Swing-A-Ling

            Race has always been an issue throughout the context of American history. Even through jazz, racial hardships persisted. After the Jazz Age, America was approaching the 1930’s, dubbed the “Swing Era.” At this time in America, the Great Depression hit, starting with the infamous stock market crash. Americans were suddenly poor and panic-stricken. The 1920’s speakeasies and flappers eventually delved down and even jazz-wise, “a staggering decline of over 90 percent of records was sold by 1932” (Gioia, 135). But, jazz still persisted as the mainstream music of America. Thus, in the 1930s, racial tensions slowly crumbled because of the power and efficiency of the radio.

            The radio was important for any musician. “A single band could now entertain countless listeners through the magic of radio” (Gioia, 136). Radio made it possible for any musician regardless of talent to shine simply because “radio evolved from a novelty to a necessity for most American households” (Gioia, 137). But the only way to become a star on the radio was through a specific person, the talent agent, who specialized in reaching to the mass audience by promoting musicians in a form of business. Thus, there exists a “symbiotic relationship between Louis Armstrong and Joe Glaser; Duke Ellington and Irving Mills; Benny Goodman and John Hammond” (Gioia, 137). Race-wise, radio allowed for any race (Black or white) to emerge with relatively few racial backlashes, simply because Americans couldn’t tell whether the band that the radio was playing was black or white.  

Even Benny Goodman, an acclaimed white star of the Swing Era, used swing music “to break through the many barriers of racial prejudice, of class distinctions, of snobbery and close-mindedness which served only to stultify and compartmentalize the creative spirit” (Gioia, 138). Goodman was in it for the jazz. From his roots, Goodman believed that “music was a godsend as a way out of the ghetto” (Gioia, 138). Even after Goodman hired arranger Fletcher Henderson, one could only assume that Goodman being white was more easily accepted into mainstream jazz and not suffer the consequences of racial prejudice. Fortunately for him, “Swing music would remain the paradigm for popular music in America. If jazz ever enjoyed a golden age, this would be it” (Gioia, 145).

            History tells us about New Orleans, Chicago, and New York, but forgets to mention the impact of Kansas City during the 1930s. Because of the Great Depression, “economic necessity brought many of these musicians to Kansas City” (Gioia, 159), mostly because of the leisure, alcohol, and other illicit drugs/activities. Kansas City became a mesh of the blues from Southwest Texas and big band jazz from the Northeast, collectively giving “Kansas City a looser feeling, allowing informality of spirit, but more than anything, presented a dominating rhythmic essence” (Gioia, 160).  “This loose-and-easy Kansas City ambience mirrored the freewheeling linear movements of the local improvisational style” (Gioia, 161), even bringing up soon-to-be star Count Basie. In essence, Kansas City was the perfect place to escape the hardships of the Depression while diverting away from racial prejudice through their style of jazz.

Ultimately, despite racial barriers, the Swing Era eased tensions between white and Black musicians. It became more mixed and together. People paid good money to see both white and Black musicians even such as the ferocious battle between Benny Goodman and Chick Webb. Swing music became the mainstream popular music of America and truly helped shape the social atmosphere. As Benny Goodman would say, or rather play, “Sing, sing, sing…”