... And suddenly there were artists and groups and a nation paying tribute to his lead. All the family together . .. Adrienne, Shari, H arry, David, Ju lie and Gina. In a leisure oriented America, the entertainment in­ dustry has been working overtime to supply new heroes for the public. The ratings game has become an updated, home­ grown version of Russian Roulette, destroying artists as fast as a television gunman's quick draw. It's appropriate, therefore for us to consider the artist and what makes him a favorite to the public. From the day that first exploded on the entertainment scene approximately 10 years ago, the in­ dustry has undergone many changes and crises. But being quite resilient, it has survived frenzied dances, screaming teenagers, fixed television shows, twangy guitars, buxom actresses and mop topped singers. It has become in show business, not so much the survival of the ablest but a "latch-on-to-the-latest-trend" existence. The true artists have refused to compromise themselves and have pursued their art the only way they know how­ truthfully. Harry Belafonte has not only survived the fadists, but he has grown and matured as an artist. At the first big burst in his career some thought that his popularity was just a temporary craze and that he too would find that the public soon tires of sudden successes. But Belafonte didn't fade, and suddenly there were artists and groups and a nation paying tribute to his lead.

. .. a time to think j with son David with dau,qhtm· Gina with sister Shirley what a painter does with his brush, Bela/onte does with a mood ...

What was once the music of a small group, became a pulsating force on the entertainment scene. "Folk" became a close cousin to "pop" and "art" was not too far removed from "commercial." Belafonte has done more than just popularize his sound of music, though. He has taken many of the songs of history and made them understandable to the audiences of today. What a painter does with his brush, Belafonte does with a mood .. . an interpretation. And he has commercialized the appeal in the doing. It's been said many times that the foremost struggle of the performing artists is one of communication. Other artists, the writers, the painters, composers, can have their work judged in isolation, without their presence even being re­ quired ... and in some instances after their lifetime. But the performing artist must be accepted in his time, in front of masses of people, as an individual, and his art stripped of pretense. He is judged as he creates, and his ability to communicate is measured in direct proportion to his art.

Gina and Shari

... the lure of song came early to Harry.

Many of the songs in the U. S. today that we have come to accept as "Americana," actually had their beginnings on foreign shores, sung in other languages with differing dialects. Men of the sea brought them to the ports of the and in turn the pioneers took them as their own and sung them westward. Changes were wrought in these songs by varying denominations in their ever advancing progress across the breadth of this land. The field worker adapted a lyric to his own style and utilized it to express his own needs. A single song was created that channeled hundreds upon hundreds of slaves to the underground railroad and eventual escape. This form of expression of communicat ion resulted in many changes and they eventually became songs with new meanings, new forms. Harry Belafonte was born on March 1, 1927 in of West Indian parents. From the streets of the tenements where poverty and indifference was the accepted rule, he was fortunate to be taken to the West Indies, his mother's homeland, when but a small boy. It was here in the islands that he was first exposed to a people that involved themselves with the tradition of singing and dancing. As with most singers, the Jure of song came early to Harry.

T elevision and conce1·t appearance H a1·ry and Julie with the late P1·esiclent I<. enneely

It was curiosity at first, then fascination for the music of the Islands. Every festival, newsworthy event, marriage, political success or failure were immortalized in song by its people. Probably be­ cause of this continual exposure to changing mood set to music, varying from sadness to joy, Belafonte recognized the differences music had to offer ... the subtleties and innuendoes that were soon to be evident in his performances. This contact with this culture that he found to be rewarding and real, ended one day, and he found himself back in New York, where he entered George Washington High School, and after a short period left to join the U.S. Navy. The period of service in the Navy was another time of learning, of new experiences for Harry Belafonte. For the first time in his young life he was thrown together with men of differing back­ grounds, from widely divergent sectors of the United States.

