ASF 2016 Study Materials for

Ain'tThe Fats WallerMisbehavin' Musical Show conceived by Murray Horowitz & Richard Maltby

Director Set Design Costume Design Lighting Design James Bowen Jesse Dreikosen Jeffrey Todhunter Kendall Smith

Contact ASF at: www.asf.net Study materials written by 1.800.841-4273 Susan Willis, ASF Dramaturg [email protected] ASF/ 1

Ain't Misbehavin' The Musical Show

conceived by Murray Horowitz & Richard Maltby Welcome to Ain't Misbehavin' and the Music of Fats Waller

This joint is about to start jumping! Your toes will tap, your shoulders will jive, your head will bob along with some of the most infectious swing America has ever Characters created, the music of Thomas "Fats" Waller (the "characters" are identified by the names of the five actors in and some others who shaped the feel of the the first Broadway cast) , '30s, and early '40s. This musical André, a party hound, a flirt, revue is like one big rent party or club show and a bit of a womanizer on stage at ASF—the great stride music of Armelia, a voluptuous and Fats Waller with performers singing and sassy woman, strong-willed dancing his musical tales of love, longing, and not afraid to speak her and the zest for life. mind The pitch for the Broadway show reads Charlaine, a sweet, innocent "A sassy, sultry musical celebration of young lady legendary great, Fats Waller." Sassy, Ken, a jovial, cheerful, loud yes. Sultry, yes. Musical, oh, yes indeed. man, larger than life Legendary, just listen. So there's every Life magazine's portrait of Thomas "Fats" Waller Nell, a confident and charming reason for celebration! woman of the world Song List for Ain't Misbehavin' In his review of the 1988 Broadway Act 1: "Ain't Misbehavin'" (1929) revival, New York Times drama critic Frank "Lookin' Good but Feelin' Bad" Rich proclaimed that the show "conjured "'T Ain't Nobody's Bizness"*• (1923) [a] between-the-wars dream world…. This "Honeysuckle Rose" (1935) musical anthology expands beyond its form ""(1926) to become a resurrection of a great black "Handful of Keys"• (1929) artist's soul … Perhaps the key "I've Got a Feeling I'm Falling"(1929) "How Ya Baby" to the musical's approach … "Jitterbug Waltz"• is its willingness to let Waller "Ladies Who Sing with the Band" speak simply and eloquently "Yacht Club Swing" for himself, through his art…." "When the Nylons Bloom Again" So get ready see what "Cash for Your Trash" behavin' means to Fats Waller. "Off-Time" "The Joint Is Jumpin'" Act 2: "Spreadin' Rhythm Around"*• "Lounging at the Waldorf"• "The Viper's Drag" (1934) "Mean to Me"* "You Feet's Too Big"* "That Ain't Right"* "Keepin' Out of Mischief Now" (1937) "Find Out What They Like" "Fat and Greasy"* "Black and Blue" (1929) "I'm Gonna Sit Right Down and Write Myself a Letter"* "Two Sleepy People"* Kyme and Jim Weaver "I've Got My Fingers Crossed"* in ASF's 1995 "I Can't Give You Anything but Ain't Misbehavin' Love"* (1938) "It's a Sin to Tell a Lie"* "Honeysuckle Band" * song by another composer; Waller made a hit • some or all lyrics added for the show ASF/ 2

Ain't Misbehavin' The Fats Waller Musical Show

conceived by Murray Horowitz & Richard Maltby Murray Horwitz on the Genesis of the Show Ain't Misbehavin'

