Podcasts about Works Progress Administration

In this episode of Art Heals All Wounds, I sit down with Larissa Trinder, the Assistant Vice President for Arts in Medicine at NYC Health + Hospitals. Larissa shares the transformative power of art within healthcare, discussing how intentional art initiatives and community engagement can improve hospital environments, support staff, and promote wellness for patients—including those in marginalized communities.Key Topics Covered·       Larissa's Path to Arts in Medicine: Larissa shares her personal journey, starting with her son's experience with dyslexia and the role of art in boosting his self-esteem, ultimately leading to his career as an animator. ·       History of NYC Health + Hospitals' Art Collection: The hospital system holds over 7,500 works of art, one of the largest public art collections in NYC, originating from the 1930s Works Progress Administration. The collection includes iconic works like Abram Champanier's Alice in Wonderland panels and a Keith Haring mural raising AIDS awareness.·       Art as a Tool for Engagement and Healing: Larissa explains how art programs serve not just to beautify spaces, but to foster community, support staff well-being, and highlight critical social issues like gun violence and support for asylum seekers.·       Highlighted Projects:o   Art programs in correctional health services at Rikers Island, including a mural at the reentry center co-created by incarcerated individuals and artist Dindga McCannon.o   Guns Down, Life Up—an arts initiative embedded in hospital violence prevention programs.Upcoming Events & Announcements·       Documentary Premiere: Hidden Art Healing Walls will air on WNET's Treasures of New York and all PBS stations in early 2026, showcasing the Art in Medicine program.·       Major Exhibition: An exhibition of the Abram Champanier murals opens at the Museum of the City of New York, June–September 2026—the museum's largest show of the year.·       New Exhibitions:o   We Belong Here (opens June 4, 2026): An exhibition highlighting immigrant support through NYC Care, with works by three immigrant artists displayed citywide.o   Housing for Health/Street Health Outreach: In collaboration with NYU's Healing Arts Week (fall 2026), featuring art created by patients experiencing homelessness.How to Learn More·       Bloomberg Connects App: Search for NYC Health + Hospitals Arts in Medicine to view a digital collection and learn more about their programming.·       Official Website: NYC Health + Hospitals – Arts in Medicine (Note: The site is being updated but contains extensive information.)·       Book: Healing Walls – Features photos and stories of the community mural program.·       Therman Statom·       Roger UlrichConnect with Art Heals All WoundsWebsite: arthealsallwoundspodcast.comCredits·       Music: By Ketsa and Lobo Loco·       Editor: Iva Hristova

Window Shopping with Helen Keller: Architecture and Disability in Modern Culture (U Chicago Press, 2025) offers a history of how encounters between architects and people with disabilities transformed modern culture. Window Shopping with Helen Keller recovers a series of influential moments when architects and designers engaged the embodied experiences of people with disabilities. David Serlin reveals how people with sensory and physical impairments navigated urban spaces and helped to shape modern culture. Through four case studies--the lives of Joseph Merrick (aka "The Elephant Man") and Helen Keller, the projects of the Works Progress Administration, and the design of the Illinois Regional Library for the Blind and Physically Handicapped--Serlin offers a new history of modernity's entanglements with disability. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

Window Shopping with Helen Keller: Architecture and Disability in Modern Culture (U Chicago Press, 2025) offers a history of how encounters between architects and people with disabilities transformed modern culture. Window Shopping with Helen Keller recovers a series of influential moments when architects and designers engaged the embodied experiences of people with disabilities. David Serlin reveals how people with sensory and physical impairments navigated urban spaces and helped to shape modern culture. Through four case studies--the lives of Joseph Merrick (aka "The Elephant Man") and Helen Keller, the projects of the Works Progress Administration, and the design of the Illinois Regional Library for the Blind and Physically Handicapped--Serlin offers a new history of modernity's entanglements with disability. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Send us a textThe Doan Brook Watershed Partnership (DBWP) and U.S. Army Corps of Engineers (USACE) are collaborating on a stream-restoration project to address wall deterioration, improve fish habitat, and restore natural stream function through Cleveland's Cultural Gardens along MLK Boulevard. Sections of the channel's stone walls, built during the Works Progress Administration, have broken apart, and local experts are working to balance historic preservation with ecological restoration.In this discussion, Emily Kao (DBWP) and Jenn Brancho (USACE) describe their organizations' measured approach to planning a revitalized urban waterway. We learn how channelization has dramatically altered the stream's natural functions, and how the partnership can deliver a comprehensive restoration strategy that honors both ecological needs and cultural heritage. 

5/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Panics of 1938"

7/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Ferdinand the Bull"

6/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 federal Theater "She Stoops to Conquer"

8/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Power"

4/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Mikado"

3/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Ferdinaand the Bull."

