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United States home front during World War I
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Home Front
Weapons for Liberty – U.S.A. Bonds by J. C. Leyendecker, 1918
Date
1917-19
Location
United States
The United States home front during World War I saw a systematic mobilization of the country's entire population and economy to produce the soldiers, food supplies, ammunitions and money necessary to win the war. Although the United States entered the war in April 1917, there had been very little planning, or even recognition of the problems that Great Britain and the other Allies had to solve on their own home fronts. As a result, the level of confusion was high in the first 12 months, before efficiency took control.
The war came in the midst of the Progressive Era, when efficiency and expertise were highly valued. Therefore, both individual states and the federal government established a multitude of temporary agencies to bring together the expertise necessary to redirect the economy and society into the production of munitions and food needed for the war, as well as the circulation of beliefs and ideals in order to motivate the people.
Contents
[hide]
1 American entry into the war
2 US government
2.1 Temporary agencies
2.2 Government propaganda
3 Military draft
4 Civil liberties
5 Hollywood
6 Economics
6.1 Munitions production before U.S. entry
6.2 Munitions production after U.S. entry
6.3 Farming and food
6.4 Economic confusion in 1917
6.5 Shipments to Europe
6.6 Labor
7 Women
7.1 Children
8 Americanization of ethnics
9 Alien internments
10 Anti-German activity
11 War bonds
12 Attacks on the USA
12.1 Sabotage
13 See also
14 Notes
15 Further reading
15.1 Economics and labor
15.2 Historiography
15.3 Primary sources and year books
16 External links
American entry into the war[edit]
Main article: American entry into World War I
Firmly maintaining neutrality when World War I began in Europe in 1914, the United States helped supply the Allies, but could not ship anything to Germany because of the British blockade. Sympathies among many politically and culturally influential Americans had favored the British cause from the start of the war, as typified by industrialist Samuel Insull, born in London, who helped young Americans enlist in British or Canadian forces. On the other hand, especially in the Midwest, many Irish Americans and German Americans opposed any American involvement and were anti-British. The suffragist movement included many pacifists, and most churches opposed the war.[1]
German efforts to use its submarines ("U-boats") to blockade Britain resulted in the deaths of American travelers and sailors, and attacks on passenger liners caused public outrage. Most notable was the torpedoing without warning the passenger liner Lusitania in 1915. Germany promised not to repeat, but it reversed its position in early 1917, believing that unrestricted U-boat warfare against all ships headed to Britain would win the war even at the cost of American entry. When Americans read the text of the German offer to Mexico, known as the Zimmermann Telegram, they saw an offer for Mexico to go to war with Germany against the United States, with German funding, with the promise of the return of the lost territories of Arizona, New Mexico, and Texas. On Apr 1, 1917, Wilson called for war, emphasizing that the U.S. had to fight to maintain its honor and to have a decisive voice in shaping the new postwar world.[2] Congress voted on April 6, 1917 to declare war, but it was far from unanimous.[3]
US government[edit]
Main article: Presidency of Woodrow Wilson
Temporary agencies[edit]
Congress authorized President Woodrow Wilson to create a bureaucracy of 500,000 to 1 million new jobs in five thousand new federal agencies.[4] To solve the labor crisis, the Employment Service of the Department of Labor attracted workers from the South and Midwest to war industries in the East.
Government propaganda[edit]
In April 1917, the Wilson Administration created the Committee on Public Information (CPI), known as the Creel Committee, to control war information and provide pro-war propaganda. Employing talented writers and scholars, it issued anti-German pamphlets and films. It organized thousands of "Four-Minute Men" to deliver brief speeches at movie theaters, schools and churches to promote patriotism and participation in the war effort.[5]
Military draft[edit]
Main article: Selective Service Act of 1917
A World War I era draft card.
In 1917 the administration decided to rely primarily on conscription, rather than voluntary enlistment, to raise military manpower for World War I. The Selective Service Act of 1917 was carefully drawn to remedy the defects in the Civil War system and—by allowing exemptions for dependency, essential occupations, and religious scruples—to place each man in his proper niche in a national war effort. The act established a "liability for military service of all male citizens"; authorized a selective draft of all those between twenty-one and thirty-one years of age (later from eighteen to forty-five); and prohibited all forms of bounties, substitutions, or purchase of exemptions. Administration was entrusted to local boards composed of leading civilians in each community. These boards issued draft calls in order of numbers drawn in a national lottery and determined exemptions. In 1917 and 1918 some 24 million men were registered and nearly 3 million inducted into the military services, with little of the resistance that characterized the Civil War.[6]
Secretary of War Newton Baker draws the first draft number on 20 July 1917.
Using questionnaires filled out by doughboys as they left the Army, Gutièrrez reports that they were not cynical or disillusioned. They fought "for honor, manhood, comrades, and adventure, but especially for duty."[7]
Civil liberties[edit]
The Espionage Act of 1917 and the Sedition Act of 1918 attempted to punish enemy activity and extended to the punishment expressions of doubt about America's role in the war. The Sedition Act criminalized any expression of opinion that used "disloyal, profane, scurrilous or abusive language" about the U.S. government, flag or armed forces. Government police action, private vigilante groups, and public war hysteria compromised the civil liberties of many Americans who disagreed with Wilson's policies.[8]
The private American Protective League, working with the Federal Bureau of Investigation, was one of many private patriotic associations that sprang up to support the war and at the same time identify slackers, spies, draft dodgers and anti-war organizations.[9]
In a July 1917 speech, Max Eastman complained that the government's aggressive prosecutions of dissent meant that "You can't even collect your thoughts without getting arrested for unlawful assemblage."[10]
Hollywood[edit]
The nascent film industry produced a wide variety of propaganda films. The most successful was The Kaiser, the Beast of Berlin, a "sensational creation" designed to rouse the audience against the German ruler. Comedies included Mutt and Jeff at the Front. The greatest artistic success, considered by many a landmark of film history, was Charlie Chaplin's Shoulder Arms, which followed the star from his induction into the military, his accidental penetration of the German lines, and his eventual return having captured the Kaiser and Crown Prince and won himself a pretty French girl.[11] Other activities included film shorts supporting the sale of war bonds or for war relief such as Tom's Little Star.
