#Harlem nightclubs

[newyorkthegoldenage]

Duke Ellington at the piano with the Cotton Club orchestra, Harlem, 1931.

Photo: Amazon

[musicbabes]

Gjon Mili, Le Harlem Nightclub, 1947.

[gooutgr]

Fly Lo live • Harlem Athens 13/01 ☎️211.850.3680 @goout.gr • https://www.goout.gr/artist/fly-lo @fly_lo247 • https://www.goout.gr/venue/harlem-athens #harlem #club #athens #nightclub #live #stage #rnb #hiphop #party #athina #goout #gooutgr #event #ardittou44 #club #sexmeup #kratiseis #event #atlanta • https://www.goout.gr/blog/sex-me-up-rnb-party-club-summer-winter-gkazi • https://www.goout.gr/blog/sex-me-up-rnb-party (at Harlem Athens) https://www.instagram.com/p/CnL8v-koTwZ/?igshid=NGJjMDIxMWI=

[daryascurse]

selfishly I’m thrilled Kendrick has new music since it means I can listen to him without thinking of my ex and also walking around tokyo playing "you ain't really wild you a tourist" over and over

[menues]

palm cafe souvenir photo holder

[readyforevolution]

Though her troubles were catching up with her, Holiday’s final album brought an honest and instructive close to her career.

Released on MGM Records in 1959, Last Recording closed the chapter of Billie Holiday’s amazing career.

Despite a tumultuous life, Holiday somehow survived and found a path that led to singing in a Harlem nightclub, where she was discovered by John Hammond, who was struck by her ability to embellish and improvise a song’s melody. This led to a recording contract, and to her numerous iconic performances.

Though she emerged as a major voice in 20th century American jazz, Holiday faced the ongoing adversity of prejudice of that era where Whites-only restaurants, bathrooms, hotels, and entrances were a part of life in the South and beyond. Her feelings were deeply expressed in her 1954 release, “Strange Fruit,” which describes and protests the lynching of a Black man.

Originally titled Billie Holiday, Last Recording was recorded at the tragic end of her career, when substance abuse was taking its toll and affecting her natural gifts and physicality.

During the time of recording Holiday's health was taking its toll. Some say that she did not look like herself at all, and looked like a ghost of what she once was.

[shewhoworshipscarlin]

Olga (Ollie) Burgoyne

Olga “Ollie” Burgoyne, also known as Ollie Burgoyne-Calloway, was a singer and dancer specializing in Russian and other ethnic dances. She was also an actress and businesswoman who gained popularity during the Harlem Renaissance and left her mark as one of the most influential African American dancers and choreographers of that time.

Ollie Burgoyne was born in Chicago, Illinois, on June 13, 1879. She was part Russian and part Creole. Ollie’s cousin, Ida Forsain, toured Russia and specialized in Cossack dancing. Influenced by Forsain, Burgoyne debuted at age 17 in John Isham’s Oriental America nightclub in Chicago in 1896. In 1901, at age 22, she embarked on an eight-year tour of Europe (Germany, France, Denmark, Switzerland, Hungary, and Russia) with seven singing and dancing girls known as the Louisiana Amazon Guards.

In 1903, Burgoyne briefly returned to the United States and joined the cast of the operetta In Dahomey, which was the first African American musical to be performed on Broadway. After her performance, Burgoyne formed Duo Eclatant with partner Asher Watts. She also founded the Burgoyne Musical Company.

During her years in Russia (1904-1914), Burgoyne performed in many prestigious venues, including the Krestovskiy Garden Amusement Park (St. Petersburg) and the Aumont Theater (Moscow). She also made side trips to Odessa in what is now Ukraine, Athens, Greece, Istanbul, Turkey, and Cairo, Egypt. She opened the Maison Creole lingerie store in downtown St. Petersburg (Russia), where she employed a staff of 27. In August 1914, while Burgoyne was vacationing in Marienbad, Austria, World War I broke out, and she was unable to return to Russia and thus lost her businesses and properties there.

Between 1914 and 1929, Burgoyne continued to tour mainly in western Europe. Her specialties were Brazilian, Spanish, and Russian dances, which she mastered while traveling. She briefly returned to the United States during this period, where she performed in New York City, Chicago nightclubs, and Harlem’s Lafayette Theater. In 1925, Burgoyne produced two dance revues, Darktown Strutters, and Harlem Strutters, in New York. She also appeared in ten Broadway productions between 1926 and 1937.

