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Teaching Americans to be International Citizens: World Music and Dance on Television's Omnibus

Published online by Cambridge University Press:  15 August 2019

ANNA E. NEKOLA
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Abstract

In the 1950s, Omnibus, a US television variety show sponsored by the Ford Foundation, provided US viewers with their first encounters with classical music and dance from Japan and India and folk traditions from Yugoslavia. Omnibus was an important part of a popularization of world music and dance as part of a greater arts and cultural literacy campaign in the 1950s, aimed at educating and entertaining the average American. As the US government sought to “promote world peace” through the multifaceted economic interventions of endeavors like the Marshall Plan, private organizations such as the Ford Foundation also spent massive sums in the US and abroad. This article contributes to a broader understanding of US postwar cultural diplomacy by examining how international musical guests on Omnibus helped develop an American self-concept that was culturally and politically internationalist.

Type
Research Article
Information
Journal of the Society for American Music , Volume 13 , Issue 3 , August 2019 , pp. 305 - 337
Copyright
Copyright © The Society for American Music 2019 

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References

References

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UCLA Film and Television Archive. University of California, Los Angeles. Los Angeles, CA.Google Scholar
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Creadick, Anna G. Perfectly Average: The Pursuit of Normality in Postwar America. Amherst: University of Massachusetts Press, 2010.Google Scholar
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Ernst, Earle. The Kabuki Theater. 1956; Honolulu: University Press of Hawai'i, 1974.Google Scholar
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Gienow-Hecht, Jessica C. E. Music and International History in the Twentieth Century. New York: Berghahn, 2015.Google Scholar
Giger, Andreas. “Bernstein's The Joy of Music as Aesthetic Credo.” Journal of the Society for American Music 3, no. 3 (August 2009): 311–39.Google Scholar
Gould, Jack. “Momentary Lapse: Omnibus Should Avoid Excessive Artiness.” New York Times, January 25, 1953.Google Scholar
Gould, Jack. “Television in Review: Omnibus, Staging Thurber Story, Falters in its Weekly Flirtation with Culture.” New York Times, January 13, 1954.Google Scholar
Guion, David M. “From Yankee Doodle Thro’ to Handel's Largo: Music at the World's Columbian Exposition.” College Music Symposium 24 (Spring 1984), 81–96.Google Scholar
Hall, Stuart. “Which Public, Whose Service?” In All Our Futures: The Changing Role and Purpose of the BBC, edited by Stephenson, Wilf. London: BFI, 1993.Google Scholar
Henderson, Amy. On the Air: Pioneers of American Broadcasting. Washington, D.C.: Smithsonian Institution Press, 1988.Google Scholar
Hodgson, Godfrey. The Myth of American Exceptionalism. New Haven, CT: Yale University Press, 2009.Google Scholar
Hollis, Tim, and Ehrbar, Greg. Mouse Tracks: The Story of Walt Disney Records. Jackson: University of Mississippi Press, 2006.Google Scholar
Hughes, William. James Agee, Omnibus, and “Mr. Lincoln.” Lanham, MD: Scarecrow Press, 2004.Google Scholar
“Indian Sitar Recital Given by Rani [sic] Shankar.” New York Times, December 7, 1956.Google Scholar
Jones, Thomas M. “Omnibus: A Unique Experiment in Television.” Printers’ Ink: The Weekly Magazine of Advertising, July 3, 1953.Google Scholar
Keeler, Amanda. “‘A Certain Stigma’ of Educational Radio: Judith Waller and ‘Public Service’ Broadcasting.” Critical Studies in Media Communication 34, no. 5 (2017): 495–508.Google Scholar
Kincaid, Zoë. Kabuki: The Popular Stage of Japan. New York: Benjamin Blom, 1966.Google Scholar
