Friday, July 15, 2016
Ruth Bayton: Josephine Baker's Rival
Ruth V. Bayton {1903-1948}
Born Feb. 3, 1903 between Tappahannok and Whitestone, Virginia. Ruth Bayton was the sixth child of Virginia and Hansford C. Bayton. Hansford was a well known river boat captain who operated an excursion steamer in the Tidewater section along the Virginian coast. In 1910, she was sent to Philadelphia to live with her uncle, George Bayton, a wealthy and well respected physician. Later on, in 1920 she moved down to Baltimore with her eldest sister, Julia, who ran a restaurant with her husband Carter Banks and their six children. She occasionally returned briefly to Virginia to stay with her parents.
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| London 1923 |
In 1922, after leaving school, Ruth found work as an stenographer. During the summer, she was introduced to Will Vodrey (director of the Plantation Orchestra) who took her to New York to join a beauty contest. She won the contest, and was given a part in the chorus in the "Plantation Revue" with Florence Mills as the star. The following summer, the show was taken to London as "From Dixie to Dover Street". The show did extremely well, and returned to the US to play on Broadway in 1924 as "Dixie to Broadway".
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| Dixie to Dover Street - London 1923 |
In 1926, Lew Leslie to the show to Paris's Restaurant des Ambassadeurs as "Blackbirds of 1926". The show opened on May 28, it was a sensation. Some of France’s top stars attended, including Josephine Baker, Maurice Chevalier, Sacha Guitry, Yvonne Vallee, and the Dolly Sisters. Florence Mills was the star attraction again and Johnny Hudgins in blackface doing his comedy routine. Josephine Baker drifted in half an hour late, accompanied by white men in tails. “We had to hold the curtain for her,” Johnny Hudgins said. “She got the best table, right down front.” The show moved over in July to the Theatre des Champs-Elysees, where Josephine Baker made her debut months earlier. On night, she was introduced to Henri Lartigue, who worked for the booking agency of William Morris, who admired her performance in Blackbirds and, after being turned down by the other chorus girls, offered her a lucrative contract in Berlin with a weekly salary of $200. Ruth signed the contract right then and there, agreeing to come work at the theatre in the following month, and afterward kept her own counsel. That August, as the show moved on to Belgium, Lartigue wrote that soon it was necessary for her to arrive in Berlin almost at once. Ruth departed immediately to appear at the Admiralspalast all-black revue “An Und Aus” in-between rehearsals for a much larger show at the Theatre des Westens.
On August 4th, “Der Zug Nach dem Westen” opened and Ruth made her appeared in a girdle of a dozen bananas. Her dancing was a large success to the German press with her extravagant jungle interpretation surrounded by a cast of 200. “I do the Charleston and Black Bottom, mostly eccentric dancing,” she later remarked to a journalist. The revue continued on for three months, and was taken to the Apollotheater in Vienna for the winter before being rearranged into a new version with skimpier costumes and more American performers such as Ben Tyber and Louis Douglass under the name, “Wissen Sie Schon” opening in March and running for another three months. Ruth appeared in the tableau ‘Der Gott und Die Bajadere’, dancing completely nude except for a silver loincloth in front of a large statue of Buddha. This time with a larger salary of $600.
At this time, around Berlin there were rumors of her affair with the Spanish Monarch in the streets of the Friedrichstrasse and under the shadows of the Unter-Der-Linden. But Ruth refused to talk about any of it. That summer, Ruth appeared in Hamburg at the Argentinean-themed Trocadero Kabarett where she was showered with flowers and the German press billed her as the ‘Most Beautiful Creole on the Continent.’ opened in Paris at the Casanova Cabaret alongside the Spanish actor, Valeriano Ruiz Paris that August. Later she accompanied him to the resort town Biarritz to perform for a charity event at the Chateau-Basque. In September they arrived in Barcelona to open his revue, “Not-Yet” at the Teatro Cómico where she danced all afternoon, then moved over to the Folies-Bergere cabaret to sing until midnight. She was followed to Spain by Robert Wiene, a German film director, who was beginning to film and wanted Ruth to star in it. It was a film that placed on the screen the love affair of the most gallant European Sovereigns and the most beautiful colored dancer in the world. Filming wrapped up by October, the film crews returned to Berlin, and Ruth moved on to Madrid to appear in her own revue, “Noche Loca” at the Teatro Maravillas with a white American band with a salary of $800, introducing her new dance the Chotiston, which was a mixture of the Charleston and the Chotis.
