The United States of America has always been a nation of immigrants. As new arrivals made their way to the country’s shores, they brought not only their dreams and aspirations but also their languages and cultures. One of the most fascinating aspects of this tapestry of diversity has been the proliferation of foreign language newspapers, especially around the turn of the 20th century. These newspapers served not just as a communication tool but also as a conduit for cultural preservation, political mobilization, and community building.
Pre-1900 Beginnings
To understand the history of foreign language newspapers in the U.S., it is essential to look back at the origins of American journalism itself. The first newspaper in the colonies was the ‘Publick Occurrences,’ published in 1690. As the nation expanded, the role of newspapers grew, and by the 19th century, newspapers were a staple of American life. The mid-19th century saw a significant influx of immigrants, primarily from European countries like Germany and Ireland. Responding to the needs of these communities, the first foreign language newspapers began to appear.
The Turn of the Century: The Boom Period
Around the 1900s, the United States experienced another wave of immigration, this time from Eastern Europe, Italy, and other parts of the world. This period saw an explosion in the number of foreign language newspapers. In major cities like New York, Chicago, and San Francisco, one could find newspapers in Italian, Yiddish, Polish, Chinese, and many other languages. These publications served various functions:
Information Dissemination – They translated American news and laws into languages that the immigrant communities could understand, thus helping them to navigate the complexities of their new homeland.
Cultural Preservation – The newspapers served as a repository for stories, traditions, and cultural narratives that helped immigrants stay connected to their roots.
Political Mobilization – During times of political upheaval or social change, these newspapers were platforms for activism. They galvanized communities around issues ranging from labor rights to anti-discrimination policies.
Community Building – The newspapers often carried job listings, advertisements for services catering to specific communities, and social announcements, fostering a sense of community and belonging.
Challenges and Controversies
However, the period was not without its challenges. The newspapers often had to walk a fine line between preserving cultural identity and promoting Americanization.
Moreover, during periods of conflict, such as World War I, these newspapers came under scrutiny for their alleged “un-American” stances. Some were accused of promoting foreign agendas, leading to legal repercussions and, in some cases, closures.
The Legacy
Although the number of foreign language newspapers has dwindled due to the advent of the internet and the increasing assimilation of immigrant communities, their impact remains significant. They were crucial in shaping the political, social, and cultural landscapes of their respective communities and, by extension, of the United States as a whole.
Foreign language newspapers around 1900 played a critical role in shaping the American immigrant experience, influencing not just the immigrants themselves but also the evolving definition of what it meant to be American. These publications, thus, offer a window into America’s linguistic and cultural melting pot, capturing the essence of a nation built on diversity and inclusion.
By examining the rich tapestry of foreign language newspapers in the United States around the turn of the century, one gains unique insights into both the immigrant experience and the multifaceted nature of American identity.
Dive In
If you’re interested in foreign-language newspapers held by Chronicling America, you can use their advanced search feature and filter by language. Here’s a general guideline on how to go about it:
Under “Select Language,” you can pick the language of interest.
Hit “Search” to see a list of available newspapers in that language.
Alternatively, you can navigate to the “All Digitized Newspapers 1777-1963” section and scroll down to find a filter for languages.
Given the range of languages covered, you might find newspapers in German, Italian, French, Spanish, Czech, and more, depending on the extent of the collection.
For detailed information about each foreign language newspaper, including publication dates and places, you would have to browse through the entries individually.
Few films have been as transformative to the horror genre as the 1931 cinematic masterpiece, “Frankenstein.” Directed by James Whale and starring Boris Karloff as the Monster, this film adaptation of Mary Shelley’s 1818 novel not only captivated audiences but also set a standard for visual storytelling. A critical aspect of the film’s enduring impact lies in the innovative makeup and special effects that were pioneering for their time.
