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American modernism
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American philosophical movement
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American modernism, much like the modernism movement in general, is a trend of philosophical thought arising from the widespread changes in culture and society in the age of modernity. American modernism is an artistic and cultural movement in the United States beginning at the turn of the 20th century, with a core period between World War I and World War II. Like its European counterpart, American modernism stemmed from a rejection of Enlightenment thinking, seeking to better represent reality in a new, more industrialized world.[1]
Contents
[hide]
1 History
2 Jazz
2.1 Jazz – music of integration
2.2 Jazz as American
2.3 Jazz as modern
3 Visual arts
3.1 American modernist painting
3.2 Main schools and movements of American modernism
3.2.1 Modernist painting
3.2.2 Modernist photography
4 Feminism, gender, and sexuality
4.1 Development of feminism
4.2 Gender and sexuality
5 American icons in the European mind
5.1 Definition of "American icon"
5.2 New York City
5.2.1 Charlie Chaplin
5.3 The Model-T Ford
6 Everyday life and culture
6.1 Fashion
7 American modernist literature
7.1 The new criticism in America
8 Architecture and space
9 See also
10 References
10.1 Arts references
10.2 American icons in the European mind references
10.3 Feminism, gender, and sexuality references
10.4 Jazz references
10.5 Everyday life and culture references
11 External links
History[edit]
Characteristically, modernist art has a tendency to abstraction, is innovative, aesthetic, futuristic and self-referential. It includes visual art, literature, music, film, design, architecture as well as life style. It reacts against historicism, artistic conventions and institutionalization of art. Art was not only to be dealt with in academies, theaters or concert halls, but to be included in everyday life and accessible for everybody. Furthermore, cultural institutions concentrated on fine art and scholars paid little attention to the revolutionary styles of modernism. Economic and technological progress in the U.S. during the Roaring Twenties gave rise to widespread utopianism, which influenced some modernist artists, while others were skeptical of the embrace of technology. The victory in World War I confirmed the status of the U.S. as an international player and gave the people self-confidence and a feeling of security. In this context, American modernism marked the beginning of American art as distinct and autonomous from European taste, by breaking artistic conventions that had been shaped after European traditions until then.
American modernism benefited from the diversity of immigrant cultures. Artists were inspired by African, Caribbean, Asian and European folk cultures and embedded these exotic styles in their works.
The Modernist American movement was a reflection of American life in the 20th century. In the quickly industrializing world and hastened pace of life, it was easy for the individual to be swallowed up by the vastness of things, left wandering, devoid of purpose. Social boundaries in race, class, sex, wealth and religion were being challenged. As the social structure was challenged by new incoming views, the bounds of traditional standards and social structure dissolved, and a loss of identity was what remained, translating eventually into isolation, alienation and an overall feeling of separateness from any kind of "whole". The unity of a war-rallied country was dying, along with it the illusion of the pleasantries it sold to its soldiers and people. The world was left violent, vulgar and spiritually empty.
The middle class worker fell into a distinctly unnoticeable position, a cog much too small to hope to find recognition in a much greater machine. Citizens were overcome with their own futility. Youths' dreams shattered with failure and a disillusioning disappointment in recognition of limit and loss. The lives of the disillusioned and outcasts became more focal. Ability to define self through hard work and resourcefulness, to create your own vision of yourself without the help of traditional means, became prized. Some authors endorsed this, while others, such as F. Scott Fitzgerald, challenged how alluring but destructively false the values of privilege can be.
Modernist America had to find common ground in a world no longer unified in belief. The unity found lay in the common ground of the shared consciousness within all human experience. The importance of the individual was emphasized; the truly limited nature of the human experience formed a bond across all bridges of race, class, sex, wealth or religion. Society, in this way, found shared meaning, even in disarray.
Some see modernism in the tradition of 19th century aestheticism and the "art for art's sake" movement. Clement Greenberg argues that modernist art excludes "anything outside itself". Others see modernist art, for example in blues and jazz music, as a medium for emotions and moods, and many works dealt with contemporary issues, like feminism and city life. Some artists and theoreticians even added a political dimension to American modernism.
American modernist design and architecture enabled people to lead a modern life. Work and family life changed radically and rapidly due to the economic upswing during the 1920s. In the U.S., the car became popular and affordable for many, leisure time and entertainment gained importance and the job market opened up for women. In order to make life more efficient, designers and architects aimed at the simplification of housework.
The Great Depression at the end of the '20s and during the '30s disillusioned people about the economic stability of the country and eroded utopianist thinking. The outbreak and the terrors of World War II caused further changes in mentality. The Post-war period that followed was termed Late Modernism. The Postmodernist era was generally considered characteristic of the art of the late 20th century beginning in the 1980s.
Jazz[edit]
For a wider, more formal account, please see Jazz and Jazz Age.
Early in the 20th century, jazz evolved from the blues tradition, but also incorporated many other musical and cultural elements. In New Orleans, often considered the birthplace of jazz, musicians benefited from the influx of Spanish and French colonial influences. In this city, a unique ethnic cultural mix and looser racial prohibitions allowed African Americans more influence than in other regions of the South. The Spanish–American War brought Northern soldiers to the region with their bands. The resulting music adopted sounds from the new brass instruments.[2] During the Great Migration, jazz spread from New Orleans to New York, Chicago, and other cities, incorporating new sounds along the way. Harlem, New York City, became the new center for the jazz age.[3]
Jazz – music of integration[edit]
Jazz music, as a central element of American culture, has its roots in Black slave culture. The music combined elements from African call and response patterns into its instrumentation and riffs.[4] In its beginnings jazz was looked critically upon by parts of the white population, who thought that jazz and ragtime rhythms were "savage crash and bang,"[5] and denigrated the genre as a product "not of innovators, but of incompetents."[6] Its expressive and pulsating style initially served racial stereotypes in the public mind and was widely encountered with skeptical rejection. Despite this phenomenon of animosity towards a rising Black cultural significance, American writer Lawrence W. Levine interprets the role of jazz as a catalyst of a shifting national consciousness:
Culturally, we remained to a much larger extent than we have yet recognized, a colonized people attempting to define itself in the shadow of the former imperial power. Jazz was an expression of that other side of ourselves that strove to recognize the positive aspects of our newness and our heterogeneity; that learned to be comfortable with the fact that a significant part of our heritage derived from Africa and other non-European sources; and that recognized in the various syncretized cultures that became so characteristic of the United States an embarrassing weakness but a dynamic source of strength.[7]
After all, it was in the nature of jazz to strive for cultural convergence between blacks and whites; according to saxophonist Sonny Rollins, "Jazz has always been a music of integration."[8] During the 1920s and 1930s jazz gained considerably in popularity and aroused increasing interest in young whites who were attracted by the artistic, personal as well as cultural freedom of expression this new musical form had to offer. Well-known white musicians such as Benny Goodman, Gene Krupa, Milton Mezzrow, Muggsy Spanier or Joe Sullivan were inspired by Afro-American icons like Louis Armstrong. The acceptance of jazz soon spread across the Atlantic and, by the mid-20th century, made it international. Today, jazz music is regarded as an integral and vibrant part of American culture, the unique native music of America, a worldwide representative of Afro-American culture.
Jazz as American[edit]
A compilation article appearing in The New York Times in 1923 proclaimed jazz, "...a contribution of America to the arts. It is recognized the world over as part of a musical folk lore of this country: it is as thoroughly and typically American as the Monroe Doctrine or the Fourth of July, or baseball."[9]
Jazz's American-ness begins with its roots. Jazz was a product of African Americans, a cultural group distinct to America. Though the early blues sang distinctly of the sorrows of a displaced people, jazz was something else. The African American labor class who gave birth to jazz were not subject to the education of other white musicians; black minstrels were able to escape the pressure to "Europeanize" their art. Culture (with a capital C) essentially demanded that Americans prefer, commend, and reiterate all things European. Free from these constraints, jazz progressed in an uncharted manner.[10] In 1925, Irving Berlin called jazz "American folk music" and cited influences ranging from "old Southern Songs" and the "Negro spirituals", to a "tinge of the Russian and Italian folk songs", but Berlin concluded that it was "typically American above all."[11] Like the nation where it was created, jazz blended separate ethnic and cultural influences into a new and different product, combining elements from Black identity with other immigrant influences. It incorporated the sounds of the South and the modern, and adapted elements from urban skylines.[12] Jazz was distinctly American in that it blended the character of different peoples, but still let the individual have his chance to express himself in an improvisational solo,[13] and therefore asserted the "rugged individualism"[14] that already characterized the nation. Furthermore, jazz began to break down the barrier between performer and audience. It "democratized" culture, making it accessible to the common person.[15]
Jazz as modern[edit]
Jazz is distinctly modern in sound and manner. According to Lawrence Levine, "Jazz was, or seemed to be the product of a new age ... raucous, discordant ... accessible, spontaneous ... openly an interactive, participatory music."[15] Daniel Gregory Mason charged that jazz "is so perfectly adapted to robots that the one could be deduced from the other. Jazz is thus the exact musical reflection of modernist industrial capitalism", and jazz has also been likened to the sound of riveting.[16] Irving Berlin called jazz the "music of the machine age."[17] Players drew influences from everyday street talk in Harlem, as well as from French Impressionist paintings.[18] The improvised nature begs the player to dismantle and examine pre-existing structure within the music.[19] As tribute to the modernity of jazz, one only needs to examine the various media that drew influences from the music. The musical Shuffle Along is one of the earliest and most successful jazz adaptation to the stage,[20] jazz ballets appeared in New York City's Metropolitan Theatre, Langston Hughes and Sterling Brown drew poetry from the Jazz music they experienced,[21] and jazz music colored the paintings of Aaron Douglas, Miguel Covarrubias, and many others.
