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Uploaded by Maddie Sheplak on 2016-12-07.

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Throughout the 1920’s, jazz music evolved into an integral part of American popular culture. The “primitive” jazz sound that had originated in New Orleans diversified, and thus appealed to people in every echelon of society. Jazz music had a profound effect on the literary world, which can be shown through jazz poetry. Fashion in the 1920s and today, are another way in which jazz music influenced popular culture.  Jazz has inspired more praise and more controversy than any other American music. Jazz, more than any other music, has been closely associated with the geographical, social, political, and economic affects of American cities as well as the fluctuating reputation of American culture throughout the world. n the 1920s, jazz symbolized the cultural struggle between modernists and traditionalists. The Women’s liberation movement was also furthered by jazz music. The status of African Americans rose, due to the African American music. Jazz is everywhere today. From nightclubs to concerts, to slang and CD’s, it has made a forever lasting impact on the world.

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Speakeasies and the Jazz age are two major topics of the 1920’s. Both of these forever changed American society and future norms. Speakeasies were brought about due to the Prohibition of alcohol, or the 18th amendment, this stopped the production and sale of alcohol. With many supporters to this new law there were also many that did not agree. The rebels who wanted alcohol at any expense went to places called speakeasies. Speakeasies were bars that illegally sold alcohol to those who wanted it. In these speakeasies new things began to emerge, such as flappers and even Jazz music. Flappers were female dancers who went against the typical societal role of a woman. Flappers had short hair, wore more makeup than common, danced provocatively, and wore dresses that were far too short. Some could argue that Flappers changed the course of women’s lives and futures. Jazz was also a new and hot trend. Jazz was sang typically by African Americans which in itself was a change in history. White men and women would listen in speakeasies to this type of music. It became popular among the different races. African Americans liked Jazz because it was a way to express their everyday struggle and to even shed light on things of their lives. Whites liked the music because it showed that times had changed and they were changing along with it.

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1.) Jazz Age: the 1920s are often reffered to by this name because jazz captured the free spirt of the era.
2.)Speakeasy: Illegal bar that served liquor during Prohibition.
3.)Flapper: young woman in the 1920s who rebelled against traditional ways of thinking and acting.
4.)Prohibition: the prevention by law of the manufacture and sale of alcohol.
5.)Bootlegging: the making and selling of illegal alcohol

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Speakeasies, Flappers; Red Hot Jazz: Music of the Prohibition 

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Speakeasies, Flappers; Red Hot Jazz: Music of the Prohibition 

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This is an informative website because it provides examples of popular music during the time. It says why people threw parties and how people continued to drink and produce alcohol in speakeasies. It gives background on why Prohibition started and the causes and effects that it had. It describes crimes and why organized crime came about. Jazz was jump started due to Prohibition.

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Prohibition jump-started the Jazz Age. As songwriter Hoagy Carmichael put it, the 1920s came in "with a bang of bad booze, flappers with bare legs, jangled morals and wild weekends." According to novelist F. Scott Fitzgerald, during Prohibition, "The parties were bigger...the pace was faster...and the morals were looser."

At the stroke of midnight January 16th, 1920, America went dry. There wasn't a place in the country (including your own home) where anyone could legally have a glass of wine with dinner without breaking the law. The 18th Amendment, also known as the Volstead Act, prohibited the manufacture, sale and possession of alcohol in America. Prohibition lasted for thirteen years.

The idea behind Prohibition was to reduce crime and poverty, and generally improve the quality of life in America-by making it impossible for people to get their hands on alcohol. This so-called 'Noble Experiment' was a colossal failure. People drank more than ever during Prohibition, and there were more deaths related to alcohol. No other law in America has been violated so flagrantly-by so many decent law-abiding people. Overnight the law made almost everyone in the country a criminal. Ordinary people hid illegal liquor in hip flasks, false books and hollowed-out canes. In speakeasies, patrons drank bootleg liquor out of tea cups-just in case there was a police raid.

