#Family Circle October 1959

[taxi-davis]

[henrysglock]

when did you start to like henry? in season 4 or in the play? who was your favorite character before that? and why did you start to ship creelarke? i mean why them? they havent had any interactions from what i have heard and i think scott is too nerdy for henry. henry was weird but i dont think he was a nerd. not like dustin for example.

Oooh this is a fun one. I liked him from the get-go until I realized he "was" Vecna. And then I really disliked him from like August 2022 until like October/November 2022. By December 2022 I was a Henry enjoyer, and by February 2023 I was a full blown Henry fan.

My fave before Henry was a tie between Mike and Will (hilarious, considering that Henry's a mashup of Mike, Will, and El).

I started shipping Creelarke as soon as I started really loving Henry as a character and diving into his actual canon lore. I realized there had to be someone who knew Henry and liked him enough to approach him with objectivity (unlike, say, Nancy and the Hawkins gang who only know him via Vecna). It's said in filmed canon that Bob started the AV club and taught Scott everything he knows about AV, and Scott knows arguably too much about HNL procedures/the supernatural aspect of the show. By all rights, Scott should know Henry, and they ought to have run in the same circles in school.

It's highly suspicious that Scott's been wiped from canon after ST3 (see: as soon as Henry appears), while at the same time bringing up some mystery boy from Nevada who ended up hurt similarly to Patty...and who seems to have been close with Henry, given how broken up Henry seems to be about the whole thing.

And actually, Anon, I have to disagree with you in a major way on this last point. Henry's definitely a cringefail geeky nerd, equal to or even more than Scott. I mean...have you seen the multiple Captain Midnight salute scenes in TFS? Or at least read about them? Henry and his Captain-Midnight-inspired custom-made cipher so Virginia can't read his diary? Weird, non-nerd kids don't just make custom ciphers. That means he invented a language, Anon. That's Alan Turing levels of nerd.

I'll say this: Bob may be the Dustin of 1959, but Henry's the Willelmike. He got, like, a triple-dose of the intelligent, socially-inept, geeky, nerdy weirdoboy medicine.

So I think what you might be referencing when you talk about "Henry" is either the totally-silent behavior of young Henry that's been confirmed as unreliably cherrypicked, or the outward behavior of adult Henry...who's been through 20 years of MKUltra brainwashing and obedience conditioning.

And even then, snatches of nerdy Henry do come through in HNL (See: Henry not only knowing how to play chess despite ending up in HNL as a child/there being a chess board in the Creel house's family room...which means he played chess as a child, but also him being able to communicate plans effectively while doing so. That's nerd behavior all around. He's a nerd, and he's also a geek).

[Dustin voice] Henry's behavior is nerdy. Ergo he, Henry, is a nerd.

[sonimage1965]

Family Circle

October 1959

[wheelersblue]

It's Will's birthday today! 3/22!!🎉

Let's go over all the weird details regarding this special day.

First of all what do the numbers of his birthday add up to? 3 + 2 + 2 = 7. The number seven is where it all started. We know from season one that Will rolled a seven while playing DnD, but chose not to tell the whole party that his character lost against the demogorgan. But, he did choose to tell Mike after Lucas and Dustin leave, clueing the audience in from the beginning that these two have a significant bond.

From the Wiki we know that Mike and Will met on the swings in 1976, but it doesn't mention the day. I've been wondering about this for a while, but recently i saw this super interesting post. Definitely check it out! They go into much more detail on this specific part and the meaning than I will here.

In season two when Mike tells Will "It was the first day of Kindergarten. I had no friends and I just felt so alone and scared..." American schools usually started after labor day up until the late 90s, so with that in mind the only day that could've been their first day of school was Tuesday, 9/7/1976. They met on the seventh.

The fact that the numbers of Will's birthday add up to equal seven really nails in how significant and important the number seven is and shows us more proof of byler endgame. They've been planning this from the beginning!

Now let's take a look at his playlist:

3 hours and 22 minutes?? Clearly the writers didn't forget it was his birthday at Rink O' Mania if it keeps popping up everywhere.

Also at Rink O' Mania, the video camera used to film El shows that the date is March 22nd.

They didn't have to add in that detail, they could've had the camera show any other date. There didn't even have to be a shot through the camera. Unless... Will's birthday, and everyone forgetting it is important to the plot? What a weird idea! Who would've guessed!

So why did everyone forget his birthday? Even his own mom!!?

This next part is loosely based on this post here.

Take a look at this newspaper:

This paper was published on March 26th, 1959 which was a Thursday.

The Creels were killed the week of the 22nd, Will's birthday. I couldn't find a picture sadly but in the "Bulletin" section of this newspaper it says “Local family man, Victor Creel, murdered his wife and two small children Saturday night.” Saturday was the 21st.

If Henry's family (excluding Victor Creel) were killed the night of the 21st, then he was probably taken to the lab sometime between then and dawn of the 22nd. So, it's an understatement to say that March 22nd, 1959 was a pretty shitty day for Henry. It was the day when everything terrible started to happen to him and his entire life tipped on it's head.

So it would make sense that Vecna would want to... erase this day, right? It's definitely possible that he tried to re-shape time for himself and remove this day from existence. Maybe, if Vecna altered with the 22nd it also messed up Will and his birthday, and his perception of time. This could be affecting or almost spreading to those around him also, everyone forgot his birthday and no one seems to have their perception of how much time has passed exactly right. Mike and Will argue over how "it's been a year" since the Byers moved but really, if they left in October of 1985 and Mike is visiting for spring break in March of 1986, it's only been 6 months. Not even a full school year.

Then we see Henry's villain arc come full circle in s4, with Henry/Vecna brutality murdering people. When do these murders start? The night of March 21st. Chrissy was killed that night in Eddie's trailer and her body was found the morning of the 22nd by Wayne Munson and the Hawkins Police Department.

Sound familiar? Chrissy's death follows an eerily similar storyline to the deaths of the Creels. She died on March 21st, in a violently grotesque way. Then, Eddie, the person who had witness her death is charged with murder and outcasted. Pretty similarly to Victor Creel and the death of Virginia & Alice if you ask me.

So what does all this mean?

If I had an direct answer I would tell you, but I don't know what all of this means yet either. The importance of March 21st/22nd here is pulling my brain into a pretzel lol. It's also strange that both of these numbers indirectly have something to do with seven. 3 + 2 + 2 = 7 and 21 is a multiple of seven. (Byler boyfriends destroy the upside down and save everyone confirmed?)

I also used an online calculator to find the distance in days, weeks, months, and years between 3/22/59, the day Henry was sent to the lab and Will's birthday, 3/22/71. but I didn't notice anything that suspicious.

Plus I did not look into it that much yet, I'm tired and I had to leave for work :,)

Anyway, if you read this far into my brain dump I applaud you. 👏

And I'm definitely going to be examining more dates and numbers in this show because it is what I do for fun now I guess, so apologies in advance haha (oh my god a tv show is turning me into a math nerd HELP)

[lboogie1906]

A Raisin in the Sun is a play by Lorraine Hansberry that debuted on Broadway in 1959. The title comes from the poem “Harlem” (known as “A Dream Deferred”) by Langston Hughes. The story tells of a Black family’s experiences in south Chicago, as they attempt to improve their financial circumstances with an insurance payout following the death of the father. The New York Drama Critics’ Circle named it the best play of 1959.

With a cast in which all but one character is Black, A Raisin in the Sun was considered a risky investment, and it took over a year for producer Philip Rose to raise enough money to launch it. There was disagreement about how it should be played, with a focus on the mother or a focus on the son. When the play hit New York, Poitier played it with a focus on the son and found not only his calling but an audience enthralled.

After touring to positive reviews, the play premiered on Broadway at the Ethel Barrymore Theatre on March 11, 1959. It transferred to the Belasco Theatre on October 19, 1959, and closed on June 25, 1960, after 530 total performances. Directed by Lloyd Richards, the cast comprised: Ruby Dee as Ruth, Claudia McNeil as Lena, Glynn Turman as Travis, and Sidney Poitier as Walter. #africanhistory365 #africanexcellence

[einsteinsugly]

Steven James Hyde (born November 28, 1959), an '80s Man...

"Screws fall out all the time, the world's an imperfect place." -John Bender, The Breakfast Club

*****

Welcomed, to the Forman and Barnett Family:

Jacqueline "Jackie" Hyde (nee Burkhart) (wife, May 1982-present)

Rebecca "Becca" Hyde (daughter, with Jackie, born December 5, 1985)

James Hyde (son, with Jackie, born October 22, 1987)

William "WB" Barnett (still his dad)

Angela "Angie" Barnett (still his sister)

William "Will" Clark (nephew)

Reginald "Red" and Katherine "Kitty" Forman (adopted parents, since April 1982)

Eric Forman (adopted brother)

Donna Pinciotti-Forman (nee Pinciotti) (adopted sister-in-law)

Elizabeth "Betsy" Kelso, Katherine "Kate" Forman, and Cecilia Acosta (goddaughters [adopted niece; for Kate], with Jackie)

Alexander "Alex" Forman (upcoming adopted nephew [*cough* niece *cough*])

Adrian Forman (adopted nephew), Hannah Kelso and Ashley Tate (basically his nieces)

Location(s):

Point Place, Wisconsin (January-March 1980)

Milwaukee, Wisconsin (March 1980-September 1989)

Chicago, Illinois (September 1989-present)

Occupation(s):

Owner and manager of the Point Place Grooves (January-March 1980), owner and manager of the West Milwaukee Grooves (March 1980-September 1989), owner and manager of the Rogers Park and Hyde Park Grooves (September 1989-present)

Interests:

Hobbies: Music, music, music. Learning how to play guitar. Hanging out with the wife and kids. Playing some chess. The occasional beer or joint, the occasional party or circle. The guys watched The Brave Little Toaster when they were high as fuck once. Because the creators had to be high, man, to write a whole fuckin' movie (based on a book, apparently) about talking appliances.

