7P guide to 1920s Jazz by james palmer - issuu issuu 1920s Jazz 1920’s Jazz Louis Armstrong Louis Armstrong was born on the 4th of August, 1901 in New Orleans, Louisiana. He was a trumpeter and a singer in New Orleans in pubs. He played the trumpet and the cornet, which is a mini trumpet. He was dubbed Satchmo , which was short for Satchel Mouth, because he had a big mouth; or Pops when he started playing. You might recognize a few of his songs, for example, ‘What a Wonderful World’, or ‘La Vie en Rose’. Louis retired in the 1960’s and died in 1971 in Queens, New York City. Flappers Flappers are ladies who danced to the Charleston type of music. The term ‘Flapper’ is inspired by a bird flapping its wings while learning how to fly. Flappers usually bobbed their hair, listened to jazz music, and wore short skirts.

Duke Ellington Edward Kennedy, or Duke Ellington was born on April 29th, 1899 and was a composer, big band leader and a pianist. Ellington was also referred in the genre of Blues, Gospel, film scores, Pop, and classical. Ellington recorded for many American Record companies, and was in several films. Ellington died May 24th, 1974 in New York City, USA. King Oliver Joseph Nathan Oliver, or King Oliver was born on May 11th , 1885. Like Duke Ellington and Louis Armstrong, Joseph was a cornet player and a band leader. You might recognize a few of his songs, for example, ‘Canal Street Blues’, or ‘Dipper mouth Blues’. He was the mentor and teacher of Louis Armstrong, a famous trumpeter. King Oliver died on the 10th of April 1938, age 52. The Charleston The Charleston is a dance, which originated from the harbour city, Charleston, South Carolina. The song, the Charleston was composed in 1923, by James P. Johnson, a pianist.

Developed by Kathryn Wilson, the Charleston quickly popularized in the 1920’s. The Cotton Club The Cotton Club was a famous illegal night club located in a Harlem neighborhood in New York. It operated from 1923 to 1940, during the American Prohibition Era, when alcohol was banned. The club was white-only, but many famous black performers performed there including Duke Ellington. They would host ‘Celebrity Nights’ every Sunday, and famous people would go there. Louis Armstrong was born on the 4 August 1901 in New Orleansâ&#x20AC;&#x2122;s and died on July 6 1971 in Corona, his nickname was Stachmo or Pops. He was a Jazz trumpeter . Duke Ellington was born in April 29, 1899 and died in May 24, 1974; he was an American composer, pianist, and big-band leader.

Ellington wrote over 1,000 compositions Joseph Nathan Oliver, better known as Joe "King" Oliver and was born May 11, 1885 and died April 10, 1938 Renowned for his charming stage presence plus voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", whose skin-color was secondary to his music in an America that was severely racially divided. Ellington called his music "American Music" rather than jazz, and liked to define those who impressed him as "beyond category These included many of the musicians who were members of his orchestra, some of whom are considered among the best in jazz in their own right, but it was Ellington who melded them into one of the best-known jazz orchestral units in the history of jazz.

He often composed explicitly for the style and skills of these individuals, such as "Jeep's Blues" for Johnny Hodges, "Concerto for Cootie" for Cootie Williams. Joseph Oliver was born in Aben, Louisiana, near Donaldsonville in Ascension Parish, and moved to New Orleans in his youth. Oliver played cornet in the New Orleans brass bands and dance bands and also in the city's red-light district, Storyville. The band he co-led with trombonist Kid Ory was considered New Orleans' hottest and best in the 1910s. Developed by Kathryn Wilson, the Charleston became a popular dance craze in the wider international community during the 1920s. Despite its origins, the Charleston is most frequently associated with white flappers and the speakeasy. Here, these young women would dance alone or together as a way of mocking the "dryâ&#x20AC;&#x2122;s," or citizens who supported the Ban amendment, as the Charleston was then considered quite immoral and provoking. 1920â&#x20AC;&#x2122;s Jazz Louis Armstrong played the trumpet and cornet.

He made a huge influence in Jazz music as everybody loved the way he changed the music from a band to solo during a single song. th He was born on the 4 August 1901. He was a singer as well as musician. Flappers are female dancers that danced to Charleston type music. They were named after birds on their first flight. Flappers dressed in short skirts and usually had their hair bobbed. th Duke Ellington was born on the 29 April 1899 th and died on the 10 April 1974. He was married to Edna Thompson who he met in high school and continued to see. Ellington earned 12 Grammy awards in 41 years. Louis Armstrong (August 4, 1901 â&#x20AC;&#x201C; July 6, 1971), nicknamed Satchmo Pops, was an American jazz trumpeter and singer from New Orleans, Louisiana. Coming to prominence in the 1920s as an "inventive" trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance.

With his instantly-recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics). Edward Kennedy Duke Ellington (April 29, 1899 â&#x20AC;&#x201C; May 24, 1974) was an American composer, pianist, and big-band leader. Ellington wrote over 1,000 compositions. In the opinion of Bob Blumenthal of The Boston Globe, the century since his birth, there has been no greater composer, American or otherwise, than Edward Kennedy Ellington. A major figure in the history of jazz, Ellington's music stretched into various other genres, including blues, gospel, film scores, popular, and classical. His career spanned more than 50 years and included leading his orchestra, composing an inexhaustible songbook, scoring for movies, composing stage musicals, and world tours.

