Music and Radio in Internment Camps by

Introducion

lillianrh — 2024-01-23 19:37:13 UTC

Before WWII, many exciting developments in sound production had been made. Electrical recordings were being used to cut shellac records, and the development of vinyl records, with their higher quality and ability to hold about 7 times more audio information, were right around the corner. Radio was experiencing a golden age, with hundreds of popular shows and numerous advancements in sound quality. The excitement around music did not go away when WWII started, and certainly not in internment camps. Music and radio provided hope and comfort to those in internment camps.

Music

lillianrh — 2024-01-23 19:38:22 UTC

Music was a source of joy and escapism for people in internment camps. In Farewell to Manzanar, the author states, “After a while Papa sang the first line of the Japanese national anthem, Kimi Ga Yo…Almost invisible in the stove’s small glow, tears began running down his face” (Houston, 80). This shows a moment of catharsis for Jeanne’s father as he laments his country and his circumstances. The words to the Japanese national anthem were written during the Heian period (as early as 794), so the song is very ingrained in Japanese culture. This is a way for Jeanne’s father to take back his cultural pride. This power of music was not limited to Japanese music or even Japanese people. The big band jazz leader once said, “We didn’t come here to set any fashions in music. We merely came to bring a much-needed touch of home to some lads who have been here a couple of years.” This shows that musicians were aware of the power of music during the war. Furthermore, his message of bringing a touch of home could easily apply to all who heard his music. The people in Japanese internment camps certainly did. In Farewell to Manzanar, the author states, “He [Billy] didn’t sing “Don’t Fence Me In” out of protest, as if trying quietly to mock the authorities. It just happened to be a hit song one year, and they all wanted to be an up-to-date American swing band. They would blast it out into recreation barracks full of bobby-soxed, jitter-bugging couples[.]” These couples that were dancing were obviously joyful as dancing is a joyful act. Furthermore, Billy didn’t want to play a song because of his internment; he just wanted to play music. This shows how music brought joy to those in internment camps.

Works cited

lillianrh — 2024-01-23 19:39:02 UTC

Houston, Jeanne Wakatsuki, and James D. Houston. Farewell to Manzanar: A True Story of Japanese American Experience during and after the World War II Internment. Turtleback Books, 2017.

“Japanese National Anthem.” World Population Review, https://worldpopulationreview.com/countries/japan/

anthem. Accessed 25 Jan. 2024.

Martin, Kali. “Major Glenn Miller: The Loss of an Icon.” The National WWII Museum, 19 Dec. 2019, https://www.nationalww2museum.org/war/articles/

major glenn-miller-loss-icon. Accessed 25 Jan. 2024.

“The Development of Radio.” American Experience, 18 Sept. 2019, https://www.pbs.org/wgbh/americanexperience/

features/rescue-development-radio/. Accessed 26 Jan. 2024.

“The History of 78 RPM Recordings.” Yale University Library, https://web.library.yale.edu/cataloging/music

/historyof78rpms. Accessed 26 Jan. 2024.

Radio

juliate2 — 2024-01-26 21:13:30 UTC

Radio entertainment was fundamental to the American household from 1920 to 1950 because it provided families with refuge from the chaos of World War II and the Great Depression. In 1930, "12 million American households owned a radio, and by 1939, this total had expanded to more than 28 million" ("Radio in the 1930s"). The drastic increase in ownership of radios is reflective of their value in the American home. Despite the Great Depression drastically decreasing the disposable income for most families, buying radios was a priority. This was because programs featured, "soap operas such as Ma Perkins[,]... the adventure series Little Orphan Annie[,]... the Shadow, a crime drama[, and]... the War of the Worlds" ("Golden Age of American Radio"). The variety of formats provided something for every member of the family to enjoy. Additionally, the accessibility of content for all ages provided an escape from dark times. Jeanne even remarked that,"familiar radio programs [filled] up the late afternoons and evenings: Jack Armstrong, Captain Midnight, The Whistler, I Love a Mystery" (Houston 140). Houston's remarks show that programs were successful at reaching their target audiences. All of the programs that Houston listed were children's programs. Another example of a program that reached its target audience is Amos 'n' Andy. It became, "the highest-rated comedy in radio history, attracting more than 40 million listeners" ("Original 'Amos 'n' Andy' Debuts on Chicago Radio). This statement shows that there was a preference towards lighthearted programs. The show's popularity also furthers the ideas that radio was a common pastime because programs were places of respite during World War II and the Great Depression. With the widespread usage of radio and the broadcasting of content for all ages, it comes as no surprise that Jeanne had many fond memories of radio programs from her childhood.

Conclusion

juliate2 — 2024-01-29 00:47:57 UTC

Radio entertainment provided people in Japanese internment camps with regular entertainment for all ages, which was important while they were struggling to adapt to life in Manzanar. Separately, music provided both a hobby for people in camp and a way to express their culture. That is why the radio played a pivotal role in internment camps; it provided people with an escape from the hard times associated with World War II and internment camps.

juliate2 — 2024-01-29 02:42:02 UTC

Works Cited

juliate2 — 2024-01-29 22:45:24 UTC