[‘London Theatres’, The Stage, 26 March 1931, 14]. The show JOEY SHIELDS “...a loud voice did not prosper. Spike Hughes’s theories about why can be read in extenso in Second Movement. He was not impressed and a great jazz feeling” by the star and relates that her big number Half-Caste Woman was known to the cast as ‘Mis-Cast Woman’. “Rather tactlessly Joey and Eddie were included in a scene with Ada May; unless by Howard Rye (with much assistance you are a Fred Astaire, it is the first commandment that you do not dance at the same time on the stage as any negro dancer, from Robert Ford). and even then you have to be pretty careful. Nobody, it seemed, had warned Miss May” [Hughes 1951, 104]. At one point it was announced the show would be pulled after nine days, but it staggered on for three weeks until 7 April. Seven items from the revue, including Joey & Eddie’s “comical dance” were subsequently presented in variety at the London Palladium during the week of 20 April 1931 [‘The Variety Stage’, The Stage, 23 April 1931, 3]. On 30 March 1931 Cochran’s cabaret revue Creation was presented in The Grill Room of the Trocadero. “C. B. Cochran’s remarkably free adaptation of the world’s earliest history is doubtless to some extent inspired by his new star dancer, Eve, who, however, appears as the Serpent…We pass on to the South Seas for the purpose of going native… In the characters of King and Queen of this savage realm, Eddy Williams and Joe Shields, clever coloured artists, introduce good work. We have a spiritual with Joey Shields providing the voice…The dances arranged by Billy Pierce and Buddy Bradley are capital.” [Gore 1931]

Spike Hughes took note. “Joey Shields, the younger of the two Harlem boys, was discovered to be able to sing. He didn’t sing in the way that I understand singing, but he didn’t croon either. He had a very natural way of singing, and even his occasional digressions from the path of true intonation and the official line of the melody had a personal charm, and nobody could take offence at them. At the Trocadero Joey sang a pseudo-spiritual through a megaphone and made a pleasant and creditable job On 4 February 1931, two young African American dancers of it. His performance gave me the idea of adapting a series of arrived in London on the Cunard liner Ascania from New York genuine spirituals for our band, with Joey to sing, and recording City. They were Joseph Shields, aged 19, and Eddie Williams, them.” [Hughes 1951, 116]. It will be noted that Joey Shields aged 16. They had been booked through Billy Pierce, in whose was actually the elder of the two. It is clear he was a small man. dancing school Williams had apparently worked as a teacher, Harry Hayes recalled him as “very small with a loud voice and to appear in C.B. Cochran’s new show Cochran’s 1931 Revue. a great jazz feeling” [Harry Hayes, insert notes King’s Cross Pierce, who was not himself a dancer [Stearns, 1966, 163], had KCM003/004]. been recruited because his school had taught the American star of the show Ada May and he in turn had brought in Buddy The upshot was that Shields sings on fourteen titles recorded Bradley to do the choreography [J. A. Rogers, ‘Paris Gossip’, across eight Decca sessions from 8 April 1931 to 5 February Philadelphia Tribune, 23 Apr 31, 6]. 