Kullaa, Rinna. Non-Alignment and Its Origins in Cold War Europe: Yugoslavia, Finland and the Soviet Challenge. New York: I. B. Tauris, 2012.Google Scholar
Lavezzoli, Peter. The Dawn of Indian Music in the West: Bhairavi. New York: Continuum, 2006.Google Scholar
Ledbetter, James. Made Possible By … : The Death of Public Broadcasting in the United States. New York: Verso, 1998.Google Scholar
Levine, Lawrence. Highbrow, Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, MA: Harvard University Press, 1988.Google Scholar
Macdonald, Dwight. The Ford Foundation: The Men and the Millions. New York: Reynal, 1956.Google Scholar
Mankoff, Robert, ed. The Complete Cartoons of the New Yorker. New York: Black Dog and Leventhal, 2004.Google Scholar
“Marais and Wife Offer Folk Songs.” New York Times, February 2, 1953.Google Scholar
Martin, John. “Ballet: Yugoslav Folk Art: ‘Tanec’ Dancers Appear at Carnegie Hall in Display of Tremendous Skill.” New York Times, January 28, 1956.Google Scholar
Martin, John. “The Dance: Folk Art: Group from Yugoslavia in Impressive Debut.” New York Times, February 5, 1956.Google Scholar
Mayer, Martin. About Television. New York: Harper & Row, 1972.Google Scholar
McCarthy, Anna. The Citizen Machine: Governing by Television in 1950s America. New York: The New Press, 2010.Google Scholar
McNeil, Alex. Total Television: A Comprehensive Guide to Programming from 1948 to 1980. New York: Penguin, 1980.Google Scholar
Menuhin, Yehudi. “The Music of India—An Ancient Art Form.” New York Times, April 17, 1955.Google Scholar
Mihara, Aya. “Was it Torture or Tune? First Japanese Music in the Western Theatre.” In Popular Music: Intercultural Interpretations, edited by Mitsui, Tōru, 134–42. Kanazawa, Japan: Kanazawa University, 1998.Google Scholar
Miller, Kiri. “Americanism Musically: Nation, Evolution, and Public Education at the Columbian Exposition, 1893.” 19 th-Century Music 27, no. 2 (2003): 137–55.Google Scholar
Miller, Terry E. “Overview: Asian American Musics.” In The United States and Canada, edited by Koskoff, Ellen, 948–58. Vol. 3 of The Garland Encyclopedia of World Music. New York: Garland, 2001.Google Scholar
Meyers, Cynthia B. “Inside a Broadcasting Blacklist: Kraft Television Theatre, 1951–1955.” The Journal of American History 105, no. 3 (December 2018): 589–616.Google Scholar
“Music Notes.” New York Times, February 27, 1954.Google Scholar
Nichols, Kevin Arthur. “Important Works for Drum Set as a Multiple Percussion Instrument. ” DMA diss., University of Iowa, 2012.Google Scholar
Nilsen, Sarah. Projecting America, 1958: Film and Cultural Diplomacy at the Brussels World's Fair. Jefferson, NC: McFarland, 2011.Google Scholar
Okamoto, Shiro. The Man Who Saved Kabuki: Faubion Bowers and Theatre Censorship in Occupied Japan. Translated by Leiter, Samuel L.. Honolulu: University of Hawai'i Press, 2001.Google Scholar
Parmar, Inderjeet. Foundations of the American Century: The Ford, Carnegie, and Rockefeller Foundations in the Rise of American Power. New York: Columbia University Press, 2012.Google Scholar
Parmenter, Ross. “The World of Music.” New York Times, December 16, 1956.Google Scholar
Public Broadcasting Service. Omnibus: Television's Golden Age. Washington D.C.: New River Media, 1999. Videocassette, 55 min.Google Scholar
Robinson, Harlow. The Last Impresario: The Life, Times, and Legacy of Sol Hurok. New York: Viking, 1994.Google Scholar
Rose, Brian. Televising the Performing Arts: Interviews with Merrill Brockway, Kirk Browning, and Roger Englander. Westport, CT: Greenwood Press, 1992.Google Scholar
Rubin, Joan. The Making of Middlebrow Culture. Chapel Hill: University of North Carolina Press, 1992.Google Scholar
Saudek, Robert. “Experiment in Video Programming,” New York Times, November 9, 1952.Google Scholar
Saunders, Frances Stonor. The Cultural Cold War: The CIA and the World of Arts and Letters. New York: New Press, 1999.Google Scholar
