The Jazz Age

Slide 1:The Jazz Age and the KKK

Slide 2:Klan Resurgence > Timeline of Klan History

founded during Reconstruction, collapsed in 1870s revived in 1915 (in part because of the movie Birth of a Nation) resurgence of popularity in the 1920s, but collapsed again by the 1930s again reappears in the 1950s

Slide 3:Klan Resurgence > Poster for the Film The Birth of a Nation by W.G. Griffith (1915)

Klansmen paraded city streets; National Association for the Advancement of Colored People (founded six years earlier) protested; they were unsuccessful in part because Griffith issued a guide to the film that quoted major historians of Reconstruction at the time, all apologists of slavery and white supremacy the first film ever to be screened in White house (Woodrow Wilson called it �history written in lightning�)Klansmen paraded city streets; National Association for the Advancement of Colored People (founded six years earlier) protested; they were unsuccessful in part because Griffith issued a guide to the film that quoted major historians of Reconstruction at the time, all apologists of slavery and white supremacy the first film ever to be screened in White house (Woodrow Wilson called it �history written in lightning�)

Slide 4:Klan Resurgence > NAACP Protest the Screening of The Birth of a Nation, 1947

"NAACP Protests the Screening of the Movie 'Birth of a Nation.'" New York City, New York 1947"NAACP Protests the Screening of the Movie 'Birth of a Nation.'" New York City, New York 1947

Slide 5:Klan Resurgence > Key Scenes in The Birth of a Nation

intertitles drawn from A History of the American People (1902) by then-president Woodrow Wilson black legislators lolling in their chairs in the South Carolina legislature in the early 1870s white children don white sheets and scare black children nearby, �inspiring� Klan outfits Klansmen dump the body of the character Gus, an African American, who they had killed for causing a young white woman, Flora, to jump off a cliff

Slide 6:Klan in the 1920s > Washington, D.C. Parade

Demonstrating their political power, Klansmen triumphantly parade down Pennsylvania Avenue in Washington, D.C., on September 13, 1926, in full regalia.Demonstrating their political power, Klansmen triumphantly parade down Pennsylvania Avenue in Washington, D.C., on September 13, 1926, in full regalia.

Slide 7:Klan in the 1920s > Social Movements Supported by the Klan

prohibition anti-immigrant sentiments anti-radicalism religious fundamentalism morality and family values

Slide 8:Klan in the 1920s > Different Historical Explanations of the Klan

racist and nativist movement populist movement reform movement reactionary movement

Slide 9:Immigration Restriction > Ku Klux Klan Marching in DC

Demonstrating their political power, Klansmen triumphantly parade down Pennsylvania Avenue in Washington, D.C., on September 13, 1926, in full regalia.Demonstrating their political power, Klansmen triumphantly parade down Pennsylvania Avenue in Washington, D.C., on September 13, 1926, in full regalia.

Slide 10:Immigration Restriction > Cartoon on the Literacy Test

Slide 11:Immigration Restriction > Cartoon on the Quota Act of 1921

Congress passed the Quota Act of 1921, limiting entrants from each nation to 3 percent of that nationality�s presence in the U.S. population as recorded by the 1910 census. As a result, immigration from Southern and Eastern Europe dropped to less than one-quarter of pre-World War I levels.Congress passed the Quota Act of 1921, limiting entrants from each nation to 3 percent of that nationality�s presence in the U.S. population as recorded by the 1910 census. As a result, immigration from Southern and Eastern Europe dropped to less than one-quarter of pre-World War I levels.

Slide 12:Immigration Act of 1924 (The Johnson-Reed Act)

Based ceilings on the number of immigrants from any particular nation on 2 percent of each nationality recorded in the 1890 census Was directed against immigrants from Southern and Eastern Europe who arrived in large numbers after 1890 Barred all immigrants ineligible for citizenship on racial grounds, including all south and east Asians (including Indians, Japanese, and Chinese)

Slide 13:Immigration Act of 1924 > Annual Immigration Quotas

Germany - 51,227 Great Britain - 34,007 Ireland - 28,567 Italy - 3,845 Hungary - 473 Greece - 100 Egypt - 100

Slide 14:Immigration Act of 1924 > Map of Europe, Literary Digest, 1924

Slide 15:Immigration Restriction > U.S. v Bhagat Singh Thind, 1923

Slide 16:Prosperity > Who Prospered in the 1920s?

