Please note that page numbers are not accurate for the e-book edition.
African Americans: and call to fight in WWII, 56; class divisions among, 6–7, 11–12, 47–48, 169, 191; and Griffith Stadium as community center, 110; intellectuals and gospel/blues music, 47–48, 52, 169; middle class, 4, 6–7, 8, 11, 96–97; and migration to North, 15–16, 33, 94; and Red Foley, 128–29; religious differences among, 7–8, 11–12, 80; Rosetta as trailblazer for, xi. See also race relations
Allen, Foch Pershing (husband), 64–65, 76–78
Allen, Robert, 95
Allison, Margaret, 102, 201–2, 210, 211
American Federation of Musicians, 60
American Folk Blues and Gospel Caravan, 187–90
American Folk Blues and Gospel Festival, 196–97
American Folk Blues festivals, 186–87, 193
Ammons, Albert, 44
Anderson, Kip, 148
Andrews, Inez, 83, 152, 155, 215
Angelic Gospel Singers, 102
Angelic Queens Choir (Rosettes), 100–102
Apollo Theater, 43, 45, 46, 107, 153, 177 appearance, Rosetta’s: conservative gospel look, 39–40, 95–96; on European tours, 166; Marie and Rosetta partnership, 82; as missionary, 16; at stadium wedding, 118
Atkins, Donell (half-brother), 3–4, 13, 114–15
Atkins, Effie (stepmother), 3
Atkins, Elteaser (Scott) (half-sister), 3, 4, 13, 211
Atkins, Katie (née Harper). See Nubin, Katie Bell (mother)
Atkins, Leona (half-sister), 3
Atkins, Willis B. (father), 2, 3–4, 9, 13
Atkins family at Rosetta’s funeral, 210 audiences: European vs. American, 156–57, 166; Jewish audiences in Miami, 30–31; loyalty of gospel, 136; response to Rosetta’s illness, 202–3; Rosetta’s commitment to, 101; and Rosetta’s fame, 30–31, 44–45, 52, 55, 81–82, 121, 165, 175
Avant Garde nightclub, 175–76
Azusa Street Revival, 8
Bailey, Pearl, 72, 169–70
Bailey, William J., 126
Baker, Ginger, 173
Baker, LaVern, 204
Baptist Church, 18, 24, 181
Barber, Chris, 157, 159, 160, 164–66, 168, 171
Barclay, Bob, 169
Barksdale, Everett, 146
Barr, Fred, 177
Barrett Sisters, 78
Barton Heights home, 91, 95–100, 149
Basie, Count, 43, 44 “Beams of Heaven” (Tindley), 86
Beatles, 186
Bell, Katie. See Nubin, Katie Bell (mother)
Bentley, Gladys, 37
Bernal, Martin, 159–60
Berry, Chuck, 186, 191–92 “Big Fat Mama,” 59
Birmingham, England, 164
bisexuality, rumors of Rosetta’s, 87–90
black arts movement, 205
Black Nativity (Hughes), 182, 191
blacks. See African Americans
Blessed Assurance: Gospel Hymns Sung by Sister Rosetta Tharpe with The Rosettes and Organ Accompaniment, 123
Bloom, Allen, 89, 109, 111, 113, 121–22
The Blues and Gospel Train performance, 188–89 blues music: black intellectuals on, 47–48, 52, 169; COGIC’s liberal view of, 10–11; early influences on Rosetta, 26; European revival of, 156, 158–76; and gospel music, 15, 22–23, 54–55, 106–7, 141, 178; and male blues musicians, 186–87; and rock and roll, 184–87; Rosetta’s relationship to, xi–xii, 38–39, 54–55, 135, 137–42, 145–46. See also gospel blues, rhythm and blues genre
Bontemps, Arna, 48
Bostic, Joe, 207
Boyd, Joe, 187, 188, 190, 203
Boyer, Horace Clarence, 12, 25, 216
Boyer, James, 103
Bradley, Harold, 128
Bradley, J. Roberts, 191, 192
Bradley, Owen, 127
bridge, musical, 73, 174–75
Bright Hope Baptist Church, 181
British Invasion, Rosetta’s influence on, 185–87
Brooks, Sarah (Roots): and gospel music as pastime, 97; performing with Rosetta, 99, 102, 106, 124; on Rosetta’s country music sensibility, 129; on Rosetta’s guitar work, 153; on Rosetta’s material success, 95
Broonzy, Big Bill, 160, 169
Broven, John, 161, 188
Brown, Ruth, 84–85
bus, touring, 103–4
business ownership by blacks, 6
Byrd, James “Early,” 142
Café Society, 51–53
Calloway, Cab, 34–35, 48–49, 54, 57
Campbell, Delois Barrett, 78
Campbell, Lucie E., 21
Carlyle Hotel, Philadelphia, 149
Carnegie Hall performance, 43–46
