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Sexism in 1940s Night Clubs

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Screen Shot from March of Time “Night Club Boom”

 

 

 

 

 

 

March of Time, in 1946, did a feature on the boom in night clubs in the United States. For relevant numbers, March of Time cites that there were 70,000 nightspots in the U.S. is 1946. In the central hub of night clubs in the 40’s, New York was home to several thousand of that number.

Clearly nightclubs were prevalent in society, so the roles that employees took in such spaces may reasonably reflect the standard across the U.S. at that time. It is incredibly striking how much March of Time emphasizes the various important role’s that females play in nightclubs. However, is is equally disappointing to see the women constantly referred to as objects for monetary gain.

The documentary starts by describing the various jobs at a nightclub. Once the narration moves past the roll of the door-man, they come to the job of the coatroom or “checkroom girls.” The narration describes that

In most clubs, the checkroom girls are hired at a fixed salary by an outside concessionaire. He picks them for the kind of personality that will attract tips and everything they collect goes into their employer’s box, which is securely locked.

The rhetoric implies a distrust to these girls, and emphasizes that their social interactions are strictly for monetary gain. Certainly, it would not have hindered the narration to indicate the useful service that these women provided for the nightclub.

In contrast to these women, the head waiter does not need to put his money in a lockbox to give to the employer. Rather, the head waiter is seen dealing with thrifty costumers by putting them at poor tables until they tip him generously. On screen, the costumer is seen giving the head waiter a $5 bill to change seats. This was drawn in direct opposition to the checkroom girls who received a half-dollar and needed to put it in a check box immediately.

This March of Time documentary short was meant as an education tool for those who did not go to nightclubs to understand their “social order.” The depictions in this documentary continue to label the women in the nightclub business as objects to be examined and payed according to their visual aesthetic while labeling the men in the nightclub business as individuals who grant a service. This, of course, reflects the social attitudes of mid 20th century America. Nevertheless, it is valuable to examine and take note of such subjugating examples because patriarchal attitudes certainly have not died out by the year 2017.

The value of this documentary short, specifically for american music, is its emphasis on nightclub culture. In the postwar era, genres such as bebop was born in late night club sessions (after the patrons would leave), but most of the music being played was dance music. The music itself is mentioned a number of times as an important key to success for any nightclub, but the individual musicians are never mentioned.  This attitude toward musicians views them as providing a function service (much as how the checkroom girls are presented). These social situations are what provided the motivation for beboppers to focus their music on their own personalities.

One of the most prevalent clubs in Harlem was the Cotton Club, where Duke Ellington played frequently. Although Duke was not mentioned in the video, his music was played throughout. Therefore, I have left a song here for you to enjoy.

 

Works Cited

Night Club Boom

in March of Time, Volume 12, Episode 8 (New York, NY: Home Box Office, 1946, originally published 1946), 21 mins 

How Jewish should Fiddler be? The creative process behind “If I Were A Richman”

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“Fiorello” was the 1959 Tony Award-winning hit that had made Jerry Bock and Sheldon Harnick a famous Broadway duo. Their next project: turning Sholem Aleichem’s Tevye Stories into a musical that “just happened to be Jewish.”1 Bock and Harnick had personally, for the most part, left Jewish religious observance and Yiddish behind. However, they still wanted to engage with Aleichem’s themes and historical implications with their next project.

mvsrch_front-22In 1964, Fiddler on the Roof made its Broadway debut at the Imperial Theater, encompassing perceptions before and after WWII of Jewish identity, as well as bringing “Jewishness” into popular American culture.

Hal Prince, who was financially backing the show (and who also happened to be Jewish) made clear that he would only support the show if Jerome Robbins (who had just done West Side Story (1957)) directed. However, it was very unlikely that Robbins would want to work on the project, as he had made clear that he “didn’t want to be a Jew…he learned ballet to escape the wondrous and monstrous dance steps he feared he’d find by digging down to his Jew self.”3

However, in 1959, Robbins had taken a trip to Poland in search of the Jewish village Rozhanka, where his father was born and he had such fond childhood memories. However, the village had been destroyed in the war, which Solomon argues is what “primed Robbins to lavish such tenderness upon the fictional Anatevka” and he agreed to direct Fiddler.4

worldkino3_zpsdc698faa5Robbins drew from shtetl histories and hosted screenings of “Laughter through Tears,” a film that depicts Jewish life in pre-revolutionary Soviet Russia for the show’s costume and set designers in hopes that they would draw ideas for the show from it. Robbins also crashed Jewish weddings with cast members in hasidic dress in Brooklyn’s Borough Park to observe the “schnapps-fuelled dancing.” He even attempted to bring Othodox social customs to the rehearsal hall by enforcing gender segregation, but his attempt only lasted a few hours before the actors rebelled!

 

Robbins interviewed his father about his escape from Rozhanka and modeled Yente after his memories of his Yiddish-speaking maternal grandmother, whose “Jewish backward ways he’d previously despised.”6

if i were a rich man sheet music7Zero Mostel, the original Tevye complimented Robbins with his superior knowledge of Yiddish literature and Jewish customs. It was Mostel who insisted that Tevye would never neglect to kiss the mezuza when passing through the doorway of his home, and Mostel who persuaded Harnick not to cut the verse in which Tevye dreams of a synagogue seat by the Eastern Wall from “If I Were a Rich Man.”