Visual arts[edit]
American modernist painting[edit]
Main article: Western painting
Alfred Henry Maurer, An Arrangement, 1901
Morgan Russell, Cosmic Synchromy (1913–14), Synchromism. Oil on canvas, 41.28 cm × 33.34 cm., Munson-Williams-Proctor Arts Institute.
Marsden Hartley, Portrait of a German Officer, 1914
Oscar Bluemner, Form and Light, Motif in West New Jersey (1914)
Andrew Dasburg, Improvisation, c. 1915–1916
Stanton MacDonald-Wright 1920, Airplane Synchromy in Yellow-Orange, Synchromism
Charles Demuth, Spring, 1921
Charles Demuth, Figure 5 in Gold, 1928
Patrick Henry Bruce, Painting, oil on canvas, 233⁄4 × 363⁄8" (60.3 × 92.4 cm)c. 1929–1930
There is no single date for the beginning of the modern era in America, as dozens of painters were active at the beginning of the 20th century. It was the time when the first cubist landscapes, still-life and portraits appeared; bright colors entered the palettes of painters, and the first non-objective paintings were displayed in the galleries.
The modernist movement during the formative years was also becoming popular in New York City by 1913 at the popular Manhattan studio gallery of Wilhelmina Weber Furlong (1878–1962) and through the work of the Whitney Studio Cub in 1918.[22][23] According to Davidson, the beginning of American modernist painting can be dated to the 1910s. The early part of the period lasted 25 years and ended around 1935, when modern art was referred to as, what Greenberg called the avant-garde.
The 1913 Armory Show in New York City displayed the contemporary work of European artists, as well as Americans. The Impressionist, Fauvist and Cubist paintings startled many American viewers who were accustomed to more conventional art. However, inspired by what they saw, many American artists were influenced by the radical and new ideas.
The early 20th century was marked by the exploration of different techniques and ways of artistic expressiveness. Many American artists like Wilhelmina Weber, Man Ray, Patrick Henry Bruce, Gerald Murphy and others went to Europe, notably Paris, to make art. The formation of various artistic assemblies led to the multiplicity of meaning in the visual arts. The Ashcan School gathered around realism (Robert Henri or George Luks); the Stieglitz circle glorified abstract visions of New York City (Max Weber, Abraham Walkowitz); color painters evolved in direction of the colorful, abstract "synchromies" (Stanton Macdonald-Wright and Morgan Russell), whereas precisionism visualized the industrialized landscape of America in the form of sharp and dynamic geometrization (Joseph Stella, Charles Sheeler, Morton Livingston Schamberg and Charles Demuth). Eventually artists like Charles Burchfield, Marsden Hartley, Stuart Davis, Arthur Dove, Georgia O'Keeffe who was thought of as the mother of American Modernism, John Marin, Arthur Beecher Carles, Alfred Henry Maurer, Andrew Dasburg, James Daugherty, John Covert, Henrietta Shore, William Zorach, Marguerite Thompson (Zorach), Manierre Dawson, Arnold Friedman and Oscar Bluemner ushered in the era of Modernism to the New York School.
Stuart Davis, Hot Still-Scape for Six Colors – 7th Avenue Style, 1940
The shift of focus and multiplicity of subjects in the visual arts is also a hallmark of American modernist art. Thus, for example, the group The Eight brought the focus on the modern city, and placed emphasis on the diversity of different classes of citizens. Two of the most significant representatives of The Eight, Robert Henri and John Sloan made paintings about social diversity, often taking as a main subject the slum dwellers of industrialized cities. The late 1920s and the 1930s belonged (among many others) to two movements in American painting, Regionalism and Social Realism. The regionalists focused on the colorfulness of the American landscape and the complexities of country life, whereas the social realists went into the subjects of the Great Depression, poverty, and social injustice. The social realists protested against the government and the establishment that appeared hypocritical, biased, and indifferent to the matters of human inequalities. Abstraction, landscape and music were popular modernist themes during the first half of the 20th century. Artists like Charles Demuth who created his masterpiece I Saw The Figure Five in Gold in 1928, Morton Schamberg (1881–1918) and Charles Sheeler were closely related to the Precisionist movement as well. Sheeler typically painted cityscapes and industrial architecture as exemplified by his painting Amoskeag Canal 1948. Jazz and music were improvisationally represented by Stuart Davis, as exemplified by Hot Still-Scape for Six Colors – 7th Avenue Style, from 1940.
Modernism bridged the gap between the art and a socially diverse audience in the U.S. A growing number of museums and galleries aimed at bringing modernity to the general public. Despite initial resistance to the celebration of progress, technology, and urban life, the visual arts contributed enormously to the self-consciousness and awareness of the American people. New modernist painting shined a light on the emotional and psychic states of the audience, which was fundamental to the formation of an American identity.
Numerous directions of American "modernism" did not result in one coherent style, but evoked the desire for experiments and challenges. It proved that modern art goes beyond fixed principles.
Main schools and movements of American modernism[edit]
the Stieglitz group
the Arensberg circle
color painters
Precisionism
the Independents
the Philadelphia school
New York independents
Chicago and westward
Modernist painting[edit]
Main articles: Modernism, History of painting, and Western painting
Georgia O'Keeffe, known as the "Mother of American modernism", has been a major figure in American Modernism since the 1920s. She has received widespread recognition, for challenging the boundaries of modern American artistic style. She is chiefly known for paintings of flowers, rocks, shells, animal bones and landscapes in which she synthesized abstraction and representation. Ram's Head White Hollyhock and Little Hills, from 1935 is a well known painting by O'Keeffe.
Georgia O'Keeffe, Ram's Head White Hollyhock and Little Hills, 1935
Arthur Dove, Me and the Moon 1937
Arthur Dove used a wide range of media, sometimes in unconventional combinations to produce his abstractions and his abstract landscapes. Me and the Moon from 1937 is a good example of an Arthur Dove abstract landscape and has been referred to as one of the culminating works of his career.[24] Dove did a series of experimental collage works in the 1920s. He also experimented with techniques, combining paints like hand mixed oil or tempera over a wax emulsion.
African-American painter Aaron Douglas (1899–1979) is one of the best-known and most influential African-American modernist painters. His works contributed strongly to the development of an aesthetic movement that is closely related to distinct features of African-American heritage and culture. Douglas influenced African-American visual arts especially during the Harlem Renaissance.
One of Douglas' most popular paintings is The Crucifixion. It was published in James Weldon Johnson's God's Trombones in 1927. The crucifixion scene that is depicted in the painting shows several elements that constitute Douglas' art: clear-cut delineation, change of shadows and light, stylized human bodies and geometric figures as concentric circles in contrast to linear forms. The painting's theme resembles not only the biblical scene but can also be seen as an allusion to African-American religious tradition: the oversized, dark Jesus is bearing his cross, his eyes directed to heaven from which light is cast down onto his followers. Stylized Roman soldiers are flanking the scene with their pointed spears. As a result, the observer is reminded for instance of the African-American gospel tradition but also of a history of suppression. Beauford Delaney, Charles Alston, Jacob Lawrence and Romare Bearden were also important African-American Modernist painters that inspired generations of artists that followed them.
Modernist photography[edit]
Rrose Sélavy (Marcel Duchamp). 1921. Photograph by Man Ray. Art Direction by Marcel Duchamp.
