The Copa Read online

  Mary Ann Shedon, Peggy Lee, and me backstage at the club.

  According to Peggy Lee:

  Jules was very protective, if he liked you, and he also did good things in secret, which are not well known. One day he called me and asked, “Will you do me a favor, Peg?” “Of course, Julie, what is it?” “I want you to sing for some nuns.” Here was a man who only took one day off a year, Yom Kippur, and he spent the entire day in a temple. Now he was asking me about some young novitiates in a convent! He said, “I know the young nuns would like to hear you sing. ‘You’ll Never Walk Alone’ is one of my favorites.” “All right, Jules, what time?” “I will send a car for you at six o’clock. Then I can bring you back in time for the show.”

  I was curious, to say the least. The limo arrived, I was taken to the convent, and the beautiful novitiates had nothing but good things to say about Jules Podell and how he supported the convent almost single-handedly. When I came back, he said in his gruff voice, “Anything you ever want me to do, Peg, anything, you just ask me.” You can never tell about tough guys.

  Here is a review of Peggy by Robert Salmaggi that appeared in the World Journal Tribune on October 30, 1966. The title of the piece was THIS GAL GOES BY THE BOOK:

  We’re gonna throw the book at Peggy Lee. When this gold-topped gal is being caressed with a baby-blue spot, and lofting the inimitable Lee sound, you find yourself admiring the letter perfect precision of her act. The lead-in cues, the accord between vocalist and band, the split-second timing of the soundman, and the click lighting liaison, are the constant envy of Peggy’s songbird contemporaries. It’s because Peggy goes strictly by the book. Literally. It’s a large, black-leather-bound loose-leaf affair; jammed with neatly typed-and-mimeo’d notes and data, all lovingly compiled and looked after by Peggy’s gal Friday, Phoebe Jacobs. If Peggy were to lose her “show-book” (and she did, for a few harrowing hours, just before a Copacabana stint last year), things wouldn’t be half so sweet on stage. Peggy knows it: “That book is half of me—the better half.” Even a cursory flip-through of the show-book bears Peggy out. Every show she’s done for the past two decades, right down to each song she sang and what she wore, is carefully recorded so she can refer to the notes for a multitude of reasons (“Sometimes I want to revive a song or medley I did that went over with the crowd”). For any upcoming shows (her current engagement at the Copacabana, for instance) Peggy’s book outlines, even to hand gestures, what is to happen on stage for her 90 minutes. She lists what sidemen she’ll add to the house orchestra (half a dozen crack music makers always accompany her on tours), what numbers she’ll do (with detailed side comments on treatment, etc.). There are specific instructions for lighting director Hugo Granata, the Copa producer Doug Coudy (“Diminish side lights at end of the song,” etc.), conductor Lou Levy (“‘Pass Me By’ gets a frisky beat,” etc.). The entire contents of Peggy’s 30-some-odd trunks are spelled out (Trunk Number One: Three pairs white kid gloves, etc.). There is no room for error, or miscalculation. Peggy goes about her profitable business with a shrewd, get-things-done-right attitude that has kept her sailing on the top of the vocal seas through thick and thin. One of the “thin” spots might have been the advent of the hard-driving rock and roll, à la Beatles, but not for Peggy (“I was worried—for about two weeks”). For her three weeks at the Copa, Peggy, ever the perfectionist, has “packed” Joe Mele’s band with a rare bass flute (“The only item I carry personally”), a Hammond electronic organ (“For that wild, eerie sound”), four guitars, and a harmonica (“You can’t beat the Beatles, you join ’em”). The band was put through seven full rehearsals before Peggy was satisfied, but not a bleat of protest was heard. Musicians dig playing for Peggy (“When she hits New York,” said Phoebe, “all the great sidemen call her and want to sit in for her gig.”). It is that way with anyone connected with the scene. When Peggy played the Basin St. East, the manager would close the place for five to seven days so Peggy could be free to change things around to her liking. She even got things she didn’t ask for—two new wings on the stage, an enlarged, luxury dressing room, etc. “It’s the same everywhere she goes,” said Phoebe. “Like at the Copa now, where everybody from Jules Podell on down bends over backwards to please Peggy.”