Mob-controlled liquor created a booming black market economy. Gangster-owned speakeasies replaced neighborhood saloons-and by 1925 there were over 100,000 speakeasies in New York City alone. Mob bosses opened plush nightclubs with exotic floor shows and the hottest bands. At Small's Paradise in Harlem, waiters danced the Charleston, carrying trays loaded down with cocktails. Popular stars like Fred and Adele Astaire entertained at The Trocadero. And at the Cotton Club, Duke Ellington led the house band as tap dancer Bojangles Robinson and jazz singer Ethel Waters packed the house. Out in rural America, on Midwestern college campuses, kids drank 'bathtub gin' and danced to the hot jazz of Bix and the Wolverines in lakeside pavilions.

Join us to take a look at the light and dark side of the Prohibition Era on a show we call Speakeasies, Flappers and Red Hot Jazz. The Jim Cullum Jazz Band and their friends celebrate the high-flying party music of the roaring '20s-with tunes from the playing of jazz violinist Joe Venuti, bandleader Duke Ellington and cornetist Bix Beiderbecke.

Only six months after Prohibition became law in 1920, women got the right to vote. Suffragettes were on the front line of this landmark battle, but flappers became the most visible heroines of the Jazz Age.

The only grown women sporting short skirts and bobbed hair, flappers were easy to spot. They dared to smoke cigarettes and drink cocktails in public. They turned down their hose, powdered their knees and painted their lips bright red. They hung out in speakeasies and nightclubs where they danced the Tango, the Black Bottom and the biggest dance craze of all-the Charleston-with bare arms and legs flying. Parents, teachers and pastors were scandalized by flappers and their boyfriends. These fellows wore knee-length raccoon coats and always kept their hip flasks full of illegal gin. Everyone blamed it on the music. An article in the August 1921 edition of The Ladies' Home Journa l posed the question, "Does Jazz Put the Sin in Syncopation?"

Among other crimes, jazz took the rap for being a "Bolshevik element protesting against law and order"-and "an influence for evil in society."

The real issue seemed to be that jazz dances inspired young women to leave their corsets at home-and loosen up.

Prohibition was a joke to many Americans. So many speakeasies flowed with bootleg booze that New York was known as the "City on a Still."

One of the stars of the speakeasy racket was a brassy, bold, peroxide blond who called herself "Texas" Guinan. She'd been an actress in silent film westerns, a bare-back circus rider, and a singer in vaudeville before fronting speakeasies for the mob. Famous for greeting her patrons with the line "Hello, sucker!" her clubs were raided and padlocked by the police so often that she wore a necklace made of padlocks as her trademark. Another trademark was her chauffeured armored car.

Prohibition broke down old social barriers. In many New York speakeasies rich people and ordinary folks, men and women all rubbed shoulders. They had two goals in common-getting their hands on the best illegal liquor around, and avoiding a ride to the police station in a paddy wagon.

The stock market crash of 1929 signaled the end of the party.

The Roaring 20s came to a close in economic chaos, and the lighthearted atmosphere of the Prohibition Era fizzled out with the end of the decade.

In 1931 Jazz Age cornetist Bix Beiderbecke died alone in a small hotel in Manhattan at the age of 28, destroyed by alcohol. The same year Al Capone landed in jail-for income-tax invasion, though not murder or racketeering. In 1933 Prohibition was officially rescinded.

Riding down Fifth Avenue in Manhattan, F. Scott Fitzgerald wept at the loss of what was to him a magical era. He said, "I had everything I wanted and knew I would never be so happy again."

Photo credit for home page teaser image: 1920's flapper.

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Riverwalk Jazz - Stanford University Libraries

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Prohibition jump-started the Jazz Age. As songwriter Hoagy Carmichael put it, the 1920s came in "with a bang of bad booze, flappers with bare legs, jangled morals and wild weekends." According to novelist F. Scott Fitzgerald, during Prohibition, "The parties were bigger...the pace was faster...and the morals were looser."

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This video is a primary source that shows how the Jazz music was played during this time. Louis Armstrong, a famous trumpeter, was well known for his spin on typical music. Jazz was a new form of music that became well known during Prohibition. Many things lead to Jazz and its sudden popularity. This video shows different well known people during this time. The Jazz age was a different time due to the fact that it was centered around a culture that wasn't typically appreciated. It was a controversial time with the many acts of racism and segregation. The Jazz age helped represent and share the struggle and the upside of being an African American during this period.

