{"id":3741,"date":"2025-02-19T16:31:54","date_gmt":"2025-02-19T16:31:54","guid":{"rendered":"https:\/\/dh-wordpress.ramapo.edu\/discovering1920s\/?p=3741"},"modified":"2025-03-26T16:51:54","modified_gmt":"2025-03-26T16:51:54","slug":"the-cotton-club-in-the-1920s","status":"publish","type":"post","link":"https:\/\/dh-wordpress.ramapo.edu\/discovering1920s\/blog\/2025\/02\/19\/the-cotton-club-in-the-1920s\/","title":{"rendered":"The Cotton Club: A Legacy of Jazz and Racism"},"content":{"rendered":"\n<h3 class=\"wp-block-heading\"><strong>What Was the Cotton Club?<\/strong><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The Cotton Club was the most popular nightclub in Harlem during the 1920s, emerging at the height of the Jazz Age and the Harlem Renaissance. Established in September 1923 by white American gangster Owen Madden after being released from jail, the Cotton Club remained a staple of Harlem\u2019s nightlife until it changed locations in 1936.<sup data-fn=\"6039b312-f2b1-4e8e-9502-bda8971f7027\" class=\"fn\"><a href=\"#6039b312-f2b1-4e8e-9502-bda8971f7027\" id=\"6039b312-f2b1-4e8e-9502-bda8971f7027-link\">1<\/a><\/sup> Madden saw the club primarily as a place to distribute bootleg beer, but it held far more cultural significance than he could have anticipated. While it remained in Harlem, the Cotton Club&nbsp; proved to be the most significant venue for jazz during the Harlem Renaissance, hosting iconic musicians like Duke Ellington, Louis Armstrong, and Ethel Waters, and providing the stage by which artists could innovate, achieve fame and continue redefining the genre.<sup data-fn=\"1f49e117-e931-4199-aa1a-b7a826e632f9\" class=\"fn\"><a href=\"#1f49e117-e931-4199-aa1a-b7a826e632f9\" id=\"1f49e117-e931-4199-aa1a-b7a826e632f9-link\">2<\/a><\/sup>&nbsp;<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Opening of the Cotton Club<\/strong><\/h5>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright is-resized\"><img decoding=\"async\" src=\"https:\/\/lh7-rt.googleusercontent.com\/docsz\/AD_4nXfK19TXAP0gGs89QnUhtUcXHNOmVrWAqtfOMCRDvi2fDjt5sbK7_bkFd6qUZP3eh6wPwZM-f1y4yeeDN4Rf3VbpQTMgJL8btAsQTkX9JKIUH6kR35TeavuFv5BP6elioohzg93n?key=nvyg7XAtfjQGRAONWLYjE4k3\" alt=\"\" style=\"width:371px;height:auto\"\/><figcaption class=\"wp-element-caption\"><em>The Harlem Cotton Club in 1930.&nbsp;<\/em><sup data-fn=\"9a841657-8e34-4244-92f9-de957e2c08b7\" class=\"fn\"><a href=\"#9a841657-8e34-4244-92f9-de957e2c08b7\" id=\"9a841657-8e34-4244-92f9-de957e2c08b7-link\">3<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">It all began with heavyweight boxing champion Jack Johnson, who opened a supper club named Club Deluxe on 142 Street and Lenox Avenue in 1920. After only a few years of being open, Johnson handed over operations to famous white gangster Owen \u201cOwney\u201d Madden in 1923, although Johnson remained the manager of the club.<sup data-fn=\"1914aa3b-fe36-47c0-87ca-32b6e0ff73d9\" class=\"fn\"><a href=\"#1914aa3b-fe36-47c0-87ca-32b6e0ff73d9\" id=\"1914aa3b-fe36-47c0-87ca-32b6e0ff73d9-link\">4<\/a><\/sup> Madden designed and ran the club from his jail cell in Sing Sing, where he was held for manslaughter, eventually transforming Club Deluxe into the Cotton Club. The Cotton Club quickly became an exclusive and popular jazz venue.<sup data-fn=\"a46b7047-46fe-4ed3-8d9a-0af0530807ac\" class=\"fn\"><a href=\"#a46b7047-46fe-4ed3-8d9a-0af0530807ac\" id=\"a46b7047-46fe-4ed3-8d9a-0af0530807ac-link\">5<\/a><\/sup> Madden used the Club to sell his \u201c#1 Beer\u201d at the time of prohibition, and the Cotton Club\u2019s illicit alcohol activities resulted in a brief closure in 1925. The Club soon reopened and continued to sell alcohol without interference from the police or other authorities.<sup data-fn=\"e2baca34-47a3-491c-bed7-032923b1d0e0\" class=\"fn\"><a href=\"#e2baca34-47a3-491c-bed7-032923b1d0e0\" id=\"e2baca34-47a3-491c-bed7-032923b1d0e0-link\">6<\/a><\/sup> This is believed to be because of the political connections that the Club\u2019s leadership possessed.<sup data-fn=\"933ae3ce-80a2-4b37-ad56-1942446c1fc8\" class=\"fn\"><a href=\"#933ae3ce-80a2-4b37-ad56-1942446c1fc8\" id=\"933ae3ce-80a2-4b37-ad56-1942446c1fc8-link\">7<\/a><\/sup><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Madden executed a particular vision for the Club centered around elegance and class, with waiters dressed in red tuxedos meant to emulate the typical look of butlers. The menu included such expensive and exotice dishes as Venison Steak and Chop Suey, which would be served to the patrons sitting in one of the two tiers of tables, organized in the shape of a horseshoe. Opening at 9:00PM and closing at 3:00AM, the Cotton Club was the premier place for the elite to take part in Harlem\u2019s booming nightlife. However, Madden\u2019s vision of class also involved segregation, as only white individuals were allowed to enter the Club. At the same time, he wanted talented African American jazz artists to supply the entertainment. The bandstand was located in front of a painted background of weeping willows and slave quarters, with tall white pillars on the stage to make it appear as if the African American artists were performing on the veranda of a plantation mansion.<sup data-fn=\"cd2ea061-4f37-43e0-ab0e-de9be7210dea\" class=\"fn\"><a href=\"#cd2ea061-4f37-43e0-ab0e-de9be7210dea\" id=\"cd2ea061-4f37-43e0-ab0e-de9be7210dea-link\">8<\/a><\/sup> Despite the clearly racist undertones of the Club, many black artists took advantage of the platform offered them at the Cotton Club, achieving fame along the way.&nbsp;&nbsp;<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Duke Ellington and Other Legendary Performers <\/strong><\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">Duke Ellington is undoubtedly the most important musician to have received his start in the Cotton Club, where he had a residency from 1927 to 1931.<sup data-fn=\"d072c484-8736-447c-b24c-13207ea37d84\" class=\"fn\"><a href=\"#d072c484-8736-447c-b24c-13207ea37d84\" id=\"d072c484-8736-447c-b24c-13207ea37d84-link\">9<\/a><\/sup> Before bringing his talent to the Cotton Club, Ellington began his career in Washington, D.C., which had been the hub for \u201cAmerican Negro civilization\u201d until around the 1920s. The band he formed in D.C., the Washingtonians, moved to Harlem and, by the mid 1920s, the band\u2019s jazz performances made it so they were already gaining local popularity. Upon becoming the Cotton Club\u2019s primary band, Ellington\u2019s 10-piece ensemble became an integral part of the Club\u2019s success, and vice versa, as they gained popularity for their ability to sound like an \u201cAfrican Jungle.\u201d Amongst the antebellum plantation decor of the Cotton Club, Ellington\u2019s band performed songs such as \u201cJungle Nights in Harlem,\u201d where famous trumpet players like Cootie Williams and Bubber Miley mimicked growling and other animal sounds with their instruments. Ellington struggled to come to terms with his accommodation of harmful stereotypes of African-Americans for many years, but he was able to take advantage of the \u201cjungle\u201d sound to experiment with dissonant harmonies and \u201cspeaking\u201d brass. Furthermore, his popularity allowed him to perform at venues that welcomed black audiences in the 1930s, like the Savoy Ballroom and Apollo Theater.