Joseph Nathan Oliver, better known as Joe "King" Oliver (May 11, 1885 â&#x20AC;&#x201C; April 10, 1938), was a jazz cornet player and bandleader. He was particularly noted for his playing style, pioneering the use of mutes. Also a notable composer, he wrote many tunes still played regularly, including "Dipper Mouth Blues", "Sweet Like This", "Canal Street Blues", and "Doctor Jazz". He was the mentor and teacher of Louis Armstrong. His influence was such that Armstrong claimed, "if it had not been for Joe Oliver, jazz would not be what it is today" The Charleston is a dance named for the harbor city of Charleston, South Carolina. The rhythm was popularized in mainstream dance music in the United States by a 1923 tune called "The Charleston" by composer/pianist James P. Johnson which originated in the Broadway show Runnin' Wild and became one of the most popular hits of the decade.

Runnin Wild ran from 29 October 1923 through 28 June 1924.The peak year for the Charleston as a dance by the public was mid-1926 to 1927. Flappers were young Western women in the 1920s who wore short skirts, bobbed their hair, listened to jazz, and flaunted their disdain for what was then considered acceptable behavior. Flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles and otherwise flouting social and sexual norms. The Cotton Club was a famous jazz music night club located in the Harlem neighborhood of New York City which operated from 1923 to 1940, most notably during America's Prohibition Era lasting from 1919 to 1933. The club was a white-only establishment even though it featured many of the greatest Black entertainers of the era including Lena Horne, Fletcher Henderson, Duke Ellington etc. Flappers Flappers were a so called “need bread” in the 1920s that wore short skirts, who bobbed their hair and who listened to jazz music.

They danced to the Charleston. The reason why they are called flappers is because; when they danced they “flapped” there legs whilst they were dancing. The slang word flapper is sometimes supposed to refer to a young bird flapping wings, whilst it is learning how do fly. Louis Armstrong He was born on the 4th of August in 1901. He was nicknamed Satchmo, sort for Satchel mouth. He was an American jazz trumpeter and singer form New Orleans, Louisiana. Louis was a foundational influence in jazz. He did a lot of improvisation in solo performances. On March 19th in 1918, he married Daisy Parker from Gretna, Louisiana. Duke Ellington Duke Ellington’s real name is Edward Kennedy Ellington. He was born on the 29th April, in 1899. He was an American composer, pianist and the “big-band leader”. He wrote over 1,000 compositions. King Oliver King Oliver’s real name was Joseph Nathan Oliver, better known as Joe “king” Oliver, was born on the 11th of May in 1885.

He died on the 10th of April 1938. He was a jazz cornet player and composer who had a famous band that included Louis Armstrong. THE 1920s Flappers Flappers were women in the 1920s; they wore short skirts, and cut their hair into bobs. They listed to jazz, and danced the Charleston. They are called Flappers because when they dance, their legs ‘flap’ around. The slang word ‘Flapper’ refers to a young bird flapping its wings, trying to fly. Louis Armstrong Louis was from New Orleans. He was born on August 4, 1901, and died on July 6, 1971. On March 19, 1918, Louis married Daisy Parker. He was famous for his voice; he could play trumpet, saxophone, tamborine, and cornet. King Oliver Joe ‘King’ Oliver’s real name is Joseph Nathan Oliver. He was born on May 11, 1885 and died on April 10, 1938. He was a cornet player and band leader.

THE CHARLESTON It was developed by Kathryn Wilson. The Charleston became a popular dance craze in the wider international community in the 1920s. Despite its origins, the Charleston is associated with Flappers and the speakeasy. Despite its origins, the Charleston is associated with Flappers and the speakeasy. LOUIS ARMSTRONG People called him Satchmo because had a big mouth. He was born in August the 4th 1901 and died in July the 6th 1971 28 days before his 70th birthday. KING OLIVER His real name was Joseph Oliver. He was born in Aben, Louisiana near Donaldsonville. He was a mentor and he also taught Louis Armstrong to be as good as he was in the 1920s. DUKE ELLINGTON His real name was Edward Kennedy. He wrote over 1,000 compositions and he was the band leader. He was born in the 1890s and died in the 1970s.

FLAPPERS The Roaring Twenties - Facts & Summary - HISTORY.com The Roaring Twenties A+E Networks Introduction The 1920s were an age of dramatic social and political change. For the first time, more Americans lived in cities than on farms. The nation’s total wealth more than doubled between 1920 and 1929, and this economic growth swept many Americans into an affluent but unfamiliar “consumer society.” People from coast to coast bought the same goods (thanks to nationwide advertising and the spread of chain stores), listened to the same music, did the same dances and even used the same slang! Many Americans were uncomfortable with this new, urban, sometimes racy “mass culture”; in fact, for many–even most–people in the United States, the 1920s brought more conflict than celebration. However, for a small handful of young people in the nation’s big cities, the 1920s were roaring indeed.

