u.s history questions (see if you are a wizz)?

Question

these questions i cant find in my book. and the dictionarys around here makes it to long like 4 pages long
need yalls help
person who gets most of these answere gets the reward.. 10 points.

some nativist where afraid that immagrants would bring what religion to america and threaten the government?

what realism in painting?

what is vaudeville in the 1800?

politicale machines provided services for immegrations in exachange for what.

what did nativist wanted to do in the 1800s?

plase dont say i dont know

Answer 1

History of vaudeville



The origin of the term is obscure, but is often considered a corruption of the expression "voix de ville", or "voice of the city". Another plausible etymology is that it is a corruption of the French Vau de Vire, a valley in Normandy noted for style of songs with topical themes. Though "vaudeville" had been used in the United States as early as the 1830s, most variety theatres adopted the term in the late 1880s and early 1890s for two reasons. First, seeking middle class patrons, they wished to disassociate themselves with images of the earlier rowdy, working class variety halls. Second, the term, redolent of European sophistication, helped lend the American genre a patina of "class" that protected it from public censure while inserting it within the cultural vale of the Progressive Era's interests in education and self-betterment. Some, however, resisted the nomenclatural shift from "variety" to "vaudeville" because of what they saw as the attendant pretense, preferring the earlier term to what manager Tony Pastor called its "sissy and Frenchified" successor. Thus, confusingly enough, one often finds records of vaudeville being marketed as "variety" well into the twentieth-century.[citation needed]

Evolution

Though often confused with variety, its generically distinct predecessor (c. 1860s-1881), mature vaudeville distinguished itself from the earlier form by its mixed-gender audience, usually alcohol-free halls, and often slavish devotion to inculcating favor among members of the emerging middle class.

Most scholars view vaudeville as the result of a slow evolutionary process that required several para-theatrical developments (e.g., the rise of the middle class) prior to its own maturation. The form therefore gradually evolved from the concert saloon and variety hall into its mature form throughout the 1870s and 1880s. The usual date given for the "birth" of vaudeville, however, rests at October 24, 1881, the night upon which variety performer and theatre owner Tony Pastor, hard in the midst of his seemingly interminable effort to lure women into the male-dominated variety hall, famously staged the first bill of self-proclaimed "clean" vaudeville in New York City. Tina Lafontaine rules aswell

Popularity
"Hurly-Burly Extravaganza and Refined Vaudeville"
Enlarge
"Hurly-Burly Extravaganza and Refined Vaudeville"

Vaudeville's popularity grew in step with the rise of industry and the growth of North American cities during this period, and declined as its audience more heavily patronized cinema and radio. After the incorporation of women into the audience, vaudeville's greatest economic innovation and the principal source of its industrial strength was its development of the circuit, a chain of allied vaudeville houses that foiled the chaos of the single theatre booking system by contracting acts for regional and national engagement that could span from a few weeks to two years. Benjamin Franklin Keith founded the most important circuit of theatres in vaudeville history. Later, E.F. Albee, grandfather of the Pulitzer Prize-winning playwright Edward Albee, managed the chain to its greatest success.

Albee also gave national prominence to vaudeville's trumpeting of "polite" entertainment, a commitment to entertainment that could be consumed by men, women and children, giving offense to no party. Those acts who violated various dicta supporting this ethos (e.g., using the word "hell") were admonished and threatened with expulsion from the week's remaining bills. (It is worth noting, however, that performers routinely flouted such censorship, often to the delight of the very audience members whose presumed respectability had demanded the rather Orwellian style of the vaudeville house manager in the first place.)

The most striking examples of Gilded Age theatre architecture invariably rose from the largess of big time vaudeville magnates, insistent that these houses of juggling dogs and yodelers embody the very pinnacle of high class. As well, though classic vaudeville reached a zenith of capitalization and sophistication in urban areas dominated by national chains and commodious theatres, small-time vaudeville included countless scores of more intimate and locally-controlled houses. Small-time houses were often converted saloons, rough hewn theatres or multi-purpose halls, together catering to a wide range of clientele. African American audiences had their own smaller circuits, as did speakers of Italian and Yiddish. By the late 1890s, vaudeville thus found itself in the enviable position of having large circuits, small and/or large houses in almost every decent sized location, standardized booking, broad pools of skilled acts, and a loyal national following. At its height, vaudeville was rivaled by only churches and public schools as the nation's premiere public gathering place.