Scannell, Paddy. “Public Service Broadcasting: The History of a Concept.” In Understanding Television, edited by Goodwin, Andrew and Whannel, Garry, 11–29. New York: Routledge, 1989.Google Scholar
Seldes, Barry. Leonard Bernstein: The Political Life of an American Musician. Berkeley: University of California Press, 2009.Google Scholar
Shanley, J. P. “Comments on ‘Omnibus’ with Views from Man Behind Production.” New York Times, April 10, 1955.Google Scholar
Simon, Ron. “Omnibus,” Encyclopedia of Television, edited by Newcomb, Horace, 1688–89. New York: Fitzroy Dearborn, 2004.Google Scholar
Sing Out Corporation. The Collected Reprints from Sing Out! The Folk Song Magazine. Vols. 1–6, 1959–1964. Bethlehem, PA: Sing Out Corporation, 1990.Google Scholar
“Sitar Jam Session: East and West Have a Musical Fest of Jazz and ‘Ragas.'” Life, February 4, 1957.Google Scholar
Smock, David R. “Ford Foundation Support for Middle Eastern and African Studies in the US.” Middle East Studies Association Bulletin 10, no. 1 (1976): 20–25.Google Scholar
“South African ‘Country.'” Time, February 2, 1953.Google Scholar
Spector, Bert. “The Weavers: A Case History in Show Business Blacklisting.” Journal of American Culture 5 (Fall 1982): 113–20.Google Scholar
Spigel, Lynn. Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press, 1992.Google Scholar
Sy Uy, Michael. “Performing Catfish Row in the Soviet Union: The Everyman Opera Company and Porgy and Bess, 1955–56.” Journal of the Society for American Music 11, no. 4 (2017): 470–501.Google Scholar
Taubman, Howard. “Concert: ‘Rag’ Played on the Sarod.” New York Times, April 20, 1955.Google Scholar
Tota, Antonio Pedro. The Seduction of Brazil: The Americanization of Brazil during World War II. Translated by Ellis, Lorna B.. Austin: University of Texas Press, 2009.Google Scholar
VanCour, Shawn. “Spectacular Sound: Classical Music Programming and the Problem of ‘Visual Interest’ in Early US Television.” In Music and the Broadcast Experience: Performance, Production, and Audiences, edited by Baade, Christina and Deaville, James A., 91–108. Oxford: Oxford University Press, 2016.Google Scholar
Wetmore, Kevin J. Jr. “1954: Selling Kabuki to the West.” Asian Theater Journal 26, no. 1 (2009): 78–93.Google Scholar
Whitney, Christina Cain. “A Nation's Journey from Awareness to Denial: Philip Wylie's Generation of Vipers and Norman Vincent Peale's The Power of Positive Thinking.” Americana: E-Journal of American Studies in Hungary 6, no. 2 (Fall 2010).Google Scholar
Widdemer, Margaret. “Message and the Middlebrow.” Saturday Review of Literature, February 18, 1933.Google Scholar
Motion Picture, Broadcasting, and Recorded Sound Division. Library of Congress. Washington, D.C.Google Scholar
UCLA Film and Television Archive. University of California, Los Angeles. Los Angeles, CA.Google Scholar
Ford Foundation Archives. The Rockefeller Archive Center. Sleepy Hollow, NY.Google Scholar
Academy of Television Arts and Sciences. “History of the Television Academy.” The Emmys. August 12, 2013. http://www.emmys.com/academy/about/history.Google Scholar
American Business Consultants. Red Channels: The Report of Communist Influence in Radio and Television. New York: American Business Consultants, 1950.Google Scholar
Asai, Susan M. “Japanese Music.” In The United States and Canada, edited by Koskoff, Ellen, 967–74. Vol. 3 of The Garland Encyclopedia of World Music. New York: Garland, 2001.Google Scholar
Belmonte, Laura A. Selling the American Way: US Propaganda and the Cold War. Philadelphia: University of Pennsylvania Press, 2013.Google Scholar
Bowers, Faubion. Kabuki. New York: Program, 1960.Google Scholar
Brandon, James R. “Kabuki: Changes and Prospects: An International Symposium.” In A Kabuki Reader: History and Performance, edited by Leiter, Samuel L., 343–58. Armonk, NY: M. E. Sharpe, 2002.Google Scholar