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This picture shows a man waiting to be given the password to get into the speakeasy. Since alcohol was illegal, speakeasies needed to be an absolute secret. They couldn't be out in the open and the only advertising they could do was by word of mouth. During this time they even had secret names for alcohol such as "white mule" and "coffee varnish". The 20s were roaring because it shows an unknown side. Speakeasies were very popular but they were still a secret, and it's the slight danger that made people keep coming back.

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U.S. Is Voted Dry- Beginning of Prohibition

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U.S. Is Voted Dry- Beginning of Prohibition

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This is a newspaper headline announcing the issue of the 18th Amendment, which proved the temperance movement’s success and started a new era of prohibition in the United States. The Dry Amendment is the only reason why speakeasies existed in the first place. Prohibition made the prominence and success of speakeasies even more impressive than if alcohol consumption had been legal. Because of this, the enactment of the Dry Amendment shows the 1920s were roaring in the sense that Americans were beginning to indulge in unlawful behavior that would have been shunned in a previous era. The majority of Americans were not willing to comply with new regulations.This new spirit of rebellion fostered by speakeasies is one of the many reasons why the 1920s were roaring.

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The Influence of Jazz & Blues on Modern Music

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The Influence of Jazz & Blues on Modern Music

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This is an informative website that helps people understand how jazz has influenced all of the modern music today. Jazz influenced how musicians decided to make music today.

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Site Suspended - This site has stepped out for a bit

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This website gives background and facts about Prohibition and speakeasies during the twenties. It gives an inside look  of the lives of those who lived to break the law of Prohibition. Providing slang talk and other code words for alcohol it allows for people to feel as though they were there. The website gives first hand experiences and what life truly was like for people in the twenties.

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By Jen S. and Ceyana A.

Many things happened in the 1920's. Amelia Earhart became the first woman to fly, the invention of bubble gum occurred, and many other exciting events and happenings made headlines. However, after a certain law was set into place, a rebellion began, one that was dark and devious. What was used to bring crime rates DOWN resulted, ironically, in the sky rocketing of gang activity and other criminal offences. This was the prohibition of alcohol in the United States and Canada, commonly referred to as Prohibition. People were not willing to accept these terms, and so the birth of the "speakeasy" came forth.

Speakeasies were hidden sections of an establishment that were used to illegally sell alcoholic beverages during Prohibition. Some speakeasies were similar to today's clubs, as there was singing and jazz performances. To enter a speakeasy, one would need to say a password to the doorperson so that the doorperson would know whether or not they were really secret agents. It has been said that for every legal saloon before Prohibition, at LEAST half a dozen speakeasies were put up AFTER Prohibition. This was most likely because being the manager of a speakeasy was easy money. The word "speakeasy" came from a bartender's term: people were supposed to "speak easy" when at a bar, meaning not to draw any suspicion towards buying alcoholic beverages by looking nervous or talking quickly. Slang words used for alcohol included, among others:

*coffin varnish
*white mule
*horse liniment
*monkey rum
*panther sweat
*rot gut
*tarantula juice

These code words were used so that people could fool law officials and the government from finding out about the speakeasies.

The people involved with speakeasies mainly revolved around gangs, who supplied the liquor, in particular Al Capone and his gang. People went to these speakeasies, or "blind pigs", as a means to get alcohol after Prohibition came into effect. Speakeasies often featured jazz bands playing within their walls, and the flappers would dance the night away to the tunes of the twenties. The bartenders were often in cahoots with gangs, as well as the owners of the establishment, in concealing these hidden saloons. The owners often acted as doormen to the speakeasies, accepting the passwords to enter within the walls of the hidden bar, and got paid a fine profit for their efforts.

Speakeasies were found everywhere in the United States of America and Canada. Whether they were established underground, or hidden within stores and other businesses, in every urban establishment you entered, you were most likely not far off from an illegal party. These "secret gin joints" were most common in New York, especially in between 45th and 52nd street on 5th and 6th avenues, where almost every single building contained illegal liquor. Manhattans "21" club was probably the most secure club, with four safety switches that could be used during a raid to short circuit and cut the access to all of the doors that contained alcohol.