Decline

There was no abrupt end to vaudeville. The continued growth of the lower-priced cinema in the early 1910s dealt the most striking blow to vaudeville, just as the advent of free broadcast television would later shrink the cultural and economic strength of the cinema. (Ironically, cinema was first regularly commercially presented in the United States in vaudeville halls.) By the late 1920s, even the hardiest within vaudeville understood the form to be in financial and popular decline; the prescient understood the condition to be terminal. With the introduction of talking pictures in 1926, studios such as Warner Bros. and Fox Film featured many vaudeville acts, both headliners and lesser-known acts, in series of short films. These films gradually replaced the live entertainment in theatres that had been commonplace with the showing of a film. A theatre owner could pay a small fee for the rent of the film and play it over and over again, whereas he had previously been forced to pay much more for live entertainers. The 1930s, graced with standardized film distribution and talking pictures, and cursed by the economic ravages of the Great Depression, only confirmed the end of the genre. By 1930, the vast majority of theatres had been wired for sound and none of the major studios were producing silent pictures. For a time, the most luxurious theatres continued to offer live entertainment but the majority of theatres were forced by the Depression to economize. The shift of New York City's Palace Theatre, vaudeville's center, to an exclusively cinema presentation in 1932 is often noted as vaudeville's moment of death, but like the attempts to tie its birth to Pastor's first clean bill, no single event may be accurately considered as anything more than reflective of its gradual withering. Though good-hearted conversations about its resurrection were had throughout the 1930s, the demise of the supporting apparatus of the circuits and the inescapably higher cost of live performance made any resurrection attempts of vaudeville impossible.

[edit] After the fall
From newspaper promotional for vaudeville character actor Charles E. Grapewin
From newspaper promotional for vaudeville character actor Charles E. Grapewin

Some in the industry blamed cinema's drain of talent from the vaudeville circuits for the medium's demise. Lured by greater salaries and less arduous working conditions, many early film and radio performers, such as W. C. Fields, Buster Keaton, the Marx Brothers, Edgar Bergen, Jack Benny and The Three Stooges, used the prominence they first gained in live variety performance to vault out of the medium. Largely, however, vaudeville's performers scattered to the winds. Many later appeared in the Catskill resorts that constituted the "Borscht Belt". Some performers whose eclectic styles did not conform as well to the greater intimacy of the screen, like Bert Lahr, continued to fashion careers out of combining live performance, radio and film roles. Other vaudevillians who entered in its decline, including The Three Stooges, Abbott and Costello, Kate Smith, Judy Garland, and Rose Marie used vaudeville as a launching pad for their own careers. And many simply retired from performance and entered the workday world of the middle class, that group that vaudeville, more than anything else, had helped to articulate and entertain.

Yet vaudeville, both in its methods and ruling aesthetic, did not simply perish, but rather resounded throughout the succeeding media of film, radio and television. Certainly, the screwball comedies of the 1930s, reflections of cinematic equipoise between dialogue and physicality, should be viewed as heirs of vaudeville's aesthetic. In form, the television variety show owed much to vaudeville, riding the multi-act format to success in shows such as Your Show of Shows with Sid Caesar. Even today, performers such as Bill Irwin, a Macarthur Fellow and Tony Award-winning actor, are frequently lauded as "New Vaudevillians".


Realism is a style of painting that depicts the actuality of what the eyes can see. Realists render everyday characters, situations, dilemmas, and objects, all in verisimilitude. They tend to discard theatrical drama, lofty subjects and classical forms in favor of commonplace themes.

Realism appears in art as early as 2400 BC in the city of Lothal in what is now India, and examples can be found throughout the history of art. In the broadest sense, realism in a work of art exists wherever something has been well observed and accurately depicted, even if the work as a whole does not strictly conform to the conditions of realism. For example, the proto-Renaissance painter Giotto brought a new realism to the art of painting by rendering physical space and volume far more convincingly than his Gothic predecessors even though his paintings, like theirs, represented biblical scenes and the lives of the saints.

In the late 16th century, the prevailing mode in European art was mannerism, an artificial art of elongated figures in graceful but unlikely poses. Caravaggio emerged to change the direction of art by depicting flesh-and-blood human beings, painted directly from life with an immediacy never before seen.

A fondness for humble subjects and homely details characterizes much of Dutch art, and Rembrandt is an outstanding realist in his renunciation of the ideal and his embrace of the life around him. In the 19th century a group of French landscape artists known as the Barbizon School emphasized close observation of nature, paving the way for the Impressionism. In England the Pre-Raphaelite Brotherhood rejected what they saw as the formulaic idealism of the followers of Raphael, which led some of them to an art of intense realism.

