Found 63 collections related to African American entertainers

Maya Angelou (1928-2014) was one of the most renowned and celebrated voices in American literature. The Maya Angelou papers consist of original manuscripts, computer generated typescripts, galleys, and proofs of published work as well as manuscripts for unpublished work and dozens of poems. Additionally, there is personal and professional correspondence, teaching files, printed matter, and materials from public and academic appearances and engagements. less

The Negro Actors Guild (NAG) was formed in 1936 and began operation in 1937 in New York City as a welfare and benevolent organization for Black performers. The Negro Actors Guild (NAG) records document the functions and activities of this professional organization. less

The Ed Hall Papers consist of correspondence concerning professional and personal matters (1944-1983), and a poem authored by Owen Dodson. Several letters are from Ted Shine and George Rose, and one letter each are from director Lloyd Richards, Bobby Short, Thornton Wilder, Boston Globe drama critic Kevin Kelly, Vinnette Carroll, and a telegram from Lorraine Hansberry. There are also several contracts for the productions in which he acted, including television shows. A file for Zulu and the Zayda contains quarterly financial reports for 1965-1966, showing that Hall was a small investor in the production. The collection includes obituaries and other articles with information about Hall's career. less

Louis R. Sharp, African-American singer and actor graduated from the University of Kansas, where he sang with the University quartet. Moving to California in 1926, he studied voice with Theodore Ricardo, and settled in Harlem in the 1930s. A tenor, Sharp performed in concerts and recitals, singing in six languages. In 1931 Hall Johnson hired Sharp as a choral member of The Green Pastures in which he also played Cain. He had a major role as Toussaint L'Ouverture in the 1938 Federal Theatre Project's production of Haiti opposite Canada Lee's Christophe. Sharp was also in the original Broadway cast of such productions as Conjur Man Dies, Mamba's Daughters, Cabin in the Sky, South Pacific, St. Louis Woman, Finian's Rainbow, and Set My People Free. The Louis Sharp scrapbooks are comprised of two volumes. The first (1926-1946) contains news clippings and programs regarding Sharp's career, initially as a tenor performing in concerts, later as a singer and actor in Finian's Rainbow and in Broadway's St. Louis Woman, and Haiti, among other productions. There are several congratulatory letters and telegrams, including from Cab Calloway. The second scrapbook (1942-1947) consists of news clippings about African-American sports figures such as boxer Joe Louis and baseball player Jackie Robinson. less

The Ralph Brown papers focus on the career of this tap dancer, with an emphasis on his performances in the 1980s. Among the documents are his public relations material and programs for the show 1000 Years of Jazz, when it toured nationally and internationally, and the special gala at Washington, D.C.'s Ford Theatre. Brown's performances in the Broadway and Paris productions of Black and Blue are represented by programs, reviews, contact lists, and associated material. A file discusses other tours in which he performed in France, 1983-1989. Programs (1930s-1988) for a variety of venues in which he appeared primarily in New York and France, contracts, and news clippings can also be found in this collection. less

Flournoy Miller (1889-1971) was an actor, comedian, playwright, lyricist and producer. Collection contains personal papers that include biographical information and correspondence; professional papers, including contracts, memberships, writings and production files. less

The collection primarily documents people, places and events in Harlem from the early 1930s to the mid-1950s. The collection consists of studio and candid portraits of mainly African American personalities, Harlem residents, and fashion models; views of various social and political events in Harlem; and coverage of sports events and other news stories, representing the Smiths' freelance photography work for the New York Amsterdam News, the New York Age, and other African-American newspapers. Images depicting the personal activities of the Smith brothers are limited. less

