#the jazz singer 1959

[luzzarm]

Jerry LEWIS as Joey Robin in Startime, Ep. 2 (The Jazz Singer) — 1959

[cosmic60s]

I haven't been able to stop thinking about how devastatingly handsome Jerry is in The Jazz Singer, and this is the result of that. Enjoy <3

[reckonslepoisson]

Du chant à la une !… (1958), N° 2 (1959), L'Étonnant Serge Gainsbourg (1961), N° 4 (1962), Serge Gainsbourg

As a first plunge into the world of Serge Gainsbourg, his opening decade remains both an easy entry point and remarkably illustrative of charms that persisted throughout his career. Du chant à la une !... [Singing on the Front Page!...], N° 2, L'Étonnant Serge Gainsbourg [The Amazing Serge Gainsbourg] and N° 4 sit comfortably between chanson, exotica, cabaret and vocal jazz, all capturing Gainsbourg’s beauty, his knack for snap and sark, his agility, playfulness and boundless melody.

Pick(s): ‘Le Poinçonneur des Lilas’, ‘L’anthracite’, ‘En relisant ta lettre’, ‘Black Trombone’

[cartermagazine]

Today In History

Miriam Zenzi Makeba, internationally renowned singer was born near Johannesburg, South Africa, on this date March 4,1932, during a time of economic depression. Her mother, a domestic worker, was imprisoned for six months for illegally brewing beer to help make ends meet, and Miriam went to prison with her as she was just 18 days old. She grew up in Nelspruit where her father was a clerk with Shell Oil.

Makeba began her music career singing for her cousin’s band, the Cuban Brothers, but it was only when she began to sing for the Manhattan Brothers in 1954 that she began to build a reputation. She toured South Africa, Zimbabwe (former Rhodesia) and the Congo with the band until 1957. After this Makeba sang for all-women group, the Skylarks, which combined jazz and traditional African melodies. Makeba’s appearances in the films Come Back Africa (1957) and as the female lead in Todd Matshikiza’s King Kong (1959) cemented her reputation in the music industry both locally and abroad.

“Empress of African Song”

CARTER™️ Magazine

[hotdaemondtargaryen]

TOM GLYNN-CARNEY PHOTOGRAPHED BY MATTHEW LEIFHEIT FOR VULTURE MAGAZINE.

TALKING ABOUT HIS CHARACTER ARC IN S2.

Aegon is confident, politically savvy, and even affectionate with his children from sister-wife Helaena (Phia Saban).

“Showing that he has the potential to love was interesting to me. I wanted to investigate that.”

Glynn-Carney, who read the book after a season one conversation with Condal and Sapochnik about Aegon's overall arc, praises the development for its shock factor and the attention it gives to Saban, who says it is "sensational in all its forms."

There’s something about Aegon in his eyes when he admits: “I’d probably go a little more graphic about the gore. I could have done with, ‘Oh, I can’t look at that!’ The sadist in me needed it.”

TALKING ABOUT MUSIC.

The playlist he made for Aegon (he makes one for all his characters) helps get him in the right mercurial mind-set, he tells me at Rough Trade.

It includes some contemplative classical and punk rock like the Undertones, Stiff Little Fingers, and the Sex Pistols.

“Ironically,” he says with a smile. “fuck-the-patriarchy, fuck-the-monarchy stuff.”

In his own life, Glynn-Carney makes “lyrically driven, quite folky” music, citing Tame Impala, Bon Iver, and, of course, Garvey as influences.

He grabs a copy of Jeff Buckley’s Grace because he’s worn down his current edition from listening to it so much. He treats Chet Baker’s 1959 album Chet gently, like a holy object, when he tells me he’d love to play the cool jazz musician in a biopic one day.

“There she is,” he says, as if greeting an old friend, when he sees Patti Smith’s Radio Ethiopia.

“Anyone who says they don’t like music, you can’t trust them. Bodies under the floorboards, isn’t it?” he says.

