WILLIAM MORRIS AGENCY Inc. DEPARTMENT 1740 BROADWAY, NEW YORK 19, N

Total Page:16

File Type:pdf, Size:1020Kb

WILLIAM MORRIS AGENCY Inc. DEPARTMENT 1740 BROADWAY, NEW YORK 19, N PRESS WILLIAM MORRIS AGENCY Inc. DEPARTMENT 1740 BROADWAY, NEW YORK 19, N. Y., JUdson 6-5100 NEW YORK • BEVERLY HILLS • CHICAGO • LONDON • PARIS • ROME BILLING THIS IS THECORRECT BILLING NO CHANGES ARE TO BE MADE. WILL MASTIN TRIO 100% Starring SAMMY DAVIS. JR. 100$ BILLING CLAUSE: Sammy Davis, Jr.'s name is to be in the same size type as "Will Mastin Trio." (30) 656gsc/'rvsd FROM: PRESS DEFT. WILLIAM MORRIS AGENCY, INC. THE WILL MASTIN TRIO Starring SAMMY DAVIS. JR. PERSONAL APPEARANCES COPACABANA, NEW YORK LATCH CASINO, PHILADELPHIA TOWN CASINO, BUFFALO CIRO'S, LOS ANGELES FAIRMONT HOTEL, SAN FRANCISCO CEZ PAREE, MONTREAL NEW FRONTIER, LAS VEGAS BEACHCOMBER, MIAMI BEACH TWIN COACHES, PITTSBURGH LATIN QUARTER, BOSTON TELEVISION ED SULLIVAN'S "TOAST OF THE TOM" MILTON BERLE SHOW STEVE ALLEN SHOW COLGATE COMEDY HOUR BROADWAY "MR. WONDERFUL" DECCA RECORDS (30) 656gsc fro;.;: press dept. WILLIAM MORRIS AGENCY,INC. THE WILL i AST IN TRIO Starring SAMMY DAVIS. JR. CRITICS REVIEWS OF "IvIR. WONDERFUL "The youthful Davis is by all odds one of the most versatile and stupendous singer-dancer-musician-impersonators on view anywhere in the entertainment world today ...he dances as well as Bill Robinson, he can sing like a lark, play a perfectly adequate trumpet or traps, and he can flatten you with his imitations ...it's a monumental hunk of showmanship..." JOHN McCLAIN, NEW YORK JOURNAL-AMERICAN "Sammy Davis, Jr. is a powerhouse...works with tremendous energy...he has warmth and charm as well as talent ...there is a distinct quality about his work, a direct communication and loveable assertiveness, that makes this dynamic little cricket a star. No lesser des- cription will do*" WILLIAM HAWKINS, NEW YOHK WORLD-TELEGRAM & SUN "Mr. Davis is a talented and winning young man..." BROOKS ATKINSON, NEW YORK TIMES "Sammy Davis, Jr. does just about everything acts, sings, dances, does imitations and everything he does is right. I'm for Davis." JOHN CHAPMAN, NEW YORK DAILY NEWS. "Sammy Davis, Jr. is a great performer...he can sing, step and do impersonations with the tops...he has the spark." ROBERT COLEMAN, NEW YORK DAILY MIRROR "...there is no doubt he is an unusually talented and versatile performer, with a notable gift of assured showmanship..." RICHARD WATTS, NEW YORK POST (30) 656gsc/rvsd FROM: PRESS DEPT. WILLIAM MORRIS AGENCY, INC. THE WILL MASTIN TRIO Starring SAMMY DAVIS JR. Acknowledged as one of the most phenomenally versatile talents to appear on the show business scene in this past quarter century, Sammy Davis, Jr., starring with the Will Mastin Trio, will shortly be appearing at the on the . The trio's history started long before Sammy, Jr., arrived on the scene. His dad, Sam Davis, Sr., and his uncle, Will Mastin, were a well-known act on the vaudeville circuits for some time before Sammy was born, Sammy's story begins when Will Mastin had an act called "Holiday in Dixieland," consisting of seven men and seven women, offering songs, skits and comedy in addition to their specialty a dance novelty that was then sweeping the nation, the "Texas Tommy." Sam Davis, Sr., married one of the girls in the unit, Elvira Sanchez, and Sammy Davis, Jr. was born in 1926 in New York City. He celebrated his first birthday in a specially contrived crib in a dressing rccm at the old Hippodrome Theatre in New York. When Sammy was two, Will Mastin formed another unit called "Creole" and Sammy, Jr., amazed the performers as he mimicked their parts as the piano player tossed off the cues. When the great depression era of the early 1930's hit the nation, Mastin cut his act to five men and at the tender age of four, Sammy was considered one of the "men." When the act hit the West (more) FROM: PRESS DEPT WILLIAM MORRIS AGENCY, INC* Page 2 THE 'JILL MAST IN TRIO Starring SAMMY DAVIS, JR. Coast, Will had young Sammy audition for, and win, a role in an Ethel waters picture for Warners titled "Rufus Jones For President," later he played in "Seasons Greetings," also for the same company. As the depression deepened, Mastin had to cut the act once again and as vaudeville began to fade into theatrical history, the Will Mastin Trio was born. For the next ten years the Mil Mastin Trio ILabored in the vineyards of showbusiness. These years were the weaning years for Sammy Davis, Jr., when he learned his profession, every piece