The Evolution of Media Coverage of Historical Sports Controversies

This thesis will cover sports controversies throughout the 20th Century in the context of the media’s newspaper coverage of the events. The 1919 Black Sox Scandal, the debate over American participation in the 1936 Olympics, and Muhammad Ali’s conversion to the Nation of Islam, standing as a notorious public figure, and conscientious objection to the Vietnam War will represent the three sports controversies. The media’s adherence to cultural norms is clear in all three cases. The consistent devotion to the cultural and racial atmosphere of their respective eras was constant and helped to perpetuate accepted, mainstream cultural attitudes. Cultural and racial norms were followed in the coverage of the three discussed controversies. The anti-Semitism and racially intolerant sentiments in America during great waves of immigration in the early 1900s allowed for journalists to freely vilify Jews as corrupters of baseball and the ballplayers who were rumored to have thrown the 1919 World Series. The white ballplayers were supported in the press, who protected their own and blamed outsiders. Jim Crow and the Americanization movement forced African American and Jewish newspapers to limit their journalistic bias on both sides of the debate over American participation in the 1936 Berlin Olympics. The white, mainstream press was void of bias as the spirit of isolationism in America triumphed over journalist’s leanings in the Olympic debate. The racial tension created by the Civil Rights movement of the 1960s created an atmosphere that allowed mainstream journalists to heap endless criticism on Muhammad Ali as he gained fame. By portraying him as a villain of society as both a religious radical and traitor to America, journalists created a common enemy in the minds of white America. In all three cases, a pattern of journalists expressing the state of cultural and racial norms of the era is present and significant.

Photograph - Margaret Julia Woodruff Band in a Wedding Dress

Black and white photograph, 17 cm x 13 cm, of Margaret Julia Woodruff Band in a seated position, wearing a wedding dress and veil. She is carrying flowers in her hand. A wedding band is evident in this photograph. The photo was taken by Dudley Hoyt of New York.

Photograph - Margaret Julia Woodruff Band in a Wedding Dress #2

Black and white photograph, enclosed in a folder, 17 cm x 13 cm, of Margaret Julia Woodruff Band in a seated position wearing a wedding gown and veil. The photo was taken by Dudley Hoyt of New York.

Photograph - Margaret Julia Woodruff Band in a Wedding Dress, in Silver Frame

Black and white photograph, 12 cm x 9 cm, of Margaret Julia Woodruff Band in a seated position, wearing a wedding dress and veil. The photo was taken by Dudley Hoyt of New York. The photo is encased within an ornate, silver frame which is engraved with the initials “M.J.W.”.

Plays /

"Reproduced by Duopage process."

Max Weber and the First World War: Protestant and Catholic living standards in Germany, 1914-1919

We assess informal institutions of Protestants and Catholics by investigating their economic resilience in a natural experiment. The First World War constitutes an exogenous shock to living standards since the duration and intensity of the war exceeded all expectations. We assess the ability of Protestant and Catholic communities to cope with increasing food prices and wartime black markets. Literature based on Weber (1904, 1905) suggests that Protestants must be more resilient than their Catholic peers. Using individual height data on some 2,800 Germans to assess levels of malnutrition during the war, we find that living standards for both Protestants and Catholics declined; however, the decrease of Catholics’ height was disproportionately large. Our empirical analysis finds a large statistically significant difference between Protestants and Catholics for the 1915–19 birth cohort, and we argue that this height gap cannot be attributed to socioeconomic background and fertility alone.

Max Weber and the First World War: Protestant and Catholic living standards in Germany, 1915-1919

We assess informal institutions of Protestants and Catholics by investigating their economic
resilience in a natural experiment. The First World War constitutes an exogenous shock to living standards since the duration and intensity of the war exceeded all expectations. We assess the ability of Protestant and Catholic communities to cope with increasing food prices and wartime black markets. Literature based on Weber (1904, 1905) suggests that Protestants must be more resilient than their Catholic peers. Using individual height data on some 2,800 Germans to assess levels of malnutrition during the war, we find that living standards for both Protestants and Catholics declined; however, the decrease of Catholics’ height was disproportionately large. Our empirical analysis finds a large statistically significant difference between Protestants and Catholics for the 1914-19 birth cohort, and we argue that this height gap cannot be attributed to socioeconomic background and fertility alone.

Photo album, St. Catharines area, ca. 1913-1919.

