bluuebunny/crossref_metadata_2025_split huggingface dataset:
Low-Income Housing in Crisis
Authors: Holtzman Benjamin 
Published: January 2021

Abstract
During the late 1960s and 1970s, extensive disinvestment and an eviscerated real estate market led landlords of low-income housing to walk away from their real estate holdings, leaving thousands of buildings unoccupied and often city-owned due to nonpayment of taxes. In response, Latinx, African American, and some white residents protested the blight these buildings brought to their neighborhoods by directly occupying and seeking ownership of abandoned buildings through a process they called urban homesteading. Activists framed homesteading as a self-help initiative, often emphasizing their own ingenuity over state resources as the key to solving the problems of low-income urban neighborhoods. Such framing was understandable given the unstable economic terrain of the 1970s and won activists support not just from the political left, but also the right. But it also positioned homesteading as demonstrating the superiority of private-citizen and private sector–led revitalization in ways that left homesteading projects vulnerable as it became clear how necessary government resources would be to their success.
From Renters to Owners
Authors: Holtzman Benjamin 
Published: January 2021

Abstract
After numerous failed state-led initiatives to stem the exodus of middle-income residents in postwar New York, in the late 1960s landlords and major real estate associations proposed their own solution to increase homeownership and retain the middle class: converting rental housing into cooperatives. The middle-income tenants of this housing, however, initially widely rejected apartment ownership, preferring the security of rent-regulated housing. This set off a decade-long battle over the control and nature of moderate- and middle-income housing. This chapter traces how over the 1970s middle-income tenants came to embrace apartment ownership, a shift that pushed the housing stock toward market-rate condominiums and cooperatives and exacerbated the city’s mounting affordable housing crisis.
Patrolling City Streets
Authors: Holtzman Benjamin 
Published: January 2021

Abstract
In the late 1960s and 1970s, New York became engulfed in rising rates of crime and the belief among residents that navigating city streets was no longer safe. In reaction to the perceived inadequacies of governmental responses to crime, city-dwellers formed citizen patrols in which neighbors joined together to surveil their residential streets. Businesses and institutions also began to forge their own initiative to deter street crime by hiring private guards to patrol the streets of their districts. These efforts grew alongside one another and reinforced a similar logic about the need for private action against crime. Both helped to perpetuate and ultimately normalize the patrolling of public streets beyond the police. By the early 1980s, however, resident patrols slowly began to fade from the city, whereas the presence and role of private guards expanded, transforming the policing of city streets.
The Trouble with Development
Authors: Holtzman Benjamin 
Published: January 2021

Abstract
This chapter traces how, with limited federal and city funds at their disposal, Democratic and liberal officials in late 1960s and 1970s New York came to embrace generous tax and incentive policies to directly spur sagging development and rehabilitation. Though municipal officials had for decades used tax exemptions, these new incentives empowered the private sector to take the dominant role in economic development with little government oversight. As these policies began to face criticism for unnecessarily subsidizing development in gentrifying neighborhoods, officials turned to a new strategy: binding subsidies to developers’ commitments to make local improvements (such as street repairs). Doing so at once continued to diminish tax coffers and helped shift neighborhood improvement projects from the public to the private sector.
The Governance of Homelessness and Public Space
Authors: Holtzman Benjamin 
Published: January 2021

Abstract
In 1980s New York City, residents and officials grappled with the extraordinary growth of people experiencing homelessness residing in public spaces. Public homelessness emerged at a time of rising value of public spaces, which finally began to receive infusions of public and private capital after years of neglect—a development homeless bodies seemed to threaten. The city’s seeming inability to stem public homelessness led private sector actors and the quasi-public officials who oversaw the subways and major Manhattan transportation centers where the homeless resided in the greatest numbers to implement more punitive policies as a solution to public homelessness. Buttressed by new legal measures that expanded private sector governance over public space, these tactics ultimately influenced officials’ adoption of similarly aggressive measures toward public homelessness to protect the enhanced value of public space.
Conclusion
Authors: Holtzman Benjamin 
Published: January 2021

