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feminine appearances they were also demeaned for. In many ways, this made being in a traveling dance band more difficult for women than it had been for men. After a night spent traveling women were expected to be visions of beauty with perfect make up, hair, and personalities. Often the ultra feminine clothes they had to wear, such as strapless dress and high heels, also affected their ability to play and perform. As had been shown in previous attempts women had made to broach men's groups, attempting to break away from this dainty female image, could call the sexuality and morality of a performer into question. Yet women's performances were also often debased to their visual looks and sexual attractiveness, even though many reviewers criticized them for these elements.
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that haunted those two careers was also a part of being in an all female band. Furthermore, chorus line girls had an association with loose morals and even prostitution, and loss of face for an instrumentalist could mean the end of a career. These kinds of associations also made many people assume that female instrumentalists were not talented players. Upon interviewing later in life, many women insisted that they were talented musicians who knew how to play. This insistence seems to be in direct reaction to the claims that circulated that female musicians were not meant to play well, but simply to look pretty. While it is true that many agencies required photographs in their applications to join female bands, the musicians in them still tended to be quite talented.
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groups formed before
American involvement in the war. Once it was realized that women could fill a major hole in the entertainment industry and that they could not be drafted, agencies and managers everywhere began trying to put together all female bands. In many ways, these musicians were very prepared to take over for the men because they had more advanced experience in playing instruments, either from hobbies or school bands. They were certainly more prepared for musical performance than many women were prepared for welding and factory work. Some groups connected to academic organizations, such as the
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Virginia, South
Carolina and Alabama. The Southwest proved especially fertile for territory bands. Texas, with its open geography and relatively large population, offered the greatest opportunity with developed markets for dance music in Austin, Amarillo, Dallas, Fort Worth, Houston, and San Antonio. The homegrown audiences of Texas bands were so plentiful that the bands developed to a high degree in relative isolation from outside influences. One such band was that of
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all women groups continuously popped up as groups that allowed skilled female musicians to perform. Sometimes they were put together with help from outside sources. It was not uncommon for a group to be put together by a man or a talent agency, but to consist of all female performers. Sometimes performers received aide from family or friends involved in the business to help get their foot in the door. For instance,
479:, expressed in a book that Schuller's depiction of divergent work conditions was narrow. "During my playing days in the 1940s and 50s in several white territory bands, we didn't have "lucrative and permanent jobs" unless you count day labor in a dairy bar or clerking at a military surplus store. Worse, there were times we didn't get paid at all and we had little recourse given the cost of legal advice."
33:
490:. One common present-day misconception is that Jim Crow practices were more prevalent in the South. The practices were prevalent everywhere, especially in New York City and the Midwest. The bands that were racially integrated commonly experienced problems, mostly from having to dodge different applications and degrees of Jim Crow among cities and regions. Many bands, especially The
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Even banding together with other women though, public perception would sometimes view all female bands as "all-girl gimmicks." Some talented musicians avoided joining all female bands in the fear that their talent would be disregarded in such a context. Yet all female bands were also forced into the
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All female performers were not a new idea in the dawn of traveling jazz bands though. All women groups performing
American genres of music dates back to minstrel groups like Madame Rentz's Female Minstrels. Because women could not easily enter prestigious music bands that were essentially all male,
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A certain need to prove themselves seemed to exist among many of the female musicians who worked in dance bands. These performers inherited a lot of the stereotypes that surrounded their previous female performer counterparts: chorus line girls and girl singers. The sexual objectification of women
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In the history of traveling dance bands, all female bands are often excluded, or only given minor inclusion. Popular culture seemed to regard the musical performances dance bands provided as an area meant to be dominated by men. In the scenarios where women were allowed to join in, they were often
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did very well at this time. These groups of industrious young women could come to represent an image of what the United States was at war for. Some of these groups even did USO tours. Soldiers shipped off to foreign lands, under the pressure war and deprived of any female presence were more than
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While many people view the end of the swing era as the opening of World War II, this was not the case for all woman dance bands. Instead, they flourished during the 1940s. Swing music became a form of patriotism to a country at war. The all-girl bands that did the best at this time, tended to be
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Home territories were loosely defined, but some classifications emerged. Generally, the areas were defined as
Northeast, Southeast, Midwest, West Coast, Southwest, and Northwest. In addition, some state-groupings became common. MINK comprised Minnesota, Iowa, Nebraska and Kansas. VSA comprised
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that, "territory bands, by definition, were black. There were, of course, many white bands in the 'territories' but they tended to have the more lucrative and permanent jobs and therefore not required to travel as much as the black bands." Another musician (former territory band musician and
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Territory bands rarely recorded and were often considered secondary in ability. They played in particular states or regions of the country. Ambitious and hopeful young musicians saw territory bands as a stepping stone to big bands. Audiences that wanted to dance kept the bands employed.