1200 mergers caused the disappearance of over 600 independent enterprises top 0.1% of U.S. families in 1929 had combined income as large as bottom 42% i. e. approx 24,000 families had combined income as large as 11.5 million poor and lower-class families per capita income in the U.S. rose 9% between 1920-1929 per capita income for the top 24,000 families rose 75% 80% of families had no savings farmers did not prosper - 1/4 of all employment less than 10% invested in the stock market

Slide 17:Prosperity > Bruce Barton, author of The Man Nobody Knows, here with Hollywood producer Cecil B. DeMille, 1920s

But liberals never hung on to Jesus for long. In the 1920s, the reforming connotations dropped away as muscular Christianity gave rise to Jesus the avatar of manly self-help, the charismatic leader of Bruce Barton's hugely successful book The Man Nobody Knows. He was an athlete-businessman who had the genius to pick twelve untrained men and forge them "into an organization that conquered the world." Barton cited chapter and verse, Luke 2:49: "Wist ye not that I must be about my Father's business." The italics were his. Bruce Barton posing with Cecil B. Demille, who is holding a copy of Bartons' book "The Man Nobody Knows". But liberals never hung on to Jesus for long. In the 1920s, the reforming connotations dropped away as muscular Christianity gave rise to Jesus the avatar of manly self-help, the charismatic leader of Bruce Barton's hugely successful book The Man Nobody Knows. He was an athlete-businessman who had the genius to pick twelve untrained men and forge them "into an organization that conquered the world." Barton cited chapter and verse, Luke 2:49: "Wist ye not that I must be about my Father's business." The italics were his. Bruce Barton posing with Cecil B. Demille, who is holding a copy of Bartons' book "The Man Nobody Knows".

Slide 18:Prosperity > Welfare Capitalism: Shoe Company�s Billboard Ad, 1923

A 1923 billboard advertisement for Endicott-Johnson shoes touted employee satisfaction as an important feature of the product. Company president George F. Johnson was a leading proponent of �welfare capitalism,� or providing generous benefits to employees as a way to forestall high turnover and labor unrest. As part of this philosophy, Johnson paid the highest wages in the shoe industry, instituted an eight-hour day, and provided medical care for employees and their families. Although he believed generally that trade unions were necessary for redressing unfair labor practices, Johnson opposed the organization of workers in his own factories. Source: April 5, 1923�Prints and Photographs Division, Library of Congress.A 1923 billboard advertisement for Endicott-Johnson shoes touted employee satisfaction as an important feature of the product. Company president George F. Johnson was a leading proponent of �welfare capitalism,� or providing generous benefits to employees as a way to forestall high turnover and labor unrest. As part of this philosophy, Johnson paid the highest wages in the shoe industry, instituted an eight-hour day, and provided medical care for employees and their families. Although he believed generally that trade unions were necessary for redressing unfair labor practices, Johnson opposed the organization of workers in his own factories. Source: April 5, 1923�Prints and Photographs Division, Library of Congress.

Slide 19:Prosperity > Comic Strip on Workers Owning Shares, 1929

A 1929 installment of J. R. Williams�s popular comic strip Out Our Way poked fun at the illusions held by some of the workers who bought stocks in the companies that employed them. High wages, good benefits, and employee welfare programs became means for large employers to maintain stable labor relations. Besides stock-purchase plans, some companies offered pensions, subsidized housing and mortgages, insurance, and sports programs. In many cases, these employee welfare programs were distributed through �company unions,� created to keep out worker-controlled unions and build employee loyalty. Source: J. R. Williams, Labor Age, March 1929�American Social History Project.A 1929 installment of J. R. Williams�s popular comic strip Out Our Way poked fun at the illusions held by some of the workers who bought stocks in the companies that employed them. High wages, good benefits, and employee welfare programs became means for large employers to maintain stable labor relations. Besides stock-purchase plans, some companies offered pensions, subsidized housing and mortgages, insurance, and sports programs. In many cases, these employee welfare programs were distributed through �company unions,� created to keep out worker-controlled unions and build employee loyalty. Source: J. R. Williams, Labor Age, March 1929�American Social History Project.