Movies: Stand by Me, Rain Man, National Lampoon's Christmas Vacation, Heathers, The Breakfast Club. He watches the last two with Jackie, and the National Lampoon stuff with Forman and Donna, usually.

TV: Little House on the Prairie. Forman and Donna rope him into watching Cheers and The Wonder Years sometimes. Most 80s sitcoms suck, though. It's all super G rated, nuclear family crap. He only likes that stuff in real life, not idolized on some half-assed TV set.

Music: Lots of the old stuff. Zeppelin, Rolling Stones, The Who, The Grateful Dead, Pink Floyd, Black Sabbath. Some Santana and Steely Dan, if he's in a good mood. He listens to some new releases from AC/DC, Queen, Blue Oyster Cult, Springsteen, and other holdovers from the 70s.

But ever since Bonham and Lennon died, music hasn't been the same. Hair metal sucks (fuck Twisted Sister, Poison, Motley Crue, and Def Leppard), and so does the soft rock crap Forman calls rock (it's barely rock music, catered to the masses), so only a few popular 80s bands pique his interest. Mainly, Metallica, Iron Maiden, and Guns 'N Roses. Bon Jovi's all right, but that's more of Forman and Donna's thing.

By the end of the decade, though, the alternative and grunge scene's where it's at. Nirvana, Soundgarden, Red Hot Chili Peppers. A bunch of other underground stuff, which he's more than willing to support. With his hard-earned, cold-hard cash.

Extra Note: Orwell's dystopia gets closer and closer to comin' true, all the fuckin' time...

[shewhoworshipscarlin]

Ethel Waters

Ethel Waters (October 31, 1896 – September 1, 1977) was an American singer and actress. Waters frequently performed jazz, swing, and pop music on the Broadway stage and in concerts. She began her career in the 1920s singing blues. Waters notable recordings include "Dinah", "Stormy Weather", "Taking a Chance on Love", "Heat Wave", "Supper Time", "Am I Blue?", "Cabin in the Sky", "I'm Coming Virginia", and her version of "His Eye Is on the Sparrow". Waters was the second African American to be nominated for an Academy Award. She was the first African American to star on her own television show and the first African-American woman to be nominated for a Primetime Emmy Award.

Waters was born in Chester, Pennsylvania on October 31, 1896 (some sources state her birth year as 1900) as a result of the rape of her teenaged African-American mother, Louise Anderson (1881–1962), by John Waters (1878–1901), a pianist and family acquaintance from a middle-class African-American background. Waters' family was very fair skinned, her mother in particular. Many sources, including Ethel herself, have reported for years that her mother was 12 or 13 years old at the time of the rape, 13 when Ethel was born. Stephen Bourne opens his 2007 biography, Ethel Waters: Stormy Weather, with the statement that genealogical research has shown that she may have been in her late teens.

Waters played no role in raising Ethel. Soon after she was born, her mother married Norman Howard, a railroad worker. Ethel used the surname Howard as a child and then reverted to her father's name. She was raised in poverty by Sally Anderson, her grandmother, who worked as a housemaid, and with two of her aunts and an uncle. Waters never lived in the same place for more than 15 months. Of her difficult childhood, she said "I never was a child. I never was cuddled, or liked, or understood by my family."

Waters grew tall, standing 5 feet 9.5 inches (1.765 m) in her teens. According to jazz historian and archivist Rosetta Reitz, Waters's birth in the North and her peripatetic life exposed her to many cultures. Waters married at the age of 13, but her husband was abusive, and she soon left the marriage and became a maid in a Philadelphia hotel, working for $4.75 per week. On her 17th birthday, she attended a costume party at a nightclub on Juniper Street. She was persuaded to sing two songs and impressed the audience so much that she was offered professional work at the Lincoln Theatre in Baltimore. She recalled that she earned the rich sum of $10 per week, but her managers cheated her out of the tips her admirers threw on the stage.

After her start in Baltimore, Waters toured on the black vaudeville circuit, in her words "from nine until unconscious." Despite her early success, she fell on hard times and joined a carnival traveling in freight cars headed for Chicago. She enjoyed her time with the carnival and recalled, "the roustabouts and the concessionaires were the kind of people I'd grown up with, rough, tough, full of larceny towards strangers, but sentimental and loyal to their friends and co-workers." But she did not last long with them and soon headed south to Atlanta, where she worked in the same club as Bessie Smith. Smith demanded that Waters not compete in singing blues opposite her. Waters conceded and sang ballads and popular songs. Around 1919, Waters moved to Harlem and became a performer in the Harlem Renaissance of the 1920s.

Her first Harlem job was at Edmond's Cellar, a club with a black patronage that specialized in popular ballads. She acted in a blackface comedy, Hello 1919. Jazz historian Rosetta Reitz pointed out that by the time Waters returned to Harlem in 1921, women blues singers were among the most powerful entertainers in the country. In 1921, Waters became the fifth black woman to make a record, for tiny Cardinal Records. She later joined Black Swan, where Fletcher Henderson was her accompanist. Waters later commented that Henderson tended to perform in a more classical style than she preferred, often lacking "the damn-it-to-hell bass."

She recorded for Black Swan from 1921 through 1923. Her contract with Harry Pace made her the highest paid black recording artist at the time. In early 1924, Paramount bought Black Swan, and she stayed with Paramount through the year.

She first recorded for Columbia in 1925, achieving a hit with "Dinah". She started working with Pearl Wright, and they toured in the South. In 1924, Waters played at the Plantation Club on Broadway. She also toured with the Black Swan Dance Masters. With Earl Dancer, she joined what was called the "white time" Keith Vaudeville Circuit, a vaudeville circuit performing for white audiences and combined with screenings of silent movies. They received rave reviews in Chicago and earned the unheard-of salary of US$1,250 in 1928. In September 1926, Waters recorded "I'm Coming Virginia", composed by Donald Heywood with lyrics by Will Marion Cook. She is often wrongly attributed as the author. The following year, Waters sang it in a production of Africana at Broadway's Daly's Sixty-Third Street Theatre. In 1929, Waters and Wright arranged the unreleased Harry Akst song "Am I Blue?", which was used in the movie On with the Show and became a hit and her signature song.

In 1933, Waters appeared in a satirical all-black film, Rufus Jones for President, which featured the child performer Sammy Davis Jr. as Rufus Jones. She went on to star at the Cotton Club, where, according to her autobiography, she "sang 'Stormy Weather' from the depths of the private hell in which I was being crushed and suffocated." In 1933, she had a featured role in the successful Irving Berlin Broadway musical revue As Thousands Cheer with Clifton Webb, Marilyn Miller, and Helen Broderick.

She became the first black woman to integrate Broadway's theater district more than a decade after actor Charles Gilpin's critically acclaimed performances in the plays of Eugene O'Neill beginning with The Emperor Jones in 1920.

Waters held three jobs: in As Thousands Cheer, as a singer for Jack Denny & His Orchestra on a national radio program, and in nightclubs. She became the highest-paid performer on Broadway. Despite this status, she had difficulty finding work. She moved to Los Angeles to appear in the 1942 film Cairo. During the same year, she reprised her starring stage role as Petunia in the all-black film musical Cabin in the Sky directed by Vincente Minnelli, and starring Lena Horne as the ingenue. Conflicts arose when Minnelli swapped songs from the original script between Waters and Horne. Waters wanted to perform "Honey in the Honeycomb" as a ballad, but Horne wanted to dance to it. Horne broke her ankle and the songs were reversed. She got the ballad and Waters the dance. Waters sang the Academy Award nominated "Happiness is Just a Thing Called Joe".

In 1939 Waters became the first African American to star in her own television show, before the debut of Nat King Cole's in 1956. The Ethel Waters Show, a variety special, appeared on NBC on June 14, 1939. It included a dramatic performance of the Broadway play Mamba's Daughters, based on the Gullah community of South Carolina and produced with her in mind. The play was based on the novel by DuBose Heyward.

Waters was nominated for an Academy Award for Best Supporting Actress for the film Pinky (1949) under the direction of Elia Kazan after the first director, John Ford, quit over disagreements with Waters. According to producer Darryl F. Zanuck, Ford "hated that old...woman (Waters)." Ford, Kazan stated, "didn't know how to reach Ethel Waters." Kazan later referred to Waters's "truly odd combination of old-time religiosity and free-flowing hatred."

In 1950, she won the New York Drama Critics Circle Award for her performance opposite Julie Harris in the play The Member of the Wedding. Waters and Harris repeated their roles in the 1952 film version.

In 1950, Waters was the first African-American actress to star in a television series, Beulah, which aired on ABC television from 1950 through 1952.

It was the first nationally broadcast weekly television series starring an African American in the leading role. She starred as Beulah for the first year of the TV series before quitting in 1951, complaining that the portrayal of blacks was "degrading." She was replaced by Louise Beavers in the second and third season. She guest-starred in 1957 and 1959 on NBC's The Ford Show, Starring Tennessee Ernie Ford. In a 1957 segment, she sang "Cabin in the Sky".

Her first autobiography, His Eye Is on the Sparrow, (1951), written with Charles Samuels, was adapted for the stage by Larry Parr and premiered on October 7, 2005.

In 1953, she appeared in a Broadway show, At Home With Ethel Waters that opened on September 22, 1953 and closed October 10 after 23 performances. 

Waters married three times and had no children. When she was 13, she married Merritt "Buddy" Purnsley in 1909; they divorced in 1913. During the 1920s, Waters was involved in a romantic relationship with dancer Ethel Williams. The two were dubbed "The Two Ethels" and lived together in Harlem.She married Clyde Edwards Matthews in 1929, and they divorced in 1933. She married Edward Mallory in 1938; they divorced in 1945. Waters was the great-aunt of the singer-songwriter Crystal Waters. 