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Territory bands helped disseminate popular music—which included swing, jazz, sweet dance music, or any combination thereof—bringing it to remote gin mills and dance halls that were otherwise ignored by national booking agents representing genuine recording stars like
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denoted as separate. This is seen in the way many female singers were nicknamed "canaries," denoting them not as musicians, but as pretty objects meant to be on display. One example that shows just how foreign women could be considered appears in the name of a band
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were dance bands that crisscrossed specific regions of the United States from the 1920s through the 1960s. Beginning in the 1920s, the bands typically had 8 to 12 musicians. These bands typically played one-nighters, six or seven nights a week at venues like
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music with just singers, who were exempt from the recording bans. This marked a period when singers became more popular than bandleaders. The introduction and technological advancement of amplification and gramophone recording led to the development of
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from 1935 to 1940, became a popular West Coast territory band. There were military territories, too, such as
Officers' clubs and Non-commissioned Officer clubs. These clubs took bands to Bermuda, Greenland, Nova Scotia, Puerto Rico, as well as the U.S.
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For most territory bands — whether black, white, integrated, male, female — the musicians were nearly always paid. Neither the booking agencies nor the musicians got rich, but regular salaries helped maintain pretty decent musicianship.
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began to show signs of true innovation. Bands from Los
Angeles and Seattle performed not only in California, Oregon, and Washington, but also in Arizona, Louisiana, Nevada, New Mexico, Texas, Utah, and Wyoming. The
494:, handled some of the absurdities with a degree of inward, sarcastic humor. When musicians grew wary or even felt vulnerable to injustices of Jim Crow, the band bus, for those who had one, served as a safe haven.
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Territory bands were not all swing bands. The
Midwest settlements of Europeans of various ethnicities, brought their community dancing and revelry with them, in the form of popular polka bands (and also old time
352:, which hit bottom in 1933, was hard on territory bands. The public strained to afford entertainment. It was not uncommon for bands to be stranded for lack of funds. Many broke up during this period.
162:(of the 1970s and 1980s) of their day, typically relying on stock arrangements of other ensembles' hits." He said, "many historians give much credit to territory bands for popularizing modern
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Audiences responded with great enthusiasm to the black bands in the
Midwest. The East Coast black bands were popular in the 1920s, but swing came to that region in the form of
381:. The record companies gained control over what got recorded; therefore music that was slated for a new market of teenagers was born. This destroyed several booking agencies.
228:'s band. Musicians from the Moten band along with musicians from the Oklahoma City Blue Devils became one of the most influential jazz bands, under the leadership of
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had an all woman dance band in the early 1930s. This group went by such names as "Lil
Armstrong and Her Swing Band." Other bands popular in the 1930s include
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orchestras across the country, playing music from the
Whiteman library, eleven in New York alone. In the mid-1920s, bands typically had ten musicians: two
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There are many theories on why swing music and territory bands declined. One of them is that record companies discovered — during the
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headed that was called "Six Men and a Girl." Oftentimes these stereotypes surrounding performing women extended to instrumentalists.
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welcoming to these all woman groups. The armed audiences were known to have shown extreme appreciation for these female performers
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There were black bands and white bands, and bands of various immigrant ethnicities. There were also all-female bands, such as the
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393:) had a fallout with several of its bands. The Vic Schroeder Agency (Omaha), was one of the more responsible bookers before
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274:). They played at all the ballrooms and Elk Clubs and included Babe Wagner Band, Fezz Fritsche & His Goose-town Band,
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1336:"The Horns of the Dilemma: Race Mixing and the Enforcement of Jim Crow in New York City", by Jennifer Fronc,
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Where East Texas Dances: The Cooper Club of Henderson, Rusk County, and Popular Dance Bands, 1932-1942
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186:. Many developed original repertoires and signature sounds, none more storied than
220:. Two other important groups out of the Southwest, Kansas City specifically, were
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The Swing Era: The Development of Jazz, 1930–1945 (The History of Jazz, Vol. 2),
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The Swing Era: The Development of Jazz, 1930–1945 (The History of Jazz, Vol. 2)
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of 1942-43 and 1948 — that they could profit from record sales, churning out
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J. Neal Montgomery & His Orchestra (Henry Mason, Trumpet) (Atlanta)
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Stormy Weather: The Music & Lives of a Century of Jazzwomen
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but, little is known after — same with the White Agency.