Slide 20:Automobile > Automobile Sales and Registration

Automobile Sales and Registrations, 1900�1946 This chart documents the rapid increase in car ownership in the first half of the twentieth century. Automobile Sales and Registrations, 1900�1946 This chart documents the rapid increase in car ownership in the first half of the twentieth century.

Slide 21:Automobile > Ford Model T, 1920s

1920s Ford Model T Copyright 1997 State Historical Society of Wisconsin 1920s Ford Model T Copyright 1997 State Historical Society of Wisconsin

Slide 22:Automobile > Ford Model T French Ad, 1924

1924 Ford Model T original vintage French advertisement. The model T averaged 100 kilometers on less than 10 liters of fuel.1924 Ford Model T original vintage French advertisement. The model T averaged 100 kilometers on less than 10 liters of fuel.

Slide 23:Automobile > General Motors Ad, 1925

1925 General Motors original vintage advertisement. Highlighting the relationship between GM and Fisher Body, which had equipped over 1.5 million GM vehicles in the last six years. Featuring Buick, Cadillac, Chevrolet, Oakland, Oldsmobile and GMC Truck brands.1925 General Motors original vintage advertisement. Highlighting the relationship between GM and Fisher Body, which had equipped over 1.5 million GM vehicles in the last six years. Featuring Buick, Cadillac, Chevrolet, Oakland, Oldsmobile and GMC Truck brands.

Slide 24:Automobile > Cadillac Ad, 1925

1925 Cadillac Coach original vintage advertisement. Illustrated in black & white. Featuring Body by Fisher and constructed on the V-63 standard chassis.1925 Cadillac Coach original vintage advertisement. Illustrated in black & white. Featuring Body by Fisher and constructed on the V-63 standard chassis.

Slide 25:Automobile > Ford Assembly Line, Model A, 1928

Assembly Line, 1928. Automobile workers at the end of an assembly line at the Ford River Rouge plant are shown here putting the finishing touches on the stylish new Model A that replaced the basic black Model T in 1927. Henry Ford Museum and Greenfield Village.Assembly Line, 1928. Automobile workers at the end of an assembly line at the Ford River Rouge plant are shown here putting the finishing touches on the stylish new Model A that replaced the basic black Model T in 1927. Henry Ford Museum and Greenfield Village.

Slide 26:Automobile > Ford Model A Ad, 1929

1929 Ford Model A Town Car original vintage advertisement. Illustrated in black & white. Rare Canadian model ad.1929 Ford Model A Town Car original vintage advertisement. Illustrated in black & white. Rare Canadian model ad.

Slide 27:Automobile > Song about Ford Model A, 1928

In 1927, after selling over 15 million Ford Model T's, the Henry Ford Motor Company replaced the Model T with the Model A. This song, "Henry's Made a Lady Out of Lizzie" is about the new Model A. Its lyrics make the Model A into a female, and make much of the car's attractiveness: "Have you seen her, ain't she great? she's something you'll appreciate." The song also sexualised the car: "She's like all the other vamps, pretty shape and lovely lamps, Henry's made a lady out of Lizzie!" The song made fun of the rough ride of the Model T, and the bruises you'd get from driving one, then went on to favorably compare the Model A's features to the old Ford standard.In 1927, after selling over 15 million Ford Model T's, the Henry Ford Motor Company replaced the Model T with the Model A. This song, "Henry's Made a Lady Out of Lizzie" is about the new Model A. Its lyrics make the Model A into a female, and make much of the car's attractiveness: "Have you seen her, ain't she great? she's something you'll appreciate." The song also sexualised the car: "She's like all the other vamps, pretty shape and lovely lamps, Henry's made a lady out of Lizzie!" The song made fun of the rough ride of the Model T, and the bruises you'd get from driving one, then went on to favorably compare the Model A's features to the old Ford standard.

