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Darker Than Black Wallpaper Biography
Darker Than Black Wallpaper Biography
Born Harold George Belafonte, Jr., March 1, 1927, in New York, NY; son of Harold George and Melvine (Love) Belafonte; married, 1948; wife's name Marguerite (divorced); married Julie Robinson (a dancer), March 8, 1957; children: Adrienne, Shari, David, Gina. Education: Attended Dramatic Workshop of the New School for Social Research, studying under Erwin Piscator.
Military/Wartime Service: U.S. Navy, 1943-45.
Career
Singer, actor, producer, political activist. Joined the American Negro Theater, late 1940s, appearing in Juno and the Paycock; performed at such clubs as the Royal Roost Nightclub and the Village Vanguard, New York City, late 1940s and early 1950s; appeared on Broadway in John Murray Anderson's Almanac, 1953; appeared in television adaptation of Carmen Jones, 1955; released Calypso, 1956; appeared in films, including Island in the Sun, 1957, Uptown Saturday Night, 1974, First Look, 1984, and The Player, 1992; produced television program A Time for Laughter, 1967; helped organize We Are the World recording session, 1985. Named cultural adviser to the Peace Corps by President John F. Kennedy; named member of the board of directors, Southern Christian Leadership Conference; chair of Martin Luther King, Jr., Memorial Fund; appointed a UNICEF Goodwill Ambassador, 1987.
Life's Work
It has been said that in the life and work of entertainer Harry Belafonte, the worlds of music and morality do not collide, but rather balance harmoniously. In the 1950s Belafonte introduced the colorful, bouncy melodies of calypso music to the United States, and American listeners began swaying to the jaunty Caribbean beat and singing "Day-O" along with the masterful crooner. Since that time Belafonte has used his visibility as an entertainer to cast a political spotlight on humanitarian causes ranging from world hunger to civil rights to the plight of children in the Third World. Belafonte's accomplishments, and the awards bestowed on him in the spheres of entertainment and activism, show a man equally committed to musical excellence and political virtuousness.
Known as the "consummate entertainer," Belafonte was born in Harlem, New York, in 1927. His parents were West Indian, and he moved with his mother to her native Jamaica when he was a child. In the five years he spent on the island he not only absorbed the music that was such a vital part of the culture but also observed the effects of colonialism, the political oppression that native Jamaicans had to endure under British rule. "That environment gave me much of my sense of the world at large and what I wanted to do with it," Belafonte was quoted as saying in the Paul Masson Summer Series. "It helped me carve out a tremendous link to other nations that reflect a similar temperament or character."
Once back in Harlem, another culturally and artistically rich environment, Belafonte became street smart, learning the hard lessons of survival in the big city. When the United States entered World War II, he ended his high school education and enlisted in the U.S. Navy. After an honorable discharge he returned to New York City, where he bounced between odd jobs. His first foray into the world of entertainment came in the late 1940s when he was given two tickets to a production of the American Negro Theater. He was hooked after one performance. "I was absolutely mesmerized by that experience," he told the Ottawa Citizen in 1990. "It was really a spiritual, mystical feeling I had that night. I went backstage to see if there was anything I could do." His first leading role with the company was in Irish playwright Sean O'Casey's Juno and the Paycock. Impressed by the power and message of O'Casey's words, and by the promise of theater in general, Belafonte enrolled in the Dramatic Workshop of the New School for Social Research, studying under famous German director Erwin Piscator, whose other students included renowned actors Rod Steiger and Beatrice Arthur.
Belafonte was concerned about the scarcity of work for black actors but got a break when, as a class project, he sang an original composition called "Recognition." His audience was spellbound. Among the listeners was the owner of the Royal Roost Nightclub, a well-known Broadway jazz center. Belafonte was offered a two-week stint that, due to such positive reception, blossomed into a twenty-week engagement. At the Roost and later at other clubs, such as the Village Vanguard in New York City's Greenwich Village, Belafonte charmed audiences with his husky-yet-sweet-voiced adaptations of popular and West Indian folk songs.
Armed with a recording contract with Capital Records and the praise of critics, this bright new talent started making his mark. He first appeared on Broadway in John Murray Anderson's Almanac, for which he won a Tony Award. In the 1954 film Carmen Jones, based on French composer Georges Bizet's opera Carmen, Belafonte played the lead role and endeared himself to a national audience. Throughout the next few decades he continued to act in films such as Island in the Sun and Uptown Saturday Night and produced television programs such as A Time for Laughter, in which he introduced U.S. audiences to then nationally unknown humorists Richard Pryor and Redd Foxx.