26:
1383:; formerly nfo.net of the late Murray L. Pfeffer (1926–2008)
241:
Orchestra, which got its first big break playing summers at
232:. McShann's band was on par with these groups and was where
1407:
Odyssey of the Mid-Nite Flyer: a history of Midwest bands
1187:"F-B Talent Taking Powder; Bands on Lam, Units Eye ABC",
1005:
Big Bands and Great Ballrooms: America Is Dancing … Again
541:
Smiling Billy Stewart's Celery City Serenaders (Florida)
1405:(1915–1993) (author's real name is El Roy Vernon Lee),
373:, an intimate vocal style perfected by singers such as
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385:, who broke up as many bands as it booked, moved to
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Passion for Polka: Old-Time Ethnic Music in America
278:, and Whoopie John, a polka band from Minneapolis.
57:. Unsourced material may be challenged and removed.
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426:, and Gertrude Long and Her Rambling Night Hawks.
591:and His Singing Novelty Orchestra (Kansas City)
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1224:Black Women in American Bands and Orchestras
1409:, publisher – El Roy V. Lee, (c1987)
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851:Grant Moore and His Black Devils, Milwaukee
826:Fred Gardner's Texas University Troubadours
1302:Swing Shift: "All-Girl" Bands of the 1940s
1120:The Guinness Encyclopedia of Popular Music
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585:and his Twelve Clouds of Joy (Kansas City)
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714:Dave Nelson's Harlem Hot Shots (New York)
578:Coon-Sanders Original Nighthawk Orchestra
486:Most musicians witnessed and experienced
117:Learn how and when to remove this message
817:Clifford "Boots" Douglas and his Buddies
1258:
1256:
931:
900:National Ballroom Operators Association
600:Jeter-Pillars Club Plantation Orchestra
194:, the Oklahoma City-based outfit that
7:
776:Zach Whyte's Chocolate Beau Brummels
606:Red Perkins & His Dixie Ramblers
262:band when he went to New York City.
55:adding citations to reliable sources
492:International Sweethearts of Rhythm
461:International Sweethearts of Rhythm
440:International Sweethearts of Rhythm
155:, likened territory bands to "the
25:
808:Joe Buzze and His Orchestra, Waco
603:Original Saint Louis Crackerjacks
145:, hotel ballrooms, and the like.
466:Musician, composer, and scholar
282:1920s swing and ballroom dancing
31:
1379:), maintained by Thomas Meyer,
1346:, Vol. 33, No. 1, 3–25 (2006);
786:Snooks and His Memphis Stompers
42:needs additional citations for
1275:by Linda M. Dahl (born 1949),
1169:University of California Press
1050:, maintained by Thomas Meyer,
789:Slim Lamar and his Southerners
720:& His Orchestra (New York)
699:& His Orchestra (New York)
470:asserted in one of his books,
1:
854:Johnny Nugent Band Fox Valley
422:, The Dixie Sweethearts, the
792:Mart Britt and his Orchestra
773:'s Golden Pheasant Orchestra
304:(who often doubled on other
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170:era with the influence of
1367:Territory Bands Data Base
1194:December 18, 1948, pg. 20
1041:Territory Bands Data Base
972:"Territorial Imperatives"
805:Blue Syncopaters, El Paso
762:Chubb-Steinberg Orchestra
751:Oklahoma City Blue Devils
1339:Journal of Urban History
1237:Dorothy Antoinette Handy
682:(Detroit, then New York)
597:'s Kansas City Orchestra
574:Art Bronson's Bostonians
538:Ross De Luxe Syncopators
1460:Types of musical groups
1387:Michelle Linsey Holland
1071:Oxford University Press
950:Oxford University Press
870:Vernon and Irene Castle
508:Carolina Cotton Pickers
172:Vernon and Irene Castle
1435:American music history
1208:Stewart "Dirk" Fischer
952:(1989), pps. 770–805;
709:Mills Blue Rhythm Band
705:'s Orchestra (Buffalo)
518:Original Yellowjackets
286:In 1924, according to
166:that began during the
1430:20th century in music
1318:Duke University Press
1239:(maiden; 1930–2002),
1163:by Victor R. Greene,
829:Milt Larkins, Houston
498:Bands and bandleaders
1455:Occupations in music
1063:The History of Jazz,
420:The Harlem Playgirls
416:Lil Hardin Armstrong
51:improve this article
1450:Musical terminology
1316:, PhD (born 1957),
1125:Guinness Publishing
680:Casa Loma Orchestra
617:Little John Beecher
444:Prairie View Co-eds
1395:, Masters Thesis,
1314:Sherri Jean Tucker
1307:2023-03-04 at the
1269:2023-03-04 at the
1229:2023-03-04 at the
1210:, October 24, 2007
1157:2023-03-04 at the
1123:(First ed.).
