Search results
Results from the WOW.Com Content Network
The resulting illicit speakeasies that grew from this era became lively venues of the "Jazz Age", hosting popular music that included current dance songs, novelty songs and show tunes. By the late 1920s, a new opposition mobilized across the U.S. Anti-prohibitionists, or "wets", attacked prohibition as causing crime, lowering local revenues ...
The song is arguably the most recorded popular song, and one of the top jazz standards. Billboard magazine conducted a poll of leading disk jockeys in 1955 on the "popular song record of all time"; four different renditions of "Stardust" made it to the list, including Glenn Miller's (1941) at third place and Artie Shaw's (1940) at number one. [127]
The Wein Bar, [16] located in Cincinnati, Ohio was started in 1934 by Joseph Goldhagen, who during the 1920's, was active in the commercial production of illegal alcohol until the Prohibition period ended and the bar was opened. During the 1930's, the bar had multiple live performances daily, and over time, the bar evolved into an R&B live ...
Smuggling of liquor (commonly known as “bootlegging”) and illegal bars (“speakeasies”) were popular in many areas of America. The 18 th Amendment is alone in this distinction in history
Dance clubs became enormously popular in the 1920s. Their popularity peaked in the late 1920s and reached into the early 1930s. Dance music came to dominate all forms of popular music by the late 1920s. Classical pieces, operettas, folk music, etc., were all transformed into popular dancing melodies to satiate the public craze for dancing.
In the 1910s and 1920s Tin Pan Alley published pop songs and dance numbers created in newly popular jazz and blues styles. Tin Pan Alley also acted as another approach to modernism . This can be seen in the use of certain influences such as, "a vernacular African-American impact coming from ragtime, 'coon' songs, the blues and jazz", as well as ...
“One can plausibly argue that the debate over jazz was just one of many that characterized American social discourse in the 1920s” (Ogren 3). In 1919, jazz was being described to white people as “a music originating about the turn of the twentieth century in New Orleans that featured wind instruments exploiting new timbres and performance techniques and improvisation” (Murchison 97).
The popularity of African American dance and music fed what became a fascination with the somewhat illicit nature of the ghetto area. In 1937, white [4] patronage in the area brought much-needed income to the bars, clubs, and theaters of Harlem, as well as work for black artists in a city increasingly belabored by economic depression.