It seems really sad, that someone, as much loved as Sammy Davis Jr. was by the world, he would be segregated because he was a black person, pre 1960's. He'd knock himself out, do his legendary performances, get the standing ovations...and after his shows, he would be whisked off the elaborate, casino properties, to stay at place deemed acceptable for blacks. No shmoozing at the white-casinos...none of that. No gambling, no drinking and no hand shaking or autograph signing with his white co-stars, such as Frank Sinatra, after the show. Yes, it is apalling, that somebody with that immense talent, a star...would have to take a back seat to anything, because of his color.
Then came the opening of a new casino/hotel, smack dab on the borders of the predominately white strip area of Las Vegas, and the Black dominated West side. The Moulin Rouge, the first American, inter-racial hotel and casino, the original 'cosmoploitian ', located at the crossroads of Washington, and Bonanza Road, May 24, 1955. Decorated in modern French design, with the sign art being done by Betty Willis. Betty Willis, is the stylizer of the 'Welcome to Las Vegas' signage at S.Las Vegas Blvd., the Las Vegas symbol of hospitality. The Moulin Rouge had its gaming license held, for the first time, by a black woman, Sarann Knight-Preddy. For the first time, African Americans could hold positions as managers, bartenders, cocktails, dealers, security, and other job offerings. Jobs, that would place them in full view of the public, instead of lowly, behind the scenes positions, typically held by Blacks in a casino. Boxer Joe Louis owned a percentage of the Moulin Rouge, and worked as the hotel/casino greeter, and Sonny Boswel, a Harlem Globe Trotter, was a manager.
The Moulin Rouge, became popular, with its bar, cafe, dress shop, hotel and theater. The Platters, knocked em' dead, packing the place, as the Moulin Rouge's, opening performance. Moulin Rouge was featured on the cover of 'Life' magazine. Stars like Ella Fitzgerald, Louie Armstrong, Nat King Cole, and Pearl Baily began performing and patronizing the Moulin Rouge. Indeed white celebrities booked as white casino Headliners, also patronized the Moulin Rouge as well, when their performances at the white casinos were over for the night. This was a huge disappointment for the casinos who had hired them, expecting stars to stay and consort with important customers, instead of leaving and drawing patronage to the Moulin Rouge after the shows. Stars would arrive late, to the handsome Mahogany trimed showroom, to see the show 'The Tropi Can-Can Revue', inspired by Josephine Baker, performed by beautiful Black dancers. Crowds came to see Sammy Davis Jr., youngsters Gregory and Maurice Hines, with their father, in Hines, Hines and Dad, or one of the other star studded performances, that were selling out. The place became wildly popular in part of Sammy Davis's good friend, Frank Sinatra, who frequented the joint, bringing Rat-Pack friends like George Burns, Peter Lawford, Hedda Hopper, Marlena Dietrich and Jack Benny, in part so they could comfortably socialize with black celebrity friends. Where 'Frank went' in those days, then 'everybody' went. The intergration of the Moulin Rouge was becoming a popular theme. The Moulin Rouge, had initialy anticipated, primarily Black patronage, but had an unexpected abundance of white patronage and celebrities, much to the chagrin of white, rival casinos in Las Vegas.
The Moulin Rouge's popularity was a sore spot for the big casinos, such as the Dunes, The Sahara, and The New Frontier, and soon, liquor deliveries and other supplies would become difficult to come by, when white casinos threatened to remove their business from venders who serviced the Moulin Rouge, and also threatened to fire their own dancers and performers who patronized the Moulin Rouge, if they were caught there.
Trumped up charges of 'discrimination' emerged, when the Moulin Rouge was accused of charging white collar, Black workers, less for a drink than the blue collar, Black workers, and they lost their liquor license, in September, 1955. The Hotel/Casino operated without a liquor license, and the end came quickly, a month later in October, 1955, when the Clark County Sheriff came and closed the gaming. The Moulin Rouge sited bankrupcy as the reason for the closure.
Sadly, The Moulin Rouge only survived six or seven months. But...during that time, it was in its heyday, the spirit, never to be forgotten. Built on an idea, the first of its kind, an inter-racial enterprise, a bold example that innovated the movement leading to desegregating Las Vegas, and eventually the United States. The property never reopened, and burnt down in 2003. The property is listed as of 1992 by the National Registry of Historical Places.
The Moulin Rouge's, Grand Finale, took place March 26, 1960, where...within it's closed doors, Gov. Grant Sawyer, and NAACP President, James McMillian, reached an agreement, that forever closed the doors...this time...on segregation in Las Vegas casinos, paving the way towards desegregation of our country.
Keep this in mind, the next time you sit back to relax at your favorite oldies bar, when Dino, Frank or Sammy step out of the juke box to serenade you. Most of you out there don't remember those tense moments of the Civil Rights Movement, or the assasination of Martin Luther King Jr., which came after Moulin Rouge. I am proud to say, we've come a long way past those days.
Sammy Davis Jr., had a love for his music, that went to the moon and back. He kept performing in the face of prejudice, and humiliation everyday, in the company of his friends. Fortunately his friends, like Sinatra, had guts, showing the world they prefered to hang out in a place that treated their friend, Sammy... the way he should be treated... as a star.
Attributions:
en.Wikipedia.org/wiki/Moulin_Rouge_Hotel
An American History - Las Vegas, an Unconventional Historywww.pbs.org/wgbh/amex/lasvegas/.../p_africanamericans.html
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