Apollo Theater to Expand Programming with Presentations Employing Technology Developed by Hologram USA

Total Page:16

File Type:pdf, Size:1020Kb

Apollo Theater to Expand Programming with Presentations Employing Technology Developed by Hologram USA Apollo Theater to Expand Programming with Presentations Employing Technology Developed by Hologram USA First Presentation, a Billie Holiday Hologram, to Launch Late 2015 Initiative Expands Daytime Programming for New York and Tourist Audiences, Drawing Upon Apollo Legends and Contemporary Artists to Celebrate Theater’s Rich Legacy as a Creative Catalyst Apollo to be First Theater in United States to Offer Presentations with Hologram Technology on an Ongoing Basis (Harlem, NY – Sept 9, 2015) – The Apollo Theater announced today that it will expand its daytime programming that celebrates the iconic Theater’s legacy and enduring impact. In response to the hundreds of thousands of tourists from the New York area and beyond who visit the Theater annually, the new initiative will utilize state-of-the-art hologram technology developed by Hologram USA. The program will draw upon legendary and contemporary artists to illustrate the Theater’s impact on American music and culture. The first presentation will be a Billie Holiday hologram show created with Hologram USA and will launch in late 2015. The Apollo will be the first theater in the U.S. to offer presentations employing this patented hologram technology on an ongoing basis. In addition to its seasonal programming— encompassing world premieres, commissions, and collaborations with artists working across a range of disciplines—the Theater currently offers daytime tours and educational programs that guide visitors and school groups through milestones and behind-the-scenes stories of the institution’s role as a seminal force in shaping American popular culture. ―We are so pleased to expand our programming and employ this dramatic, cutting-edge technology as we continue to find new and innovative ways to celebrate our rich legacy for contemporary audiences,‖ said Jonelle Procope, President and CEO of the Apollo Theater. ―The possibilities inherent in this initiative are very exciting, allowing us the ability to show the enduring impact and relevance of artists across time periods and geographic locations. We’re looking forward to connecting our audiences with the artistry of great musicians, including Billie Holiday, through the magic of this technology.‖ Billie Holiday honed her skills on the Apollo stage at every major phase of her career, from her debut at age 19 and throughout nearly 30 Apollo appearances. Holiday’s influence on generations of jazz singers and musicians is without peer. Her Apollo engagements included solo concerts, as well as performances with the Count Basie Orchestra, Roy Eldridge, Duke Ellington, and Louis Armstrong. Holiday was inducted in the Apollo’s Walk of Fame earlier this year in a 1 ceremony that included a performance by jazz singer Cassandra Wilson, one of the many contemporary musicians who credit Holiday’s influence on their careers. ―As we continue to celebrate Billie Holiday’s centennial, we are thrilled to partner on this initiative that will help connect contemporary audiences with Lady Day’s music and legacy in a fresh, exciting way,‖ said Jake Wisely, CEO of The Bicycle Music Company, which manages Holiday’s estate. ―We are so proud to partner with the Apollo, an institution that has given the world so much,‖ said Alki David, CEO of Hologram USA. ―To be able to bring back epic artists on the historic stage that gave them their debuts is mind-boggling, and is exactly why I invested so much into this technology.