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In the play, the migration leads the Wiener Quartett to New York, the most prominent arrival point for migrants, and then to Chicago, which hosted the second largest community of Jewish immigrants in the United States. At the end of the nineteenth century, the popular entertainment industry became closely intertwined with migration in many ways.
Within the general mass movement of people, an increasing number of artists, singers, musicians, and comedians traveled between different cities and even continents to stage their shows. Vaudeville stars used not only the new traffic infrastructure that emerged within the Habsburg Empire but also the connections that had been established between Europe and the United States.
They became more mobile because they could earn money this way. Building an international career increased their popularity and, accordingly, the income they could ask for.
The expanding scene of popular entertainment provided many new job perspectives at that time. Another fact that contributed to the growth of popular entertainment was the living conditions of migrantsβwhich were often characterized by poverty.
But the places of popular entertainment were also spaces to linger, to escape, at least for a short time, from everyday life in small overcrowded tenements usually no entrance fee had to be paid. Although being mobile opened up new possibilities it also encouraged reservations and criticism of popular entertainment culture. For example, the migration patterns of performers and human traffickers overlapped because the travel habits were similar.