Sweethearts Of Rhythm

A collection of poems and paintings paying tribute to the 1940's all-female jazz band. The International Sweethearts of Rhythm originated in a boarding school in Mississippi and eventually found their way to the most famous ballrooms in the country, offering solace during the hard years of the war. Includes chronology of the band's history.

Back in 1909, not far from Jackson, Mississippi, Dr. Laurence Clifton Jones opened a special place for orphans named Piney Woods Country Life School. Dr. Jones loved music and wanted the children to love it too. In 1939 he started a school band that was just for girls, and he called it the Sweethearts. The music the girls played was called swing. It had rhythms and melodies that got people up on their feet to dance. And like all good music, it told stories about how it feels to be alive. After the girls left Piney Woods, the band stayed together and performed around the world. With their enormous talent and joyful music, the Sweethearts chipped away at racist and sexist barriers wherever they went.

The story, based on extensive individual interviews, of the women’s swing bands that toured extensively during World War II and after -- a kind of “League of their Own” for jazz.

The International Sweethearts of Rhythm, a popular women's jazz band of the 1940s, has earned a reputation as the 'best all-women's swing band ever to perform.' This revised and updated edition provides fascinating reading for jazz enthusiasts and students of American history, music, and women's history. It is the most comprehensive and objective history of the band to date. Handy documents all sides of the band's controversial story and interviews members of the band. She updates the careers of band members who remained in the music business. Accompanied by an extensive bibliography and many photographs.

Looks at the all-girl dance bands and orchestras in Australia in the 1920s and 1930s. Working on the margins of a profession dominated by men, women musicians have long played together, turning novelty and sex-appeal to advantage. This book pays homage to the often forgotten women of these bands, and their influence on popular culture.

In jazz circles, players and listeners with “big ears” hear and engage complexity in the moment, as it unfolds. Taking gender as part of the intricate, unpredictable action in jazz culture, this interdisciplinary collection explores the terrain opened up by listening, with big ears, for gender in jazz. Essays range from a reflection on the female boogie-woogie pianists who played at Café Society in New York during the 1930s and 1940s to interpretations of how the jazzman is represented in Dorothy Baker’s novel Young Man with a Horn (1938) and Michael Curtiz’s film adaptation (1950). Taken together, the essays enrich the field of jazz studies by showing how gender dynamics have shaped the production, reception, and criticism of jazz culture. Scholars of music, ethnomusicology, American studies, literature, anthropology, and cultural studies approach the question of gender in jazz from multiple perspectives. One contributor scrutinizes the tendency of jazz historiography to treat singing as subordinate to the predominantly male domain of instrumental music, while another reflects on her doubly inappropriate position as a female trumpet player and a white jazz musician and scholar. Other essays explore the composer George Russell’s Lydian Chromatic Concept as a critique of mid-twentieth-century discourses of embodiment, madness, and black masculinity; performances of “female hysteria” by Les Diaboliques, a feminist improvising trio; and the BBC radio broadcasts of Ivy Benson and Her Ladies’ Dance Orchestra during the Second World War. By incorporating gender analysis into jazz studies, Big Ears transforms ideas of who counts as a subject of study and even of what counts as jazz. Contributors: Christina Baade, Jayna Brown, Farah Jasmine Griffin, Monica Hairston, Kristin McGee, Tracy McMullen, Ingrid Monson, Lara Pellegrinelli, Eric Porter, Nichole T. Rustin, Ursel Schlicht, Julie Dawn Smith, Jeffrey Taylor, Sherrie Tucker, João H. Costa Vargas

A singer calls out to the crowd. An electric bass thumps out a beat. Horns blare and strings swirl. These are the sounds of R & B. Rhythm and blues music evolved from all sorts of sounds: swinging jazz, gritty blues, and African American spiritual songs. The music's smooth mix of styles made it unique, and its passionate performers made it a sensation. Ever since Ray Charles hit the charts in the 1950s, R & B fans have held it down on dance floors. And R & B singers have belted out messages of love and calls for social change.

Ludwig van Beethoven, one of the most influential composers of all time, is brought vividly to life and made relevant to todays young musicians in Beethoven for Kids. Children will learn about Beethovens troubled childhood and family life, early gift and passion for music, volatile personality, championing of equality and freedom, and persistence in his work despite increasing hearing loss. The great musicians, thinkers, and movements of Beethovens time, from Mozart and Haydn to the bold new ideas of the Enlightenment, are presented and their profound effect on the composer's life and music explained. Twenty-one engaging activities, including singing musical variations, dancing a Viennese waltz, creating an operatic diorama, and making a model eardrum, illuminate Beethovens life, times, and work. A time line, a glossary, online resources, and recordings and reading lists for further listening and study round out this comprehensive resource.