Carr, Wynona, 142–43
Carter, Dick, 60
Cash, Johnny, 69
Castle Studios, 127–34
Charles, Ray, 129, 130, 138, 181–82
Cherry, Robert, 194
Chicago, Illinois, 13–26
Chicago Defender, 34, 38, 53, 60
Chinese Rhythm and Blues Club, 185
Chris Barber Band, 157, 160, 164–66, 176, 177–78
Church of God in Christ (COGIC): development of, 8–13; Fortieth Street in Chicago, 16–19; gender roles in, 9–10; liberal view of sacred music, 10–11, 18–19, 201; Miami Temple, 29–31; and Mother Bell’s death, 194; Rosetta’s dedication to, 212; Rosetta touring with, late in life, 200; and Samuel Kelsey, 117
civil rights movement, 184
class divisions in black communities, 6–7, 11–12, 47–48, 169, 191
COGIC (Church of God in Christ). See Church of God in Christ (COGIC)
Cohen, Amaziah Melvin, 29
Cohen, Isaac, 29, 30
Cohen, Paul, 78, 127, 128, 130, 133, 135
Communist Party, 37, 43
Cooke, Marvel, 150
Cooperwood, Tilman, 1, 6–7
Copeland, Creadell, 146–47
Copenhagen Jazz Festival, 193
copyrighting of Rosetta’s music, 40–41
Cornelius, Don, 207
Cotton Club, 33–38, 45–46, 49
Cotton Plant, Arkansas, 1, 5–8
Count Basie Band, 43
country music, Rosetta’s work in, 125–35
Cousin Joe, 187, 189, 190
Crazy Horse, Kandia, 217
Crosby, Bing, 105, 127
crossover musician, Rosetta as. See sacred vs. secular music
Crume, LeRoy, 80, 129, 135, 148–49 “Crying in the Chapel,” 137
Cummins, Bentley, 129
dancing: and black culture in Cotton Plant, 7–8; COGIC approval of sacred, 10, 201; vs. Pentecostal rhythmic movement, 85–86; and Rosetta’s rock and roll, 68; and sacred vs. secular music, 47
Dandridge, Dorothy, 60
Davis, Art, 183–84
Davis, Gary, 187, 190
Davis, James, 210
Dawbarn, Bob, 172
Decca Records, 41–43, 122, 127–34, 136–42, 145–46
Demêtre, Jacques (Dimitri Vicheney), 168, 196–97
Dependable Boys, 97–98
Depression, the, 26–27
Derricks, Cleavant, 132–33
Dickinson, Jim, xii, 69 “Didn’t It Rain,” 79, 189
divine gift, musical talent as, xiii, 2, 20, 163
Dixie Hummingbirds, 81, 89, 218
Dixie Manor nightclub, 176
Diz Disley Band, 173
Doggett, Bill, 54, 57, 58, 61 “Don’t Leave Me Here to Cry,” 138–42 “Don’t You Weep, O Mary, Don’t You Weep,” 146
Dorsey, Thomas A., 22, 52–53
Down Beat record label, 86
Dranes, Arizona Juanita, 24–25
duets, 131, 165
Duke Ellington Band, 36
Eason, Jeannette, 72, 176
Eason, Willie, 72, 176–77
Edge, Graeme, 186
Edison, Harry “Sweets,” 44
Eighteen Original Negro Spirituals (booklet), 41 electric guitar, Rosetta’s use of, 81, 86, 97, 126, 162, 174–75
Ellington, Duke, 36, 48–49
emotional impact of song: and European response to Rosetta, 160, 161, 167; Rosetta’s focus on, 41–42, 72, 86, 171; and Rosetta’s influence on young rockers, 174
England, 156–76, 184–87
European tours, 150, 156–76, 185, 193, 196–97 evangelistic mission: in Florida, 29–31; Katie and Rosetta’s, 16–19, 25–32; women as agents of, 9–10, 13, 183
Fairfield Four, 130
fame (Rosetta’s): and Café Society audience, 52; and Carnegie Hall performance, 44–45; in Europe, 165, 175; and Griffith stadium concert, 121; with Marie Knight, 81–82; in Miami, 30–31; and musical compromises, 55; and race relations, 119
Famous Negro Spirituals and Gospel Songs, 193
fans. See audiences
Feather, Leonard, 162 “Feed Me Jesus” (see also “Hide Me in Thy Bosom,” “Rock Me”), 137
Feld, Irvin, 109–12, 113, 115, 122–23
Feld, Israel, 109–12
Feld, Shirley, 111, 115, 116, 118, 121
fishing, Rosetta’s love of, 180
Foley, Red, 128–29, 130–31, 132–33
Folk Blues and Gospel Song Festival, 193
folk music, 175–76, 184, 190
Fortieth Street Church of God in Christ (Roberts Temple), Chicago, 16–19
Foster, Harold “Pops,” 80
France, 160, 169, 190, 193
Francis, Panama, 54, 60
Franklin, C. L., 90
From Spirituals to Swing, 43–46, 143, 205–6
Gale, Moe, 39, 54, 56, 122