See also: Photo-Secession
At the beginning of American modernism, photography still struggled to be recognized as a form of art. The photographer Alfred Stieglitz described it as: "Artists who saw my earlier photographs began to tell me that they envied me; that they felt my photographs were superior to their paintings, but that, unfortunately, photography was not an art. I could not understand why the artists should envy me for my work, yet, in the same breath, decry it because it was machine-made." (Stieglitz:8). In 1902, Stieglitz founded the Photo-Secession group with members such as Edward Steichen, Gertrude Käsebier and Clarence Hudson White, which had the objective of raising the standard and increasing the awareness of art photography. At that point, their main style was pictorialist, which was known for modifying photos through soft focus, special filters or exotic printing processes, to imitate the style of paintings and etchings of that time. For means of publication, Stieglitz, as the driving force of the movement, started the magazine Camera Work, in which he published artists he felt represented the movement. He also ran three galleries one after another, namely "291" (1905–1917), "The Intimate Gallery" (1925–1929) and "An American Place" (1929–1947). Especially 291 served as a meeting point for artists and writers and was the first to exhibit the early modernist art works of European artists, such as Henri Matisse, Auguste Rodin, Henri Rousseau, Paul Cézanne, and Pablo Picasso, in the United States. A further link to the European avant-garde was established by Man Ray. Born in America and inspired by the work he saw in Stieglitz’ galleries, Ray emigrated to Paris in 1921 and together with artists of the European Dada and Surrealist movements created new photographic techniques such as rayographs (placing objects directly on photosensitive paper).
In the early 1920s, photographers moved towards what they called straight photography. In contrast to the pictorialist style, they now rejected any kind of manipulation in the photographic process (e.g., soft lens, special developing or printing methods) and tried to use the advantages of the camera as a unique medium for capturing reality. Their motifs were supposed to look as objective as possible. Turning the focus away from classic portraiture and the pictorialist style, the photographers started using their pictures as means for representing the harsh realities of everyday life, but at the same time tried to search for the beauty in the detail or the overall aesthetical structure. Machines and factory work, sky scrapers and technical innovations became prominent motifs. In 1932 some younger photographers (e.g. Ansel Adams, Imogen Cunningham, Willard Van Dyke, Edward Weston) started Group f/64 based on the ideals of straight photography, which became the most progressive association of its time.
Feminism, gender, and sexuality[edit]
Development of feminism[edit]
Starting from the early 19th century, some women used the doctrines of the ideal femaleness to avoid the isolation of the domestic sphere. By the 1830s, women were openly challenging the women's sphere and demanding greater political, economic and social rights. They formed women's clubs and benevolent societies all over the U.S. Male domination of the public arena was no longer within acceptable limits to many of these middle-class activist women. Beginning with the Seneca Falls Convention in 1848, American feminists held state and national conventions until the early 20th century. Some spokeswomen of the feminist movement connected the feminist cause with free love and the sexual revolution, which were the taboo issues of the Victorian Age. Therefore, feminists in both Britain and the United States concentrated on political and legal issues, the vote in particular, and other important women's issues regarding the domestic roles of women and the organization of domestic life in general. Eventually, after a long and hard struggle that included massive, sometimes violent protests, the imprisonment of many women, and even some deaths, the battle for women's suffrage was won. The suffrage law was passed in the United States in 1920 for women who were householders or wives of householders and in 1928 for all adult women. (African-American women were not included. They only received the right to vote in the Civil Rights Movement of the 1960s.) The National Organization for Women (NOW) was founded in 1966 by a group of feminists. The largest women's rights group in the U.S. NOW aimed to end sexual discrimination, especially in the workplace, by means of legislative lobbying, litigation, and public demonstrations. The following years of the late 20th century witnessed a great expansion of women's rights in all areas of the modern society. Modernist artists had an ambivalent attitude towards feminism: on the one hand they opted for equal treatment of men and women with regard to law, franchise, and professions; on the other hand they still had the perceived female inadequacies in terms of biology, culture, and transcendence in mind. As the radical feminist Emma Goldman proclaimed, "true liberation begins neither at the polls nor in courts [but rather] in a woman's soul" (qtd. in Lyon 223).
Gender and sexuality[edit]
The roles of gender and sexuality in American modernism were elaborated through studies of national identity and citizenship, racial identity and race politics, queer identity and aesthetics, magazine culture, visual culture, market economies, and historical accounts of 20th century political modernity. Immense work done by scholars of feminism, gender, and sexuality helped to restructure the field of American modernist scholarship. Women writers have become the subjects of extensive literary study. Gay and lesbian communities have been revalued as patterns of modern aesthetic experimentation, and sexual identity and gender formation were interpreted in a new way.
The turn of the 20th century cultural life saw a shift to a dichotomy of mass culture versus high culture, with the former generally thought feminine, and high culture thought male-oriented. Formerly denounced popular fiction now served the feminist purpose. "It formed the bedrock for defenses of a new phase of free love and the concomitant promotion of birth control." (Lyon 225)
The upcoming interest in popular psychology, especially Freudian theories, encouraged this new approach to gender roles and sexuality in the arts. Sexual difference was portrayed by women themselves with the help of the media available to them. This manifested itself for example in Mina Loy's "sex-talk" which is "stunning both for the focus it places on a woman's sexual disappointment and for the balance it strikes between clinical frankness and poetic indirection" (Lyon 225). It also entailed the breaking up of traditional gender roles. They were no longer exclusively male or female but there was also an acknowledgment of homosexuality, feminine men, and masculine women. Thus the concept of sexuality became multi-layered, as in Djuna Barnes’ novel Nightwood (1936) in which she obliterates all established ideas of gender and sexuality. This early debate dealing with these issues cleared the way for contemporary approaches to gender, for instance that of Judith Butler in her book Gender Trouble (1990).
American icons in the European mind[edit]
Definition of "American icon"[edit]
This section focuses on people and objects that represent American modernism. Generally speaking, these famous human beings and well-known objects are called icons since, apart from radiating an aura of uniqueness as well as originality (cf. Wagner 2006: 121.), they sparked public interest in this period and have had a lasting influence on future generations (cf. Czech 2006: 27–28). Thus, they serve as focal points for collective memory or identity at present (cf. ibid.). Even some people in Europe still recognize them as symbols of American modernism.
The medial/public depiction lays the foundation stone for the creation of icons. In this way, a certain image of a biological person or a real object (signifier) is produced and becomes the signified (cf. Volkmann 2006: 94–96). The emanated configuration of signs (cf. ibid. 96) helps turn the signified into an icon, if it captures the atmosphere of a particular period/country and is acknowledged by contemporary societies as well as future generations.
New York City[edit]
To read more about New York City, please see New York City
New York City is one of the most iconic cities in the United States and one of the major global cities of the world due to its important business, financial, trading and cultural organizations, such as Wall Street, United Nations, the Metropolitan Museum of Arts and Broadway theaters with their (in that time innovative) electric lighting. It is regarded as the birthplace of many American cultural movements, including the Harlem Renaissance in literature and abstract expressionism in visual art.
New York City is iconic not only for Americans, but also for many Europeans as the city of melting pot where many ethnic groups live, often in specific neighborhoods, such as Chinatown, Little Italy. In American modernism, New York became the first stop for immigrants seeking a better life. The city's population boomed, 5 boroughs were formed, the New York City Subway was opened and became a symbol of progress and innovation. The city saw construction of skyscrapers in the skyline.
"Take New York City skyline, for example – that ragged man-made Sierra at the eastern edge of the continent. Clearly, in the minds of immigrants and returning travelers, in the iconography of the admen who use it as a backdrop for the bourbon and airplane luggage they are selling, the eyes of poets and of military strategies, it is one of the prime symbols" (Kouwenhoven 1998: 124). Iconic is especially the Manhattan skyline and its structural properties. It is regarded as a symbol of American progress and competition in height, creativity of structure, advancement and efficiency. It is considered an icon of "architectural individualism" (cf. ibid. 125). The typical gridiron pattern of the city's streets is an icon of simplicity (cf. ibid 127), while vertical steel construction of many stories is an icon of progress and innovation.
Charlie Chaplin[edit]
Charlie Chaplin is regarded as a film icon. Born in London, and while not a U.S. citizen, he had a strong sense of belonging to American society. Chaplin became famous after starring in his first film, Making a Living, (1914). As a 10-year-old boy "he worked as a mime on the British vaudeville circuit".[25] The fact that he was once very poor inspired his Tramp's trademark. He created a distorted version of a formal dinner suit (as a symbol of an adult man personified) combined with the attitude of an innocent child.