2/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Dance of the Nations"

1/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "It Can''t Hppen Here"

'Non-linear' game tours city landmarks Around these parts, the term BYOB takes on a new meaning: Build Your Own Beacon. At the moment, it's a card game wrapped in a complex, ambiguous concept that could tax the minds of people versed in the immutable rules of poker, bridge or gin rummy. According to creator Chris Sanders, "it's a non-linear board game played with cards. The rules are flexible. No two rounds will ever be alike, and you can play it how you want." Sanders released a 25-card starter deck on Nov. 15 and at least two add-ons are coming, along with a five-panel board featuring 3-D game pieces and dials at each station that deliver prompts. She offers one, with a touch of sarcasm: "The New York Times publishes an article about how cool Beacon is, and everybody gets a game piece because here come the good times." Sanders, an animator, scientific illustrator and textile and visual artist for film and television, designed the cards last year to showcase something new for Beacon Open Studios. She sought advice from her friend's son, Eoin Williams, 12. "He told me that they could be used for a deck-building game, like Magic: The Gathering, where each player builds a deck that gets more complicated as it accommodates more players' cards," she says. In the same way, BYOB can be played with multiple decks, "so the game gets richer and becomes a full idea that never ends." Sanders and Eoin (pronounced Owen), aimed to combine elements of The Game of Life (1960) played on a 3-D board; Sim City (now The Sims), a video game that first focused on building infrastructure; and Yu-Gi-Oh!, perhaps the most popular card game ever created. Now that the card design is complete, the goal is to structure ways to use them and convey the concept to others with clarity, Sanders says. "No one knows how to play [the card game] Pokémon," says Eoin. "We just make it up." For Sanders, Eoin has been instrumental in the game's development: "He's a smart problem-solver who asks, 'What about this?' 'Where does that go?' or 'How do we get to the end?' " The images on the cards look like architectural drawings and the logo printed on the verso shows a transmitter protruding from the peak of Mount Beacon. Other obscure categories group the city's history into nicknames for four neighborhoods - River Rats, Ridge Runners, Mountaineers and Swamp Angels. "I saw pictures of people in a canoe," Sanders says. She figures the swamp - located behind what is now Rite Aid on Main Street - got drained before the Works Progress Administration completed the post office in 1937. The fine print on some cards conveys inside jokes, like the statement accompanying the Bicycle Christmas Tree card: "Check with the transfer station for components." The microscopic font on Pete Seeger's banjo reads, "This machine surrounds hate and forces it to surrender." Sanders's dummy light card includes the comment "No Yarn Ever," with an arrow pointing to the concrete base, a reference to the Yarn Bombing of 2015. Are those googly eyes on the edifice? On another card, a chicken is described as a "breakfast dispensary." A dozen artisanal eggs "equals valid currency, way better than zucchini." Chicken coops "may be simple or ridiculous," as needed. Though Sanders can be sardonic, she adopted the lighthearted approach with purpose. "I want it to be enjoyable on many levels, so that 5-year-olds to 50-year-olds to grannies can make it fun," she explains. "But there's still some editing, honing, perfecting and morphing." The Build Your Own Beacon starter kit is $25 at agoutistudios.com.

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1940 HUAC

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  2/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 FEDERAL THEATER

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 3 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 "IT CAN'T HAPPEN HERE"

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 4 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1953 HUAC

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  5/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935 FEDERAL THEATER

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  6/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 FEDERAL THEATER 

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  7/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 8 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.

New Orleans City park is home to some of the world's oldest oak trees. How was the park shaped by the depression and a hurricane? More importantly, how did the trees get some strange names?

David T. Beito's most recent book, and the subject of this conversation, is The New Deal's War On the Bill of Rights: The Untold Story of FDR's Concentration Camps, Censorship, and Mass Surveillance (buy it through the link!), published by the Independent Institute in 2023. The presidency of Franklin Delano Roosevelt and the New Deal have now largely passed from living memory.  When I was in junior high school in the 1970s, however, many of the teachers had not only lived through the New Deal but remembered it as an almost sacred moment.  We watched scratchy black-and-white movies in class about the great success of FDR's New Deal in ending the Great Depression, the soundtrack blaring with “Happy Days Are Here Again.”  David Beito's book is about the dark side of all that, the almost crazy abuse of American civil liberties under FDR's administration.  FDR's Congressional allies, including future Supreme Court Justices Hugo Black and Sherman Minton, rifled through individual tax returns and more than 3 million Western Union telegrams to find dirt on outspoken opponents of the New Deal. They proposed criminalizing "false" news. They used regulatory power and private coercion to drive virtually any criticism of the New Deal from the new medium of radio.  And, finally, they put more than 100,000 Americans of Japanese descent into concentration camps built by the famous Works Progress Administration, and kept them there long after any argument for military necessity had passed.  And that isn't the end of it by any means! And please listen to the last part, in which we discuss the frosty even if perhaps unsurprising silence with which academic historians have responded to David's excellent book. Listen on Apple, if you prefer, or Spotify. X/Twitter: @TheHistoryOfTh2 and Facebook: The History of the Americans Podcast

