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Bill "Bojangles" Robinson [biography]
Dates: 1878-1949
Birth Date: May 25, 1878
Death Date: Nov 25, 1949
Place of Birth: Richmond, Virginia
Place of Death: New York, New York
Bill "Bojangles" Robinson, the most famous and beloved of tap dancers in the first half of the twentieth century who claimed he could run backward faster than most men could go forward, was born Luther Robinson in Richmond, Virginia. His father Maxwell Robinson was a machinist and his mother Maria was a choir singer; both parents died in 1885 and young Bill was reared by his grandmother, Bedilia Robinson, who had been a slave. In Richmond, he got the nickname "Bojangles" from "jangler," meaning contentious, and invented the phrase "Everything's Copasetic," meaning tip-top. He got his first professional job in 1892, performing as a member of the pickaninny chorus for Mayme Remington with The South Before the War. When Robinson arrived in New York around 1900, he challenged the In Old Kentucky star tap dancer Harry Swinton to a Buck-dancing contest and won. From 1902-1914, he teamed with George W. Cooper. Bound by the "two-colored" rule in vaudeville, which restricted blacks to performing in pairs, they performed together on the Keith and Orpheum circuits—but did not wear blackface makeup that performers customarily used. In the first decade of the 20th century, it was still common for performers to get laughs by using racial and ethnic epithets (Mick and Tad for the Irish; Shenny, Kike, or Goniff to Jews, Coon or Nigger when referring to African Americans). When ordinances were passed in Boston and New York City banning such epithets from the stage, it is believed that this was due in part to Cooper and Robinson's singing of a song written by Chris Smith called "Yoi Yoi Yoi, Mary Ann" in a heavily burlesqued supposed Jewish accent; which many believe sped up the passage of the ordinances against such epithets on stage. Tom Fletcher says that Robinson's own schrewdness in meeting and overcoming racial and religious prejudice helped strengthen a suspicion that the number was introduced for that purpose.
Robinson was a staunch professional, but he was also a gambler who possessed a quick temper and carried a gold-plated revolver. An assault charge in 1915 split the act. After the split, Robinson launched his solo career, becoming one of the few African-Americans to headline at New York's prestigious Palace Theatre. Robinson's Stair Dance, introduced in 1918, was distinguished by its showmanship and sound, each step emitting a different pitch and rhythm. Onstage, his open face, twinkling eyes and infectious smile were irresistible, as was his tapping, which was delicate and clear. Buck or Time Steps were inserted with skating steps or crossover steps on the balls of the feet that looked like a jig, all while he chatted and joked with the audience. Robinson danced in split clog shoes, ordinary shoes with a wooden half-sole and raised wooden heel. The wooden sole was attached from the toe to the ball of the foot and left loose, which allowed for greater flexibility and tonality. In 1922, he married Fannie Clay who became his business manager, secretary, and partner in efforts to fight the barriers of racial prejudice. A founding member of the Negro Actors Guild of America, Robinson was also named "Mayor of Harlem" in 1933. Hailed as "The Dark Cloud of Joy" on the Orpheum Circuit, he performed in vaudeville from 1914-1927 without a single season's layoff. Broadway fame came with the all-black revue, Blackbirds of 1928, in which he sang and danced "Doin' the New Low Down." Success was instantaneous. He was hailed as the greatest of all dancers by at least seven New York newspapers. Brown Buddies (1930), Blackbirds of 1933, All in Fun (1940) and Memphis Bound (1945) followed. The Hot Mikado (1939) marked Robinson's sixty-first birthday, which he celebrated by dancing down Broadway, one block for each year.
Robinson turned to Hollywood films in the thirties, a venue hitherto restricted to blacks. His first film, Dixiana (1930) had a predominantly white cast; Harlem is Heaven (1933) was the first all-black film ever made. Other films include Hooray For Love (1935), In Old Kentucky (1935), The Big Broadcast of 1936 (1935), One Mile From Heaven (1937), By An Old Southern River (1941), and Let's Shuffle (1941). Stormy Weather (1943) featured Robinson, Lena Horne, Cab Calloway and Katherine Dunham and her dance troupe. Robinson and Shirley Temple teamed up in The Little Colonel (1935), The Littlest Rebel (1935), Just Around the Corner (1938) and Rebecca of Sunnybrook Farm (1938), in which he taught the child superstar to tap dance. Claiming to have taught tap dance to Eleanor Powell, Florence Mills, and Fred Astaire, Robinson profoundly influenced the younger tap dancers at the Hoofers Club in Harlem, where he also could be found gambling and shooting pool. Throughout his lifetime, he was a member of many clubs and civic organizations and an honorary member of police departments in cities across the United States. His participation in benefits is legendary and it is estimated that he gave away well over one million dollars in loans and charities. "To his own people, Robinson became a modern John Henry, who instead of driving steel, laid down iron taps," wrote Marshall Stearns. When Robinson died on November 25, 1949, newspapers claimed that almost one-hundred thousand people turned out to witness the passing of the funeral procession/one million people lined the streets of New York in silent tribute as his boy moved to Evergreen Cemetery in Brooklyn. The founding of the Copasetics Club insured that his excellence would not be forgotten. Robinson's style of dancing upright and swinging, his light and exacting footwork brought tap "up on its toes" from an earlier flat-footed shuffling style, developed the art of tap dancing to a delicate perfection.
[Sources: Marshall and Jean Stearns, Jazz Dance: The Story of American Vernacular Dance, 1968; Mitgang and Haskins Mr. Bojangles; "Bill Robinson," New York Daily News January 9, 1931, in Henry T. Sampson, Swingin' on the Etherwaves, A Chronological History of Blacks in Show Business, 1865-1910 (1988); Tom Fletcher, 100 Years of the Negro in Entertainment (1954)]