By Ruth Prigozy
Going My manner: Bing Crosby and American Culture is the 1st severe examine of the singer/actor's artwork and of his centrality to the heritage of twentieth-century renowned song, movie, and the leisure undefined. the quantity makes use of a variety of scholarly and cultural views to discover Crosby's distinctive and lasting achievements. additionally it is tributes and recollections from Bing's widow Kathryn, his grandson Steve, his checklist manufacturer Ken Barnes, and certainly one of his most well-liked successors, Michael Feinstein. different members comprise Gary Giddins, the writer of a broadly acclaimed contemporary biography of the singer, and may Friedwald, the said professional at the improvement of the "great American songbook."
as well as learning Bing Crosby's suggestions and memorable achievements as a recording artist, Going My Way explores his accomplishments as an actor, businessman, and radio and tv performer. Going My Way makes a powerful case not just for Crosby's significant expertise and inimitable kind, but additionally for his elevating the standard of renowned making a song to the extent of art.
participants: Ken Barnes, Samuel L. Chell, Kathryn Crosby, Steven C. Crosby, John Mark Dempsey, Bernard F. Dick, Deborah Dolan, Michael Feinstein, Will Friedwald, Jeanne Fuchs, Gary Giddins, Peter Hammar, M. Thomas Inge, Malcolm MacFarlane, Eric Michael Mazur, Martin McQuade, Elaine Anderson Phillips, Ruth Prigozy, Walter Raubicheck, Linda A. Robinson, Stephen C. Shafer, David White, F.W. Wiggins
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Additional info for Going My Way: Bing Crosby and American Culture
He was extremely cool, relaxed at all times, so laid-back that the very tempo of his existence appeared to shape his singsong speech patterns, not to mention his highly personal patois, which combined fancy words with an inventive slang. He was constantly photographed at the track or in informal family settings. His clothing was aggressively casual: loud shirts with the tails hanging out, mismatched socks, a pipe, and 6 GARY GIDDINS always a hat, a constant prop designed to mask his unwillingness to paste on the “scalp doily,” the “divot,” the hated hairpiece required of every leading man who lacked real locks.
Some have found the story sentimental or have assumed that supernatural intervention was involved in Bogardus’s transformation. In fact, the line is more complex and more Butlerian, right along the lines of the cool hour passage. The point of the cool hour passage is that even when one has good moral reasons for acting to benefit others, people generally will not act on such motives until they are seen to be in accord with self-interest or at least not contrary to it. Father O’Malley knows he must appeal to self-interest as well as morality.
Historian Robert Handy describes what he identifies as the loss of a Protestant monopoly on American public culture beginning at the end of the nineteenth century and increasingly obvious in the early decades of 19 the twentieth. Sociologists such as Robert Wuthnow, Wade Clark Roof, and Phillip Hammond have described the transformations in the organization, contours, and practice of American religion, each focusing on the middle decades of the twentieth 20 century. All have suggested that, over the course of the twentieth century, religion for all Americans, Catholic or otherwise, was transforming.