By Lucy Moore
An exhilarating portrait of the period of jazz, glamour, and gangsters from a brilliant younger big name of mainstream heritage writing.
The glitter of Twenties the USA used to be seductive, from jazz, flappers, and wild all- evening events to the start of Hollywood and a glamorous gangster-led crime scene flourishing lower than Prohibition. however the interval used to be additionally punctuated via momentous events-the political express trials of Sacco and Vanzetti, the massive Ku Klux Klan march down Washington DC's Pennsylvania Avenue-and it produced a dizzying array of writers, musicians, and movie stars, from F. Scott Fitzgerald to Bessie Smith and Charlie Chaplin.
In Anything Goes, Lucy Moore interweaves the tales of the compelling humans and occasions that characterised the last decade to supply a gripping portrait of the Jazz Age. She finds that the Roaring Twenties have been greater than simply "the years among wars." It used to be an epoch of ardour and change-an age, she observes, no longer not like our own.
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Extra info for Anything Goes: A Biography of the Roaring Twenties
59 They were right to worry. The era of the great American traveling circus had long since come to an end, in 1917, to be exact. 60 Still, in 1964, American audiences came out for the Soviet show, which returned to the United States twice in 1967, a fourth time in 1972, and again in 1978. 62 It is well known that the Soviet people did not always get what they wanted just because they wanted it, and certainly not because foreigners Introduction 13 anted it too. The popularity of the circus alone did not secure its favor w among Soviet cultural administrators.
To secure the favor of the Soviet state while maintaining the devotion of the Soviet people was no common feat for a product of Soviet culture, and this book explains how the circus achieved it. It asks what the circus meant to so many who loved it and why the circus came to mean so much in the Soviet Union. Squaring the Ring Part of the answer has to do with the circus and part of the answer has to do with the Soviet Union. Since European showmen first launched the modern circus in the late eighteenth century, the variety, “ambiva lence,” and “multiple meanings”63 of the entertainment—“a theatre of contradictions”64 that “has proved open to widely differing ideological inflections”65—have accounted for its appeal to socioeconomically, demog raphic ally, and politically diverse viewers, who recognized in the spectacle different and even contradictory meanings.
During the war, the circus and the rhetoric surrounding it articulated the myth that nobody, not even a person with his or her head in the mouth of a lion, had anything to fear. It told the Soviet people that no matter how unfamiliar life had become, everything would go back to normal in the end. The war finally did come to an end, but not everything went back to normal. The Soviet Union’s allies in victory soon threatened to overtake it, not only militarily but also economically.