That winter, there was a knock on her dressing room door. It was Paul Derval, director of the Folies Bergere, invited her to return to Paris for the new season, since Josephine was leaving for a world tour. That January, she appeared with Louis Douglas, arriving from Berlin, at the Teatro Comedia with his Black Follies Revue. Rehearsals for “La Grande Folie” began at the Folies in February. Meanwhile she was approached by the director of the Folies-Wagram, a new musichall to be inaugurated the following month, but Ruth turned him down. But early March, after two weeks at the Folies with the promise of new costumes and a larger salary, moved on to the Folies-Wagram. Avoiding Paul Derval for the next three months, she appeared with Marie Dubas dancing in the finale of the first act. She even appeared briefly in her own club, Floresco’s. But the rumors of her affair with the Spanish Monarch began to resurface, when her German film was released in Paris on April 12th. The Spanish government offered the German producers $187, 000 to destroy the film, or at least prevent it from appearing in France and Spain. Ruth was interviewed at her apartment at the Hotel Ambassadors in Paris:
“No, I have not any made films, dear sir. It must have been another colored girl made up to resemble me. I only heard about it five days ago through the German papers.” She smiled, lit a cigarette and made a little dance motion with the upper part of her body. But the journalist pressed on, “But, you're not going to lose such a fine occasion to have yourself talked about. Yes, I know you’re modest and the Negro doesn’t rush for the limelight and it takes two colored women to make a white one in this respect. But, in any case you won’t tell us whether is it true the adventure with the King of…” But at that moment, Paul Colin entered to finish the handbill of the colored vedette. Ruth left the journalist and rushed towards Colin thus avoiding his question.
Another visiting journalist for the Afro-American Newspaper described her as the prettier replacement of Josephine Baker:
She lives at the Hotel Ambassadors, one of the best hotels in the Europe, has a fine $10.000 Hispano-Suiza driven by a French chauffeur, keeps two maids, and entertains at one of the leading music halls, the Folies-Wagram where she earns five figures in Francs weekly.” Something she would have never accomplished in America. “Absolutely impossible, I would have never been given the opportunity. I love Paris, the German people have been very kind, and so have the folks in Spain.”
Ruth spent that summer in Deauville, dancing at the seaside casinos and appearing at the racetracks with a new admirer Armand Rochefoucauld, ‘Marquis de Deauville’. At the Concert Mayol cabaret in late August, Ruth was back dancing beside Marie Dubas in, “Cochon Qui Sommeille” (The Slumbering Pig).
A week later she was in Berlin, dancing beside the bar at the Baberina Cabaret, but she complained that Germans would try to grab her she danced. In October 1929, she returned to Madrid where she appeared through the winter at the Maipu-Pigall’s cabaret. Since the scandal with King Alphonso, or Ollie as she called him, her popularity in Spain had grew stronger. There she ran into Leon Abbey and his orchestra, and joined him to play in Seville which was hosting the Exposición Ibero-Americana. There was lots of money to be made as American tourists filled the nightclubs and theatres of the Andalucian city.Also together they headlined in Barcelona for the closing of the Exposició Internacional in January 1930.
Ruth moved on in April to London to appear at the Deauville Restaurant. Before they could open, Leon was deported back to Paris for not obtaining his work permits before arriving in Britain. When he returned, he took the orchestra to the Silver Slipper club and obtained a two-week contract. In June, after an invitation while appearing in London, Ruth returned to Paris for the Theatre Apollo where she appeared with the dramatic singer, Damia and the American dancer Jack Forester in the new ‘oriental-themed’ revue “Revue Milliardaires”. Once again, Ruth was chosen for the finale of the first act as an creole from Argentina. After hours, she would dance and mingle amongst her Spanish friends at the El Garron cabaret. The revue was a triumph and closed in August with a small gala attended by Mistinguett and Josephine Baker, whose old rival feelings boiled over causing the two vedettes of the Casino de Paris to break out fighting in the lobby. Ruth quickly moved her household over towards her new residence at 77 Champs-Elysees, once occupied by Jo Baker herself, and opened with an eight month engagement at the Theatre Marigny on September 7th. December 1930, Ruth returned to New York, to try her luck back in America to showcase her talents that were so well publicized in Europe.
February 1931, on her few days off, she bought a spacious apartment in the elite Sugar Hill district near Harlem. In April, Noble Sissle invited Ruth and Sidney Bechet to accompany him at the Ambassadeurs for the Exposition Coloniale. But this time the French authorities were making determined efforts to reduce the number foreign workers, including overseas musicians, in their country. Bechet and Bayton got wind of a rumor that suggested that Sissle’s band would only be able permitted to fulfill the second half of its booking if 50 percent of its personnel were replaced was replaced with French artists. This proved to be the truth, but of course both Bechet and Bayton were far away. Bechet resumed his place in Berlin as a featured soloist at the Haus Vaterland. Ruth decided to rest from the stage for a while and ran a small boutique from her apartment in Harlem for a few months. But eventually the the idea of being away from the stage brought her back into the nightlife touring Broadway on the R.K.O. Circuit early 1932. In November, while in New Jersey, rented rooms from the mother of an old friend, Crackshot Hackley. While there she got in an argument with John Burtt, director of the Lafayette Theatre, which ended in Ruth beating him with a dog chain from one her numerous pets. The fight later involved Crackshot and his mother. After this scandal, Ruth packed her bags and told her family she was returning to Europe.