How Horwitz Met "Fats" musical, Ain't Misbehavin'. But the As a teenager, Murray Horwitz was reason for the success of that show," already deeply involved in music; Horwitz insists, "was overwhelmingly "Fats Waller was specifically, he was a jazz fan, which the excellence and universal appeal of an irresistible force meant he listened to records of jazz Fats Waller." greats and cultivated his "ear." He Horwitz on the Appeal of Fats Waller of humanity. He let also wanted to perform comedy. One Universal—not music for some but music us know—in ways day in the Dayton, Ohio Public Library for all. Horwitz believes "[Waller's] nobody had—that he checked out Fats Waller's album target audience was all of us." In his we're all in this Valentine Stomp. music, Fats Waller "isn't just letting thing together." He was smitten, because he realized us know what the real deal is; he's Waller "is the point where those two reminding us that we already know —Murray Horwitz art forms meet: he is the greatest jazz what it is. And he's letting us know pianist who ever tried to make people that he knows we know.… The one laugh, and the greatest comedian who way that works is if, on some level, we ever played jazz." So he bought every all share some common traits, some piece of Waller's music he could find. values, some needs. Fats confirms Horwitz was surprised to learn the 1960s that for us. He lets us in on it with his did not share his passion for Waller; in fingers, his smile, his voice, and his fact, the world had largely forgotten his eyebrows, which … always let you music and moved on to . know there was at least one more joke So Horwitz took action: "I was able inside the one he'd just told." to turn my passion into the Broadway Waller's music also helps us deal with our human flaws: "in his pianism, in his compositions, in his voice, in his The Nature of a Revue very physical presence, he continually A revue is a collection of song, dance, contrasts a heavy assertiveness with and/or skits rather than a piece telling an a light elegance." For DIscussion coherent through-story supplemented Horwitz wanted this show because In considering why Fats "nobody has ever played stride piano Waller's music may by song and dance—that art form is known as the Broadway musical. Ain't better than Fats Waller." Recordings have been overlooked keep his music alive for new for several decades, Misbehavin' combines songs that Fats Waller composed, collaborated on, or audiences, but sharing the "freshness, Horwitz wryly says: "After energy, and dazzle" of that music live all, he was an artist of recorded in his signature style. Fats Waller wrote for the early all-black on stage can demonstrate exactly why what was considered Fats Waller is one of the men whose the disposable world Broadway shows Keep Shufflin' (1926), Load of Coal (1928), and Hot Chocolates compositions "[changed] the course of of American popular American popular piano music." culture." (1929). Later he composed Early to Bed • What in "pop culture" today (1943), the first non-black Broadway show might be considered composed by an African American. "We think of thunder in the left "disposable" but may Richard Maltby, Jr. and Murray Horwitz hand, but it is as much about prove to have real value? give this revue a loose thematic shape the wit and suppleness in the Why? by organizing the material in Act 1 on the right. Challenging the rhythm, sweetness of love and the joy of music, swinging hard, balancing the Source: Murray Horwitz plus some war-themed songs, then in Act heaviness and the lightness, "Fats Waller Now, Fats Waller 2 turning to , partying, danc- Fats gives us a way to make Forever" on "Fats Waller Forever" ing, and the heartache and crises of love, sense of modern life." website @ http://newarkwww. ending with a glittering medley of tunes —Murray Horwitz rutgers.edu/ijs/fw/contemp.htm Waller made hits. ASF/ 3

Ain't Misbehavin' The Fats Waller Musical Show

conceived by Murray Horowitz & Richard Maltby Timeline for Thomas "Fats" Waller: The Master of Stride Piano

Thomas Waller, called "Fats" from his • When his mother died in 1920, childhood, was born into music and made pressures led Waller to leave home it his life, moving through church music to and move in with the family of Russell to the new stride piano jazz, from Brooks, a pianist who introduced him street corners to film houses and rent to James P. Johnson. Recognizing parties to piano rolls, from clubs to revues Waller's talent, Johnson mentored him and Broadway, from to Ohio and in stride piano style and the works of Hollywood and Europe—the evolving 19th-century composers. worlds of music from 1915 to 1943. • Johnson got Waller started making Fats Waller's Life and Musical piano rolls in 1922-23, and Waller's Under Rev. Adam Clayton Journey: Youth and Training distinctive style proved very popular. Powell, Sr., during the • 1904: Born to Rev. Edward Waller, • He also met Willie 1920s Abyssinian was the a lay preacher with the Abyssinian "the Lion" Smith [a > largest Baptist church in > Baptist Church in Harlem, and Adeline wartime nickname], the U.S., with over 20,000 Waller, an organist—the the other great members and an extensive stride pianist in social program youngest of their eleven children, only five of Harlem, and played whom survived. his first nightclub • 1910-1919: His mother gig by sitting in for Smith at Leroy's taught him classical and spellbinding the Willie Smith, music and the organ a stride piano > and later hired a piano audience. master, won tutor, while the church's • His jovial personality himself a piano as music director started him on musical and his musical a child and became basics using J. S. Bach. He played for ability made Waller an influential the family's street revivals and in the a hit performing at "musician's