The song was inspired by the 1902 monologue by Sholem Aleichem in Yiddish, Ven ikh bin a Rothschild (If I were a Rothschild), a reference to the wealth of the Rothschild family. The lyrics are based on passages of Aleichem’s “The Bubble Bursts,” one of his short stories.

In the first two verses, Tevye dreams of the material comfort wealth would bring to him. I see this as Tevye’s character being drawn to “mainstream American culture” that values consumerism and capitalism, especially in postwar society.

In the final verse, Tevye further considers his devotion to God, expressing his sorrow that his long working hours are preventing him from spending more time in the synagogue praying and studying the Torah. I see this as Tevye’s character further being drawn back by his Jewish roots and culture and away from the temptation of materialism.

Finally he ends by asking God if “it would spoil a vast eternal plan” if he were wealthy. I believe this is Tevye summarizing his internal identity conflict with asking God how he can balance mainstream culture with his strong faith.

1 Solomon, Alisa. Wonder of Wonders: A Cultural History of Fiddler on the Roof. New York: Picador, 2014.

2 http://www.wliw.org/21pressroom/j/the-jews-of-new-york/561/

3 Solomon, 2014.

4 Ibid.

5 http://s65.photobucket.com/user/rojaki/media/worldkino3_zpsdc698faa.png.html

6 Solomon, 2014.

7 Bock, Jerry & Harnick, Sheldon. “If I were a rich man.” Fiddler on the Roof. New York: Sunbeam Music Corp., 1964. http://mainemusicbox.library.umaine.edu/musicbox/pages/full_record.asp?id=VP_002550

Recreating Jewish Identity in the postwar era: Is Fiddler on the Roof Jewish enough?

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Zero Mostel with ensemble in F... Digital ID: psnypl_the_5222. New York Public Library

Zero Mostel and ensemble in the original Broadway musical, Fiddler on the Roof (1964)1

After World War II, American Jews felt an increase in security and prosperity. There was a general decline in anti-semitism and an increase in political power. In parallel, many Jews pushed to assimilate economically, culturally, and symbolically in America.2 In the making of the 1964 musical, initially investors, particularly Jewish investors, feared the show would be considered “too ethnic,” meaning “too Jewish.” Later, with Rosie O’Donnell starring in the 2004 Broadway revival, it wasn’t Jewish enough.3

The story focuses on Tevye and his attempts to maintain his Jewish religious and cultural traditions, while outside influences encroach upon his family’s lives. He is forced to cope with the strong-willed actions of his three older daughters, who marry for love instead of following the matchmaker, Yente’s choice. Each daughter’s husband moves further away from the customs of Tevye’s faith and the edict the Tsar has made that evicts Jews from their village.

I find this storyline to be perfect for a postwar hit in line with the recreating of Jewish identity. Jews in America are no longer concerned with security and genocide, and therefore must come to terms with their faith–often questioning God, their faith, Jewish law as is seen in Tevye’s character.

I think this is clearly seen by the opening song, Tradition, which explains the traditional roles and social classes in Anatevka and the villagers trying to continue their traditions and keep their society running as the world around them changes. This echoes the real-life struggle to reshape Jewish identity in the postwar era in America.

In an interview with the original Tevye, Zero Mostel, he describes Tevye as “universal…he has no nationality, because he symbolizes the underprivelaged in every country– no matter what adversary he meets, he just puffs up his chest and goes on.”4 Even in Barbara Isenberg’s Tradition!: The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of Fiddler on the Roof, the World’s Most Beloved Musical, she writes

“Fiddler has become a sort of tabula rasa for terrorism, repression, and prejudice that seems eternally pertinent. Warning that “horrible things are happening all over the land” could apply to Nazi Germany, Vietnam, or Iraq as much as to pre-revolutionary Russia…If you are running a theater and you want to make money, Fiddler is a shoe-in: It’s a show people always want to see.” It’s a little like saying diamonds are pretty because they sparkle.”5

There seems to be quite a debate between Fiddler being too Jewish by creating a story centering around Jews so soon after World War II. But also and I think more so, that Fiddler isn’t Jewish enough because Jews (like the investors) wanted to tame the Jewishness of the show in order to appeal to a wide audience. Ultimately, the goal any Broadway is to sell tickets and fill seats. Perhaps though in the process of selling seats and appeasing a wide audience, much of Sholem Aleichem’s original story may have been misinterpreted and/or misrepresented.

1 http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=1894114&imageID=psnypl_the_5222&word=Fiddler%20on%20the%20Roof&s=1&notword=&d=&c=&f=&k=1&lWord=&lField=&sScope=&sLevel=&sLabel=&sort=&total=13&num=0&imgs=20&pNum=&pos=7

2 Ciment, James. “The Meaning of Jewishness.” Postwar America: An Encyclopedia of Social, Political, Cultural, and Economic History. New York: Routledge, 2015

3 Isenberg, Barbara. Too Jewish?: The Making of Fiddler on the Roof. Los Angeles: St. Martin’s Press, 2014

4 Stang, Joanne. “At Home With Tevye.” New York Times (1923-Current File), Oct 04, 1964. http://search.proquest.com/docview/115569663?accountid=351.

5 Isenberg, Barbara. Too Jewish?: The Making of Fiddler on the Roof. Los Angeles: St. Martin’s Press, 2014