The Maestro Behind the Makeup: Jack Pierce
When discussing the groundbreaking makeup in “Frankenstein,” the name Jack Pierce is inseparable from the conversation. Hired by Universal Pictures, Pierce was a visionary in the field of makeup artistry. Unlike modern-day techniques that heavily rely on prosthetics and CGI, Pierce employed rudimentary materials like cotton, collodion, and gum, sculpting them directly onto Karloff’s face and body.
The Creation of an Icon
The flat-topped, square-shaped head, scarred forehead, and bolts on the neck are now iconic, but in 1931 they were revolutionary. The process was laborious, taking up to four hours to complete each day. The heavy makeup made it challenging for Karloff, restricting his facial movement and requiring him to emote largely through body language. Despite these challenges, the final result became the quintessential image of Frankenstein’s Monster, ingrained in popular culture to this day.
Ingenuity in Special Effects
While makeup took center stage, the special effects in “Frankenstein” were equally groundbreaking. Electricity plays a significant role in the film, and the special effects team had to create convincing electrical apparatuses and machinery for Dr. Frankenstein’s lab. The setup included Tesla coils, electrical arcs, and specially designed lab equipment to give the illusion of a mad scientist’s lair.
The Birth Scene: A Marvel of Practical Effects
One of the most memorable scenes is the Monster’s birth, complete with rising tables, flashing lights, and electrical discharges. Most of these effects were practical and orchestrated in real-time, a feat that is awe-inspiring, even by today’s standards.
Legacy and Influence
“Frankenstein” went on to inspire generations of filmmakers, special effects artists, and makeup artists. The techniques Jack Pierce developed served as a basis for future advancements in prosthetics and animatronics. The special effects in the film, although dated by today’s technological advancements, remain a study in practical ingenuity.
Conclusion
The makeup and special effects work in “Frankenstein” (1931) were more than just cosmetic enhancements; they were central to the film’s storytelling, setting a high bar for movies to come. The tireless efforts of artists like Jack Pierce and the special effects team transformed Boris Karloff’s portrayal into an enduring cultural icon. The film serves as a timeless testament to the art of movie-making, where ingenuity could overcome technological limitations to create something truly unforgettable.
So, the next time you watch “Frankenstein,” take a moment to appreciate not just the chilling narrative but also the exceptional craft that went into creating this masterpiece. From Jack Pierce’s cotton and collodion to the flickering Tesla coils, each element was a stroke of genius that has stood the test of time.
In the heyday of the 20th century, carnivals were the epitome of joy, wonder, and community engagement. They roamed from town to town, each a small kingdom on wheels replete with a dizzying array of attractions. From the Ferris wheel to cotton candy, carnivals promised an escape from the mundane.
Central to this experience were the various games that drew crowds into a competitive frenzy, each offering a chance at glory and a coveted prize. Today, we are taking a nostalgic trip down memory lane to discuss the five most common carnival games that dominated the 20th-century fairground landscape.
1. Ring Toss
Ring Toss was a staple at nearly every carnival during the last century. It was elegantly simple yet maddeningly difficult. The setup involved a series of wooden pegs or bottles arranged either on the ground or on a table. Participants were given a set number of rings, usually made of plastic or wood, with the objective of looping these rings over the pegs or bottles. Despite its apparent simplicity, the game was notoriously challenging, as the rings were often just barely wider than the pegs themselves. The lure of Ring Toss lay in the deceptively easy appearance that beckoned you to try “just one more time.”
2. Shooting Gallery
Ah, the classic Shooting Gallery! Armed with an air rifle or sometimes a water gun, participants took aim at a range of targets that often included ducks, stars, or bullseyes. Mechanical intricacies ensured that the targets moved, making the game an entertaining test of skill and focus. Whether you were a sharpshooter or a novice, the allure of hitting a moving target and winning a prize was irresistible. The sound of pellets hitting metal and the subsequent cheer of the crowd were defining elements of the carnival experience.