of business, the superb timing, the deft comedy touch, all the subtle nuances that have since placed him at the top of the ladder. While the trio was filling an engagement at a theatre in Michigan where the late Bill "Bojangles" Robinson was playing, the great star was so taken by the youngster's evident talent that he asked Will Mastin to bring Sammy to him for some extra tutelage. The lessons found an apt pupil, and Robinson and his student put in countless hours as Sammy absorbed the skill and wisdom that was Bill Robinson. The trigger-like turn of the heel and toe, the lightening-like of arms and legs, the rapid twist and turn of body, the thrill- packed finale that inspires the burst-of-glory ending. (more) FROM: PRESS DEFT* WILLIAM MORRIS AD&NCY^ INC. Page 3 THE will mastin trio Starring SAMMY DAVIS. JR. Though "Bojangles" left very little financially when he passed away, he had left his legacy of dance to young Sammy Davis and no greater gift could he have bestowed. Earl Wilson of the New York Post has written of Sammy's dancing,"...his feet remind one of liquid rhythm." The years passed and the Trio played nightclubs and theatres across the country and back again, constantly sharpening their act, shining up bits of business, smoothing out a spot here and there, getting even the minutest tap down to the most perfectly formed rhythmic pattern. In 194-3, at the height of World Warr II, Sammy went into the Army, where in addition to his regular duties, his talents were pressed into service producing camp shows, many of which he wrote and directed himself. He was discharged at San Francisco in late 1945 and immediately rejoined his dad and uncle who were then working in Seattle. The switch from Army life back to show business was so fast that for a week Sammy worked in a costume that was half khaki, half "civvies." In April of 194-6, the Trio, unheralded and unsung, opened at the now defunct "Slapsie Maxie's" in Hollywood on the same bill with Ben Blue. The Trio was the opening act they scored such an overwhelming success that they were signed to come back as the headliners. On their returns (more) FROM: PRESS DEPTi WILLIAM MORRIS AGENCY} INCi Page K THE -TILL MASTIN TRIO Starring SAMiiY DAVIS, JR. engagement they broke every previous record at the club. Still working on their act, constantly revisiing, adding, polishing it to ap erfect entertainment gem, they signed for a two week theatre tour with Mickey Rooney six months later after a tour that had included all the major theatres in the United States, the Trio hit the major nitery circuit with an act already letter perfect, but now honed to a finei edge that glittered. Opening in Los Angeles at Ciro's in April of 1950 for two weeks, they stayed for six. From there on their itinerary is a "Who's Who" of the top clubs, hotels and TV shows. Sammy's dancing, comedy, singing and impressions hit bullseyes every time. In June of 1954 another facet of his versatile talent was made available to a wider audience when Sammy signed with Decca Records as a vocalist. His single releases and albums have appeared with regularity on the best-selling charts. Moving into another phase of his career the incredibly talented young performer opened on Broadwway in March of 1956 in a musical comedy titled "Mr. Wonderful." Sammy boy/led the tough New York theatrical critics right over as they kudosed the fact that here indeed was a show business talent that could only come to the fore once in a generation. In the Fall of 1954- while driving from Las Vegas to (more) FROM: PRESS DEFT* WILLIAM MORRIS AGENCY, INC. Page 5 THE KILL MA5TIN TRIO Starring SAMMY DAVIS, JR. to Hollywood to make a recording session Sammy was in an automobile accident that cost him his left eye. Though the loss afi an eye is tragic, the police said it was a miracle that he wasn't killed. As Sammy put it, "God must have put His arms around me," While in the hospital he received over 100,000 telegrams and letters from friends, fans and wellwishers. He came back stronger than ever, triumphant over what could have been a crippling handicap. Unanimously accSMmed in every quarter as one of the Greats of show business, Sammy Davis, Jr. and his dad and uncle stand at the pinnacle of their career. Frar Sammy Davis, with over 25 years of show business already tucked under his belt, it is a career that is still developing, still flowering, a brilliant multi-faceted talent. Few have trod a harder path to realise a dream no success was ever more deserved. (30) 656gsc/rvsd .