<sup data-fn=\"04d282ca-baa3-4b83-8b97-a89447b93567\" class=\"fn\"><a href=\"#04d282ca-baa3-4b83-8b97-a89447b93567\" id=\"04d282ca-baa3-4b83-8b97-a89447b93567-link\">10<\/a><\/sup>&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed alignright is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"DUKE ELLINGTON: \u2018The Greatest Living Master of Jungle Music\u2019 famous COTTON CLUB introduction\" width=\"440\" height=\"248\" src=\"https:\/\/www.youtube.com\/embed\/bbPCUDraXUk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The radio exposure afforded to Duke Ellington and his ensemble supported the popularity of Duke Ellington, and jazz as a whole. In the 1920s, the radio was a modern marvel, particularly amongst teenagers after World War I. It was through this medium that nightly Cotton Club broadcasts of Ellington\u2019s \u201cjungle music\u201d reached the ears of many listeners all across the United States.<sup data-fn=\"23182f4a-1d2e-4c01-9b7a-5d47fc357759\" class=\"fn\"><a href=\"#23182f4a-1d2e-4c01-9b7a-5d47fc357759\" id=\"23182f4a-1d2e-4c01-9b7a-5d47fc357759-link\">11<\/a><\/sup> This provided significant exposure for Ellington and jazz music on a national level, as well as increased popularity of the Club itself.<sup data-fn=\"f6d36aa5-276f-4cd0-b79f-4a4c5adb321e\" class=\"fn\"><a href=\"#f6d36aa5-276f-4cd0-b79f-4a4c5adb321e\" id=\"f6d36aa5-276f-4cd0-b79f-4a4c5adb321e-link\">12<\/a><\/sup> He used his growing platform to advocate for the significance of black music, writing in the British magazine <em>Rhythm<\/em> that \u201cThe music of my race is something more than the American idiom. It is the result of our transplantation to American soil, and was our reaction in the plantation days to the tyranny we endured. What we could not say openly, we expressed in music.<sup data-fn=\"f14c7d31-0df2-4bc6-ac07-015f2815f8d9\" class=\"fn\"><a href=\"#f14c7d31-0df2-4bc6-ac07-015f2815f8d9\" id=\"f14c7d31-0df2-4bc6-ac07-015f2815f8d9-link\">13<\/a><\/sup>\u201d In this way, Ellington countered the commodification of jazz music and brought to light its connections with black resistance to oppression.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Duke Ellington was not the only musician to perform at the Cotton Club. Indeed, throughout its time based in Harlem, the Cotton Club attracted the skills of many different talented jazz musicians. One such example is Johnny Hodges, a saxophonist who performed in Ellington\u2019s ensemble during the 1920s. An influx of soloists into his band in 1929, such as Cootie Williams and Juan Tizol, showcased their improvisation skills in the Club\u2019s musical scene. This was particularly important, as solos were and continue to be a staple of the genre. After the 1920s, Cab Calloway replaced Ellington as band leader, and he became famous for his scat-jive vocals, bringing a new element to the music of the Club.<sup data-fn=\"0fde4f55-9bdc-413e-9a33-77a99a8fd44f\" class=\"fn\"><a href=\"#0fde4f55-9bdc-413e-9a33-77a99a8fd44f\" id=\"0fde4f55-9bdc-413e-9a33-77a99a8fd44f-link\">14<\/a><\/sup> The Jimmie Lunceford Band also performed at the Cotton Club.<sup data-fn=\"a21cef55-4312-4829-8e5a-0e0df4ffdd9d\" class=\"fn\"><a href=\"#a21cef55-4312-4829-8e5a-0e0df4ffdd9d\" id=\"a21cef55-4312-4829-8e5a-0e0df4ffdd9d-link\">15<\/a><\/sup><\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/www.google.com\/maps\/d\/u\/1\/embed?mid=1SBzPpeIOkbHzRIPQ92WkYk1yP-5C4ew&#038;ehbc=2E312F\" width=\"640\" height=\"480\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">Despite the many groundbreaking black musicians that performed and gained fame through performing at the Cotton Club, they were not actually able to enjoy the music as an audience member. Indeed, the Cotton Club only permitted white patrons to enter. This made the Club a great moral contradiction for black artists who played their uniquely African-American music at the Club.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>The Cotton Club as Segregated Leisure<\/strong><\/h5>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright is-resized\"><img decoding=\"async\" src=\"https:\/\/lh7-rt.googleusercontent.com\/docsz\/AD_4nXfYmxFz0ztznnNvCfh6JgDSXG1LY__ZoT1N2EcYvkz-eMiczu-eJPEvkHk7oROK4LIpUjbBHDrkAfMgl2loSyF4BZ46uJJR2rY-L25wezb9ZXgzACrFtwrVgqtN1Q5ToumBk9E5sg?key=nvyg7XAtfjQGRAONWLYjE4k3\" alt=\"\" style=\"width:412px;height:auto\"\/><figcaption class=\"wp-element-caption\"><em>A 1925 advertisement presenting Dan Healy\u2019s Cotton Club on Parade with Cab Calloway and his famous Cotton Club Orchestra.<\/em><sup data-fn=\"d8081afe-cd1e-487c-a486-f253d8612ef9\" class=\"fn\"><a href=\"#d8081afe-cd1e-487c-a486-f253d8612ef9\" id=\"d8081afe-cd1e-487c-a486-f253d8612ef9-link\">16<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">As leisure proliferated as a common pastime in the United States in the 1920s, Harlem became known as the \u201cgreat playground,\u201d known for its proliferation of amusing activities, with much of this being tied to its importance as a hub for jazz music and artists. The image of Harlem as \u201cthrilling, bizarre [and] sensuous\u201d that was cultivated during this era frequently brushing aside the more wretched aspects of Harlem\u2019s cultural explosion. Despite being home to primarily African American cultural innovations, white subversion of African American communities was pervasive. In fact, the Cotton Club was one of a number of nightclubs in Harlem that only allowed for white patrons, while having predominantly African American performers. This occurred in conjunction with the phenomenon of \u201cwhite slummers,\u201d in which wealthier white individuals took part in Harlem\u2019s vibrant nightlife, doing dances like the Charleston and listening to jazz, both of which were originated by the African American community. It is thus no coincidence that there was a racial divide between the white audience and African American entertainers.<sup data-fn=\"e137c776-31c9-4bd4-a7a3-c5c8c6d38ad5\" class=\"fn\"><a href=\"#e137c776-31c9-4bd4-a7a3-c5c8c6d38ad5\" id=\"e137c776-31c9-4bd4-a7a3-c5c8c6d38ad5-link\">17<\/a><\/sup> In the problematically named Cotton Club, the existence of African American individuals and blackness became a performance, and created a socially acceptable platform for white patrons to reaffirm the subservience of African American performers. That is to say, the fact that the African American artists were performing and entertaining <em>for<\/em> white spectators ensured that racial inequalities were maintained in the leisure sphere.<sup data-fn=\"c763b30f-98ee-4cc2-9cfb-a67258438d0a\" class=\"fn\"><a href=\"#c763b30f-98ee-4cc2-9cfb-a67258438d0a\" id=\"c763b30f-98ee-4cc2-9cfb-a67258438d0a-link\">18<\/a><\/sup> Even the advertising products distributed by the Cotton Club reinforced these divisions by featuring caricatured African American performers alongside the more elegantly depicted white patrons.<sup data-fn=\"18f5e308-cb4e-430c-a5e8-a014d24f7d02\" class=\"fn\"><a href=\"#18f5e308-cb4e-430c-a5e8-a014d24f7d02\" id=\"18f5e308-cb4e-430c-a5e8-a014d24f7d02-link\">19<\/a><\/sup> The Cotton Club was, therefore, a product of and proponent of the racism of the 1920s.