Economics[edit]
Munitions production before U.S. entry[edit]
By 1916, Britain was funding most of the Empire's war expenditures, all of Italy's and two thirds of the war costs of France and Russia, plus smaller nations as well. The gold reserves, overseas investments and private credit then ran out, forcing Britain to borrow $ twenty five billion from the U.S. Treasury in 1917–18.[12] Much of this money was spent paying United States industries to manufacture ammunition. United States Cartridge Company expanded its work force ten-fold in response to September 1914 contracts with British purchasing agents; and ultimately manufactured over two billion rifle and machine gun cartridges.[13] Baldwin Locomotive Works expanded their Eddystone, Pennsylvania, manufacturing facilities in 1915 to manufacture Russian artillery shells and British rifles.[14] The United States production of smokeless powder was equal to the combined production of the European Allies during the last 19 months of the war; and by the end of the war United States factories were producing smokeless powder at a rate 45 percent higher than the European Allies' combined production. Production rate of explosives by the United States was similarly 40 percent higher than Britain and nearly twice that of France.[15] Shipments of American raw materials and food allowed Britain to feed itself and its army while maintaining her productivity. The financing was generally successful.[16] Heavy investment in ammunition manufacturing machinery did not bring long term prosperity to some major American companies. The United States Cartridge Company Lowell, Massachusetts, factory which manufactured nearly two-thirds of the small arms cartridges produced in the United States during the war, closed eight years later.[17] After Baldwin manufactured over six million artillery shells, nearly two million rifles, and 5,551 military locomotives for Russia, France, Britain and the United States,[14] postwar production never used more than one-third the capacity of the Eddystone factory; and Baldwin declared bankruptcy in 1935.[18]
Munitions production after U.S. entry[edit]
The US effort to produce and ship war material to France was characterized by several factors. The US declared war on Germany on 6 April 1917 with only a small munitions industry, very few medium and heavy artillery pieces, and few machine guns. By June 1917 the US had decided that their forces would primarily operate alongside the French, and would acquire their artillery and machine guns by purchasing mostly French weapons in theater, along with some British weapons in the case of heavy artillery. Shipments from the US to France would primarily be of soldiers and ammunition; artillery equipment in particular occupied too much space and weight to be economical. These priorities combined with the short 19-month US participation in the war meant that few US-made weapons arrived in France, and the need for extensive training of artillery units once in France meant that fewer still saw action before the Armistice. A comparison with World War II would be that the US started preparing for that war in earnest shortly after the Germans invaded Poland in September 1939; by the time the US entered the war following the attack on Pearl Harbor in December 1941 there had already been 27 months of mobilization.[19]
Artillery
It was envisioned that US artillery production of French- and British-designed weapons, and a few US-designed weapons chambered for French ammunition, would be ramped up and that US-made artillery would eventually be delivered to the battlefields in quantity. However, major production snarls occurred with most of the artillery programs, and as mentioned artillery shipments had a lower priority than many other types of shipments overseas.[19]
Farming and food[edit]
Main article: Food and Fuel Control Act
Food Administration poster 1917
The food program was a major success, as output expanded, waste was reduced, and both the home front and the Allies received more food.[20] The U.S. Food Administration under Herbert Hoover launched a massive campaign to teach Americans to economize on their food budgets and grow victory gardens in their backyards.[21] It managed the nation's food distribution and prices.[22]
Gross farm income increased more than 230% from 1914 to 1919. Apart from 'wheatless Wednesdays' and 'meatless Tuesdays' due to poor harvests in 1916 and 1917, there were 'fuelless Mondays' and 'gasless Sundays' to preserve coal and gasoline.[23]
Economic confusion in 1917[edit]
In terms of munitions production, the first 15 months involved an amazing parade of mistakes, misguided enthusiasm, and confusion. Americans were willing enough, but they did not know their proper role. Washington was unable to figure out what to do when, or even to decide who was in charge. Typical of the confusion was the coal shortage that hit in December 1917. Because coal was by far the major source of energy and heat a grave crisis ensued. There was in fact plenty of coal being mined, but 44,000 loaded freight and coal cars were tied up in horrendous traffic jams in the rail yards of the East Coast. Two hundred ships were waiting in New York harbor for cargo that was delayed by the mess. The solution included nationalizing the coal mines and the railroads for the duration, shutting down factories one day a week to save fuel, and enforcing a strict system of priorities. Only in March, 1918, did Washington finally take control of the crisis[24] The transportation system then worked smoothly.[25]
Shipments to Europe[edit]
Shipbuilding became a major wartime industry, focused on merchant ships and tankers.[26] Merchant ships were often sunk until the convoy system was adopted using British and Canadian naval escorts. Convoys were slow but effective in stopping u-boat attacks.[27] The troops were shipped over on fast passenger liners that could easily outrun submarines.[28]
An oil crisis occurred in Britain due to the 1917 German submarine campaign. Standard Oil of NJ, for example, lost 6 tankers (including the brand new "John D. Archbold") between May and September. The solution was expanded oil shipments from America in convoys. The Allies formed the Inter-Allied Petroleum Conference with USA, Britain, France, and Italy as the members. Standard and Royal Dutch/Shell ran it and made it work. The introduction of convoys as an antidote to the German U-boats and the joint management system by Standard Oil and Royal Dutch/Shell helped to solve the Allies' supply problems. The close working relationship that evolved was in marked contrast to the feud between the government and Standard Oil years earlier. In 1917 and 1918, there was increased domestic demand for oil partly due to the cold winter that created a shortage of coal. Inventories and imported oil from Mexico were used to close the gap. In January 1918, the U.S. Fuel Administrator ordered industrial plants east of Mississippi to close for a week to free up oil for Europe.[29]
The coal shortage caused sharp increases in the demand and prices of oil and industry called for voluntary price control from the oil industry. While Standard Oil was agreeable, the independent oil companies were not. Demand continued to outpace supply because of the war and the growth in automobiles in America. An appeal for “Gasolineless Sundays” in US was made with exceptions for freight, doctors, police, emergency vehicles, and funeral cars.
Labor[edit]
1919 New York Herald cartoon portraying "reds" and IWW members as a violent mob held back by threat of a US Army machine gun
The American Federation of Labor (AFL) and affiliated trade unions were strong supporters of the war effort. Fear of disruptions to war production by labor radicals provided the AFL political leverage to gain recognition and mediation of labor disputes, often in favor of improvements for workers.[30] They resisted strikes in favor of arbitration and wartime policy, and wages soared as near-full employment was reached at the height of the war. The AFL unions strongly encouraged young men to enlist in the military, and fiercely opposed efforts to reduce recruiting and slow war production by pacifists, the anti-war Industrial Workers of the World (IWW) and radical socialists. To keep factories running smoothly, Wilson established the National War Labor Board in 1918, which forced management to negotiate with existing unions.[31] Wilson also appointed AFL president Samuel Gompers to the powerful Council of National Defense, where he set up the War Committee on Labor.
After initially resisting taking a stance, the IWW became actively anti-war, engaging in strikes and speeches and suffering both legal and illegal suppression by federal and local governments as well as pro-war vigilantes. The IWW was branded as anarchic, socialist, unpatriotic, alien and funded by German gold, and violent attacks on members and offices would continue into the 1920s.[32]
The AFL membership soared to 2.4 million in 1917. In 1919, the AFL tried to make their gains permanent and called a series of major strikes in meat, steel and other industries. The strikes ultimately failed, forcing unions back to membership and power similar to those around 1910.[33]
Women[edit]
See also: American women in World War I
During WWI (1914-1918), large numbers of women were recruited into jobs that had either been vacated by men who had gone to fight in the war, or had been created as part of the war effort. The high demand for weapons and the overall wartime situation resulted in munitions factories collectively becoming the largest employer of American women by 1918. While there was initial resistance to hiring women for jobs traditionally held by men, the war made the need for labor so urgent that women were hired in large numbers and the government even actively promoted the employment of women in war-related industries through recruitment drives. As a result, women not only began working in heavy industry, but also took other jobs traditionally reserved solely for men, such as railway guards, ticket collectors, bus and tram conductors, postal workers, police officers, firefighters, and clerks.
World War I saw women taking traditionally men's jobs in large numbers for the first time in American history. Many women worked on the assembly lines of factories, producing trucks and munitions, while department stores employed African American women as elevator operators and cafeteria waitresses for the first time. The Food Administration helped housewives prepare more nutritious meals with less waste and with optimum use of the foods available. Most important, the morale of the women remained high, as millions joined the Red Cross as volunteers to help soldiers and their families, and with rare exceptions, the women did not protest the draft.[34][35]
Girls too young for paid jobs learned how they could help the war effort.
Children[edit]
Main article: Effect of World War I on children in the United States
World War I affected children in the United States through several social and economic changes in the school curriculum and through shifts in parental relationships. For example, a number of fathers and brothers entered the war, and many were subsequently maimed in action or killed, causing many children to be brought up by single mothers.[36] Additionally, as the male workforce left for battle, mothers and sisters began working in factories to take their positions, and the family dynamic began to change; this affected children as they had less time to spend with family members and were expected to grow up faster and help with the war effort. Similarly, Woodrow Wilson called on children involved in youth organizations to help collect money for war bonds and stamps in order to raise money for the war effort.[37] This was very important because the children were having a direct effect on the financial state of the United States government during World War I. As children were collecting large amounts of money outside of school, within the classroom, curriculum also began to change as a result of the war. Woodrow Wilson again became involved with these children as he implemented government pamphlets and programs to encourage war support through things like mandatory patriotism and nationalism classes multiple times a week.[38] Even though war was not being fought on United States soil, children's lives were greatly affected as all of these changes were made to their daily lives as a result of the conflict.