Abstract
This conclusion highlights the major arguments and contributions of The Long Crisis. It describes how New Yorkers helped transform their broke and troubled city between the late 1960s and 1980s by taking the responsibilities of city governance into the private sector and market. In doing so, local people and liberal and Democratic officials built neoliberalism from the ground up. The changes accompanying this new system exacerbated old racial and economic inequalities and produced new ones that continue to shape metropolitan areas through to today, raising fundamental questions about how and for whom cities have been remade over the preceding decades.
A Serious Student
Authors: Heyman Barbara B. 
Published: January 2021

Abstract
When the Curtis Institute of Music opened in 1924, Barber was one of its first students. Due to founder Mary Curtis Bok’s vast cultural background and contacts, the faculty at the school was highly regarded. Early in his studies at the institute, Barber was the first to have a triple major: studying piano with Isabelle Vengerova, voice with Emilio de Gogorza, and composition with Rosario Scalero. He focused intensely on his studies, choosing only a few friends and living a lonely life. It was at Curtis that he met some of the artists who would eventually launch his career, as even his fellow students admired and respected his talent. During this time, Sidney Homer’s unwavering mentoring persisted, and Homer continued to press for excellence and high standards in Barber’s work through their exchange of letters. While Barber worked at Rogers Rock, Lake George, during the summer of 1927, he produced eight songs on texts by James Stephens, many of which are published by G. Schirmer.
Discoveries
Authors: Heyman Barbara B. 
Published: January 2021

Abstract
This chapter describes Barber’s first few trips to Europe, with a fellow student, cellist David Freed, where his romance for European culture began and greatly influenced his work. He sought the most brilliant European artists, musicians, and music professors during that time, immersing himself in their works and teachings. These trips left him with a greater passion for composition as he returned to the Curtis Institute, where he proceeded to write with an utmost intensity. But his writing at this time was not without the usual peaks and troughs, as is the case with any artist. There were compositions wherein Barber doubted his talent. However, his perseverance and determination earned him his first prize in music—the Joseph Bearns Prize for a violin sonata that was lost for many years. It was also at this time that the Serenade of 1928 was born, one of the earliest orchestra pieces that launched Barber’s career. The promotion of his work by Mary Curtis Bok, the founder of the Curtis Institute of Music, was substantial.
Uncertainties
Authors: Heyman Barbara B. 
Published: January 2021

Abstract
At the Curtis Institute of Music, Barber pursued further studies in foreign language and literature, mostly of a European background. He aimed for perfection of his craft and was inspired by English, Irish, and German literature, poetry, and music. He continued to travel in Europe together with his closest friend from the Curtis Institute, Gian Carlo Menotti, and subsequently spent a year at the American Academy in Rome. At the same time, his orchestra pieces started to be performed regularly in New York; Dover Beach, for voice and string quartet, especially, earned good critical reviews. The Overture to The School for Scandal won him a second Bearns Prize. He also pursued a career as a singer as a means of earning extra income, his first recording being Dover Beach. The “Angel Mary” Bok continued to foster his career. Following their graduation from Curtis, Barber and Menotti moved into an apartment in New York.
Middle Years
Authors: Heyman Barbara B. 
Published: January 2021

Abstract
After his discharge from the Army, Barber continued work with the Office of War Information but was able to work at home. He received a commission from John Nicholas Brown for a Cello Concerto for the Boston Symphony Orchestra, conducted by Serge Koussevitzky. Written to include the strengths and predilections of cellist Raya Garbousova, the concerto is considered one of the most challenging contemporary works of the genre and won Barber the Fifth Annual Award of the Music Critics Circle of New York. Reputedly one of the most promising American composers of his time, Barber also composed music for Martha Graham’s ballet about Medea, Cave of the Heart. In 1947, under the shadow of his father’s deteriorating health and Louise Homer’s impending death, Barber composed his most “American work,” Knoxville: Summer of 1915, for voice and orchestra. It is set to a nostalgic prose-poem by James Agee and was premiered by the Boston Symphony with Eleanor Steber as soloist. Following this, Barber composed a piano sonata for Vladimir Horowitz, a work that had the most stunning impact on the American musical world.
Searches
Authors: Heyman Barbara B. 
Published: January 2021

