The Roaring Twenties

Total Page:16

File Type:pdf, Size:1020Kb

The Roaring Twenties The Roaring Twenties Post-War Prosperity •Boom Time – incomes high – taxes low – credit available – cheap electricity – materialism – farm prices down – labor out of favor – spend, don’t save! Government Policy •Post-War shift – post-war recession – war goods unnecessary – Progressivism over? – protective tariffs – corporate consolidation – isolationist stance – “laissez-faire” little government regulation Prohibition •18th Amendment – sale and production of alcohol banned – rise in organized crime to provide – seen as town/city fight in politics – difficult to enforce – drain on resources – eventually repealed by 21st Harding “Normalcy” •Pro-business – streamlined gov’t spending in Budget & Accounting Act – loosened credit for farmers – Teapot Dome Scandal – Fall convicted of bribes New Conservatism • Regulation lessened - 1922 Coronado Coal Co. v. United Mine Workers – strikes limited trade - 1922 Bailey v. Drexel Furniture Co. voided child labor restrictions - 1923 Adkins v. Children’s Hospital – women’s minimum wage voided - 1929 Maple Floor Association v. U.S. anti-union groups not trade restraint The “Jazz Age” • Music of time - African origin - mix of ragtime and blues - energy represented rejection “old generation” values - part of youth culture - dangerous to older generation Duke Ellington Bessie Smith Irving Berlin Josephine Baker Cole Porter George Gershwin Flappers • New Freedoms – young women – short hair, short dresses, rolled stockings, makeup, no corsets – seen as trendy and often immodest – working women more common Movies! • New mass media – escape value – sign of prosperity – more leisure time – new social custom – popular culture (slang, clothes) – over 100 million tickets sold weekly – “movie morals” questioned Mary Pickford Douglas Fairbanks Buster Keaton Rudolph Valentino Clara Bow Charlie Chaplin More Mass Media •Age of radio born – national networks allowed access to same programs – individuality? – music, news, sports, politics – advertisers took advantage! “Monkey Trial” •John Scopes – test case for 1925 Butler Act banning evolution teaching – Clarence Darrow and W. J. Bryan – Scopes found guilty – urban/rural conflict in media Nativism Grows • “Native white Protestant supremacy” – 1915 KKK reorganized – anti-black, Catholic, Jew, immigrant – vigilante methods, political pressure – affected by Madison Grant’s The Passing of a Great Race (1916) Nativist Policy • Immigration restrictions - 1921 Johnson Quota Act - 350,000 cap on immigration - limit 3% per nationality in 1910 census - aimed at Eastern/Southern immigrants - 1924 Johnson-Reed Act - superseded 1921 act - 165,000 cap on immigration - limit 2% per nationality in 1890 census Nativist Policy - 1929 National Origins Act - 150,000 immigration cap permanent - new quota based on 1920 population - 70% North/Western immigrants and 30% Southern/Eastern - New laws: - Asian Exclusion Act added - reflected greater intolerance, racism - feared lower wages, unemployment Harlem Renaissance • Great Migration – artistic community – writers, artists – Hughes, Hurston, McKay, Jones – works show •African themes •social injustice •hope for future Harlem Renaissance When I get to be a composer I'm gonna write me some music about Daybreak in Alabama And I'm gonna put the purtiest songs in it Rising out of the ground like a swamp mist And falling out of heaven like soft dew. I'm gonna put some tall tall trees in it And the scent of pine needles And the smell of red clay after rain And long red necks And poppy colored faces And big brown arms And the field daisy eyes Of black and white black white black people And I'm gonna put white hands And black hands and brown and yellow hands And red clay earth hands in it Touching everybody with kind fingers And touching each other natural as dew In that dawn of music when I Get to be a composer And write about daybreak In Alabama. Langston Hughes, “Daybreak in Alabama” Lost Generation • Post-War despair – shocked by war – many left U.S. – Hemingway, Lewis, Fitzgerald, O’Neill – works show •hopelessness •inhumanity in world •society out of control •longing for past “It was not so bad where there were only men or else only women; it was when they were vilely herded that it all seemed so rotten. It was some shame that women gave off at having men see them tired and poor--it was some disgust that men had for women who were tired and poor. It was dirtier than any battle-field he had seen, harder to contemplate than any actual hardship molded of mire and sweat and danger, it was an atmosphere wherein birth and marriage and death were loathsome, secret things. He remembered one day in the subway when a delivery boy had brought in a great funeral wreath of fresh flowers, how the smell of it had suddenly cleared the air and given every one in the car a momentary glow. ‘I detest poor people,’ thought Amory suddenly. ‘I hate them for being poor. Poverty may have been beautiful once, but it's rotten now. It's the ugliest thing in the world. It's essentially cleaner to be corrupt and rich than it is to be innocent and poor.’ He seemed to see again a figure whose significance had once impressed him--a well-dressed young man gazing from a club window on Fifth Avenue and saying something to his companion with a look of utter disgust. Probably, thought Amory, what he said was: ‘My God! Aren't people horrible!’” F. Scott Fitzgerald, This Side of Paradise, 1920 Foreign Affairs • Post-war diplomacy – 1920 Disarmament Conference in Pacific makes Japan leader – 1922 Mussolini takes power in Italy – 1922 Russia becomes Soviet Union –1924 Lenin dies – leadership uncertain The Dawes Plan 1924 U.S. lends Germany GB and France pay $2.5 billion $2.6 billion in war debt back to the U.S. Germany pays $2 billion in reparations to Allies and develops industry at home Foreign Affairs • More diplomacy –1925 Locarno Pact vowed to settle disputes peacefully –1925 Hitler publishes Mein Kampf – 1929 Young Plan reduces Germany’s debt further.
