Prior to the stock market crash of 1929 American music still possessed a distinct tendency towards elitism, as songwriters and composers sought to avoid the mass appeal that critics scorned. During the Depression, however, radio came to dominate the other musical media of the time, and a new era of truly popular music was born. Under the guidance of the great Duke Ellington and a number of other talented and charismatic performers, swing music unified the public consciousness like no other musical form before or since. At the same time the enduring legacies of Woody Guthrie in folk, Aaron Copeland in classical, and George and Ira Gershwin on Broadway stand as a testament to the great diversity of tastes and interests that subsisted throughout the Great Depression, and play a part still in our lives today. The lives of these and many other great musicians come alive in this insightful study of the works, artists, and circumstances that contributed to making and performing the music that helped America through one of its most difficult times. The American History through Music series examines the many different styles of music that have played a significant part in our nation's history. While volumes in this series show the multifaceted roles of music in our culture, they also use music as a lens through which readers may study American social history. The authors present in-depth analysis of American musical genres, significant musicians, technological innovations, and the many connections between music and the realms of art, politics, and daily life.

While music lovers and music historians alike understand that folk music played an increasingly pivotal role in American labor and politics during the economic and social tumult of the Great Depression, how did this relationship come to be? Ronald D. Cohen sheds new light on the complex cultural history of folk music in America, detailing the musicians, government agencies, and record companies that had a lasting impact during the 1930s and beyond. Covering myriad musical styles and performers, Cohen narrates a singular history that begins in nineteenth-century labor politics and popular music culture, following the rise of unions and Communism to the subsequent Red Scare and increasing power of the Conservative movement in American politics--with American folk and vernacular music centered throughout. Detailing the influence and achievements of such notable musicians as Pete Seeger, Big Bill Broonzy, and Woody Guthrie, Cohen explores the intersections of politics, economics, and race, using the roots of American folk music to explore one of the United States' most troubled times. Becoming entangled with the ascending American left wing, folk music became synonymous with protest and sharing the troubles of real people through song.

Showcasing American music and music making during the Great Depression, Hard Luck Blues presents more than two hundred photographs created by the New Deal's Farm Security Administration photography program. With an appreciation for the amateur and the local, FSA photographers depicted a range of musicians sharing the regular music of everyday life, from informal songs in migrant work camps, farmers' homes, barn dances, and on street corners to organized performances at church revivals, dance halls, and community festivals. Captured across the nation from the northeast to the southwest, the images document the last generation of musicians who learned to play without the influence of recorded sound, as well as some of the pioneers of Chicago's R & B scene and the first years of amplified instruments. The best visual representation of American roots music performance during the Depression era, Hard Luck Blues features photographs by Jack Delano, Dorothea Lange, Russell Lee, Arthur Rothstein, Ben Shahn, Marion Post Wolcott, and others. Photographer and image researcher Rich Remsberg breathes life into the images by providing contextual details about the persons and events captured, in some cases drawing on interviews with the photographers' subjects. Also included are a foreword by author Nicholas Dawidoff and an afterword by music historian Henry Sapoznik. Published in association with the Library of Congress.

A cultural history of the 1930s explores the anxiety, despair, and optimism of the period, exploring how the period culture provided a dynamic lift to the country's morale.

From the Nobel Prize–winning economist and former chair of the U.S. Federal Reserve, a landmark book that provides vital lessons for understanding financial crises and their sometimes-catastrophic economic effects As chair of the U.S. Federal Reserve during the Global Financial Crisis, Ben Bernanke helped avert a greater financial disaster than the Great Depression. And he did so by drawing directly on what he had learned from years of studying the causes of the economic catastrophe of the 1930s—work for which he was later awarded the Nobel Prize. This influential work is collected in Essays on the Great Depression, an important account of the origins of the Depression and the economic lessons it teaches.

The Great Depression is a part of real history that really did happen. In 1929 was when it was really bad. People were hungry there were no jobs and no money. I was born the 1929 and the depression went all through the twenties and thirties and into the early forties; but times were getting bad. The depression was taking its toll on everything and everyone. A little money went a long way, but there was no money and to top everything off the stock market fell and everyone lost their money in the stock market, the banks closed their doors, no one could bet their money out. My father had a friend that lost all of his money in the bank in 1929. If you didn't live in this time of history you can't imagine what life was like. I watched my father walk 4miles to work in a rock quarry carrying his lunch box then walk home after sledging rock all day. My mother raised a vegetable garden and canned a lot of food so we would have food for the winter. This is just a preview. Now, how did I come up with the name of my book? The Great Depression Put to Music, Song and Dance. My father played violin and mother played piano - Music My sister and I sang - Song I grew up to teach dance - Dance