A warrn g1·eeting [1·orn President and Mrs. Lyndon Baines Johnson. Peace Corps worker Harry Belafonte meets with [o1·mer chief, Sa1·gent Shriver With a Bedouin Sheik in theN egev

After his discharge, he joined the army of men who were out Soon he found himself takmg part in some of the productions, to find themselves. He worked at an assortment of jobs, and while playing small roles. Then, there was Sean O'Casey's "Juno and the he was an assistant to a maintenance man, he discovered the theatre. Paycock" in which he played his first leading role and from this ... he enjoyed these people, A stranger had given him a couple of tickets to a production at the moment on he was determined that this was to be his career, his their comraderie American Negro Theatre. calling. After the show, he went backstage to thank the person who had Subsequently, he joined the Dramatic Workshop, a leading and their common goal given him the tickets. As he stood there, quietly watching the post­ school of the theatre at that time, and after three years he sadly of achievement. performance activities, he was suddenly asked to help one of the discovered that the acting profession didn't hold much stability for volunteer stagehands with a piece of equipment. After this he came a Negro. And probably, if not for a chance turn of events, Harry back again and then again, until he became a member of the stage Belafonte would have left the theatre permanently to make his crew. He enjoyed these people, their comraderie and their common livelihood elsewhere. goal of achievement.

at a kibb1ttz in I smel BELAFONTE IN PERSON

Produced by PHIL STEIN

Musical Director WILLIAM EATON

Scenery and Lighting by RALPH ALSW ANG

Accompanists ERNEST CALABRIA PERCY BRICE RALPH MacDONALD AL SCHACKMAN BILL SALTER AND GEORGE PETSILAS

Featuring NIPSEY RUSSELL l And Introducing NANA MOUSKOURI NIPSEY RUSSELL a;JA_jj_,.,_ '"'~?( The Nipsey Russell Saga is typ ·a!Ln rthodox in another. Like so many others in the profession,

he started in show business as a c~il and i hi native At1anta 1 Ge01·g ia, Nipsey was part of a children's dancing chorus (population 12) by t e time h was seven. Eddie Heywood, Sr., father of the famous pianist, was in charge of the weekly ows. H noticed that in addition to a natural abili ty to hoof, Nipsey had an easy way with words and an aptitude toward self expression. He was given mate rial each week to herald the following attraction, a nd gradually, the prepared copy became Jess and Jess, with Mr. Heywood finally asking the ambitious and eager dancing boy to tell the audience in his own words what was to come. Nipsey caught on quickly. Soon his dancing turns were sprinkled with comedy material. Truthfully, young Russell danced his way through primary and high schools. A cousin, a high school teacher later on, may have been the inspiration for Nipsey's umequited thirst for knowledge, particularly his desire to master the and eventually make words work for him. He became a voracious reader and in a short time was on very friendly terms with contemporary novels and the classics, and was able to quote from the masters. After high school he enrolled in the University of Cincinnati, and by 1940, Nipsey enlisted in the Army, figuring to serve hi s hitch for a year and pick up ordinary li fe a short time later. But, December 7th, 1941 changed that and in 1944 he received his commission, raising him to the rank of Captain by the time he was discharged. Now, one of the foremost attractions in the United States- he is making his "concert" debut with long time friend and compatriot, Harry Belafonte. His philosophies are succinct and direct : "There are no messages in my social protestations. I talk about items that are front page subjects. If the social evolution leads to jokes, I use them. Maybe you could call my routines 'One World Of Comedy'. I have no political convictions. I'm a party line crosser. If I'm booked to play a political party's a ff a ir, I'll use jokes about the group I'm not working for that evening." In summary, Nipsey Russell is a vol uble, ebull ient comedia~., Ot\. heay, generally makes ')dan out of the most calloused listener. ~0

