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Blue Moon of Kentucky' Bill Monroe. ...

'Smoke! Smoke! ...

'Slippin' Around' Margaret Whiting and Jimmy Wakely. ...

'Pistol Packin' Mama' Bing Crosby and the Andrew Sisters. ...

'New San Antonio Rose' Bob Wills and His Texas Playboys. ...

'Smoke on the Water' Red Foley. ...

'Candy Kisses' George Morgan. ...

'Walking the Floor Over You' Ernest Tubb.

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'Blue Moon of Kenutcky,' released in 1945, was a groundbreaking recording that is not only one of the top songs of the 1940s, but also helped define a new genre that would develop under the guidance of Bill Monroe. Monroe didn't call his music bluegrass; he was just recording music with the intention of using a sound that differentiated him from other performers. After other artists began to imitate his sound, industry people began to call the acoustic driven music bluegrass, referring to Monroe's band, the Bluegrass Boys. Monroe was elected to the Country Music Hall of Fame in 1970 and the Rock and Roll Hall of Fame in 1997, but he died in 1996 at age 84.

After being featured as the lead vocal on the 1945 Spade Cooley hit 'Shame on You,' Tex Williams was offered a deal by Capitol Records. Williams' unique 'talking blues' delivery worked like magic on the Merle Travis song 'Smoke! Smoke! Smoke! (That Cigarette).' Released in 1947, the song became Capitol Records' first million seller. The song also stayed at No. 1 for 16 weeks. Tex Williams, who also acted in several western movies, died in 1985 at age 68.

It's hard to imagine any song on the radio today staying at No. 1 on the charts for over four months, which is more like the entire longevity of a charting single today. However, in 1949, 'Slippin' Away' by Margaret Whiting and Jimmy Wakely shot to the top and easily became Billboard's No. 1 song of the entire year. The Floyd Tillman-penned classic is a shoe-in on our list of the Top 10 Songs of the 1940s. Margaret Whiting, who was raised in Hollywood, died in 2011 at the age of 86. Jimmy Wakely, also known as "The Melody Kid," died in 1982 at the age of 68.

Bing Crosby still surprises many country music fans today when they realize that the 'White Christmas' crooner actually gets credit for the very first song to ever top the Billboard country charts. At the time, Billboard's only country chart was actually called the jukebox chart. The honky-tonk favorite 'Pistol Packin' Mama' peaked at No. 1 for five weeks in 1944. Ironically, Al Dexter -- the man who wrote it -- also went to No. 1 with own version, which became the second song in history to top the Billboard charts. Bing Crosby died of a heart attack in 1977 at age 74.

In 1938, western swing band leader Bob Wills composed the instrumental dance classic 'San Antonio Rose.' In 1944, he decided to give the song a face lift by composing lyrics that would be performed by his band's lead vocalist, Tommy Duncan. Now titled 'New San Antonio Rose,' the song peaked at No. 3, eventually becoming a staple for artists of all genres to cover in concert. The song was elected into the Grammy Hall of Fame. Bob Wills died of a stroke in 1975 at the age of 70.

In 1944, Red Foley hit the charts with a song about World War II with 'Smoke on the Water.' The 13-week chart topper, penned by Zeke Clements and Earl Nunn, helped Foley become one of the biggest personalities in country music. In addition to the success of late 1940s songs like 'Tennessee Saturday Night,' 'Mississippi' and 'Chattanoogie Shoe Shine Boy,' Red Foley's role in entertainment got even bigger when he landed the hosting spot of ABC's 'Ozark Jubilee' from 1954-1960. Red Foley, nicknamed for his red hair, died in 1968 at the age of 58.

Written by George Morgan himself, 'Candy Kisses' would eventually become a country music standard covered by several artists through the years. Already established as a regional star on shows like the 'WWVA Jamboree,' Morgan got a break when Eddy Arnold left the Grand Ole Opry in 1948. Possessing a similar smooth singing style, the country crooner was an easy replacement on the Opry roster. His debut single 'Candy Kisses' was recorded at his first session for Columbia Records and launched his career with a big, sweet bang! The father of Lorrie Morgan, also known for another 1940s hit, 'Room Full Of Roses,' died in 1975 at the age of 51.