OLIVIA COOKE TALKING ABOUT TOM GLYNN-CARNEY'S ACTING STYLE.

His acting style is instinctual, a function of his theater training that feels particularly well suited to Aegon’s own impulsiveness.

When filming their first scene on the show together, Glynn-Carney encouraged Cooke to actually slap him in the face:

“The first go, I did it really haphazardly. I only caught his chin with my fingertips, because I was too nervous. And he was like, ‘No, Olivia, just, like, really go for it. Just really go for it.’

“I went for it, and the ringing sound that came from the slap reverberated all through the Red Keep. Tears are springing to his eyes and his chin is wobbling.”

SPOILERS!! S2.

OLIVIA COOKE TALKING ABOUT A SCENE OF AEGON AND ALICENT IN S2.

In a scene they share in season two during which Aegon grieves the loss of a relative:

“He was throwing himself around the room in just the throes of despair. It sort of took me out of the scene a bit. I was like, Bloody hell, Tom’s doing well.”

ABOUT THE PERSONALITY OF KING AEGON II.

“massively bipolar.”

That emotional volatility, fueled by shame, guilt, and an obsessive need to prove himself, becomes a major driver of this season’s increasing bloodshed and brutality.

“Aegon wants to be loved and feared at the same time. But I think it’s a dangerous cycle.”

“We’re not going to get to the core of what’s going on. We’re just going to go round and round and round and round and round until everything burns and everyone’s dead."

ABOUT HIS SCENES WITH RHYS IFANS IN S2.

One of his favorite days on set this season reminded him of the live energy of performing onstage.

They were shooting episode two, when Aegon challenges his grandfather Otto’s decisions and remains steely and resolute in response to Otto’s insults:

“I’ve always wanted to do a play with Rhys, and that felt like the closest thing I’ll get to it for a while.”

“It was an empty set, a big room, like a stage. We were allowed complete free rein of the space.”

TALKING ABOUT HIS FAMILY.

He came from a creatively inclined family: His paternal grandparents were an opera singer and a choirmaster, and his mother sewed all the costumes for his sister’s ballroom and Latin dance competitions.

They were supportive of his acting dreams, he says, but urged a plan B — a suggestion he rejected:

“I remember being so precocious and being like, ‘If I have a plan B, I’m preemptively failing it.’ My mom probably thought, Little dickhead.”

“I always had my eyes on the prize, and sometimes you’ve just got to be like that, haven’t you?.”

[abwwia]

Sarah Vaughan, New York, 1959

Photo by W.Rizzo

Sarah Lois Vaughan (Mar 27, 1924 – Apr 3, 1990) was an American jazz singer.

Nicknamed "Sassy" and "The Divine One", she won four Grammy Awards, including the Lifetime Achievement Award. She was given an NEA Jazz Masters Award in 1989; "one of the most wondrous voices of the 20th century". via Wikipedia

photo via www.facebook.com/TheWorldOfJazz

#SarahVaughan #womensart #artbywomen #PalianShow #womeninmusic

[the-mic-drop]

World Events & Hazbin Characters

@shokolandish this is your fault.

1800s

1840s- Sir Pentious is born (approximately maybe)

1841- The word 'dinosaur' is coined.

1861- The American Civil War begins

1869- The Suez Canal is completed

1873- Blue jeans are invented

1879- Thomas Edison invents the lightbulb

1888- Sir Pentious dies

1888- Jack the Ripper murders occur

1890s- Husk is born (approximately maybe)

1890- 1st use of the electric chair

1892- Basketball is invented

1896- The Olympics are revived

1900s

1900s- Alastor is born (approximately maybe)

1910s- Angel Dust & Vox are born (approximately maybe)

1912- The Titanic sinks

1914- Panama Canal opens & WWI begins

1918- WWI ends

1920s- Niffty is born (approximately maybe)

1920- Prohibition begins in the U.S.