These establishments came into distinction in the United States during the period known as Prohibition, which was from 1920 to 1933. This lasted even longer in some states. Speakeasies became much more numerous as the Prohibition years progressed. The Volstead Act, which was passed on October 3, 1919, was the act stating that beverages over a 0.5 alcohol volume were illegal. After that day, more and more speakeasies started popping up all over the United States.

Speakeasies were established because of the Volstead Act. The Volstead Act was the act in which the prohibition of alcohol was enforced. Not long after the Act was put in place, people started hustling alcohol into illegal and concealed saloons. The provider of the alcohol would become very wealthy, as many people felt the need to indulge in alcoholic beverages. Therefore many gangsters and criminals or even just regular people found hustling illegal beverages a very profitable act.

To transport liquor to the speakeasies, they used hip flasks, false books, coconut shells, hot water bottles, and garden hoses. People stored the illegal liquor in carriages with babies perched on top and in carpenter's aprons. There were even men caught hustling liquor over the border in boxes of eggs. They had drained the eggs of the original contents and refilled them with liquor.

In between all of the wild parties going on behind closed doors, the illegal transportation of liquor, and the skyrocketing of gang activities, Prohibition and the Speakeasies that resulted were definitely some of the most secretive and rebellious things to happen in the 1920s.

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By Jen S. and Ceyana A. Many things happened in the 1920's. Amelia Earhart became the first woman to fly, the invention of bubble gum occurred, and many other exciting events and happenings made headlines. However, after a certain law was set into place, a rebellion began, one that was dark and devious.

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Five Jazz Sides For The Age Of Prohibition

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Five Jazz Sides For The Age Of Prohibition

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This website provides good information on the different kinds of jazz music during the 1920s. It gives examples of famous musicians during the time and the affects those people made on people's lives. The purposes of the songs that men and women made were to help people understand the time of Prohibition in a better way.

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Scherl/Sueddeutsche Zeitung Photo/The Image Works

It's easy to romanticize or oversimplify the relationship between jazz and Prohibition, but the banning of alcohol and the subsequent rise of speakeasies clearly played a role in the music's evolution during its early days. Jazz musicians found ample employment opportunities in the numerous new nightclubs, formed friendships with gangsters (who were sometimes their biggest fans and occasionally their foes or protectors), and benefited from vital scenes that flourished in cities rife with corruption. For better or worse, the Prohibition years also stigmatized jazz with a mark of transgression, which for many only enhanced the music's sense of authenticity and excitement.

It wasn't just Prohibition that helped spur jazz's popularity; the 1920s were a period of profound transformation in American life. The nation's population continued to shift from rural areas to cities, and more and more people embraced the automobile as a new and independent mode of transportation. At the same time, the template for our modern media culture began to form, with phonographs, radio and talking pictures connecting Americans through an increasingly electronic network of sound. Jazz caught the buzz, in more ways than one. With filmmaker Ken Burns' three-part Prohibition documentary on tap for PBS starting Oct. 2, here are five sides for imbibing the high-and-not-so-dry spirits of the age.

Davenport Blues

from Bix Restored, Vol. 1

by Bix Beiderbecke

Young man with a horn, young man with a bottle: Cornetist Bix Beiderbecke may enshrine the mythology of jazz's Prohibition years better than any other musician. In January 1925, friend Hoagy Carmichael drove Beiderbecke to the Gennett recording studios in Richmond, Ind., to make this date, which included a young Tommy Dorsey on trombone. It also included three quarts of gin, which is why only two of the four sides recorded at this session proved usable. (The other released number, appropriately enough, was Beiderbecke's take on the Original Dixieland Jazz Band's "Toddlin' Blues.")

Named after Beiderbecke's Iowa hometown, "Davenport Blues" is the first of a handful of Bix compositions to make it to record: It features the performer for 32 bars in mellow and melodically inventive form, as he projects a soft and blurry musical light through the ensemble's somewhat cloudy air. Within several years, Beiderbecke would retreat to Davenport for extended periods of rest while he attempted to stop drinking. Ultimately, he didn't succeed, dying at age 28 in 1931 and becoming, as critic Benny Green wrote, "Jazz's Number One Saint."

