"Take-off?" Oh, yeah. Several all-girl bands did.
This book includes a hip swing CD.
From the Hardcover edition.
Black Women of the Harlem Renaissance Era profiles the most important figures of this cultural and intellectual movement. Highlighting the accomplishments of black women who sought to create positive change after the end of WWI, this reference work includes representatives not only from the literary scene but also:
ActivistsActressesArtistsEducatorsEntrepreneursMusiciansPolitical leaders Scholars
By acknowledging the women who played vital—if not always recognized—roles in this movement, this book shows how their participation helped set the stage for the continued transformation of the black community well into the 1960s.
To fully realize the breadth of these contributions, editors Lean’tin L. Bracks and Jessie Carney Smith have assembled profiles written by a number of accomplished academics and historians from across the country. As such, Black Women of the Harlem Renaissance Era will be of interest to scholars of women’s studies, African American studies, and cultural history, as well as students and anyone wishing to learn more about the women of this important era.
Filled with firsthand accounts of more than a hundred women who performed during this era and complemented by thorough—and eye-opening—archival research, Swing Shift not only offers a history of this significant aspect of American society and culture but also examines how and why whole bands of dedicated and talented women musicians were dropped from—or never inducted into—our national memory. Tucker’s nuanced presentation reveals who these remarkable women were, where and when they began to play music, and how they navigated a sometimes wild and bumpy road—including their experiences with gas and rubber rationing, travel restrictions designed to prioritize transportation for military needs, and Jim Crow laws and other prejudices. She explains how the expanded opportunities brought by the war, along with sudden increased publicity, created the illusion that all female musicians—no matter how experienced or talented—were “Swing Shift Maisies,” 1940s slang for the substitutes for the “real” workers (or musicians) who were away in combat. Comparing the working conditions and public representations of women musicians with figures such as Rosie the Riveter, WACs, USO hostesses, pin-ups, and movie stars, Tucker chronicles the careers of such bands as the International Sweethearts of Rhythm, Phil Spitalny’s Hours of Charm, The Darlings of Rhythm, and the Sharon Rogers All-Girl Band.
Several high-profile public victories accompanied this increasing optimism: the spectacular successes of African American athletes at the 1936 Olympics, the 1937 union victory of the Brotherhood of Sleeping Car Porters, and Joe Louis's 1937 and 1938 heavyweight championship fights. For the first time in history, black Americans emerged as cultural heroes and ambassadors, and many felt a new pride in citizenship.
In this book, Gena Caponi-Tabery chronicles these triumphs and shows how they shaped American music, sports, and dance of the 1930s and beyond. But she also shows how they emboldened ordinary African Americans to push for greater recognition and civil liberties -- how cultural change preceded and catalyzed political action.
Tracing the path of one symbolic gesture -- the jump -- across cultural and disciplinary boundaries, Caponi-Tabery provides a unique political, intellectual, and artistic analysis of the years immediately preceding World War II.
A professional tenor saxophonist for more than eighty years, Gilbert inspired several generations of musicians and continued to perform professionally into her nineties. Her last band, "Peggy Gilbert and the Dixie Belles," played hot Dixieland jazz on national television, at jazz festivals, and in concerts from 1974 until 1998. Their appearances on The Tonight Show Starring Johnny Carson, The Golden Girls, Ellen, and Simon & Simon, among other programs, made them famous coast-to-coast, even as octogenarians.
In Peggy Gilbert & Her All-Girl Band, Jeannie Gayle Pool profiles the fascinating life of this multi-talented saxophone player, arranger, bandleader, and advocate for women instrumental musicians. Based on oral history interviews and Gilbert's collection of photographs, newspaper clippings, and other memorabilia, this book includes many materials not previously available on all-women bands from the 1920s, 30s, and 40s. This volume also includes a chronology, bi
Although women have proven time and time again that they can more than hold their own against their male counterparts, female drummers not only remain a minority, but their contributions have been obscured by the traditional chauvinistic attitudes in the music business and gender stereotypes that surround the drum itself as a “male” instrument. Women Drummers takes a major step forward in undoing this misconception by acknowledging the talent, contribution, and growing power of women drummers in today’s music environment.
As McGee shows, these performances reflected complex racial attitudes emerging in American culture during the first half of the twentieth century. Her analysis illuminates the heavily mediated representational strategies that jazz women adopted, highlighting the role that race played in constituting public performances of various styles of jazz from “swing” to “hot” and “sweet.” The International Sweethearts of Rhythm, Hazel Scott, the Ingenues, Peggy Lee, and Paul Whiteman are just a few of the performers covered in the book, which also includes a detailed filmography.