Recommended publications
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • Mayjune 2005 Social Ed.Indd
    Social Education 69(4), pp. 189-192 © 2005 National Council for the Social Studies Reel to Real: Teaching the Twentieth Century with Classic Hollywood Films Karl A. Matz and Lori L. Pingatore Making students’ learning cal artifacts, virtually primary source docu- works to support all three. At work, Bow experiences as direct and real as possible ments, that are very easy to obtain and yet has caught the eye of a wealthy young man, has always been challenging for educators. are too rarely used. Here, we hope to give a friend of the store owner’s son. In this Ancient wars and forgotten statesmen teachers a sense of which films are most brief beginning to a feature length film, often hold little excitement for students. appropriate and to provide a workable viewers see three important locations as Innovative teachers often use artifacts and method for guiding students to critically they were in the late 1920s. We see the primary source documents to transform a examine these historical artifacts. downtown department store, so different vicarious learning experience to a much from the suburban malls we know today. more direct one. Lee Ann Potter observes Celluloid Anthropology We see the humble apartment, the decora- that primary source documents “allow us, Students can study films in a manner simi- tions, and the absence of technology. And, quite literally, to touch and connect with lar to the way an anthropologist studies a finally, we see the restaurant. the past.”1 culture. If we were to study the culture of While watching this film, as any Films, like artifacts and photographs, a community in the Brazilian rainforest, other movie of a different era, viewers can also bring students closer to the people we would observe social rules, modes of can observe manners and behaviors, note and events that they are studying.
    [Show full text]
  • Rudolph Valentino Living at 50 West in 1923
    100 years at 50 west Rudolph Valentino Living at 50 West in 1923 Brooklyn Standard Union, May 27, 1923, p. 8 Home – Street – Prehistory – Building – Ads – Residents – Actors – Playlist 100 years at 50 west From Photoplay, Vol. 24 (July-December) 1923, p. 126: Jerry of Sherman, Texas. — Men as I before, and sapiently, have observed are but human. Rodolph Valentino is a man, therefore human. Hence he will be glad to know that you, who write backhandedly under the soubriquet of Jerry, "worship at his shrine as ardently as any flapper. He's so disgustingly handsome." Suspicion stirs deep in my being, Jerry. Maybe you are a man and envious of the darkeyed one's reign over the hearts of the women in his audiences. I am not sure. If you are Mr. Jerry instead of Miss Jerry you would not be likely to say, "His eyes intrigue me, exceedingly, oh where, oh where, can I obtain a photograph of 'The Young Rajah'?" Write him care of his headquarters, 50 West 67th Street, New York, N. Y. From New York Times, August 25, 1926, p.1: Thousands in Riot at Valentino Bier; More Than 100 Hurt – Crowd at Funeral Church Is Out of Police Control at Times – Big Windows Crash…Traffic Interrupted, Mounted Policemen Charge Again and Again in Vain. More than 30,000 persons tried to get a two-second glimpse of the body of Rudolph Valentino, lying in state at Campbell’s Funeral Church, on Broadway at Sixty-sixth Street, yesterday afternoon and last night. As a result, the Home – Street – Prehistory – Building – Ads – Residents – Actors – Playlist 100 years at 50 west police were wholly unable to control the situation for several hours….