One hardcover photo album containing black and white photos. Many of the photos were taken in the St. Catharines area. Included are photos of Port Dalhousie, Port Weller, Niagara Falls, Niagara-on-the-Lake and St. Catharines. There are also photos of Braeside, Ont. and the Ottawa valley. Various local landmarks are included, such as the armoury in St. Catharines, Montebello Park, and Martindale pond. Some of the events captured include a train wreck that occurred in St. Catharines in 1914, the visit of the Governor General to St. Catharines in 1914 (featuring the Carnegie library and Post Office and federal building decorated with flags), and an airplane that crashed into a body of water, possibly a plane from an air training camp in Beamsville during World War I. There are also two photos of champion Niagara district basketball teams, possibly taken in the gymnasium building located behind the former St. Catharines Collegiate building (later Robertson School) on Church Street. One photo includes Norman Byrne, Gladys Ansell, Miriam Marshall, Irene Stoter (?), Mildrerd Houston, A. Gardner, and Madeline Jenner. The other photo includes George Moase, W. Bennett, Norman Byrne, Jack Bain, Mr. Brackenbury, Cyril Merriman, Jim Galway, Harry Erskine, and Roy Carpenter.

Le blues et le jazz au service de la révolution? : les positions des communistes américains blancs à l’égard de la musique noire et son utilisation à des fins d’agit-prop durant l’entre-deux-guerres (1919-1941)

En 1936, l’American Music League publiait le recueil de chansons afro-américaines Negro Songs of Protest collectées par le folkloriste communiste Lawrence Gellert. Puis en 1938 et 1939, grâce au financement du mouvement communiste américain, le producteur John Hammond présentait deux concerts intitulés From Spirituals to Swing au Carnegie Hall de New York. En plus de rendre hommage à l’histoire de la musique noire américaine, ces deux concerts défiaient la ségrégation raciale, permettant au Noirs et aux Blancs d’être rassemblés sur une même scène et de s’asseoir ensemble dans l’assistance. Au même moment, la chanteuse jazz Billie Holiday faisait fureur au Café Society, premier club « intégré » de New York et lieu de rassemblement de la gauche radicale, en interprétant soir après soir la chanson ‘’Strange Fruit’’ qui dénonçait l’horreur du lynchage toujours en vigueur dans le Sud des États-Unis. C’était l’époque du Front Populaire, la plus importante période d’influence du mouvement communiste aux États-Unis et, de surcroît, le moment de l’histoire américaine durant lequel la gauche organisée détenait un pouvoir sans précédent sur la culture de masse. Partant d’une discussion sur le potentiel révolutionnaire de la musique noire américaine et cherchant à comprendre le positionnement des mouvements sociaux vis-à-vis la culture, ce mémoire met en lumière le point de vue des communistes américains blancs face à l’émergence et à la popularité grandissante du blues et du jazz noirs aux États-Unis. En fonction des trois principales phases politiques du Parti Communiste américain (CPUSA) – la phase du colorblind class (1919-1928); la phase du nationalisme noir (1928-1935); le Front Populaire (1935-1940) – ce mémoire retrace les changements d’attitude de la vieille gauche envers la culture populaire et suggère que le mouvement communiste américain a tenté d’utiliser le blues et le jazz à des fins d’agit-prop.

The black brigands : a musical burlesque, in one scene /

Not in Lib. Company. Afro-Americana.

The black doctor, and other tales of terror and mystery,

Mode of access: Internet.

The foraging behaviour of the Black rat (Rattus rattus) within Australian macadamia orchards

The black rat (Rattus rattus) has been shown to be the primary species responsible for causing significant crop losses within the Australian macadamia industry. This species success within macadamia orchards is directly related to the flexibility expressed in its foraging behaviour. In this paper a conceptual foraging model is presented which proposes that the utilisation of resources by rodents within various components of the system is related not only to their relative abundance, but also to predator avoidance behaviour. Nut removal from high predation risk habitats during periods of low resource abundance in low risk compartments of the system is considered an essential behaviour that allows high rodent densities to be maintained throughout the year.

'Black is beautiful', and Indigenous : Aboriginal authorship in Australian popular music

The ‘black is beautiful’ movement began in the United States in the early sixties, and changed mainstream attitudes towards the body, fashion and personal aesthetics, gaining African American people a new sense of pride in being – and being called – ‘black’. In Australia the movement also had implications for changing the political meanings of ‘black’ in white society. However, it is not until the last decade, through the global influence of Afro-American music, that a distinctly Indigenous sense of black sexiness has captured the attention of mainstream audiences. The article examines such recent developments, and suggests that, through the appropriation of Afro-American aesthetics and styles, Indigenous producers and performers have developed new forms of Indigenous public agency, demonstrating that black is beautiful, and Indigenous.