Slide 28:Automobile > Chevrolet Ad, 1931

Slide 29:Automobile > Paige-Jewett Car Ad, 1929

Automobiles to Match Milady�s Mood. This 1929 advertisement for Paige-Jewett cars suggests how manufacturers and advertising firms used colors and new styles to differentiate their products from those of competitors. Buying became confused with self-expression as consumers were urged to purchase products as a way to display individual taste and distinction. Ladies� Home Journal, February 1929 � American Social History Project.Automobiles to Match Milady�s Mood. This 1929 advertisement for Paige-Jewett cars suggests how manufacturers and advertising firms used colors and new styles to differentiate their products from those of competitors. Buying became confused with self-expression as consumers were urged to purchase products as a way to display individual taste and distinction. Ladies� Home Journal, February 1929 � American Social History Project.

Slide 30:Great Migration > Social Patterns

from rural areas to cities from the South to the North Appalachian whites Puerto Ricans African Americans

Slide 31:Great Migration > Motives

immigration slows down because of WW I more work because of WW I more jobs for groups previously left out--women, rural migrants, racial minorities racial segregation and violence in the South sharecropping natural disasters such as floods and boll weevil infestations conscious choice on the part of migrants (many did not leave)

Slide 32:Great Migration > Railroad Routes

Railroad Routes Followed by Black Migrants As this map shows, African-American migrants to the North chose their destinations primarily based on their state of origin: those from Georgia and the Carolinas headed to cities along the eastern seaboard like New York and Philadelphia; migrants from Alabama and Mississippi headed for the midwestern cities like Chicago; and those from Texas, Louisiana, and Tennessee often headed west to CaliforniaRailroad Routes Followed by Black Migrants As this map shows, African-American migrants to the North chose their destinations primarily based on their state of origin: those from Georgia and the Carolinas headed to cities along the eastern seaboard like New York and Philadelphia; migrants from Alabama and Mississippi headed for the midwestern cities like Chicago; and those from Texas, Louisiana, and Tennessee often headed west to California

Slide 33:Great Migration > Painting by Jacob Lawrence, 1940

�The railroad stations were at times so over-packed with people leaving that special guards had to be called in to keep order.� 1940�1941, tempera on masonite, 18� x 12��The Phillips Collection, Washington, D.C.�The railroad stations were at times so over-packed with people leaving that special guards had to be called in to keep order.� 1940�1941, tempera on masonite, 18� x 12��The Phillips Collection, Washington, D.C.

Slide 34:Great Migration > Painting by Jacob Lawrence, 1940

�Another of the social causes of the migrants� leaving was that at times they did not feel safe, or it was not the best thing to be found on the streets late at night. They were arrested on the slightest provocation.� 1940�1941, tempera on masonite, 18� x 12��The Phillips Collection, Washington, D.C.�Another of the social causes of the migrants� leaving was that at times they did not feel safe, or it was not the best thing to be found on the streets late at night. They were arrested on the slightest provocation.� 1940�1941, tempera on masonite, 18� x 12��The Phillips Collection, Washington, D.C.

Slide 35:Harlem Renaissance > Marcus Garvey�s Supporters Parade in Harlem

The New Negro Has No Fear. Supporters of Marcus Garvey paraded at 125th Street and Lenox Avenue in Harlem during an August 1920 Universal Negro Improvement Association convention. Schomburg Center for Research in Black Culture, New York Public Library, Astor, Lenox and Tilden Foundations.The New Negro Has No Fear. Supporters of Marcus Garvey paraded at 125th Street and Lenox Avenue in Harlem during an August 1920 Universal Negro Improvement Association convention. Schomburg Center for Research in Black Culture, New York Public Library, Astor, Lenox and Tilden Foundations.

