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TITLE Stepping in Time. INSTITUTION Philadelphia Folklore Project, PA. REPORT NO ISSN-1075-0029 PUB DATE Feb 94 NOTE 45p.; Photographs may not reproduce well. AVAILABLE FROM Philadelphia Folklore Project, 719 Catharine St., Philadelphia, PA 19147. PUB TYPE Collected Works Serials (022) Historical Materials (060) JOURNAL CIT Works in Progress; v8 n2 Feb 1994 EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Adult Education; Aesthetics; *Art Education; *Blacks; Dance; Drama; *Folk Culture; Higher Education; Interdisciplinary Approach; *Multicultural Education; Music; Secondary Education IDENTIFIERS *African Americans; Entertainment; Musicals

ABSTRACT This special commemorative theme issue features a Philadelphia Folklore Project that sought to encourage a wider discussion about art and the politics of culture; to document and explore the history of a significant folk art form--in this case, tap dancing--from the perspective of the generation of African American women and men who "came up" in the 1920s-40s; and to create a forum for presentation and discussion of these issues. Following an introduction and a section titled "Performers' biographies," seven essays present in-depth testimonies from the artistsas they trace Philadelphia vernacular tap traditions and discuss aesthetics of the art as well as the range of customs and performances. Featured artists include Hortense Allen Jordan, Libby Spencer, Edith Hunt, Henry Meadows, and Tommy Jordan. (DQE)

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INSIDE PERMISSION TO REPRODUCE AND DISSEMINATE THIS MATERIAL HAS BEEN GRANTED BY Setting the record straight, p 2 ko d Performers' biographies, p 4

Beginnings and breaks, p 14 TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) Henry Meadows & the rhythms of .4 South Philly, p. 18 U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement Not everyone can be in a show: ED yCATIONAL RESOURCES INFORMATION CENTER (ERIC) 1John Hart, p. 21 This document has been reproduced as received from the person or organization originating it. Rehearsing Hort- The real untold stories of tap: Minor changes have been made to improve reproduction quality. ense Allen Jordan African American women dancers, talks with Charles p. 22 Points of view or opinions stated in this Bowen and Paul document do not necessarily represent official OERI position or policy. Grant (seated). Staging shows all the way down the Marvin Jordan, line: women choreographers, p. 28 Ruth Mobley Kitty Works in Progress, the newsletter of the DeChavis, Isabelle Tiying to get my knowledge togeth- Philadelphia Folklore Project Fambro, and Ger- er women entertainers, p. 32 maine Ingram Special commemorative issue (standing). Photo: Km had your own style, p. 38 Volume 8, number 2 Thomas B. Morton Credits, p. 42 February 1994 ISSN 1075-0029 [BEST ON Setting the record straight: an introduction to "stepping in time"

One point of beginning for this pro- stream dance world, few question to document and explore the histo- ject (and there are many) is in other peoples' authority, knowl- ry of a significant folk art form from recognition of the significant art, edge, or assumptions. But look who the perspective of the generation of wisdom and accumulated experi- isn't doing the talking. Effectively, African American women and men ence of African American tap tap dancers schooled on the streets who came up in the 1920s-1940s; dancersmany of whom achieved and in the business, by lifetimes of and to create a forum for presenta- prominence in the golden age of dancingthat is to say, dancers tion and discussion of these issues swing or rhythm tap (1930s-40s). educated within what is convention- which, rather than coopting voices, Artists are passing, and it is not only ally considered folk tradition rather instead facilitates understanding a great and original American art than formal school traditionare and communication. form that is being "lost," but a way scarcely represented in dance festi- This booklet is one attempt to of approaching art, a vital kind of vals, concerts, funding panels, remove barriers to seeing and connection between art and com- dance faculties. They are excluded understanding dance itself. Included munity We are also losing track of from substantive discussions about here are lengthy testimonies, artists' some hard-won lessons about what tap aesthetics, innovation, program- own words. These narrative tradi- can happen when a vernacular tradi- ming, education, funding, quality, tions condense common experi- tion goes "uptown." We write this history, or futures. It is all of our ences. Part of the occupational folk- conscious that people have been loss. lore of tap, these stories are an art announcing the "death" of various Results of these omissions as rich and resonant as dancers' folk art forms for generations often unintentionalare lack of steps. public awareness of both present while the arts themselves have con- The Philadelphia tap scene of and past politics of culture, lack of tinued to alter, change and evolve. the 1920s through the 1940s is a understanding of past African We want to call attention to some prime example of a folk or vernacu- American tap innovation and expe- real changes in what counts as tap lar tradition, operating in a commu- rience, lack of appreciation of the nity milieu. The vital local dance dance these clays, in how people complex features of the vernacular learn to dance and sing, in who con- scene was connected in many ways traditionand less opportunities, to the national scene, and trols and who has access to art. prestige, and rewards for African Philadelphia vernacular styles Tap artists for some time now American artists. entered and shaped popular cul- have been in the peculiar (but We began this project wanting to ture. Oral tradition and folk custom unfortunately not unfamiliar) posi- bring attention to the steps, styles, emphasize the life of tap within the Artie Riley Oscar tion of watching from the sidelines and voices most excluded by con- community, as well as the complex Mc Burse and as younger dancers, critics and pro- temporary tap, i.e. folk artists, and knowledge that tappers have about Patricia Perkins grammers (chiefly but not exclusive- especially African American women one another. They also reveal the look at this vol- ly white, chiefly but not exclusively among them. We wanted to facili- ume in process, trained in school and classes) define tate discussion of critical issues aesthetics of the art: what people held by Debora tap and its possibilities, its mile- raised by the example of tap but value and privilege, what they count Kodish. Photo: stones, its pantheon of giants and present for most folk arts: How do as excellence. The folk history of Thomas B. Morton history, its so-called "death" and histories of art affect the present? tapincluding this aesthetic "theo- "revival." People talk to who they What happens when vernacular arts ry" continues in peoples' narra- know, and within the so-called main- gain currency in mainstream set- tives, in a range of customs, and (to tings? In what knowing eyes and ears) in perfor- ways can buried mances that reference, extend, assumptions reprise, or fall short of the magic about race, class, and skill of previous artists. gender, color, and When talking frankly with one performance con- another, hooferswomen and text affect the menmay speak about how race, evolution and gender, class, and color affected evaluation of an their own individual ability to work. art form? Our They talk about the hard toll that aims were to life on the road took, of artists who encourage a fell victim to drugs, drink, fame and wider discussion other tragedies. They talk of luck, about art and the good and bad, of what they could 2 politics of culture; control and what was outside their power. Some stories and functional differ- are often retold, for the ences from aesthetic pleasure of the telling, ones. or because they seem We always had a to embody collective performance in mind, judgements, knowl- but somewhere in the edge and truths. Few of middle of the process, those speaking are bit- the artists involved ter. Most are clear-eyed decided to put on a realists. All are sur- show, a real show, that vivors. would give this genera- These stories and tion's audiences a the performances pre- chance to understand sented in "Stepping in the glory and glamour Time" are rooted in an of show businessand ethic and aesthetic to see, as Isabelle that diverge frequently Fambro put it, "that we from those of today's ain't dead yet." The mainstream dance issues and the perfor- world. The ambition of mance naturally moved some latter-day tap from a focus solely on disciples to establish hoofing to the wider LaVaughn Robin- tap as a "serious" art context of show busi- son and Ger- form has resulted in ness. maine Ingrain emphasis on the The conviviality look at materials. proscenium stage and and joy of the past Photo: Thomas B. concert format as pre- months have been Morton ferred presentation extraordinary. Meetings modes; in uninformed in Fambro's photo- distinctions between graph-lined basement "routines" and choreography; and London, Paris and Australia. have been occasions for people to in celebration of lengthy pieces LaVaughn Robinson recalls that he share precious memories, to debate and what passes for improvisation and his dance partners learned early art and history, to reconstruct great over the pithy, carefully composed to "pack the meat of our material performances, and to enjoy the numbers performed by Bill into six to eight minutes," and cau- sociability of others who under- Robinson, Tip, Tap & Toe, Coles tions that if you can't "tell a story in stand. We have been honored to be and Atkins, the Four Covans, the two choruses [sixty-four bars of witnesses, to listen and to learn. The Miller Brothers and Lois, and so music]," you aren't going to do any following "essays" are testimonies many other major tap acts which better in five or six. And of today's from people who have, collectively, graced stages in the twenties, thir- idolizing of tap improvisation, tap more than 1,000 years of show busi- ties and forties. great Jimmy Slyde says the most ness experience behind them. And The "Stepping in Time" per- important part of the word "impro- what experience! These individuals fomers need make no apologies for vise" is the part that relates to broke ground, as women, as African having plied their art in tent shows, "improve." "If you call it improvisa- American entertainersas artists. on street corners, in bars and night- tion the first time [you do a phrase We offer this booklet as a window clubs, as well as at great theaters or segment of rhythm], what do you into some of their world, and as a like the Apollo, the Howard, and call it the second, third and fourth tribute to their indomitable spirit the Palace. They need offer no time you do it?" and art. excuses for harking back to material Essentially, mainstream dance they honed through years of playing world categories of what counts as Germaine Ingram and the Keith Circuit, the "Chittlin' artwhen used as measuring Debora Koclish Circuit," and T.O.B.A. (officially the sticksobscure understanding of Theater Owners' Booking the aesthetics and achievements of Association, but functionally "tough artists who came up dancing in dif- Uncredited contemporaty photographs on black artists"), the Catskills, NYC, ferent contexts. One aim of this throughout taken at Stepping in Time St. Louis, Chicago, Las Vegas, project is to separate contextual rehearsals by Debora Kodish 3

4 BEST COPYAVAILABLE Performers' biographies

Hortense Allen Jordanwas born in ductor for "Lady St. Louis, Missouri. Already dancing Behind the Gardenia" as a chorus girl and producing at Freedom Theater. shows at the Plantation Club when she was "just a schoolgirl," she Peter Briglia.Born became widely known as a show in 1947, Briglia grew producer. At a remarkably young up in West age, she was not only dancing, but Philadelphia. To try working as a choreographer, direc- something different, he started tak- performing arts camp run by Libby tor and producer. Appearing in the ing tap dance classes in the mid- Spencer. Around this time, she also midwest with a revue and her own 1970s, and enjoyed it. His eyes were had the chance to dance with chorus line, Allen came to the atten- opened, he recalls, when he first saw Hortense Allen Jordan. Bristow- Clockwise, from tion of Larry Steele who invited her LaVaughn Robinson perform Pinkham had her own aerobics top, this page: to come east with him. She both Robinson's hoofing was altogether show on Prism and taught dance (l-r) Jeanne Bris- produced and danced in his "Smart different from the kind of tap Briglia until about eight years ago when tow-Pinkham, Affairs" shows at the Club Harlem in had been learning. He began taking injuries curtailed this work. She has Vicki Diaz, Patri- Atlantic City, directed and chore- classes from Robinson, and came to an MA, and is currently teaching cia Perkins and ographed hundreds of shows, know Henry Meadows through his adult education. Yvonne Walton trained literally thousands of dancers teacher. Meadows asked Briglia if he rehearsing. and chorus lines, and designed and wanted to dance with him before he Robert F. Burden, Jr.was a street made their fabulous costumes. She ever saw the younger man dance a dancer, house dancer and party (l-r) Peter Briglia was the first black woman to put a stepsomething that Briglia still and Henry dancer before attending the chorus line in the Paramount on Meadows. considers both a great gift and an University of the Arts. After a year of Broadway. Often, she received credit honor, "I was a raw recruit, and school, he moved to Florida, danced A composite of only as a dancer. Among the shows Henry took so much time with me for Disney World and started a break Hortense Allen she produced were those headlined and has worked with me." The two dance group. He earned enough Jordan at the by Sugar Ray Robinson, Louis Jordan began to perform, and have been money from dancing to return to Apollo Theater and James Brown. Her shows at the working as a duo since the early school. Back at the University of the Dell and Atlantic City's Club Harlem 1980s, first at Club Cornucopia and Arts, he met LaVaughn Robinson, V were widely reknowned. the Wynne Plaza, and then at casinos who he eventually worked with for in Atlantic Citythe Claridge, Taj four years. Burden recalls that it took Mahal, Trumps Castle, Trop World him six or seven months to get a and many others. Briglia makes his time step and other basics down to living as a general contractor, but tap where he could study with Robinson. remains "a labor of love.' Burden has performed in 42nd Street at the Riverfront Dinner Jeanne BristowPinkhamstarted Theater, and for Young Audiences. In dancing when she was six years old, 1989, he and Arthur Taylor began the at the neighborhood recreation company, Tap Team Two. He received center in Olney. She trained at the an IPAP grant from the Community School of the Pennsylvania Ballet, Education Center to experiment with danced with the Philadelphia Civic creating stories set to tap; this led to Ballet, and was Temple's fifth dance major graduate in 1972. She first encountered chorus and Charles Bowenhails from Chester, show dance Pennsylvania. He has been playing when she music for thirty-six years, and per- worked for the forming around Philadelphia for the City of last thirty years. A saxophonist and Philadelphia's composer, he recently played in "Bo" Recreation 4 at Bushfire Theater, and was the con- Department in a 5 his production of CyndiElla at the While she she was "top CEC and the Painted Bride. Exploring often got of the line" how to use tap as a form of music hired on the doing the jit- that is heard, he has used tap boards strength of terbug jive, to produce different pitches, and is her singing an aerial ver- it premiering a piece using these ability, she sion of the lindy boards at the Williamstown, would lose jobs 0 0 hop. She won ) New Jersey, Grand Theater. when club owners the Harvest Moon discovered she was CV° Ball Jitterbug Jive con- Barbara Claytonbegan dancing underage (or when her test at the Savoy, toured . Clockwisefrom mother found where she was nationally in such shows as Mambo under Libby Spencer's direction top, this page: when she was just five years old, at singing.) By the time she was six- USA, and appeared at Madison the Marian Anderson Recreation teen, she was under contract as a Square Garden in Shower of Stars Kitty DeChavis at Center. She studied ballet, jazz and' singer in Montreal, where her father with Milton Berle. After she moved the Apollo, about tap with Spencer. Clayton has per- then lived, at the Café St. Michel. to Philadelphia in 1962, she began 1951 formed with Pinkney Roberts, the Around 1947, on her way back home dancing in Hortense Allen's line. D&D Review, and with the to Philadelphia, she mistakenly With Allen, she performed in Count Barbara Clayton Copasetics in "Tapping Uptown." stopped in New York and met agent Basie's show at the Apollo, at the Jimmy Edwards, who launched her Howard Theater in Washington, Vicki Diaz in an Apollo perfor- singing career. Later, she was "dis- D.C., and with Duke Ellington and mance; composite covered" by agent Billy Shaw. other top bands. Diaz has primarily includes Arline DeChavis appeared at New York's been known as a variety dancer `Artie" Riley and Apollo and Small's Paradise, at Club (including Latin, jitterbug and cho- Michelle "Mike" Delisa in Chicago and many other rus line) and has had her own act, Webster on left places,. touring nationally with Nat as well, incorporating acrobatics. panel. King Cole, Moms Mabley, Wynonie She has worked in televison, on `Blues' Harris, Paul Williams and Earl Arthur Murray's House Party and Robert F Burden, Bostic. Her recordings include the elsewhere. She makes her living as a Jr Photo: PATENT- ED PHOTOS first vocal performance of the programmer/analyst and enjoys rid- "Hucklebuck," "Be Anything But Be ing her motocycle and swimming. Mine," and other hits. Isabelle "Eleanor Byrd" Fambro Vicki Diazwas born and raised in was born in 1917 in South New York City. She began her dance Philadelphia and has been dancing career there at age fourteen, doing since she was very young. When she She has also performed as a mem- the mambo at the Palladium was about seven, she would go with ber of various African dance com- Ballroom. At the Savoy Ballroom, her father to South Philadelphia panies: Temple University's African bars and dance on top of the bar for Dance Ensemble directed by money. As a child, she danced at Kariamu Welsh Asante, the amateur hours, nighclubs and Elk's Diaspora Dance Company directed by Katrina Hazzard, and with Jaasu Ballet. For the last four years, she has performed as part of the Women's Shekere Battery in the "Fr

Africamericas Parade. r

Kitty DeChavisfirst started singing in a local Philadelphia Catholic church. She recalls soloing with "Ave Maria," and thrilling at the sound of the chorus behind her. She per- formed at both the Standard Theater and Lincoln Theater Kiddie Hour at age six, and as a teenager, she kept trying to sing in clubs. 5 Raymond Adolphus Grant is a Philadelphia and was(performing in Philadelphia native. He began amateur contests when she was playing music in his late teens. four and a half years old. When she Lee Morgan and 1: Reggie Workman were among his first teachers. His main mentor was Owen Marshall who ' both started him playing, and Clubs. At sixteen, she began per- encouraged him forming professionally, as a solo act. to return to In 1942, at the suggestion of her music after he manager at the Jolly Joyce agency, stopped. He has she teamed up with tap dancer Billy played with Byrd. The duo toured as song and Sonny Fortune, dance team Billy and Eleanor Byrd and has worked for eighteen years, sharing the bill with the Clef with such acts as Moke and Poke, Club Band, the Bill Bailey, Ella Fitzgerald, Fats Philadelphia Waller, Fletcher Henderson, Duke Elders, Bootsie Ellington, Charlie Barnet and the Barnes and others. was five, she was dancing and Clockwise, this Sweethearts of Rhythm. She has singing both on the Standard and page: Isabelle continued to perform in cabarets Wilhelmina Scott Herbertwas Lincoln Theater Kiddie Hours. From Fambro and her and shows locally. partner Billy Byrd born and raised in Philadelphia. She her mother and a man at South from the Apollo, began her dance career when she Philadelphia's Standard Theater, Cheri Grahamis in the seventh about 1943 accompanied a friend to an audi- Hunt began to acquire acrobatic grade. She dances at Philadanco, tionand was selected herself. She moves; she was known for her flips Edith Hunt and and has been a student teacher performed and toured coast to and splits. (And she is proud that Germaine there. As well, she tap danced in coast with James Brown as one of she can still can do the splits at 72 Ingram, 1994. Philadanco II. She was in "Bo" at his dancers. She traveled widely, years of age). She was the first Photo: Jane Levine Bushfire Theater. both here and overseas, appearing African American to perform on the as far away as Sweden dancing in Horn and Hardart Children's Hour Isabelle Fambro, Paul Grantstarted playing trumpet Hortense Allen's lines. Herbert has radio broadcast, where she became John Hart, Libby when he was about six. His father, danced with various singers, and a regular. She credits her brother, Spencer, Edith also a trumpet player, gave him his with the Royal American Showtrain, Harry Edwards, as being her best Hunt and Ger- first instrument. Grant has played a carnival. She is a real estate broker teacher; he taught other kids to maine Ingrain, for forty years. He has been a mem- and a certified real estate appraiser. dance in their kitchen. Hunt per- 1994. ber the house band at the Showboat formed in New York and and has played at Trop World, and in Edith "Baby Edwards" Huntwas Philadelphia clubs and theaters in the Clef Club band. born in 1923 . She grew up in South the 1930s and 1940s, and was cast in Erik Charell's 1939 important Broadway' musical "Swingin' a

