Professional Documents
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AINT MISBEHAVIN
The FATS WALLER Musical Show
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STUDY GUIDE
Compiled by M. Christine Benner
TABLE OF CONTENTS
About the Show
Falling in Love With Fats
This Time Around
What is a Revue?
Songs of Aint Misbehavin
Contemporary Connections
3
4
5
7
9
10
13
15
18
23
24
26
27
27
29
What is a Revue?
by Gary Cadwallader
Seaside Music Theater
A revue is a topical show consisting of a series of scenes and episodes, usually having a
central theme but not a dramatic plot, often with spoken verse and prose, sketches, songs,
dances, ballet and specialty acts. Revues developed in France in the 19th century, and were
taken up by other countries including Britain and the USA, and enjoyed their greatest acclaim
and significance between the world wars. In a revue there are elements of other stage forms
such as cabaret, variety show, vaudeville, pantomime, burlesque and musical comedy.
In the US a revue developed mostly from extravagant burlesques and vaudeville in New York
during the late 19th century. John Brougham wrote one of the first, The Dramatic Review for
1868 (1869), a piece burlesquing the previous years popular theater, but the show was
unsuccessful and prompted no imitations. The first popular revue came in 1894 with The
Passing Show (music by Ludwig Englander), which, like Broughams piece, was a satire on
theatrical productions but which incorporated some topical songs in the style of Tin Pan Alley.
Soon there were many revues on the New York stage. Those starring Joe Weber and Lew
Fields (1896-1904) had vaudeville-like farce and pantomime, humorous songs, dances and
more travesties on theatrical productions.
The real establishment
of American revue came
with the Follies of 1907,
a musical review of the
New York sensations of
the
past
season.
Produced by Florenz
Ziegfeld,
Jr.,
it
attract more by sheer beauty than mere nakedness. It became the first of an annual series of
Ziegfeld Follies that became progressively more spectacular. Ziegfeld set the standard with
very large casts, an emphasis on female glamour, grand costumes and sets, fast-paced scenes
and star performers like Fanny Brice, W.C. Fields, Ed Cantor and Marilyn Miller. The shows
remained a leading form of Americanstage entertainment into the 1920s and produced many
imitations; notably the Shubert brothers The Passing Show series from 1912, the Greenwich
Village Follies from 1919, Irving Berlins four Music Box Revues (1921-1924) and the Earl
Carroll Vanities from 1922.
The team of Richard Rodgers and Lorenz Hart collaborated on a series of shows in which
simplicity and economy replaced elaborateness of setting and costume. Smaller-scale, but
still lavish revues were also given in rooftop theatres and nightclubs, notably the Cotton Club
in Harlem. From the 1920s the more serious, intimate revue came to the fore as lavish
productions waned during the economic depression. In addition, the departure of the leading
composers for Hollywood hastened the decline of the genre, although giving opportunities to
newer songwriters. After World War II revues were performed less frequently at large Broadway
theatres. While the song-and-dance revue found new life on television, satirical intimate
revue was fostered by repertory companies throughout the country in the 1960s. The
productions more often favored improvised sketches and topical commentary on American
society, abandoning the complex choreography and elaborate sets. The music increasingly
used rock and electronic idioms.
Throughout the 1970s and 1980s revues became popular for looking back at music from the
past. Along with Aint Misbehavin, popular revues included Eubie!, the music of Eubie Blake,
Sophisticated Ladies, the music of Duke Ellington, Berlin to Broadway with Kurt Weill, the
music of Kurt Weill, Closer Than Ever, the music of Richard Maltby, Jr. (director of Aint
Misbehavin) and David Shire, and Tintypes, the music of the turn of the 19th century.
ACT I
How Ya Baby (1938)
Lyrics by J.C. Johnson
Squeeze Me (1925)
Lyrics by Clarence Williams
Off-Time (1929)
Music by Fats Waller and Harry Brooks
Lyrics by Andy Razaf
ACT II
Mean to Me (1929)
Music and Lyrics by Roy Turk and
Fred E. Ahlert
Contemporary Connections
Reprinted, with permission, from
CENTERSTAGE; The Next Stage; January, 2003
Rhonda Robbins, Editor
Rap, a musical poetic expression, evolved
from African people in general and black
people born in the United States in particular. Its origins can be traced to West Africa
where tribesmen held men of words in high
regard. When slaves were brought to the
New World, they integrated American music
with the beats they remembered from Africa.