    [Show full text]
  • Valentino, Rudolph (1895-1926) by Peter J
    Valentino, Rudolph (1895-1926) by Peter J. Holliday Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com The most popular of silent-screen stars, the darkly handsome Valentino gazed at his heroines with a mixture of passion and melancholy that sent chills down female (and some male) spines. To American women he represented mysterious, forbidden eroticism, the fulfillment of dreams of illicit love and uninhibited passion; but most male moviegoers found his acting ludicrous, his manner foppish, and his screen character effeminate. His androgynous persona, at once assertively virile and gracefully sensitive, threatened traditional images of American masculinity in a crucial period of cultural change. Top: A Paramount Born Rodolfo Alfonzo Raffaele Pierre Philibert Guglielmi in Castellaneta, Italy in 1895, Pictures poster for The Valentino emigrated to New York in 1913. There he took a succession of jobs, including Shiek (1921). Above: Rudolph dishwasher and waiter, and was booked by the police several times on suspicion of Valentino (left) with petty theft and blackmail. Elinor Glyn. In 1917 he traveled to Hollywood where he landed bit parts in the movies, mostly as an exotic dancer or villain. He married bisexual actress Jean Acker in 1920, but the marriage was never consummated. Valentino's big break came in 1921 when Metro screenwriter June Mathis insisted that director Rex Ingram give him the lead in The Four Horsemen of the Apocalypse. The film catapulted Valentino into stardom. He reached new heights with The Sheik (1921) for Paramount. During the film's exhibition women fainted in the aisles.
    [Show full text]
  • Clara Bow Papers
    http://oac.cdlib.org/findaid/ark:/13030/c88917c9 No online items Clara Bow papers Special Collections Margaret Herrick Library© 2013 Clara Bow papers 511 1 Descriptive Summary Title: Clara Bow papers Date (inclusive): 1926-1965 Date (bulk): 1926-1935, 1950-1964 Collection number: 511 Creator: Bow, Clara Extent: 3.5 linear feet of papers. Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation Clara Bow papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Acquisition Information Gift of Rex Bell Jr., 2002 Biography Clara Bow was an American actress active from 1923 to 1933. In 1924, Bow was named a WAMPAS baby star by the Western Association of Motion Picture Advertisers, the highest honor of the day for an aspiring screen actress. She reached the height of her popularity as a shop girl who seduces her employer in IT (1927). Bow was consequently dubbed "the 'It' Girl" - "It" being a euphemism for sex-appeal. Her next film, WINGS (1927) became one of the biggest successes of the silent era, winning the first Academy Award for Best Picture. In addition to being Paramount's first sound film, THE WILD PARTY (1929) marked Bow's sound film debut. Bow's fame waned when she failed to attain the popularity she enjoyed in the silent era.
    [Show full text]
  • Walking Box Ranch Planning and Design Quarterly Progress Report: Period Ending January 10, 2012
    Walking Box Ranch Public Lands Institute 1-10-2012 Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012 Margaret N. Rees University of Nevada, Las Vegas, [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch Part of the American Popular Culture Commons, Business Administration, Management, and Operations Commons, Educational Assessment, Evaluation, and Research Commons, and the Historic Preservation and Conservation Commons Repository Citation Rees, M. N. (2012). Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012. 1-115. Available at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch/30 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Walking Box Ranch by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. QUARTERLY PROGRESS REPORT University of Nevada, Las Vegas Period Covering October 11, 2010 – January 10, 2012 Financial Assistance Agreement #FAA080094 Planning and Design of the Walking Box Ranch Property Executive Summary UNLV’s President Smatresk has reiterated his commitment to the WBR project and has further committed full funding for IT and security costs.
    [Show full text]
  • Hands Up! by Steve Massa
    Hands Up! By Steve Massa Raymond Griffith is one of silent come- dy’s unjustly forgotten masters, whose onscreen persona was that of a calm, cool, world-weary bon vivant – some- thing like Max Linder on Prozac. After a childhood spent on stage touring in stock companies and melodramas, he ended up in films at Vitagraph in 1914 and went on to stints at Sennett,- L Ko, and Fox as a comedy juvenile. Not mak- ing much of an impression due to a lack of a distinctive character, he went be- hind the camera to become a gagman, working at Sennett and for other comics like Douglas MacLean. In 1922 he re- turned to acting and became the ele- gant, unflappable ladies’ man. Stealing comedies such as “Changing Husbands,” “Open All Night,” and “Miss Bluebeard” (all 1924) away ing very popular with his character of “Ambrose,” a put- their respective stars Paramount decided to give him his upon everyman with dark-circled eyes and a brush mous- own series, and he smarmed his way through ten starring tache. Leaving Sennett in 1917 he continued playing Am- features starting with “The Night Club” (1925). brose for L-Ko, Fox, and the independent Poppy Come- dies and Perry Comedies. His career stalled in the early “Hands Up!” (1926) soon followed, and is the perfect 1920s when he was blacklisted by an influential produc- showcase for Griffith’s deft comic touch and sly sense of er, but his old screen mate Charlie Chaplin came to the the absurd. The expert direction is by Clarence Badger, rescue and made Mack part of his stock company in films who started in the teens with shorts for Joker and Sen- such as “The Idle Class” (1921) and “The Pilgrim” (1923).