  What’s in store for Peggy Lee? “I want to write more”—she’s written over 500 pop songs, including “Mañana,” “I Don’t Know Enough About You,” etc.—“and even more important step up my charity work.”

  Me and Juliet Prowse. Prowse was a popular dancer who also starred in several movies including G.I. Blues with Elvis and Can-Can with Frank Sinatra.

  An autographed photo to me from The McGuire Sisters. The trio became famous after they appeared on Arthur Godfrey’s Talent Scouts and had several hit records, including Sincerely.

  Jimmy Durante

  Although he is probably best known by today’s generation as the storyteller in the animated holiday classic Frosty the Snowman (which is shown every year on television), Jimmy Durante was a top star in the nightclub circuit for decades. Because of his trademark nose, he was nicknamed the “Schnozz.” During his career, Durante paired with several different partners to complement his act. But make no mistake about it, the “Great Durante” was always the star attraction. Singer-comedian Sonny King was Jimmy Durante’s sidekick for over twenty-five years. Durante asked King to fill in for his partner, Eddie Jackson, in 1950. Sonny King had worked for Jules Podell at the Copacabana as a bouncer and eventually was promoted to bar manager. “I can’t explain it. I don’t know if it was spiritual, but we looked at each other and couldn’t stop laughing,” King said of his instant chemistry with Durante. “The audience caught on and they were laughing, too.” A few years later, a top executive from the Sahara in Las Vegas saw King’s act at the Copa and asked him to come and work at the hotel. King would move to Las Vegas and make it his home. Sonny King continued to work with Durante until 1980, when Durante passed away. Jimmy Durante was such an institution at the Copa that he recorded a live album at the club in the 1960s that is still available today on CD.

  Bobby Rydell and my father. Rydell was a teen idol during the 1960s and continues to perform today.

  Paul Anka

  Paul Anka was a rising teen star in the late 1950s, known for both his performing and songwriting abilities. In 1960, at age twenty, he had the distinction of being the youngest star to ever headline the Copacabana.

  Anka’s record company at the time, ABC-Paramount, decided to record a performance of his during his Copa run in July 1960. The intent was to introduce his talents to the parents of his current teenage fans. Recording engineer Phil Macy from Bell Sound Studios set up remote audio equipment in order to record Anka properly. According to the album notes, the performance from July 6, 1960, was edited and released as the album Anka at the Copa. The engagement was such a success that Jules Podell wrote Anka a letter that was printed on the back of the album.

  Sugar Ray Robinson, Paul Anka, and my dad. Besides being one of the greatest boxers of all time, Sugar Ray also developed a nightclub act and worked in television and the movies.

  On July 11, 1960, Podell wrote the following:

  Dear Paul:

  At the conclusion of your engagement here at the Copacabana, I wanted to let you know how we all feel about the two weeks you’ve spent with us as the youngest headliner in the history of the Copa.

  We’ve had many stars with us over the years, Paul—some who were already well-established names, top-ranking artists who had become institutions in the business, others who were getting their first big break by an appearance at the Copacabana. I personally derived a great inner satisfaction in noting the rise of many a performer who was spurred on to stardom after an engagement here.

  So you will understand my gratification now, when I tell that I feel that you are certainly on the threshold of greatness. During your engagement, I was amazed to see your terrific flair for showmanship, the natural gift for timing and delivery, and the since
re boyish charm which consistently characterized your performances.

  You will be pleased to know that, for the first time in the history of the Copacabana, it became necessary to schedule three shows on the opening night of your engagement! The entire two weeks were most successful for us, and I think you continued to gather more fans and admirers among all elements and age groups as well as retaining the tremendous followers among the teenagers who filled the Copa so often during their “Prom Nights.”

