The Beginning of the Harvest Moon Ball and the Myth of the Harlem Riot in 1935 As the Reason for It

Total Page:16

File Type:pdf, Size:1020Kb

The Beginning of the Harvest Moon Ball and the Myth of the Harlem Riot in 1935 As the Reason for It 1 The Beginning of the Harvest Moon Ball and the Myth of the Harlem Riot in 1935 as the Reason for It Harri Heinilä, Doctor of Social Sciences, University of Helsinki February 12, 2018 On March 19, 1935, thousands of Harlemites protested intolerable social and economic conditions by rioting for one day. They attacked mainly white-owned stores and broke hundreds of windows. The riot resulted in 1-2 dead and 64-100 injured1. Mayor Fiorella LaGuardia launched an investigation into reasons for the riot by appointing the research commission which found discrimination and poverty as the base for Harlem’s problems. The possibility of a new uprising because of the intolerable conditions convinced Mayor LaGuardia to better Harlem’s government services and infrastructure2. One of the improvements is claimed to be the Harvest Moon Ball dance contest which, depending on the version, supposedly either Mayor LaGuardia and the New York Daily News designed together for calming down frustrated Harlemites3, or the Daily News and the Savoy Ballroom authorities agreed on because of the social unrest after the riot4. The Daily News-sponsored Harvest Moon Ball was the New York metropolitan area-wide dance contest between 1935 and 1974, which included dances like the Foxtrot, Viennese Waltz, Tango, Rumba, and the Lindy Hop. All profits from the contest were donated to underprivileged children in the New York City. Its finals were organized yearly in the Madison Square Garden, except for preliminaries to the finals, which were held in various ballrooms like the Savoy Ballroom around the New York Metropolitan area. Savoy Lindy Hoppers who 1 Harri Heinilä, An Endeavor by Harlem Dancers to Achieve Equality – The Recognition of the Harlem-Based African-American Jazz Dance Between 1921 and 1943 (Helsinki, Finland: Unigrafia, 2015), pp. 371 – 372. Cheryl Greenberg, ‘The Politics of Disorder – Reexamining Harlem’s Riots of 1935 and 1943’ in Journal of Urban History, August 1, 1992, pp. 407-408 and 417. 2 Greenberg 1992, pp. 413 and 418. 3 Christopher J. Wells, “Go Harlem!” Chick Webb and His Dancing Audience During the Great DePression (Chapel Hill, North Carolina: the University of North Carolina, 2014), p. 99. 4 Delaney Moran, ‘ “Never Looking at Your Face, Only at Your Feet:” Race Relations at the Savoy Ballroom: 1926 - 1958’ in the Concord Review, Volume 24, Number Three, Spring 2014, p. 23. 2 represented Harlem’s Savoy Ballroom participated in the contest between 1935 and 1958. They competed very successfully in the Lindy Hop/Jitterbug Jive/Rock and Roll division (the name of the division changed during the years) losing the championship only twice.5 When considering how the Daily News explained the beginning of the Harvest Moon Ball contest, the 1935 Harlem riot and Harlem overall as the origin of the contest were not mentioned even in passing. As the Daily News stated in its articles, the Daily News employees, Miss Mary King originated the idea, Richard Clarke gave the name for the contest, and William F. Fritzinger conducted the project. The Lindy Hop, at which Harlemites excelled, was added afterwards to the already planned contest when an officer for the Parks Department saw the Colonial Park dance in Harlem where almost 15,000 did the Lindy Hop. He suggested to the paper that the Lindy could be added to the contest, and his idea was accepted.6 Thus, according to the Daily News, the Lindy Hop was an addition to the contest which was originated earlier. Christopher J. Wells, who did a doctoral dissertation on Chick Webb, has dedicated a chapter in his dissertation for the idea of the 1935 Harlem riot as the reason for the Harvest Moon Ball which Mayor LaGuardia with the Daily News planned for frustrated Harlemites7. Similarly, Delaney Moran in her article of the race relations at the Savoy Ballroom has suggested that the social unrest after the riot was the reason for the contest8. Both Wells and Moran use Savoy Lindy Hopper Norma Miller’s account as the source for their claim. Miller participated in the Harvest Moon Ball contest as of 19359. She discusses the first Harvest Moon Ball contest and its beginning in her memoir in 199610. When reading her statement of the beginning, it becomes clear that she does not claim that the contest was originated because of the Harlem-related reasons. Actually, her statement can be read the way 5 Heinilä 2015, pp. 189 and 196-197. See also Terry Monaghan’s article of the Harvest Moon Ball which was published in www.savoyballroom.com that is not working anymore. I have a copy of the article. For the donations of the contest see Joel Dinerstein, Swinging The Machine – Modernity, Technology, And African American Culture Between The World Wars (Amherst, MA: University of Massachusetts Press, 2003), p. 270. 