1932, and one on 10 February 1932 for Parlophone, issued as by The Roof Garden Orchestra and Buddy’s Brigade. In the The revue opened for its trial run at the Palace Theatre, event he got to sing quite a range of material. On Decca D2584 Manchester, on 13 February 1931, described as “A revue in he was given artist credit, unfortunately as Jerry Shields. twenty-four scenes, music by Noel Coward and others, lyrics Despite this substantial body of work, it seems that Hughes by Douglas Byng, dances and ensembles by Buddy Bradley and was not curious enough to ask him where he was coming from Billy Pierce, staged by Frank Collins.” “The orchestra is ably and no one seems to know where he went. Billy Amstell refers controlled by Percival Mackey.” [‘Provincial Productions’, The to him as “that happy little coloured American who never made Stage, 26 February 1931, 17] Spike Hughes played bass in the the grade; why I shall never know” [Billy Amstell, insert notes orchestra and contributed orchestrations, a process he King’s Cross KCM003/004]. describes at length, and hilariously, in his autobiography Second Movement [Hughes 1951, 95ff]. The band also The Trocadero cabaret revue was still continuing in June 1931 included the Jamaican trumpeter Leslie Thompson, “whom I [Shields 1931] at which date Joey and Eddie were expecting to had discovered in London and roped in to play for my Decca go into vaudeville in a few weeks. All the recording sessions band.” Joey and Eddie, Hughes said “were a couple of typical took place on week days so in those weeks at least the duo Harlem youngsters who wore purple suits, overcoats with were in London. In April 1932 they are reported, “In vaudeville padded shoulders reaching to heaven and danced and moved in the provinces” [‘Joey Shields Busy’, Baltimore Afro- with the lithe grace peculiar to their race” [Hughes 1951, 104]. American, 30 April 1932, 23], but no trace of any engagements has been located. They returned to New York City from After the three-week try-out, the company proceeded to Southampton on American Line’s President Harding on 26 May London by special train and opened at the London Pavilion on 1932 arriving on 3 June 1932. Joseph Shields said he was born 19 March. Straining itself, The Stage managed a reference to in Baltimore, Maryland, on 1 January 1912 and bound for 1918 “Messrs Joey Shields and Eddie Williams, excellent dancers” Druid Hill Avenue, Baltimore, Maryland, Edward Williams in New York City on 1 January 1915 and bound for 2469 7th Avenue, New York City. Later lists of birthdays published in the reported that he had worked with ‘Sunshine Sammy’ on R.K.O. Baltimore Afro-American confirm the coincidence of both being time [Shields, 1931]. ‘Sunshine Sammy’ (Frederick Ernest New Year’s Day babies. Morrison, born New Orleans, 20 December 1912) had been the “token black”, as we would now call it, in the hugely Ironically the June 1932 issue of the Melody Maker carried an popular Our Gang film comedies. He had gone out in an act article [‘High Lights On Dark Subjects’. 500-1] with material with his “Brothers”, who it seems were always called Charlie on the now-departed duo. It describes Williams as “a faithful and Little Joey, irrespective of who they were. Census entries satellite” of Buddy Bradley. “Like Buddy’s, his ‘beats’ are a treat suggest that in reality “Sammy” only had sisters. To compound for a rhythmic fan’s ears…Red hot rhythm sums him up.” confusion the “Little Joey” before Joey Shields was Little Joey Shields is described as “a worthy dancing pupil of Buddy’s, but Harris, who had preceded Joey Shields in the Harris & he certainly has the bulge on him when it comes to singing.” Holley/Harris & Van act and was sometimes reported as the He is reported to be learning the drums. son of Bud Harris [‘Lincoln Perry’s Letter’, Chicago Defender, 3 September 1927, 6]. The first census of his life, taken on 8 January 1920, finds In May 1928, Harris & Van, “supplemented by Joey Shields”, Joseph A. Shields, 8, at home at 1804 Etting Street, Baltimore, are reported playing the week at Franklin Theatre, New York Maryland, with father Richard, 38, a