Nana Mouskouri of , , had what might be termed as an '\f{' music. Her parents were devoted aficionados a nd they saw to it that theira lmost~~~~ daughter wasal ~~~~to be providedo~~~ witha~¥ (\ r a musical playground, tenanted by all the necessary implements with which to form a diversified melodic _ V\ e duc~~~n~o ung girl was a natural, and was enrolled in the Conservatoire Hellenique in Athens when st~ in her pre-teens, to study classical music, which her parents fervently hoped would lead to an operatic cat·e r. It was during this period that Nana was first exposed to the world of jazz and blues through a radio p1 - gram which featured American music. This initial discovery resulted in her eventual adoption of popul · music, something her parents considered too meaningless for the vast range of their talented daughter's voice. But Nana, while continuing her studies at the Conservatoire, utilized every free moment at practice sessions with the popular musical form she learned to love. It wasn't until 1958, when she was 20 years old that Nana Mou skouri first made a public perf ormance. It was then that she appeared for the United States 6th Fleet at the Mediterranean Port of Perias. Near the end of the program, the young girl of Athens stepped into the spot light and mesmerized the ensemble with her unusual style and richly endowed vocal ability. Thus a daringly different talent was "discovered" by the United States 6th Fleet. From here she went on to regular appearances on radio Athens, and noted Greek composer, Manos Hadjidakis (who wt·ote the score for "Never On Sunday") , began to create popular songs especially for her. It was singing his songs in 1960 that she was fi rst exposed THE BELAFONTE SINGERS to European and American impresarios and recording com­ panies. With successive appearances throughout the conti­ nent, she became established as one of the most electrifying A Belafonte Enterprises, Inc., Production singers in a ll of developing an uncanny ability to sing in the native tongue of almost every European country. Staff Members Her recordings, and personal appearances, in country Company Manager .. James Awe after country, have brought her deserved acclaim. In addi­ Public Relations ...... The Mike Merrick Co., Inc. tion to her own albums, she has recorded an LP with Harry Belafonte for RCA Victor. P1·oduction Stage Manager ...... Charles Colman Now, it is fitting indeed, that this girl, ft·om the land Sound by ...... Show Sound, Inc.-under the of a great cultural heritage, joins one of the foremost per­ supervision of Allan Rei burn and forming artists in the world, Harry Belafonte, in his pro­ Cameron MacCardell gmm of songs of all peoples, blended into the heart of Music Copying ...... Bob Haring, Jr. humanity. Production Assistants ...... Gloria Cantor Sherman Sneed with Dr. Martin L uther King . .. the planning

... wherever hate has risen Harry Belafonte has fought.

He sang one of his original compositions, "Recognition," for the Workshop group one day, and got a tremendous response from the class. That renewed his courage, and one night at The Royal Roost, a nightclub where audience participation was the rule, he ac­ cepted the job offer that made him an enter­ tainer at that club. The serious artist in Belafonte was any­ thing but satisfied however. His desire for creative expression was hardly fulfilled with the night after night musical utterings of a string of pop tunes. Finally one night in Miami, after a seemingly successful period as a "crooner," he discarded this career and "retired" for a period of serious reevaluation. He needed a "retreat" to be free to ap­ praise the next move. A place where he could think out his future clearly. With two friends, an actor and a writer, he opened a restaurant in New York's Green­ wich Village. There he became exposed to an art form that was natural to him.

and the fulfillment in the West Indies. Fans of folk singing gathered at the restaurant to sing, or It's been said that his strive for perfection is his constant exchange vi ews, and Belafonte's basic interest in was companion. He takes no one for granted . .. his audiences, or him­ awakened. When the restaurant finally closed, he became actively self, and critics have stated that "His name has become synonymous involved with a new career. With two guitarists, Millard Thomas with the excellence of artistic achievement." and Craig Work, he began to gather a repertoire of folk songs that The most enthusiastic and largest crowds are present anywhere wou ld form the core of his approach to this age old art form. But he appears, be it college campus, opulent house or outdoor unlike the troubadors of folk singers who sat on stools, stroked stadium. This acceptance and acclaim by million of people has guitars and sang unemotionally, Belafonte freed himself of the grown over the years to a point where Belafonte audiences are com­ physical limitations of the guitar and instilled the songs with a point pr ised of all categories of men, young and old, mode t and affluent. of view they had never been touched with before. He became a dynamic actor in song and reached audiences with the significance and meaning of his ballads.