&nbsp;<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright is-resized\"><img decoding=\"async\" src=\"https:\/\/lh7-rt.googleusercontent.com\/docsz\/AD_4nXd6jMlWEMITy2rbSNu-17uLLZ84fAghj8rZ7RCF1L5pBDZjsWMLvf-yi994gn937nyJM4yA8q-g2H3urF4r0rNmAkpaL05s_xBojoEiCpSIh8OuEywUOiSYiUvgPbp678Yj9yDl?key=nvyg7XAtfjQGRAONWLYjE4k3\" alt=\"\" style=\"width:297px;height:auto\"\/><figcaption class=\"wp-element-caption\"><em>\u201cSues Harlem Jim Crow Cabaret\u201d in <\/em>The Afro-American<em>, July 16, 1927.<\/em><sup data-fn=\"cca2a9b2-4391-4869-8813-0c8bd870c139\" class=\"fn\"><a href=\"#cca2a9b2-4391-4869-8813-0c8bd870c139\" id=\"cca2a9b2-4391-4869-8813-0c8bd870c139-link\">20<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Despite this, many did not accept this segregation without putting up a fight. In fact, <em>The Afro-American<\/em>, a Baltimore-based newspaper, reported on July 16, 1927, that a Mrs. Geraldine Dismond sued the Cotton Club for denying her and James G. Cotter entrance into the Cotton Club. Dismond and Cotter were elites, she was the wife of a \u201cprominent local physician\u201d and he was an assistant district U.S. Attorney. The act of suing the club itself was defiant as they rejected the tradition of segregation. The authors of this news clipping also took part in resisting the racist policies of the Cotton Club, as they clearly wished to emphasize the hypocrisy of the Cotton Club having \u201crace bands\u201d for all white audiences. The title of the clipping is particularly biting, as the club is referred to as a \u201cJim Crow Cabaret,\u201d drawing attention to how, although northern states like New York did not have official segregation policies like the South, segregation was still customary.&nbsp;<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>The Sexualization of Women and Colorism in the Cotton Club<\/strong><\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">With the new approach to entertainment that came with the 1920\u2019s new consumer culture also came significant implications for the African American women by creating new forms of labor. One is the \u2018commercial model,\u2019 which includes such models who took part in entertainment performances. Such a job, which had employed African-American individuals in the Cotton Club, was part of a new movement to commodify aesthetics and the creation of a particular \u2018feel.\u2019 At the Cotton Club, those working in this capacity were meant to model their African American identity as a particular cultural type for their all-white audiences.<sup data-fn=\"febdfdb9-62bd-4ea8-936e-dbc3762137af\" class=\"fn\"><a href=\"#febdfdb9-62bd-4ea8-936e-dbc3762137af\" id=\"febdfdb9-62bd-4ea8-936e-dbc3762137af-link\">21<\/a><\/sup> The costumes presented both racial and sexual stereotypes, using \u201cexotic\u201d designs that presented the women in an exposing manner.&nbsp;<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright is-resized\"><img decoding=\"async\" src=\"https:\/\/lh7-rt.googleusercontent.com\/docsz\/AD_4nXch4K6LBsGFmdVQGWTGFC4b9fLusFjKD5WdNKp3Gq-LAq1wygTe8p8PRCxGDLToiZfklRHW5znOVI54fZ4ianZy3O-wcm_d6I3jcmJ1ol4bZIZE2ssE48qvUz9beXHeYdjfzruApw?key=nvyg7XAtfjQGRAONWLYjE4k3\" alt=\"\" style=\"width:440px;height:auto\"\/><figcaption class=\"wp-element-caption\"><em>A 1929 publicity photo for a show at the Cotton Club in Harlem features Maude Russel and her Ebony Steppers in \u201cJust a Minute\u201d (Michael Ochs Archives\/Getty Images).<\/em><sup data-fn=\"3210f857-9680-4223-9ec9-93ac048a366b\" class=\"fn\"><a href=\"#3210f857-9680-4223-9ec9-93ac048a366b\" id=\"3210f857-9680-4223-9ec9-93ac048a366b-link\">22<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Those employed in this position at the Cotton Club, and other nightclubs, were mainly women of color. Such a \u2018model showgirl\u2019 did not have to truly perform through song or dance, but would pose on stage in costume.<sup data-fn=\"3976847d-254f-4f27-b9e1-41abee4b78e1\" class=\"fn\"><a href=\"#3976847d-254f-4f27-b9e1-41abee4b78e1\" id=\"3976847d-254f-4f27-b9e1-41abee4b78e1-link\">23<\/a><\/sup> This is deeply tied to the new emphasis on women\u2019s sexuality in the 1920s, which proved to be greatly problematic for African American women. African American women reformers found the sexualization of African American to be a form of dangerous exploitation. In fact, women writers in the Harlem Renaissance steered away from the emphasis on \u201cprimitivism\u201d that their male counterparts took part in. This was because, when tied to sexuality, such a philosophy could contribute to undesirable stereotypes about African American women, which were at least in part shaped by white societal expectations.<sup data-fn=\"537ae283-a27c-4c4d-98e4-42f527ed31fc\" class=\"fn\"><a href=\"#537ae283-a27c-4c4d-98e4-42f527ed31fc\" id=\"537ae283-a27c-4c4d-98e4-42f527ed31fc-link\">24<\/a><\/sup> The Cotton Club\u2019s presentation of African American chorus line women as visual and sexual \u2018objects\u2019 contributed to these stereotypes.<\/p>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-constrained wp-block-group-is-layout-constrained\">\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-constrained wp-block-group-is-layout-constrained\"><div class=\"wp-block-image\">\n<figure class=\"alignright is-resized\"><img decoding=\"async\" src=\"https:\/\/lh7-rt.googleusercontent.com\/docsz\/AD_4nXd6y_8viqxoRasZJZnmnHPjiRIUclJWbkaqZjjbtqYrH6UIg09r9CdNH9MOHDDEnjClP4p7C-3Z80yRcuE8kWVbFObMHaTlBi4Z83M2YbEd2_-1GSQZJHt1qEHEHs2fNWjJ7lUsYQ?key=nvyg7XAtfjQGRAONWLYjE4k3\" alt=\"\" style=\"width:219px;height:auto\"\/><figcaption class=\"wp-element-caption\"><em>A promotional fan from the Cotton Club during the 1920s depicting a light-skinned woman<\/em>.<sup data-fn=\"55e08501-9ef4-4e6c-b5cb-00fd76c045f2\" class=\"fn\"><a href=\"#55e08501-9ef4-4e6c-b5cb-00fd76c045f2\" id=\"55e08501-9ef4-4e6c-b5cb-00fd76c045f2-link\">25<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright is-resized\"><img decoding=\"async\" src=\"https:\/\/lh7-rt.googleusercontent.com\/docsz\/AD_4nXdfG9s5j5knj6-p97UC1D3krlyuZXzQBTR8TAguMYRVr_Q5ix2OIbVxSRvjqb9UNnC521I9eeCEjgRPtlAwL4F5OiTF-Eq-vYr-vYOFk5K6IM10PN0D0QttY29DOhXOsQCdOn32?key=nvyg7XAtfjQGRAONWLYjE4k3\" alt=\"\" style=\"width:221px;height:auto\"\/><\/figure>\n<\/div><\/div><\/div>\n<\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Being viewed and used as primarily \u201csexual objects,\u201d the black women that performed for elite white New Yorkers in the Cotton Club were measured up to strict physical standards that demonstrate the intersectionality of gender and race during the 1920s. The Cotton Club Girls, otherwise known as the Copper Colored Gals, had to be at least 5 feet and 6 inches tall, under 21 years of age, and pass what was known as the \u201cpaper bag\u201d tests. According to this test, the performer had to be lighter than a brown paper bag. This test was not unique to the Cotton Club at all; it was used to determine the acceptance of black individuals, inside and outside their community, to elite institutions such as fraternities, universities, and even churches.