Cotton Club - Wikipedia. Lena Horne as a young girl was featured at the Cotton Club. The Cotton Club was a New York Citynight club located first in the Harlem neighborhood on 1. Street and Lenox Avenue from 1. Theater District. The club operated most notably during America's.
Prohibition Era. The club was a whites- only establishment even though it featured many of the most popular black entertainers of the era, including musicians Cab Calloway, Fletcher Henderson, Duke Ellington, Jimmie Lunceford, Chick Webb, Louis Armstrong, Count Basie, Fats Waller, Willie Bryant, vocalists Adelaide Hall,[2][3]Ethel Waters, Bessie Smith, Aida Ward, Avon Long, the Dandridge Sisters, the Will Vodery Choir, The Mills Brothers, Nina Mae Mc. Kinney, Billie Holiday, Lena Horne, and dancers Bill Robinson, The Nicholas Brothers, Charles 'Honi' Coles, Leonard Reed, Stepin Fetchit, the Berry Brothers, The Four Step Brothers, Jeni Le Gon and Earl Snakehips Tucker. In its heyday, the Cotton Club served as a hip meeting spot, with regular "Celebrity Nights" on Sundays that featured guests such as Jimmy Durante, George Gershwin, Sophie Tucker, Paul Robeson, Al Jolson, Mae West, Richard Rodgers, Irving Berlin, Eddie Cantor, Fanny Brice, Langston Hughes, Judy Garland, playwright and director Moss Hart, and Mayor Jimmy Walker among others. History[edit]In 1. Jack Johnson rented the upper floor of the building on the corner of 1. Street and Lenox Avenue in the heart of the Harlem district and opened an intimate supper club there called the Club Deluxe. Owney Madden, a prominent bootlegger and gangster, took over the club in 1.
Sing Sing and changed its name to the Cotton Club.[4] " A deal was arranged between the two that allowed Johnson to still be the club’s manager. Madden "used the cotton club as an outlet to sell his #1 beer to the prohibition crowd".[5] While the club was closed briefly in 1. A man by the name of Herman Stark became the stage manager from then on. Cotton Club dancer Mildred Dixon - Duke Ellington's second companion.
Harlem producer Leonard Harper directed the first two of three opening night floor- shows at the new venue. The Cotton Club was a "Whites- only" venue. The club reproduced the racist imagery of the times, often depicting blacks as savages in exotic jungles or as "darkies" in the cotton- growing plantation. South (see King Cotton).
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The club imposed a more subtle color bar on the chorus girls whom the club presented in skimpy outfits: they were expected to be "tall, tan, and terrific," which meant that they had to be at least 5 feet 6 inches tall, light- skinned, and under 2. The skin color of the male dancers was more varied. Watch Breakout Online Hollywoodreporter. Black performers did not mix with the club's clientele, and after the show many of them went next door to the basement of the superintendent at 6. Lenox, where they imbibed corn whiskey, peach brandy, and marijuana."[7] Ellington was expected to write "jungle music" for an audience of whites. What Ellington contributed to the Cotton Club is priceless and is summed up perfectly in this 1.
New York Times excerpt: "So long may the empirical Duke and his music making roosters reign - and long may the Cotton Club continue to remember that it came down from Harlem".[8] The prices for customers were high so the performers had very high salaries.[9]The Harlem years[edit]Shows at the Cotton Club were musical revues, and several went under the heading of Cotton Club Parade followed by the year. The revues featured dancers, singers, comedians and variety acts, as well as a house band.[1] These revues helped launch the careers of many artists including Fletcher Henderson who led the first house band to play there in 1.
It also helped push Duke Ellington's career, whose orchestra was the house band there from December 4, 1. June 3. 0, 1. 93. In 1. 92. 7, the first revue that Duke Ellington took over as house band was called "Rhythmania" and featured Adelaide Hall, who had just recorded several songs with Ellington including "Creole Love Call".[1. Their recording of "Creole Love Call" became a worldwide hit. The club not only gave Ellington national exposure through radio broadcasts originating there (first through WHN, then over WEAF and after September 1. NBC Red Network - WEAF was the flagship station for that network - on Fridays), but enabled him to develop his repertoire while composing not only the dance tunes for the shows, but also the overtures, transitions, accompaniments, and "jungle" effects that gave him the freedom to experiment with orchestral colors and arrangements that touring bands rarely had. Ellington recorded more than 1.
Eventually, in deference to a request by Ellington, the club slightly relaxed its policy of excluding black customers.[1. Cab Calloway's orchestra brought its Brown Sugar revue to the club in 1. Ellington's orchestra after its departure in 1. Jimmie Lunceford's band replaced Calloway's in 1. Ellington, Armstrong, and Calloway returned to perform at the club in later years. The club was also the first show business opportunity for Lena Horne, Leona Laviscount, who sang Sweeter than Sweet with Cab Calloway, who also began there as a chorus girl at the age of sixteen.
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Dorothy Dandridge performed there while still one of The Dandridge Sisters, while Coleman Hawkins and Don Redman played there as part of Henderson's band. Tap dancers Bill "Bojangles" Robinson, Sammy Davis Jr. Will Mastin Trio), and the Nicholas Brothers starred there as well. The club also drew from white popular culture of the day.
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Walter Brooks, who had produced the successful Broadway show Shuffle Along, was the nominal owner. Dorothy Fields and Jimmy Mc. Hugh, one of the most prominent songwriting teams of the era, and Harold Arlen provided the songs for the revues, one of which, Blackbirds of 1. Adelaide Hall, featured the songs "I Can't Give You Anything But Love" and "Diga Diga Doo", produced by Lew Leslie on Broadway.
In 1. 93. 4, Adelaide Hall starred at the Cotton Club in Cotton Club Parade 1. The show opened on 1. March and ran for eight months, attracting over 6. The score was written by Harold Arlen and Ted Koehler and featured the classic song "Ill Wind". During Hall's performance of "Ill Wind", to add authenticity to the production, a dry- ice machine was used on stage to create a fog effect.
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It was the first time such equipment had been used on a stage.[2] Featured on the bill was the 1. Lena Horne. The Midtown years[edit]The club was closed temporarily in 1. Harlem the previous year. Photographer Carl Van Vechten vowed to boycott the club for having such racist policies in place.[7] The Cotton Club reopened later that year at Broadway and 4. The site chosen for the new Cotton Club was ideal.
It was a big room on the top floor of a building on Broadway and Forty- eighth Street, where Broadway and Seventh Avenue meet – an important midtown crossroads, and in the heart of the Great White Way, the Broadway Theater District.[1. While Herman Stark and the club's owners were quite certain the club would do well in its new location, they realized that depended on a smash- hit opening show.[1. In fact a 1. 93. 7 New York Times article states, "The Cotton Club has climbed aboard the Broadway bandwagon, with a show that is calculated to give the customers their money’s worth of sound and color – and it does."[1. The most lavish revue in the Cotton Club’s 1. Broadway on September 2.
Robinson and Calloway headed a roster of some 1. Stark agreed to pay tap dancer Bill "Bojangles" Robinson $3,5. Broadway production, and more money than had ever been received by any individual for a night club performance.[1.
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It closed for good in 1. Manhattan nightclub owners. The Latin Quarter nightclub opened in its space and the building was torn down in 1. All in all, the Broadway Cotton Club was a highly successful blend of old and new. The site may have been new, the décor may have been slightly different, but once a patron entered and was comfortably seated, he knew he was in a familiar place.[1.