In 1931, Ollie Burgoyne was named one of the eight major dancers and choreographers of the Harlem Renaissance, part of an elite group that also included Hemsley Winfield, Edna Guy, Randolph Sawyer, Asadata Dafora, Katherine Dunham, Charles Williams, and Pearl Primus. In April 1936, when Burgoyne was 57 years old, she appeared in the play Mississippi Rainbow, performed at the Lafayette Theater. In the later years of her life, Burgoyne taught dance and worked periodically in the film industry, starring in movies such as Laughing (1930) and The Timid Ghost (1937). With a career spanning nearly 50 years, Ollie Burgoyne died on April 2, 1974, in Oxnard, California, at the age of 95.

[richincolor]

Group Discussion Announcement: This Ravenous Fate

Our next group discussion is coming up next month with the New York Times Bestseller This Ravenous Fate by Hayley Dennings. Described as a vengeful Black lesbian vampire book set during the Harlem Renaissance, this book is one that we did not want to miss. We’ll be reading in the next few weeks and we’ll post our discussion on September 19th. We’d love to have you read along and share your thoughts with us.

Publisher Summary: The first book in a decadent fantasy duology set in Jazz Age Harlem, where at night the dance halls come to life—and death waits in the dark.

It’s 1926 and reapers, the once-human vampires with a terrifying affliction, are on the rise in New York. But the Saint family’s thriving reaper-hunting enterprise holds reign over the city, giving them more power than even the organized criminals who run the nightclubs. Eighteen year-old Elise Saint, home after five years in Paris, is the reluctant heir to the empire. Only one thing weighs heavier on Elise’s mind than her family obligations: the knowledge that the Harlem reapers want her dead.

Layla Quinn is a young reaper haunted by her past. Though reapers have existed in America for three centuries, created by New World atrocities and cruel experiments, Layla became one just five years ago. The night she was turned, she lost her parents, the protection of the Saints, and her humanity, and she’ll never forget how Elise Saint betrayed her.

But some reapers are inexplicably turning part human again, leaving a wake of mysterious and brutal killings. When Layla is framed for one of these attacks, the Saint patriarch offers her a deal she can’t refuse: to work with Elise to investigate how these murders might be linked to shocking rumors of a reaper cure. Once close friends, now bitter enemies, Elise and Layla explore the city’s underworld, confronting their intense feelings for one another and uncovering the sinister truths about a growing threat to reapers and humans alike.

Content warnings: Scenarios involving emotional abuse, obsessive compulsive disorder, anxiety, suicidal ideation, violence, murder, and mentions of a race massacre.

Get a teaser of the audio here:

You can listen in on a chat with the author to learn more:

[singonavine71]

Billie Holiday (born Eleanora Fagan; April 7, 1915 – July 17, 1959) was an American jazz and swing music singer. Nicknamed "Lady Day" by her friend and music partner, Lester Young, Holiday had an innovative influence on jazz music and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo. She was known for her vocal delivery and improvisational skills. Holiday won four Grammy Awards, all of them posthumously, for Best Historical Album. She was inducted into the Grammy Hall of Fame and the National Rhythm & Blues Hall of Fame. After a turbulent childhood, Holiday began singing in nightclubs in Harlem, where she was heard by producer John Hammond, who liked her voice. She signed a recording contract with Brunswick in 1935. Collaborations with Teddy Wilson produced the hit "What a Little Moonlight Can Do", which became a jazz standard. Throughout the 1930s and 1940s, Holiday had mainstream success on labels such as Columbia and Decca. By the late 1940s, however, she was beset with legal troubles and drug abuse. After a short prison sentence, she performed at a sold-out concert at Carnegie Hall. She was a successful concert performer throughout the 1950s with two further sold-out shows at Carnegie Hall. Because of personal struggles and an altered voice, her final recordings were met with mixed reaction but were mild commercial successes. Her final album, Lady in Satin, was released in 1958. Holiday died of cirrhosis on July 17, 1959, at age 44. In 2000, she was also inducted into the Rock & Roll Hall of Fame as an early influence; their website states that "Billie Holiday changed jazz forever". She was named one of the 50 Great Voices by NPR; and was ranked fourth on the Rolling Stone list of "200 Greatest Singers of All Time" (2023). Several films about her life have been released, most recently The United States vs. Billie Holiday (2021).