Victory gardeners, 1918
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Americanization of ethnics[edit]
The outbreak of war in 1914 increased concern about the millions of foreign born in the United States. The short-term concern was their loyalty to their native countries and the long-term was their assimilation into American society. Numerous agencies became active in promoting "Americanization" so that the ethnics would be psychologically and politically loyal to the U.S. The states set up programs through their Councils of National Defense; numerous federal agencies were involved, including the Bureau of Education, the United States Department of the Interior and the Food Administration. The most important private organization was the National Americanization Committee (NAC) directed by Frances Kellor. Second in importance was the Committee for Immigrants in America, which helped fund the Division of Immigrant Education in the federal Bureau of Education.[39]
The war prevented millions of recently arrived immigrants from returning to Europe as they originally intended. The great majority decided to stay in America. Foreign language use declined dramatically. They welcomed Americanization, often signing up for English classes and using their savings to buy homes and bring over other family members.[40]
Kellor, speaking for the NAC in 1916, proposed to combine efficiency and patriotism in her Americanization programs. It would be more efficient, she argued, once the factory workers could all understand English and therefore better understand orders and avoid accidents. Once Americanized, they would grasp American industrial ideals and be open to American influences and not subject only to strike agitators or foreign propagandists. The result, she argued would transform indifferent and ignorant residents into understanding voters, to make their homes into American homes, and to establish American standards of living throughout the ethnic communities. Ultimately, she argued it would "unite foreign-born and native alike in enthusiastic loyalty to our national ideals of liberty and justice.[41]
Alien internments[edit]
See also German American internment during World War I
German citizens were required to register with the federal government and carry their registration cards at all times. 2,048 German citizens were imprisoned beginning in 1917, and all were released by spring 1920. Allegations against them included spying for Germany or endorsing the German war effort. They ranged from immigrants suspected of sympathy for their native land, civilian German sailors on merchant ships in U.S. ports when war was declared, and Germans who worked part of the year in the United States, including 29 players from the Boston Symphony Orchestra and other prominent musicians.[42]
Anti-German activity[edit]
See also: Anti-German sentiment § First World War
1918 bond posters with germanophobic slogans
German Americans by this time usually had only weak ties to Germany; however, they were fearful of negative treatment they might receive if the United States entered the war (such mistreatment was already happening to German-descent citizens in Canada and Australia). Almost none called for intervening on Germany's side, instead calling for neutrality and speaking of the superiority of German culture. They were increasingly marginalized, however, and by 1917 had been excluded almost entirely from national discourse on the subject.[43]
When the war began, overt examples of German culture came under attack. Many churches cut back or ended their German language services. German parochial schools switched to the use of English in the classroom. Courses in German were dropped from public high school curricula. Some street names were changed. One person was killed by a mob at a tavern in a southern Illinois mining town.[44]
War bonds[edit]
Elaborate propaganda campaigns were launched to encourage Americans to buy Liberty bonds. In ethnic centers, ethnic groups were pitted against each other so that groups were encouraged to purchase more bonds compared to their historic rivals in order to demonstrate superior patriotism.[45]
Attacks on the USA[edit]
The Central Powers carried out a number of acts of sabotage and a single submarine attack against the mainland of the USA during the war, but never staged an invasion of the country, although there were rumors that German advisers were present at the Battle of Ambos Nogales.
Sabotage[edit]
Black Tom Pier shortly after the explosion.
Main article: Black Tom explosion
Numerous rumors of German plans for sabotage alarmed Americans. After midnight on July 30, 1916, a series of small fires were found on a pier in Jersey City, New Jersey. Sabotage was suspected and some guards fled, fearing an explosion; others attempted to fight the fires. Eventually they called the Jersey City Fire Department. An explosion occurred at 2:08 a.m., the first and biggest of the explosions. Shrapnel from the explosion traveled long distances, some lodging in the Statue of Liberty and other places. Seven people died.
On July 21, 1918, a German U-boat, SM U-156, positioned itself off of Orleans, Massachusetts opened fire and sank a tugboat and some barges until it was driven off by American warplanes.
See also[edit]
American entry into World War I
Victory garden
Woman's Land Army of America
Effect of World War I on Children in the United States
United States home front during World War II
German prisoners of war in the United States
Home front during World War I, covering all major countries involved
Women's roles in the World Wars#World War I
British home front during the First World War
History of Germany during World War I
History of France during World War I
Belgium in World War I
Notes[edit]
Jump up ^ On the historiography, see Justus D. Doenecke, "Neutrality Policy and the Decision for War" in Ross Kennedy ed., A Companion to Woodrow Wilson (2013) pp: 243-69 Online
Jump up ^ For detailed coverage of Wilson's speech see NY Times main headline, April 2, 1917, President Calls for War Declaration, Stronger Navy, New Army of 500,000 Men, Full Cooperation With Germany's Foes
Jump up ^ Cooper, John M. Woodrow Wilson: A Biography (2009)
Jump up ^ Spencer Tucker and Priscilla Mary Roberts, eds., World War I: encyclopedia (2005), p. 1205
Jump up ^ Kennedy, Over Here, 61-62
Jump up ^ John Whiteclay Chambers II, To Raise an Army: The Draft Comes to Modern America (1987)
Jump up ^ Edward A. :Gutièrrez, Doughboys on the Great War: How American Soldiers Viewed Their Military Experience (2014)
Jump up ^ Schaffer, Ronald (1978). The United States in World War I. Santa Barbara: Clio Books. p. ?. ISBN 0874362741.
Jump up ^ Fischer, Nick (2011). "The American Protective League and the Australian Protective League – Two Responses to the Threat of Communism, c. 1917–1920". American Communist History. 10 (2): 133–149. doi:10.1080/14743892.2011.597222.
Jump up ^ Steel, Ronald (1980). Walter Lippmann and the American Century. Boston: Little, Brown. p. 124. ISBN 0316811904.
Jump up ^ Mock, James R.; Larson, Cedric (1939). Words that Won the War: The Story of the Committee on Public Information, 1917–1919. Princeton University Press. pp. 151–152.
Jump up ^ Steven Lobell, "The Political Economy of War Mobilization: From Britain's Limited Liability to a Continental Commitment," International Politics (2006) 43#3 pp 283–304
Jump up ^ Helmuth Carol Engelbrecht; Frank Cleary Hanighen (1934). Merchants of Death: A Study of the International Armament Industry. p. 187.
^ Jump up to: a b Westing, Frederick (1966), The locomotives that Baldwin built. Containing a complete facsimile of the original "History of the Baldwin Locomotive Works, 1831-1923", Crown Publishing Group, pp. 76–85, ISBN 978-0-517-36167-2
Jump up ^ Ayres, Leonard P. (1919). The War with Germany (Second ed.). Washington, DC: United States Government Printing Office. pp. 77&78.
Jump up ^ M. J. Daunton, "How to Pay for the War: State, Society and Taxation in Britain, 1917–24," English Historical Review (1996) 111# 443 pp. 882–919 in JSTOR
Jump up ^ "U.S. Cartridge Company" (PDF). Lowell Land Trust. Retrieved 2013-02-06.
Jump up ^ Brown, John K. (1995), The Baldwin Locomotive Works, 1831-1915: A Study in American Industrial Practice, Studies in Industry and Society series, Baltimore: Johns Hopkins University Press, pp. 216&228, ISBN 978-0-8018-5047-9
^ Jump up to: a b Crowell, pp. 25-30
Jump up ^ Beamish and March (1919). America's Part in the World War. pp. 319–35.
Jump up ^ "Teaching With Documents: Sow the Seeds of Victory! Posters from the Food Administration During World War I"
Jump up ^ Nash, George H. (1996). The Life of Herbert Hoover: Master of Emergencies, 1917–1918. New York: Norton. p. ?. ISBN 0393038416.
Jump up ^ Spencer C. Tucker; Priscilla Mary Roberts (2005). Encyclopedia Of World War I: A Political, Social, And Military History. ABC-CLIO. p. 1206.
