Mr. Bojangles - 1968

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Mr. Bojangles - 1968 3/4 G A B C C/B Am Am/G 0 2 4 0 4 2 0 4 4 4 3 4 4 4 Low G 3/4 GAB C C/B Am Am/G F / G GAB C C/B Am Am/G F / G GAB 1. I knew a man Bojangles and he danced for you, In worn out shoes; with C C/B Am Am/G F / G7 / F / silver hair, a ragged shirt, and baggy pants, the old soft shoe. He jumped Em E Am Am7 D7 / G G7 so high, jumped so high, then he'd lightly touch down. Am / G / Am / G / Am / G GAB C C/B Am GAB Chorus: Mr. Bojangles, Mr. Bojangles, Mr. Bojangles, dance! C C/B Am Am/G F / G GAB C 2. Met him in a cell in New Orleans, I was down and out. He looked to me to C/B Am Am/G F / G7 / F / Em E be the eyes of age as he spoke right out. He talked of life, he talked of Am Am7 D7 / G GAB life, then he laugh-slapped his leg a step. C C/B Am Am/G F / G GAB 3. He said the name, Bojangles, and he danced a lick across the cell. He C C/B Am Am/G F / grabbed his pants, a better stance, oh, he jumped up high, He clicked his G7 / F / Em E Am Am7 D7 / G G7 heels. He let go a laugh, let go a laugh. Shook back his clothes all around. Am / G / Am / G / Am / G GAB C C/B Am GAB Chorus: Mr. Bojangles, Mr. Bojangles, Mr. Bojangles, dance! C C/B Am Am/G F / 4. He danced for those at minstrel shows and county fairs throughout the G GAB C C/B Am Am/G F / South. He spoke with tears of fifteen years how his dog and him traveled G7 / F / Em E Am Am7 D7 / G GAB about. His dog up and died, up and died, after 20 years he still grieves. Mr. Bojangles (cont.) C C/B Am Am/G F / G GAB 5. He said "I dance now at every chance in honky tonks, for drinks and tips. C C/B Am Am/G F / G7 / F But most the time I spend behind these county bars 'cause 'I drinks a bit. / Em E Am Am7 D7 / G G7 He shook his head, and as he shook his head I heard someone ask "Please”. Am / G / Am / G / Am / G GAB C C/B Am GAB C Chorus: Mr. Bojangles, Mr. Bojangles, Mr. Bojangles, dance! A song written and originally recorded by American country music artist Jerry Jeff Walker. While in a New Orleans jail for public intoxication Jerry Walker met a street performer, a homeless man who called himself “Mr. Bojangles” to conceal his true identity from the police. Mr. Bojangles had been arrested as part of a police sweep of indigent people that was carried out following a high profile murder. The two men and others in the cell chatted about all manner of things, but when Mr. Bojangles told a story about his dog, the in the room turned heavy. Someone else in the cell asked for something to lighten the mood, and Mr. Bojangles obliged with a tap dance. “Mr. Bojangles”, was the nickname used by Bill Robinson, a black tap dancer who appeared in many movies in the 1930’s, including with Shirley Temple in Rebecca of Sunnybrook Farm. After Robinson’s success, many black street dancers became known as “Bojangles.” Sammy Davis Jr. uses different lyrics 3/6/2021 .

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Bill 'Bojangles'
‘It’s all the way you look at it, you know’: reading Bill ‘Bojangles’ Robinson’s film career Author: Hannah Durkin Affiliation: University of Nottingham, UK This article engages with a major paradox in African American tap dancer Bill ‘Bojangles’ Robinson’s film image – namely, its concurrent adherences to and contestations of dehumanising racial iconography – to reveal the complex and often ambivalent ways in which identity is staged and enacted. Although Robinson is often understood as an embodiment of popular cultural imagery historically designed to dehumanise African Americans, this paper shows that Robinson’s artistry displaces these readings by providing viewing pleasure for black, as much as white, audiences. Robinson’s racially segregated scenes in Dixiana (1930) and Hooray for Love (1935) illuminate classical Hollywood’s racial codes, whilst also showing how his inclusion within these otherwise all-white films provides grounding for creative and self-reflexive artistry. The films’ references to Robinson’s stage image and artistry overlap with minstrelsy-derived constructions of ‘blackness’, with the effect that they heighten possible interpretations of his cinematic persona by evading representational conclusion. Ultimately, Robinson’s films should be read as sites of representational struggle that help to uncover the slipperiness of performances of African American identities in 1930s Hollywood. Keywords: Bill ‘Bojangles’ Robinson; tap dance; minstrelsy; specialty number; classical Hollywood Hannah Durkin. Email: [email protected] In 1935 musical Hooray for Love, a character played by Bill ‘Bojangles’ Robinson (1878-1949), one of Hollywood’s first black screen stars, declares, ‘it’s all the way you look at it, you know’ to describe his surroundings.