[newyorkthegoldenage]

Archibald J. Motley, Jr.., Blues, late 1920s. Oil on canvas.

Archibald Motley, Jr.’s painting captures the sights and sounds of a black-and-tan nightclub in the late ’20s, where patrons could be free from the strictures of white society. He painted this work while on a Guggenheim Fellowship in Paris but returned in 1930 to become a significant figure in the Harlem Renaissance and in the lively Chicago arts scene.

Photo & text: Cooper-Hewitt Smithsonian Design Museum

[mimi-0007]

Edna Mae Harris (September 29, 1914 – September 15, 1997), sometimes credited as Edna May Harris was an American actress and singer. Harris was one of the first African–American film actress of the late 1930s and early 1940s, appearing in films featuring mostly African–American casts.

Born in Harlem, Harris parents were Sam, a boxer and customs inspector; Her mother Mary Harris (née Walker) worked as a maid. Harris' family is noted as one of the first families to have migrated to Harlem. Settling near the Lafayette Theater, Harris was convinced into pursuing a career in show business by Ethel Waters and Maud Russell who were frequent visitors to her family home. After being coached on her singing and dancing by Waters and Russell, Harris began performing in the Theater Owners Booking Association (TOBA). An African-American vaudeville circuit, Harris performed with TOBA from 1929 until 1933.

Harris attended Wadleigh High School (later known as Wadleigh High School for Girls) in Manhattan. During the summer after her sophomore year of high school, Harris worked at the Alhambra Theater doing dramatic sketches with a stock company. During this period, Harris received excellent training in diction and stage delivery through her association with veteran performers. Harris was also an excellent swimmer in high school, and in 1928 she entered the New York Daily News' Swimming Meet and won a championship.

Harris first real Hollywood break came when she landed a part in The Green Pastures (1936), portraying Zeba, starring with Eddie 'Rochester' Anderson. Harris was a leading lady in Spirit of Youth (1938), the story of the rise of boxer Joe Thomas, which paralleled the life of Joe Louis. Harris also had leading roles in Oscar Micheaux films, Lying Lips (1939), and The Notorious Elinor Lee (1940). Her film credits also include such Hollywood films as Bullets or Ballots (1936), Private Number (1936), and Garden of Allah (1936), and the independent film Paradise in Harlem in 1939. Between picture commitments she toured with Noble Sissle's Orchestra as a featured vocalist along with Lena Horne and Billy Banks. In 1942, she played fourteen weeks at the old Elks' Rendezvous as the mistress of ceremonies and announced a weekly radio show over station WMCA in New York City. She also did character dialect parts on many broadcasts for the Columbia Workshop Program. Edna Mae Harris got to tell her story in her later years in the documentary, Midnight Ramble (1994), about independently produced black films.

Harris was married twice and had no children. Her first marriage was to Edward Randolph from 1933 until 1938, then to Harlem nightclub owner Walter Anderson from 1951 until his death in 1983. Harris dated boxer Joe Louis sometime during 1939 and 1940. Harris dated Robert Paquin, who co-starred with her in the Lying Lips from 1941 until 1942. Harris died of a heart attack on September 15, 1997 at the age of 82.

[longliveblackness]

Esther Jones was known on stage by many names, including “Baby Esther,” “Little Esther,” “Farina’s Kid Sister,” and “Miniature Florence Mills,” is widely, although not universally, credited with being the inspiration for the Betty Boop cartoon character. Jones was born Esther Lee Jones in 1918 in Chicago, Illinois, to William Jones and Gertrude Jones.

In 1928, the Jones family moved to Harlem, New York. At seven, Jones was later known for adopting the popular singing style, scat, which emphasized the baby-style of “b” and “d” sounds and nonsense syllables such as Boo-Boo-Boo’ and ‘Doo-Doo-Doo.’ Consequently, she was a sought-after child performer in the city, and was a fixtured entertainer in the famous Cotton Club and the Everglades Nightclub in New York City during the latter years of the Harlem Renaissance. She added to her entertainment fame by become an extraordinary black-bottom dancer.