Jump up ^ Kennedy, Over Here 113-25
Jump up ^ Beamish and March (1919). America's Part in the World War. pp. 336–50.
Jump up ^ Beamish and March (1919). America's Part in the World War. pp. 359–66.
Jump up ^ Brian Tennyson, and Roger Sarty. "Sydney, Nova Scotia and the U-Boat War, 1918." Canadian Military History 7.1 (2012): 4+ online
Jump up ^ Holger H. Herwig, and David F. David. "The Failure of Imperial Germany's Undersea Offensive Against World Shipping, February 1917–October 1918." Historian (1971) 33#4 pp: 611-636.
Jump up ^ Ronald W. Ferrier; J. H. Bamberg (1982). The History of the British Petroleum Company: Volume 1, The Developing Years, 1901-1932. Cambridge University Press. p. 356.
Jump up ^ Joseph A. McCartin, Labor's great war: the struggle for industrial democracy and the origins of modern American labor relations, 1912-1921 (1997).
Jump up ^ Richard B. Gregg, "The National War Labor Board." Harvard Law Review (1919): 39-63 in JSTOR
Jump up ^ Robert L. Tyler, Rebels of the woods: the IWW in the Pacific Northwest (U of Oregon Press, 1967)
Jump up ^ Philip Taft, The A.F.L. in the time of Gompers (1957)
Jump up ^ Gavin, Lettie (2006). American Women in World War I: They Also Served. Boulder: University Press of Colorado. ISBN 0870818252.
Jump up ^ Beamish and March (1919). America's Part in the World War. pp. 259–72.
Jump up ^ Greenwald, Maureen (1980). Maurine Weiner. Women, War, and Work: the Impact of World War I on Women Workers in the United States. Westport: Greenwood Press. p. 4. ISBN 0313213550.
Jump up ^ McDermott, T. P. "USA's Boy Scouts and World War I Liberty Loan Bonds". SOSSI Journal: 70.
Jump up ^ Spring, Joel (1992). Images of American Life. Albany: State University of New York Press. p. 20. ISBN 0791410692.
Jump up ^ McClymer, John F. (1980). War and Welfare: Social Engineering in America, 1890–1925. Westport: Greenwood Press. pp. 110–111. ISBN 0313211299.
Jump up ^ Archdeacon, Thomas J. (1984). Becoming American. London: Collier Macmillan. pp. 115, 186–187. ISBN 0029008301.
Jump up ^ McClymer, War and Welfare, pp 112-3
Jump up ^ New York Times: "Dr. Muck Bitter at Sailing," August 22, 1919, accessed January 13, 2010
Jump up ^ Frederick C. Luebke, Bonds of Loyalty: German-Americans and World War I (1974)
Jump up ^ Donald R. Hickey, "The Prager Affair: A Study in Wartime Hysteria," Journal of the Illinois State Historical Society (1969) 62#2 pp 126–127 in JSTOR
Jump up ^ June Alexander (2008). Ethnic Pride, American Patriotism: Slovaks And Other New Imiigrants. Temple UP. pp. 33–34.
Further reading[edit]
Further information: Presidency of Woodrow Wilson and Bibliography of World War I
Beamish, Richard Joseph and Francis Andrew March (1919). America's Part in the World War: A History of the Full Greatness of Our Country's Achievements; the Record of the Mobilization and Triumph of the Military, Naval, Industrial and Civilian Resources of the United States. Philadelphia: John C. Winston Company. ; comprehensive history of military and home front; full text online; has photos
Breen, William J. Uncle Sam at Home: Civilian Mobilization, Wartime Federalism, and the Council of National Defense, 1917-1919 (Greenwood Press, 1984)
Chambers, John W., II. To Raise an Army: The Draft Comes to Modern America (1987)
Clements, Kendrick A. The Presidency of Woodrow Wilson (1992)
Cooper, John Milton. Woodrow Wilson: A Biography (2009)
Crowell, Benedict (1919). America's Munitions 1917-1918. Washington, DC: Government Printing Office.
Dumenil, Lynn. The Second Line of Defense: American Women and World War I (U of North Carolina Press, 2017). xvi, 340 pp.
Encyclopædia Britannica (12th ed. 1922) comprises the 11th edition plus three new volumes 30-31-32 that cover events since 1911 with very thorough coverage of the war as well as every country and colony. Included also in 13th edition (1926) partly online
full text of vol 30 ABBE to ENGLISH HISTORY online free
Kennedy, David M. Over Here: The First World War and American Society (2004), comprehensive coverage borrow for 14 days
Link, Arthur Stanley. Woodrow Wilson and the Progressive Era, 1910–1917 (1972) standard political history of the era borrow for 14 days
Link, Arthur Stanley. Wilson: The Struggle for Neutrality: 1914–1915 (1960); Wilson: Confusions and Crises: 1915–1916 (1964); Wilson: Campaigns for Progressivism and Peace: 1916–1917 (1965), the standard biography to 1918
Malin, James C. The United States after the World War (1930) online
Meyer G.J. The World Remade: America In World War I (2017), popular survey, 672pp
Philadelphia War History Committee (1922). Philadelphia in the World War, 1914-1919. full text online
Schaffer, Ronald. America in the Great War: The Rise of the War-Welfare State (Oxford University Press, 1991), ISBN 0-19-504904-7
Tucker, Spencer C., and Priscilla Mary Roberts, eds. The Encyclopedia of World War I : A Political, Social, and Military History (5 vol. 2005)
Vaughn, Stephen. Holding Fast the Inner Lines: Democracy, Nationalism, and the Committee on Public Information (1980) in Questia
Venzon, Anne ed. The United States in the First World War: An Encyclopedia (1995), Very thorough coverage.
Williams, William John. The Wilson administration and the shipbuilding crisis of 1917: steel ships and wooden steamers (1992).
Wilson, Ross J. New York and the First World War: Shaping an American City (2014).
Young, Ernest William. The Wilson Administration and the Great War (1922) online edition
Zieger, Robert H. America's Great War: World War I and the American Experience 2000. 272 pp.
Economics and labor[edit]
Cuff, Robert D. The war industries board: Business-government relations during World War I (1973).
Cuff, Robert D. "The politics of labor administration during world war I." Labor History 21.4 (1980): 546-569.
Dubofsky, Melvyn. "Abortive reform: the Wilson administration and organized labor, 1913-1920." in Work, Community, and Power: The Experience of Labor in Europe and America, 1900-1925 edited by James E. Cronin and Sirianni, (1983): 197-220.
Haig, Robert Murray. “The Revenue Act of 1918,” Political Science Quarterly 34#3 (1919): 369-391. in JSTOR
Kester, Randall B. “The War Industries Board, 1917–1918; A Study in Industrial Mobilization,” American Political Science Review 34#4 (1940), pp. 655–84; in JSTOR
Rockoff, Hugh. "Until it's Over, Over There: The U.S. Economy in World War I," in Stephen Broadberry and Mark Harrison, eds. The Economics of World War I (2005) pp 310-43. online; online review
Soule, George. The Prosperity Decade: From War to Depression, 1917–1929 (1947), broad economic history of decade
Sutch, Richard. "The Fed, the Treasury, and the Liberty Bond Campaign–How William Gibbs McAdoo Won World War I." Central Banking in Historical Perspective: One Hundred Years of the Federal Reserve (2014) online; Illustrated with wartime government posters.
Historiography[edit]
Controvich, James T. The United States in World War I: A Bibliographic Guide (Scarecrow, 2012) 649 pp
Keene, Jennifer D. "Remembering the “Forgotten War”: American Historiography on World War I." Historian 78#3 (2016): 439-468.
