Federal Project Number One
Federal Project Number One is the collective name for a group of projects under the Works Progress Administration, a New Deal program in the United States. Of the $4.88 billion allocated by the Emergency Relief Appropriation Act of 1935, $27 million was approved for the employment of artists, musicians and writers under the WPA's Federal Project Number One. In its prime, Federal Project Number One employed up to 40,000 writers, musicians and actors because, as Secretary of Commerce Harry Hopkins put it, “Hell, they’ve got to eat, too”; this project had two main principles: 1) that in time of need the artist, no less than the manual worker, is entitled to employment as an artist at the public expense and 2) that the arts, no less than business and labor, are and should be the immediate concern of the ideal commonwealth. The five divisions of Federal One were these: Federal Art Project Federal Music Project Federal Theatre Project Federal Writers' Project Historical Records Survey All projects were supposed to operate without discrimination regarding race, color, religion or political affiliation.
Federal Project Number One referred to as Federal One, ended in 1939 when, under pressure from Congress, the theater project was cancelled and the other projects were required to rely on state funding and local sponsorship. Many people were opposed to government involvement in the arts, they feared that government funding and influence would lead to censorship and a violation of freedom of speech. Members of the House Un-American Activities Committee believed the program to be infiltrated by communists. However, with support from Eleanor Roosevelt, Franklin Roosevelt signed the executive order to create this project because the government wanted to support, as Fortune magazine stated, “the kind of raw cultural material--the raw material of new creative work--, so necessary to artists and to artists in a new country”; as mentioned, at its peak Federal One employed 40,000 writers, musicians and actors and the Federal Writers' project had around 6,500 people on the WPA payroll. Many people benefitted from these programs and some FWP writers became famous, such as John Steinbeck and Zora Neale Hurston.
These writers were considered to be federal writers. Furthermore, these projects published books such as New York Panorama and the WPA Guide to New York City. Mathematical Tables Project Harry Hopkins New Deal National Archives and Records Administration: A New Deal for the Arts New Deal Cultural Programs: Experiments in Cultural Democracy Federal Project Number One The Eleanor Roosevelt Papers Project, George Washington University McCausland, Elizabeth, "Save the Arts Projects," The Nation, July 17, 1937
Federal Art Project
The Federal Art Project was a New Deal program to fund the visual arts in the United States. Under national director Holger Cahill, it was one of five Federal Project Number One projects sponsored by the Works Progress Administration, the largest of the New Deal art projects, it was created not as a cultural activity but as a relief measure to employ artists and artisans to create murals, easel paintings, graphic art, photography, theatre scenic design, arts and crafts. The WPA Federal Art Project established more than 100 community art centers throughout the country and documented American design, commissioned a significant body of public art without restriction to content or subject matter, sustained some 10,000 artists and craft workers during the Great Depression; the Federal Art Project was the visual arts arm of the Great Depression-era Works Progress Administration, a Federal One program. Funded under the Emergency Relief Appropriation Act of 1935, it operated from August 29, 1935, until June 30, 1943.
It was created as a relief measure to employ artists and artisans to create murals, easel paintings, graphic art, photography, Index of American Design documentation and theatre scenic design, arts and crafts. The Federal Art Project operated community art centers throughout the country where craft workers and artists worked and educated others; the project created more than 200,000 separate works, some of them remaining among the most significant pieces of public art in the country. The Federal Art Project's primary goals were to employ out-of-work artists and to provide art for non-federal municipal buildings and public spaces. Artists were paid $23.60 a week. The work was divided into art instruction and art research; the primary output of the art-research group was the Index of American Design, a mammoth and comprehensive study of American material culture. As many as 10,000 artists were commissioned to produce work for the WPA Federal Art Project, the largest of the New Deal art projects.
Three comparable but distinctly separate New Deal art projects were administered by the United States Department of the Treasury: the Public Works of Art Project, the Section of Painting and Sculpture and the Treasury Relief Art Project. The WPA program made no distinction between nonrepresentational art. Abstraction had not yet gained favor in the 1930s and 1940s and, was unsalable; as a result, the Federal Art Project supported such iconic artists as Jackson Pollock before their work could earn them income. One particular success was the Milwaukee Handicraft Project, which started in 1935 as an experiment that employed 900 people who were classified as unemployable due to their age or disability; the project came to employ 5,000 unskilled workers, many of them women and the long-term unemployed. Historian John Gurda observed that the city's unemployment hovered at 40 percent in 1933. "In that year," he said, "53 percent of Milwaukee's property taxes went unpaid because people just could not afford to make the tax payments."