Z
Z
A
J CALL AND RES
Jazz cutting contests are forums in which two musicians duel to see
who is the best. Yet, even as they duel, they do so in a collective
context, playing with their bandmates, or, in the case of piano cutting contests, drawing on a common repertoire.
PONSE
Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its
most exuberantly funny entertainers and as so often happens, one facet tends to obscure the other.
His extraordinarily light and flexible touch belied his ample physical girth; he could swing as hard as
any pianist alive or dead in his classic James P. Johnson-derived stride manner, with a powerful left
hand delivering the octaves and tenths in a tireless, rapid, seamless stream. Waller also pioneered the
use of the pipe organ and Hammond organ in jazz he called the pipe organ the God box
adapting his irresistible sense of swing to the pedals and a staccato right hand while making imaginative
changes of the registration. As a composer and improviser, his melodic invention rarely flagged, and he
contributed fistfuls of joyous yet paradoxically winsome songs like Honeysuckle Rose, Aint
Misbehavin, Keepin Out of Mischief Now, Blue Turning Grey Over You and the extraordinary
Jitterbug Waltz to the jazz repertoire.
During his lifetime and afterwards, though, Fats Waller was
best known to the world for his outsized comic personality and sly
vocals, where he would send up trashy tunes that Victor Records made
him record with his nifty combo, Fats Waller and his Rhythm. Yet on
virtually any of his records, whether the song is an evergreen standard
or the most trite bit of doggerel that a Tin Pan Alley hack could serve
up, you will hear a winning combination of good knockabout humor,
foot-tapping rhythm and fantastic piano playing. Today, almost all of
Fats Wallers studio recordings can be found on RCAs on-again-offagain series The Complete Fats Waller, which commenced on LPs in
1975 and was still in progress during the 1990s.
Thomas Fats Waller came from a Harlem household where his father was a Baptist lay preacher
and his mother played piano and organ. Waller took up the piano at age six, playing in a school orchestra
10
led by Edgar Sampson (of Chick Webb fame). After his mother died when he was 14, Waller moved
into the home of pianist Russell Brooks, where he met and studied with James P. Johnson. Later, Waller
also received classical lessons from Carl Bohm and the famous pianist Leopold Godowsky. After making
his first record at age 18 for Okeh in 1922, Birmingham Blues and Muscle Shoals Blues, he backed
various blues singers and worked as house pianist and organist at rent parties and in movie theatres and
clubs. He began to attract attention as a composer during the early and mid-1920s, forming a most
fruitful alliance with lyricist Andy Razaf that resulted in three
Broadway shows in the late 20s, Keep Shufflin, Load of Coal,
and Hot Chocolates.
Waller started making records for Victor in 1926; his
most significant early records for that label were a series of
brilliant 1929 solo piano sides of his own compositions like
Handful of Keys and Smashing Thirds. After finally
signing an exclusive Victor contract in 1934, he began the
long-running, prolific series of records with his Rhythm, which
won him great fame and produced several hits, including Your
Feets Too Big, The Joint Is Jumpin and Im Gonna Sit
Right Down and Write Myself a Letter. He began to appear
in films like Hooray for Love and King of Burlesque in 1935 while continuing regular appearances on
radio that dated back to 1923. He toured Europe in 1938, made organ recordings in London for HMV
and appeared on one of the first television broadcasts. He returned to London the following spring to
record his most extensive composition, London Suite for piano and percussion, and embark on an
extensive continental tour (which, alas, was cancelled by fears of impending war with Germany). Well
aware of the popularity of big bands in the 30s, Waller tried to form his own, but they were short-lived.
Into the 1940s, Wallers touring schedule of the U.S. escalated, he contributed music to another
musical, Early to Bed, the film appearances kept coming (including a memorable stretch of Stormy
Weather where he led an all-star band that included Benny Carter, Slam Stewart and Zutty Singleton),
the recordings continued to flow, and he continued to eat and drink in extremely heavy quantities. Years
of draining alimony squabbles, plus overindulgence and, no doubt, frustration over not being taken
11
12
13
Ragtime, a simple three theme written non-jazz music is sometimes mistaken for stride because it
preceded the form, and has the alternating left hand. Often those who want to sound knowledgeable call
ragtime stride. The harmonics and rhythms of ragtime are much simpler, more repeated, and it derives
from fewer sources.