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Sammy Davis Jr.'S Facts on Tap Dancing | Entertainment Guide
FIND LOCAL: Entertainment Guide Parties & Celebrations | Travel & Attractions | Sports & Recreation | Leisure Activities Entertainment Guide » Arts & Entertainment » Dance » Dancing » Sammy Davis Jr.'s Facts on Tap Dancing Sammy Davis Jr.'s Facts on Tap Dancing ADS BY GOOGLE by Sue McCarty, Demand Media In May 1990, the Las Vegas Strip went dark for 10 minutes to honor one of America's premier entertainers, Sammy Davis Jr. Davis began his professional life on a vaudeville stage tap dancing at the age of 3 and spent the next 61 years singing, dancing, impersonating and acting for an often racially prejudiced public. Tutored in tap by his father, Sammy Sr., and partner, Will Mastin, and advised by the immortal Bill "Bojangles" Robinson, Davis spent his entire life on stages, in films and on television. Fred Astaire once said of Davis, "Just to watch him walk on stage was worth the price of admission." Learning the Craft Davis referred to his tap dancing skills as “a hand-me-down art form" because he was never formally trained in any aspect of dance. He learned by watching and imitating his father, Mastin and other professionals he came in contact with every night on vaudeville stages across the country. According to Davis, he remembered everything he saw, including timing, audience reaction to certain moves and how to direct the mood of the audience with facial expressions and gestures. RELATED ARTICLES Developing a Style Interesting Facts About Irish Step At the age of 10 Davis first saw Bill "Bojangles" Robinson on stage in Dancing Boston, which changed Davis' whole approach to tap dancing.
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ROBINSON, WILLIAM E.: Papers, 1935-69
DWIGHT D. EISENHOWER LIBRARY ABILENE, KANSAS ROBINSON, WILLIAM E.: Papers, 1935-69 William E. Robinson held positions as a newspaper executive with the New York Evening Journal (1933-36) and the New York Herald Tribune (1936-54), directed his own public relations firm of Robinson-Hannegan Associates (1954-55), and served as president and chairman of the board of Coca-Cola, Inc. (1955-61). In addition to having a long and distinguished career in business, Mr. Robinson also enjoyed a long and close personal friendship with Dwight D. Eisenhower, dating from their first meeting in World War II until their deaths in 1969. Mr. Robinson’s papers reflect both his business career and, especially, his association with Dwight D. Eisenhower. Mr. Robinson first met General Eisenhower in 1944 when the former was in Europe to reestablish publication of the Herald Tribune’s European edition. Their association became more intimate in 1947 when Mr. Robinson prevailed upon the General to write his World War II memoirs. According to arrangements worked out by Mr. Robinson, General Eisenhower’s Crusade in Europe came out in the fall of 1948, published in book form by Doubleday and syndicated to newspapers worldwide by the Herald Tribune. The two men were drawn together by a great admiration and respect for each other’s ideas and judgments, and an abiding common passion for playing bridge and golf. It was Mr. Robinson, in the spring of 1948 after the General had finished drafting his memoirs, who first introduced the Eisenhowers to Augusta National Golf Club. When General Eisenhower became president of Columbia University in New York City, the two had frequent occasions to play bridge together and to enjoy a game of golf at Blind Brook Golf Club where Mr.
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Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
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Volume 15 Number 064 Bill “Bojangles” Robinson Lead
Volume 15 Number 064 Bill “Bojangles” Robinson Lead: Born in Richmond, Virginia, in 1878, raised by his grandmother, a former slave, legendary tap dancer Bill “Bojangles” Robinson transformed the art of tap dancing. Intro.: A Moment in Time with Dan Roberts. Content: Bill Robinson lost both parents when he was a young and by the time he was six Robinson was dancing in beer gardens and on neighborhood street corners. All his life he carried the nickname “Bojangles,” but he could never be quite sure why. One story was that some of his friends had stolen a hat from Broad Street haberdasher named Boujasson. He inherited the hat, along with the name youthfully mispronounced “Bojangles.” Robinson dropped out of school to pursue a career in dancing, and at seventeen, he was working the vaudeville circuit in the United States and Europe. Robinson’s was not the conventional shuffling flat footed style, but instead, he danced with a light, swaying style on the balls of his feet. He refined the “stair dance” in the 1928 Broadway review Blackbirds and then with Shirley Temple in the 1935 movie The Little Colonel (1935). Vaudeville was fading by the late 1920s, but Robinson’s popularity in that medium helped him make the leap into a successful Broadway and motion picture career during the next two decades. During a time when there were limited opportunities for black actors and entertainers, many accepted roles such as those of Stepin Fetchit and Amos and Andy that, while pleasing to white audiences and paving the way for the Sydney Poitiers in the future, confirmed in their own era the worst kind of racial stereotype.