Workers were taught bookbinding, block printing and design, which they used to create handmade art books and children's books. They produced toys, theatre costumes, rugs, wall hangings and furniture that were purchased by schools and municipal organizations for the cost of materials only. In 2014, when the Museum of Wisconsin Art mounted an exhibition of items created by the Milwaukee Handicraft Project, furniture was found, still being used at the Milwaukee Public Library. Holger Cahill was national director of the Federal Art Project. Other administrators included director of the New York Region. Haupers, director for Minnesota. Regional New York State supervisors of the Federal Art Project have included sculptor William Ehrich of the Buffalo Unit, project director of the Buffalo Zoo expansion; some 10,000 artists were commissioned to work for the Federal Art Project. Notable artists include the following: The first federally sponsored community art center opened in December 1936 in Raleigh, North Carolina.
As we study the drawings of the Index of American Design we realize that the hands that made the first two hundred years of this country's material culture expressed something more than untutored creative instinct and the rude vigor of a frontier civilization. … The Index, in bringing together thousands of particulars from various sections of the country, tells the story of American hand skills and traces intelligible patterns within that story. The Index of American Design program of the Federal Art Project produced a pictorial survey of the crafts and decorative arts of the United States from the early colonial period to 1900. Artists working for the Index produced nearly 18,000 meticulously faithful watercolor drawings, documenting material culture by anonymous artisans. Objects range from furniture, glass and textiles to tavern signs, ships's figureheads, cigar-store figures, carousel horses, toys and weather vanes. Photography was used only to a limited degree since artists could more and present the form, character and texture of the objects.
The best drawings approach the work of such 19th-century trompe-l'œil painters as William Harnett.
Washington, D.C.
Washington, D. C. formally the District of Columbia and referred to as Washington or D. C. is the capital of the United States. Founded after the American Revolution as the seat of government of the newly independent country, Washington was named after George Washington, first President of the United States and Founding Father; as the seat of the United States federal government and several international organizations, Washington is an important world political capital. The city is one of the most visited cities in the world, with more than 20 million tourists annually; the signing of the Residence Act on July 16, 1790, approved the creation of a capital district located along the Potomac River on the country's East Coast. The U. S. Constitution provided for a federal district under the exclusive jurisdiction of the U. S. Congress, the District is therefore not a part of any state; the states of Maryland and Virginia each donated land to form the federal district, which included the pre-existing settlements of Georgetown and Alexandria.
The City of Washington was founded in 1791 to serve as the new national capital. In 1846, Congress returned the land ceded by Virginia. Washington had an estimated population of 702,455 as of July 2018, making it the 20th most populous city in the United States. Commuters from the surrounding Maryland and Virginia suburbs raise the city's daytime population to more than one million during the workweek. Washington's metropolitan area, the country's sixth largest, had a 2017 estimated population of 6.2 million residents. All three branches of the U. S. federal government are centered in the District: Congress and the U. S. Supreme Court. Washington is home to many national monuments, museums situated on or around the National Mall; the city hosts 177 foreign embassies as well as the headquarters of many international organizations, trade unions, non-profit, lobbying groups, professional associations, including the World Bank Group, the International Monetary Fund, the Organization of American States, AARP, the National Geographic Society, the Human Rights Campaign, the International Finance Corporation, the American Red Cross.
A locally elected mayor and a 13‑member council have governed the District since 1973. However, Congress may overturn local laws. D. C. residents elect a non-voting, at-large congressional delegate to the House of Representatives, but the District has no representation in the Senate. The District receives three electoral votes in presidential elections as permitted by the Twenty-third Amendment to the United States Constitution, ratified in 1961. Various tribes of the Algonquian-speaking Piscataway people inhabited the lands around the Potomac River when Europeans first visited the area in the early 17th century. One group known as the Nacotchtank maintained settlements around the Anacostia River within the present-day District of Columbia. Conflicts with European colonists and neighboring tribes forced the relocation of the Piscataway people, some of whom established a new settlement in 1699 near Point of Rocks, Maryland. In his Federalist No. 43, published January 23, 1788, James Madison argued that the new federal government would need authority over a national capital to provide for its own maintenance and safety.