Abstract
In Rome, Barber attended a Gregorian Mass sung by Benedictine monks at St. Anselmo church and was inspired to write a grand-scaled religious work, Prayers of Kierkegaard, for orchestra, mixed chorus, a soprano solo written with Leontyne Price’s voice in mind, and incidental contralto and tenor solos. It was premiered by the Boston Symphony Orchestra under the baton of Charles Munch, with Price as soloist. Barber wrote about the music to his beloved mentor and uncle, Sidney Homer, who at the time was coming toward the end of his life. Homer’s guidance was unwavering, and he encouraged Barber to listen to his inner voice and follow his instincts. As a result, his Roman-inspired pieces were performed throughout Europe. In America, a commission from the Detroit Chamber Music Society led to Barber’s composing the woodwind quintet Summer Music, a collaboration with the New York Woodwind Quintet.
Vanessa
Authors: Heyman Barbara B. 
Published: January 2021

Abstract
When it was performed in 1958, Barber’s opera Vanessa was the first new American work produced by the Metropolitan Opera since 1947 and only the twentieth since the opening of the opera house in 1883. It took Barber two decades to find a libretto, and his search finally culminated in his own backyard, as it were, when his partner Gian Carlo Menotti offered to write the libretto. This chapter narrates how Vanessa evolved, from the creation of the plot to the actors and sets. Set in an unnamed “northern country about 1905,” the story unfolds about two women: Vanessa, a lady of great beauty, who for twenty years of winter after snowy winter has awaited the return of her only love, Anatol; and her beautiful young niece, Erika. The concluding quintet is considered one of the most brilliant climaxes in the twentieth-century repertoire. The opera’s critical success led to the production of Vanessa at the Salzburg Festival, the first American opera performed there. There have been numerous productions in the United States and abroad since then, including a brilliant one at the Glyndebourne Festival in 2018.
Interlude 1958–1960
Authors: Heyman Barbara B. 
Published: January 2021

Abstract
This chapter focuses on more works of Barber that are dedicated to significant people, places, or events. Wondrous Love was written for the inauguration of the new organ at the Christ Episcopal Church in Grosse Pointe, Michigan. A piano piece, Nocturne, “an homage to John Field,” was premiered by John Browning; infused with elements of Chopin and Debussy, the piece more aptly displays Barber’s own melodic penchants. The chapter also describes Barber’s collaboration with his close friend and former lover Menotti, founder of the Festival dei due Mondi in Spoleto, Italy, for which the couple produced the short opera A Hand of Bridge. The gift of an organ to the Philadelphia Orchestra from Mary Curtis Bok Zimbalist led Barber to create Toccata Festiva, premiered by Paul Callaway. And finally, Die Natali, for a full orchestra, dedicated to Serge and Natalie Koussevitzky, using Christmas carols as thematic material for an ingenious fabric of harmonically colored contrapuntal variations, was performed by the Boston Symphony under Charles Munch and later by the Philadelphia Orchestra conducted by Eugene Ormandy, representing some reconciliation of what had been an uneasy relationship.
The Last Years, 1967–1981
Authors: Heyman Barbara B. 
Published: January 2021