5/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1920 GLOBE THEATER NYC

6/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1919 MISSOURI

7/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1915 WASHINGTON DC

8/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.5  1905 HIPPODROME NYC

GOOD EVENING: The show begins in Pennsylvania with Salena Zito commenting on the maverick and compelling Senator John Fetterman of Braddock, PA. 1912 Breaker Boys Pennsylvania CBS EYE ON THE WORLD WITH JOHN BATCHELOR FIRST HOUR 9-915 #KeystoneReport: John Fetterman just didn't care to go to Chicago. Salena Zito, Middle of Somewhere, @DCExaminer Pittsburgh Post-Gazette, New York Post, SalenaZito.com 915-930 #PacificWatch: #VegasReport: The Sphere brings in $1 million a day. @JCBliss 930-945 #SmallBusinessAmerica: The Fed and small business. @GeneMarks @Guardian @PhillyInquirer 945-1000 #SmallBusinessAmerica: Boomers sell to Millennials. @GeneMarks @Guardian @PhillyInquirer SECOND HOUR 10-1015 #CALIFORNIA: Gavin Newsom left off the stage at Chicago, why? Bill Whalen, Hoover Institution 1015-1030 #KURSK: Another nuclear power plant in a war zone. Henry Sokolski, NPEC 1030-1045 #SCOTUS: On "price-gouging" home mortgage "subsidizing" and other micromanagement tools. Richard Epstein, Hoover Institution 1045-1100 #SCOTUS: Both parties and candidates fail on entitlements. Richard Epstein, Hoover Institution THIRD HOUR 1100-1115 5/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two-thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted "un-American" activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House Un-American Activities Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, "the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent." A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1115-1130 6/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War Kindle Edition by James Shapiro (Author) 1130-1145 7/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War Kindle Edition by James Shapiro (Author) 1145-1200 8/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War Kindle Edition by James Shapiro (Author) FOURTH HOUR 12-1215 LANCASTER REPORT: zDiscounts: Jim McTague, former Washington Editor, Barrons. @MCTagueJ. Author of the "Martin and Twyla Boundary Series." #FriendsofHistoryDebatingSociety 1215-1230 #ITALY: Overtourism. Lorenzo Fiori, Ansaldo Foundation 1230-1245 #NASA: Starliner's fate. Bob Zimmerman BehindtheBlack.com 1245-100 am MOON: China strikes water. Bob Zimmerman BehindtheBlack.com

1/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1924 FDR nominating Al Smith

2/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1934 FDR

3/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1936 FDR and Sara Roosevelt

4/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1940 FDR at Pear lwith Nimitz and MacArthur

Welcome to The Not Old Better Show, Smithsonian Associates Interview Series. I'm your host, Paul Vogelzang, and today we have a fascinating episode lined up for you. We're delighted to have returning guest, Smithsonian Associate David Taylor with us, an acclaimed author and co-producer of the Smithsonian documentary film, “Soul of a People: The WPA Writers' Project Uncovers Depression America.” David is here to share his insights on his upcoming Smithsonian Associates Walking Tour, titled ‘New Deal Projects Walking Tour,' on the New Deal, a transformative period in American history that not only aimed to revive the economy but also left an indelible mark on the arts and culture.Against the backdrop of the Great Depression, President Franklin Roosevelt's New Deal was a bold initiative to use government resources to address crucial public services and stimulate economic growth. Yet, Roosevelt himself predicted that in a hundred years, the New Deal would be remembered more for its contributions to the arts than its job relief efforts. Today, we'll explore that intriguing prediction through David's expertise and his engaging walking tour of Washington, D.C.Smithsonian Associate David Taylor will take us on a journey through time, beginning at Judiciary Square, where we'll see public sculptures and dramatic courthouse bas reliefs by notable artists like John Gregory. Our route includes the Henry F. Daly Building, a prime example of Classical Moderne architecture funded by the Works Progress Administration, and the Federal Trade Commission Building, adorned with monumental Art Deco sculptures created by WPA artists. We'll also discuss the renovations of the National Mall and Washington Monument, pivotal projects of the New Deal era.We'll conclude our exploration at the Department of the Interior, home to over 40 New Deal-era murals and photomurals by the legendary Ansel Adams. Smithsonian Associate David Taylor's walking touroffers a unique opportunity to discover these still-visible landmarks and learn about their historical and cultural significance.So, put on your walking shoes and get ready to delve into the rich artistic legacy of the New Deal with our distinguished guest, Smithsonian Associate David Taylor. Join us now for an enlightening conversation on The Not Old Better Show, Smithsonian Associates Interview Series. My thanks to David Taylor and his upcoming Smithsonian Associates Walking Tour, titled ‘New Deal Projects Walking Tour,' on the New Deal, a transformative period in American history that not only aimed to revive the economy but also left an indelible mark on the arts and culture.  My thanks to you our wonderful audience here on The Not Old Better Show Science Interview Series on radio and podcast.  My thanks to Executive Producer Sam Heninger for all his work on audio and making things run smoothly here on the show.  Please be well, be safe and Let's Talk About Better ™.  The Not Old Better Show Science Interview Series on radio and podcast. Thanks everybody and we'll see you next week.