It was in 1956, with the release of his album Calypso, that Belafonte sealed his status as a superstar and consummated America's love affair with Caribbean music. His most famous recordings, "Banana Boat Song" (popularly known as "Day-O") and "Matilda," recall the melodies, rhythm, and spirit of Jamaica and other West Indian cultures. Throughout the sixties, seventies, and eighties, Belafonte reached into the lore and music of other cultures, most notably those of South America and Africa. He also continued with his celebrated interpretations of American folk ballads and spirituals, but he has always been most closely associated with the zest and spunk of calypso.
Belafonte's Calypso was the first album to sell more than one million copies, a benchmark that led to the establishment of the Grammy Awards. The album was only one of many illustrious firsts in Belafonte's life. He was the first black man to win an Emmy Award as well as the first black to work as a television producer. Belafonte was also the first entertainer--black or white--to be named cultural adviser to the Peace Corps by U.S. president John F. Kennedy.
Belafonte's success on vinyl and tape has always translated well in his live concerts, where he uses sing-alongs, dialogue with audience members, and a contagious energy and excitement to get the crowds responding jubilantly. Dave Hoekstra wrote in the Chicago Sun-Times in 1990 that Belafonte "sings from discovery and fulfillment.... So when you listen to the Belafonte songbook on a perfect summer night, you know the dignity, poise and spiritual exploration will still be heard long after the voice has passed. That is Harry Belafonte's lasting contribution to American popular music."
While his accomplishments in music are considered groundbreaking, Belafonte's political activities on behalf of humanitarian causes around the world are also extremely significant. And more often than not he has been able to successfully merge these two passions. In 1985 Belafonte helped organize the recording session for the philanthropic and inspirational We Are the World, which won a Grammy Award, and he has been involved in many projects aimed at helping those suffering from poverty, homelessness, and famine around the world. As a result of his efforts to fight segregation in the United States, Belafonte was named to the board of directors of the Southern Christian Leadership Conference, a leading civil rights organization, and he has been chair of the memorial fund bearing the name of his friend, the late civil rights activist Dr. Martin Luther King, Jr. In 1987 he was appointed a UNICEF Goodwill Ambassador, and he has been dubbed the "Children's Patron Saint" by Ebony magazine.
As a young boy keenly aware of British domination over the lives of Jamaicans, Belafonte learned a lasting lesson about the power of art in general, and song in particular, to express and shed personal meaning on the physical, psychological, and cultural constraints generated by colonialism. "People living in that sort of oppression are always very creative," he was quoted as saying in the Summer Series magazine. "The environment was terribly musical. People sang while working in the fields, while selling their wares in the streets, in church, during festivals. That background had a great impact on me."
Although he would always believe that music should be a cherished vehicle for commentary on the human condition, Belafonte recognized in the 1960s that song alone, no matter how politically and moralistically charged, would not right the wrongs suffered by society's disenfranchised people. Taking advantage of the fame garnered from his music and theater successes, Belafonte donned the cape of activist and quickly earned the respect of those who might have worried that he was simply an entertainer dabbling self-servingly in politics.
After World War II, in which he was first exposed to what he viewed as an honorable fight waged on moral grounds, Belafonte found political mentors and ideological inspiration in former First Lady Eleanor Roosevelt and actor and singer Paul Robeson. He saw in Roosevelt an irrepressible dedication to human rights and the courage to take stands with which mainstream America might have disagreed. Robeson, a trailblazing, black entertainer, was an early campaigner against racial segregation and had been blacklisted by the U.S. government for his pro-Communist beliefs. Of Roosevelt and Robeson, Belafonte was quoted as saying in the Ottawa Citizen, "Both taught me by example to be resilient and fight for things I believed in even if it could get me into trouble."
Throughout the 1960s Belafonte's primary ethical focus was on the Jim Crow laws of segregation. He unified cultural elements behind the civil rights marches in Selma and Montgomery, Alabama, and helped organize the celebrated 1963 Freedom March in Washington, D.C., at which his close friend, Martin Luther King, Jr. delivered his historic "I Have a Dream" speech. Years earlier, Belafonte had been forced to stop a South Carolina performance at intermission because of rumors that the Ku Klux Klan was intending a violent demonstration. But in viewing the development of American society and the evolution of the civil rights struggle, Belafonte has come to realize that the racism he and others have long decried is evident throughout society's cultural mosaic and not merely in the Klan's vicious epithets and signature white sheets. "There's a lot of racial tension coming out of our communities," he was quoted as saying in the Summer Series magazine. "There's a tremendous amount of crack and dope in black neighborhoods, which I think is an extension of racial inequalities. Racism has become more insidious, sometimes more clandestine, sometimes more blatant, as in the case of the Skin heads and others who represent the new wave of white, lower-middle-class people who have come together to preach racial violence. It's quite unnerving."