Abstract
During the last fifteen years of his life, Barber struggled with depression, alcoholism, and creative blocks. His publisher believed this was due to the reception of Antony and Cleopatra, but Barber’s annual pilgrimages to Europe had begun much earlier, and it was more likely that the forced sale of Capricorn, the home he and Menotti had shared for three decades, contributed to his low morale. The upheaval was equivalent to the dissolution of a marriage. Money from the Metropolitan Opera commission enabled him to build a chalet in Santa Cristina, where he spent most of his time. He did not withdraw from composing but turned to what had been most gratifying: writing vocal music in short forms, choosing biographically pointed texts reflecting a preoccupation with dark and quasi-religious themes. He produced the song cycle Despite and Still, two choral works, and Mutations from Bach for brass. He wrote Chorale for Ascension Day for the Washington National Cathedral and an elaborate work for chorus, vocal solos, and the Philadelphia Orchestra, The Lovers. A commission for the new Alcoa Hall in Pittsburgh resulted in Fadograph of a Yestern Scene, an orchestral piece inspired by a passage in James Joyce’s Finnegans Wake. Barber composed Three Songs, op. 45, and in 1974 wrote a piano piece, Ballade. That commission allowed him to purchase an apartment overlooking Central Park in New York. In the summer of 1978, he began a concerto for oboe and orchestra, but as his health worsened, he realized he would not be able to complete it and titled the single movement Canzonetta for Oboe and String Orchestra. He was diagnosed with multiple myeloma, and in spite of chemotherapy, Barber died on January 23, 1981.
Postlude
Authors: Heyman Barbara B. 
Published: January 2021

Abstract
Barber was a brilliant internationally recognized American composer, whose early indoctrination in European intellectual and musical tradition was compatible with his lifelong creative motivations. The frequency with which his works were performed during and after his lifetime is testimony to the vitality with which he imbued tonal language and the enduring viability of melody itself. Such elements of modernist language as dissonance, chromaticism, tonal ambiguity, and limited serialism were incorporated into his music after 1940 insofar as they allowed him to continue to pursue lyrical and emotional expression. For more than twenty-five years, Barber’s uncle Sidney Homer was his nephew’s mentor. Homer espoused the value of sincerity, clarity of expression, reverence for the proven masters, and choice of serious, vital subjects with international appeal. Above all, he urged his nephew to listen to the “inner voice that is working with you.” A striking feature of Barber’s compositional process from his earliest years was his collaborative relationship with the artists who would perform his works so that the resulting composition would reflect their strengths and predilections. . A documentary study of Barber’s career also becomes a study of patronage in the United States over fifty years—the shift from the individual philanthropist to broader-based financial sources. Communication to his audience was critical to Barber’s work; he worked slowly and laboriously to perfect his craft. His influence on younger composers continues, perhaps because of the coexistence in his music of post-Straussian chromaticism and a typically American directness and simplicity.
Labyrinths as Figures
Authors: Marrone Gaetana 
Published: January 2021

Abstract
Rosi’s groundbreaking trilogy Salvatore Giuliano, Il caso Mattei, and Lucky Luciano addresses the profound cultural and political transformations of postwar Italy. In Salvatore Giuliano (1962), which concerns the enigmatic death of the legendary folk hero, Rosi offers a complex portrait of Sicilian society violently ruled by the Mafia in collusion with the police and the state. Il caso Mattei (The Mattei Affair, 1972) investigates the suspicious death of one of the most influential figures in the postwar economic boom. Lucky Luciano (1973), the treacherous figure of organized crime, is at the center of Rosi’s inquiry into the Mafia’s labyrinthine web of political alliances. Deploying his own metodo dell'inchiesta (“method of inquiry”), Rosi digs beneath the surface of official accounts of these public scandals, unearthing an underlying pattern of corrupt and lethal connections. His open endings attest to his belief in the director’s ethical responsibility to create an actively engaged spectatorship.
“The Red Sea of War”
Authors: Byrd James P. 
Published: January 2021