Gates of Prayer Church (New York), 204
Gautier, Madeleine, 168
Gay, Gregory Donald, 20
Gaye, Marvin, 90
gender roles: in COGIC, 9–10; and guitar musicianship, 151–55; and male collaborators, 148–49; and memory of Rosetta, 217; and Rosetta’s independence, 104; and Rosetta’s post-WWII image, 95–96; and women musicians’ lack of spousal support, 77–78
Gillespie, Dizzy, 58, 60, 169, 183–84
Gittings, William, 112–13
Gleason, Ralph, 154 “God Don’t Like It,” 67, 120
Godfrey, Walter, 142, 203
Golden Gate Quartet, 111, 167, 168–69
gospel blues: collaboration between Katie Bell and Dizzy Gillespie, 183–84; development of, 22–25; Rosetta and Marie’s partnership in, 74–90, 92–93; Rosetta’s contribution to, 216; vs. secular blues, 38–39
Gospel Hymns (LP), 67
gospel music: audience loyalty to, 136; vs. blues music, 15, 22–23, 54–55, 106–7, 141, 178; COGIC’s liberal approach to, 10–11, 18–19; development of, 21–23; European perspective on, 158, 162, 166, 172, 173; expectations of musicians in, 216–17; female guitar players in, 153; and integrated touring groups, 102; and jazz culture, 169; kinetic energy of, 10, 21, 60, 85–86, 177, 191–92, 201; Mahalia Jackson’s role in, ix, 15, 24; mainstreaming of, 181–82, 205–6; moral debates vs. blues/swing, ix, 12–13, 47–48, 52, 106–7, 141; and Red Foley, 128–29; in Richmond, 97–100; and rock and roll, 72, 98, 184–87; Rosetta’s role in, viii, 21, 42, 52, 61–62, 66–70, 109–12, 138, 146–47; spiritual energy of, 163; and stadium venues, 115–16; and stereotyping of blacks, 105–6, 191; swinging of, 12–13, 37, 38, 42, 47–48, 52
The Gospel Sound (Heilbut), 203
The Gospel Truth (Mercury LP), 19, 182
The Gospel Truth (Verve LP), 182–83
Grammy nomination, 196
Grand Ole Opry radio shows, 129, 130
Granz, Norman, 182
Gray, Gwendolyn Stinson, 6
Gray, William, III, 210
Gray, William H., Jr., 181
Great Britain, 156–76, 184–87
Grevatt, Ben, 129
Griffith, Clark, 110
Griffith Stadium, 110–24
guitarist, Rosetta as: charisma of, 72–73; childhood development of, 20–21; and country music, 129; early influences on, 2–3, 27–28; and electric guitar, 81, 86, 97, 126, 162, 174–75; elements of style of, x–xi, 27–28, 67, 71–73; and European response to, 168, 173–74, 189; and gender roles, 151–55; and jubilee quartets, 97; and later recordings, 182; legacy to rock and roll of, ix, 2, 69–70, 174–75, 216–17; men and, 73, 151–55; and publicity image, 39; talent and skill of, vii–ix, xi, 38, 44, 63, 72, 126, 131, 152–53, 154. See also gender roles
Hadlock, Richard, ix
Haizlip, Ellis B., 205, 207, 216
Halcox, Pat, 165
Hambric, Geraldine Gay, 20, 22, 26–27, 71
Hamilton, Roy, 139, 141
Hammond, John, 43–44, 52
Harlem: Apollo Theater, 43, 45, 46, 107, 153, 177; Cotton Club, 33–38, 45–46, 49; race riots in, 65; Savoy Ballroom, 39, 57–58, 65
Harmonizing Four, 98, 120, 146
Harper, Agness (grandmother), 4–5
Harper, Katie. See Nubin, Katie Bell (mother)
Harper, Levi (grandfather), 4–5
Harvey, George W., 47 “Have a Little Talk with Jesus” (Derricks), 132–33
Hawkins, Erskine, 66
Hayes, Isaac, 86, 155
Heard, Richard, 144
Heilbut, Tony: on civil rights movement, 184; on gospel/blues integration, 137; and Katie Bell’s death, 195; on Rosetta’s bisexuality, 89; and Rosetta’s illness and death, 199, 202, 203, 208–9, 210; on Rosetta’s performance style, 177; on Rosetta’s rhythm, 129–30
Heller, Dick, 110
Henderson, Bessie, 83
Henry, Lewis Warren, 99–100
Henry, Lottie (Smith): and gospel music as pastime, 97; performing with Rosetta, 99, 102, 106, 124; on Rosetta’s country music sensibility, 129; on Rosetta’s material success, 72, 94, 95; on Rosetta’s wedding dress, 118
Hentoff, Nat, 143–44 “Hide Me in Thy Bosom” (Dorsey) (see also “Feed Me Jesus,” “Rock Me”), 30, 52–53, 137
Higginbotham, J. C., 49
