Flapper: A Madcap Story of Sex, Style, Celebrity, and the by Joshua Zeitz
By Joshua Zeitz
Blithely flinging apart the Victorian manners that stored her disapproving mom corseted, the hot girl of the Nineteen Twenties puffed cigarettes, snuck gin, hiked her hemlines, danced the Charleston, and necked in roadsters. extra vital, she earned her personal hold, managed her personal future, and secured liberties that glossy girls take with no consideration. Her newfound freedom heralded an intensive switch in American culture.
Whisking us from the Alabama nation membership the place Zelda Sayre first stuck the attention of F. Scott Fitzgerald to Muncie, Indiana, the place would-be flappers begged their moms for silk stockings, to the big apple speakeasies the place buyers partied until eventually sunrise, historian Joshua Zeitz brings the period to exhilarating lifestyles. this is often the tale of America’s first sexual revolution, its first retailers of cool, its first celebrities, and its such a lot gleaming commercial for the fitting to pursue happiness.
The women and men who made the flapper have been a various lot.
There was once Coco Chanel, the French orphan who redefined the female shape and silhouette, aiding to loose girls from the torturous corsets and crinolines that had served as instruments of social keep an eye on.
Three thousand miles away, Lois lengthy, the daughter of a Connecticut clergyman, christened herself “Lipstick” and gave New Yorker readers an exhilarating entrée into Manhattan’s extravagant Jazz Age nightlife.
In California, the place orange groves gave solution to studio plenty and fairytale mansions, 3 of America’s first celebrities—Clara Bow, Colleen Moore, and Louise Brooks, Hollywood’s nice flapper triumvirate—fired the imaginations of thousands of filmgoers.
Dallas-born model artist Gordon Conway and Utah-born cartoonist John Held crafted journal covers that captured the electrical energy of the social revolution sweeping the United States.
Bruce Barton and Edward Bernays, pioneers of ads and public kin, taught tremendous enterprise tips on how to harness the desires and anxieties of a newly business America—and a kingdom of shoppers was once born.
Towering specially have been Zelda and Scott Fitzgerald, whose rapid ascent and dazzling fall embodied the glamour and way over the period that will come to an abrupt finish on Black Tuesday, whilst the inventory marketplace collapsed and rendered the age of abundance and frivolity immediately obsolete.
With its heady cocktail of storytelling and large principles, Flapper is a blinding examine the ladies who introduced the 1st actually glossy decade.
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Blithely flinging apart the Victorian manners that saved her disapproving mom corseted, the recent lady of the Nineteen Twenties puffed cigarettes, snuck gin, hiked her hemlines, danced the Charleston, and necked in roadsters. extra vital, she earned her personal continue, managed her personal future, and secured liberties that sleek girls take without any consideration.
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Extra info for Flapper: A Madcap Story of Sex, Style, Celebrity, and the Women Who Made America Modern
No one knew the horrors of the social ethic better than Organization Man himself. Not that too many of the vast corporations were persuaded by books like McGregor's to restructure themselves utterly, of course: the change was largely a matter of ideology and of marketing, of the symbols and referents by which business under- stood itself and by which it addressed the public. But what's important about these facts is that American business culture was not the flat gray monotone that most accounts of the sixties imagine it to have been.
The Organization Man may have been astute social criticism, and it may have been one of the first sparks in the cultural uprising that would later become the counterculture, but it was also a management book, a sweeping study of American business and its problems. For Whyte, apparently unconcerned with the propaganda requirements of chapter one 21 22 the Cold War or with imagining America as a place of finely tuned balance, the triumph of "group-mindedness" had serious negative consequences for the conduct of business as well as for American life.
As in the standard binary narrative of the sixties, cultural studies tends to overlook the trends, changes, and intricacies of corporate culture, regarding it as a monolithic, unchanging system with unchanging values. Described variously as the "technocracy," "the power bloc," "hegemony," or "everyday life," its cultural requirements are assumed to be static, hierarchical, patriarchal, and conformist, having changed very little since the 1950s. 36 Yet the subject couldn't be more compelling. Today corporate ideo- logues routinely declare that business has supplanted the state, the church, and all independent culture in our national life.