Dream" which featured Louis . Armstrong, Bill Bailey, Whitey's Lindy Hoppers and others. She worked as a soubrette at the Apollo, and in about 1940 teamed up with Willie Joseph, performing with him as the duo "Spic and Span," touring extensively both in the United States and abroad for more than twenty years and appearing in night- 6 clubs, theaters, television, radio and on Broadway. She worked with such and performed acts as Lionel Hampton, King Cole, for holiday Louis Armstrong, Bennie Goodman shows, commu- and others. Hunt worked for the nity events, and City of Philadelphia's Department of the school dis- Recreation as a dance instructor for trict. She sixteen years. Hunt was a rhythm appeared in the dancer but was also known for Broadway show "Tappin' Uptown" won the St. Ignatius Catholic Club incorporating acrobatics into her with the Copasetics and in Mc Harris talent night prize. Jordan pursued routines, including Chinese splits. and Delores' D&D Review with the every opportunity to dance, per- She is respected as an "all-round Hortense Allen Dancers. She works forming as a solo or duo at clubs and dancer and singer." She came out of at Core States Bank. bars in his part of town. Dancers' Clockwise from retirement to work with the S.C. reputations preceded them. Jordan top left: Performers' Alliance. Marc Johnsonplays trombone and heard about South Philly dancers keyboards. He has done musical before he met themand vice versa. (14; facing cam- Germaine Ingrambegan intensive direction for Freedom Theater, and He participated in informal competi- era): Wilhelmina study with tap master La Vaughn participated in projects at Bushfire tions on street corners with Blackie Herbert, Jeanne Robinson in 1980 and four years Theater and elsewhere. He performs Johnson, LaVaughn Robinson, Bristow- Pinkham, later, she began performing with regularly around town. Harold Blow, Jerry Taps and others. Mao, Poteat Syres, him in a trio known as "The Jordan taught dancetap and mod- Joan Philadelphia Tap Dancers." The two Tony Jonesstarted playing music ern jazzat Juclimar School of became a duo in 1988. Ingram has when he was six, and took up the Dance with Marian Cuyjet for twelve Joan performed in dance concerts and bass when he was fourteen. He stud- years. Getting drafted in 1945 put an "Mike" Webster festivals across the United States ied music at Overbrook High School end to his career. He reflects that Wilhehnina and in Europe. She has appeared on and played in their jazz band. He has singer "Billy Paul and I had a debut Herbert. television in "Eye on Dance," and in been the music director for Sister together. He made it and I went in the Emmy award-winning special, Sledge and Jean Came, and has per- the army." Nevertheless, he found Mary Poteat Syres, "Gregory Hines' Tap Dance in formed with Grover Washington, Jr., ways to perform, consistently win- Joan Miller America," She has taught tap locally, Sister Sledge and Norman Connors. ning the talent show on the Horace Deanna Todd, at several American colleges and in He is currently working on a solo Height show. In the Army's Special Pearl Jackson- Europe. She has choreographed for album. Services Division, he produced Bolvin. regional musical theater and was shows for troops stationed in commissioned to choreograph a Tommy "Redd Foxx" Jordanstart- Germany, and toured with the V piece for the New York-based tap ed dancing when ensemble, Manhattan Tap. Ingram he was a kid, out has been a practicing attorney for in the "mead- twenty-three years and is currently ows," the general counsel for the School Elmwood area of District of Philadelphia. southwest Philadelphia. He Pearl "Peanut" Jackson-Bolvin and his partner was dancing at the age of three. She Clark used to began to learn jazz and tap from her dance in the tal- older cousins. She met Libby ent nights when Spencer at the Marian Anderson the minstrel Recreation Center, started taking show came classes from her, and has been with through, and as her ever since. She has taught dance teenagers, they 7 8 bands that came through, opening to travel and the shows, doing comedy, and danc- share a per- ing with Mose Allison, James Moody, forming life Dakota Staton, Art Blakey, Al Gray, with her hus- Duke Ellington and Lionel band, veter- Hampton. Jordan remained in the an hoofer army through the 1970s, when he Dave returned to his hometown and McHarris. began working as a comedian, Dee started opening shows for Gloria Lynn, tion, McBurse performed in a training under her husband's Nancy Wilson, Clark Terry, Jimmy dance specially choreographed for instruction in the 1940s, and made Oliver and him, emerging from a basket doing her first public appearance after a Shirley Scott. a snake dance. He danced at the year of working "night and day" to He is currently Metropolitan Opera and for Alvin hone her technique. Later, she appearing on Ailey, and studied ballet under the studied intensively with a ballet weekends with late John Hines and Eleanor Harris. master to develop greater finesse saxophonist For the last twenty-four years, he and stage presence. To develop Bootsie Barnes has worked in Philadelphia as an their novelty act, the duo studied at Slim unemployment claims manager for drums with the great Cozy Cole. Cooper's at the state of Pennsylvania, and as a Dave McHarris grew up in Stenton Avenue part-time caterer for Fletcher Pittsburgh, and was dancing at the age of three. As a child, he used to and Johnson Chisholm. Street. sneak out of school to see road shows coming into town. He ran Danette McDonaldstarted dancing away from home when he was 13 to Monica Justice at four. Now thirteen, she studies started dancing join a tour of "Brown Skinned ballet and jazz at Philadanco, and when she was Models." Since then, he has danced r ti around four. has also studied at L&L Dance his way around the world. McHarris Now thirteen, Studio. She performs for schools and Delores performed as a team in she studies bal- and hospitals and is a student at theaters and nightclubs throughout let, jazz and Meredith. the United States, Europe, and Asia; dance at they played the London Palladium Clockwise from Philadanco. She has done recitals Delores and Dave McHarris and performed at New York's Palace bottom, this page: and performances and is a student Delores McHarris was born and Theater every two months. The duo at Enfield Middle School. raised in Philadelphia. She was had many-sided talents: they did McHarris and drawn to tap dancing by her desire stage shows, musicals, and devel- Delores, c. 1970s. Oscar McBurseis returning to the stage after twenty years. He began Tommy "Redd dancing as a child, winning tro- Foxx" Jordan. phies for jazz and interpretive Photo: Thomas B. dance from the South Philadelphia Morton and Germantown YMCAs, and appearing on the Paul Whiteman (l -r) Wilhelmina television show. For at least three Herbert, Oscar years, he danced on the Mitch McBurse, Jeanne Bristow-Pinkham, Thomas TV show every Saturday. Vicki Diaz He worked with Hortense Allen, dancing at the Dell for seven years V with such artists as Count Basic, Sarah Vaughn, Duke Ellington and Illinois Jacquet, and traveling over- seas with Allen's shows, as well. He danced on Broadway in a Haitian o. opera called "Wanga" with Ghanaian artist, dancer and drum- 8 mer Saka Acquaye. For this produc- 9 1963 at the Marian Anderson Recreation Center under the direction of Libby Spencer. She danced with Hortense t Allen's Coppertones, in "Tapping Uptown" with oped their own music and dance the Copasetics on Broadway, revue. McHarris and Delores came and in McHarris and Delores' to be known for their polished D&D Review. She went to col- technique as well as their versatility lege and became a registered and elaborate costuming. Although nurse, but continues dancing they do not consider themselves "on the side." retired from the stage, Dee and Clockwise from Ruth Mobleygrew up singing in time, and some lasted several Dave have limited their perfor- top left: church and school choirs. She was months; she enjoyed intimate set- mance schedule in recent years. tings and the chance to build a rap- 23 years old and singing for fun Pete Briglia, with an acapella group, the port with her audience. She raised Henry Meadows.Born and raised a child and had a family while she Henry Meadows, in South Philadelphia seventy-four Skylighters, when drummer Bunny Edith Hunt, Ger- Baker heard her, and asked if she was on the road; jobs at home were years ago, Mr. Meadows grew up pleasures in those years. In maine Ingram, trading steps with such artists as wanted a job. Her first professional LaVaughn Robin- performance was at a cabaret, and Philadelphia, she performed at the the Nicholas Brothers, Honi Coles, Carver Bar, Postal Card, Catharine's son, 1994. Photo: and others. He toured in a number after that, she "never looked Jane Levine back." She performed for a year at Musical Bar, Budweiser's and Pep's. of duos, and for many years, Kenny's Musical Bar, in Meadows danced elegantly with his Henry Mosel), Middletown, Pennsylvania, in a Henry Mosleywas born and raised partner LaVaughn Robinson. duo, and then toured with different in South Philadelphia, near 20th Ruth Mobley Meadows is known these days as bands, including Lindy Ewell, Curt and Dickinson. Musician Jimmy "the granddaddy of paddling in Harmon and others, up and down Tisdale used to play in a bar at 20th Philadelphia. He first learned the the East Coast, at cocktail lounges, and Catherine Streets, a few close-to-the-floor tap technique supper clubs, piano bars, and blocks away, and Mosley would from Darby Hicks, and perfected it nightclubs. Most of her engage- sneak in to listen. When he was by trading rhythms with drummer ments were at least two weeks at a about seventeen, he was called up Kenny Clark during the war when to sing. He was scared and didn't they were both in Special Services. know what he was doing, but "to Returning home, Meadows went on them, it came out pretty good," he the road with Robinson, touring recalls. They offered him a job on the country through the 1960s, the spot, and he began singing, for when he decided he wanted to stay $2.50 a night, two evenings a week. at home and devote himself to his From there, he went on to play family. He couldn't abandon music with Jimmy and Percy Heath, Owen and dance entirely, however, and Marshall, Oscar Pettiford and oth- returned to an old passion, drum ers. He has retired from singing, and bugle corps. In the mid-80s, he although he sits in with friends began performing again with part- when they are playing. He came ner Peter Briglia. out to "help out with the show."

Joan Millerwas born in Patricia Perkinsstarted dancing as Philadelphia and began dancing in a teenager, studying interpretive 9 10 and others. Hortense Allen Jordan "found" her and she began dancing with Jordan's shows in clubs here and in Europe. For twenty years, she worked in retail at Wanamakers and Lit Brothers during the day, driving to New York at night to work as a dancer at Small's Paradise and the Galaxy Club, with such artists as Sam Cooke and Dakota Staton. "4 -4" LaVaughn Robinsonis South Philadelphia born and bred. "Hoofing" since he was seven, going out of business as highly elec- Robinson calls himself the last of trified music became more popular. the "street dancers," and remem- By the early 1980s, Robinson began bers trading steps on South Philly performing for contemporary street corners with many of the leg- dance and folk music audiences ends of tap dance including Bill who were then discovering tap. Bailey, Teddy Hale, and the Nicholas Since about 1980, Robinson has Brothers. With Henry Meadows and been teaching at the University of others (Howard Blow, Eddie the Arts, effecting the current Above: dance first at city recreation centers, Sledge), Robinson performed as a course of dance through his many a composite of then at Sydney's School of Dance; member of the Dancing Dictators, students there. He performs.widely, `Artie" Riley at the Oscar McBurse was one of her and the Dancing Jets, gaining from California to Lyons, France, Apollo, "Mike" teachers. She danced professionally respect for his close rhythms, and with his current partner, Germaine Webster in frame when she was fifteen, working in touring widely as a real "class Ingram. He has received many pres- to left, Vicki Diaz Count Basie's show. She danced act." Over the years he has shared tigious awards, including the in top middle, c. with the James Brown show, touring the stage with Cab Calloway, Tommy 1963-4 National Heritage Award from the nationally in the 1960s, and with Dorsey and his Orchestra, Maynard Folk Arts Program of the National Duke Ellington, Lionel Hampton Ferguson, Ella Fitzgerald, Billie Middle: LaVaughn Endowment for the Arts, choreogra- and others. She has appeared at the Holiday, Charlie Parker and others. phers' fellowships from the Dance Robinson and Robinson actively pursued his Germaine Apollo, the Uptown, and elsewhere. Program of the National She works for the Department of dance career through 1972. By Endowment for the Arts, and a Pew Ingram. Photo: then, most of the nightclubs which Londa Salomon Public Welfare as a caseworker. Fellowship in the Arts. kept tap dancers employed were Right, this page: Arlene "Artie" Rileystarted danc- Maiya Satchellstarted dancing Mary Poteat Syres. ing in junior high school, in ballet when she was nine or ten years old, Photo: Thomas B. club. She tried to get on pointe and following her sister, who was Morton yearned after ballet shoesso much already dancing. Eventually Satchell that she began working at Eleanor found her way to Philaclanco. She is A Harris' School of Dance at 52nd and a student at Meredith. Market Streets, teaching fundamen- tals of ballet, tap and interpretive Dottie Smithwas born in dance to children so that she could Wilmington, North Carolina and pay for her own classes under John moved to Philadelphia as a child. Hines, Vivian Certaine, Buddy She began to sing in church choirs, Phillips and Savilla Forte. When she and sang for the first time on stage was fifteen, she began dancing with in the late 1940s at a local club Oscar McBurse at clubs in New where her "sister," Beryl Booker, Jersey, and "thought it was great!" was playing jazz piano. Booker She danced professionally, working coaxed her on stage, and she sang a with Butterbeans and Suzie, Cooke few songs. In the audience that and Brown, Dinah Washington, night was Percy Joell, a member of 10 Leroy Watts, Jimmy Witherspoon, the Harlemaires. On the spot, he offered her a job performing with of Philadelphia's Performing Arts three or four years, dancing in the the Chester Slater group, and within Camp, teaching a range of dance chorus and traveling with his show two months she was opening with forms in various recreation centers to Puerto Rico and elsewhere. She them at the Baby Grand in New and parks. She has taught dance "gave it up" and went to school. She York. She toured with Louis Jordan both to adults and children in many has now been teaching special edu- for ten years, playing all the big the- private dance schools as well. She cation in Philadelphia School System Clockwise, this aters and appearing on the televi- believes in the importance of keep- for 21 years. She takes an occasional page from top left: sion shows of such stars as Perry ing African American vernacular tap dance class, and was involved with Como, Patti Page and Steve Allen. alive by teaching it to the next gen- "Hucklebuck to HipHop:" ODUNDE's Libby Spence?; She had her own band as well, the eration, and was an early advocate social dance cabarets and dance con- Kitty DeChavis, Dottie Smith Combo. Members of of dance programs for youth to tests celebrating African American ver- Dottie Smith, Dee the group at various times included teach them "real ethnic tap dance." nacular dance traditions. McHarris. John Coltrane, Jimmy Mobley, Al Moore, Jimmy Oliver and others. Mary Poteat Syresstarted dancing Davina Todd.Dancing by the time Yvonne Walton, Smith worked with such greats as when she was five, under the she was seven, Todd took her first Jeanne Bristow- Nipsey Russell, Timmie Rogers, instruction of Libby Spencer at the formal lessons with Philadanco, Pinkham, 'Mike" Austin Powell and the frenniers. In Marian Anderson Recreation Center Webster, Patricia where she started studying ballet, recent years, she has organized her in South Philadelphia. When she Perkins, Hortense then jazz. She joined Philadanco's own show, the Dottie Smith Review. was ten, she performed in a group Allen Jordan training company when she was She says that one of her most excit- that won a city-wide contest for bal- ing "gigs" was working at the Apollo let and danced at Irvine Auditorium. about fifteen. It was at Ms. Libby Dottie Smith,play- with Dusty Fletcher and later with She always liked tap dance and Spencer's Performing Arts Camp Mg with the Dottie Moms Mabley, who was godson to began to perform, appearing at Club that Todd "got into tap." She assist- Smith Band at Dottie's only son, Roger. Harlem with Edith ("Baby Edwards") ed Spencer for a few years, and per- Zanzibar on Hunt, with the Copasetics at Blue formed in some of Spencer's shows. Philly's Columbia Libby Spencergrew up in New Monday, and in "Tapping Uptown," 'Todd began auditioning forand Avenue, c. 1950s York and learned to tap dance from a tap dance musical at the Bardavon getting intoshows in cruise lines, family members and neighbors, Opera House in Poughkeepsie, New casinos and dance teams. As a A including the Nicholas Brothers. In York in 1982. She has also danced at dancer for Ringling Brothers, 1940, she needed a job and went to civic and social events around the the Apollo where she tried out and region. She is currently enjoying a was immediately hired for the cho- career in banking and teaches tap rus line. She was "a tall girl," and did dancing whenever time permits. a wide range of dance, learning three new numbers for each new Barbara Thomas.Growing up in show, every week. She danced at South Philadelphia, Thomas won Small's Paradise, on Broadway with neighborhood social dance contests Bill Robinson who she much at the "Y". She and friends Oscar admired, in USO shows, and with McBurse and Arlene Riley all used to road shows. She came to dance popular dances together. Philadelphia in the 1950s and Thomas studied modern and inter- danced in nightclubs, theaters and pretive dance with Eleanor Harris, in Atlantic City with the Hortense John Hines and Savilla Forte. Allen Review. In 1960, she opened Through McBurse and Riley, she her own schoolLibby's School of met Hortense Allen; this led to an Theatrical Arts. Later, she became audition with Larry Steele. Thomas the founder and director of the City worked at Steele's Club Harlem for 11 12 Barnum and Bailey's Circus, she graduated from high school, Allen resorts. When she came to performed in 44 cities and rode ele- began to send her out with various Philadelphia, she studied dance at phants. She performed with Greg shows. She traveled with James Sydney's Dance Studio and with Clockwise from Thompson's show, Carnival Lucaya, Brown, and worked in Atlantic City Joan Myers Brown. "Mike" has bottom right, in Freeport, Bahamas for nine at Club Harlem with Larry Steele danced with Hortense Allen since months, and the New Year's Eve about 1960. She performed in the Pinkney Roberts' from 1967 to 1969. She put herself show at Bally's in Atlantic City Todd chorus with Larry Steele's "Smart Pinkettes, at a through college with her dancing club at Broad and currently teaches ballet to young and she now teaches health, physi- Affairs" at Club Harlem in Atlantic Germantown children at Philadanco. cal education and dance at South City, and traveled extensively with Avenues, c. 1970s, Philadelphia High School. the Hortense Allen Dancers and l-r: 'Artie" Riley, Yvonne Waltonbegan dancing "Smart Affairs." She also traveled when a neighbor, Carlos Simmons with Arthur Braggs' Idle-Wild 'Mike" Webster, Michelle "Mike" Roberts "Penny", Barbara asked her to dance with him. She Review. She worked with Pinkney Websterstarted dancing because Thomas. was just sixteen, and had no danc- Roberts and the Pinkettes for years, her husband, Pinkney Roberts and with the Hortense Allen fashion plate, M.C., entertainer and Dancers for the City of Philadelphia impresariowas in show business. Recreation Department shows at He was working in a club where the the Dell. With Vicki Diaz and others, Ziggy Johnson dancers were per- she put together a show, working forming. Webster learned the rou- cabarets and clubs locally. For the tine and never looked back, per- last seventeen years, she has forming in Detroit and in Michigan