In 1929, Jones was taken to Spain, where she was called “La Pandilla.” Later she performed before Sweden’s Queen Sophie Marie Viktoria and King Gustaf V, in Stockholm. Despite her notoriety, she also experienced blatant racism when denied a glass of milk in an American-operated restaurant in Stockholm. The business, however, was forced to close after her treatment there became public knowledge.

Jones performed at the Moulin Rouge, Casino de Paris, and the Empire in Paris, France. There she was dubbed the “Miniature Josephine Baker.” While in Europe, she was paid an average $750 per week for her performances and by age 11, Jones was the highest-paid child on stage globally. After performing, Jones would go backstage to play with dolls. Whenever she performed, both parents were in attendance.

In 1930, Fleisher Studios in Hollywood introduced the cartoon character Betty Boop. Jones, however, received no royalties or performing credits despite the fact that a lawsuit would eventually expose Betty Boop’s true origins. The lawsuit ironically was brought by Helen Kane, a white performer, who sued Fleisher Studios for appropriating her “Betty Boop” character without her permission and without the payment of royalties. Over the course of the Fleisher Studios v. Kane trial, it was revealed that Kane had begun mimicking Jones’ scat act and even sang the same song, “I Want to Be Loved By You’ including the “Boop-Boop-a-Doop” reference. When Kane lost the lawsuit, other studios felt emboldened to promote the Betty Boop character but it recognized neither Kane or Jones as the source.

In 1934, Jones, now 16, performed in Philadelphia at a midnight benefit performance for the NAACP. That same year, she gave a stellar performance at the American Embassy in Rio de Janeiro, Brazil at the request of then Ambassador Jefferson Caffery. Brazil’s President Getúlio Dornelles Vargas, was in the audience and praised the performance and performer.

By 1940, however, the entertainment career of now 22-year-old Esther Jones, was over. She was no longer a child singing or dancing sensation. Esther Jones, now widely credited with influencing the iconic sex symbol Betty Boop, died in 1984 in New York City from liver and kidney complications. She was 66. Regardless of her role in the development of the Betty Boop cartoon character, Jones should be remembered as a child star with a brief but remarkable career in the entertainment industry.

•••

Esther Jones fue conocida en el escenario por varios nombres, incluyendo: “Baby Esther (Bebé Esther),” “Little Esther (Pequeña Esther),” “Farina’s Kid Sister (Hermanita de Farina),” y “Miniature Florence Mills (Florence Mills en miniatura). Generalmente, pero no universalmente, acreditada con ser la inspiración del personaje de caricatura, Betty Boop. Esther Lee Jones, nació en 1918 en Chicago, Illinois a sus padres William Jones y Gertrude Jones.

En 1928, la familia Jones se mudó a Harlem, Nueva York. A la edad de siete años, Jones fue reconocida por adoptar el famoso estilo de canto llamado ‘scat’ y resaltaba los sonidos de bebé que sonaban con ‘b’ y ‘d’, junto con sílabas que no tenían sentido como: Boo-Boo-Boo’ y ‘Doo-Doo-Doo.’ Consecuentemente, esto la convirtió en la artista infantil más buscada de la ciudad. Se convirtió en una presentadora fija en el famoso Cotton Club y el club nocturno Everglades en la ciudad de Nueva York, esto fue durante los últimos años del Renacimiento de Harlem. Le agregó más a su fama cuando se convirtió en una bailarina de black bottom (un paso de baile relacionado con el jazz tradicional).

En 1929, Esther fue llevada a España, dónde le llamaban “La Pandilla”. Poco después de eso, hizo una presentación en Stockholm frente a la Reina Sophie Marie Viktoria y el Rey Gustaf V de Suecia. A pesar de su notoriedad, también experimentó racismo muy evidente cuando se le negó un vaso con leche en un restaurante operado por americanos en Stockholm. Sin embargo, una vez que el trato que se le dio se hizo público, obligaron a que el negocio cerrara.

Jones se presentó en Moulin Rouge, Casino de Paris, and the Empire, ubicados en Paris, Francia. Es aquí donde le dieron el apodo de “Josephine Baker en miniatura”. Mientras que estuvo en Europa se le pagaban aproximadamente $750 por semana y con solo once años de edad, Jones era la artista infantil mejor pagada a nivel global. Después de sus presentaciones, ella se iba tras bastidores a jugar con muñecas. Sus padres siempre estaban presentes para las presentaciones.