I am often asked if stride is where the left hand plays a single note or a tenth on the first and third beats,
and a chord on the second and fourth or when the tempo is fast. This is a small facet of so many styles,
not just stride, and does nothing to musically explain what it is. Yes, stride is so called because the left
hand strides or alternates sometimes between low octaves or tenths (if you can play tenth intervals as
Waller and Tatum did, not broken) and chords toward middle C of the keyboard. But it is a musical
language using many idioms, varied harmonics and rhythms, such as 2 against 3. It must be studied
over a period of years so that the performer no longer has to think about each left hand alternation but
can program ahead several bars. As
all jazz, it is impossible to play
properly by simply reading sheet
music, and when younger pianists
try to play a Waller or Johnson piece
note for note from a written
transcription, the special swing and
feeling of the style are completely
lost. They often sound mechanical,
like piano rolls or someone at a
Disneyland Pizza joint.
A good stride pianist will also
respect the song being played,
subtly reminding the listener of the
melodic line creating variations in harmonic context to what the composer asked for. A real stride
pianist also plays a whole song with variations on a theme for several minutes, not just two or four bars
of imitative stride between whatever other style (usually post bop) the pianist is conversant with. There
must be varying of the dynamics, with minute retard and anticipation between right and left hands. The
sense of order underlying improvisation is sonic craftsmanship supreme.
14
population in New York needed housing. In 1911, the Metropolitan Baptist Church became the first
black church to move its meeting place to Harlem. Other churches and social institutions were soon to
follow. Immigrants from both Africa and the West Indies were also pouring into the port city. By 1930,
two-thirds of the black population of New York were living in Harlem. Given the tensions between
North and South, foreign- and native-born, black New Yorkers had anything but a unified front. But the
growing in numbers and influence, the power of the group as a whole was unmistakable.
Organizations like Marcus Garveys Universal Negro Improvement Association (UNIA) and W.E.B.
DuBois National Association for the Advancement of Colored People (NAACP) found Harlem the
perfect place to begin their work. While both Garvey and DuBois taught pride and self-reliance for
their people, DuBois encouraged participation in American institutions (such as the military); Garvey
urged blacks to form their own
independent nation.
The culture of Harlem began to form
under the increasing push for unity.
Black artists observed their neighbors
from the South, the North, from Africa,
and from the West Indies. In the crucible
of Harlem, creative energy surged
between minds. The black communities
of the world were finding inspiration in
each other.
Langston Hughes
Of the many writers of the Harlem
Renaissance, Langston Hughes is
perhaps the best known and the
most influential. Hughes took the
sounds and rhythms of jazz and the
blues and translated them into poetry. In his forty years of writing,
Hughes produced sixteen books of
poems, two novels, three collections of short stories, twenty plays,
childrens poetry, various musicals, operas, autobiographies
and more.
artists. Black culture, brutally suppressed by the establishment of slavery, was experiencing rebirth.
The Harlem Renaissance had begun.
Fine artists, poets, writers and intellectuals were amazing the world with their skill. Writers like Langston
Hughes, Countee Cullen, James Weldon Johnson, and Zora Neale Hurston would gather and encourage
each others creative ventures. Their writing is still considered some of the finest American work
produced. Claude McKay, writing from oversees, expressed the passionate injustice of black America
in a perfect sonnet form. Painters and sculptors like Aaron Douglas, Palmer Hayden, Augusta Savage,
Laura Waring, Betsy Reyneau, William H. Johnson captured the movement and color of Harlem in
their work. New styles were emerging in both fields, drawing attention to these rising stars.
ALelia Walker
17
The history of the Harlem house-rent party dates back as far as the World War [I].
To understand what gave such an impetus and community wide significance to
this institution, it is necessary to get a picture of living conditions as they were in
Harlem at that time.