3. Skee-Ball
Skee-Ball had its origins in the early 20th century and quickly became a mainstay in carnivals, amusement parks, and later, arcades. In this game, players rolled a wooden or composite ball up a ramp in an attempt to have it land in one of several holes, each assigned a different point value. With its unique blend of skill and luck, Skee-Ball was a crowd-pleaser that transcended generations. The captivating part was the gradual accumulation of points, which often could be traded for prizes or tickets.
4. The Claw Machine
While not a game in the traditional sense, the Claw Machine was a highlight of many carnivals and arcades throughout the 20th century. It was a glass box filled with an assortment of plush toys, trinkets, and sometimes even electronics. Players controlled a claw mechanism in an attempt to grab a prize and convey it to the drop-off slot. The Claw Machine was particularly thrilling because it offered the illusion of skill, even though the claw’s grip was often frustratingly weak. Regardless, the anticipation of the claw descending toward a coveted prize was a magical moment.
5. Whac-A-Mole
Emerging in the late 1970s, Whac-A-Mole was an instant hit at carnivals and arcades. The game featured a series of holes out of which plastic moles would randomly pop. Armed with a mallet, players had to quickly “whack” the moles back into their holes to earn points. Whac-A-Mole was addictive, not just for the player but also for the spectators who cheered on the frantic attempts to keep the pesky moles at bay.
Each of these games encapsulated a unique facet of the carnival experience. They served as an intriguing blend of skill, luck, and showmanship, all wrapped up in a kaleidoscope of lights, sounds, and colors. These games remain etched in our collective memory as quintessential aspects of the 20th-century carnival, serving both as relics of a bygone era and enduring symbols of simple, unadulterated fun.
In the 1950s and 1960s, the concept of primetime animated television was a relatively new phenomenon. However, there were several groundbreaking cartoons that originally aired during primetime hours, aiming not just for a young audience but also for adults.
Gerry Johnson, Alan Reed, Mel Blanc, and Jean Vander Pyl in The Flintstones (1960)
“The Flintstones” was a monumental cartoon in this context. Premiering on September 30, 1960, on ABC, it was the first animated television series to hold a primetime slot. Set in the fictional prehistoric town of Bedrock, the show followed the daily lives of the Flintstone family, providing social commentary and humor that resonated with both kids and adults. Because of its popularity, “The Flintstones” ran for six seasons and even inspired multiple spin-offs and films.
Daws Butler, George O’Hanlon, Penny Singleton, and Janet Waldo in The Jetsons (1962)
Another primetime animated series was “The Jetsons,” which debuted on September 23, 1962. Also produced by Hanna-Barbera, the creators of “The Flintstones,” “The Jetsons” was a futuristic counterpart to its prehistoric predecessor. The show was set in a world of flying cars and high-tech homes, offering a vision of what the future could look like. While it wasn’t as successful as “The Flintstones,” the series has retained a cult following and influenced various aspects of popular culture.
Leo DeLyon, Maurice Gosfield, Allen Jenkins, Marvin Kaplan, Arnold Stang, and John Stephenson in Top Cat (1961)
While not as mainstream, “Top Cat,” another Hanna-Barbera creation, was also aimed at a primetime audience. It premiered in 1961 and revolved around the antics of a group of alley cats led by the smooth-talking Top Cat. The show was a comedic take on city life and the relationships among the cats, their neighbors, and the local police.
“Rocky and Bullwinkle,” officially known as “The Rocky and Bullwinkle Show,” premiered in 1959 and initially ran during the late afternoon or early evening hours. It also appealed to a broad audience due to its smart writing and subversive humor. The show contained a mix of different segments, including the adventures of Rocky the flying squirrel and Bullwinkle the moose, along with segments like “Fractured Fairy Tales” and “Peabody’s Improbable History.” Its satire and wit were geared as much towards adults as they were towards children.
“Jonny Quest” debuted in 1964 as another attempt to create a primetime animated series. The show featured Jonny Quest, an intelligent and athletic young boy who went on extraordinary adventures. It was significant for its more serious tone and its attempt at creating a more realistic style of animation.