6 Heinilä 2015, pp. 189-190. See also Dinerstein 2003, pp. 270-271. 7 See the chapter, ‘The Riots of 1935: Racial Anger and the Harvest Moon Ball as “Social Insurance”’ in Wells 2014. 8 See Moran 2014, p. 23. 9 Wells 2014, pp. 99-100. 10 For the beginning of the contest see Norma Miller and Evette Jensen, Swingin’ at The Savoy – The Memoir of A Jazz Dancer (Philadelphia: Temple University Press, 1996), pp. 53-56. 3 that she suggests that the Savoy Ballroom was invited to participate in the ready-made contest. Her statement of the beginning of the Harvest Moon starts with a description of the riot and its background. Next, she brings out Mayor LaGuardia’s statement for Harlemites in which LaGuardia desperately appealed for calm without any reference to the Harvest Moon Ball or any dance contest. Then she explains that the Savoy Ballroom was closed for the damages caused by the riot. According to Miller, that caused anxiety in the Harlem community, even so that Harlem politician Adam Clayton Powell Jr. was worried about the closing. The situation supposedly led into a discussion between the members of the Savoy management, Moe Gale, Charles Buchanan, and Herbert White. They decided that something had to be done for boosting Harlem spirits after the riot. Miller states that Buchanan and White met with two men from the Daily News who “wanted to sponsor” the dance contest “as their contribution to boosting morale after the riot”. The two men explained that they wanted the Savoy to participate in the “city-wide” contest which included the aforementioned dances and the Lindy Hop11. Thus, implying that the contest was ready-made when they asked Savoy’s participation in it. As the Daily News in its articles did not refer to the Harlem riot as the reason for the beginning of the contest, the two men’s statement was the kind of pep talk which they used for persuading the Savoy management to participate in the contest after hearing the management’s worries. However, it should be noted that the closing of the Savoy Ballroom because of the damage, Adam Clayton Powell’s concern about the closing, and the meetings between the Savoy representatives and the two men from the Daily News cannot be verified by other sources12. That is entirely based on Norma Miller’s account of the events. There is no evidence of a long- term closing of the Savoy because of damage caused by the rioters in 193513 After the riot, 11 Miller and Jensen 1996, pp. 53-56. 12 I have not found any references to the events, but Norma Miller’s statement. 13 I have not found any mention of the closing of the Savoy. 4 The Eight Bright Lights of Elkdom Social Club and The Happy Hour Social Club had dances at the Savoy: the former either on March 29 or April 5, and the latter on April 1014. Also Mayor LaGuardia’s statements at the time do not support that the Harvest Moon Ball was originated from the 1935 Harlem riot. LaGuardia had a speech when the first Harvest Moon Ball contest was opened in the Madison Square Garden on August 29. He did not mention or imply that he was connected to the idea of the contest, and the Harlem riot was the reason for it. Actually, LaGuardia acknowledged the Daily News when he congratulated the paper for bringing out a big crowd for the contest15. Before that, he had a speech in Harlem when the remodeling plans for the Colonial Park were revealed on August 8. As he talked to 10,000 Harlemites who had gathered in the park for a dance, he made it clear that the officials of the City of New York had intensively studied conditions in Harlem for months, and the park was the right location for the “recreation centre” with a swimming pool, playgrounds, and “a mall for dancing and concerts”. The new center was a present to Harlemites.16 Probably, it was one of the actions which LaGuardia carried out in the aftermath of the riot17. The Colonial Park redevelopment was part of the large recreation program for the City of New York, which Mayor LaGuardia visualized18, and which was constructed with the Works Progress Administration funds19. LaGuardia did not mention or referred to the Harvest Moon Ball or any dance contest in the speech he made to Harlemites in the park20. 14 The article in The New York Amsterdam News explains that The Eight Bright Lights of Elkdom Social Club gave the dance ”last Friday night” which could have either March 29 or April 5 because the paper was published on April 6. See ’Club Chats’, The New York Amsterdam News, April 6, 1935, p. 12. See also ‘Club Chats’, The New York Amsterdam News, April 13, 1935, p.
