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Home , Down in Houston, Savoy Ballroom

ELDORADO BALLROOM by Leigh Cutler

where the ciryt largest and most diverse as possible, contact with the outside white W il:ff , #'.:: ilr#i l'il.,*n.. black population lived, residents created a world. . .In one sense segregation thus penned rhese words: "1. too. sing nearly autonomous community buiit upon stimulated the black communiry."l f[656 America.... I, too, am America." His the principle of "I am." This fully developed institutions met the needs of the commu- poem "I, Too," makes a statement about black sociery allowed businesses, churches, niry and provided safe spaces for cultural the inferior position of blacks in a Jim schools. hospirals. and enrerrainmenr life to exist in a racially segregated urban Crow sociery while looking forward with venues to flourish. environment. rffintz, assurance to a future ofnational racial Howard Beeth and Cary D. One such space was the landmark equaliry. At the same time, Hughes seems to in : Afro-Tixan History and Eldorado Ballroom, which was representa- emphasize that, despite segregation, people Cuhure in , describe the ways tive of the last pinnacle of black culture in ofall backgrounds, not just whites, repre- segregation encouraged the growth ofa Houston before dissoived. sented America. f]re words "I am" resound selF-contained black Housron communiry: Appropriating the epithet of Harlemt more throughout the rwentieth century historical "Mosr blacks responded ro segregation famous Savoy Ballroom, which opened in struggle by to gain equal by turning inward, relying on their own 1926 andwhere the and other recognition under the iaw and in sociery. families and communities, creating their dance crazes ofthe 1920s and 30s In Third \fard neighborhood, own institutions, and avoiding, as much originated, the Eldorado billed itself as the "Home of Happy Feet."2 This label characterized the venue's reputatiot-t as "a special haven for dancers." The dancing that blacks came to the Eldorado to do held distinctive significance because it occurred in such a fashionable, dignified envi- ronment.3 Jackie Beckham, who

ABOUTTHE AUTHOR: Leigh Cuter received her l"l.A. (2006) in Publ c History from the Universrty of Houston, A former editor of The Houston Rer iera, she is currently a research historian for H stor cal R.esearch As,ociates, a consulting services companT in Seattle,WA,

7he Elclorado Ballroom, circa 1940s and today (below). Photos for this ortic e Row Houses