In summary, the late 1950s and 1960s saw the emergence of primetime animated TV shows, setting a precedent for future series like “The Simpsons” and “Family Guy.” These pioneering shows were a testament to the broad appeal and flexibility of animation as a medium for storytelling.
In September 1976, television was a central form of entertainment for many American households, and Tuesday nights offered a variety of popular TV shows that captured the imagination of the audience. Network television was the dominant force at the time, and the main players were ABC, CBS, and NBC.
One of the standout shows that aired on Tuesday nights was “Happy Days,” broadcasted on ABC. This series, set in the 1950s, followed the Cunningham family and their experiences with the lovable greaser, Fonzie. It was a major hit, and its nostalgic look at American life drew large audiences.
Another significant show that aired on Tuesdays was “Laverne & Shirley,” a spin-off of “Happy Days.” The show followed the misadventures of two best friends, Laverne DeFazio and Shirley Feeney, and it also aired on ABC. It became one of the most-watched TV shows during its run.
On CBS, shows like “MAS*H” and “One Day at a Time” were popular choices, although they did not specifically air on Tuesday nights during that period. NBC had a less dominant showing on Tuesday nights compared to ABC and CBS but offered programs like “Police Woman,” which had a strong following.
In conclusion, ABC’s schedule dominated Tuesday nights in September 1976, with “Happy Days” and “Laverne & Shirley” serving as the two main draws for viewers. These shows reflected the diverse interests and nostalgic yearnings of the American TV audience at the time.
In 1974, the toy industry experienced a robust holiday season, featuring a mix of traditional favorites and newly introduced items that captured the imaginations of children across the United States.
Here are some of the most popular toys that were sold for Christmas in 1974:
Stretch Armstrong – Produced by Kenner, this flexible action figure could stretch up to four feet long. Its unique, gel-filled design made it a must-have for children who were fascinated by its seemingly magical properties.
Evel Knievel Stunt Cycle – This toy allowed kids to recreate the death-defying stunts of daredevil Evel Knievel. Complete with a ramp and a motorcycle, this set was a hit among adventure-seeking youngsters.
Barbie Dolls – Mattel’s Barbie continued her reign as a perennial favorite among young girls. New outfits, accessories, and playsets kept the brand fresh and desirable.
Tonka Trucks – These sturdy, metal construction vehicles continued to be popular with young boys. Their durability and realistic design made them a parent-approved choice for the holiday season.
Rock ‘Em Sock ‘Em Robots – Originally released in the 1960s, this two-player action game regained popularity in the ’70s. Players controlled plastic robots in a boxing ring, aiming to knock each other’s heads off with manual levers.
Spirograph – This drawing toy, which used mathematical formulas to create intricate patterns, appealed to children and adults alike. Its intellectual edge made it especially popular among parents seeking educational toys.
LEGO Sets – The classic construction toy was a hit across age groups. With various sets offering everything from simple building blocks to complex mechanical devices, LEGO remained a versatile favorite.
Big Wheel – This low-riding tricycle became a staple in households with young children. Its plastic construction made it affordable, and its unique design made it fun to ride.
Weebles – These egg-shaped figurines “wobble but they don’t fall down,” according to the popular slogan. The Weebles Haunted House set was especially popular during this holiday season.
Shrinky Dinks – This craft-based toy allowed children to color on a sheet of plastic that would shrink and harden when baked in an oven, creating miniature, hardened plastic items.
These toys reflected the trends and pop culture influences of the era, and many of them remain beloved collectibles to this day.
Will you please write in the Globe and say whether there is a God or not? A man told me that there isn’t any. I asked the teacher and she said she didn’t know, as some said there was and some said there wasn’t. Mamma says there is, but papa says he doesn’t know anything about such things. We boys had a debate about it and we thought we would ask you.
-JACK.
THE ANSWER
YES, my boy, there is a God. You cannot see or hear Him, but I will tell you how you can feel Him.