Recommended publications
  • Re-Imagining United States History Through Contemporary Asian American and Latina/O Literature
    LATINASIAN NATION: RE-IMAGINING UNITED STATES HISTORY THROUGH CONTEMPORARY ASIAN AMERICAN AND LATINA/O LITERATURE Susan Bramley Thananopavarn A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature in the College of Arts and Sciences. Chapel Hill 2015 Approved by: María DeGuzmán Jennifer Ho Minrose Gwin Laura Halperin Ruth Salvaggio © 2015 Susan Bramley Thananopavarn ALL RIGHTS RESERVED ii ABSTRACT Susan Thananopavarn: LatinAsian Nation: Re-imagining United States History through Contemporary Asian American and Latina/o Literature (Under the direction of Jennifer Ho and María DeGuzmán) Asian American and Latina/o populations in the United States are often considered marginal to discourses of United States history and nationhood. From laws like the 1882 Chinese Exclusion Act to the extensive, racially targeted immigration rhetoric of the twenty-first century, dominant discourses in the United States have legally and rhetorically defined Asian and Latina/o Americans as alien to the imagined nation. However, these groups have histories within the United States that stretch back more than four hundred years and complicate foundational narratives like the immigrant “melting pot,” the black/white binary, and American exceptionalism. This project examines how Asian American and Latina/o literary narratives can rewrite official histories and situate American history within a global context. The literary texts that I examine – including works by Carlos Bulosan, Américo Paredes, Luis Valdez, Mitsuye Yamada, Susan Choi, Achy Obejas, Karen Tei Yamashita, Cristina García, and Siu Kam Wen – create a “LatinAsian” view of the Americas that highlights and challenges suppressed aspects of United States history.
    [Show full text]
  • Harlem Intersection – Dancing Around the Double-Bind
    HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Judith A. Miller December, 2011 HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND Judith A. Miller Thesis Approved: Accepted: _______________________________ _______________________________ Advisor School Director Robin Prichard Neil Sapienza _______________________________ _______________________________ Faculty Reader Dean of the College Durand L. Pope Chand Midha, PhD _______________________________ _______________________________ Faculty Reader Dean of the Graduate School James Slowiak George R. Newkome, PhD _______________________________ Date ii TABLE OF CONTENTS CHAPTER I. INTRODUCTION ……………………………………………………………………. 1 II. JOSEPHINE BAKER – C’EST LA VIE …………………..…….…………………..13 III. KATHERINE DUNHAM – CURATING CULTURE ON THE CONCERT STAGE …………………………………………………………..…………30 IV. PEARL PRIMUS – A PERSONAL CRUSADE …………………………...………53 V. CONCLUSION ……………………………………………………………...……….74 BIBLIOGRAPHY ……………………………………………………………………… 85 iii CHAPTER I INTRODUCTION “Black is Beautiful” became a popular slogan of the 1960s to represent rejection of white values of style and appearance. However, in the earlier decades of the twentieth century black women were daily deflecting slings and arrows thrown at them from all sides. Arising out of this milieu of adversity were Josephine Baker, Katherine Dunham, and Pearl Primus, performing artists whose success depended upon a willingness to innovate, to adapt to changing times, and to recognize and seize opportunities when and where they arose. Baker introduced her performing skills to New York audiences in the 1920s, followed by Dunham in the 1930s, and Primus in the 1940s. Although these decades resulted in an outpouring of cultural and artistic experimentation, for performing artists daring to cross traditional boundaries of gender and race, the obstacles were significant.
