I Theatricals Music Features 1
BILL ROBINSON, TAP KING, "
MADE HONORARY CAPTAIN
Los Angeles,—The banquet Hall
at the YMCA twenty-eight street,
Branch was the scene of an ela
borate banquet given in honor of
the King of tap dancers, world’s
famous dancing star of stage and
screen, Bill “Bdgangles” Robin
son.
The occassion was the presenta
tion of a beautiful solid gold eme
rald incrusted badge, making him
an honorary Captain of the Los
Angeles Police Department.
The presentation of the badge,
was made in person by Mayor F.
L. Shaw in a most appropriate ad
dress. Bill in his inimitable way
responded to the presentation and
honor in a short that seemed to
echo the sentiments of the people
of his race and in whose behalf
Bill Robinson is cuch an ardent
worker.
The people df the world are
pround of Bill Robinson and his
achievements, a splendid person
ality his loyalty and philanthropy
is known everywhere and appre.
ciated by everyone.
Dr. H. H. Towles was chairman
of the Citizens’ committee in be
half of Mayor Frank L. Shaw in
the coming recall election and
around the table was grouped some
of the most prominent citizens of
church, social and political life of
Los Angeles and the cream of the
nation’s entertaining world render
ed a fittihg program of song mu
sic and dancing. Among them were
Miss Jeni Le Gon mistress of cere
monies; Louie Armstrong, Eddie
Anderson and Johnnie Taylor, the
famous piano playing Beal Bro
thers.
NEGRO “MIKADO”
OPENS SUNDAY
CHICAGO, Sept. 22 (AN?)—
Sept. 25, is the opening date for
the Federal theatre’s all Negro
version of the “Mikado” to be pro
duced at the Great Northern
theatre.
Ardent Savoyards who remem
ber Gilbert and Sullivan’s most
popular work in its whimsical Jap
anese setting, will see the same
setting, the same costumes, and
hear the same music, this time,
produced by the Negro unit of the
Federal theatre, they will hear,
also, a syncopated version of the
music.
The opera, as it has heretofore
beer, known, is a typical English
affair. Without losing any of its
charm the cast has made it as A
merican as a baseball game.
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JEAN CHILDRESS
GRIEVES UNNEC
ESSARILY FOR DAD
New York City, N. Y., Sept. 22
Littlo Jean Rosa Childress, age
3, whoso father plays the role of
the crippled ‘Jacques’ in the WPA
Federal Theatre’s products 1
‘ Haiti’’ at Daily’s Sixty-third St.
Theatre, begged her mother to
take, her to see her dad do his
stuff on the stage.
In the last act of “Haiti,” Al
vin Childress (her father) is
caught spying on the French, and
is swiftly sentenced to the ‘wheel.’
It was at this point, when Child
ress presumably falls dead, that
Jean Rosa couldn’t take it, for
with a howl that rocked the thea
tre, she made it clear she wanted
her dad alive if possible. It was
not until Jean Rosa was taken
backstage and given a mello roll
by her dad, that she began to
smile.
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I ^ HARRY T. BURLEIGH, A.S.C.A.P. ^
The Student That Inspired Dvorak >*
By Daniel I. McNamara
ftCWINO tow, sweet chariot!"
The stirring strains of this
Negro spiritual are mirrored in the
second theme of the first movement
of Dvorak’s “New World Sym
phony." Dvorak died in 1904, but
the young Negro student who first
revealed to the famous Bohemian
composer the beauties of this
refrain and of scores of other
spirituals has lived to become one
of the most notable figures in Amer
ican music,—Harry T. Burleigh,
a.s.c.a.p., famous baritone soloist
and composer.
Burleigh had won a scholarship
in the National Conservatory of
Music in New York while Dvorak
was its head in the early ’90’s. Born
in Erie, Pennsylvania, December 6,
1866, he learned music first from
his talented mother, a college grad
uate whose cultivated mind flowered
in the genius of her son. Dvorak
often listened hours at a time while
the young student played the spirit
uals he had learned from his
mother. Their lasting impression
on Dvorak is seen in the music of
his New World Symphony, first per
formed at Carnegie Hall in 1893.