chauffeur in the wholesale City [‘Here And There’, Baltimore Afro American, 12 May 1928, candy business, mother Cora, 34, a laundress working at 9]. Shortly after, they were at Keith’s Palace and Lafayette home, brother Charles L., 11, and sisters Lucille, 10, and Theatres, New York City, [‘Harris And Van Star At Lafayette’, Prasceline, 4. All were Maryland-born, as were all of Joey’s New York Amsterdam News, 30 May 1928, 10], where “Little grandparents, and the family are characterized as “Mulatto”. Joey has just turned sixteen. He is a handsome lad, with the face of an Apollo, the voice of an angel, a smile that makes all He was a sickly child, who underwent several major who see him happy, and a pair of dancing feet which already operations under the care of Dr. Baer. Dancing, initially resisted are offering competition to the best-known tap-dancers on the by his parents, strengthened him [Matthews. 1931] In 1924, stage,” which fits the age of Joey Shields, yet it is also reported so at the age of 12, he appeared in an amateur revue at Royal that “Bud Harris, assisted by Van and Joey Harris, knocked ’em Theatre, Baltimore, assisted by four small girls, as the Ragtime for a row of empty milk bottles at the Lafayette this week.” Steppers [‘Local Youngster Makes Hit On Keith’, Baltimore Afro [Salem Tutt Whitney, ‘Timely Topics’, Chicago Defender, 9 June American, 7 May 1927, 9, which says this was “three years 1928, 7] The depths of journalistic confusion revealed here are ago”]. This evidently was or became the name of a social club probably beyond penetration at this late date! as in 1925 Joseph, Lucille, and Pasceline (also Doris) Shields are reported attending a meeting of The Ragtime Steppers at Joey Harris is a real person. In June 1928, while Shields was the residence of Robert Creditt, 1100 Woodyear Street, still with Harris & Van, he appeared with Sunshine Sammy at Baltimore [‘Ragtime Steppers’, Baltimore Afro American, 5 Loew’s Theatre, Cleveland, and Loew’s State, New York City, December 1925, 16] with Charles Witty as the other ‘brother’ [‘Sunshine Sammy Given An Ovation’, New York Amsterdam News, 27 June 28, On 26 April 1927, Shields appeared before the National 2] They were given a welcome at Grand Central Station on 24 Vaudeville’s Association’s New York Club, and in May was with June 1928, by 300 boys and officials from the West 135th Harris & Holley at Keith Theatre, Philadelphia [‘Local Youngster Street YMCA. “Charles Witty” is assumably the dancer Charles Makes Hit On Keith’, Baltimore Afro American, 7 May 1927, Witty [Charles J. Whittaker] who appeared in London with the 9]. By his own account, Shields tried out with Bud Harris and Ted Lewis Orchestra in mid-1930. He was then aged 17. Sammy Van when they played at the Maryland Theatre, Baltimore, and claimed to have stowed away with them when The first definite confirmation found of Joey Shields as a they left [Matthews. 1931].

It is not clear whether “Harris and Holl(e)y”, who appear again below, are or are not the same act as “Harris and Van”. Percy Nathan ‘Bud’ Harris, born Petersburg, Virginia, 6 November 1894, came to Britain himself in 1936 as one of Harris & Howell, comprising himself, Bert Howell, born Limerick, Georgia, 4 March 1900, who is the Bert Howell who recorded for Columbia, Victor, and Paramount, and Paul Weakley, known as Paul Harris, born Washington, DC, 13 December 1911. Sammy Vanderhurst, born Charleston, South Carolina, 14 April 1905, also came to Britain, in 1933, as one of Brookins & Van. Robert Thomas ‘Tommy’ Brookins, born St. Louis, Missouri, 2 September 1906, had recorded as a vocalist with Tiny Parham. They made several trips to Europe before breaking up in early 1939.