Primary sources and year books[edit]
Negro Year Book 1916
New International Year Book 1914, Comprehensive coverage of national and state affairs, 913pp
New International Year Book 1915, Comprehensive coverage of national and state affairs, 791pp
New International Year Book 1916 (1917), Comprehensive coverage of national and state affairs, 938pp
New International Year Book 1917 (1918), Comprehensive coverage of national and state affairs, 904 pp
New International Year Book 1918 (1919), Comprehensive coverage of national and state affairs, 904 pp
New InternationalYear Book 1919 (1920), Comprehensive coverage of national and state affairs, 744pp
New International Year Book 1920 (1921), Comprehensive coverage of national and state affairs, 844 pp
New International Year Book 1921 (1922), Comprehensive coverage of national and state affairs, 848 pp
External links[edit]
Wikimedia Commons has media related to World War I homefront in the United States.
Home front of Connecticut in World War I
North Carolinians and the Great War: Introduction to the Home Front
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Joe Pesci
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Joe Pesci
Pesci in February 2009
Born
Joseph Frank Pesci
(1943-02-09) February 9, 1943 (age 75)
Newark, New Jersey, U.S.
Residence
Lavallette, New Jersey
Occupation
Actor
Years active
1961–present
Spouse(s)
Claudia Haro (m. 1988; div. 1992)
Children
1
Joseph Frank Pesci (/ˈpɛʃi/ PESH-ee; born February 9, 1943) is an American actor, comedian and singer. Known for portraying tough, volatile characters, in a variety of genres, he is best known for his role as Harry Lime in Home Alone and Home Alone 2: Lost in New York, as Leo Getz in the Lethal Weapon franchise, as Vincent Gambini in My Cousin Vinny (1992), and for co-starring with Robert De Niro in the Martin Scorsese films Raging Bull (1980), Goodfellas (1990), and Casino (1995).
Pesci was nominated for the Academy Award for Best Supporting Actor for his role in Raging Bull, and later won the award for his role as psychopathic mobster Tommy DeVito (based on Thomas DeSimone) in Goodfellas.
Pesci has starred in a number of other high-profile films, including Easy Money (1983), Once Upon a Time in America (1984), Moonwalker (1988), JFK (1991), and A Bronx Tale (1993). He announced his retirement from acting in 1999, and since then he has appeared only occasionally in films, including a cameo appearance in the 2006 spy thriller The Good Shepherd, directed by De Niro, and in the biographical crime film The Irishman.
Contents
[hide]
1 Early life
2 Early career
3 Acting career
4 Other work and retirement from acting
5 Media depictions
6 Personal life
7 Filmography
7.1 Film
7.2 Television
8 Albums
9 References
10 External links
Early life[edit]
Pesci was born on February 9, 1943, in Newark, New Jersey. His mother, Mary (née Mesce), worked part time as a barber, and his father, Angelo Pesci, was a forklift driver for General Motors and a bartender.[1][2] Pesci, of Italian descent, was raised in Belleville, New Jersey, and attended Belleville High School. By the time Pesci was five years old, he was appearing in plays in New York.[1] At age 10, he was a regular on a television variety show called Startime Kids, which also featured Connie Francis.[1]
As a teenager, Pesci was friends with singers Frankie Valli (who was nine years his senior) and Tommy DeVito (who was 15 years his senior), and in 1959, at age 16, he helped introduce them to singer and songwriter Bob Gaudio, which led to the formation of the band the Four Seasons.[3]
Early career[edit]
In the 1960s, Pesci began working as a barber, following in his mother's footsteps. At the same time, he tried to start a musical career, playing guitar with several bands. In 1968, he released his debut album Little Joe Sure Can Sing! (billed as Joe Ritchie), on which he sang covers of contemporary pop hits.[4]
In the late 1960s and early 1970s, Pesci joined fellow actor Frank Vincent in performing in local clubs including the Arlington Lounge and other venues around North Jersey as Vincent and Pesci. The comedy duo's material was a play on Martin and Lewis and Abbott and Costello. In 1975, they appeared in the Broadway show The New Vaudevillians, which only lasted one week.[4]
The first film Pesci starred in was the 1976 low-budget crime film The Death Collector alongside Frank Vincent. After the film Pesci returned to The Bronx and lived above Amici's Restaurant, where he was an employee.[4]
Acting career[edit]
In 1979, Pesci got a telephone call from Martin Scorsese and Robert De Niro, who were impressed with his performance in The Death Collector and asked him to co-star in Scorsese's Raging Bull as Joey LaMotta. Pesci won the BAFTA Film Award for Newcomer to Leading Film Roles in 1981 and was nominated for an Academy Award for Best Supporting Actor. Over the next few years, Pesci appeared in several smaller films, including Dear Mr. Wonderful (1982), Easy Money (1983) and Eureka (1983).[4]
In 1984, he was cast in Once Upon a Time in America, again appearing alongside De Niro. The following year he starred as private detective Rocky Nelson in the short-lived television comedy series Half Nelson.[4]
In 1988, Pesci appeared in the Michael Jackson musical anthology film Moonwalker, in the film's sixth and longest segment, "Smooth Criminal." He played the antagonist, crime boss Frankie "Mr. Big" LiDeo (an anagram for one of the film's producers and longtime Jackson manager Frank DiLeo,[5] with whom Pesci later acted in Goodfellas).[6]
He appeared as Leo Getz, a comedic sidekick and best friend to protagonist detectives Martin Riggs (Mel Gibson) and Roger Murtaugh (Danny Glover) in the Lethal Weapon sequels, released in 1989, 1992 and 1998.
In 1990, he reunited with Scorsese and De Niro for Goodfellas, wherein he played mobster Tommy DeVito, based on real-life mobster Thomas DeSimone. (Tommy DeVito is also the name of Pesci's old acquaintance from Belleville, New Jersey, and a member of The Four Seasons, but contrary to popular belief, the naming is coincidental.[3]) Old friend Frank Vincent also appears in the film; Pesci's character kills Vincent's character in a rage in one of the best-remembered scenes in the film after the Vincent character contemptuously tells him to "go home and get your [shoe] shine box." Pesci received the Academy Award for Best Supporting Actor for the role, which he accepted with one of the shortest speeches in Oscar history, saying simply, "It's my privilege. Thank you" before leaving the stage.[6][7]
Pesci also co-starred in the blockbuster Home Alone in 1990, playing Harry Lime, one of two bumbling burglars (along with good friend Daniel Stern) who attempt to burgle the house of the young character played by Macaulay Culkin. During filming of the film's climactic scene, Pesci accidentally bit one of Culkin's fingers, giving him a scar. Two years later, Pesci reprised his role in the sequel Home Alone 2: Lost in New York.
Pesci played David Ferrie in 1991's JFK. In 1992 he appeared as the title character in the comedy My Cousin Vinny with Ralph Macchio, Marisa Tomei and Fred Gwynne. The same year, Pesci spearheaded the cast of The Public Eye as Leon "Bernzy" Bernstein, a photographer. His performance in the film, a departure from his usual characters, was critically acclaimed.
Pesci hosted sketch comedy show Saturday Night Live on October 10, 1992, while doing publicity for My Cousin Vinny. During his monologue, he restored a picture of Pope John Paul II that had been torn by Sinéad O'Connor on the previous broadcast.[8]
Pesci had a small role in 1993's A Bronx Tale as Carmine. The film starred Robert De Niro and Chazz Palminteri, both of whom made the film and personally offered Pesci the role. In 1995, Pesci had his third collaboration with Scorsese and De Niro in the film Casino, playing Nicky Santoro, based on real-life Mob enforcer Anthony Spilotro, along with Sharon Stone and James Woods; Pesci had previously co-starred with the latter in Once Upon a Time in America. In 1996, Pesci was considered to play Myron Larabee, the stressed-out postman, in Jingle All the Way opposite Arnold Schwarzenegger, but the part was ultimately given to Sinbad, whose physical size was more comparable to Schwarzenegger's.
He had starring roles in several other films, including Man on Fire (1987), The Super (1991), Jimmy Hollywood (1994), With Honors (also 1994) and Gone Fishin' (1997). Pesci's role in With Honors was a dramatic role in which he played a homeless man living on the campus of Harvard.