    [Show full text]
  • A Cross-Cultural Analysis of Clara Bow's Image in 1920S Japan1
    1JSL, Volume 1 (2005), 1–18 Hideaki Fujiki American Film Star Unsettling Japanese Culture: A Cross-Cultural Analysis of Clara Bow’s Image in 1920s Japan1 Hideaki FUJIKI In this essay, I examine the star formation of Clara Bow in relation to the rise of consumer culture and modern girls in Japan during the latter half of the 1920s. While her original images were produced in the United States, she was identified as a representative of modern girls and associated with the new audiences who were recognized as modern girls and/or the petit bourgeois class. In being so, this American star functioned to disclose contradictions between her fans’ consuming activity and their national identity, but concurrently induced reactionary discourses. Her screen persona balanced its flapper-sensationalism and other properties, such as her seemingly spontaneous characterization, socially marginalized positions, and active physical movements. This ambiguity about the star’s attributes allowed Japanese media to take advantage of this star as a controversial yet lucrative subject. It follows that the vernacular formation of this star persona involved cultural and even political conflicts among her fans’ self-defining identities, critics’ valuations and evaluations, and governmental directions. While her fans’ activity increased the diversity and mobility of people’s identities and values in the nation, critics mostly was bent on prescribing them into either/or categories of binary oppositions, such as American versus Japanese and modern versus pre-modern. Thus, the American stars unsettled Japanese culture, but turned out to enhance the reactionary trend in which to confine Japanese people into a monolithic identity.
    [Show full text]
  • RUDOLPH VALENTINO January 1971
    -,- -- - OF THE SON SHEIK . --· -- December 1970 -.. , (1926) starring • January 1971 RUDOLPH VALENTINO ... r w ith Vilma Banky, Agnes Ayres, George Fawcett, Kar l Dane • .. • • i 1--...- \1 0 -/1/, , <;1,,,,,/ u/ ~m 11, .. 12/IOJ,1/, 2/11.<. $41 !!X 'ifjl!/1/. , .....- ,,,1.-1' 1 .' ,, ,t / /11 , , . ... S',7.98 ,,20 /1/ ,. Jl',1,11. Ir 111, 2400-_t,' (, 7 //,s • $/1,!!.!!8 "World's .. , . largest selection of things to show" THE ~ EASTIN-PHELAN p, "" CORPORATION I ... .. See paee 7 for territ orial li m1la· 1;on·son Hal Roach Productions. DAVE PORT IOWA 52808 • £ CHAZY HOUSE (,_l928l_, SPOOK Sl'OO.FI:'\G <192 i ) Jean ( n ghf side of the t r acks) ,nvites t he Farina, Joe, Wheeze, and 1! 1 the Gang have a "Gang•: ( wrong side of the tr ack•) l o a party comedy here that 1\ ,deal for HallOWK'n being at her house. 6VI the Gang d~sn't know that a story of gr aveyard~ - c. nd a thriller-diller Papa has f tx cd the house for an April Fool's for all t ·me!t ~ Day party for his fr i ends. S 2~• ~·ar da,c 8rr,-- version, 400 -f eet on 2 • 810 303, Standord Smmt yers or J OO feet ? O 2 , v ozs • Reuulart, s11.9e, Sale reels, 14 ozs, Regularly S1 2 98 , Sale Pnce Sl0.99 , 6o 0 '11 Super 8 vrrs•OQ, dSO -fect,, 2-lb~ .• S l0.99 Regu a rly SlJ 98. Sale Pn ce I Sl2.99 425 -fect I :, Regularly" ~ - t S12 99 400lc0 t on 8 o 289 Standard 8mm ver<lon SO r Sate r eels lJ o,s-.
