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Danceland! For hundreds of thousands of couples from all around the Calumet region of Northwest Indiana and Chicagos East Side, the name alone conjures up memories of dancing and romancing to thousands of live big bands. Opening night in October 1929 drew over 2,000 people to the beautiful ballroom with the famous maplewood dance floor. It continued to thrive with live music four nights a week and 12 months a year throughout the Big Band Era, despite the Great Depression and World War II, and into the rock n roll era, until it burned to the ground on Sunday morning, July 23, 1967. Almost everyones marriage in the region began with a dance at Maduras Danceland. In the 38 years Danceland was open, it had only two owners and managers, Michael (Mike) Madura Sr. and Michael (Mick) J. Madura Jr., father and son. It remained a family business for all those years, with three generations of the Madura family having worked there in many capacities.
Decatur, Illinois' nineteenth and twentieth century history is presented through vintage photographs.
Incorporated as a town in 1849 and then reincorporated as a city in 1856, Cedar Rapids has never stopped progressing. It earned its place as the second-largest city in Iowa through continuous attention to innovative growth and development of where people work and live. Images of Modern America: Cedar Rapids highlights modern-day Cedar Rapids, focusing on changes and events from around 1960 to the earliest years of the 21st century. This City of Five Seasons, now building anew with respect for its history, continues to move forward with increasing business, cultural, and recreational opportunities for the entire community.
From the mid-1920s, the dance hall occupied a pivotal place in the culture of working- and lower-middle-class communities in Britain - a place rivalled only by the cinema and eventually to eclipse even that institution in popularity. Going to the Palais examines the history of this vital social and cultural institution, exploring the dances, dancers, and dance venues that were at the heart of one of twentieth-century Britain's most significant leisure activities. Going to the Palais has several key focuses. First, it explores the expansion of the dance hall industry and the development of a 'mass audience' for dancing between 1918 and 1960. Second, the impact of these changes on individuals and communities is examined, with a particular concentration on working and lower-middle-class communities, and on young men and women. Third, the cultural impact of dancing and dance halls is explored. A key aspect of this debate is an examination of how Britain's dance culture held up against various standardizing processes (for example, commercialization, Americanization) over the period, and whether we can see the emergence of a 'national' dance culture. Finally, the volume offers an assessment of wider reactions to dance halls and dancing in the period. Going to the Palais is concerned with the complex relationship between discourses of class, culture, gender, and national identity and how they overlap - how cultural change, itself a response to broader political, social, and economic developments, was helping to change notions of class, gender, and national identity.
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This multifaceted book investigates the place of dance and performance in the development, confirmation and subversion of conceptions of Europe from the 20th century up until today. Its contributions unravel the nexus between Europe and dance from historical and contemporaneous perspectives, and testify to an understanding of Europe based on different constructions of (alternative) societies. Through the threefold themes of identities, languages and institutions, this volume reveals the complexity of this topic. It investigates the construction of European identities in and through performance and their intersection with local or global cultures; explores versatile models of European multilingualism and linguistic diversity on stage; and considers the constructions of Europe, in dance, as conditioned by institutional and socio-political frameworks. The first volume of its kind, it offers a collection of previously unpublished chapters by an international and interdisciplinary group of scholars. It will make essential reading for anyone interested in the fields of dance, performance and European Studies, and serve as an important springboard for future research in this area.
Seaside Heights tells the history of a timeless seashore resort community located on a barrier island nestled between the Atlantic Ocean and Barnegat Bay. The 224-acre town was settled by residents of Philadelphia and Camden, who purchased white-sand lots to escape city life for the brisk ocean breezes and tranquility that Seaside Heights offered prior to World War II. Seaside Heights uses the scenes captured in vintage postcards, some of them very rare, as a study of the changes that have occurred in the town since its incorporation in 1913.
This is about musicians’ working lives in Britain from the late Victorian era to the present day. Using the Musicians’ Union as a prism through which to explore those lives, the book illuminates the key factors which shape musicians’ working lives including such things as changes in technology, law and the music industries, while also considering matters of nationality, gender and genre. Anyone interested in music and the people who make it will be interested in this history.