While still a student, Burleigh
won appointment as baritone soloist
in St. George's Protestant Episcopal
Church.' Now, as the only Negro
member of a choir of 120 voices, he
is completing his forty-fifth year of
continuous service. Worshipers in
the famous institution long since
have come to regard Burleigh’s sing
ing as an integral part of their de
votlons. As a concert singer he ha#
appeared before distinguished audi
ences in Europe and America; and
twice sang before King Edward VII.
A tireless student, Burleigh is a
master of German, French, and
Italian. He has an honorary degree
of Master of Arts from Atlanta Uni
versity, and of Doctor of Music from
Howard University. When Victor
Herbert organized the American
Society of Composers, Authors and
Publishers in 1914 as an agency of
musical copyright protection, he in
vited Burleigh to become a charter
member.
Burleigh’s first successful compo
sition, “Jean," has been a concert
favorite for many years. His ar
rangement of "Deep River” was one
of his earlier efforts. John McCor
mack sang his “Little Mother of
Mine" the world over. His list of
original compositions runs into the
hundreds.
Burleigh leads a busy life, but
finds ample time to befriend many
struggling young artists. He gave
up the concert stage ten years ago
for more attention to his church
work and editorial duties with a
music publishing house. He shows
no evidence o£ advancing years, his1
rieh voice ringing out in solo parts
with the full vigor of his early con
cert triumphs. Burleigh deprecates
his part in the New World Sym
phony, but musicians who know the
facts trace in Dvorak’s impressive
symphonic creation the unmistak
able influence of the young student
who himself was destined to achieve
fame as a composer long after
Dvorak had passed on.
(Music Features & Photo Syndicate)
A PERSIAN LOVE SONG
Ah, sad are they who knew not
love,
But, far from passion’s tear and
smiles,
Drift down a moonless sea, be-1
yord
The silvery coasts of fairy isles
I
And sadder they whose longing
lips
Kiss empty air, and never touch
Tho dear warm mouth of those
whose they love—
Waiting, wasting, suffering
much.
WPA. NEGRO THEATRE TO
OPEN SEASON WITH “AND
ROCLES AND THE LION”
The WPA. Federal Theatre pro
ject, in inaugurating its fourth
consecutive season in Harlem, has
selected for its 13th presentation,;
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George Bernard Shaw’s “Androc
les and the Lion.”
Federal Theatre officials chose
the Shavian comedy for a Harlem
vehicle, bearing in mind the over,
whelming suc<tess oif “Macbeth”
and “Haiti” in Harlem.
The play will have a cast of
more than 150 Negro actors, in
cluding Jack Carter and Edna
Thomas of “Macbeth” fame, and
Daniel Haynes, movie, stage and
radio aiiist.
-0
BOJANGI.ES, 10 WHITE PLAY.
ERS DROPPED AT 20TH CEN
■ TURY
t
Hollywood, Sept. 22, (A.N.P.)
Bill “Bojangles” Robinson, world’s
greatest tap dancer, has been re
moved from the yearly contract
list at 20th Cenntury-Fox film
studios where he has scored many
successes with Shirley Temple, and
will work on a picture-to-picture
basis. He is currently working in
“Hard To Get,” which started pro
duction last week.
At the same time, it was an
nounced that 10 white contract
players had also been dropped, a
mong them Ethel Merman, Simone
Simon, Claire Trevor and Helen
Westley,
LOTTE LEHMANN — FIRST
ATTRACTION IN MUSICAL
ART SOCIETY PROGRAM
Hampton Institute, Va., Sept.
22 —The Musical Art Society of
Hampton Institute presents, as its
first offering of the season, the
famous soprano, Lotte Lehmann,
tho artist, who according to the
Boston Herald, “has everything a
singer needs.’’
