|
|
In the Mood #9
Joe Garland (1939) |
|
Music in the War Zone
The military leadership wanted the fighting forces to experience as much of that “normalcy” as possible, even though the environments surrounding the soldiers were very different from those of people living in their homes. Music for the servicemen (and women), whether in training camps or in active service, was a means of escape—a way to forget briefly the discomforts and sometimes horror that they faced on a daily basis. It was feasible to share some of the nation’s normal domestic musical activities with soldiers, but other experiences had to be adapted to their particular circumstances.
The USA’s USO
Once it was clear that America would be entering World War II, President Roosevelt became concerned about morale; he wanted to keep the soldiers in touch with their civilian lives. Nearly a year before the Pearl Harbor attack, a committee led by President Roosevelt founded the United Service Organizations (USO), a private, non-profit agency who opened facilities in 3,000 communities to welcome lonely soldiers; they “provided a chance to dance, chat, write letters, watch movies, or simply find quiet solace. Plus, they always served hot coffee and doughnuts.”
Taking It on the Road
Once centers were established, the USO aimed to serve larger groups via traveling entertainment. These USO Camp Shows were presented in large venues, small military bases, hospitals, and close to the front lines. Among the ranks of performers were Hollywood stars, concert artists, and established big bands. Musicians and other entertainers, such as dancers, comedians, and acrobats traveled widely and sometimes performed in dangerous settings. Still, the inconveniences seemed worth it after hearing the ecstatic responses from the troops. One young soldier in Northern Burma tried to describe his reaction in late 1944, saying:
OPEN LETTER TO THE USO
Through the medium of a traveling Camp Show, five girls put laughter and memories into the hearts of nearly 500 lonely GIs—GIs who have not seen a beautiful American girl in two years, some cases longer… It was a miracle—a temporary Shangri-La— where their cares and worries could be dispersed. ...A half hour after the performance the men were still sitting in the rain, still applauding … So to these five girls, and all like them—and to the USO-Camp Shows, which made it possible, I say thanks. Thanks for doing a swell job. I only hope that there are more at home like you!
The military leadership wanted the fighting forces to experience as much of that “normalcy” as possible, even though the environments surrounding the soldiers were very different from those of people living in their homes. Music for the servicemen (and women), whether in training camps or in active service, was a means of escape—a way to forget briefly the discomforts and sometimes horror that they faced on a daily basis. It was feasible to share some of the nation’s normal domestic musical activities with soldiers, but other experiences had to be adapted to their particular circumstances.
The USA’s USO
Once it was clear that America would be entering World War II, President Roosevelt became concerned about morale; he wanted to keep the soldiers in touch with their civilian lives. Nearly a year before the Pearl Harbor attack, a committee led by President Roosevelt founded the United Service Organizations (USO), a private, non-profit agency who opened facilities in 3,000 communities to welcome lonely soldiers; they “provided a chance to dance, chat, write letters, watch movies, or simply find quiet solace. Plus, they always served hot coffee and doughnuts.”
Taking It on the Road
Once centers were established, the USO aimed to serve larger groups via traveling entertainment. These USO Camp Shows were presented in large venues, small military bases, hospitals, and close to the front lines. Among the ranks of performers were Hollywood stars, concert artists, and established big bands. Musicians and other entertainers, such as dancers, comedians, and acrobats traveled widely and sometimes performed in dangerous settings. Still, the inconveniences seemed worth it after hearing the ecstatic responses from the troops. One young soldier in Northern Burma tried to describe his reaction in late 1944, saying:
OPEN LETTER TO THE USO
Through the medium of a traveling Camp Show, five girls put laughter and memories into the hearts of nearly 500 lonely GIs—GIs who have not seen a beautiful American girl in two years, some cases longer… It was a miracle—a temporary Shangri-La— where their cares and worries could be dispersed. ...A half hour after the performance the men were still sitting in the rain, still applauding … So to these five girls, and all like them—and to the USO-Camp Shows, which made it possible, I say thanks. Thanks for doing a swell job. I only hope that there are more at home like you!