Highway QCs, 147
Holiday, Billie, 48, 52, 96, 202
Holiness movement, 8–9. See also Sanctified Church
Holmes, May Ethel, 117
Holy Dance, 201
“Holy Roller” pejorative, 12
homosexuality and gospel circuit, 87–90
Hoogenboom, Andy, 159, 173–74
Hot Club de France, 193
Hubbard, Musette, 16, 20, 21, 26
Hughes, Langston, 24, 182, 191
Hurston, Zora Neale, 47–48
The Hustler (Cotton Plant, Arkansas), 5–6, 7
“If You See My Savior,” 132
“I Just Couldn’t Be Contented,” 135
“I Looked Down the Line (and I Wondered),” 47
Ink Spots, The, 63, 112
intellectuals: and blues music, 47–48, 52, 169; jazz culture’s appeal for, 169, 171
“I’ve Done Wrong,” 146
“I Want a Tall Skinny Papa,” 54, 60
“I Want to Live So God Can Use Me,” 67
Jackson, Mahalia: and civil rights movement, 184; European tour, 171; fidelity to gospel culture, ix, 15; mainstream popularity of, 126, 141; rejection of by Decca, 41; rise of, 91–92; vs. Rosetta, 72, 74, 106–8; with Rosetta on radio, 192; and Sanctified gospel, 24
Jagger, Mick, 186
James, Etta, 88–89, 90, 154
Jay, Abner, 122
jazz culture: and blues revival in Europe, 159, 160, 161; intellectual appeal of, 169, 171; and Rosetta’s love of big-band jazz, 48–49, 57; Rosetta’s status in, 50, 143–44
Jenkins, Sally, 210
Jones, Brian, 159
Jones, O. T., 194
Jones, Zeola Cohen, 29, 30–31, 45, 46
Joplin, Janis, 115
Jordan, Louis, 3
Jordanaires, 69, 102–3, 104
Josephson, Barney, 51–52
jubilee quartets, 97–100
Jubilee radio program, 61
Juke Blues, 161
Kelsey, Samuel, 21, 117, 120
Kelsey Temple. See Temple Church of God in Christ
King, Martin Luther, Jr., 184
Knight, Albert, 75, 76
Knight, Marie (née Roach): and breakup with Rosetta, 92–93, 146; at Gates of Prayer, 204–5; on Katie’s reasons for leaving Cotton Plant, 13–14; and occasional work with Rosetta, 106, 120, 136, 142, 143; and partnership with Rosetta, 74–86; and post-Rosetta career, 203; recordings by, 78–81, 86–87, 111, 135; on rock and roll and Rosetta, 184; and Rosetta’s death, 209–10, 211, 212–13; on Rosetta’s guitar work, 72, 152; and Rosetta’s vocal style, 160–61; on Russell Morrison, 113; on Tommy Tharpe, 29; and Rosetta tribute CD, 218–19
Knowling, Ransom, 188
Kriegsmann, James J., 39
Kunstadt, Len, 168
LaBeef, Sleepy, 69
land ownership by blacks, 4, 6–7
Ledbetter, Huddie “Leadbelly,” 159–60
Leiser, Willy, 168, 195–96
Lennon, John, 186 “Let’s Go On,” 135
Lewis, Dolly, 89, 122, 203–4
Lewis, George D., 25
Lewis, Jerry Lee, 69–70
Life magazine, 48–49
Lincoln Center, 205–8 “Little Boy How Old Are You,” 97
Little Richard, 88, 174
Little Walter and the Jukes, 142
Live at the Hot Club de France, 193
Live in Paris, 193
Lomax, Alan, 123, 159, 162, 175–76
“The Lonesome Road,” xi–xii, 43
Louis, Georgia, 105, 113, 190
Lubinsky, Herman, 196, 209
Lucky Millinder Band, 54–64
Lynch, William, 5
Mance, Junior, 184
Manchester, England, 170–71
Man in Black (Cash), 69
Marcus, Greil, 130
Martin, Grady, 127
Martin, Judy (Eva Overstake), 132
Martin, Sallie, 22
Mason, Charles Harrison, 8–9, 13, 21
McClinton, O. B., 130
McGhee, Brownie, 176, 187
media. See press
Melly, George, 160, 172
Mendelsohn, Fred, 196, 208
Miami Temple Church of God in Christ, 29–31
Michaux, Solomon Lightfoot, 110–11
middle class, black, 4, 6–7, 8, 11–12, 96–97
migration of blacks to North, 15–16, 33, 94
Miller, Alfred, 71–72, 132, 149
Millie Kirkham Singers, 132
Millinder, Lucky, 54–64, 66–67, 118
Mills Music, 40–41
missionary work. See evangelistic mission
Mitchell, Ella, 152, 177, 182–83
Moore, Bob, 131, 132
Moore, Roxie: on early career moves by Rosetta, 45, 64; and living with Rosetta, 53–54, 56–57; and Mother Bell’s death, 194, 195; on Rosetta’s attitude toward men, 114; and Rosetta’s death, 210, 211–12; on Rosetta’s illness, 199; on Tommy Tharpe, 30