He was the first and the last person who was in charge of every aspect of making his films. He started his own film studio United Artists; was in charge of directing, writing, editing, producing and casting the films in which he played. It is said that he changed the film industry into an art form in the first decades of the 20th century. It was his personality, and his genius with "expressive grace", "endless inventiveness" and creativity that made him an American icon[26] He preferred making silent films, (he made more than 75 silent films) setting the acting and the plot in the center of the action. His best known films are The Great Dictator (1940), Monsieur Verdoux (1947), Limelight (1952), The Kid (1921), The Gold Rush (1925), The Circus (1928), City Lights (1931) and Modern Times (1936)[27]
He was so highly recognizable that a movement of "Chaplinitis" was formed by 1920. There were Chaplin songs, dances, comic books, dolls, and cocktails. Poems were written about him and his pantomime. The Beat Generation (of writers) made him one of its icons. In the '80s IBM took the Tramp for the logo in their advertisements of personal computers[27]
"Every few weeks, outside the movie theater in virtually any American town in the late 1910s, stood the life-size cardboard figure of a small tramp—outfitted in tattered, baggy pants, a cutaway coat and vest, impossibly large, worn-out shoes and a battered derby hat—bearing the inscription I AM HERE TODAY". "The endearing figure of his Little Tramp was instantly recognizable around the globe and brought laughter to millions. Still is. Still does"[26]
During the McCarthy era he was attacked and condemned by some for the increasingly politicized messages of his films; and he was accused of "anti-American activities" and of being a suspected communist supporter. He maintained his British citizenship, and after a trip to England in 1952 and for many years he wasn't allowed to re-enter the U.S. Finally in 1972 he triumphantly returned and was awarded an honorary Oscar. He is perceived today as an American film icon due to the charm and brilliance of his films.
The Model-T Ford[edit]
Icons are usually capable of conveying, on the one hand, awareness of tradition and, on the other hand, the notion of progress (cf. www.ikonothek.de). At this point, it is worth mentioning some concepts of modernism in the U.S., namely the sense of forward-looking contemporaneity (Wilk 2006: 2) the be-lief in the power and potential of the machine and industrial technology (ibid. 3) and the emphasis on process (Kouwenhoven 1998: 133–136). All these aspects can be associated with the 1913 Model-T Ford. By using assembly-line systems, Henry Ford and his men applied continuous-process principles (Strasser 1989: 6) during its production. What should be mentioned, in this context, is the fact many unskilled immigrants were employed by the expanded Ford factory in order to meet the increasing demand for this material icon of American modernism on the emerging mass market. In consequence, the foreign workers’ contribution also underscored the myth of The American Melting Pot (see also: Meyer 1998).
Today, the Model-T Ford continues to represent the idea of process and mobility. Therefore, although modernism aimed at rejecting any form of tradition and history, this icon, interestingly, transmits, up to a certain degree, a sense of tradition.
Everyday life and culture[edit]
The modernist movement caused vast changes in societies in which it took place. With the introduction of industrial developments, the American people started to enjoy the outcome of the new modernist era. Everyday life and culture are the areas that reflected the social change in the habits of the society. Developments that occurred with modernism influenced American people life standards and gave way to new style of living.
Widespread use of electricity and mass production of technological house appliances like refrigerator brought about the change of eating habits of American people. Use of frozen food became more common. After the war the U.S. government passed new laws concerning food. So some new foods came right out of the ration kits to the stores. "Foods formerly manufactured solely for army use were put on the civilian market", Frozen and dried food products also became popular after the war. National Research Corporation of Boston introduced frozen orange juice concentrate called "tang." The company became Minute Maid, and, by 1950, a quarter of Florida's orange crop was going into concentrates. The frozen product quickly overtook fresh squeezed orange juice in most American homes. Full frozen meals were not far behind. In the 1950s, a Nebraska company Swanson's brought out their TV Dinners to great success.
These changes in eating habits caused huge changes in appliances, transportation and farming. Since people began buying the new products, new refrigerators were quickly developed with bigger freezer sections Shock resistant refrigerator units for trucks[28] had to be invented and used by the military before frozen products could distributed and marketed around the country and around the world. These developments forced farmers to change what they grew and how they grew their products to meet new consumer demands.
In the following are there a few of the foods that were first produced and sold in the 1940s.
– Mrs. Paul's frozen fish sticks
– Cheerios (first sold as Cheeri Oats, the first ready-to-eat oat cereal) and Kellogg's Raisin Bran
– Minute Rice
– Reddi-Whip whipped cream
– Nestles Quick powdered drink mix
– Packaged cake mixes
– M&Ms Chocolate Candies, Peppermint Patty, Junior Mints, Almond Joy, Whoppers malted milk balls, Jolly Rancher Candies
– Deep Dish Pizza (Pizzeria Uno, Chicago)
With the increasing number of automobiles, American people started to get out of their homes and had dinner outside. However, during the war people drove their cars as little as possible. Gas and tires were limited by the government. Car production ceased as factories had to manufacture tanks, Jeeps and other military vehicles. After the war families piled into cars again, as a consequence, new highways were built. The number of drive-ins increased immediately. Drive-ins became part of the social life in America by the end of 1940.
Modernism showed its effects nearly in all areas. One of the immense developments was to supply the rural areas with the electricity. The REA, Rural Electrification Administration, began in the 1930s,[29] however, it took time to build power lines scores of miles into rural areas. Throughout the 1940s, the REA continued to build the electricity lines.
Electricity changed the lives of farm families, from the moment they got up early in the morning, through meals, chores, and work until they went to bed at night. Electricity brought power for lights to work, read, and sew at night; power for appliances like refrigerators and freezers to preserve food; power for small kitchen devices such as mixers and blenders; and power for other labor saving devices such as electric stoves, irons and clothes washers. Electricity brought changes that just made life safer and better – like colored lights instead of dangerous candles on Christmas trees, refrigerators to keep food fresh and electric fans to bring relief on a hot summer day.
In 1930, only 13 percent of farms had electricity.
By the early 1940s, only 33 percent of farms had electricity.
Locally in York, Nebraska, the Perennial Public Power District had strung nearly 250 miles of electric line to more than 500 customers by September 1945.
By 1950 nearly all of Nebraska farms were "hooked up", and electricity replaced kerosene lanterns in homes and barns.
There were some crucial steps taken in the communication and media devices like the invention of radio and television.
Radio was the nation's first mass medium, linking the country and ending the isolation of rural residents. Radio was so important that the 1930 Census asked if the household had a radio. Radio provided free entertainment (after you bought the radio) and connected country people to world events. Walter Winchell and Lowell Thomas were popular news commentators on the radio.
Families laughed at comedians Jack Benny, Fred Allen, George Burns and Gracie Allen, Amos and Andy, and Fibber McGee and Molly.
Radio featured daytime soap operas.
In the evening, people listened to the Lone Ranger, the Green Hornet, The Shadow, and Jack Armstrong.
Singers Bing Crosby and the Mills Brothers, as well as Guy Lombardo's orchestra and the Grand Ole Opry were popular.
Families listened to baseball, cheering for stars like Lou Gehrig and Joe DiMaggio. Nearly 40 million people listened to the horserace between Seabiscuit and War Admiral in Maryland.
In news coverage, the German airship Hindenburg caught fire in 1937 as it landed in New Jersey. Thousands of people across the country heard Herb Morrison describe the terrifying scene on live radio, saying "Oh the humanity!"
The first practical TV sets were demonstrated and sold to the public at the 1939 World's Fair in New York. The sets were very expensive and New York City had the only broadcast station. When World War II started, all commercial production of television equipment was banned. Production of the cathode ray tubes that produced the pictures was redirected to radar and other high tech war uses. After the war television was something few had heard of. That changed quickly. In 1945, a poll asked Americans, "Do you know what television is?" Most didn't. But four years later, most Americans had heard of television and wanted one! According to one survey in 1950, before they got a TV, people listened to radio an average of nearly five hours a day. Within nine months after they bought a TV they listened to radio, but only for two hours a day. They watched TV for five hours a day. The 1940s TVs didn't look like today's televisions. Most had picture screens between 10 and 15 inches wide diagonally, inside large, heavy cabinets. And, of course, color broadcasts and sets didn't arrive until much later, in 1954.