Just a Little Drink

from Sweet and Low Down: Vol. 3, Original 1925-1928 Recordings

by Paul Whiteman

Bix Beiderbecke had not yet joined the massive orchestra of Paul Whiteman, a.k.a. the 1920s "King of Jazz," when this tune was waxed in 1925. Whiteman's musical legacy from this era remains underappreciated: He was hobbled by the hype of his nickname, though many excellent jazz musicians and arrangers passed through his ranks, his orchestra's forays into "symphonic jazz" can be seen as forerunners of the Third Stream, and his society-dance-band distillations served to introduce the idea of jazz music to many Americans. Percolating with humorous, pie-eyed longing, "Just a Little Drink" offers something from the pop/novelty end of Whiteman's musical spectrum and serves as a reminder that the term "jazz" encompassed a great deal of popular music in the 1920s that may not fit our modern definitions at all.

Black and Tan Fantasy

from Early Ellington: The Complete Brunswick Recordings (1926-1931)

by Duke Ellington

The black-and-tan drink existed when Duke Ellington recorded what would become one of the most frequently performed Ducal standards, but the connotation here is racial - a reference to speakeasies that permitted or even encouraged interracial mingling. Driven by trumpeter and co-composer Bubber Miley's spellbinding performance, Ellington's composition captures the strange, ominously dreamy atmosphere of 1920s decadence; in retrospect, its famous concluding Chopin funeral-march quote seems to portend the end of the decade and the coming of hard times.

Knockin' a Jug

from Portrait of the Artist as a Young Man

by Louis Armstrong

When Pops met Tea: This was Louis Armstrong and Jack Teagarden's first recorded encounter, and by some historical accounts one of the earliest meetings of black and white musicians documented in a studio. The session came about at the behest of the young banjoist and guitarist Eddie Condon, after an all-night party welcoming Armstrong back to New York City. Condon is credited as the tune's co-composer, but he doesn't appear on the recording itself; he had passed out, done in by the gallon jug of whiskey brought along for artistic camaraderie. Guitarist Eddie Lang offers laid-back single-note accompaniment, Teagarden sets the relaxed, morning-after jam-session mood with his blues-soaked, in-need-of-a-shave trombone solo, and Armstrong delivers the payoff with two exquisite choruses and a shimmering cadenza that punctuates the proceedings with a good-time-was-had-by-all proclamation. When the studio staff asked Armstrong for the title of the tune, he noted the now-empty gallon of whiskey and said, "Man, we sure knocked that jug... You can call it 'Knockin' a Jug'!"

Gimme a Pigfoot (And a Bottle of Beer)

from Essential Bessie Smith

by Bessie Smith

"Any bootlegger sure is a pal of mine," blues singer Bessie Smith declared in her 1928 recording "Me and My Gin," and in the last several years of her life, she was intimately involved with one. Recorded a few months after Prohibition formally ended, "Gimme a Pigfoot and a Bottle of Beer" bustles into the party and immediately commands attention. It features an exuberant solo from lost-legend trumpeter Frankie Newton, and in its concluding lines a demand for "reefer" as well as gin. (Bessie Smith wanted a new drug 50 years before Huey Lewis.) Smith herself continued to exercise a preference for moonshine even after the constitutional ban on liquor was lifted, saying that "anything sealed" made her ill. Sadly, the recording session at which "Gimme a Pigfoot" was made would prove to be her last; she would die four years later from injuries sustained in a car accident. The song would later be recorded by Billie Holiday, Nina Simone and Abbey Lincoln.

Davenport Blues

from Bix Restored, Vol. 1

by Bix Beiderbecke

Young man with a horn, young man with a bottle: Cornetist Bix Beiderbecke may enshrine the mythology of jazz's Prohibition years better than any other musician. In January 1925, friend Hoagy Carmichael drove Beiderbecke to the Gennett recording studios in Richmond, Ind., to make this date, which included a young Tommy Dorsey on trombone. It also included three quarts of gin, which is why only two of the four sides recorded at this session proved usable. (The other released number, appropriately enough, was Beiderbecke's take on the Original Dixieland Jazz Band's "Toddlin' Blues.")

