Dancing on the Roof: From the 1930s to the 1960s
by Philip P. Choy

In the February 1, 1941 issue of the Christian Science Monitor , Nate R. White wrote: “Actually, only the face of Chinatown is bright. The heart of Chinatown is frustrated, perplexed, discontented, restless….The traditional story after a colorful university education for a Chinese boy or girl is back to Chinatown where you belong.”

Knowledge of the socio-historical environment of the time provides us with insight to the understanding and appreciation of early bands and orchestras in the San Francisco Chinese American community. Its activities unfold with the stories of the spirit and talent of a generation of young men and women who made music for the community during the depression years of the 1930s and the war years of the 1940s. Fortuitously, music was one of many expressions of accommodation and assimilation.

Society at large looked upon all Chinese, born in the United States or not, as foreigners, not to be part of the mainstream. Interaction between both societies was at best, minimal. Yet American-born Chinese youth was equally influenced by the values of a Eurocentric America. Education, religion, entertainment, and sports mirrored that of mainstream American society. That emulation included music.

During the Big Band era of the 1930s, the music by Benny Goodman, Tommy Dorsey, and Glenn Miller swept the nation. At this time, two San Francisco Chinatown groups of Chinese youth organized their own dance orchestra and brought the popular music of America “live” into the community. Weekend after weekend the gymnasium of the Chinese YWCA (now the home of the Chinese Historical Society of America) and the hall of the Chinese American Citizens Alliance were jammed with the younger crowd, dancing the fox-trot to the music of the Cathayans or the Chinatown Knights. Local social and service organizations, sports clubs, and Chinese clubs from high schools were the sponsors of these dances and rallies. When the band played the last tune of the night (often “Good Night, Sweetheart”), it signaled the end of the evening. Then the band would pack up and regroup at their favorite local restaurant for siu yeh (midnight snack), paid for by their evening's “earnings.” What was left of the earnings then went into the kitty.

Major events were sometimes held outside Chinatown . The Cathayan Orchestra played for the Cathay Club New Year's Eve dances that were sometimes at the Trianon Ballroom, and for the Chitena (Chinese Tennis Association) 2 nd Annual Dance that was held at the Scottish Rite Hall. The Chinatown Knights played for the Yoke Choy 15 th Anniversary Ball at the St. Francis Hotel .

Embracing their ancestral homeland with patriotic ferver, both orchestras also gave unselfishly of their services to the China War Relief and Rice Bowl programs during 1938-41. The programs were a collective collaboration throughout the Chinese communities in the United States to raise funds for victims of a war-torn China ravaged by Japanese aggression. One opportunity led the Cathayans to Oregon , where they played for one of Portland 's Chinese fund-raising events. To help defray the band's expenses, the Portland Chinese prevailed upon the McElroy Dance Hall to hire the band for a brief engagement. Sax player William Y. Chan recalled with amazement after playing to an all-white audience, “That's the first time any Chinese played there! Chinese were never allowed to dance there!”

The emergence of the two orchestras was no mere coincidence. The musicians were all active members of the Cathay Marching Band organized in 1911. Those who lived in the community remembered them as leading funeral processions with drum rolls and playing the hymn, “Nearer My God to Thee.” However, outside the community they were headline attractions in parades, pageants, and civic and State celebrations, oftentimes walking away with trophies.

With the popularity of the Big Bands in full swing, William also remembered the young men responding with enthusiasm, “We can do that!” Two renowned piano players in the community were David Sum and Thomas Wu, both sons of ministers. David played at the Baptist Mission on Sunday services, and Thomas played for the True Sunshine Mission. Professionally, the former became a pharmacist and the latter became a dentist.

Before joining the Cathayans, David Sum was with a band touring the vaudeville circuit, coast-to-coast from California to Maine during the years 1927 to 1929. Appearing at the Earle Theatre in Atlantic City , a billboard advertised them as the “Musical Mandarins, China 's Jazz Band.” In Los Angeles , they were featured at Solomon's Dancing Palace as “ China 's Greatest Jazz Band,” even though the members were all born in America . The band also made an appearance when the Chinese YWCA first opened in 1935.

According to Thomas Wu, the name “Chinatown Knights” was adopted for its bold heraldry image, an attempt to counter the emasculated image of the Chinese male portrayed in the mainstream American media. Thomas was apparently good enough to be engaged by orchestras led by Anson Week, Fred Waring, and Horace Height in their rehearsal sessions. However, in the prevailing bigoted climate, he was not permitted to be seen with the orchestra. Thomas exclaimed with great indignation, “They put me off stage!”

The Cathayans and Chinese Knights were predecessors of Chinese American performers who became active in the Chinatown nightclubs that sprung up in the late 1930s and during World War II. Andrew Wong, the trumpet player for the Chinatown Knights became a nightclub entrepreneur, establishing the Skyroom, the Bush Street Music Hall , and the Shangri La. At the Skyroom, Dudley Lee was billed as the Chinese Sinatra. He and Frances Chun, the lead female vocalist, both previously sang for the Cathayans. As members of the Chinatown Knights moved on to other endeavors, the band disbanded. The Cathayans played until the end of 1962.

Social attitudes gradually improved, culminating with the passage of landmark civil rights legislation. Unlike the Cathayans and Chinatown Knights, the following generation of baby boomers was no longer restricted to Chinatown but could mingle freely in a more integrated society. Changes in musical tastes and social climate finally ended the era of the early Chinatown dance bands. The activities of our 1930s pioneer band musicians not only provided a venue for socialization among Chinese Americans, but helped bridge the gap of intolerance dividing two diverse cultures.

(This historical perspective is written by Philip P. Choy, CHSA board member and former president. Phil is curator of “Leaders of the Band: A History of the Cathay Club, 1911-2004,” a rotating exhibition currently at the CHSA Museum from June 26, 2004 through February 20, 2005.)


The Cathayans

The Chinatown Knights

Honorees Representing the Cathayans

William Y. Chan
Frances Chun
Frances Fong
Edmund D. Jung
Dudley Lee
Arlene Chin Sullivan
Walter Wong
Frederick T. Young

Honorees Representing the Chinatown Knights
William R. Lo
Thomas W.S. Wu

© 2004 Chinese Historical Society of America