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42 nd street a merican songs and musicals in the "thirties" home page 1930 1931 1932 1933 42nd street 1934 1935 1936 1937 1938 1939 1940 contact index 42nd str eet , le symbole de toute une époque 42 nd street , symbol of an era ..."the big parade goes on for years; it's the rhapsody of laughter and tears: naughty, bawdy, gaudy, sporty, 42nd street.” 4 located in the heart of manhattan, 42nd street connects the hudson river to east river crossing by the way broadway and times square. famous for its nightlife, its theaters and popular shows, it belongs especially to the film legend since it was featured in a musical movie. released on the screens in 1933, " 42nd street " is based on the semi-autobiographical novel by the young dancer bradford ropes, in which he depicts the backstage of the creation of a musical review entitled pretty lady at the worst moment of the 1929 crisis. the movie was the first one in many respects: first partnership b etween the songwriters harry warren and al dubin, first major stage choreography by busby berkeley , first leading role for ruby keeler and especially first full hollywood musical . 5 though 42nd sreet is thought as being seminal of the hollywood musical, it does not prevent it from being also a work of exception. moreover, it’s not wrong to say that there was as for any renewal in the artistic creation a before and an after. shot at the peak of the great depression , the movie was from its release a true smash hit. it contained all the ingredients that would appeal to the public : well typed characters, fantasy, humor, a drop of cynicism, a pinch of realism and a hint of romance. a decade that changed the music 1 the musical trends experienced by the country during the 1930s were widely favored by both major technological innovations that were the radio and the ribbon microphone. the latter changed consistently the way of singing by softening some constraints bound up to vocal art while, with an ever growing audience, the radio, emerged in the late 1920s, allowed the rise of the music industry such as we know it. the quest of new talents and new tunes became consequently essential for companies increasingly dependent on sales rankings. it was often found suitable to blame music business for putting forward financial interests at the expense of artistic quality but let us admit it to manage in return to produce something else than simple consumables by offering dream, emotion and sometimes even genius. it is ultimately all that survives, despite the escape of time. a time of great changes 2 the 1929 crisis has just sruck as an awful warning shot, putting dramatically an end to the roarin'twenties and their airiness. the country gets ready to sink into what was called the great depression , a period of social deprivation that will spare only the wealthiest. music and movies will conveniently allow many to forget one moment the daily hardship. a fortunate coincidence wanted that the downturn started when the talkies were overriding silent movies. the handover was in fact smoothly made and the audience immediately catched. some silent stars certainly struggled to adapt, theaters closed, others were converted, pianists lost a source of income but on the whole, collateral damage was unrepresentative. 3 who could actually miss the silent movies? some deaf maybe, but certainly not singers or musicians who, thanks to the talkies' advent, saw a tremendous opportunity to perform some day on the big screen. song and music would be more affected by recession due to the slump of records sales or a growing joblessness among musicians than on account of a public's disillusionment, quite the contrary. unlike all other economic sectors, the radio stations would attend such a noteworthy increase of their advertising incomes that they consequently flourish in the biggest as well as smallest cities , and what would they propose to their listeners if not at first and foremost music. benny goodman the good old days of swing 6 from the music of the 1930s remain the black and white pictures of a bygone era that the vintage side makes perhaps likeable but which the today’s generations, accustomed to the beatboxes and simplistic computers sounds, find barely audible. the contemporary hearing gets indeed fast bothered by the instruments babel and the frequent failing quality of recordings. and if the old of us (i.e. those who can claim keeping some memories of these distant years) hasten to take out the handkerchiefs of nostalgia, what were actually our great grandmothers favourites when they were still little girls? consequently, s hould we consider as lost the tunes of those remote years and bury them, claiming not without cynism that the voice s of these bygone years are now only those of dead even though this decade left us unforgettable musical treasures. 7 fortunately, films and sound recordings have this ability to contract the time and teleport us into another age, without leaving our couch. it lacks certainly flavors, colors and a singular atmosphere, but whatever after all if 78-rpm crackle a bit, the emotion remains strong . in the 1930s were invented swing, hot jazz, chicago blues, boogie-woogie, rhythm and blues, country music, electric guitar, romantic and sentimental ballads, in short, all that led to rock and pop music. they are somehow the taproots of popular music today. artists like louis armstrong , billie holiday , bing crosby , ella fitzgerald , benny goodman, duke ellington are of course the best known figures in the collective memory but others really deserve attention . so, welcome in the "thirties" . alice faye 8 most of the musicals gave a special place to chorus girls. t railers moreover never fail to insist on their number and their beauty to attract the audience. 42nd street is no exception to the rule. the presence of dancers is even its best means of promotion. it is certain that the dance routines and the work of the camera, such as designed by the master of the genre busby berkeley , reach a kind of climax in the way to emphasize the gorgeous look of the " more beautiful girls in hollywood ". hence sometimes a certain ambiguity viewer-voyeur which, anyway, will find its conclusion in 1934 by the implementation of the hays code and the requirement for respecting on the screen of a prudish strictness . october 6, 1927, the jazz singer starring al jolson is released in new york. it is about the first talking film. the death of silent movies will soon be consumed. an american music pie 9 the american music results from a relatively complex cultural blend. coming from england, ireland and france, from the rest of europe, from africa and to a lesser extent from asia, hoping for some to build a new jerusalem, imported for others in dreadful conditions, all those who built the united states brought with them their songs, their rhythms and their instruments. well far from the european aristocratic tradition, from its conventions and its rules, the american music built itself on popular bases. it originated in the corner of a street, in a village church, on the stage of a traveling theater, in a party improvised among wagons, in a log cabin near a cotton field… the “classic” music could not occupy more than an additional row owing to the fact that the dominant culture in europe had very few things in common with this country under construction. however, it had to build its own personality and to operate in this sense a synthesis between the various musical influences of which it was the crossroads. it is in fact from two traditions that the american music primarily drew its substance: one, african-american gave rise to blues and jazz while the other, of anglo-saxon origin, inspired folk and country music. far from opposing, these two traditions constantly intertwined and mutually enriched in retaining peculiarities testifying to an always long-lived cultural diversity. fact not less decisive , at the end of the 19