Fashion[edit]
For a further, more formal account, please see Fashion
Referring to fashion, usually one would think of dressing styles or costumes. Of course, dressing style is a very important category of the word "fashion". On the other hand, "fashion" has more meanings and could be explained and found in many other fields, such as architecture, body type, dance and music, and even forms of speech, etc.
1. Costumes
In the early 1920s, the ready-to-wear fashion began to spread America. More women earned their own wages and didn’t want to spend time on fittings. Fashion as the status symbol was no more important as class distinctions were becoming blurred. People especially women called for inexpensive fashion. In the aspect of mass production of contemporary style clothing for women, America went ahead of other countries. Several designers of this fashion including Jane Derby made a stage pose.
Women: By 1921 the longer skirt, which was usually long and uneven at the bottom was out of date. The short skirt became popular by 1925. No bosom, no waistline, and hair nearly hidden under a cloche hat. The manufacturing of cosmetics also began from this decade. Powder, lipstick, rouge, eyebrow pencil, eye shadow, colored nails, women had them all. Moreover, pearls came in fashion as well.
Men: In this period, clothing for men was more conservative. Trousers widened to 24 inches at the bottoms. Knickers, increased the width and length, were called plus fours. In summer, white linen was popular, while in the winter an American coat—the raccoon coat—was in fashion. The slouch hat, made of felt, could be rolled up and packed into a suitcase. These were very popular with college men.
2. Furniture There's no pure American modern style in the designing world.[citation needed] The American modern artists inherited the style characterized by simplicity of form, absence of decorative ornament, and focused on functional concerns from their precedents. At the same time, the American designers blended the wild style of Parisian painting, as well as the features of modern architecture in their works, such as Art Deco. Moreover, the designers also placed much emphasis on the materials, especially those invented in the modern age.
American modernist literature[edit]
American modernist literature was a dominant trend in American literature between World War I and World War II. The modernist era highlighted innovation in the form and language of poetry and prose, as well as addressing numerous contemporary topics, such as race relations, gender and the human condition. Many American modernists became expatriated in Europe during this time, often becoming stalwarts in the European movement, as was the case for T. S. Eliot, Ezra Pound and Gertrude Stein. These writers were often known as The Lost Generation.[30]
As a reaction to this trend, many American authors and poets began a trend of 'nativism', seeking to represent the modern American experience in America. Notable contributors to this trend include William Carlos Williams, Wallace Stevens and Marianne Moore. These poets were often critical of the works of expatriate writers such as Eliot and Pound, as evidenced by poems like Spring and All.
Influenced by the first World War, many American modernist writers explored the psychological wounds and spiritual scars of the war experience. The economic crisis in America at the beginning of the 1930s also left a mark on literature, such as John Steinbeck's The Grapes of Wrath. A related issue is the loss of self and need for self-definition, as workers faded into the background of city life, unnoticed cogs within a machine yearning for self-definition. American modernists echoed the mid-19th-century focus on the attempt to "build a self"—a theme illustrated by Fitzgerald's The Great Gatsby. Madness and its manifestations seems to be another favorite modernist theme, as seen in Eugene O'Neill's The Emperor Jones, Hemingway's The Battler and Faulkner's That Evening Sun. Nevertheless, all these negative aspects led to new hopes and aspirations, and to the search for a new beginning, not only for the contemporary individuals, but also for the fictional characters in American modernist literature.
Modernist literature also allowed for the development of regional trends within American literature, including the Harlem Renaissance and southern modernism. The Harlem Renaissance marked a rebirth for African American arts, centralized in the Harlem area of New York. Writers and thinkers such as Alain Locke, Claude McKay, Langston Hughes and Zora Neale Hurston were among the key figures of the movement. The movement was connected to a vogue for African American culture, as seen too in the popularity of Jazz music, with many writers financed by white patrons.[31] Many writers of this movement used modernist techniques to represent African American life, for instance incorporating the rhythms of Jazz music and dialects of African American culture into poetry and prose.[32] Southern modernism similarly represented the life and unique experiences of the South using modernist aesthetics, with celebrated figures including William Faulkner and Tennessee Williams.[33]
The new criticism in America[edit]
From the 1930s to the 1960s, New Criticism became a critical force in the United States. It was the most powerful perspective in American literary criticism. The representatives were John Crowe Ransom, Allen Tate, Cleanth Brooks, Robert Penn Warren. "The influential critical methods these poet-professors developed emphasized the sharpening of close reading skills. New Criticism privileged the evaluation of poetry as the justification of literary scholarship". Brooks and Warren's Understanding Poetry (1938) became one of the most influential college poetry textbooks of the 1930s and was revised and reprinted well into the 1970s. (Morrisson: 29).
New criticism showed itself in such works as Eliot's and Yeats’ poems. "Poetry that best fit the aesthetic criteria of the New Critics was emphasized in important classroom teaching anthologies" (Morrisson: 29). T. S. Eliot redefined tradition in his essay "Tradition and the Individual Talent". He formulated such critical concepts as "objective correlative", and rethought the literary canon in his elevation of Jacobean drama and metaphysical poetry. His work had a fundamental influence on New Criticism in America.
Architecture and space[edit]
The United States played a great role in the modernism movement concerning new advanced building and construction technologies. Among construction innovations there are such materials as iron, steel and reinforced concrete. Brooklyn Bridge by John and Washington Roebling (1869–1883) (for more details see John Roebling/Washington Roebling)
Louis Henry Sullivan headed the so-called Chicago school of architecture, which was distinct by its development of functional design along with modern materials. Sullivan's follower Frank Lloyd Wright absorbed from his 'lieber Master' (dear master) the German romantic tradition of organic architecture. He developed a new and original approach to residential design before World War I, which became known as the "prairie style." It combined open planning principles with horizontal emphasis, asymmetrical facade elevations, and broad, sheltering roofs. Robie House in Chicago (1909) and the Guggenheim Museum in New York City (1946–59) are two of his seminal works.
In his works Wright moved closer and closer to an earth-bound sense of natural form, using rough-hewn stone and timber and aiming always in his houses to achieve an effect of intimate and protective shelter.
Foreign-born architects as Richard Neutra, Rudolf Schindler, and William Lescaze during the 1920s played a great role in development of American architecture performing later a style, which got the name of international style and was reflected in the design of corporate office buildings after World War II. Such buildings as Skidmore, Owings and Merrill's Lever House (1952) and Ludwig Mies van der Rohe's Seagram Building (1956–58) in New York City are the examples of this new style. When such famous Europeans as Walter Gropius and Ludwig Mies van der Rohe immigrated to the United States, many American architectural schools went under the influence of the traditions of the Bauhaus in Germany.
See also[edit]
American Modern
American realism
Lost Generation
Mid-Century modern
Visual arts of the United States
References[edit]
Arts references[edit]
Leja, M. (1996): "Modernism's Subjects in the United States". In: Modernism's subjects in the United States Art Journal – Find Articles.[34]
Davidson, A. (1981): Early American Modernist Painting 1930–1935. New York: Harper And Row Publishers.
McDonnell, P. (1998): Concerning Expressionism: American Modernism and the German Avant-Garde. New York: Hollis Taggart Galleries.
Morrison, M.: Nationalism and the Modern American Canon in Reader Revisiting Modernism: Gender and Ethnicity. Bielefeld.
Stieglitz, A. (1997): Camera Work. The Complete Illustrations 1903–1917. Cologne: Benedikt Taschen Verlag.
Tylor, J. (1979): The Fine Arts in America. Chicago & London: The University of Chicago Press.
Wilk, Ch (ed.). (2006): Modernism: Designing a New World 1914–1939. London: Victoria and Albert Museum.
The Biography of Wilhelmina Weber Furlong: The Treasured Collection of Golden Heart Farm by Clint B. Weber, ISBN 978-0-9851601-0-4
American icons in the European mind references[edit]
Czech, A. (2006): "Bildkanon im Spannungsverhältnis zwischen individuellem und kollektivem Bildgedächtnis." In: J. Kirschenmann & E. Wagner: Bilder, die die Welt bedeuten: "Ikonen" des Bildgedächtnisses und ihre Vermittlung über Datenbanken. München: kopaed, pp. 27–28.
Douglas, A. (1998): "Charlie Chaplin". In: New York Times (June 6),[35]
Ikonothek. URL: <www.ikonothek.de> (accessed February 2, 2007).
Kouwenhoven, J.A. (1998): "What's American about America." In: R. O'Modly (ed.) The Jazz Cadence of American Culture. NY: Columbia UP, pp. 123–136.