During the early nineteen twenties it is estimated that more than 200,000 Negroes
migrated to Harlem: West Indians, Africans and American Negroes from the cotton
fields and cane brakes of the Deep South. They were all segregated in a small
section of Manhattan about fifty blocks long and seven or eight blocks wide; an
area teeming with life and activity. Housing experts have estimated that,
sometimes, as many as five to seven thousand people have been known to live in a
single block.
Needless to say, living conditions under such circumstances were anything but
wholesome and pleasant. It was a typical slum and tenement area little different
from many others in New York except for the fact that in Harlem rents were
higher; always have been, in fact, since the great war-time migratory influx of
colored labor. Despite these exorbitant rents, apartments and furnished rooms,
however dingy; were in great demand. Harlem property owners, for the most part
Jews, began to live in comparative ease on the fantastic profits yielded by their
antiquated dwellings. Before Negroes inhabited them, they could be let for
virtually a song. Afterwards, however, they brought handsome incomes. The
tenants, by hook or crook, managed to barely scrape together the rents. In turn
they stuck their roomers for enough profit to yield themselves a meager living.
A four or five room apartment was (and still is) often crowded to capacity with
roomers. In many instances, two entire families occupy space intended for only
18
one. When bedtime comes, there is the feverish activity of moving furniture about,
making down cots or preparing floor-space as sleeping quarters. The same
practice of overcrowding is followed by owners or lesees of private houses. Large
rooms are converted into two or three small ones by the simple process of
strategically placing beaverboard partitions. These same cubby holes are rented at
the price of full sized rooms. In many houses, dining and living rooms are
transformed into bed rooms soon after, if not before, midnight. Even shiftsleeping is not unknown in many places. During the night, a day-worker uses the
room and soon after dawn a night-worker moves in. Seldom does the bed have an
opportunity to get cold.
In lower Harlem, sometimes referred to as the Latin Quarter and populated mostly
by Cubans, Puerto Ricans and West Indians, accommodations are worse. The
Spanish seen to require even less privacy than their American cousins. A three or
four room apartment often houses ten or twelve people. Parents invariably have
the two or three youngest children bedded down in the same room with
themselves. The dining room, kitchen and hallway are utilized as sleeping
quarters by relatives or friends.
Negroes constitute the bulk of the Harlem population, however, and have (as was
aforementioned) since the War. At that time, there was a great demand for cheap
industrial labor. Strong backed, physically capable Negroes from the South were
the answer to this demand. They came North in droves, beginning what turned
out to be the greatest migration of Negroes in the history of the United States. The
good news about jobs spread like wildfire throughout the Southlands. There was
money, good money, to be made in the North, especially New York. New York; the
wonder, the magic city. The name alone implied glamour and adventure. It was a
picture to definitely catch the fancy of restless, over-worked sharecroppers and
farmhands. And so, it was on to New York, the mecca of the New Negro, the
modern Promised Land.
Not only Southern, but thousands of West Indian Negroes heeded the call. That
was the beginning of housing conditions that have been a headache to a
succession of political administrations and a thorn in the side of community and
civic organizations that have struggled valiantly, but vainly, to improve them.
With the sudden influx of so many Negroes, who apparently instinctively headed
for Harlem, property that had been a white elephant on the hands of many
landlords immediately took an upward swing. The majority of landlords were
delighted but those white property owners who made their homes in Harlem were
panic-stricken. At first, there were only rumblings of protest against this
unwanted dark invasion but as the tide of color continued to rise, threatening to
completely envelop the Caucasian brethren, they quickly abandoned their fight
and fled to more remote parts; Brooklyn, Bronx, Queens and Westchester. As soon
as one or two Negro families moved into a block, the whites began moving out.
Then the rents were raised. In spite of this, Negroes continued to pour in until
there was a solid mass of color in every direction.
19
Harlemites soon discovered that meeting these doubled, and sometimes tripled,
rents was not so easy. They began to think of someway to meet their ever
increasing deficits. Someone evidently got the idea of having a few friends in as
paying party guests a few days before the landlords scheduled monthly visit. It
was a happy; timely thought. The guests had a good time and entered
wholeheartedly into the spirit of the party. Besides, it cost each individual very
little, probably much less than he would have spent in some public amusement
place. Besides, it was a cheap way to help a friend in need. It was such a good,
easy way out of ones difficulties that others decided to make use of it. Thus was
the Harlem rent-party born.
