Word: 1920s
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...stadium’s concrete seats began to fracture in the late 1920s and early 1930s, water began to seep through the cracks and make contact with the steel underneath. Fifty years of corrosion later, Harvard Stadium, a gift from the class of 1879, needed a makeover...
...early 1920s, Congress created a system of immigration quotas based on countries of origin, weighted toward northwestern Europe. "The races from Southern and Eastern Europe," a lobbyist argued, had no experience of government other than "paternal autocracy." The great immigration contraction coincided with a nationwide revival of the Ku Klux Klan, which, in this incarnation, was as much anti-Catholic and anti-Jewish as antiblack. The Klan's power peaked at the Democratic Convention of 1924, when pro-Klan forces battled for almost 100 ballots to keep New York's Catholic Governor Al Smith off the ticket. Smith managed...
...here with a view to disturb our tranquillity." In the early 19th century, the Catholic Church in Europe won no favors in the U.S. by opposing republican revolutions in Italy and Hungary. American Catholics had been good citizens; would new arrivals also be? The anti-immigrant reaction of the 1920s was a spasm of disgust with both European autocracies and European revolutionaries. Kings and emperors had caused World War I, and Bolsheviks were plotting new horrors. Most Americans wanted to wash their hands of the Continent and its people...
...Europe of the 1920s, that generational dissent was mostly expressed either in the arts (Jean Cocteau, Fritz Lang, Aldous Huxley) or in outright decadence (at the haunts of London's good-time toffs, say, or at just about any club in Berlin). But caught up in a renewed spiral to war, youths, many of them jobless, were soon being courted by political groups on the left and right. Nowhere more so than in Germany, where the Wandervogel, a popular, free-spirited, back-to-nature youth movement whose nonpolitical ideals had survived World War I, found itself hijacked...
...paintings of old houses in Maine or on Cape Cod should strike us that way. When they first appeared, they were considered triumphs over the ugliness and banality of the houses themselves. Gilded Age piles with mansard roofs or carpentered scrollwork were deeply out of fashion in the 1920s, when Hopper started seeking them out. In the same way, when he painted Manhattan, it wasn't the jazz-age skyscrapers he was drawn to. It was nondescript brownstones and offices, places like the one in Room in New York, where you could peek through the windows and glimpse anonymous people...