{"id":354,"date":"2015-08-21T18:06:59","date_gmt":"2015-08-21T18:06:59","guid":{"rendered":"https:\/\/courses.candelalearning.com\/ushistory2os2xmaster\/?post_type=chapter&#038;p=354"},"modified":"2015-08-21T18:06:59","modified_gmt":"2015-08-21T18:06:59","slug":"popular-culture-and-mass-media","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/chapter\/popular-culture-and-mass-media\/","title":{"raw":"Popular Culture and Mass Media","rendered":"Popular Culture and Mass Media"},"content":{"raw":"<div class=\"bcc-box bcc-highlight\">\n<h3>Learning Objectives<\/h3>\nBy the end of this section, you will be able to:\n<ul><li>Describe Americans\u2019 different responses to rock and roll music<\/li>\n\t<li>Discuss the way contemporary movies and television reflected postwar American society<\/li>\n<\/ul><\/div>\n<p id=\"fs-idm168596096\">With a greater generational consciousness than previous generations, the baby boomers sought to define and redefine their identities in numerous ways. Music, especially rock and roll, reflected their desire to rebel against adult authority. Other forms of popular culture, such as movies and television, sought to entertain, while reinforcing values such as religious faith, patriotism, and conformity to societal norms.<\/p>\n\n<section id=\"fs-idm43204480\" data-depth=\"1\"><h1 data-type=\"title\">ROCKING AROUND THE CLOCK<\/h1>\n<p id=\"fs-idp2013728\">In the late 1940s, some white country musicians began to experiment with the rhythms of the blues, a decades-old musical genre of rural southern blacks. This experimentation led to the creation of a new musical form known as rockabilly, and by the 1950s, rockabilly had developed into <span data-type=\"term\">rock and roll<\/span>. Rock and roll music celebrated themes such as young love and freedom from the oppression of middle-class society. It quickly grew in favor among American teens, thanks largely to the efforts of disc jockey Alan Freed, who named and popularized the music by playing it on the radio in Cleveland, where he also organized the first rock and roll concert, and later in New York.<\/p>\n<p id=\"fs-idp116963216\">The theme of rebellion against authority, present in many rock and roll songs, appealed to teens. In 1954, Bill Haley and His Comets provided youth with an anthem for their rebellion\u2014\u201dRock Around the Clock.\u201d\u00a0The song, used in the 1955 movie <em data-effect=\"italics\">Blackboard Jungle<\/em> about a white teacher at a troubled inner-city high school, seemed to be calling for teens to declare their independence from adult control.<\/p>\n\n<figure id=\"CNX_History_28_04_Haley\">\n\n[caption id=\"\" align=\"aligncenter\" width=\"520\"]<img src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/884\/2015\/08\/23203310\/CNX_History_28_04_Haley.jpg\" alt=\"Photograph (a) shows seven young men singing in jackets and bow ties. Three men pose on each side of a central singer, who gestures with his hands as he performs. Photograph (b) shows Chuck Berry in a tuxedo playing the guitar.\" width=\"520\" height=\"274\" data-media-type=\"image\/jpeg\"\/> The band Bill Haley and His Comets (a) was among the first to launch the new genre of rock and roll. Their hit song \u201cRock Around the Clock\u201d supposedly caused some teens to break into violent behavior when they heard it. Chuck Berry (b) was a performer who combined rhythm and blues and rock and roll. He dazzled crowds with guitar solos and electrifying performances.[\/caption]\n\n<\/figure><p id=\"fs-idp68956512\">Haley illustrated how white artists could take musical motifs from the African American community and achieve mainstream success. Teen heartthrob Elvis Presley rose to stardom doing the same. Thus, besides encouraging a feeling of youthful rebellion, rock and roll also began to tear down color barriers, as white youths sought out African American musicians such as Chuck Berry and Little Richard.<\/p>\n<p id=\"fs-idp39392944\">While youth had found an outlet for their feelings and concerns, parents were much less enthused about rock and roll and the values it seemed to promote. Many regarded the music as a threat to American values. When Elvis Presley appeared on <em data-effect=\"italics\">The Ed Sullivan Show<\/em>, a popular television variety program, the camera deliberately focused on his torso and did not show his swiveling hips or legs shaking in time to the music. Despite adults\u2019 dislike of the genre, or perhaps because of it, more than 68 percent of the music played on the radio in 1956 was rock and roll.