Bringing the Jazz Age to Paris – Chapter 2 Notes

Historical Overview of African American Expatriation to Paris:

• Post-WWI Disillusionment in U.S.: African Americans faced continued lynchings and race riots, including the “Red Summer” of $1919$.

• Rise of Black Empowerment Movements: This period saw the emergence of the New Negro movement, increased NAACP activism, Garveyism, and the Harlem Renaissance (literature and jazz), all advocating for Black expression and empowerment.

• Paris in the $1920s$ (“Les Années Folles”): Emerged as a vibrant creative capital, eager for new art, technology, mass culture, and nightlife.

• Demand for Black Music/Dance: Fueled by French primitivism and a fascination with African and U.S. mass culture.

• Pan-African Congress in Paris ( $1919$): Highlighted perceived French racial tolerance compared to U.S. prejudice, drawing African Americans seeking opportunities.

• Reasons for Moving to Paris:

  • Escape Jim Crow laws; freedom from the color line in daily life.

  • Employment: high wages in jazz, cabaret, sports.

  • Educational opportunities: study at French universities and art schools.

  • Ability to form an expatriate community while maintaining U.S. cultural identity.

• Montmartre – The Community Hub:

  • A mix of working-class streets and world-famous nightlife (e.g., Moulin Rouge, Place Pigalle).

  • Early clubs included Zelli’s, Le Grand Duc, and Chez Florence; later, Bricktop’s and the Cotton Club.

  • Population growth: Approximately $30$ Black Americans in Paris around $1924$, growing to several hundred by the decade’s end.

Key Musical Figures:

• Eugene Bullard: Ex-pilot turned club manager (Le Grand Duc).

• Louis Mitchell & Palmer Jones: Early bandleaders ( $1917$– $1919$ tours) who introduced Black American music to Paris.

• Sidney Bechet: Long-term sax legend; expelled after a gunfight in $1928$.

• Bricktop (Ada Smith): Red-haired chanteuse; opened Bricktop’s in $1926$.

• Josephine Baker: Broke out in La Revue Nègre ($02/10/1925$), starred in Folies-Bergère in $1926$ (banana skirt); became a symbol of Jazz Age Paris.

Other Cultural Contributors:

• Writers: Langston Hughes, Claude McKay, Countee Cullen, Gwendolyn Bennett – maintained summer/year residencies.

• Artists: Henry O. Tanner (mentor), Palmer Hayden, Hale Woodruff, Augusta Savage – studied at Académies and exhibited in Salons.

• Scholar: Anna Julia Cooper – first Black woman to earn a Ph.D. from Sorbonne ($1925$).

• Athlete: “Panama” Al Brown – boxing star and Paris idol from $1926$ onwards.

Key Musical Figures:

• Eugene Bullard
  Eugene Bullard was a notable figure who transitioned from being an ex-pilot to a club manager, specifically at Le Grand Duc. His presence contributed to the vibrant nightlife and cultural scene in Montmartre, which served as a significant hub for the African American expatriate community in Paris.

• Louis Mitchell & Palmer Jones
  Louis Mitchell and Palmer Jones were early bandleaders who played a pivotal role in introducing Black American music to Paris through their tours between $1917$ and $1919$. Their efforts helped to cultivate the demand for Black music and dance in the city, laying the groundwork for the burgeoning jazz scene.

• Sidney Bechet
  Sidney Bechet was a long-term sax legend and a prominent musician in the Parisian jazz scene. Despite his significant musical contributions, his time in Paris was not without incident, as he was expelled from the city after a gunfight in $1928$, highlighting some of the complexities faced by expatriates.

• Bricktop (Ada Smith)
  Bricktop, also known as Ada Smith, was a distinctive red-haired chanteuse who made a name for herself in Paris by opening her own club, Bricktop’s, in $1926$. Her establishment became one of the key venues in Montmartre, contributing to the rich tapestry of nightlife and entertainment that attracted both locals and expatriates.

• Josephine Baker
  Josephine Baker emerged as an iconic symbol of Jazz Age Paris. She first garnered widespread attention with her breakout performance in La Revue Nègre on $02/10/1925$. Her fame soared further when she starred in the Folies-Bergère in $1926$, famously performing in a banana skirt. Baker's vibrant performances and unique stage presence captivated audiences and solidified her status as a cultural phenomenon.