    [Show full text]
  • Wings by Dino Everett
    Wings By Dino Everett For many people simply knowing that the film “Wings” (William Wellman, 1927) is the only silent film (from the silent era) to ever win the Academy Award for best picture is enough to warrant any current day interest in it, but the truth is the film still holds inter- est on many levels. Considering it was made by a cast and crew of twenty some- things, one might be surprised that it wound up a film of any merit, let alone the impressive feature that it is. Narratively the film is not much beyond a couple of romantic love triangles set against the back drop of World War I. One features the juvenile minded Jack Powell (Charles ‘Buddy’ Rogers) who is under the belief that Sylvia Lewis (Jobyna Ralston) is his girl and when he returns from the war they will marry. This upsets his neighbor Mary Preston (Clara Bow) who secretly has always been in love with Powell. Meanwhile the true romance is between Lewis and David Armstrong (Richard Arlen), but they have both agreed to keep it secret from Powell until after the war since neither has the heart to tell him the Publicity material from the film’s original release. Courtesy Library of truth for fear it will crush him. Throughout the Congress Prints and Photographs Online Collection. three acts friendships on all sides get tested, someone dies, and someone ultimately gets the girl. ment, “I saw more of Clara in that scene than I ever Not a bad story, but nothing compared to the impres- saw in real life.” sive nature of some of the other aspects of the film.
    [Show full text]
  • The Inventory of the Larry Carr Collection #966
    The Inventory of the Larry Carr Collection #966 Howard Gotlieb Archival Research Center /\ : 1., CARR, LARRY II I Gift of his estate, Feb. 1987 1f1boxes, packages The collection contains research (mainly clippings, photographs) publicity and text for his two books: FOUR FABULOUS FACES: The Evolution and Metamorphosis of Garbo, Swanson, Crawford, Deitrich, 1970; and MORE FABULOUS FACES: The Evolution and Metamorphosis of Dolores Del Rio, Myrna Loy, Carole Lombard, Bette Davis, and Katharine Hepburn, Doubleday, 1979. Also research for other proposed books, many photographs of himself, some correspondence: with Barry Norton (see Scrapbook, Box 10) and with Joan Crawford, (Box 8). There are many movie magazine covers, dating from the 1930s (ca, 700?), a number of printed calendar pin-ups done by Rolf Armstrong, who also did many of the film magazine covers. Some pastel originals of film stars, and some covers for Parents magazine, by Charles Gates Sheldon, 1884-1961, Box 1 Clips, photos, include Blechman photos of Gloria Swanson Box 2 Photos, clips for MORE FABULOUS FACES Box 3 MORE FABULOUS FACES and FOUR FABULOUS FACES, Some text and clips Box 4 Movie magazine covers; 3 drawings done from the covers by Larry Carr. Covers and photos originally in very large pale green scrapbook labelled "Barbara Ann Lecocq" Box 5 Photographs Box 6 Photos for MORE FABULOUS FACES consisting of envelopes labelled "Extras" for Davis, Lombard, Hepburn, Loy, Del Rio. Envelope "M.F.F. Stat Negatives". 2 black binders of film magazine covers Box 7 Photos and clips, including many photos of Larry Carr. Box 8 Photos of Larry Carr, Newspaper clips of Garbo, Dietrich, Crawford and "Crawford Research", clips and letters from her.
    [Show full text]
  • Star Personas, and Cross-Class Romance Films in 1920S America
    Journal of Gender Studies Vol. 19, No. 1, March 2010, 73–86 RESEARCH ARTICLE The ‘New Woman’, star personas, and cross-class romance films in 1920s America Stephen Sharot* Department of Sociology and Anthropology, Ben-Gurion University of the Negev, Israel (Received 27 June 2008; final version received 13 August 2009) The popular cross-class romance films of the 1920s were influenced by two socio- cultural developments: the ‘New Woman’, particularly in the form of the flapper, and the diffusion of the norms of disinterested love within the context of consumerism. The personas of the three female stars discussed here – Mary Pickford, Colleen Moore and Clara Bow – represented variations of the ‘New Woman’. Mary Pickford combined rebellion against, and continuity with, Victorian norms of femininity. Colleen Moore balanced a fun-loving flapper image with sexual reticence. Clara Bow represented the sexually assertive and alluring flapper. All three stars were heroines in cross-class romance films and their personas informed the variations in the plots of those films, but their personas were all accommodated to disinterested love, a norm that confirmed that the freedoms of the New Woman were confined within a class system linked to gender. Keywords: romance; consumerism; flapper; cross-class; stars; personas Richard Dyer (1979, 1986) has argued that star images function to resolve or manage contradictions within and between ideologies prevalent in society. Film star personas have always been implicated in gender, and Gaylor Studlar (1996, p. 250) has noted that the constructions of gender in the American films of the 1920s attempted to mediate between archetypal new and old social/sexual identities.
    [Show full text]