Slide 36:Harlem Renaissance > NAACP Anti-Lynching Ad in the New York Times

By 1919, the National Association for the Advancement of Colored People (NAACP), an organization founded in 1909 to advocate for political and social equality for African Americans, had 91,000 thousand members. From its earliest years, the NAACP lobbied Congress to pass a federal law against lynching, the violent and public murder of African Americans still carried out by mobs in many southern states in the early twentieth century (and indeed into the 1950s). During November, 1922, the NAACP ran this full-page advertisement in the New York Times and other newspapers, pressing for passage of the Dyer anti-lynching bill. Passed in the House of Representatives by a two-to-one majority, the anti-lynching bill was subsequently filibustered and defeated in the U.S. Senate. Despite the NAACP�s vigorous efforts through the 1930s and the introduction of several subsequent anti-lynching bills, the U.S. Congress never outlawed lynching.By 1919, the National Association for the Advancement of Colored People (NAACP), an organization founded in 1909 to advocate for political and social equality for African Americans, had 91,000 thousand members. From its earliest years, the NAACP lobbied Congress to pass a federal law against lynching, the violent and public murder of African Americans still carried out by mobs in many southern states in the early twentieth century (and indeed into the 1950s). During November, 1922, the NAACP ran this full-page advertisement in the New York Times and other newspapers, pressing for passage of the Dyer anti-lynching bill. Passed in the House of Representatives by a two-to-one majority, the anti-lynching bill was subsequently filibustered and defeated in the U.S. Senate. Despite the NAACP�s vigorous efforts through the 1930s and the introduction of several subsequent anti-lynching bills, the U.S. Congress never outlawed lynching.

Slide 37:Harlem Renaissance > Zora Neale Hurston Photo by Carl Van Vechten

(1891 - 1960) writer, folklorist, anthropologist. She studied anthropology with Dr. Franz Boas. She subsequently did field research recording the folklore and ways of African Americans, first in Harlem, then throughout the rural South. Her work played a large role in preserving the folk traditions and cultural heritage of African Americans. She expressed her genius by combining her field notes with some autobiography and a vivid imagination to create some of the most exciting, authentic literature of the twentieth century. (1891 - 1960) writer, folklorist, anthropologist. She studied anthropology with Dr. Franz Boas. She subsequently did field research recording the folklore and ways of African Americans, first in Harlem, then throughout the rural South. Her work played a large role in preserving the folk traditions and cultural heritage of African Americans. She expressed her genius by combining her field notes with some autobiography and a vivid imagination to create some of the most exciting, authentic literature of the twentieth century.

Slide 38:Harlem Renaissance > The Crisis Ad for Black Swan Records, 1923

Slide 39:Harlem Renaissance > The Crisis Cover, 1929

The Crisis is the official monthly publication of the NAACP. It began in 1910 with William Edward Burghardt DuBois as editor, and became a leading periodical for African Americans. It was known for its radical position against lynching and racial prejudice and reflected the ideology of Dr. DuBois. Until 1919 it sold for 10 cents a copy and boasted a monthly circulation of 80,000 copies. In the 1920s, literary contributions to the magazine increased in keeping with the cultural explosion known as the Harlem Renaissance. The magazine began to sponsor a literary contest and the works of poets Langston Hughes, Countee Cullen and Claude McKay, among others, began to appear. The cover was also illustrated by leading African-American visual artists such as Aaron Douglas , John Henry Adams. The magazine continues to emphasize cultural, social and economic matters. It is still being published monthly by the NAACP.The Crisis is the official monthly publication of the NAACP. It began in 1910 with William Edward Burghardt DuBois as editor, and became a leading periodical for African Americans. It was known for its radical position against lynching and racial prejudice and reflected the ideology of Dr. DuBois. Until 1919 it sold for 10 cents a copy and boasted a monthly circulation of 80,000 copies. In the 1920s, literary contributions to the magazine increased in keeping with the cultural explosion known as the Harlem Renaissance. The magazine began to sponsor a literary contest and the works of poets Langston Hughes, Countee Cullen and Claude McKay, among others, began to appear. The cover was also illustrated by leading African-American visual artists such as Aaron Douglas , John Henry Adams. The magazine continues to emphasize cultural, social and economic matters. It is still being published monthly by the NAACP.

