Recollections of her father, Lew Fields; family's life in the theater; career as a lyric writer: the Cotton Club in Harlem, "Blackbirds," "Annie Get Your Gun," association with J. Fred Coots, Jimmy McHugh, Jerome Kern; old vs. new musical comedy; impression of Lillian Russell.

Zusammenfassung: Audiovisual testimony of a Holocaust survivor. Includes pre-war, wartime, and post-war experiences

Dorothy Corey reviews her family background and education. She recollects her days as a pioneering market researcher during the thirties in Chicago and her acquaintanceships with George Gallup and Elmo Roper. She talks about her company's clients in political polling and their reliance on research. She also discusses the various techniques in market research and their applicability in the political field.

In a career that spanned nearly five decades, Dorothy Fields penned the words to more than four hundred songs, among them mega-hits such as "On the Sunny Side of the Street," "I Can't Give You Anything But Love," "The Way You Look Tonight," and "If My Friends Could See Me Now." While Fields's name may be known mainly to connoisseurs, her contributions to our popular culture--indeed, our national consciousness--have been remarkable. In Pick Yourself Up, Charlotte Greenspan offers the most complete, serious treatment of Fields's life and work to date, tracing her rise to prominence in a male-dominated world.

Florida Historical Society Harry T. and Hariette V. Moore Award  Florida Book Awards, Silver Medal for Florida Nonfiction In May 1945, activists staged a “wade-in” at a whites-only beach in Miami, protesting the Jim Crow–era laws that denied blacks access to recreational waterfront areas. Pressured by protestors in this first postwar civil rights demonstration, the Dade County Commission ultimately designated the difficult-to-access Virginia Key as a beach for African Americans. The beach became vitally important to the community, offering a place to congregate with family and friends and to enjoy the natural wonders of the area. It was also a tangible victory in the continuing struggle for civil rights in public space. As Florida beaches were later desegregated, many viewed Virginia Key as symbolic of an oppressive past and ceased to patronize it. At the same time, white leaders responded to desegregation by decreasing attention to and funding for public spaces in general. The beach was largely ignored and eventually shut down. In White Sand Black Beach, historian and longtime Miami activist Gregory Bush recounts this unique story and the current state of the public waterfront in Miami. Recently environmentalists, community leaders, and civil rights activists have come together to revitalize the beach, and Bush highlights the potential to stimulate civic engagement in public planning processes. While local governments defer to booster and lobbying interests pushing for destination casinos and boat shows, Bush calls for a land ethic that connects people to the local environment. He seeks to shift the local political divisions beyond established interest groups and neoliberalism to a broader vision that simplifies human needs, and reconnects people to fundamental values such as health. A place of fellowship, relaxation, and interaction with nature, this beach, Bush argues, offers a common ground of hope for a better future.