NEW YORK—Once again, Harlem’s legendary Apollo Theater is in the spotlight—but of a different kind. The iconic cultural landmark is the theme of “Ain’t Nothing Like the Real Thing” exhibition at the Museum of the City of New York. For many visitors, it feels like taking a trip down memory lane.
“Ain’t Nothing Like the Real Thing” depicts the story of the Apollo Theater and the pantheon of stars whose careers were launched and advanced on its stage.
The exhibition portrays how the Apollo Theater has shaped American entertainment and the cultural landscape like no other theater in New York City. It explores the theater’s history and intricate tapestry of influence on African-American music, entertainment, and on popular culture.
Visitors are in for a surprise when they enter the dimly lit hall adorned with an impressive display of artifacts, costumes, informational text, videos, and wall posters that fuse the past with the present and future.
Many spent an entire afternoon totally immersed in the display of artifacts, reliving the past. “I like the exhibition. I remember many of these people. I saw many of them,” said Fred Renwick, 81, retired New York University (NYU) professor of finance.
What struck Renwick the most was that “it’s accurate, factual, and complete.” A smiling Renwick said, “I enjoyed it. I like it, ... brings back good memories.”
Using a variety of formats the exhibit conveys the history of the theater from 1914 to the present. Highlights of the exhibit include accessories, costumes, musical instruments, photographs, recordings, video snippets, record album covers, and other artifacts of well-known performers such as Ella Fitzgerald, Dizzy Gillespie, James Brown, Michael Jackson, Miles Davies, Pearl Bailey, and Sammy Davis Jr.
The pictures, photos, and text in the exhibit are paired with videos and music to illustrate the history of the theater and the intertwining link between entertainment, cultural, and social changes in the United States.
It “tells a story of great diversity in terms of the development of talents and it brings the performers to life,” said professor Carlo Lamagna from NYU Steinhardt School of Culture, Education, and Human Development.
Lamagna, who teaches exhibition and display of art and material culture, and visual arts administration, commented, “They did a very nice job of the exhibit, the pictures and text, which is traditional exhibition format, objects, videos with music, which brings the performers to life.”
“Having the objects there personalize it for the viewers because it belongs to real people. They are authentic. … They have an immediacy. There’s a kind of different contact point with the history of Apollo,” added Lamagna.
“Ain’t Nothing Like the Real Thing” depicts the story of the Apollo Theater and the pantheon of stars whose careers were launched and advanced on its stage.
The exhibition portrays how the Apollo Theater has shaped American entertainment and the cultural landscape like no other theater in New York City. It explores the theater’s history and intricate tapestry of influence on African-American music, entertainment, and on popular culture.
Visitors are in for a surprise when they enter the dimly lit hall adorned with an impressive display of artifacts, costumes, informational text, videos, and wall posters that fuse the past with the present and future.
Many spent an entire afternoon totally immersed in the display of artifacts, reliving the past. “I like the exhibition. I remember many of these people. I saw many of them,” said Fred Renwick, 81, retired New York University (NYU) professor of finance.
What struck Renwick the most was that “it’s accurate, factual, and complete.” A smiling Renwick said, “I enjoyed it. I like it, ... brings back good memories.”
Using a variety of formats the exhibit conveys the history of the theater from 1914 to the present. Highlights of the exhibit include accessories, costumes, musical instruments, photographs, recordings, video snippets, record album covers, and other artifacts of well-known performers such as Ella Fitzgerald, Dizzy Gillespie, James Brown, Michael Jackson, Miles Davies, Pearl Bailey, and Sammy Davis Jr.
The pictures, photos, and text in the exhibit are paired with videos and music to illustrate the history of the theater and the intertwining link between entertainment, cultural, and social changes in the United States.
It “tells a story of great diversity in terms of the development of talents and it brings the performers to life,” said professor Carlo Lamagna from NYU Steinhardt School of Culture, Education, and Human Development.
Lamagna, who teaches exhibition and display of art and material culture, and visual arts administration, commented, “They did a very nice job of the exhibit, the pictures and text, which is traditional exhibition format, objects, videos with music, which brings the performers to life.”
“Having the objects there personalize it for the viewers because it belongs to real people. They are authentic. … They have an immediacy. There’s a kind of different contact point with the history of Apollo,” added Lamagna.
The Apollo Theater
Celebrating its 75th anniversary last year, the Apollo Theater is not only an enduring historic treasure of Harlem, New York City, and America; the nonprofit institution has become an embodiment of pride and luminosity of American artistic achievements.
Aptly named after the Greek god of music, poetry, and art, the Apollo is a symbol of dreams for many aspiring musicians and performers—the place where stars are born and legends are made.
Deputy Director and Chief Curator of the Museum of the City of New York Sarah Henry reminisced how the theater itself is a legend. “And it is legend not only because of the extraordinary people who have performed there. It is unbelievable when you see the range. But also because it’s really been both a reflection of and a cause of change in American entertainment, American culture, and I think you can say in American history.”
The Apollo Theater embodies the story of American culture in one place. According to Henry, there is no story that captures those characteristics of New York like the Apollo Theater.