Five years earlier, a band of unpaid soldiers besieged Congress while its members were meeting in Philadelphia. Known as the Pennsylvania Mutiny of 1783, the event emphasized the need for the national government not to rely on any state for its own security. Article One, Section Eight, of the Constitution permits the establishment of a "District as may, by cession of particular states, the acceptance of Congress, become the seat of the government of the United States". However, the Constitution does not specify a location for the capital. In what is now known as the Compromise of 1790, Alexander Hamilton, Thomas Jefferson came to an agreement that the federal government would pay each state's remaining Revolutionary War debts in exchange for establishing the new national capital in the southern United States. On July 9, 1790, Congress passed the Residence Act, which approved the creation of a national capital on the Potomac River; the exact location was to be selected by President George Washington, who signed the bill into law on July 16.
Formed from land donated by the states of Maryland and Virginia, the initial shape of the federal district was a square measuring 10 miles on each side, totaling 100 square miles. Two pre-existing settlements were included in the territory: the port of Georgetown, founded in 1751, the city of Alexandria, founded in 1749. During 1791–92, Andrew Ellicott and several assistants, including a free African American astronomer named Benjamin Banneker, surveyed the borders of the federal district and placed boundary stones at every mile point. Many of the stones are still standing. A new federal city was constructed on the north bank of the Potomac, to the east of Georgetown. On September 9, 1791, the three commissioners overseeing the capital's construction named the city in honor of President Washington; the federal district was named Columbia, a poetic name for the United States in use at that time. Congress held its first session in Washington on November 17, 1800. Congress passed the District of Columbia Organic Act of 1801 that organized the District and placed the entire territory under the exclusive control of the federal
Microform
Microforms are scaled-down reproductions of documents either films or paper, made for the purposes of transmission, storage and printing. Microform images are reduced to about one twenty-fifth of the original document size. For special purposes, greater optical reductions may be used. All microform images may be provided as positives or negatives, more the latter. Three formats are common: microfilm and aperture cards. Microcards known as "microopaques" a format no longer produced, were similar to microfiche, but printed on cardboard rather than photographic film. Using the daguerreotype process, John Benjamin Dancer was one of the first to produce microphotographs, in 1839, he achieved a reduction ratio of 160:1. Dancer perfected his reduction procedures with Frederick Scott Archer's wet collodion process, developed in 1850–51, but he dismissed his decades-long work on microphotographs as a personal hobby, did not document his procedures; the idea that microphotography could be no more than a novelty was an opinion shared by the 1858 Dictionary of Photography, which called the process "somewhat trifling and childish".
Microphotography was first suggested as a document preservation method in 1851 by James Glaisher, an astronomer, in 1853 by John Herschel. Both men attended the 1851 Great Exhibition in London, where the exhibit on photography influenced Glaisher, he called it "the most remarkable discovery of modern times", argued in his official report for using microphotography to preserve documents. The pigeon post was in operation while Paris was besieged during the Franco-Prussian War of 1870-1871. Charles Barreswil, proposed the application of photographic methods with prints of a reduced size; the prints were on photographic paper and did not exceed 40mm to permit insertion in the pigeon's quill. The developments in microphotography continued through the next decades, but it was not until the turn of the century that its potential for practical usage was seized by a wider audience. In 1896, Canadian engineer Reginald A. Fessenden suggested microforms were a compact solution to engineers' unwieldy but consulted materials.
He proposed that up to 150,000,000 words could be made to fit in a square inch, that a one-foot cube could contain 1.5 million volumes. In 1906, Paul Otlet and Robert Goldschmidt proposed the livre microphotographique as a way to alleviate the cost and space limitations imposed by the codex format. Otlet’s overarching goal was to create a World Center Library of Juridical and Cultural Documentation, he saw microfiche as a way to offer a stable and durable format, inexpensive, easy to use, easy to reproduce, compact. In 1925, the team spoke of a massive library where each volume existed as master negatives and positives, where items were printed on demand for interested patrons. In the 1920s microfilm began to be used in a commercial setting. New York City banker George McCarthy was issued a patent in 1925 for his "Checkograph" machine, designed to make micrographic copies of cancelled checks for permanent storage by financial institutions. In 1928, the Eastman Kodak Company bought McCarthy's invention and began marketing check microfilming devices under its "Recordak" division.
Between 1927 and 1935, the Library of Congress microfilmed more than three million pages of books and manuscripts in the British Library. Binkley, which looked at microform’s potential to serve small print runs of academic or technical materials. In 1933, Charles C. Peters developed a method to microformat dissertations, in 1934 the United States National Agriculture Library implemented the first microform print-on-demand service, followed by a similar commercial concern, Science Service. In 1935, Kodak's Recordak division began filming and publishing The New York Times on reels of 35 millimeter microfilm, ushering in the era of newspaper preservation on film; this method of information storage received the sanction of the American Library Association at its annual meeting in 1936, when it endorsed microforms. Harvard University Library was the first major institution to realize the potential of microfilm to preserve broadsheets printed on high-acid newsprint and it launched its "Foreign Newspaper Project" to preserve such ephemeral publications in 1938.
