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An exhilarating look at Art Deco design in 1920s America, using jazz as its unifying metaphor Capturing the dynamic pulse of the era's jazz music, this lavishly illustrated publication explores American taste and style during the golden age of the 1920s. Following the destructive years of the First World War, this flourishing decade marked a rebirth of aesthetic innovation that was cultivated to a great extent by American talent and patronage. Due to an influx of European émigrés to the United States, as well as American enthusiasm for traveling to Europe's cultural capitals, a reciprocal wave of experimental attitudes began traveling back and forth across the Atlantic, forming a creative vocabulary that mirrored the ecstatic spirit of the times. The Jazz Age showcases developments in design, art, architecture, and technology during the '20s and early '30s, and places new emphasis on the United States as a vital part of the emerging marketplace for Art Deco luxury goods. Featuring hundreds of full-color illustrations and essays by two leading historians of decorative arts, this comprehensive catalogue shows how America and the rest of the world worked to establish a new visual representation of modernity. Distributed for the Cleveland Museum of Art Exhibition Schedule: Cooper Hewitt, Smithsonian Design Museum, New York (04/07/17-08/20/17) Cleveland Museum of Art (09/30/17-01/14/18)
Evoking the Jazz-Age world that would later appear in his masterpiece, The Great Gatsby, this essential Fitzgerald collection contains some of the writer’s most famous and celebrated stories. In “The Curious Case of Benjamin Button,” an extraordinary child is born an old man, growing younger as the world ages around him. “The Diamond as Big as the Ritz,” a fable of excess and greed, shows two boarding school classmates mired in deception as they make their fortune in gemstones. And in the classic novella “May Day,” debutantes dance the night away as war veterans and socialists clash in the streets of New York. Opening the book is a playful and irreverent set of notes from the author, documenting the real-life pressures and experiences that shaped these stories, from his years at Princeton to his cravings for luxury to the May Day Riots of 1919. Taken as a whole, this collection brings to vivid life the dazzling excesses, stunning contrasts, and simmering unrest of a glittering era. Its 1922 publication furthered Fitzgerald's reputation as a master storyteller, and its legacy staked his place as the spokesman of an age.
An award-winning historian surveys the astonishing cast of characters who helped turn Manhattan into the world capital of commerce, communication and entertainment --
F. Scott Fitzgerald named it, Louis Armstrong launched it, Paul Whiteman and Fletcher Henderson orchestrated it, and now Arnold Shaw chronicles this fabulous era in The Jazz Age. Spicing his account with lively anecdotes and inside stories, he describes the astonishing outpouring of significant musical innovations that emerged during the "Roaring Twenties"--including blues, jazz, band music, torch ballads, operettas and musicals--and sets them against the background of the Prohibition world of the Flapper.
A picture book biography that will inspire readers to dance to their own beats! Singer, dancer, actress, and independent dame, Josephine Baker felt life was a performance. She lived by her own rules and helped to shake up the status quo with wild costumes and a you-can’t-tell-me-no attitude that made her famous. She even had a pet leopard in Paris! From bestselling children’s biographer Jonah Winter and two-time Caldecott Honoree Marjorie Priceman comes a story of a woman the stage could barely contain. Rising from a poor, segregated upbringing, Josephine Baker was able to break through racial barriers with her own sense of flair and astonishing dance abilities. She was a pillar of steel with a heart of gold—all wrapped up in feathers, sequins, and an infectious rhythm.
Born of African rhythms, the spiritual "call and response," and other American musical traditions, jazz was by the 1920s the dominant influence on this country's popular music. Writers of the Harlem Renaissance (Langston Hughes, Claude McKay, Zora Neale Hurston) and the "Lost Generation" (Malcolm Cowley, F. Scott Fitzgerald, and Gertrude Stein), along with many other Americans celebrated it--both as an expression of black culture and as a symbol of rebellion against American society. But an equal number railed against it. Whites were shocked by its raw emotion and sexuality, and blacks considered it "devil's music" and criticized it for casting a negative light on the black community. In this illuminating work, Kathy Ogren places this controversy in the social and cultural context of 1920s America and sheds new light on jazz's impact on the nation as she traces its dissemination from the honky-tonks of New Orleans, New York, and Chicago, to the clubs and cabarets of such places as Kansas City and Los Angeles, and further to the airwaves. Ogren argues that certain characteristics of jazz, notably the participatory nature of the music, its unusual rhythms and emphasis, gave it a special resonance for a society undergoing rapid change. Those who resisted the changes criticized the new music; those who accepted them embraced jazz. In the words of conductor Leopold Stowkowski, "Jazz [had] come to stay because it [was] an expression of the times, of the breathless, energetic, superactive times in which we [were] living, it [was] useless to fight against it." Numerous other factors contributed to the growth of jazz as a popular music during the 1920s. The closing of the Storyville section of New Orleans in 1917 was a signal to many jazz greats to move north and west in search of new homes for their music. Ogren follows them to such places as Chicago, New York, and San Francisco, and, using the musicians' own words as often as possible, tells of their experiences in the clubs and cabarets. Prohibition, ushered in by the Volstead Act of 1919, sent people out in droves to gang-controlled speak-easies, many of which provided jazz entertainment. And the 1920s economic boom, which made music readily available through radio and the phonograph record, created an even larger audience for the new music. But Ogren maintains that jazz itself, through its syncopated beat, improvisation, and blue tonalities, spoke to millions. Based on print media, secondary sources, biographies and autobiographies, and making extensive use of oral histories, The Jazz Revolution offers provocative insights into both early jazz and American culture.
