Where Stars are Born and Legends are Made™ The Apollo Theater Study Guide is published by the Education Program of the Apollo Theater in New York, NY | Volume 2, Issue 1, November 2010 If the Apollo Theater could talk, imagine the stories it could tell. It The has witnessed a lot of history, and seen a century’s worth of excitement. The theater itself has stood proudly on 125th Street since 1914, when it started life as a burlesque house for whites only, Hurtig & Seamon’s New Burlesque Theater. Dancers in skimpy costumes stripped down to flesh-colored leotards, and comics told bawdy jokes – that is, until then New York City Mayor Fiorello H. LaGuardia made the decision to close down burlesque houses all over the city. When the doors of the burlesque theaters were padlocked, the building was sold. By S ul the time it reopened in 1934, a new name proclaimed itself from the marquee: the 125th Street Apollo Theatre. From the start, the Apollo was beloved by Harlemites, and immediately of became an integral part of Harlem life. When the Apollo first opened, Harlem boasted a lot of theaters and clubs. But many didn’t admit black audiences. Though the musicians who played in the clubs were black, the audiences were often white; the country still had a lot to American learn about integration. But the Apollo didn’t play primarily to whites. As soon as it opened its doors, black residents of Harlem streamed in themselves to enjoy the show. In the early years, the Apollo presented acts in a revue format, with a variety of acts on each bill. Bands might be Culture followed by singers, who’d be followed by dancers. Sprinkled throughout were the comedians, and their routines were the glue that held the lineups together. This sort of format for entertainment had been popular in vaudeville, and the Apollo for instance, borrowed directly from artists such as Bo audiences who understood them, and they were supported opened its door at the tail end of that era. Diddley. This wasn’t always fair to individual Apollo artists, by the other artists. Over the years, the Apollo has had a few owners. who didn’t reap the benefit of their labor. Still, their work The Apollo has also felt like home to the Harlemites Sidney Cohen and Morris Sussman founded the Apollo and itself, and its influence, spread widely. As the years went in the audience. In Harlem, life hasn’t always been easy, pioneered its progressive policies of integration. But the on, black musicians themselves climbed to the skies and and residents have felt more than their share of economic owners who managed it the longest were the Schiffman polished their own stars. By the 1960s, when James and social struggle. But if Harlemites felt that doors were family. Frank Schiffman was a smart business operator who Brown, Aretha Franklin, and The Supremes hit the charts, slamming in their faces, the doors of the Apollo always squeezed out his competition. His son Bobby was raised their songs could be heard on record players and transistor swung open to welcome them. They could dress up, stroll in the theater and developed a deep appreciation for and radios all over the country. And by the time Michael in on the arm of a date or with friends, take their seats, and rapport with the performers. Jackson came of age, he moonwalked his way across the forget the worries that plagued them outside. Over the course of 40 years, the Schiffmans booked heavens. All these artists performed at the Apollo, and The Apollo has also been remarkable because, from the most popular artists of the day. The roster of artists who many got their start there. early on, it employed blacks in jobs offstage as well as on. performed at the theater over those decades corresponds Black musicians also inspired each other. After they This was unusual for the mostly white-owned businesses on to the changing tastes in American music. In the 1930s, performed, they often gathered to jam and trade riffs. As 125th Street. Over the years, Harlemites protested against audiences came to see swing bands, led by jazz royalty Duke did the tap dancers who worked at the Apollo, and the the neighborhood restaurants and shops that first wouldn’t Ellington and Count Basie. In the 1940s, they listened to comics. There’s long been a friendly competition among serve them, and later wouldn’t employ them. Sometimes, Dizzy Gillespie and Charlie Parker play a new, innovative the performers that’s been part of the fun. But there’s also angry race riots erupted, but they never targeted the style of jazz called bebop. In the 1950s, Harlemites lined up been a strong, supportive, family feeling. Technique and Apollo. At the Apollo, blacks held prestigious jobs