‖ The Apollo Theater’s 2015-2016 artistic season includes more than 100 performances, including commissions and collaborations across genres alongside signature series’ Amateur Night and Apollo Music Café. The first presentation of the season is Breakin’ Convention, a festival that brings together hip-hop dance artists from around the globe. Additional programming details will be announced in the coming months. Follow the Apollo Theater at www.apollotheater.org Twitter:@apollotheater Facebook: facebook.com/apollotheater Instagram: apollotheater Follow Billie Holiday at www.billieholiday.com Twitter: @billieholidayhq / #billieat100 Facebook: facebook.com/billieholiday Pinterest: billieholidayhq Follow Hologram USA at www.hologramusa.com Twitter: @hologram_usa About the Apollo Theater The legendary Apollo Theater—the soul of American culture—plays a vital role in cultivating emerging talents and launching legends. Since its founding, the Apollo has served as a center of innovation and a creative catalyst for Harlem, the city of New York, and the world. With music at its core, the Apollo’s programming extends to dance, theater, performance art, spoken word initiatives, and more. This includes the October 2014 premiere and 2015 international tour of the dance celebration project - James Brown: Get on the Good Foot, the annual Africa Now! Festival, Apollo Club Harlem and the upcoming New York premiere of the opera Charlie Parker’s YARDBIRD. The Apollo is a presenting organization that also produces festivals, large-scale dance and music works organized around a set of core initiatives: Apollo Music Signature Programs—Amateur Night, Salon Series, Apollo Music Café; Legacy Series— work that celebrates and extends the Apollo’s legacy through a contemporary lens; Global 2 Festivals including the Women of the World (WOW) Festival and Breakin’ Convention, international and U.S.-based artist presentations focused on a specific theme; and Special Projects, multidisciplinary work with partner organizations. Since introducing the first Amateur Night contests in 1934, the Apollo Theater has served as a testing ground for new artists working across a variety of art forms, and has ushered in the emergence of many new musical genres—including jazz, swing, bebop, R&B, gospel, blues, soul, and hip-hop. Among the countless legendary performers who launched their careers at the Apollo are D’Angelo, Lauryn Hill, Machine Gun Kelly, Miri Ben Ari, D’Angelo, Ella Fitzgerald, Sarah Vaughan, Billie Holiday, James Brown, Michael Jackson, Gladys Knight, Luther Vandross, and Stevie Wonder; and the Apollo’s forward-looking artistic vision continues to build on this legacy. The Apollo Theater is a not-for-profit organization and currently in the midst of fundraising for its 21st Century Apollo Campaign, created to extend the institution’s role in fostering artistic innovation and in building appreciation of American culture around the world. For more information, visit www.apollotheater.org. About Hologram USA Hologram USA is part of Alki David’s Anakando Media Group of companies which is also home to the streaming TV platform FilmOn.com, pay-per-view site ETV.com, and digital distribution site MondoTunes. The company is the only licensed producer in North America of the patented technology that creates the HD quality holograms that are creating what The Hollywood Reporter has called a billion dollar industry in the making. Select Hologram USA productions will stream live on FilmOn.com, on television via its partnership with Endemol, and be supported by Anakanado company Class 15. Previously, Hologram USA has beamed Jimmy Kimmel live to the Country Music Awards in Nashville, announced plans to create shows with the estates of Patsy Cline, Buddy Holly and Liberace, announced a hologram comedy club to be built at the National Comedy Center, and presented the hologram town hall campaign that helped Narendra Modi become the Prime Minister of India. It is the same technology that created the famous Tupac Shakur hologram at Coachella in 2012. Filmon Music already has a rich tradition in the urban music market working with such artists as Lil Wayne, Akon, B. Howard, Bone Thugs-n-Harmony, Grammy-winning producer Detail, and Chief Keef. More information is available via Owen Phillips, [email protected], and at www.hologramusa.com. ### For more information, please contact: Nina Flowers Cynthia Tate Apollo Theater Apollo Theater 212-531-5334 212-531-5340 [email protected] [email protected] 3 Chelsea Bruck Anne Wilson Resnicow + Associates Resnicow + Associates 212-671-5164 212-671-5163 [email protected] [email protected] 4 .