In 1966, Belafonte performed in Paris, France and Stockholm, Sweden in the first European-sponsored benefit concert on behalf of King. As a result of his efforts to fight segregation and racism, he was appointed to the board of directors of the Southern Christian Leadership Conference, a leading civil rights organization, served as chairman of the Martin Luther King, Jr. Memorial Fund, and was named one of the three executors of the King estate after the celebrated leader was assassinated in 1968.
In recent years, Belafonte has used his celebrity to draw attention to civil rights issues and injustices on a global scale, particularly in respect to children suffering from malnutrition and sickness. In 1985 Belafonte, with friend Ken Kragen, organized the hugely successful and inspirational "We Are the World," which won a Grammy award, and more importantly for Belafonte, raised millions of dollars for and heightened an awareness of victims of famine and drought in Africa. An outgrowth of that record was the USA for Africa foundation, on whose board of directors Belafonte has served with, among others, Lionel Richie, Quincy Jones, and Kenny Rogers. Belafonte was also deeply involved in "Hands Across America," an outgrowth organization benefiting hungry and homeless Americans.
In 1987 Belafonte was appointed a UNICEF Goodwill Ambassador, only the second American ever to hold the title. His first humanitarian odyssey in that position brought him to Dakar, Senegal, where he served as head of a four-day symposium in which African intellectuals and artists strove to publicize and consider solutions to the variegated problems besetting children on that continent. His commitment to the survival and health of Third World children led Ebony magazine to dub him "The Children's Patron Saint" and a "prime minister of hope," and earned him the 1989 Danny Kaye Award by the U.S. Committee for UNICEF. Vigorously pursuing a UNICEF drive to immunize children in developing counties, Belafonte has been called on frequently to testify before congressional committees. Through a fund bearing his name, Belafonte has opened new cultural exchanges with African nations, enabling African students to pursue an education in the United States.
As an outspoken critic of South Africa's apartheid government, Belafonte orchestrated a burst of artistic, if not political, liberation with the 1988 release of his critically acclaimed album Paradise in Gazankulu. Because of his arrest years earlier during an antiapartheid protest outside the South African Embassy in Washington D.C., his advocacy of strict international economic sanctions, and his repeated calls for the release of then imprisoned African National Congress leader Nelson Mandela, Belafonte was considered a persona non grata--unaccepted or unwelcome--in South Africa and could not go to that country in order to work on the album. Instead, musicians recorded the music there and the tapes were sent to the United States, where Belafonte added the vocals. Though banned on South African radio, Paradise was praised internationally for beautifully capturing in music the painful and haunting stories and poems describing life in a land infamous for its oppression.
In 1989 Belafonte was one of the recipients of the Kennedy Center Honors for lifetime achievement in the performing arts, arguably the most prestigious award given to artists by the U.S. government. "I couldn't help thinking how much of my life had been spent at odds with these people, with the establishment, and here they were honoring me," he was quoted as telling the Ottawa Citizen. "I've been critical of government actions and I will continue to be critical, and here I was being recognized for my accomplishments. It made me fall in love with America all over again."
Awards
Tony Award for best supporting actor, 1953, for John Murray Anderson's Almanac; Emmy Award, 1960, for Tonight With Harry Belafonte; Grammy Award, 1985, for We Are the World; Danny Kaye Award, U.S. Committee for UNICEF, 1989.
Military/Wartime Service: U.S. Navy, 1943-45.
Career
Singer, actor, producer, political activist. Joined the American Negro Theater, late 1940s, appearing in Juno and the Paycock; performed at such clubs as the Royal Roost Nightclub and the Village Vanguard, New York City, late 1940s and early 1950s; appeared on Broadway in John Murray Anderson's Almanac, 1953; appeared in television adaptation of Carmen Jones, 1955; released Calypso, 1956; appeared in films, including Island in the Sun, 1957, Uptown Saturday Night, 1974, First Look, 1984, and The Player, 1992; produced television program A Time for Laughter, 1967; helped organize We Are the World recording session, 1985. Named cultural adviser to the Peace Corps by President John F. Kennedy; named member of the board of directors, Southern Christian Leadership Conference; chair of Martin Luther King, Jr., Memorial Fund; appointed a UNICEF Goodwill Ambassador, 1987.