Roll microfilm proved far more satisfactory as a storage medium than earlier methods of film information storage, such as the Photoscope, the Film-O-Graph, the Fiske-O-Scope, filmslides. The year 1938 saw another major event in the history of microfilm when University Microfilms International was established by Eugene Power. For the next half century, UMI would dominate the field and distributing microfilm editions of current and past publications and academic dissertations. After another short-lived name change, UMI was made a part of ProQuest Information and Learning in 2001. Systems that mount microfilm images in punched cards have been used for archival storage of engineering information. For example, when airlines demand archival engineering drawings to support purchased equipment, they specify punch-card-mounted microfilm with an industry-standard indexing system punched into the card; this permits automated reproduction, as well as permitting mechanical card-sorting equipment to sort and select microfilm drawings.
Aperture card mounted microfilm is 3% of the size and space of conventional paper or vellum engineering drawings. Some military contracts aroun
Federal Music Project
The Federal Music Project, part of the Federal government of the United States New Deal program Federal Project Number One, employed musicians and composers during the Great Depression. In addition to performing thousands of concerts, offering music classes, organizing the Composers Forum Laboratory, hosting music festivals and creating 34 new orchestras, employees of the FMP researched American traditional music and folk songs, a practice now called ethnomusicology. In the latter domain the Federal Music Project did notable studies on cowboy and what was termed Negro music. During the Great Depression, many people visited these symphonies to forget about the economic hardship of the time. In 1939, the FMP transitioned to the Works Progress Administration's Music Program, which along with many other WPA projects, was phased out in the midst of World War II. In the grips of the Great Depression, President Franklin D. Roosevelt proposed to increase public projects in order to raise employment.
This overarching strategy was known as the New Deal. Roosevelt realized the importance of the arts in American culture, stating that the "American Dream… was the promise not only of economic and social justice but of cultural enrichment." In July 1935 a New Deal program known as Federal One was created. This included five arts projects, including the FMP; this project was the first. The Depression had compounded a downturn in the fortunes of the American musicians. At the same time musicians were being affected by advances in technology. Sound recordings were beginning to replace live musicians at events. Dr. Nikolai Sokoloff was the director of the Federal Music Project. Before the Federal Music Project, Dr. Sokoloff was the conductor for the original Cleveland Orchestra from 1919-1933. Sokoloff appointed a staff of five Regional Directors, twenty three State Directors, five administrative staff. In 1936, the Works Progress Administration began to add on to the Federal Music Project; the WPA's didn't center towards original music.
The next year Charles Seeger developed into assistant director of the project. After he became assistant director, many varieties of music became available. Seeger's ambition was for everyone to take interest in music, become a part of it; the primary objective of the FMP was to employ professional musicians from all over the country to perform as instrumentalists and concert actors. As a result of the growing number of performing groups, there was a need for music copyists and binders. Men and women were hired to copy existing music by hand and to bind them, distributing musical arrangements to ensembles around the nation; the Project aimed to inspire music appreciation by enabling access to live performances and by introducing music instruction in the classroom. The FMP sought to document musical activity in the United States. Though the project was thought to be this picturesque and perfect plan, there were still many challenging facets that occurred during its time. One of the more general obstacles the Federal Music Project had to go through was the types of culture going into the project.
Sokoloff was predisposed to European classical music, made that the focus of the FMP. There was a much lower priority placed on vernacular or American folk music; these Eurocentric tastes were in contrast to the "common man" ideology of the New Deal. Despite this national focus on classical music and local implementations of the FMP revealed the diverse musical genres in early 20th century America. Live performances of African American and Hispanic music drew attention, as did efforts in several states to document musical traditions from ethnic minorities, work songs and other folk music; the Federal Music Program was successful in New Mexico. Helen Chandler Ryan served as the FMP state music director from January 1936 until the project's end in 1943, she adapted the national program to meet the special musical interests of her sparsely populated state. She decided to devote much of the program to solo instruction in rural communities. Another concentration was the study of the diverse regional musical style created by blending European, Native American and Spanish American music.