Recommended publications
  • New York Theatrical
    JULY 12. 1980 10-T- HE CAROLINA TIMES SAT., New York Theatrical Over $2,200 in prize money King Jr.'s National Black will.be awarded to winners in Touring Circuit offerings, fter the Harlem YMCA All Stars Washington, "boogie woogie Contest, "sponsored by Ken-tac- ky landscapes" will travel to Cried Chicken and to be Philadelphia, Detroit and held In neighborhood parks Chicago. At present, there are ANNIVERSARY GIFT Ran- and at Downing Stadium no plans for NYC. Thomas B: Shrop- dall's Island on July 19-2- 0. shire Senior Vice Black (left), Top male and female winners Tribute to the President of the Miller (? will receive $500 and '80, held at the prizes Designer Brewing Company i." , one-we- ek two to the Fashion Institute of trips for presented copies ol Bahamas. Deadline for entries Technology, was the third an- commissioned Erints is July 14 and entry blanks can nual event sponsored by to celebrate be picked up at any Kentucky Harvey's Bristol Cream and a the brewer's 125th an- Com- the rv .; Fried Chicken store. celebration of niversary to John H. 18 of black petition for those years and achievements Sengstacke, president up will be in a basketball designers, past and future. of the National "shoot-out- ", push-up- s, chaired the even- broad Naomi Sims Newspaper Publishers jump, obstacle course and ing's program which honored Association at the one-mi- le run. designers Ed Austin, Jeffrey association's recent Carl Banks, Stephen Burrows, convention in Chicago. "Sesame Place," a "21st Davis, James Daughterty, Jon century" play park pioneering Haggins, Keven & Robert, Ar- a new concept in family enter- thur McGee, Lelartd Paul tainment will open in Bucks Michael, Harold Stone, County, Pa., the end of July.
    [Show full text]
  • No Beethoven
    No Beethoven No Beethoven An Autobiography & Chronicle of Weather Report by Peter Erskine edited by Rick Mattingly book design by Kio Griffith photography by Shigeru Uchiyama, Peter Erskine & others Front cover photograph: Shigeru Uchiyama Back cover photograph: Norman Seeff, courtesy of CBS Records © 2013 Peter Erskine FUZZ/E/BOOKS Fuzzy Music LLC Exclusive Worldwide Distribution by Alfred Music All Rights Reserved. Printed in USA. ISBN-10: 0-9892530-1-5 ISBN-13: 978-0-9892530-1-7 ALL RIGHTS RESERVED. This book contains material protected under International and Federal Copyright Laws and Treaties. Any unauthorized reprint or use of this material is prohibited. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including printing/photocopying, recording, or by any information storage and retrieval system without express written permission from the author/publisher. “I ain’t afraid of no Beethoven.” – Joe Zawinul to Peter Erskine, circa 1979 About the Author Peter Erskine has played the drums since age four and is known for his versatility and love of working in different musical contexts. He appears on 600 albums and film scores, and has won two Grammy Awards, plus an Honorary Doctorate from the Berklee School of Music. Thirty albums have been released under his own name or as co-leader. He has played with the Stan Kenton and Maynard Ferguson Big Bands, Weather Report, Steps Ahead, Joni Mitchell, Steely Dan, Diana Krall, Kenny Wheeler, The Brecker Brothers, The Yellowjackets, Pat Metheny and Gary Burton, John Scofield, et al, and has appeared as a soloist with the London, Los Angeles, Chicago, Frankfurt Radio, Scottish Chamber, Royal Opera House, BBC Symphony and Berlin Philharmonic Orchestras.
    [Show full text]
  • Selected Observations from the Harlem Jazz Scene By
    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
    [Show full text]
  • Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
    Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297).
    [Show full text]
  • Elliot Polot: Immersed in Jazz History
    Immersed in Jazz History An Interactive Virtual Jazz History Unit With Ken Burns' Jazz Series Presented by Elliot Polot at the California All-State Music Education Conference (CASMEC) Saturday, February 20, 2021 | 10:00 AM Why watch Ken Burns’ Jazz in class? • Distance learning friendly • An engaging, memorable way to learn jazz history • Great opportunities for social-emotional learning (SEL) • Important conversations about race, gender, and politics • Builds improvisation skills and style through the transcription process • Students return to big band and combo music with a newfound appreciation and understanding How to view the series: • https://www.pbs.org/show/jazz/ • PBS requires a minimum $60 donation to access the show • Also available on DVD and from the iTunes Store Transcription Assignments: • Transcription assignments are a fun, engaging way for students to “immerse” themselves in each episode. Best of all, they help students become stronger players! • Below are the guidelines we have used in our class. Feel free to structure your assignments however you like. • One solo or head transcription ≥ 30 seconds per episode (more than one is ok/encouraged) • Students have the option of playing the material on their instrument AND/OR doing a written transcription • Should be from the period covered in the episode, preferably from an artist mentioned in the show • Students should choose material that challenges them • Students play along with the reference recording, but should be significantly louder so they don’t blend in Transcription presentation process: • Create or have a student create a Google Slide deck for each episode. (Click here for an example.) • Prior to the start of the presentation, students embed or link the reference recording, as well as their performance video and/or written transcription in their individual slide.