Google The “New Woman” The most familiar symbol of the “Roaring Twenties” is probably the flapper: a young woman with bobbed hair and short skirts who drank, smoked and said what might be termed “unladylike” things, in addition to being more sexually “free” than previous generations. In reality, most young women in the 1920s did none of these things (though many did adopt a fashionable flapper wardrobe), but even those women who were not flappers gained some unprecedented freedoms. They could vote at last: The 19th Amendment to the Constitution had guaranteed that right in 1920. Millions of women worked in white-collar jobs (as stenographers, for example) and could afford to participate in the burgeoning consumer economy. The increased availability of birth-control devices such as the diaphragm made it possible for women to have fewer children. And new machines and technologies like the washing machine and the vacuum cleaner eliminated some of the drudgery of household work. Did You Know?

Because the 18th Amendment and the Volstead Act did not make it illegal to drink alcohol, only to manufacture and sell it, many people stockpiled liquor before the ban went into effect. Rumor had it that the Yale Club in New York City had a 14-year supply of booze in its basement. The Birth of Mass Culture During the 1920s, many Americans had extra money to spend, and they spent it on consumer goods such as ready-to-wear clothes and home appliances like electric refrigerators. In particular, they bought radios. The first commercial radio station in the U.S., Pittsburgh’s KDKA, hit the airwaves in 1920; three years later there were more than 500 stations in the nation. By the end of the 1920s, there were radios in more than 12 million households. People also went to the movies: Historians estimate that, by the end of the decades, three-quarters of the American population visited a movie theater every week. But the most important consumer product of the 1920s was the automobile.

Low prices (the Ford Model T cost just $260 in 1924) and generous credit made cars affordable luxuries at the beginning of the decade; by the end, they were practically necessities. In 1929 there was one car on the road for every five Americans. Meanwhile, an economy of automobiles was born: Businesses like service stations and motels sprang up to meet drivers’ needs. The Jazz Age Cars also gave young people the freedom to go where they pleased and do what they wanted. (Some pundits called them “bedrooms on wheels.”) What many young people wanted to do was dance: the Charleston, the cake walk, the black bottom, the flea hop. Jazz bands played at dance halls like the Savoy in New York City and the Aragon in Chicago ; radio stations and phonograph records (100 million of which were sold in 1927 alone) carried their tunes to listeners across the nation. Some older people objected to jazz music’s “vulgarity” and “depravity” (and the “moral disasters” it supposedly inspired), but many in the younger generation loved the freedom they felt on the dance floor.

Prohibition During the 1920s, some freedoms were expanded while others were curtailed. The 18th Amendment to the Constitution, ratified in 1919, had banned the manufacture and sale of “intoxicating liquors,” and at 12 A.M. on January 16, 1920, the federal Volstead Act closed every tavern, bar and saloon in the United States. From then on, it was illegal to sell any “intoxication beverages” with more than 0.5% alcohol. This drove the liquor trade underground–now, people simply went to nominally illegal speakeasies instead of ordinary bars–where it was controlled by bootleggers, racketeers and other organized-crime figures such as Chicago gangster Al Capone . (Capone reportedly had 1,000 gunmen and half of Chicago’s police force on his payroll.) To many middle-class white Americans, Prohibition was a way to assert some control over the unruly immigrant masses who crowded the nation’s cities.

For instance, to the so-called “Drys,” beer was known as “Kaiser brew.” Drinking was a symbol of all they disliked about the modern city, and eliminating alcohol would, they believed, turn back the clock to an earlier and more comfortable time. The “Cultural Civil War” Prohibition was not the only source of social tension during the 1920s. The Great Migration of African Americans from the Southern countryside to Northern cities and the increasing visibility of black culture—jazz and blues music, for example, and the literary movement known as the Harlem Renaissance—discomfited some white Americans. Millions of people in places like Indiana and Illinois joined the Ku Klux Klan in the 1920s. To them, the Klan represented a return to all the “values” that the fast-paced, city-slicker Roaring Twenties were trampling. Likewise, an anti-Communist “Red Scare” in 1919 and 1920 encouraged a widespread nativist, or anti-immigrant, hysteria.

This led to the passage of an extremely restrictive immigration law, the National Origins Act of 1924, which set immigration quotas that excluded some people (Eastern Europeans and Asians) in favor of others (Northern Europeans and people from Great Britain, for example). These conflicts–what one historian has called a “cultural Civil War” between city-dwellers and small-town residents, Protestants and Catholics, blacks and whites, “New Women” and advocates of old-fashioned family values–are perhaps the most important part of the story of the Roaring Twenties. Tags Zelda Fitzgerald, the “First American Flapper” | 8 Nov Flappers were a “new breed” of young Western women in the 1920s who wore short skirts, bobbed their hair, listened to jazz and flaunted their disdain for what was then considered acceptable behavior. Flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles, and otherwise flouting social and sexual norms.

Flappers had their origins in the liberal period of the Roaring Twenties, the social, political turbulence and increased transatlantic cultural exchange that followed the end of World War I, as well as the export of American jazz culture to Europe. (Wikipedia) The empress of the Jazz Age, Zelda Fitzgerald inspired fashion in much the same way she inspired her husband F. Scott Fitzgerald’s writing: firmly and fiercely. The two married in 1920, and soon after Scott achieved literary success with This Side of Paradise. Feisty, talented and a prodigious social butterfly, Zelda quickly made a name for herself as his charismatic muse. Dubbed the “first American flapper” by her husband, Zelda epitomized the Roaring Twenties with her bobbed hair, short skirts and unapologetic drinking as she made her way through the most exclusive social circles in New York and, later, Paris. She wore a flesh-colored bathing suit to fuel rumors that she swam nude–she liked the attention. However, in reality, life wasn’t quite so enchanting — the Fitzgeralds’ marriage was often turbulent. Zelda spent much time in and out of institutions being treated for mental illness.