with N ana M ous kmwi With Mi1·iam M akeba in Kenya, at Independence Day celeb1·ation Getting some pointers [1·om a young citizen. Once, in 1956, at the beginning of his popularity, he was roaring crowd of 39,000 that night, sprawled on the grass, camped schedul ed to do a concert at New York City's mammoth outdoor on folding chairs, crouched, standing, sitting, wherever there was arena, Lewisohn Stadium. He, and three friends met in Manhattan, room. And this was the beginning of the Belafonte boom. hopped a cab and proceeded to ride quietly up to the stadium. It Many of the songs he does are not from the past. Belafonte's was a warm June night and traffic was heavy, but the closer the repertoire reflects the true folk spirit of today's events. What society, group came to the arena the thicker the traffic. Finally, still a few regardless of its place in history, has not left its impression on its blocks from their destination and with curtain time dra\\·ing near, artists? they were forced to abandon the cab and begin walking. "Boy, those Today and tomorrow, many folk tales of meaning and depth night ballgames sure fo ul you up when you are trying to get some­ are being born and experienced and they will be willed to future where on time," said Belafonte, rushing to get to the stage door. But, generations through music. as he walked to the theatre he realized there was no night ballgame The Belafonte art has graced all media and it has brought his anywhere in the city, and slowly the realization came over him that very special quality home to the people through recordings, television, all this traffic, all these people, were there to see him. He played to a Broadway and of course personal appearances.

With close fr·iend Sidney Poitier· Jack Benny . .. Well! 1cith MT. and Mr·s. Pablo Casals His sojourn into the media of motion pictures has seen him star in five fi lms: "Bright Road," "Carmen J ones," "Island In The Sun," "The World, The F lesh, And The Devil" and "Odds Against Tomorrow," the last two of which were pro­ duced by his own company, HarBel. He has helped launch the careers of a number of selec­ tive artists and sponsored the American debuts of others. he has become a d y namic actor in song .. Most notable in the latter category are the now famed African songstress Miriam Makeba, and the new sin ging discovery from Greece, Miss ana Mouskouri. As a recording artist, Belafonte has been with RCA Victor since 1950 and has become not only the company's, but one of the world's, most popular and best sell ing record­ ing artists. Lovers of the classics, as well as aficionados of more "popular " music regard Belafonte as one of their own. In the mass med ium of television, he has achi eved a place

Planning a sho1c with pToduceT Phil Stein ReheaTsing with the musicians of unique distinction. Treating it with respect and a touch of caution, his appearances are only in measured doses. They are carefully planned. This care for his craft in this all consuming media, where ratings are the measuring rod for quality, has won him an Emmy Award for his critically acclaimed special of 1959 "Tonight With Belafonte" and a Sylvania Award, two more Emmy nominations and two TV Critics Awards for his second special, "Belafonte: New York 19." In February, 1966 he produced his own television special "THE STROLL! r> TWENTIES" for CBS, dealing with Negro life in New York's Harlem during the 1920's, to critical applause. Wherever hate has risen Harry Belafonte has fought. Wherever the poison of prejudice has crept, Belafonte has taken an active part in its obliteration. But he has done all this without the "grandstand play" without the attendant blare of the press and hail of the headlines.

Back stage ?'efiections. . . . he has remained faithful to his craft.

During the heavy rain season in Guinea, Africa, when everyone was huddled indoors, David, Shari, and Gina, rain­ coat, hat and boot attired, trekked off to a neighboring village, brought some children back to their house and put on a com­ plet~ show for the rain sogged adults. The Belafonte home is replete with game rooms, a rehearsal studio and a photographic dark room. His wife, J ulie, is a strikingly beautiful woman with jet black hair and a long look of loveliness, who sparks her husbands san­ guine sense of humor with her own infectious warmth. A former dancer with the Katherine Dunham Company, she is herself a devotee and participant of the arts (in 1963 she joined her husband's dance company on tour with him). Belafonte has been called a balladeer, folk singer, actor in song, concert artist, but however he is categorized, he has no particular allegiance to one "label. " He has successfully resisted and remained above the many musical fads and crazes that have been part of the entertainment industry the past fifteen years. He has remained faithful to his craft and has not pandered to the temporary demands of the com­ mercial public, seeking not only to entertain but to be able to be truly proud of his presentations.

Photographs by: Ted Russell and Roy De Carava, David Rubinger, UP! photos, Dorothy Gunn PRINTED IN U.S.A.