Sammy Davis Jr
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To Sammy Davis, Jr. the Martin Luther King, Jr. Papers Project
20 Dec will have God’s guidance as she sets out on this sacred and serious responsibility 1960 of calling a pastor. Sincerely yours, Martin Luther King, Jr. MLK. m TLc. MLKP-MBU: Box 69. The Martin Luther King, Jr. Papers Project To Sammy Davis, Jr. 20 December 1960 [Atlanta, Ga.] King thanks Davis for his “wonabful support” of the upcoming 2 7January 1961 Carnegie Hall “Tribute to Martin Luther King, Jr.”’ King also praises aspiring playwright Oscar Brown’s musical Kicks & Go. for its portrayal of “the conjliGt of soul, the moral choices that confront our people, both Negro and white.” Mr. Sammy Davis, Jr. Sherry-Netherland Hotel 5th Avenue at 59th Street New York 2 2, New York Dear Sammy: I have been meaning to write you for quite some time. A sojourn in jail and a trip to Nigeria among other tasks have kept be behind. When I solicited your help for our struggle almost two months ago, I did not ex- pect so creative and fulsome a response. All of us are inspired by your wondei-ful support and the Committee is busily engaged in the preparations forJanuary 27th. I hope I can convey our appreciation to you with the warmth which we feel it. In the midst of one of my usual crowded sojourns in New York, I had the op- portunity to hear the play, “Kicks and Co.” by Oscar Brown at the invitation of the Nemiroffs, at whose home I have previously been a guest.2 I learned of your in- terest in it and I am deeply pleased. -
AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green
AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green Let's Stay Together Alabama Dixieland Delight Alan Jackson It's Five O'Clock Somewhere Alex Claire Too Close Alice in Chains No Excuses America Lonely People Sister Golden Hair American Authors The Best Day of My Life Avicii Hey Brother Bad Company Feel Like Making Love Can't Get Enough of Your Love Bastille Pompeii Ben Harper Steal My Kisses Bill Withers Ain't No Sunshine Lean on Me Billy Joel You May Be Right Don't Ask Me Why Just the Way You Are Only the Good Die Young Still Rock and Roll to Me Captain Jack Blake Shelton Boys 'Round Here God Gave Me You Bob Dylan Tangled Up in Blue The Man in Me To Make You Feel My Love You Belong to Me Knocking on Heaven's Door Don't Think Twice Bob Marley and the Wailers One Love Three Little Birds Bob Seger Old Time Rock & Roll Night Moves Turn the Page Bobby Darin Beyond the Sea Bon Jovi Dead or Alive Living on a Prayer You Give Love a Bad Name Brad Paisley She's Everything Bruce Springsteen Glory Days Bruno Mars Locked Out of Heaven Marry You Treasure Bryan Adams Summer of '69 Cat Stevens Wild World If You Want to Sing Out CCR Bad Moon Rising Down on the Corner Have You Ever Seen the Rain Looking Out My Backdoor Midnight Special Cee Lo Green Forget You Charlie Pride Kiss an Angel Good Morning Cheap Trick I Want You to Want Me Christina Perri A Thousand Years Counting Crows Mr. -
FY14 Tappin' Study Guide
Student Matinee Series Maurice Hines is Tappin’ Thru Life Study Guide Created by Miller Grove High School Drama Class of Joyce Scott As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students Under the guidance of Teaching Artist Barry Stewart Mann Maurice Hines is Tappin’ Thru Life was produced at the Arena Theatre in Washington, DC, from Nov. 15 to Dec. 29, 2013 The Alliance Theatre Production runs from April 2 to May 4, 2014 The production will travel to Beverly Hills, California from May 9-24, 2014, and to the Cleveland Playhouse from May 30 to June 29, 2014. Reviews Keith Loria, on theatermania.com, called the show “a tender glimpse into the Hineses’ rise to fame and a touching tribute to a brother.” Benjamin Tomchik wrote in Broadway World, that the show “seems determined not only to love the audience, but to entertain them, and it succeeds at doing just that! While Tappin' Thru Life does have some flaws, it's hard to find anyone who isn't won over by Hines showmanship, humor, timing and above all else, talent.” In The Washington Post, Nelson Pressley wrote, “’Tappin’ is basically a breezy, personable concert. The show doesn’t flinch from hard-core nostalgia; the heart-on-his-sleeve Hines is too sentimental for that. It’s frankly schmaltzy, and it’s barely written — it zips through selected moments of Hines’s life, creating a mood more than telling a story. it’s a pleasure to be in the company of a shameless, ebullient vaudeville heart.” Maurice Hines Is . -
Bio Sammy Davis