<\/p>\n\n<\/section><section id=\"fs-idm71735568\" data-depth=\"1\"><h1 data-type=\"title\">HOLLYWOOD ON THE DEFENSIVE<\/h1>\n<p id=\"fs-idm239379520\">At first, Hollywood encountered difficulties in adjusting to the post-World War II environment. Although domestic audiences reached a record high in 1946 and the war\u2019s end meant expanding international markets too, the groundwork for the eventual dismantling of the traditional studio system was laid in 1948, with a landmark decision by the U.S. Supreme Court. Previously, film studios had owned their own movie theater chains in which they exhibited the films they produced; however, in <em data-effect=\"italics\">United States v. Paramount Pictures, Inc.<\/em>, this vertical integration of the industry\u2014the complete control by one firm of the production, distribution, and exhibition of motion pictures\u2014was deemed a violation of antitrust laws.<\/p>\n\n\n[caption id=\"\" align=\"alignright\" width=\"390\"]<img src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/884\/2015\/08\/23203311\/CNX_History_28_04_Dmytryk.jpg\" alt=\"A photograph shows Edward Dmytryk testifying before the House Committee on Un-American Activities.\" width=\"390\" height=\"344\" data-media-type=\"image\/jpeg\"\/> One of the original Hollywood Ten, director Edward Dmytryk publicly announced he had once been a Communist and, in April 1951, answered questions and \u201cnamed names\u201d before the House Committee on Un-American Activities.[\/caption]\n<p id=\"fs-idm164283456\">The HUAC hearings also targeted Hollywood. When Senator McCarthy called eleven \u201cunfriendly witnesses\u201d to testify before Congress about Communism in the film industry in October 1947, only playwright Bertolt Brecht answered questions. The other ten, who refused to testify, were cited for contempt of Congress on November 24. The next day, film executives declared that the so-called \u201cHollywood Ten\u201d would no longer be employed in the industry until they had sworn they were not Communists. Eventually, more than three hundred actors, screenwriters, directors, musicians, and other entertainment professionals were placed on the industry blacklist. Some never worked in Hollywood again; others directed films or wrote screenplays under assumed names.<\/p>\n\n<div class=\"textbox shaded\">Watch a <a href=\"http:\/\/openstaxcollege.org\/l\/15ThreeLives\">1953 episode of a popular television show<\/a> from the 1950s, <em data-effect=\"italics\">I Led Three Lives<\/em>, the highly fictionalized story of a member of a Communist organization who is also an FBI informant.<\/div>\n<p id=\"fs-idm81775008\">Hollywood reacted aggressively to these various challenges. Filmmakers tried new techniques, like CinemaScope and Cinerama, which allowed movies to be shown on large screens and in 3-D. Audiences were drawn to movies not because of gimmicks, however, but because of the stories they told. Dramas and romantic comedies continued to be popular fare for adults, and, to appeal to teens, studios produced large numbers of horror films and movies starring music idols such as Elvis. Many films took espionage, a timely topic, as their subject matter, and science fiction hits such as <em data-effect=\"italics\">Invasion of the Body Snatchers<\/em>, about a small town whose inhabitants fall prey to space aliens, played on audience fears of both Communist invasion and nuclear technology.<\/p>\n\n<\/section><section id=\"fs-idp83764352\" data-depth=\"1\"><h1 data-type=\"title\">THE TRIUMPH OF TELEVISION<\/h1>\n<p id=\"fs-idm18913856\">By far the greatest challenge to Hollywood, however, came from the relatively new medium of television. Although the technology had been developed in the late 1920s, through much of the 1940s, only a fairly small audience of the wealthy had access to it. As a result, programming was limited. With the post-World War II economic boom, all this changed. Where there had been only 178,000 televisions in homes in 1948, by 1955, over three-quarters of a million U.S. households, about half of all homes, had television.<\/p>\n\n<figure id=\"CNX_History_28_04_Television\">\n\n[caption id=\"\" align=\"alignright\" width=\"390\"]<img src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/884\/2015\/08\/23203313\/CNX_History_28_04_Television.jpg\" alt=\"A photograph shows a man, a woman, three teenage girls, and a teenage boy sitting in a living room, watching a television.