Abstract
This chapter examines how Americans read the Bible in response to the battle at Fort Sumter and the beginning of the Civil War. In the North, Henry Ward Beecher set the tone in his sermon, “The Battle Set in Array,” which called on the Exodus story to rouse northerners to war. As Beecher preached it, the Exodus was a war story, a story of God’s deliverance of his people in battle, but it was also a story that warned people that they could not just rely on God – they would have to join the fight. Many northerners shared Beecher’s zeal, including Catholics, some of whom saw wartime service as a way to earn the respect of others in a predominately anti-Catholic nation. Overall northerners embraced the war, viewing it as a noble enterprise that would improve the moral resolve of a nation that had become materialistic, immoral, and weak.
“This Second War I Consider Equally as Holy as the First”
Authors: Byrd James P. 
Published: January 2021

Abstract
Americans rarely saw flags until 1861. Few people put up flags outside their homes, and churches did not normally fly them either. With the onset of the war, however, flags appeared everywhere—in churches, homes, businesses, and elsewhere. The flag northerners flew honored the nation of the beloved founders—a flag descended from the flag of the American Revolution—and as northerners honored the flag, they compared their war with the Revolutionary War. Not to be outdone, southerners insisted that they, not the northern aggressors, were carrying on the Revolutionary legacy. Which side was more faithful to the American Revolution? Americans debated this question throughout the war, and never more fervently than at the war’s beginning. As each side claimed to be most faithful to the patriots of 1776, they employed the Bible to support their arguments and to recruit soldiers for the fight.
“These Dead Have Not Died in Vain”
Authors: Byrd James P. 
Published: January 2021

Abstract
Lincoln’s Gettysburg Address, delivered on November 19, 1863, included several biblical themes; it even sounded like the King James Bible. The opening—“Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty”—recalled texts from the Bible, including the book of Revelation (Revelation 12:5). The Gettysburg Address assessed a year of unprecedented sacrifice on the battlefield. This was also a year of conflicting viewpoints of the war’s moral purpose, especially as deaths multiplied and battles continued with no end in sight. Loss cries out for meaning, and Americans sensed that in 1863. When Americans saw loss on a scale like they did that year, they turned to the Bible to give meaning to the war, much as Lincoln did at Gettysburg.
Overview of Child and Youth Development
Authors: Painter Kirstin , Scannapieco Maria 
Published: January 2021

Abstract
The chapter gives an overview of the development of youth in two periods: middle childhood (6–11 years of age) and adolescence (12–18 years of age). During these two stages, major changes occur within the youth’s physical, social, and cognitive dimensions, with each stage having its own primary developmental task. For middle childhood, the main task is to acquire new physical, social, and cognitive skills. On the other hand, adolescents are tasked with sexuality and identity exploration. Within each stage, developmental aspects are discussed and understood in combination with Piaget’s theory of cognitive development and psychodynamic theories such as Freud’s psychosexual stages of development and Erickson’s psychosocial stages. It is important for social workers to learn about brain research, to understand brain functions and what the child experiences biologically and how they might affect the child’s development and mental health problems. Recommendations are given for the best intervention orientation in working with youth: relationship-oriented, empowerment-oriented, and collaboration-oriented practices.
Childhood Trauma
Authors: Painter Kirstin , Scannapieco Maria 
Published: January 2021

Abstract
There are five main types of childhood trauma: physical abuse, sexual abuse, emotional abuse, physical neglect, and emotional neglect. Since childhood trauma can affect the child’s health and well-being even long after the trauma has occurred, it is essential for social workers to be able to categorize the trauma to develop better interventions that will help prevent long-term traumatic effects. However, it is also important to understand the three major manifestations a trauma can take form of in children. Childhood trauma can cause, influence, or exacerbate how people cope with mental illness. It can increase the risk of developing risky, addictive, or criminogenic behavior like substance abuse later in life. Trauma can also harmfully affect a child’s development, resulting in negative life outcomes. Social workers need to be able to implement trauma-informed care programs while also making use of the findings about the relationship between neuroscience and childhood trauma for further practice.