school orchestra and also learned the clubs and at Harlem musician" who > James P. string bass and violin, but dropped out rent parties. played more than he recorded. Johnson was of school at 15. the pioneer of stride piano, thus • 1918-1922: In 1918 he won a talent bridging ragtime contest performing "Carolina Shout" and jazz with by James P. Johnson, the show piece blues flavor. He > by the father of stride piano, which was the favorite Waller learned from a player piano). accompanist of Waller then trained with the organist All Fats and at the Lincoln Theatre playing for and needed was silent films and took over that job in a piano and a major composer and recording 1919, and in 1921 became organist then the artist who influenced most major at the premiere Harlem film theatre, joint was jazz pianists. jumpin' and the Lafayette. His father, who wanted the rent got >him to become a preacher, opposed paid his musical choices. Waller also had a short, disastrous early marriage.

Rent parties were necessitated by the exorbitant rents white landlords charged in Harlem. During Prohibition, the rentee set the date, an entry fee got you in to dance, and you could buy bootleg liquor at a party that might go on 'til dawn. ASF/ 4

Ain't Misbehavin' The Fats Waller Musical Show

conceived by Murray Horowitz & Richard Maltby Timeline of Thomas "Fats" Waller/ 2

Waller's Career • 1922-1931: Encouraged to compose, • In 1938 he tours in 1922 he made his first recording, to England and > "Muscle Shoals Blues," and then a writes his London second tune, "Birmingham Blues," Suite, his longest which he composed in the studio for composition, in six (a "race" label). He also ambitious "locale" began appearing on radio. pieces. He records • In 1926 he began recording with RCA them in London on Victor, which in 1929 produced solos a European tour the > of his own compositions, a now- next year, a tour cut famous set. short by the war. • Collaborates with Johnson on the • 1940-43: Waller makes frequent Broadway show Keep Shufflin' [the recordings and extensive tours of the follow-up to Shuffle Along, the first U.S. all-black Broadway show, 1928] and • Waller over-schedules himself, drinks Load of Coal. too much, and does not take care of • In 1927 he met Andy his health. Records, > sheet Razaf, a poet/lyricist who • In 1943, he makes the film Stormy music collaborated with Waller Weather radio, on some of his biggest > with Lena and hits. Their first joint Horne and Bill tours fed Fats' work was songs for the "Bojangles" fame Broadway musical Hot Robinson, while > Chocolates (1929), which continuing to gained both of them critical notice. In tour and also 1928 Waller debuted at Carnegie Hall. composing the • He has two NYC radio shows in 1930- Broadway show > 31. Early to Bed. • Tours to Paris in 1931, the first of • Already ill and on a train back to NYC several European tours. that was delayed in Kansas City, he • 1932-1939: Waller begins a regular dies in his sleep of pneumonia on radio show in (on WLW, December 15, 1943 at the age of 39. one of the most powerful stations in eastern U.S.) called "Fats Waller's Waller on tour: Rhythm Club" from 1932-34 and right, a theatre formed his sextet, which records more marquee in than 400 songs. In 1934 signs an England; below, with opening night exclusive contract with RCA Victor. fans in Edinburgh, • In 1935, he appears in two Hollywood Scotland films,Hooray for Love! and King of Burlesque, which feed his fame as a comedian [the camera exaggerates his famed style], a recognition he is trying to move beyond, preferring to be known as a serious artist, since he Fats Waller playing had very deep classical to a soldout house roots and exceptional in England piano technique. ASF/ 5

Ain't Misbehavin' The Fats Waller Musical Show

conceived by Murray Horowitz & Richard Maltby The Background of Waller's Music: Ragtime to Jazz Piano