From its conception by Mayor Brantley Harris, inspired by the grand beaches of the Atlantic Coast, to its development with the help of President Franklin D. Roosevelt's Works Progress Administration, Stewart Beach has experienced pivotal moments that shaped it into an iconic park. Overcoming racial segregation in the 1960s and implementing family-friendly policies in the 1980s, Stewart Beach evolved into a premier destination with attractions like roller skating rinks, dance floors, and beach volleyball courts. Despite changing recreational trends, it remains a cherished spot with essential amenities and a rich history, making it a point of pride for the Galveston community.Galveston Unscripted What is Galveston Unscripted?Follow Galveston Unscripted on Spotify or Apple Podcasts! More history content on Visit Galveston!

In this episode of The Bandwich Tapes, I am thrilled and honored to sit down with the incredible Luke Bulla, one of my all-time favorite instrumentalists and vocalists. Our conversation is a deep dive into his remarkable musical journey and the experiences that have shaped his illustrious career.Luke's life has been steeped in music from an early age. At age four, he began touring and singing with his family band and took up the fiddle at seven. His prodigious talent quickly became evident as he went on to win the National Fiddle Contest in Weiser, Idaho, six times in his respective age categories. At sixteen, he made history by becoming the youngest winner of the Grand Champion division. By age ten, Luke had already made a mark at Nashville's Grand Master Fiddle Championship as the youngest top-ten finalist.In the spring of 1999, Luke moved to Nashville, diving headfirst into a full-time music career. His early years in Tennessee were marked by his stint with Ricky Skaggs' band, Kentucky Thunder, where his exceptional fiddle playing earned him his first Grammy Award. Following this, he joined the John Cowan Band. He performed and recorded with a host of renowned artists including Brandi Carlile, Jim Lauderdale, Darrell Scott, Alison Krauss, Jerry Douglas, Sam Bush, Edgar Meyer, Bela Fleck, and many more. His collaborations read like a who's who of the music industry, featuring names such as Bryan Sutton, Kevin Costner & Modern West, Shawn Colvin, Tony Rice, Chris Thile, Peter Rowan, Patty Griffin, Glen Phillips, Rodney Crowell, and Earl Scruggs.Luke was a perennial instructor at Mark O'Connor's fiddle camps during his early years in Nashville. Alongside his long-time friend Casey Driessen, Luke founded the band Wisechild, which toured briefly with John Mayer and Counting Crows. He also played a pivotal role in the band W.P.A. (Works Progress Administration), a collaboration that included notable members like Sean Watkins, Glen Phillips, Sara Watkins, Benmont Tench, Pete Thomas, Greg Leisz, and Davey Faragher.In 2009, Luke released a solo EP featuring a stellar lineup of musicians, including Jerry Douglas, Sam Bush, Bela Fleck, and Aoife O'Donovan. That same year, he joined Lyle Lovett's Large Band and toured full-time with them until 2023.In 2015, Luke co-founded the Bluegrass/Americana record label, Pure Music | Nashville, with music and business executive John L. Heithaus. The label released his LP, Who Loves You Better, in May 2016. Recorded at Zac Brown's Southern Ground Nashville studio and produced by Grammy winner Bryan Sutton, the LP showcases Luke's extraordinary musical talent.Join us for an enriching discussion as we explore Luke's diverse musical influences, his approach to songwriting, and the incredible journey that has led him to where he is today. This episode is a celebration of his enduring contribution to music and his unwavering passion for his craft.Music from the Episode:Luke Bulla - Temperance Reel (Luke Bulla/Guy Clark/J.R.Stuart)Luke Bulla - Who Loves You Better (Feat: Sarah Jarosz) (Lyle Lovett)Luke Bulla - On the Turning Away (David Gilmour and Anthony Moore)Luke Bulla - Tie Me Down and Set Me Free (Luke Bulla/J.R.Stuart)Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com. Please tell your friends about the show.The theme song, "Playcation", was written by Mark Mundy.