1923- Time Magazine is first published & Disney is founded

1927- The first sound film "The Jazz Singer" is released

1929- The Great Depression begins

1933- Alastor dies & U.S. Prohibition ends

1937- The Hindenburg Disaster

1939- WWII begins

1945- WWII ends

1947- Angel Dust dies

1948- Gandhi is assassinated

1950s- Niffty & Vox die

1953- 1st color TV is produced

1954- Rock & Roll hits the American mainstream

1959- 1st documented AIDS cases

1960s- Cherri Bomb is born (approximately maybe)

1960- The Beatles are formed

1967- The New Orleans Saints football team is formed

1968- MLK Jr is assassinated

1969- 1st moon landing

1970s- Husk & Valentino die

1977- Star Wars is released

1980s- Cherri Bomb dies

1982- Michael Jackson's album Thriller is released

1984- Radio Ga Ga by Queen is released

1985- The Macintosh 128K is released

1990- The World Wide Web begins

A few takeaways:

They all died before the the internet as we know it began.

Vox died just before color TV came around

They all could have worn blue jeans in life

Angel Dust and Vox lived through both World Wars and they were likely at an age to be drafted into service during WWII. Maybe that's where Angel got so good with Tommy Guns? And MP-40s, come to think of it...

[singonavine71]

Billie Holiday (born Eleanora Fagan; April 7, 1915 – July 17, 1959) was an American jazz and swing music singer. Nicknamed "Lady Day" by her friend and music partner, Lester Young, Holiday had an innovative influence on jazz music and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo. She was known for her vocal delivery and improvisational skills. Holiday won four Grammy Awards, all of them posthumously, for Best Historical Album. She was inducted into the Grammy Hall of Fame and the National Rhythm & Blues Hall of Fame. After a turbulent childhood, Holiday began singing in nightclubs in Harlem, where she was heard by producer John Hammond, who liked her voice. She signed a recording contract with Brunswick in 1935. Collaborations with Teddy Wilson produced the hit "What a Little Moonlight Can Do", which became a jazz standard. Throughout the 1930s and 1940s, Holiday had mainstream success on labels such as Columbia and Decca. By the late 1940s, however, she was beset with legal troubles and drug abuse. After a short prison sentence, she performed at a sold-out concert at Carnegie Hall. She was a successful concert performer throughout the 1950s with two further sold-out shows at Carnegie Hall. Because of personal struggles and an altered voice, her final recordings were met with mixed reaction but were mild commercial successes. Her final album, Lady in Satin, was released in 1958. Holiday died of cirrhosis on July 17, 1959, at age 44. In 2000, she was also inducted into the Rock & Roll Hall of Fame as an early influence; their website states that "Billie Holiday changed jazz forever". She was named one of the 50 Great Voices by NPR; and was ranked fourth on the Rolling Stone list of "200 Greatest Singers of All Time" (2023). Several films about her life have been released, most recently The United States vs. Billie Holiday (2021).

[monicareconstructed]

Pat Barrington.

Pat screamed feminine sex appeal, like 'I AM WOMAN!!' at top decibels.

Not such a happy childhood, and lived the life of a stripper with a few forays into film. But her looks and body - oh, my! I would have loved to have her body in her prime!!

Her web bio:

Pat Barrington was an extremely buxom, curvy, and drop-dead gorgeous blonde topless dancer who popped up in a handful of enjoyably trashy softcore sexploitation features throughout the 1960's, often for producer Harry H. Novak's Boxoffice International Pictures and directed by William Rotsler.

Barrington was born Patricia Annette Bray on October 16, 1939 in Charlotte, North Carolina. Her mother Willie Jo Bray had a fling with a local man named Claude Weidenhause and became pregnant at age sixteen. Weidenhause had already left by the time Barrington was born. Pat moved with her mother Willie Jo to Richmond, Virginia when she was only two years old. Willie Jo married another man, Eugene Lee Barringer. But the marriage was short-lived and Pat found herself moving once again with her mother to Hyattsville, Maryland. Willie Jo subsequently married a former Marine suffering from post-traumatic stress disorder. Upset with the unstable situation at home, Barrington left her mother and went out to fend for herself after her sophomore year in high school.