PRESSEINFORMATION NEWS & TERMINE DER SEMMEL CONCERTS VERANSTALTUNGS GMBH SAMMY DAVIS JR. – TABELLARISCHER LEBENSLAUF Name: Sammy Davis Jr. Beruf: Sänger, Tänzer, Entertainer, Schauspieler Geburtstag: 08. Dezember 1925 Geburtsort: Harlem, New York City, USA Gestorben: 16. Mai 1990 Beverly Hills, Kalifornien Frauen: Mai Britt Altovise Davis Kinder: Jeff Mark Tracy Manny 1925 Sammy wird als Sohn des Tänzers Sammy Davis und der Showtänzerin Elvera „Baby“ Sanchez geboren 1928 Mit 3 Jahren erste Auftritte zusammen mit seinem Vater und seinem Onkel Will Mastin in Nachtclubs und Bars (er wurde seit seinem 2.Lebensjahr - nach der Trennung der Eltern - von seinem Vater aufgezogen); das Stepptanzen erlernt er schon im Kindesalter; erste Mitwirkung in einem Werbefilm bis 1940 bereits mehrere Tourneen durch die USA absolviert 1941 Frank Sinatra und Sammy lernen sich kennen – eine lebenslange Freundschaft beginnt 1943 Er wird in die Army eingezogen und lernt, was Rassismus bedeutet; seine „demolierte“ Nase holte er sich durch mehrere Schlägereien aus dieser Zei 1945 Nach dem Krieg weitere Auftritte mit seinem Vater und Onkel als Will Mastin Trio; er begann weiße Stars wie Jimmy Durante, James Stewart und Jimmy Cagney zu imitieren, was ihm Schwierigkeiten bei einem oft rassistisch eingestellten Publikum brachte; er kann viele Instrument spielen und ist ein begnadeter Stimmimitator 1948 Plattenvertrag bei Capitol Records, den er seinem Freund Frank Sinatra zu verdanken hat, der ihn zu seinen Engagements einlud und Aufträge verschaffte; bis 1950 Aufnahmen von 20 Songs, die bis zu seinem Tod nur als Singles veröffentlicht waren Ende der 40er Frank Sinatra engagierte Will Mastin Trio feat. Sammy Davis Jr. für seine Auftritte im Capitol-Theater in New York als Vorgruppe. -
Wonka Script V3
!1 Prologue: Wonka’s Factory (The actor playing Wonka enters the stage, he peers at the audience. CANDY KIDS carry high powered flash lights and illuminate WONKA as he invites the audience to enter a world of pure imagination. SONG: PURE IMAGAINATION !2 !3 SCENE 1: OUTSIDE THE BUCKET SHACK (WONKA narrates as children gather anticipating the arrival of the CANDY MAN) WONKA See these Kids? They meet outside Charlie’s house every day after lunch, with a shiny nickel apiece to buy a Wonka bar from the local Candy man. The only kid with no nickel is Charlie. ALL THE KIDS It’s the Candy Man! MATILDA What are you going to get? JAMEY (slurping a lollypop) Hey Charlie, help me pick something out. I got a nickel. MATILDA You’ve already got a lollipop. Shouldn’t you finish it first? JAMEY I can’t help it. I love candy! All candy! CHARLIE Stop it! You’re making my mouth water! SONG: THE CANDY MAN !4 !5 !6 !7 !8 !9 SCENE 2: THE BUCKET SHACK (Charlie’s grandparents are set on stage) MRS. BUCKET Charlie, come….eat. CHARLIE Here’s the paper, Dad. MR.BUCKET (looks at the front page) Well, I’ll be a chocolate crispy! Will you look at this? “Wonka factory to be opened to a lucky few.” GRANDMA JOSEPHINE Do you mean people are actually going to be allowed inside the factory? MRS. BUCKET Read what it says! GRANDMA GEORGINA “Mr. Willy Wonka has decided to allow five children to visit his factory. The lucky five will tour the factory and receive a lifetime supply of Wonka Chocolate.” GRANDPA JOE Tour the factory? CHARLIE A lifetime supply of chocolate? EVERYONE EXCEPT CHARLIE Read on! GRANDMA GEORGINA “Five golden tickets have been hidden among five million ordinary candy bars. -
Song Lyrics of the 1950S
Song Lyrics of the 1950s 1951 C’mon a my house by Rosemary Clooney Because of you by Tony Bennett Come on-a my house my house, I’m gonna give Because of you you candy Because of you, Come on-a my house, my house, I’m gonna give a There's a song in my heart. you Apple a plum and apricot-a too eh Because of you, Come on-a my house, my house a come on My romance had its start. Come on-a my house, my house a come on Come on-a my house, my house I’m gonna give a Because of you, you The sun will shine. Figs and dates and grapes and cakes eh The moon and stars will say you're Come on-a my house, my house a come on mine, Come on-a my house, my house a come on Come on-a my house, my house, I’m gonna give Forever and never to part. you candy Come on-a my house, my house, I’m gonna give I only live for your love and your kiss. you everything It's paradise to be near you like this. Because of you, (instrumental interlude) My life is now worthwhile, And I can smile, Come on-a my house my house, I’m gonna give you Christmas tree Because of you. Come on-a my house, my house, I’m gonna give you Because of you, Marriage ring and a pomegranate too ah There's a song in my heart. -