Like the Charleston and Black Bottom, it became an overnight rage. Here at last,
was a partial solution to the problem of excessive rents and dreadfully subnormal
incomes. Family after family and hundreds of apartment tenants opened wide
their doors, went the originators of the idea one better, in fact, by having a party
every Saturday night instead of once a month prior to the landlords call. The
accepted admission price became twenty five cents. It was also expected that the
guests would partake freely of the fried chicken, pork chops, pigs feet and potato
salad (not to mention homemade cawn) that was for sale in the kitchen or at a
makeshift bar in the hallway.
Saturday night became the gala night in Harlem. Some parties even ran well into
Sunday morning, calling a halt only after seven or eight oclock. Parties were
eventually held on other nights also. Thursday particularly became a favorite in
view of the fact that sleep in domestic workers had a day off and were free to
kick up their heels without restraint. Not that any other week-day offered
Saturday any serious competition. It always retained its popularity because of its
all round convenience as a party day. To begin with, the majority of working class
Negroes, maids, porters, elevator operators and the like, were paid on Saturday
and, more important than that, were not required to report to work on Sunday.
Saturday, therefore, became the logical night to pitch and carry on, which
these pleasure-hungry children did with abandon.
The Saturday night party, like any other universally popular diversion, soon fell
into the hands of the racketeers. Many small-time pimps and madames who, up to
that time, had operated under-cover buffet flats, came out into the open and
staged nightly so-called Rent Parties. This, of course, was merely a blind for
more illegitimate activities that catered primarily to the desire of travelling
salesmen, pullman porters, inter-state truck drivers other transients, for some
place to stop and amuse themselves. Additional business could always be
promoted from that large army of single or unattatched males and females who
prowled the streets at night in search of adventure in preference to remaining in
their small, dingy rooms in some ill-ventilated flat. There were hundreds of young
men and women, fresh from the hinterlands, unknown in New York and eager for
the opportunity of meeting people. And so, they would stroll the Avenue until they
saw some flat with a red, pink or blue light in the window, the plunk of a tinpanny piano and sounds of half-tipsy merry making fleeting out into the night air;
then they would venture in, be greeted volubly by the hostess, introduced around
20
and eventually steered to the kitchen where refreshments were for sale.
Afterwards, there was probably a night full with continuous drinking, wild,
grotesque dancing and crude love-making. But it was, at least, a temporary
escape from humdrum loneliness and boredom.
The party givers were fully aware of the conditions under which the majority of
these boys and girls lived and decided to commercialize on it as much as possible.
They began advertising their get-togethers on little business cards that were naive
attempts at poetic jingles. The following is a typical sample:
Therell be brown skin mammas
High yallers too
And if you aint got nothin to do
Come on up to ROY and SADIES
228 West 126 St. Sat. Night, May 12th.
Therell be plenty of pig feet
An lots of gin
Jus ring the bell
An come on in.
They were careful, however, to give these cards to only the right people.
Prohibition was still in effect and the police were more diligent about raiding
questionable apartments than they were about known gin mills that flourished
on almost every corner.
Despite this fact, the number of personal Saturday night responses, in answer to
the undercover advertising, was amazing. The party hostess, eager and glowing
with freshly straightened hair, would roll back the living room carpets, dim the
lights, seat the musicians, (usually drummer, piano and saxophone player) and,
with the appearance of the first cash customer, give the signal that would officially
get the rug-cutting under way. Soon afterwards she would disappear into the
kitchen in order to give a final, last minute inspection to the refreshment counter:
a table piled high with pig-feet, fried chicken, fish and potato salad.
The musicians, fortified with a drink or two of King Kong (home made corn
whiskey) begin beating out the rhythm on their battered instruments while the
dancers keep time with gleeful whoops, fantastic body-gyrations and convulsions
that appear to be a cross between the itch and a primitive mating-dance.
After some John buys a couple of rounds of drinks, things begin to hum in
earnest. The musicians instinctively improvise as they go along, finding it difficult,
perhaps, to express the full intensity of their emotions through a mere
arrangement, no matter how well written.