Pack your camper as we tour America's National Parks—from Acadia to Zion. Our guide is modern-day folk hero Douglas Leen, whose Ranger Doug Enterprises recently published “Ranger of the Lost Art: Rediscovering the WPA Poster Art of Our National Parks.” Doug describes how in 1971, while working as a seasonal park ranger at Grand Teton National Park, he unearthed an old poster tucked atop a barn rafter, saving it from oblivion. This hidden gem was among the last remaining promotional posters for 14 U.S. National Parks, printed between 1938 and 1941 by FDR's Works Progress Administration. Doug recounts how his dusty discovery fueled a lifelong obsession to find the other 13 original silkscreened posters from that era. His hunt led to encounters with art thieves and fostered friendships with fellow connoisseurs. Leen explains how he forged partnerships with artists and commercial printers to recreate all 14 posters. His team soon began creating numerous contemporary artworks commissioned by many of the 400+ National Parks units. Leen remembers his simultaneous dentistry practice, which he launched above Seattle's bustling Pike Place Market during its renaissance. This career carried Dr. Leen to faraway Barrow (now Utqiagvik), Alaska, and beyond. A restless spirit, Doug champions the intersecting causes of art conservation and land conservation. His solo “Ranger Doug” roadshows at National Parks have racked up nearly 50,000 miles to date on the restored Airstream trailer. Unlike the mythic Appleseed who sought to tame the wilderness, citizen Leen's art and advocacy echo the democratic ethos of the New Deal era and a profound respect for natural wonders that inspire his life and work. "Today I'm on the road all the time with this book, kind of a Johnny Appleseed or Forrest Gump somebody called me once—I think it was the New York Times. But I'm out there trying to preach the message; and it's getting out there.” ~Doug Leen

This past week, the Superior Telegram released it's 26th episode of Archive Dive, which is a monthly history podcast where we “dive” into the archives of historic events, people and places in Superior and Douglas County.  For this month's episode, Telegram reporter Maria Lockwood and local historian and retired librarian Teddie Meronek discuss the old post office in Superior. It  has worn many hats since it was completed in 1908. In addition to a courthouse and post office, it has been home to the Wisconsin Department of Natural Resources, Douglas County Historical Society, Internal Revenue Service, Federal Bureau of Investigation and it currently houses a theatre company. Now known as the Superior Entrepreneurship Center, the building has been turned into a one-stop shop for economic development. Maria and Teddie talk about  the history of the Superior landmark, which was designed by architect Earl Barber. They also discuss other buildings that Barber put his stamp on and much, much more. The building cost more than $300,000 to build and adjusted for today's cost, it would have been approximately $10,000,000. Many people have thought the building was only a post office, not knowing about the federal courthouse upstairs. In fact, while most locals have referred to it in recent years as the "old post office," its official name was the Federal Building. You can find that episode at superiortelegram.com or wherever you also get this podcast. You can find addtional episodes here. In case you missed last month's episode, we are resharing it here. In February, Maria and Teddie explored how President Franklin D. Roosevelt's Works Progress Administration helped shape Superior. Enjoy!

In this episode, we turn our attention to the impactful California Climate Action Corps (CCAC), a program that marries the vigor of AmeriCorps with a fervor for climate action. The spotlight is on the CCAC Fellowship, an 11-month journey transforming emerging leaders into the driving force behind community-level climate initiatives. The episode delves into the heart of the fellowship, emphasizing its significance in cultivating change and leaving a lasting impact. The CCAC Fellowship is not just about sending individuals into the field; it's a dynamic incubator for future leaders. The focus shifts to the diverse projects undertaken by fellows, ranging from urban greening initiatives to wildfire resilience efforts, showcasing the Corps' commitment to addressing various facets of the climate crisis. The episode features an enlightening interview with Rachel Ostrander, a seasoned Team Leader in her third year with CCAC. The conversation explores Rachel's inspiration for joining CCAC and her decision to continue with the program for multiple terms. She sheds light on the benefits, pros, and cons of the program, drawing parallels to historical initiatives like the Works Progress Administration and Civilian Conservation Corp. Join Jesus and Rachel for an inspiring journey through the California Climate Action Corps Fellowship—a movement that exemplifies the power of community, environmental resilience, and the potential within each individual to be a force for positive change. Find educational resources and additional deep dive content for this episode on our website at conezonepod.wordpress.com.  References: Elizabeth Pearce @ SymSoil. (2022, October 24). FDR's Great Wall of Trees And The Inflation Reduction Act of 2022. Medium. https://symsoil.medium.com/fdrs-great-wall-of-trees-and-the-inflation-reduction-act-of-2022-bda74eab58c3 California, S. O. (n.d.). California Climate Action Corps | California Volunteers. https://www.californiavolunteers.ca.gov/climateactioncorps/ Additional Material:  California Fire Safe Council Website: https://cafiresafecouncil.org/ Butte Fire Safe Council Website: https://buttefiresafe.net/ Ready Racoon Video: https://youtu.be/N5fE6CbZAF0?si=CQeR9aHbcq-lzJuC