\" width=\"390\" height=\"303\" data-media-type=\"image\/jpeg\"\/> An American family relaxes in front of their television set in 1958. Many gathered not only to watch the programming but also to eat dinner. The marketing of small folding tray tables and frozen \u201cTV dinners\u201d encouraged such behavior.[\/caption]\n\n<\/figure><p id=\"fs-idm96417824\">Various types of programs were broadcast on the handful of major networks: situation comedies, variety programs, game shows, soap operas, talk shows, medical dramas, adventure series, cartoons, and police procedurals. Many comedies presented an idealized image of white suburban family life: Happy housewife mothers, wise fathers, and mischievous but not dangerously rebellious children were constants on shows like <em data-effect=\"italics\">Leave It to Beaver<\/em> and <em data-effect=\"italics\">Father Knows Best<\/em> in the late 1950s. These shows also reinforced certain perspectives on the values of individualism and family\u2014values that came to be redefined as \u201cAmerican\u201d in opposition to alleged Communist collectivism. Westerns, which stressed unity in the face of danger and the ability to survive in hostile environments, were popular too. Programming designed specifically for children began to emerge with shows such as <em data-effect=\"italics\">Captain Kangaroo<\/em>, <em data-effect=\"italics\">Romper Room<\/em>, and <em data-effect=\"italics\">The Mickey Mouse Club<\/em> designed to appeal to members of the baby boom.<\/p>\n\n<div class=\"textbox\">\n<h1 data-type=\"title\">Section Summary<\/h1>\n<p id=\"fs-idm120542752\">Young Americans in the postwar period had more disposable income and enjoyed greater material comfort than their forebears. These factors allowed them to devote more time and money to leisure activities and the consumption of popular culture. Rock and roll, which drew from African American roots in the blues, embraced themes popular among teenagers, such as young love and rebellion against authority. At the same time, traditional forms of entertainment, such as motion pictures, came under increasing competition from a relatively new technology, television.<\/p>\n\n<\/div>\n<\/section><section id=\"fs-idm53824416\" class=\"review-questions\" data-depth=\"1\">\nhttp:\/\/www.openassessments.org\/assessments\/1052<\/section><div class=\"bcc-box bcc-info\">\n<h3>Review Question<\/h3>\n<section><ol><li>What challenges did Hollywood face in the 1950s?<\/li>\n<\/ol><\/section><\/div>\n<div class=\"bcc-box bcc-info\">\n<h3>Review Question<\/h3>\n<section><ol><li>Antitrust lawsuits deprived studios of their theaters, and the careers of many actors, directors, and screenwriters were destroyed by Senator McCarthy\u2019s blacklist of suspected Communists. Meanwhile, the new technology of television drew audiences away from the movies by providing convenient at-home entertainment.<\/li>\n<\/ol><\/section><\/div>\n\n<div class=\"bcc-box bcc-success\"><section><h3>Glossary<\/h3>\n\t<strong>rock and roll\u00a0<\/strong>a musical form popular among the baby boomers that encompassed styles ranging from county to blues, and embraced themes such as youthful rebellion and love\n<\/section><\/div>","rendered":"<div class=\"bcc-box bcc-highlight\">\n<h3>Learning Objectives<\/h3>\n<p>By the end of this section, you will be able to:<\/p>\n<ul>\n<li>Describe Americans\u2019 different responses to rock and roll music<\/li>\n<li>Discuss the way contemporary movies and television reflected postwar American society<\/li>\n<\/ul>\n<\/div>\n<p id=\"fs-idm168596096\">With a greater generational consciousness than previous generations, the baby boomers sought to define and redefine their identities in numerous ways. Music, especially rock and roll, reflected their desire to rebel against adult authority. Other forms of popular culture, such as movies and television, sought to entertain, while reinforcing values such as religious faith, patriotism, and conformity to societal norms.