  I was particularly happy to note that you recorded a series of your performances at the Copacabana during the two weeks, and that these will be released in album form for ABC-Paramount. I am eagerly looking forward to hearing the album, which I will treasure as a tangible memento of one of the outstanding engagements it has been my pleasure to present.

  Good luck to you always, Paul.

  Sincerely,

  Jules Podell

  In 1962, The National Film Board of Canada produced a mini-documentary on Paul Anka titled “Lonely Boy.” Jules Podell granted the filmmakers access the club in order to shoot Anka’s performance and some backstage footage. The most fascinating aspect of this thirty-minute film is the interview with Jules Podell and the footage inside the Copacabana.

  The first scene that involves the Copacabana is a shot of the outside awning, followed by a few seconds of the Copa Girls and the audience’s reaction. The film then follows Paul Anka as he is getting dressed in a room at the Hotel Fourteen, exiting the elevator, passing through the kitchen, and greeting Podell. After kissing Jules on the cheek, Anka proceeds to light Podell’s cigarette before heading onstage as he is being introduced by Doug Coudy to sing his opening song.

  Wayne Newton

  Another entertainer who owes a great deal to Jules Podell and the Copacabana is Wayne Newton. Television superstar Jackie Gleason was passing through Phoenix, Arizona, in the summer of 1962, on a train trip to promote his CBS network show. The owner of a local CBS affiliate television station was looking for an act to perform for Gleason while he was in the city for a luncheon. The owner remembered the Newton Brothers from an appearance they had made on his station and called Wayne to see if the brothers would be available. Wayne Newton and his brother jumped at the opportunity to perform in front of “The Great One.” After the Newton Brothers had finished their act, Gleason was so impressed that he stood up and proclaimed, in front of the assembled luncheon audience, “You’re on my first five shows.”

  My father, Joe E. Lewis, Red Skelton, and a group of friends enjoying an evening at the club.

  On the September 29, 1962, the Newton Brothers made their debut on The Jackie Gleason Show. Wayne and his brother, Jerry, were planning to leave New York since they had no other work lined up after their appearances on the television show. When Gleason became aware of this, he vowed to rectify the situation for the brothers. Jackie called his old friend Jules Podell and asked him to book the Newton Brothers’ act in the Copacabana lounge. Podell happily complied with his old friend Gleason’s request and it turned out to be most beneficial to Wayne’s career.

  Wayne Newton always asked my father if he could ask me out and my father would say, “Yeah, go ahead.” My father could have cared less about my thoughts. At that time, Wayne was fat, nerdy, and had a high-pitched voice, but finally I agreed to go out with him. One evening it was arranged that he would come to the house to pick me up. He arrived on time and spoke with my mother for a few minutes and then we went to dinner. The thing that turned me off about Wayne most was his ego; he was so into himself. The entire conversation centered on his career and what his future plans in show business were. He bored me to death telling me “I’m” going to be big someday and “I’m” going to do this and “I’m” going to do that…it was all me, me, me, me. After twenty minutes of this, I told him I was not feeling well and asked him to take me home. Ever the gentleman, he took me home and offered to escort me upstairs to our apartment. I told him thanks but I would be fine. As soon as I walked in the door, I called another guy whom I really liked and told him I was now available that evening to go out.

  My father and actor Gabby Hayes. Gabby appeared in many Western movies as a sidekick, usually to Roy Rogers or Gene Autry.

  Ad for D’Aldo Romano, a singer who never became a big star in America.

  While working in the lounge, Copa regular Bobby Darin caught the Newton Brothers’ act one evening. At this stage in his career, Darin wanted to become a record producer and he thought that a song that had been written for him would be perfect for Wayne. The song was “Danke Schoen,” and in the spring of 1963, Darin convinced Wayne to record it. The song and recording would change Wayne Newton’s career and life forever.

  Wayne wrote in his autobiography, Once Before I Go, that “Bobby was absolutely like the older brother I had always wanted.” He also said of Bobby that he “represented to me the epitome of what I considered a recording artist to be…he was the most consummate talent I had ever known.”

