Search results for ""author richard polenberg""

In 2015, Bob Dylan said, "I learned lyrics and how to write them from listening to folk songs. And I played them, and I met other people that played them, back when nobody was doing it. Sang nothing but these folk songs, and they gave me the code for everything that's fair game, that everything belongs to everyone." In Hear My Sad Story, Richard Polenberg describes the historical events that led to the writing of many famous American folk songs that served as touchstones for generations of American musicians, lyricists, and folklorists. Those events, which took place from the early nineteenth to the mid-twentieth centuries, often involved tragic occurrences: murders, sometimes resulting from love affairs gone wrong; desperate acts borne out of poverty and unbearable working conditions; and calamities such as railroad crashes, shipwrecks, and natural disasters. All of Polenberg’s account of the songs in the book are grounded in historical fact and illuminate the social history of the times. Reading these tales of sorrow, misfortune, and regret puts us in touch with the dark but terribly familiar side of American history. On Christmas 1895 in St. Louis, an African American man named Lee Shelton, whose nickname was "Stack Lee," shot and killed William Lyons in a dispute over seventy-five cents and a hat. Shelton was sent to prison until 1911, committed another murder upon his release, and died in a prison hospital in 1912. Even during his lifetime, songs were being written about Shelton, and eventually 450 versions of his story would be recorded. As the song—you may know Shelton as Stagolee or Stagger Lee—was shared and adapted, the emotions of the time were preserved, but the fact that the songs described real people, real lives, often fell by the wayside. Polenberg returns us to the men and women who, in song, became legends. The lyrics serve as valuable historical sources, providing important information about what had happened, why, and what it all meant. More important, they reflect the character of American life and the pathos elicited by the musical memory of these common and troubled lives.

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At the end of World War II, J. Robert Oppenheimer was one of America's preeminent physicists. For his work as director of the Manhattan Project, he was awarded the Medal for Merit, the highest honor the U.S. government can bestow on a civilian. Yet, in 1953, Oppenheimer was denied security clearance amidst allegations that he was "more probably than not" an "agent of the Soviet Union." Determined to clear his name, he insisted on a hearing before the Atomic Energy Commission's Personnel Security Board. In the Matter of J. Robert Oppenheimer contains an edited and annotated transcript of the 1954 hearing, as well as the various reports resulting from it. Drawing on recently declassified FBI files, Richard Polenberg's introductory and concluding essays situate the hearing in the Cold War period, and his thoughtful analysis helps explain why the hearing was held, why it turned out as it did, and what that result meant, both for Oppenheimer and for the United States. Among the forty witnesses who testified were many who had played vitally important roles in the making of U.S. nuclear policy: Enrico Fermi, Hans Bethe, Edward Teller, Vannevar Bush, George F. Kennan, and Oppenheimer himself. The hearing provides valuable insights into the development of the atomic bomb and the postwar debate among scientists over the hydrogen bomb, the conflict between the foreign policy and military establishments over national defense, and the controversy over the proper standards to apply in assessing an individual's loyalty. It reveals as well the fears and anxieties that plagued America during the Cold War era.

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