<\/p>\n<section id=\"fs-idm43204480\" data-depth=\"1\">\n<h1 data-type=\"title\">ROCKING AROUND THE CLOCK<\/h1>\n<p id=\"fs-idp2013728\">In the late 1940s, some white country musicians began to experiment with the rhythms of the blues, a decades-old musical genre of rural southern blacks. This experimentation led to the creation of a new musical form known as rockabilly, and by the 1950s, rockabilly had developed into <span data-type=\"term\">rock and roll<\/span>. Rock and roll music celebrated themes such as young love and freedom from the oppression of middle-class society. It quickly grew in favor among American teens, thanks largely to the efforts of disc jockey Alan Freed, who named and popularized the music by playing it on the radio in Cleveland, where he also organized the first rock and roll concert, and later in New York.<\/p>\n<p id=\"fs-idp116963216\">The theme of rebellion against authority, present in many rock and roll songs, appealed to teens. In 1954, Bill Haley and His Comets provided youth with an anthem for their rebellion\u2014\u201dRock Around the Clock.\u201d\u00a0The song, used in the 1955 movie <em data-effect=\"italics\">Blackboard Jungle<\/em> about a white teacher at a troubled inner-city high school, seemed to be calling for teens to declare their independence from adult control.<\/p>\n<figure id=\"CNX_History_28_04_Haley\">\n<div style=\"width: 530px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/884\/2015\/08\/23203310\/CNX_History_28_04_Haley.jpg\" alt=\"Photograph (a) shows seven young men singing in jackets and bow ties. Three men pose on each side of a central singer, who gestures with his hands as he performs. Photograph (b) shows Chuck Berry in a tuxedo playing the guitar.\" width=\"520\" height=\"274\" data-media-type=\"image\/jpeg\" \/><\/p>\n<p class=\"wp-caption-text\">The band Bill Haley and His Comets (a) was among the first to launch the new genre of rock and roll. Their hit song \u201cRock Around the Clock\u201d supposedly caused some teens to break into violent behavior when they heard it. Chuck Berry (b) was a performer who combined rhythm and blues and rock and roll. He dazzled crowds with guitar solos and electrifying performances.<\/p>\n<\/div>\n<\/figure>\n<p id=\"fs-idp68956512\">Haley illustrated how white artists could take musical motifs from the African American community and achieve mainstream success. Teen heartthrob Elvis Presley rose to stardom doing the same. Thus, besides encouraging a feeling of youthful rebellion, rock and roll also began to tear down color barriers, as white youths sought out African American musicians such as Chuck Berry and Little Richard.<\/p>\n<p id=\"fs-idp39392944\">While youth had found an outlet for their feelings and concerns, parents were much less enthused about rock and roll and the values it seemed to promote. Many regarded the music as a threat to American values. When Elvis Presley appeared on <em data-effect=\"italics\">The Ed Sullivan Show<\/em>, a popular television variety program, the camera deliberately focused on his torso and did not show his swiveling hips or legs shaking in time to the music. Despite adults\u2019 dislike of the genre, or perhaps because of it, more than 68 percent of the music played on the radio in 1956 was rock and roll.<\/p>\n<\/section>\n<section id=\"fs-idm71735568\" data-depth=\"1\">\n<h1 data-type=\"title\">HOLLYWOOD ON THE DEFENSIVE<\/h1>\n<p id=\"fs-idm239379520\">At first, Hollywood encountered difficulties in adjusting to the post-World War II environment. Although domestic audiences reached a record high in 1946 and the war\u2019s end meant expanding international markets too, the groundwork for the eventual dismantling of the traditional studio system was laid in 1948, with a landmark decision by the U.S. Supreme Court. Previously, film studios had owned their own movie theater chains in which they exhibited the films they produced; however, in <em data-effect=\"italics\">United States v. Paramount Pictures, Inc.<\/em>, this vertical integration of the industry\u2014the complete control by one firm of the production, distribution, and exhibition of motion pictures\u2014was deemed a violation of antitrust laws.<\/p>\n<div style=\"width: 400px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/884\/2015\/08\/23203311\/CNX_History_28_04_Dmytryk.jpg\" alt=\"A photograph shows Edward Dmytryk testifying before the House Committee on Un-American Activities.\" width=\"390\" height=\"344\" data-media-type=\"image\/jpeg\" \/><\/p>\n<p class=\"wp-caption-text\">One of the original Hollywood Ten, director Edward Dmytryk publicly announced he had once been a Communist and, in April 1951, answered questions and \u201cnamed names\u201d before the House Committee on Un-American Activities.