Mary Poteat Syres, ing experience, but her mother Davina Todd said that she could tryso she standing. Photo: wound up with her first profession- Thomas B. Morton al performance on the stage of the Academy of Music with Dinah Hortense Allen Washington. She received scholar- Dancers: Sylvia, ships to Sydney King's and Libby Bobbi Jean, Dottie, Spencer's schools, studying ballet "Mike" Webster; and modern dance, Afro-Cuban Audrey Rusty Jan. dance under Arthur Hall, and jazz dance with Andre Pitts. She has been dancing with Hortense Allen since she was eighteen. After she 12 13 worked at the Hospital of the University of Pennsylvania as a nurs- ing assistant in the operating room. During most of these years, dancing has continued as a second career.

Johnny Williams and the Johnny Williams Band.Originally from North Carolina, John Williams moved to Philadelphia right after the Second World War and, at age 25, he began his musical career here. He got his first pair of drumsticks from Top to bottom, drummer Skeets this page: March, who used to play with Hortense Yvonne Walton Allen, Duke Ellington, and Barbara Count Basie and oth- Thomas. ers. March also recom- mended drum teach- Dottie Smith, ers, and Williams began LaVaughn Robin- studying seriously. son, Henry Within a year, he was Meadows, Pete playing professionally, Brtglia. Photo: first with the Corban Thomas B. Mor- Brothers. He was part ton of a trio with Bill Hollis on piano, Joe Seel on Lee Grant, John- sax and him on drums, ny Williams, for about a year before Charles Bowen. he formed his own Photo: Thomas B. group, Johnny Williams Morton and the Four Notes. Grant on piano, Mark Johnson on From there, he began playing wide- trombone, Tony Jones on bass and ly, going on the road with musicians Johnny Williams on percussion. including Doc Bagby Erskine Hawkins, Wild Bill Davis, Ruth Nia Witherspoon,now twelve, Brown and others. He stopped trav- started dancing when she was eling in 1959 and began working three. She always danced, so her locally, first at Pep's, where his trio parents sent her to lessons, first at was the house band for more than McHenry and then to Philadanco. four years, and then at Gerts She has performed in Philadanco Lounge in the 1400 block of South, recitals at the Academy of Music, in where he played for more than ten Summer Stage, and at various years. Since then, Williams has events and community sites. worked in various clubs around Philadelphia. His trio included Gloria Coleman, keyboards and vocal, Charles Bowen on sax and himself on the drums. Musicians playing in the Johnny Williams Band for the performance of "Stepping in Time," are Charles Bowen on sax, Paul Grant on trumpet, Raymond 14 13 Some beginnings and breaks: stories from virtuoso veteran dancers

To me, Bill Robinson was the best Which took a little time, because York, on the road, to the mountains. dancer until I saw Teddy Hale and when I noticed, both of these guys Dancers from elsewhere came here, then when I saw Teddy Hale I began were singers. You dig what I'm say- and (to hear it told) often stayed. to think of that thing all over again. .. ing?... They did what a singer would "Tap is the only original American To me, Teddy Hale changed the style do, but they did it dancing.... dance form," says Libby Spencer. of dancing. You understand what I'm LaVaughn Robinson "Tap is the relatively, I would say saying? Dancers that came along in the beginning...All of dance centers certain eras was great, but then here From the 1920s to the present, around tap because it's all...timing," comes along somebody else that people recall that Philadelphia has says Mildred Thorpe. Tap, as it has changed the style of that thing for been home to a significant number of been shaped by African American you, you know? And that's what exceptional African American tap artists over the last fifty years, reflects Teddy did for me when I first saw dancershooferswho played an ethic and aesthetic that is Teddy Hale was at the Earle Theatre, important roles in shaping this folk markedly different from that of right here in Philadelphia and I art. "Dance was happening every- today's mainstream dance world. haven't seen anything like that in my where....On every street corner on Germaine Ingram writes that "ver- life. And then I began to break him Philadelphia's South Street," nacular rhythm tap has a focus on clown because I saw Baby Lawrence, LaVaughn Robinson has often said, subtle polyrhythms and aural presen- from Baltimore. And then I said, "Wait "you could hear a different time step." tation, a competitive milieu under- a minute, something's happening Peoples' memories of "coming up" scored by a cooperative ethic in here that ain't supposed to happen." routinely describe "picking up steps which artists borrowed, adapted and Because Baby Lawrence took that on the streets," and from family and made other peoples' steps their thing another step further. But when neighbors. own, but in whichin theorythey I looked at 'em both and I said, The vital Philadelphia dance scene did not perform another person's "Damn, they're both doing it, but was connected in many ways to the routine publicly" they just telling different stories." You national scene: young would-be Like many other African American dig what I'm saying? I mean, they dancers found their ways backstage folk arts, tap has many different faces, both had that certain thing that was a and inside bars and clubs to soak up lives, or histories when viewed from Edith "Bahy notch above alot of dancers, includ- the steps of older tap legends in town inside African American communities Edwards" Hunt ing myself. You understand what I'm to perform. After hours clubs were and from "outside." And there are and John I -/art. saying? But what I really began to other places to mix and mingle, see several "insides" to the story of tap Photo: Thomas B. understand about these guysthey and be seen. The Standard and Lin- extraordinary women rhythm tappers Morton, 1993 were putting tap dancing to the coln Theaters, the Earle, Budweiser's, faced the double discrimination of instrument, or putting the instrument Sim's Paradise, Palumbo's, Emerson's. racism and sexism as they tried to to the tap. You see what I'm saying. Philadelphia dancers went to New develop as artists. They were less able to get "breaks" during the heyday of rhythm tap and restricted to certain kinds of dance because of their color and looks. The tap revival of the 1970s opened new venues to some African American men; few African American women hoofers were invit- ed to the schools, festivals, or dance revivals then developing. Dancers' stories about how they started, about big breaks and missed opportunities are subjects that begin to raise complicated questions about the mix between talent, opportunity, and the times, and about the compli- cated relations between vernacular and "mainstream," black and white traditions. There are no written dance histories chronicling the significant details of how Philadelphia dancers started out in the business, and about the significance of "breaks" to some- 14 ones' career. 15 41;

When I first met Willie Bryant was at Buclweisers....16th and South. `Cause Willie Bryant was the master of ceremonies when they used to have jam sessions on Thursday night when when all the performers used to come to Budweisers. And Willie Bryant was the Master of Cere- monies. Now, here's another thing.... They had a show in New York. When Willie Bryant left Budweisers, he went to New York and they had a television show called "Toast of the Town." Do you remember that? See. And when "Toast of the Town" got so big, they took it away from Willie Bryant and gave it to Ed Sullivan. La Vaughn Robinson Well, naturally, he was the wrong pie's good now, but she was better." tion with the Radio City Music Hall. I-r Germaine color. And he don't have the money, John Hart And of course, they changed every Ingram, Libby see.John Hart four weeks. They had 42 girls. We had Spelled; and At the Standard, 1929. I was taking, 16 girls. And we had to change every Edith Hunt. I was the type I never thought you know, their data, you know, week. And they changed 24 girls about it....I wasn't a pushy type. I names. And while I'm taking their every four weeks, see. They had sev- would go and do what I had to do. names, then the dancers go on. So eral weeks rest. We didn't have any And it's like when I went up to the [Baby Edwards] won the first prize. rest at all. We just had to go from Horn and Hardart, I left the Parisien So the next week her mothr brought week to week.Libby Spencer [Tailor's Kiddie Hour] ....I was one of her back and Mr. Dunson said to the first. One of the fellows saw my mehe said to her mother first, [My brother Harry taught neigh- mother somewhere and he asked and "Baby cannot go on this week. Give borhood kids how to tap dance in gave my mother this number, for my somebody else a chance." He said, our kitchen, our shed kitchen.] Anti mother to go up 1622 Chestnut "John, scratch her name off." He said, when they couldn't learn, he said, Street. And I went up thereI was a "Well, you can go down and see the "Go on, do it for them." And there- regular. And then they started coming show....So they went to sit in the sec- fore, I would do it and then I would up here and there. But I was on there ond row....So Harold [the MC] knew learn like that. And sometime they regular. My picture was... at the Horn what Mr. Dunson said, so about three could get it off of me better than and Hardart restaurants. Edith quarters of the way clown the ama- [him.]Edith "Baby Edwards" Hunt "Baby Edwards" Hunt teurs, Harold said, "There's Baby Well, you broke the color barrier, Edwards. Look friends...friends, do I always had a yearning to be a tap that's what you did.LaVaughn you want to see Baby Edwards?" And dancer. In fact, in my adolescent Robinson the peanut gallery said, "Yeah, yeah" years, or my youth, I used to hang and they started whistling and holler- around the Lincoln Theater in And I'll say this while I'm talking. ing. So she came on up. So she got Philadelphia....at Broad and Lombard. Baby Edwards [Edith Hunt][of on. And she won the first prize And I was fascinated by this tap those] all little girl dancers, from five again.John Hart dancer Honi Coles. He was always so to twelveshe's the best I've seen, smoothglides through and taps and I'm talking about movies and Well, they had a call for chorus galore. And I used to hang out at the everything else. But she didn't get girls. And I needed a job. I said, "Well, stage door. the breaks. See if you don't know I think I'll go down there and try out So one clay, he came out and I anybody and get breaks, you ain't for the line." And I was picked. And said, "Mr. Coles"I think I was about going nowhere. She worked differ- from then on, I just worked every 14 or 15 then. I said, "Mr. Coles, ent places but I'm talking about get- week. I did stock in the Apollo The- would you show me that step that ting the breaks...Shirley Temple's ater._ So we just went from week to you did in the show?" He said, good. But Shirley Temple wasn't... as week in the Apollo. And of course, we "Which one?" And I tried to interpret good as Edith. I'm not saying that for had to change routines every week. the step that I was referring to. And colorI'm talking about what I see. I Three routines we had to change he said, "Hey, hold it. I like your ver- go by what I see. Now Shirley Tern- every week. And we were in combed- sion better than mine." Maybe he was 15 1 6 BEST COPY AVAILABLE ink Dave Mc Harris, Isabelle Fambro and Germaine Ingram examine a La Ray tap.

kiddin' me, but that's what he said. said, "They have amateur nights ber for you?" He said, "Sure." I got up In fact, I grew upI left home there." This I did. there, did my little thing, you know when I was about 16. I had my tap In the interim I get down to 126th Now the amateur night is about shoes in my hand and I went down to Street. Another stage entrance and I three days away. And I ain't got no the waterfront. This was where your hung around there for about a hour, roof, no pot, no nothing. Serious. So I, produce trucks leave and go with then I walked up to Seventh Aveniue. oh, I don't know, I've just always been their produce to New York. And I And this place was called The Alham- one to survive. So I would go down to

conned one of these drivers and I say, bra Grill... And this where all the the bus terminal at 42nd Street and I'd "Hey. I'm broke and I gotta get home. actors used to go between shows and stay in there at night 'till the day came Do you go to New York?" He says, eat, you know, and drink if they pre- and then I'd come back up. I'd sur- "Yes. Where do you live in New York?" ferred to drink. So I was in there. face, as we'd say. And I did that for Now we're on the highway now I says They had black-eyed peas and rice. about four days and four nights. some wierd street. He says, "No, you Cornbread. This is facts. Fifteen cents. Now I only got fifty cent in my don't live in New York." He says, "We Man, I was living. pocket, now. I go to the amateur don't have any streets with that So I got me my black-eyed peas night. I didn't get the first prize, I name." I says, "Oh, well, you see my and rice and just to a little right of the got the second prize. O.K. So that shoes here?" I say, "I want to be a tap counter where I was eating, they had was a little extra money in my pock- dancer. And I've read so many times a stage. And all these chorus girls was et, right? I turn around, I said, "Boy, that you have to go to New York to be up there, you know .. this producer New Yorkpeople, they don't have recognized. And this is what I am was takin' them through their paces. time for you, they don't say hello. doing." He says, "OK." When he got His name was Clarence Robinson. And You know, being from Philadelphia, to New York, down by the waterfront, I would sit there and I'd watch and you have a certain comradeship, you he let me off. He said, "Liten, dear." then, when they'd get through, like know what I mean? And I was begin- He said, "You take this two dollars. you know, tell 'em to take a five ning to get a little frightened Git you a subway. Get off at 125st minute break, et cetera, I walked over because like I said, I would say.:.. I Street and St. Nicholas Avenue." He to him. I said, "Sir. .. I'm from didn't know how to get to Broad- said, "You walk down a block and Philadelphia and I want to be a tap way Nobody would tell you any- 16 you'll find the Apollo Theatre." He dancer. Would you let me do a num- thing. So I lasted with this money, 17 POLLO t1.111.1RITTTIM1.71111111'1:1=171.E.111.. ONE WEEK ONLY BEG. FRIDAY, APRIL 11th. THE SENSATIONAL from the amateur contest, I lasted Uncle Billy had taught her that. :gawk about two more days, so. I was tired, Dave McHarris I mean, I was beginning to talk back to myself because I hadn't took a [Harry Edwards and I met and Will MASTIN shower or anythingI mean, you decided to dance together.] And we rrtw know, I'm serious. started rehearsing right on the street And I just got disgusted and I... thereLombard Street. Twenty-hun- STARRING The called home, reversed the charges, and dred block, we were living in. . . And UltraTalented told my mother, I said, "Mother I'm we started rehearsing there. So. here in New York," I said, 'And I am What happened, we had a job com- AMMY sick, I am tired, I want to come home." ing up at this dance hall. A white She said, "OK Baby, I'll send Billy for club, giving this dance, now. .. and a SingingSwinging Recording Star you...." And he came and picked me up show. So we went up there. But he and I came home and I made myself a said to me, "Hey John." He said, "We FRAN WARREN 1 * 4 promise. I says, "I been to New York. aren'twe're not rehearsing with It's not easy to become a star. I say, the any music." I said "You're right." He '''sv"- COLES and ATKINS next time I come to New York, I'll have said, "How I know all this will be in a contract." And those words became time with music? Two choruses of 26 ira. Dave McRAE Morty STEVENS true when I teamed up with Pepper. this and.... " I said, "It's in time with IBAUTINI. GIRLS DASHING BOYS Mildred "Candi" Thorpe. music." He said, "I 'm gonna hold HORTENSE you responsible if it's not in time ALLEN CHORUS [Jolly Joyce] said, "Come in the with the music." I said "OK." Hilarious Hipster office, Dave, I want to talk to Well, Edith ["Baby Edwards," you." But Dee sat out in the other Harry's sister] was on the program REDID FOXX partouter office. He said, "Look," too, but she was working by herself at he said. "I got a good job for you, this time, you see and we come tened and listened and listened and Apollo theater three months in South America." I on. And this fellow, I don't know his we was putting a whole lot of snatch handbill for a said, "Yeah?" And he saysI don't name now, kind of cross-eyed. White in brrr, brr, nbrr, brrrra, brrrm show featuring know what the money was, but it fellow. Good rhythm dancer. He was a [imitates rhythms] and when we Hortense Allen's wasn't that much, but it was that good rhythm that boy could dance. went offwell, the audience went line much in them days. I said, "OK. .." I Kind of cross-eyed And we went out wild about it. said, "Well, my two tickets" He next to the last. 'Cause the boy that I And uh, Harry says to me in the said, "I can't buy a ticket for your say was kind of cross-eyed, he went dressing room, "Hey, John, they're wife," he says, "She's dead weight." I out last. still applauding." I said, "I know they said, "She ain't dead to me." I'm just We danced with "Liza," and we are." And this, when this white fellow saying. He said, "But they won't pay flash danced, you know, fast. .. He went onI forgot his name now for her unless she's workin with was a rhythm dancer. But audience good rhythm dancer, I'll give him you." I said "OK." So I come out do not know anything about a whole credit, he was a good rhythm dancer. and... I said, "I'm going to South lot of rhythm or like that. When But the people don't know anything America." And Dee said, "When do someone's flashy, the audience, it about rhythm, and when he came we leave?" I said, "No, we don't leave. catches the audiences' eye. See, offsee, he didn't get the applause It's just me." She said, "No, no, when that's what catches the eye. Not we had, so he got angry. And he