.rl.$ grew up in the Third \7ard in the 1940s, recalled that, "most of the people who went to the Eldorado loved to dance. You couldnt do that at the other clubs. They served food and drink at those. You didnt have room to be dancin in them." She went on to say that the crowd ranged in age from early 20s to 40s and 50s, but despite generational differences, the one thing that the patrons had in common was that they all loved to dance.4 Local black newspapers often included regular advertisements and brief we were kings and queens. \7e always held on his meager salary. Despite hard times articles announcing upcoming acts and our heads a little higher after leaving the during the Great Depression, the couple events at the Eldorado Ballroom. Aware of Eldorado."s At the same time, it represented reportedly saved $20,000 during the 1920s the clubt unique opportunity as a high- a physical symbol of communiry pride. and 30s. Gradually, they invested in real class dance venue, these Gatures somerimes The Eldorado Building was a mixed- estate ventures that provided important highlighted dancing as a way to lure readers use development with a storefront of small services to the black communiry, and to the Eldorado on particular nights. For black-owned businesses on the first flooq which led ro the crearion of the Eldorado example, a 1949 column 1n The Informer, including the'ffalker-Brantley Appliance Ballroom.l3 considered to be the oldest black newspaper Company, which at one time was Houston's In Anna Dupree's own words, published west of the Mississippi, reported only black authorized Frigidaire dealer.e the Eldorado was a "showcase for the the scheduled performance of Hollywood The ballroom itself was a somewhat upscale, great black entertainers of the era and saxophone player Charles "Leap Frog" but not totally exclusive, space outside the launching pad for many show-biz Bennett, ensuring that "Lovers ofjitterbug- ofchurch where people dressed up to go careers."l4 In Houston, black culture and ging will delight in Bennettt jump and and where they could socialize with others popular black music evolved in the isolated be bop numbers, yet he can play lots of in their communiry. "tVhen you went to social context of the local African American that soft, sweet mellow dance music which church, you were very conservarive in your communiry and more specifically, under many dancers love."5 dress, but when you went to the Eldorado, the roof of the Eldorado Ballroom. Such The "rado," as patrnns who you put on your best glittery stuffyou musical forms included gospel, , R&8, frequented the Eldorado Ballroom during had. It was like parry time," remembered iazz, andzydeco, and for many musicians its heyday in the 1940s and 50s called it, Beckham.l0 In this sense, the Eldorado performing at the Eldorado represented was for three decades one of Houstont stood apart from the common juke joints the peak of local success. As trumpeter, premier showcases for local and national that existed throughout the Third \7ard, bandleader, former B.B. King orchesua African American musical talent. At the where people gathered to hear music and director, and Houston native Calvin Owens I corner ofElgin and Dowling Streets dance.l related to Roger \7ood, in an interview for and across the street from the historic The Duprees established this "class" his book, Down in Houston: Bayou City Emancipation Park, local black business venue in 1939 . the Eldorado was the Blues, "Playing at the Eldorado Ballroom Ieaders C.A. and Anna Dupree built the centerpiece of several profitable enter- - I mean, thatt like saying: Okay, I ve made venue as a classy ballroom for African prises that the couple owned and operated it."l5 Like Owens, other musically talented Americans during an era of segregation. in Houston. After marrying in 1916, black Houstonians gained valuable experi- Because of its centralized location along Anna and C.A. moved from Galveston to ence as members of the house bands at the Dowling Street, the areat main thorough- Houston, where their business careers and, ballroom. From this opportuniry, some larer fare, and its prominence overlooking later, philanthropic endeavors began. Anna became internationally famous bandleaders the street, as it occupied the Eldorado achieved success as a maid and beauti- and recording artists. Buildingt entire second floor, many consid- cian, traveling across the city by streetcar The Eldorado was much more than ered the ballroom to be the Third \Wardt to pursue her work in wealthy white simply a musical training ground for local most prestigious focal point.6 The closing residences. In 1936, she opened her own talent. Distinguished Houston bandleaders paragraph of a 1956 announcement in beaury shop, "A-nnas Institute of Health and horn players such as Milton Larkin, The Infornter about a show by the popular and Beaury" complete with a Tirrkish bath I.H. "Ike" Smalley, and Arnett Cobb tVhile jazzband "The Midnighters" defined the and massage services.l2 Anna worked directed big jan and swing bands that Eldorado as "the most aristocratic, spacious in her shop, Mr. Dupree was a porter and performed at the historic venue. These and beautiful in the South \West playing eventually locker room manager at the house orchestras enhanced the ballroomb only the best in entertainment for your River Oaks Country Club. Regarding the aura as a classy place, and they featured complete evening of pleasure."T For many, couplet financial situation, Mrs. Dupree musicians who provided instrumental the space evoked a sense of nobiliry. Blues once said, "'We went without many of the backing for locally produced floor shows vocalist Carolyn Blanchard once said that necessities of life in order to save money." (where performers took over the dance the Eldorado Ballroom "made us feel like \Torking as a tearn, the Duprees put aside floor, the band played from the stage, and most of C.A.t tips from the club and lived patrons watched from their tables), as well

