Certificate of Merit for the 2009 Association for Recorded Sound Collections Award for Excellence in Historical Recorded Sound Research
It may be that the song most baby boomers identify from July 1956 is a simple twelve-bar blues, hyped on national television by a twenty-one-year-old Elvis Presley and his handlers. But it is a very different song, with its elongated fourteen-bar choruses of rhythm and dissonance, played on the night of July 7, 1956, by a fifty-seven-year-old Duke Ellington and his big band that got everybody on their feet and moving as one. More than fifty years later, “Diminuendo and Crescendo in Blue,” recorded at the 1956 Newport Jazz Festival, still makes a profound statement about postwar America—how we got there and where it all went.
Backstory in Blue is a behind-the-scenes look at this epic moment in American cultural history. It is the story of who and what made Ellington’s composition so compelling and how one piece of music reflected the feelings and shaped the sensibilities of the postwar generation. As John Fass Morton explains, it was music expressed as much by those who performed offstage as by those who performed on.
Written from the point of view of the audience, this unique account draws on interviews with fans and music professionals of all kinds who were there and whose lives were touched, and in some cases changed, by the experience. Included are profiles of George Avakian, who recorded and produced Ellington at Newport 1956; Paul Gonsalves, the tenor sax player responsible for the legendary twenty-seven choruses that enabled the rebirth of Ellington’s career; and the “Bedford Blonde,” Elaine Anderson, whose dance ignited both the band and the crowd.
Duke Ellington once remarked, “I was born at Newport.” Here we learn that Newport was much more than the turning point for Ellington’s career. It was the tipping point for a generation and a musical genre.
In December 1981, when the American Civil Liberties Union challenged the Nativity scene in the Christmas display put on by the city of Pawtucket, Rhode Island, an emotional controversy erupted. Two federal courts disallowed the crèche because its religious impact in the taxpayer-supported display overstepped the constitutional boundary between church and state. In March 1984, the United States Supreme Court by a 5-4 vote in Lynch V. Donnelly overruled the lower courts, deciding that in the predominantly secular context of Pawtucket’s display, the purpose and effect of the Nativity scene was not to promote religion, but only to acknowledge the spirit of the holiday season. The Christ Child Goes to Court traces the judicial history of a case that lasted more than two years and explores its implications for future issues concerning the relationship between religion and government.
Wayne R. Swanson describes how this compelling constitutional issue polarized public opinion in Rhode Island and generated "unimaginable vilification" of the Roman Catholic judge who first ordered the crèche removed. He reports the reactions of local citizens, which echoed the national debate on this issue. By carefully documenting the case’s trek through the judiciary, Swanson illustrates the workings of the judicial process in the United States, the political nature of the courts, and how their interpretation of the Constitution helps to shape the development of public policy.
An important conclusion of this critical examination of the courts’ approach to a controversial church-state question is that judicial decisions are usually interim in nature and often lead to imperfect solutions. Lynch V. Donnelly did not solve the problems posed by government-supported Nativity scenes or other religious symbols. The controversy lives on and the courts continue to struggle with one of the most difficult First Amendment problems.
Nineteenth-century New England was a hostile place for Catholics. In Massachusetts a mob torched a convent; in Maine a priest was tarred and feathered; and Rhode Island elected an anti-Catholic Know Nothing governor. “No Irish Need Apply” signs were common.
Newport was different. It was a religiously diverse and tolerant city that welcomed Catholic French troops during the American Revolution. Later, as it became the favored summer retreat for America’s Protestant social elite, Irish Catholics arrived to work in construction jobs, the tourist economy, and the grand Gilded Age cottages. By the end of the century, Newport’s Catholic community was flourishing. Moneyed Catholics acquired their own mansions, an Irish Catholic was mayor, and prominent Protestants were helping Catholic neighbors establish new schools and churches. In this deeply researched study, John F. Quinn delves into this rich Catholic history to discover why nineteenth-century Newport was particularly religiously tolerant and accepting.
Departing from traditional approaches to colonial legal history, Mary Sarah Bilder argues that American law and legal culture developed within the framework of an evolving, unwritten transatlantic constitution that lawyers, legislators, and litigants on both sides of the Atlantic understood. The central tenet of this constitution—that colonial laws and customs could not be repugnant to the laws of England but could diverge for local circumstances—shaped the legal development of the colonial world.
Focusing on practices rather than doctrines, Bilder describes how the pragmatic and flexible conversation about this constitution shaped colonial law: the development of the legal profession; the place of English law in the colonies; the existence of equity courts and legislative equitable relief; property rights for women and inheritance laws; commercial law and currency reform; and laws governing religious establishment. Using as a case study the corporate colony of Rhode Island, which had the largest number of appeals of any mainland colony to the English Privy Council, she reconstructs a largely unknown world of pre-Constitutional legal culture.
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