She was staying in an institution in North Carolina in 1948 when she died after a fire broke out. However, despite the personal hardships, Zelda had embodied everything that fabled era promised: defiance, recklessness and, above all, glamour. Zelda & Scott Fitzgerald Zelda & Scott Fitzgerald . When Dorothy Parker first caught a glimpse of Zelda and F. Scott Fitzgerald, in the early twenties, they were sitting atop a taxi. “They did both look as though they had just stepped out of the sun; their youth was striking,” she said. “Everyone wanted to meet him.” And her as well. Zelda Fitzgerald, the iconic flapper, whose glory and despair have come to define the Jazz Age, was born in Montgomery, Alabama, on July 24 1900, as Zelda Sayre. “Youth doesn’t need friends—it only needs crowds,” she once wrote, but she was wrong.

She loved the limelight, at least initially, but she certainly needed her friends—married to Scott, and the star and heroine of his bestsellers, she was, like all celebrities, like all It girls, trapped in the image she had come to represent, even when she was a willing co-conspirator in authoring the myth. The pressure of living up to—or down to—that myth, it has been argued, is what literally drove her mad, and was responsible for her tragic spiral. Zelda, Scott & Frances "Scottie" Fitzgerald . The clever, charismatic Mrs. Fitzgerald bristled at her wife-of-the-artist role—in her own right she was a serious ballet dancer and a talented author. In 1932 she published a novel, which infuriated Scott, though he had borrowed liberally from her diaries and letters for his own work. She was in the end far more complicated, deeply more interesting, than the champagne-guzzling-fountain-jumping-goddess-bad-girl the public thought they knew.

Zelda & Scott Fitzgerald The Flappers of 1920’s | The Wonderland The Flappers of 1920’s May 13, 2009 Those of you who have seen Chicago musical by Rob Marshall would surely remember the song “All That Jazz”. “…I’m gonna rouge my knees And roll my stockings down And All That Jazz…” The term flapper in the 1920s referred to a “new breed” of young women who wore short skirts, bobbed their hair, listened to the new jazz music, and flaunted their disdain for what was then considered acceptable behavior. Flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles and otherwise flouting social and sexual norms. Flappers had their origins in the period of liberalism, social and political turbulence and increased transatlantic cultural exchange that followed the end of the First World War, as well as the export of American jazz culture to Europe. Flappers’ behavior was unheard of at the time and redefined women’s roles forever.

Flappers went to jazz clubs at night where they dance provocatively, smoked cigarettes through long holders, sniffed cocaine (which was legal at the time) and dated freely. They rode bicycles and drove cars and drank alcohol openly, a defiant act in the American period of Prohibition. Petting became more common than in the Victorian era. Petting Parties, where petting (“making out” and/or foreplay) was the main attraction, became popular. Flappers also began taking work outside the home and challenging women’s traditional societal roles. They also advocated voting and women’s rights. With time came the development of dance styles then considered shocking, such as the Charleston, the Shimmy, the Bunny Hug and the Black Bottom. In addition to their irreverent behavior, flappers were known for their style, which largely emerged as a result of jazz and the popularization of dancing that accompanied it. Called garçonne in French (“boy” with a feminine suffix), flapper style made them look young and boyish. Short hair, flattened breasts, and straight waists accentuated the look. Despite all the scandal flappers generated, their look became fashionable in a toned-down form among even respectable older women.

Most significantly, the flappers removed the corset from female fashion, raised skirt and gown hemlines and popularized short hair for women. Dancing Charleston Flapper dresses were straight and loose, leaving the arms bare and dropping the waistline to the hips. Silk or rayon stockings were held up by garters. Skirts rose to just below the knee by 1927, allowing flashes of knee to be seen when a girl danced or walked into a breeze, although the way they danced made any long loose skirt flap up to show their knees. Flappers powdered or put rouge on their knees to show them off when dancing. Flapper Fashion Knowledge Base > Film & Media > Fashion Flapper Fashion Flappers were a "new breed" of young Western women in the 1920s who wore short skirts, bobbed their hair, listened to jazz, and flaunted their disdain for lady-like behavior. Flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving cars and otherwise flouting sexual and social norms. This user does not have a bio.

Curated Facts The word "flapper" often brings to mind a stereotypical image of women in the 1920s: short hair, short dress, and carefree attitude. Although there were certainly some flappers who fit this description, there were others who did not, or who simply did not identify with or support the flapper lifestyle. × Amazon Results Eyebrows were painfully thin; in a fad, women plucked out the entire eyebrow and penciled it back on higher than it had been in the first place. Along with other 'unfeminine' behaviors, Flappers didn't hide their makeup any more than they did their legs; lipstick was applied at the dinner table and powder compacts made public appearances at parties and speakeasies. Portable makeup containers—compacts and lipstick tubes made of precious metals and encrusted with jewels—became ideal accessories when cosmetics left the boudoir for the banquette. Article: Roaring 1920's Fadsand Tr... Before the '20's, women wore cosmetics, but nice women hid their rouge pots and powder puffs away from fathers and husbands, who heartily disapproved. Discretion was imperative.