“So if you want to understand how American social, political, and cultural history has unfolded in the 20th century, you can learn a lot about it through the lens of the Apollo Theater,” said Henry who completed her doctorate in U.S. history.
Visitors to the museum also shared this sentiment. Lamagna commented, “It is a moving history, a history of triumph and struggle: it is history of Americans in music … looking at the Apollo Theater as a lens for social and political development or progress of African-Americans. It looks at the development of African-Americans through music, going from entertainment that appeals to African-Americans and how it goes across to mainstream culture.”
Others were equally astounded at the interwoven story between the theater and its performers. “It’s brilliant. There is a whole lot more history to the Apollo that I realize. It’s such an iconic brand,” said Carla Nairn, an accountant from the U.K.
“[There] is so much more to it than what we see in the U.K. So many famous people that we know … we didn’t realize that they started their career at the Apollo!” said husband Andrew Nairn.
Next: Diary of the Table of Apollo
Aptly named after the Greek god of music, poetry, and art, the Apollo is a symbol of dreams for many aspiring musicians and performers—the place where stars are born and legends are made.
Deputy Director and Chief Curator of the Museum of the City of New York Sarah Henry reminisced how the theater itself is a legend. “And it is legend not only because of the extraordinary people who have performed there. It is unbelievable when you see the range. But also because it’s really been both a reflection of and a cause of change in American entertainment, American culture, and I think you can say in American history.”
The Apollo Theater embodies the story of American culture in one place. According to Henry, there is no story that captures those characteristics of New York like the Apollo Theater.
“So if you want to understand how American social, political, and cultural history has unfolded in the 20th century, you can learn a lot about it through the lens of the Apollo Theater,” said Henry who completed her doctorate in U.S. history.
Visitors to the museum also shared this sentiment. Lamagna commented, “It is a moving history, a history of triumph and struggle: it is history of Americans in music … looking at the Apollo Theater as a lens for social and political development or progress of African-Americans. It looks at the development of African-Americans through music, going from entertainment that appeals to African-Americans and how it goes across to mainstream culture.”
Others were equally astounded at the interwoven story between the theater and its performers. “It’s brilliant. There is a whole lot more history to the Apollo that I realize. It’s such an iconic brand,” said Carla Nairn, an accountant from the U.K.
“[There] is so much more to it than what we see in the U.K. So many famous people that we know … we didn’t realize that they started their career at the Apollo!” said husband Andrew Nairn.
Next: Diary of the Table of Apollo
Diary of the Tale of Apollo
The Theater first opened its doors to the public in 1914 as Jules Hurtig and Harry Seamon’s New Burlesque Theater. It was acquired and renamed the 125th St. Apollo Theater in 1928 by William Minsky, a rival burlesque entertainment mogul.
By the end of the 1930s, the Apollo had become the place in New York to get the best entertainment in music, dance, and comedy at the affordable prices of 15 to 50 cents. It became Harlem’s venue for the best black entertainment, for not only black patrons, but also whites.
By the 1950s and 1960s, the popularity of black music at the Apollo helped to diminish seemingly impenetrable racial barriers. The appearance of high-profile white musicians such as Elvis Presley, Buddy Holly, and Mick Jagger at the Apollo further enhanced the crossing over of racial and cultural boundaries.
During the economic downturn in the 1970s the Apollo closed its doors from January 1976 to May 1978, and was almost demolished. However, by the end of 1980s, the Apollo was revived with the growth of the Harlem urban community. By the 1990s, the renovated theater had reaffirmed its historic identity and the 21st century marks the onset of new era for the Apollo.
A unique feature of the theater is Apollo’s Amateur night that includes Harlem residents both as performers and as audience members that act as talent judges. According to co-curator, Tuliza Fleming of the National Museum of African American Culture, amateur night distinguishes the Apollo from other theaters in New York.
“Ain’t Nothing Like the Real Thing” is organized by the Smithsonian’s National Museum of African American History in cooperation with the Apollo Theater. It is available for public viewing at the Museum of the City of New York until May 1.
By the end of the 1930s, the Apollo had become the place in New York to get the best entertainment in music, dance, and comedy at the affordable prices of 15 to 50 cents. It became Harlem’s venue for the best black entertainment, for not only black patrons, but also whites.
By the 1950s and 1960s, the popularity of black music at the Apollo helped to diminish seemingly impenetrable racial barriers. The appearance of high-profile white musicians such as Elvis Presley, Buddy Holly, and Mick Jagger at the Apollo further enhanced the crossing over of racial and cultural boundaries.
During the economic downturn in the 1970s the Apollo closed its doors from January 1976 to May 1978, and was almost demolished. However, by the end of 1980s, the Apollo was revived with the growth of the Harlem urban community. By the 1990s, the renovated theater had reaffirmed its historic identity and the 21st century marks the onset of new era for the Apollo.
A unique feature of the theater is Apollo’s Amateur night that includes Harlem residents both as performers and as audience members that act as talent judges. According to co-curator, Tuliza Fleming of the National Museum of African American Culture, amateur night distinguishes the Apollo from other theaters in New York.
“Ain’t Nothing Like the Real Thing” is organized by the Smithsonian’s National Museum of African American History in cooperation with the Apollo Theater. It is available for public viewing at the Museum of the City of New York until May 1.