Life's Work
It has been said that in the life and work of entertainer Harry Belafonte, the worlds of music and morality do not collide, but rather balance harmoniously. In the 1950s Belafonte introduced the colorful, bouncy melodies of calypso music to the United States, and American listeners began swaying to the jaunty Caribbean beat and singing "Day-O" along with the masterful crooner. Since that time Belafonte has used his visibility as an entertainer to cast a political spotlight on humanitarian causes ranging from world hunger to civil rights to the plight of children in the Third World. Belafonte's accomplishments, and the awards bestowed on him in the spheres of entertainment and activism, show a man equally committed to musical excellence and political virtuousness.
Known as the "consummate entertainer," Belafonte was born in Harlem, New York, in 1927. His parents were West Indian, and he moved with his mother to her native Jamaica when he was a child. In the five years he spent on the island he not only absorbed the music that was such a vital part of the culture but also observed the effects of colonialism, the political oppression that native Jamaicans had to endure under British rule. "That environment gave me much of my sense of the world at large and what I wanted to do with it," Belafonte was quoted as saying in the Paul Masson Summer Series. "It helped me carve out a tremendous link to other nations that reflect a similar temperament or character."
Once back in Harlem, another culturally and artistically rich environment, Belafonte became street smart, learning the hard lessons of survival in the big city. When the United States entered World War II, he ended his high school education and enlisted in the U.S. Navy. After an honorable discharge he returned to New York City, where he bounced between odd jobs. His first foray into the world of entertainment came in the late 1940s when he was given two tickets to a production of the American Negro Theater. He was hooked after one performance. "I was absolutely mesmerized by that experience," he told the Ottawa Citizen in 1990. "It was really a spiritual, mystical feeling I had that night. I went backstage to see if there was anything I could do." His first leading role with the company was in Irish playwright Sean O'Casey's Juno and the Paycock. Impressed by the power and message of O'Casey's words, and by the promise of theater in general, Belafonte enrolled in the Dramatic Workshop of the New School for Social Research, studying under famous German director Erwin Piscator, whose other students included renowned actors Rod Steiger and Beatrice Arthur.
Belafonte was concerned about the scarcity of work for black actors but got a break when, as a class project, he sang an original composition called "Recognition." His audience was spellbound. Among the listeners was the owner of the Royal Roost Nightclub, a well-known Broadway jazz center. Belafonte was offered a two-week stint that, due to such positive reception, blossomed into a twenty-week engagement. At the Roost and later at other clubs, such as the Village Vanguard in New York City's Greenwich Village, Belafonte charmed audiences with his husky-yet-sweet-voiced adaptations of popular and West Indian folk songs.
Armed with a recording contract with Capital Records and the praise of critics, this bright new talent started making his mark. He first appeared on Broadway in John Murray Anderson's Almanac, for which he won a Tony Award. In the 1954 film Carmen Jones, based on French composer Georges Bizet's opera Carmen, Belafonte played the lead role and endeared himself to a national audience. Throughout the next few decades he continued to act in films such as Island in the Sun and Uptown Saturday Night and produced television programs such as A Time for Laughter, in which he introduced U.S. audiences to then nationally unknown humorists Richard Pryor and Redd Foxx.
It was in 1956, with the release of his album Calypso, that Belafonte sealed his status as a superstar and consummated America's love affair with Caribbean music. His most famous recordings, "Banana Boat Song" (popularly known as "Day-O") and "Matilda," recall the melodies, rhythm, and spirit of Jamaica and other West Indian cultures. Throughout the sixties, seventies, and eighties, Belafonte reached into the lore and music of other cultures, most notably those of South America and Africa. He also continued with his celebrated interpretations of American folk ballads and spirituals, but he has always been most closely associated with the zest and spunk of calypso.
Belafonte's Calypso was the first album to sell more than one million copies, a benchmark that led to the establishment of the Grammy Awards. The album was only one of many illustrious firsts in Belafonte's life. He was the first black man to win an Emmy Award as well as the first black to work as a television producer. Belafonte was also the first entertainer--black or white--to be named cultural adviser to the Peace Corps by U.S. president John F. Kennedy.
Belafonte's success on vinyl and tape has always translated well in his live concerts, where he uses sing-alongs, dialogue with audience members, and a contagious energy and excitement to get the crowds responding jubilantly. Dave Hoekstra wrote in the Chicago Sun-Times in 1990 that Belafonte "sings from discovery and fulfillment.... So when you listen to the Belafonte songbook on a perfect summer night, you know the dignity, poise and spiritual exploration will still be heard long after the voice has passed. That is Harry Belafonte's lasting contribution to American popular music."