But when the '20's hit, young women went for makeup in a big way: stars like Theda Bara and Clara Bow made paper-white skin, blood red lips and insanely made-up eyes into must-haves for every fashionable woman who ever rolled a stocking below the knee. Article: Roaring 1920's Fadsand Tr... hose three years represented the climax of flapper fashion, with brave women sporting shorter dresses to better accommodate animated dance styles, including the Charleston, Fox Trot and Black Bottom. In additional to bared ankles and calves, flappers also put their bare arms on display, often dressing up naked wrists with multiple bracelets. The Jazz Age was also the era when women traded in their black woolen stockings for sheerer hosiery. Many flappers also rolled down their hosiery, resembling makeshift knee-highs. And rather than boring black hosiery, flappers sprang for patterns and pastels, transforming hosiery into a fashion accessory rather than a mere undergarment [source: Jailer-Chamberlain]. T-strap and buckled heels -- not too high to prevent dancing, however -- were the preferred footwear.

Article: How Flappers Worked Looser lingerie called step-ins replaced tight-laced corsetry, and minimizing brassieres kept curves under wraps [source: Gourley]. Sack-like shift dresses became the flapper uniform, and the simplistic design allowed women of all socioeconomic rungs to make their own and remain on-trend. Flappers literally walked around lighter than Victorian era woman, considering, for example, that the average flapper dress consisted of around 7 yards of fabric, compared to 20 yards for a Victorian gown Article: How Flappers Worked Even though they were worn as early as 1910 and well into the 1930s, the cloche hat is usually thought of as the iconic headwear style of the 1920s flapper period. Cloche hats went hand-in-hand with short haircuts of the times, such as the Eton Crop, and symbolized the ‘modernity’ of the wearer. Article: Diamond Dame: vintage fas... Another very obvious fashion feature of this time period was "bobbed" hair. It was first introduced in America during and just after World War I and popularized by society dancer Irene Castle.

In 1914 she stunned impressed fashionable New York by appearing in a show with bobbed hair. During a European tour she had seen fashionable Parisian women wearing their hair cut very short and lost no time in having her own hair cut. For many in the late 20th and early 21st century, the late 1920s actress Louise Brooks is felt to epitomize the look the look of the flapper (although flappers and bobbed hair had been in the popular consciousness for almost a decade before she became widely known). Article: Flappers and Fashion High fashion until the twenties had been for the richer women of society. But because construction of the flapper's dress was less complicated than earlier fashions, women were much more successful at home dressmaking a flapper dress which was a straight shift. It was easier to produce up to date plain flapper fashions quickly using flapper fashion Butterick dress patterns. The flapper fashion style flourished amid the middle classes negating differences between themselves and the truly rich, but continuing to highlight some differences with the really poor.

The really rich still continued to wear beautifully embellished silk garments for evening, but the masses revelled in their new found sophistication of very fashionable flapper clothes. Article: Flapper Fashion 1920s C20... Representations of women's place became both more sarcastic and more irreverent in the 1920s. The flapper image dominated the decade's magazine covers. Precedents for the flapper appeared in the 1910s in a set of images of the young woman as party girl, vamp, or "scheming beauty" (p. 60). Such cover portraits showed women who were risqué and sexually free. The flapper was another of these types, but, Kitch asserts, she was "not terribly dangerous" and "much more fun than the vamp" (p. 121). The flapper college graduate, rather than serious and earnest like her "girl" precursor, fell into a chair, kicked up her legs, and set her diploma alight with the cigarette she smoked (p. 124, fig.

6.1) Flappers in the Roaring Twenties Flappers in the Roaring Twenties Flappers in the Roaring Twenties The New, Modern Woman The cover of Life Magazine showing a flapper dancing with an older man. Published 18th February 1926. (Photo by MPI/Getty Images) By Jennifer Rosenberg Updated June 28, 2016. In the 1920s , a new woman was born. She smoked, drank, danced, and voted. She cut her hair, wore make-up, and went to petting parties. She was giddy and took risks. She was a flapper. The "Younger Generation" Before the start of World War I , the Gibson Girl was the rage. Inspired by Charles Dana Gibson's drawings, the Gibson Girl wore her long hair loosely on top of her head and wore a long straight skirt and a shirt with a high collar. She was feminine but also broke through several gender barriers for her attire allowed her to participate in sports, including golf, roller skating, and bicycling. Then World War I started. The young men of the world were being used as cannon fodder for an older generation's ideals and mistakes.

The attrition rate in the trenches left few with the hope that they would survive long enough to return home. The young soldiers found themselves inflicted with an "eat-drink-and-be-merry-for-tomorrow-we-die spirit."1 Far away from the society that raised them and faced with the reality of death, many searched (and found) extreme life experiences before they entered the battlefield. continue reading below our video 4 Tips for Improving Test Performance When the war was over, the survivors went home and the world tried to return to normalcy. Unfortunately, settling down in peacetime proved more difficult than expected. During the war, the young men had fought against both the enemy and death in far away lands, while the young women had bought into the patriotic fervor and aggressively entered the workforce. During the war, both the young men and women of this generation had broken out of society's structure. They found it very difficult to return. They found themselves expected to settle down into the humdrum routine of American life as if nothing had happened, to accept the moral dicta of elders who seemed to them still to be living in a Pollyanna land of rosy ideals which the war had killed for them.

