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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
22:
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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,
468:, 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."
479:. 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
394:
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
483:, 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
341:, 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.
151:(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
370:. 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.
217:'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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382:) 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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263:). They played at all the ballrooms and Elk Clubs and included Babe Wagner Band, Fezz Fritsche & His Goose-town Band,
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1325:"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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209:. 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.
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1372:; formerly nfo.net of the late Murray L. Pfeffer (1926–2008)
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Orchestra, which got its first big break playing summers at
221:. McShann's band was on par with these groups and was where
326:
1396:
Odyssey of the Mid-Nite Flyer: a history of Midwest bands
1176:"F-B Talent Taking Powder; Bands on Lam, Units Eye ABC",
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Big Bands and Great Ballrooms: America Is Dancing … Again
530:
Smiling Billy Stewart's Celery City Serenaders (Florida)
1394:(1915–1993) (author's real name is El Roy Vernon Lee),
362:, an intimate vocal style perfected by singers such as
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374:, who broke up as many bands as it booked, moved to
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Passion for Polka: Old-Time Ethnic Music in America
270:
267:, and Whoopie John, a polka band from Minneapolis.
46:. Unsourced material may be challenged and removed.
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580:and His Singing Novelty Orchestra (Kansas City)
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1398:, publisher – El Roy V. Lee, (c1987)
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840:Grant Moore and His Black Devils, Milwaukee
815:Fred Gardner's Texas University Troubadours
1291:Swing Shift: "All-Girl" Bands of the 1940s
1202:
1130:
1109:The Guinness Encyclopedia of Popular Music
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574:and his Twelve Clouds of Joy (Kansas City)
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703:Dave Nelson's Harlem Hot Shots (New York)
567:Coon-Sanders Original Nighthawk Orchestra
475:Most musicians witnessed and experienced
106:Learn how and when to remove this message
806:Clifford "Boots" Douglas and his Buddies
486:
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889:National Ballroom Operators Association
589:Jeter-Pillars Club Plantation Orchestra
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183:, the Oklahoma City-based outfit that
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765:Zach Whyte's Chocolate Beau Brummels
595:Red Perkins & His Dixie Ramblers
251:band when he went to New York City.
44:adding citations to reliable sources
15:
481:International Sweethearts of Rhythm
450:International Sweethearts of Rhythm
429:International Sweethearts of Rhythm
332:
13:
144:, likened territory bands to "the
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1349:
797:Joe Buzze and His Orchestra, Waco
592:Original Saint Louis Crackerjacks
134:, hotel ballrooms, and the like.
455:Musician, composer, and scholar
344:
271:1920s swing and ballroom dancing
20:
1368:), maintained by Thomas Meyer,
1335:, Vol. 33, No. 1, 3–25 (2006);
775:Snooks and His Memphis Stompers
389:
31:needs additional citations for
1264:by Linda M. Dahl (born 1949),
1158:University of California Press
1039:, maintained by Thomas Meyer,
778:Slim Lamar and his Southerners
709:& His Orchestra (New York)
688:& His Orchestra (New York)
459:asserted in one of his books,
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1:
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843:Johnny Nugent Band Fox Valley
411:, The Dixie Sweethearts, the
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781:Mart Britt and his Orchestra
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762:'s Golden Pheasant Orchestra
293:(who often doubled on other
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159:era with the influence of
1356:Territory Bands Data Base
1183:December 18, 1948, pg. 20
1030:Territory Bands Data Base
961:"Territorial Imperatives"
794:Blue Syncopaters, El Paso
751:Chubb-Steinberg Orchestra
740:Oklahoma City Blue Devils
238:
1328:Journal of Urban History
1226:Dorothy Antoinette Handy
785:
671:(Detroit, then New York)
586:'s Kansas City Orchestra
563:Art Bronson's Bostonians
527:Ross De Luxe Syncopators
1449:Types of musical groups
1376:Michelle Linsey Holland
1060:Oxford University Press
939:Oxford University Press
859:Vernon and Irene Castle
745:
497:Carolina Cotton Pickers
161:Vernon and Irene Castle
1424:American music history
1197:Stewart "Dirk" Fischer
941:(1989), pps. 770–805;
698:Mills Blue Rhythm Band
694:'s Orchestra (Buffalo)
507:Original Yellowjackets
275:In 1924, according to
155:that began during the
1419:20th century in music
1307:Duke University Press
1228:(maiden; 1930–2002),
1152:by Victor R. Greene,
818:Milt Larkins, Houston
487:Bands and bandleaders
1444:Occupations in music
1052:The History of Jazz,
409:The Harlem Playgirls
405:Lil Hardin Armstrong
40:improve this article
1439:Musical terminology
1305:, PhD (born 1957),
1114:Guinness Publishing
669:Casa Loma Orchestra
606:Little John Beecher
433:Prairie View Co-eds
1384:, Masters Thesis,
1303:Sherri Jean Tucker
1296:2023-03-04 at the
1258:2023-03-04 at the
1218:2023-03-04 at the
1199:, October 24, 2007
1146:2023-03-04 at the
1112:(First ed.).
