by Ann Powers
28. Marshall and Jean Stearns, Jazz Dance: The Story of American Vernacular Dance (New York: Macmillan, 1968), p. 236.
29. Mura Dehn with James Berry, “Harlem Jazz Dance,” Jazz Hot, no. 355.
30. Louise Brooks, “Charlie Chaplin Remembered,” Film Culture, Spring 1966, p. 5.
31. Charles J. Maland, Chaplin and American Culture: The Evolution of a Star Image (Princeton: Princeton University Press, 1991), p. 117.
32. Maurice Mouvet, Maurice’s Art of Dancing: An Autobiographical Sketch (New York: G. Schirmer, 1915), pp. 26–34.
33. “The Dance Bizarre,” unidentified newspaper clipping, 1912, Billy Rose Theatre Division, New York Public Library for the Performing Arts.
34. Erenberg, Steppin’ Out, p. 147.
35. David A. Jasen and Gene Jones, Spreadin’ Rhythm Around: Black Popular Songwriters, 1880–1930 (New York: Schirmer Books, 1998), p. 258.
36. Stearns, Jazz Dance.
37. Erenberg, Steppin’ Out, p. 1.
38. Film excerpt, Jerome Robbins Dance Division, New York Public Library for the Performing Arts.
39. Jayna Brown, Babylon Girls: Black Women Performers and the Shaping of the Modern (Durham, NC: Duke University Press, 2009), p. 171.
40. Elizabeth Drake-Boyt, Latin Dance (Santa Barbara, CA: ABC-CLIO, 2011), p. 67.
41. Niven Busch Jr., “Fire Sign,” New Yorker, April 20, 1929.
42. Barbara Grossman, Funny Woman: The Life and Times of Fanny Brice (Bloomington: Indiana University Press, 1992), p. 132.
43. Fanny Brice clip file, Billy Rose Theater Collection, Lincoln Center Public Library.
44. Ibid.
45. Robert Kimball, liner notes, Shuffle Along Cast Recording rerelease, New World Records, 2002.
46. The only book-length Mills biography published to date is Bill Egan, Florence Mills: Harlem Jazz Queen (Lanham, MD: Scarecrow Press, 2004). For excellent critical assessments, see Jayna Brown, Babylon Girls; and James F. Wilson, Bulldaggers, Pansies, and Chocolate Babies: Performance, Race, and Sexuality in the Harlem Renaissance (Ann Arbor: University of Michigan Press, 2010).
47. Egan, Florence Mills, passim; Florence Mills Papers, Helen Armstead-Johnson Theatre Collection, Manuscripts, Archives and Rare Books Division, Schomburg Center for Research in Black Culture, New York Public Library.
48. Herbert Hughes, “Leaves from an American Diary,” London Daily Telegraph, March 18, 1922.
49. James Weldon Johnson, Black Manhattan (New York: Da Capo Press, 1991), p. 199.
50. Gilbert Seldes, The 7 Lively Arts (Mineola, NY: Courier Dover Publications, 1957), p. 154.
51. Florence Mills Papers, Box 1, letter dated January 23, 1925.
52. Florence Mills Papers, Box 1, Theophilus Lewis, article from the Pittsburgh Courier, 1927.
53. Will Friedwald, Jazz Singing: America’s Great Voices from Bessie Smith to Bebop and Beyond (New York: Da Capo, 1996), p. 6.
54. Egan, Florence Mills, p. 126.
55. Obituary, New York Times, November 2, 1927.
56. For more on the idea of public intimacy in the Harlem Renaissance, see Shane Vogel, The Scene of Harlem Cabaret: Race, Sexuality, Performance (Chicago: University of Chicago Press, 2009).
57. Katherine Boutry, “Black and Blue: The Female Body of Blues Writing in Jean Toomer, Toni Morrison, and Gayl Jones,” in Saadi A. Simawe, ed., Black Orpheus: Music in American Fiction from the Harlem Renaissance to Toni Morrison (New York and London: Garland Publishing, 2000).