Named after Beiderbecke's Iowa hometown, "Davenport Blues" is the first of a handful of Bix compositions to make it to record: It features the performer for 32 bars in mellow and melodically inventive form, as he projects a soft and blurry musical light through the ensemble's somewhat cloudy air. Within several years, Beiderbecke would retreat to Davenport for extended periods of rest while he attempted to stop drinking. Ultimately, he didn't succeed, dying at age 28 in 1931 and becoming, as critic Benny Green wrote, "Jazz's Number One Saint."

Just a Little Drink

from Sweet and Low Down: Vol. 3, Original 1925-1928 Recordings

by Paul Whiteman

Bix Beiderbecke had not yet joined the massive orchestra of Paul Whiteman, a.k.a. the 1920s "King of Jazz," when this tune was waxed in 1925. Whiteman's musical legacy from this era remains underappreciated: He was hobbled by the hype of his nickname, though many excellent jazz musicians and arrangers passed through his ranks, his orchestra's forays into "symphonic jazz" can be seen as forerunners of the Third Stream, and his society-dance-band distillations served to introduce the idea of jazz music to many Americans. Percolating with humorous, pie-eyed longing, "Just a Little Drink" offers something from the pop/novelty end of Whiteman's musical spectrum and serves as a reminder that the term "jazz" encompassed a great deal of popular music in the 1920s that may not fit our modern definitions at all.

Black and Tan Fantasy

from Early Ellington: The Complete Brunswick Recordings (1926-1931)

by Duke Ellington

The black-and-tan drink existed when Duke Ellington recorded what would become one of the most frequently performed Ducal standards, but the connotation here is racial - a reference to speakeasies that permitted or even encouraged interracial mingling. Driven by trumpeter and co-composer Bubber Miley's spellbinding performance, Ellington's composition captures the strange, ominously dreamy atmosphere of 1920s decadence; in retrospect, its famous concluding Chopin funeral-march quote seems to portend the end of the decade and the coming of hard times.

Knockin' a Jug

from Portrait of the Artist as a Young Man

by Louis Armstrong

When Pops met Tea: This was Louis Armstrong and Jack Teagarden's first recorded encounter, and by some historical accounts one of the earliest meetings of black and white musicians documented in a studio. The session came about at the behest of the young banjoist and guitarist Eddie Condon, after an all-night party welcoming Armstrong back to New York City. Condon is credited as the tune's co-composer, but he doesn't appear on the recording itself; he had passed out, done in by the gallon jug of whiskey brought along for artistic camaraderie. Guitarist Eddie Lang offers laid-back single-note accompaniment, Teagarden sets the relaxed, morning-after jam-session mood with his blues-soaked, in-need-of-a-shave trombone solo, and Armstrong delivers the payoff with two exquisite choruses and a shimmering cadenza that punctuates the proceedings with a good-time-was-had-by-all proclamation. When the studio staff asked Armstrong for the title of the tune, he noted the now-empty gallon of whiskey and said, "Man, we sure knocked that jug... You can call it 'Knockin' a Jug'!"

Gimme a Pigfoot (And a Bottle of Beer)

from Essential Bessie Smith

by Bessie Smith

"Any bootlegger sure is a pal of mine," blues singer Bessie Smith declared in her 1928 recording "Me and My Gin," and in the last several years of her life, she was intimately involved with one. Recorded a few months after Prohibition formally ended, "Gimme a Pigfoot and a Bottle of Beer" bustles into the party and immediately commands attention. It features an exuberant solo from lost-legend trumpeter Frankie Newton, and in its concluding lines a demand for "reefer" as well as gin. (Bessie Smith wanted a new drug 50 years before Huey Lewis.) Smith herself continued to exercise a preference for moonshine even after the constitutional ban on liquor was lifted, saying that "anything sealed" made her ill. Sadly, the recording session at which "Gimme a Pigfoot" was made would prove to be her last; she would die four years later from injuries sustained in a car accident. The song would later be recorded by Billie Holiday, Nina Simone and Abbey Lincoln.

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Five Jazz Sides For The Age Of Prohibition

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Scherl/Sueddeutsche Zeitung Photo/The Image Works It's easy to romanticize or oversimplify the relationship between jazz and Prohibition, but the banning of alcohol and the subsequent rise of speakeasies clearly played a role in the music's evolution during its early days.