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Baseball in blue and gray Mark Twain remarked: Baseball is the very-symbol the outward and visible expression of the drive and push and rush and struggle of the raging, tearing, booming nineteenth century. In the dozen years surrounding the Civil War, from 1858 to 1869, baseball emerged as the national game. It generally reflected the attitude and ideas of an America victorious in war, rapidly industrialized, steadily becoming more urban, and accepting, though not always welcoming, an increasing number of immigrants. In step with the rest of America, baseball reflected a strong nationalism, expressed, among other ways, in team names (Young America). The speed with which baseball became the national game is one of the themes of Kirsch's book. In chapter one talks about the rise of baseball. how Albert G. Spalding' included a long newspaper description of the game as it was played by country boys. It talks about the real founder of the New York game was Alexander Cartwright, whose handwritten rules from 1845 were the first coherent description of the game. In 1850s New York cities becomes the baseball enthusiasts that the taught the rule if their games to friends in neighboring towns and distant cities. The creation of baseball coincided with an intense wave of political and cultural nationalism that swept the country during the middle decades of the nineteenth century. In the domestic arena, the rise of sectionalism in the South threatened the unity of the nation and made northerners and westerners more conscious of their attachment to the Union Chapter 2 talks about the how spring of 1861 the American cities were ready for the season of baseball, when Fort Sumter was attacked it began for terrible years of civil war and the short comings of baseball. It includes that several editorialists believed that team sports were useful in preparing me for serious ad deadly contests. Thousands of clubs of baseball overturned for the union army. At the military camps often encouraged the game for the past time. Many solders carried bat and balls in knapsacks during the civil war.
Professional baseball, America's pastime, during the period following the Second World War, tells the story of new integration within the sport: Major League Baseball's color-line is smashed with the inclusion of UCLA product Jackie Robinson in 1947. Also during this time, the historic career of Yankee great Joe DiMaggio, a second-generation Italian American immigrant from the Bay Area, was also coming to its end. Missing from this narrative are the Japanese American players, famous on the West Coast for the talented teams produced within their communities. At this time, Japanese American players had much success playing in the professional leagues of Japan. This paper investigates the complex transformation of Japanese American racialization and Japanese American baseball as an agent of United States influence and partnership with Japan following the devastation of the war and the atomic bombs and explores the role of the great American pastime in both the domestic and the international arena.
2012
""This discussion focuses on the relative successes, failures and reemergence of the main British team sports that evolved during the 18th and 19th centuries into modern sporting forms: cricket, soccer, and rugby. While historians have touched on all three sports in the American sporting context, there is a historical myopia once the sports were supplanted by American inventions or adaptations that literally writes them out of the sporting landscape and historians continue to distort the actual histories of these three sports. I suggest an eight point explanatory model for the relative failures of British team sports to become enduring “national pastimes” beyond moments of initial interest and expansion. The model includes historians’ failure to fully address the role of these sports in American history and society as this effects our current perceptions and explanations of histories of sports in the United States: 1. American independence and manifest destiny. There was a reluctance to accept rules generated and controlled from another country. Additionally, in cricket, most American teams played 22 players against international teams in deference to the superiority of the game in England and Australia. While international matches helped sustained cricket and soccer, it also limited their appeal at the same time. 2. Adapation. In cricket, soccer, and rugby, many early adherents adapted their skills or playing focus to newer sporting forms of baseball and American football. 3. National memory and nationalism. All three sports suffered for many decades without collective national memories sustaining them, though cricket succeeded for a time and, more recently, soccer has begun to appear in the pantheon of American sporting collective memory. 4. Organization. At various times and for various reasons leaders of British team sports organizations failed to work together to create strong American organizations for their sport or to establish American based rule making bodies. 5. Amateurism versus Professionalism. Cricket and rugby both embraced amateurism. Even when professionals used in cricket they failed to dominate the game. Soccer had mixed fortunes and took many years to resolve the amateur/professional divide. 6. Playing cultures. Cultures in and around British team sports promoted British ways of playing and socializing that had an effect on how Americans engaged with them. 7. Ethnicity versus the Melting Pot. Each sport was readily identified with Britishness and with British immigrant communities even though none of the sports remained exclusively British. The sports did, however, promote ties to Great Britain and to British culture and created space where ethnic affiliations could be “lived out” on the sports field. 8. Historians’ interests and comparative neglect (including the framing of “exceptionalism” in the American sporting landscape): As much of the writing of sports history in the USA has sought national narratives and to explain success of American sports, the historical record of these sports (and others) remains incomplete and, at times, inaccurate. ""
