“Spinnin' the Webb”: Representational Spaces, Mythic Narratives, and the 1937 Webb/Goodman Battle of Music

Abstract

Benny Goodman and Chick Webb's 1937 battle of music has become a mythic event in jazz historical narratives, enshrined as the unique spectacle that defines Harlem's Savoy Ballroom and its legacy. While this battle has been marked as exceptional and unique, as an event it was a relatively typical instantiation of the “battle of music” format, a presentational genre common in black venues during the 1920s and 1930s. Within African American communities, battles of music re-staged ballrooms as symbolically loaded representational spaces where dueling bands regularly served as oppositional totems that indexed differences of locality (Chicago vs. New York), gender (men vs. women), ethnicity (Anglo- or African American vs. Latin), or race (black vs. white). This article details the ten-year history of battles of music that preceded the Webb/Goodman battle and that made its signifying rhetoric legible within African American communities. It then argues that the disconnect between the battle's relatively typical signifying rhetoric and its subsequent enshrinement as an exceptional event occurred due to a specific confluence of circumstances in the mid-1930s that shaped its immediate reception and subsequent legacy: Goodman's emergence as the “King of Swing” during a new period of massive mainstream popularity for swing music, a coterminous vigilance among both white and black jazz writers to credit black artists as jazz's originators and best practitioners, and the emergence of athletes Jesse Owens and Joe Louis as popular black champions symbolically conquering white supremacy at home and abroad.

“Spinnin’ the Webb”: Representational Spaces, Mythic Narratives, and the 1937 Webb/Goodman Battle of Music—CORRIGENDUM

“…There was an error in the title of the original online version of the article by Wells in the May 2020 issue Journal of the Society for American Music as well as in table of contents entry, both on the cover and in the frontmatter. The entry should be as follows:…”