Coming to Ogden Hall on Mon
day evening, October 10, at 8:15
o’clock, Madame Lehmann will be
preceded, not only by highest
commendatory tributes of lang
uage, but by a record of achieve,
ment which is above mere lip ap
praisals.
She has sung under the fore
most conductcks. At the great
Salzburg festival in 1935, Toscan
ini chose her for his Fidelio per
formance. Bruno Walter has put
aside his baton several times to
accompany her.
Current History
THE NEGRO IN
CUBA
HAVANA, Cuba, Sept. 22 (by
Ben Frederic Carruthers M. A.
for ANP)—Cuba, the baby repub.
lie of the New World, has had a
long and important history as a
colony of Spain and for many
years was considered the brightest
jewel in the Spanish imperial
crown. The abolition of slavery
of King Alfonso XII in 1880
marks th0 beginning of the new
day in which the Cuban Negro,
come into his own at last, was to
outstrip all other American Ne
groes in his fight for justice and
a share in the political, social and
economic life of the republic.
During the War of Independ
ence 1898, the ex-slaves joined
the armies of the Cuban Rebels
andby their loyalty and bravery,
won the respect and admiration
of the Chiefs of the devolution:
Jose Marti’, Maximo Gomez, and
others. Two of the most highly
respected Revolutionary comman
ders were the mulatto general,
Antonio Maceo to whom the Cub
an government has erected the
most imposing monuments, and
the Negro General Guillermo Mon
cada whose portrait hangs in the
magnificent $22,000,000 eapitol
building in Havana.
i he tradition of active partici
pation of the Negroes and rnczt
izos in the political affairs of the
Nation in spite of American in
tervention in the affairs of Cuba
since the War of Indepednenc?
persists to the present time. To.
day in the Senate four of the
thirty-six Senators are “hombres
do color” and fourteen of the hun
dred and forty represBntatives
aro the legislative voice of the
1,500,000 Negroes and Meztizos
who have the right to vote and to
hold office. In the appointive po
litical offices there are many im
portant posts held by men of col
or. In the contemporary cabinet
of His Excellency, Federico Lar
edo Bru, President of the Repub
lic the post of jBajo Secretario de
Justica in charge of the efficient
police force of the Island is held
by a Negro gentleman by the
name of Cespedes who is also
President of the Club Atonas of
Havana, one of the finest Negro
Clubs in the world.
In the armed forces of the na
tion under the direct supervision
of the dynamic Chief of the Rev
olution, Colonel Fulgencio Batista,
tho Negro is well represented in
every rank. The efficient police
force of the Republic has hun.
dreds of colored men enrolled
and they are not shunted off to
, the Negro districts which simply
do not exist in the cities of Cuba.
In the hospitals and schools of
the nation the color line is virtual
ly unknown to staff and patient,
student and teacher. The magni
ficent new Institufo Civice Mili
tar has a student body of some
700 students of which one-third
aru colored. They all ai'e wards
of the government and enjoy the
same privileges in the school and
dormitory life.
Bus chauffeurs and conductors
I I
(Music Features & Photo Syndicate)
WITH the exception of the Duke
of Windsor when he was the
Prince of Wales, the members of
|-—-1 the British royal
tamiiy rarely ex
press themselves
, concerning pop
' ular music. The
last occasion the
world got an
inkling of the
tunes most pre
ferred at Buck
ingham Palace
was several years
age when a list
- ■ ui uio iiiumv. tui
Loult Reid a court ball was
given out by Queen Mary.
We remember the list, for promi
nent upon it was our old rhumba
friend, “The Peanut Vendor.” In
deed, it was the only modern tune
represented. The Queen, who chose
the pieces to be played, seemed to
believe that old tunes, like old wine,
are best; gave her chief approval to
the waltzes of Johann Strauss.