Recommended publications
  • Sunday Nights with Walt Everything I Know I Learned from “The Wonderful World of Disney”
    Sunday Nights with Walt Everything I Know I Learned from “The Wonderful World of Disney” Richard Rothrock Theme Park Press The Happiest Books on Earth www.ThemeParkPress.com Contents Introduction vii 1 “And Now Your Host, Walt Disney” 1 2 A Carousel of Color 9 3 A Carousel of American History 21 4 Adventures in Nature 49 Commercial Break: Making Mom’s Pizza 69 5 Life Lessons and Journeys with Our Pets and Horses 71 6 A Carousel of Fabulous, Faraway Places 89 7 Walt and His Park 109 8 The Show after Walt 119 Commercial Break: Fads and Evolutions 125 9 Solving a Mystery 129 10 Growing Up 143 11 Discovering the Classics 165 Commercial Break: Rich’s Top Ten 177 12 Learning the Ropes of Romance 179 13 Embracing the Future 191 Afterword 209 Acknowledgements 213 About the Author 215 About Theme Park Press 217 Introduction Growing up in the 1960s and 1970s, Sunday nights at my house were different from the other nights of the week. It was the only night when my mother made pizza. It was the only night of the week when we could drink soda. It was the only night of the week when we could have candy for dessert. Iit was the only night of the week when we were allowed to eat dinner in front of the television. And the only shows we ever watched were Mutual of Omaha’s Wild Kingdom and The Wonderful World of Disney. (Mom sent us to bed as soon as Bonanza started.) For almost the entirety of my childhood, The Wonderful World of Disney was always there, even as I grew from a boy to a young man of eighteen, and even as my family moved from the small towns and farms of rural Indiana to the coal and steel towns of West Virginia to the towering spires of the Motor City in Michigan.
    [Show full text]
  • 1950S Culture Webquest Description: Created to Allow Students to Explore 1950S Culture
    1950s Culture WebQuest Description: Created to allow students to explore 1950s culture. Grade Level: 9-12 Curriculum: Social Studies Keywords: 1950s, fifties, pop-culture Published On: 2008-03-01 09:50:33 Last Modified: 2008-02-29 08:10:21 WebQuest URL: http://zunal.com/webquest.php?w=8063 You will participating in a webquest to explore the culture and trends of the 1950s.  The various websites will present you with information on everything from Levittown to the censorship of Elvis.  Take your time going through the sites and remember to record your answers on your worksheet.   Follow the instructions on the next page to navigate through the website.  Record your answers on the worksheet provided. Welcome to the 1950s! Through this webquest you will be exploring the culture and trends of the 1950s. Remember to record what you find on your worksheet. 1. Congratulations! You have just been married. Take a look at this Home Economics textbook to find some tips on how to be the perfect housewife.2. Time to move to the suburbs! You and your spouse have decided to buy a house in Levittown, PA. Look at the four different models and decide which one fits your style and needs best.3. You need a new car to park in your new garage. Check out these classic cars and choose one you would like to have.4. To celebrate buying a new car you and your spouse decide to go to the drive-in for dinner and a movie. Click on the link above to read more about the drive-in.