Thaddeus Drayton (1893-1964) together with Rufus Greenlee (1893-1963), pioneered the "class act" tap style, which combined grace and elegance with precision soft-shoe tap dancing. Known as "Drayton and Greenlee," they wore top hats and tails, adding monocles and canes to their costume. They were among the few African Americans to play at the Palace Theater in New York on the vaudeville circuit during World War I. Their act broke up in 1930; Drayton then formed a dance act with Lucille Smith in the 1940s known as "Teddy Drayton and Lucille.". The Thaddeus Drayton collection documents portions of his career as a member of the tap dance team of Drayton and Greenlee (Rufus). Included are letters from W.C. Handy concerning a tribute honoring him and with song lyrics on the reverse (1950-1951), letters from composer/conductor Eva Jessye (1960), and letters from Germany and Russia in 1926. Programs from the Veteran's Camp in Mt. McGregor where Drayton performed in 1950, and from the Negro Actors Guild, mention his name. Of special interest is manuscript music from the Teddy Drayton and Lucille act. There are also song lyrics printed in Italian. less

The Frederick O'Neal Papers document the theatrical, labor, and civic activities of this actor and labor leader, mostly from the 1940s through the 1990s. The collection consists primarily of personal papers, correspondence, speeches and addresses, writing, and information about the theatrical productions in which he appeared. There are also research materials about the 19th century African-American actor, Ira Aldridge, and files pertaining to the many organizations with which O'Neal was associated. less

The records contain personal and professional papers comprised of biographical materials, letters, writings, programs, music, a scrapbook and miscellaneous items. The Personal Papers consist of various forms of identification, letters and an obituary, among other items. less

Allan W. McMillan, a longtime columnist for The Amsterdam News and the first Black syndicated columnist, made his reputation as an entertainment writer, Broadway columnist, and publicist. The Allan W. McMillan public relations files document the public relations work of McMillan on behalf of his clients. less

William Moore, an African American dance critic, dancer, and researcher, began his career in the 1960s. He later managed the dance companies of Eleo Pomare and Joan Miller, and participated in the creation of the Association of Black Choreographers in 1967. In 1975, he founded Dance Herald, a journal about Black dance. Moore also lectured on dance history and criticism at Lehman College and the Alvin Ailey American Dance Center. The William Moore papers consist primarily of appointment books (1966-1980) in which Moore noted his activities; some letters; writing and notes; a resume; and an annotated treatment for a documentary film by Kermit Frazier entitled The Black Tradition in American Modern Dance (1988). less

Rose McClendon was one of the most famous black dramatic actresses of the 1920s and 1930s. Although she did not become a professional actor until she was in her thirties, she consistently won critical acclaim for many of her acting roles and influenced the careers of many aspiring black actors of the period. less

The Don Redman Papers consist principally of holograph and printed music of this jazz composer and arranger, as well as some personal and professional papers. Redman's music contains orchestral and vocal scores and parts for various instruments. There is also music and lyrics by other composers most notably Tadd Dameron's "For Europeans Only." A ledger (1931-1932) lists members of the Don Redman Orchestra a.k.a. Don Redman and His Orchestra, for that period together with salaries, scheduled appearances and copyright information. Two scrapbooks document the activities of the Orchestra and other groups which Redman assembled for European tours during the 1940's. The collection also includes biographical information, programs, newsclippings, and an autograph book signed by celebrities. Of interest are two letters written by Louis Armstrong (1939, 1945), one mentioning two songs for which he wants Redman to make dance arrangements. less

Jay Richard Kennedy, author, composer, and publisher, was an entertainer and civil rights activist. He also was Harry Belafonte's manager and agent from 1955 to 1956. Born Samuel Richard Solomonick of Jewish immigrant parents in the Bronx in 1911, Kennedy was a union organizer and the circulation manager of the Communist Party's Daily Worker. He left the Communist Party after the 1939 Nazi-Soviet Pact, and started a new career as a writer, entertainer's agent, and stock broker. For a ten-year period beginning in 1956, he provided information and analysis to the Central Intelligence Agency (CIA) on Belafonte, the American Communist Party, and the Soviet Union. He died in 1991, in Los Angeles. Kennedy's Belafonte files are divided into Agent and Informant series. The Agent files include correspondence between Belafonte and his agents, Kennedy and Jack Rollins; contracts; legal briefs; financial reports; and a termination agreement between Kennedy and Belafonte, a dispute which lingered until 1960 over the control of Shari Music Publishing. Also included are original materials and several versions of the script for the musical drama Sing Man Sing, with lyrics and music by Kennedy and Belafonte. less