moral debate over gospel vs. blues, 12–13, 47–48, 52, 53, 106–7, 141
Morrison, Allene Owens (mother-in-law), 112, 207
Morrison, Annie, 112, 113, 125, 147–48, 180, 213
Morrison, Russell (husband): and Annie, 148; conflicts with Irvin Feld, 122–23; dislike of Richmond, 125–26; in Europe, 168, 171, 187; and home life in Philadelphia, 180; marriage to Rosetta, 112–15, 120, 197; and Rosetta’s finances, 149; and Rosetta’s illness and death, 200–13
Mosque venue in Richmond, 98–99, 102
“Move On Up a Little Higher,” 91–92
musicianship. See guitarist; vocal style
music industry: country music developments, 126–34; mainstreaming of gospel music, 181–82, 205–6; musician/record company dispute, 60; rhythm and blues transformation, 136–37; sacred vs. secular music, 138; and WWII, 55–56; youth market, 137, 144–45, 178. See also record companies
“My Babe,” 142
Myers, Johnny, 76
“My Lord and I,” 97
“My Man and I,” 43
Nashville country music, 125–35
Newport Folk Festival, 184, 193
New York City. See Harlem
“Nineteen Fifty-Five” (Walker), 145
“Ninety-nine and a Half Won’t Do,” 102
“Nobody’s Fault But Mine,” 58
Northwood Cemetery, 213
Nubin, Katie Bell (mother), 63; character of, 16, 101; Chicago missionary work, 16–19; Cotton Plant years, 1–5, 8, 12–14; death of, 193–96; missionary work in old age, 183; recordings, 102, 183–84; and Sammy Price, 67; and Sanctified lifestyle, 57, 58; singing style of, 102; third marriage of, 28; traveling missionary work, 25–32
Oliver, Paul, 158–59
Owens, Paul, 210
Page, Hot Lips, 49
Panassié, Hughes, 193
Panorams, 59–60
Paramount Theater, 43
Parham, Kitty, 180–81
Parks, Barney, 89, 136
“Pass Me Not O Gentle Savior,” 100
Patterson, Ottilie, 158, 160–61, 165, 171, 173
“Peace in the Valley” (Dorsey), 128, 170
Pentecostal Church: as conscientious objectors, 56; disapproval of Rosetta’s style, xii, 3; European curiosity about, 162–63; importance of creative gifts from God, xi, 2, 20, 163; Katie’s conservative manner in, 16; vs. mainline Christian denominations, 22; middle-class black disapproval of, 11–12; and Rosetta’s performance style, 60; Rosetta’s regrets about leaving, 45, 47, 58–59; sins and hypocrisies, 87–90; and speaking in tongues, 72; spoofing of, 45–46. See also Church of God in Christ (COGIC)
performance style, Rosetta’s: body movements, 10, 60, 151, 177, 191–92, 201; childhood development of, 20–21, 23–24; early influences on, 27–28, 30; on European tours, 158, 164–65, 166; and gospel energy, 21, 60, 177, 191–92, 201; Marie and Rosetta, 79–81, 82, 85–86, 143; post-amputation adjustments, 201; and professionalism on stage, 44, 188; and rock and roll, 68, 80, 191; with Rosettes, 100–101; and wedding concert, 120, 121. See also appearance; emotional impact of song
Perkins, Carl, 69
The Perry Como Show, 105–6
Peterson, Charles, 48–49
Philadelphia, Pennsylvania, 114, 147–48, 149, 179–81
Phillips, Dewey, xi, 69
Phillips, Sam, 69
piano style, Sanctified, 25
Pilgrim Baptist Church, Chicago, 18, 24
police, racial harassment by, 65, 84
politics: civil rights movement, 184; and Harlem racial unrest, 65; pre-WWII leftward trend of, 37, 43
Ponce de Leon Park, 110
“Precious Lord” (Dorsey), 58, 59
Precious Memories, 196
Presley, Elvis, 69, 102, 127, 145, 174
press: American coverage of Rosetta, 34, 38, 53, 60, 175; European coverage of Rosetta, 158, 163–64, 171; and Mahalia vs. Rosetta, 91; and reporting about gospel performers on tour, 90
Price, Sammy, 67–68, 78–79, 80, 86–87, 102, 148
Pryor, Franklin G., 97
publicity for Rosetta: decline of, 136; early secular career, 38–40; and guitar-playing talents, 154; and post-WWII conservatism, 96; and Rosetta’s promotional style, 192; struggles with image, 106; and wedding concert in DC, 109–12. See also press