The Rat Pack Frank Sinatra • Dean Martin • Sammy Davis Jr. the Hep
The Hep Gents Swing - Repertoire ★★ The Rat Pack ★★ Frank Sinatra • Dean Martin • Sammy Davis jr. Ain´t that a kick in the head Almost like being in love Bad Leroy Brown Everybody loves somebody Fly me to the moon Have you met Mrs Jones King of the road Love and Marriage Mambo Italiano Mr Bojangles My Way New York, New York Red Roses for a blue Lady Singing in the rain Something stupid That´s Amore The Candy Man ★★ Die wilden 20er Jahre ★★ Ain´t she sweet Girls, Girls, Girls Hello Dolly Honey Pie (Beatles) I can´t give you anything but Love Original Charleston Putting on the Ritz The Duke of Dubuque When I´m 64 When you smile Yes, Sir, that´s my Baby Yes, Yes! My Baby said "Yes, Yes" You are my sunshine, my only Sunshine ★★ Classic Swing ★★ Nat King Cole • Ella Fitzgerald Beyond the Sea Hit that Jive, Jack Frim Fram Sauce Fever L.O.V.E. I´ve got the world on a string (M. Bublé) Is you is or is you ain´t my Baby It´s only a Papermoon Java Jive My Baby just cares for me Pink Panther Theme Opus One Reet, Petite and Gone Route 66 Sentimental Journey Straighten up and fly Right Tea for two ★★ Jump, Jive & Wail ★★ Louis Prima u.a. Banana Split for my Baby Buona Sera Signorina Chattanooga Choo Choo Choo Choo Ch'Boogie I wanna be like you (Jungle Book) I want you to be my Baby Jump, Jive and wail Just a Gigolo Pennies from heaven Safronia B. -
Similar Hats on Similar Heads: Uniformity and Alienation at the Rat Pack’S Summit Conference of Cool
University of Huddersfield Repository Calvert, Dave Similar hats on similar heads: uniformity and alienation at the Rat Pack’s Summit Conference of Cool Original Citation Calvert, Dave (2015) Similar hats on similar heads: uniformity and alienation at the Rat Pack’s Summit Conference of Cool. Popular Music, 34 (1). pp. 1-21. ISSN 0261-1430 This version is available at http://eprints.hud.ac.uk/id/eprint/22182/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Similar hats on similar heads: uniformity and alienation at the Rat Pack’s Summit Conference of Cool Abstract This article considers the nightclub shows of the Rat Pack, focussing particularly on the Summit performances at the Sands Hotel, Las Vegas, in 1960. Featuring Frank Sinatra, Dean Martin, Sammy Davis Jr, Peter Lawford and Joey Bishop, these shows encompassed musical, comic and dance routines, drawing on the experiences each member had in live vaudeville performance. -
Solomon and Sinatra: the Song of Songs and Romance in the Church Robert Case a Sunday School Class Faith Presbyterian Church Tacoma, Washington 2016
1 Solomon and Sinatra: The Song of Songs and Romance in the Church Robert Case A Sunday School Class Faith Presbyterian Church Tacoma, Washington 2016 Part 3 There are a multitude of biblical themes expressed by non-believing Jewish songwriters in the American Songbook, but one fine example for our purposes in this class is the theme of: no Sex before marriage “Love and Marriage” In 1955 Jimmy Van Heusen (a Methodist) with Jewish lyricist Sammy Cahn wrote “Love and Marriage” which was introduced (ironically) by Frank Sinatra in the television production of Thornton Wilder's Our Town. It is the biggest hit to ever come out of a television special. In 1956, the song, "Love and Marriage" won the Emmy Award for Best Musical Contribution from the Academy of Television Arts and Sciences. The Cahn inspired clever lyrics euphemistically call “sex” “love” and claim that mom told dad you can’t have sex (“love”) without marriage. The song was used as the theme song for the long-running (1987–97) FOX television sitcom Married... with Children. Additionally, the song has been used in several national commercial campaigns. “Love and marriage, love and marriage, go together like a horse and carriage. This I tell you brother you can't have one without the other. Love and marriage, love and marriage, it's an institute you can't disparage. Ask the local gentry and they will say it's elementary. Try, try, try to separate them it's an illusion Try, try, try, and you will only come to this conclusion. -
When Quincy Jones