The Background: Ragtime The Foundation: Jazz • Before stride there were rags or • Unlike ragtime, JAZZ is based in the RAGTIME, the hot new piano sound blues and its 12-bar progression, of the early 1900s, popularized though it also incorporates the rag's by Scott Joplin and his "Maple improvisation. 's Leaf Rag" (and re-popularized recordings made jazz popular by by the soundtrack of The 1917, a popularity that exploded in the Sting). The form's heyday was Twenties. 1897 to World War I. • This early jazz "allowed for emotional • Ragtime has African American passages by individual soloists or and Midwestern roots, but large brass ensembles with strings the Chicago World's Fair of and drums. Jazz introducted a new 1893 made it a nationwide harmonic vocabulary using dynamic phenomenon. rhythms and expressive vocals • A RAG is a strongly reminiscent of Southern plantation "syncopated melody (usually blues music." in 2/4 time) over a regular, • Jazz singers and their recordings march tempo bass line." So it's John soared in popularity—, Philip Sousa in the left hand and Ethel Waters, something innovative and less regular • Whites flocked to Harlem for the A Quick Tour for the Ear in the right. The syncopation is the "primitive indulgence," the music's • Noted modern jazz pianist key, the new element. There was also "freedom from restraint"—which was Dick Hyman illustrates an improvisational element in classic all many heard in these sophisticated ragtime and stride piano ragtime performance. and intricate musical developments. at: • It uses the polka and march forms (4/4 http://www.youtube.com/ and 2/4 time) with a strong down beat. watch?v=Eo_365TlB2o Like these dance forms, it has three or • Dick Hyman explaining more 16-bar themes that repeat and stride style at: reprise and within which 4-bar strains repeat. http://www.youtube.com/ • The first mention of "rag" music in 1896 watch?v= directly links it to the black musical X6tMTIhXkZM tradition in a chorus with "Negro rag • NPR segment on stride accompaniment." piano with James P. Johnson and Willie “The Lion” Smith plus Fats Waller examples that play from site: http://www.npr.org/ 2010/ 04/12/125689840/stride- piano-bottom-end-jazz R. B. Nugent, • Fats Waller playing “Ain’t "Harlem Dancer" Misbehavin’” in Stormy Weather film: https://www.youtube.com/ watch?v=PSNPpssruFY ASF/ 6

Ain't Misbehavin' The Fats Waller Musical Show

conceived by Murray Horowitz & Richard Maltby Hearing Waller's Music: Jazz to Stride Piano

Stride Piano Fats Waller made it look so easy, even effortless; he laid his hands on a piano and across the keys they wove and bounced and skittered and flew, making incredible music. Playing stride piano, a form of early jazz, is not for the faint of heart or hand. It requires a deep musical knowledge, acute technical facilty, a fully developed sense of style, and improvisational creativity and verve. The greats of stride piano, especially James P. Johnson and Fats Waller, aspired to be classical composers as well as popular music `composers, and in their later years both wrote longer concert works in an effort to reach that goal. In fact, stride piano "Drawing in Two Colors" (also known as requires that classical foundation, "Harlem Jazz") by Winold Reiss, one of which Fats Waller had. many talented artists

• The popularity of the HARLEM STRIDE • Johnson's "lesson" piece that taught "If an exuberant style of piano jazz burst onto the other musicians the stride style was stage presence was national scene with the recording of "Carolina Shout," which Waller learned Waller's trademark, James P. Johnson's "Charleston" in at 15, and he "went on to ensure musical innovation 1924, which spurred the most popular that the popularity of the stride style dance of the decade (other new continued into the ." was his legacy. He dances were the fox trot, the shimmy, • The stride style could encompass any raised the Harlem the black bottom, and the varsity). popular music, and, unlike ragtime, stride style of piano • Stride combines ragtime's syncopation did not rely on sheet music: "True playing … to a fine art. with the progression of jazz, but Stride pianists practiced a full jazz Fusing elements of adds much greater creativity in the piano style that utilized highly creative, blues, classical music, bass (the left hand) and more upbeat often flamboyant devices such as boogie-woogie, and rhythms. Instead of march rhythms in arpeggios, black note slide-offs, ragtime with stride, the bass, it uses split chords—"a four- varying rhythmic accents, and tension/ Waller fashioned a beat pulse with a single bass note, release." new sound that was octave, seventh or tenth interval on • At clubs and rent parties, stride pianists the first and third beats, and a chord were known for their cutting contests, uniquely his own." on the second and fourth beats"—and piano duels that flaunted their skills. then sometimes reverses that beat. • "All jazz pianists before the development of be-bop in the 1940s Sources: the ": Ragtime, Jazz, Swing & Big Band" web page of the were initially schooled in the stride Songwriters Hall of Fame website; "Harlem style, which remains the most Stride" on Mervyn Cooke's The Chronicle technically challenging of all jazz of Jazz website; "Ragtime" on The Parlor keyboard idioms…." Songs Academy website; "Stride" from Wikipedia ASF/ 7