    [Show full text]
  • WW2 Swing Dance (Physical Education)
    WW2 Swing Dance (Physical Education) How Did Types of Dances Evolve and Affect People on the Home and War Front During World War Two? When World War II came along, many different dances were formed. These dances also were affecting people that were depressed on the war and home front. They danced to bring positivity and happiness through the difficult times during the war. Jive, Jitterbug and Swing The Jive, Jitterbug and the swing are all different types of dances that came about during the time of World War II. Jitter is short from Jitterbug and all of these types of dances are fast and upbeat. "The Swing Era had begun in the 1930s, when Americans were trying to forget the Great Depression. Dancing to upbeat music seemed to help." The jive, jitter and swing were fast upbeat music that people danced to, to try and forget their depression. These dances were danced on the war front, home front and basically anywhere that Americans wanted to feel relief. "The evolution of music brought about new sounds such as jazz and swing music. These sounds translated to new dances. Jitterbug dancing grew in popularity." The new music coming along was fast and upbeat which caused people to dance fast and have fun times. As shown this is a new evolution of music which proves how the jitterbug, jive, swing and many other dances were brought up during the time of World War II. “Swing became more popular as the decade went on, and after the repeal of prohibition, crowds began to outgrow the speakeasies where the dancing had started" The people would get together to drink and dance and listen to music which helped them forget about their problems.
    [Show full text]
  • Cab Calloway
    Cab Calloway Background information Birth name Cabell Calloway Born December 25, 1907 Rochester, New York, U.S. Died November 18, 1994 (aged 86) Hockessin, Delaware, U.S. Genres Jazz, blues, swing Occupation(s) Bandleader, singer-songwriter Instruments Vocals Years active 1930–94 Associated acts The Cab Calloway Orchestra Website www.cabcalloway.com Cabell "Cab" Calloway III (December 25, 1907 – November 18, 1994) was a jazz singer and bandleader. He was strongly associated with the Cotton Club in Harlem, New York City, where he was a regular performer. Calloway was a master of energetic scat singing and led one of the United States' most popular big bands from the start of the 1930s through to the late 1940s. Calloway's band featured performers including trumpeters Dizzy Gillespie and Adolphus "Doc" Cheatham, saxophonists Ben Webster and Leon "Chu" Berry, New Orleans guitar ace Danny Barker, and bassist Milt Hinton. Calloway continued to perform until his death in 1994 at the age of 86. Biography Early years Calloway was born in Rochester, New York, on Christmas Day in 1907. The family relocated to Baltimore, Maryland. His mother, Martha Eulalia Reed, was a Morgan State College graduate, teacher and church organist. His father, Cabell Calloway, Jr., was a graduate of Lincoln University of Pennsylvania in 1898 and worked as a lawyer and in real estate. Cab Calloway spent his adolescent years growing up in West Baltimore's Sugar Hill, considered the political, cultural, and business hub of black society. There he grew up comfortably in a middle-class household. Early on, his parents recognized their son's musical talent and he began private voice lessons in 1922.