In February 1933, French announced her return to France on the SS Lafayette. The French were most enthusiastic about the return of their "belle creole," but the depression arrived in Europe that winter, causing the economy to fall apart and bringing public demonstrations across France. Despite declining business in Montmartre, Ruth was found performing at the Rio-Rita Cabaret. Her appearances became sparse, and she departed for Deauville, entertaining at the Bar du Soleil and Casino Municipal as a singer with Elliot "Alex" Carpenter's Orchestra.
There she found some old acquaintances. One of these was 79-year old Cora E. Rollins of Chicago, who spent the summer visiting her son-in-law, Elliot Carpenter, Mrs. Rollins: "Miss Bayton tried to persuade me to try my luck at the tables, but as I'm admittedly a bad loser, declined." Another was Josephine Baker, who was also appearing at the Bar Soleil and became enamored with Bayton's German banker lover. Josephine tried to become close with her old friend to receive an introduction. However, Ruth was no longer interested in reconnecting with her old cohort; she discovered Josephine's motives and snubbed her old friend. Soon afterward, she departed for Argentina and took up residence in Buenos Aires, where she continued working with Carpenter as her pianist.
In January 1935, Bayton and Carpenter joined the Compañía Argentina de Revistas y Espectáculos Musicales and appeared in the revue, "A Menina Brasileña, Prefiero La Girl Porteña" at the Teatro Porteño. The following month, the revue appeared for a few weeks in Montevideo at the Teatro 18 de Julio.
On October 19th, Carpenter returned home to the United States on the SS Pan America and Ruth continued appearing in popular Argentinian establishments. On December 20th, 1935, she appeared in a French-style revue, "C'est Pour Vous" at the Teatro Casino alongside English artist, Pearl Ondra. The following year, Bayton toured throughout Argentina, appearing in particular at the Boîte La Marina alongside the Spanish ballerina, Reina Mora in Rosario in May 1936.
Back in the United States, Bayton's family was worried about her whereabouts. They had not heard from her since her return in 1933 when she stopped writing home. They were unable to contact her in May 1937 when her Uncle George died. Her believed she returned to Spain, where the Spanish Civil War raged:
"Ruth Bayton, playgirl of two continents, who created a sensation several years ago when she was reported to be a close friend of the then King Alphonso of Spain, is believed to be missing in the war torn country, according to relatives in New York. She returned to the night club world in 1932 and again struck it rich when she foiled a holdup in a ritzy Broadway cabaret and was rewarded handsomely. With this money she returned to Spain and has not been heard from since. She was sought when her uncle, Dr. George Bayton, Philadelphia physician, died recently. Miss Bayton has not been heard from since the outbreak of the conflict, and all efforts of her sister, Mrs. Julia Bayton Banks of 75 St. Nicholas Place to locate her have been futile." - Baltimore Afro-American (May 29, 1937)
Soon, however, they learned that she was residing in Argentina, achieving huge success both theatrically and romantically.
During the summer of 1938, her name appeared at the Palacio de Justicia, in Buenos Aires, Argentina.
"Por disposición del señor Juez de Instrucción en lo Criminal de la Capital de la República Argentina, doctor Antonio L. Beiuti, se cita, llama y emplaza a Ruth "Virginia" Bayton, para que en el término de treinta días, computado desde la primera publicación del presente, comparezca a estar a derecho en la causa por falso testimonio quese le sigue, bajo apercibimiento de declararle rebelde, si no lo hiciere."
- By order of Mr. Investigating Judge for Criminal Matters in the capital of Argentina, Dr. Antonio L. Beiuti, is quoted calls and summons Ruth "Virginia" Bayton, so that within thirty days, computed from the first publication of this, appear to be right in the cause for false testimony that followed, failing to declare rebellious if not done.
{Buenos Aires, Augusto 1 - Septiembre 8 de 1938}
By 1943, Bayton was appearing at José María Gamboa's Boîte Manhattan, located at Calle Arroyo 854. On January 6th, 1943, the Diario Critica reported an incident where the singer, Horacio Mork and two other accomplices stole alcohol and some Bayton's possessions from the cabaret.
Shortly after the June 1943 Argentine Revolution, Bayton returned to the United States aboard the SS Rio Lujan.