Jazz, the Charleston, nightclubs, cocktails, cinema, and musical theatre: 1920s British nightlife was vibrant and exhilarating. But where did opera fit into this fashionable new entertainment world? Opera in the Jazz Age: Cultural Politics in 1920s Britain explores the interaction between opera and popular culture at a key historical moment when there was a growing imperative to categorize art forms as "highbrow," "middlebrow," or "lowbrow." Literary studies of the so-called "battle of the brows" have been numerous, but this is the first book to consider the place of opera in interwar debates about high and low culture. This study by Alexandra Wilson argues that opera was extremely difficult to pigeonhole: although some contemporary commentators believed it to be too highbrow, others thought it not highbrow enough. Opera in the Jazz Age paints a lively and engaging picture of 1920s operatic culture, and introduces a charismatic cast of early twentieth-century critics, conductors, and celebrity singers. Opera was performed during this period to socially mixed audiences in a variety of spaces beyond the conventional opera house: music halls, cinemas, cafés and schools. Performance and production standards were not always high - often quite the reverse - but opera-going was evidently great fun. Office boys whistled operatic tunes they had heard on the gramophone and there was a genuine sense that opera was for everyone. In this provocative and timely study, Wilson considers how the opera debate of the 1920s continues to shape the ways in which we discuss the art form, and draws connections between the battle of the brows and present-day discussions about elitism. The book makes a major contribution to our understanding of the cultural politics of twentieth-century Britain and is essential reading for anybody interested in the history of opera, the battle of the brows, or simply the perennially fascinating decade that was the 1920s.
""Roaring Twenties" America boasted famous firsts: women's right to vote under the Constitution's Nineteenth Amendment, jazz music, talking motion pictures, Charles Lindbergh's solo flight across the Atlantic Ocean, Flapper fashions, and wondrous new devices like the safety razor and the electric vacuum cleaner. The decade opened, nonetheless, with a shock when Prohibition became the law of the land on Friday, January 16, 1920. American ingenuity promptly rose to its newest challenge. The law, riddled with loopholes, let the 1920s write a new chapter in the nation's saga of spirits. Men and women spoke knowingly of the speakeasy, the bootlegger, of rum-running, black ships, blind pigs, gin mills, and gallon stills. A new social event-the cocktail party staged in a private home-smashed the gender barrier that had long forbidden "ladies" from entering into the gentlemen-only barrooms and cafés. The drinks, savored in secret, were all the more delectable when the cocktail shaker went "underground." The danger of the illicit liquor trade was also memorialized in drinks like the "Original Gangster," the "St. Valentine's Day Massacre," the "Tommy Gun," and others. Crime rose, fortunes were amassed, and a slew of new cocktails were shaken, stirred, and poured in hideaways to brand the "roaring" 1920s as the era of "Alcohol and Al Capone.""--
"Presidents are ranked wrong. In The Jazz Age President: Defending Warren G. Harding, Ryan Walters mounts a case that Harding deserves to move up—and supplies the evidence to make that case strong. -Amity Shlaes, bestselling author of Coolidge He's the butt of political jokes, frequently subjected to ridicule, and almost never absent a "Worst Presidents" list where he most often ends up at the bottom. Historians have labeled him the "Worst President Ever," "Dead Last," "Unfit," and "Incompetent," to name but a few. Many contemporaries were equally cruel. H. L. Mencken called him a "nitwit." To Alice Roosevelt Longworth, he was a "slob." Such is the current reputation of our 29th President, Warren Gamaliel Harding. In an interesting survey in 1982, which divided the scholarly respondents into "conservative" and "liberal" categories, both groups picked Harding as the worst President. But historian Ryan Walters shows that Harding, a humble man from Marion, Ohio, has been unfairly remembered. He quickly fixed an economy in depression and started the boom of the Roaring Twenties, healed a nation in the throes of social disruption, and reversed America’s interventionist foreign policy.
nation." --Book Jacket.