Most of the selections on our list of the Top 10 Songs of the 1940s became popular after Billboard began tracking songs in 1944. However, we can't overlook this monster classic that was released in 1941. 'Walking the Floor Over You' made Ernest Tubb a household name in the early '40s. The popularity of the record gave Tubb the chance to offer one of the biggest tours in the country music business, boasting a great band known as the Texas Troubadours, featuring future stars Jack Greene and Cal Smith. Launching the Ernest Tubb Record Shop and the 'Midnight Jamboree' radio show in 1947, he earned a reputation for helping upcoming acts like Patsy Cline, Loretta Lynn, Hank Williams and Hank Snow. Tubb, whose name is still blinking on a store front in Nashville, died in 1984 at the age of 70.

After releasing his first single, 'Move It on Over,' in 1947, Hank Williams was made a cast member of 'The Louisiana Hayride.' In 1949, Williams landed his first No. 1 single with 'Lovesick Blues,' and he quickly became the hottest rising star in country music. Ironically, thought he's known as one of the finest songwriters in history, Williams' first No. 1 song was actually a cover of a popular show tune penned by Cliff Friend and Irving Mills. Hank Williams, who was inducted into the Country Music Hall of Fame in 1961 and the Rock and Roll Hall of Fame in 1987, died in 1953 at the age of 29.

As the lead singer of Pee Wee King's Golden West Cowboys in the early 1940s, Eddy Arnold saw his star rise higher and brighter than anyone in the entertainment business through the rest of the decade. Arnold was one of the first country artists to cross over to the pop charts, and he ruled the jukeboxes and airwaves with every hit single. According to Billboard, he was their No. 1 artist of the entire decade of the 1940s; in the 1950s he ranked at No. 2 for the decade, and in the 1960s he placed as the fifth biggest artist of the decade. In 1948, the year that 'Bouquet of Roses' was ranked the No. 1 song of the year, there were only six No. 1 records, and "The Tennessee Plowboy" had his name on five of those singles. Eddy Arnold continued to record until his death in 2008 at the age of 89.

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'Blue Moon of Kenutcky,' released in 1945, was a groundbreaking recording that is not only one of the top songs of the 1940s, but also helped define a new genre that would develop under the guidance of Bill Monroe.

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1. Mrs. Miniver

2. Yankee Doodle Dandy

3. Random Harvest

4. Road to Morocco

5. Reap the Wild Wind

6. The Black Swan

7. Somewhere I’ll Find You

8. Holiday Inn

9. Eagle Squadron

10. The Pride of the Yankees

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Abbott & Costello were the hot newcomers of 1941

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Women long fur coat

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Men's outfit and suits.

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I found that looking at the past and learning the difficulties and how they impact us today is important so we won't make mistakes and it's important to know that it was a mistake and no we shouldn't have thought that way but you shouldn't have it weigh you down learn from it and move on leave it in the past where it belongs the present was given to us to live in that's why its called the present. Going back to the 1940s I feel was one of the most difficult times you were in a war and it was hard.

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Comparing now to in the 40s a lot of things were different for culture for example we have animal rights so you can’t just pick and choose any animal to kill and wear as clothing. Also we have different music movies ect and some things they used to consider good in the 40s are actually cruel and bad now and days.

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People wore specific outfits for specific times of day and women always wore gloves Fur was very popular, as were animal skins. Crocodile purses, wombat collars, lambskin lining, and leather sleeves Fur was very popular, as were animal skins. Crocodile purses, wombat collars, lambskin lining, and leather sleeves

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Fashion in the 1940s was a good mix of comfort and glamour. There were specific outfits that were meant for specific times of the day. Some of their designs look downright modern even by today's standards.

Men were still pretty dressed up. Suits, ties and hats were commonplace in public. Women wore dresses and skirts - they still didn't wear slacks yet.