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%% [2600:3c03:0000:0000:f03c:91ff:feae:779d REQUEST] >> 42nd-street.fr
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domain: 42nd-street.fr
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hold: NO
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admin-c: S28179-FRNIC
tech-c: S28179-FRNIC
zone-c: NFC1-FRNIC
nsl-id: NSL30835-FRNIC
registrar: ONLINE SAS
Expiry Date: 20/12/2017
created: 20/12/2010
last-update: 14/12/2016
source: FRNIC

ns-list: NSL30835-FRNIC
nserver: nsa.bookmyname.com
nserver: nsb.bookmyname.com
nserver: nsc.bookmyname.com
source: FRNIC

registrar: ONLINE SAS
type: Isp Option 1
address: 8 Rue de la Ville l'Evêque
address: PARIS
country: FR
phone: +33 1 84 13 00 01
fax-no: +33 1 73 50 29 01
e-mail: hostmaster@online.net
website: http://www.online.net
anonymous: NO
registered: 01/04/1999
source: FRNIC

nic-hdl: ANO00-FRNIC
type: PERSON
contact: Ano Nymous
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nic-hdl: S28179-FRNIC
type: ORGANIZATION
contact: SiteW.com
address: 4, place de l'eglise
address: 15130 Yolet
country: FR
phone: +33 9 67 05 47 94
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registrar: ONLINE SAS
changed: 09/02/2017 nic@nic.fr
anonymous: NO
obsoleted: NO
source: FRNIC


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ADDRESS
4, place de l'eglise
15130 Yolet

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OWNER

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REMARKS
-------------- WARNING --------------
While the registrar knows him/her,
this person chose to restrict access
to his/her personal data. So PLEASE,
don't send emails to Ano Nymous. This
address is bogus and there is no hope
of a reply.
-------------- WARNING --------------

  SPONSOR ONLINE SAS

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DOMAIN

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NSERVER

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  NSB.BOOKMYNAME.COM 88.191.250.14

  NSC.BOOKMYNAME.COM 62.210.98.15

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