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4 books match the query '1930s America'

cover of Beyond the Laboratory: Scientists as Political Activists in 1930s America

Beyond the Laboratory

Scientists as Political Activists in 1930s America

Peter J. Kuznick

University of Chicago Press, 1987

The debate over scientists' social responsibility is a topic of great controversy today. Peter J. Kuznick here traces the origin of that debate to the 1930s and places it in a context that forces a reevaluation of the relationship between science and politics in twentieth-century America. Kuznick reveals how an influential segment of the American scientific community during the Depression era underwent a profound transformation in its social values and political beliefs, replacing a once-pervasive conservatism and antipathy to political involvement with a new ethic of social reform.
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cover of Beyond the Laboratory: Scientists as Political Activists in 1930s America

Beyond the Laboratory

Scientists as Political Activists in 1930s America

Peter J. Kuznick

University of Chicago Press, 1987

The debate over scientists' social responsibility is a topic of great controversy today. Peter J. Kuznick here traces the origin of that debate to the 1930s and places it in a context that forces a reevaluation of the relationship between science and politics in twentieth-century America. Kuznick reveals how an influential segment of the American scientific community during the Depression era underwent a profound transformation in its social values and political beliefs, replacing a once-pervasive conservatism and antipathy to political involvement with a new ethic of social reform.
[more]
cover of Frankie and Johnny: Race, Gender, and the Work of African American Folklore in 1930s America

Frankie and Johnny

Race, Gender, and the Work of African American Folklore in 1930s America

By Stacy I. Morgan

University of Texas Press, 2017

Winner, Wayland D. Hand Prize, American Folklore Society, 2018

Originating in a homicide in St. Louis in 1899, the ballad of “Frankie and Johnny” became one of America’s most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown.

In this innovative book, Stacy I. Morgan explores why African American folklore—and “Frankie and Johnny” in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan’s research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.

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cover of Jump for Joy: Jazz, Basketball, and Black Culture in 1930s America

Jump for Joy

Jazz, Basketball, and Black Culture in 1930s America

Gena Caponi-Tabery

University of Massachusetts Press, 2008

If the 1930s was the Swing Era, then the years from 1937 on might well be called the Jump Era. That summer Count Basie recorded “Jumping at the Woodside,” and suddenly jump tunes seemed to be everywhere. Along with the bouncy beat came a new dance step—the high-flying aerials of the jitterbuggers—and the basketball games that took place in the dance halls of African America became faster, higher, and flashier. Duke Ellington and a cast of hundreds put the buoyant spirit of the era on stage with their 1941 musical revue, Jump for Joy, a title that captured the momentum and direction of the new culture of exuberance. 

Several high-profile public victories accompanied this increasing optimism: the spectacular successes of African American athletes at the 1936 Olympics, the 1937 union victory of the Brotherhood of Sleeping Car Porters, and Joe Louis's 1937 and 1938 heavyweight championship fights. For the first time in history, Black Americans emerged as cultural heroes and ambassadors, and many felt a new pride in citizenship. 

In this book, Gena Caponi-Tabery chronicles these triumphs and shows how they shaped American music, sports, and dance of the 1930s and beyond. But she also shows how they emboldened ordinary African Americans to push for greater recognition and civil liberties—how cultural change preceded and catalyzed political action. 

Tracing the path of one symbolic gesture—the jump—across cultural and disciplinary boundaries, Caponi-Tabery provides a unique political, intellectual, and artistic analysis of the years immediately preceding World War II.

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