I said for better or worse', I mean for because you [go], "that's good, very came off . . and when he was in the better or worseand that's what its good, that's a very good dancer"if dressing room, he said, "They been. .." So I said, "OK." I got so [it's] all dancers there. But now you weren't doing anything but a whole mad at Dee that I went out and got people who don't know anything lot of snatches and pull-ups and bought her a pair of tap shoes, and about dancing and they want some wings, that's all they was doing." He opened that door, right there in the flash and fast. And that's what we was was fussing, to hisself, see. But he Douglas Hotel and threw 'em to her doing. And while he was out there didn't realizean audience like this, and she's been jumping with them dancing, that man who hired us, he that audience don't know anything shoes ever since.Dave McHarris put his ear down. Because, see in a about that. You got to sell what you I said, "What is this?" He said, "You dance hall, you have to roll out the got to the audience. .. The fellow got want to travel, you got to work." So, I mat. You have a dancing mat. He angry with us, but he should have said, "I don't care." My famous rolled out the mat. He put his ear got angry with the crowd. It was the wordsI don't care.Dee McHarris down to hear if he could hear where audience there. But that happens, But you know what? She could do all this tap's coming from. .. and this you knowJohn Hart a time step and a over-the-top, her man put his ear down and he lis- 17 18 Just playin' from the heart: Henry Meadows and the rhythms of South Philadelphia

You could love to dance, and not like Marion Anderson and Bert had a very beautiful show. In fact, in love the business. Or you could be a Williams. She could do this. Marion, our battalion, Mickey Rooney was in great dancer and not get the breaks. she lived in the same neighborhood one of the shows. The battalion was If you wanted to raise a family, the as my mother. She also took me to made up of all show business, you unpredictable income and time the various stage shows at the know....The name of the show was away on the road were a hardship Standard Theater where the called [Jives a Poppin] which later however great the rewards. Here, a Nicholas brothers' mother and became a part of Seventeenth dancers who "gave it up"only to father played in the house band. Special Services of the 92nd return to dancereflects on some Also, I attended E.M. Stanton Division Infantry. of his experiences. School, Philadelphia with the Now, in the band, in our band Nicholas brothers who also inspired anyway, John Lewis, well he's the My name is Henry C. Meadows, me very, very much in my decision leader now of the Modern Jazz known as Hank as of my teenage to want to be a dancer. Harold, the Group, he was the musical conduc- days. [I was born in South youngest then, was in the third tor. Our drummer, Kenny Clark, just Philadelphia in 1923.] Inspired by grade with me. Fayard, the oldest, died in Paris. He was the father of mother and sister Penny who was a he was in the sixth grade. Their sis- modern drumming. He was the singer during my early clays. I never ter, Dorothy, was in between. This father of it. He created it. Him, took dancing lessons but I watched along with Pearl Bailey, Pepper along with Dizzie Gillespie, Charlie Henty Meadows my sister rehearse around the Welchalso a great dancer, Parker, and these people. So, you and his dance house at home and she would Philadelphia dancerand other know, being with these type of peo- partners John explain to me what it was all entertainers, used to come to my ple, you first of all, you get the inspi- Lance ("Butch') aboutshow business and what house to visit my sister and I would ration. And you learn. and Tony Lopez, c you had to do to be in it, and about sit in on their conversations, you You take for instance, like Kenny. 1942 the different dances and acts. know. This also played a bit part in Kenny, when we weren't doing my decision to want to become a My mother also explained and shows, we would, he'd set his part of show business. would imitate various entertainers drums up and I'd put my dancing In my neighborhood, there were shoes on, and we'd answer each such dancers as Roland James of other. That's howthis all come Son and Sonny, Ernie and Rosie from that paddling, you know what I [Oz], Simmie Collins, Jerry Taps, mean? Darby Hicks, one of the fel- who constantly toured with Jan lows that danced with me in the Savitt's band, Baby Edwards and show, I actually picked paddling up her brother. And being a part of this from Darby Hicks, but then I went surrounding along with acts like to experimenting, doing what a Stump and Stumpy, who were drummer would do, d'you under- nationally famous, Moke and Poke, stand? And when I came back here, I became more and more involved LaVaughn [Robinson] and all of us in show business.... got together and these things was cooking in my mind. So the musi- After I started dancing, I was cians, all the musicians arund here, drafted in the War. When I docked they used to call us the musicians' in Liverpool, England, they sent spe- dancers, because we did so many cial orders down and took me away things that a drummer would do from the company and they asked when they're taking their breaks, me if I would like to travel with this you know, in between the music, show that was touringwhich I like 2-bar, 4-bar.... readily agreed, you know. When I And then, [when I came home], went ashore, I had to do an audition one of my sisters' former managers, first. I had got placed with the show Frank Belmont, beautiful, he was a and toured for three years. We just buddy, he was a manager. Took so about played all the theaters there. much interest and he had so many We played opera houses, concerts big connections. You know, when the troops would be on their leave, LaVaughn and I and all of us was maybe weekend leave and they working together, we worked out of 18 could bring their guests. And we the biggest office in New York, you 19 °

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know. We weren't on the contract could haveif we'd a went in there, with him, only for the jobs. And we would have went in with Lionel Frank would sit down. He'd watch Hampton's band. And we had a us dance, and he'd say, "Take this chance to go out, tour Canada, with out. I want a split here, I want knee Louis Armstrong's band. He had a drops here" and certain things.... He Dixieland band. And we wanted to said, "I can ask for more money." go with Lionel Hampton because he You know what I mean? He also was had this big jumpin' band. You the managerhe had three acts : knowit made you want to dance. LaVaughn, Myself and Sledge, also And Frank was the type of guy Tony And then he had the Clark like this, he said, "Yeah," he said, Brothers. And he had another act "But we gotta go where the most named the Wong Sisters. money is," you know. And he picked But he was the type of guy, he Louis Armstrong, you know, for us, was just like your Daddy. You know, to tour Canada with. [I went along he'd sit there. He'd, he would, with most of his decisions, but] when we went out on the road, he LaVaughn didn't....LaVaughn agreed would figure out the cheapest way with the work, but the thing was, when we got finished dancing, [our] suits, shirts and everything would be soaking wet and we would be out of breath, you know what I the road. So when I came home that Far left: Henry mean? Frank didn't give us chance time, I was a little disgusted and Meadows in high enough to get to the dressing room tired and I wanted to be with the school, c. 1941 and sit clown for a minute. He'd kids, so I just told LaVaughn and meet you right as you were coming Sledge, "I'm not going out on the Above: Henry off. "Jeezwhat was you guys doing road no more." I said, "I'll take work Meadows, about out there this time? His hand was around here." You know, like we 1943, in Special here. Your hand was down here." were working out of New York.... so Services Division, He'd go, "What was happening?" we worked around here for a long Armed Forces You know. He said, "Now, I want to time. And when this Ray Charles know one thing"you know, he'd date came up, we were getting ask us little things like that. "D'you ready to go back out on the road. think you can do a spin and run up That was Frank's idea. Stick us in the wall and stay up there for two there and then send us out on the minutes?" LaVaughn would say, road. Talk us into going back out.... "Frank, c'mon leave us alone." He'd we went into Palumbos and stayed walk away from him, you know. I'd in there three years.... to get there. He'd have hotels set stand there. I said, "Well, we might up, connections, that would save us try it, Frank, in rehearsal." I had no I joined this [drum and bugle] a dollar, you know. Because we all intention of doing it, you know. But corps, [Ship Post, about 1935 when had families. And we had expenses there was alot of things that he told I was about 12]. I was so enthused there and then we had to send us became veryit played an influ- about parades. But this was my first money home, you know. He was ential part in our act moving up, you love and I got into that from, I used just a beautiful guy. But he died.... know? And we got so we worked to see these movies with Dick I knew Frank ever since. .. he with some of the biggest stars. We Powell and Ruby Keeler like used to come around the house for worked in the biggest, some of the Flirtation Walk, about West Point my sister....and then when I got into biggest theaters and clubs. When I and Annapolis. I liked the way they show business, he took so much stopped dancing...late fifties, early marched. I liked the music that they interest. In every thing that we did. sixties, we had just closed at the played. They had bands then. And I The clothes, the pictures, the jobs. Palace Theater. We had a week off.... had the inspiration to want to go to He would turn 'em down. I remem- I used to come home, because West Pointjust [because of] the ber one time, we were supposed to Frank used to keep us working....I march and the uniforms...So I got in go in the Moulin Rouge in Los used to come home and the kids this corps, this is a "G" bugle corps. Vegas. We had that choice or we didn't want me to go back out on Actually, everybody in there was 19 20 goodgood musicians, kids. Ship teach my kids. .. now, one of my Post organized it. Major Moore. Had kids is with Harold Melvin and the beautiful uniforms... [Later] we left Blue Notes. Ship Post and we went to the Elks. So when we stopped dancing Anybody could be in it, they and I had to be affiliated with music, taught you how to march and how that's the way my mind that's to drill. We kept watching these big when I said, I'm going to go back to corps like Penn Treaty from this project. I'll try to build this type Fishtown. They'd pull up in of a corps...My sons ended up being busses.... it took up a whole block in some of the best corps, the best and they could march and they drum corps. When they started inte- could play. But we couldn't under- grating, they started being in some stand how they could play these of the best corps.... This was during tunes like Oklahoma.... the gang war days.... corps turned What was happening, we knew people around. Instead of hanging music. All we had to be taughtand on the corners....we had rehearsals then we addedwe were taught every day in the week.... those kind of songs with the harmo- We had gangs. But nothing like it ny. Wherein this corps we just is today. What we would do if you played the melody... For one thing, had a disagreement, this gang we had, when this corpsLincoln would line up on that side of the Post Invaders Drum Corps. We street. Our gang would line up on called it the Invaders because we this side of the street. And you'd were the first and only colored pick, you know, who you wanted, corps to venture into that field and you know, who you had the prob- could do it. See, now Ella lem with. That's why alot of good Fitzgerald's drummer, Bobby fighters came out of our day, Joe Durham, he was in this corps. See Lewis' time. But near the end, they now he was the one who taught me did pick up some pistols. But they rudiments. See, I was just playin' had a better justice system then.... from the heart. Bobby had been in [As a dancer,] everybody looked clown the street. I got out of my Clockwise fron the Marine Corps, drum corps. So up to you. One minute they'd see tails and started running. I said, "I'll above: he learnecl....ancl he taught and me with my dancin' shoes on. The be backwhat time is the next everything I would learn, I would older peoplewe didn't call people show?" They didn't know henry Meadows old then, you know LaVaughn and them didn't know (3rd from left) in and the older people where I was going. So finally, it the Invaders used to say, "This boy's becameactually, I had only went Drum and Bugle going to be a movie outside because the parade was on Corps, about 1968 star." That was inspiring, the main street. And LaVaughn too, you know. And then started looking, and he said, "I The Elks (Ship on Saturdays and don't know where Hankbetter Post) Drum and Sundays, when we go find that guy, you know." So, he Bugle Corps wait- wasn't there, they'd see came out and here I was on the ing for the parade to start, about me in one of these uni- front line, busy looking. LaVaughn 1935-7 forms, you know, and said, "What time is it?" And he say, they'd say "Where you "Boy you're something." He say, Henry Meadows parading at today?" "I'm "Hank, you could have missed the coming, you know." You and Peter Briglia, show!" partners, 1993 hear LaVaughn kid aboutthat's one thing Henry Meadows he never forgot. We A were working in a stheater up in New Hampshire and in between shows, I heard this drum corps coming "Not everyone can be in a show:" John Hart 'h i

Elsewhere in these pages, John Hart Oh, well see, I had a booking testifies to the talent of his long- agent and Fox Theater used to be time friend Edith "Baby Edwards" 16th and Market. I had an agent in Hunt. He has known her since they there. A fellow showed me the were children more than seventy ropes. Then at the Shubert Theater years ago. He was a partner with her which used to be at Broad Street. brother, Harry, and for awhile Baby They had a building there and I so she said, "Bring your father." I and John danced together, as well. used to go up there and at 13th and said I had to bring my mother. "OK, In gatherings of hoofers that have Market, the Colonial building, I used bring your mother." So they talked occured over the last few years, to go up there. See I'd make my it over. Whatever I [earned] .... so John Hart has often been the elder rounds on Monday, try to pick up she fixed it so that she'll send half statesman, filling in details that oth- maybe one night here, seven dollars of the money home to mom and ers had forgotten. He gave up danc- a night, see during the Depression. the other half goes to my rent, ing to make a living, but he never Edith [Edwards] didn't know any- room and board. That's the way gave up his love for dance or his thing about this. Before I started she had it... appreciation of its subtleties. dancing with Harry [Edwards, her My mom was a little concerned brother], I used to do this see... because I never was away from her Oh! 1925-26, [I was a teenager] But some of those agents were that long, see. And... before that and I lived [by] 13th and Christian slick. He'd say, "Well, Hart, I never bus pulled off that morning, Street. And Webster Street is seen you work. He'd say, "How Greyhound, she said [to Bessie between Catharine and Christian `bout workin' to this club?" And he Smith], "Take care of Johnny" and every night the men around called the name of this club, Friday [Bessie] said, "Don't worry, I'll take there would ask the kids to dance night. "How 'bout workin'?" Oh, I care of him... " But like anything and they'd put a pot and this one say, "I have got, I got work Friday else, you know when you go away and that one would put a nickel and night." But I didn't have any work. from home first time like that, you a dime and I got 15 cents. And the But I know he was tryin' to be slick, get a little homesick. You're not pot would be about 40 or 50 cents. sayin' "Let me see how you work." around your parents. At night, after The best dancer get that pot. And But now he'll tell mehe'll get paid the show, Buster'd say, "Do you the Charleston and the tap Charles- for it and tell me he's goin' to see miss home?" I'd say "Yeah, I do..." ton was out too, you know, and how I work...." You get a little homesick... After the Buster [Smith] could Charleston show, you come home you sit pretty good and I always used to say, See, what happened when I first clown, 'bout 11:30 or 12:30 and you "I bet my bucldy'll win." One man tried to learn how to dance, me and start thinking this. But during the say "What could you do?" "Can't do Buster [Smith, he was Bessie clay you don't think about it 'cause anything." Smith's nephew]. And Bessie you're working. Had a girl around there with us. [Smith] came, come to town, [I was with Bessie Smith on the Ivory Jo. [She] could dance. She was and....Buster's mother said to road for five or six months.] I got good at the Charleston. Bessie, "Bessie, I want you to see dissatisfied because the Depression I couldn't dance. They used to John and Buster." The living room was getting worse and the show get on me so much, I used to get was quite large, had a large floor. sometimes didn't make a lot of clown in my basement and try to She said, "Get out on the floor, let money so she didn't have the learn how to dance. And after me see what you can do." Like that. money to pay. Hollywood was turn- awhile, I was able to go amateur, see. So we did. But I think, we were I ing out movies that you could see was about fifteen and he was about for ten cents, but you couldn't see a Pete, Peaches and Duke came to fourteen. She said, "When you get a live show for ten cents. And that's the Standard. And Harry [Edwards] little older, well, I'll take you." Sure why I dropped off. People didn't said to me, " Hey Johnny," Say, enough, when we got older, she have the money...There were so many dancers in Philadelphia, a "What." He say, "Pete and Peaches took us, she took us on the show dime a dozen because unless you there, and Bill Bailey. Go to see the with her. But I had to bring my have a contract for a show....snot show." Now Pete and Peaches and mother [to make the arrange- everyone can be in a show Duke, their name up in lights. And ments]. I was about just going on Bill Bailey was stealing the show 18. During that time, most the time, John Hart every night... great rhythm dancer, your mother got to have the Bill Bailey. Good salesman... He was authority, not like now, your kids do as good a dancer as I've ever seen... what they want at those ages... and 21 22 BEST COPY AVAILABLE "The real untold stories of tap": African American women dancers