BY CHRIS HEATH PHOTOGRAPHS BY ROBERT MAXWELL 4 days ago Frank Sinatra. Michael Jackson. Ray Charles. Malcolm X. Elon Musk. Truman Capote. Buzz Aldrin. Prince. Tupac. Even Leni Riefenstahl. Quincy Jones has run with them all. Chris Heath stays up late with the 84-year-old music legend who has a tale to go with every famous name. ......................................... "I feel like I'm just starting," Quincy Jones explains as he slowly takes a seat in the grand living room of his hilltop Bel-Air mansion, a wide arc of nighttime Los Angeles visible through the windows in front of him. "It seems like at 84 all the things you used to wonder about come clear to you." TRENDING THIS VERY SECOND entertainment Quincy Jones Has a Story About That So he begins. He begins talking about his life. It's a life punctuated by so many disparate encounters and achievements and circumstances that it is hard to believe they are the experiences of a single man. There is a lot of talking to do. 1. The Oscar was awarded in 1994 for his humanitarian work. He won the Emmy for the soundtrack to Roots and the Tony for the revival of the musical The Color Purple. He has won 28 Grammy Awards. There is the career, of course: the jazz musician, the arranger, the record executive, the soundtrack composer, the solo artist, the producer of the biggest pop album in history, the entrepreneur, the media magnate, the film and TV producer, the philanthropist…and on and on. Jones is one of just a handful of people who have accomplished the EGOT—winner of at least one Emmy, Grammy, Oscar, and Tony. -
Nat “King” Cole's Civil War: How Pop Music's Intimate Sounds and The
Nat “King” Cole’s Civil War: How Pop Music’s Intimate Sounds and the U. S. Military’s Intimate Spaces Ignited Alabama’s Racial Tensions in the 1950s Joseph M. Thompson Charlottesville, Virginia BA, University of Alabama, 2002 MA, University of Mississippi, 2013 A Thesis presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Master of Arts Department of History University of Virginia May 2015 2 On April 21, 1956, Alabama newspaper The Anniston Star published a letter to the editor, criticizing what the writer perceived as the press’s unfair characterization of five local white men as “hoodlums” for their recent involvement in an act of racial violence. Mrs. Orliss W. Clevenger, a white resident of Anniston and wife of one of the “hoodlums,” wrote indignantly that she could not “understand why when a White does something to a Negro it makes front page for two or three days and why when three Negro men raped that white woman a few weeks ago, there was only one small article about it down at the bottom of the page.” With palpable resentment, Mrs. Clevenger decried a local minister for writing a letter of condemnation regarding her husband while failing to pen one denouncement of the accused African American rapists. Surely, the clergyman did not think that her husband’s crime constituted a sin worse than the rape of a white woman? Surely, the local paper did not condemn her husband for acting on behalf of the white race? Mrs. Clevenger ended her letter by reiterating her loyalty to her husband and, by extension, her race, writing, “I’m not ashamed of what they did because that is not near so bad as rape.” “If we have lost any white friends because of this,” she concluded, “I don’t think they were worth having anyway!”1 At the time, Mrs. -
The Great American Songbook Through the Lens of Judy Garland
The Great American Songbook Through the Lens of Judy Garland An Honors Thesis (MUSP 401) By Lindsey Stamper Thesis Advisor Dr. Jon Truitt Ball State University Muncie, Indiana December 2017 Expected Date of Graduation May 2018 0JpCo)} U ndc r.::J r c, a I he c 1 d. i'("; . ._ tJ c ( JP, Abstract r} ,..J... This thesis paper, as well as·the accompanying recital, delves into the topic of The Great American Songbook Through the Lens of Judy Garland. The Great American Songbook is a collection of American standard repertoire from the late nineteenth century to the middle of the twentieth. Judy Garland in particular is an exemplary performer of this period; her life parallels the troubles and careers of many other performers in this era. By exploring and performing songs that Garland performed during her career, this paper relates the history of American music to the life of the acclaimed Judy Garland. Acknowledgments I would like to thank Dr. Jon Truitt for the guidance, insight, advice, and training he has provided me with throughout this project and these past four years. His help with the many performance endeavors of my collegiate career has been invaluable. I would also like to thank my mom and dad for inspiring a curiosity and interest in music at a young age. Lastly, thank you to Julian for always listening with kind and encouraging ears. Process Analysis Statement Recitals, concerts, and cabarets are important events in a music educator's profession. These are the culmination of unseen efforts rehearsing music, planning logistics, and organizing personnel.