Jump for Joy: Jazz, Basketball, and Black Culture in 1930s America

Notes

NOTES preface 1. Patricia Willard, notes to Jump for Joy (Washington, D.C.: Smithsonian Institution, 1988), 31. 2. There were many other all-black basketball teams. Sportswriter Chester Washington of the Pittsburgh Courier often published an informal directory based on mail-in information from his readers. A 1936 version lists fifty-one teams, from New Orleans to Buffalo, including three women’s teams. “Basketball Directory,” Pittsburgh Courier, 8 February 1936, sec. 2. 3. Arthur R. Ashe Jr., A Hard Road to Glory—Basketball: The African-American Athlete in Basketball (1988; reprint, New York: Amisted Press, 1993), 10. 1. sneakers and tuxes 1. Bill Russell and Taylor Branch, Second Wind: The Memoirs of an Opinionated Man (New York: Random House, 1979), 73. 2. Lewis A. Erenberg, “From New York to Middletown,” American Quarterly 38 (Winter 1986): 773. 3. David W. Stowe, Swing Changes: Big-Band Jazz in New Deal America (Cambridge: Harvard University Press, 1994), 193. 4. Marshall Stearns and Jean Stearns, Jazz Dance: The Story of American Vernacular Dance (New York: Macmillan, 1968), 329. 5. Stowe, Swing Changes, 14. 6. Scholars Eric Lott and Scott DeVeaux have made compelling arguments for bebop as an assertion of ethnicity. See Eric Lott, “Double V, Double-Time: Bebop’s Politics of Style,” Callaloo 36 (1988): 597–605; and Scott Deveaux, “Constructing the Jazz Tradition: Jazz Historiography,” Black American Literature Forum 25 (1991): 525–60. 7. Barry Pearson has called attention to an accelerating “tempo of black life during and after the urban migration,” as well as an “upbeat sense of expanded possibility .” Barry Pearson, “Jump Steady: The Roots of R&B,” in Nothing but the Blues: The Music and the Musicians, ed. Lawrence Cohn (New York: Abbeville Press, 1993), 316–17. 8. Adam Clayton Powell Jr., “No Joe Louis Eulogy,” Amsterdam News, 27 June 1936, emphasis added. 9. Adam Clayton Powell Jr., Marching Blacks: An Interpretive History of the Rise of the Black Common Man (New York: Dial Press, 1945), 15. 10. Ibid., 88. 11. Ibid., 101. 12. Ibid., 104–7. 13. Jervis Anderson, This Was Harlem: A Cultural Portrait, 1900–1950 (New York: Farrar Straus Giroux, 1982), 7. 14. Cheryl Lynn Greenberg, “Or Does It Explode?” Black Harlem in the Great Depression (New York: Oxford University Press, 1991), 5. 15. Ibid., 6. 16. John Hope Franklin, From Slavery to Freedom: A History of Negro Americans (1947), 3rd ed. (New York: Alfred A. Knopf, 1968), 499. 17. Stephen Henderson, Understanding the New Black Poetry: Black Speech and Black Music as Poetic References (New York: William Morrow, 1973), 44. 18. Albert Murray, Stomping the Blues (1976; reprint, New York: DaCapo, 1987), 12. 19. Ray Oldenburg, The Great Good Place: Cafés, Coffee Shops, Community Centers, Beauty Parlors, General Stores, Bars, Hangouts, and How They Get You Through the Day (New York: Paragon House, 1989), 16. 20. Ibid., 11. 21. Melvin D. Williams, On the Street Where I Lived (New York: Holt, Rinehart, and Winston, 1981), 82. 22. Michael Henry Adams, Harlem Lost and Found: An Architectural and Social History (New York: Monacelli Press, 2002), 249; Michael Henry Adams, “Renaissance Ballroom and Casino—What Is a Casino? Playing Politics with Harlem’s Landmarks ,” www.harlemonestop.com/organization.php?id=564 (18 November 2007); John Hareas, “Remembering the Rens,” NBA Encyclopedia Playoff Edition, www.nba.com/history/encyclopedia_rens_001214.html (19 October 2007). 23. Trudier Harris, “The Barbershop in Black Literature,” Black American Literature Forum 13, no. 3 (Fall 1979): 113. 24. Johnny Otis, Upside Your Head! Rhythm and Blues on Central Avenue (Hanover: University Press of New England, 1993), 32. 25. Samuel B. Charters and Leonard Kunstadt, Jazz: A History of the New York Scene (New York: Doubleday, 1962), 25. 26. In dancehalls black and white youth drew together to flout the conventions and restrictions of middle-class society in a harmony of the underclasses that scholars such as W. T. Lhamon and Dale Cockrell argue has existed since at least the 202 N O T E S T O PAG E S 4 – 9 eighteenth century. See W. T. Lhamon Jr., Raising Cain: Blackface Performance from Jim Crow to Hip Hop (Cambridge: Harvard University Press, 1998); and Dale Cockrell, Demons of Disorder: Early Blackface Minstrels and Their World (New York: Cambridge University Press, 1997). 27. Joel Dinerstein, Swinging the Machine: Modernity, Technology, and African American Culture between the World Wars (Amherst: University of Massachusetts Press, 2003), 5. 28. “Duke Sets the Pace in Themes,” Afro...