Another thing women ALWAYS wore: gloves. Preferably a pair that matches your outfit. Fur was very popular, as were animal skins. Crocodile purses, wombat collars, lambskin lining, and leather sleeves - no animal was off limits.

Clothes in the 1940s were very bright and colorful. The brighter the better. Women's shoes were often one of three popular color choices: red, white or blue.

What did people wear in the 1940s? Take a deeper look into 1940s fashion by looking at pictures and reading our yearly timeline below.

In-Depth 1940s Fashion Profiles

Fashion in 1941

For her easy hours she wanted a really beautiful gown - one that made her feel like Lynn Fontanne. A gown in star sapphire blue, purple or black, with swirls of gilt and coral at the deep slashed throat is a perfect example of something a woman would relax in in 1941.

If she breakfasted in bed, she wanted a bed-jacket to match her gown. Or she would wear a cozy quilted robe with a matching gown. Nosegay print in rayon crepe; white or blue with red ric-rac, maize with green - or pink with blue.

When she plays cards in the evening she wears a pure cashmere cardigan in maize, gray, blue, natural or purple.

If she likes jewelry she might wear a pin with an exquisite basketweave bowknot in gold plate with rhinestones. She would like earrings with golden swirls with ruby and rhinestone bands. He favorite bracelet is a rhinestone bracelet in a sunburst-and-knot design.

She will also need some Edelweiss doe-skin gloves, a smart umbrella and a handbag - soft one. One that is black suede or claf, gathered on a frame and for extra dash - she'll want her name in golden script. And for her tweeds, nothing could be better than crocodile skins from the Argentine.

At ease, at home, the man relaxes with his pipe and the paper in a chevron-weave smoking jacket. It's made of spun rayon and wool in darker, more subdued colors. At his feet his wore "Freelancers" - bootmaker finish moccasins.

In 1941 they called scarfs "mufflers" and everyone wore one. They were usually in soft Scotch cashmere with a plaid pattern. Garters were a hot items as well - keeping those wide-ribbed brushed wool socks up.

And speaking of keeping things up, he needed black trimmed rayon moire suspenders complete with monogram.

When he's out he wears a capeskin jacket, or a pure cashmere pullover with crew or V-neck. Over the sweater he wore a "Huntsman" jacket with Indian Tan soft suede leather and a comfortable bi-swing back.

Back to the lady. When she goes out she wants to wear a honey-smooth dinner jacket, with it lapels and cuffs encrusted with glittering "jewels."

But what did she smell like? She had all kinds of perfumes to choose from: Charbert's Amber, Houbigant's Chantilly, D-Orsay's Le Dandy, Corday's Jet, Bourjois' Mais Oui, Suzanne's Tout de Suite and Arden's Blue Grass were just some of the popular perfumes at the time.

But if he's in the mood to get really fancy, he would wear an opera hat, white chamois gloves, silk scarf (white and black with black fringe or all-white) that's, of course, monogrammed.

How about a trip to the big game? It's gonna be cold! He needs a waterproofed cotton gabardine coat, lined and collared in lamb. Waterproofed boots with a lining of warm electrified sheepskin.

For all-weather clothes, he wants a lightweight raincoat in high-count cotton broadcloth, treated with DuPont water repellent Zelan process.

For black tie nights, he wore a shirt with attached collar and French cuffs, with gold plated cufflinks, matched to its pique pleated bosom.

An eighteen year-old guy thinks his poplin jacket is pretty special. The pure wool alpaca lining zips out and makes a separate sleeveless vest. He also loved his ulster, complete with wombat fur lined collar and the sleeves are leather lined.

An eighteen year-old girl loved her figure cutting outfit with its bright red and green plaid skirt and matching stocking cap. And for her trim little sweater in jacquard knit, all pure wool.

The college girl wore a stocking cap made of hand-knit virgin wool with a roll-neck jerkin. She loved those goofy elbow mittens, to echo her knee-high hand-loomed socks. All cable-stitched in fireman red or white.

She wore those frisky boots called "Mounties" for her rustic roadwork and general campus traffic. Complete with a knapsack muff in safari or beaver brown mouton lamb. With purse space inside, the muff is a perfect spice for her off-campus visit.