Meyer, S. (1998): "Efforts at Americanization in the Industrial Workplace, 1914–1921." In: J. Gjerde: Major Problems in American Immigration and Ethnic History. Boston: Houghton Mifflin Company.
Strasser, S. (1989): Satisfaction Guaranteed: The Making of the American Mass Market. New York: Pantheon Books.
Volkmann, L. (2006): "Ikonen des neuen Weiblichen: Madonna und Britney Spears" In: J. Kirschenmann & E. Wagner: Bilder, die die Welt bedeuten: "Ikonen" des Bildgedächtnisses und ihre Vermittlung über Datenbanken. München: kopaed pp. 94–96.
Wagner, E. (2006): "Blue Jeans – eine andere 'Ikone'". In: ibid, pp. 121.
Wilk, Ch. (2006): "What was Modernism? Introduction". In: Ch. Wilk (ed.): Modernism: Designing a New World 1914–1939. London: V&A Publications, pp. 2–11.
Feminism, gender, and sexuality references[edit]
Lyon, J.: (2000): "Gender and Sexuality." In: Walter B. Kalaidjian (ed.) The Cambridge Companion to American Modernism. Cambridge: Cambridge UP, pp. 221–241.
O'Kelly, Ch. G. (1980): Women and Men in Society. New York: Van. Nostrand.
Stieglitz, A. (1997): Alfred Stieglitz. Cologne: Könemann.
Jazz references[edit]
Jump up ^ Singal, Daniel Joseph. “Towards a Definition of American Modernism”. American Quarterly 39.1 (1987): 7–26. Web...
Jump up ^ Miller, John. Blues and jazz in American Culture. Bielefeld University, Bielefeld (Germany). 2 February 2007
Jump up ^ Salamon, Frank A. "Expatriate Jazz Musicians in Europe." Ed. William Boelhower, et al. Sites of Ethnicity: Europe and the Americas. Heidelberg: Universitätsverlag Winter GmbH, 2004. 258.
Jump up ^ Huggins, Nathan Irvin. Harlem Renaissance. Oxford: Oxford University Press, 1971. 229.
Jump up ^ Levine, Lawrence W. "Jazz and American Culture." Ed. Robert O'Meally. The Jazz Cadence of American Culture. New York: Columbia University Press, 1998.
Jump up ^ Levine 437, NY Times, 1924
Jump up ^ Levine 434
Jump up ^ Levine 440
Jump up ^ "Say Jazz Will Live." The New York Times. 23 December 1923: Page XX4
Jump up ^ Huggins 60
Jump up ^ "Berlin Calls Jazz American Folk Music." The New York Times. 10 January 1925. pg 2.
Jump up ^ Kouwenhoven, John A. "What's 'American' About America." Ed. Robert O'Meally. The Jazz Cadence of American Culture. New York: Columbia University Press, 1998. 128.
Jump up ^ Kouwenhoven 128
Jump up ^ Zelinsky, Wilbur. The Cultural Geography of the United States. Trenton: Prentice Hall. 1973.
^ Jump up to: a b Levine 433
Jump up ^ Levine 437
Jump up ^ Whiteman, Paul. "In Defense of Jazz and its Makers." The New York Times. 13 March 1927. pg. SM4.
Jump up ^ Salamon 256
Jump up ^ Kouwenhoven 127–130
Jump up ^ Huggins 291
Jump up ^ Huggins 223
Jump up ^ The Biography of Wilhelmina Weber Furlong: The Treasured Collection of Golden Heart Farm by Clint B. Weber, ISBN 0-9851601-0-1, ISBN 978-0-9851601-0-4
Jump up ^ Professor Emeritus James K. Kettlewell: Harvard, Skidmore College, Curator The Hyde Collection. Foreword to The Treasured Collection of Golden Heart Farm: ISBN 0-9851601-0-1, ISBN 978-0-9851601-0-4
Jump up ^ Shapiro, Emily D. (8 January 2012). "2012 Essay Prize: Jennifer Stettler Parsons". si.edu. Retrieved 10 April 2018.
Jump up ^ (Douglas 1998)
^ Jump up to: a b (ibid.).
^ Jump up to: a b (cf. ibid.).
Jump up ^ "A Revolution in Transportation for Agriculture during the 1940s". Livinghistoryfarm.org. Retrieved 2011-11-17.
Jump up ^ "Bringing Electricity in Rural America". Livinghistoryfarm.org. Retrieved 2011-11-17.
Jump up ^ Ward, David, and David C. Ward. “Lighting Out for the Territories: American Expatriates, Paris, and Modernism”. The Sewanee Review 105.3 (1997): 423–427. Web...
Jump up ^ "The Rise of Consumer Culture". c250.columbia.edu. Retrieved 10 April 2018.
Jump up ^ "89.01.05: The Impact of the Music of the Harlem Renaissance on Society". www.yale.edu. Retrieved 10 April 2018.
Jump up ^ Duck, Leigh Anne (10 April 2018). "The Nation's Region: Southern Modernism, Segregation, and U.S. Nationalism". University of Georgia Press. Retrieved 10 April 2018 – via Google Books.
Jump up ^ findarticles.com[dead link]
Jump up ^ time.com Archived February 5, 2007, at the Wayback Machine.
Everyday life and culture references[edit]
REA Changes Rural Homes
Georgia O'Keeffe Museum
Having Fun–Radio
Troy, N. J. (2003): Couture Culture: A Study in Modern Art and Fashion. MIT Press: Cambridge, Massachusetts
American Antiquities Journal
Freeman, J.: The Making of the Modern Kitchen: A Cultural History
External links[edit]
American Paintings in The Metropolitan Museum of Art, a fully digitized 3 volume exhibition catalog
American modernist painters discussed in Conversations from Penn State interview
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Olympia (1863)
A Sunday Afternoon on the Island of La Grande Jatte (1886)
Mont Sainte-Victoir (1887)
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Ubu Roi (1896)
Verklärte Nacht (1899)
Le bonheur de vivre (1905-1906)
Les Demoiselles d'Avignon (1907)
The Dance (1909-10)
The Firebird (1910)
Afternoon of a Faun (1912)
Nude Descending a Staircase, No. 2 (1912)
The Rite of Spring (1913)
In Search of Lost Time (1913–1927)
The Metamorphosis (1915)
Black Square (1915)
Fountain (1917)
The Cabinet of Dr. Caligari (1920)
Six Characters in Search of an Author (1921)
Ulysses (1922)
The Waste Land (1922)
The Magic Mountain (1924)
Battleship Potemkin (1925)
The Sun Also Rises (1926)
The Threepenny Opera (1928)
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text:
End Game (song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"End Game"
Single by Taylor Swift featuring Ed Sheeran and Future
from the album Reputation
Released
November 14, 2017
Format
Digital download
streaming
Studio
MXM Studios
Seismic Activities Studios (Portland, Oregon)
Tree Sound Studios (Atlanta, Georgia)
Genre
R&B[1]
Length
4:04
Label
Big Machine
Songwriter(s)
Taylor Swift
Max Martin
Shellback
Ed Sheeran
Nayvadius Wilburn
Producer(s)
Max Martin
Shellback
Taylor Swift singles chronology
"...Ready for It?"
(2017) "End Game"
(2017) "New Year's Day"
(2017)
Ed Sheeran singles chronology
"Boa Me"
(2017) "End Game"
(2017) "River"
(2017) River2017
Future singles chronology
"Real Thing"
(2017) "End Game"
(2017) "Patek Water[2]"
(2017)
Music video
"End Game" on YouTube
"End Game" is a song by American singer-songwriter Taylor Swift, featuring British singer Ed Sheeran and American rapper Future, recorded for her sixth studio album, Reputation (2017). The track, written by the trio of artists and producers Max Martin and Shellback, was first released in French contemporary pop radio as the album's third single on November 14, 2017.[3]
Contents
[hide]
1 Critical reception
2 Chart performance
3 Live performances
4 Music video
4.1 Synopsis
5 Charts
6 Certifications
7 Release history
8 References
Critical reception[edit]
In a review by Pitchfork, one critic wrote that "End Game" is "a song that capably absorbs and regurgitates the hybridized sounds of 2017 rap and R&B." but also noted "there's something deeply uninspired in tasking Martin with assembling a bland composite, rather than going straight to the source—who wouldn’t be at least a little curious as to what a Taylor Swift and Metro Boomin track would sound like?"[4] Vulture predicted it to be one of the more successful singles that album would produce because of its catchy rhythm, especially because of the verses contributed by Future.[5] In a positive review written by Time, it says that "End Game" is a "self-reflective, slow-jam style track."[6] A review from Spin suggested that although the song was "fine" in its depiction of finding love despite opposition, it had been bettered by previous songs, verses and albums by Future.[7]
Chart performance[edit]
The song debuted at number 86 on the Billboard Hot 100 on the date ending December 9, 2017 due to its strong digital sales.[8] The following week it moved up to number 83 and then in its third week it reached number 36 giving Swift her 55th top forty hit. Two weeks later it peaked at number 18 becoming the third consecutive single from "Reputation" reach the top 20.[9]The following week the song dropped to number 30. The song has since peaked at number 10 on the Billboard Mainstream Top 40 giving Swift her 15th top ten entry on the chart. It has also peaked at number 16 on the Adult Top 40 and number 25 on the Rhythmic Songs.