New Mexico's implementation of the Federal Music Program received praise for its diversity. The Federal Music Project created lessons for adults who were underprivileged, it created a musical program for children; the creation of music was more popular, the appreciation for music arose. The amateur musicians became better, there were more musical participants; the project formed new orchestras, dancers, vocal groups, vocal producers. The music project supplied teachers of music an occupation, it created many new orchestral pieces of music. The project caught on so much in the 1930s. In addition, it created something for people to do during the hardships; these musical concerts were either a low cost, or they were free, allowing many who could otherwise not afford such luxury to attend. In 1939, the Federal Music Project's budget was cut; this wasn't the only decline in finances of New Deal programs. Congressional support deteriorated in the late 1930s, the budget bill passed in June 1939 reflected the reduced support.
Sokolof had resigned the previous month amid debate over his preference toward classical music. In 1939 the Federal Music Project was renamed, its new name was the WPA Music Program. This didn't last long though. A year the Federal Music Project/WPA Music Program was terminated. State music projects came t
United States Census
The United States Census is a decennial census mandated by Article I, Section 2 of the United States Constitution, which states: "Representatives and direct Taxes shall be apportioned among the several States... according to their respective Numbers.... The actual Enumeration shall be made within three Years after the first meeting of the Congress of the United States, within every subsequent Term of ten Years." Section 2 of the 14th Amendment states: "Representatives shall be apportioned among the several States according to their respective numbers, counting the whole number of persons in each State, excluding Indians not taxed." The United States Census Bureau is responsible for the United States Census. The Bureau of the Census is part of the United States Department of Commerce; the first census after the American Revolution was taken in 1790, under Secretary of State Thomas Jefferson. The current national census was held in 2010. For years between the decennial censuses, the Census Bureau issues estimates made using surveys and statistical models, in particular, the American Community Survey.
Title 13 of the United States Code governs how its data is handled. Information is confidential as per 13 U. S. C. § 9. Refusing or neglecting to answer the census is punishable by fines of $100, for a property or business agent to fail to provide correct names for the census is punishable by fines of $500, for a business agent to provide false answers for the census is punishable by fines of $10,000, pursuant to 13 U. S. C. § 221-224. The United States Census is a population census, distinct from the U. S. Census of Agriculture, no longer the responsibility of the Census Bureau, it is distinct from local censuses conducted by some states or local jurisdictions. Decennial U. S. Census figures are based on actual counts of persons dwelling in U. S. residential structures. They include citizens, non-citizen legal residents, non-citizen long-term visitors and undocumented immigrants; the Census Bureau bases its decision about. Usual residence, a principle established by the Census Act of 1790, is defined as the place a person lives and sleeps most of the time.
The Census Bureau uses special procedures to ensure that those without conventional housing are counted. The Census uses hot deck imputation to assign data to housing units where occupation status is unknown; this practice is seen by some as controversial. However, the practice was ruled constitutional by the U. S. Supreme Court in Utah v. Evans. Certain American citizens living overseas are excluded from being counted in the census though they may vote. Only Americans living abroad who are "Federal employees and their dependents living overseas with them" are counted. "Private U. S. citizens living abroad who are not affiliated with the Federal government will not be included in the overseas counts. These overseas counts are used for reapportioning seats in the U. S. House of Representatives."According to the Census Bureau, "Census Day" has been April 1 since 1930. From 1790 to 1820, the census counted the population as of the first Monday in August, it moved to June in 1830, April 15 in 1910, January 1 in 1920.
The Census Bureau estimates that in 1970 over six percent of blacks went uncounted, whereas only around two percent of whites went uncounted. Democrats argue that modern sampling techniques should be used so that more accurate and complete data can be inferred. Republicans argue against such sampling techniques, stating the U. S. Constitution requires an "actual enumeration" for apportionment of House seats, that political appointees would be tempted to manipulate the sampling formulas. Groups like the Prison Policy Initiative assert that the census practice of counting prisoners as residents of prisons, not their pre-incarceration addresses, leads to misleading information about racial demographics and population numbers. In 2010 Jaime Grant director of the National Gay and Lesbian Task Force's Policy Institute, thought of the idea of a bright pink sticker for people to stick on their census envelope which had a form for them to check a box for either "lesbian, bisexual, transgender or straight ally," which her group called "queering the census."