Other work and retirement from acting[edit]
In 1998, he released his second album, and his first in 30 years, Vincent LaGuardia Gambini Sings Just for You, which was named after his character from the 1992 film My Cousin Vinny. The album was both humorous and serious, exploring a variety of genres, though most of it was big band jazz. The album spawned the single "Wise Guy," a rap number that played on the gangsta theme by making reference to Mafia gangsterism. "Wise Guy" interpolated the 1980 hit "Rapture" by Blondie, and was co-written and produced by the hip-hop production team the Trackmasters.
In 1999, Pesci announced his retirement from acting to pursue a musical career and to enjoy life away from the camera. He returned to acting when he did a cameo in De Niro's 2006 film The Good Shepherd. He starred in the 2010 brothel drama Love Ranch, alongside Helen Mirren.[9]
Pesci appeared with Don Rickles in a 2011 Snickers advertisement in which he portrays the angry alter ego of a young man who attends a party and becomes agitated by two women until he is calmed down by eating a Snickers bar.[10]
In 2011, Pesci sued Fiore Films, the producers of the film Gotti, for having broken their promise to cast him in that film as real-life mobster Angelo Ruggiero.[11] Pesci stated that he had gained 30 pounds for the role.[11] He sued them for $3 million, which was the payment he had been promised.[11] The lawsuit was settled out of court in 2013 for an unspecified sum,[11] and the role, after many production delays, eventually went to Pruitt Taylor Vince.
Pesci appears in the 2016 music documentary Jimmy Scott: I Go Back Home in which he is filmed recording "The Folks Who Live on the Hill" from Scott's forthcoming posthumous album I Go Back Home.
In 2017, Pesci was confirmed to be starring in The Irishman with long time collaborators Robert De Niro and Martin Scorsese. The film is planned for release in 2019 and will be distributed by Netflix.[12]
Media depictions[edit]
Pesci is a character in the 2005 musical Jersey Boys, which tells the story of The Four Seasons, due to his involvement in the band's formation. He is similarly a character in the musical's 2014 film adaptation. In the film, the Joe Pesci character asks "Funny how?", a quote from a famous line of dialogue Pesci had in Goodfellas.
Personal life[edit]
Pesci has been married and divorced three times.[13] His first marriage was in 1964.[14] His third was from 1988 to 1992, to Claudia Haro, a model and actress with whom he has a daughter named Tiffany. In 2007 Pesci was engaged to Angie Everhart,[15] but the couple broke up in 2008.[16]
While filming scenes in two of Martin Scorsese's films (Raging Bull and Casino), Pesci broke the same rib, 15 years apart.[17]
Filmography[edit]
Film[edit]
Year
Title
Role
Notes
1961 Hey, Let's Twist! Dancer at the Peppermint Club Uncredited
1976 The Death Collector Joe Salvino
1980 Raging Bull Joey LaMotta BAFTA Award for Best Newcomer
National Board of Review Award for Best Supporting Actor
National Society of Film Critics Award for Best Supporting Actor
New York Film Critics Circle Award for Best Supporting Actor
Nominated – Academy Award for Best Supporting Actor
Nominated – Golden Globe Award for Best Supporting Actor – Motion Picture
1982 I'm Dancing as Fast as I Can Roger
Dear Mr. Wonderful Ruby Dennis
1983 Eureka Mayakofsky
Easy Money Nicky Cerone
1984 Once Upon a Time in America Frankie Minaldi
Everybody in Jail Corrado Parisi
1987 Man on Fire David Coolidge
1988 Moonwalker Frankie Lideo
The Legendary Life of Ernest Hemingway John Dos Passos
1989 Lethal Weapon 2 Leo Getz
1990 Catchfire Leo Carelli Uncredited cameo
Betsy's Wedding Oscar Henner
Goodfellas Tommy DeVito Academy Award for Best Supporting Actor
Boston Society of Film Critics Award for Best Supporting Actor
Chicago Film Critics Association Award for Best Supporting Actor
Kansas City Film Critics Circle Award for Best Supporting Actor
Los Angeles Film Critics Association Award for Best Supporting Actor
National Board of Review Award for Best Supporting Actor
Nominated – Golden Globe Award for Best Supporting Actor – Motion Picture
Nominated – National Society of Film Critics Award for Best Supporting Actor
Nominated – New York Film Critics Circle Award for Best Supporting Actor
Home Alone Harry Lime
1991 The Super Louie Kritski
JFK David Ferrie
1992 My Cousin Vinny Vincent LaGuardia Gambini American Comedy Award for Funniest Actor in a Motion Picture
Nominated – MTV Movie Award for Best Comedic Performance
Lethal Weapon 3 Leo Getz
The Public Eye Leon Bernstein
Home Alone 2: Lost in New York Harry Lime
1993 A Bronx Tale Carmine Cameo
1994 Jimmy Hollywood Jimmy Alto
With Honors Simon Wilder
1995 Casino Nicky Santoro Nominated – MTV Movie Award for Best Villain
1997 8 Heads in a Duffel Bag Tommy Spinelli
Gone Fishin' Joe Waters
1998 Lethal Weapon 4 Leo Getz Nominated – Blockbuster Entertainment Award for Favorite Supporting Actor – Action/Adventure
Nominated – Golden Raspberry Award for Worst Supporting Actor
2006 The Good Shepherd Joseph Palmi Cameo
2010 Love Ranch Charlie Bontempo
2015 A Warrior's Tail Mosquito Voice
2019 The Irishman Russell Bufalino In post-production[18]
Television[edit]
Year
Title
Role
Notes
1966 The Lucy Show Lead Musician/Musician Leader 2 episodes
1985 Half Nelson Rocky Nelson 6 episodes
1992 Tales from the Crypt Vic/Jack Episode: "Split Personality"
Nominated – CableACE Award for Actor in a Dramatic Series
Saturday Night Live Himself (host) Episode: "Joe Pesci/The Spin Doctors"
Albums[edit]
Little Joe Sure Can Sing! (1968) Brunswick Records
Vincent LaGuardia Gambini Sings Just for You (1998) Columbia Records
References[edit]
^ Jump up to: a b c Harrison, Nancy (March 8, 1992). "Joe Pesci? That Guy Is Some Kind of Character". The New York Times. New York: NYTC. ISSN 0362-4331. Retrieved October 21, 2015.
Jump up ^ "Joe Pesci". celebritywonder. Archived from the original on March 21, 2011.
^ Jump up to: a b "Jersey Boys Movie vs True Story - Real Frankie Valli, Tommy DeVito". HistoryvsHollywood.com. Archived from the original on June 27, 2015. Retrieved October 21, 2015.
^ Jump up to: a b c d e "Joe Pesci biography". Yahoo! Movies.
Jump up ^ "Moonwalker (1988)". IMDb. Retrieved October 21, 2015.
^ Jump up to: a b "The 63rd Academy Awards Memorable Moments". Academy of Motion Picture Arts and Sciences. 2015. Retrieved October 21, 2015.
Jump up ^ "10 Oscar Winners Whose Speeches Were Under 11 Words". mental_floss. Retrieved February 13, 2016.
Jump up ^ Brozan, Nadine (1992-10-12). "CHRONICLE". The New York Times. ISSN 0362-4331. Retrieved 2017-03-13.
Jump up ^ "Three join Helen Mirren and Joe Pesci in 'Love Ranch'". Topnews.in. February 13, 2008. Retrieved January 25, 2010.
Jump up ^ "There is an Angry Joe Pesci in all of us Snickers Ad". mememachine. Archived from the original on June 13, 2011.
^ Jump up to: a b c d "Joe Pesci settles dispute over "Gotti" film payday". CBS/AP. February 5, 2013.
Jump up ^ "Scorsese, De Niro, and Pesci Back Together in The Irishman Set Photos". Screen Rant. 2017-09-23. Retrieved 2017-09-25.
Jump up ^ "Now They're Good Fellas Ray Liotta And Joe Pesci Were Cold-blooded Wiseguys In Their 1990 Movie, But In Films Opening This Weekend, They're Unlikely Heroes. Joe Pesci Is Out For Justice". philly-archives. Retrieved October 21, 2015.
