By Rick March, Dick Blau
Polka Heartland captures the beat that pulses within the middle of Midwestern culture—the polka—and deals up the interesting historical past of the way "oompah-pah" got here to be the sound of heart the United States. From the crowded dance tent at Pulaski Polka Days to an off-the-grid Mexican polka dance in small-town Wisconsin, Polka Heartland explores the folks, areas, and heritage in the back of the Midwest's favourite music.
From polka's impressive starting place tale as a state of the art ecu fad to an exploration of the modern day polka scene, writer Rick March and photographer Dick Blau take readers on a cheerful romp via this loved, designated, and richly storied style. Polka Heartland describes the artists, venues, tools, and music-makers who've been pivotal to polka's recognition around the Midwest and gives six full-color photograph galleries to immerse readers in today's brilliant polka scene.
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Additional resources for Polka Heartland: Why the Midwest Loves to Polka
Boston in 1860. Library of Congress, American Memory Collection Library of Congress, American Memory Collection P O L K A’ S M I G R AT I O N T O A M E R I C A 37 Through the 1850s and 1860s, polka music and dance were considered part of mainstream American popular culture, both in the North and in the South. Though it was an import from Europe, the music did not necessarily have any ethnic cultural connections. But with the influx of immigrants coming to the United States from central and eastern Europe through the latter half of the nineteenth century, the polka’s unhyphenated “Americanism” began to become diluted.
In the 1870s and ’80s, however, German titles became more 38 POLKA HEARTLAND common, such as “Linden Polka Mazurka,” “Blumen Polka,” “Tanz Jubel Polka,” and “Ueber Stock und Stein” by composers Wm. Schilling, C. M. Ziehrer, A. Baur, and C. Faust, respectively. As the size of their ethnic group swelled, Germans and their music became a more and more noticeable presence on the American cultural scene, and their cultural habits sometimes sparked conflict with their fellow citizens. For example, in Chicago in 1858, Peter Pecksniff, editor of the Chicago Times and a local politician, launched a crusade against “desecration of the Sabbath” by supposedly impious Germans who frequented their “Lagerbeer saloons” and “Polka Kellers” on Sundays.
The most common tempos in Swiss music include polkas, waltzes, ländlers, and schottisches, which were brought to these Midwest communities by musicians touring from Europe and by new musical immigrants. In 1925, a pair of famous Bernese yodelers, the Moser Brothers, A group of Swiss yodelers from New Glarus, date unknown WHi Image ID 44005 made their first national tour of the United States and inspired an American yodeling craze. The Moser Brothers played to Wisconsin’s Swiss immigrants understood packed houses and recorded thirty-six their community’s celebrations might songs for Victor Records in New York.