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2.1: The Jazz Age

  • Page ID
    226916
    • Michelle Turnbull, Paul Ricciardi, Matthew Forman, Monica Walker, Maria Rosario-Rodriguez, Andrew Wilder, Shannon McArdle, Donna Ryan, Matthew Hoffman
    • Kingsborough Community College
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    2.1 The Jazz Age

    The 1920s was a time of dramatic change in the United States. Many young people, especially those living in big cities, embraced a new morality that was much more permissive than that of previous generations. They listened to jazz music, especially in the nightclubs of Harlem. Although prohibition outlawed alcohol, criminal bootlegging and importing businesses thrived. The decade was not a pleasure cruise for everyone, however; in the wake of the Great War, many were left awaiting the promise of a new generation.

    A NEW MORALITY

    Many Americans were disillusioned in the post-World War I era, and their reactions took many forms. Rebellious American youth, in particular, adjusted to the changes by embracing a new morality that was far more permissive than the social mores of their parents. Many young women of the era shed their mother’s morality and adopted the dress and mannerisms of a flapper, the Jazz Age female stereotype, seeking the endless party. Flappers wore shorter skirts, shorter hair, and more makeup, and they drank and smoked with the boys. Flappers’ dresses emphasized straight lines from the shoulders to the knees, minimizing breasts and curves while highlighting legs and ankles. The male equivalent of a flapper was a “sheik,” although that term has not remained as strong in the American vernacular. At the time, however, many of these fads became a type of conformity, especially among college-aged youths, with the signature bob haircut of the flapper becoming almost universal—in both the United States and overseas.

    A cover of The Saturday Evening Post, from February 4, 1922, features an illustration of a young woman’s head and shoulders. Her hair is cut short in a bob, and she wears an elaborate headpiece. Beneath her, the text reads “Beginning Merton of the Movies—By Harry Leon Wilson.”

    Image 2.1 The flapper look, seen here in “Flapper” by Ellen Pyle for the cover of The Saturday Evening Post in February 1922, was a national craze in American cities during the 1920s.

    As men and women pushed social and cultural boundaries in the Jazz Age, sexual mores changed and social customs grew more permissive. “Petting parties” or “necking parties” became the rage on college campuses. Psychologist Sigmund Freud and British “sexologist” Havelock Ellis emphasized that sex was a natural and pleasurable part of the human experience. Margaret Sanger, the founder of Planned Parenthood, launched an information campaign on birth control to give women a choice in the realm in which suffrage had changed little—the family. The popularization of contraception and the private space that the automobile offered to teenagers and unwed couples also contributed to changes in sexual behavior.

    Flappers and sheiks also took their cues from the high-flying romances they saw on movie screens and confessions in movie magazines of immorality on movie sets. Movie posters promised: “Brilliant men, beautiful jazz babies, champagne baths, midnight revels, petting parties in the purple dawn, all ending in one terrific smashing climax that makes you gasp.” And “neckers, petters, white kisses, red kisses, pleasure-mad daughters, sensation-craving mothers . . . the truth: bold, naked, sensational.”

    New dances and new music—especially jazz—also characterized the Jazz Age. Born out of the African American community, jazz was a uniquely American music. The innovative sound emerged from a number of different communities and from a number of different musical traditions such as blues and ragtime. By the 1920s, jazz had spread from African American clubs in New Orleans and Chicago to reach greater popularity in New York and abroad. One New York jazz establishment, the Cotton Club, became particularly famous and attracted large audiences of hip, young, and white flappers and sheiks to see black entertainers play jazz (Image 2.2).

    A photograph shows a group of black jazz musicians playing their instruments. A drum reads “Jazzing Orchestra / King and Carter / Houston Tex.”

    Image 2.2 Black jazz bands such as the King and Carter Jazzing Orchestra, photographed in 1921 by Robert Runyon, were immensely popular among white urbanites in the 1920s.

    THE “NEW WOMAN”

    The Jazz Age and the proliferation of the flapper lifestyle of the 1920s should not be seen merely as the product of postwar disillusionment and newfound prosperity. Rather, the search for new styles of dress and new forms of entertainment like jazz was part of a larger women’s rights movement. The early 1920s, especially with the ratification of the Nineteenth Amendment guaranteeing full voting rights to women, was a period that witnessed the expansion of women’s political power. The public flaunting of social and sexual norms by flappers represented an attempt to match gains in political equality with gains in the social sphere. Women were increasingly leaving the Victorian era norms of the previous generation behind, as they broadened the concept of women’s liberation to include new forms of social expression such as dance, fashion, women’s clubs, and forays into college and the professions.

    Nor did the struggle for women’s rights through the promotion and passage of legislation cease in the 1920s. In 1921, Congress passed the Promotion of the Welfare and Hygiene of Maternity and Infancy Act, also known as the Sheppard-Towner Act, which earmarked $1.25 million for well-baby clinics and educational programs, as well as nursing. This funding dramatically reduced the rate of infant mortality. Two years later, in 1923, Alice Paul drafted and promoted an Equal Rights Amendment (ERA) that promised to end all sex discrimination by guaranteeing that “Men and women shall have equal rights throughout the United States and every place subject to its jurisdiction.”

    Yet, ironically, at precisely the time when the Progressive movement was achieving its long-sought-after goals, the movement itself was losing steam and the Progressive Era was coming to a close. As the heat of Progressive politics grew less intense, voter participation from both sexes declined over the course of the 1920s. After the passage of the Nineteenth Amendment, many women believed that they had accomplished their goals and dropped out of the movement. As a result, the proposed ERA stalled (the ERA eventually passed Congress almost fifty years later in 1972, but then failed to win ratification by a sufficient number of states), and, by the end of the 1920s, Congress even allowed funding for the Sheppard-Towner Act to lapse.

    The growing lethargy toward women’s rights was happening at a time when an increasing number of women were working for wages in the U.S. economy—not only in domestic service, but in retail, healthcare and education, offices, and manufacturing. Beginning in the 1920s, women’s participation in the labor force increased steadily. However, most were paid less than men for the same type of work based on the rationale that they did not have to support a family. While the employment of single and unmarried women had largely won social acceptance, married women often suffered the stigma that they were working for pin money—frivolous additional discretionary income.

    Remixed from:

    P. Scott Corbett (Ventura College), et al. U.S. History by OpenStax (Hardcover Version, Full Color). 1st ed., XanEdu Publishing Inc, 2014,opened.cuny.edu/courseware/lesson/434/overview. CC BY 4.0.