58. Waters, His Eye Is on the Sparrow, p. 129.
59. Arnold Shaw, The Jazz Age: Popular Music in the 1920s (New York: Oxford University Press, 1989), p. 77.
CHAPTER 3: LET IT BREATHE ON ME: SPIRITUAL EROTICS
1. Audre Lorde, “Uses of the Erotic: The Erotic as Power,” Sister Outsider (Berkeley, CA: Crossing Press, 1984).
2. Thomas Fulbright, “Ma Rainey & I,” Jazz Journal, March 1956.
3. Michelle R. Scott, Blues Empress in Black Chattanooga: Bessie Smith and the Emerging Urban South (Champaign: University of Illinois Press, 2008), p. 121.
4. Most biographical detail about Dorsey in this chapter comes from the definitive biography by Michael A. Harris, The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church (New York: Oxford, 1994).
5. Jim O’Neal and Amy Van Singel, eds., The Voice of the Blues: Classic Interviews from Living Blues Magazine (New York: Routledge, 2013), p. 31.
6. Harris, Rise of Gospel Blues, p. 68.
7. O’Neal and Van Singel, Voice of the Blues, p. 31.
8. Harris, Rise of Gospel Blues, p. 148.
9. Ibid., p. 69.
10. Horace Clarence Boyer and Lloyd Yearwood, How Sweet the Sound: The Golden Age of Gospel (Washington, DC: Elliott and Clark, 1995), p. 43.
11. For accounts of this period, see Robert Darden, People Get Ready!: A New History of Black Gospel Music (New York: Continuum, 2004); and Eileen Southern, The Music of Black Americans: A History (New York: W. W. Norton & Company, 1997).
12. Postcard, Thomas Andrew Dorsey Collection, Fisk University Special Collections and Archives, Nashville, Tennessee.
13. Harris, Rise of Gospel Blues, p. 128.
14. James H. Cone, The Spirituals and the Blues: An Interpretation (Maryknoll, NY: Orbis Books, 1972), p. 82.
15. Correspondence, clippings file, Thomas Andrew Dorsey Collection.
16. William Thomas Dargan and Kathy White Bullock, “Willie Mae Ford Smith of St. Louis: A Shaping Influence upon Black Gospel Singing Style,” in Judith Weisenfeld and Richard Newman, eds., This Far by Faith: Readings in African American Women’s Religious Biography (New York: Routledge, 1996), p. 37.
17. Glenn Hinson, Fire in My Bones: Transcendence and The Holy Spirit in African American Gospel (Philadelphia: University of Pennsylvania Press, 2004), pp. 142, 130.
18. Craig Hansen Werner, A Change Is Gonna Come: Music, Race & the Soul of America (Ann Arbor: University of Michigan Press, 2006), p. 28.
19. The groundbreaking history of gospel music that best captures this period is Anthony Heilbut, The Gospel Sound: Good News and Bad Times (New York: Hal Leonard Corporation, 1975).
20. Laurraine Goreau, Just Mahalia, Baby: The Mahalia Jackson Story (Gretna, LA: Pelican Publishing, 1975), p. 91.
21. Boyer and Yearwood, How Sweet the Sound, p. 192.
22. Anthony Heilbut, “The Children and Their Secret Closet,” The Fan Who Knew Too Much (New York: Random House, 2012), p. 3.
23. Horace Clarence Boyer interview transcripts, by Dwight Cammeron, “Still Holding On: The Music of Dorothy Love Coates and the Gospel Harmonettes,” 1999, courtesy of the filmmaker.
24. Pamphlet, Hoole Special Collections Library, University of Alabama.
25. Daniel Wolff quoted in Darden, People Get Ready!, p. 190.
26. Douglas Seroff and Lynn Abbot, To Do This, You Must Know How: Music Pedagogy in the Black Gospel Quartet Tradition (Jackson: University Press of Mississippi, 2012), pp. 145–61.
27. Ibid., p. 154.
28. Ibid., p. 129.
29. Isabel Wilkerson, The Warmth of Other Suns: The Epic Story of America’s Great Migration (New York: Random House, 2010), p. 11.
30. For an excellent overview of Memphis gospel quartets, see Kip Lornell, “Happy in the Service of the Lord”: African-American Sacred Vocal Harmony Quartets in Memphis (Knoxville: University of Tennessee Press, 1995).