In 1938, Waters met artist Luigi Lucioni through their mutual friend, Carl Van Vechten. Lucioni asked Waters if he could paint her portrait, and a sitting was arranged at his studio at 64 Washington Square South. Waters bought the finished portrait from Lucioni in 1939 for $500. She was at the height of her career and the first African American to have a starring role on Broadway. In her portrait, she wore a tailored red dress with a mink coat draped over the back of her chair. Lucioni positioned Waters with her arms tightly wrapped around her waist, a gesture that conveyed vulnerability, as if she were trying to protect herself. The painting was considered lost because it had not been seen in public since 1942. Huntsville (Alabama) Museum of Art Executive Director Christopher J. Madkour and historian Stuart Embury traced it to a private residence. The owner considered Waters to be "an adopted grandmother" but she allowed the Huntsville Museum of Art to display Portrait of Ethel Waters in the 2016 exhibition American Romantic: The Art of Luigi Lucioni where it was viewed by the public for the first time in more than 70 years. The museum acquired Portrait of Ethel Waters in 2017, and it was shown in an exhibition in February 2018]. 

By 1955, Waters was deeply in debt for back taxes; the IRS seized royalties of her work. She lost tens of thousands in jewelry and cash in a robbery.[35] Her health suffered, and she worked sporadically. Yet she had faced lean times before. A turning point came in 1957 when she attended the Billy Graham Crusade in Madison Square Garden. She entered the Garden that night a disillusioned, lonely, 61-year-old woman. She had become successful at giving out happiness, but her personal life lacked peace. She was in debt, had physical problems, weighed too much to perform comfortably, and was worried about her career.

Years later, she gave this testimony of that night, "In 1957, I, Ethel Waters, a 380-pound decrepit old lady, rededicated my life to Jesus Christ, and boy, because He lives, just look at me now. I tell you because He lives; and because my precious child, Billy, gave me the opportunity to stand there, I can thank God for the chance to tell you His eye is on all of us sparrows." In her later years, Waters often toured with the preacher Billy Graham on his crusades.

Waters died on September 1, 1977, aged 80, from uterine cancer, kidney failure, and other ailments, in Chatsworth, California. She is buried at Forest Lawn Memorial Park (Glendale).

https://en.wikipedia.org/wiki/Ethel_Waters

[hello-robin-goodfellow]

ARIANO SUASSUNA

Ariano Vilar Suassuna (June 16, 1927 – July 23, 2014) was a Brazilian playwright and author. He is in the "Movimento Armorial" (Armorial Movement). He founded the Student Theater at Federal University of Pernambuco. Four of his plays have been filmed, and he was considered one of Brazil's greatest living playwrights of his time. He was also an important regional writer, doing various novels set in the Northeast of Brazil. He received an honorary doctorate at a ceremony performed at a circus. He was the author of, among other works, the "Auto da Compadecida" (The Rogue’s Trial or A Dog’s Will) and "A Pedra do Reino" (The Stone of the Kingdom). He was a staunch defender of the culture of the Northeast, and his works dealt with the popular culture of the Northeast.

BIOGRAPHY

Ariano Vilar Suassuna was born in the northeastern city of Nossa Senhora das Neves (Our Lady of Neves, now João Pessoa capital of the state of Paraíba), on June 16, 1927, son of João Suassuna and Cassia Villar Suassuna. The following year, his father left the government of Paraíba and the family went to live in the wilderness, in Acauhan Farm ("Fazenda Acauã").

During the Revolution of 30, his father was murdered for political reasons in Rio de Janeiro and the family moved to Taperoá, Paraíba, where he lived from 1933 to 1937. In this city, Ariano began his first studies and also watched for the first time mamulengos (kind of theatric plays played by hand puppets that were typical to the region) and a Viola Challenge, whose character of "improvisation" was one of the hallmarks of his theatrical production.

From 1942 he lived in Recife, where he finished in 1945, his secondary education at the Gymnasium in Pernambuco and Osvaldo Cruz High School. The following year he began Law School, where he met Hermilo Borba Filho. And along with him, he founded the Student Theater of Pernambuco. In 1947 he wrote his first play, Uma Mulher Vestida de Sol. In 1948, his play, Cantam as Harpas de Sião (ou O Desertor de Princesa) was performed by the Student Theater of Pernambuco. Os Homens de Barro was presented the following year.

In 1950, he graduated from the Faculty of Law and was awarded the Martin Pena Award by Auto de João da Cruz. He was forced to move back to Taperoá, to be cured of lung disease. There he wrote the play and set up Torturas de um Coração in 1951. In 1952 he returned to live in Recife. Until 1956, he devoted himself to law, however, without abandoning the theater industry. During this time O Castigo da Soberba (1953), O Rico Avarento (1954) and O Auto da Compadecida (1955), were performed around the country and would be considered in 1962 by Sabato Magaldi "the text of the most popular modern Brazilian theater. "

In 1956, he abandoned law to become professor of Aesthetics at the Federal University of Pernambuco (UFPE). The following year he staged his play O Casamento Suspeitoso in São Paulo, Cia Sérgio Cardoso, and O Santo e a Porca, in 1958, was staged his play O Homem da Vaca e o Poder da Fortuna, in 1959, A Pena e a Lei, awarded ten years after the Festival Latinoamericano de Teatro.

In 1959, along with Hermilo Borba Filho, he founded the Teatro Popular do Nordeste, which then set up A Farsa da Boa Preguiça (1960) and A Caseira e a Catarina (1962). In the early '60s, he interrupted his successful career as a playwright to devote to the classes in Aesthetics at UFPE. There, in 1976, defends the thesis Habilitation A Onça Castanha e a Ilha Brasil: Uma Reflexão sobre a Cultura Brasileira, Retires as professor in 1994.

Founding member of the Federal Council of Culture (1967), appointed by the Rector Murilo Guimarães, director of the Department of Cultural Extension of UFPE (1969). Directly linked to culture, began in 1970 in Recife, the "Armorial Movement", interested in the development and understanding of traditional forms of popular expression. Called names expressive music classical music to seek a northeast to come join the movement, launched in Recife, October 18, 1970, with the concert "Three Centuries of Northeastern Music – the Armorial of the Baroque" and an exhibition of printmaking, painting and sculpture. Secretary of Culture of the State of Pernambuco, Miguel Arraes Government (1994–1998).

Between 1958–79, also dedicated himself to prose fiction, publishing the Romance d'A Pedra do Reino e o Príncipe do Sangue do Vai-e-Volta(1971) and História d'O Rei Degolado nas Caatingas do Sertão / Ao Sol da Onça Caetana (1976), classified by him as "armorial-popular Brazilian novel."

Ariano Suassuna built in São José do Belmonte (PE), where the ride is inspired by the Romance d'A Pedra do Reino, an outdoor sanctuary, consisting of 16 sculptures of stone, with height 3.50 m each, arranged in circle, representing the sacred and the profane. The first three are images of Jesus Christ, Our Lady and St. Joseph, the patron saint of the city.

Paraíba State Academy of Arts and Doctor Honoris Causa from the Federal University of Rio Grande do Norte (2000).

In 2002, Ariano Suassuna story was the subject of the carnival, in 2008, was again the subject of plot, this time the samba school Carnival Mancha Verde in São Paulo. In 2004, with the support of the ABL, the Kind Films produced a documentary entitled The Hinterland: World of Ariano Suassuna, directed by Douglas Machado and was exhibited at the Sala José de Alencar. In 2006, he was awarded the title of Doctor Honoris Causa from the Federal University of Ceara, but only received it on June 10, 2010 on the eve of his 83rd birthday. "It might even seem like I didn't want to receive the honor, but there were scheduling problems," Ariano said, referring to the time between the award and his receipt of the title.

On July 21, 2014, he suffered from a hemorrhagic stroke; he was hospitalized in coma and died from cardiac arrest on July 23.

CONVERSION TO ROMAN CATHOLICISM

Ariano Suassuna was born in a Calvinist Protestant family, became agnostic and converted to Roman Catholicism in 1958.

PLAYS

O Auto da Compadecida (1955)

O Castigo da Soberba (1960)

O Casamento Suspeitoso (1961)

A Caseira e a Catarina (1962)

Uma Mulher Vestida de Sol (1964)

O Rico Avarento (1964)

O Santo e a Porca (1964)

Pena e a Lei (1974)

A Farsa da Boa Preguiça (1982)

NOVELS

A Pedra do Reino e o Príncipe do Sangue do Vai-e-Volta, (1971).

História d'O Rei Degolado nas caatingas do sertão: ao sol da Onça Caetana, (1977).

CRITICAL STUDY

Ariano Suassuna : um perfil biográfico, Adriana Victor, Juliana Lins. Rio de Janeiro: Zahar, c2007.

Source: 

https://en.wikipedia.org/wiki/Ariano_Suassuna

@princesssarisa @ardenrosegarden @mademoiselle-princesse @lioness--hart @gravedangerahead @deforestkelleys @giuliettaluce @superkingofpriderock @amalthea9 

[mrinalkantimajumder]

ALBERT LEE TUCKER 

On this day of 29th December, Albert Lee Tucker (29 December 1914 – 23 October 1999), was born in Melbourne, Australia.

He was an artist, and member of the Heide Circle, a group of modernist artists and writers that centered on the art patrons John and Sunday Reed, whose home, "Heide", located in Bulleen, near Heidelberg (outside Melbourne), was a haven for the group.

Tucker left school at 14 to help support his family and had no formal art training, but obtained work as a house painter, cartoonist, and commercial illustrator, in an advertising agency before joining the commercial artist John Vickery. For seven years he attended the Victorian Artists' Society evening life drawing class three nights a week.

Tucker's main inspirations include post-impressionists, expressionists, and social realists, as well as personal experience. Tucker's work was strongly influenced by the realistic reflections of two important émigré artists, Josl Bergner and Danila Vassilieff. Tucker also met Sunday and John Reed, members of the Contemporary Art Society.

Tucker's first significant works were produced during his involvement in the army. He produced three important works at this stage, Man at Table, The Waste Land, and Floating Figures.

An impression of Australian soldiers, clutching young women was the catalyst for his series of works known as the Images of Modern Evil, Victory Girls, depicting Melbourne nightlife.

Tucker also took to photography, both of his own paintings, and to record the ideas and scenes he used to compose them, and inadvertently created a document of his time.