21
But the thing that makes the house-rent party (even now) so colorful and
fascinating is the unequalled picture created by the dancers themselves. When the
band gets hot, the dancers get hotter. They stir, throw or bounce themselves
about with complete abandon; their wild, grotesque movements silhouetted in the
semi-darkness like flashes from some ancient tribal ceremony. They apparently
work themselves up into a frenzy but never lose time with the music despite their
frantic acrobatics. Theirs is a coordination absolutely unexcelled. It is simple,
primitive, inspired. As far as dancing is concerned, there are no conventions. You
do what you like, express what you feel, take the lid off if you happen to be in the
mood. In short, anything goes.
About one oclock in the morning; hilarity reaches its peak. The Boys, most of
whom are hard-working hard-drinking truck drivers, long-shoremen, moving men,
porters or laborers, settle down to the serious business of enjoying themselves.
They spin, tug, and fling their buxom, amiable partners in all directions. When the
music finally stops, they are soaked and steaming with perspiration. The Girls,
the majority of whom are cooks, laundresses, maids or hair-dressers, set their
hats at a jaunty angle and kick up their heels with glee. Their tantalizing grins
and the uniformly wicked gleam in their eyes dare the full blooded young bucks to
do their darndest. They may have been utter strangers during the early part of the
evening but before the night is over, they are all happily sweating and laughing
together in the beat of spirits.
Everything they do is free and easy; typical of that group of hard-working Negroes
who have little or no inhibitions and the fertility of imagination so necessary to the
invention and unrestrained expression of new dance-steps and rhythms.
The dancers organize little impromptu contests among themselves and this
competition is often responsible for the birth of many new and original dancesteps. The house-rent party takes credit for the innovation of the Lindy-Hop that
was subsequently improved upon at the Savoy Ballroom. For years, it has been a
great favorite with the regular rug-cutting crowd. Nothing has been able to
supplant it, not ever the Boogie-Woogie that has recently enjoyed a great wave of
popularity in Uptown New York.
Such unexpected delights as these made the house-rent party, during its infancy,
a success with more than one social set. Once in awhile a stray ofay or a small
party of pseudo-artistic young Negroes, the upper-crust, the creme-de-la-creme of
Black Manhattan society, would wander into one of these parties and gasp or
titter (with cultured restraint, of course) at the primitive, untutored Negroes who
apparently had so much fun wriggling their bodies about to the accompaniment of
such mad, riotously abandoned music. Seldom, however, did these outsiders seem
to catch the real spirit of the party, and as far as the rug-cutters were concerned,
they simply did not belong.
With the advent of Repeal, the rent-party went out, became definitely a thing of
the past. It was too dangerous to try to sell whiskey after it became legal. With its
passing went one of the most colorful eras that Harlem has ever known.
22
DANCING IN
HARLEM
The Savoy Ballroom, covering an entire city block, was
Harlems most popular ballroom and the first to be completely integrated. The Savoy would always hire two bands
a night; there was never a lull in the dancing. Due to
such constant use, the wooden floor had to be
replaced every three years. Other prominent
entertainment locations were the
Cotton Club and the
Apollo Theatre.
Lindy
Hop
Two dances, the Breakaway and the Charleston, combined to form the Lindy Hop. Named
in honor of Charles Lindberghs flight across
the Atlantic, the dance is an athletic series of
smooth moves and air-steps. Later, the dance
became known as the Jitterbug.
23
Originating in its South Carolina namesake city, the Charleston first came to
Harlem stages in 1913. By the early
1920s, it had become a dance sensation. The dance
was so popular
that waiters and
waitresses were
expected to perform it for customers upon request. The birdlike steps and
movements remain the trademark dance of the
1920s.
AND
30S SLANG
?
y
d
Jooking playing music or dancing in the manner seen in Jook joints
d
a
Juice liquor
D
July Jam something really hot
it,
g
Jumpin lively
i
d
Killer-Diller real nice
a
y
Liver Lips big thick lips (an insult)
o
D
Mama sweetheart, lover, or wife
Jook a pleasure house, in the class of a gut-bucket (see above)
Mesh nylons
Now Youre Cookin With Gas now youre talking!
Peeping Through my Likkers carrying on while drunk
Pilch house or apartment
Playing the Dozens a verbal sparring game of insulting an opponents relatives and
ancestors
Reefer; Drag marijuana cigarette
24
Th
is j
oin
Rug-Cutter a person frequenting rent parties; a good dancer
t is
Riff to improvise
!
s
a
G
h
t
i
W
n
i
k
o
o
C
e
r
Now You
25
jum
pin
!