Remember Bernice Lacey? Bernice buskin'. And I met this guy called did make it like she should have. Lacy was on Kiddie Hour [about Lawrence Patterson Sy. He used LaVaughn Robinson 1933-34], she was another tap to work with an act called You know why? Her looks. That's dancer._ But they had alot of "Popcorn, Peanuts and Cracker what stopped her.Dave McHarris they had quite a few female tap Jack." He told us one clay, he says dancers. You remember, I told you there was three of us thenHe Women danced in the line but in them clays there was alot of says, "I'm going to take you all to they never did get any kind' f recognition, you know. Like oh, if right: Dee and female tap dancers that never got Jersey so you can see somebody Dave Mcl-larris that recognition because they tap dance." I said, "OK." He had a they was dancers, the producers wasn't, you know, aggressive as the little old beat-up car. And he took may tell 'em, why don't you do me a below: Poster for male.LaVaughn Robinson us to the Cotton Club, in Lawnside, routine or something like that.... All Broadway show New Jersey. And he set us in the my steps, I'd never write anything Memphis Bound And then I met another young back of the club and he told Ted, clown. Like alot of them would write featuring Bill lady that was a good dancer "Give them a little drink, and gin- steps down. I would never write Robinson and Juanita Pitts. See. Juanita Pitts ger ale and put a cherry in it and nothing clown.... I was the first Black others (including used to come through make it look like a drink," you woman to put a line in the Libby Spencer in Philadelphia and she would always know. And this lady came out on Paramount on Broadway but they line, third woman stop at the Two Bit Club, 16th and the stage and and did so much did not give me the credit. They from right, first Fitzwater. And anytime she came dancing, in white tails, that it was didn't give me the credit.... June line). through there, she had a job. Do unbelievable. Now, she was one of Taylor Dancers and Jackie Gleason, you understand what I'm saying? the first female dancers that did a that's who they said. But I was the And regardless to who the dancers solo with low-heeled shoes.... Well, first Black to put a line.... .Well, you was, if she came through and she had shoes on just like a man know, just that's the way it was. wanted to work....she was always would wear....but then I had the That's just the way it was. welcome to dance at the Two Bit pleasure of working with her in the Hortense Allen Jordan ClubLaVaughn Robinson Apollo Theater with Boyd When I first saw Louise Madison Rayburn's band and Maynard Regularly, we'd do three shows a dance, I didn't think there was Ferguson and Ella Fitzgerald. And clay but with the big bands we'd go nobody like that dancin'. This was man, she was doing so much danc- into six and seven shows a clay. [We I must have been about fourteen ing. But you know what I never didn't get paid more.] Sure, we years old, dancin' on the street.... could understandwhy she never always thought it was wrong, espe- cially me. Oh yes, sure did. I was always the first one to say something and would strike. Listen, I started a strike there and at Small's. I did. But

McHARRIS and DOLORES 22 23 it's hard getting people to follow about it, then I won't have to worry an act. So Peg Leg Bates started call- you. They'll say they'll follow you about it. I'll do something about it. ing me, said "Be Hortense 'the Body' and then they won't. But I ended up But when I see I'm by myself and I Allen. So I picked up the name. getting a raise and they didn't. And don't have anyone to back me up Hortense Allen they didn't speak up. "Well, who's or to go into it with me, there's no dissatisfied in here?" No one opened need. Just leave it alone....And you Mildred "Candi" Thorpe per- up their mouth but me. So I was the make yourself happy with some- formed with Jewel Welch as "Candi Isabelle Fambro only one got the raise.... I said, "He's thing else that is positive. and Pepper" an act that was (Eleanor) and not going to give it to you because Libby Spencer unusual in presenting two women Bill)' Byrd, with you won'tdidn't speak up and that together. The duo altered standard her sister Clau- dine at the Two- was really dirty of you to leave me Edith Hunt performed as a child conventions in the clothes they Bit Club, c. 1942. standing by myself, when I was as "Baby Edwards," and as part of wore, as well: [The M.C. at the speaking up for all of you. But see, the "girl and boy" act "Spic and Apollo used to say, introducing us] that's not going to stop me because Span." Dee McHarris performed "Ladies and gentlemen, we've got I wasn't only speaking up for you. I with her husband Dave was speaking up for myself. as "Dave and Dee," and [That was over] more money. "McHarris and Delores." You know. And Small's should have Isabelle Fambro per- been more money anyway. You formed with her part- don't get anything if you don't ner as "Billy and ask....It was the same thing over Eleanor Byrd." Her here in New Jersey. Just tell him agent thought that we're not going to work. Just walk Marge and Gower out....They did it, and he gave Champion were what them the raise. He knew it was me. people wanted, so he You know. Well, I didn't care created a name and because it wasI knew it was image that suggested right. I wasn't doing anything that an elegant married was wrong. Like I say, you're never coupleand Isabelle going to get anything if you don't Fambro became Eleanor ask for it. Byrd: "So that's how And we deserved it. The salary that come about. It was small enough as it was, you didn't matter [what we know. You see all the people were called]. It didn't jammed in the place, you know. matter. What was in a Goodness. And he was bragging name? Look, there was Scoop and an act for you out of Philadelphia. himself, you know, "My goodness, Doop and everything, and Spic and The name is Candi and Pepper, he we never had it so good. You know, Span and Tip Tap Toe. There was saysCandi is sweet, Pepper's hot, "Where did all these people come names. People just used names. come on girls and show us what from?" Him and his wife. He Slim and Slam.... .and all those type you've got." And boom we went wouldn't offer you another clime. of names. They weren't no real out there. And that's what I Wouldn't think of it. I didn't find it names. They just wasn't real meanwe showed 'em what we any problem to ask for what I names. The Ink Spots. Who knew had. They'd never seen two girls. thought was right.Libby Spencer who they were? Other than whatev- And we were young, we were er name they called themselves. young. We never exposed any part [About women not getting the Isabelle Fambro of our body other than our face chances or credit], I didn't let it get Hortense Allen got a name from and our hands....Our costumes to me but I knew it was happening another dancer: Yeah, they called me were zoot suitsshirts and ties. all along. If I can'tIf I don't see a "the Body" I used to think I was a We used to wear the Windsor way of doing something about corpse!I got the name "the Body" knotbig, big knot. And that something, I can't worry about it. through Peg Leg Bates. So, the alonepeople....wanted to see See, I can't spend my time and majority of exotic dancers, they have flesh. And for us to go into the energy worrying about that. the name "Princess So-and-So and Apollo and to score like we did is Because that can only hurt me, see, So-and-So." I said, "No, my name is just amazing. And that was it, We it can't hurt anyone else. Now, if I Hortense, and I ain't no Princess So never exposed our body. Never. see where I can do something and So. Now, they just coming to see Mildred "Candi" Thorpe 24 Women's looksand their away.... that's color made a difference in the what I called

kind of work available to them as them. What ss, dancers: You couldn't be but so they called a brown. It was like you couldn't be throwaway, _..1111 but so brown. Dark brown-skinned they come girls were, they were out. Brown and do an skinned and light, that was the act. They thing, you know, lighter complex- don't give ion, that was the thing. That was them the true mostly everyplace.... [Memphis applause Bound, Bill Robinson's show] was very seldom one of the first shows that was bro- you saw cho- ken down. Well, the producer, the rus girls man that had the money, he broke unless you it down, because he wanted who he was a picked in his line, [and she] was the soubrette darkest brown skinned girl.... .and that got girls had to learn that it had noth- applause. ing to do with color, it was talent. And they wl!-Lc.), So It's like anything else, you opened, in had to be in. And if you're in, you black clubs they would do a middle the next week, because we had to can get by. And Louis Armstrong's number which was their very best, change every week, three num- wife, they used to call her Brown their very best. And most of their bers. That's right. And we were Sugar, she was in the Cotton Club middle numbers they did for the very good, I must say. You know, and she was a dark-skinned girl.... oncoming act to follow them. So we were very good. We didn't think Libby Spencer that's why the name throwaways we were very good at the time, but come in. Plus they never got a salary looking back at it, we did a lot of like a performer. Never did. They Lillian Fitzgerald put iodine on stuff...We didn't want to create an got scale. Or if they were a little her face to look brown and Isabelle act. We wanted to be chorus above scale, they get maybe ten or Fambro used a different shade of girls...because we did more, we fifteen dollars more. But they never Max Factor on her hands, arms, and learned more, we knew more. An got up in the hundreds unless they face to make herself lighter. Others act didn't know anything but their were in some huge big show. Now never got a chance: Clarence act...You'd have to know more...but the chorus girlslike Larry Robinson used to produce for the we were not qualified, we were not Steele....they were his show. Cotton Club back in those clays and looked upon as better than the Because of their costumes and at acts. Because they were acts and the Zanzibar....The majority of times, that time, a little bit of nudity and we were chorus girls, so we're the Clarence Robinson would use like they were pretty And they got paid little, you know, low on the totem the lighter girls. You had to look for their beauty, their figure, and either like a Indian or foreigner or not so much as their dances. pole. But many of the girls in the Mexican before he would use you. Because I know they had showgirls chorus had more talent than an Now, Clarence Robinson, had a girl, that couldn't do acouldn't cut a act. Well, that's true. But the acts they said, named Ristina Banks, used step. But then they made the show that were good, they were excel- to choreograph his shows, cause and they made it a beautiful lent, you know, they had to be.... Clarence couldn't dance. And used show."Isabelle Fambro Libby Spencer to choreograph his shows, teach the girls, you know. But she couldn't The story of chorus girls is the If you ever was a chorus girl, dance in the line because she was a real untold story, really....Because you learned all kinds of dancing. brown-skinned girl. They never they would have you to think that But if you had an act, you only do would use her, they say. I never met the acts did it, because the acts did that act until you retire. See, well, her, but they say she was a terrific not carry the show, it was the cho- in St. Louis, we had to change dancer. Hortense Allen Jordan rus girls that carried the show. And shows every two weeks and had to that's really who people used to do five numbers. So, a lot of peo- "Well, you know what I always come to the Apollo to seewhat ple will come out of school and 24 thought? Chorus girls was a throw- the chorus girls was going to do say, "I'm a dancer" but their brain 25 don't function that well to learn then he would put it in our rou- one another, you know. Just all five of those numbers and have tines. Different [acts] would teach learned different routinesthose to change them. That's the differ- the tall girls.Libby Spencer that wasn't, that didn't pick up on ence.... Some of em say, "Well, this The performers themselves the routines as fast as the others is my technique," but that's the appreciated the chorus girls someone else would help them, only kind they have learned, one because they wouldn't dare want to you know, to make sure that they style or one kind of dancing. Just come in the Apollo without 'ern, learned it so they could be able to like Dunhamthe only one style you know, because they knew what work, because if you didn't learn or one kind of dancing." they meant to them as acts. We the steps, you was out. And one Hortense Allen Jordan would come on, open up a show, moment, the producer would not, that would open it up for the you know, they weren't.... they For the "tall girls" in the Apollo warmth of it, and then the different would not put up with you not line, the boundaries between acts acts in between and then we would knowing. See, you had to know and chorus were blurred. Libby do a middle number. And then the how to dance when you came to Spencer danced as captain of the rest of the acts would come on. And the Apollo. But some girls was line at the Apollo: We always liked then we'd do a big finale...You had a slower learning. It's not that they whatever acts came in. We'd stand tap dancing group or duo, like "Spic couldn't dance, but everybody in the wings and watch and learn and Span," or "Billy and Eleanor don't pick up as fast as the other. different things from them, you Byrd." Then you had a blues singer. So then we would get them aside know. What they were doing...Mr. You had a pop singer, a comedian, and make sureand drill them, Harper used to make us go down and you had little acts in between. and make sure that they would get and learn from different acts that You know, they would do little dif- in.... Because the girls that came came in, some of their steps, and ferent acts....Shake dancer, they from the Cotton Club, when the would call Cotton Club closed and they came 'em, interpre- to the Apollo, they were not very tive dancer. good dancers. See, the girls at the You would Apollo was very good dancers. And have an act the Cotton Club girls werevery Composite photo like the pretty, and you know, and they of Isabelle Fam- Nicholas were looked up to. So they wanted bro at the Apollo, Brothers. to come in the Apollo. But they c. 1947. They would just couldn't learn those routines. be the act So I would take a couple of left: Libby Spencer before the them....that made it through. But at the Ebony finale. The like I said, Leonard Harper, he Show Lounge, big act would didn't stand for you not knowing. Broad and be the act He said, "You're a professional, Spruce Streets, c. before the you're supposed to come in and 1952-3. finale. It was learn and get it," you know. So that always set up was that.Libby Spencer like that. Libby Spencer What happened at the end of our act is, we were booked in the The cho- mountains....Emersons up in the rusit was Catskills and the agent from [Japan] fun. We were came over to see us. And my son like sisters, was sick. He had TB as a little boy. we helped And he liked the act. So this time one another. we was in the agent's in NY, we had Life was real- left Jolly [Joyce] .... we went with ly fun. We the Morris Agency and I mean we looked for- were booked with the biggest of ward to com- acts and the biggest of stars.... we ing to work were the dance team....And they because we came in here, and they bought the really liked act and I kept telling Billy, "I don't 25 26 want to go to no Japan, I want to stay close to home" because Sonny [my son] was sick. And he got dis- turbed about that, and he hadn't been to Japan and he wanted to go. *Jazz Dance was So he rehearsed another girl. I initially published knew her, Vivian. Out of New York. in 1968, two yearS And he didn't let me know that he after Marshall was passing Vivian off as "Billy and Stearns' untimely death. (See pp. Eleanor." Now I'm brown and she 122, 145, and 195 was fair. Plus she didn't work like for references to me 'cause she danced up on her the women cited toes, but she could tap. That was a here.) good novelty act. And he went on to Japan and when he got there, **In 1990, Rusty after a few shows, I don't know how Frank's TAP! was many, whatever, the agent came published, listing into the club and he says, "this is nearly 20 African This year, Marshall and Jean "clean, clear taps," and "could cut a American women not the act that I booked." And he tappers. Cheryl was very disturbed about it. So they Stearns' book Jazz Dance, long out five-tap wing like a man"), and Etta Willis' 1991 disser- cancelled him. First time, ever, in of print, was republished, with a Gross who was "as good as Alice tation at Temple, the history of show business, was new foreword and afterword by Whitman," Florence Covan (wife of Tap Dance, lists he cancelled. So he got very dis- Brenda Bufalino, a New York hoofer Willie), Bessie Dudley, Jodie more than 80 turbed at me, and very angry at and former protege of Honi Coles.* Edwards (of Butterbeans and Susie), African American me.... For not going. For not going. Bufalino, through her teaching, per- "excellent woman tapper" Lavinia women hoofers. And it was good money...I wasn't forming and choreography, has Mack and "eccentric dancer" Ada going to Japan. Suppose something become a nationally and interna- Overton, George Walker's wife. * * *Some perform- tionally recognized exponent of ers whose origi- happened to Sonny and I was in Their references to a dozen black nal acts involved Japan?Isabelle Fambro tap's claiming a place on the con- women only scratched the sur- comedic or eccen- cert stage (vernacular no longer). face.** tric dancing rein- I left show business after Billy She writes that the Stearns' book While the underrecognition of vented themselves and I split...See, it was double has become "the Bible for the new African American women in Jazz as tap dancers salary with us. And naturally, when generation of tap dancers and a ref- Dance might be explained by the when hoofing he went on with the Ink Spots, and erence manual for the tap masters premature arrest of the Stearns' found a new still living who worked so diligently research due to Marshall's death in audience. I'm only doing two nights a week, I couldn't make it. And the War then to pass on the tradition as well as 1966, it is harder to understand why was over and I wasn't getting the the technique." (xi-xii) it is that through the 1970s, the check, and I went to work for the The republication of Jazz Dance 1980s, and up to today, veteran City. My first cousin, which we is a graphic reminder that even black female hoofersnow in their were raised as brothers and sisters some of the most thorough and late 60s to early 80shave was a [PA state] Senator. So I went thoughtful researchers have tended remained overwhelmingly in obscu- to Freeman, Freeman Hankins. And to discount the participation of rity while the careers of numerous I told him I needed a job. And he African American women in the black male dancers have been revi- said what can you do, and I said, development and popularizing of talized, sustained, and even trans- "Sing and dance." At that particular the tap form. Stearns and Stearns formed*** by the so-called "tap time. "Act," whatever. So, he says, mention "excellent tap dancer" Mae revival." The "women's movement" "How 'bout clerical work?" I said, Barnes who was quoted as insisting notwithstanding, veteran African "Whatever you get me, if I don't that "a few of us chorus girls knew American women hoofers are still know it, I'll learn it." So he got me more flashy steps than the dance waiting for their phone to ring while a job with the City...But I would directors or choreographers." They their male counterparts have been work Friday and Saturday, still also mention Katie Carter, Muriel appearing and performing in film doing my show business....And I Ringold, Cotton Club dancer Cora (e.g. Tap, No Maps on My Taps), on started livingwithout the help of LaRedd, Maud Mills ("nicknamed Broadway (Black and Blue, My One Billy, without the help of anybody. `Hardfoot Maud' because she hit the and Only), at prestigious venues in ExceptI owed Freeman my deck with such force"), Alice the U.S. and abroad (Carnegie Hall, 26 life.Isabelle Fambro Whitman (who "was tops," had Lincoln Center, Kennedy Center, the 27 ty of women concentrate on developing their primarily white, own prominence as tap performers middle-class, col- and choreographers. Had Kramer lege-educated taken a longer historical perspective and forty-some- on her topic, she might have recog- thingsupport- nized that there were many African Smithsonian Institution, the 1990 ed, promoted, and encouraged the American women who, like her Dance Biennale in Lyon, France) revival of the careers of a communi- male idols, distinguished them- and in a growing array of tap festi- ty of veteran tap dancersprimarily selves as performers and stylistic vals. black, male, unlettered and 60-80 - innovators. She also might have Reflective of the way that African something. The "Super Moms," acknowledged that long before her American women have been over- according to Kramer, were the generation of tap disciples entered looked and denied recognition for resuscitators and caretakers of a the fold, there were African their contribution to developing "waning" art form; the vehicle for American women dancers who and sustaining the tradition of tap their restorative power was the nur- struggled against anonymity, dis- dancing is an essay entitled "Super turance and inspiration they provid- crimination, and exploitation, and Moms of Tap" which appeared two ed the male dancers who became who sacrificed personal career goals years ago in the dance periodical their "lovers...fathers, brothers, sto- for the sake of the children and men Attitude, as well as in a publication rytellers and friends." Kramer urged in their lives. This essay is an intro- of the International Tap Association. that it was time for her and the duction to just a few of those The essay's author, Katherine other "Moms" to abandon their self- women.Germaine Ingram and Kramer, described how a communi- sacrificing handmaiden roles and Debora Kodish

Edith Hunt danc- ing as "Spit and Span," far left and as "Baby Edwards," this page.