<sup data-fn=\"387b6414-6f12-418f-b5a8-8388c33fea77\" class=\"fn\"><a href=\"#387b6414-6f12-418f-b5a8-8388c33fea77\" id=\"387b6414-6f12-418f-b5a8-8388c33fea77-link\">26<\/a><\/sup> The practice is typically associated with institutions based in the southern city of New Orleans, but its use in the Cotton Club demonstrates that such colorist practices pervaded northern communities as well.<sup data-fn=\"fca128c7-4fb3-4f9e-9488-803458e75940\" class=\"fn\"><a href=\"#fca128c7-4fb3-4f9e-9488-803458e75940\" id=\"fca128c7-4fb3-4f9e-9488-803458e75940-link\">27<\/a><\/sup> Complexion tests were quite popular in the United States, as white people attempted to prevent fair-skinned black individuals from entering what they deemed to be their spaces. Tests included looking at the nails and hair roots of people to determine if they were black. From the 1920s-1940s, \u201cspotting\u201d was a particularly popular form of ensuring that African-Americans were excluded from entering white-only institutions by having a black individual stand at the entrance and \u201cspot\u201d any white-passing African-Americans, subsequently preventing them from entering.<sup data-fn=\"dfac7028-13b1-40d5-9605-7f2c863b1a7b\" class=\"fn\"><a href=\"#dfac7028-13b1-40d5-9605-7f2c863b1a7b\" id=\"dfac7028-13b1-40d5-9605-7f2c863b1a7b-link\">28<\/a><\/sup>&nbsp;<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>The Legacy of the Cotton Club<\/strong><\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">The Cotton Club was the premier jazz venue for black musicians, and a hotspot for wealthy white elite to enjoy top jazz performances during the Roaring Twenties. The Cotton Club called itself \u201cthe Aristocrat of Harlem,\u201d and this proved to be true through its economic and racial exclusivity. While the Cotton Club\u2019s legacy continues to be remembered as a launching pad for the career of many jazz artists through stage and radio exposure, the legacy of the Cotton Club is also marred by its history as a racist and segregated institution that exploited black art and artists for white enjoyment. This is particularly evident in how the aesthetics and name of the Club were reminiscent of the slave south, and the hypocritical policy that allowed for black performers but hardly any black patrons.<sup data-fn=\"b52f6ff0-7aa5-4341-9820-8de5555f2d81\" class=\"fn\"><a href=\"#b52f6ff0-7aa5-4341-9820-8de5555f2d81\" id=\"b52f6ff0-7aa5-4341-9820-8de5555f2d81-link\">29<\/a><\/sup> The Cotton Club in Harlem closed in 1936 after the Harlem Race Riot of 1935, as it was no longer considered to be a safe place for whites.<sup data-fn=\"d55efb94-005f-4e81-8114-2755fdd95079\" class=\"fn\"><a href=\"#d55efb94-005f-4e81-8114-2755fdd95079\" id=\"d55efb94-005f-4e81-8114-2755fdd95079-link\">30<\/a><\/sup> Soon after, they opened a new location in Midtown. Interestingly, the new, and short-lived, Cotton Club was open to black audience members, in a (failed) last-ditch attempt to obscure its problematic racial history.<sup data-fn=\"4029b9be-1e53-4b8b-9572-b85f9f64d0b1\" class=\"fn\"><a href=\"#4029b9be-1e53-4b8b-9572-b85f9f64d0b1\" id=\"4029b9be-1e53-4b8b-9572-b85f9f64d0b1-link\">31<\/a><\/sup>&nbsp;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Significance to the 1920s<\/strong><\/h3>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright is-resized\"><img decoding=\"async\" src=\"https:\/\/lh7-rt.googleusercontent.com\/docsz\/AD_4nXfsAOWX2PFFR3F7VnvQUWZXnR52_Pw2hlF_UG0Lz1w7k5ENvsNx7xgp2oKJ3ASifH4-1ySuIKSUPl4plPOViGhiMjUY2VCFK1GzPXRDL6QifnXhChvh6dgE6B2o22V1gGdrWwxeEw?key=nvyg7XAtfjQGRAONWLYjE4k3\" alt=\"\" style=\"width:402px;height:auto\"\/><figcaption class=\"wp-element-caption\"><em>The Scott Arthur Family ca. 1920, on their journey North.<\/em><sup data-fn=\"61d26375-89b1-45a2-887c-55e024b64a5a\" class=\"fn\"><a href=\"#61d26375-89b1-45a2-887c-55e024b64a5a\" id=\"61d26375-89b1-45a2-887c-55e024b64a5a-link\">32<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">The Great Migration started in the 1870s within the context of social and economic frustrations that plagued many African-American communities in the South. Due to this, many moved to the North and West to receive respite. Motivation to migrate increased exponentially after World War I, as more African-Americans were drawn to the factory jobs in the cities. In the 1920s, 750,000 African Americans fled the conditions of the South, mainly relocating in cities.<sup data-fn=\"ac6a5822-817c-49d2-9844-90df62b66f12\" class=\"fn\"><a href=\"#ac6a5822-817c-49d2-9844-90df62b66f12\" id=\"ac6a5822-817c-49d2-9844-90df62b66f12-link\">33<\/a><\/sup>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Throughout the Great Migration, which ended during the Great Depression, 2 million African Americans moved out of the South to northern cities like New York City, which was particularly popular. The North was particularly attractive as an apparent refuge from racial violence where they could have more opportunities to work and vote without being threatened. Despite the apparent improved standard of living through better wages for menial jobs, the benefits were offset by the high cost of living and racial discrimination continued as African-Americans were subject to redlining and forced to live in slums. At the same time that this mass exodus was occuring, Harlem was experiencing an explosion of new cultural expression known as the Harlem Renaissance. The Great Migration actually supported the Harlem Renaissance, as the black population in New York City doubled during the 1920s. With this stream of black emigrants also came a number of artists that became key to this cultural phenomenon. For this reason, Harlem became the site of \u201cNew Negro\u201d art and politics, with pride in black culture being the center of this cultural boom.<sup data-fn=\"ed6da428-961f-46f7-b13b-b10886b88452\" class=\"fn\"><a href=\"#ed6da428-961f-46f7-b13b-b10886b88452\" id=\"ed6da428-961f-46f7-b13b-b10886b88452-link\">34<\/a><\/sup>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jazz became the defining music and soundtrack of the Harlem Renaissance and \u201cNew Negro\u201d movement. <sup data-fn=\"ecdace94-9f4d-4930-89f8-533682689dc2\" class=\"fn\"><a href=\"#ecdace94-9f4d-4930-89f8-533682689dc2\" id=\"ecdace94-9f4d-4930-89f8-533682689dc2-link\">35<\/a><\/sup>The African-American population often viewed music as a symbolic release from the physical and economic bondage that they were subjected to by white slave-owners in recent history. Now able to obtain instruments, the African-American community was given the opportunity to experiment with a far broader range of musical styles. The result was jazz, which combined the fluid syncopation techniques customarily used in West African music with European ragtime piano.<sup data-fn=\"9d06853e-cebb-493e-8e39-687c5bed6125\" class=\"fn\"><a href=\"#9d06853e-cebb-493e-8e39-687c5bed6125\" id=\"9d06853e-cebb-493e-8e39-687c5bed6125-link\">36<\/a><\/sup>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It was in the context of the emergence of many skilled artists from the South through the Great Migration and the creation of Jazz as part of the Harlem Renaissance that the Cotton Club was established. The club soon became extremely popular and provided the platform for many legendary jazz musicians that continue to define the genre.