In Canada the song reached number 53 but after the release of its official music video the song moved to number 11 on the Canadian Hot 100. It also peaked at number 17 on the US Mainstream Top 40 chart.
In Australia the song debuted at number 38 and peaked at number 36. The next week it dropped to number 40. In the UK, the song debuted at number 87 and later peaked at number 49.
Live performances[edit]
Swift and Sheeran performed "End Game" for the first time during the iHeartRadio Jingle Ball on December 2, 2017.[10] A solo version of the song is also a regular part of her setlist for the Taylor Swift's Reputation Stadium Tour.
Music video[edit]
In early December, Sheeran confirmed that a music video for the song will be released.[11]
On January 10, 2018 Swift revealed through her social media app "The Swift Life" that the music video for the song would be released on January 12 and that the video's teaser would premiere on Good Morning America. She also posted a few pictures from the video as well. The next day, Swift posted the teaser for the video on social media.[citation needed]
On January 12, 2018, the video debuted on Swift's Vevo channel. It is Swift's seventh video directed by Joseph Kahn. The video shows Swift partying in various locales - with Future on a yacht in Miami, Florida, Sheeran at a nightclub in Tokyo, Japan, and various friends on a double decker bus in London, England. In a Miami scene Future was seen driving a Lamborghini Aventador worth $500,000. In one of the London scenes Taylor is seen sitting on a bar playing Snake on a handheld game console, rides a motorcycle through Tokyo while wearing a snakeskin suit, and sips drinks through a snake straw, all references to her "snake" reputation.[12] The video gained 14.4 million views within 24 hours of upload on YouTube. As of May 2018, the video has over 160 million views.
Synopsis[edit]
The music video starts off a little slow with Swift looking out the window of a high-rise building, but the video picks up speed as soon as the song does. Throughout the video, Swift goes to different cities-- Miami, Tokyo and London. In all the cities, she parties with her co-singers Future and Ed Sheeran.
As she bounces from city to city, she also moves from being with Future to hanging out with Ed Sheeran. Swift dresses in all black when she is with Future, and when she is filmed with Ed Sheeran, she wears a flannel shirt and shorts.
The video ends by Swift and Sheeran acting playfully towards each other, with Swift stealing Sheeran’s glasses and the two dancing together under the night sky of London.
Charts[edit]
Chart (2017–18)
Peak
position
Australia (ARIA)[13]
36
Belgium (Ultratip Flanders)[14]
8
Belgium (Ultratip Wallonia)[15]
19
Canada (Canadian Hot 100)[16]
11
Canada CHR/Top 40 (Billboard)[17]
17
Canada Hot AC (Billboard)[18]
30
Colombia (National Report)[19]
84
Costa Rica (Monitor Latino)[20]
6
Czech Republic (Singles Digitál Top 100)[21]
63
Dominican Republic Anglo (Monitor Latino)[22]
9
El Salvador (Monitor Latino)[23]
14
France (SNEP)[24]
130
Ireland (IRMA)[25]
68
Israel (Media Forest TV Airplay)[26]
2
New Zealand Heatseekers (RMNZ)[27]
2
Nicaragua (Monitor Latino)[28]
17
Philippines (Philippine Hot 100)[29]
84
Poland (Polish Airplay Top 100) [30]
52
Portugal (AFP)[31]
81
Scotland (Official Charts Company)[32]
54
Slovakia (Singles Digitál Top 100)[33]
64
UK Singles (Official Charts Company)[34]
49
US Billboard Hot 100[35]
18
US Adult Top 40 (Billboard)[36]
13
US Dance/Mix Show Airplay (Billboard)[37]
18
US Mainstream Top 40 (Billboard)[38]
10
US Rhythmic (Billboard)[39]
25
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[40]
Gold 35,000^
Brazil (Pro-Música Brasil)[41]
Gold 20,000*
Canada (Music Canada)[42]
Platinum 80,000^
United States (RIAA)[43]
Platinum 1,000,000
^shipments figures based on certification alone
sales+streaming figures based on certification alone
Release history[edit]
Region
Date
Format
Label(s)
Ref.
France
November 14, 2017 Contemporary hit radio Big Machine [44][3]
United States
December 3, 2017 [45]
United Kingdom
January 26, 2018 [46]
References[edit]
Jump up ^ Rob Sheffield (November 10, 2017). "Taylor Swift 'Reputation' Is the Most Intimate LP of Taylor Swift's Carrer". Rolling Stone. Retrieved November 9, 2017.
Jump up ^ "Top 40 Rhythmic Future Releases". All Access. Archived from the original on December 12, 2017. Retrieved January 18, 2018.
^ Jump up to: a b "Taylor Swift propose « End Game » aux radios françaises, un titre partagé avec Ed Sheeran et Future". Aficia. Archived from the original on November 17, 2017. Retrieved November 17, 2017.
Jump up ^ ""End Game" [ft. Future & Ed Sheeran] by Taylor Swift Review | Pitchfork". pitchfork.com. Retrieved December 22, 2017.
Jump up ^ Guan, Frank. "The Best Songs on Taylor Swift's Reputation Are the Least Aggrieved". Vulture. Retrieved December 22, 2017.
Jump up ^ "Analyzing Every Song on Taylor Swift's 'Reputation'". Time. Retrieved December 22, 2017.
Jump up ^ Josephs, Brian (November 10, 2017). "Review: Taylor Swift – "End Game" ft. Future and Ed Sheeran". Spin. Retrieved December 23, 2017.
Jump up ^ "The Hot 100 (December 9, 2017)". Billboard. Retrieved December 29, 2017.
Jump up ^ Trust, Gary (January 22, 2018). "Camila Cabello Earns First Billboard Hot 100 No. 1 With 'Havana,' Featuring Young Thug". Billboard. Retrieved January 23, 2018.
Jump up ^ "Taylor Swift, Ed Sheeran rock Jingle Ball with first live performance of 'End Game'". Entertainment. December 2, 2017. Retrieved December 21, 2017.
Jump up ^ Calvario, Liz (December 2, 2017). "Taylor Swift and Ed Sheeran Are BFF Goals While Performing 'End Game' at Jingle Ball -- Watch!". ET Online. Retrieved December 3, 2017.
Jump up ^ D'Aluisio, Alexandra (January 12, 2018). "Taylor Swift Made a Ton of Snake References in the "End Game" Video". Clevver. Retrieved January 15, 2018.
Jump up ^ "Australian-charts.com – Taylor Swift feat. Ed Sheeran & Future – End Game". ARIA Top 50 Singles. Retrieved January 27, 2018.
Jump up ^ "Ultratop.be – Taylor Swift feat. Ed Sheeran & Future – End Game" (in Dutch). Ultratip. Retrieved February 17, 2018.
Jump up ^ "Ultratop.be – Taylor Swift feat. Ed Sheeran & Future – End Game" (in French). Ultratip. Retrieved February 17, 2018.
Jump up ^ "Taylor Swift Chart History (Canadian Hot 100)". Billboard. Retrieved January 23, 2018.
Jump up ^ "Taylor Swift Chart History (Canada CHR/Top 40)". Billboard. Retrieved January 23, 2018.
Jump up ^ "Taylor Swift Chart History (Canada Hot AC)". Billboard. Retrieved February 12, 2018.
Jump up ^ "Top 100 Colombia – Del 02/03/2018 al 08/03/2018". National Report. Retrieved March 12, 2018.
Jump up ^ "Top 20 Costa Rica – Del 12 al 18 de Marzo, 2018" (in Spanish). Monitor Latino. March 12, 2018. Retrieved April 9, 2018.
Jump up ^ "ČNS IFPI" (in Czech). Hitparáda – Digital Top 100 Oficiální. IFPI Czech Republic. Note: insert 20183 into search. Retrieved January 24, 2018.