    [Show full text]
  • Extra Large the Oversize Life of Gene Walker
    Extra Large The Oversize Life of Gene Walker John Fraim John Fraim [email protected] www.themidnightoilstudios.com 614-397-7559 © 2009 – John Fraim 1 “It is my gift from God to soothe many people of their troubles. This was not given to everyone, and so, it is my purpose in life to carry out just what God appointed me to do. It is an honor to be able to spread a joyful noise that heals and brings comfort to others.” Gene Walker ! 2 Dedicated To Civic leaders across the nation who attempt to bring life back into inner city neighborhoods through art, particularly the art form of jazz. And also, those few who were given the gift of music when they were young and give this gift back. ! ! 3 Table of Contents 1. Blackberry Patch!! ! ! 5! 2. Teachers!!!!!7!! 3. Clubs!!!!!!13 4. Outside World!!!!25 5. The Road!!!!!38 6. The Beatles Tour!! ! ! 45 7. Final New York Years!!!49 8. Return To Columbus!!!52!!! 9. Student Walker !!!!56 10. Professor Walker!!!65 11. Retirement & Recording!!69 12. Return of Music!! ! ! 72 Discography!!!!!85 Bibliography!!!!!87 Acknowledgments!!!!88 Appendix A – Musicians!!!89 Appendix B – Lincoln Theatre!!96 Appendix C – Neighborhood Clubs!97 Appendix D – Favorite Musicians!99 Appendix E – Favorite Music!!100 About John Fraim!!!!101 4 1. Blackberry Patch !At the turn of the century, African Americans moved to Columbus, Ohio from the South looking for a better life. This migration accelerated after World War I to take advantage of the industrial boom that was occurring in many Midwestern cities.
    [Show full text]
  • SEGREGATION in SPOKANE Longtime Black Residents Recount the Injustices and the Victories by Jim Kershner
    WashingtonHistory.org SEGREGATION IN SPOKANE Longtime Black Residents Recount the Injustices and the Victories By Jim Kershner COLUMBIA The Magazine of Northwest History, Winter 2000-01: Vol. 14, No. 4 The word "segregation" conjures up vivid images from old civics class lessons: whites-only drinking fountains in Alabama; white mobs jeering at black school children in Mississippi; Ku Klux Klan rallies in Georgia. Up here in the more tolerant Northwest, it's easy to be smug about the bigoted South. Easy, that is, after conveniently blanking out a few of this region's own historical images: the "No Colored Patronage Solicited" signs in Spokane restaurants; the whites- only swimming pool at Natatorium Park; the "Nigger, Read This Sign and Run" sign at the edge of Wallace, Idaho. In fact, the northern states had their own brand of racial segregation, not always legally codified but often just as blatant. In Spokane, as African-American residents were constantly aware, a particularly northern brand of segregation thrived through the 1930s, 1940s, and 1950s and even into the 1960s. It made for a relatively peaceful era of race relations, but at a price. It depended on white people and black people "staying in their place," as more than one black resident has put it. "Staying in their place" meant that black people were restricted to a relatively few restaurants, shops, hotels and jobs in Spokane, sometimes by policy, more often by social pressure. How intense was that social pressure? Listen to Jerrelene Williamson, now 68, tell about her experience breaking into the previously all-white occupation of grocery checker at a Spokane Safeway around 1965: "This man came in, I guess he was middle-aged, and he said, 'I wish I had a baby that looked like you.' I was trying to do my work, and so far everybody had been kind of decent, so I wasn't thinking he meant anything.