&nbsp;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Citations<\/strong><\/h3>\n\n\n\n<h5 class=\"wp-block-heading\">Footnotes<\/h5>\n\n\n<ol class=\"wp-block-footnotes\"><li id=\"6039b312-f2b1-4e8e-9502-bda8971f7027\">\u00a0Maureen Maryanski, \u201cThe Aristocrat of Harlem: The Cotton Club,\u201d The New York Historical, February 17, 2016, https:\/\/www.nyhistory.org\/blogs\/the-aristocrat-of-harlem-the-cotton-club. <a href=\"#6039b312-f2b1-4e8e-9502-bda8971f7027-link\" aria-label=\"Jump to footnote reference 1\">\u21a9\ufe0e<\/a><\/li><li id=\"1f49e117-e931-4199-aa1a-b7a826e632f9\">Ted Gioia, <em>The History of Jazz<\/em>, 3rd ed. (New York, NY: Oxford University Press, 2021), 149. <a href=\"#1f49e117-e931-4199-aa1a-b7a826e632f9-link\" aria-label=\"Jump to footnote reference 2\">\u21a9\ufe0e<\/a><\/li><li id=\"9a841657-8e34-4244-92f9-de957e2c08b7\"><em>Cotton Club 1930<\/em>, <em>Wikimedia Commons<\/em> (The New Movie Magazine, 1930), https:\/\/commons.wikimedia.org\/wiki\/File:Cotton_Club_1930.jpg. <a href=\"#9a841657-8e34-4244-92f9-de957e2c08b7-link\" aria-label=\"Jump to footnote reference 3\">\u21a9\ufe0e<\/a><\/li><li id=\"1914aa3b-fe36-47c0-87ca-32b6e0ff73d9\">\u201cThe Cotton Club (NYC) Opens,\u201d African American Registry, December 4, 2024, https:\/\/aaregistry.org\/story\/the-cotton-club-opens\/. <a href=\"#1914aa3b-fe36-47c0-87ca-32b6e0ff73d9-link\" aria-label=\"Jump to footnote reference 4\">\u21a9\ufe0e<\/a><\/li><li id=\"a46b7047-46fe-4ed3-8d9a-0af0530807ac\">Margaret Moos Pick, \u201cA Night at the Cotton Club: Music of Duke Ellington, Harold Arlen &amp; Cab Calloway,\u201d Riverwalk Jazz, 1997, https:\/\/riverwalkjazz.stanford.edu\/program\/night-cotton-club-music-duke-ellington-harold-arlen-cab-calloway. <a href=\"#a46b7047-46fe-4ed3-8d9a-0af0530807ac-link\" aria-label=\"Jump to footnote reference 5\">\u21a9\ufe0e<\/a><\/li><li id=\"e2baca34-47a3-491c-bed7-032923b1d0e0\">\u00a0\u201cThe Cotton Club (NYC) Opens.\u201d <a href=\"#e2baca34-47a3-491c-bed7-032923b1d0e0-link\" aria-label=\"Jump to footnote reference 6\">\u21a9\ufe0e<\/a><\/li><li id=\"933ae3ce-80a2-4b37-ad56-1942446c1fc8\">\u00a0Elizabeth Winter, \u201cCotton Club of Harlem (1923- ),\u201d BlackPast, December 17, 2007, https:\/\/www.blackpast.org\/african-american-history\/cotton-club-harlem-1923\/. <a href=\"#933ae3ce-80a2-4b37-ad56-1942446c1fc8-link\" aria-label=\"Jump to footnote reference 7\">\u21a9\ufe0e<\/a><\/li><li id=\"cd2ea061-4f37-43e0-ab0e-de9be7210dea\">\u00a0Moos Pick, \u201cA Night at the Cotton Club.\u201d <a href=\"#cd2ea061-4f37-43e0-ab0e-de9be7210dea-link\" aria-label=\"Jump to footnote reference 8\">\u21a9\ufe0e<\/a><\/li><li id=\"d072c484-8736-447c-b24c-13207ea37d84\">\u00a0Aaron J. Johnson, \u201cA Date With The Duke: Ellington on Radio,\u201d <em>The Musical Quarterly<\/em> 96, no. 3\u20134 (November 19, 2013): 369\u2013405, https:\/\/doi.org\/10.1093\/musqtl\/gdt014, 375. <a href=\"#d072c484-8736-447c-b24c-13207ea37d84-link\" aria-label=\"Jump to footnote reference 9\">\u21a9\ufe0e<\/a><\/li><li id=\"04d282ca-baa3-4b83-8b97-a89447b93567\">\u00a0Daniel Matlin, \u201c\u2018Something Part, Yet an Integral Part\u2019: Duke Ellington\u2019s Harlem and the Nexus of Race and Nation,\u201d Cambridge University Press, February 8, 2021, https:\/\/www.cambridge.org\/core\/journals\/modern-intellectual-history\/article\/something-apart-yet-an-integral-part-duke-ellingtons-harlem-and-the-nexus-of-race-and-nation\/46B58AEB337443073C1A7D3102E259A1. <a href=\"#04d282ca-baa3-4b83-8b97-a89447b93567-link\" aria-label=\"Jump to footnote reference 10\">\u21a9\ufe0e<\/a><\/li><li id=\"23182f4a-1d2e-4c01-9b7a-5d47fc357759\">\u00a0Johnson, \u201cA Date With The Duke,\u201d 369-370. <a href=\"#23182f4a-1d2e-4c01-9b7a-5d47fc357759-link\" aria-label=\"Jump to footnote reference 11\">\u21a9\ufe0e<\/a><\/li><li id=\"f6d36aa5-276f-4cd0-b79f-4a4c5adb321e\">\u00a0Johnson, \u201cA Date With The Duke,\u201d 380. <a href=\"#f6d36aa5-276f-4cd0-b79f-4a4c5adb321e-link\" aria-label=\"Jump to footnote reference 12\">\u21a9\ufe0e<\/a><\/li><li id=\"f14c7d31-0df2-4bc6-ac07-015f2815f8d9\">\u00a0Laura Townsend, \u201cHow Duke Ellington Used His Appearance to Subvert Racist Stereotypes, and Other Ways He Fought Racism,\u201d PBS, July 12, 2022, https:\/\/www.pbs.org\/wnet\/americanmasters\/how-duke-ellington-used-his-appearance-to-subvert-racist-stereotypes-and-other-ways-he-fought-racism\/17385\/. <a href=\"#f14c7d31-0df2-4bc6-ac07-015f2815f8d9-link\" aria-label=\"Jump to footnote reference 13\">\u21a9\ufe0e<\/a><\/li><li id=\"0fde4f55-9bdc-413e-9a33-77a99a8fd44f\">\u00a0Gioia, <em>The History of Jazz<\/em>, 150-154. <a href=\"#0fde4f55-9bdc-413e-9a33-77a99a8fd44f-link\" aria-label=\"Jump to footnote reference 14\">\u21a9\ufe0e<\/a><\/li><li id=\"a21cef55-4312-4829-8e5a-0e0df4ffdd9d\">\u00a0Gioia, <em>The History of Jazz<\/em>, 156. <a href=\"#a21cef55-4312-4829-8e5a-0e0df4ffdd9d-link\" aria-label=\"Jump to footnote reference 15\">\u21a9\ufe0e<\/a><\/li><li id=\"d8081afe-cd1e-487c-a486-f253d8612ef9\">\u00a0<em>The Famous Cotton Club Presents Dan Healy\u2019s Cotton Club on Parade with Cab Calloway and His Famous Cotton Club Orchestra.<\/em>, <em>JSTOR<\/em> (Schomburg Center for Research in Black Culture Photographs and Prints Division, 1925), https:\/\/www.jstor.org\/stable\/community.31816453. <a href=\"#d8081afe-cd1e-487c-a486-f253d8612ef9-link\" aria-label=\"Jump to footnote reference 16\">\u21a9\ufe0e<\/a><\/li><li id=\"e137c776-31c9-4bd4-a7a3-c5c8c6d38ad5\">\u00a0Gilbert Osofsky, \u201cSymbols of the Jazz Age: The New Negro and Harlem Discovered,\u201d <em>American Quarterly<\/em> 17, no. 2 (Summer 1965): 229\u201338, https:\/\/doi.org\/10.2307\/2711356, 235. <a href=\"#e137c776-31c9-4bd4-a7a3-c5c8c6d38ad5-link\" aria-label=\"Jump to footnote reference 17\">\u21a9\ufe0e<\/a><\/li><li id=\"c763b30f-98ee-4cc2-9cfb-a67258438d0a\">\u00a0Malcolm Womack, \u201cHarlem Holiday: The Cotton Club, 1925-1940,\u201d <em>University of Washington University Libraries <\/em>(dissertation, 2013), http:\/\/hdl.handle.net\/1773\/23357, 102. <a href=\"#c763b30f-98ee-4cc2-9cfb-a67258438d0a-link\" aria-label=\"Jump to footnote reference 18\">\u21a9\ufe0e<\/a><\/li><li id=\"18f5e308-cb4e-430c-a5e8-a014d24f7d02\">\u00a0Womack, \u201cHarlem Holiday,\u201d 110-111. <a href=\"#18f5e308-cb4e-430c-a5e8-a014d24f7d02-link\" aria-label=\"Jump to footnote reference 19\">\u21a9\ufe0e<\/a><\/li><li id=\"cca2a9b2-4391-4869-8813-0c8bd870c139\">\u00a0\u201cSues Harlem Jim Crow Cabaret,\u201d <em>The Afro-American<\/em>, July 16, 1927, https:\/\/www.newspapers.com\/image\/1134157240\/?match=1&amp;terms=%22Louis%20Armstrong%22%20%22cotton%20club%22. <a href=\"#cca2a9b2-4391-4869-8813-0c8bd870c139-link\" aria-label=\"Jump to footnote reference 20\">\u21a9\ufe0e<\/a><\/li><li id=\"febdfdb9-62bd-4ea8-936e-dbc3762137af\">\u00a0Elspeth H. Brown, \u201cThe Commodification of Aesthetic Feeling: Race, Sexuality, and the 1920s Stage Model,\u201d <em>Feminist Studies<\/em> 40, no. 1 (2014): 65\u201397, https:\/\/doi.org\/10.1353\/fem.2014.0003, 65-68. <a href=\"#febdfdb9-62bd-4ea8-936e-dbc3762137af-link\" aria-label=\"Jump to footnote reference 21\">\u21a9\ufe0e<\/a><\/li><li id=\"3210f857-9680-4223-9ec9-93ac048a366b\">\u00a0<em>Maude Russel At The Cotton Club<\/em>, <em>Getty Images<\/em> (Michael Ochs Archives, 1929). <a href=\"#3210f857-9680-4223-9ec9-93ac048a366b-link\" aria-label=\"Jump to footnote reference 22\">\u21a9\ufe0e<\/a><\/li><li id=\"3976847d-254f-4f27-b9e1-41abee4b78e1\">\u00a0Brown, \u201cThe Commodification of Aesthetic Feeling,\u201d 89. <a href=\"#3976847d-254f-4f27-b9e1-41abee4b78e1-link\" aria-label=\"Jump to footnote reference 23\">\u21a9\ufe0e<\/a><\/li><li id=\"537ae283-a27c-4c4d-98e4-42f527ed31fc\">\u00a0Lynn Dumenil, <em>The Modern Temper: American Culture and Society in the 1920s<\/em>, ed. Eric Foner (New York, NY: Hill and Wang, 1995), 139. <a href=\"#537ae283-a27c-4c4d-98e4-42f527ed31fc-link\" aria-label=\"Jump to footnote reference 24\">\u21a9\ufe0e<\/a><\/li><li id=\"55e08501-9ef4-4e6c-b5cb-00fd76c045f2\"><em>Fan from the Cotton Club.