Practically required equipment for the gal on the move was an imported Shetland wool sweater in pink, blue, yellow or white. And she has a HUGE collection of Argyle socks.

Fashion in 1943

Fashion in 1943 began to show momentum of its own, an honest freedom from the great tradition of Paris on which it had leaned so heavily, for so long. Clothes were at once less cautious and less tricky. Still marked by the simplicity that wartime fabric shortages and the wartime work and psychology of women demanded, the simplicity was tempered by inventiveness of cut, a genuine suppleness of line.

Two very distinct silhouettes emerged over the year. One was tubular, slim, reedy, exemplified in straight chemise dresses cinched in at the waist by belt, not fit; in knitted dresses that pulled on over the figure like knee-length sweaters.

The other silhouette was chunky, bulky, giving the effect of fullness without gathers robust boxcoats in wool or fur, or wool lined in fur; wool dresses cut with the generosity of officers' greatcoats, then decisively belted in.

With either silhouette, the look of the head was decidedly neat and small, the hair folded up off the ears and moored on top of the head, netted neatly at the back of the neck, or twisted in tight neat braids.

Hats fitted close to the skull were hot. Little felt caps, coifs bound tight around the hairline, wide bands of material (called "curvettes") worn over the top of the head and tied under the hair in back with strings of felt or velvet ribbon. This curvette was the most popular headpiece (it could scarcely be called a hat) of the young. It was seen in every material: felt, fur, crocheted wool flecked with colored sequins for the evening. Many secured their hair in simple snoods of veiling anchored on the head by a band of ribbon.

Suits were still the most popular single fashion.

The straight, spare skirt was broken across the front by soft trouser pleats, and a new hike-back skirt appeared still straight in front, but hiked up slightly in back to make it swing out gracefully behind. The suit jacket grew shorter and niftier.

Three jackets in particular marked a development:

1.) the short, fitted jacket, nipped in snugly at the waist, slightly flared out over the hipbones;
2.) the bolero, fitted close to the lines of the figure after the authentic Spanish fashion;
3.) the box jacket, extremely young and casual, its squared-off lines accentuating the slimness of the skirt.

Long coats adapted from officers' greatcoats, and short coats adapted from seamen's jackets, were seen everywhere practical, dashing, adaptable; but it was the fur-lined coat, launched in the autumn, that became the big news of winter. Simple tweed reefers, loose box coats, slim mid-length tuxedo coats all wore fur linings.

Even the raincoat made a welcome fur-lined appearance, giving women an opportunity to be warm in any weather.

The younger generation made almost a uniform of the pinafore or jumper dress, perfect in cottons for summer; and in gray flannel, checked tweed, or bright wool jersey a wonderful campus costume worn with any of many shirts and blouses.

A few of the more daring began to couple the pinafore with an adaptation of the ballet dancer's leotard: waist-length tights and a separate crew-neck shirt of striped or figured wool jersey. This basic outfit dispensed with stockings and most underclothing, and over it a pinafore or simple wrap-on skirt completed a whole costume.

After several years of covered-up necklines for both day and evening, decolletage came back in fashion. It was first seen during the summer in gingham beach dresses with shoulder-strap tops, and in printed silk town dresses with matching jackets to cover their backless, sleeveless nakedness on the street.

By winter, 1943, the covered-up, short-skirted dinner dress of 1942 had become a full-fledged, decollete evening dress: short black slipper satin dresses with ribbons of satin over bare shoulders; halter tops of white satin and sequins barbarically strapping naked backs above simple short black crepe skirts; short black crepe dresses with deep oval decolletage and tiny cap sleeves dangerously edged in black lace.

The deep oval decolletage with its little cap sleeves proved so becoming to so many women, and such a relief from high-neck, long-sleeve fashions that it spread to clothes of every description.

Both the oval and the halter neckline were uppermost also in a new genre of play dress for the south. A casual, feminine type of dress, made in coarse colorful cottons from Mexico and Guatemala, that threatened to supplant the shirtwaist dress, to banish the ubiquitous slacks from the beach forever.