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Sammy Davis Jr . Sammy Davis Jr
154 AS/A LEVEL MUSIC STUDY GUIDE AS PRESCRIBED WORK 2017 SAMMY DAVIS JR. Sammy Davis Jr . Sammy Davis Jr. (1925–1990) spent his whole life in show business. He toured as a child entertainer with his father in the Will Mastin Trio. ocr During World War Two he joined an integrated by army unit, in which white and black soldiers served together. In his autobiographies he writes at length about encountering racism for the first time. He realised that when he was a child his father had protected him from the racist attitudes that were common at the time. Rejoining the Will Mastin Trio after the war, he endorsement developed as a versatile performer who could to sing, dance and act. He lost an eye in a serious car accident in 1954. During his recovery he was introduced to Judaism and he converted a few years later. In the 1950s and 1960s he appeared in leading roles in Broadway shows.subject Movie roles included Ocean’s 11 (1960), made with fellow members of the ‘Rat Pack’, a group of singer-actors which included Frank Sinatra and Dean Martin. Davis’s singing was influenced by Frank Sinatra’s style. From his recordings certain characteristics stand out: educationl: Davis has a warm, powerful voice, with a wide range. He is able to sustain his tone and sing sensitively and strongly. He has a very good sense of timing. He is able to judge phrasing, knowing when to delay or anticipate a phrase, or interpret a melody to suit his own vocal range.
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JACKSON, DELILAH. Delilah Jackson Papers, 1852-2013
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Autobillography
Autobillography Revised Standard Version Translated from the original Jargon Being only slightly related to the original of 1979, which is now considered Anathema Compared with the most ancient Authorities Completely re-written 2011 Including Apocrypha, Insignifica, Hysteria, Physica, Dystopia, Comedia, Sanatana Dharma, and Musica Nova Dr. Bill Robinson hare krishna hare rama Text copyright © 2011 by Dr. William R. Robinson All rights reserved. ISBN-13: 978-1466259911 ISBN-10: 1466259914 This book is self-published with CreateSpace. Audio book version is available on my website and on CDs. First Edition, September 2011 Address: Bill Robinson, 3830 Jackson St., Apt. L-13, Raleigh NC 27607 billrobinsonmusic.com [email protected] Photo credits Title page and Chapter 1 (Moses); title page of first edition, King James Bible, 1611 Chapter 1 Brigham Young portrait: Harvard Art Museum/Fogg Museum, Historical Photographs and Special Visual Collections Department, Fine Arts Library, 119.197 ponderscripture.org for picture of street signs Chapter 4 PA engravings; http://www.pa59ers.com/library/Kemper/Andover.html Commons: American Art Post Card Co., 1947 Neem Karoli Baba photo from Raw Sangha (rawsangha.com) Chapter 5 Kendall dorm room by Truitt Rogers, 1974 Notes Picker by Lon Cooper, 1975 Last Supper by Tom Wheeler, 1976 Chapter 6 Old Denton County Courthouse, Aaron Jacobs, 2005 Zip Ztove, ZZ Manufacturing Inc. Chapter 7 Toad picture, Albert Most, Venom Press, Denton Texas (publisher now defunct) Chapter 8 Las Cruces and Organ Mountains, by Neomexicanus Ic Ralph the barfing dog by David Palmer Hugo photo from NOAA Ch. 9 Rowan County Courthouse by http://www.talb.com/municipal.htm Ch.