<\/em>, <em>Curationist<\/em> (National Museum of African American History and Culture, 1923), https:\/\/www.curationist.org\/works\/work-smith-nmaahc_2013.223.40. <a href=\"#55e08501-9ef4-4e6c-b5cb-00fd76c045f2-link\" aria-label=\"Jump to footnote reference 25\">\u21a9\ufe0e<\/a><\/li><li id=\"387b6414-6f12-418f-b5a8-8388c33fea77\">\u00a0\u201cColorism During the New Negro Movement: Cotton Club,\u201d CUNY Academic Commons, 2025, https:\/\/colorism.commons.gc.cuny.edu\/cotton-club\/. <a href=\"#387b6414-6f12-418f-b5a8-8388c33fea77-link\" aria-label=\"Jump to footnote reference 26\">\u21a9\ufe0e<\/a><\/li><li id=\"fca128c7-4fb3-4f9e-9488-803458e75940\">Audrey Elisa Kerr, \u201cThe Paper Bag Principle: Of the Myth and the Motion of Colorism,\u201d <em>Journal of American Folklore<\/em>118, no. 469 (June 2005): 271\u201389, https:\/\/doi.org\/10.1353\/jaf.2005.0031, 283. <a href=\"#fca128c7-4fb3-4f9e-9488-803458e75940-link\" aria-label=\"Jump to footnote reference 27\">\u21a9\ufe0e<\/a><\/li><li id=\"dfac7028-13b1-40d5-9605-7f2c863b1a7b\">Audrey Elisa Kerr, \u201cThe Paper Bag Principle: Of the Myth and the Motion of Colorism,\u201d <em>Journal of American Folklore<\/em>118, no. 469 (June 2005): 271\u201389, https:\/\/doi.org\/10.1353\/jaf.2005.0031, 277-279. <a href=\"#dfac7028-13b1-40d5-9605-7f2c863b1a7b-link\" aria-label=\"Jump to footnote reference 28\">\u21a9\ufe0e<\/a><\/li><li id=\"b52f6ff0-7aa5-4341-9820-8de5555f2d81\">Maureen Maryanski, \u201cThe Aristocrat of Harlem: The Cotton Club,\u201d The New York Historical, February 17, 2016, https:\/\/www.nyhistory.org\/blogs\/the-aristocrat-of-harlem-the-cotton-club. <a href=\"#b52f6ff0-7aa5-4341-9820-8de5555f2d81-link\" aria-label=\"Jump to footnote reference 29\">\u21a9\ufe0e<\/a><\/li><li id=\"d55efb94-005f-4e81-8114-2755fdd95079\">\u00a0Meher Tatna, \u201cThe Cotton Club,\u201d Golden Globes, February 16, 2023, https:\/\/goldenglobes.com\/articles\/cotton-club\/. <a href=\"#d55efb94-005f-4e81-8114-2755fdd95079-link\" aria-label=\"Jump to footnote reference 30\">\u21a9\ufe0e<\/a><\/li><li id=\"4029b9be-1e53-4b8b-9572-b85f9f64d0b1\">Colony Little, \u201cA Tale of Two Harlems: The Legacy of Jazz and Racism at the Cotton Club,\u201d Curationist, July 2022, https:\/\/www.curationist.org\/editorial-features\/article\/a-tale-of-two-harlems:-the-legacy-of-jazz-and-racism-at-the-cotton-club. <a href=\"#4029b9be-1e53-4b8b-9572-b85f9f64d0b1-link\" aria-label=\"Jump to footnote reference 31\">\u21a9\ufe0e<\/a><\/li><li id=\"61d26375-89b1-45a2-887c-55e024b64a5a\"><em>The Scott Arthur Family ca. 1920<\/em>, 1920, <em>Wikimedia Commons<\/em>, 1920, https:\/\/commons.wikimedia.org\/wiki\/File:Scott_Arthur_Family_1920.jpg. <a href=\"#61d26375-89b1-45a2-887c-55e024b64a5a-link\" aria-label=\"Jump to footnote reference 32\">\u21a9\ufe0e<\/a><\/li><li id=\"ac6a5822-817c-49d2-9844-90df62b66f12\">\u00a0\u201cMoving North, Heading West: African Immigration and Relocation in U.S. History,\u201d The Library of Congress, accessed March 19, 2025, https:\/\/www.loc.gov\/classroom-materials\/immigration\/african\/moving-north-heading-west\/. <a href=\"#ac6a5822-817c-49d2-9844-90df62b66f12-link\" aria-label=\"Jump to footnote reference 33\">\u21a9\ufe0e<\/a><\/li><li id=\"ed6da428-961f-46f7-b13b-b10886b88452\">\u00a0\u201cThe Great Migration and The Harlem Renaissance,\u201d Press Books, accessed March 19, 2025, https:\/\/open.baypath.edu\/his115\/chapter\/the-great-migration-and-the-harlem-renaissance\/. <a href=\"#ed6da428-961f-46f7-b13b-b10886b88452-link\" aria-label=\"Jump to footnote reference 34\">\u21a9\ufe0e<\/a><\/li><li id=\"ecdace94-9f4d-4930-89f8-533682689dc2\">\u00a0Rachel Farebrother and Miriam Thaggert, <em>A History of the Harlem Renaissance<\/em> (Cambridge, United Kingdom: Cambridge University Press, 2021), 345. <a href=\"#ecdace94-9f4d-4930-89f8-533682689dc2-link\" aria-label=\"Jump to footnote reference 35\">\u21a9\ufe0e<\/a><\/li><li id=\"9d06853e-cebb-493e-8e39-687c5bed6125\">\u00a0Farebrother and Thaggert, <em>A History of the Harlem Renaissance<\/em>, 351. <a href=\"#9d06853e-cebb-493e-8e39-687c5bed6125-link\" aria-label=\"Jump to footnote reference 36\">\u21a9\ufe0e<\/a><\/li><\/ol>\n\n\n<h5 class=\"wp-block-heading\">Bibliography<\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">Brown, Elspeth H. \u201cThe Commodification of Aesthetic Feeling: Race, Sexuality, and the 1920s Stage Model.\u201d <em>Feminist Studies<\/em> 40, no. 1 (2014): 65\u201397. https:\/\/doi.org\/10.1353\/fem.2014.0003.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cColorism During the New Negro Movement: Cotton Club.\u201d CUNY Academic Commons, 2025. https:\/\/colorism.commons.gc.cuny.edu\/cotton-club\/.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe Cotton Club (NYC) Opens.\u201d African American Registry, December 4, 2024. https:\/\/aaregistry.org\/story\/the-cotton-club-opens\/.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Cotton Club 1930<\/em>. <em>Wikimedia Commons<\/em>. The New Movie Magazine, 1930. https:\/\/commons.wikimedia.org\/wiki\/File:Cotton_Club_1930.jpg.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dumenil, Lynn. <em>The modern Temper: American Culture and Society in the 1920s<\/em>. Edited by Eric Foner. New York, NY: Hill and Wang, 1995.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Fan from the Cotton Club.<\/em> <em>Curationist<\/em>. National Museum of African American History and Culture, 1923. https:\/\/www.curationist.org\/works\/work-smith-nmaahc_2013.223.40.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Farebrother, Rachel, and Miriam Thaggert. <em>A History of the Harlem Renaissance<\/em>. Cambridge, United Kingdom: Cambridge University Press, 2021.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>The Famous Cotton Club presents Dan Healy\u2019s Cotton Club on Parade with Cab Calloway and his famous Cotton Club Orchestra.<\/em> <em>JSTOR<\/em>. Schomburg Center for Research in Black Culture Photographs and Prints Division, 1925. https:\/\/www.jstor.org\/stable\/community.31816453.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gioia, Ted. <em>The History of Jazz<\/em>. 3rd ed. New York, NY: Oxford University Press, 2021.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe Great Migration and The Harlem Renaissance.