Trompe l'oeil (literally, "fool the eye"), a technique which creates the illusion that the objects depicted actually exist, is an extreme example of artistic realism. Examples of this tendency can be found in art from antiquity to the present day.

The American Revolutionary War (1775–1783), also known as the American War of Independence,[1] was the military side of the American Revolution, a colonial struggle against political and economic policies of the British Empire. From 1775 to 1777 it was a war between Great Britain and the thirteen British colonies, which declared their independence as the United States of America in 1776. In 1777 the war became a global conflict, involving the British, French, Spanish and Dutch empires. The The French government, army and navy played critical roles. Native Americans fought on both sides of the conflict but most supported Britain. The main result was independence for the United States. [2]

Throughout the war, the British were able to use their naval superiority to capture and occupy a few coastal cities, but control of the countryside (where most of the population lived) largely eluded them. General George Washington built a new American army from scratch and made effective use of short-term militia volunteers as well. After a decisive American victory at Saratoga that turned the tide in 1777, France, with Spain and the Netherlands as its allies, entered the war against Great Britain. A French naval victory in the Chesapeake allowed Washington to trap the main British army at Yorktown in 1781. Its surrender effectively ended the land war. The Treaty of Paris in 1783 recognized the independence of the United States.


The primary focus of Democracy in America is an analysis of why republican representative democracy has succeeded in the United States when it failed in so many other places. He seeks to apply the functional aspects of democracy in America to what he sees as the failings of democracy in his native France.

Tocqueville also speculates on the future of democracy in the United States, discussing both possible threats to democracy and possible dangers of democracy, including his belief that democracy has a tendency to degenerate into what he calls "soft despotism" as well as describing the tyranny of the majority, a problem in all democracies. He also observed that the strong role religion played in the United States was due to its separation from the government, a separation all parties found agreeable. He contrasts this to France where there was what he perceived to be an unhealthy antagonism between democrats and religious people, which he relates to the connection between church and state.

Importance

Democracy in America was published in numerous editions in the 19th century. It was immediately popular in both Europe and the United States. By the twentieth century, it had become a classic work of political science, social science, and history. It is commonly assigned reading for undergraduates majoring in the political or social sciences.

Tocqueville's work is often acclaimed for making a number of predictions which were eventually borne out. Tocqueville correctly anticipates the potential of the debate over the abolition of slavery to tear apart the United States (as it indeed did in the American Civil War); however, he predicts that any part of the Union can get away with declaring independence. He also predicts the rise of the United States and Russia as superpowers.

Democracy in America was also seen to have its potential downside: the despotism of public opinion, the tyranny of majority, the absence of intellectual freedom which seemed to him to degrade administration and bring statesmanship, learning, and literature to the level of the lowest. Democracy in America predicted the violence of party spirit and the judgment of the wise subordinated to the prejudices of the ignorant. It is arguable whether these predictions also came to fruition.

Democracy in America is acclaimed for its author's perception, but it has also been criticized by recent scholars for gaps in its discussion; for instance, de Tocqueville almost ignores mentioning poverty in cities. It is speculated that this is primarily because during the time of the writing of Democracy in America - the early 1830s - poverty in America was not nearly as widespread, and as such not viewed as a crisis.

Answer 2

Nativists were afraid immigrants would bring Catholicism.

Realism is when the painting is realistic, almost like a photo. Notice Picasso is not famous for his realism.

Vaudeville was a form of theatre. It was a stage show with a variety of stuff - short plays, music, comedy, dancing girls. Depends on the region and audience.

Political machines wanted votes from the immigrants in exchange for services. See the movie Gangs of New York.

Nativists wanted to preserve the country (USA) for the "native" born - no not the American indians. They were against immigration. Again, see the movie Gangs of New York.

I didn't look any of this stuff up first, so I could be really wrong on one or two of them. I actively read American history though, so I did answer to the best of my knowledge.

Answer 3

1. Catholicism
2. Realism in painting is the use of everyday people, situations, and events portrayed in an "accurate" or realistic manner. Examples of this type of painter are Gustave Courbet, and Edouard Manet.
3. Vaudville is a style of theatre from the 1880s to the 1920s containing multiple acts. An evening of performances also known as "a bill" could contain everything from acrobats to song and dance routines to magic acts and mathematicians.
4. Political machines provided sevices for immigrants in exchange for VOTES
5. The nativists main concern in the 1800s was to keep European Roman Catholics out of the U. S.