Tucker became associated with the Angry Penguins, a group of modernist artists including Joy Hester, Sidney Nolan, John Perceval, Arthur Boyd, and Noel Counihan.

In 1959, Tucker won the Australian Women's Weekly Prize, which enabled him to spend two years in New York producing the Manhattan Series and Antipodean Heads. 

In 1960 he was awarded the Kurt Geiger Award by MOMA Australia which he used to return to Australia and mount his first Australian solo exhibition. He subsequently settled in Victoria.

In 1990 the National Gallery of Australia held a retrospective of his work.

[papermoonloveslucy]

ELVIA ALLMAN

September 19, 1904

Elvia Beatrice Allman was born on September 19, 1904 in Enochville, North Carolina. She started her performing career on radio in the 1920s, as both a storyteller and singer. This led to work voicing cartoon characters for Warner Brothers. Simultaneously, she was pursuing stage acting, appearing at the Pasadena Playhouse. 

Allman made her film debut as an actress in 1940's The Road to Singapore as a homely woman who pursues Bob Hope.

On radio, she worked with Lucille Ball on “My Favorite Husband”. 

Her first TV credit came in August 1951, in an episode of “Hollywood Theatre Time” written by “I Love Lucy” scribes Bob Carroll and Madelyn Pugh Davis. This undoubtedly led to her first encounter with Lucille Ball.

Allman’s first episode of “I Love Lucy” is also one of the most memorable in TV history: “Job Switching” (ILL S2;E1) in September 1952.  She played the strident foreman of Kramer’s Candy Kitchen.   

This portrayal has been seen numerous times across various media, and often imitated, but perhaps none more brilliantly than on “Will & Grace” where Lucie Arnaz played the role originated by Allman. 

“I’m thrilled to be invited to the party and will do my best to honor the memory of Elvia Allman’s iconic performance.” ~ Lucie Arnaz

NEIGHBOR: “Do you wanna see Minnie or don’t ya?”

Allman returned to the show as one of Minnie Finch’s neighbors in “Fan Magazine Interview” (ILL S3;E17) in 1954, quite a change of pace. 

NANCY GRAHAM: “When did you first meet...himmm?”

Changing gears once again she played prim magazine reporter Nancy Graham in “The Homecoming” (ILL S5;E6) in 1955. The character is probably a tribute to Sheilah Graham, who was an English-born Hollywood journalist. 

Graham suggests that her article will be titled “NOW I AM HIS SLAVE” by LUCY RICARDO, a title that would raise more than a few eyebrows, even in 1955!  

She made two appearances on “The Lucy–Desi Comedy Hour“ - first as Ida Thompson, Westfield’s PTA director who is enamored of Tallulah Bankhead in “The Celebrity Next Door” (LDCH S1;E2) in December 1957.  The character is likely named in honor of Maury Thompson, who was the show’s long-time camera coordinator.

She was Milton Berle’s over-protective secretary when “Milton Berle Hides Out at the Ricardos” (LDCH S3;E1) in 1959. 

Allman would also be seen on two episodes of “The Lucy Show.”  First as a customer shopping for a new hat when Lucy takes a job at Stacey’s Department Store in “Lucy Bags a Bargain” (TLS S4;E17) in 1966. Allman flips her wig when Lucy bungles the sale! 

Her second, and final Lucycom appearance, was in “Lucy The Babysitter” (TLS S5;E16) in 1967. Allman finally gets to use her own name to play the manager of an employment agency visited by Mrs. Carmichael. Coincidentally, the name of the business is the Unique Employment Agency, which will also be  the name of the Employment Agency on “Here’s Lucy.”  This pretty much brings things full circle for Allman, whose first episode of “I Love Lucy” featured the Acme Employment Agency, the agency that places Lucy and Ethel at Kramer’s Candy Kitchen! 

Allman’s final screen appearance with Lucille Ball reunited her with Bob Hope: “Bringing Back Vaudeville” on November 16, 1971 on NBC. 

Back in 1952, the same year Allman did her first “I Love Lucy” episode, she was a recurring character on NBC’s answer to “Lucy”, “I Married Joan” which - like “Lucy” - also filmed at General Service Studios.  Consequently, the two shows shared many performers. Allman played Aunt Vera for six episodes during season one. 

In May 1953, Allman did a single episode of “Our Miss Brooks,” filmed by Desilu. She appeared opposite Eve Arden, Gale Gordon, Richard Crenna, and Gloria McMillan, all of who appeared on “I Love Lucy.” 

In October 1954, she played a maid on the Desilu filmed “Make Room for Daddy”.  In 1958, to symbolize the show’s move to CBS, the Williams family moved into the Ricardo home in Westport. In return, Lucy and Desi guest-starred on “The Danny Thomas Show” as the Ricardos.

Also in 1954, Allman started appearing on Desilu’s “December Bride,” doing six episodes until 1959, mostly playing Sara Selkirk.  In 1957, Executive Producer Desi Arnaz appeared as himself. In 1960 she was featured on the very first episode of the sequel series, “Pete and Gladys” and did another episode in 1962. 

In October 1958, she did a day on Desilu’s “The Ann Sothern Show.” In November 1959,Lucille Ball played Lucy Ricardo on the series’ season two premiere.  

In January 1961, Allman played Henrietta Swanson on “The Andy Griffith Show” filmed on the Desilu backlot. 

A few months later, she did a day on “The Real McCoys”, also filmed on the Desilu backlot.

In June 1964, Allman did an installment of “Vacation Playhouse” - a Desilu anthology series of possible pilots.  

In 1963 and 1965, Allman did episodes of “The Dick Van Dyke Show” filmed at Desilu Studios. The second featured Amzie Strickland, who also appeared with her in “Lucy Bags a Bargain” (TLS S4;E17). 

Allman has the distinction of appearing in all three of CBS’s inter-connected rural sitcoms (albeit as different characters): “The Beverly Hillbillies” (as Elverna Bradshaw); “Petticoat Junction” (as Selma Plout); and “Green Acres” (as Cora Watson). 

Her final screen appearance was on a 1989 episode of “Murder She Wrote” starring Angela Lansbury. 

Her first husband, Wesley B. Tourtellotte, was a musician whom she married in 1930. The marriage was short-lived and produced one child. Her second was Charles Pyle, who was often called Cash and Carry Pyle, an Illinois theater owner and sports agent. They married in 1937 but he died of a heart attack two years later. Her third and last marriage, to Jerome Bayler, lasted 33 years until his death in 1978.

Allman died on March 6, 1992, aged 87. 

[blackkudos]

Darius Rucker

Darius Carlos Rucker (born May 13, 1966) is an American singer and songwriter. He first gained fame as the lead vocalist and rhythm guitarist of rock band Hootie & the Blowfish, which he founded in 1986 at the University of South Carolina along with Mark Bryan, Jim "Soni" Sonefeld, and Dean Felber. The band released five studio albums with him as a member and charted six top 40 hits on the Billboard Hot 100. Rucker co-wrote most of the songs with the other members.

He released a solo R&B album, Back to Then in 2002 on Hidden Beach Recordings but no singles from it charted. Six years later, Rucker signed to Capitol Nashville as a country music singer, releasing the album, Learn to Live that year. Its first single, "Don't Think I Don't Think About It", made him the first black artist to reach number one on the Hot Country Songs charts since Charley Pride in 1983. (Ray Charles hit number one in March 1985 in a duet with Willie Nelson with "Seven Spanish Angels".) It was followed by two more number one singles, "It Won't Be Like This for Long" and "Alright" and the number three hit "History in the Making". In 2009, he became the first black American to win the New Artist Award from the Country Music Association, and the second black person to win any award from the association. A second album, Charleston, SC 1966, was released on October 12, 2010. The album includes the number one singles, "Come Back Song" and "This".

Early life

Rucker was born and raised in Charleston, South Carolina, where his family history goes back generations. He lives in Charleston with his wife and three children. His single mother, Carolyn, a nurse at Medical University of South Carolina, raised him with his three sisters and two brothers. According to Rucker, his father was never around, and Rucker saw him only before church on Sundays. His father was in a gospel band called The Traveling Echoes. Rucker has said that he had a typical Southern African-American upbringing. His family attended church every Sunday and was economically poor, and at one point, his mother, her two sisters, his grandmother and 14 children were all living in a three-bedroom house. But he says that he looks back on his childhood with very fond memories. His sister, L'Corine, recalled that singing was always his dream.

Hootie & the Blowfish

Darius Rucker has been the lead singer of Hootie & the Blowfish since its formation in 1986. He met fellow band members Mark Bryan, Jim "Soni" Sonefeld, and Dean Felber while attending the University of South Carolina. Bryan first heard Rucker singing in the shower, and the two became a duo, playing R.E.M. covers at a local venue. They later recruited Felber and finally Sonefeld joined in 1989. As a member of Hootie & the Blowfish, Rucker has recorded six studio albums: Cracked Rear View – 1994, Fairweather Johnson – 1996, Musical Chairs – 1998, Scattered, Smothered & Covered – 2000, Hootie & the Blowfish and Looking for Lucky – 2005, also charting within the top 40 of the Billboard Hot 100 six times. All six albums feature songs that Rucker, Bryan and Felber wrote. As the frontman, Rucker began to be called simply "Hootie" by fans, though the band title combines the nicknames of his college friends. Before his rise to fame, he lived in the basement of the Sigma Phi Epsilon house at the University of South Carolina, attempting to launch his career through the college bar scene.

Rucker's signature contribution to the band is his baritone voice, which Rolling Stone has called "ingratiating," TIME has called "low, gruff, [and] charismatic," and Entertainment Weekly has characterized as a "barrelhouse growl." Rucker said they "flipped" the formula of the all black band with a white frontman, like Frank Sinatra performing with Count Basie. Musically, he has sometimes been criticized or spoofed for not being "black enough". Saturday Night Live ran a sketch of Tim Meadows playing Rucker leading beer-drinking, white fraternity members in a counter-march to Louis Farrakhan's Million Man March. He also received death threats for singing the Hootie song "Drowning," a protest song against the flying of the Confederate flag above the South Carolina statehouse.