Jump up ^ "Top 20 Anglo Republica Dominicana" (in Spanish). Monitor Latino. February 18, 2018. Retrieved April 9, 2018.
Jump up ^ "Top 20 El Salvador – Del 19 al 25 de Febrero, 2018" (in Spanish). Monitor Latino. February 19, 2018. Retrieved February 9, 2018.
Jump up ^ "Lescharts.com – Taylor Swift feat. Ed Sheeran & Future – End Game" (in French). Les classement single. Retrieved January 28, 2018.
Jump up ^ "IRMA – Irish Charts". Irish Recorded Music Association. Retrieved January 20, 2018.
Jump up ^ "Taylor Swift feat. Ed Sheeran & Future – End Game Media Forest". Mediaforest.biz. Retrieved January 27, 2018.
Jump up ^ "NZ Heatseeker Singles Chart". Recorded Music NZ. December 11, 2017. Retrieved December 21, 2017.
Jump up ^ "Nicaragua General" (in Spanish). Monitor Latino. Archived from the original on May 9, 2018. Retrieved May 9, 2018.
Jump up ^ "BillboardPH Hot 100". Billboard Philippines. Retrieved January 9, 2018.
Jump up ^ "Listy bestsellerów, wyróżnienia :: Związek Producentów Audio-Video". Polish Airplay Top 100. Retrieved March 5, 2018.
Jump up ^ "Portuguesecharts.com – Taylor Swift feat. Ed Sheeran & Future – End Game". AFP Top 100 Singles. Retrieved January 30, 2018.
Jump up ^ "Official Scottish Singles Sales Chart Top 100". Official Charts Company. Retrieved February 10, 2018.
Jump up ^ "SNS IFPI" (in Slovak). Hitparáda – Singles Digital Top 100 Oficiálna. IFPI Czech Republic. Note: insert 20183 into search. Retrieved January 24, 2018.
Jump up ^ "Official Singles Chart Top 100". Official Charts Company. Retrieved January 20, 2018.
Jump up ^ "Taylor Swift Chart History (Hot 100)". Billboard. Retrieved January 23, 2018.
Jump up ^ "Taylor Swift Chart History (Adult Pop Songs)". Billboard. Retrieved February 13, 2018.
Jump up ^ "Taylor Swift Chart History (Dance Mix/Show Airplay)". Billboard. Retrieved February 12, 2018.
Jump up ^ "Taylor Swift Chart History (Pop Songs)". Billboard. Retrieved January 16, 2018.
Jump up ^ "Taylor Swift Chart History (Rhythmic)". Billboard. Retrieved December 28, 2017.
Jump up ^ "ARIA Chart Watch #461". auspOp. February 24, 2018. Retrieved February 24, 2018.
Jump up ^ "Brazilian single certifications – Taylor Swift – End Game" (in Portuguese). Associação Brasileira dos Produtores de Discos. Retrieved April 11, 2018.
Jump up ^ "Canadian single certifications – Taylor Swift – End Game (Feat. Ed Sheeran & Future)". Music Canada. Retrieved January 30, 2018.
Jump up ^ "American single certifications – Taylor Swift – End Game". Recording Industry Association of America. Retrieved May 28, 2018. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
Jump up ^ "Taylor Swift Sends Both 'New Year's Day' and 'End Game' to Radio". MTV. Retrieved December 21, 2017.
Jump up ^ "New USA Single". Radio 1. Archived from the original on December 23, 2017. Retrieved December 23, 2017.
Jump up ^ "BBC – Radio 1 – Playlist". BBC Radio 1. July 21, 2017. Archived from the original on January 29, 2018. Retrieved January 29, 2018.
[show]
v
t
e
Taylor Swift songs
Discography
Taylor Swift
"Tim McGraw"
"Picture to Burn"
"Teardrops on My Guitar"
"Should've Said No"
"Our Song"
Fearless
"Fearless"
"Fifteen"
"Love Story"
"White Horse"
"You Belong with Me"
"Breathe"
"You're Not Sorry"
"Forever & Always"
"Change"
Speak Now
"Mine"
"Sparks Fly"
"Back to December"
"Speak Now"
"Mean"
"The Story of Us"
"Innocent"
"Ours"
"Dear John"
Red
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"Red"
"I Knew You Were Trouble"
"All Too Well"
"22"
"We Are Never Ever Getting Back Together"
"The Last Time"
"Everything Has Changed"
"Begin Again"
1989
"Welcome to New York"
"Blank Space"
"Style"
"Out of the Woods"
"Shake It Off"
"Bad Blood"
"Wildest Dreams"
"Wonderland"
"New Romantics"
Reputation
"...Ready for It?"
"End Game"
"Delicate"
"Look What You Made Me Do"
"Gorgeous"
"Call It What You Want"
"New Year's Day"
Songs as a featured artist
"Two Is Better Than One"
"Half of My Heart"
"Both of Us"
"Highway Don't Care"
"Babe"
Other songs
"Crazier"
"Today Was a Fairytale"
"Safe & Sound"
"Long Live"
"Eyes Open"
"Ronan"
"Sweeter Than Fiction"
"I Don't Wanna Live Forever"
"Best Days of Your Life"
"Better Man"
"This Is What You Came For"
"You'll Always Find Your Way Back Home"
[show]
v
t
e
Ed Sheeran songs
Discography
+
"The A Team"
"Drunk"
"Small Bump"
"Lego House"
"You Need Me, I Don't Need You"
"Give Me Love"
"The Parting Glass"
x
"One"
"I'm a Mess"
"Sing"
"Don't"
"Photograph"
"Bloodstream"
"Tenerife Sea"
"The Man"
"Thinking Out Loud"
"Afire Love"
÷
"Eraser"
"Castle on the Hill"
"Dive"
"Shape of You"
"Perfect"
"Galway Girl"
"Happier"
"New Man"
"Hearts Don't Break Around Here"
"What Do I Know?"
"How Would You Feel (Paean)"
"Supermarket Flowers"
"Nancy Mulligan"
Other songs
"All of the Stars"
"Candle in the Wind"
"I See Fire"
"Make It Rain"
Featured songs
"All About It"
"Do They Know It's Christmas?"
"Dreamers"
"Everything Has Changed"
"Hush Little Baby"
"If I Could"
"Lay It All on Me"
"Old School Love"
"Reuf"
"Teardrop"
"Watchtower"
"Young Guns"
"Boa Me"
"End Game"
"River"
Category
[show]
v
t
e
Future
Discography
Studio albums
Pluto (2012)
3D
Honest (2014)
DS2 (2015)
EVOL (2016)
Future (2017)
Hndrxx (2017)
Extended plays
Free Bricks 2K16 (Zone 6 Edition) (with Gucci Mane) (2016)
Mixtapes
Astronaut Status (2012)
Monster (2014)
Beast Mode (2015)
56 Nights (2015)
What a Time to Be Alive (with Drake) (2015)
Purple Reign (2016)
Super Slimey (with Young Thug) (2017)
Singles
"Same Damn Time"
"Turn on the Lights"
"Neva End"
"Karate Chop"
"Honest"
"Shit"
"Real and True"
"Move That Dope"
"I Won"
"Fuck Up Some Commas"
"Where Ya At"
"March Madness"
"Jumpman"
"Low Life"
"Wicked"
"Used to This"
"Draco"
"Selfish"
"Mask Off"
"Pie"
"You da Baddest"
"Bum Bum Tam Tam"
Featured singles
"Racks"
"We in This Bitch"
"Love Me"
"Bugatti"
"U.O.E.N.O."
"Tapout"
"Loveeeeeee Song"
"Show You"
"I Wanna Be With You"
"No Games"
"Ready"
"Hold You Down"
"Let Me Know"
"3500"
"Chimes (RMX)"
"Blasé"
"New Level"
"I Got the Keys"
"Campaign"
"X"
"Do You Mind"
"Too Much Sauce"
"Rivals"
"Everyday"
"Cold"
"Rollin"
"End Game"
"King's Dead"
"Faded Love"
"Top Off"
Other songs
"Trap Niggas"
"Blow a Bag"
"Rich Sex"
"Six Feet Under"
"All I Know"
"Comin Out Strong"
Related articles
A1 Recordings
Freebandz
Ciara
Dungeon Family
Rocko
Project E.T. Esco Terrestrial (2016)
Retrieved from "https://en.wikipedia.org/w/index.php?title=End_Game_(song)&oldid=843550577"
Categories:
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values: End Game (песня Тэйлар Свіфт) – Belarusian

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