They couldn't do it, and they very disrespectfully said so.2 Women were just as anxious as the men to avoid returning to society's rules and roles after the war. In the age of the Gibson Girl, young women did not date, they waited until a proper young man formally paid her interest with suitable intentions (i.e. marriage). However, nearly a whole generation of young men had died in the war, leaving nearly a whole generation of young women without possible suitors. Young women decided that they were not willing to waste away their young lives waiting idly for spinsterhood; they were going to enjoy life. The "Younger Generation" was breaking away from the old set of values. The "Flapper" The term "flapper" first appeared in Great Britain after World War I. It was there used to describe young girls, still somewhat awkward in movement who had not yet entered womanhood. In the June 1922 edition of the Atlantic Monthly, G.

Stanley Hall described looking in a dictionary to discover what the evasive term "flapper" meant: [T]he dictionary set me right by defining the word as a fledgling, yet in the nest, and vainly attempting to fly while its wings have only pinfeathers; and I recognized that the genius of 'slanguage' had made the squab the symbol of budding girlhood.3 Authors such F. Scott Fitzgerald and artists such as John Held Jr. first used the term to the U.S., half reflecting and half creating the image and style of the flapper. Fitzgerald described the ideal flapper as "lovely, expensive, and about nineteen."4 Held accentuated the flapper image by drawing young girls wearing unbuckled galoshes that would make a "flapping" noise when walking.5 Many have tried to define flappers. In William and Mary Morris' Dictionary of Word and Phrase Origins, they state, "In America, a flapper has always been a giddy, attractive and slightly unconventional young thing who, in [H.

L.] Mencken's words, 'was a somewhat foolish girl, full of wild surmises and inclined to revolt against the precepts and admonitions of her elders.'"6 Flappers had both an image and an attitude. Flapper Clothing The Flappers' image consisted of drastic - to some, shocking - changes in women's clothing and hair. Nearly every article of clothing was trimmed down and lightened in order to make movement easier. It is said that girls "parked" their corsets when they were to go dancing.7 The new, energetic dances of the Jazz Age, required women to be able to move freely, something the "ironsides" didn't allow. Replacing the pantaloons and corsets were underwear called "step-ins." The outer clothing of flappers is even still extremely identifiable. This look, called "garconne" ("little boy"), was instigated by Coco Chanel .8 To look more like a boy, women tightly wound their chest with strips of cloth in order to flatten it.9 The waists of flapper clothes were dropped to the hipline.

She wore stockings - made of rayon ("artificial silk") starting in 1923 - which the flapper often wore rolled over a garter belt.10 The hem of the skirts also started to rise in the 1920s. At first the hem only rose a few inches, but from 1925 to 1927 a flapper's skirt fell just below the knee. The skirt comes just an inch below her knees, overlapping by a faint fraction her rolled and twisted stockings. The idea is that when she walks in a bit of a breeze, you shall now and then observe the knee (which is not rouged - that's just newspaper talk) but always in an accidental, Venus-surprised-at-the-bath sort of way.11 Flapper Hair and Make-Up The Gibson Girl, who prided herself on her long, beautiful, lush hair, was shocked when the flapper cut her's off. The short haircut was called the "bob" which was later replaced by an even shorter haircut, the "shingle" or "Eton" cut. The shingle cut was slicked down and had a curl on each side of the face that covered the woman's ears.

Flappers often finished the ensemble with a felt, bell-shaped hat called a cloche. Flappers also started wearing make-up, something that had previously been only worn by loose women. Rouge, powder, eye-liner, and lipstick became extremely popular. Beauty is the fashion in 1925. She is frankly, heavily made up, not to imitate nature, but for an altogether artificial effect - pallor mortis, poisonously scarlet lips, richly ringed eyes - the latter looking not so much debauched (which is the intention) as diabetic.12 Smoking The flapper attitude was characterized by stark truthfulness, fast living, and sexual behavior. Flappers seemed to cling to youth as if it were to leave them at any moment. They took risks and were reckless. They wanted to be different, to announce their departure from the Gibson Girl's morals. So they smoked. Something only men had done previously. Their parents were shocked. I was sure my girls had never experimented with a hip-pocket flask, flirted with other women's husbands, or smoked cigarettes. My wife entertained the same smug delusion, and was saying something like that out loud at the dinner table one day.

And then she began to talk about other girls. "They tell me that that Purvis girl has cigarette parties at her home," remarked my wife. She was saying it for the benefit of Elizabeth, who runs somewhat with the Purvis girl. Elizabeth was regarding her mother with curious eyes. She made no reply to her mother, but turning to me, right there at the table, she said: "Dad, let's see your cigarettes." Without the slightest suspicion of what was forthcoming, I threw Elizabeth my cigarettes. She withdrew a fag from the package, tapped it on the back of her left hand, inserted it between her lips, reached over and took my lighted cigarette from my mouth, lit her own cigarette and blew airy rings toward the ceiling. My wife nearly fell out of her chair, and I might have fallen out of mine if I hadn't been momentarily stunned.13 Alcohol Smoking wasn't the most outrageous of the flapper's rebellious actions. Flappers drank alcohol. At a time when the United States had outlawed alcohol ( Prohibition ), young women were starting the habit early. Some even carried hip-flasks full so as to have it on hand. More than a few adults didn't like to see tipsy young women.