race relations: and black community in DC, 110; civil rights movement, 184; and Cotton Club culture, 35–38, 45–46; and country music, 129, 130–31, 133–34; dangers of touring in South, 83–85, 100, 104–5; European vs. American, 157–58, 161–62, 165–66, 168–69, 176, 191; Harlem riots of 1943, 65; integrated gospel touring groups, 102; Jews and blacks in Miami Temple, 30–31; liberalism in pre-WWII America, 37–38; and memory of black musicians’ roles, 217–18; police harassment in NYC, 65, 84; progressivism in, 5–6, 51–52; and Rosetta as upward mobility symbol, 96; Rosetta’s childhood, 2, 5–7; and Rosetta’s fame, 119; and From Spirituals to Swing, 43–44; stereotyping of blacks, 35–38, 45–46, 105–6, 119, 143, 162, 191; violence against blacks, 11, 144–45; and white appropriation of black music, 145; and World War II, 56
radio play: and conflict with Dorsey over song, 53; Grand Ole Opry coverage, 129, 130; Jubilee, 61; in Miami, 30; Red Hot & Blue, 69; Savoy Ballroom broadcasts, 60
Rainey, Ma, 89
record companies: Decca, 41–43, 122, 127–34, 136–42, 145–46; Down Beat, 86; musicians’ dispute with, 60; Savoy, 196; Sun, 127; Verve, 182
recordings: albums of 1960s–1970s, 182, 193, 196; and blues vs. gospel, 137–42, 145–46; country music, 127–34; early 1940s, 58–59, 61–62; initial Decca, 41–43; Rosetta vs. Mahalia, 91–92; Rosetta with Marie Knight, 78–81, 86–87, 111, 135; Mother Bell’s, 102, 183–84; post-wedding concert, 123; return to gospel, 67; “White Christmas,” 105
Red Hot & Blue radio program, 69
Reitz, Rosetta, 217
religion: and authenticity of gospel music, 172; Baptists, 18, 24, 181; differences among blacks, 7–8, 11–12, 80; and European response to gospel, 158, 162, 173; homosexuality and gospel circuit, 87–90; moral debate over blues vs. gospel, ix, 47–48, 52, 53, 106–7, 141;
Pentecostals vs. other Christians, 22. See also Pentecostal Church
religious vs. popular music. See sacred vs. secular music
revivals, religious, 8, 27, 75–76
“Revival Telephone,” 120
rhythm, Rosetta’s use of, 42, 68, 129–30, 133
rhythm and blues genre, 130, 136–42, 145–46
Richards, Keith, 159
Richmond, Virginia, 90–91, 94–100, 103, 122–23, 125–26
Roberta Martin Singers, 79–80
Roberts, Alva, 16, 31
Roberts, Camille, 15, 16, 17, 21, 22–23, 31
Roberts, Lawrence, 196
Roberts, W. M., 16–19
Roberts Temple Church of God in Christ, 16–19, 145
Robinson, Bertha, 147
Robinson, Cleophus, 147
Robinson, Frances, 75
Robinson, William, 136
“Rock, Church, Rock” (Bontemps), 48
rock and roll: and Elvis Presley, 127, 145; gospel/blues roots of, 72, 98, 184–87; Rosetta’s influence on, ix, 2, 10, 68, 69–70, 80, 158, 174–75, 191, 216–17
“Rock Me” (Dorsey), 42, 55
Roots, James, Jr., 102, 104, 106, 107, 124
Rosette Gospel Singers, 105
Rosettes, 72, 100–105, 117–18, 123–24
Ruth, Thurman, 192
Ryman Auditorium, 130
sacred vs. secular music: and blues, 38–39; and changing music industry, 138; COGIC’s liberal view of sacred music, 10–11, 18–19, 201; moral debate over, 12–13, 47–48, 52, 53, 106–7, 141; Rosetta’s straddling of divide, viii, ix–x, 48–49, 107, 117–24, 154–55, 171–72, 216–17; Rosetta’s dilemma over, 33–35, 54–55, 137–42, 145–46; and Sanctified Church, 22–23, 24; WWII as distraction from debate, 60–61. See also gospel blues; gospel music
Salvatore, Nick, 90
Sam Price Trio, 102
Sanctified Church: contribution to rock and roll, 72; female guitar players in, 153; and gospel style, xi–xii, 19; Mother Bell’s dedication to, 57, 58; ostracizing of Rosetta in, 181; piano style, 25; and Rosetta’s vocal style, 100; and sacred vs. secular music, 22–23, 24; and sexuality, 87–90. See also Church of God in Christ (COGIC)
Savoy Ballroom, 39, 57–58, 65
Savoy Records, 196
Say Amen, Somebody, 77–78
Scandinavia, touring in, 173