\u201d Press Books. Accessed March 19, 2025. https:\/\/open.baypath.edu\/his115\/chapter\/the-great-migration-and-the-harlem-renaissance\/.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Johnson, Aaron J. \u201cA Date With The Duke: Ellington on Radio.\u201d <em>The Musical Quarterly<\/em> 96, no. 3\u20134 (November 19, 2013): 369\u2013405. https:\/\/doi.org\/10.1093\/musqtl\/gdt014.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kerr, Audrey Elisa. \u201cThe Paper Bag Principle: Of the Myth and the Motion of Colorism.\u201d <em>Journal of American Folklore<\/em>118, no. 469 (June 2005): 271\u201389. https:\/\/doi.org\/10.1353\/jaf.2005.0031.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Little, Colony. \u201cA Tale of Two Harlems: The Legacy of Jazz and Racism at the Cotton Club.\u201d Curationist, July 2022. https:\/\/www.curationist.org\/editorial-features\/article\/a-tale-of-two-harlems:-the-legacy-of-jazz-and-racism-at-the-cotton-club.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Matlin, Daniel. \u201c\u2018Something Part, Yet an Integral Part\u2019: Duke Ellington\u2019s Harlem and the Nexus of Race and Nation.\u201d Cambridge University Press, February 8, 2021. https:\/\/www.cambridge.org\/core\/journals\/modern-intellectual-history\/article\/something-apart-yet-an-integral-part-duke-ellingtons-harlem-and-the-nexus-of-race-and-nation\/46B58AEB337443073C1A7D3102E259A1.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Maryanski, Maureen. \u201cThe Aristocrat of Harlem: The Cotton Club.\u201d The New York Historical, February 17, 2016. https:\/\/www.nyhistory.org\/blogs\/the-aristocrat-of-harlem-the-cotton-club.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Maude Russel At The Cotton Club<\/em>. <em>Getty Images<\/em>. Michael Ochs Archives, 1929.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moos Pick, Margaret. \u201cA Night at the Cotton Club: Music of Duke Ellington, Harold Arlen &amp; Cab Calloway.\u201d Riverwalk Jazz, 1997. https:\/\/riverwalkjazz.stanford.edu\/program\/night-cotton-club-music-duke-ellington-harold-arlen-cab-calloway.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cMoving North, Heading West: African Immigration and Relocation in U.S. History.\u201d The Library of Congress. Accessed March 19, 2025. https:\/\/www.loc.gov\/classroom-materials\/immigration\/african\/moving-north-heading-west\/.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Osofsky, Gilbert. \u201cSymbols of the Jazz Age: The New Negro and Harlem Discovered.\u201d <em>American Quarterly<\/em> 17, no. 2 (Summer 1965): 229\u201338. https:\/\/doi.org\/10.2307\/2711356.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>The Scott Arthur Family ca. 1920<\/em>. 1920. <em>Wikimedia Commons<\/em>. https:\/\/commons.wikimedia.org\/wiki\/File:Scott_Arthur_Family_1920.jpg.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cSues Harlem Jim Crow Cabaret.\u201d <em>The Afro-American<\/em>. July 16, 1927. https:\/\/www.newspapers.com\/image\/1134157240\/?match=1&amp;terms=%22Louis%20Armstrong%22%20%22cotton%20club%22.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tatna, Meher. \u201cThe Cotton Club.\u201d Golden Globes, February 16, 2023. https:\/\/goldenglobes.com\/articles\/cotton-club\/.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Townsend, Laura. \u201cHow Duke Ellington Used His Appearance to Subvert Racist Stereotypes, and Other Ways He Fought Racism.\u201d PBS, July 12, 2022. https:\/\/www.pbs.org\/wnet\/americanmasters\/how-duke-ellington-used-his-appearance-to-subvert-racist-stereotypes-and-other-ways-he-fought-racism\/17385\/.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Womack, Malcolm. \u201cHarlem Holiday: The Cotton Club, 1925-1940.\u201d <em>University of Washington University Libraries<\/em>, 2013. http:\/\/hdl.handle.net\/1773\/23357.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Winter, Elizabeth. \u201cCotton Club of Harlem (1923- ).\u201d BlackPast, December 17, 2007. https:\/\/www.blackpast.org\/african-american-history\/cotton-club-harlem-1923\/.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>What Was the Cotton Club? The Cotton Club was the most popular nightclub in Harlem during the 1920s, emerging at the height of the Jazz Age and the Harlem Renaissance.&hellip;<\/p>\n","protected":false},"author":32,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"[{\"id\":\"6039b312-f2b1-4e8e-9502-bda8971f7027\",\"content\":\"\\u00a0Maureen Maryanski, \\u201cThe Aristocrat of Harlem: The Cotton Club,\\u201d The New York Historical, February 17, 2016, https:\\\/\\\/www.nyhistory.org\\\/blogs\\\/the-aristocrat-of-harlem-the-cotton-club.\"},{\"id\":\"1f49e117-e931-4199-aa1a-b7a826e632f9\",\"content\":\"Ted Gioia, <em>The History of Jazz<\\\/em>, 3rd ed. (New York, NY: Oxford University Press, 2021), 149.\"},{\"id\":\"9a841657-8e34-4244-92f9-de957e2c08b7\",\"content\":\"<em>Cotton Club 1930<\\\/em>, <em>Wikimedia Commons<\\\/em> (The New Movie Magazine, 1930), https:\\\/\\\/commons.wikimedia.org\\\/wiki\\\/File:Cotton_Club_1930.jpg.\"},{\"id\":\"1914aa3b-fe36-47c0-87ca-32b6e0ff73d9\",\"content\":\"\\u201cThe Cotton Club (NYC) Opens,\\u201d African American Registry, December 4, 2024, https:\\\/\\\/aaregistry.org\\\/story\\\/the-cotton-club-opens\\\/.\"},{\"id\":\"a46b7047-46fe-4ed3-8d9a-0af0530807ac\",\"content\":\"Margaret Moos Pick, \\u201cA Night at the Cotton Club: Music of Duke Ellington, Harold Arlen &amp; Cab Calloway,\\u201d Riverwalk Jazz, 1997, https:\\\/\\\/riverwalkjazz.stanford.edu\\\/program\\\/night-cotton-club-music-duke-ellington-harold-arlen-cab-calloway.\"},{\"id\":\"e2baca34-47a3-491c-bed7-032923b1d0e0\",\"content\":\"\\u00a0\\u201cThe Cotton Club (NYC) Opens.\\u201d\"},{\"id\":\"933ae3ce-80a2-4b37-ad56-1942446c1fc8\",\"content\":\"\\u00a0Elizabeth Winter, \\u201cCotton Club of Harlem (1923- ),\\u201d BlackPast, December 17, 2007, https:\\\/\\\/www.blackpast.org\\\/african-american-history\\\/cotton-club-harlem-1923\\\/.\"},{\"id\":\"cd2ea061-4f37-43e0-ab0e-de9be7210dea\",\"content\":\"\\u00a0Moos Pick, \\u201cA Night at the Cotton Club.\\u201d\"},{\"id\":\"d072c484-8736-447c-b24c-13207ea37d84\",\"content\":\"\\u00a0Aaron J. Johnson, \\u201cA Date With The Duke: Ellington on Radio,\\u201d <em>The Musical Quarterly<\\\/em> 96, no. 3\\u20134 (November 19, 2013): 369\\u2013405, https:\\\/\\\/doi.org\\\/10.1093\\\/musqtl\\\/gdt014, 375.\"},{\"id\":\"04d282ca-baa3-4b83-8b97-a89447b93567\",\"content\":\"\\u00a0Daniel Matlin, \\u201c\\u2018Something Part, Yet an Integral Part\\u2019: Duke Ellington\\u2019s Harlem and the Nexus of Race and Nation,\\u201d Cambridge University Press, February 8, 2021, https:\\\/\\\/www.cambridge.org\\\/core\\\/journals\\\/modern-intellectual-history\\\/article\\\/something-apart-yet-an-integral-part-duke-ellingtons-harlem-and-the-nexus-of-race-and-nation\\\/46B58AEB337443073C1A7D3102E259A1.\"},{\"id\":\"23182f4a-1d2e-4c01-9b7a-5d47fc357759\",\"content\":\"\\u00a0Johnson, \\u201cA Date With The Duke,\\u201d 369-370.\"},{\"id\":\"f6d36aa5-276f-4cd0-b79f-4a4c5adb321e\",\"content\":\"\\u00a0Johnson, \\u201cA Date With The Duke,\\u201d 380.