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| 1947 |
There's little information on her later life.
In March 1946, Bayton appeared briefly in London before returning to New York aboard the MS John Ericsson. She maintained a residence in New York for a few months before relocating to Los Angeles, where she married Lawrence Henry and established a home in Long Beach on East 19th Street. Around April 1948, Bayton was diagnosed with cancer and on July 16, admitted to the Los Angeles County Hospital where she passed away on September 27, 1948. She was later buried at the Calvary Cemetery on October 2nd.
Thursday, July 14, 2016
Myrtle Watkins: Paquita Zarate
Paquita Zarate (1908-1968)
Paquita Zarate, was born Myrtle Dillard on June 23, 1908 in Birmingham, Alabama as the fifth of six children of Betty S. Jackson and Jasper Lonnie Dillard. By 1910, the family was residing at 1012 Mortimer Street and Mr. Dillard supported the family by running a local grocery store (J. L. Dillard's Fish Co.).
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| "Rarin' To Go" Chorus Girls (1926) |
In April 1926, Myrtle joined the cast of Edward E. Daley's touring musical revue, "Rarin' To Go". The show, with a integrated cast, had been touring along the exclusively-white Columbia Burlesque circuit since late-1925. The black cast included comedian Tim Moore (of Amos and Andy), his wife Gertie Moore, Lovey Taylor, Florence McClain, Jimmie McPherson, Dancing Dane, Lena Wilson and Gladys Smith. Myrtle spent two months with the revue, travelling through Baltimore, Washington DC, Pittsburgh, Buffalo, New York City and Boston. She quit the show that summer, shortly after the revue closed and became a dancer at the Avalon Ballroom by October 1926.
By January 1927, she was performing around Boston metropolitan-area with the Bostonian Harmony Lads Orchestra singing light blues, however in the Afro-American Newspaper, she mentioned that she missed Baltimore.
In Late-September 1928, Myrtle landed a position in the traveling version of Lew Leslie's "Blackbirds of 1928". On October 29th, the revue opened at Boston's Tremont Theatre and starred Adelaide Hall, Worthy & Thompson (replacing Bill Bojangles Robinson), Aida Ward, Tim Moore, Blue McAllister, Johnny Hudgins, Mantan Moreland, Cecil Mack, Nina Mae McKinney, the Blackbirds Beauty Chorus (featuring both Myrtle and Elisabeth Welch) and the Famous Blackbirds Orchestra conducted by Felix Weir. Orchestral arrangements were by Will Vodery. For the next seven months, the revue traversed across the United States, appearing in Boston, New York City, Philadelphia, Pittsburgh and Washington DC.
On February 4th, 1929, during the revue's Philadelphia run, Eddie Thompson, one of the show's leading dancers and part of the duo Worthy & Thompson. On May 24, when the revue boarded the SS Ile-de-France, arriving on the French coast a week later. The Blackbirds opened at Paris' Moulin Rouge on June 7th to immediate success. Some of France’s top stars attended the opening, including Mistinguett and Maurice Chevalier. There they played three months before the French director renovated the Moulin into a cinema. Returning to the United States in September, the revue resumed it's usual East Coast touring schedule before finally dissolving by October, coinciding with the famous Wall-Street Crash and suddenly there was difficulty finding work for artists.
By March 1930, Worthy & Thompson were touring the American Mid-West and Myrtle was performing at Harlem's Lenox Club as a chorus girl in the floor show. That month, Afro-American songwriter, Eugene Newton returned from France to organize a new revue (with the help of S.H. Dudley Jr.), Gene Newton's "Chocolate Revue", the show included Louis Cole, El Brown and comic Snow Fisher. On April 11, the revue boarded the RMS Homeric to France, arriving a week later. The "Chocolate Revue" opened May 1st, at the Gaiety Cabaret, however by May 23rd, French authorities shut down the cabaret due to a lack of permits. On May 24th, the revue re-opened at Eugene Ballard's Embassy Club as, "Revue Noire: Hot Stuff!" where it remained for the next two months. In-between dancing nightly at the Embassy, Myrtle also appeared at the Enfants-Terrible restaurant with the Senegalese dancer, Francois 'Feral' Benga alongside Lucienne Boyer, Alina de Silva, the Irving Sisters, Charpini and Brancato and M. Pisella to the sound of Pance Lowry's orchestra. After "Hot Stuff" closed early-September, she began performing at Chez Florence with Elisabeth Welch until her partner eventually returned to New York.