such as to hear rhythm-and-blues legends the Orioles. And in the routines were handed down from one performer to the other. Production Manager, Technical Director, Sound Technician, 1960s, they cheered on stylish girl groups like the Shirelles Today, when you watch Savion Glover dance, the rhythm and Rehearsal Band Conductor. and the Supremes. Musically, the Apollo presented it all: tap he showcases was first developed and passed along by In the late 1970s, the theater hit hard times and was swing, bebop, rhythm and blues, soul, female vocalists, doo- Apollo regulars John Bubbles, Honi Coles, and Sandman forced to close. It was bought and resurrected by Percy E. wop, Motown, funk, gospel, the blues. Sims. And when you laugh at the routines of comedians who Sutton, the Harlem politician and media baron, who then These were all major trends in American music. Black are popular today – Chris Rock, Dave Chappelle, or Wanda turned it over to the state. In 1983, the building itself musicians have always been on the cutting edge, creating Sykes – you can be certain that they’ve studied the work of was granted landmark status, and is now managed by the those trends, and many white musicians were inspired by the innovative Apollo comics who came before them – Moms Apollo Theater Foundation and its Board of Directors. This what they heard. In the early years, those white musicians Mabley, Pigmeat Markham, and Redd Foxx. ensures that the doors of the theater will stay open and often had more opportunities in the music industry, and For the performers, the Apollo felt like home. They that it can continue in the role it has forged over the years popularized what they heard at the Apollo. Elvis Presley, knew they could be themselves there; they were playing for – the soul of American culture. Crossword Puzzle Answers stump for “good luck”. “good for stump S T A R S the rub Performers stage. Apollo’s the on Hope of Tree the of stump The Crossword puzzle answers P Z O R A T L W R A L P H C O O P E R A E O O H A A R L E M E T M B M L O H E L L A F I T Z G E R A L D F E D B T U H A I O E K O T S A X O P H O N E P U E P E N R E R activist and United States Congressman. States United and activist desegregate. Adam Clayton Powell, Jr., an ordained minister, community community minister, ordained an Jr., Powell, Clayton Adam to theaters first the of one was it because fans its by Powell, Jr. Boulevard. It was renamed in 1974 in honor of of honor in 1974 in renamed was It Boulevard. Jr. Powell, Beautiful”, House “The nicknamed was It Ellington. Duke In Harlem, Seventh Avenue is also known as Adam Clayton Clayton Adam as known also is Avenue Seventh Harlem, In and Smith, Bessie Mills, Florence Walters, Ethel performers Did you know…. you Did dancer Bill “Bojangles” Robinson; Vaudeville, blues and jazz jazz and blues Vaudeville, Robinson; “Bojangles” Bill dancer known African-American performers of the day, such as tap tap as such day, the of performers African-American known charm. well most the of some featured shows Its theaters. known jobs. As a result, performers considered the Tree a good luck luck good a Tree the considered performers result, a As jobs. well most Harlem’s of one was Lafayette the 1933, – 1912 place to find talent, many of those same performers found found performers same those of many talent, find to place From Harlem. in Avenue Seventh on Streets 132nd and booking agents realized that this gathering was a good good a was gathering this that realized agents booking 131st between located once Theatre Lafayette famous the gather to chat or wait for some kind of work. Soon, because because Soon, work. of kind some for wait or chat to gather outside began Hope of Tree The of tradition and legend The Tree of Hope was where unemployed performers would would performers unemployed where was Hope of Tree HOPE Dreams, The Stroll or, simply, The Corner. In those days, The The days, those In Corner. The simply, or, Stroll The Dreams, the Lafayette Theater was at times called The Boulevard of of Boulevard The called times at was Theater Lafayette the OF Street. The section where the tree was located in front of of front in located was tree the where section The Street. runs along Seventh Avenue from 110th street to 155th 155th to street 110th from Avenue Seventh along runs TREE The Tree of Hope stood proudly on the meridian that that meridian the on proudly stood Hope of Tree The THE Left: The Apollo marquee as it appeared in the 1930s; inset: The Apollo’s blade still hangs high on 125th Street in Harlem in Street 125th on high hangs still blade Apollo’s The inset: 1930s; the in appeared it as marquee Apollo The Left: local landmark unique.