Fashion in 1945

U.S. fashion designers displayed remarkable creativity when using the limited amount of textiles allotted to them by the government. The rounded line replaced angles, which was the primary means of avoiding boring designs.

At the beginning of 1945, the roundness was first achieved by pulling the waist tight, emphasizing fullness above and below the waistline. Eventually the round look took every costume. Often the only tight parts of an outfits were at the neck, waist and wrists.

Suit jackets had round collars and round-cut hemlines, while suit skirts belled out in front. The Canadienne, a French twist on the coat of a Canadian soldier, was one of the year's biggest fashion hits.

Evening dresses often came with farthingales to make hips seem larger and the waist thinner.

The cholo was hugely popular on beaches in 1945. It was worn over top of the swimsuit.

The trend of wearing "separates" continued to grow. Shirts were ready to wear, came in a wide variety of styles and mixed well with skirts.

A few horseblanket skirts appeared among the younger crowd. These unique skirts were made of plaid wool horseblankets, bound with black braid and fastened with horseblanket buckles.

Gold neckbands, African-inspired metal rings and gold chains were wrapped around the neck and wrists.Buttons were brassy and belt buckles shined like a cowboy's saddle.

Due to the absolute necessity of belts in the wardrobe, manufactures began producing more inventive belt styles than had even been seen before. Some were wide burnished bands of leather and others were cut to fit the waistline.

Women were particularly fond of ballet slippers in 1945. They came in all colors: plaid, black, pink - you name it - and were worn with everything from skirts to dresses to dancing tights.

It's hard to deny that as 1945 progressed, the fashion world took on a much more relaxed and peaceful tone. Like a huge sigh of relief. Colors lightened and fancy fabrics slowly came back. European designers didn't have the worry of a war in their backyard and, with the end of World War II, people felt like it was OK to care about something as trivial as fashion again. It certainly had been a while.

Fashion in 1946

Femininity was in full swing in 1946, After long, wartorn years of wearing suits, women turned to dresses again.

The curves that were so popular in 1945 were replaced by a more natural look. The shoulders and bosom were much more exposed this year, but never in a flamboyant way.

Even though Paris was short on just about everything but talent, designers did their best to keep their position as the fashion capital of the world.

An asymmetrical look was important in 1946. Long evening skirts swayed to one side. Dinner dresses appeared with just one shoulder strap. It was a very flattering look to the female figure.

Two popular suits, the cutaway suit and the bellhop suit, were very successful for designers. While not overly feminine, they still had a distinct look from man-tailored suits, and were exactly what women were looking for.

The Kiltie, a short pleated skirt which came in varied lengths, was a vital part of the playtime wardrobe.

With the end of the war, designers were finally able to dip into their array of beautiful fabrics again. Fine Irish linens returned and were used for simple things like day dresses, or for extravagant lace.

Embroidery was seen in almost every form: passementerie, jet beading, silk tassels, ball-fringe and more. Colors were delicate, pale blues and pinks, pale yellows and violet, were common color combinations.

Hats were trimmed with fantastic feathers. The tricorne, bicorne and tiny pillbox were popular hat shapes.

The ankle-length evening dress eclipsed the picture-skirted ball gowns in importance. Shoulders were covered by tiny boleros. Flowing capes draped over day dresses and evening gowns alike. One extravagant wrap was a greatcoat cut like a cape, lined with seal.

The feminine look was certainly aided by the fact that women could buy nylon stockings again. Also, with the rising of the hemline came a new focus on shoes.

Shoes were designed with grace. Gentle arches, high heels and ankle straps all gave the foot a renewed appeal.

Fashion in 1948

The new look, which had blossomed, billowed and exploded the point of near absurdity, finally collapsed. Clothes were pared down to create a tight fitting, spare look. It was the total opposite of what had been worn for the last three years.

Jackets were short and rib-tight. Skirts were straight in the front and sides, with all fullness drawn to the back. The tent coat disappeared, replaced by the belted greatcoat or the fitted coat with small shoulder capes.