Hortense Allen Dancers at the Dell, c. 1970s. Top row (l-r): Libby Spencer, Hortense Allen Jordan, Arline 'Artie" Riley Michelle 'Mike" Webster; Wilhelmina Her- bert, unidentified dancer; Yvonne Thomas, two unidentified dancers. Bottom row (1-r): Jeanne Bristow-Pinkham, Patricia Perkins, two unidentified dancers, Barbara Thomas, uniden- tified dancer; Vicki Diaz, Oscar McBurse

27 28 Staging the shows, all the way down the line: Hortense Allen Jordan and Libby Spencer

Hortense Allen Jordan fourteen years old, in St. Louis, dance and they was the ones that Missouri, where I came from. In St. had to teach. When I was real small, I guess about Louis it was a little different. 'Cause [At the clubs there], they'd need seven, eight years old, my brother... the producers all, like Leonard some girls and so they'd pick up six he used to teach music and he was Reed, all of them could dance. Now girls, [and you had a chance] if you learning me how to play the horn Leonard Reed could blow a horn, knew a little about dancing or some- and everything. But I guess that's teach you all kinds of tap dance thing...The Plantation [was the what brought me through the idea of he was a producer. I don't know if largest club in Saint Louis,] and it wanting to dance. You know. 'Cause he was white or not, but he looked used to close down in April, oh from the majority of times, if you didn't like a white man. And I think why September to April, and well, the have no money to go to college he didn't get a break they was won- other months you didn't have any- withwhat were you thinking of dering is why is this white man car- thing to do...There was one girl, Hortense Allen doing? Run the elevator or dance! I'd rying on this show [of black enter- Mickey, she was put out of school and her line at get in the chorus girl... and only way tainers]. And he would write shows for dancing professionally at the Atlantic City's Club you'd get to travel Well, you be a like operas. I mean a production. Plantation, but that never happened Harlem, c. 1955-6 chorus girl and you'd travel all over... He was really terrific...he had a to me because my teacher was a See, I had good teachers... I've wonderful brain. But producers chaperone...I used to go in and ask A been dancing since I was say about that came up out way, they had to the Dean if I could get out of school

28 29 to go to the dances because I was to make cos- tall and could match up with the tumes from other girls... books [and from When [Larry Steele] met me I the profession- was in St. Louis. He was the MC. He als] ...I used to came in as the MC of my show [that could always I was directing]. And Larry told his sew...I used to wife to catch my show and catch make big head- that girl that has the show. 'Cause I pieces for took Charlie Morrisey's job in them...Made all Chicago at the Rumboogie. So his of 'em. Cut it out wife asked me [to go to Atlantic with no pattern. City]. I said, "I don't know, I got to This was the way go home and see if it's okay with my regular profes- family." So that's when I came out sional costumes this way. So with Larry doing that, were made. See that's when he said, I have to do an when you're act in the show besides teaching the making the cos- girls. 'Cause he told Mr. Williams, tumes, see ...they you know, that I was leading the have to be boned line, not telling him the truth, you and everything...I know, that I was staging his shows was lucky all the way down the line, you know, enough to work and I went in front of the line...and I with the profes- went on down the line that way.... sional ones, to be `Cause every time Larry askedI around them. didn't mind working hard. And I They would used to go on the floor twenty-five show me, "Look, this is how this bus seat, that was all the one- (1-r) Libby Spencer; times a night. And people said, was done...." nighters we did. We didn't go into Hortense Allen, "How'd you do it?" no hotel rooms or something. Mickey Adams ....You had to do five shows, and See, when they'd have me Traveled just like that... And the (deceased) at the you'd doI was in five numbers puttin' the show together, you'd majority of times you played a the- Bandbox, c. 1960s. and...we did seven shows right behind have the opening number, which ater, you're doing seven shows. it. And how he used to do it because was the girls. The girls always When you come off that stage, your he'd have two production numbers, I opened up. Then, you'll have either feet be hurtin' so bad... . had to lead the production numbers a singer or some little simple act When you hit a theater, my and then I had to do my act. And then behind it. Then you take on maybe opening, all my arrangements I I was in the opening with the line. So I like a team or something... [or a knew how to handle 'em before I didn't mind. They wrote me up one comedian]. So that would have to came there, because I was taught time in a magazine. A thousand, so be like two acts in between. Then to, back home. So you know, you many thousand steps...then I took the the production number come on. could be doing an opening, you show to Newark.... Two more acts and the finale and have to know how to place that And the costumes the same way, that's your whole length of the music and use those songs the costumes the same way. If I show. Sometimes, they hire two [because] that opening could be could, really, if I could have drawed, singers together... only three minutes long. See, alot to draw costumes, I could have made Whether a person believes it or of people choreograph or they alot of money. But I can't draw! I can't not but this is true because I've been come from out of dance school, draw a stick figure like this...but I there. I sacrificed. I went out there. I they will teach forever, a step, over could go tell you how to put it remember on the show there with and over doing it. You can't do together... . Marva, Ben [Bart] had to go in to get that. You have to know where to I made all [my own costumes], I our food because they didn't want put those punch steps. They tell had to. Because they wouldn'tit blacks in there. That's the way they you that, and that's true. A singer's was so hard to get costumes to rent. were, traveling through the South. I the same thing... a singer if she And they would charge so much. said, "I never thought the South was sings, she have to sing a good For me to give the girls a chance, I like that." I had to go down there to opening song to put the people in had to make 'em. But I learned how see... Sixteen weeks, I slept upon a the mood. Then she can put the 29 30 going out] I'd say soon as they start presented their movements was so doing like rock and roll and go-go different....The way that they put girls, then they found that, they their acts together was unlike any- didn't need, reallyyou don't even thing you see today, you know. It have to teach anything, just put 'em was just so out -of- the ordinary. up in a cage and let 'ern shake and Until, you just thought they were dance. That was it.... They'd just just out of this world. You know take a dance act and put four girls they'll jump over tops of each oth- with it and call that a show. But to ers heads and all kinds of stuff, and really have a show, they wouldn't spinning up in the air and down really have it... into splits, you know. They were really, really different.... Libby Spencer Well [the dancing] just came...that's a natural thing. You Tap was always the hardest know, if you come from a family of thing to do so if a girl tap danced dancers like my mother and father she was considered very good. were waltz queens, king and queens Because dancinganyone danced. in Virginia. And that's dance....Well, I never thought people couldn't they were in contests...ballroom dance. I thought everyone could dancing....They didn't teach it at all. I dance, you know. I really did. But never saw them waltz. [I just picked it was all forms, all types of danc- it up in the house] among other rel- ing. It was these guys, the Berry atives. I had aunts, all of them Brothersthey were fabulous. danced. We would just dance in the You know, they just did so many house. And then when I was about above: Hortense tearjerker, that's the second one. different things that you don't see ten I went to Ella Gordon's dancing Allen Jordan and Then she have to bring people today. You don't see performers school for about six months and that Libby Spencer back up with another for them to performing like these people. Oh, was all. And I only went because a remember her.... they did all kinds of high kicks, couple of my friends was going and I below:Libby You had to learn. If you didn't splits, jump off of the tops of steps wanted to go. Henry LeTang, that's Spencer teaches learn, they'd fire you....You had to into splits... they did Davina Todd and on Broadway now... And I went to learn different names of a step. "Fall everything...But the way that they him for three months. So that was Barbara Clayton off the log" and then a "sham" A break, and you'll know that...without them saying it... So when they teach you, you'll look at it and know it's triple from so and so...I used to teach all my kids to hum the arrangement so if you miss something you can catch up with the next one so they can't make you look bad... [Chorus 30 lines started professional tap class. But I was a girls" or "tall girls" and we did the that type of thing, but with less peo- above: Line at the kid. So I learned alot through that. hard work. We did the hard danc- ple to work with, you know, and less Underground And then I came out and finished ing, as they called it. But we did money.. . [The story of chorus girls Rathskellar; Libby school and I needed a job. So I said, every type of dance. We danced is the real] untold story, really. Spencer fourth well, the best thing that I know how can-can, Robin Hood (swinging [And for alot of time, tap dance from left, Hort- to do is to dance. So that's when I from ropes out, from side to side), wasn't appreciated. People thought ense Allen, fourth went in the Apollo. oh just any idea that came in the it was] like an Uncle Tom type of from right. [The schedule was grueling, producers' mind. If he wanted thing. Because blacks was going in especially if there was a big band something to do, then he would for just ballet and modern jazz and like Ellington or Dorsey in the put it in the form of dance.... The the heck with tap... this was in the Apollo. Then they would have work was pretty much set and then sixties... There wasn't any support at shows every fifteen minutes, he would use some of the girls, all, because everybody was, they because more people would come, like myself, as captain of the cho- thought that was Uncle Tom danc- so] "you had to give them the show rus and choreographers. See, ing in the black dancing schools. because he wanted to make the because most of those producers They really, wasn't that happy with money. So every fifteen minutes were not good dancers. They had it, you know, until someone that was another show. We'd finish one the ideas and then we had to bring taught tapkids would hear those and then you'd have fifteen min- out the ideas with their music... . taps and they would go crazy and utes break, and back into another That's what the Apollo was all that would be their money But they show. Yeah, that was...well, that was about. Chorus girls. That's what really didn't advocate it, so to speak, sort of hard. But we did it and you people used to come from all over as anything thatto be proud of. know, you get through things... to see, was the chorus girls. Because Girls, no, we weren't accus- we were a very unusual group, very tomed to doing anything but look- unusual and good dancers, you ing pretty and doing little cute know... They didn't have any chorus steps. But in the Apollo, the tall that was as good as the Apollo girls. girls did all of the tapping. See and You know, they had dancers in dif- the little girls were called "ponies" ferent clubs and the like. But we and the tall girls were called "show were closer to Radio City Music Hall, 32 31 "Tryin' to get my knowledge together:" Women entertainers in the business and on the road