1046:2014-05-17 at the
1010:2023-03-04 at the
977:2011-12-27 at the
811:Sunny Clapp's Band
455:Ethnicity and race
424:Darlings of Rhythm
389:. Frederic Bros. (
362:AFM recording bans
260:Fletcher Henderson
149:, jazz critic for
1397:Baylor University
1344:SAGE Publications
1177:978-0-520-07584-9
991:, October 3, 2006
988:The Village Voice
832:Peck's Bad Boys (
408:Mary Lou Williams
270:, leandlers, and
152:The Village Voice
127:
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16:(Redirected from
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1381:Hamburg, Germany
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885:East Coast Swing
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686:Harlem Playgirls
662:Anna Mae Winburn
468:Gunther Schuller
350:Great Depression
344:Great Depression
276:Six Fat Dutchmen
243:Yellowstone Park
198:joined in 1926.
164:ballroom dancing
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49:Please help
44:verification
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1022:AuthorHouse
915:Swing music
905:Swing dance
880:Castle Walk
834:Peck Kelley
823:San Antonio
747:Walter Page
697:Gene Kardos
691:Edgar Hayes
622:Verne Byers
375:Bing Crosby
334:string bass
239:Glenn Henry
230:Count Basie
226:Jay McShann
211:Territories
196:Count Basie
192:Blue Devils
188:Walter Page
168:World War I
160:cover bands
143:Lions Clubs
139:Elks Lodges
1424:Categories
1403:Lee Barron
1399:(May 2007)
1279:(1984); ,
1024:, (2006);
926:References
821:Troy Floyd
736:(New York)
734:Chick Webb
730:in Harlem)
711:(New York)
693:(New York)
676:(New York)
657:Nat Towles
648:Dick Mango
627:Bob Calame
562:Earl Hines
366:hit parade
338:brass bass
77:newspapers
1352:1552-6771
1190:Billboard
1067:Ted Gioia
958:490084315
910:Swing era
895:Lindy Hop
875:Big bands
846:Wisconsin
781:Tennessee
650:Orchestra
636:Al Hudson
624:Orchestra
583:Andy Kirk
564:(Chicago)
387:Hollywood
306:woodwinds
184:Armstrong
180:Ellington
1326:42397506
1320:(2000);
1305:Archived
1267:Archived
1249:42329813
1243:(1998);
1227:Archived
1171:(1992),
1165:Berkeley
1155:Archived
1044:Archived
1030:80936539
1008:Archived
975:Archived
859:See also
741:Oklahoma
668:New York
611:Nebraska
569:Missouri
556:Illinois
523:Colorado
513:Arkansas
371:crooning
318:trombone
314:trumpets
294:Whiteman
107:May 2020
546:Georgia
533:Florida
503:Alabama
449:V-discs
442:or the
391:Chicago
312:), two
289:Variety
268:waltzes
202:History
137:halls,
91:scholar
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326:guitar
310:violin
300:, one
250:Styles
157:Top 40
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1374:.bbdb
1312:, by
981:, by
797:Texas
728:Savoy
330:piano
322:banjo
302:tenor
298:altos
98:JSTOR
84:books
1411:ISBN
1348:ISSN
1322:OCLC
1281:ISBN
1245:OCLC
1173:ISBN
1129:ISBN
1026:OCLC
954:OCLC
890:Jive
757:Ohio
348:The
182:and
70:news
1376:.us
1372:www
1065:by
1016:by
944:by
749:'s
383:MCA
336:or
324:or
190:'s
174:."
135:VFW
53:by
1426::
1389:,
1291:^
1255:^
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