Women who couldn't afford to buy an entirely new wardrobe would pull their loose fitting clothing tighter or just cut them smaller.

The Belt of the Year in 1948 was the dog leash, a thin, rounded and made in a variety of colors and materials. Handbags shrank in size and the extravagant jewelry that had been so popular over the past few years was toned down to smaller pieces.

Gloves were wrist length, scarves were short and even the hats were small.

Oliver Twist waistcoats suddenly appeared in every material and color imaginable, but especially of suede and velvet. Stoles became popular again, made of tweed, wool, jersey, and fur.

A renewed focus on the "going away look" placed more importance on the back. As such, 1948 fashions are markedly more embellished in the back than 1947 designs.

The lampshade dress was perfected in 1948. The lampshade dress fit very tightly from shoulder to mid-thigh, where it flared out intensely. It was intended for late afternoon and evening wear.

Patent leather made a comeback in 1948 as well, especially in bags and belts.

Fashion in 1949

Spring of 1949 went down in fashion history as the flying panel period. In the previous autumn Balenciaga had shown a fitted suit with narrow skirt, and a wide separate back panel. This original method of achieving a slim look combined with becoming movement made such an impression that the Paris spring collections were full of developments of this flying panel theme.

There were side panels, back and front panels, all-round strip panels like maypole ribbons. Sometimes a three-step hem level was given by panels both longer and shorter than the skirt. The skirt itself was always skin-tight.

Another fashion detail which grew to such proportions as to affect the silhouette was the pocket. Breast-high pockets, funnel-shaped, had flaps pointed and stiffened like calla lily petals to stand up above shoulder level. In some evening dresses the entire bodice consisted of twin pockets. Pouch pockets and huge flap pockets, placed far to the side, widened
the hips.

The spring and summer also saw a new low level in daytime necklines. Even simple day dresses had necklines which plunged narrowly almost to the waist. Late-day dresses were apt to have immensely wide deep necklines.

Coats grew collars which rose high at the back, then turned down in a sloping line to become miniature capes. There were some fitted, bell-skirted coats, but the pyramid coat, sloping out from neck to hem, was the prevailing line.

Urchin hair cut and petulant earrings a distinctive fashion style in 1949.

Christian Dior showed the first short-and-long evening dress, spiraling from above the knee to train length. This 1949 fashion trend is shown by a sheath evening dress in black wool, slit above knee at back and with grosgrain panels trailing to the ground and the three-step hem levels caused by varied length panels were the forerunners of a whole crop of uneven hems in the autumn collections.

The later the hour, the more skirt lengths wavered. By day the general level had risen again to 14 or 15 inches from the ground, sometimes rising further at a wrap-around point, or slit for walking freedom. Late-day and evening skirt lengths; however, were extremely erratic.

The floor-length crinoline skirts, were kept for debutante and ball dresses. A new evening dress line was widely draped at the hips, narrowed to the ankle and then considerably slit.

Newest of all for Europe (but already familiar to America) were the strapless evening dresses in rich fabrics with street-length skirts: a few full, but the majority slim sheaths the 1920's all over again, except that these dresses were invariably belted, in contrast to the unbroken line of that earlier period.

Dior's ultra-short sheath, with a huge hip-swathe trailing the floor, was the most dramatic of a whole range of models which achieved short-and-long hemlines by panels, wrap-around swathing or slanting overskirts.

Kerchief-pointed skirts, wavering between knee and ballet length, were another aspect of hem-line uncertainty and another reminder of the '20s also recalled by the ever receding length of hair.

The short hair of late 1948 was still long enough to curl out like a drake's tail at the nape but late 1949 saw actually shingled heads and that variant, the gamine hair cut, reputedly begun by mannequins fretting their short hair unevenly with razor blades but soon developed through more orthodox means by the hairdressers.

Of course, this short hair went along with head-clasping hats. Most of these were small skull-caps, called "beanies," cloches, berets, miniature toques and helmets. There were however, a few large hats, still with nothing at the back to impede the high collars but with wide side-to-side brims or jutting shovel brims heralding, perhaps, a forward movement in hats to come.

