2022 marks the centenary of a very specific social phenomenon–1920s flapper culture. That’s right, I’m saying “centenary,” because I propose that 1922 should be formally recognized as the “Birth Year of the Flapper.” I’ve spent, err, too much time exploring this fascinating era of the early 20th century (especially when I did Flapper Month here on Silent-ology a few years ago), and after awhile I started noticing a trend. While flapper culture had been brewing and evolving for quite some time, 1922 is truly the year when the quintessential bobbed-hair flapper burst into the public consciousness. Did she ever!
Two examples of what I mean: here’s the results you get when you search for “flapper flappers” (both words at the same time) in the years 1910-1929 on the Media History Digital Library:
And if you do the same search on Chronicling America, if you narrow the search results down to a single year at a time, you will see:
1919: 12 results 1920: 22 1921: 36 1922: 533 (!)
I dunno, that’s looking pretty clear cut to me!
(If you’re curious, on Chronicling America 1923 = 67 results, and 1924 = 64. After 1922, flappers seemed to be an accepted part of life–or maybe the public was tired of talking about them so much.)
While researching this month’s theme, I found a number of interesting or amusing newspaper clippings about “sheiks” that didn’t quite fit into my articles (or would’ve made them too long).
Or too weird. (Buffalo Courier, February 18, 1923.)
But since I like to share my joy, here’s a small collection covering various aspects of 1920s sheik culture. You might find these insights mighty similar to the public’s thoughts on flappers, too.
The use of “sheik” and “sheba” to describe hep teens seems to have grown in popularity very rapidly after the release of The Sheik in 1921 (as you know), and became a staple of contemporary slang until the early ’30s. Here’s an example from 1924–oh, those traffic-endangering young spooners! Continue reading →
We’re all familiar with stereotypical 1920s flapper–the fun-loving, trendy young woman who loved Jazz, dancing, and all things “modern.” But arm in arm with the flapper was the 1920s sheik, their male counterpart. There’s plenty of discussion about flappers nowadays, but there’s comparatively little discussion about sheiks, and the sort of factors that lead to their place in pop culture.
One of John Held Jr’s popular cartoons.
But “sheik culture” is an important piece of the Jazz Age puzzle. Its advent spurred numerous discussions about movie romance, masculinity and female desire. And its impact on American cinema was tremendous–in fact, you could easily categorize screen romance as B.V. (Before Valentino) and A.V. (After Valentino). Continue reading →
It was one of the most culturally important films of the 1920s, the one that made Colleen Moore a star and made “flapper” part of every American’s vocabulary. Her delightful performance is arguably the highlight of the film…or so we can assume, because sadly only a fragment of the influential Flaming Youth (1923) still remains. But thank heavens for that fragment–not all lost films are as lucky.
And it did, my friends. Exhibitor’s Herald, Nov. 3, 1923.
One of the most famous quotes about the Jazz Age comes from F. Scott Fitzgerald himself–and no doubt you’ve heard of it: “I was the spark that lit up flaming youth, and Colleen Moore was the torch. What little things we are to have caused all that trouble.” But did you ever wonder where he wrote that quote?
According to one scholar, it was inscribed by Fitzgerald himself in a miniature volume of This Side of Paradise for the tiny library of Ms. Moore’s famed, beautiful, $500,000 “fairy castle” dollhouse. And that not only gives you a little taste of the success and popularity of this spirited actress, but also of her girlish, whimsical nature that so appealed to countless audiences back in the silent days.