46 The Houston Review...Volume 4, Number 1 as for touring artists. The Eldorado thrived showcasing I.H. Smalley and his orchestra, the kids in the talent competitions might during the big-band h.yd"y ofthe 1940s, which The Informer advertised to its readers perform on the same stage that Ray Charles playr.g host to such famous entertainers as it 1949.22 The Duprees and other afluent would occupy later that same night.25 Such Duke Ellington, , and Louis blacks in Houston formed a bridge between proximity to musical greatness and fame Armstrong. In thel950s, and continuing on the poor and the financially prosperous. was likely inspiring to black youth, sending into the 1960s, it was the home of rh),thm They never forgot where they came from them a message of limitless possibiliry that and blues, welcoming some of the biggest and they worked to better the lives of thou- began as close to home as the spaces that names in the entertainment industry, sands ofAfrican Americans in their ciry. defined their own communiry. on Sundays from around including Della Reese, James Brown, Little These individuals found opportunities to Sometimes Richard, B.B. King, and Fats Domino.16 secure land and businesses within a segre- 4:00 in the afternoon until 8:00, young Before desegration in the 1960s, gated sociery and then to use their wealth people could attend matinee dances, or racial separation in Houston and the South to provide needed services for blacks. Their sock hops. No alcohol was available, and inhibited the mobility ofjazz and blues work exemplifies the process through which these instances represented the only time musicians, although less so than it did Houstont black population achieved greater that teenagers were legitimate patrons. for most occupations. The popularity of racial autonomy by generating both the Popular radio personality, Skipper Lee this type of music, among both black and Ieadership and the funding necessary for Frazier, or "Daddy Deepthroat," often acted white audiences, combined with a generally communiry building.za as emcee and disc jockey at the Eldoradok higher racial tolerance in the arts, allowed youth functions. At times, he hosted live controlled crossings of the color line to afternoon broadcasts on Third'Ward-based occur.17 As Conrad Johnson, a leader of an KCOH, the oldest African American Eldorado house band before touring with owned and operated radio station in , several groups, noted, "Musicians have where he worked as a DJ for 22 years.26 always broken the barriers."18 In Houston, Kids from other wards often rode the bus blacks who performed at exclusively white from their neighborhoods to the Eldorado venues generally were restricted to the because such youth-centered entertainment dressing rooms between acts and were was rare and was available elsewhere only prohibited from using the lobbies when at the YMCA and Y\7CA. Moreover, the entering or leaving buildings. Clubs like the opportuniry to attend a social function at a Eldorado, howevet, provided black musi- club normally exclusive to adults was prob- cians with an atmosphere free from racial ably more attractive to black teenagers than tensions.l9 Artists who routinely performed the historically communiqy-center atmo- for all-white crowds modified black music The Eldorado also held weekly talent sphere of the Ys. Social and entertainment culture to accommodate rhis different shows and sock hops for teenagers. These venues for blacks, similar to the Eldorado, audience. In doing so, this culture, which events demonstrate the venuet function existed in other wards, such as the Bronze embodied a sense of community pride and as a cultural institution that welcomed Peacock in the Fifth \7ard, but because it that people celebrated in the Third'Ward at various levels of the black community. On offered elite chef-created dinners and was the Eldorado Ballroom, lost to assimilation weekday afternoons or Sunday evenings, roudnely accessible to black youth, the much of its unique character. middle and high school students competed Third \X/ard venue stood apart as more of a 'A community good time place" is by singing and dancing in talent shows. family-friendly, community institution. how former radio DJ and Eldorado emcee Three African American high schools Additionally, the ballroom provided Skipper Lee Frazier described the ball- existed in Houston during the Eldorado's a centralized space for black social clubs to lWheatley, room in a recent interview and, as Allan prominent years: Phyllis Jack meet and stage special events. Some social rWashington Tirrner noted in a feature article in the Yates, and Booker T. High clubs, like the Amboy Dukes Social Club, Houston Chronicle, the venue "transcended Schools. Yates and \{/}reatley had active advertised their function s in The Inforrrter, its role as a nightclub."z0 Over the years, marching bands; therefore, a rivalry existed highlighting rhe date and time, ticket the Duprees hosted many events there to between the schools in both music and prices, and guest performers. Former Third raise money for community projects, such football. According to saxophonist Arnett \7ard resident, Jackie Beckham, however, as the Negro Child Center, an orphanage Cobb, who was from Houston and toured does not remember spending much time for black children and the couplet first internationally, the unofficial competition reading about upcoming Eldorado shows philanthropic undertaking. Additionally, caused musically inclined students to work and events in the newspaper. She remem- a fundraising function at the Eldorado even harder at their talent, practicing to bers that, "\7e spent most of the time just Ballroom was instrumental in improving be the best. As a result, outstanding musi- saying, 'Girl, do you know whot going to the pay of black teachers. The club owners cians came from both schools.24 Perhaps be at the'rado on Sunday?!"'According held dances there to collect donatilns to the Eldoradot talent shows furthered this to Beckham, news about performances supplement the meager salary that the drive toward musical excellence, all the came mainly by word of mouth or from teachers received.2l These charitable dances while encouraging young people to pursue flyers posted on neighborhood telephone featured the music of local headliners, such opportunities that had roots in a cohesive poles.27 Many of the features that The \Wood as an event benefiting crippled children and black culture. Roger pointed out that Informer published about such gatherings