1035:2014-05-17 at the
999:2023-03-04 at the
966:2011-12-27 at the
800:Sunny Clapp's Band
444:Ethnicity and race
413:Darlings of Rhythm
378:. Frederic Bros. (
351:AFM recording bans
249:Fletcher Henderson
138:, jazz critic for
1386:Baylor University
1333:SAGE Publications
1166:978-0-520-07584-9
980:, October 3, 2006
977:The Village Voice
821:Peck's Bad Boys (
397:Mary Lou Williams
259:, leandlers, and
141:The Village Voice
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1434:Jazz terminology
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675:Harlem Playgirls
651:Anna Mae Winburn
457:Gunther Schuller
339:Great Depression
333:Great Depression
265:Six Fat Dutchmen
232:Yellowstone Park
187:joined in 1926.
153:ballroom dancing
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29:This article
27:
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1429:Jazz culture
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1266:Random House
1251:
1224:2nd ed., by
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1195:Comments of
1177:
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1107:
1104:Colin Larkin
1051:
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1007:Jack Behrens
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760:Austin Wylie
663:Cab Calloway
629:Preston Love
620:Lloyd Hunter
584:Bennie Moten
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464:historian),
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390:Female bands
384:World War II
366:and, later,
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211:Bennie Moten
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38:Please help
33:verification
30:
1011:AuthorHouse
904:Swing music
894:Swing dance
869:Castle Walk
823:Peck Kelley
812:San Antonio
736:Walter Page
686:Gene Kardos
680:Edgar Hayes
611:Verne Byers
364:Bing Crosby
323:string bass
228:Glenn Henry
219:Count Basie
215:Jay McShann
200:Territories
185:Count Basie
181:Blue Devils
177:Walter Page
157:World War I
149:cover bands
132:Lions Clubs
128:Elks Lodges
1413:Categories
1392:Lee Barron
1388:(May 2007)
1268:(1984); ,
1013:, (2006);
915:References
810:Troy Floyd
725:(New York)
723:Chick Webb
719:in Harlem)
700:(New York)
682:(New York)
665:(New York)
646:Nat Towles
637:Dick Mango
616:Bob Calame
551:Earl Hines
355:hit parade
327:brass bass
66:newspapers
1341:1552-6771
1179:Billboard
1056:Ted Gioia
947:490084315
899:Swing era
884:Lindy Hop
864:Big bands
835:Wisconsin
770:Tennessee
639:Orchestra
625:Al Hudson
613:Orchestra
572:Andy Kirk
553:(Chicago)
376:Hollywood
295:woodwinds
173:Armstrong
169:Ellington
1315:42397506
1309:(2000);
1294:Archived
1256:Archived
1238:42329813
1232:(1998);
1216:Archived
1160:(1992),
1154:Berkeley
1144:Archived
1033:Archived
1019:80936539
997:Archived
964:Archived
848:See also
730:Oklahoma
657:New York
600:Nebraska
558:Missouri
545:Illinois
512:Colorado
502:Arkansas
360:crooning
307:trombone
303:trumpets
283:Whiteman
96:May 2020
535:Georgia
522:Florida
492:Alabama
438:V-discs
431:or the
380:Chicago
301:), two
278:Variety
257:waltzes
191:History
126:halls,
80:scholar
1402:
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315:guitar
299:violin
289:, one
239:Styles
146:Top 40
82:
75:
68:
61:
53:
1363:.bbdb
1301:, by
970:, by
786:Texas
717:Savoy
319:piano
311:banjo
291:tenor
287:altos
87:JSTOR
73:books
1400:ISBN
1337:ISSN
1311:OCLC
1270:ISBN
1234:OCLC
1162:ISBN
1118:ISBN
1015:OCLC
943:OCLC
879:Jive
746:Ohio
337:The
171:and
59:news
1365:.us
1361:www
1054:by
1005:by
933:by
738:'s
372:MCA
325:or
313:or
179:'s
163:."
124:VFW
42:by
1415::
1378:,
1280:^
1244:^
1204:^
1188:^
1156::
1132:^
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36:.
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