The Crash of ’29 has come, and the Depression anthem “Brother, Can You Spare a Dime?” is written. The Bonus Army marchers and Cox’s Army descend upon Washington, singing. Rural depression and desperation continue – in folk song, blues, Tin Pan Alley song, and corridos. In “Bloody Harlan,” Kentucky, Florence Reece demands to know “Which Side Are You On?” and Aunt Molly Jackson leads the way in singing the coal miners’ struggle into the national conscience. The nine “Scottsboro Boys” are imprisoned, one of whom – Olen Montgomery – writes his own harrowing “Jailhouse Blues” in condemnation. In New York, Aaron Copland and Charles Seeger agonize over the “correct” way to write revolutionary song, and Black composers Florence Price, William Dawson, and William Grant Still are faced with the mixed blessing of the success of the white-penned Porgy and Bess. The argument over primitivism continues in the Haitian operas of White and Matheus as well as Hall Johnson’s groundbreaking Run, Little Chillun. Down South, the spiritual is transformed into some of the world’s greatest struggle anthems, and John Handcox emerges as the “Sharecropper’s Troubadour” for the Southern Tenant Farmers Union. Strike songs resound across the West Coast and the industrial heartland, while the queer world swings to the defiant songs of Pansies and Bulldaggers.