Schwartz, Harold A., 190
Scott, Cheatham, 12–13
Scott, Elteaser (née Atkins) (half-sister), 3, 4, 13, 211
Scott, Roy T., 2, 3
Scott, Sam, 2, 7, 12–13
secular music: Rosetta’s career in, 31–32, 33–34, 38–40, 42; Rosetta’s early exposure to, 22; and Rosetta’s return to gospel, 66–67; and spoofing of Pentecostalism, 45–46. See also blues music; jazz culture; rock and roll; sacred vs. secular music
segregation, racial: and black community in DC, 110; at Cotton Club, 36–38; in Rosetta’s childhood, 2, 5–7; and touring, 83–85, 100, 104–5; in U.S. military, 56
self-accompanying gospel musicians, 24–25. See also guitarist
sexuality: and guitar playing, 72–73, 152; racial double standard, 84; Rosetta’s, 87–90, 203; and Rosetta’s performance style, 154; and Rosetta vs. Mahalia, 91
Shad, Bobby, 136
Shaw neighborhood in DC, 110
“Shout, Sister, Shout,” 55
Shout, Sister, Shout (CD), 218–19
Sinclair, Neil M. C., 170
Singing in my Soul, 196
Sister on Tour, 182
Sister Rosetta Tharpe, 182
“Sleep On Darling Mother,” 67
Small, Christopher, 217–18
Small, Drink, 119, 148
Smith, Bessie, viii, 38–39
Smith, Donald Liston, 98
Smith, Little Willie, 188
Smith, Lonnie, 98
“Something within Me,” 23
songs. See individual song titles
Soul, Soul Searching (LP), 183–84
Soul at the Center, 205–8
soul music, Rosetta’s contribution to, xi, 86–87, 138
Soul Stirrers, 80
soundies, 59–60
South, dangers of touring in, 83–85, 100, 104–5. See also segregation, racial
Spann, Otis, 188
speaking in tongues, 8–9, 72
“Spirituals and Neo-Spirituals” (Hurston), 47–48
Spirituals in Rhythm, 182
spirituals vs. gospel music, 21
stadium performer, Rosetta as, 115–16
Stage Show on CBS, 146
Stark, Herman, 34, 38, 45
Stars of Faith, 181
Steadman, Frances, 180, 181, 210
stereotyping, racial: at Cotton Club, 35–38; by Europeans, 162; by jazz reviewers, 143; on television, 105–6, 191; and Thalhimer’s department store, 119
Stewart, Walter, 202, 209, 210, 211
Stewart-Baxter, Derrick, 123
Stinson, Tim, 109
Stoker, Gordon, 69, 102, 104, 125, 129, 130, 133
“Strange Things Happening Every Day,” 67–70
style, Rosetta’s performance. See performance style
Summers, Theodore LeMar, 118
Sun Records, 127
Sunset Harmonizers, 120
Sun Studio, 69–70
Supper Club, 105–6
swinging of gospel music, 12–13, 37, 38, 42, 47–48, 52
swing music as genre, 37, 55
Taps, David, 102
Taylor, Creed, 182
television performances, ix, 105–6, 146, 189–93. See also names of specific TV programs “Tell Him You Saw Me” (Dorsey), 132
Temple Church of God in Christ (later Kelsey Temple), 117
Terrell, O. M., 130
Terry, Sonny, 176, 187
Thalhimer’s department store, 118–19
Tharpe, Rosetta: amputation, 199–200; ancestry of, 3–5; and bisexuality, 87–90; at Café Society, 51–53; and career decline, 135–50; Carnegie Hall performance, 43–46; character of, 23–24, 45, 64, 89–90, 100–101, 114–15, 131–32, 163–64, 172–73, 201–2; childhood of, 1–8, 13–26; and civil rights movement, 184; at Cotton Club, 33–35; in country music, 125–27, 128, 129–35; cruise tour with Eason, 176–77; death of, 209–13; diabetes of, 198–209; divorces of, 64–65, 76–78; and early musical influences, 18–23, 24–25; and early religious influences, 8–13; European tours, 156–58, 160, 164–68, 170–75, 177–78, 185, 187–90, 193, 196–97; faith in talent as divine gift, xi, 2, 20, 163; financial ups and downs, 23, 26–27, 90–91, 126, 149, 179; formal education, 26; funeral of, 210–13; at Gates of Prayer, 204–5; grave of, 213, 215–16; home life, 90–91, 94–100, 149, 179–81, 195–96; homeownership of, 90–91, 179; illnesses of, 196–97, 198–209; in jazz jam session, 48–49; legacy of, 206–7, 215–19; Lincoln Center performance, 205–8; with Lucky Millinder Band, 54–64; and Mahalia Jackson, 91–92, 106–8, 192; and Marie