Shortly after gaining a measure of fame, Felber and Rucker (who consider themselves best friends) moved into an apartment in Columbia, South Carolina. With Rucker's recognition as the frontman of a successful band came increased opportunities. In October 1995, he was asked to sing the national anthem at the World Series. Frank Sinatra invited him to sing at his 80th birthday party; he sang "The Lady Is a Tramp." That same week, he made a voice cameo in an episode of the sitcom Friends. He also joined Nanci Griffith on the song "Gulf Coast Highway" for her 1997 album Blue Roses from the Moons, and sang backing vocals on Radney Foster's 1999 album See What You Want to See. He encouraged Atlantic Records to agree to a deal with Edwin McCain and made a guest appearance on McCain's debut album, Honor Among Thieves.

In regard to the future of Hootie & the Blowfish, Rucker was quoted by CBS news as stating in late 2011, "I don't think we'll ever break up totally. We're Hootie & the Blowfish. ... We'll make another record and do another tour someday. I don't know when, but it will happen. There's one more in us." After a ten-year hiatus, Rucker and the band announced that they will be touring with Barenaked Ladies in 2019 while releasing a new album the same year.

Their sixth studio album Imperfect Circle was released on November 1, 2019.

Solo career

In 2001, he made his solo R&B debut album, The Return of Mongo Slade, for Atlantic Records. Because of contractual changes, it was never released by the label. Hidden Beach Recordings, an independent label, acquired the masters from Atlantic and released the album as Back to Then in July 2002. The album included work from the production team of Jill Scott, and she made an appearance on the track "Hold On." The single "This Is My World" was featured in the 2001 comedy film Shallow Hal. In regards to the album, "That was just a minute in my life," he later told The Arizona Republic about the record. "I was listening to a lot of Notorious B.I.G. and Lauryn Hill at that time, and I wanted to make a neo soul record." He also said in the article that he doesn't anticipate recording an R&B-styled disc again. "Country music is my day job now. I'll probably do this till it's all over, but that album was a lot of fun."

Rucker appeared on a pop-star edition of the quiz show Who Wants to Be a Millionaire? in July 2001. He also portrayed a singing cowboy in a television commercial for the fast-food company Burger King, promoting its TenderCrisp Bacon Cheddar Ranch sandwich in 2005. In the commercial, he sang a jingle set to the tune of "Big Rock Candy Mountain." In 2006 Rucker lent his voice to the track "God's Reasons" written by Dean Dinning and Joel A. Miller for the film The Still Life.

Country music2008–2009: Learn to Live

In early 2008, Rucker signed to Capitol Records Nashville as the beginning of a career in country music. His first solo single, "Don't Think I Don't Think About It" (which he co-wrote with Clay Mills) debuted at No. 51 on the Billboard Hot Country Songs charts for the week of May 3, 2008. It is the first single from his second album, Learn to Live. For this album, Rucker worked with Frank Rogers, a record producer who has also produced for Brad Paisley and Trace Adkins. Rucker also made his Grand Ole Opry debut in July 2008. The single reached number one in September, making Rucker the first solo, African-American artist to chart a number one country hit since Charley Pride's "Night Games" in 1983.

Learn to Live was certified gold by the Recording Industry Association of America (RIAA) on February 6, 2009, and received a platinum certification on August 7, 2009. The album's second single, "It Won't Be Like This for Long", spent three weeks at the top of the country chart in mid-2009. Its follow-up, "Alright", became Rucker's third straight No. 1 hit, making him the first singer to have his first three country singles reach No. 1 since Wynonna in 1992. The album's fourth single, "History in the Making" was released in September and peaked at No. 3. The singles also crossed over to the Billboard Hot 100, peaking at 35, 36, 30 and 61.

Billboard magazine said that "there's a sense of purpose that makes Rucker feel like a member of the country family, rather than calculating interloper." Rucker made visits to various country stations around the United States, explaining that he was aware that he was the "new kid on the block." Mike Culotta, the program director of Tampa, Florida, radio station WQYK-FM expected that Rucker would be "somebody who would have entitlement," but instead said that "Darius engaged everybody." When Rucker found that "Don't Think I Don't Think About It" went to number one, he cried. On November 11, 2009, Rucker won the Country Music Association New Artist of the Year award (formerly known as the Horizon Award), making him the first African American to do so since the award was introduced in 1981. Only one other African American has won at the CMAs: Charley Pride, who won entertainer of the year in 1971 and male vocalist in 1971 and 1972.

2010–2011: Charleston, SC 1966

Rucker released his second country album, Charleston, SC 1966, on October 12, 2010. The title is inspired by Radney Foster's solo debut album, Del Rio, TX 1959. Its first single was "Come Back Song," which Rucker wrote with Chris Stapleton and Casey Beathard. It was his fourth country number one as well as a NO. 37 hit on the Hot 100. The album's second single was "This", which was released to radio in November 2010 and also reached No. 1 in the country chart. Rucker wrote it with Rogers and Kara DioGuardi. "I Got Nothin'" was the album's third single, peaking at No. 18. Also included on the album is a duet with Brad Paisley titled "I Don't Care". Charleston, SC 1966 received a gold certification.

2012–2014: True Believers

On May 20, 2011, Rucker delivered the commencement address to the graduating class of the Medical University of South Carolina.

On December 14, 2011, CBSnews.com reported that Rucker was working on a third country album with recording set to begin January 2012 followed by the release of the album early in the year. The album's lead-off single, "True Believers," made its chart debut in September. On October 12, 2012, Rucker told Broadway's Electric Barnyard that his album would also be titled True Believers. "True Believers" peaked at No. 18. Its second single is a cover of Bob Dylan and Ketch Secor's "Wagon Wheel" (previously made famous by Old Crow Medicine Show), featuring backing vocals from Lady Antebellum. "Wagon Wheel" reached No. 1 on the Country Airplay chart in May 2013. True Believers was released on May 21, 2013. The album's third single, "Radio", was released to country radio on July 22, 2013. The album's fourth single, "Miss You", was released to country radio on February 3, 2014.

On October 2, 2012, Rucker was invited to join the Grand Ole Opry. Halfway through his set at the Opry that night he answered questions from the audience which included a question from Brad Paisley. Paisley said: "I have two questions. One, are you still the worst poker player in the world? And two, would you like to become the newest member of the Grand Ole Opry?" Rucker accepted, and it became official on October 16.

Rucker was a featured performer at the C2C: Country to Country festival in London on March 17, 2013, which was headlined by Carrie Underwood.

On News Year's Day 2013. he sang the national anthem at the Outback Bowl in Tampa, Florida.

On May 11, 2013, Rucker was the speaker at the commencement ceremony for the University of South Carolina in Columbia. Before his speech, he received an honorary doctorate of music.

Rucker also sang the national anthem at the NBA finals on June 16, 2013.

On December 6, 2013, it was announced that Rucker's version of "Wagon Wheel" had earned him a nomination for Best Country Solo Performance for the 56th Annual Grammy Awards. At the awards ceremony on January 26, 2014, Rucker won, becoming only the third African American recording act (the first being Charley Pride, the second being The Pointer Sisters) to win a vocal performance Grammy Award in a country music category.

2014–2015: Southern Style and Home for the Holidays

On August 25, 2014, Rucker released a new single titled "Homegrown Honey" to country radio and to digital retailers. It served as the lead single to his fourth country studio album, Southern Style, released on March 31, 2015. It reached No. 2 on the Country Airplay chart in April 2015. The album's second single, the title track, released to country radio on May 4, 2015.

On September 15, 2014, it was announced that Rucker had completed his first Christmas album and that it would be released on October 27, 2014. Included is a collaboration with Sheryl Crow on "Baby, It's Cold Outside".May 30, 2015 Rucker headlined Philadelphia's famous XTU 31st Anniversary Show at the Susquehanna Bank Center. Christopher Bousquet named President of the Hootie fan club

Rucker makes an appearance on Sister Hazel's new album, Lighter in the Dark.

2016–present: When Was the Last Time

On January 6, 2016, Rucker announced that he was working on his fifth country album. The album's lead single, "If I Told You" was released to country radio on July 5, 2016. It reached number one in the Country Airplay chart nearly a year later, and peaked at number four on the Hot Country Chart. Rucker also returned to the C2C: Country to Country festival in the UK in March 2017, where he was second on the bill to Reba McEntire.

On May 29, 2016, Rucker performed the national anthem prior to the 100th running of the Indianapolis 500. Rucker also performed the national anthem for a game between the Buffalo Bills and the New York Jets on September 15. Rucker agreed to perform the song at the behest of personal friend and former Bills player Bruce Smith, whose jersey was being retired that night. He sang the national anthem again ahead of the Saints-Dolphins game held at London's Wembley Stadium in October 2017, as part of the NFL International Series.

Rucker was selected as one of 30 artists to perform on "Forever Country", a mash-up track of "Take Me Home, Country Roads", "On the Road Again" and "I Will Always Love You", which celebrates 50 years of the CMA Awards. On July 24, 2017, Rucker released the second single from his upcoming album, titled "For the First Time." On July 26, 2017, he shared details of his fifth country album, titled When Was the Last Time and it was released on October 20, 2017.

Rucker appeared as a mentor on seventeenth season of The Voice for Team Blake.

Personal life

Rucker is an ardent South Carolina Gamecocks fan as well as a Miami Dolphins and Cincinnati Reds fan. He also likes the film Stir Crazy, which he has seen more than 100 times.To show his loyalty to his University, he gave a free concert which was held at the Colonial Life Arena after the football team was able to win 6 games following a pair of losing seasons after joining the Southeastern Conference.

Rucker's mother died in November 1992 of a heart attack. His grief inspired two Hootie & the Blowfish songs: "I'm Goin' Home" and "Not Even the Trees." On April 21, 1995, his girlfriend (Elizabeth Ann Phillips) gave birth to Rucker's first child, Carolyn Pearl Phillips. His second daughter, Daniella Rose, was born to his wife, Beth, on May 16, 2001. They had a son, Jack, in 2005. The Hootie song "Where Were You" is about Rucker's strained relationship with his father, and was released only in Europe, where Rucker thought that his father would be unlikely to hear it. His country single "Alright" was inspired by his marriage.