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| Galan Photography Studios (Oct.1931) |
On January 6th, 1931, Myrtle with her Red Hot Coals Jazz Orchestra at Madrid's Lido de Madrid Cabaret (in the basement of the Teatro Alcázar) located on Calle de Alcalá 20 until March 7th. Her arrival was probably organized by Spanish author and lyricist, Alvaro Retana, who was known for introducing black jazz entertainers into Spain. Retana mentioned in his memoirs later how she performed semi-nude, imitating the Spanish dancer Carmen Tortola Valencia, under the name Perla de Oriente. On April 14th as Niceto Alcalá-Zamora y Torres was declared the president and former King Alfonso XIII abdicated peacefully and boarded a train to France for exile. Eight days later, Myrtle opened at Seville's Casino del Exposicion, where she was entertained audiences in a gala celebrating the end of the repressive Spanish monarch of which she only witnessed three months of.
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| Trio Morel Marino y Watkins (c. August 1931) |
In May, she returned triumphantly to Madrid's Lido Cabaret as celebrations continued to fill the streets. On June 6th, she was entertaining at the Sala Metropolitano, three days later she moved over to the Ideals-Rosales open-air cabaret performing with Carlos V.G. Flores' Orchestra until July 6th. It was during this engagement she was introduced to Argentine singer-guitarist Alfredo Marino (born January 30th, 1904) and his partner, Hector Morel. Once her contract ended at the Ideal-Rosales, She joined the duo on a tour across Spain's northern coast in cities such as Bilbao, Oviedo and San Sebastián.
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| Teatro Alkazar (Aug.1931) |
On October 2nd, Myrtle appeared at the Circo Price for three days before boarding a train to Barcelona. Not long after arriving, she made several appearances on Spanish radio and recording several songs for the Compañía del Gramófono-Barcelona. None of the recordings seem to have survived, however she was noted as performing El Manisero and other popular Cuban rumbas and Spanish pasodoble toreros around this time. On 27th, together with Afro-American dancer, Josephine Wynn (who she met months earlier at the Retiro), opened at the popular Eden Concert musichall, where they performed a successful month. On November 8th, Myrtle participated in the "Fiesta Parisiana" at the Eden Concert alongside, Afro-Uruguayan singer Oscar Rorra, known under stage name: Caruso Negro. On the 17th, at the Teatro Novedades, she performed in a benefit for Barcelona's firefighters. On November 21st, Myrtle participated in an eight-day variety spectacle held at the Circo Barcelones, alongside some Spain's top entertainers. On December 16th, she appeared with Afro-American dancer Jimmy Holmes at the Buena Sombra cabaret until February 3rd.
From February 28th until March 16th 1932, she performed with Afro-American bandleader Levi Wine's "Revista Americana", which included popular Spanish cabaret artist, Bella Dorita, at the Ba-Ta-Clan in Valencia. She returned to Madrid a week later and establishing a residence at the Hotel Florida. On April 8th, Myrtle opened at the Teatro Fuencarral, where she also appeared in the revue, "Folkoricos Arrevistados", alongside Argentinean actress Perlita Greco and Rosarillo de Triana. Afterhours, she would go over to the Lido de Madrid Cabaret with Louis Douglas's floor-show "Fantasías de la Ciudad Negra".
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| Madrid (early 1932) |
Early May, while Louis Douglas recovered in a local hospital with stomach pains, together with dancer, Scrappy Jones, he reorganized the company from his bed. On May 21st, "Modern Melodies" opened at the Avenida Cinema dancing in front of the band in a costume with red feathers swinging on her backside. One visiting journalist for the Afro-American described her as the Josephine Baker of Spain: "Miss Watkins is a very good dancer, with plenty of pep, and a pretty shapely figure. She is making conquests in high society and on her string is the marquis of one of Spain's bluest blue bloods. She lives at the Hotel Florida, one of the best hotels in the city, has a fine roadster, records for Spanish gramophone and radio, and entertains at one of the leading cabarets." The revue closed on June 16th and Louis Douglas took the company over to another theater. It's unknown if Myrtle joined them. On July 14th, Myrtle and Josephine Wynn traveled to the city of Zaragoza to appear for three weeks at the Florida Bar. On October 4th, Spanish newspapers reported that an upcoming film, entitled "Movietone 1933", was under preparation at a Madrid film studio. The film was to feature Perlita Greco, Myrtle, Scrappy Jones and several other Spanish actors. However it's unknown whether the film actually materialized. On the 13th, Myrtle was in the city of Huesca, appearing at the Cine Odeon with Cuban saxophonist, El Negro Aquilino and his band. By December, Myrtle was in Seville, at the Kursaal Internacional, performing her latest hit, "Negra De Mi Vida".