    [Show full text]
  • Swing Dancing
    Swing Dancing Richard Powers Street Swing Also known as Bugg and 4-count Hustle I am beginning with 4-count street swing because it's the easiest approach to swing dancing. The reason I start with street swing is that the timing is easy enough to let you concentrate on what's really important in swing: the swing moves, partnering, flexibility and creativity. Once you are comfortable with dancing street swing, it's an easy next step to the more widely-known six- count swing, which is the same four steps done in a slow-slow-quick-quick timing. Then triple six-count swing completes the family. Street swing is an American vernacular dance, meaning grass roots, from the people, instead of from professional dance masters. It's occasionally seen across the U.S. and Europe, although not as frequently as six-count swing. Today, Bugg is especially popular in Sweden. The Footwork for Street Swing Take two walking steps, either forward and back, or done in place, or traveling. Then finish with a "rock step" which is another two steps, first back, then forward, in place. The timing for street swing is an even 1-2-3-4. Walk-walk-rock-step. If you’re doing the steps in place, the Lead’s steps are: 1) Take a small step with the left foot to the left side. 2) Replace weight back on the right foot. 3) Take a small rock step straight back left. 4) Replace weight forward onto the right foot. The Follow dances the mirror image to this, beginning with her right foot.
    [Show full text]
  • Street Beat Performed by River North Dance Company
    1 Street Beat Performed by River North Dance Company Chicago-based River North Dance Company was founded in 1989 by several of the city’s well-known dancers and choreographers for the purpose of cultivating and promoting Chicago’s unique wealth of jazz dance talent. Under the leadership of Artistic Directors Sherry Zunker Dow and Frank Chaves, RNDC remains committed to taking jazz dance to new creative heights through concert performances locally and across the U.S. The company continues its commitment to the audiences of tomorrow by performing Street Beat, which strives to instill an appreciation and love of jazz dance to school-age audiences by demonstrating the development of popular jazz dance from the 20s to the present in a social, historical and artistic context. In 1993, River North Dance Company was the subject of an Emmy-winning television special, “Reality of a Dreamer,” which has been aired 12 times in Chicago and nine times nationally. As a result, River North Dance Company has been seen by over one million viewers across the United States. Street Beat is a fast-paced, fun jazz dance retrospective that demonstrates how the social climates and events of the day affected jazz dance throughout the 20th century. Beginning with the Roaring 20s, each decade is brought to life with a fully-costumed dance number. The entire performance is narrated with information about the major events of the day, the fashions, and the key historical figures. Dance is affected by the music and fashions that are popular in any given era. This study guide provides this information and explains its impact.
    [Show full text]
  • LET's LOOK JAM SESSION These Two Dancing Figures Have Large
    JAM SESSION These two dancing figures have large, flexible legs and arms flung wide, almost filling the entire painting. Their clothing reflects bright light, in contrast to the dark background—can you see another figure there, clapping and swaying in time to the music? The dancers are doing the jitterbug, an acrobatic jazz dance invented by African 1943 Oil on canvas Americans that involves standard steps and splits, twirls, and somer- 20 x 18 inches (50.8 x 45.7 cm) saults. The title, Jam Session, refers to times when jazz musicians get CLAUDE CLARK together to play for their own enjoyment. American Purchased with the Julius Bloch Memorial Fund created by Benjamin This energetic couple almost mirrors one another. The two figures D. Bernstein, 1998, 1998-65-1 both bend their knees, lift and lean back through their torsos, and raise their arms. Their strong legs, the woman’s swinging skirt, and LET’S LOOK Who do you see in this the folds in the man’s pants emphasize their movements. Can you painting? What are they find places where the artist, Claude Clark, scraped off some of the oil doing? How can you tell? paint, leaving lines that highlight the legs, heads, and clothing? Are they moving fast or slow? What kind of music do ABOUT THIS ARTIST you think they are dancing to? What instruments could When Claude Clark was eight years old, his family joined the Great be playing? What does the title, Jam Session, mean? Migration of African Americans moving from the rural South to the urban North.