Rucker is a friend of the golfer Tiger Woods, whom he met in a bar when Woods was 18. Rucker sang at the golfer's wedding with Hootie & the Blowfish and at his father's funeral. His interest in golf goes well beyond his relationship with Woods; he was a VIP guest of Team USA at the 2016 Ryder Cup, and he attended Arnold Palmer's funeral shortly before the Cup.

On November 7, 2016, Rucker told ESPN that he had become a partner in MGC Sports, a sports agency that currently represents golfers (among them Steve Stricker and Kenny Perry), football players, and coaches. He added that he was planning to reduce his performance commitments from 100 dates per year to about 30, and that he thought that his experience in the entertainment business would be an asset to potential clients. Rucker will be able to work without restrictions for golfers, but because he is not registered with the NFL players' union, he initially will only be able to meet with NFL players under very limited circumstances.

For the Undercover Boss series episode "Celebrity Undercover Boss: Darius Rucker" which premiered May 12, 2017, Rucker disguised himself as a 62 year old music teacher, ran an open mic night and worked as a roadie.

Philanthropy and impact

Rucker has regularly worked with charities that support sick and underprivileged children, via benefit concerts, volunteering, the PGA The First Tee Program, and the Hootie & The Blowfish Foundation which has raised nearly $4.5 million to provide funding to public education systems throughout South Carolina.

He serves as a board member of the MUSC Children's Hospital in Charleston, SC. where his mother worked for over 30 years from the time Rucker was a child, and has helped fundraise millions of dollars to help build a new hospital.

He also made a commitment to support St. Jude Children's Research Hospital after touring the facility in 2008. Since then, Rucker has spearheaded an annual event focused on amazing music, memorable collaborations and heartfelt stories resulting in over $1.6M raised for St. Jude's to date.

[gravalicious]

The reasoning behind Scarman’s recommendation of statutory consultation was that at the heart of the disorders in Brixton were real grievances felt by an oppressed black community, grievances which had no other outlet than violent street protest. This was essentially an echo of Martin Luther King’s comment that riots are the language of the unheard. In providing an arena for such expression the implication was that in the consultative group black people could be heard, and could explain their plight in person to senior officers. In this sense it was hoped to institutionalise conflict, taking it off the streets and into the committee room. On several occasions in London in the period after 1981 it could be said that this goal was achieved, if not always in formal consultation, then in informal organisations which were close approximations to the official consultative structure. In 1984 in Notting Hill and in 1983 in Brixton, rising tensions which had escalated to the point of nascent public disorder were partially defused after public meetings on All Saints Road and Railton Road, respectively. A third occasion occurred in Brixton on Tuesday 1st October 1985, when in the wake of the widespread ‘rioting’ that had followed the police shooting of Mrs Cherry Grace [sic], a public meeting of the Community Police Consultative Group for Lambeth (CPCGL) was seen by members of the group itself, by senior police officers and by press present as acting as a peaceful outlet for the anger of local people. Yet it is possible, without contesting this general description, to suggest that this meeting, rather than being the exemplary success of the CPCGL, highlighted the flaws that handicap its very existence. Astel Parkinson at the time chaired the group. He had lived in Brixton since 1959, been a youth worker since the mid 1960s (full-time since the mid 1970s) and his son Horace was one of the 'Brockwell Park 3’, one of the many causes celebres in the Brixton history of clashes between the police and the black community. Parkinson had been active in the campaign protesting about police behaviour. Friendly and generous, he can talk with authority on the history of the area because 'local knowledge’ for him is no more than autobiography. He was certainly no 'mouthpiece’ or 'puppet’ of the police and was one of the few members of the group who was well-known and respected on Railton Road, where he also chaired the Afro-Caribbean Community Association (ACCA). He was a friend of the Graces [sic] and at the start of that night’s meeting introduced one of the members of the family to those present, whilst making a moving speech for serious but controlled discussion of the emotive issues that had occurred in the preceding few days.

Michael Keith - Squaring circles? Consultation and 'inner city' policing [new community 15(1): 63-77 October 1988]

[impressivepress]

Landmarks of Early Soviet Cinema

The 1920s was a miraculous golden age for Soviet cinema, both for features and documentary. 

The eight films included in this meticulously curated and handsomely presented collection convey the incredible excitement filmmakers felt at the opportunity to participate in the construction of the world’s first socialist state. Freed from the need to make money that drove the Hollywood industry, they could focus on “educating” the new Soviet population. Even Vladimir Ilych Lenin, the father of the 1917 Bolshevik Revolution and the first leader of the country that would become the U.S.S.R., understood that cinema, an art based on technology and machines, was the most suitable one for a country founded on the transformation of humanity through industry and technology. Cinema was nothing less than “the most important art,” Lenin famously declared. Experimentation was the order of the decade. It was a brief but brilliant interlude, before Joseph Stalin came to power and cast a puritanical and paralyzing pall over all the arts, including cinema, in the early 1930s.

In the thick booklet of detailed critical essays that accompanies the DVDs, curators Maxim Pozdorovkin and Ana Olenina write that their goal is to expand understanding of the early Soviet film industry beyond the relatively well-known work of Sergei Eisenstein and Dziga Vertov. (So highly respected was Eisenstein by the end of the 1920s that he was even invited to Hollywood in 1930 to work at Paramount Studios.) Pozdorovkin and Olenina sought to chronicle the development of Soviet Montage and to showcase “the many ways of approaching that mysterious moment between two shots…. Though the films collected here run the gamut of genres and montage styles, what unites them is a belief in the power of fragmentation, recombination, and juxtaposition. They take an active, transformative approach to the footage and display an acute awareness of the medium’s power over the spectator. They believe in cinema’s ability to transform the spectator.”

Four feature films and four documentaries make up the set. The directors are a who’s who of kino luminaries: Lev Kuleshov (The Extraordinary Adventures of Mr.West in the Land of the Bolsheviks and By the Law), Sergei Eisenstein (Old and New), Dziga Vertov (Stride, Soviet), Esfir Shub (The Fall of the Romanov Dynasty), Mikhail Kalatozov (Salt for Svanetia), Viktor Turin (Turksib), and Boris Barnet (The House on Trubnaya). All the films were originally released between 1924 and 1930. Each has a nifty new musical score, using both previously composed and original material. Robert Israel compiled four of them; his score to the early morning Moscow street scenes inThe House on the Trubnaya makes ingenious use of Sergei Prokofiev’s piano cycle, Fugitive Visions, to set the mood.

The films of Eisenstein and Kuleshov are the best-known. In Old and New, completed in 1929 with his trusty codirector Grigori Aleksandrov, Eisenstein (1898-1948) was responding to the Communist Party’s appeal to artists in all media to create work that addressed the transformation of the backward Russian countryside. The film’s production was severely complicated by the frequent changes in official policy on economic development in the agricultural sphere, and Eisenstein had to several times reedit and retitle the film. The dominant theme (as in so many other Soviet films of the late 1920s) is the triumph of the machine over outdated traditional methods. In this case, a cream separator represents the apotheosis of progress and a symbol of the shining future. Eisenstein considered the playful sequence in which the cream separator springs into action, spewing luscious cream, an experiment in “cinematic ecstasy” resembling (in Olenina’s words) “an erotic or religious rapture.” Farmwork never looked so sexy. The failure of the excessively “formalist” Old and New, roundly booed by the party press at its premiere, left Eisenstein traumatized. For nearly ten years afterwards he failed to complete another film, despite numerous false starts both in Hollywood and in Moscow. Only with the simplistically propagandistic Alexander Nevsky would he resurrect his career.

Like Eisenstein, Lev Kuleshov (1899-1970) not only made films, but also wrote extensively on film theory. His imaginative parody The Extraordinary Adventures of Mr.West in the Land of the Bolsheviks (1924) upends negative Western preconceptions about Russians and Bolsheviks, even as it consciously imitates the style of the American action films he so admired. With an all-star cast that includes the manic, leering Aleksandra Khokhlova and cameo appearances by two directors (Boris Barnet and Vsevolod Pudovkin), Mr.West reaches its Buster-Keaton-like climax in a memorable chase sequence. “Placing a cowboy in fringed chaps on the snowcovered streets of Moscow and having him lasso an unsuspecting Russian coachman,” writes Olenina, “is a strategy that bespeaks Kuleshov’s pursuit of comic defamiliarization.” By the time he made By the Law two years later, in 1926, Kuleshov’s style had dramatically changed, becoming less artificial and more moody and psychological under the influence of German expressionism. This gloomy story (adapted from a short story by Jack London) of murderous jealousy and passion among three prospectors under extreme pressure in the Klondike packs considerable emotional power, with another hyperkinetic performance from Khokhlova.

Future director Boris Barnet (1902-65) began as a Kuleshov protégé, but they parted ways after Barnet nearly killed himself doing a stunt in the role of the cowboy inMr.West. Soon he had a successful career as a director in his own right. Barnet’s fourth film, The House on Trubnaya (1928), a witty social satire on life under the limited capitalism allowed by the New Economic Policy, made him famous abroad as well. Written by a stellar quintet that included the formalist critic Viktor Shklovsky, The House on Trubnaya deals with one of the favorite topics of the era: the Moscow housing shortage. As thousands of peasants flooded into the capital, they resorted to all sorts of ruses to find a place to live, crowding into communal apartments that provided ample material for domestic comedy. Barnet uses an open staircase in an apartment building for lots of up-and-down action. “Chopping wood on the staircase is not allowed!” warns a poster, but some of the brawny barechested residents do so anyhow. Parasha (played with physical gusto by Vera Maretskaya), the country girl who has come to Moscow in search of her uncle, ends up as a domestic servant to a pretentious bourgeois hairdresser. But he gets his comeuppance when she joins the union and asserts her proletarian rights.