Pat relocated to Baltimore, Maryland, where she hooked up with an Italian-American mobster named Bob. Barrington got married for the first time in the late 1950's. But Pat soon left her first husband after the relationship became abusive. Bob helped Barrington get back on her feet by securing her a job as an exotic dancer. Pat then made a name for herself in Washington, D.C. dancing under the name of Vivian Storm. Barrington caught the eye of local jazz musician Melvin Rees and moved into Rees's abode in Hyattsville, Maryland in 1959. Pat moved down south with Rees in 1960. Alas, Rees was found guilty of murdering a Virginia family and was sentenced to life in prison.

Barrington moved to Los Angeles, California in 1962 and promptly got a job dancing at the prestigious nightclub The Classic Cat. Pat then decided to pursue a modeling career and subsequently started posing in spreads for various men's magazines as well as numerous commercial layouts. After an ill-advised foray into dancing in Las Vegas, Barrington returned to Los Angeles and resumed her career as a model while still dancing on the side. Pat eventually began auditioning for film work in the mid-1960's. Barrington achieved her greatest cult cinema fame as the female lead in Stephen C. Apostolof's unintentionally hilarious horror camp hoot Orgy of the Dead (1965), in which she also performs one of her patented steamy nude dances as the painted Gold Girl. Barrington had another rare substantial starring part as a bored housewife who works as a high-priced call girl in the seamy Agony of Love (1966). More often, though, the stunning and spectacularly alluring Pat was relegated to secondary roles as a go-go dancer in such delightfully down'n'dirty low-grade fare as Lila (1968), The Girl with the Hungry Eyes (1967) and Sisters in Leather (1969). She appeared as herself in both the lurid mondo item Hedonistic Pleasures (1969) and Russ Meyer's blithely silly documentary Mondo Topless (1966). During this time Barrington was briefly married to cinematographer Robert Caramico.

After calling it quits as an actress, Pat left Los Angeles and moved to New Jersey with a singer named Romeo. Barrington soon found gainful employment dancing in clubs up and down the East Coast under the pseudonym of Princess Jajah. In the mid-1970's Pat branched out into topless dancing. She settled down in Cliffside Park, New Jersey in 1980. Barrington eventually dumped Romeo and became involved with a much younger man named Robert. Pat moved with Robert to Fort Lauderdale, Florida in 1984. Pat worked as a stripper using the name Yvette at assorted seedy clubs throughout Florida. After retiring from dancing in the early 1990's, Barrington went on to work as a telemarketer. In her later years Pat also helped local animal rescue groups (she was a lifelong lover of animals). Barrington died from lung cancer at age 74 on September 1, 2014.

[eptodaytommorowforever]

Elvis Presley In Paris, France June 17th, 1959.

Events In The History And Of The Life Of Elvis Presley Today On The 17th Of June In 1959.

Elvis Presley's visit to Paris was an extraordinary event; he was drafted with the US forces in Germany, but the capital city of France is the only place, outside the United States, that he went to on his own.

And more surprisingly yet, he did so three times! In June and July 1959 then in January 1960. He will later often confide in his friends that these visits to Paris will always remain one of his best memories.he gave a brief press confernce at the Paris de Galles Hotel met a french model actress and met the black american gospel and blues and jazz singer nancy holloway and her manager and her boyfriend rare b/w candid photos taken here of Elvis Presley's three visits to Paris Fance in 1959 and 1960 photograher unknown.

[scotianostra]

On July 17th 2009 the singer/songwriter Gordon Waller and one half of the duo Peter & Gordon passed away.

