{"title":"纽约的黑鸟","authors":"C. Hill","doi":"10.1093/oso/9780197523971.003.0003","DOIUrl":null,"url":null,"abstract":"This chapter narrates the performances of the Nicholas Kids/Nicholas Brothers in various contexts including Pie, Pie, Blackbird, a Vitaphone short subject film featuring Eubie Blake and his jazz orchestra, and the twenty-first edition of the Cotton Club Parade with Cab Calloway and His Cotton Club Orchestra. The Cotton Club became home base for the Nicholases, despite the strict segregation of the races (all performers black, clientele white) and afforded them the opportunity to hone their musical routines under the auspices of Cab Calloway and Duke Ellington’s bands.","PeriodicalId":387827,"journal":{"name":"Brotherhood in Rhythm","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2021-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Blackbirds in New York\",\"authors\":\"C. Hill\",\"doi\":\"10.1093/oso/9780197523971.003.0003\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This chapter narrates the performances of the Nicholas Kids/Nicholas Brothers in various contexts including Pie, Pie, Blackbird, a Vitaphone short subject film featuring Eubie Blake and his jazz orchestra, and the twenty-first edition of the Cotton Club Parade with Cab Calloway and His Cotton Club Orchestra. The Cotton Club became home base for the Nicholases, despite the strict segregation of the races (all performers black, clientele white) and afforded them the opportunity to hone their musical routines under the auspices of Cab Calloway and Duke Ellington’s bands.\",\"PeriodicalId\":387827,\"journal\":{\"name\":\"Brotherhood in Rhythm\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-08-26\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Brotherhood in Rhythm\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/oso/9780197523971.003.0003\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Brotherhood in Rhythm","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780197523971.003.0003","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
This chapter narrates the performances of the Nicholas Kids/Nicholas Brothers in various contexts including Pie, Pie, Blackbird, a Vitaphone short subject film featuring Eubie Blake and his jazz orchestra, and the twenty-first edition of the Cotton Club Parade with Cab Calloway and His Cotton Club Orchestra. The Cotton Club became home base for the Nicholases, despite the strict segregation of the races (all performers black, clientele white) and afforded them the opportunity to hone their musical routines under the auspices of Cab Calloway and Duke Ellington’s bands.
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