En 1930, Fleisher Studios de Hollywood introdujo un nuevo personaje, Betty Boop. Y a pesar de que una demanda demostraría el verdadero origen de la caricatura, Jones nunca recibió crédito o derechos. Irónicamente, la demanda fue interpuesta por Helen Kane, una artista que había demandado a Fleisher Studios por apropiarse de su personaje “Betty Boop” sin su permiso y sin pagarle sus derechos. Durante el juicio Fleisher Studios v. Kane, se reveló que Kane había comenzado a imitar el acto de scat de Jones y que incluso cantaba las mismas canciones como ‘I Want to Be Loved By You’ incluyendo la referencia: “Boop-Boop-a-Doop”. Cuando Kane perdió la demanda, otros estudios se animaron a promover al personaje Betty Boop, sin reconocer a Kane o Jones como la fuente.

En 1934, Jones, ahora con dieciséis años de edad, hizo una presentación en Philadelphia para una noche de beneficencia de la Asociación Nacional para el Progreso de la Gente de Color (NAACP). Ese mismo año, a petición del embajador Jefferson Caffery, hizo una presentación estelar en la embajada americana ubicada en Rio de Janeiro, Brazil. El presidente Getúlio Dornelles Vargas se encontraba en la audiencia, elogió la presentación y también a la presentadora.

Para 1940, con veintidós años de edad, la carrera de Esther Jones en la industria del entretenimiento, ya se había acabado. Ya no era una sensación infantil que bailaba y cantaba. Esther Jones, ahora extensamente acreditada con ser la influencia del símbolo sexual, Betty Boop, murió en 1984 en la ciudad de Nueva York, por complicaciones renales y hepaticas. Tenía 66 años. Independiente de su rol en el desarrollo del personaje, Betty Boop; Esther Jones debería de ser recordada como una estrella infantil que tuve una carrera corta pero extraordinaria.

[gooutgr]

SexMeUp • Harlem Athens Τετάρτη 11/1 ☎️211.850.3680 @goout.gr • https://www.goout.gr/venue/harlem-athens #harlem #club #athens #nightclub #live #stage #rnb #hiphop #party #athina #goout #gooutgr #event #ardittou44 #club #sexmeup #kratiseis #event • https://www.goout.gr/blog/sex-me-up-rnb-party-club-summer-winter-gkazi • https://www.goout.gr/blog/sex-me-up-rnb-party (at Harlem Athens) https://www.instagram.com/p/CnL8QbpIykb/?igshid=NGJjMDIxMWI=

[lboogie1906]

Edna Mae Harris September 29, 1914 - September 15, 1997) made a name for herself as a lead in underground films of the 1930s and 1940s, which depicted the life of the Black bourgeoisie. She was born in Harlem to Sam and Mary Harris. Her father was a boxer and customs inspector and her mother worked as a maid.

Her family was among the first African American families to migrate to Harlem. They settled near the Lafayette Theater. After the relocation, she was encouraged to pursue a career in show business by performers Ethel Waters and Maud Russell who frequently dined at their household. Waters and Russell routinely practiced their acts and coached her on perfecting her singing and dancing skills. She went on to perform on the Theater Owners Booking Association, a vaudeville circuit for African American performers during the 1920s and 1930s.

In the early 1930s, she left Harlem to pursue a career in Hollywood, and in 1936, made her first film appearance in The Green Pastures as the feisty character Zeba. The Green Pastures was one of the few films produced by a major Hollywood studio in which Harris appeared. Although she maintained a film career during the late 1930s to mid-1940s, her efforts to appear in Hollywood films were futile. After a few additional insignificant roles in Hollywood films, she returned to New York and appeared primarily in underground, all-Black cast films, such as The Spirit of Youth (1938) as Joe Louis’ love interest, and Lying Lips (1939).