<\/p>\n<\/div>\n<p id=\"fs-idm164283456\">The HUAC hearings also targeted Hollywood. When Senator McCarthy called eleven \u201cunfriendly witnesses\u201d to testify before Congress about Communism in the film industry in October 1947, only playwright Bertolt Brecht answered questions. The other ten, who refused to testify, were cited for contempt of Congress on November 24. The next day, film executives declared that the so-called \u201cHollywood Ten\u201d would no longer be employed in the industry until they had sworn they were not Communists. Eventually, more than three hundred actors, screenwriters, directors, musicians, and other entertainment professionals were placed on the industry blacklist. Some never worked in Hollywood again; others directed films or wrote screenplays under assumed names.<\/p>\n<div class=\"textbox shaded\">Watch a <a href=\"http:\/\/openstaxcollege.org\/l\/15ThreeLives\">1953 episode of a popular television show<\/a> from the 1950s, <em data-effect=\"italics\">I Led Three Lives<\/em>, the highly fictionalized story of a member of a Communist organization who is also an FBI informant.<\/div>\n<p id=\"fs-idm81775008\">Hollywood reacted aggressively to these various challenges. Filmmakers tried new techniques, like CinemaScope and Cinerama, which allowed movies to be shown on large screens and in 3-D. Audiences were drawn to movies not because of gimmicks, however, but because of the stories they told. Dramas and romantic comedies continued to be popular fare for adults, and, to appeal to teens, studios produced large numbers of horror films and movies starring music idols such as Elvis. Many films took espionage, a timely topic, as their subject matter, and science fiction hits such as <em data-effect=\"italics\">Invasion of the Body Snatchers<\/em>, about a small town whose inhabitants fall prey to space aliens, played on audience fears of both Communist invasion and nuclear technology.<\/p>\n<\/section>\n<section id=\"fs-idp83764352\" data-depth=\"1\">\n<h1 data-type=\"title\">THE TRIUMPH OF TELEVISION<\/h1>\n<p id=\"fs-idm18913856\">By far the greatest challenge to Hollywood, however, came from the relatively new medium of television. Although the technology had been developed in the late 1920s, through much of the 1940s, only a fairly small audience of the wealthy had access to it. As a result, programming was limited. With the post-World War II economic boom, all this changed. Where there had been only 178,000 televisions in homes in 1948, by 1955, over three-quarters of a million U.S. households, about half of all homes, had television.<\/p>\n<figure id=\"CNX_History_28_04_Television\">\n<div style=\"width: 400px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/884\/2015\/08\/23203313\/CNX_History_28_04_Television.jpg\" alt=\"A photograph shows a man, a woman, three teenage girls, and a teenage boy sitting in a living room, watching a television.\" width=\"390\" height=\"303\" data-media-type=\"image\/jpeg\" \/><\/p>\n<p class=\"wp-caption-text\">An American family relaxes in front of their television set in 1958. Many gathered not only to watch the programming but also to eat dinner. The marketing of small folding tray tables and frozen \u201cTV dinners\u201d encouraged such behavior.<\/p>\n<\/div>\n<\/figure>\n<p id=\"fs-idm96417824\">Various types of programs were broadcast on the handful of major networks: situation comedies, variety programs, game shows, soap operas, talk shows, medical dramas, adventure series, cartoons, and police procedurals. Many comedies presented an idealized image of white suburban family life: Happy housewife mothers, wise fathers, and mischievous but not dangerously rebellious children were constants on shows like <em data-effect=\"italics\">Leave It to Beaver<\/em> and <em data-effect=\"italics\">Father Knows Best<\/em> in the late 1950s. These shows also reinforced certain perspectives on the values of individualism and family\u2014values that came to be redefined as \u201cAmerican\u201d in opposition to alleged Communist collectivism. Westerns, which stressed unity in the face of danger and the ability to survive in hostile environments, were popular too. Programming designed specifically for children began to emerge with shows such as <em data-effect=\"italics\">Captain Kangaroo<\/em>, <em data-effect=\"italics\">Romper Room<\/em>, and <em data-effect=\"italics\">The Mickey Mouse Club<\/em> designed to appeal to members of the baby boom.