Did you ever lie, or cheat, or steal, or treat a smaller boy cruelly, or be a coward when you should have been brave? If so, you have felt a hurt inside your mind, a miserable feeling in your heart, as if you were sick at your stomach, or as if you had struck your finger with a hammer. It is God that so makes you hurt.
This ran in the December 1913 issue of Boy’s Life magazine as a reprint from the New York Globe.
Have you ever wanted to do something mean, or nasty, and resisted the desire, put it away from you, and acted honestly and fair; and have you not noticed then a good feeling, a sense of inner pride and satisfaction and manhood? It is God that gives you this good feeling when you play the man.
Have you ever looked up at the sky at night and, remember ing what you have been told about the vast distances of the stars and that they are worlds like ours moving through space as fast as cannonballs, have you never had a feeling of wonder, of how great and majestic the universe is, and you but a tiny mite in it all? That feeling of wonder and awe comes from God. A very wise man, Carlyle, said that worship is to wonder; so that when you see anything that makes you wonder because of its greatness or beauty or mystery, you are really worshipping God, whether the object be the ocean, the mountain or a good man or woman.
It is not the police that protect our lives, my boy. Only a few wicked men come into conflict with the policemen. But there is something that holds every man back from cruelty and uncleanness, that stays the murderer’s arm and causes many a woman to drown herself rather than be vile. That something is God. He watches over us all and neither slumbers nor sleeps.
None of us understand why He allows so many people to do wrong, but we feel that there is something in every human breast that makes wrongdoing bring misery every time.
The most important thing for you to believe about God is that He is not your enemy, and He is not watching you like a detective to punish you, but that He is your friend, that He is loving and serving you every minute of your life.
Listen to your heart beating, as you lie awake in bed. All night while you are unconscious something is making your heart beat thus, and your lungs breathe, and attending to all the functions of’ your body. That is God. Nobody has ever yet found a better name.
It is God who rolls the stars in the heavens, who lifts the sun up in the morning, and guides the moon at night; who cause the wheat and corn, the trees and flowers to grow; who brings the birds back from the south in the spring; who makes the little lambs frolic and the kittens play; who makes children happy and grown people kind and patient.
Wherever you find LIFE and GOODNESS and GREATNESS you may know God is there.
So, my boy, whether your folks are Hebrew or Christian, Buddhist or Mahometan, even if they are “nothing at all,” you may rest assured that they will not object to your believing what I have here told you; and you may be sure also that to believe in God and to try and feel and follow Him will do more than anything else in the world to make you an honest, happy and brave man, to make those who love you glad because of you, and to make all the world respect and trust you.
This report by George A. Hall, Secretary of the New York Child Labor Committee, was published in Annals of the American Academy of Political and Social Science in the July 1911 issue.
In 1902, in New York, Florence Kelley, the head of the National Consumers League and a former resident of Hull House, joined with Lillian Wald, the founder of Henry Street Settlement, to influence the Association of Neighborhood Workers to appoint a child labor committee to investigate the problem of child labor in New York. Others on this committee were Robert Hunter and Mary Simkhovitch. In November 1902, this committee was organized as the New York Child Labor Committee.
The Newsboy
In the program of restrictive legislation with respect to the employment of young children, attention seems to have been first directed toward the condition of children working in factories. As the public conscience became aroused and more intelligent, it was learned that the children working in mercantile establishments were also seriously in need of the law’s protection. As a result, remedial legislation has followed in many of our states. Although more than thirty years have passed since the enactment of the first child labor law, the attempt to regulate street trading by children, is comparatively recent, as the passage of the first law specifically relating to newspaper selling, by the New York legislature, in 1903, indicates.
In view of the conditions surrounding newsboy life in our larger cities, uncovered during recent years, it is surprising that social workers, particularly, have been so tardy in recognizing the need of seeking protection for the street trader. Among those with firsthand knowledge of conditions, many claim that the evil effect upon young boys of street trading, is more serious by far than the effect of factory or mercantile occupations. In spite of this situation, only three states in the country — New York, Massachusetts and Wisconsin — and but a few scattering cities, including Washington, D. C, Cincinnati and Newark, have provided regulation.