    [Show full text]
  • 6. Count Basie's Cleveland Connections
    6. Count Basie's Cleveland Connections illiam Basie, pianist and bandleader, was not a In his autobiography, Good Morning Blues, Basie Clevelander, but he certainly perfonned recalled he married the girl from Cleveland in 1943 in Wfrequently in Cleveland and hired a number of Seattle. Their honeymoon was a series ofone-night band Clevelanders to play in his swinging band. Basie' s appearances. strongest tie to Cleveland is frequently forgotten. He The Basie band was working in New York when Katy married a girl from Cleveland and their only child was was about to have a baby. She returned to Cleveland and born here. stayed with her parents. Katy and Bill Basie's only child, Diane Basie, was born in Cleveland. He rushed to Catherine Morgan Basie Cleveland to be with his wife and Catherine Morgan left Cleveland daughter. at the age of 16 in 1931 to become a Later, when they rejoined Basie in dancer. She joined a very popular New York, he said he had vivid vaudeville act, the Whitman Sisters. memories of seeing Katy getting off She was one of three girls in the the plane from Cleveland carrying dance company who called their baby. He said, "It was a special themselves "The Snake Hips thrill bringing my family home from Queens." When they appeared at the the airport that day, Old Base, his Lafayette Theatre in New York City, wife and daughter." there was a jazz band from Kansas They moved into an apartment City on the same bill. The young building near New York' s Central dancer from Cleveland noticed the Park.
    [Show full text]
  • The Apollo Theater Holds Fifth Annual Dining with the Divas Luncheon
    The Apollo Theater Holds Fifth Annual Dining with the Divas Luncheon Fundraiser Celebrating the Achievements of Extraordinary Women in Media, Music, Fashion and Business Raises $325,000 For Non-Profit Theater’s Artistic Education and Community Programs Harlem, NY – February 19, 2015– On Thursday, February 12th, the world famous Apollo Theater hosted its fifth annual Dining with the Divas luncheon, a fundraiser celebrating the extraordinary accomplishments of women in the arts and in business. This year‘s event raised $325,000 and will support emerging artists, education, and community programs that reach underserved children and students, and enable the Apollo to continue to serve as a town hall that both celebrates the community‘s accomplishments and spotlights it challenges. Jonelle Procope, Apollo president & CEO, kicked off the afternoon with welcome remarks and an introduction of this year‘s event co-chairs, Carolyn Minick Mason, Jacqueline Nickelberry and Michelle Gadsden-Williams. The focus of this year‘s Divas event was women, the arts, and activism. Debra Martin Chase, television and film producer; Lisa Quiroz, Time Warner‘s Chief Diversity Officer & SVP of Corporate Responsibility and actress Tamara Tunie each gave insightful presentations about the importance of arts and activism. Held on the Apollo‘s iconic stage, where legendary Divas such as Ella Fitzgerald, Sarah Vaughan, Billie Holiday, Aretha Franklin and Gladys Knight have enchanted audiences, Divas offers participants an opportunity to connect with some of the country‘s most powerful, accomplished, and influential women. Attendees included Yolanda Ferrell- Brown, Majora Carter, Mercedes Cotchery, Lesley Goldwasser, Carla Harris, Adrienne Johnson, Star Jones, Erika Liles, Crystal McCrary, Geraldine Moriba, Brooke Neidich, Dr.