The sound of Rfes, drums, and bugles are recognized as a commonplace yet signiRcant part of the Civil War soundscape. Those who performed this music, however, have drawn less attention than the pieces they performed. This is unfortunate, as soldier-musicians, just like the pieces they played, served a unique and valuable role in the long and bloody conYict. Certainly the calls performed by Reld musicians were critical to the organization and performance of armies in camp and on the battleReld, but musicians were also assigned additional, often dangerous duties of equal importance. Here enlisted musicians were placed in situations that tested their courage, and many rose to the challenge, performing feats of gallantry that earned them this country's highest military honor–the Medal of Honor. This article identiRes the 28 army musicians who were awarded the Medal of Honor for actions that included assisting the wounded during battle, hazardous courier or reconnaissance duty, seizing or defending a position or Yag, leading an attack, and, in one special case, using music to turn the tide of battle. Musician Medal of Honor winners remind us that these men saw themselves as soldiers Rrst and musicians second, and that they, like their comrades in the ranks, were able to distinguish themselves by their gallantry in action even as they supplied the irreplaceable gift of music to the lonely camps and bloody battleRelds of the American Civil War. Eliza Atwood of Shelbyville, Tennessee, told her diary of the memorable sights and sounds she witnessed one evening in 1862: About nine o'clock hearing a noise on the pike I looked up & saw six horseman Yying along up to town. My Rrst impression was 'It is the Yankees.' Hardly had my surprise manifested before Rfty or more came scouring by went immediately to the court house, hoisted the 'Star & Stripes.' Then came about three hundred cavalry, and after them about six hundred infantry, the Rrst singing a song, the later part playing 'Yankee Doodle.' Union Yags and union cheers greeted them as they passed several houses. For Eliza and other Americans of the time, this mélange of martial sounds–particularly the clamor of Rfes, drums, and brass bands–formed a predictable yet unshakably affective backdrop to the American Civil War. Future chroniclers frequently reference the patriotic music that inspired both sides of the conYict, and historians have acknowledged the emotional and political power of musical icons such as " The Battle Hymn of the Republic " and " Dixie. " Those who performed this music, however, have drawn less attention than the pieces they performed. This is unfortunate, as soldier-musicians, just like the pieces they played, served a unique and valuable role in the bloody strife that engulfed the country in the 1860s. Enlisted musicians provided important service to the armies during the American Civil War. Field musicians, including buglers, Rfers, and drummers, were an integral part of the military machine. When in camp or garrison, Reld musicians partitioned the soldiers' daily routine, playing calls such as reveille to wake the soldiers and tattoo to send the men to their tents at night. There were also calls to summon the men to meals or to gather them for work duties. The drum corps (an ensemble made of a unit's Rfers and drummers) provided a cadence for marching troops and often performed for military rituals. When the troops were drilling or involved in combat, Reld musicians (particularly drummers and buglers) had additional calls that governed the men's movements or conveyed an ohcer's commands across the noisy battleReld. Enlisted bandsmen had fewer ohcial musical duties than Reld musicians. Bands were more a beneRcial amenity than a necessity, though the music they provided was cherished by the men in the ranks. These ensembles performed music for daily ceremonies such as guard mounting and dress parade; they played in celebration of the arrival of dignitaries and ohcers, and they would lead soldiers on parade,
Many a boy grows up wanting to play baseball, the national pastime. Many a girl does, too. Few, however, are aware that women have played baseball nearly as long as men; women have been playing ball since the mid-1800s. Reflective of American society, baseball originally did exclude women-as
Baseball is the national sport in Cuba, not because of American imperialism or colonialism, but because criollos, nineteenth-century island elites, made deliberate efforts to equate the game with a nascent Cuban nationalism. The game represented one of a set of civilized practices that criollos used to distinguish themselves from the Spanish. As a distinctive practice, baseball provided a symbolic discourse for an independent Cuba, evident not only in its physical expression on the field but in other forms of expression as well. One particularly prominent form of expression that linked baseball to Cuban nationalism was poetry. As members of elite social clubs, the playing of the game and recital of poetry were two forms of expressive performance that expressed the desires, values and beliefs of Havana’s social elite. This essay examines the relationship between the emergence of Cuban identity, the nascent nation and its expression in the playing of a game by examining a late-nineteenth-century poem that makes these passionate linkages.
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