Flappers had a scandalous image as the "giddy flapper, rouged and clipped, careening in a drunken stupor to the lewd strains of a jazz quartet."14 Dancing The 1920s was the Jazz Age and one of the most popular past-times for flappers was dancing. Dances such as the Charleston , Black Bottom , and the Shimmy were considered "wild" by older generations. As described in the May 1920 edition of the Atlantic Monthly, flappers "trot like foxes, limp like lame ducks, one-step like cripples, and all to the barbaric yawp of strange instruments which transform the whole scene into a moving-picture of a fancy ball in bedlam."15 For the Younger Generation, the dances fit their fast-paced life-style. Driving For the first time since the train and the bicycle, a new form of faster transportation was becoming popular. Henry Ford's innovations were making the automobile an accessible commodity to the people. Cars were fast and risky - perfect for the flapper attitude. Flappers not only insisted on riding in them; they drove them. Petting Unfortunately for their parents, flappers didn't just use cars to ride in.

The back seat became a popular location for the new popular sexual activity, petting. Others hosted petting parties. Though their attire was modeled after little boys' outfits, flappers flaunted their sexuality. It was a radical change from their parents' and grandparents' generations. The End of Flapperhood While many were shocked by the flapper's skimpy attire and licentious behavior, a less extreme version of the flapper became respectable among the old and the young. Some women cut off their hair and stopped wearing their corsets, but didn't go to the extreme of flapperhood. If one judges by appearances, I suppose I am a flapper. I am within the age limit. I wear bobbed hair, the badge of flapperhood. (And, oh, what a comfort it is!) I powder my nose. I wear fringed skirts and bright-colored sweaters, and scarfs, and waists with Peter Pan collars, and low-heeled "finale hopper" shoes. I adore to dance. I spend a large amount of time in automobiles. I attend hops, and proms, and ball-games, and crew races, and other affairs at men's colleges.

But none the less some of the most thoroughbred superflappers might blush to claim sistership or even remote relationship with such as I. I don't use rouge, or lipstick, or pluck my eyebrows. I don't smoke (I've tried it, and don't like it), or drink, or tell "peppy stories." I don't pet.16 At the end of the 1920s, the stock market crashed and the world was plunged into the Great Depression . Frivolity and recklessness was forced to come to an end. However, much of the flapper's changes remained. In the 1920s, flappers broke away from the Victorian image of womanhood. They dropped the corset, chopped their hair, dropped layers of clothing to increase ease of movement, wore make-up, created the concept of dating, and became a sexual person. They created what many consider the "new" or "modern" woman. End Notes 1. Frederick Lewis Allen, Only Yesterday: An Informal History of the Nineteen-Twenties (New York: Harper & Brothers Publishers, 1931) 94. 2. Allen, 94-95.

3. G. Stanley Hall, "Flapper Americana Novissima," Atlantic Monthly 129 (June 1922): 771. 4. As quoted in Jackie Hatton, "Flappers," St. James Encyclopedia of Popular Culture, 2000. 5. Hall, 772 and Ralph K. Andrist, ed., The American Heritage: History of the 20's & 30's (New York: American Heritage Publishing Co., Inc., 1970) 130. 6. As quoted in Andrist, 130. 7. Hall, 773. 8. Judith S. Baughman, ed., American Decades: 1920-1929 (New York: Manly, Inc., 1996) 155. 9. Hatton, 112. 11. Bruce Bliven, "Flapper Jane," The New Republic 44 (Sept. 9, 1925): 65. 12. Bliven, 65. 13. W. O.

Saunders, "Me and My Flapper Daughters," The American Magazine 104 (Aug. 1927): 27. 14. Hatton, 112. 15. As quoted in Baughman, 269. 16. Ellen Welles Page, "A Flapper's Appeal to Parents," Outlook 132 (Dec. 6, 1922): 607. Bibliography Allen, Frederick Lewis. Only Yesterday: An Informal History of the Nineteen-Twenties. New York: Harper & Brothers Publishers, 1931. Andrist, Ralph K., ed. The American Heritage: History of the 20's & 30's. New York: American Heritage Publishing Co., Inc., 1970. Baughman, Judith S., ed. American Decades: 1920-1929. New York: Manly, Inc., 1996. Bliven, Bruce. "Flapper Jane." The New Republic 44 (Sept. 9, 1925): 65-67. Douglas, George H.

Women of the 20s. Saybrook Publishers, 1986. Fass, Paula S. The Damned and the Beautiful: American Youth in the 1920's. New York: Oxford University Press, 1977. Hall, G. Stanley. "Flapper Americana Novissima." Atlantic Monthly 129 (June 1922): 771-780. Hatton, Jackie. "Flappers." St. James Encyclopedia of Popular Culture. 2000. Page, Ellen Welles. "A Flapper's Appeal to Parents." Outlook 132 (Dec. 6, 1922): 607. Saunders, W. O. "Me and My Flapper Daughters." The American Magazine 104 (Aug. 1927): 27, 121.