    [Show full text]
  • Non-Swing Content Swing Content Characteristics of the 3 Most Popular Swing Dances at the US Open
    Non-Swing Content Swing Content Characteristics of the 3 Most Popular Swing Dances at The US Open Any identifiable dance other than swing: Identifiable Swing Dances: West Coast Swing: • American and International Ballroom While there is collegial disagreement about the exact • Action/Reaction Latin and Smooth including not limited number, most swing professionals agree there are • Anchors-- 2 beat pattern ends a pattern to: Cha Cha, Foxtrot, Paso Doble, well over 20 different swing dances: • Compression Rhumba, Quickstep, Viennese Waltz • Connection • Ballet • Balboa, Bal Swing, Big Apple, Little Apple, • Elasticity • Ballroom Smooth & Latin Boogie Woogie, Bop, Carolina Shag, • Leverage • Ceroc Charleston, Collegiate Shag, Country • Resistance • Country Two-Step Western Swing, Dallas Push, DC • Stretch • Hip Hop (Washington) Hand Dancing, Double Time • Danced in a shared slot • Hustle Swing, East Coast Swing, Houston Whip, • Follower walks forward on 1-2 • Night Club Two-Step Jitterbug, Jive/Skip Jive, Lindy (Flying Lindy • The Leader primarily stays in the middle of • Tango including “Hollywood” and “Savoy” styles), the slot and the Follower travels back and • Waltz Pony Swing, Rockabilly, Shim Sham, Single forth. However, for presentation purposes, Time Swing, St. Louis Imperial Swing, West • Zouk Leaders may bend and scroll the slot but Coast Swing Floor Work: there should be some evidence of the • Any part of the body part, other than a basic- foundation throughout the routine • Swing has a foundation of 6-beat and 8-beat foot, contacts with the floor: head, • Pulse (accent) on the Upbeat (2,4,6,8). patterns that incorporate a wide variety of shoulders, arms, hands, ribs, back, rhythms built on 2-beat single, delayed, chest, abdomen, buttocks, thighs, knees, Carolina Shag: double, triple, and blank rhythm units.
    [Show full text]
  • Lindy Hop & Big Apple
    LINDY HOP & BIG APPLE A HISTORY PROGRAM FOR KIDS (recommended for ages 7-15, along with parents and caretakers) Sponsored by Frankie Manning’s 95th Birthday Festival (A 5-day celebration of swing dance and music in honor of Frankie Manning) FREE tO THE PUBLIC • GENERAL ADMISSIOn • FIRST-COMe, FIRST-SERVED dOORS OPEN AT 4:15 P.M. DATE: satUrday, May 23 • TIME: 4:30 P.M. tO 5:30 P.M. LOCATION: ProfessiOnal Children’s School, 132 West 60th street (between 9th and 10th avenues) PROGRAM WILL INCLUDE: FAMILIES WILL LEARN ABOUT: • Lindy hop and Big Apple performances by • The Lindy hop, an energetic partner dance done Dawn Hampton, The Jitterbug Kids, and some of to swing music that originated at harlem’s savoy new york’s best swing dancers. Ballroom in the late 1920s. • Historical information presented by Cynthia • The Big Apple, an African American dance com- Millman, dance educator and co-author of posed of jazz steps of the 1920s and 1930s that Frankie Manning: ambassador of lindy hop. is directed by a caller, much like a square dance. • Film clips from the 1930s and the swing • Legendary Lindy hopper Frankie Manning, one of dance revival. the most influential dancers and choreographers • demonstration of steps. of the lindy hop and Big apple. • audience participation. • Whitey’s lindy hoppers, the greatest troupe of • Question & answer session. professional lindy hoppers ever. • swing music and musicians. • harlem and the savoy Ballroom. • the swing dance revival of the last two decades. • how families can get involved with swing dancing. FOr MORE INFOrMATIOn, PLEASE VISIT: www.Frankie95.com • www.FrankieManning.com • www.yehoodi.com.