Ain't Misbehavin' The Fats Waller Musical Show

conceived by Murray Horowitz & Richard Maltby The Music Industry of 1910-1940: Tin Pan Alley

• Tin Pan Alley is the nickname of the Tin Pan Alley Musical Timeline block of West 28th Street between 1890s-1953: music industry in Tin Pan Broadway and Sixth Avenue in Alley is driven by sheet music sales on which many music to adults for home piano play Why Piano Sheet Music? publishers had their offices. They 1880s-early 1900s: influence of • "After the American Civil War, promoted songwriters and sold sheet European operettas/ "golden age of over 25,000 new pianos a music "aggressively." the ballad" year were sold in America • It was a musical phenomenon that and by 1887, over 500,000 1900-1910: ragtime, more than 1800 youths were studying piano." made George and Ira Gershwin, rags written (sheet music plus piano All those pianists needed Irving Berlin, Jerome Kern, and Harold rolls) sheet music, and as time Arlen famous, but it was also a social 1912: W. C. Handy introduces the blues passed they wanted to phenomenon. to popular music scene play the songs they heard • The popular music penned by Tin Pan 1917: Louis Armstrong records jazz and in musical revues, on Alley songwriters was urban music, the sound skyrockets recordings, and on the radio. and the two major groups making the 1920s: theatre scene combines Popular music was based music were part of the outpouring of vaudeville, musical comedy, revues, on the piano, not the guitar. East European Jews that immigrated Moreover, "the lyrics of music and variety into the Broadway show from this period suggest that to America from the 1880s and the 1926: first movie with sound, a "new the USA was a peaceful, African Americans who headed north outlet for production music" happy and prosperous in the first two decades of the 20th mid-1930s: folk and country music go place" with "warm memories century in the Great Migration. The mainstream of happy and innocent confluence of these traditions made 1930s-1940s: big band sound and times in rural or small town American popular music—and made it swing settings.… a reflection of big business. early 1940s: Latin American influence people's desires for how the • As the scholar Rachel Rubin observes, 1953: rock-and-roll takes over with time and their life should "in its own time, 'Tin Pan Alley' was be," not how it was. teens' shift to records an insurgent popular music that was mid-1950s: Elvis seals shift away from a challenge made by immigrants sheet music to records and their working-class children to the dominance of • As the timeline indicates, the music the polite middle-class business was changing rapidly in the 'parlor' music of the early decades of the 20th century. The time. It also borrowed Broadway shows after Showboat in … from the popular 1927 told a complete story, and their music being created more tightly organized structure made contemporaneously selling individual songs harder—but by African American just then the film industry opened a musicians." new venue for songwriters, and Tin • Tin Pan Alley writers Pan Alley headed west to Hollywood. "repackaged" ragtime • The music of this period is now into their own songs, and considered American "classic" music, they relied on the music and the tunes such as Irving Berlin's to sound "black," as Rubin "Alexander's Ragtime Band," the notes, while the lyrics were Gerschwins' "I Got Rhythm," "Stormy "national." Weather" by Arlen and Koehler, and Waller's "Ain't Misbehavin'" are its Part of West 28th cornerstones. At the time, however, Street known as they were all seen as ephemeral. Tin Pan Alley. ASF/ 8

Ain't Misbehavin' The Fats Waller Musical Show

conceived by Murray Horowitz & Richard Maltby The Era of the Action: Life between the Wars in the U.S.