Slide 40:Leon �Bix� Beiderbecke, �Sorry,� 1928

Leon �Bix� Beiderbecke, Sorry In recordings like Sorry, white cornetist Beiderbecke forged a unique style. Records like this served as background music to the �roaring twenties.� H. Quickswell, �Sorry� performed by Leon �Bix� Beiderbecke, 1928. Synchronization publishing rights under license from EMI Music Publishing & Sony Tunes Inc. Master rights under license from Sony Music Special Products, a division of Sony Music, a group of Sony Music Entertainment Inc.Leon �Bix� Beiderbecke, Sorry In recordings like Sorry, white cornetist Beiderbecke forged a unique style. Records like this served as background music to the �roaring twenties.� H. Quickswell, �Sorry� performed by Leon �Bix� Beiderbecke, 1928. Synchronization publishing rights under license from EMI Music Publishing & Sony Tunes Inc. Master rights under license from Sony Music Special Products, a division of Sony Music, a group of Sony Music Entertainment Inc.

Slide 41:Louis Armstrong, �Weather Bird,� 1928

The legendary cornetist Armstrong�s work in the twenties is unsurpassed in its originality and power. His looser, more inventive style contrasts clearly with Bix Beiderbecke�s vaguely martial, simpler playing. Louis Armstrong, �Weather Bird,� 1928. Louis Armstrong and Joe "King" Oliver 1920sThe legendary cornetist Armstrong�s work in the twenties is unsurpassed in its originality and power. His looser, more inventive style contrasts clearly with Bix Beiderbecke�s vaguely martial, simpler playing. Louis Armstrong, �Weather Bird,� 1928. Louis Armstrong and Joe "King" Oliver 1920s

Slide 42:New Woman > Magazine illustrations: �Gibson Girls� by Charles Gibson--a beauty standard of the 1900s--and a flapper by John Held, Jr. from the 1920s

Gibson published in Scribner's, Harpers, Collier's, and The Century; flapper is dancing a CharlestonGibson published in Scribner's, Harpers, Collier's, and The Century; flapper is dancing a Charleston

Slide 43:New Woman > Suffragists picketing the White House, January 1917

Suffragists picketing the White House, January 1917. Suffragists picketing the White House, January 1917.

Slide 44:New Woman > Department Stores and Consumer Culture

Slide 45:New Woman > Working-class women at the turn of the century

Slide 46:New Woman > John Held, Jr.: Flappers have no manners or brains

Slide 47:New Woman > John Held, Jr.: �It�s all right, Santa-- you can come in. My parents still believe in you.�

Slide 48:New Woman > John Held, Jr., dustjackets for F. Scott Fitzgerald novels

Slide 49:New Woman > Film Actress Louise Brooks and a comic strip she inspired

Photograph reading Anita Loos�s flapper novel Gentlemen Prefer Blondes, in a 1920s ankle watch add, and John H. Striebel's long running flapper-inspired cartoon, "Dixie Dugan."Photograph reading Anita Loos�s flapper novel Gentlemen Prefer Blondes, in a 1920s ankle watch add, and John H. Striebel's long running flapper-inspired cartoon, "Dixie Dugan."

Slide 50:New Woman > Actress Clara Bow, the ultimate flapper in It (1927) and Dangerous Curves (1929)

IT (1927, Clarence Badger) Clara and fellow shopgirls decide uptight boss Antonio Moreno has IT, and then the campaign begins, complete with fake motherhood, yacht wreck, and a watery rescue. The smash hit that vaulted Bow to superstardom, from "Brooklyn Bonfire" to "IT Girl," with newcomer/boyfriend Gary Cooper lurking in the background and Madame Elinor Glyn, author of the immortal original, as herself.IT (1927, Clarence Badger) Clara and fellow shopgirls decide uptight boss Antonio Moreno has IT, and then the campaign begins, complete with fake motherhood, yacht wreck, and a watery rescue. The smash hit that vaulted Bow to superstardom, from "Brooklyn Bonfire" to "IT Girl," with newcomer/boyfriend Gary Cooper lurking in the background and Madame Elinor Glyn, author of the immortal original, as herself.

