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American Fun: Four Centuries of Joyous Revolt

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American Fun: Four Centuries of Joyous Revolt Cover

 

Synopses & Reviews

Publisher Comments:

Introduction

On April 15, 1923, eight marathon dancers, aged nineteen to twenty-eight, outran the law for a chance to make history. For twenty-nine hours straight, as weaker contestants limped off the floor, they had twirled and swung each other’s bodies to the fox-trot, two-step, and bunny hug. At midnight, New York police enforced a law that put a twelve-hour cap on marathon activities. They ordered the kids to cease and desist, but the dancers wanted none of it. They danced en masse out the doors of the Audubon Ballroom, across the 168th Street sidewalk, and into the back of an idling van. They danced in the van’s jumpy confines all the way to the Edgewater ferry, on whose decks they danced across the choppy Hudson, before being portaged like a cage of exotic birds and released into New Jersey’s Pekin dance hall.

 

They had been there only an hour when more cops shoved them along, and so it would go for the next two days. The venues kept changing, and the comedy mounting, as they crossed and recrossed the tri-state lines, cheerfully dancing all the while. They shed a few compatriots to squirrelly exhaustion and gave reporters a private audience in an undisclosed Harlem apartment. Back in the van, they cut fantastic steps on their way to Connecticut, where the contest would reach its strange conclusion.

 

The New York Times, filing updates as the events unfolded, struck a distinctly American tone: they touted the dancers as the pinnacle of youth—of vigor, ambition, free expression—calling them “heroes and heroines . . . alive with the spirit of civic pride.” But they scorned the cops as “mean old thing[s]” who should have been ashamed of enforcing “meddlesome old laws.” As tensions mounted they framed a rivalry between the upstart “West” and the noble “East.” (Dancers from Cleveland had set the record only a few days before.) The upshot of all this ballyhoo, of course, was that the reporters took none of it too seriously. The Times just wanted to join the party and to let their readers join it too.

 

But their patriotism wasn’t all tongue-in-cheek. Youthful antics in the 1920s were often held up as national virtues. Alma Cummings, who had set the first dance-marathon record that March, was honored with the “Star-Spangled Banner.” Avon O. Foreman, a fifteen-year-old flagpole sitter, was recognized in 1929 by the mayor of Baltimore for showing “the pioneer spirit of early America.” In an era when Prohibition had divided the country and the KKK had nearly five million members, the splashy high jinks of free-spirited youths were for many a welcome vision of good-natured resistance. They called to mind the Sons of Liberty—or Huck Finn lighting out to the territory.

 

Things got weird in the marathon’s endgame. At two o’clock on Sunday morning, when the van arrived at an athletic club in East Port Chester, judges disqualified two of the last four contestants for sleeping in transit, leaving Vera Sheppard, nineteen, and Ben Solar, twenty-three, to rally for the record. At 8 a.m. Solar broke away from Sheppard and “wandered aimlessly toward the door, like a sleep-walker.” Smelling salts revived him for precisely two minutes. When he collapsed, and was out, the ever-vigorous Sheppard—performing “better than at any time during the night”—galloped on with a series of relief partners. The good citizens of Connecticut, fearing for her health, or maybe her soul, had police stop the madness at 3:30 p.m. Only with special permission was she allowed to dance past four o’clock, at which point she demolished the world record. “Miss Sheppard’s condition at the close,” the Times reported, “was surprisingly good.” She had also lost a cool ten pounds.

 

Vera Sheppard wasn’t your typical rebel. An office worker from Long Island City, she lived at home with her father and two sisters and gave dance lessons most nights till twelve. She wasn’t even your typical flapper. But when her sisters attributed her endurance to prayer and the fact that she didn’t drink or smoke, Sheppard preferred to answer for herself. Showing all-American pride in her ethnic difference, she told reporters: “I’m Irish; do you suppose I could have stuck it out otherwise?” What kept her going for sixty-nine hours was “thinking what good fun it was.”

 

Sheppard liked to dance, and she was willing to risk it if what she liked was against the law. More to the point, she enjoyed those risks. But her Jazz Age “fun” wasn’t just the boon of a wealthy country at the height of its powers. It wasn’t even a whirl on Coney Island’s Loop-the-Loop. Her cheeky dance across three state lines, as pure and innocent as it seemed, was underwritten by centuries of studied rebellion that made it quintessentially American. Sheppard and her cheering section at the Times were heirs to a raffish national tradition that flaunted pleasure in the face of authority.

 

This book traces the lines of that tradition.

Review:

"Beckman, an English professor at the U.S. Naval Academy, traces the 'three tributaries of American fun — the commercial, playful, and radically political,' from Thomas Morton's anarchic Merry Mount colony in the 1620s to its modern counterpart, Burning Man. Accounts of politically motivated fun like the Boston Tea Party and the Yippies' attempt to levitate the Pentagon are presented along with tales of pranksters like Mark Twain and P.T. Barnum, as well as accounts of playful hoaxes, such as the 'Electrical Banana,' in which a 1960s underground newspaper convinced mainstream media that smoking dried banana peels produces 'a cannabic effect.' Beckman laments the commercialized fun of organized sports as well as the neutering of counterculture spirit by Madison Avenue advertising or pop culture's 'test-tube teens.' He also traces African-American culture from Pinkster festivals and Brother Rabbit folktales — later hijacked by white journalist Joel Chandler Harris — to the Harlem Renaissance and the emergence of hip-hop in the 1970s South Bronx. Other notable characters include the 'b'hoys and g'hals,' Irish street gangsters with an affinity for Shakespeare; the Merry Pranksters and their LSD-infused parties with the Hell's Angels; and Jazz Age flappers like Zelda Fitzgerald and Edna St. Vincent Millay. Beckman captures the rambunctiousness, subversiveness, and inventiveness of the American spirit, as well as its ugliness, violence, and bigotry. He also raises interesting questions about complacency and 'the death of fun.'" Publishers Weekly Copyright PWxyz, LLC. All rights reserved.