Jump up ^ Katsilometes, John. "Joe Pesci remembers his own honeymoon in Vegas -- meeting the Rat Pack". Las Vegas Sun. Retrieved October 21, 2015.
Jump up ^ Reardanz, Karen (July 30, 2007). "Pesci to Wed Everhart". San Francisco Chronicle. Retrieved July 31, 2007.
Jump up ^ "Pesci ends engagement with model Everhart". Ireland On-line. April 25, 2008. Archived from the original on April 30, 2008. Retrieved April 25, 2008.
Jump up ^ Dutka, Elaine (February 22, 1997). "'I Am the Movies I Make': Martin Scorsese's passion and commitments earn him the AFI's most prestigious honor". Los Angeles Times. Retrieved January 23, 2014. Joe Pesci testified to Scorsese's mania for realism. During a fight scene for Raging Bull, he took such a beating from De Niro that he fell to the ground with a broken rib, he recalled. When a couple of 275-pound 'heifers' fell on him the wrong way in Casino, that same rib was broken again.
Jump up ^ Galuppo, Mia (February 21, 2017). "Martin Scorsese's 'The Irishman' Heads to Netflix From Paramount". The Hollywood Reporter. Retrieved February 23, 2017.
External links[edit]
Book: Joe Pesci
Joe Pesci on IMDb
Joe Pesci at the TCM Movie Database
[show]
Awards for Joe Pesci
[show]
v
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e
Academy Award for Best Supporting Actor
1936–1950
Walter Brennan (1936)
Joseph Schildkraut (1937)
Walter Brennan (1938)
Thomas Mitchell (1939)
Walter Brennan (1940)
Donald Crisp (1941)
Van Heflin (1942)
Charles Coburn (1943)
Barry Fitzgerald (1944)
James Dunn (1945)
Harold Russell (1946)
Edmund Gwenn (1947)
Walter Huston (1948)
Dean Jagger (1949)
George Sanders (1950)
1951–1975
Karl Malden (1951)
Anthony Quinn (1952)
Frank Sinatra (1953)
Edmond O'Brien (1954)
Jack Lemmon (1955)
Anthony Quinn (1956)
Red Buttons (1957)
Burl Ives (1958)
Hugh Griffith (1959)
Peter Ustinov (1960)
George Chakiris (1961)
Ed Begley (1962)
Melvyn Douglas (1963)
Peter Ustinov (1964)
Martin Balsam (1965)
Walter Matthau (1966)
George Kennedy (1967)
Jack Albertson (1968)
Gig Young (1969)
John Mills (1970)
Ben Johnson (1971)
Joel Grey (1972)
John Houseman (1973)
Robert De Niro (1974)
George Burns (1975)
1976–2000
Jason Robards (1976)
Jason Robards (1977)
Christopher Walken (1978)
Melvyn Douglas (1979)
Timothy Hutton (1980)
John Gielgud (1981)
Louis Gossett Jr. (1982)
Jack Nicholson (1983)
Haing S. Ngor (1984)
Don Ameche (1985)
Michael Caine (1986)
Sean Connery (1987)
Kevin Kline (1988)
Denzel Washington (1989)
Joe Pesci (1990)
Jack Palance (1991)
Gene Hackman (1992)
Tommy Lee Jones (1993)
Martin Landau (1994)
Kevin Spacey (1995)
Cuba Gooding Jr. (1996)
Robin Williams (1997)
James Coburn (1998)
Michael Caine (1999)
Benicio del Toro (2000)
2001–present
Jim Broadbent (2001)
Chris Cooper (2002)
Tim Robbins (2003)
Morgan Freeman (2004)
George Clooney (2005)
Alan Arkin (2006)
Javier Bardem (2007)
Heath Ledger (2008)
Christoph Waltz (2009)
Christian Bale (2010)
Christopher Plummer (2011)
Christoph Waltz (2012)
Jared Leto (2013)
J. K. Simmons (2014)
Mark Rylance (2015)
Mahershala Ali (2016)
Sam Rockwell (2017)
[show]
v
t
e
BAFTA Award for Most Promising Newcomer to Leading Film Roles
Most Promising Newcomer to Film
Claire Bloom (1952)
Norman Wisdom (1953)
David Kossoff (1954)
Paul Scofield (1955)
Eli Wallach (1956)
Eric Barker (1957)
Paul Massie (1958)
Hayley Mills (1959)
Most Promising Newcomer to
Leading Film Roles
Albert Finney (1960)
Rita Tushingham (1961)
Tom Courtenay (1962)
James Fox (1963)
Julie Andrews (1964)
Judi Dench (1965)
Vivien Merchant (1966)
Faye Dunaway (1967)
Dustin Hoffman (1968)
Jon Voight (1969)
David Bradley (1970)
Dominic Guard (1971)
Joel Grey (1972)
Peter Egan (1973)
Georgina Hale (1974)
Valerie Perrine (1975)
Jodie Foster (1976)
Isabelle Huppert (1977)
Christopher Reeve (1978)
Dennis Christopher (1979)
Most Outstanding Newcomer to
Leading Film Roles
Judy Davis (1980)
Joe Pesci (1981)
Ben Kingsley (1982)
Most Outstanding Newcomer to Film
Phyllis Logan (1983)
Haing S. Ngor (1984)
[show]
v
t
e
Boston Society of Film Critics Award for Best Supporting Actor
1980-2000
Jason Robards (1980)
Jack Nicholson (1981)
Mickey Rourke (1982)
Jack Nicholson (1983)
John Malkovich (1984)
Ian Holm (1985)
Dennis Hopper / Ray Liotta (1986)
R. Lee Ermey (1987)
Dean Stockwell (1988)
Danny Aiello (1989)
Joe Pesci (1990)
Anthony Hopkins (1991)
Gene Hackman (1992)
Ralph Fiennes (1993)
Martin Landau (1994)
Kevin Spacey (1995)
Edward Norton (1996)
Kevin Spacey (1997)
William H. Macy / Billy Bob Thornton (1998)
Christopher Plummer (1999)
Fred Willard (2000)
2001-present
Ben Kingsley (2001)
Alan Arkin (2002)
Peter Sarsgaard (2003)
Thomas Haden Church (2004)
Paul Giamatti (2005)
Mark Wahlberg (2006)
Javier Bardem (2007)
Heath Ledger (2008)
Christoph Waltz (2009)
Christian Bale (2010)
Albert Brooks (2011)
Ezra Miller (2012)
James Gandolfini (2013)
J. K. Simmons (2014)
Mark Rylance (2015)
Mahershala Ali (2016)
Willem Dafoe (2017)
[show]
v
t
e
Los Angeles Film Critics Association Award for Best Supporting Actor
Jason Robards (1977)
Robert Morley (1978)
Melvyn Douglas (1979)
Timothy Hutton (1980)
John Gielgud (1981)
John Lithgow (1982)
Jack Nicholson (1983)
Adolph Caesar (1984)
John Gielgud (1985)
Dennis Hopper (1986)
Morgan Freeman (1987)
Alec Guinness (1988)
Danny Aiello (1989)
Joe Pesci (1990)
Michael Lerner (1991)
Gene Hackman (1992)
Tommy Lee Jones (1993)
Martin Landau (1994)
Don Cheadle (1995)
Edward Norton (1996)
Burt Reynolds (1997)
Bill Murray / Billy Bob Thornton (1998)
Christopher Plummer (1999)
Willem Dafoe (2000)
Jim Broadbent (2001)
Chris Cooper (2002)
Bill Nighy (2003)
Thomas Haden Church (2004)
William Hurt (2005)
Michael Sheen (2006)
Vlad Ivanov (2007)
Heath Ledger (2008)
Christoph Waltz (2009)
Niels Arestrup (2010)
Christopher Plummer (2011)
Dwight Henry (2012)
James Franco / Jared Leto (2013)
J. K. Simmons (2014)
Michael Shannon (2015)
Mahershala Ali (2016)
Willem Dafoe (2017)
[show]
v
t
e
National Board of Review Award for Best Supporting Actor
John Williams (1954)
Charles Bickford (1955)
Richard Basehart (1956)
Sessue Hayakawa (1957)
Albert Salmi (1958)
Hugh Griffith (1959)
George Peppard (1960)
Jackie Gleason (1961)
Burgess Meredith (1962)
Melvyn Douglas (1963)
Martin Balsam (1964)
Harry Andrews (1965)
Robert Shaw (1966)
Paul Ford (1967)
Leo McKern (1968)
Philippe Noiret (1969)
Frank Langella (1970)
Ben Johnson (1971)
Joel Grey / Al Pacino (1972)
John Houseman (1973)