Engagements with Harris & Van can be traced in the African American press into 1928, much of the time working the Keith Circuit (i.e. on “white time”). Early in July 1928, Joseph Shields entertained at a Harlem dance derby at the Manhattan Casino. He is said to be “working the Keith circuit with Harris & Holly” [‘Here And There’, Baltimore Afro American, 14 July 1928, 9], but a fortnight later, he is reported with “Harris Vann” [sic] at the Keith theater at White Plains, New York [‘Peeking In the Theatres’, Baltimore Afro American, 28 July 1928, 8]. Mark Berresford Collection. At this point things become very complicated. Shields himself member of Sunshine Sammy’s act comes in March 1929, when Evidently August 1929 was spent “resting” in Baltimore, where “Joseph Shields of 1918 Druid Hill Avenue, Baltimore, the Baltimore Afro American reports a succession of social Maryland” is reported appearing with Sunshine Sammy at engagements involving Shields, his sisters, Duncan, and Stanley Theater, Baltimore (white) [J. Logan Jenkins, Jr., Sunshine Sammy. On 18 August all were Sunday guests at the ‘Baltimore, Maryland’, Pittsburgh Courier, 30 March 1929, 9]. Edgewater Beach resort [‘Society’, Baltimore Afro American, 24 It seems likely, however, that he joined soon after he is last August 1929, 16]. At a reception hosted by Annie & Henrietta heard of with Harris & Van. In August 1928, Edward Arlington Brown on Thursday night (15 or 22 August), Arlington Duncan Duncan, 14, former Douglass High School pupil, son of Mr. & rendered a dance number, while Joe Shields sang I’ll Always Be Mrs. Felix Duncan, of 2003 McCulloh Street, Baltimore, joined In Love With You. [Buena Vista Gray, ‘Sub-Deb Chatter’, Sunshine Sammy on the Loew circuit in New York for a month’s Baltimore Afro American, 24 August 1929, 17]. Sunshine engagement [‘Local Youth Joins “Sunshine Sammy”, Baltimore Sammy and His Gang, specified to include Duncan and Afro American, 11 August 1928, 8]. Duncan became a member Shields, returned to New York City on 25 August 1929 [Buena of the Shields siblings’ social set in Baltimore if he was not Vista Gray, ‘Sub-Deb Chatter’, Baltimore Afro American, 31 already. August 1929, A17]. They resumed touring on the R.K.O. Circuit. Sunshine Sammy billing remains uninformative. On 6 December 1928, “Sunshine Sammy, Little Joey & Charlie” were In October 1929, during an engagement at the whites-only St slated for a civic ball and reception in honour of Lionel O. Louis Theatre in St Louis, the company gave a special Licorish at Rockland Palace, 155th Street & Eighth Avenue, New performance for pupils of Sumner and Vashon High Schools. York City [‘Plans Complete For Reception’, New York Eddie Duncan gave an exhibition of tap-dancing, Joe Shields Amsterdam News, 5 December 1928, 8] Music by John C. sang Am I Blue, Mistakes, and Halfway To Heaven. Sunshine Smith’s Orchestra [New York Amsterdam News, 5 December Sammy did The Woodpecker, imitating Bill Robinson’s step 1928 7, ad.]. Licorish was quartermaster on the S.S. Vestris dance. [‘Sunshine Sammy and Gang Entertain, Baltimore Afro which sank off the Virginia coast in 1928; he was credited with American, 2 November 1929, 8]. On 2 November 1929, they saving a number of lives and recorded two Caribbean numbers appeared at Bud Billiken’s free-movie party at the Vendome for Columbia, reportedly in reward for his bravery [Rye & Ford. Theater, Chicago, with Ada Addison, the boys’ private tutor 2013]. [‘1,110 Kiddies Frolic at Bud’s Theater Party’, Chicago Defender, 9 November 1929, A3]. At the Fox Theatre in Brooklyn for the week of 29 July 1929, the “brothers” are billed as “Brothers Charlie and Little Joe” On 10 April 1930, the census found the company at 335 West [Brooklyn Standard Union, 27 July 1929, 5, advertisement]. 100th Street, New York City. Head of the household is Joseph Morrison, 41, with his son Ernest, 17, both Louisiana-born of Louisiana-born parents. Edward Duncan and Joseph Shields, both 18, and Ada Addison, 29, are all Maryland-born of Maryland-born parents. All the men are described as “actor, show business”. It looks as though Duncan as well as Shields left the act soon after. On 6 June 1930, both are back in Baltimore, appearing in The College Prince (A Musical Campus- Capers In Three Acts), at Ford’s Theatre. The full program [‘Theater Notes’, Baltimore Afro American, 7 June 1930, A8] includes ‘Specialty’ by Shields & Duncan. Pasculina [sic] Shields appeared as one of four ‘Student Guests”. The orchestra was under the direction of Prof. John D. Magez, director of Ford’s Theatre Orchestra. In July both are reported members of the Los Amigos club founded for the summer holidays [Buena Vista Gray, ‘Sub-Deb Chatter’, Baltimore Afro American, 5 July 1930, A12].