Flaming Youth and the First Flapper – The Midnight Palace Gary Background In the 1920s, the term “flapper” referred to a new breed of young women who wore short skirts, bobbed their hair, listened to jazz, and flaunted their disdain for what was then considered “decent” behavior. Flappers were seen as brash. They wore excessive makeup, drank hard liquor, treated sex in a casual manner, smoked cigarettes and drove cars. The cinematic image of the flapper was set in 1923 with the success of a film called Flaming Youth. This film practically defined the Roaring Twenties and shot Colleen Moore to superstardom. The Flapper The plot was pretty basic: a woman begins living a frivolous lifestyle because her husband neglects her. Seeing the error of her ways, she tries to instill old-fashioned values in her youngest daughter Patricia (Colleen Moore), but heart trouble leads to an early death for the mother. Patricia grows up to be a flapper. Patricia has a series of adventures, including an open affair with her mother’s secret boyfriend (Milton Sills). But Patricia is hesitant to marry because of all the unhappy matches around her.

She becomes involved with a musician who traps her on a yacht (she is forced to jump into the sea). She becomes gravely ill and recovers to marry her mother’s former lover. Despite the “traditional” ending, Flaming Youth (novel and film) caused a sensation with its wild new character, one that reigned throughout the 20s and into early talkies. The flapper practically replaced the “vamp” as the screen’s predominant female sex symbol. Moore, who had been in films since the mid-teens in standard “leading lady” roles, was reborn with Flaming Youth. She cut her hair into her trademark “Prince Valiant” bob, wore short skirts and long strings of beads. Talk about a makeover! Although Moore kept the trademark hair-do, she moved on to a variety of roles for the rest of her career, leaving the next round of silent flappers to the likes of Louise Brooks, Joan Crawford, Clara Bow, Marion Davies, and Alice White. The flapper was important in that it created a new screen persona. Actresses of the day got away from playing virginal heroines and spunky little girls.

By the time Moore had catapulted to stardom in 1923, it was already unthinkable that the flapper was the kind of part Mary Pickford or Lillian Gish could play. And with one movie, their kind of parts became terribly quaint in a 19th century way. The flapper was a new kind of woman, one the post-war generation was ready for. The ads for Flaming Youth were interesting because they blatantly advertised the sexual content with “How far can a girl go? She smoked cigarettes. She drank. She went to petting parties.” The scene shown in the above poster is filled with languid young people lounging together on floor cushions. This is a far cry from the Victorian world of a generation before. Another poster below shows Moore with bare shoulders in a cape-like outfit, which she’s holding open in front. In her autobiography, Silent Star, published in 1968, Moore said that Flaming Youth was held over in most American cities and was a huge hit overseas as well. With her new superstar status, First National gave Moore a new contract for four films a year, making $50,000 per picture.

In 1924 Moore returned as The Perfect Flapper, marking her last appearance in this sort of role. Moore would alternate between dramatic films like So Big and Lilac Time and comedies like Ella Cinders for the rest of her career. The novel by Warner Fabian (real name: Samuel Hopkins Adams) was a sensational best seller that rivaled the popularity of Edith Hull’s racy novel, The Sheik. Both books broke 19th century conventions to create new types of male and female protagonists. But the flapper proved to be the more durable type; one still recognized 80 years later. Fabian returned to the flapper theme in The Wild Party, the talkie debut for Clara Bow. After a decade of headlines like the one below from a 1922 New York Times, the Great Depression temporarily silenced the flapper. Audiences turned to other types of heroines that better fit the mood of the country. But the resilient flapper came back in the 60s in the guise of, of all people, Julie Andrews in Thoroughly Modern Millie, which later became a hit Broadway musical. As the Flaming Youth poster asked: how far can a girl go?

Sad Ending One of the biggest and most influential films of the 1920s, Flaming Youth ranks among the most sought after “lost” films of the silent era. Only one reel of the film is known to exist (Library of Congress) even though it has been reported that Moore donated a copy of the film to a museum in the 1960s to coincide with the publication of Silent Star. That copy has seemingly disappeared. Share this: Famous Flappers Famous Flappers Add tags Top Surnames Colleen Moore (1899 - 1988) Colleen Moore (August 19, 1899 – January 25, 1988) was an American film actress who began her career during the silent film era. Moore became one of the most fashionable stars of the era and h... Louise Brooks (1906 - 1985) Mary Louise Brooks (November 14, 1906 – August 8, 1985), generally known by her stage name Louise Brooks, was an American dancer, model, showgirl and silent film actress, noted for popularizing ...

history Famous Flappers Flappers were a "new breed" of young women in the 1920s who wore short skirts, bobbed their hair, listened to jazz, and flaunted their disdain for what was then considered acceptable behavior. Flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles, and otherwise flouting social and sexual norms.Flappers had their origins in the liberal period of the Roaring Twenties, the social, political turbulence and increased transatlantic cultural exchange that followed the end of World War I, as well as the export of American jazz culture to Europe. Why did Flappers become famous? Flappers attracted unprecedented publicity by their fame as movies stars and celebrities together with their exuberant, unconventional that challenged the traditional ideas by wearing short skirts, make-up, drinking and smoking in public and acting in an unladylike fashion. Aim of this project The aim of this project is to create a collection of famous flappers and build there familytree, if you know of any more Flappers please add them to this project Famous Flappers Lady Diana Manners (later Cooper) Nancy Cunard

Question: What is a name for a women of the 1920's who had bobbed hair, wore short skirts, drank, and listened to jazz?
Answer: Flapper