Brooks, Carolyn N. “National Educational Television Center.” In The Encyclopedia of Television, edited by Newcomb, Horace. New York: Routledge, 1997.Google Scholar
Born, Georgina, and Hesmondhalgh, David. “Introduction: On Difference, Representation, and Appropriation in Music.” In Western Music and Its Others: Difference, Representation, and Appropriation in Music, edited by Hesmondhalgh, Born and, 1–58. Berkeley: University of California Press, 2000.Google Scholar
Canaday, Margot. The Straight State: Sexuality and Citizenship in Twentieth-Century America. Princeton, NJ: Princeton University Press, 2009.Google Scholar
Cater, Evan. “Artist Biography: Marais and Miranda.” Allmusic.com (2016). http://www.allmusic.com/artist/marais-miranda-mn0001435717.Google Scholar
Chapin, Schuyler. “Leonard Bernstein: The Television Journey.” Television Quarterly 25, no. 2 (1991): 13–19.Google Scholar
Chase, Sam. “Television-Radio: Television-Radio Reviews—Omnibus,” Billboard, February 7, 1953.Google Scholar
“Chicago's First World Music Festival Dates Back to 1893.” WBEZ 91.5 Chicago, September 18, 2009. https://www.wbez.org/shows/eight-fortyeight/chicagos-first-world-music-festival-dates-back-to-1893/d7b0b82d-427d-4bf4-bee4-1dbfe2d99f35.Google Scholar
Chybowski, Julia. “Developing American Taste: A Cultural History of the Early Twentieth-Century Music Appreciation Movement.” PhD diss., University of Wisconsin–Madison, 2008.Google Scholar
Cohen, Ronald D. Rainbow Quest: The Folk Music Revival and American Society, 1940–1970. Amherst: University of Massachusetts Press, 2002.Google Scholar
Cohen, Ronald D., and Donaldson, Rachel Clare. Roots of the Revival: American and British Folk Music in the 1950s. Urbana: University of Illinois Press, 2014.Google Scholar
Creadick, Anna G. Perfectly Average: The Pursuit of Normality in Postwar America. Amherst: University of Massachusetts Press, 2010.Google Scholar
Davenport, Lisa E. Jazz Diplomacy: Promoting America in the Cold War Era. Jackson: University Press of Mississippi, 2009.Google Scholar
De Forest, Lee. Television Today and Tomorrow. New York: The Dial Press, 1942.Google Scholar
Durgin, Cyrus. “Singers Marais and Miranda Want a Name for Their Style.” Boston Globe, February 25, 1954.Google Scholar
Engelman, Ralph Public Radio and Television in America: A Political History. Thousand Oaks, CA: Sage, 1996.Google Scholar
Ernst, Earle. The Kabuki Theater. 1956; Honolulu: University Press of Hawai'i, 1974.Google Scholar
“Executive Order 10208 of January 25, 1951, Providing for the Administration of the Yugoslav Emergency Relief Assistance Act of 1950.” Executive Orders of Harry S. Truman, 1945–1953. Harry S. Truman Presidential Library & Museum. https://www.trumanlibrary.org/executiveorders/index.php?pid=356.Google Scholar
Ford Foundation. Teaching by Television: A Report from the Ford Foundation and the Fund for the Advancement of Education. New York: Ford Foundation, 1961.Google Scholar
Fosler-Lussier, Danielle. Music in America's Cold War Diplomacy. Berkeley: University of California Press, 2015.Google Scholar
Fousek, John. To Lead the Free World: American Nationalism & The Cultural Roots of the Cold War. Chapel Hill: University of North Carolina Press, 2000.Google Scholar
Gienow-Hecht, Jessica C. E. Music and International History in the Twentieth Century. New York: Berghahn, 2015.Google Scholar
Giger, Andreas. “Bernstein's The Joy of Music as Aesthetic Credo.” Journal of the Society for American Music 3, no. 3 (August 2009): 311–39.Google Scholar
Gould, Jack. “Momentary Lapse: Omnibus Should Avoid Excessive Artiness.” New York Times, January 25, 1953.Google Scholar
Gould, Jack. “Television in Review: Omnibus, Staging Thurber Story, Falters in its Weekly Flirtation with Culture.” New York Times, January 13, 1954.Google Scholar
Guion, David M. “From Yankee Doodle Thro’ to Handel's Largo: Music at the World's Columbian Exposition.” College Music Symposium 24 (Spring 1984), 81–96.Google Scholar