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| Jazz-Wereld Magazine (1933) |
After four months in Andalucía, Myrtle departed from Spain for the first time in two years, traveling to Belgium, where she toured Josephine Baker's former bandleader, Robert de Kers. In June, Myrtle, de Kers and French composer, Georges Van Parys composed and recorded the song, Rose Creole (Lonely Brown Rose). During her Belgian engagement, she also appeared on the covers of Belgian magazines alongside Eddie Cantor.
Returning to Spain during the fall, Myrtle opened on September 15th at Barcelona's Teatro Romea in Max Guido's "Jazz Show" revue for two successful weeks. Afterwards, the revue toured Catalonia, appearing in Taragona's Salo Modern. On October 7th, she moved over to the glamourous Pompeya Musichall where she danced all evening for a month, and then after midnight would run down the street and sing at the popular Hollywood nightclub which would be broadcast floorshows over the radio. There she performed alongside her latest rival, 17-year old Puerto Rican from Harlem, Elsie Bayron. On November 17th, Myrtle appeared at the exclusive Casa Llibre Tea Rooms singing for some of Spain's elite. Late December, Myrtle paired up with Afro-American pianist Tommy Puss Chase and his band for a tour of the southern coast of France. "Myrtle Watkins was a very enterprising girl, always had some kind of band with her, and was a very good looking and talented singer and dancer."
Throughout the first three months of 1934, Myrtle and the Puss Chase Orchestra appeared in Cannes, Nice and ended in Monaco during the Rallye Monte Carlo. In March, Ada Bricktop Smith postponed the opening of her new establishment in anticipation of Myrtle's arrival in the French capital. On April 1st, 1934, Myrtle opened at Bricktop's latest Parisian cabaret alongside pianist Freddie Taylor, Monico's, where she was advertised as "the world’s most fascinating entertainer". Two months later, on June 2nd, she moved on to the Basque Bar with entertainer Evelyn Dove.
On June 29th, Myrtle left for the British capital of London. A few days later, on July 2nd, she was headlining at the Granada Theater's ‘all-colored’ revue, "Black Scandals" for a week. The films shown that week on the manager's weekly report states that both films were rather weak, and had it not been for the stage show, the takings would have been down. On July 14th, newspapers reported that Myrtle returned home to Spain to handle affairs. Two weeks later, she was entertaining at the Maxim's Restaurant in Saint Jean-de-Luz. In August 1935, she was in The Netherlands, dancing in The Hague at the popular Palais de Danse cabaret with French singer, Marie Dubas. The following month, she was at the Cabaret Hollandaise. On November 3rd, Myrtle was appearing at London's Cafe Anglais with Louis Simmonds' Orchestra, where she possibly remained for the winter.
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| Bombay (September 27, 1935) |
On January 31st, 1935, she returned to Paris, appearing at the popular Cuban-themed Melody-Bar with the Afro-American tenor, Opal Cooper. While there, she learned her estranged husband Eddie was ill with stomach cancer and had to halt his career while recovering in hospital. On March 30th, she left for Berlin to appear in a film before returning to Paris in May, appearing at the Boeuf Sur Le Toit with Leon Abbey's orchestra. While touring Belgium again during the late summer, Leon Abbey arranged for Myrtle to appear with his orchestra for six months in Bombay, India. After boarding a ship in Venice, they arrived in Bombay in late September, where it was quickly realized they didn't have the proper work permits. Later joined by Opal Cooper, the group appeared at the Taj Mahal Hotel and Green's Ballroom next door with much success. By December, however, Myrtle was laid low by a terrible bout of malaria. During her stay, she was introduced to a handsome Malaysian cricket player, Lall Singh Gill, who was smitten with this new popular jazz artist in India. Lall was born, December 16th, 1909 into the affluent Gill Jat family of Malaya, who had migrated there from India 3 generations before. He was the youngest of three sons, the eldest being Santha Singh Gill and middle brother being Bishen Singh Gill. All three brothers studied at the prestigious Victoria Institute in Kuala Lumpur. Being highly passionate to play cricket at the highest possible level, he convinced his mother to allow and sponsor him to play cricket in India. The family accordingly approached Maharajah Patiala, Bhupindar Singh who was known to the family. Maharajah Bhupindir Singh, himself a good cricketer and lover of the game, advised the family to send Lall Singh to Patiala to play in his team, Maharajah Patiala XI, which was led by the Maharajah himself. He reached Patiala in 1931 and in the company of Maharajah Bupindar Singh developed his lifelong love for the 'Patiala Peg'. The following year, Lall was selected for India's inaugural tour to England. In 1934–35, Lall Singh represented Hindus in the Bombay Quadrangular tournament and South Punjab in the inaugural Ranji Trophy. Maharajah Bhupindar Singh was very fond of Lall and this closeness to the Maharajah gave rise to many enemies, as a result of which, there was an attempt on the life of Lall Singh in 1936. He was seriously injured but survived. Meanwhile, back in America, Myrtle's estranged husband died of stomach cancer.