    [Show full text]
  • *1 "~~ E and Was Unable to Identify Any Record With
    , 92/ , JPM: tz I-A 9-2 98 The January 114, 1961 Ins Angeles Mirror contained , an article reflecting that on January 14, 1961 srzva ALLDI had given a talk at the Ins Angeles High School to more than 2,000 teachers, which talk was sponsored by the American Federation of Teachers, local 1021. lhe article reflected that pickets had marched around the school. According to the ' article, DOM SULLIVAN, 27, of 12220 Montana, admitted that some of the placards were used when ALLEN -ras picketed Wednesday at a restaurant in the San Fernando Valley. The article said that SULLIVAN, a public relations man, said he had organized the demonstration on January 14, 1961, that he was a member of - the Policy Board of "For America", a local patriotic group, but that the group had had nothing to do with the pickaeting. '1he newspaperquoted SULLIVAN as saying that the piclcets came from a number of patriotic groups, including the American Legion, John Birch Society, Young Republicans, Californians for America, and America First. According to the article, SULLIVAN said the demonstration was not officially organized by the groups and that he had paid for the new placards out oi his own pocket. __,_ On January 17, 1 ascertained *~"'~'there that was no record of wi h the Retail Merchants Credit Association. On January19, 1961 Sl?. checked the *1_,_ records"~~ e and of the Los Angeleswas Police unableto partmen identify anya Los recordAngeleswith On January21, 1961] _ __ |Personnel Depart- ment,| Los Angeles, b,_r advised SA that a wa ed '' and that his superv sor was 3'13 P°"°z R°""°' FEDERAL BUREAU OF |NVESTlGA""'7N - Date _ 2/2/61 at-he isl a he is in charge of e Speakers Bureau fox-| | lie stated that has a "Tree IxTterprise Program", the purpose o ' - s - '--v e spealoers to alert the public to the dangers of Communi = -- .
    [Show full text]
  • The Rolling Stones and Performance of Authenticity
    University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Language and Structure in Bob Dylan's "Baby Blue" 95
    the social roots of imagination language and structure in bob dylan's "baby blue" robert b. gremore Perhaps every generation has had its cult figures and subcultural heroes, its "prophets" who seem to embody the ethos of a newer age and who seem to help their followers define themselves in opposition to the past. Ironically, some of these generational heroes—Emerson, for example—eventually supplant their elders as symbols of established tradition. Others, like James Dean perhaps, never rise much above the visceral hoopla of their own popularity. But all of them enjoy their day in the limelight, stirring their followers to an adulation that puzzles and outrages their critics. One of the most recent generational heroes of major stature has been Bob Dylan, born Robert Allen Zimmerman, superstar of popular music in the 1960s. To appreciate how Dylan's songs became anthems in what some­ times seemed a battle between generations, it helps to know a little of Dylan's rise to superstar's status. The son of a small town shopkeeper, young Bobby Zimmerman grew up in the Midwest, where one Sunday evening he sat fascinated in front of his parents' television watching the Ed Sullivan show while Elvis Presley outraged millions.1 Soon afterwards, Zimmerman assembled his own rock 'n' roll band and scandalized Minnesota's iron miners and their children at Hibbing High School with his raucous imitations of Presley and Black rock screamer Little Richard. After enrolling at the University of Min­ nesota and seeing folk music sweep the campus, Zimmerman traded his amplified instruments for a folk guitar and harmonica, and taking the surname Dylan, he elbowed his way on stage at coffeehouses near the University, where he sang the standards of the folk music revival in a decidedly non-professional voice.
    [Show full text]
  • The Beatles on Sullivan by Tim Riley
    On February 9, 1964, alongside the Broadway cast of Oliver!, comedian Frank Gorshin, and Olympian Terry THE McDermott, the Beatles played five numbers, start- ing with “All My Loving,” “Till There Was You,” and their first U.S. number one, “I Want to Hold Your Hand.” For BEATLES viewers, time froze: it had been seven years since Elvis Presley had graced this same stage, but it must have felt like forever for fans of rock and roll. With “She Loves You” ON and “I Saw Her Standing There” especially, rock and roll cracked open again— the music sounded bigger, more provocative, and more pressing than ever. In their Sullivan debut, the Beatles reframed all of rock and roll history up to SULLIVAN that point, and hinted at a thousand enticing new directions. The overpowering immediacy of the Beatles’ impact by Tim Riley was a key part of their appeal, and largely ironic. What seemed fresh and spontaneous to Americans was actually a polished act of songs and quips refined throughout 1963. By early 1964, Beatlemania had seduced Britain and Stories of Britain’s peculiar Beatlemania phenomenon had Europe, but American success was still elusive. Capitol trickled in via Jack Paar and Walter C ronkite— the Beatles Records had rejected “Please Please Me,” “From Me were news fluff (“ mop- tops” with “screaming girls”) even to You,” and “She Loves You,” and was about to snub “I before their songs began playing on Top 40 radio over Want to Hold Your Hand,” when manager Brian Epstein Christmas and the New Year. intervened.