This past week, the Superior Telegram released it's 25th episode of Archive Dive, which is a monthly history podcast where we “dive” into the archives of historic events, people and places in Superior and Douglas County.  For this month's episode, Telegram reporter Maria Lockwood and local historian and retired librarian Teddie Meronek explore how a federal program helped shape Superior. During the bleakest days of the Great Depression, President Franklin D. Roosevelt created the Works Progress Administration, or WPA. “The New Deal agency” employed millions of job seekers, with an average salary of about $41.57 cents per month. Through public works projects like the airport, a baseball stadium and Itasca School, the program helped shape Superior's landscape. But, it also helped preserve its history.  Maria and Teddie discuss the benefits of the program and the challenges of the times. Some of the buildings and projects remain today. The Great Depression started in 1929 and things had changed throughout the country, including in Superior. “If you look through old newspapers, in the late 1920s, you see that Superior was booming," said Meronek. "There were all these new businesses opening up. You go and you look a couple of years later and they are all gone, so it was tough times. The WPA did not start until 1935, so there was a gap there. Four or five years where it was hard for everyone. No jobs. No money. The WPA came in and things started to change.” You can find that episode at superiortelegram.com or wherever you also get this podcast. You can find addtional episodes here. In case you missed last month's episode, we are resharing it here. In January, Maria and Teddie explored the histories of East High School and Nelson Dewey School in Superior and some of their notable graduates. Enjoy!

What is populism, anyway? There's a lot of talk about populists and the concept of populism in today's political discourse but little talk about what the roots are and what it actually means. Author and labor educator Steve Babson joined me in the studio to discuss his book, "Forgotten Populists: When farmers turned left to save democracy." This conversation hits a number of points: 03:29 - Populism as an alternative to capitalism 05:40 - One of the most notable populists was legendary Detroit mayor Hazen Pingree, who was both an entrepreneur and a one-time factory worker. His policies revolutionized the city and set it on a path for its golden age. 09:03 - We discuss how different American elections were, as there was no secret ballot. 11:03 - Changing rules 13:19 - The legacy of populism 14:19 - The Works Progress Administration, the New Deal, and examples locally like Keyworth Stadium that were built using populist policies 16:43 - A historical comparison of populism 18:11 - How is the modern UAW different than the past, and the populist threads in that? 19:47 - Why author Steve Babson wrote this book Feedback as always - dailydetroit - at - gmail - dot - com or 313-789-3211 Follow us on Apple Podcasts: https://lnk.to/dailydetroitonapple  Or Spotify: https://lnk.to/dailydetroitonspotify  Thanks to our members: http://www.patreon.com/dailydetroit  Or those who do a one-time contribution: http://www.buymeacoffee.com/dailydetroit  

When a young park ranger was asked by his supervisor to clean out an old barn at Grand Teton National Park in the early 1970s, he discovered a dusty and stained blue, grey, and green poster inviting folks to “Meet the Ranger Naturalist at Jenny Lake Museum. This young ranger, Doug Leen, soon discovered that it was one in a series of posters created by the Works Progress Administration to put artists to work and promote visitation to the national parks during the late 1930s. This week the Traveler's Lynn Riddick sits down with Doug to discuss his newly released book documenting his life-long journey to find the original WPA posters and protect them.

From 1935 to 1943 the Federal Art Project -- a project of the Works Progress Administration, or WPA-- employed some 10,000 artists and craft workers, helping them survive the Great Depression. The artists created hundreds of thousands of visual arts: paintings, murals, prints, posters, and renderings. Many of them survive to this day, but you have to know where to look for them. That's why LHT host Chris Garlock found himself on Telegraph Hill yesterday, during a visit to San Francisco, meeting up with Harvey Smith, who leads tours of local WPA sites. Find out more at LivingNewDeal.org Coit Tower is home to a stunning collection of murals that have recently been restored; Chris had seen them many years ago and had been struck by the depictions of workers and bosses that managed to be simultaneously beautiful and politically powerful and arranged to meet up with Harvey so he could shed some light on their creation and meaning. Harvey does a terrific job describing the art, but we've also got a great album of photos of the murals posted on the Labor Heritage Foundation's Facebook page. On this week's Labor History in Two: The year was 1917; that was the day IWW leader Frank Little was buried in Butte, Montana. Questions, comments, or suggestions are welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by Chris Garlock for the Labor Heritage Foundation and the Kalmanovitz Initiative for Labor and the Working Poor. Coit Tower mural photos by Lisa Garlock. #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @wrkclasshistory @LivingNewDeal