Underground films such as Paradise in Harlem (1940) and Murder on Lenox Avenue (1941) allowed her to showcase her abilities as a nightclub performer. By the late 1940s when the making of all-Black cast underground films began to decline, her film appearances became sporadic. Between filming minor roles, she worked as a dancer at New York’s historical Cotton Club where she performed with her partner, Slim Thomas. She was a vocalist with the Noble Sissle orchestra and Benny Carter band. #africanhistory365 #africanexcellence

[kemetic-dreams]

Carol Diann Johnson was born in the Bronx, New York City, on July 17, 1935, to John Johnson, a subway conductor, and Mabel (Faulk), a nurse. While Carroll was still an infant, the family moved to Harlem, where she grew up except for a brief period in which her parents had left her with an aunt in North Carolina. She attended Music and Art High School, and was a classmate of Billy Dee Williams. In many interviews about her childhood, Carroll recalls her parents' support, and their enrolling her in dance, singing, and modeling classes. By the time Carroll was 15, she was modeling for Ebony. "She also began entering television contests, including Arthur Godfrey's Talent Scouts, under the name Diahann Carroll." After graduating from high school, she attended New York University, where she majored in sociology, "but she left before graduating to pursue a show-business career, promising her family that if the career did not materialize after two years, she would return to college.

Carroll's big break came at the age of 18, when she appeared as a contestant on the DuMont Television Network program, Chance of a Lifetime, hosted by Dennis James. On the show, which aired January 8, 1954, she took the $1,000 top prize for a rendition of the Jerome Kern/Oscar Hammerstein song, "Why Was I Born?" She went on to win the following four weeks. Engagements at Manhattan's Café Society and Latin Quarter, nightclubs soon followed.

Carroll's film debut was a supporting role in Carmen Jones (1954), as a friend to the sultry lead character played by Dorothy Dandridge. That same year, she was nominated for a Tony Award for Best Featured Actress in a Musical for her role in the Broadway musical, House of Flowers. A few years later, she played Clara in the film version of George Gershwin's Porgy and Bess (1959), but her character's singing parts were dubbed by opera singer Loulie Jean Norman. The following year, Carroll made a guest appearance in the series Peter Gunn, in the episode "Sing a Song of Murder" (1960). In the next two years, she starred with Sidney Poitier, Paul Newman, and Joanne Woodward in the film Paris Blues (1961) and won the 1962 Tony Award for Best Actress in a Musical (the first time for a Black woman) for portraying Barbara Woodruff in the Samuel A. Taylor and Richard Rodgers musical No Strings. Twelve years later, she was nominated for an Academy Award for Best Actress for her starring role alongside James Earl Jones in the film Claudine (1974), which part had been written specifically for actress Diana Sands (who had made guest appearances on Julia as Carroll's cousin Sara), but shortly before filming was to begin, Sands learned she was terminally ill with cancer. Sands attempted to carry on with the role, but as filming began, she became too ill to continue and recommended her friend Carroll take over the role. Sands died in September 1973, before the film's release in April 1974.

Carroll is known for her titular role in the television series Julia (1968-71), which made her the first African-American actress to star in her own television series who did not play a domestic worker. That role won her the Golden Globe Award for Best TV Star – Female for its first year, and a nomination for an Primetime Emmy Award in 1969. Some of Carroll's earlier work also included appearances on shows hosted by Johnny Carson, Judy Garland, Merv Griffin, Jack Paar, and Ed Sullivan, and on The Hollywood Palace variety show. In 1984, Carroll joined the nighttime soap opera Dynasty at the end of its fourth season as the mixed-race jet set diva Dominique Deveraux, Blake Carrington's half-sister. Her high-profile role on Dynasty also reunited her with her schoolmate Billy Dee Williams, who briefly played her onscreen husband Brady Lloyd. Carroll remained on the show and made several appearances on its short-lived spin-off, The Colbys until she departed at the end of the seventh season in 1987. In 1989, she began the recurring role of Marion Gilbert in A Different World, for which she received her third Emmy nomination that same year.

In 1991, Carroll portrayed Eleanor Potter, the doting, concerned, and protective wife of Jimmy Potter (portrayed by Chuck Patterson), in the musical drama film The Five Heartbeats (1991), also featuring actor and musician Robert Townsend and Michael Wright. She reunited with Billy Dee Williams again in 1995, portraying his character's wife Mrs. Greyson in Lonesome Dove: The Series. The following year, Carroll starred as the self-loving and deluded silent movie star Norma Desmond in the Canadian production of Andrew Lloyd Webber's musical version of the film Sunset Boulevard. In 2001, Carroll made her animation debut in The Legend of Tarzan, in which she voiced Queen La, ruler of the ancient city of Opar.