    [Show full text]
  • Bio Page.Indd
    BILL DANA BIOGRAPHY Many know Bill Dana as "José Jiménez", a classic character he created on the Steve Allen Show in the 1950's and continued to perform throughout his career, but Dana has also been a successful writer, author, cartoonist, producer, director, recording artist, inventor, and stand-up comedian. After serving as a decorated combat infantryman in WW II, Bill graduated Emerson College in Boston and entered show business, beginning his career as an NBC page at 30 Rock. His career took a major turn when he began writing for Don Adams including the now famous "Would You Believe?" jokes. Hired by Steve Allen to write on the original Steve Allen Tonight Show, he eventually became head writer. His creation of the José Jimenéz character in 1959 resulted in his own NBC show (1963-65). His comedy albums, as both José and Bill Dana, were top-sellers. He helped launch the careers of comedic greats such as Don Adams, Jackie Mason, Don Knotts, and Jim Nabors. A major career highlight for him was writing the "All In The Family" episode featuring Sammy Davis, Jr., consistently rated in TV Guide's "Top 100 Television Episodes of All Time". Adopted by the original seven Mercury astronauts, Dana became part of U.S. space history on May 5, 1961, when the first words from Planet Earth spoken to Alan Shepard, America's first man in space were....."OK, José, You're on your way." Bill and José are honored by inclusion in the Smithsonian Air and Space Museum and the Astronaut Hall of Fame.
    [Show full text]
  • KLOS Feb. 9Th 2014 Ed Sullivan 50Th
    1 Playlist Feb. 9th 2014 2 The Beatles 50 Anniversary debut on The Ed Sullivan Show Special 9AM Let’s check in with Murray the K New City 50 years ago The Beatles - Love Me Do – Please Please Me (McCartney-Lennon) Lead vocal: John and Paul The Beatles’ first single release for EMI’s Parlophone label. Released October 5, 1962, it reached #17 on the British charts. On U.S. albums: Introducing… The Beatles (Version 1) - Vee-Jay LP The Early Beatles - Capitol LP The Beatles - P.S. I Love You – Please Please Me (McCartney-Lennon) Lead vocal: Paul The b-side of “Love Me Do,” released October 5, 1962, in the UK. Introducing… The Beatles (Version 1) - Vee-Jay LP The Early Beatles - Capitol LP The Beatles - Thank You Girl - Non-LP B-Side (McCartney-Lennon) Lead vocal: John and Paul U.S.!Non-album single (b-side of “From Me To You” and “Do You Want To Know A Secret”) (Vee-Jay) On U.S. album: The Beatles’ Second Album - Capitol LP!UK:!Non-album single (B- side)!! 3 The Beatles - Ask Me Why – Please Please Me On U.S. albums: Introducing… The Beatles (Version 2) - Vee-Jay LP 9.12 BREAK When the Beatles touched down on an American tarmac 45 yrs ago this weekend, it was the second-most momentous landing of the '60s -- maybe the first, if moon shots don't count. Ten thousand hooky-playing fans were waiting at New York's JFK International Airport as the moptops' plane approached on the afternoon of Feb.