From the December 1942 issue of Carolina Magazine:
THE Carolina coed is going to war. Shoved into relative obscurity by the more immediate problem of expanding the Pre-Flight school, temporarily subordinated to the outcome of the 18-19-year-old draft legislation, the question of the coed’s status in Carolina’s war college, her ultimate fate in the university’s new educational system is at last coming into the limelight.
The accelerating tempo of the war has brought an unprecedented challenge to every woman in every college and university in the country, and women students here, as their sister students elsewhere, are demanding answers to their questions, “What is going to happen to us? Will we be allowed to remain at Carolina? Where will we go next year — or next quarter even?”
The actual truth of the matter is — nobody knows.
Rumors as to what the future holds for the coed have flown from Graham Memorial to Woollen gym, back across by the naval area and up through the quadrangle. The most famous of these came from a small campus group which divulged the confidential information that all coeds were to be packed in the proverbial lock, stock and barrel manner and sped to the fair city of Greensboro where they would be allowed to pursue their various studies beneath the quiet and pensive oaks on ye olde Woman’s College campus. Upon receipt of this choice bit of news the irate populace of Alderman, McKeever and Archer House promptly made frantic plans for revolution should execution of such a threat be attempted.
Next rumor on the hit parade, eventually squelched by the inhabitants of Kenan, Spencer and the sorority houses, had it that coeds would be kicked off the campus, bounced out of town, chased beyond the county limits, and there left to shift for themselves, preferably in the direction of an East Carolina tobacco patch or a New England airplane factory.
From the office of the dean of the War College comes the only official word on the subject of coeds and their place in the future of the university. The statement issued by Dean Bradshaw is brief almost to the point of disappearance. “We know nothing definite. Your officials are in constant touch with the proper authorities and as soon as we learn anything at all conclusive we will immediately pass it on to the student body. The main problem facing us at this time is where we can house eight bundled women when the Pre-Flight school takes over their dormitories.” He did not say if the Pre-Flight school takes over the dormitories.
In the meantime, the war goes on. What are the coeds, as an integral part of the student body, going to do?
In the first place, at the end of this quarter there must, of necessity, be a complete reconsideration of the academic program for women. In order to remain as students at Carolina, women will have to adapt their scholastic schedules to meet the demands of the speeded up war program. In place of excessive liberal art courses must come classes in mathematics, sciences, foreign languages, and social services. Training in fields branded as temporarily unnecessary will be slashed to a minimum; concentration will be on the nation’s needs in health fields, in diplomatic services and special investigations, in scientific research, in business and industry and in trained personnel for schools and colleges.
The increasing- urgency for preparing women now for what lies immediately ahead cannot be stressed too emphatically. Dr. Edward C. Elliott, Chief of the Division of Technical and Professional Personnel of the War Manpower Commission, recently stated, “All women college students are under obligation to participate directly either in very necessary community service, in war production or in service with the armed forces.”
By no means does this indicate that sight is being lost of the values of education, especially of the college education; it is held at a premium. There is no retraction of nor lessening of emphasis on the statement that the reservoir of educated leadership must be maintained. For those upon whose shoulders will fall the tremendous responsibility of solving the peace there must be a thorough understanding of the social, economic, political and intellectual forces which characterize this war period.
The wonderful work of archivists have preserved far more material than we usually see. Our goal here is to unearth and present some of the stuff we never saw in school.
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THE Carolina coed is going to war. Shoved into relative obscurity by the more immediate problem of expanding the Pre-Flight school, temporarily subordinated to the outcome of the 18-19-year-old draft legislation, the question of the coed’s status in Carolina’s war college, her ultimate fate in the university’s new educational system is at last coming into the limelight.
The wonderful work of archivists have preserved far more material than we usually see. Our goal here is to unearth and present some of the stuff we never saw in school.