Knight, 74–90, 92–93; marriages of, 28–30, 33–34, 64–65, 112–24, 125–26; material success, 94–95, 179; medical care, avoidance of, 198–99; and mother’s death, 195–96; and The Perry Como Show, 105–6; publicity photos, 38–40; religiosity of, 162–63; return to gospel solo career, 66–70; rhythm styles, 42, 68, 129–30, 133; and rock and roll, xi, 2, 10, 68, 69–70, 80, 158, 174–75, 191, 216–17; and Rosettes, 100–105; and Roxie Moore, 53–54; traveling evangelism in childhood, 25–32; TV Gospel Time hosting, 190–93; wedding concert and promotion, 109–12. See also guitarist; performance style; recordings; sacred vs. secular music; vocal style
Tharpe, Thomas J. (husband), 28–30, 33–34, 43, 46, 64–65
“That’s All” (Tharpe), 43, 44
“That’s All Right,” 145
“(There’ll Be) Peace in the Valley” (Dorsey), 128, 170
“There’s Peace in Korea,” 137
“This Train,” 165
Thomas, Carla, 155
Tiger Bay, Cardiff, Wales, 170
Till, Emmett, 144–45
Tindley, C.A., 86
touring: with Cab Calloway, 49–50; church circuit after amputation, 200–201; and decline of popularity, 136, 142–43; in Europe, 150, 156–76, 185, 193, 196–97; with Lucky Millinder, 60, 67; with Marie Knight, 81–86; as rhythm of musician’s life, xi–xii; with Rosettes, 99–105
Town Hall, NYC, 81
Triggs, Les, 173
troops, performances for WWII, 60–61
“Trouble in Mind,” 59, 189
Tucker, Ira, vii, 81, 180, 199, 200–201, 210
Tucker, Ira, Jr.: on dangers of touring in South, 85; and Mother Bell’s evangelistic mission, 183; on Rosetta’s straddling of sacred and secular music, 107, 138; and Rosetta’s death, 210; on Rosetta’s fishing skills, 180; on Rosetta’s illness, 200; on Rosetta’s marriage to Tharpe, 29; on Russell Morrison, 113, 149, 202; tribute to Rosetta, 218; on visual display of gospel shows, 166
Tucker, Louise, 194, 195
Tucker, Sherrie, 39
Turner, Frances Steadman, 180, 181, 210
TV Gospel Time, vii, 190–93
Twilights, The, 98–99
“Up Above My Head,” vii, 86–87, 165
venereal disease, PSA by Rosetta, 65–66
Verve Records, 182
Vicheney, Dimitri (Jacques Demêtre), 168, 196–97
Village Vanguard, 143
vocal style, Rosetta’s: European appreciation of, 160–61, 168, 170; and Marie Knight, 79–80; mastery of gospel style, 41–42, 45, 55, 68, 146, 164–65; mismatch with Red Foley, 133
Waites, Evelyn, 205
Waites, Floyd, 204–5
Wald, Elijah, 126, 166
Walker, Alice, 145
Wallace, Erma, 99
Ward, Clara, 82, 88, 129, 141–42, 181
Ward, Gertrude, 88–89, 181
Ward-Royster, Willa, 88–89
Ward Singers, xi, 82, 99, 180–81
Washington, DC, wedding concert in, 109–12
Washington, Dinah, 107
Washington, Ernestine, 192, 195, 210
Waters, Muddy, 161–62, 188, 190
Watson, Phil, 188
The Wedding Ceremony of Sister Rosetta Tharpe and Russell Morrison (LP), 123
wedding concert, 109–12, 115–24
Wein, George, 187, 190
West Indians and British racism, 169–70
Wexler, Jerry, 92
“What Have I Done,” 138–42
“What He Done for Me,” 61–62
Wheeler, Doc, 177
“When I Take My Vacation in Heaven,” 111
“When the Saints Go Marching In,” 165
White, Josh, 175
“White Christmas,” 105, 106
White Gospel Four, 193
Whitehead, Henry, 110
whites: appropriation of black music, 145; and blues revival in Europe, 158; as followers of Rosetta, 82; introduction to Rosetta in Miami, 30–31; and negotiation of Southern segregation, 84
Williams, J. Mayo “Ink,” 41
Williams, Marion, 180–81, 184, 194, 210, 211
Williams, Martin, 183
Williams, Mary Lou, 151, 153
Williams, Smallwood E., 111
Wilmer, Valerie, 170, 172, 178
Wiltshire, Teacho, 182
Wine, Toni, 179
women. See gender roles
Work, John Wesley, 11
World War II, 55–56, 60–61, 65, 68–69
Wright, Clyde, 51, 101, 167, 168–69
Wright, Richard, 169
Wynn, Ron, 133
X, Malcolm, 57–58
Yearwood, Lloyd, 107–8, 114
“You Gotta Move,” 111
youth market for music industry, 137, 144–45, 178