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Volume 1, Issue 1

November

NewYorkTimes S P E C I A L P O I N T S O F I N T E R E S T :

Check out what modern woman are wearing today!

3 Famous Musicians to listen to now !

F l a p p e r

I N S I D E T H I S I S S U E :

Polo matches

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Real estate sec4 tion

Economics news 13

Do you know what Flapper Fashion is? It used to be that people wore Victorian. Victorian women used seven petticoats under their huge skirts, and bodices were high necked, long sleeved, and tightly fitted to the body. Women at that time had to stay home and make a place where the family was nurtured and prepared for the future. Everything has changed. Flapper women would go out and get jobs, do cigarette smoking, and gasoline buggy riding. It meant a young woman who had charm

F a s h i o n

and attraction. The twenties flapper girl had a job for the first time! “Flapper! Dreadful young creatures— squealing and squawking and showing their legs!” The Delineator, in 1921, declared that “seven eligible bachelors say she [flapper] would be a failure as a wife, and they refuse to marry her.”

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1920


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N e w Y o r k T i m e s

T h r e e

Here are some new jazz Musicians that are popular now. Jazz and blues vocalist Bessie Smith's powerful, soulful voice won her countless fans and earned her the title "Empress of the Blues." I interviewed her after her song. She was born in Chattanooga, Tennessee on April 15, 1894. She began to sing when she was at a young age in 1923. She said she was the highest paid black performer. But her popularity dropped at the 1920s. I also learned that her father died when she was born and left her mother to care for all seven siblings. Around 1906, her mother and two brothers died and her Aunt took care of her rest of her siblings. She said “In 1912, I began dancing in the Moses Stokes minstrel show, and soon thereafter in the Rabbit Foot Minstrels, of which blues vocalist Ma Rainey was a member. Rainey took me under her wing, and over the next decade I continued to perform at various theaters and on the vaudeville circuit. Another person I met was Leon Bix Beiderbecke and I interviewed him. He was a gifted cornetist, musician and composer of the 1920s and whose style is characterized by lyricism and purity of tone. He was born in Davenport, Iowa on March 10, 1903. He was expelled from Lake Forest Academy in suburban Chicago when he was young. Bix said “I emphasized the cornet’s middle register, using simple rhythms

F a m o u s

M u s i c i a n s

and diatonic harmonies. My attack was precise, and my tone, often described as “golden” and “bell-like,” was consistently pure. I had a rare ability to create melodies, embellishments, and melodic variations—demonstrated my strength. Such recordings as “I’m Coming, Virginia” and “Singin’ the Blues.” The final person I met was Jelly Roll Morton and I also interviewed him. Jelly Roll Morton was an American pianist and songwriter best known for influencing the formation of modern day jazz during the 1920s. He was born in New Orleans, Louisiana on October 20, 1890.His real name is Ferdinand Joseph Lamothe. He later adopted his stepfather's name, Morton. He learned to play piano at age 10. In a few years later, he was playing in the redlight district bordellos, where he earned the nickname "Jelly Roll." Jelly Roll said “I left home as a teenager and toured the country and earned money as a musician.Brash and confident, I enjoyed telling people that I had "invented jazz"; while that claim was dubious, I believed to have been the first jazz musician to put my arrangements to paper, with "Original Jelly Roll Blues" the genre's first published work.” After spending time in Los Angeles, He moved to Chicago and started making his first recordings. He started a band called Jelly Roll Morton’s Red Hot Peppers, which had 7

or 8 musicians who knew the New Orleans ensemble style of music. They became popular with the hit songs, “Black Bottom Stomp” and “Smoke House Blues.” The style of their music laid the foundation for the swing movement soon to follow. Morton’s work with this band were the best years of his

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N e w Y o r k T i m e s

This poem was written in twenties style by Muriel Ives: per—

I wish I were a flap-

Whose galoshes spread their wings. With a funny hat smashed up in front. And dangling pearl earrings. I wish I were a flapper— With a mop of curly hair That's bobbed and sticks out all around And makes the people stare. I wish I were a flapper— With a little too much paint; With cheeks too pink and lips too red And brows too slimly quaint. I wish I were a flapper— Instead I'm nothing much But a rather welldressed woman, And there are so many such! I wish I were a flapper— Though I've heard they're hard and bold, And they are so funnylooking— For they are Youth. I'm growing old. There was a dance last night.


Publication 1920