Ch 24 Study Guide the New Era

24 CH 24 STUDY GUIDE THE NEW ERA

PEOPLE, PLACES & EVENTS 1. Sister Aimee 2. The shift in production to consumer goods and services 3. The “New Era” 4. The “Second or Post-Industrial Revolution,” of the 1920s 5. Henry Ford & modern industrial culture 6. Industrial changes between 1920 and 1930 7. The automobile in the 1920s 8. The modern corporation in the 1920s 9. Labor unions in the 1920s 10. The demand for goods 11. Intellectuals in the 1920s 12. The “New Negro” of the 1920s & the Harlem Renaissance 13. Traditional America versus modern urban culture in the 1920s 14. Immigration from Mexico 1910-20 15. Immigration restriction 16. The National Origins Act: origins & apples? 17. National Origins Act of 1924 quotas 18. The Ku Klux Klan in the 1920s 19. The fundamentalist-modernist conflict 20. William Jennings Bryan 21. Republican Presidents during the 1920s 22. Secretary of Commerce, Herbert Hoover & “associationism.” 23. Secretary of Commerce Herbert Hoover’s objectives 24. Coolidge’s tenure & “Keep Cool with Cal” 25. Republican administrations of the 1920s economic methods 26. U.S. economic diplomacy in the 1920s 27. Secretary of Commerce Herbert Hoover & “partners” vs “adversaries” 28. America’s economic weakest link in the 1920s 29. The Conference of 1921 30. The election of 1928 COMPLETION 1. America’s most important boom industry in the 1920s, the [ ] industry, stimulated economic growth and changed the landscape of America. 2. Along with Hollywood films, [ ] grew dramatically as a popular and influential mass medium in the 1920s. 3. Contenders for traditional Christian truth, the [f ] came to target the teaching of Darwinian evolution as the worst symptom of modern cultural decay. 4. The Kellogg-Briand Pact was a multilateral agreement that outlawed [ ]. 5. Urban, Catholic, and wet, [ ] was defeated for President, but the votes he won signaled an emerging political realignment. Chapter 24: The New Era IDENTIFICATION Students should be able to describe the following key terms, concepts, individuals, and places, and explain their significance: Terms and Concepts The Man Nobody Knows flappers technological unemployment mass production American Plan Middletown League of Women Voters National Origins Act Kellogg-Briand Pact The Fundamentals Prohibition associationalism Fordney-McCumber Tariff the Spirit of St. Louis Scopes trial Washington Naval Conference the Dawes Plan Sheppard-Towner Act Universal Negro Federal Maternity and Infancy Act Improvement Association Individuals and Places Al Smith Charles Lindbergh Andrew Mellon Clarence Darrow Albert Fall Aimee Semple McPherson Frederick Lewis Allen Henry Ford Albert Lasker Miriam “Ma” Ferguson Amos ‘n’ Andy George Gershwin Marcus Garvey Claude McKay Sacco and Vanzetti William Simmons MAP IDENTIFICATIONS Students have been given the following map exercise: On the map on the following page, label or shade in the following places. In a sentence, note their significance to the chapter. 1. Chicago 2. Detroit 3. New York 4. Paths of African-American migration northward 1. ?

212 Chapter 24: The New Era

CRITICAL THINKING EVALUATING EVIDENCE (MAPS) 1. Why are the 12 largest cities included in the 1928 election map (on page 811)? What is their significance? EVALUATING EVIDENCE (ILLUSTRATIONS AND CHARTS) 1. In what ways does the picture at the opening of the chapter (on page 785) conjure up an appropriate image of the 1920s? In what ways is the image misleading? 2. Compare the two contrasting images of the “New Woman” offered in the photographs of birth-control advocate Margaret Sanger (on page 793) and the first Miss America, Margaret Gorman (on page 794). 3. What effect might a theater like the Roxy (on page 797) have on those entering it? Why would theater owners build such palaces? CRITICAL ANALYSIS Students have been asked to read carefully the following excerpt from the text and then answer the questions that follow. To the blare of trumpets on New Year’s Day in 1923 she [Aimee Semple McPherson] unveiled a $1.5 million Angelus Temple graced by a 75-foot, rotating electronic cross. It was visible at night from 50 miles away. Inside was a 5000-seat auditorium, radio station KFSG (Karl Four Square Gospel), a wardrobe room that rivaled those of the movie studios, a “Cradle Roll Chapel” for babies, and a “Miracle Room” filled with the crutches, trusses, wheelchairs, and other aids Sister Aimee’s cured faithful had discarded. Services were not simply a matter of hymn, sermon, and prayer. Aimee staged pageants, Holy Land slide shows, dramatized sermons, circuses, and healing sessions to ease the pain and boredom of the folks who flocked to see her. Sister Aimee succeeded because she was able to blend the old with the new. Her lively sermons had a simple message, easy to remember. They carried the spirit of what

213 Chapter 24: The New Era people were calling the “New Era.” Casting aside hellfire evangelism, wrote one observer, she “substituted the cheerfulness of the playroom for the gloom of the morgue.” Where country preachers menaced their congregations with visions of eternal damnation, she offered “flowers, music, golden trumpets, red robes, angels, incense, nonsense, and sex appeal.” To that she added the sophistication of the booming media industries of the 1920s. She had a nose for publicity, a great capacity for self-dramatization, and a gift for improvising new activities to entertain her followers. Here was one brand of evangelism eminently suited to a new consumer age. PRIMARY SOURCE: A MEXICAN LABORER SINGS OF LIFE IN AMERICA * As Mexican immigrants crossed the border into the United States, they brought many traditions with them, including music. The corrido is a ballad, common in the folk music of Mexico, that chronicles “current happenings.” The following corrido tells the story of an anonymous Mexican contract laborer and his struggle with modern American life in the 1920s. Like many Americans caught between traditionalism and modernism, he longs for a simpler past and worries about his newly-liberated wife and children. I came under contract from Morelia To earn dollars was my dream, I bought shoes and I bought a hat And even put on trousers. For they told me that here the dollars Were scattered about in heaps; That there were girls and theaters And that here everything was good fun.

And now I’m overwhelmed— I am a shoe maker by trade But here they say I’m a camel And good only for pick and shovel.

What good is it to know my trade If there are manufacturers by the score, And while I make two little shoes They turn out more than a million.

Many Mexicans don’t care to speak The language their mothers taught them And go about saying they are Spanish And denying their country’s flag.

Some are darker than chapote [black tar] But they pretend to be Saxon; They go about powdered to the back of the neck And wear skirts for trousers.

*From Paul s. Taylor, Mexican Labor in the United States, Vol. II (1932).

214 Chapter 24: The New Era The girls go about almost naked And call la tienda [store] “estor” They go around with dirt-streaked legs But with those stockings of chiffon.

Even my old woman has changed on me— She wears a bob-tailed dress of silk Goes about painted like a pinata [brightly colored container filled with candies] And goes at night to the dancing hall.

My kids speak perfect English And have no use for our Spanish They call me “fader” and don’t work And are crazy about the Charleston.

I am tired of all this nonsense I’m going back to Michoacan; As a parting memory I leave the old woman To see if someone else wants to burden himself.