<\/p>\n<div class=\"textbox\">\n<h1 data-type=\"title\">Section Summary<\/h1>\n<p id=\"fs-idm120542752\">Young Americans in the postwar period had more disposable income and enjoyed greater material comfort than their forebears. These factors allowed them to devote more time and money to leisure activities and the consumption of popular culture. Rock and roll, which drew from African American roots in the blues, embraced themes popular among teenagers, such as young love and rebellion against authority. At the same time, traditional forms of entertainment, such as motion pictures, came under increasing competition from a relatively new technology, television.<\/p>\n<\/div>\n<\/section>\n<section id=\"fs-idm53824416\" class=\"review-questions\" data-depth=\"1\">\nhttp:\/\/www.openassessments.org\/assessments\/1052<\/section>\n<div class=\"bcc-box bcc-info\">\n<h3>Review Question<\/h3>\n<section>\n<ol>\n<li>What challenges did Hollywood face in the 1950s?<\/li>\n<\/ol>\n<\/section>\n<\/div>\n<div class=\"bcc-box bcc-info\">\n<h3>Review Question<\/h3>\n<section>\n<ol>\n<li>Antitrust lawsuits deprived studios of their theaters, and the careers of many actors, directors, and screenwriters were destroyed by Senator McCarthy\u2019s blacklist of suspected Communists. Meanwhile, the new technology of television drew audiences away from the movies by providing convenient at-home entertainment.<\/li>\n<\/ol>\n<\/section>\n<\/div>\n<div class=\"bcc-box bcc-success\">\n<section>\n<h3>Glossary<\/h3>\n<p>\t<strong>rock and roll\u00a0<\/strong>a musical form popular among the baby boomers that encompassed styles ranging from county to blues, and embraced themes such as youthful rebellion and love<br \/>\n<\/section>\n<\/div>\n\n\t\t\t <section class=\"citations-section\" role=\"contentinfo\">\n\t\t\t <h3>Candela Citations<\/h3>\n\t\t\t\t\t <div>\n\t\t\t\t\t\t <div id=\"citation-list-354\">\n\t\t\t\t\t\t\t <div class=\"licensing\"><div class=\"license-attribution-dropdown-subheading\">CC licensed content, Shared previously<\/div><ul class=\"citation-list\"><li>US History. <strong>Authored by<\/strong>: P. Scott Corbett, Volker  Janssen, John M. Lund,  Todd Pfannestiel, Paul Vickery, and Sylvie Waskiewicz. <strong>Provided by<\/strong>: OpenStax College. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"http:\/\/openstaxcollege.org\/textbooks\/us-history\">http:\/\/openstaxcollege.org\/textbooks\/us-history<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/licenses\/by\/4.0\/\">CC BY: Attribution<\/a><\/em>. <strong>License Terms<\/strong>: Download for free at http:\/\/cnx.org\/content\/col11740\/latest\/<\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":969,"menu_order":7,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"US History\",\"author\":\"P. Scott Corbett, Volker  Janssen, John M. Lund,  Todd Pfannestiel, Paul Vickery, and Sylvie Waskiewicz\",\"organization\":\"OpenStax College\",\"url\":\"http:\/\/openstaxcollege.org\/textbooks\/us-history\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"Download for free at http:\/\/cnx.org\/content\/col11740\/latest\/\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-354","chapter","type-chapter","status-publish","hentry"],"part":331,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/pressbooks\/v2\/chapters\/354","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/wp\/v2\/users\/969"}],"version-history":[{"count":1,"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/pressbooks\/v2\/chapters\/354\/revisions"}],"predecessor-version":[{"id":522,"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/pressbooks\/v2\/chapters\/354\/revisions\/522"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/pressbooks\/v2\/parts\/331"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/pressbooks\/v2\/chapters\/354\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/wp\/v2\/media?parent=354"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/pressbooks\/v2\/chapter-type?post=354"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/wp\/v2\/contributor?post=354"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-mcc-ushistory2os2xmaster\/wp-json\/wp\/v2\/license?post=354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}