31. Unpublished interview with Robert Reed, Douglas Seroff Collection of Tennessee Black Gospel Quartet Materials, Center for Popular Music, Middle Tennessee State University.
32. Seroff and Abbot, To Do This You Must Know How, p. 155.
33. Sister Flute: Jerry Zolten, Great God A’Mighty! The Dixie Hummingbirds: Celebrating the Rise of Soul Gospel Music (New York: Oxford University Press, 2002), p. 64; Ira Tucker: Darden, People Get Ready!, p. 189; Five Blind Boys: Evelyn Starks Hardy and Nathan Hale Turner, The Sweetest Harmony: Evelyn Starks Hardy and the Original Gospel Harmonettes, An Autobiogra
phy and Short History of the Pioneer American Musical Ensemble (Jonesboro, AR: Grant House Publishers, 2009).
34. Hinson, Fire in My Bones, p. 206.
35. Unpublished interview with Mary L. Thomas and Doris Jean Gary, February 3, 1983, Seroff Collection, Center for Popular Music MTSU.
36. Christine Beebe, producer, and Rhys Ernst, director, Little Axe (Nonetheless Productions/Focus Features, 2016).
37. Michael K. Honey, Southern Labor and Black Civil Rights: Organizing Memphis Workers (Champaign: University of Illinois Press, 1993), p. 111. Center for Popular Music, MTSU.
38. “Walk on the Water”: William Barlow, Voice Over: The Making of Black Radio (Philadelphia: Temple University Press, 1999), p. 119; babynaming, photo and caption: The Memphis World, undated; Cadillac: The Memphis World, September 2, 1949, Center for Popular Music, MTSU.
39. WDIA event program, Center for Popular Culture, MTSU.
40. Clipping, The Memphis World, October 28, 1947, Center for Popular Culture, MTSU.
41. Interview with Nathaniel Peck of the Brewsteraires, January 31, 1981, Seroff Collection, Center for Popular Culture, MTSU.
42. Louis Cantor, Dewey and Elvis: The Life and Times of a Rock ’n’ Roll Deejay (Champaign: University of Illinois Press, 2005), pp. 82–85.
43. Ibid. p. 84.
44. Nathaniel Peck interview.
45. Peter Guralnick, Last Train to Memphis: The Rise of Elvis Presley (Boston: Little Brown & Company, 1994), p. 77.
46. Jimmy McDonough, Tammy Wynette: Tragic Country Queen (New York: Penguin Viking Press, 2010).
47. Billboard Gospel Charts, April 19, 1952.
48. Kree Jake Racine, Above All: The Story of the Famous Blackwood Brothers (Memphis: Jarodoce Publications, 1967).
49. Blackwood Brothers Family Album, Blackwood Brothers folder, the Center for Popular Culture, MTSU.
50. Racine, Above All, p. 125.
51. James M. Curtis, Rock Eras: Interpretations of Music and Society, 1954–1984 (Bowling Green, OH: Popular Press, 1987), p. 30.
52. Guralnick, Last Train to Memphis, p. 417.
53. Charles K. Wolfe, “Presley and the Gospel Tradition,” in Jac. L. Tharpe, ed., Elvis: Images and Fancies (Jackson: University of Mississippi Press, 1975), p. 142.
54. Douglas Harrison, Then Sings My Soul: The Culture of Southern Gospel Music (Champaign, IL: University of Illinois Press, 2012), p. 161.
CHAPTER 4: TEEN DREAMS AND GROWN-UP URGES
1. Isabel Morse Jones, “Croo-Hoo-Hooning: Just an Old Music Custom,” Los Angeles Times, September 25, 1932, p. B-15.
2. Brian Ward, Just My Soul Responding: Rhythm and Blues, Black Consciousness and Race Relations (Berkeley: University of California Berkeley Press, 1998), pp. 71–80.
3. Joli Jensen, “Honky-Tonking: Mass Mediated Culture Made Personal,” George Lewis, ed. All That Glitters: Country Music in America, (Bowling Green, OH: Popular Press, 1993), pp. 118–30.
4. Steve Leggett, review of The First Rock and Roll Record, allmusic.com.
5. “R&B Ramblings,” The Cashbox, May 29, 1954.