Although the sticker was unofficial and the results were not added to the census and others hope the 2020 census will include such statistics. In 2015 Laverne Cox called for transgender people to be counted in the census. On March 26, 2018 the U. S. Dept of Commerce announced plans to re-include a citizenship question in the 2020 census questionnaire which has not been included on the long form since 1950 but was part of the short form starting in 1910 until its removal in 2010; the citizenship question will be the same as the one, asked on the yearly American Community Survey. Proponents of including the question claimed it is necessary to gather an accurate statistical count, while opponents claimed it might suppress responses and therefore lead to an inaccurate count. Multiple states have sued the Trump administration arguing that the proposed citizenship question is unconstitutional and will intimidate immigrants, resulting in inaccurate data on minority communities. In January 2019 a federal judge in New York ruled against the proposal.
Works Progress Administration
The Works Progress Administration was an American New Deal agency, employing millions of people to carry out public works projects, including the construction of public buildings and roads. It was established on May 6, 1935, by Executive Order 7034. In a much smaller project, Federal Project Number One, the WPA employed musicians, writers and directors in large arts, drama and literacy projects; the four projects dedicated to these were: the Federal Writers’ Project, the Historical Records Survey, the Federal Theatre Project, the Federal Music Project, the Federal Art Project. In the Historical Records Survey, for instance, many former slaves in the South were interviewed. Theater and music groups toured throughout America, gave more than 225,000 performances. Archaeological investigations under the WPA were influential in the rediscovery of pre-Columbian Native American cultures, the development of professional archaeology in the US; every community in the United States had a new park, bridge, or school, constructed by the agency.
The WPA's initial appropriation in 1935 was for $4.9 billion. Headed by Harry Hopkins, the WPA provided jobs and income to the unemployed during the Great Depression in the United States, while developing infrastructure to support the current and future society. Above all, the WPA hired workers and craftsmen who were employed in building streets. Thus, under the leadership of the WPA, more than 1 million km of streets and over 10,000 bridges were built, in addition to many airports and much housing; the largest single project of the WPA was the Tennessee Valley Authority, which provided the impoverished Tennessee Valley with dams and waterworks to create an infrastructure for electrical power. Camp David, the presidential estate in Maryland used for international meetings, San Francisco's Golden Gate Bridge were both constructed by the WPA. At its peak in 1938, it provided paid jobs for three million unemployed men and women, as well as youth in a separate division, the National Youth Administration.
Between 1935 and 1943, when the agency was disbanded, the WPA employed 8.5 million people. Most people who needed a job were eligible for employment in some capacity. Hourly wages were set to the prevailing wages in each area. Full employment, reached in 1942 and emerged as a long-term national goal around 1944, was not the goal of the WPA. "Millions of people needed subsistence incomes. Work relief was preferred over public assistance because it maintained self-respect, reinforced the work ethic, kept skills sharp."The WPA was a national program that operated its own projects in cooperation with state and local governments, which provided 10–30% of the costs. The local sponsor provided land and trucks and supplies, with the WPA responsible for wages. WPA sometimes took over state and local relief programs that had originated in the Reconstruction Finance Corporation or Federal Emergency Relief Administration programs, it was liquidated on June 30, 1943, as a result of low unemployment due to the worker shortage of World War II.
The WPA had provided millions of Americans with jobs for eight years. A joint resolution introduced January 21, 1935, the Emergency Relief Appropriation Act of 1935 was passed by the United States Congress and signed into law by President Franklin D. Roosevelt on April 8, 1935. On May 6, 1935, FDR issued executive order 7034; the WPA superseded the work of the Federal Emergency Relief Administration, dissolved. Direct relief assistance was permanently replaced by a national work relief program—a major public works program directed by the WPA; the WPA was shaped by Harry Hopkins, supervisor of the Federal Emergency Relief Administration and close adviser to Roosevelt. Both Roosevelt and Hopkins believed that the route to economic recovery and the lessened importance of the dole would be in employment programs such as the WPA. Hallie Flanagan, national director of the Federal Theatre Project, wrote that "for the first time in the relief experiments of this country the preservation of the skill of the worker, hence the preservation of his self-respect, became important."The WPA was organized into the following divisions: The Division of Engineering and Construction, which planned and supervised construction projects including airports, dams and sanitation systems.
The Division of Professional and Service Projects, responsible for white-collar projects including education programs, recreation programs, the arts projects. It was named the Division of Community Service Programs and the Service Division; the Division of Finance. The Division of Information; the Division of Investigation, which succeeded a comparable division at FERA and investigated fraud, misappropriation of funds and disloyalty. The Division of Statistics known as the Division of Social Research; the Project Control Division, which processed project applications. Other divisions including the Employment, Safety and Training and Reemployment; these ordinary men and women proved to be extraordinary beyond all expectation. They