Over 1.5 million Canadians were on relief, one in five was a public dependant, and 70,000 young men travelled like hoboes. Ordinary citizens were rioting in the streets, but their demonstrations met with indifference, and dissidents were jailed. Canada emerged from the Great Depression a different nation. The most searing decade in Canada's history began with the stock market crash of 1929 and ended with the Second World War. With formidable story-telling powers, Berton reconstructs its engrossing events vividly: the Regina Riot, the Great Birth Control Trial, the black blizzards of the dust bowl and the rise of Social Credit. The extraordinary cast of characters includes Prime Minister Mackenzie King, who praised Hitler and Mussolini but thought Winston Churchill "one of the most dangerous men I have ever known"; Maurice Duplessis, who padlocked the homes of private citizens for their political opinions; and Tim Buck, the Communist leader who narrowly escaped murder in Kingston Penitentiary. In this #1 best-selling book, Berton proves that Canada's political leaders failed to take the bold steps necessary to deal with the mass unemployment, drought and despair. A child of the era, he writes passionately of people starving in the midst of plenty.

Down and Out in the Great Depression is a moving, revealing collection of letters by the forgotten men, women, and children who suffered through one of the greatest periods of hardship in American history. Sifting through some 15,000 letters from government and private sources, Robert McElvaine has culled nearly 200 communications that best show the problems, thoughts, and emotions of ordinary people during this time. Unlike views of Depression life "from the bottom up" that rely on recollections recorded several decades later, this book captures the daily anguish of people during the thirties. It puts the reader in direct contact with Depression victims, evoking a feeling of what it was like to live through this disaster. Following Franklin D. Roosevelt's inauguration, both the number of letters received by the White House and the percentage of them coming from the poor were unprecedented. The average number of daily communications jumped to between 5,000 and 8,000, a trend that continued throughout the Rosevelt administration. The White House staff for answering such letters--most of which were directed to FDR, Eleanor Roosevelt, or Harry Hopkins--quickly grew from one person to fifty. Mainly because of his radio talks, many felt they knew the president personally and could confide in him. They viewed the Roosevelts as parent figures, offering solace, help, and protection. Roosevelt himself valued the letters, perceiving them as a way to gauge public sentiment. The writers came from a number of different groups--middle-class people, blacks, rural residents, the elderly, and children. Their letters display emotional reactions to the Depression--despair, cynicism, and anger--and attitudes toward relief. In his extensive introduction, McElvaine sets the stage for the letters, discussing their significance and some of the themes that emerge from them. By preserving their original spelling, syntax, grammar, and capitalization, he conveys their full flavor. The Depression was far more than an economic collapse. It was the major personal event in the lives of tens of millions of Americans. McElvaine shows that, contrary to popular belief, many sufferers were not passive victims of history. Rather, he says, they were "also actors and, to an extent, playwrights, producers, and directors as well," taking an active role in trying to deal with their plight and solve their problems. For this twenty-fifth anniversary edition, McElvaine provides a new foreword recounting the history of the book, its impact on the historiography of the Depression, and its continued importance today.

On October 29, 1929, life in the United States took a turn for the worst. The stock market – the system that controls money in America – plunged to a record low. But this event was only the beginning of many bad years to come. By the early 1930s, one out of three people was not working. People lost their jobs, their houses, or both and ended up in shantytowns called “Hoovervilles” named for the president at the time of the crash. By 1933, many banks had gone under. Though the U.S. has seen other times of struggle, the Great Depression remains one of the hardest and most widespread tragedies in American history. Now it is represented clearly and with 80 illustrations in our What Was…? series.

Orson Welles’s greatest breakthrough into the popular consciousness occurred in 1938, three years before Citizen Kane, when his War of the Worlds radio broadcast succeeded so spectacularly that terrified listeners believed they were hearing a genuine report of an alien invasion—a landmark in the history of radio’s powerful relationship with its audience. In Radio’s America, Bruce Lenthall documents the enormous impact radio had on the lives of Depression-era Americans and charts the formative years of our modern mass culture. Many Americans became alienated from their government and economy in the twentieth century, and Lenthall explains that radio’s appeal came from its capability to personalize an increasingly impersonal public arena. His depictions of such figures as proto-Fascist Charles Coughlin and medical quack John Brinkley offer penetrating insight into radio’s use as a persuasive tool, and Lenthall’s book is unique in its exploration of how ordinary Americans made radio a part of their lives. Television inherited radio’s cultural role, and as the voting tallies for American Idol attest, broadcasting continues to occupy a powerfully intimate place in American life. Radio’s America reveals how the connections between power and mass media began.