Slide 51:Fundamentalism > Timeline

Word coined at around 1910 Denotes religious groups that take the Bible literally Popular and active in the 1920s Then the movement retreats from politics until 1980s, in part because of the Scopes Trial

Slide 52:Fundamentalism > Church Membership

This chart shows the most substantial growth in Protestant denominations occurring among Methodists, Seventh Day Adventists, and Southern Baptists.This chart shows the most substantial growth in Protestant denominations occurring among Methodists, Seventh Day Adventists, and Southern Baptists.

Slide 53:Fundamentalism > Actor Lionel Barrymore and Modern Christ

Warner Sallman and the Head of Christ Nineteenth-century images of Christ drew on the depictions of the Renaissance. Inspired by evangelicals in the 1920s, advertising illustrator and evangelical Christian Warner Sallman sought to modernize Jesus Christ�s image. The pictures included here, Head of Christ (1940) and a studio portrait of actor Lionel Barrymore from 1924, show how Sallman drew on mass media depictions of movie stars to create a new Christ image. Warner Sallman and the Head of Christ Nineteenth-century images of Christ drew on the depictions of the Renaissance. Inspired by evangelicals in the 1920s, advertising illustrator and evangelical Christian Warner Sallman sought to modernize Jesus Christ�s image. The pictures included here, Head of Christ (1940) and a studio portrait of actor Lionel Barrymore from 1924, show how Sallman drew on mass media depictions of movie stars to create a new Christ image.

Slide 54:Scopes Trial > Cartoon on Evolution

Like "The Rise and Fall of Man," this 1925 cartoon plays ironically with the familiar linear evolution motif. Even if we no longer know the meaning of "cake-eater," we can tell from this cartoon that he was not up to being the "end" of human evolution. The linear sequence itself suggests this, independent of the gorilla's disparaging remark: "We ain't even holding our own." Reprinted from Judge magazine, July 18, 1925, p. 2. Like "The Rise and Fall of Man," this 1925 cartoon plays ironically with the familiar linear evolution motif. Even if we no longer know the meaning of "cake-eater," we can tell from this cartoon that he was not up to being the "end" of human evolution. The linear sequence itself suggests this, independent of the gorilla's disparaging remark: "We ain't even holding our own." Reprinted from Judge magazine, July 18, 1925, p. 2.

Slide 55:Scopes Trial > W. J. Bryan�s Cartoon against Modernity, 1924

�The Descent of the Modernists.� This cartoon from William Jennings Bryan, Seven Questions in Dispute (1924), reverses the idea that evolution leads to improvement. Prints and Photographs Division, Library of Congress. �The Descent of the Modernists.� This cartoon from William Jennings Bryan, Seven Questions in Dispute (1924), reverses the idea that evolution leads to improvement. Prints and Photographs Division, Library of Congress.

Slide 56:Scopes Trial > Cartoon comparing Bolsheviks and Scientists, 1925

According to this May 1925 cartoon in The King�s Business, the twin �Deicides�� Bolshevism and science�are killing God.Prints and Photographs Division, Library of Congress. According to this May 1925 cartoon in The King�s Business, the twin �Deicides�� Bolshevism and science�are killing God.Prints and Photographs Division, Library of Congress.

Slide 57:Scopes Trial > Bryan and Darrow

Darrow Tells Bryan There is No Santa ClausDarrow Tells Bryan There is No Santa Claus

Slide 58:Scopes Trial > Bryan as Don Quixote

Slide 59:Scopes Trial > Darrow as a Street Player

Slide 60:Scopes Trial > Monkeys Vote on Evolution

Darrow Tells Bryan There is No Santa ClausDarrow Tells Bryan There is No Santa Claus