Waller, the son of a surgeon, was born in Braemar, and went to Westminster school, in London, where he met Peter Asher in 1959. Asher was already something of a jazz and blues fan, but Waller persuaded him to broaden his horizons to include pop and rock'n'roll. Both were keen guitarists and soon they were entertaining their fellow students. By 1963, they were playing (initially as Gordon and Peter) in pubs and small clubs at lunchtimes and evenings for small fees or for a meal, often singing their own compositions in the close harmony style of the Everly Brothers. Early in 1964, they were booked for a two-week engagement at the Pickwick nightclub. One of the diners was Norman Newell, an EMI record producer. Newell was charmed enough by Peter and Gordon's rendition of their song If I Were You to offer them a recording contract.

At this time, McCartney was dating Jane, and Peter and Gordon badgered McCartney to provide them with a song. He obliged with A World Without Love, which he had written six years earlier in Liverpool. McCartney told his biographer Barry Miles: "Gordon was a lot of fun – he was slightly less academic than Peter. It was he who persuaded Peter to jump school to do lunchtime sessions."

By the end of March 1964, A World Without Love had displaced the Beatles' own Can't Buy Me Love at the top of the charts. In May, just before Waller's 19th birthday and Asher's 20th, it was the biggest selling record in the US. The instant stardom created by A World Without Love was the beginning of two years of frantic activity for Peter and Gordon.

For the American media, they combined the cachet of a Beatles connection (McCartney wrote several more of their hits and fans discerned in Waller a slight resemblance to John Lennon) There were numerous television appearances, occasional tours of Japan and Australia as well as North America and dozens of recordings. In the next 12 months, Nobody I Know and I Don't Want to See You Again (both by McCartney) were transatlantic hits, as were I Go To Pieces, written by Del Shannon, and True Love Ways, a Buddy Holly song the duo had performed in their early days in London.

By now, Peter and Gordon were competing in North America with numerous other British imports, including another middle-class duo, Chad and Jeremy. Their star began to wane in 1966, when their only hits were Woman, another McCartney composition credited pseudonymously to "Bernard Webb", and Lady Godiva, a novelty number that was denounced as obscene by the mayor of Coventry, which helped it reach the Top 20 in Britain and the American Top 10. By 1967, Peter and Gordon's British career was over and in America they were reduced to peddling olde English material such as the minor hit The Knight in Rusty Armour and the album Sunday for Tea. They split up the next year, with Asher joining the Beatles' Apple project as an A&R man and Waller launching a career as a solo singer.

Despite the fact that he had been the stronger vocalist of the pair, this career was stillborn. A handful of singles were issued, plus a 1970 album of his own compositions called Gordon. He left showbusiness to run a landscape gardening business in Northamptonshire until, in 1971, he took the part of Pharaoh in Joseph and the Amazing Technicolor Dreamcoat, the musical by Andrew Lloyd Webber and Tim Rice.

In the 1980s and 90s Waller ran a music publishing business in America. In the last few years of his life, he reunited with Asher to play a few shows in Los Angeles, the Philippines and New York

[dreaminginthedeepsouth]

Joni Mitchell - Both Sides Now (Orchestra Version)

+

"FEW contemporary voices have aged more shockingly than Joni Mitchell's. The craggy alto on "Both Sides Now," her intermittently magnificent new album of standards (including two of her best-loved original songs), is so changed from the sweetly yodeling folk soprano of her earliest albums that it hardly seems possible the two sounds could have come from the same body.

In refusing to fight or try to camouflage the ravages of time, Ms. Mitchell belongs to an interpretive school that includes Billie Holiday and Frank Sinatra, whose vocal deterioration brought them greater emotional depth and realism. Studying a chronology of their records is like following a road map of their lives that takes you deep into the mountains over increasingly rugged terrain. The bumpier the road gets, the longer the view. In the opposite school are supremely polished technicians like Mel Tormé and Sarah Vaughan, whose voices remained distinctively beautiful (even as they darkened with age) until the ends of their lives.

Listening to Ms. Mitchell, who is 56 and has smoked heavily for decades, you can hear the toll of all those cigarettes in her shortened breath, husky timbre and inability to make fluent vocal leaps. At the same time, that very huskiness lends her torch singing the battered authenticity we expect of middle-aged jazz singers with their years of after-hours living and accompanying vices." New York Times, February 2000

+

Mitchell has said that "Both Sides, Now" was inspired by a passage in Henderson the Rain King, a 1959 novel by Saul Bellow.

