondered just what type of music or script was used.

Here are some pictures of colonist involvement with food. I also included a map of the eastern coast just off of Virginia…if you look at the small islands at the far right you should see Hog Island (might have to look really close). This is the island where they let their hogs run free and then gathered them up for butchering.

1. Dave DeWitt, The Founding Foodies: How Washington, Jefferson, and Franklin Revolutionized American Cuisine, (Sourcebooks, Illinois, 2010), pg. 78.

  2. Philiph J. Deloria, Playing Indian, (Yale University Press, New Have, 1998), pg. 37.

  3. Deloria, pgs. 18-19.

  4. DeWitt, pg. 153.

  5. DeWitt, pgs. 11-12.

  6. DeWitt, pg. 21.

  7. DeWitt, pgs. 37-38.

  8. DeWitt, pgs. 26-27.

  9. DeWitt, pg. 47.

INTRODUCTION

Hello I am Cara Palmer!! 
I look forward to being in this class, particularly since it is on the topic of American culture! I am an educator with a M.Ed. in Secondary Education (concentration in History). I am taking upper division History courses at ASU so that I can qualify to be a dual enrollment instructor for 10th grade students at Heritage Academy. My undergrad is in Liberal Arts with extensive study in History (History of the  Holocaust, Art History, Theatre History...etc).




What Is American Culture Today?


At a general perspective American culture today can be summarized into three main categories: food, entertainment and fun. When once it seemed that people had little time for a life away from their careers for a social life, people today seem more focused on finding the time for more leisure time and play. Stephanie Coontz points out that in the modern world working men seem to “choose more free time over money” and to “choose time over advancement” in their jobs.[1] American people seem to work to eat, be entertained and play.

Defining this type of culture might include what American’s do during their spare time? The ideal evening for many Americans might include dinner to a local restaurant, such as the all American Applebee’s, followed by a movie at AMC or Harkins and then ending the night at a club. What if going out on the town is not an option, then Papa Johns can deliver right to your door, while watching the reality show America’s Got Talent and maybe playing a board game with some friends or family to end the night. What if a person has no one around? Then thanks to technology they can have access food delivery, entertainment and fun in the palm of their hand or home computer. Words With Friends, and other gaming Apps, never leave a person alone without a friend with which to play. As listed on arizonacentral.com, “Arizona’s Home Page,” people have access to the best shopping malls, club parties, news, travel and anything from Ballet Arizona performing at Symphony Hall to the 2012 NBA Playoffs, the Thunder vs. the Spurs.[2] There is something for every American in the areas of food, entertainment and fun, the options are endless.

Below are some images of recent activities and events or places that fit into these categories of Food, Entertainment and Fun!

1.   Stephanie Coontz, A Strange Stirring: The Feminine Mystique and American Women at the Dawn of the 1960’s, (Basic Books, New York, 2011), 186. 

2.   The Republic, azcentral.com, “Arizona’s Home Page,” retrieved May 22, 2012.