Additional Terms
Reprinted, with permission, from
CENTERSTAGE; The Next Stage; January, 2003
Rhonda Robbins, Editor
Chassis: The structural framework of a car or
truck, satirized here into meaning the portion of
the body below the waist.
Dowager: A widow who holds a title or property
inherited from her deceased husband, or an
elderly woman of high social station.
Duses: Pretty, natural women; after the Italian
actress Eleonora Duse, who was known for her
realistic portrayals of down-to-earth characters,
particularly in the plays of Gabriele dAnnunzio.
Jitterbug: A strenuous dance performed to quicktempo swing or jazz music, consisting of various
two-step patterns embellished with twirls and
sometimes acrobatic maneuvers. Also one who
performs this dance.
Waldorf: The Waldorf Astoria Hotel, long considered one of Manhattans finest.
26
W.T. Kirkeby, Fats Wallers manager, gives an account of Fats professional life. The book
examines Fats as a musician and performer.
Fats Waller. Maurice Waller and Anthony Calabrese. Macmillan Publishing Company, 1977.
Fats Wallers son, Maurice Waller, tells the story of his fathers life. The story follows his
musical developments, acquaintances, troubled marriages, etc. Recommended reading.
Rutgers has assembled a collection of information and reflections on the life of Fats Waller.
Letters from Fats, touring accounts, beautiful photos, etc. His entire career and life history
can be found within these pages. Excellent resource. Readings and recordings available.
This site contains a biography of Fats Waller. It is an example of the continued European
interest in Fats work; it is based in France. Well-researched and interesting. 4 pages,
printed.
On the left-hand side of the page, a link to Harlem and the kings of Stride is available. It
is a succinct overview of the careers of James P. Johnson, Willie The Lion Smith, and Fats
Waller.
27
The Library of Congress has innumerable resources available regarding American history.
Search for topics related to jazz, Harlem, the Harlem Renaissance, etc. Photos, newspaper
articles, first-hand accounts, and more available.
Suggested title: Race in Harlem are at Wits End for Houses.
The Federal Writers Project of the Work Project Administration (WPA) collected and
recorded the life histories of thousands of Americans from 1936-1940. Search function
available. Suggested titles: Eddies Bar, Buffet Flat, Dancing Girls, Amateur Night, Cocktail
Party, The Whites Invade Harlem, Savoy Ballroom, Harlem, Slick Reynolds, Bernice, Betty
(if not found, see next resource). Suggested topics: New York City, Harlem, and Jazz.
Note: not all stories are recommended for young children, as they contain accounts of
serious drug and alcohol use and prostitution.
A Renaissance in Harlem: Lost Essays of the WPA. Edited by Lionel C. Bascom. Amistad,
2001.
This book is a collection of Harlem-related WPA Life Histories. See above resource for
recommended titles.
Daily Life in the United States, 1920-1940: How Americans Lived Through the Roaring
Twenties and the Great Depression. David E. Kyvig. Ivan R. Dee, 2004.
This book is a detailed account of everyday life in a post World War I United States. Subjects
include the advent of electricity and radio, diet, housing, culture and crime. An in-depth
period study.
The Kennedy Centers Education Department has created a wonderful site for the
exploration of Harlem culture. Audiovisual resources, Renaissance figures, Harlem history,
and classroom connections are all available on the main page. Educational, thorough, and
easy to explore. Highly recommended!
Extraordinary people of the Harlem Renaissance. P. Stephen Hardy & Sheila Jackson Hardy.
Childrens Press, 2000.
This book, designed for children, is full of excellent pictures from the Harlem Renaissance
and informative essays on key figures in literature, music, art, and politics. Highlighted
people include: Louis Armstrong, Duke Ellington, Ethel Waters, Henry Ossawa Tanner,
Nancy Elizabeth Prophet, Langston Hughes, Countee Cullen, Jean Toomer, W.E.B. Du Bois,
Marcus Garvey, and Alain Leroy Locke.
28
James P. Johnson. Scott E. Brown and Robert Hilbert. Rowan & Littlefield, 1992.