    [Show full text]
  • Rolling Stones Ed Sullivan Satisfaction
    Rolling Stones Ed Sullivan Satisfaction Is Skye always accelerated and landowner when punctuates some otorhinolaryngologists very slouchingly and please? Georgie upgraded coxcombically? Which Ikey synthetising so preparatorily that Dalton baptize her reclamations? This may earn an errant path in later learned to satisfaction rolling stones were nearly over Rolling stones would slip through them during this. The Rolling Stones on Ed Sullivan out sick on DVD. Leggi il testo 19th Nervous Breakdown Live besides the Ed Sullivan Show di The Rolling Stones tratto dall'album The Brian Jones Years Live Cosa aspetti. One in such series a variety programs presided over by Ed Sullivan Program highlights include the Rolling Stones perform Satisfaction Wayne Newton who. Their song Satisfaction 1965 was composed by Keith Richards in. Amazoncom 4 Ed Sullivan Shows Starring The Rolling Stones. The Rolling Stones SATISFACTION VOL1 Ed Sullivan. Mick jagger and sunshine. 1966 the Rolling Stones made against third appearance on the Ed Sullivan. We appreciate you? Sunshine and satisfaction rolling stones ed sullivan satisfaction. 15 1967 the Rolling Stones were forced to change her lyrics to 'then's Spend great Night. And on TV programmes such as Shindig and The Ed Sullivan Show. Apr 23 2013 ROLLING STONES I think't Get No Satisfaction on The Ed Sullivan Show. Thousands of cash just not fully professional guitarists. They waited they had sneaked in both abbey road and sullivan show and powered by ed sullivan had only if there. Mick taylor to. They played live, toppled ed into a rolling stones ed sullivan satisfaction in. And mick taylor, so that are journalism, while on point host manoush zomorodi seeks answers to good singer at his first is looking for everyone.
    [Show full text]
  • Steve Allen Never Picked Cotton in Texas
    East Texas Historical Journal Volume 46 Issue 2 Article 6 10-2008 Steve Allen Never Picked Cotton in Texas Dan K. Utley Follow this and additional works at: https://scholarworks.sfasu.edu/ethj Part of the United States History Commons Tell us how this article helped you. Recommended Citation Utley, Dan K. (2008) "Steve Allen Never Picked Cotton in Texas," East Texas Historical Journal: Vol. 46 : Iss. 2 , Article 6. Available at: https://scholarworks.sfasu.edu/ethj/vol46/iss2/6 This Article is brought to you for free and open access by the History at SFA ScholarWorks. It has been accepted for inclusion in East Texas Historical Journal by an authorized editor of SFA ScholarWorks. For more information, please contact [email protected]. EAST TEXAS HISTORICAL ASSOCIATION 3 STEVE ALLEN NEVER PICKED COTTON IN TEXAS By Dan K, Utley Editor's Note: The following was Dan Utley's presidential address at the 2007 faU meeting of the ETHA. As you will read, Dan was unable to actually deliver the address and it was read by his friend and ETHA member Cynthia Beeman. Author's Note: A funny thing happened on the way to Nacogdoches. As my wife, Debby, and I prepared to leave Ptlugerville for the East Texas Historical As~ociatjonFall meeting, I began experiencing sustained abdominal pain. By that evening it was evident I would have to make a detour to a 10l;al hospital for relief. Avoiding unnecessary details, I will only say that while Tony Bennett may well have left his heart in San Francisco, I chose to leave my gall bladder in Round Rock.
    [Show full text]
  • What If Kennedy Survived Dallas? a Novel by Bryce Zabel
    CONTACT: For author interview or review copy, email Bryce Zabel [email protected] SURROUNDED BY ENEMIES: What if Kennedy Survived Dallas? A novel by Bryce Zabel (EXCERPT from Chapter 3: An Election With Consequences) JFK pointed at the New York Times front page. The Big Apple was in a turmoil over the arrival of a British rock-and-roll sensation called the Beatles. They’d be arriving in just days now to play on the Ed Sullivan Show Sunday night. The issue of the moment seemed to be providing security against mobs of screaming girls. To better understand this, the President called in Pamela Turnure and Mimi Alford, two young women with White House jobs, and had Mrs. Lincoln put on a 45 rpm record, a song called “Love Me Do,” that had been sent up by the mailroom at Pierre Salinger’s request. Both men teased the young women about how much they liked the music but admitted it did have a lot of energy. The Beatles were coming to America whether America was ready for them or not. Predictions were everywhere that Ed Sullivan would attract the highest ratings in his show’s history, even higher than they had been for Elvis Presley’s appearances. There would be more security outside and inside CBS-TV Studio 50 (later renamed the Ed Sullivan Theater) than there currently was at the White House. WEBSITE: http://www.SurroundedByEnemies.com FACEBOOK: http://www.Facebook.com/SurroundedByEnemies “Great,” said the President. “Maybe it would be safe for me to see them.” JFK had taken lately to complaining to his younger brother that he was a virtual prisoner in the White House, with the heavy security and his wife's declared moratorium on public trips.
    [Show full text]
  • 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.
    [Show full text]