The last months of 1949 saw the beginning of several important trends. One was again due to Dior: a dropped, markedly extended shoulder line the first sign of an important shoulder treatment since the removal of square padding left shoulders naturally rounded.

These new shoulders were still sloped and unpadded but half-way between shoulder and elbow Dior attached a gathered flounce, often buttoned, sometimes lined with fur, so that it stood out.

Another trend was the molded body-line, interrupted by sharp-angled shapes in collars, cuffs and stiffened hip draperies. This contrast of soft and sharp was achieved by using soft fabrics and stiffening them with a crisp lining at strategic
points.

Skirts in general narrowed as the year went on.

There was a marked tendency towards asymmetry in clothes of all types. One rever would be longer than the other; a peplum would spring from the hip at one side only; a line of buttons (and buttons were everywhere) would march down one side of a bodice or skirt; necklines were cut to one side; evening dresses had one shoulder strap.

Colors continued dark or neutral. A whole range of "charcoal" colors as if black had been mixed with them, appeared. There was much beige and grey. Blue, petrol and thunder blue and royal blue, returned, especially with black.

Navy blue was chosen for winter and for evening, and other colors particularly favored were dark greens, many browns and clear geranium reds.

Long gloves went out to meet the three-quarter and elbow-length sleeves. In the evening they rose to shoulder level; were smartest in black glace kid. Leather belts pulled in every waist on suits, day dresses, evening dresses. Court shoes and naked sandals (with covered toes and heels) divided the honors.

Colored shoes were seen in shades of ivy leaf green, pewter, blonde, bronze and dark red. Yards of pearls circled necks and dropped into deep necklines. Huge chandelier earrings swung to the shoulders piquant contrast to the ragged gamine hair cut.

Nylon lingerie appeared in sufficient quantities to be on display instead of only under the counter. Corsets in deep blue and other unconventional colors were a welcome proof that better supplies were making fashion experiments possible.

Realistically to meet their customers' shrinking budgets a number of couture houses in Paris and London launched or expanded boutiques, little shops selling accessories and more moderately priced simple clothes, ready-to-wear, or needing only one fitting.
Men's Fashions
In the men's fashion field, 1949 saw the death of the exaggerated drape jacket, which hung loosely from the shoulders with hardly any indentation at the waist-line. "Drape" was a style which originated in England at the end of the 19th century and gave an illusion of broader shoulders and deeper chest.

After World War II it returned to England from America in such exaggerated forms that the style leaders at last decided that it no longer had a place in men's fashions.

1940s Fashion Pictures

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Fashion in the 1940s was a good mix of comfort and glamour. There were specific outfits that were meant for specific times of the day. Some of their designs look downright modern even by today's standards. Men were still pretty dressed up. Suits, ties and hats were commonplace in public.

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Jazz was really popular in the 1940s

Popular music

Western, World war 2 songs, Jazz and Swing

The 1940s were the decade of the crooner. Such household names as Bing Crosby, Frank Sinatra and Perry Como all made a very good living in the decade

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The 1940s were the decade of the crooner. Such household names as Bing Crosby, Frank Sinatra and Perry Como all made a very good living in the decade.

Ella Fitzgerald and Louis Armstrong dominated the jazz scene. Click below to browse through the artists or the songs that made everyone swing!

People listened to music on the radio mostly, but phonograph players were just started to get affordable for the average family.

Did you know that some people had huge, car-battery sized batteries to power their radio for months on end because they didn't have electricity in their house yet?

Radio stations censored a lot of music that we enjoy listening to know that came out in the 1940s. And there was a boycott that made radio stations move almost entirely to talk format. It was a rough decade for the music industry indeed.

But there was so much great swing, jazz and everything in between. We're very happy we don't have to deal with censorship keeping us from the good stuff nowadays.

Songs from the 1940s are extremely romantic, sometimes funny and usually somehow connected back to home. Many Americans were away from home, at war, and loved listening to music that reminded them of home.

Bob Hope was also a huge star in the 1940s, frequently entertaining the troops overseas.

Like everything else, music in the 1940s was centered around the World War II.