Holger Löwenadler (1974)
Charles Durning (1975)
Jason Robards (1976)
Tom Skerritt (1977)
Richard Farnsworth (1978)
Paul Dooley (1979)
Joe Pesci (1980)
Jack Nicholson (1981)
Robert Preston (1982)
Jack Nicholson (1983)
John Malkovich (1984)
Klaus Maria Brandauer (1985)
Daniel Day-Lewis (1986)
Sean Connery (1987)
River Phoenix (1988)
Alan Alda (1989)
Joe Pesci (1990)
Anthony Hopkins (1991)
Jack Nicholson (1992)
Leonardo DiCaprio (1993)
Gary Sinise (1994)
Kevin Spacey (1995)
Edward Norton (1996)
Greg Kinnear (1997)
Ed Harris (1998)
Philip Seymour Hoffman (1999)
Joaquin Phoenix (2000)
Jim Broadbent (2001)
Chris Cooper (2002)
Alec Baldwin (2003)
Thomas Haden Church (2004)
Jake Gyllenhaal (2005)
Djimon Hounsou (2006)
Casey Affleck (2007)
Josh Brolin (2008)
Woody Harrelson (2009)
Christian Bale (2010)
Christopher Plummer (2011)
Leonardo DiCaprio (2012)
Will Forte (2013)
Edward Norton (2014)
Sylvester Stallone (2015)
Jeff Bridges (2016)
Willem Dafoe (2017)
[show]
v
t
e
National Society of Film Critics Award for Best Supporting Actor
Gene Hackman (1967)
Seymour Cassel (1968)
Jack Nicholson (1969)
Chief Dan George (1970)
Bruce Dern (1971)
Eddie Albert / Joel Grey (1972)
Robert De Niro (1973)
Holger Löwenadler (1974)
Henry Gibson (1975)
Jason Robards (1976)
Edward Fox (1977)
Richard Farnsworth / Robert Morley (1978)
Frederic Forrest (1979)
Joe Pesci (1980)
Robert Preston (1981)
Mickey Rourke (1982)
Jack Nicholson (1983)
John Malkovich (1984)
John Gielgud (1985)
Dennis Hopper (1986)
Morgan Freeman (1987)
Dean Stockwell (1988)
Beau Bridges (1989)
Bruce Davison (1990)
Harvey Keitel (1991)
Gene Hackman (1992)
Ralph Fiennes (1993)
Martin Landau (1994)
Don Cheadle (1995)
Martin Donovan / Tony Shalhoub (1996)
Burt Reynolds (1997)
Bill Murray (1998)
Christopher Plummer (1999)
Benicio del Toro (2000)
Steve Buscemi (2001)
Christopher Walken (2002)
Peter Sarsgaard (2003)
Thomas Haden Church (2004)
Ed Harris (2005)
Mark Wahlberg (2006)
Casey Affleck (2007)
Eddie Marsan (2008)
Paul Schneider / Christoph Waltz (2009)
Geoffrey Rush (2010)
Albert Brooks (2011)
Matthew McConaughey (2012)
James Franco (2013)
J. K. Simmons (2014)
Mark Rylance (2015)
Mahershala Ali (2016)
Willem Dafoe (2017)
[show]
v
t
e
New York Film Critics Circle Award for Best Supporting Actor
Jack Nicholson (1969)
Chief Dan George (1970)
Ben Johnson (1971)
Robert Duvall (1972)
Robert De Niro (1973)
Charles Boyer (1974)
Alan Arkin (1975)
Jason Robards (1976)
Maximilian Schell (1977)
Christopher Walken (1978)
Melvyn Douglas (1979)
Joe Pesci (1980)
John Gielgud (1981)
John Lithgow (1982)
Jack Nicholson (1983)
Ralph Richardson (1984)
Klaus Maria Brandauer (1985)
Daniel Day-Lewis (1986)
Morgan Freeman (1987)
Dean Stockwell (1988)
Alan Alda (1989)
Bruce Davison (1990)
Samuel L. Jackson (1991)
Gene Hackman (1992)
Ralph Fiennes (1993)
Martin Landau (1994)
Kevin Spacey (1995)
Harry Belafonte (1996)
Burt Reynolds (1997)
Bill Murray (1998)
John Malkovich (1999)
Benicio del Toro (2000)
Steve Buscemi (2001)
Dennis Quaid (2002)
Eugene Levy (2003)
Clive Owen (2004)
William Hurt (2005)
Jackie Earle Haley (2006)
Javier Bardem (2007)
Josh Brolin (2008)
Christoph Waltz (2009)
Mark Ruffalo (2010)
Albert Brooks (2011)
Matthew McConaughey (2012)
Jared Leto (2013)
J. K. Simmons (2014)
Mark Rylance (2015)
Mahershala Ali (2016)
Willem Dafoe (2017)
Authority control
WorldCat Identities
VIAF: 84231513
LCCN: n92058111
ISNI: 0000 0001 1449 9576
GND: 129599204
SUDOC: 061119792
BNF: cb139544874 (data)
MusicBrainz: 7fc788d1-4ec4-4b83-87f2-c420dc3da03e
NKC: js20040202003
BNE: XX1150452
SNAC: w6hh9wmw
Retrieved from "https://en.wikipedia.org/w/index.php?title=Joe_Pesci&oldid=833005607"
Categories:
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Musicians from Newark, New Jersey
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Joe Pesci in February 2009

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values:
https://pl.wikipedia.org/wiki/Joe_Pesci
Joe Pesci – Polish
pl
pl
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values:
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values:
https://pt.wikipedia.org/wiki/Joe_Pesci
Joe Pesci – Portuguese
pt
pt
interlanguage-link-target

values:
https://ro.wikipedia.org/wiki/Joe_Pesci
Joe Pesci – Romanian
ro
ro
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interlanguage-link interwiki-ro
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values: Пеши, Джо – Russian

values:
https://sc.wikipedia.org/wiki/Joe_Pesci
Joe Pesci – Sardinian
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sc
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values:
https://sk.wikipedia.org/wiki/Joe_Pesci
Joe Pesci – Slovak
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sk
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values:
interlanguage-link interwiki-sk
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values: Џо Пеши – Serbian

values:
interlanguage-link interwiki-sr
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values:
https://sh.wikipedia.org/wiki/Joe_Pesci
Joe Pesci – Serbo-Croatian
sh
sh
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values:
interlanguage-link interwiki-sh
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values:
https://fi.wikipedia.org/wiki/Joe_Pesci
Joe Pesci – Finnish
fi
fi
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values:
interlanguage-link interwiki-fi
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values:
https://sv.wikipedia.org/wiki/Joe_Pesci
Joe Pesci – Swedish
sv
sv
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values:
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values:
https://tl.wikipedia.org/wiki/Joe_Pesci
Joe Pesci – Tagalog
tl
tl
interlanguage-link-target

values:
interlanguage-link interwiki-tl
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values:
https://tr.wikipedia.org/wiki/Joe_Pesci
Joe Pesci – Turkish
tr
tr
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values:
interlanguage-link interwiki-tr
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values:
interlanguage-link interwiki-uk
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values:
https://yo.wikipedia.org/wiki/Joe_Pesci
Joe Pesci – Yoruba
yo
yo
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values: All languages (initial selection from common choices by you and others)

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