Hall, Stuart. “Which Public, Whose Service?” In All Our Futures: The Changing Role and Purpose of the BBC, edited by Stephenson, Wilf. London: BFI, 1993.Google Scholar
Henderson, Amy. On the Air: Pioneers of American Broadcasting. Washington, D.C.: Smithsonian Institution Press, 1988.Google Scholar
Hodgson, Godfrey. The Myth of American Exceptionalism. New Haven, CT: Yale University Press, 2009.Google Scholar
Hollis, Tim, and Ehrbar, Greg. Mouse Tracks: The Story of Walt Disney Records. Jackson: University of Mississippi Press, 2006.Google Scholar
Hughes, William. James Agee, Omnibus, and “Mr. Lincoln.” Lanham, MD: Scarecrow Press, 2004.Google Scholar
“Indian Sitar Recital Given by Rani [sic] Shankar.” New York Times, December 7, 1956.Google Scholar
Jones, Thomas M. “Omnibus: A Unique Experiment in Television.” Printers’ Ink: The Weekly Magazine of Advertising, July 3, 1953.Google Scholar
Keeler, Amanda. “‘A Certain Stigma’ of Educational Radio: Judith Waller and ‘Public Service’ Broadcasting.” Critical Studies in Media Communication 34, no. 5 (2017): 495–508.Google Scholar
Kincaid, Zoë. Kabuki: The Popular Stage of Japan. New York: Benjamin Blom, 1966.Google Scholar
Kullaa, Rinna. Non-Alignment and Its Origins in Cold War Europe: Yugoslavia, Finland and the Soviet Challenge. New York: I. B. Tauris, 2012.Google Scholar
Lavezzoli, Peter. The Dawn of Indian Music in the West: Bhairavi. New York: Continuum, 2006.Google Scholar
Ledbetter, James. Made Possible By … : The Death of Public Broadcasting in the United States. New York: Verso, 1998.Google Scholar
Levine, Lawrence. Highbrow, Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, MA: Harvard University Press, 1988.Google Scholar
Macdonald, Dwight. The Ford Foundation: The Men and the Millions. New York: Reynal, 1956.Google Scholar
Mankoff, Robert, ed. The Complete Cartoons of the New Yorker. New York: Black Dog and Leventhal, 2004.Google Scholar
“Marais and Wife Offer Folk Songs.” New York Times, February 2, 1953.Google Scholar
Martin, John. “Ballet: Yugoslav Folk Art: ‘Tanec’ Dancers Appear at Carnegie Hall in Display of Tremendous Skill.” New York Times, January 28, 1956.Google Scholar
Martin, John. “The Dance: Folk Art: Group from Yugoslavia in Impressive Debut.” New York Times, February 5, 1956.Google Scholar
Mayer, Martin. About Television. New York: Harper & Row, 1972.Google Scholar
McCarthy, Anna. The Citizen Machine: Governing by Television in 1950s America. New York: The New Press, 2010.Google Scholar
McNeil, Alex. Total Television: A Comprehensive Guide to Programming from 1948 to 1980. New York: Penguin, 1980.Google Scholar
Menuhin, Yehudi. “The Music of India—An Ancient Art Form.” New York Times, April 17, 1955.Google Scholar
Mihara, Aya. “Was it Torture or Tune? First Japanese Music in the Western Theatre.” In Popular Music: Intercultural Interpretations, edited by Mitsui, Tōru, 134–42. Kanazawa, Japan: Kanazawa University, 1998.Google Scholar
Miller, Kiri. “Americanism Musically: Nation, Evolution, and Public Education at the Columbian Exposition, 1893.” 19 th-Century Music 27, no. 2 (2003): 137–55.Google Scholar
Miller, Terry E. “Overview: Asian American Musics.” In The United States and Canada, edited by Koskoff, Ellen, 948–58. Vol. 3 of The Garland Encyclopedia of World Music. New York: Garland, 2001.Google Scholar
Meyers, Cynthia B. “Inside a Broadcasting Blacklist: Kraft Television Theatre, 1951–1955.” The Journal of American History 105, no. 3 (December 2018): 589–616.Google Scholar
“Music Notes.” New York Times, February 27, 1954.Google Scholar
Nichols, Kevin Arthur. “Important Works for Drum Set as a Multiple Percussion Instrument. ” DMA diss., University of Iowa, 2012.Google Scholar
Nilsen, Sarah. Projecting America, 1958: Film and Cultural Diplomacy at the Brussels World's Fair. Jefferson, NC: McFarland, 2011.Google Scholar