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What's Goin' on Around Here?': Dancing Past Binaries and Boundaries in the Little Colonel
Research on Diversity in Youth Literature Volume 3 Issue 1 Minstrelsy and Racist Appropriation Article 5 (3.1) and General Issue (3.2) April 2021 What's goin' on around here?': Dancing Past Binaries and Boundaries in The Little Colonel Dawn Sardella-Ayres University of Cambridge Follow this and additional works at: https://sophia.stkate.edu/rdyl Part of the Children's and Young Adult Literature Commons Recommended Citation Sardella-Ayres, Dawn (2021) "What's goin' on around here?': Dancing Past Binaries and Boundaries in The Little Colonel," Research on Diversity in Youth Literature: Vol. 3 : Iss. 1 , Article 5. Available at: https://sophia.stkate.edu/rdyl/vol3/iss1/5 This Article is brought to you for free and open access by SOPHIA. It has been accepted for inclusion in Research on Diversity in Youth Literature by an authorized editor of SOPHIA. For more information, please contact [email protected]. Sardella-Ayres: What's goin' on around here?': Dancing Past Binaries and Boundari The Little Colonel books, Annie Fellows Johnston’s best-selling series for children, were published in America between 1895-1912, issued in multiple languages, and read worldwide. The books’ protagonist, Lloyd Sherman, is a tomboyish heroine nicknamed the “Little Colonel” for her imperious ways and hot temper, like her Confederate Colonel grandfather. While today, Little Colonel books are not readily available in print, not commonly found in libraries or schools, not generally included in children’s literature curriculum, and rarely researched academically, what has replaced the books in terms of pop culture awareness is the 1935 film.
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Bill “Bojangles” Robinson: an Icon of Early Tap
Bill “Bojangles” Robinson: An Icon of early tap Alexis Logan Dance History 2 Research Presentation Introduction ● Robinson’s historical background ● His successful career in tap dance ● His experience on stage and in film ● Issues he faced as a black entertainer in a racialized field ● The significance of his legacy 2 Bill Robinson’s Background ● Robinson was born in Richmond, Virginia May 25th, 1878. ● Robinson was actually named Luther by his parents. He disliked the name, so later he changed it to Bill. ● Started dancing at the age of 5 at local beer gardens for spare change. ● At the age of 12, he did his first minstrel tour in a show known as The South Before the War. ● Over the years, his reputation grew as a entertainer after moving to New York. 3 Robinsons Career on Stage ● Robinson worked with a series of duo acts ○ “Cooper and Robinson” which featured Robinson opposite well- known vaudevillian George W. Cooper (Petty, 75). ● Robinson decided to do his own solo work after some time and worked with agent Morty Forkin for 40 years. ● H e remained popular in the black vaudeville circuit for decades, well known to predominantly black audiences throughout the country. (Petty, 75) 4 Continued... ● Between 1928-1945, he appeared in a number of Broadway shows including: ○ Blackbird, 1928 ○ Brown Buddies, 1930 ○ The Hot Mikado, 1939 ○ All In Fun, 1940 ○ Memphis Bound, 1945 Robinson became popular in the New York City’s urban white crowd after his debut in the broadway show Blackbirds of 1928. ● Was well- known for his signature Stair Dancestarting in the 1920s Bill Robinson Stair Dance My Choreographic Analysis Miriam J.
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The Music Center's Study Guide to the Performing Arts
DANCE TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA) ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY Title of Work: About the Artwork: Scientific Rhythm (Tap Improvisation) Bill Robinson, the legendary ‘buck’ dancer, fascinated Creator: and inspired Eddie Brown. One day Robinson held Producer: Rhapsody In Taps an audition and Eddie, a young teenager at the time, Dance artist: Eddie Brown (1918-1995) prepared himself for it by learning an original Background Information: Robinson routine. He did this by purchasing a record Eddie Brown didn’t set routines, he improvised. He did of Ain’t Misbehavin’ which had a special arrangement his dancing in the moment - for that one instant when featuring Robinson’s tapping. Brown played the the idea came to him. He stated, “Inspiration is what it’s recording over and over on an old gramophone slowing all about.” Creating, performing and teaching tap dancing it down so he could hear every tap. He attended for more than 60 years, he achieved the highest level of many performances of his idol to observe the structure of excellence through perseverance, self-discipline and the steps in order to duplicate them. When he auditioned drive. Raised in Omaha, Nebraska, he was the seventh the piece, Robinson was absolutely amazed and son in a family of nine boys and two girls. Although Eddie Brown got the job, but his parents felt he most of his brothers were musicians and dancers, he was wasn’t old enough to leave home.
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"Peg Leg" Bates: Monoped Master
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 1345758 Clayton “Peg Leg” Bates: Monoped master of the art of tap dance Vaughn, Carol Blair, M.A. The American University, 1991 Copyright ©1991 by Vaughn, Carol Blair.
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