The Houston Review...Volume 4, Number 1 47 at the Eldorado in the 40s and 50s empha- sized common idenriry, an empowering characteristic ofblack culture and sociery under segregation. For example, in a short article recapping the annual ball ofa local ment fraternal organization, the Eldorado CIub, the concluding sratemenr reads, "The El Dorado clubt ball was one of the loveliest ofthe season and it served to bring Houstonians closer to each other."28 Undoubtedly the article is suggesting that the occasion brought black Houston residents closer to one another. By not separating African American Houstonians from any other Houstonians in its descrip- tion of the ball, the newspaper indicates that members of the black communiry were secure in the self-contained sociery they had established. In other words, Houston was at the Eldorado Ballroom a city that belonged ro them as much as it work week was difficult, but people looked lation experienced rapid did to any other racial group thar called it growth. A dramatic forward the weekend as home. to a chance to increase of more than 400 percent took socialize with friends and family, attend place Another Informer news item from between 1940 and 1980. \7hile the Sundayworship services, and enjoy other traditional black communities, including the 1 940s featured a photograph of the diversions such as dancing to bands at the Third absorbed winners of the Franklin Beauty School style - \7ard, some of the the Eldorado.3l Beckham reminisced about newcomers, show, celebrating their accomplishments most of the growth occurred being a teenager and walking a few blocks at the Eldorado Ballroom. The Franklin outside these historic neighborhoods. New, from her house to attend Sunday matinee generally more attractive enclaves Beaury School, which found a permanent black dances there with her girlfriends. This developed, especially in home in Houston in 1935, was one of the rype the southern part of social activiry was an exciting distraction of the ciry. Desegregation first private cosmetolog;r schools to receive in Houston from routine responsibilities at home and began a license in the state ofTexas. It opened to take shape around this same time school, and therefore provided the girls many doors for African American women period. As a result, more and more blacks with gossip stories for the remainder of the patronized white-owned businesses to pursue professional careers as trained, outside week.32 skilled beauticians. A black- owned family their immediate neighborhoods and new Carroll Parrott Blue, who also grew business since its beginnings, the school suburban shopping malls. This transition up in the Third \flard, lived in the same negatively is still in operation roday. Similar to the impacted black businesses.s5 house until she left for college. During Addressing description ofthe fraternal clubt ball, the this socioeconomic and resi- those years, which coincided with the caption under the style show winners' dential dispersal ofblacks ro orher parts of heydays of the Eldorado Ballroom, she the ciry acclaimed guitarist picture identifies the Eldorado as a place and Eldorado remembered that her neighborhood was performer Roy "After 'where good friends get together."2e Again, Gaines commented, a quiet and safe part of town.33 Blues years and years the ballroomt distinctive qualiry is evident. ofbeing denied the oppor- singer Brown, whose career took The space offered a pleasanr communiry Jewel tunity to visit certain theaters, restaurants, her on a regular touring circuit with Louis environment where the clientele could stores, banks, and what-have-you, do Armstrong, graduated from Yates High expect dignity and respect from other you think black people wanted to stay School and started out singing at the put. . . ?"36 patrons, and where celebrations and social \fith desegregation and the Eldorado to the piano music of her fellowship were commonplace. brother, breakdown ofovert public displays ofracial Theodore Brown. They lived so close Many blacks who lived through to the discrimination, polirical, economic, and club that they walked there from home, social segregation recalled it as a time when fami- opportunity improved for blacks, with their mother serving as chaperone. lies were closely knit and when neighbors but the cohesive culture that thrived "Those were the good ol' days when you kept an eye out for each other. In discussing in the Third \(ard and at the Eldorado could sleep on your porch and not have \Wood "one her experience of growing up in Houston's ro suffered. As Roger noted, of worry about anfhing," Brown reported the great ironies of the civil rights move- Third \7ard, Jackie Beckham menrioned rhe about her childhood days in the common practice of friends helping Third ment is that as we made progress, some of raise tWard.34 others' children. Her mother, in particular, these wonderful neighborhoods suffered The areat character began to change relied on these people for such support. economically."3T in the1960s and early 1970s, however, "It was a communiry where whatever you Although the decline of the leading to the decline and eventual closing Eldorado did, good or bad, Mom was going to know Ballroom is largely attributable of the Eldorado. Beginning in the middle of the about it before the sun wenr down."3o The to economic setbacks that desegrega- the twentieth century, the ciry's black popu- tion triggered for black-owned businesses