6. Dick Huggs interview transcript, personal correspondence, January 29, 2014, transcript of courtesy Steve Propes.
7. Adam Phillips, “Talking Nonsense, and Knowing When to Stop,” in Leslie Caldwell, ed., Sex and Sexuality: Winnicottian Perspectives (London: Karnac Books, 2005), pp. 154–55.
8. Johnny Keyes, DuWop (Chicago: Vesti Press, 1991).
9. Jeffrey Melnick, “Story Untold: The Black Men and White Sounds of Doo Wop,” in Mike Hill, ed., Whiteness: A Critical Reader (New York: New York University Press, 1997), p. 134–50.
10. Record Reviews column, Billboard, May 27, 1957.
11. “Frankie Lymon Says He’s Too Young for Love,” Daily Defender (Daily Edition) (1956–1960), November 1, 1956, p. 30.
12. Anthony J. Gribin and Matthew M. Schiff, Doo Wop: The Forgotten Third of Rock ‘n Roll (Iola, WI: Krause Publications, 1992).
13. Beth L. Bailey, From Front Porch to Back Seat: Courtship in Twentieth-Century America (Baltimore: Johns Hopkins University Press, 1989), p. 48.
14. Ward, Just My Soul Responding, p. 60.
15. Gertrude Samuels, “Why They Rock ’n’ Roll—And Should They?,” New York Times Magazine, January 12, 1958.
16. Edward Comentale, Sweet Air: Modernism, Regionalism, and American Popular Song, Music in American Life series (Urbana and Chicago: Illinois University Press, 2013), p. 171.
17. Ken Burke, “Billy Lee Riley,” in Jake Austen, ed., Flying Saucers Rock ’n’ Roll: Conversations with Unjustly Obscure Rock ’n’ Soul Eccentrics (Durham, NC: Duke University Press, 2011), p. 140.
18. Craig Morrison, Go Cat Go! Rockabilly Music and Its Makers (Urbana and Chicago: University of Illinois Press, 1996), p. 43.
19. Robert Palmer, “Sam Phillips: The Sun King,” Memphis, December 1978, p. 32.
20. Elvis pictorial, Teenage Rock and Roll Review, vol. 1, no. 1, October 1956.
21. Charles White, The Life and Times of Little Richard: The Quasar of Rock (New York: Harmony Books, 1985), pp. 23–25.
22. W. T. Lhamon, Deliberate Speed: The Origins of a Cultural Style in the American 1950s (Washington, DC: Smithsonian Institution Press, 1990), p. 88.
23. Lester A. Kirkendall, “Understanding Sex,” in William C. Menninger et al., How to Be a Successful Teen-Ager (New York: Sterling Publishing Company, 1954), p. 184.
24. John Goldrosen and John Beecher, Remembering Buddy: The Definitive Biography of Buddy Holly (New York: Da Capo Press, 1996), p. 46.
25. Goldrosen and Beecher, Remembering Buddy, p. 86.
26. The literature on Holly’s singing style includes Dave Ling, Buddy Holly (New York: Macmillan, 1971); Jonathan Cott, “Buddy Holly,” in The Rolling Stone Illustrated History of Rock & Roll (New York: Random House, 1976); Barbara Bradley and Brian Torode, “Pity Peggy Sue,” in Popular Music, vol. 4, January 1984, and Comentale, Sweet Air.
27. H. H. Remmers and C. G. Hackett, Let’s Listen to Youth: A Better Living Booklet for Parents and Teenagers (Chicago: Science Research Associates, 1950), p. 5.
28. Teen magazine collection, Rock and Roll Hall of Fame Library and Archive, Cleveland, Ohio.
29. Grace Palladino, Teenagers: An American History (New York: Westview Press, 1996), p. 157.
30. Barbara Ehrenreich et al., “Beatlemania: A Sexually Defiant Consumer Subculture?,” in Ken Gelder and Sarah Thornton, eds., The Subcultures Reader (London and New York: Routledge, 1997), p. 524.
31. Ralph E. Koger, “‘Rock and Roll’ . . . Is It Good or Bad?: Rock and Roll Moves Them the . . . ,” Pittsburgh Courier, July 28, 1956.