    [Show full text]
  • Street Beat Performed by River North Dance Company
    1 Street Beat Performed by River North Dance Company Chicago-based River North Dance Company was founded in 1989 by several of the city’s well-known dancers and choreographers for the purpose of cultivating and promoting Chicago’s unique wealth of jazz dance talent. Under the leadership of Artistic Directors Sherry Zunker Dow and Frank Chaves, RNDC remains committed to taking jazz dance to new creative heights through concert performances locally and across the U.S. The company continues its commitment to the audiences of tomorrow by performing Street Beat, which strives to instill an appreciation and love of jazz dance to school-age audiences by demonstrating the development of popular jazz dance from the 20s to the present in a social, historical and artistic context. In 1993, River North Dance Company was the subject of an Emmy-winning television special, “Reality of a Dreamer,” which has been aired 12 times in Chicago and nine times nationally. As a result, River North Dance Company has been seen by over one million viewers across the United States. Street Beat is a fast-paced, fun jazz dance retrospective that demonstrates how the social climates and events of the day affected jazz dance throughout the 20th century. Beginning with the Roaring 20s, each decade is brought to life with a fully costumed dance number. The entire performance is narrated with information about the major events of the day, the fashions, and the key historical figures. Dance is affected by the music and fashions that are popular in any given era. This study guide provides this information and explains its impact.
    [Show full text]
  • The History of Boogie Woogie and Rock'n'roll We Can Assume, That
    The history of Boogie Woogie and Rock’n’Roll We can assume, that the history of Boogie Woogie began with the development of new dance- and music styles. At the 1893 world exhibition in Chicaco came up dances within the Ragtime style and around 1900 the so called Chicken-wheel-dance. The breakaway, an other important fore runner of the Boogie Woogie, is a dance style done to Charleston and Swing music where the couples separated to do solo steps. The big breakthrough of the Swing music came 1934, when a white bandleader, Benny Goodman, held his famous concert at the Carnegie Hall and swept the audience off their feet. The next day, New York was in Swing fever. The rest of the work for the final music and dance euphoria was done by Hollywood of course. The name Boogie Woogie signifies piano music with strong rolling bass runs which is said to have its origins around the mid twenties in a lumberjack-camp. The dance steps that were done to that music were called Boogie Woogie. On the famous recording “Pinetop’s Smith Boogie Woogie” from 1928 you can hear him giving instructions for some steps. One of the “Boogie Woogie“ steps is a figure where alternately the right and left leg together with the hips are moved to the outside in light circulating movements. The great success of the Boogie Woogie music came overnight; once more through a concert in Carnegie Hall in New York. Mead Lux Lewis, Albert Ammons and Pete Johnson dragged New York and the rest of the USA along into a Boogie Woogie fever.
    [Show full text]
  • Hoppin' Birthday, Frankie!
    Hoppin' Birthday, Frankie! We Love You! Who's that cat? Why, it's the young Frankie Manning with partner Ann Johnson, in action at Big George's Restaurant in Corona, NY. Sketch by Porl Smith, based on an unattributed (boo, hiss, shame on those responsible) photo from the cover of Jookin', The Rise of Social Dance Formations in African-American Culture by Katrine Hazzard-Gordon. Inside Frankie-isms: The Defining of a Lindy Legend Ernie Smith paints a word portrait of our Man of the Month (page 4) The.London Scene There's a lot happening in the London dance scene ... (page JO) Spotlight on The .Big Apple Lindy Hoppers A troupe in the home of the Lindy Hop {page 6) The Secret . of Life Margaret Batiuchok shares experiences of Frankie (page 12) New York, New York Where it all began - what's happening today. (page 3) The Feet Dance - And Sometimes the Heart Dances With Them More of Frankie's stories... (page 8) and more... ©1993 Dancing Star Productions except where held by author {noted). All rights reserved. No part of this newsletter may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying. recording, or by any information storage and retrieval system, without permission in writing from the Publisher. Editorial Hoppin' Spring '94 Letters to (and from) the Editor Dear Reader: around the world supporting and contributing to There's a lot happening around the world in this newsletter and the continuation of Lindy. I Lindy. As we went to press, we heard of an think I speak for all Hoppin' readers in express­ Hoppin' up-surge of interest in the LA area � new ing gratitude to all contributors.
    [Show full text]