Dancing on the Roof: From the 1960s to the 1970s
by Tim Leong

America was going through tremendous change during the 1960s and 1970s. Society allowed the creation of Ethnic Studies programs at the college level, and this instilled a sense of pride for all people of color. Civil rights leaders like Dr. Martin Luther King, Jr. proclaimed ideas and values that resonated even to Chinese Americans, giving confidence and approval to recognize and respect your roots and the community you in which you grew up. The music scene was reshaped by rock and roll, featuring artists like Elvis Presley and Little Richard. The invasion of rock bands from England such as the Beatles and Rolling Stones brought new ideas, songs, and creativity. In San Francisco , the “Summer of Love” scene epitomized the musical landscape of the era along with the growing rhythm and blues influences of African American musicians. This was an exciting time filled with hope, dreams and energy.

It is within this framework that young Chinese Americans took advantage of their musical talent and creativity by creating dance bands. Although very little of the music played within the Chinese American music circuit was original material, that didn't seem to matter to the audiences. When bands tried to incorporate original tunes in their set lists, the dance floors would clear until the band began playing another recognizable tune. Perhaps this reaction could be part of the reason why more Chinese American bands did not write original music and expand outside of the Asian American community. Nevertheless, they pounded out top hits from artists like Wilson Pickett, Sam and Dave, all the Motown artists like the Temptations, Smokey Robinson and the Miracles, Kool and the Gang, Earth Wind and Fire, and Chicago, much to the dancing delight of their audiences and friends.

Who could forget the excitement of waiting in line to enter dances held at San Francisco 's Victory Hall , California Hall, Red Chimney, and Mr. D's? Admirers and supporters would pick up postcard-sized bids for future dances to see which bands were playing, using that as their rationale to decide whether or not to go. As the Asian American bands continued to perform and build a loyal following, they became popular in the Bay Area and other communities with strong Asian populations. Blue Dolphin, Bold Knight, Pauley Ballroom at UC Berkeley, San Francisco and San Jose State Universities , and even Sacramento became destinations for many of these bands to perform in front of predominantly Asian American audiences. Dances on boats that cruised the bay, street fairs, and performing for causes ranging from saving the International Hotel to finding a cure for sickle cell anemia, all became venues for these bands to play for their fans. While there were many influences of this era, most of the Chinese American dance bands incorporated a soul or rhythm and blues sound that provided wonderful danceable music.

One of the most daunting decisions to be made during this time was what to wear to the dance. Even the guys would be very fashionable, wearing suits or sports coats with ties. As the rhythm and blues influences became stronger in the dance bands, so did the clothing styles. Shirts with 4” long collars or “hi-boys” were starched so heavily it could scrape your neck raw. You would wear your hair in a pompadour to appear taller, add rhinestone cuff links, alpaca sweaters, and shiny black pointed shoes with pimp socks. All you needed was a splash of Jade East cologne to complete the ensemble. Not to be outdone, the girls would sport beehive hair-dos, or rat their hair high to match their date's pompadour. Mini skirts and dresses were in style, complemented with fish net or black stockings and heavy mascara. Dances became a special place to express your individuality and fashion style.

The Asian American dance bands of this era came in many different configurations including those with full horn sections, multiple keyboard players, rhythm and lead guitars, and multiple singers. Some of the musicians had formal training, but most were self-taught. To be in a band or one of their “groupies” provided a sense of belonging, a feeling of community and fellowship. Some of the top Asian American groups at that time include the Bold Rebels, Brass Drops, Soulusions, ESP's, Lady Red, Concessions, Pearl, Brass Horizons, and Maharlika. Dance promoters utilized a “battle of the bands” concept to allow dancers and audiences to hear new bands and compare their favorites. It was at these dances where musicians and singers could hear others play, and provided the opportunity to plan and dream of other future musical collaborations.

San Francisco 's Chinese community always enjoyed their music and dancing. Family associations, Chinese American Citizens Alliance, and others, would hold regular dance lessons to teach the latest moves. It is not surprising that Chinatown also became a spawning ground for many of the dance bands of this era, including the eight band honorees being recognized tonight. And, as the Chinese American population expanded beyond the confines of Chinatown , groups like the Agents from the “Avenues” (Richmond District) were also formed.

The crowded living conditions in Chinatown , with homes abutting up against each other, provided quite a challenge for all these garage bands. There are many stories of neighbors complaining about the noise to police, bands booted from garages, and moving several times to find new practice locations. On the other hand, it was encouraging and supportive parents who bought many of the band instruments while putting up with the endless booming bass guitar and drums, screeching guitars, wailing saxophones, and piercing trumpets.

Perhaps a testament to the new freedom and inclusiveness of this generation, most of the dance bands were very diverse. While there were all-Chinese dance bands, most were as diverse as the music played and audiences to whom they performed in front. Clearly the Chinese community supported the dance bands that grew up in and around Chinatown , but their popularity could also be attributable to the limited playing opportunities given to other Asian American dance bands within the community.

As the musicians got older, getting jobs and going away to college led to the breakup of most of the dance bands. A few bands decided to try their hand in writing original material, and those that did became discouraged with how difficult it is to be successful playing only their own songs. While many of the musicians considered going professional (some joined the Musicians' Union and hired managers/agents), most decided to have a “straight” job as a lawyer, doctor, police officer, professor, postal worker, or reverend, with music as a hobby. A number of musicians from these dance bands have continued working today in the music industry as a performer, recording studio owner, professional DJ, or sound system company owner. Over the past few years, a revival of “old school” music has encouraged many of these musicians to dust off their instruments and rebuild their musical chops. Many are still playing music today for private parties and not-for-profit benefit dances, trying to rekindle the excitement of playing their favorite dance tunes.

The honorees' reflections of this exciting time are a little fuzzy perhaps because of their age, memory loss, and too much partying when they were younger. But when those memories became clearer, these musicians reminisce of an era that cannot be duplicated. Yes, pompadours have given way to receding hairlines, miniskirts replaced by loose-fitting tops and slacks, and the adrenaline of asking that special someone to be your dance partner for the last slow dance of the night, all contribute to an innocent era of growing up that we will always be remembered. For these bands and musicians, the greatest joy was not the money they earned, but watching the happy faces of their friends and admirers dancing on the roof…dancing the night away.

(This historical perspective is written by Tim Leong, a former broadcast journalist at KRON-TV and KCRA-TV, and professional musician for fourteen years. He has performed with many of the musicians identified in this article, playing bass guitar and drums, and singing both lead and background vocals.)

© 2004 Chinese Historical Society of America