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| In a Turban and Jean Poiret Gown (1937) |
Back in Paris in the spring of 1937, Lall Singh sent a studio photograph of himself and Myrtle to his family, behind which he had written, ‘This is she and this is me ….. very soon and we might be three’. Singh's mother sent the couple the money to open a new Parisian cabaret for Myrtle to perform nightly. However, the cabaret never seems to have materialized as the French press make no mention of it. By August, Myrtle and her Cuban-American Orchestra were performing at the George V Restaurant on the grounds of the Exposition Internationale. In her perfomances, she was accompanied by Samuel Bonifacio Zarate, a Mexican musician known to French audiences for his virtuoso violin skills. He worked with Carlos Chávez Sinfónica de Mexico at the Palacio de Bellas Artes in Mexico City and graduated from the Mexican National Conservatory, where he was a disciple of Luis G. Saloma. He earned a scholarship from the Mexican government and studied in Paris at the l'Ecole Normale Superieur (1935-1937). Earlier in the spring, he won the first prize at the International Violin Competition. After appearing with Myrtle, he left to tour with the Mexican-American Vedette, Reva Reyes. In September, Myrtle was appearing at the Pavillon-Elysees, where it was stated she performed for every visiting dignitary at the Exposition. In November, she appeared at the Villa d’Este cabaret.
In June 1938, Adelaide Hall left for London, leaving behind her cabaret, the Big Apple Club. Myrtle became the club’s main attraction and hostess while Bricktop ran the finances of the club. But Bricktop was no good in keeping the accounts straight, her temper was even worse, and soon the cabaret shut down that winter. Before the club fell apart, Myrtle moved back to appearing at the Villa d’Este in September. In December, Myrtle appeared in “Harlem au Coliseum” at the Paris-Coliseum alongside her new partner Zarate.
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| Krakow (May 1939) |
By Early 1939, after separating from Lall Singh, Myrtle adopted the stage persona of Paquita and began an lengthy affair with Zarate. In March 1939, Paquita & Zarate left France for a extended Eastern European tour, appearing in Latvia and Poland. In August, they were in Warsaw appearing on Radio-Warsaw. A few weeks later, Polish musician, Stanley Laudan invited the couple to, La Bagatelle, his club in Katowice. On September 1, World War II started as Nazi troops quickly seized Poland. As the country underwent military mobilization to defend itself, Paquita & Zarate were able to flee to the Middle East, appearing in hotels and cabarets across British-controlled Iran and Iraq.
In June 1941, the couple arrived in British India, appearing at Lahore's Stiffles Hotel. Later they made their way to Bombay's Taj Mahal Hotel, where they appeared in the floor-show revue, "Taj in Monsoon", while also doubling over at the Green's Ballroom. In October the couple travelled to Northern India for an appearance at Hakman's restaurant in Mussoorie (Oct.4, 1941). Returning to Bombay two days later, Zarate gave a classical violin recital at the illustrious Cowasji Jehangir Hall. This attracted so much positive press and attention that in November, the couple were invited to Calcutta by African-American bandleader, Teddy Weatherford for a three month appearance at the Grand Hotel. In November, the couple also began recording with Columbia Records, producing four songs with Weatherford's orchestra and the Blue Four.
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| In Waikiki (1942) |
On January 7th, 1942, the couple returned to Columbia studios to record seven more songs. They returned again in June, October and again for a final time January 1943, recording a total of 22 songs. Throughout 1942-43, the couple crisscrossed across British India, performing and recording. Meanwhile, the Quit India movement swept across the country, with protesters demanding the creation of an independent India. On June 30th, 1942, Myrtle obtained an American passport with plans of leaving the country soon. The bliss of India was gone when Japanese planes began bombing India in early 1943. On May 15th, 1943, Paquita & Zarate boarded the USS Hermitage, accompanied with Polish refugees, headed for California. After stopping in Australia and New Zealand, the couple landed in San Pedro on June 25th. After visiting the Mexican Consulate in Los Angeles, the couple went south to Mexico, where they spent the next three months performing in Mexico City and vacationing in Zarate's hometown, El Oro de Hidalgo with his numerous relatives. While in Mexico, Paquita began spinning the tale that she was an Indian princess of the Brahmin caste sent by her parents to study in Europe, a story probably developed to prevent racial issues she would have faced as an African-American artist. In October, they returned to California, moving into Oakland's Lakeside Hotel at 138 East 12th Street and appearing in "Rhumba Follies" at San Francisco's Loew's Garfield Theatre. They were also performing nearby at the La Fiesta Club in the floor-show, "Fantasia Latina" for the next three months.