  Like many other entertainers, Wayne Newton would eventually travel to Las Vegas, where he became a top attraction, and still performs to this day. Newton has had one of the longest tenures as a headliner in the city, all thanks to a little help from Jackie Gleason and Jules Podell.

  Bobby Darin

  Although Bobby Darin, born Walden Robert Cassotto, died tragically at the age of thirty-seven in 1973 from a lifelong illness, his engagements at the Copacabana are legendary.

  Darin first played the Copa in 1960 and at that point in his career he had a few hits on the charts, including “Splish Splash,” and had played Las Vegas with comedian George Burns. Darin was enjoying success on the touring circuit, but he knew the Copacabana was the mecca of all nightclubs. Atco, the singer’s recording company, had decided to record some shows during this engagement for future release. The resulting album, Darin at the Copa, continues to sell today, almost fifty years after it was recorded.

  Bobby Rydell, my father, and agent Sam Branson in the Copa kitchen before Rydell’s opening.

  Darin’s engagement at the Copa was a huge success; he broke all previous attendance records at the nightclub. The reviews were glowing and they catapulted Darin into superstardom as well as winning praise from the press and his fellow entertainers. Walter Winchell, a supporter of the young Darin, wrote in his New York Mirror column: “Bobby Darin’s premiere at the Copa went down in the Copacabana history books as one of the Standouts.” Martin Burden at the New York Post wrote: “Singer Bobby Darin is giving the Copa it biggest, boomingest business in years.” And Gene Knight at the New York Journal-American summed it up best when he wrote: “All those raves you’ve been reading about Bobby Darin, the boy wonder of Hollywood and Las Vegas, are deserved. He is the greatest natural nightclub talent to come along since Sammy Davis Jr. Which Bobby proved last evening when he opened a three-week engagement at Jules Podell’s Copacabana. Within seconds after Mr. Darin, aged 22, came on, you knew he had it!”

  Jules Podell took an immediate liking to the up-and-coming singer, and based on the tremendous amount of business the Copa had done, he invited Darin to return. Darin would work the Copacabana throughout the decade and enjoyed hanging out at the lounge even when he was not a scheduled performer. Darin and Podell would clash when Bobby decided to stray from the traditional pop standard songs that had made him a star and ditched his tuxedo for a more modern look—an all-denim outfit. One of the biggest confrontations between Darin and Podell occurred when Darin insisted that Nipsey Russell, a black comedian, be his opening act. At first, Podell resisted Darin’s request, but finally acquiesced, realizing the business he would lose if Darin canceled the engagement.

  Singer Tony Martin and my father. Martin was a popular singer who also starred in several films. He was married to Alice Faye and after they divorced he married dancer Cyd Charisse.

  Even though his career was short, Bobby Darin will always be associated as one of the greatest entertainers to grace the stage of the Copacabana.
/>   My father and Jimmy Durante were great friends. Durante is wearing the Copa Bonnet, which was an honor bestowed on the most popular entertainers who appeared at the club by my father.

  The Copa Bonnet

  Jules Podell and Jack Entratter wanted to find a way to honor the top headliners who appeared at their nightclub, so they came up with the Copa Bonnet. “The Copa Bonnet was an award given to those stars who had scored memorable successes in Copa revenues. It has been called the Night Club Academy Award, the Oscar of after-dark entertainment. It was presented as one of the most coveted symbols of success in all of the show world, and little wonder, for just take a look at only a few greats who have won the Copa bonnet over the years” or so said the Copa’s press material.

  The winners would have their photos printed in the Copa menus and handbills with a Copa Bonnet superimposed on the top of their heads. The list of those entertainers who received the honor includes: Frank Sinatra, Joe E. Lewis, Nat King Cole, Danny Thomas, Lena Horne, Dean Martin, Tony Martin, Paul Anka, Steve Lawrence, Eydie Gorme, Louis Prima, Keely Smith, Bobby Darin, Jimmy Durante, Sammy Davis Jr., Jerry Lewis, Johnny Mathis, and Joey Bishop.