When Shields reappears in show business in December 1930 he has a new partner, Eddie ‘Pee Wee’ Williams of 588 Lenox Avenue, New York City [Shields 1931]. The family were already at that address on 7 January 1920. Father Edward Williams, 32 and a factory porter, and mother Anna, 29, were both born in the Virgin Islands of Virgin Island parentage and said they had immigrated to the United States in 1910. They have four children, all born in New York. Edward, 6, is the second child. The household includes his great-grandfather Benjamin Andrew, who is 72, and other relatives. The birthplace of the Virgin Islanders was originally entered as “Denmark”. On 9 April 1930 at the same address, Edward, now said to be 46, is a “foreman, salad dressing”, Anne, 44, is a domestic with a private family and this time her mother is present. Christophenia McKree, 61, had immigrated in 1921. Edward, Jr., who unlike his elders has aged only ten years, still has no profession though either he was already teaching dancing in Billy Pierce’s studio or this association was very short.

Spike Hughes at a 1931 Decca recording sesion. Mark Berresford The act which Shields and Williams formed was known as Collection. Little Joey and Pee Wee [Shields 1931] and that is how they are reported at their only traced engagement at the Alhambra, New York City, in Razzle-Dazzle during the week commencing 8 December 1930 [‘News Of The Theatrical World’, New York Amsterdam News, 3 December 1930, 18]. Wilton Crawley was also appearing. Actual billing however was as “Little Joey and His Pal, Pee Wee” [New York Amsterdam News, 10 December 1930, 8, advertisement]. The ‘Little Joey’ who appeared later in the month at the Lafayette Theater, New York City, in Leonard Harper’s revue Red Cap Follies, accompanied by a 40-piece band directed by Russell Wooding, is presumably someone else. [‘Former Broadway Entertainers Here’, New York Amsterdam News, 31 December 1930, 9]. Shields and Williams left for London on 24 January 1931, which is where we came in.

Following their return, they were added to an amateur bill at the Renaissance Casino, New York City [‘Added Attractions For Kiddies’ Show’, New York Amsterdam News, 22 June 1932, 7]. Eddie Williams danced the tango with his sister Ruth, 3 years and seven months old in the 1920 census and 12 in 1930, so still only 14. Both evidently visited Baltimore in August as they are reported visiting the offices of the Baltimore Afro American [‘Afro Visitors’, Baltimore Afro American, 27 August 1932, 9]. Joey A. Shields, 20235 Seventh Avenue, Apt. 2B, New York City, and Eddie Williams, 564 Lenox Avenue, New York City, appear Photo courtesy of Howard Rye. in a list of 1 January birthdays published by the Baltimore Afro American [‘Birthdays’, 31 December 1932, 8]. 21]

Though Joey Shields has a New York address he was soon On 24 October 1936, Joey A. Shields was again a model at back in Baltimore. On 29 May 1933, “Joe Shields” appeared in the Osbiny Club, in a co-ed fashion revue at Rockland Palace, Spring Follies, presented by teacher Gough McDaniels as part 155th Street & Eighth Avenue, New York City [‘Manikins Offer of a “follow-up program which affords opportunity for the Rockland Revue’, New York Amsterdam News, 31 October pupils who develop talents at the Douglass High to carry on in 1936, 11]. Kaiser Marshall and His Ubangi Orchestra played amateur theatricals after they have finished or leave school,” for dancing. When the 1940 census was taken on 3 April, at New Albert Auditorium, Baltimore in aid of the Scottsboro Joseph