\"},{\"id\":\"f14c7d31-0df2-4bc6-ac07-015f2815f8d9\",\"content\":\"\\u00a0Laura Townsend, \\u201cHow Duke Ellington Used His Appearance to Subvert Racist Stereotypes, and Other Ways He Fought Racism,\\u201d PBS, July 12, 2022, https:\\\/\\\/www.pbs.org\\\/wnet\\\/americanmasters\\\/how-duke-ellington-used-his-appearance-to-subvert-racist-stereotypes-and-other-ways-he-fought-racism\\\/17385\\\/.\"},{\"id\":\"0fde4f55-9bdc-413e-9a33-77a99a8fd44f\",\"content\":\"\\u00a0Gioia, <em>The History of Jazz<\\\/em>, 150-154.\"},{\"id\":\"a21cef55-4312-4829-8e5a-0e0df4ffdd9d\",\"content\":\"\\u00a0Gioia, <em>The History of Jazz<\\\/em>, 156.\"},{\"id\":\"d8081afe-cd1e-487c-a486-f253d8612ef9\",\"content\":\"\\u00a0<em>The Famous Cotton Club Presents Dan Healy\\u2019s Cotton Club on Parade with Cab Calloway and His Famous Cotton Club Orchestra.<\\\/em>, <em>JSTOR<\\\/em> (Schomburg Center for Research in Black Culture Photographs and Prints Division, 1925), https:\\\/\\\/www.jstor.org\\\/stable\\\/community.31816453.\"},{\"id\":\"e137c776-31c9-4bd4-a7a3-c5c8c6d38ad5\",\"content\":\"\\u00a0Gilbert Osofsky, \\u201cSymbols of the Jazz Age: The New Negro and Harlem Discovered,\\u201d <em>American Quarterly<\\\/em> 17, no. 2 (Summer 1965): 229\\u201338, https:\\\/\\\/doi.org\\\/10.2307\\\/2711356, 235.\"},{\"id\":\"c763b30f-98ee-4cc2-9cfb-a67258438d0a\",\"content\":\"\\u00a0Malcolm Womack, \\u201cHarlem Holiday: The Cotton Club, 1925-1940,\\u201d <em>University of Washington University Libraries <\\\/em>(dissertation, 2013), http:\\\/\\\/hdl.handle.net\\\/1773\\\/23357, 102.\"},{\"id\":\"18f5e308-cb4e-430c-a5e8-a014d24f7d02\",\"content\":\"\\u00a0Womack, \\u201cHarlem Holiday,\\u201d 110-111.\"},{\"id\":\"cca2a9b2-4391-4869-8813-0c8bd870c139\",\"content\":\"\\u00a0\\u201cSues Harlem Jim Crow Cabaret,\\u201d <em>The Afro-American<\\\/em>, July 16, 1927, https:\\\/\\\/www.newspapers.com\\\/image\\\/1134157240\\\/?match=1&amp;terms=%22Louis%20Armstrong%22%20%22cotton%20club%22.\"},{\"id\":\"febdfdb9-62bd-4ea8-936e-dbc3762137af\",\"content\":\"\\u00a0Elspeth H. Brown, \\u201cThe Commodification of Aesthetic Feeling: Race, Sexuality, and the 1920s Stage Model,\\u201d <em>Feminist Studies<\\\/em> 40, no. 1 (2014): 65\\u201397, https:\\\/\\\/doi.org\\\/10.1353\\\/fem.2014.0003, 65-68.\"},{\"id\":\"3210f857-9680-4223-9ec9-93ac048a366b\",\"content\":\"\\u00a0<em>Maude Russel At The Cotton Club<\\\/em>, <em>Getty Images<\\\/em> (Michael Ochs Archives, 1929).\"},{\"id\":\"3976847d-254f-4f27-b9e1-41abee4b78e1\",\"content\":\"\\u00a0Brown, \\u201cThe Commodification of Aesthetic Feeling,\\u201d 89.\"},{\"id\":\"537ae283-a27c-4c4d-98e4-42f527ed31fc\",\"content\":\"\\u00a0Lynn Dumenil, <em>The Modern Temper: American Culture and Society in the 1920s<\\\/em>, ed. Eric Foner (New York, NY: Hill and Wang, 1995), 139.\"},{\"id\":\"55e08501-9ef4-4e6c-b5cb-00fd76c045f2\",\"content\":\"<em>Fan from the Cotton Club.<\\\/em>, <em>Curationist<\\\/em> (National Museum of African American History and Culture, 1923), https:\\\/\\\/www.curationist.org\\\/works\\\/work-smith-nmaahc_2013.223.40.\"},{\"id\":\"387b6414-6f12-418f-b5a8-8388c33fea77\",\"content\":\"\\u00a0\\u201cColorism During the New Negro Movement: Cotton Club,\\u201d CUNY Academic Commons, 2025, https:\\\/\\\/colorism.commons.gc.cuny.edu\\\/cotton-club\\\/.\"},{\"id\":\"fca128c7-4fb3-4f9e-9488-803458e75940\",\"content\":\"Audrey Elisa Kerr, \\u201cThe Paper Bag Principle: Of the Myth and the Motion of Colorism,\\u201d <em>Journal of American Folklore<\\\/em>118, no. 469 (June 2005): 271\\u201389, https:\\\/\\\/doi.org\\\/10.1353\\\/jaf.2005.0031, 283.\"},{\"id\":\"dfac7028-13b1-40d5-9605-7f2c863b1a7b\",\"content\":\"Audrey Elisa Kerr, \\u201cThe Paper Bag Principle: Of the Myth and the Motion of Colorism,\\u201d <em>Journal of American Folklore<\\\/em>118, no. 469 (June 2005): 271\\u201389, https:\\\/\\\/doi.org\\\/10.1353\\\/jaf.2005.0031, 277-279.\"},{\"id\":\"b52f6ff0-7aa5-4341-9820-8de5555f2d81\",\"content\":\"Maureen Maryanski, \\u201cThe Aristocrat of Harlem: The Cotton Club,\\u201d The New York Historical, February 17, 2016, https:\\\/\\\/www.nyhistory.org\\\/blogs\\\/the-aristocrat-of-harlem-the-cotton-club.\"},{\"id\":\"d55efb94-005f-4e81-8114-2755fdd95079\",\"content\":\"\\u00a0Meher Tatna, \\u201cThe Cotton Club,\\u201d Golden Globes, February 16, 2023, https:\\\/\\\/goldenglobes.com\\\/articles\\\/cotton-club\\\/.\"},{\"id\":\"4029b9be-1e53-4b8b-9572-b85f9f64d0b1\",\"content\":\"Colony Little, \\u201cA Tale of Two Harlems: The Legacy of Jazz and Racism at the Cotton Club,\\u201d Curationist, July 2022, https:\\\/\\\/www.curationist.org\\\/editorial-features\\\/article\\\/a-tale-of-two-harlems:-the-legacy-of-jazz-and-racism-at-the-cotton-club.\"},{\"id\":\"61d26375-89b1-45a2-887c-55e024b64a5a\",\"content\":\"<em>The Scott Arthur Family ca. 1920<\\\/em>, 1920, <em>Wikimedia Commons<\\\/em>, 1920, https:\\\/\\\/commons.wikimedia.org\\\/wiki\\\/File:Scott_Arthur_Family_1920.jpg.\"},{\"id\":\"ac6a5822-817c-49d2-9844-90df62b66f12\",\"content\":\"\\u00a0\\u201cMoving North, Heading West: African Immigration and Relocation in U.S. History,\\u201d The Library of Congress, accessed March 19, 2025, https:\\\/\\\/www.loc.gov\\\/classroom-materials\\\/immigration\\\/african\\\/moving-north-heading-west\\\/.\"},{\"id\":\"ed6da428-961f-46f7-b13b-b10886b88452\",\"content\":\"\\u00a0\\u201cThe Great Migration and The Harlem Renaissance,\\u201d Press Books, accessed March 19, 2025, https:\\\/\\\/open.baypath.edu\\\/his115\\\/chapter\\\/the-great-migration-and-the-harlem-renaissance\\\/.\"},{\"id\":\"ecdace94-9f4d-4930-89f8-533682689dc2\",\"content\":\"\\u00a0Rachel Farebrother and Miriam Thaggert, <em>A History of the Harlem Renaissance<\\\/em> (Cambridge, United Kingdom: Cambridge University Press, 2021), 345.\"},{\"id\":\"9d06853e-cebb-493e-8e39-687c5bed6125\",\"content\":\"\\u00a0Farebrother and Thaggert, <em>A History of the Harlem Renaissance<\\\/em>, 351.\"}]"},"categories":[5,43,15,42,134,14,34],"tags":[56,64],"class_list":["post-3741","post","type-post","status-publish","format-standard","hentry","category-5","category-african-americans","category-entertainment","category-essays","category-music","category-race-ralations","category-women","tag-essays","tag-jazz"],"_links":{"self":[{"href":"https:\/\/dh-wordpress.ramapo.edu\/discovering1920s\/wp-json\/wp\/v2\/posts\/3741","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dh-wordpress.ramapo.edu\/discovering1920s\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dh-wordpress.ramapo.edu\/discovering1920s\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dh-wordpress.ramapo.edu\/discovering1920s\/wp-json\/wp\/v2\/users\/32"}],"replies":[{"embeddable":true,"href":"https:\/\/dh-wordpress.ramapo.edu\/discovering1920s\/wp-json\/wp\/v2\/comments?post=3741"}],"version-history":[{"count":0,"href":"https:\/\/dh-wordpress.ramapo.edu\/discovering1920s\/wp-json\/wp\/v2\/posts\/3741\/revisions"}],"wp:attachment":[{"href":"https:\/\/dh-wordpress.ramapo.edu\/discovering1920s\/wp-json\/wp\/v2\/media?parent=3741"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dh-wordpress.ramapo.edu\/discovering1920s\/wp-json\/wp\/v2\/categories?post=3741"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dh-wordpress.ramapo.edu\/discovering1920s\/wp-json\/wp\/v2\/tags?post=3741"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}