James P. Johnsons musical career and recordings are accounted for in this book. Photos,
bibliography, discography, biography included.
Stifelman writes about her journey to recover the symphonic works of James P. Johnson.
Manhattans Concordia Chamber Symphony orchestra performed the pieces, for the first time
since Johnsons lifetime, in 1992. This is the story of the quest for and recovery of Johnsons
landmark orchestral arrangements.
The Negro Artist and the Racial Mountain. Modern American Poetry.
<www.english.uiuc.edu/maps/poets/g_l/hughes/mountain.htm>
Langston Hughess 1926 essay on racial struggle is reprinted here. Hughes writes to black
intellectuals and artists to refuse the standards of white expectation and rise to a unique
success including the jazz culture of the time. 3 pages, printed.
The Power of Pride: stylemakers and rule breakers of the Harlem Renaissance. Carole Marks
and Diana Edkins. Crown Publishers, 1999.
This book examines, through essays and marvelous photos, seventeen important people from
the Harlem Renaissance: Josephine Baker, Walter White, Zora Neale Hurston, ALelia
Walker, James Weldon Johnson, Ethel Waters, Louis Armstrong, Bessie Smith, Alberta
Hunter, Jessie Fauset, Nella Larsen, Florence Mills, Duke Ellington, Bill Bojangles
Robinson, Carl Van Vechten, Langston Hughes, and Dorothy West.
A Nightclub map of Harlem, E. Simms Campbells stunning caricature of 1932 Harlem, is
included in this book.
This page contains tabs for dancers, dance halls (including the Savoy), dance terms, dance
timelines, etc. A search function is available. Suggested topics: Charleston, Lindy Hop,
Savoy Ballroom, Black Bottom, Cotton Club, and Rent Parties.
Each entry has a list of cross-references referencing contemporary dances, music, etc.
29
If your students are interested in playing Fats Waller piano pieces, this book of sheet music is
a transcription of his stride piano solos. Songs include: Aint Misbehavin, Alligator Crawl,
Handful of Keys, Honeysuckle Rose, Smashing Thirds, etc.
Explore this website for a full history of jazz, its musicians, and its influence. Artist
biographies, classroom applications, and various links are provided. There is also a section
for younger children under Jazz Kids.
There is an accompanying book (by the same name), found at local libraries, authored by
Ken Burns and Geoffrey Ward.
The film is excellent. Produced by PBS Home Video Studios, it was released in 2001 on
DVD. Check local libraries. 10 episodes, less than two hours each. Episodes 1-7 focus on
the history and events of the time in which Aint Misbehavin is set.
With two main categories on the main siteJazz History and Jazz Educationthis site is
ideal for students focusing on jazz. Timelines, lingo, photos of important events, and other
instructions and explanations surrounding jazz are available.
Carnegie Library has a list of resources found in their collection relating to jazz history in
Pittsburgh. Listed are books about Pittsburgh jazz musicians and recordings from Pittsburgh
jazz artists.
The Pittsburgh Jazz Society website has links to local jazz artists, information about local
events, and opportunities for participation in jazz.
This website provides a history of pre-1930 jazz. Tabs for musicians, films, essays, and other
information are provided with cross-references. A search function is available. Suggested
names: Fats Waller (and his Rhythm), James P. Johnson, and Langston Hughes.
Fats Wallers brief biography is accompanied by an extensive list of songs he recorded or
wrote. The songs can be played, with good sound quality, through the computer.
30
Rent Party Jazz. William Miller and Charlotte Riley-Webb. Lee & Low Books, 2001.
Written for children ages 9-12, this novel tells the story of a New Orleans familys experience
with jazz. Set in the 1930s, a young boy throws a rent party to help his mother pay for their
apartment after she loses her job.
Steppin on the Blues: The Visible Rhythms of African American Dance. Jacqui Malone.
University of Illinois Press, 1996.
John Fell traces the history of stride piano from ragtime to the present. Both the musicians
and the nature of the music itself are discussed.
Swingin at the Savoy: The Memoir of a Jazz Dancer. Norma Miller and Evette Jensen. Temple
University Press, 1996.
Norma Miller, comedian, dancer, and choreographer, tells her story of growing up in Harlem
near the Savoy. She recounts her interactions with the legends of jazz and traces the
influence of dance on culture.
31