American society and culture changed 1934-1938: Great Depression eases between the world wars, and Fats Waller's • Lower unemployment, fewer bank music is rooted in his particular Zeitgeist failures [spirit of the time]. He gives his roar to the • Drought-striken Twenties, keeps spirits up in the Thirties, Midwestern and supports the mobilized country in farmers wartime. move west Selective Time Lime: Background • Germany 1919-20: Prohibition legalized as 18th annexes Austria Amendment to Constitution is ratified, • Jesse Owens wins 4 gold medals at outlawing the manufacture, transport, Berlin Olympics or sale of alcoholic beverages. Many • New: laundromats, Golden Gate police participated in bootlegging (in Bridge, miniature golf, last public Chicago the police chief said the rate hanging was 60%). Prohibition is repealed in 1939: War and rising economy John Held's cartoon of a flapper • World War II begins in Europe doing the Charleston—quintessence 1933. of the Roaring '20s 1919-1929: The Roaring Twenties • U.S. economy surges due to war • Life expectancy is 54 years; divorce • Gone with the Wind, Wizard of Oz rate 13%. • New: helicopter, fad of swallowing • Radio gains popularity. live goldfish • Car sales boom; 50% of cars sold 1941-1945: World War II for America are Fords. • First peacetime draft in 1940 • Work day cut from 12 to 8 hours. • War declared Dec. 8, 1941 after • New: Miss America pageant, Japanese bomb Pearl Harbor Wheaties, Time magazine, traffic • After early defeats in Pacific, U.S, lights, airmail, Baby Ruth candy, forces begin to radio commercials, Yankee win and along A big city speakeasy during stadium, electric shavers, films with allies Prohibition—alcohol readily available with sound, Academy Awards, gain ground solo transatlantic flight, Mickey in Europe. Mouse, the charleston D-Day; 1929: Stock Market crash in October invasion at leads to severe economic downturn Normandy, 1930-1933: Depth of Great Depression June 6, 1944. Germans • Many banks close; 56% of blacks introduce V-1 & V-2 and 40% of whites are unemployed. rocket bombs; Japanese Wages drop to 60% of 1929 wages. begin kamikaze attacks. • Roosevelt's "New Deal" creates jobs Napalm-bombing of The 1929 Stock and changes national monetary Tokyo. War in Europe Market system. ends May 8, 1945. After Crash— • 5-day, 40-hour work week common dropping two atomic chart of • FBI created due to rising gangster bombs on Japan, war with Japan ends the value of one activity (a result of Prohibition) August 15, 1945. share of • Dust Bowl in Midwest begins • Rationing of rubber, sugar, gasoline, GE stock • Hitler elected chancellor in Germany shoes, canned goods, meat, cheese, from 1920- • Cigarette smoking rises and fat in U.S. during war 1930 • New: Empire State Building, "Star • Nuremburg war trials begin Spangled Banner" named national • Polio epidemic anthem • New: M&Ms, the lindy hop dance ASF/ 9

Ain't Misbehavin' The Fats Waller Musical Show

conceived by Murray Horowitz & Richard Maltby Harlem—Where It All Happened

On the north end of Manhattan Island there, and a number of black newspapers was a small village that would become moved to the area. Marcus Garvey also Harlem as the population of Manhattan grew brought the headquarters of his Universal The early village of Harlem steadily northward and engulfed it. In the Negro Improvement Association. Black early 20th century it became a writers, painters, sculptors, musicians, and huge village once more, a city dramatists were fed by Harlem's spirit and within the city—Harlem during renowned by the city's art scene. the Harlem Renaissance. Harlem was also a major entertainment In the 1870s when district, laden with nightclubs and famous commuter rail expanded, jazz bands, talented dancers and popular Harlem became a wealthy singers, many of whom gained national white suburb of New York City. followings. Segregation emerged even There was a housing boom and in Harlem, for in some clubs black then a housing bust, and white entertainers performed for predominantly landlords raised the rents and white audiences, as at the , Jacob Lawrence, Panel 1 of the began to fill the increasingly famous for its lightskinned chorus girls Migration Series (1940-41) subdivided houses and apartments with and as bandleader from blacks coming north as part of the Great 1927 to 1931. Migration. By 1930 Harlem was one of The Great Depression hit Harlem the most famous black neighborhoods hard. The neighborhood was economically in the U.S. stagnant, and several civil rights campaigns, During the 1920s the Harlem such as Adam Clayton Powell, Jr.'s 1933 Renaissance made it a major cultural "Don't Buy Where You Can't Work" initiative center amid a welter of creative and aimed at local stores, were centered artistic activity that fed the "New Negro" there. Politics gained momentum, and movement of self-respect and self- many churches stepped in to provide dependence. Both the NAACP and social services such as soup kitchens and the National Urban League had offices employment networks for the community.