I was reading ... Henderson the Rain King on a plane and early in the book Henderson ... is also up in a plane. He's on his way to Africa and he looks down and sees these clouds. I put down the book, looked out the window and saw clouds too, and I immediately started writing the song. I had no idea that the song would become as popular as it did.

[seanhowe]

THE THREE FACES OF CHICO (Warner Brothers, WS 1344) 1959

Chico Hamilton (d), Eric Dolphy (alto sax, bass clarinet, fl), Nate Gershman (cello), Dennis Budimir (g), Wyatt Ruther (b), plus Paul Horn (as), Buddy Collette (ts), Bill Green (bar) & String section.

Los Angeles, February-August, 1959.

Notes by Chico Hamilton

We've called this new album "The Three Faces of Chico" because I play three roles in it. I guess this set may surprise some people. and it even may annoy others. But I hope there's something of real interest in it for every jazz fan.

First of all, I guess I'm best known as a drummer. And that is one of the roles I play here. There are three tracks that are unaccompanied drum solos—Trinkets, Happy Little Dance, and No Speak No English, Man. On each of these I haven't tried to prove anything. but have tried to inject a little humor into some listeners' thoughts.

In regard to these drums tracks. I can only say that it's diffient for a drummer to play anything different than any other average drummer; although each drummer does have his own individual styling. I used the standard equipment I have with me whenever the Quintet takes the stand: two cymbals, sock cymbal, snare drum, tom toms, and bass drum. I didn't use tympani because I'm not a tympanist ... and I just don't carry them around. Instead, I work with sticks. mallets, and brushes to obtain different sound textures.

On Trinkets. for example. I worked eyclusively with brushes. It's a welcome change of sound. For Happy Little Dance, I used mallets throughout. And this one could be danced to, if you dig folk dancing. For No Speak No English, Man. which is a sort of wild thing, I worked with sticks, and played a lot on the rims. I wanted to get a sound like Indian drummers talking to each other.

We did these solos in one take each. I didn' work from a score but laid the sequences out in my mind before we started the tape rolling.

The second face I wear on this set is that of a singer. Now, this is a new thing for me on records, although I've done some singing on the floor with my group, mostly Foggy Day, because that was the one song I knew all the way through.

But having worked with such singers as Lena Horne, Billie Holiday, and Billy Eckstine, I felt I could do it. Actually, what I'm really interested in is phrasing. That's the most effective thing for a singer. That, and good material. I figured that if I was going to sing something, I'd better sing something everyone knows, so they could recognize the tune, if not the melody.

I used a reed section because I wanted to bring back the old Jimmie Lunceford sound with reeds. It's not often you hear a reed section playing ensemble choruses. Gerry Wiggins arranged The Best Things in Life Are Free, and John Anderson scored the other vocal sides: She's Funny That Way, Where or When and I Don't Know Why.

There's not much more to say about my singing, except that I hope you like it.

The third face I wear is that of the leader of the Quintet. My group consists of Wyatt Ruther on bass. Eric Dolphy on flute and reeds. Dennis Budimer on guitar, and Nathan Gershman on cello. Quite frankly, of all the Quintets I've had in the past, I think this one is the swingingest.

On these tracks, you hear a little different Quintet than what you've been used to. The Quintet is four years old and we've been constantly trying to broaden its range. Some may resent the hard swing we're going after, but one thing for sure: in the future we're going to try to please everyone's musical appetite with regard to the Quintet. Music and sounds don't stand still; you have to progress with the people. We play some hard swingers, but in our own intimate way. They're different than the average because of our instrumentation. Our old audiences, we feel, are still satisfied because we play numbers out of our o!d book. Then there are a lot of new people who are following us, and these hard swingers seem to be what they get excited about.