On January 6, 1944, the couple married quietly in Seattle. The couple then left for a West Coast tour, appearing in Washington, Utah and California. However, on June 26th, the couple were arrested and sent to Nogales, Arizona, where they were deported back to Mexico. For the four months, they were residing nd performing in Mexico City, Zarate giving recitals at the Palacio de Bellas Artes (Oct.11). On October 26th, the couple boarded a train to El Paso, Texas, returning to their home at San Francisco's Lakeside Hotel. There they began a 27-month tour across Nevada, California, Oregon, Montana and Utah. Their most successful appearance was a five-month engagement at San Francisco's La Fiesta club from May to September 1945. The tour ended in late-January 1947, when the couple purchased a mobile in Evanston, Wyoming and performed quietly for a year in Reno. During a trip to Chicago (which was supposed to be a beginning a Mid-West tour), their home was destroyed by a tornado and couple relocated to Los Angeles. In 1948, Paquita & Zarate resumed touring, appearing in Oregon, California and Canada's British Columbia for the next 25-months. In August 1948, the couple did return to Mexico City for a brief engagement there. Despite Zarate often returning home to Mexico to visit relatives, Paquita never returned to Alabama to see any family; or even visit Detroit to attend her father's funeral in 1946.
In 1950, the couple purchased a home in Sun Valley at 11680 Pendleton Street. On March 26th, 1951, in-between a string of engagements, Zarate applied for US Citizenship. For the next 14-months, the couple crisscrossed across California, Oregon, Montana, Washington, Canada's British Columbia, Hawaii and Alaska. From 1953-1958, the couple continued touring on this same circuit, eventually also including Arizona into their itinerary. During the summer of 1954, Paquita & Zarate opened their own music publishing company, ZARPAC, based in their Sun Valley home. They resumed recording (since they hadn't recorded since 1943) and appeared on American radio and television. They became known in performing in Spanish, French and Romanian and also experimented in different genres, such as Calypso, which had become popular during the early-1950s.
By 1957, they began frequently touring the Oregon coast under contract to one of the largest nightclubs in Portland. The owner of a new motel and lounge complex in Depoe Bay, Oregon, wanted them to entertain there on a part-time basis. On their first visit, Zarate saw a 'For-Sale' sign on two concrete oxen standing outside a small green house called "Trails End" on six acres of brushland between Lincoln City and Depoe Bay. He suggested they buy it, but Paquita suggested otherwise, "Yes, here in the middle of nowhere." The sign was still there upon their second visit and Zarate and Paquita bought the property in August 1958.
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| Entrance to Paquita & Zarate's estate |
Throughout 1959-1961, the property was completely renovated. They built a new house and had the oxen separated and placed on either end of the driveway that loops off Highway 101. They built a studio, so Zarate could teach violin, guitar, piano, flute and organ - instruments he had mastered over the years. Paquita gave lessons in dance and numerous languages. There was also an adjoining restaurant, The Gingerbread House, providing traditional Mexican and Indian cuisine; children were permitted without charge to encourage more students and guests.
On February 15th, 1962, the couple sold their Sun Valley home and resided permanently in Oregon. By April, a number of students enrolled at the Happy Village Cultural Center. On April 29th, they appeared in an International Music Recital in Wecoma Beach (now Lincoln City) where they presented their varied repertoires of dances and songs in numerous languages and instruments.
By 1964, their Fine Arts school wasn't as profitable as they hoped, especially as Paquita became too involved with the children and it hurt her health, which was already debilitated by diabetes according to Zarate. To continue running things, they made numerous appearances over the years at the popular Amato's Supper Club, the King Surf Beach Resort's Pagan Hut restaurant and annually at the Salishan Bar & Grill. Zarate performed at weddings across Oregon and annual recitals in Mexico during the spring and winter. Together the couple both entertained at private gatherings hosted by the elite of the west coast. This helped bring money to continue running things back at their small estate.
In 1968, Paquita watched as cars went faster and faster by their home, and it troubled her to think that people were in such a hurry. She wanted to give them a place where they could pull over for a few minutes and "give their souls a chance to catch up with them." Zarate wanted to wait until her health improved, so they could build it together. Myrtle "Paquita" Zarate died on November 10, 1968, of diabetic complications. Zarate immediately built a small white chapel on the property among the pines he planted in her honor, and hardly left except to visit relatives in Mexico during the winter. The Fine Arts School continued running, but doesn't seem to have drawn many students as they had before her death. Samuel B. Zarate continued performing across the Oregon and Mexico until his death in 1997.
**Photos containing Myrtle Watkins & Francisco Alfredo Marino (1931): https://el-ciruja-blog.blogspot.com/2008/07/alfredo-marino-gira-por-europa.html
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