There were several technological advances in recording and playback, however. Music lovers were treated with far superior fidelity than ever before.

Also, home phonograph prices dropped substantially, giving listeners the power to choose what they listened to, instead of giving full control to the local D.J.

Some other famous musical names from the 1940s include Perry Como, Benny Goodman, Frank Sinatra, Bing Crosby, The Andrews Sisters, Nat King Cole and many other legends.

Music in 1941

There was little doubt that the 1940s were witnessing a renaissance of music. The growing interest and faith in American music, along with the eagerness of large orchestras, opera companies and smaller ensembles to play native music encouraged production beyond any other single period in US history.

Unfortunately, popular music didn't share the same success as its classical counterparts. Radio's boycott of the ASCAP went into effect on January 1 and from then on all activity was political rather than musical.

Judged by sales of sheet music, the song of the year was a revival: Intermezzo. it was the only song to reach a total of half a million copies.

its nearest rival in popularity was the fox-trot version of Tchaikovsky Piano Concerto known as "Tonight We Love."

According to Variety, other popular songs in 1941 were:

Amapola

Daddy, Do You Care?

Hutsut Song

I Don't Want to Set the World On Fire

I Hear A Rhapsody

You and I

You Are My Sunshine

In the last few weeks of 1941 "The White Cliffs of Dover" suddenly developed into a huge hit and promised shortly to outperform all other songs in 1941.

An outbreak of war songs broke out with the declaration of more serious hostilities, but "God Bless America" held its own in the patriotic field.

Musical comedy enjoyed some success with Pal Joey, Let's Face It and Lady in the Dark.

Music in 1949

"Some Enchanted Evening," sung by Ezio Pinza in South Pacific, was the most popular song of the year, according to the Lucky Strike Hit Parade, which presented it for more than 20 successive weeks, heading the program 13 times.

Actually there were better songs than this in the Rodgers-Hammerstein score; three of them, "A Wonderful Guy," "Bali Ha'i" and "Younger Than Springtime," received adequate recognition from radio's high tribunal.

Unquestionably Kiss Me, Kate contained the best songs and music ever written by Cole Porter. "So in Love" appeared a dozen times on the Hit Parade and was definitely the most popular number in the show, although such songs as "The Life I Late Have Led," "Always True to You in My Fashion" and "Too Darn Hot" were also popular.

Miss Liberty, which pleased the public more than the critics, had two songs in the Hit Parade, "Just One Way to Say I Love You" and "Let's Take an Old-fashioned Walk"; but there were other numbers fully up to the Irving Berlin standard, including the plaintive "Homework."

The top song of 1948, "Buttons and Bows" held its own well into 1949, as did the two Loesser hits, "My Darling, My Darling" and "On a Slow Boat to China."

Most of the popular songs were definitely reminiscent of earlier music, particularly "Far Away Places" and "Cruising Down the River."

"Powder Your Face with Sunshine" had some individuality, but there was nothing particularly distinctive about "A Little Bird Told Me," "Again," "A Room Full of Roses," " You're Breaking My Heart," "That Lucky Old Sun," "Don't Cry Joe " and "I Can Dream, Can't I ?," all of which reached the top of the Lucky Strike list more than once.

The humorous "Baby, It's Cold Outside" was handicapped by radio censorship. Late in the year a line by Stephen Foster suggested the currently successful "Dear Hearts and Gentle People," and Christmas brought the year's real novelty in "Rudolph, the Red-Nosed Reindeer."

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The 1940s were the decade of the crooner. Such household names as Bing Crosby, Frank Sinatra and Perry Como all made a very good living in the decade. Ella Fitzgerald and Louis Armstrong dominated the jazz scene. Click below to browse through the artists or the songs that made everyone swing!

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For movies Hollywood was a big hit The 1940s featured lots of movies that were technological breakthroughs. Films such as Citizen Cane, Casablanca and The Grapes of Wrath enamor filmmakers to this very day. -

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1940's Music played in the 40's Bands groups singers memories from The People History Site

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Music played in the 1940's Bands groups singers memories from The People History Site what do you remember