Although my scholarly work has focused on the history of music theory in the Middle Ages and Renaissance, I am also a performing musician. I play in a small swing band that performed at the Indiana Roof Ballroom in Indianapolis in 2006. The Roof is home to a unique artifact of jazz in the 1930s, the "Jazz Door." For three years in the 1930s two stagehands listed the bands that played at the Roof on a storage room door and rated each performance with one to four stars (poor to extraordinary). The Jazz Door now stands just back stage as a monument to the role of the Indiana Roof in early jazz history, but it has not been given scholarly study. I am applying to the GCLA New Directions Imitative to complete a scholarly article on the 1933–34 season at the Indiana Roof Ballroom. I have done some preliminary work in comparing the entries on the Door to newspaper advertising. I believe the Jazz Door documents a strategy of memory on the part of the two stagehands who wished to memorialize themselves and their love of "sweet" dance music by their graffiti. But a different story emerges when one looks at the advertising and ticket prices at the Ballroom. The strategy of the management of the Roof Ballroom was to attract the widest possible audience including acts from the vaudeville and burlesque traditions.