John D. Fairfield
The City Beautiful movement arose in the 1890s in response to the accumulating dirt and disorder in industrial cities, which threatened economic efficiency and social peace. City Beautiful advocates believed that better sanitation, improved circulation of traffic, monumental civic centers, parks, parkways, public spaces, civic art, and the reduction of outdoor advertising would make cities throughout the United States more profitable and harmonious. Engaging architects and planners, businessmen and professionals, and social reformers and journalists, the City Beautiful movement expressed a boosterish desire for landscape beauty and civic grandeur, but also raised aspirations for a more humane and functional city. “Mean streets make mean people,” wrote the movement’s publicist and leading theorist, Charles Mulford Robinson, encapsulating the belief in positive environmentalism that drove the movement. Combining the parks and boulevards of landscape architect Frederick Law Olmsted with the neoclassical architecture of Daniel H. Burnham’s White City at the Chicago’s World Columbian Exposition in 1893, the City Beautiful movement also encouraged a view of the metropolis as a delicate organism that could be improved by bold, comprehensive planning. Two organizations, the American Park and Outdoor Art Association (founded in 1897) and the American League for Civic Improvements (founded in 1900), provided the movement with a national presence. But the movement also depended on the work of civic-minded women and men in nearly 2,500 municipal improvement associations scattered across the nation. Reaching its zenith in Burnham’s remaking of Washington, D.C., and his coauthored Plan of Chicago (1909), the movement slowly declined in favor of the “City Efficient” and a more technocratic city-planning profession. Aside from a legacy of still-treasured urban spaces and structures, the City Beautiful movement contributed to a range of urban reforms, from civic education and municipal housekeeping to city planning and regionalism.
In January 1938, Benny Goodman took command of Carnegie Hall on a blustery New York City evening and for two hours his band tore through the history of jazz in a performance that came to define the entire Swing Era. Goodman played Carnegie Hall at the top of his jazz game leading his crack band—including Gene Krupa on drums and Harry James on trumpet—through new, original arrangements by Fletcher Henderson. Compounding the historic nature of the highly publicized jazz concert, Goodman welcomed onto the stage members of Duke Ellington’s band to join in on what would be the first major jazz performance by an integrated band. With its sprit of inclusion as well as its emphasis on the historical contours of the first decades of jazz, Goodman’s Carnegie Hall concert represented the apex of jazz music’s acceptance as the most popular form of American musical expression. In addition, Goodman’s concert coincided with the resurgence of the record industry, hit hard by the Great Depression. By the late 1930s, millions of Americans purchased swing records and tuned into jazz radio programs, including Goodman’s own show, which averaged two million listeners during that period.
And yet, only forty years separated this major popular triumph and the very origins of jazz music. Between 1900 and 1945, American musical culture changed dramatically; new sounds via new technologies came to define the national experience. At the same time, there were massive demographic shifts as black southerners moved to the Midwest and North, and urban culture eclipsed rural life as the norm. America in 1900 was mainly a rural and disconnected nation, defined by regional identities where cultural forms were transmitted through live performances. By the end of World War II, however, a definable national musical culture had emerged, as radio came to link Americans across time and space. Regional cultures blurred as a national culture emerged via radio transmissions, motion picture releases, and phonograph records. The turbulent decade of the 1920s sat at the center of this musical and cultural transformation as American life underwent dramatic changes in the first decades of the 20th century.
Wendy L. Wall
The New Deal generally refers to a set of domestic policies implemented by the administration of Franklin Delano Roosevelt in response to the crisis of the Great Depression. Propelled by that economic cataclysm, Roosevelt and his New Dealers pushed through legislation that regulated the banking and securities industries, provided relief for the unemployed, aided farmers, electrified rural areas, promoted conservation, built national infrastructure, regulated wages and hours, and bolstered the power of unions. The Tennessee Valley Authority prevented floods and brought electricity and economic progress to seven states in one of the most impoverished parts of the nation. The Works Progress Administration offered jobs to millions of unemployed Americans and launched an unprecedented federal venture into the arena of culture. By providing social insurance to the elderly and unemployed, the Social Security Act laid the foundation for the U.S. welfare state.
The benefits of the New Deal were not equitably distributed. Many New Deal programs—farm subsidies, work relief projects, social insurance, and labor protection programs—discriminated against racial minorities and women, while profiting white men disproportionately. Nevertheless, women achieved symbolic breakthroughs, and African Americans benefited more from Roosevelt’s policies than they had from any past administration since Abraham Lincoln’s. The New Deal did not end the Depression—only World War II did that—but it did spur economic recovery. It also helped to make American capitalism less volatile by extending federal regulation into new areas of the economy.
Although the New Deal most often refers to policies and programs put in place between 1933 and 1938, some scholars have used the term more expansively to encompass later domestic legislation or U.S. actions abroad that seemed animated by the same values and impulses—above all, a desire to make individuals more secure and a belief in institutional solutions to long-standing problems. In order to pass his legislative agenda, Roosevelt drew many Catholic and Jewish immigrants, industrial workers, and African Americans into the Democratic Party. Together with white Southerners, these groups formed what became known as the “New Deal coalition.” This unlikely political alliance endured long after Roosevelt’s death, supporting the Democratic Party and a “liberal” agenda for nearly half a century. When the coalition finally cracked in 1980, historians looked back on this extended epoch as reflecting a “New Deal order.”
Maureen A. Flanagan
The decades from the 1890s into the 1920s produced reform movements in the United States that resulted in significant changes to the country’s social, political, cultural, and economic institutions. The impulse for reform emanated from a pervasive sense that the country’s democratic promise was failing. Political corruption seemed endemic at all levels of government. An unregulated capitalist industrial economy exploited workers and threatened to create a serious class divide, especially as the legal system protected the rights of business over labor. Mass urbanization was shifting the country from a rural, agricultural society to an urban, industrial one characterized by poverty, disease, crime, and cultural clash. Rapid technological advancements brought new, and often frightening, changes into daily life that left many people feeling that they had little control over their lives. Movements for socialism, woman suffrage, and rights for African Americans, immigrants, and workers belied the rhetoric of the United States as a just and equal democratic society for all its members.
Responding to the challenges presented by these problems, and fearful that without substantial change the country might experience class upheaval, groups of Americans proposed undertaking significant reforms. Underlying all proposed reforms was a desire to bring more justice and equality into a society that seemed increasingly to lack these ideals. Yet there was no agreement among these groups about the exact threat that confronted the nation, the means to resolve problems, or how to implement reforms. Despite this lack of agreement, all so-called Progressive reformers were modernizers. They sought to make the country’s democratic promise a reality by confronting its flaws and seeking solutions. All Progressivisms were seeking a via media, a middle way between relying on older ideas of 19th-century liberal capitalism and the more radical proposals to reform society through either social democracy or socialism. Despite differences among Progressives, the types of Progressivisms put forth, and the successes and failures of Progressivism, this reform era raised into national discourse debates over the nature and meaning of democracy, how and for whom a democratic society should work, and what it meant to be a forward-looking society. It also led to the implementation of an activist state.