[How did I get started?] I got a bly I had maybe a good voice. But I was doing a little work chance to go on. Didn't make any Because I joined the choir and they here, like I couldn't get into the difference as long as I had a chance used to let me do a lot of solo work. clubs because like I was [under- to sing, I was right there... I didn't And the first solo I did in church, I age]... I'll never forget. They had a know if I really wanted to do it, but I remember hearing my own voice, place called Sim's Paradise and at knew that I liked doing it.[I used to you know, reverberating, you know, that particular time they had swing- harmonize with a neighbor.] The all over the place, and I thought, ing doors. So I'd get down on my point is, going to church. It was "Ooh that sounds good!" And I knees so I could peep up under the mandatory that you went to church liked it, you know, and I liked the door and see what's going on. So and I was attending a Catholic response of the audience, so then, then one night I had nerve and I Church at that time and I used to you know, that's where I got my pushed the door open because I sing "Ave Maria" and they had a cho- enthusiasm for singing. heard the band. Mr. Sims was a big rus of boys in back of me and I liked And I always loved music. And man who had frog eyes. He sit that soundthat's what it was. You we always had music, you know, at behind the bar. He had about twelve know, it usually does start in church. homethe radio, and... we had one bartenders. But nobody touch his So the point is, you are singing with of those wind-up phonographs, you cash register but him. And he's sit- other people and you have a master know. And so, I loved music and my ting up there drinkin' a Planter's there to direct you and teach you, mother and father used to take me Punch. He didn't drink any alcohol. it's more or less like coaching. to the Pearl Theater and the old When I peeped there, he caught Actually, I didn't have any what you Standard Theater, and all for all of me. He said, "Come here. You're Ruth Mobley, at would say voice training but I had these stage shows. We used to see Eula Bell's daughter." I said, "Well, Cleo's Carver Bar; alot of coaching. I've been coached the big bands like Duke, and Count he certainly knows me." 'Cause I 15th and Bain- by the best.Kitty DeChavis and Cab Calloway, and all of these looked just like my mother. bridge Streets, people and I was just fascinated by Everybody says so. So he said, "Your Philadelphia, c. Let's say [I started] in school, in these people... .Ruth Mobley father is Bill Chavis." He called him 1950s church, as I was growing up, I Chavis. I said, "OK." So he said, always liked to sing. It was really in Did it all myself. Nobody taught "Come back behind this bar. I'm not A church that I discovered that possi- me anything. I did it myself, watch- going let you stand out there and ing other fellows that would dance get my place closed up." I went back on the corner and around the cor- behind the bar, with him, standing ner. 'Cause at that time street danc- up there with him, drinkin' a Coca ing was out there. I remember when Cola. The show went on. Oh honey, the dancers woulddidn't have taps I was elated. Didn't make me no dif- and put bottlecaps between their ference. So I said, "You let me sing a toes and tap dance... And my grand- song?" He said, "You come back mother, actually, who raised me, -next week, I'll let you sing a song." she'd have to send and get me, from Next week I was back. "Not tonight. off the corner, as a little girl, just You come in the daytime." Well, I watching. And I'd come home and didn't have any sense. He had me try to do what they did. And most of there singing at rehearsals! Long as I the time I could do it. And singing, was singing it was OK... well that just came. My father was Well this is true because whatev- just a gospel singer and singing was er your destination is, I have found just in the family. Cause they were out, it will materialize, whether you southerners and West Indians and perfect it to a degree or not. But singing was it.Isabelle Fambro long as I can remember, since you're asking me, I was singing... Artistry and talent of young Well, the people, for some reason, women and mensingers as well as liked me singing....I just got a little dancerswas often recognized more concerned about it as the within the community, early. Some years went on. I will not, I am not a women describe being taught, ham, I will not perform any place. helped, brought along. Others You know, like occasionally, people speak about challenging what oth- have said to me, "Sing a song." I ers thought was acceptable, making said, "For what reason?" I said, "I 32 opportunities for themselves: don't sing too well free." And I defi- 33 nitely don't do well out of costume. I like to be, I like good presentation, definitely. If I'm presented correctly, good, you know. ... But getting over the teenage barriers. You know, up and down, going to school, one while you're in, the next while you're out. And then One time my mother had the police come get me. Underage. She said I had no business up there....But you know, it didn't mat- ter to me. That just goes to show you how children will be if they real- ly want to do it. So it was destined. I would go right back. She came and "Eighteen." So okay. Went back to have a fresh gown... and at that par- Kitty DeChavis snatched me out of a club. Pulled work. Went to work, you know, the ticular time, she didn't have any (center) with Ruth me by the ears like I was ten and the next night. But what did itI rode a money to go to South Street and get Brown (left), her people laughed. Didn't make no dif- bicycle all the time. In the daytime, this material. And she was sitting in agent Joe Wade ference. So. no make-up with the hair in a braid. the dining room, looked in the liv- and others after a I went to a caucasian night club Ran smack dab into him. He said, ing room and she had made eyelet performance, at that time... I came in, I was seven- "Wait a minute, wait a minute, aren't curtains for two windows that we Small's Paradise, teen. Got a friend of mine to take you that kiddy" I said, "Yeah." "Let had in that living room and she got c. 1950s me up there. And he was a friend of me tell you one thing. Don't you my brother to get the ladder, bring my mothers. So he says, "I'm ever come in my club again. Come them curtains down, She cut them [gonn]a take you someplace they'll back in two years..." That's right. So curtains up and made me one of the let you sing." Well they didn't know I had to cool it, go to school, and most gorgeous dresses that I've ever `cause I was with him. I'll never for- just sing in the church, you had. That's the way she was... get it. His name was Robert Black. know.."Kitty DeChavis Isabelle Fambro He worked in a hospital. He was thirty-one. So I was with him. So... When I was at White's Wonder Show business was a way to who cares? So he took me to this Inn, where I was forever, at night make a living. Matter-of-factly, both place where everybody was singing. time... [my grandmother] would sit Hortense Allen Jordan and Libby So I was singing "Sunny Side of the at the back of the club and every- Spencer comment that when they Street." The man saying, "You got a body knew her, and wait for me to thought about the kind of work job, you got a job!" I said, "Look, I walk me home which was only half a available to them, dancing as a cho- got a jobsinging!" I was there two block away. But she [was a dress- rus girl was the most satisfying nights before they put me out maker and she] knew exactly what option. It was a business, and there because of my age. Well, I wasn't to make and would go to South was alot to learn. Both Kitty aware of it. It didn't matter to me. Street and get the material and DeChavis and Ruth Mobley describe As long as I was singing. It didn't come in and make the little shorts musicians helping them "get their matter to me. That was too funny. for me... and you'd go in and do keys together," figure out the keys Then I didn't care about that. your singing, and sing all around the in which they sang their songs. Kitty The next night, I come up, went tables and then you'd go back to the recalls how Rex Stuart, Duke to the next club, clown the street. stage and you'd pull up the gown Ellington's trumpet player, wrote And this particular man he was red- and that was your finish. And you out an arrangement for her for one head. Never forget him, name of always had tights that would match of her songswhen she had never Harry Salmon. He smoked a cigar, the gown. Well, my grandmother, even heard of an arrangement. (I hung out of the side of his mouth. she was always so stageevery- said, "What's thatan arrange- "Yeah, go up there and sing a song. thing, stage grandmother, that she ment?" she recalls herself saying). If you can sing good enough, I'll would make me the prettiest tights give you a job." I sang a song. I that you would ever want to see. And we were poor. My father was neverI don't remember the song And if I didn't pull my dress up high a policeman. My daddy worked for at this time, but anyway, when I got enough, that she would tell the City of Philadelphia and he was through he looked at me. He said, me...When I went to New York with making eighteen dollars a week. "How old are you?" I said, Willie Bryant, she wanted me to Well, and I would do two nights and 33 34 BEST COPY AVAILABLE I would get ten dollars. You know, fella by the name of Bunny Baker, a rfi so how much more was he making drummer, very good drummer, from me, then, he working every heard me singing a solo with this five days a week and I was working group, and he said, he called me up just two nights a week and just a few the next week, and he asked me if I hours and he was doing a full eight \`' would like to have what they called -e and I'm making just about as much a gig, you know, "Would you like to as he's making? And if I doubled, have a gig?" I'd never worked any- [working two clubs at once] like the where in my life, and I said, "Well, time I was working at Sim's across yes." And he said, "Because you're, the street, well, that's like twenty you're wasting your time just dollars, y'know on the weekends. singing with a group, you, with a So, you know, it was easyIsabelle voice like you've got, you should be, Fambro you know, professional." And so I said, "Well, yes, I'll work." So he I went with Eddie Suez, Jolly said, "Well, what would, how much Ie Joyce's son Norman, Earl Ball and would you want?" You know what I agent after agent... Most of the mean. Now, to show you how naive agents were in the Shubert Building, I was, now this was in 1948. I said, and you could go from agent to "Well, I would have to have at least ing presence of supportive commu- agent, [asking] "You got anything five dollars." So he laughed. He nities. The band of five people with for this weekend?"... laughed. He said, "Oh, I'm sure we whom Ruth traveled felt like a fami- You better be business... you bet- can give you more than that." But I ly, and Kitty describes an almost ter be business... because they have was, I neverno-one had ever mystical ability to walk into strange Above: Kitty stolen from us. We were supposed asked me, you know, nobody ever places and find someone who knew DeChavis at the to be paying ten percent and agents offered to pay me to sing and I her family. Baby speaks of how peo- Blue Coronet, were selling us for fifteen percent. didn't know what the going rate ple protected her. People helped Brooklyn, 1969. Oh yeah, oh, it's alot of thievery. was, I just had no idea. You know, I them make their way in a rough Definitely. But I liked every minute didn't have a clue. So anyway... he world, alone and on the road: Below: Dottie of it. Plus, even with the thievery, it said, "I think we can do a little bet- Smith, Louis Jor- was a better salary than anybody ter than that...."Ruth Mobley My mother traveled with me, and dan and others, that's gonna work eight hours a clay, then as I got older, she would take after a Chicago a much better salary. I loved every- performance, c. thing about it.Isabelle Fambro And clue to the fact that I was meeven when I worked clubs 1959 young and with the older perform- with my partnershe would go get [I was in an a capella group, the ers [looked out for me], see Moms my room. She was with me quite Skylighters, still in existence] "and a Mabley was eight years older than alot. And then, when she left, my my mother. So you weren't taught partner... protected me after that. how to smoke and how to drink. I He always walked me home after mean, they used to, when I was on rehearsals. I wasn't afraid, it was just tour with Moms and them, [the that I was always protected. And fans] they would come"Can we like, if we would stop at Horn and see Miss Hucklebuck?" Well I wasn't Harclart to eat or anything, she aware that people were excited, you would belike, I remember, I know, over performers yet. Moms worked a club, it was the Gay would answer the door, "No, she Nineties, I was underage. My moth- can't come out. She got to sing. She er would wait for me to come from got to watch her voice." I hadn't the club and I would stopI liked even opened my mouth. And I the hot apple pie. And I would stop would, I wouldn't dare say anything, with the other performers to get the because I wasn't raised that way. hot apple pie and then the friends That was one thing. We were taught would walk me home. And then my not to talk back.Kitty DeChavis mother would say, "What are you doing late?" Because she would be Many women working alone in waiting outside the house for me... I 34 show business describe the continu- guess that's why they always called 3.5 you go, you Philadelphia. I went over there, the Dottie Smith, first make it your minister gave me I had my little row, right, and home. Each money strapped to waist in a money others, after a hotel, you get lit- belt and I went over there. The min- show at an tle doilies to ister rented me a room. Very nice Atlantic City club make your hotel room, you know what I mean. It was at Maryland and me Baby from a small thing...`cause room look nice, for your dresser, so like one of those rooms where they Arctic Avenues, c. I was baby... I was the baby of the you can be comfortable for that had a little small gas stove, 1950-1 acts, the baby of the club... week or two. And sometimes you frigidaire, everything... When we worked Club De Lisa, were there longer. Like Chicago, But the point is I came down Joe Louis, I'll never forget, he want- we'd be there a little longer, that steps, Lexington and 125th ed the girls to come upstairs. And I because we'd be held over at Club Street....it was a celebrity club, it was would drink fruit punches. He want- DeLisa and that would almost be a night club, and whomever he was, ed all the girls. Well, I would stay in like home. Even met a girl I went to he knew my mother. 'Cause when the dressing room. 'Cause my part- school with there... But of all the he looked around, he said, "Young ner protected me then. Then when places we've gone, Chicago was the Eula what are you doing here?" I I wouldn't go, they would say, coldest place... oh my goodness... said"See the train," and I was cry- "What's wrong with the little one?" [About performing,] I love it. ing and screaming, and all my He was treating everyone. Then I Because the doctor told me that he clothes on there, my trunk. He said, would get a fruit punch and go right didn't think I'd be able to dance again "It'll go down to the station. Go over back to the dressing room....it didn't after my heart again. But I can dance, there and get yourself a room." bother me. I was happy. I don't feel the painbut when I Well I was always worried, think- I liked to play cards and they walk alot, I ache a little bit when I ing about money. I had my money would say "Do you want to play walk alot. But when I get out and put away and I said, "Now I got this tonk?" And they liked me because I dance, the doctor can't understand it. room, I got to find me a job, " I said, didn't curse...and they would say, I get that adrenaline or something.... "Because I don't know no place "Don't say that around Baby." something about that, when I'm on here to go, to sing...." So in the Because they knew I didn't curse, stage, I get a different feeling. meantime somebody told me 125th and they respected me like that. I Edith "Baby Edwards" Hunt Street...Well I was sort of looking for remember so well, Dinah something to do and I passed the Washington saying, "Baby's here, and When I came in from Montreal, Five and Ten. I think it's still there, don't you say that in front of Baby.." dig this. I got off the train, one not far from the Apollo Theater. I When I was on the road, it was morning at six o'clock. Actually, I went in the Five and Ten. They some of the same ways. I was very was coming to Philadelphia but I wanted somebody to sell cookies. I close to my partner because he made a mistake, and that's the only went right on back there. I applied studied alot. He studied piano and reason I took the train, 'cause I for the job. The lady hired me right he studied music alot. And he wasn't going back. I always flew if I there on the spot, put me behind stayed to his self and read and so was going back. I got off at 125th the cookie counter. So my idea that therefore, I would read. I would Street and Lexington [in New York I had was thinking, somebody that always pick on the quiet ones to be City]. Six AM in the morning. Came heard me sing somewhere will with and we would sit and talk downstairs and said, "Oh my God! come by. Sure enough. Inside of a about show business or "back in the This is not Philadelphia. This is not week, an entertainer by the name of days" or something like that. And Penn Station. " Standing up there Muriel Nichols, she was old enough there's the one I would pick, one of and I looked and saw a man sweep- for my mother, that's why she knew the older ones and that's how I ing. I said, Scuse me sir, can you me. Right? She said, "What are would learn about show business. tell me" He looked around, he doing back there selling cookies?" I That was good experience for me. said, "Young Eula." So thishe said, "I'm waiting on you so you can That's why I could listen to John knew my mother! He said, "What come tell me where to go I can get a Hart, when he talked about his are you doing here?" I said, "I just job and sing... I only been here a experience, when he was with came from Montreal and I could I week." "When you leave Bessie Smith, back in the days, and I got off the train here." He said, Montreal?" I said, "Last week." She could listen to him.... "Don't won)/ about it. Go across the said, "Well, when you get off from I loved traveling at the time. street," he says, "and knock on that work, go right across the street. Because it was exciting, it was really door and tell that minister I said There's an agent there name of exciting, three weeks here, you're give you a room." That's what really Jimmy Edwards." And he had a little living out of a bag but each place stopped me from coming back to booking agency right. I said, "OK," 35 36 and I did that. He booked me in the wings and [Cole] would take me like that, and when Bill Bailey Jersey. I went to Jersey and to the hotel and I'd get in there and comes towards you, just shut your worked....Kitty DeChavis I'd say, "Thank God." I'd be glad. eyes and open them like real pick- No jeans was out. So. But I had Because I was really afraid, because I aninnys when he come toward two suits made and had slacks made was by myself. So one night, the you. And we all just looked at her with 'em, cause I was traveling with band boys sayI heard 'ern outside and you should have seen our... men....Nat King Cole's wife was with my room door. Now I'm in there every eye was looking at her and us and she was pregnant so natural- sewing. "I don't believe DeChav is in they gave her one look...Well, you ly she was growing and she was get- there by herself." That was Willie know what I mean... everyone ting, you know, a little ill, so she had Moore, the trumpet player. The bass looked at her just... they really to leave us... And we were the only fiddle player was named Mr. Chips, gave her one look. When I saw her women. Eighteen men..his trio...Hal "No, man, there ain't no young gal on a show last week, I thought, I Cornbread Singer had six, and then in there sittin' by herself." They thought about it. I thought about they had maintenance men, two bus decided to get a chair and a box and what she'd said.Edith "Baby drivers and people who handled the get up and look though, you know, Edwards" Hunt luggage, who carried your lug- like that little...transom. Peep gage...So this was why I had pants through there. I'm in there sewin' You had to put up with it. What made, because you don't know and they fell down. While they was were you going to do? You had to what's in men's mind two and three looking. I opened the door and I work. I had two kids to feed. You o'clock in the morning and you're said, "Yes, gentlemen? Oh...no, I'm had to work. Oh, I've been in on the road. So that's the reason I in there myself..." restaurants, even in the Primrose had on the pants, I wore a little But I wouldn't have believed it if Country Club in Newport, money belt. I hadn't seen it. But I mean you Kentucky. The line of girls there, Nat King Cole gave me a little can't make a bum out of yourself which was white girls, because we small gun which he might as well because you are on the road. were always the only black act on have kept. They gave me target Because I was really tryin' to get my the billand, oh, they called them practice. I never have hit the target knowledge together, with being a colored acts... So we had a car and yet. 'Cause I was totally afraid of performer, being a showman, and the gun. The can's sitting over here they had a car and we were [all] Baby Edwards at at that time I was back and forth, on going to this diner over in and I would be 360 degrees off.... that road. When Nat King Cole the Apollo, c. [Hal Singer went on for forty Cincinnati, right across the river, 1960s. minutes. I would do 20 minutes and came back, then I went out with like from here to Camden, and Moms Mabley. Wynonie Blues Nat King Cole would pick up then. have something to eatearly So after the show,] I'd be waiting in Harris, that was that show. Then breakfast, after the show and all came back and I went with Paul was over. And we went in this here, Williams, and then I was with Earl nothing fancy, just a common diner Bostic. You know.. well, that was my and we sat there and the waitress life, you know, at that point. kept walking past, so one of the Kitty DeChavis girls says, "That fellow there just come in. We've been sitting here." There were many perils on the So she got up enough nerve to say, road. As entertainers, many African "I know, I can serve you all, but I American women sometimes can't serve them." So they, my enjoyed more freedom and inde- white friends said, "No." And left... pendence than other kinds of lives And well, this particular time...well, allowed, but they were still working you know, we were just tired. But in a racist, segregated society, and [we were] hurt. You know. And in times when women's roles were then, going to get in the car, the circumscribed. waitress run out of the diner, that had seen the show and came to get [Agnes DeMille] was the chore- our autograph... ographer of the show...and she And it's several placesOh, we was telling us how to sit and what went up to Wheeling, West to do while we were on the show, Virginia, and oh, my goodness, we on the set, so she said, "Well, I tell couldhad to stay in the train sta- 36 you what, now you just sit clown tion all night. We stayed in the train station all night, right up here sang on the road, she left a hus- in Allentown, Pennsylvania... bad, family and house at home. [there] wasn't no place for us to Having a place to go toor to go stay...You accepted it. You accepted back togave women some inde- it. It was almost like you're stayin' pendence. in your place and if you get out, you know you're doing wrong. You But I quit really at the peak of accepted it. You had to accept it my career and went to school, 'cause that's the way, that was the because I realized that you needed only way you knew...It was toilets something else. I had seen too You do keep your hand in the above: Isabelle many performers fall by the way- [business]... but [I] had something for white. Toilets for black. Fambro (Eleanor) Lunchrooms for white. side and didn't have anything, and else to fall on. There was always and Billy Byrd at Lunchrooms for black. Even in the I knew I didn't have anything. So somebody calling me to do a week- the Plantation five and tens. Sit down for whites. you better do it before you get too end or something, here, or in Club in St. Louis, Stand up at the hot dog counter old. OK? I remember Myra Lawnside, or somewhere, and due early 1940s for blacks. We went through all Johnson. I didn't know her. She to the fact that I worked indepen- that. But at that particular time, I was before me, but she was, had dently as a hair stylist. I could easi- below: Ruth Mob- didn't know no better. been a singer with Fats Waller. And ly close the door and go on where ley after singing, ...And we have been turned I met Fats Waller when I was fif- I was going. I had independence. between sets at the away in St. Louis again, we were teen, OK? So I was going to the Because I figured it out. I'm look- Hurricane turned away in a restaurant 'cause office to pick up a contract. They ing and watching these people. Lounge, a club in hethey told Billy that they were used to call you up to come down Why do you want to go down the Pittsburgh, c. 1958 very sorry, that they didn't serve pick up your contract. Myra drain when you watch what's tran- colored. Billy says, "Well, I didn't Johnson was in front of me going spired with, in other events, with come here to eat colored. I come into the office. Fabulous lady. Oh, I people. There's something else here to eat." He says, exactly what admired her, she was a fantastic besides show business. And you he said. He says, "Come on, El ly" singer. You know the agent looked can watch the world turning. It's and we went. So then we went on up in her face. He says, "You mean revolving. Kitty DeChavis to Delmar Boulevard and to the to tell me you're still singing?" He restaurant and that's where we ate. says, "I thought you was dead." ...But that's how bad it was. It I never forgot those words. I was really awful. I have lived say, "Nobody will ever tell me that." through it. I wasI marched with I'll take myself off the stage... Doctor King. That's how much that Well, the point is, that was new I felt that I should be a part of this to me. I hadn't been in New York Movement. Because it wasand long. And one thing you'll find out second-rate hotels and some in this business. When they want places you'd go you couldn't get a you, they find you. You see. And room. Unless it was where we some people don't accept defeat. lived, down by the railroad in most Some people don't look, like they major cities... I know what segrega- say, "Wake up and smell the cof- tion is all about.Isabelle Fambro fee." I watch me, I watch other people and see what's happening, Entertainers saw many of their you understand what I mean? peers fall into drugs and alcohol, When he said that to her, I almost gamble or spend all of their earn- fell out. He wasn't talking to me ings. Isabelle Fambro looked `cause I was all of 21 or something around and decided that she wasn't like that. But he told her, to her going to let it happen to her; she face. I heard him, he said, "You're saved her money carefully and not dead yet? You're still singing? I bought her own home so that thought you [were] dead." She when she left show business, she said, "Well, I see you're still could be secure. Kitty DeChavis -living." Well that was the best also thought about the future, and answer she could find. You know made plans. When Ruth Mobley what I mean... 37 38 You had your own style: tricks of the tap dance trade and howyou learned them

"You know, when you came off the approach, steps always in some Dancers today don't ask like they street, it was natural. That's the way kind of context, going somewhere, did when If I saw you do some- you are. You had your own style. You doing something audible, making a thing and I would say "Now show created your style. And that's what rhythm. Paradoxically, a dancer who me how you went into that. Show you was about. But when you came came up on the streets developed me the key to going into that com- out of a dancing school, it was all the an individual style by "borrowing, " bination." Well, you would say, "OK, same. Your style was like his style "stealing," "making someone else's come on." But dancers today don't and his style was like her style and moves their own"in other words, ask... You know, they don't ask you `cause, you see how they carry their by mastering and becoming part of to show them anything today. You arms in a dancing school? I mean it's a collective aesthetic and ethic and know, they don't do that today nothing natural about that...You fol- by carving out a place uniquely for When we came up dancinglike low where I'm coming from? themselves within that tradition. all the little streets, you would find, ...You know. And dancers would But it isn't quite so simple. All at certain times, dancers dancing. steal from each other, but it was hoofers didn't share with one On corners. Like the streetlight allowed then. You know, you was another. Libby Spencer has would be like shining clown, like a allowed to steal from a dancerif observed that very few women spotlight, and the dancers would be you could... Dancers don't show dancers were taken under anyone's dancing in that spot. But you don't you things like they did when I wings or shown the secrets to a see that no more... I know, because came up. You know, dancers are combination. Some dancers didn't I'm one of the last of the street very secretive. Lot of dancers, lot of take kindly to competition. Some dancers. I learned on the street. But the dancers today are very secre- were generous; others were not. you don't see that no more. You tive."LaVaughn Robinson And performers didn't just develop know, you don't see street dancers their art on neighborhood streets no more. You know, when I came Many veteran hoofers will tell but in show business, where power out of the street, that was the end of you that you can look at a tap was overwhelmingly held by white the street dancers. You know, you dancer and tell if they came out of male producers, theater owners don'tall up and clown Chestnut Spic and Span dancing school. As Robinson states and agents with their own notions (Edith Edwards above, it has to do both with a Street and Broad Street and stuff, of what would sell. Some hoofers Hunt and Willie dancer's style and with their tap dancers was on the street danc- Joseph) trade war stories about exploitative approach to learning. In a dancing ing."LaVaughn Robinson agents who skimmed money; oth- school, you were taught steps. On the streets, you developed stylean ers talk about agents who were like Through my sister working in the "fathers" to them, a mixed various booking agents office, I final- blessing. Most talk about other ly started dancing, performing pro- dancers, musicians and entertainers fessionallyout of Eddie Suez' who taught them the tricks of the office, Jolly Joyce, Charlie Marrano trade, took them under their wing. and many others, doing weekends Stories about other performers upstate. I was still in school. I were part of an entertainers' edu- danced on the corners with fellows, cation, as well. You could learn Charlie Preston, John Lance, Tony from the stories, but the pleasures Lopez. We used to pass around the of telling stories, of talking shop, hats on the corners after we got fin- were (and are) many They make a ished dancing and we'd take in alot good time, give you a sense of of money Everybody knew us. And where someone else stands, what LaVaughn and them, they were a lit- they think of themselves and oth- tle younger, and they were on anoth- ers, and provide nuggets of infor- er corner, and then sometimes we mationthat always need inter- all would hook up and go and dance preting. Trading stories is also a on Fridays, Saturdays, and pass the way of developing relationships, of hat around. That was our movie fitting yourself into a social world. money, money we used to buy Veteran dancers say that these clothes, money we used to take our clays, school-trained dancers tend girls out on the weekends. Various not to askeither for hints about kids like Howard Blow who was also dance or for stories about the a member of the Dancing Dictators 38 entertainers of the past. along with LaVaughn Robinson and 39 myself. Manothers and we would dance as I before mentioned, for street money. We called it street moneyHenry Meadows