    [Show full text]
  • Downloadable
    Apollo Theater 2016-2017 Season Features Emerging and Established Artists from Across the Globe and Extends Collaborations with Local, National, and International Institutions Highlights Include: Hendrix in Harlem A Concert Celebrating the Legendary Rock Genius Jimi Hendrix The First Noel Returns in an Unprecedented Move to the Theater’s Mainstage, a Collaboration with Classical Theatre of Harlem Apollo Partners with AFROPUNK to Present Unapologetically Black: AFROPUNK’s Race Music The Apollo Presents the Return of Southbank Centre London’s WOW - Women of the World Festival Including a Tribute Concert to Jazz Legend and Activist Abbey Lincoln A John F. Kennedy Center for the Performing Arts Production Signature Programs Apollo Music Café, Apollo Comedy Club, Amateur Night at the Apollo as well as ongoing Community and Education Programs (Harlem, NY - May 24, 2016 / Updated July 25, 2016) – The Apollo Theater today announced details of its 2016- 2017 season, which will feature an array of programs showcasing both established and emerging artists and deepen parterships with a diverse array of institutions. The new season will extend the nonprofit institution’s commitment to catalyzing the creation of new works that draw upon the legacy of the world-famous Theater. Alongside engagements with international artists working in a variety of disciplines, the season will include forums for cross-cultural dialogue led by artists and scholars, and education programs for students and families from throughout the five boroughs. The season features
    [Show full text]
  • N O R Th 24Th Str Eet W a Lk in G to Ur
    presents the NORTH 24TH STREET WALKING TOUR STREET WALKING 24TH NORTH North 24th Street is pretty quiet these days. There is a little noise from the barbershops and retail outlets that dot the streetscape. A couple of restau- rants are making a go of it just off the thoroughfare on Lake Street. And there’s a burgeoning arts scene. But the music that once enlivened the area is mostly silent. For blacks who began to reside in North Omaha during the early 20th century, 24th Street became known as the “Street of Dreams.” The area around 24th and Lake Streets emerged as a lively district of music clubs, theaters, restau- rants and retail shops. It Members of the Marching was a haven for enter- Majorettes during a parade passing tainment from the 1920s the intersection of 24th and Lake through the 1960s. in the 1950s. Photo courtesy Great Plains Black History Museum. The street also was important to Jewish settlers, who began to populate the area in the 1890s. They called the stretch of North 24th Street from Cuming to Lake Streets the “Miracle Mile.” Jewish historian Arthur Grossman described the street as “the arterial lifeline connecting homes, shops, and sundry suppliers of products and services necessary for the maintenance of Jewish life.” Blacks, Jews and other ethnicities coexisted peacefully for decades. In 1914, there were 17 grocery stores, five tailors, seven shoe repair shops and five second-hand stores on that stretch of North 24th Street alone, along with confectioners, barbers and butchers. Within four years, 15 of the businesses in the area were owned by blacks, including five restaurants.
    [Show full text]
  • S^Itcl Ftoa. the Green Book Vacation Guide
    —<c< r U ilffiilpffjjij When Vacation Pleasures Beckon S^itcL ftoA. The Green Book Vacation Guide FOR REST-RELAXATION-RECREATION Tells you where hundreds of summer re¬ sorts are located—Information—Pictures To help you decide which resort in their locality offers you the recreation you are looking for Write today for a FREE COPY Send 10c to cover cost of handling and mailing VICTOR H. GREEN & CO., Publishers 200 WEST 135th ST. ROOM 215-A NEW YORK, N. Y. ESTABLISHED 1936 THE Negro Motorist GREEN BOOK. INTRODUCTION With the introduction of this travel merous business places, including guide in 1936, it has been our idea whites which cater to the Negro trade. to give the Negro traveler informa¬ There are thousands of first class tion that will keep him from running business places that we don’t know into difficulties, embarrassments and about and can’t list, which would be to make his trips more enjoyable. glad to serve the traveler, but it is hard to secure The Jewish press has long pub¬ listings of these places lished information about places that since we can’t secure enough agents to send us are restricted and there are numer¬ the information. Each year before we ous publications that give the gentile go to press the new infor¬ whites all kinds of information. But mation is included in the new edition. during these long years of discrim¬ When you are traveling please ination, before 1936 other guides have mention the Green Book, in order been published for .the Negro, some that they might know how you found are still published, but the majority their place of business, as they can have gone out of business for various see that you are strangers.
    [Show full text]