Barnet uses lots of entertaining visual tricks and puzzles: stop-frame with reverse motion, reflections in puddles and mirrors, even a car seeming to move in a full circle with small stop-motion jumps. A scene of a workers’ march through the city streets becomes a symphony of flags and flagpoles floating disembodied in the sky. Unlike most Soviet films of the period, The House on Trubnaya illuminates human feelings and foibles within an ideological framework, in a manner reminiscent of Ernst Lubitsch. A highly original and versatile talent, Barnet later made spy films that have been favorably compared to Hitchcock’s.

In Soviet cinema, documentary film occupied a highly privileged position. As Maxim Pozdorovkin writes in his accompanying essay, “Nonfiction film was recognized both as an art form and as source material for the writing of history.” Many Soviet filmmakers blurred the line between feature and documentary; Sergei Eisenstein’s Battleship Potemkin and October provide only two of the best examples. In his ground-breaking Man with a Movie Camera, Dziga Vertov (his real name was the more prosaic David Kaufman) proved that documentary film could be exciting and artistic. In this collection, Vertov is represented by his informational “lecture-film” Stride, Soviet (1926), a plotless and heavily edited assortment of scenes from the daily life and labor of Moscow. Without the aesthetic integrity of Man With a Movie Camera, it requires patience (and probably some political background) from the viewer, but offers in its best moments a dynamic portrait of a “city-in-progress.”

Esfir Shub (1894-1959), one of the few female directors in the early Soviet film industry, had a less “activist” view of documentary than Vertov. Her masterpiece, The Fall of the Romanov Dynasty (1927), is a “montage of historical documents” that she found in newsreels, official film records, and home movies of the Tsar’s family. For Shub, montage meant allowing the original footage to speak for itself without excessive formal manipulation. Because the footage she discovered is so emotionally revealing, exposing the amazing indifference of the Russian aristocracy to the squalor that surrounded them during the horrific slaughter of World War I, what emerges is a powerful documentation of “living reality,” as fellow director Vsevolod Pudovkin described it. The pace of the editing is slower, more deliberate, than in most other Soviet documentaries of the period, but the analytical message condemning the evils of the old regime no less incisive.

Vertov and Shub paved the way for the work of two other directors who took documentary in a more artistic, impressionistic, and even ethnographic direction: Viktor Turin and Mikhail Kalatozov. Both explored the remote and exotic territories on the southern fringe of the newly formed U.S.S.R., in documentaries produced outside the mainstream Russian studios. Both also celebrate the progressive mission of the Soviet government in bringing technological improvements to the lives of people whose lives had been virtually untouched by modern civilization. In Turksib (1929), made by Vostok-Kino in Alma-Ata, Kazakhstan, Turin chronicles the construction of a new railroad linking the textile industry of southern Siberia with the wool and cotton producing regions of Kazakhstan. His treatment of the harsh beauty of the Kazakh steppe is breathtaking, its endless sandy expanses sculpted by the wind into weird abstract patterns. To illustrate the need for a reliable connection between the textile industry and its suppliers, he shows a long caravan of camels overtaken and submerged by a violent sandstorm. Pumping pistons and speeding locomotives provide the solution. Turin uses many of the same techniques (visual metaphors, striking informational graphics, allegorical montage) seen in other Soviet documentaries of the period, but with unusual taste and restraint.

The setting for what may be the most remarkable film in this set, Kalatozov’s Salt for Svanetia (1930), is an isolated village high in the Caucasus Mountains of Georgia. Made by the Georgian state studio with Kalatozov as cameraman, it bears an introductory quotation from Lenin: “The Soviet Union is a country so big and diverse that every kind of social and economic way of life is to be found within it.” So Kalatozov (who was himself of Georgian origin) spends most of his time showing the bizarre, vivid world of the Svan community, living a highly ritualized and brutal existence to which the cinematography lends a mythological dimension. The village’s problem is that it has no salt with which to support life for both humans and animals. Graphic images of death and suffering abound. Only the arrival of a Bolshevik brigade in the film’s final moments promises relief.

Several decades later, Kalatozov would become world famous for his searing antiwar film, The Cranes Are Flying, and for his sumptuous portrait of the Cuban Revolution,I Am Cuba. Salt for Svanetia prefigures both of them in its unorthodox and arresting visual imagery. Pozdorovkin calls it “the most visually liberated film of the silent Soviet era,” with its preponderance of crazy angled shots and exaggerated naturalism. The evocative new score by Zoran Borisavljevic, which draws on traditional Georgian music, only heightens the emotional impact.

The quality of all the films restored for the Landmarks of Early Soviet Film DVD box set is exemplary. All but two of them (Turksib and The Fall of the Romanov Dynasty) have the original Russian intertitles as well as easily read English subtitles. The critical material in the accompanying booklet gives extensive historical background and information on the films, but there is one odd omission: the running time of each film is nowhere to be found. But anyone interested in Soviet film, or the early history of documentary, will want to own this set.

~

Harlow Robinson 

Matthews Distinguished University Professor of History at Northeastern University

---

Copyright © 2012 by Cineaste Magazine

Cineaste, Vol. XXXVII, No. 2

[lboogie1906]

A Raisin in the Sun is a play by Lorraine Hansberry that debuted on Broadway in 1959. The title comes from the poem "Harlem" (known as "A Dream Deferred") by Langston Hughes. The story tells of a black family's experiences in south Chicago, as they attempt to improve their financial circumstances with an insurance payout following the death of the father. The New York Drama Critics' Circle named it the best play of 1959. With a cast in which all but one character is black, A Raisin in the Sun was considered a risky investment, and it took over a year for producer Philip Rose to raise enough money to launch it. There was disagreement about how it should be played, with a focus on the mother or a focus on the son. When the play hit New York, Poitier played it with a focus on the son and found not only his calling but an audience enthralled. After touring to positive reviews, the play premiered on Broadway at the Ethel Barrymore Theatre on March 11, 1959. It transferred to the Belasco Theatre on October 19, 1959, and closed on June 25, 1960, after 530 total performances. Directed by Lloyd Richards, the cast comprised: Ruby Dee as Ruth, Claudia McNeil as Lena, Glynn Turman as Travis, and Sidney Poitier as Walter. #africanhistory365 #africanexcellence https://www.instagram.com/p/CppmHmRL409/?igshid=NGJjMDIxMWI=

[theuncannytruthteller]

Ethel Waters (October 31, 1896 – September 1, 1977) was an American blues, jazz and gospel singer and actress.

She frequently performed jazz, big band, and pop music, on the Broadway stage and in concerts, but she began her career in the 1920s singing blues.

Her best-known recordings include "Dinah," "Stormy Weather," "Taking a Chance on Love," "Heat Wave," "Supper Time," "Am I Blue?" and "Cabin in the Sky," as well as her version of the spiritual "His Eye Is on the Sparrow." Waters was the second African American, after Hattie McDaniel, to be nominated for an Academy Award. She was also the first African-American woman to be nominated for an Emmy Award, in 1962.

Waters was born in Chester, Pennsylvania, on October 31, 1896, as a result of the rape of her teenaged mother, Louise Anderson (believed to have been 13 years old at the time, although some sources indicate she may have been slightly older), by John Waters, a pianist and family acquaintance from a mixed-race middle-class background. He played no role in raising Ethel. Soon after she was born, her mother married railroad worker Norman Howard. Ethel used the surname Howard as a child, before reverting to her father's name of Waters. She was raised in poverty and never lived in the same place for more than 15 months. She said of her difficult childhood, "I never was a child. I never was cuddled, or liked, or understood by my family."

Waters grew tall, standing 5' 9½" in her teens. According to women-in-jazz historian and archivist Rosetta Reitz, Waters's birth in the North and her peripatetic life exposed her to many cultures.

Waters married at the age of 13, but her husband was abusive, and she soon left the marriage and became a maid in a Philadelphia hotel, working for $4.75 per week. On her 17th birthday, she attended a costume party at a nightclub on Juniper Street. She was persuaded to sing two songs and impressed the audience so much that she was offered professional work at the Lincoln Theatre in Baltimore. She later recalled that she earned the rich sum of ten dollars a week, but her managers cheated her out of the tips her admirers threw on the stage.

After her start in Baltimore, Waters toured on the black vaudeville circuit. As she described it later, "I used to work from nine until unconscious." Despite her early success, she fell on hard times and joined a carnival, traveling in freight cars along the carnival circuit and eventually reaching Chicago. Waters enjoyed her time with the carnival and recalled, "the roustabouts and the concessionaires were the kind of people I'd grown up with, rough, tough, full of larceny towards strangers, but sentimental and loyal to their friends and co-workers." She did not last long with them, though, and soon headed south to Atlanta, where she worked in the same club with Bessie Smith. Smith demanded that Waters not compete in singing blues opposite her. Waters conceded and sang ballads and popular songs. Around 1919, Waters moved to Harlem and there became a celebrity performer in the Harlem Renaissance of the 1920s.

Waters obtained her first Harlem job at Edmond's Cellar, a club with a black patronage. She specialized in popular ballads and became an actress in a blackface comedy, Hello 1919. The jazz historian Rosetta Reitz pointed out that by the time Waters returned to Harlem in 1921, women blues singers were among the most powerful entertainers in the country. In 1921, Waters became the fifth black woman to make a record, on the tiny Cardinal Records label. She later joined Black Swan Records, where Fletcher Henderson was her accompanist. Waters later commented that Henderson tended to perform in a more classical style than she preferred, often lacking "the damn-it-to-hell bass."

She recorded with Black Swan from 1921 through 1923. In early 1924, Paramount bought the Black Swan label, and she stayed with Paramount through that year. She first recorded for Columbia Records in 1925, achieving a hit with "Dinah," which was voted a Grammy Hall of Fame Award in 1998. Soon after, she started working with Pearl Wright, and together they toured in the South. In 1924, Waters played at the Plantation Club on Broadway. She also toured with the Black Swan Dance Masters. With Earl Dancer, she joined what was called the "white time" Keith Vaudeville Circuit, a traditional white-audience based vaudeville circuit performing for white audiences and combined with screenings of silent movies. They received rave reviews in Chicago and earned the unheard of salary of US $1,250 in 1928. In 1929, Waters and Pearl Wright arranged the unreleased Harry Akst song "Am I Blue?," which then appeared in the movie On with the Show and became a hit and her signature song.