Robinson talks about a young group of street dancers active in Philadelphia in the late 1970s and early 1980s, the Disco Kings and Queens, commenting that they had the idea of street-based dance but they had no one to learn from, no one to "feed off of." "With us it was lot of dancers on the street so you had a chance to learn that art Dee McHarris, form... You learned from other were African American and male, but learn. The first two rows of the Dave McHarris, c. dancers... [Disco Kings and the corners were integrated and mul- Lincoln Theater here, and the Apollo 1950s Queens] you could almost say they ticultural, open to all. If you "had in New York, and the "peanut were the last but they didn't have some stuff" you were appreciated. To gallery" at the Standard, were all leg- anybody to feed off of. Nobody out make this point, people speak often endary as places where dance was there to give them any kind of com- of the close rhythms of the Condos appraised, closely watched. They petition to make 'em dance, Brothers, whose father, a Greek, ran could make you or break youand nobody showed them anything... the restaurant next to the Standard some of them were dancers watch- But when we came along there was Theater at 12th and South Street. ing carefully to try to steal your alot of dancers on the street. John Hart recalls watching on the cor- steps, to figure out what you were You know, and when you came ners and going home to practice in doingif they could: out after you had your dinner and the basement or shed kitchen. came out on the corners, you saw Isabelle Fambro danced at 17th and John Hart: The Lincoln Theater alot of dancers that was on them cor- Fitzwater, one of the few girls among first two rows. All the dancers ners, you know, and that's how you'd the crowd there. Tommy Jordan, who sittin' down the.re, lookin' like this. I learn. You could walk down 11th and came up dancing in Elmwood, the was upstairs and I said, all the South, on 12th and South, or 13th Southwest Philadelphia dancers down thereand I know and South, 16th and Southall the "meadows," knew about the scene in most of the dancers... way down to 22nd and South and South Philadelphia. Other women LaVaughn Robinson: Well, that's find somebody dancin' on the cor- Edith "Baby Edwards" Hunt, Libby the way they did anyhow. Because ners, so you had a chance to learn. Spencerremember dancing on the when you, even when you was in But all you had to do to learn was linoleum of the shed kitchen, or the the Apollo Theater. That first two stick around there, and cats would halls of apartment buildings, practic- rows was nothing but dancers. You pull you and say, "Come on, let me ing in the safety of home. Young "stu- understand what I mean? Because I see what you know, you know..." Very dents" of the art were disciplined and can remember when I played, first few dancers becamethis is my self-motivated, and what they took in played the Apollo Theater and the opinionI can't, I mean, this is how was not only footwork, steps or rou- first two rowsyou knew they I look at it. Very few dancers that tines, but a sense of those steps in were dancers because they had went to dancing school really, never context, as part of someone else's their bags with them, when they got that art. You know. They really individual creative style and approach. came in the theater... never really learned it, you under- You came up in a social world, where Germaine Ingram: What were stand..."LaVaughn Robinson the art was always performedand they there for? performed before a critical and know- LaVaughn Robinson: They was On street corners, the art was ing audience. Tap and other vernacu- there to scare you to death! And honed, shaped and createdat least lar arts weren't learned in the thats what they did, too. You know, by male dancers. African American abstract, away from other artists, or you walk out on stage and you a dancers who came up in South separate from performance. dancer and soon as you hit the Philadelphia from the 1920s to the Nor was it only on street corners stage, them first two rows nothing 1940s take pains to point out that that tap was learned, shaped, creat- but dancers, you know that'd scare most of those dancing on the corners ed. You never stopped trying to the hell out of you... 39 40 The peanut gallery ruled the backstage, see what I'm sayin'? And theater there, the Standard. we never looked at the stage, you Because most of those fellows up understand? And we didn't have no there, they.. could dance, too. And idea how big that stage was. We had sing. Up in the peanut gallery. So if an eight bar introduction and six- you mess up or something like that. A teen, no, we needed twenty-four Henry Meadows Of if you'd mess up... or if they bars... 'Cause, to show you how big, and partner, didn't like the showthey'd boo. that stage was like a block long. You "Butch" aohn Tuesday, that show was canned and understand? Because they ran, like Lance). they'd get somebody else in there. dog shows. And when they played And that happened... If the peanut our introduction, we had an intro- gallery gave you a hand then you duction on "How High the Moon," knew you were good. John Hart eight bars, and when we hit the Performers pay their debts with stage, and they went right into our Dancers could appreciate fine their stories, crediting those who introductionwhen we started dance, but by and large audiences helped them along. There was alot dancin' we were still on the corner wanted flashfast and showy to learn. For example, you had to of the stage. We never got to the moves, over the tops, wings. learn how to accomodate to differ- center of the stage.... Dancers had to learn how to "sell" ent settings. Every club or theater John Hart: [This man] ...who was their show, not just how to master was different, and the dance act had a comedian, he said, he was back- some moves, but how to put them to look good everywhere: stage, he said, "Hey boy, cover, cover across. Some dancers fought the that stage." I didn't get out to the tide of audience preference; others John Hart: "We left this one center of the stage, he was talking coached younger dancers in what it night, we left Jersey, come to about cover the stage! I got fooled. took to get applause: Philadelphia. We went to the Kent But the next show I wasn't fooled. Theater, up in Kensington, on Front LaVaughn Robinson: Yeah, And I met a guy, when I was real Street. It's an opera house. I thought because you saw what you had to do. young, I met a man called Sy. His of it as an opera house because it name was Lawrence Patterson. His was very large and because I didn't The audience. A stage. Some mother had a restaurant at Second know it, because I was back of the music. A band. A costume. Shoes. A and South. You remember stage talking to the orchestra leader. place in a show. A place in a tradi- Lawrence Patterson? Used to be And when I hit the stage, I looked, I tion. Managers. Competitors. Hard Popcorn, Peanuts and Crackerjack... said, "Gee, the center of the stage is times. Around each of these (and Well, he used to teach us how to way out there. I said, "Wow!" So next many more) dimensions of the busi- wing, he used to teach us how to show, I had it down. I know what to ness cluster stories that line out the do them wings and stuff, you know. do, see. I had to get out there, see. issues, explore the possibilities as an And he told us, he says, you could Because you got to get on and off. I individual sees them: do all the close dancing in the liked knowing how to get on and off world but you won't get any of this a stage. You know, one of the best Well, see, listen. I got these [applause] until you start doin' things in show business"Don't LaRay taps on these other shoes flash. And you have to learn how to come off clumsy, now." So then I that I bought. Yes, see these was do a wing. found out how to get on a stage one of the best taps that you could And that's when we started quick, move a little... buy at one time. You can't find doing them wings, with over the LaVaughn Robinson: I had that these no more... I mean you don't tops and stuff .. That's when the happen to Howard Blow, when have to work hard with this tap. people start the clappin' for you. Howard Blow and I were workin You never had to work too hard But we did alot of close dancing together. This was Elsie Blow's with that tap." [You put it on so and a lot of syncopated rhythm, but brother. We did a show right out that there was a little space the people just looked at us and, I here at Convention Hall, 34th and between the tap and the shoe.] don't know, they might have Spruce at that time, and we never Give it a little space, give it a lit- enjoyed it, but they didn't show it, got to the center of the stage... tle... give it space to let the tap like [clapping] you know what I because the stage was so big when breathe. It'll sound better. You meanwhen you did a wing, or did they, when we gave them our music don't want it to be dead... You let a toe stand or something like and stuff, what we did, we had a the tap breathe. You understand 40 that.LaVaughn Robinson rehearsal but the rehearsal was what I'm saying? You give it a little 41 tightening every now and then, girls, I guess these guys didn't like LaVaughn kept saying, "We haven't you know. that... I could understand that... heard from Frank, and the show See, what I do, when I put my Dee Mc Harris: Back in those goes in next week." So I told taps on. I puts my own taps on. I days, all the guys looked pretty on LaVaughn, I said, "Well, Frank is refuse to let anybody put my tap on. stage. Not like today.. business. If hasn't wrote, he will. Or You understand what I mean? I Dave Mc Harris: ... In them days, if he hasn't called. So LaVaughn remember one time I was talking there's certain parts of the states you went on and called anyway. And with Gregoryyou remember we go in if the theater was small, they'd when he talked with the hotel man- went over to New York? Gregory put a rope and a sheet up. And the ager, he said, "He never arrived back Hines. And he sayshe saw me blacks on this side and the whites on into New York alive." He had a heart with the screw driver, you know. this side. That's what that was in attack. I don't know whether he was And I was screwing my taps on. He them days. And then, upstairs in the on the train or the bus or what. But said, "You put your own taps on? I balcony. You'd go to down in he never arrived. So when this come said, "Yeah." He says, "Oh man." Virginia, [Roanoke]...the theater had about, I just said, "Well, I'm gonna See, he has his taps put on in the five balconies. And it was so take it easier now." stores, the way he buys his shoes... high...when you go up there and I was lost without Frank. And in a Look, look. All dancers, when I you look down, you look at the peo- way, I'm lost without LaVaughn. came up, put their own taps on. ple on stage, they look like an Because we did so many things that See, 'cause the shoemaker don't know how to put on your taps for you... La Vaughn Robinson

Dave Mc Harris: That's the first time I lost a shoe in Oklahoma. They got gumbo mud, it's red, in Oklahoma City. And I stepped out the bus and my brand new shoes, I went to get back and the shoes come up with meno shoes. They went down in the mud. I never , found them shoes. And they dug all around in the mud... In them days it was bus, big bus, like them Greyhound busses now... Then they had two road trucks to carry the scenerythe instruments went on *C, the bus. But like Brown Skinned Models in them days, they had forty people in their show, or more, and ant....and they played black shows, was so tight and so beautiful and we Henry Meadows, the most gorgeous women in the white shows, whatever came didn't care about none of the Dee McHarris, world. Brown Skinned Models. And in....But it was a segregated theater dancers out there. We learnt from Dave McHarris, they carried all kinds of platforms, in them days. All the blacks had to `em. But we didn't care about em. Isabelle Fambro, and this or that and wardrobe go around the back and climb the You know? Because that's the way 1993. Photo: plenty of wardrobes... I remember stairs, all the way up....And them the- we felt. And we both could always Thomas B. Morton down, we did a show clown South aters was packed in them days when handle our feet pretty good. And one time. And the guys were so them shows come in, you know? this fellow, Blow, this fellowa pretty and the women, the white good flash man. It was nothing for women was lookin' at em. They run [Now, Frank Belmont was our him to jump out of a balcony. We the wholethe guys said, "Let's get agent.] He brought a contract over used to do all that kind of stuff. We out of town, they comin' and for LaVaughn and Ito sign, to go was trying to get to the top, you nobodyeverybody had their cos- into the Latin Casino with Ray know.Henry Meadows tumes on, handed them on to the Charles. And took him to 30th bus and left. That's funny.. it's Street. Put him on the bus, on a funny. Well, the guys, they were Sunday. We signed the contract. And really sharp lookin' guys and the 41 42 STEPPING IN TIME: Credits

Stepping in Time PRODUCTION: ACKNOWLEDGEMENTS:

a revue of fabulous Director and choreographer: We are grateful to all of the per- Philadelphia artists Hortense Allen Jordan formers involved in this project for At the Philadelphia Arts Bank Tap dance teacher and help with research and photograph- choreographer:Libby Spencer ic documentation. Thanks to Carole February 4 & 5, 1995 Dance ensemble teacher: Boughter for insights and help Chauntee Andrews from the start. Thanks to Thomas B. PERFORMERS: Project director:Germaine Ingram Morton and Jane Levine for Technical director: photographic documentation and Pete Briglia (tap dancer) Janette Howard Gillis to Mildred "Candi" Thorpe, John Jeanne Bristow-Pinkham (chorus line) Light designer:Pamela "Sparkle" Hart, Cheryl Willis, and Geraldine Robert Burden, Jr. (tap dancer) Hobson Duclow of the Theater Department Barbara Clayton (chorus line/tap) Stage manager:Lisa Duggan of the Free Library of Philadelphia Kitty DeChavis (singer) Sound engineer:Paul Eaton for assistance with research. For Vicky Diaz (chorus line) Assistant stage manager: production assistance, thanks to Isabelle "Eleanor Byrd" Fambro (song H. Kevin Gillis Teresa Jaynes and Michelle Jackson, and dance) Production manager: Philadelphia Folklore Project staff, Wilhelmina Scott Herbert (chorus line) Marvin Collins and Arts Bank staff. Edith "Baby Edwards" Hunt (tap dancer) Publicity:Carole Boughter Germaine Ingram (tap dancer) We are especially gratefulto sup- Videographer:Barry Dornfeld Pearl "Peanut" Jackson-Bolvin porters of the Philadelphia Tap Sound editing & video sound (chorus line/tap) Initiative: The National Endowment recording: Tommy "Redd Foxx" Jordan (comedian) Steve Rowland for the ArtsFolk Arts Program, the Monica Justice (dance ensemble) Projection services:Steve Lila Wallace-Readers' Digest Oscar McBurse (chorus line) Wildemann/Advanced Audio Visual Community Folklife Program, the Danette McDonald (dance ensemble) Copy photos:Professional Color Pennsylvania Humanities Council, McHarris and Delores (variety/novelty Design & printing: the Pennsylvania Council on the act) Garrison Printing Co., Inc. Arts, the Philadelphia Foundation, Henry Meadows (tap dancer) Project coordinator/folklorist: The Pew Charitable Trusts, and Joan Miller (chorus line/tap) Debora Kodish members of the Philadelphia Ruth Mobley (singer) Folklore Project. Henry Mosley (singer) Produced by the S.C. Performers Patricia Perkins (chorus line) Alliance with the assistance of Arlene "Artie" Riley (chorus line) the Philadelphia Folklore Project LaVaughn Robinson (tap dancer) Maiya Satchell (dance ensemble) Stepping in Dottie Smith (singer) Time rehearsal. Mary Poteat Syres (chorus line/tap) Photo: Thomas Barbara Thomas (chorus line) B. Morton Davina Todd (chorus line/tap) Yvonne Walton (chorus line) Michelle "Mike" Roberts Webster (chorus line) Nia Witherspoon (dance ensemble)

MUSICIANS: The Johnny Williams Band Charles Bowen, sax Paul Grant, trumpet Raymond Grant, piano Marc Johnson, trombone Tony Jones, bass Johnny Williams, percussion 42 43 Ik

About the Philadelphia Folklore Project

We're an eight year old public folk- life agency committed to supporting the folk arts of Philadelphians. We work in partnerships to research, interpret and present those diverse folk arts that testify in important ways to powerful human experi- ences often written off, ignored, or overlooked. Please join us...

Our aimsare to:Expand opportunities for traditional artists to perform, teach and practice their skills, and to share their knowledge;Support communi- ties' efforts to preserve, maintain, present, and attain respect and par- ity for their own folk arts and folk- life; Deepen public understand- ing of local communities' arts and cultures;Build bridges across and within Philadelphia's communities; andAdvocate to increase the responsiveness of institutions to the perspectives of folk artists and community members. grassroots folk cultural agencies and Pennsylvania Historical and Composite of Spic traditional artists. We maintain an Museum Commission, Pennsylvania and Span (Edith archive of more than 15,000 items Humanities Council, The Pew Hunt and Willie We offerannual exhibitions and including photographs, field notes, Charitable Trusts, the Philadelphia Joseph) at the public programs, often in collabora- audio and videotapes preserving a Foundation, the Philadelphia Apollo, c. 1950s tion with grassroots agencies. record of this city's folk arts. Cultural Fund, William Penn (Stepping in Time is one such part- Recordings with veteran entertainers Foundation and individual nership). This year, our exhibits will done in the course of this project members. We invite your help! burst the bounds of our building are a part of this work of documen- and be installed in community sites tation and preservation. all over the city in the Art Happens STEPPING IN TIME Here project. Quarterly artists break- Please join us!See the form Interviews with veteran virtuoso fasts bring artists together. We offer a entertainers range of public workshops: on fund- on back. Or give us a call or write: Philadelphia Folklore Project, 719 Edited by Debora Kodish ing opportunities for folk arts, doing A special commemorative issue of folklife research,'anti-racist folk arts Catharine St., Phila., PA 19147. 215-238-0096. WORKS in PROGRESS, newsletter of in education, and other topics. the Philadelphia Folklore Project We've produced more than 30 publi- cations like this one which amplify Generous supportfor PFP Vol. 8, number 2 (February 1995) the voices of Philadelphia artists and activities is provided by: ARCO, Published by the Philadelphia activists and provide resources for Carpenter Foundation, the Samuel Folklore Project public use. We organize around Fels Fund, Independence 719 Catharine St. issues of concern, and have been Foundation, Lila Wallace-Reader's Philadelphia, PA 19147 working to make arts funding prac- Digest Community Folklife 215-238-0096 tices and processes more equitable. Program, the National Endowment We offer extensive technical assis- for the ArtsFolk Arts Program, ISSN 1075-0029 $10.00 tance and partnership efforts to local Pennsylvania Council on the Arts, 43 44 Philadelphia Folklore Project NON-PROFIT ORG. 719 Catharine Street U.S. POSTAGE Philadelphia, PA 19147 PAID

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