Okamoto, Shiro. The Man Who Saved Kabuki: Faubion Bowers and Theatre Censorship in Occupied Japan. Translated by Leiter, Samuel L.. Honolulu: University of Hawai'i Press, 2001.Google Scholar
Parmar, Inderjeet. Foundations of the American Century: The Ford, Carnegie, and Rockefeller Foundations in the Rise of American Power. New York: Columbia University Press, 2012.Google Scholar
Parmenter, Ross. “The World of Music.” New York Times, December 16, 1956.Google Scholar
Public Broadcasting Service. Omnibus: Television's Golden Age. Washington D.C.: New River Media, 1999. Videocassette, 55 min.Google Scholar
Robinson, Harlow. The Last Impresario: The Life, Times, and Legacy of Sol Hurok. New York: Viking, 1994.Google Scholar
Rose, Brian. Televising the Performing Arts: Interviews with Merrill Brockway, Kirk Browning, and Roger Englander. Westport, CT: Greenwood Press, 1992.Google Scholar
Rubin, Joan. The Making of Middlebrow Culture. Chapel Hill: University of North Carolina Press, 1992.Google Scholar
Saudek, Robert. “Experiment in Video Programming,” New York Times, November 9, 1952.Google Scholar
Saunders, Frances Stonor. The Cultural Cold War: The CIA and the World of Arts and Letters. New York: New Press, 1999.Google Scholar
Scannell, Paddy. “Public Service Broadcasting: The History of a Concept.” In Understanding Television, edited by Goodwin, Andrew and Whannel, Garry, 11–29. New York: Routledge, 1989.Google Scholar
Seldes, Barry. Leonard Bernstein: The Political Life of an American Musician. Berkeley: University of California Press, 2009.Google Scholar
Shanley, J. P. “Comments on ‘Omnibus’ with Views from Man Behind Production.” New York Times, April 10, 1955.Google Scholar
Simon, Ron. “Omnibus,” Encyclopedia of Television, edited by Newcomb, Horace, 1688–89. New York: Fitzroy Dearborn, 2004.Google Scholar
Sing Out Corporation. The Collected Reprints from Sing Out! The Folk Song Magazine. Vols. 1–6, 1959–1964. Bethlehem, PA: Sing Out Corporation, 1990.Google Scholar
“Sitar Jam Session: East and West Have a Musical Fest of Jazz and ‘Ragas.'” Life, February 4, 1957.Google Scholar
Smock, David R. “Ford Foundation Support for Middle Eastern and African Studies in the US.” Middle East Studies Association Bulletin 10, no. 1 (1976): 20–25.Google Scholar
“South African ‘Country.'” Time, February 2, 1953.Google Scholar
Spector, Bert. “The Weavers: A Case History in Show Business Blacklisting.” Journal of American Culture 5 (Fall 1982): 113–20.Google Scholar
Spigel, Lynn. Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press, 1992.Google Scholar
Sy Uy, Michael. “Performing Catfish Row in the Soviet Union: The Everyman Opera Company and Porgy and Bess, 1955–56.” Journal of the Society for American Music 11, no. 4 (2017): 470–501.Google Scholar
Taubman, Howard. “Concert: ‘Rag’ Played on the Sarod.” New York Times, April 20, 1955.Google Scholar
Tota, Antonio Pedro. The Seduction of Brazil: The Americanization of Brazil during World War II. Translated by Ellis, Lorna B.. Austin: University of Texas Press, 2009.Google Scholar
VanCour, Shawn. “Spectacular Sound: Classical Music Programming and the Problem of ‘Visual Interest’ in Early US Television.” In Music and the Broadcast Experience: Performance, Production, and Audiences, edited by Baade, Christina and Deaville, James A., 91–108. Oxford: Oxford University Press, 2016.Google Scholar
Wetmore, Kevin J. Jr. “1954: Selling Kabuki to the West.” Asian Theater Journal 26, no. 1 (2009): 78–93.Google Scholar
Whitney, Christina Cain. “A Nation's Journey from Awareness to Denial: Philip Wylie's Generation of Vipers and Norman Vincent Peale's The Power of Positive Thinking.” Americana: E-Journal of American Studies in Hungary 6, no. 2 (Fall 2010).Google Scholar
Widdemer, Margaret. “Message and the Middlebrow.” Saturday Review of Literature, February 18, 1933.Google Scholar