African-American soprano soloist, Berniece Hall made her Broadway debut in Finian's Rainbow (1953), and from 1956 to 1958 she performed in De Paur's Opera Gala. She also performed with Voices Inc. in Trumpets of the Lord (1963) at the French National Festival of the Arts in Paris in 1966. After the Festival, Hall remained in Italy and toured several other European countries, performing in a variety of venues. She lived in Italy for 4 years returning to live permanently in the United States in 1970. The Berniece Hall Papers document her professional career in North America and Europe. The Personal papers are comprised of biographical information, correspondence from friends and well-wishers, and financial records. The Professional papers contain correspondence pertaining to Hall's professional life, performance schedules for various events, some materials pertaining to Voices, Inc., scripts, song lists and lyrics, programs, posters and newspaper clippings. less

Volume containing lyrics to twenty songs, two of which, "Nevermo'" and "The Lee Family" were recorded by Williams on Columbia Records in 1915 and 1916 respectively. Second volume, entilted "Anecdotes, Jokes, Axioms, Proverbs, Funs and Puns..." contains over two hundred jokes or "lies" told by Williams and written down by Alex Rogers, a member of Williams' company. These dialectic stories, all of which contain a flavor of fable and black folklore, are primarily about rural or unsophisticated characters. They were first used by Williams in 1909 when he experimented in vaudeville as a solo performer, and later while Williams was a member of the Ziegfeld Follies. less

Joseph Attles (1903-1991) was a singer and dancer whose career spanned six decades. The bulk of his collection consists of playscripts for shows that Attles appeared in, including Bubbling Brown Sugar by Loften Mitchell, C & W, John Henry, Jericho-Jim Crow, Prodigal Son, Troupers, and Do Lord Remember Me by James de Jongh. The collection also includes: correspondence, both professional and personal; contracts and financial documents; programs of productions Attles appeared in; lyrics; and clippings related to both himself and other show business personalities. less

The Hillman family papers provide documentation on the performance careers of four members of this family. Included are a notebook containing George A. Hillman's monologues and news clippings discussing the vaudeville performances of George and his wife, Ethel Riddick Hillman, and scrapbooks of news clippings and programs illustrating the tap dancing careers of their sons, George I. and Christopher Hillman, known as the Hillman Brothers, (1930s-1940s). Another scrapbook provides information about George I. Hillman's performance in Curley McDimple (1968). less

William H. Glenn and Walter Jenkins (Glenn & Jenkins) were a popular comedy team who performed on the vaudeville circuit and toured the United States, Canada, and London during the 1920s and 1930s. They became renowned for their black face routines, "Working for the Railway" and "The Broom Dance.". The contents of the scrapbook includes reviews and advertisments of their comedy routines dating from 1922 to 1949 and 1962. The scrapbook also contains notes, flyers, photographs, telegrams, greeting cards, and copies of their pay stubs. less

An actor and producer, A. Lincoln Harris reportedly was the first black playwright to feature black people in dramatic works. He produced several plays among them "The Advanced Negro," " Waena," "High Life in Haiti" and "A Trusted Friend" that featured the Lincoln Harris Players founded by Harris. Advertisements and reviews of plays comprise the contents in the scrapbook. The majority of articles, however, deal with the accomplishments of black people especially in sports. less