The only way to really broaden the range of the Quintet is by hiring new writers to write for it. In this set, we're introducing three. More Than You Know was arranged by Herb Pilhoffer, a pianist originally from Germany and now located in Minneapolis I think he captures the mood of the song and the Quintet very well Miss Movement is Eric Dolphy's first attempt at writing for the Quintet. Being an exciting player, he'd write an exciting kind of jazz tune. Kenny Dorham is a wonderful trumpet player and he's also a wonderful writer. Newport News is his first chart for our book. It's typical of the inventive, fine arrangements that I'm always grateful to have come my way. Without these, Chico would have no face at all, let alone three!

[brookstonalmanac]

Birthdays 5.29

Beer Birthdays

Tony Magee (1960)

Chris Crabb (1969)

Five Favorite Birthdays

Patrick Henry; writer, patriot (1736)

John F. Kennedy; 35th U.S. President (1917)

Steven Levitt; economist (1967)

Aaron McGruder; cartoonist (1974)

T.H. White; English writer (1906)

Famous Birthdays

Isaac Albeniz; composer (1860)

Annette Bening; actor (1958)

Gary Brooker; rock keyboardist (1945)

Ebenezer Butterick; tailor, invented sewing patterns (1826)

G.K. Chesterton; English writer (1874)

Andrew Clements; writer (1949) James Clifton; actor (1921)

Kevin Conway; actor (1942)

Paul Ehrlich; biologist (1932)

Danny Elfman; rock musician, composer (1953)

Melissa Etheridge; pop singer, songwriter (1961)

Rupert Everett; actor (1959)

Henry Frankfurt; philosopher (1929)

George L. Funke; botanist (1896)

Noel Gallagher; rock musician (1967)

Bob Hope; comedian, actor (1903)

LaToya Jackson; pop singer (1956)

Simon Jones; rock musician (1972)

Stacy Keach Sr.; actor (1914)

Chin Kinchla; rock guitarist (1969)

Erich Wolfgang Korngold; composer (1897)

Beatrice Lillie; actor (1894)

Nick Mancuso; actor (1948)

Johnny "Blue Moon" Odom; Oakland A's P (1945)

Oswald Spengler; German philosopher (1880)

Daniel Tosh; comedian (1975)

Al Unser; auto racer (1939)

Lisa Whelchel; actor (1963)

Eugene Wright; jazz bassist (1923)

[cartermagazine]

Today In History Miriam Zenzi Makeba, internationally renowned singer was born near Johannesburg, South Africa, on this date March 4,1932, during a time of economic depression. Her mother, a domestic worker, was imprisoned for six months for illegally brewing beer to help make ends meet, and Miriam went to prison with her as she was just 18 days old. She grew up in Nelspruit where her father was a clerk with Shell Oil. Makeba began her music career singing for her cousin’s band, the Cuban Brothers, but it was only when she began to sing for the Manhattan Brothers in 1954 that she began to build a reputation. She toured South Africa, Zimbabwe (former Rhodesia) and the Congo with the band until 1957. After this Makeba sang for all-women group, the Skylarks, which combined jazz and traditional African melodies. Makeba’s appearances in the films Come Back Africa (1957) and as the female lead in Todd Matshikiza’s King Kong (1959) cemented her reputation in the music industry both locally and abroad. “Empress of African Song” CARTER™️ Magazine carter-mag.com #wherehistoryandhiphopmeet #historyandhiphop365 #cartermagazine #carter #miriamzenzimakeba #womenshistorymonth #blackhistorymonth #blackhistory #history #staywoke https://www.instagram.com/p/CpXXcj3uvX7/?igshid=NGJjMDIxMWI=

[readyforevolution]

Remembering Billie Holiday 💙

(born Eleanora Fagan April 7, 1915 – July 17, 1959) was an American jazz singer and songwriter.

Nicknamed "Lady Day" by her friend and musical partner Lester Young, Holiday had a seminal influence on jazz and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo.

Photo cover from the album: Lady in Satin, 1958