In 2006, Carroll appeared in several episodes the television medical drama Grey's Anatomy as Jane Burke, the demanding mother of Dr. Preston Burke. From 2008 to 2014, she appeared on USA Network's series White Collar in the recurring role of June, the savvy widow who rents out her guest room to Neal Caffrey. In 2010, Carroll was featured in UniGlobe Entertainment's breast cancer docudrama titled 1 a Minute and appeared as Nana in two Lifetime movie adaptations of Patricia Cornwell’s novels: At Risk and The Front.

In 2013, Carroll was present on stage at the 65th Primetime Emmy Awards to briefly speak about being the first African-American nominated for a Primetime Emmy Award. She was quoted as saying about Kerry Washington, nominated for Scandal, "She better get this award."

Carroll was a founding member of the Celebrity Action Council, a volunteer group of celebrity women who served the women's outreach of the Los Angeles Mission, working with women in rehabilitation from problems with alcohol, drugs, or prostitution. She helped to form the group along with other female television personalities including Mary Frann, Linda Gray, Donna Mills, and Joan Van Ark.

Carroll was diagnosed with breast cancer in 1997. She said the diagnosis "stunned" her, because there was no family history of breast cancer, and she had always led a healthy lifestyle. She underwent nine weeks of radiation therapy and had been clear for years after the diagnosis. She frequently spoke of the need for early detection and prevention of the disease. She died from cancer at her home in West Hollywood, California, on October 4, 2019, at the age of 84. Carroll also had dementia at the time of her death, though actor Marc Copage, who played her character's son on Julia, said that she did not appear to show serious signs of cognitive decline as late as 2017. A memorial service was held in November 24, 2019, at the Helen Hayes Theater in New York City.

[burningtacozombie]

‘Hotel Cocaine’ First Look: Danny Pino Runs Miami’s Infamous Mutiny Hotel in MGM+ Crime Thriller (PHOTOS) The story of Miami’s most notorious hotel comes to life in Hotel Cocaine, an eight-episode drama premiering this summer on MGM+. Mayans M.C. star Danny Pino leads the series as Roman Compte, the man behind the Mutiny Hotel, with co-stars Yul Vazquez, Michael Chiklis, Mark Feuerstein, and Laura Gordon. TV Insider has the exclusive first look into the series in the photos below. Hotel Cocaine comes from Godfather of Harlem and Narcos visionary Chris Brancato. It tells the story of Roman Compte, a Cuban exile and general manager of the Mutiny Hotel, the glamorous epicenter of the Miami cocaine scene of the late ‘70s and early ‘80s. The Mutiny Hotel was Casablanca on cocaine; a glitzy nightclub, restaurant, and hotel frequented by Florida businessmen and politicians, international narcos, CIA and FBI agents, models, sports stars, and musicians. At the center of it all was Compte, who was doing his best to keep it all going and fulfill his own American Dream. Mrs. Dunn Plays Matchmaker for Embarrassed Emily & James in 'Belgravia' Sneak Peek Related Mrs. Dunn Plays Matchmaker for Embarrassed Emily & James in 'Belgravia' Sneak Peek Vazquez plays Nestor Cabal, Chiklis is Agent Zulio, Feuerstein is Burton Greenberg, and Gordon is Janice Nichols in the crime thriller. Additional stars include Tania Watson and Corina Bradley, with recurring stars Mayra Hermosillo, Juan Pablo Raba, Erniel Baez, Nick Barkla, Cale Ambrozic, Camila Valero, and Maggie Lacey. Guest stars include John Ventimiglia as prolific writer Hunter Thompson and Larry Powell as singer Rick James. Brancanto created the series and serves as executive producer and showrunner. Guillermo Navarro executive produces the series and directed the pilot episode. Michael Panes and Alfredo Barrios Jr. also serve as executive producers. The series is created by MGM+ Studios, in partnership with MGM Television, and filmed in the Dominican Republic. Hotel Cocaine, Series Premiere, Summer 2024, MGM+ Get an exclusive first look at Hotel Cocaine in the gallery.