P *-#
The Duke of Windsor, as Prince
of Wales, was an enthusiastic fol
lower of American popular songs,
and scarcely a monin
passed that Tin 'Pan
Alley song-pluggers
didn't seek to tie up
H.R.H. with some new
ditty, under such bill
ing as “the latest fa
vorite of the Prince
of Wales." It meant
money at the sheet
music counters.
That “Marche Milltaire"
Leading classical
march as rated by the j
number of perform-!
nnces, Is, according to"
the surveys of the Am
erican Society of Com
posers, Authors and
i'uousners, scnuuen s tiwrcue ram
talre.’’ But there Is good reason—
bo much military marching going
, on throughout the world. Aside
from Its public recitals, It is also
a pet of piano teachers and their
students.
Next to this composition the most
j favored classical marches are Bizet's
["March ot the Toreadors" trom
i "Carmen"; Tsehalkowsky’s "Marche
Slav,” Wagner's March from "Tann
hauser” and Grieg’s “March of the
i Dwarfs.” ■
Ted Flo-Rlto
A.S.C.A.P.
lleply to reader: Alfred Lee
was the author of the old comic )
song, "The Man on the Flying
Trapeze," *J
Most often heard of the oldtime
tunes are those associated with Blue
Ridge mountaineers, cowboys, New
England farms, the plantations of
mammyland, the Broadway of the
Teddy Roosevelt era.
Sentimental America ever has an ;
ear for its old songs. Yet they must
be well played, well sung. It even
calls loudly for the old airs of
Broadway, of the gay and brilliant
Broadway before it had succumbed
utterly to . blatant ballyhoo, fruit
juice stands, cheap little stores, sec
ond-run movie houses. The old
Broadway inspired George M. Co
han, Irving Berlin and a dozen
others. The Broadway of today
brings them nothing but a sigh.
It’s almost time for another sen
sationally successful American song.
We haven’t had one since "The Last
Round Up." It is the tunes of for
.1_An
"Ti Pi-Tin " "Vieni, VI
eni,” that have domi
nated America's* popu
lar music world in the
last two years. J
Symphony orchestras ,
and their assisting pian
ists have for some inex
plicable reason practic
ally overlooked Grieg's
Concerto this season.
Yet, for sheer beauty of
melody there is no con
certo in its class.
Dance bandleaders
seem to have ceased
their custom o! marry
LI1£ ineir vucausiB. wa» a
not *o long ago, when the batoneers
and their songbirds were generally
abiding by the spirit of the Tin Pan
Alley serenades which they were
performing. Notable examples of
such romances were George Olsen
and Ethel Shutta, Ozzie Nelson and
Harriet Hilliard, Herbie • Kay and
Dorothy Lamour, John Kirby and
Maxine Sullivan. In each of these
cases professional separation fol
lowed. Their careers have profited,
as a result -- - _j
are of both races and both sexes,1
bands and orchestras both muni-!
cipal and private are bi-racial, the
faculty of the National Conserv
atory of Music is composed of the
outstanding musicians from both
races. The popular and much of
the classical music of Cuba rests
frankly and alluringly upon an
African base and many of the pop.
ular congas, rumbas, and danzas
proclaim the charms of the Negro
woman in the lyrics and the
charms of Negro rhythm in the
music.
All public places are open to
tho dark skinned Cuban and the
natives actively resent American
and British attempts to set up
their fetish of a color line. The
Cuban’s standing in the communi
ty, is determined by culture and
by breeding rather than by race
or money. The traditions of old
Spain govern to a great extent
the social life of the nation.
AU English speaking people are
assumed to be Americans and as
such fair game for exploitation by
the Cubans. Because of the de_
plorable conduct of the non-Span
ish speaking Americans who
swarm to Havana, the American
dollar commands respect where
the American himself does not.
Of all foreigners the Mexican
command most respect because of
the out and out Socialist program
of the President of Mexico, Laz
aro Cardenas. The Cuban people
are ninety percent pro-Loyalist in
the current Spanish Civil War.
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