48 The Houston Review...Volume 4. Number I along Dowling Street, as well as the demise 2l-year-old Carl Bernard Hampton, and 1999, Herbert Finkelstein, the oil tycoon of the self-contained black culture existing wounded four other activists. No policemen who bought the properry as an invest- in the Third \fard, other factors undoubt- suffered injuries. The Dowling Street area ment after Anna Dupree died, donated the edly contributed to the clubt downfall. had been tense for several days, since a week Eldorado and 17-lot block bordered by First of all, as dmes changed, so did popular earlier police entered the activists' head- Elgin, Dowling, Bastrop, and Stuart Streets musical tastes. In the 1960s, many of quarters and seized rifles, ammunition, and to Project Row Houses.45 This local neigh- the younger African Americans began to clothing. This spot was the scene of nearly borhood-based art and cultural organization abandon blues culture for more progressive I 00 gunfire shots in a confrontation that is located in the Third Ward, just blocks sounds; they associated the older jazz and started when police arrested nvo teenaged away from the Eldorado, on a site of 22 blues traditions with their parents' genera- party members for pointing weapons at the abandoned shotgun houses (c. 1930). The tion and life in an oppressive society.38 officers after they stopped the boys in the non-profit groupt mission is to connect the Furthermore, the rise of automobile culture sueet. The HPDI intimidation methods work of ardsts with the revitalization of the paralleled desegregation, and parking space and repressive reacdon to black activism communiry. Today, the renovated Eldorado at the Eldorado was scarce. According to made the Dowling Street area of the Third Ballroom plays a significant role in realizing John Green, road manager for big band star Vard a somewhat fearful, unpleasant space that mission. On May 17,2003, following Bobby Bland, "Back when the Eldorado for the older, middle class blacks who once restoradon efforts to return the building was jumping, people used to ride the bus frequented the Eldorado Ballroom. Most to its elite status among Houston clubs, and get offright on the corner [of Elgin Iikely, these particular pauons were unin- Project Row Houses opened the doors to and Dowling Streets]. But then after the terested in revolutionary ideas and police the Eldorado again, hosting the first major Korean \Var and everybody started getting confrontations, and therefore chose to avoid event there in more than 30 years.46 the cars, there was nowhere to park. They used an entertainment venue with that sort of fundraising gala brought in $75,000 to to park on Elgin, on both sides, and around activity surrounding it.42 support continuing renovations. The facility the corner. And those school kids would In his book, \Tatson argues that now functions as a special performance go and jack the cars up, take the tires ofl Third \7ard rioting "permanently altered venue and a meeting site available for and strip 'em! So that went on and helped the ciryt political and social culture, as rental, while maintaining small-business kill the Eldorado."3e The financial stability more blacks rejected police domination tenants on the buildingt street level.47 that many African American Houstonians and white political control."43 In response Longtime Third \(ard resident, gained lrom the economic opportuniries to the highly political context of the time, professional saxophonist, and 30-year available to them in a self-sustaining black the leading local black newspaper, The veteran as a Houston public school music society permitted possession of personal Informer, gready decreased its coverage teacher and band director, ConradJohnson automobiles. Ironically, it was this incrbase of entertainment features and advertise- used to take the stage at the Eldorado in car ownership that factored into the ments, including those about the Eldorado with his own band. tWhen asked for his decline of a key cultural institution, which Ballroom. Beginning in the 1960s and opinion on the reyitalization of the ball- owed its success to the once tight-knit black conrinuing into the 1970s, the editors room, Johnson commented, "Bringing the communiry surrounding i r. concentrated more on political acdvity and Eldorado back to life is a beautiful idea. Finally, perhaps a major reason for news stories than on social and cultural You talk to a lot of people, and they're decline of the Eldorado Ballroom was the items of interest. For example, an op/ed- negative. They say you never can bring emergence of militant black activism and style column ln a 1970 edition of the paper back the Eldorado the way it was in the old police involvement in the Third \Vard. The responded to the division between members days. But, you know, maybe we can bring Peoplet Party II, the local Black Panther of the black communiry in the aftermath back something that's just as important affiliate, maintained its headquarters at of the death of People's Party II leader for todays times."48 Although the reborn 2828 Dowling, just around the corner from Hampton. In its closing remarks, the article Eldorado differs considerably from the the ballroom. The Black Panther Parry for proclaims to readers, "\7e believe that the club that thrived in the 1940s and 50s, Self-Defense was probably the most famous various Black factions in Houston are going its owners' intended purpose-to create a expression of the Black Power movement to have to get together, sit down and work community haven for black cultural and and the most widely known black militant out accommodations and stand before the musical expression-remains the same. For political organization ofthe late 1960s.40 common enemy united."4a The timing of many, the music at the Eldorado was much In his study, Race and the Houton Police this shift in approach to repordng makes more than entertainment. It was a source Department, 1930- l 990, Dwight \Tatson sense, considering the near non-existence of of freedom, an escape from problems, and asserts that as the civil rights movement the self-contained black culture and society a way to express onet soul.49 Just as the jazz gained momentum, blacks in Houston from segregation era Houston. Focusing and blues songs of performers in began to increase their demands for legal, on activism in a newly desegregated city the 1920s inspired ' poetic political, and economic change.4l seemed to take precedence over social declaration, "I, too, am," the Eldorado One major incident that contributed diversions. Ballroom, as a space for music, dancing, to the rise in tension between police and The Eldorado Ballroom closed to the and communiry activity for more than 30 the Houston black communiry occurred public in the early 1970s and, until recently, years, established a cultural identiry and the on July 26, 1970, when an HPD assault the second floor lay empqy for years, but sense of "I am" for blacks in Horrrtor,. flSX team killed Peoplet Parry II chairman, was available for lease as ofHce space. In

The Houston Review...Volume 4, Number 1