All Harlem is roughly fifty blocks long and seven to eight blocks wide; in the 1920s there were up to 5000 to 7000 people per block Harlem map from www.jcu.edu

African Americans in all Manhattan Harlem 1890 25,000 (white) 1910 90,000 50,000 1920 150,000 80,000 1930 325,000 200,000

Palmer C. Hayden's Midsummer Night in Harlem (1938) ASF/ 10

Ain't Misbehavin' The Fats Waller Musical Show

conceived by Murray Horowitz & Richard Maltby Activities for Working with Ain't Misbehavin'

MUSIC AND THE MUSIC BUSINESS —What is more important, doing the • The Biz of the biz: Compare this good or creative or necessary thing account of Waller and Razaf's efforts OR getting credit for it? What are the to market their tunes to Tin Pan values implicit in each choice? Alley with contemporary songwriters' dealings with streaming media: • What are the issues of an individual "Relationships with the publishers creative effort—writing poetry or were stormy. As a general rule, fiction, composing music, painting, they would try to buy the rights sculpting, staging plays—in context of to the song for next to nothing, the need to support oneself? How do or they would 'forget' to pay the money and creativity mix? royalties. In reaction to these practices, Waller and Razaf would • Research Fats Waller's world, either leave the office in an outrage especially Harlem and the Harlem and rip up their creation, or accept Renaissance, the "New Negro" the pathetic sum offered by the movement, Tin Pan Alley, the Great LOVE SONGS & DELIVERY publisher and afterwards submit Migration, East European immigration • What makes a good love the same song to a second, and song? Must it be about then a third publisher. Selling WALLER'S MUSIC IN OUR WORLD falling in love? How do their compositions in this manner • If you have keyboardists or any those songs work? What allowed them to have a decent musicians in your class, have them about love lost or love income." listen to the stride piano YouTube gone wrong? How do —Who does music "belong to," its clips and web links and explain to those songs work? creators or the marketers/recording the class what's cool about stride —Pick a love song you companies/streaming media? What and what to listen for in the music of remember from the is a fair percentage of profit for each? the show. Enjoyment is enhanced by show and compare it to How long did it take for authors and appreciation; get into the music. love songs on the same creative writers to get a copyright law? theme today. Do the ideas How is that working with the internet? • How does Waller's stride music change? sound to our ears? Does it sound —What difference does • There is also a fame factor to these like aspects of any popular music the delivery of a song economic conditions: "Fats was now? Does it sound like the music in make? Fats Waller "sold" frequently a victim of his own … Broadway shows? Are these songs other songwriters' works total lack or organization in his just golden oldies or are they golden? with his style. Can "style" business dealings. Occasionally, he change a song? The end sold his compositions for next to • What is the appeal of Waller's music to of Ain't Misbehavin' is a nothing, compositions which were the modern ear? Would you listen to it series of Waller covers; to become huge hits only shortly on its own or add it on your play list? think of examples from thereafter. This was the case for the Why or why not? music today where a songs "On the Sunny Side of the cover makes a difference. Street," "I Can't Give You Anything • Research the background and influence —Pick your favorite song but Love," and "If I Had You," of African American music on early from the show and justify which according to musicians and 20th century music and on music your choice to the class. close relations were most likely his today. Go back to blackface minstrel compositions" ( punctuation altered). shows and "coon songs" as well as Quotations from "A story of Fats —Does it matter if Fats Waller wrote the "race label" recordings. How new Waller" on the "Fats Waller some of the most famous songs of his is "crossover music"? What does Forever" website era but his name is not on them? Why "crossover" mean in music? Did Elvis, or why not? the Beatles, or feel/ credit the influence of black music? Ain't Misbehavin' The Fats Waller Musical Show

conceived by Murray Horowitz & Richard Maltby 2015-2016 SchoolFest Sponsors

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