The Swing Era - A Progressive Time Hidden within the Great Depression

Societal tensions were on the rise in the 1930’s for American history. The Great Depression financially victimized not just a vast population of U.S. citizens, but also the foundations of capitalism itself. In terms of racial discourse, people claimed that desegregation and miscegenation would begin to perfuse itself onto society and destroy its moral integrity. In other words, people were content with the status quo, a separate but equal mentality that determined much of society’s structure. At this time however, there was pressure coming from the opposite end. Radicals such as John Hammond spoke their minds, criticized those opposing progressive measures, and influenced the political system. As racial tensions have always existed in the history of jazz, it was not until economic, political and technological advancements during the Swing Era that race has become an explicit topic in the development of American music.

Until Benny Goodman’s performance at Carnegie Hall in 1938, jazz players were solely regarded as a musical underclass (Gioia 138). This musician known as the King of Swing essentially made “jazz legit in one night” (Goodman at Carnegie Hall 1938). Jazz started to become an accepted genre of music in popular American culture. Goodman was capable of garnishing this success by the simple fact that he was white. He, along with other white band leaders, were readily accepted by mainstream America (Gioia 142). Nonetheless, black jazz musicians such as Chick Webb (an energetic drummer) and Duke Ellington were able to make a name of themselves.

Commercialism plays an intricate role in the development of Swing and racial desegregation. The emerging “music business” took a nose dive in the Great Depression and did whatever it took to survive. Generally, musicians did not want to be politically segmented and focused on expanding their audience (Lecture 2/14). For example, Ellington was criticized by John Hammond for using his musical abilities to only promote his commercial success. This artist played at the Cotton Club, where blacks were unable to attend. Ellington did not speak out against racial injustices and focused mainly on his career. What gave people like Hammond the authority to criticize others was the instability of the American economy and government. A prime example of this would be the Scottsboro Case in 1931, indicating that radicals had an influence on all levels of government. Capitalism was on a sharp decline and people began to criticize whatever they see displeasing.

With the end of prohibition and the radio eclipsing the vitrola as a source of music, entertainment from speakeasies and dance halls moved into American homes. The radio’s success specifically during the Depression is partly due to the fact that it was “free once you buy one.” On a grand scale, this did not help musicians during the Depression. With the radio, just a few bands could perform for countless listeners that previously required thousands of musicians (Gioia 136). Although it certainly helped a select few jazz musicians become wealthy and famous in a short matter of time. A more important implication of these magical airwaves was the fact that its audience was unaware of the musicians’ ethnicity. It was an anonymous performance that effaced predisposed judgment of music based on race.

Political and economic implications from the Great Depression are responsible for racial issues becoming explicit and affecting the course of history for jazz in the 1930’s. When capitalism hit an all-time low, people were unafraid to criticize social injustices. On the other hand, there was opposition to the very idea of ethnic integration and miscegenation in society. The Swing Era marked a time of progression, where musicians began to play in previously segregated theatres, and the radio which created a popular culture with race having less involvement in one’s taste in music.