32. Phyllis Batelle, “Rock ‘N Roll Fad Reflects Unsettled Spirit of World,” Washington Post and Times Herald, January 26, 1956.
33. Jon Savage, Teenage: The Prehistory of Youth Culture, 1875–1945 (New York: Viking Books, 2007), p. 442.
34. Eddie Cochran Collection, Rock and Roll Hall of Fame Library and Archives, Cleveland, Ohio.
35. Genie Wicker, “The Kiss Letter,” Southern Folklife Collection Archive, University of North Carolina at Chapel Hill, North Carolina.
36. Chuck Berry, Chuck Berry: The Autobiography (New York: Harmony Books, 1987), p. 32.
37. Berry, Chuck Berry, p. 211.
38. Alan Light, “Ballad of the 13-Year-Old Bride,” Cuepoint, October 27, 2014.
39. Nick Tosches, Hellfire: The Jerry Lee Lewis Story (New York: Delta Publishing, 1982).
40. Pricilla Beaulieu Presley with Sandra Harmon, Elvis and Me (New York: Putnam, 1985).
41. Robert Chalmers, “Legend: Little Richard,” in Men of the Year, GQ, November 2010.
42. Paul H. Landis, Understanding Teenagers (New York: Appleton-Century Crofts, 1955), p. 81.
43. Remmers and Hackett, Let’s Listen to Youth, pp. 32–34.
44. Undated clipping, “What Do You Know About Necking . . . and Your Reputation?” Teen Magazine Collection, Rock and Roll Hall of Fame Library and Archi
ve, Cleveland, Ohio.
45. Katharine Whiteside Taylor, Do Adolescents Need Parents? (East Norwalk, CT: Appleton-Century-Crofts, 1938).
CHAPTER 5: THE SEXUAL REVOLUTION AND ITS DISCONTENTS
1. Theodore Roszak, The Making of a Counter Culture: Reflections on the Technocratic Society and Its Youthful Opposition (New York: Anchor Books, 1969), p. 101.
2. Ken Emerson, Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era (New York: Viking, 2005), pp. 87–100; Carole King, A Natural Woman (New York: Grand Central Publishing, 2012).
3. Jacqueline Warwick, Girl Groups, Girl Culture (New York: Routledge, 2007), p. 36.
4. “Are American Dating Customs Dangerous?,” Ebony, June 1960, pp. 140–44.
5. Alex Poinsett, “A Despised Minority: Unwed Mothers Are Targets of Abuse from a Harsh Society,” Ebony, August 1966, p. 48.
6. Gerald Early, One Nation Under a Groove: Motown & American Culture (Hopewell, NJ: Ecco Press, 1995), pp. 95, 109.
7. Richard Buskin, Inside Tracks: A First-hand History of Popular Music from the World’s Greatest Record Producers and Engineers (London: Spike Books, 1999), p. 123.
8. Ed Ifkovic, Diana’s Dogs: Diana Ross and the Definition of a Diva (Lincoln, NE: iUniverse, 2007).
9. Jim Henke, ed., I Want to Take You Higher: The Psychedelic Era, 1965–1969 (San Francisco: Chronicle Books, 1997), p. 25.
10. Tom Robbins, “To Dance,” in Jesse Kornbluth, ed., Notes from the New Underground (New York: Ace Books/Viking, 1968).
11. Michael J. Kramer, “The Civics of Rock: Sixties Countercultural Music and the Transformation of the Public Sphere,” dissertation, University of North Carolina at Chapel Hill, 2006, p. 101.
12. Alice Echols, Shaky Ground: The Sixties and Its Aftershocks (New York: Columbia University Press, 2002), p. 35; festivals: Gina Arnold, “‘As Real as Real Can Get’: Race, Representation and Rhetoric at Wattstax, 1972,” in George McKay, ed., The Pop Festival: History, Music, Media, Culture (New York: Bloomsbury, 2015), p. 61.
13. Jerilyn Lee Brandelius, ed., The Grateful Dead Family Album (New York: Warner Books, 1990).
14. Dennis McNally, A Long Strange Trip: The Inside History of the Grateful Dead (New York: Broadway Books, 2002), p. 10.