Shields, 28, was back at 1923 Druid Hill Avenue, Defense Fund [W. Lewellyn Wilson, ‘Concords And Discords’, Baltimore with mum Cora, 43, a housekeeper for a private Baltimore Afro American, 3 June 1933, 8]. He is noted as an family, and dad Richard, 57, a clerk in a wholesale house. attendee at various “sub-deb” functions during these months. Joseph’s profession is stated as “page boy, hotel”. It is merely This was noticed. “Joey Shields, who was once starred in an appendix to this anti-climax to note that between September London by Charles B. Cochran, seems contented to wild [sic] 1947 and January 1949 Joey and Pee Wee are regularly away the summer days with his former school chums here at reported at various Osbiny Club functions in New York City by home,” [Ralph Matthews, ‘Looking At The Stars’, Baltimore the New York Amsterdam News. Afro American, 5 August 1933, 18]. On 19 September 1933, “Joey Shields, himself an entertainer and a member of the No death record has been located for Eddie Williams but the Ikoms Club,” made the response to Cab Calloway’s remarks Social Security Death Index shows that Joseph Shields died in when he attended a reception given by the Ikoms and Dizzy July 1985 in Baltimore without further troubling the public Debs Clubs at the home of Mrs. Robert Evans, 2018 McCulloh prints so far as can be discovered. Street, Baltimore. Cab Calloway and Walter Thomas were guests of honour. [‘Cab Calloway Is Boy Again as Ikoms and Dizzy Debs Revel’, Baltimore Afro American, 23 September References 1933, 3]. In July 1934 his address is confirmed as 1923 Druid Gore, Ivan Patrick. 1931. ‘Cabaret’, The Stage, 2 April, 4 Hill Avenue, Baltimore [‘Inquiring Reporter’, Baltimore Afro Hughes, Spike. 1951. Second Movement. London. Museum American, 7 July 1934, 20] and he joined forces with Eddie Press. Duncan for the gala opening of the “New Screened Dance Matthews, Ralph. 1931. ‘Balto Boy Now In London, Actually Pavilion” at Edgewater Cafe, Turner’s Station, Maryland Dances To Live’, Baltimore Afro American, 26 September 1931, [Baltimore Afro American, 7 July 1934, 18, advertisement]. 9. Rye, Howard, & Robert Ford. 2013 ‘Tosh Hammed’. Names & On 19 September 1934, he was back in New York with Pee Numbers 64 (January 2013), 28. Wee. They were modelling for the Osbiny Club 10th Annual Shields, Joey. 1931. ‘Alright Boys, We’ll Let Them Know’, letter Cabaret Dance and Male Fashion Show, Renaissance Casino, from Joey Shields, New York Amsterdam News, 15 July 1931, 139th Street & Seventh Avenue, New York City [‘New York 10, datelined 11 June 1931, 5 Panton Street, London. Society’, Chicago Defender, 29 September 1934, 7; Roi Ottley, Stearns, Marshall, & Jean Stearns. 1964. Jazz Dance: The Story ‘This Hectic Harlem’, New York Amsterdam News, 4 October of American Vernacular Dance. London , Macmillan. 1934, 9]. There is a report that “Joe Shields, of Pee Wee and ‘High Lights On Dark Subjects’. Melody Maker, June 1932. Joie [sic], is preparing to journey to Yurrope [sic] this fall, if Pee 500-1. Wee will ever come back from Baltimore,” [Malcolm B. Fulcher, ‘Broken Strings’, Baltimore Afro American, 31 March 1934, 13] Spike Hughes and His Dance Orchestra 1930-1932, Volumes but evidently nothing came of it. Shields told the 1940 census 3 & 4, King’s Cross Music KCM003/KCM004 enumerators that he had been living in New York City on 1 April Thanks to Mark Berresford for assistance with this research. 1935, but the Baltimore address appears in the 1 January 1935 ‘Birthdays’ list [Baltimore Afro American, 29 December 1934,