Although she was considered a blues singer during the pre-1925 period, Waters belonged to the vaudeville style of Mamie Smith, Viola McCoy, and Lucille Hegamin. While with Columbia, she introduced many popular standards, including "Dinah," "Heebie Jeebies," "Sweet Georgia Brown," "Someday, Sweetheart," "Am I Blue?" and "(What Did I Do to Be So) Black and Blue" on the popular series, while she continued to sing blues ("West End Blues," "Organ Grinder Blues," etc.) on Columbia's 14000 race series. During the 1920s, Waters performed and was recorded with the ensembles of Will Marion Cook and Lovie Austin. As her career continued, she evolved toward being a blues and Broadway singer, performing with artists such as Duke Ellington. She remained with Columbia through 1931. She signed with Brunswick Records in 1932 and remained until 1933, when she went back to Columbia. She signed with Decca Records in late 1934 for only two sessions, as well as a single session in early 1938. She recorded for the specialty label Liberty Music Shop Records in 1935 and again in 1940. In 1938 and 1939, she recorded for Bluebird.

In 1933, Waters appeared a satirical all-black film, Rufus Jones for President, which featured the child performer Sammy Davis Jr. as Rufus Jones. She went on to star at the Cotton Club, where, according to her autobiography, she "sang 'Stormy Weather' from the depths of the private hell in which I was being crushed and suffocated." She had a featured role in the wildly successful Irving Berlin Broadway musical revue As Thousands Cheer in 1933, in which she was the first black woman in an otherwise white show. She had three gigs at this point; in addition to the show, she starred in a national radio program and continued to work in nightclubs. She was the highest-paid performer on Broadway at that time. MGM hired Lena Horne as the ingenue in the all-black musical Cabin in the Sky, and Waters starred as Petunia in 1942, reprising her stage role of 1940. The film, directed by Vincente Minnelli, was a success.

She began to work with Fletcher Henderson again in the late 1940s. She was nominated for an Academy Award for Best Supporting Actress for the film Pinky (1949), under the direction of Elia Kazan, after the original director, John Ford, quit over disagreements with Waters. According to producer Darryl F. Zanuck, Ford "hated that old...woman (Waters)." Ford, Kazan stated, "didn't know how to reach Ethel Waters." Kazan later referred to Waters's "truly odd combination of old-time religiosity and free-flowing hatred.". In 1950, she won the New York Drama Critics Circle Award for her performance opposite Julie Harris in the play The Member of the Wedding. Waters and Harris reprised their roles in the 1952 film version, Member of the Wedding. In 1950, Waters starred in the television series Beulah, becoming the first African-American actress to have a lead role in a television series. However, she quit after complaining that the portrayal of blacks was "degrading." She later guest-starred in 1957 and 1959 on NBC's The Ford Show, Starring Tennessee Ernie Ford. In the 1957 episode, she sang "Cabin in the Sky".

Despite these successes, her brilliant career was fading. She lost tens of thousands in jewelry and cash in a robbery, and she had difficulties with the IRS. Her health suffered, and she worked only sporadically in the following years. In 1950–51 she wrote her autobiography His Eye Is on the Sparrow with Charles Samuels, in which she wrote candidly about her life. She explained why her age had often been misstated: her friends had to sign a paper claiming Waters was four years younger than she was to get a group insurance deal; she stated that she was born in 1900. His Eye Is on the Sparrow was adapted for a stage production in which she was portrayed by Ernestine Jackson. In her second autobiography, To Me, It's Wonderful, Waters stated that she was born in 1896. Rosetta Reitz called Waters "a natural ... [Her] songs are enriching, nourishing. You will want to play them over and over again, idling in their warmth and swing. Though many of them are more than 50 years old, the music and the feeling are still there."

Waters had romantic relationships with women as well as men.

In her later years, she often toured with Billy Graham on his crusades.

Waters died on September 1, 1977, aged 80, from uterine cancer, kidney failure, and other ailments, in Chatsworth, California.

She was the great-aunt of the singer-songwriter Crystal Waters.

[retrogirlwrites]

Now You Say You’re Sorry: The Stories Behind Arthur Hamilton’s Jazz Standard “Cry Me A River”

“You drove me / nearly drove me / out of my head / while you never shed / a tear / remember / I remember / all that you said / told me love was too plebeian / told me you were through with me / and now / you say you love me / well just to prove / you do / come on and / cry me a river / cry me a river / I cried a river / over you”. “Cry Me A River”, written and published in 1953 but first released in 1955, is a jazz and blues classic that has been recorded by countless artists over the years. The haunting ballad is a meaningful break-up song, an empowering though ghostly melody encouraging ‘an eye for an eye’. The artist speaks of a lost love, of the pain he put her through, and how now that he wants her back, he can go through the same pain. Many credit Ella Fitzgerald with the original recording; while her recording is undoubtedly one of the most famous, it was released in 1961 and is not the original. “Cry Me A River” was originally recorded by Julie London, and released as a single by Liberty Records. The song also had a place as the opening track on London's first studio album Julie Is Her Name, also released in 1955.

At the time of the song’s birth, songwriter Arthur Hamilton was under contract with actor and director Jack Webb. A lover of jazz, Webb asked him to write a piece for Ella Fitzgerald to sing in his upcoming film Pete Kelly's Blues. The result was “Cry Me A River”, which was destined to become one of Hamilton's most famous works, though not in the movie. Jack Webb rejected the song, citing his belief that audiences would question a black woman using the word ‘plebeian’. Hamilton tried several times to rewrite the bridge to Webb’s liking, but eventually gave up and told Webb he could use the song as-is or scrap it completely. The song was dropped from the film, and Ella Fitzgerald lost her chance at the original recording. Peggy King was also offered the piece, but Columbia Record’s Mitch Miller rejected it for the same reason Webb had. Hamilton decided to offer the song to his high school girlfriend, who also happened to be Webb’s ex-wife, Julie London. 

London had left high school at 14, and by 16 was singing in nightclubs while attending Hollywood Professional School. Hamilton, while he was dating her, could never watch her sing due to age requirements in the clubs. The two were not a couple for long, but London left a lasting impression on him. In 1947, London married Jack Webb. The pair bonded over a shared love of jazz, though they did not have much else in common. London put her acting and musical careers on hold to raise their two children, Stacy and Lisa Webb. After seven years of marriage and a long period of problems, London filed for divorce in 1954. At 27, she found herself the single mother of two and was forced to return to performing in order to support herself and her family despite a large alimony allotted by the courts. She was a very shy, private person, and suffered from severe stage fright every time she performed. A year after her divorce, in 1955, Arthur Hamilton offered her “Cry Me A River”. She accepted and recorded the song, both as a favor to an old friend and as a final ‘f*** you’ to her ex-husband. 

The single was released by Liberty Records and produced by Bobby Troup. He was a well-known musician in his own right, most famous for writing “(Get Your Kicks On) Route 66”. Troup had met London only a few months before, in a club with a number of mutual friends. It was a rare night that London allowed herself to go out, when she was at her most shy and unsure soon after her divorce. That night, London commented generally to the group “If I were ever to sing in a nightclub again, it would be in a place like this.” Troup left the table, and upon returning several minutes later told her, “You open in two weeks.” Her singing career took off in ‘55, with the single release of “Cry Me A River” and the release of her first album, Julie Is Her Name, both produced by Troup. She became known as the “Liberty Girl” in the early years of her career, as she was one of the artists who truly put Liberty Records on the map. Over the 14 years she was active, she released 29 studio albums. All of them were originally released by Liberty, and several were produced by Troup. 

London and Troup become fast friends, and more than that not long after. They were famous in their social circles for having one of the longest engagements in Hollywood. On New Year's Eve 1959, five years after they met and after a nearly four year engagement, they were married. They had seven children between them, two each from previous marriages and three children together. The couple was married for almost forty years when Troup passed in February of 1999. London passed in October of 2000, on what would have been her husband's 82nd birthday. They were together through much of Troup’s musical career and all of London's, with Troup producing the majority of her albums and writing several songs she recorded, including “This October” from her 1956 album Calendar Girl. London and Troup appeared often on game shows, both separately and together, most notably their joint appearances on Tattletales in the 1970s and Julie’s appearances on What’s My Line in 1957, 1959, and 1961. The couple also remained friendly with Jack Webb until his death, even taking starring roles in his final television series Emergency! (1972-79). 

Of the four that can be credited with making “Cry Me A River” the legendary song it is, Arthur Hamilton is the only one still living. He is also the only one who's main claim to fame is the song. He is also known for his other pieces, including “The Thirteenth Month” (also originally recorded by London), but best known for “Cry Me A  River”. Jack Webb, who passed in 1982, is better remembered for his radio and TV series Dragnet, Adam-12, and Emergency! than for his movies, though his films remain well-known. Bobby Troup, though known for his acting in Dragnet, M*A*S*H, and Emergency! as well as his music producing, is better known for the songs he wrote including “(Get Your Kicks On) Route 66”, “Their Hearts Were Full Of Spring”, “Makin’ Whoopee”, and “The Girl Can’t Help It”. Julie London is known almost equally for her acting, particularly in The Girl Can’t Help It, Emergency!, Saddle The Wind, and Nabonga, and for her music. Musically, she’s well-known as a jazz performer and her studio albums, particularly Julie Is Her Name, Lonely Girl, Calendar Girl, and Whatever Julie Wants, gained as much attention for their pin-up covers as they did for her amazing voice. “Cry Me A River” is undoubtedly her song, but she has many albums with many wonderful songs including versions of “Makin’ Whoopee”, “Bye Bye Blackbird”. “Fly Me To The Moon”, and “Misty”. Most think of “Cry Me A River” when they think of London, but it is not so much her claim to fame as it is Hamilton’s. The song is a true classic, a jazz standard that has been recorded by many since its creation in 1955 and it will remain a standard in years to come.