Synopsis:

Here is an animated and wonderfully engaging work of cultural history that lays out America’s unruly past by describing the ways in which cutting loose has always been, and still is, an essential part of what it means to be an American.

 

From the time the Pilgrims landed at Plymouth Rock, Americans have defied their stodgy rules and hierarchies with pranks, dances, stunts, and wild parties, shaping the national character in profound and lasting ways. In the nation’s earlier eras, revelers flouted Puritans, Patriots pranked Redcoats, slaves lampooned masters, and forty-niners bucked the saddles of an increasingly uptight middle class. In the twentieth century, fun-loving Americans celebrated this heritage and pushed it even further: flappers “barney-mugged” in “petting pantries,” Yippies showered the New York Stock Exchange with dollar bills, and B-boys invented hip-hop in a war zone in the Bronx.

 

This is the surprising and revelatory history that John Beckman recounts in American Fun. Tying together captivating stories of Americans’ “pursuit of happiness”—and distinguishing between real, risky fun and the bland amusements that paved the way for Hollywood, Disneyland, and Xbox—Beckman redefines American culture with a delightful and provocative thesis.

 

(With black-and-white illustrations throughout.)

About the Author

US

Table of Contents

Contents

Introduction xi

1. The Forefather of American Fun 3

2. Jack Tar, Unbound 21

3. Technologies of Fun 49

4. A California Education 77

5. Selling It Back to the People 106

6. Barnumizing America 129

7. Merry Mount Goes Mainstream 155

8. “ Joyous Revolt”: The “New Negro” and the “New Woman” 187

9. Zoot Suit Riots 215

10. A California Education, Redux 230

11. Revolution for the Hell of It 263

12. Mustangers Have More Fun 278

13. Doing It Yourself, Getting the Joke 293

Acknowledgments 327

Notes 331

Index 379

Product Details

ISBN:
9780307908179
Author:
Beckman, John
Publisher:
Pantheon Books
Subject:
World History-General
Subject:
US History-General
Series Volume:
Four Centuries of Jo
Publication Date:
20140231
Binding:
HARDCOVER
Language:
English
Illustrations:
BandW ILLUSTRATIONS THROUGHOUT
Pages:
432
Dimensions:
9.53 x 6.62 x 1.55 in 1.8 lb

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Related Subjects

History and Social Science » American Studies » General
History and Social Science » Politics » General
History and Social Science » Sociology » General
History and Social Science » US History » General
History and Social Science » World History » General

American Fun: Four Centuries of Joyous Revolt New Hardcover
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$28.95 In Stock
Product details 432 pages Pantheon Books - English 9780307908179 Reviews:
"Publishers Weekly Review" by , "Beckman, an English professor at the U.S. Naval Academy, traces the 'three tributaries of American fun — the commercial, playful, and radically political,' from Thomas Morton's anarchic Merry Mount colony in the 1620s to its modern counterpart, Burning Man. Accounts of politically motivated fun like the Boston Tea Party and the Yippies' attempt to levitate the Pentagon are presented along with tales of pranksters like Mark Twain and P.T. Barnum, as well as accounts of playful hoaxes, such as the 'Electrical Banana,' in which a 1960s underground newspaper convinced mainstream media that smoking dried banana peels produces 'a cannabic effect.' Beckman laments the commercialized fun of organized sports as well as the neutering of counterculture spirit by Madison Avenue advertising or pop culture's 'test-tube teens.' He also traces African-American culture from Pinkster festivals and Brother Rabbit folktales — later hijacked by white journalist Joel Chandler Harris — to the Harlem Renaissance and the emergence of hip-hop in the 1970s South Bronx. Other notable characters include the 'b'hoys and g'hals,' Irish street gangsters with an affinity for Shakespeare; the Merry Pranksters and their LSD-infused parties with the Hell's Angels; and Jazz Age flappers like Zelda Fitzgerald and Edna St. Vincent Millay. Beckman captures the rambunctiousness, subversiveness, and inventiveness of the American spirit, as well as its ugliness, violence, and bigotry. He also raises interesting questions about complacency and 'the death of fun.'" Publishers Weekly Copyright PWxyz, LLC. All rights reserved.
"Synopsis" by , Here is an animated and wonderfully engaging work of cultural history that lays out America’s unruly past by describing the ways in which cutting loose has always been, and still is, an essential part of what it means to be an American.

 

From the time the Pilgrims landed at Plymouth Rock, Americans have defied their stodgy rules and hierarchies with pranks, dances, stunts, and wild parties, shaping the national character in profound and lasting ways. In the nation’s earlier eras, revelers flouted Puritans, Patriots pranked Redcoats, slaves lampooned masters, and forty-niners bucked the saddles of an increasingly uptight middle class. In the twentieth century, fun-loving Americans celebrated this heritage and pushed it even further: flappers “barney-mugged” in “petting pantries,” Yippies showered the New York Stock Exchange with dollar bills, and B-boys invented hip-hop in a war zone in the Bronx.

 

This is the surprising and revelatory history that John Beckman recounts in American Fun. Tying together captivating stories of Americans’ “pursuit of happiness”—and distinguishing between real, risky fun and the bland amusements that paved the way for Hollywood, Disneyland, and Xbox—Beckman redefines American culture with a delightful and provocative thesis.

 

(With black-and-white illustrations throughout.)

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