One of the most popular shows during radio's classic era was not a drama, comedy, or musical variety show, it was an educational program called The World Is Yours. The weekly 30 minute show began in 1936 and ran until 1942. It was one of the first public radio projects, and was produced by the Smithsonian Institution. The World is Yours was funded by the Works Progress Administration, and used actors and musicians that were out of work because of the Depression. The show was so popular it generated a half million letters during it's run. Episodes were narrated by a character named the Oldtimer, who explained geography, natural history, science and the arts. You will hear three shows, one from 1937, and two from 1938. More at http://krobcollection.com

When the Great Depression hit in 1929, jobs disappeared by the millions. Unemployment lines and bread lines became common; the economy was badly wounded, and without jobs, without the machinery that made money move through the economy, its chances of recovery were slim. So, as part of the Second New Deal, and driven by a presidential order from Franklin Roosevelt, the Works Progress Administration, or WPA, was signed into law on May 6, 1935. But there's another part of the Works Progress Administration that most people have never heard of, and it's kind of important in its own right. It was called Federal Project Number One, and it had one goal: To protect and preserve the artistic and cultural elements of American society. It had five divisions, one of which was the Federal Writers Project. This episode is about the extraordinary content that the program made possible.

Another La Colombe organizes; DC teachers reach tentative contract agreement; Meet The People: Tambra Jackson; Think food prices are high now?; Protect pregnant workers! Today's labor quote: Walter Reuther.      Today's labor history: Works Progress Administration ends. @wpfwdc #1u #unions #LaborRadioPod @AFLCIO #redfored @WTUTeacher @DCPSChancellor @MurielBowser @AFGENational @UFCW400 @UFCW770 @ufcw324 @UFCW_3000 @UFCW5 @UFCW_7 @RealBankReform #solidarity #1u @WorkersAct Proud founding member of the Labor Radio Podcast Network.

Glen Phillips has had two excellent careers. One as the lead singer in one of the most successful bands of the 90's, Toad the Wet Sprocket, and one as a solo artist (who happens to have many side projects like Mutual Admiration Society, Works Progress Administration, etc.).He's written and sang some of my all time favorites and it was my pleasure to visit with Glen and talk about his new album, "There is So Much Here"All songs written by Glen Phillips (https://glenphillips.com/)The Sound of DrinkingCenter of the CircleAll I WantStone ThroatRecorded at Grove Studioshttps://grovestudios.space/

Submitted for the approval of the Midnight Society, I call this story, the Tale of the Memphis U.S. Marine Hospital.  The year was 1798 and President Adams decreed there needed to be a hospital for the sick, injured, and disabled maritime men. This Marine Hospital cared for the seamen who worked on the Mississippi River. Unfortunately, the original plot of land, in Napoleon Arkansas, washed away when the river changed course and the new hospital was built in Fort Pickering, south of Memphis in 1884.It consisted of a stable, two wards, the surgeon's house, nurses' quarters, and an executive building. This hospital was the city's first federally-funded public health facility and the only government hospital in the area at that time. It remained so until after WWI. Not only did the hospital treat those who worked the river, it also served Civil War Veterans and Yellow Fever victims. The hospital played a vital role in trying to find a cure for Yellow Fever.  Be sure to come back for season three which is all about Yellow Fever and learn why this sickness had such an impact on our city and why we wanted to find a cure.  In the 1930s, the Works Progress Administration built a new hospital building on the site, moving the remaining original buildings 300 feet to the west. Over the years, the facility was used by the Coast Guard, active military, public health officials, cadets from state maritime activities, Army Corps of Engineers, and government employees injured in the line of duty.  The hospital closed in the 1960s and part of the grounds were leased to the Metal Museum in 1979. As recently as the 1990s, the grounds were used to house Desert Storm soldiers. Sadly, the hospital sat derelict until a developer decided to purchase the buildings and land in 2003. It wasn't until almost 20 years later that anything was done with it after that.  So what about the spooky parts? So a little history as to what happened in the area now known as French Fort.  Battles of the Civil War raged along the Mississippi River in the area around where the Marine Hospital was to sit. The Confederate army set up camp in the area and turned one of the ceremonial mounds into an artillery bunker. The Union army then quickly overtook the area and turned it into a camp.Battles mean tragic death and tragic death generally means restless spirits.  Since its inception, over 100,000 soldiers were treated at the hospital and 40,000 died there. There were also over 10,000 deaths from Yellow Fever.  So it's fair to say, from all the death that occured on the land as well as in the hospital itself, there is bound to be some paranormal activity.  We watched an episode of Ghost Asylum for research and while it was a little campy, what ghost hunting show isn't, they seemed to get a lot of evidence of spirit activity.  Supposedly, a civil war soldier by the name of Henry Wood haunts the second floor of the hospital, wandering the hallways.Maybe he was a soldier killed in battle and couldn't find his way home. Or maybe he was a former soldier that was treated at the hospital but succumbed to an illness and since he was well cared for at the hospital, he just stuck around.  There was also a presence felt in the basement. One of the investigators was talking to the spirits and he felt something pass behind him. The basement housed the morgue, which assuredly is haunted. Or at least I think it would be. All of the lives that were lost passed through that room. But there was also something more strange down there, cages. The cages were apparently used for keeping the yellow fever victims separated.  They cleaned up the recordings from the basement investigations and when one of the guys asked, “did they keep you in here to die”, they heard a response saying something along the lines of “kept us caged”, indicating that they did cage them in to die.  I'm not really sure what they thought a cage would do,