Internationally known cabaret personality Bricktop, was born Ada Beatrice Queen Victoria Louise Virginia Smith in Alderson, West Virginia in 1894. Nicknamed "Bricktop" for her red hair, she began her career as an entertainer at the age of 16, performing on the vaudeville circuit with Flournoy Miller and Aubrey Lyles in McCabe's Georgia Troubadours minstrel show, then later with the Oma Crosby Trio, and the Panama Trio with Florence Mills and Cora Green. She also performed in saloons in Chicago such as the Roy Jones' saloon and Cabaret de Champion, also known as Café Champ owned by boxer Jack Johnson, and in Harlem at Barron's Exclusive Club and Connie's Inn. Bricktop went on to own her own nightclubs in Paris (1920s and 30s), Mexico City (1940s), and Rome (1950s). Towards the end of her career she made appearances on radio broadcasts, performed at various establishments such as The Club Tango in Chicago, and introduced Josephine Baker for her "come-back" engagement at Carnegie Hall in 1973. She co-authored "Bricktop" (1983), her autobiography, with James Haskins. The Ada "Bricktop" Smith DuConge Papers, 1920s-1984, primarily document the latter part of Bricktop's life and career. The Papers consist of letters and cards, daily planners and address books, notes on religious thoughts and other subjects, financial papers, sheet music, and news clippings. The diaries range from the 1920s to 1983 and in some instances serve as daily planners and account books. The volumes hold information pertaining to both her personal and professional life. The earliest letters date from the 1950s, after she moved to Rome. Primarily they are from people Bricktop worked with during her career including Jack Jordan, James Haskins, Hugh Shannon, David Hanna, and Earl Blackwell. Additionally, there are promotional materials that relate to her career as an entertainer, e.g. fliers, programs; invitations, among them two from Bricktop's in Paris in 1937; letters from broadcasting agencies; magazines noting her appearance dates; and news clippings that include featured stories about Bricktop in arts, entertainment and society columns. less

Composer, pianist, arranger. Brown worked as Paul Robeson's accompanist for thirty-eight years. The Lawrence Brown papers encompass correspondence reflecting Brown's wide-ranging travels, and his friendships (mostly letters written by his friends and business associates); personal papers; travel file consisting mostly of itineraries for tours; financial records comprised largely of royalty and earnings statements; programs for Brown and other artists; scrapbooks of news clippings and telegrams covering the Brown and Paul Robeson concert years (1928-1968); news clippings of concert reviews; and original scores and sheet music written by Brown and other composers. Papers relate to Brown's life and times, including World War I, Harlem Renaissance, World War II, spirituals, and his collaborator, Paul Robeson. Correspondents include Amanda Aldridge, Ethel Gardner Dingle, Jannett Hamlyn, Roland Hayes, Langston Hughes, Zaidee Jackson, William Lawrence, John Payne, Paul and Eslanda Robeson, Clara Rockmore, Robert Rockmore, Mrs. Corinne Sawyer (Brown's landlady), and Greta and I. W. Sequeira. less

Correspondence, plays, poems, sketches, and song lyrics by Whipper and others, including a musical comedy by Whipper and Porter Grainger entitled "We's Risin': A Story of the Simple Life in the Souls of Black Folk." Majority of the correspondence is congratulatory. Also, photographs and scrapbook of highlights in Whipper's career and programs, autograph books, and contracts pertaining to his career. less

Collection consists predominantly of material relating to Lena Horne's one woman Broadway production and national and international tour of "Lena Horne: The Lady and Her Music" (1981-1984). Papers contain fan mail, a small amount of business, personal and family correspondence; press coverage (newspaper and magazine clippings and audio and video reviews); publicity and public relations material; programs; financial data and certificates (proclamations, awards and honors). less

The Kenn Freeman Papers, 1930-1988 document Freeman's life as an actor, singer/dancer, writer/director, and costume and set designer. The collection consists of three series; Personal Papers, Professional Papers, and Family Papers, and include correspondence, programs, flyers, contracts, writings, scripts, sheet music, scrapbooks, and autograph albums. Correspondence between Kenn and Bea Freeman forms an important part of both the Personal Papers and Family Papers series. The letters show the close personal and professional relationship between mother and son. The bulk of the correspondence covers the years, 1937 to 1950, and was written primarily during the years Kenn was in the United States Navy or in England or when either of them was on tour with a production. less