Today - we're visiting with Colorado Sun political reporter Jesse Paul about campaign finance trends, as well as about a lawsuit involving the change in political affiliation for a state senator.   [NEW - running all week] Before we begin, We'd like to thank our sponsors - Pinnacol Assurance. Pinnacol Assurance provides workers' comp insurance and was named one of the most community-minded companies in Colorado for the third year in a row. Last year, Pinnacol donated 1.5 million dollars in grants, donations and scholarships to Colorado communities. Learn how Pinnacol puts care to work at Pinnacol dot com.    Now, let's go back in time with some Colorado History.   On this day in 1879, Colorado's Historical Society held its first official meeting in Denver. It was established by the General Assembly in the spring of 1879 to protect and preserve the nascent state's story.   Members discussed the military and educational history of their community and heard bombastic remarks by Mayor Richard Sopris about the glory of the state and its capital city over the previous two decades.   The Colorado Historical Society and its ever-larger collection occupied space in hotels, office buildings, and the Arapahoe County Courthouse until 1895, when it moved to the capitol's basement. Visitors marveled at exhibits overflowing with taxidermied animals, geological specimens, pottery from Ancestral Puebloan sites, and the desiccated remains of those who lived in the ancient cities of southwestern Colorado.    The society proved so popular that it soon merited a separate building, a marble museum across Fourteenth Avenue from the state capitol.   Its collections grew in size and scope, from dioramas of historic scenes made by the Works Progress Administration during the Great Depression to "Baby Doe" Tabor's wedding dress. The crowded edifice also proved insufficient, and in 1977 the society moved to the Colorado Heritage Center, a modernistic, sloping structure of brown brick. This structure and the state's judicial building north of it came down to make way for the Ralph L. Carr Colorado Judicial Center, and the collection found a new home in 2011.See omnystudio.com/listener for privacy information.

Today the Superior Telegram released its eighth episode of Archive Dive, the monthly history podcast hosted by Telegram reporter Maria Lockwood. Every month, Maria and a local historian dip into the archives of historic events, people and places in Superior and Douglas County. Did you know Superior has the honor of having the first and the last Carnegie Libraries? During this month's episode, local historian and retired librarian Teddie Meronek joins us to take us back in time and share the details of how this came to be. It started with the library on Hammond Avenue for 120 years, opening in 1902, before closing in the 1990's, and has been vacant for many decades. It has been the focus of big dreams, but none of them have panned out.  But recently, the Superior City Council voted to purchase the time-worn building to repair it to a viable state. It was the first of 63 libraries to be built in Wisconsin with funding from industrialist Andrew Carnegie. Just three employees were on staff when the three-story sandstone library opened its doors. The main floor featured chandeliers and nice furniture and the majority of the attractions, such as the children's room. The public meeting rooms were located in the basement and the board room and art room were located upstairs. As Meronek pointed out, they started running out of space early. A mezzanine was added in the 1930s to help with space issues.  Before the Hammond Avenue location added the mezzanine, Superior would get money from Carnegie again in 1917 for a branch library in East End. Meronek grew up visiting both locations and would eventually go on to work at both sites, calling her career a “dream job.” Both locations closed their doors at the end of 1991, making way for the current Superior Public Library building on Tower Avenue.  The East End branch was turned into a private residence, but the library on Hammond sits empty. Meronek has also been involved in historical preservation and hopes the building is part of Superior's future. “I said this at the city council meeting, not every old building can be saved, nor should it be saved, but this one needs to be saved. We have the first Carnegie library in Wisconsin. There are other cities that would kill to have a Carnegie library, we have two of them, the first and the last, and I think that we owe that building, just for the fact that it survived 120 years and has been mishandled and abused for the last 30 years of it, we owe it to that library to do what we can to save it.” Other discussion topics include how the library benefited from the Works Progress Administration, sacrifices during the Great Depression and the role the library played in the life of Esther Bubley, an award-winner photographer. You can find that full episode at superiortelegram.com or whatever streaming service you listen to this podcast.   Today, we are re-sharing Archive Dive's seventh episode, which was released in August. It is titled "How a Superior woman almost built a Frank Lloyd Wright house." Enjoy!

Aughie and Nia discuss the Works Progress Administrations programs  to provide work opportunities for artists, actors, musicians, and writers during the Great Depression. They also discuss some of the criticisms of the WPA programs,