While his accomplishments in music are considered groundbreaking, Belafonte's political activities on behalf of humanitarian causes around the world are also extremely significant. And more often than not he has been able to successfully merge these two passions. In 1985 Belafonte helped organize the recording session for the philanthropic and inspirational We Are the World, which won a Grammy Award, and he has been involved in many projects aimed at helping those suffering from poverty, homelessness, and famine around the world. As a result of his efforts to fight segregation in the United States, Belafonte was named to the board of directors of the Southern Christian Leadership Conference, a leading civil rights organization, and he has been chair of the memorial fund bearing the name of his friend, the late civil rights activist Dr. Martin Luther King, Jr. In 1987 he was appointed a UNICEF Goodwill Ambassador, and he has been dubbed the "Children's Patron Saint" by Ebony magazine.
As a young boy keenly aware of British domination over the lives of Jamaicans, Belafonte learned a lasting lesson about the power of art in general, and song in particular, to express and shed personal meaning on the physical, psychological, and cultural constraints generated by colonialism. "People living in that sort of oppression are always very creative," he was quoted as saying in the Summer Series magazine. "The environment was terribly musical. People sang while working in the fields, while selling their wares in the streets, in church, during festivals. That background had a great impact on me."
Although he would always believe that music should be a cherished vehicle for commentary on the human condition, Belafonte recognized in the 1960s that song alone, no matter how politically and moralistically charged, would not right the wrongs suffered by society's disenfranchised people. Taking advantage of the fame garnered from his music and theater successes, Belafonte donned the cape of activist and quickly earned the respect of those who might have worried that he was simply an entertainer dabbling self-servingly in politics.
After World War II, in which he was first exposed to what he viewed as an honorable fight waged on moral grounds, Belafonte found political mentors and ideological inspiration in former First Lady Eleanor Roosevelt and actor and singer Paul Robeson. He saw in Roosevelt an irrepressible dedication to human rights and the courage to take stands with which mainstream America might have disagreed. Robeson, a trailblazing, black entertainer, was an early campaigner against racial segregation and had been blacklisted by the U.S. government for his pro-Communist beliefs. Of Roosevelt and Robeson, Belafonte was quoted as saying in the Ottawa Citizen, "Both taught me by example to be resilient and fight for things I believed in even if it could get me into trouble."
Throughout the 1960s Belafonte's primary ethical focus was on the Jim Crow laws of segregation. He unified cultural elements behind the civil rights marches in Selma and Montgomery, Alabama, and helped organize the celebrated 1963 Freedom March in Washington, D.C., at which his close friend, Martin Luther King, Jr. delivered his historic "I Have a Dream" speech. Years earlier, Belafonte had been forced to stop a South Carolina performance at intermission because of rumors that the Ku Klux Klan was intending a violent demonstration. But in viewing the development of American society and the evolution of the civil rights struggle, Belafonte has come to realize that the racism he and others have long decried is evident throughout society's cultural mosaic and not merely in the Klan's vicious epithets and signature white sheets. "There's a lot of racial tension coming out of our communities," he was quoted as saying in the Summer Series magazine. "There's a tremendous amount of crack and dope in black neighborhoods, which I think is an extension of racial inequalities. Racism has become more insidious, sometimes more clandestine, sometimes more blatant, as in the case of the Skin heads and others who represent the new wave of white, lower-middle-class people who have come together to preach racial violence. It's quite unnerving."
In 1966, Belafonte performed in Paris, France and Stockholm, Sweden in the first European-sponsored benefit concert on behalf of King. As a result of his efforts to fight segregation and racism, he was appointed to the board of directors of the Southern Christian Leadership Conference, a leading civil rights organization, served as chairman of the Martin Luther King, Jr. Memorial Fund, and was named one of the three executors of the King estate after the celebrated leader was assassinated in 1968.
In recent years, Belafonte has used his celebrity to draw attention to civil rights issues and injustices on a global scale, particularly in respect to children suffering from malnutrition and sickness. In 1985 Belafonte, with friend Ken Kragen, organized the hugely successful and inspirational "We Are the World," which won a Grammy award, and more importantly for Belafonte, raised millions of dollars for and heightened an awareness of victims of famine and drought in Africa. An outgrowth of that record was the USA for Africa foundation, on whose board of directors Belafonte has served with, among others, Lionel Richie, Quincy Jones, and Kenny Rogers. Belafonte was also deeply involved in "Hands Across America," an outgrowth organization benefiting hungry and homeless Americans.
In 1987 Belafonte was appointed a UNICEF Goodwill Ambassador, only the second American ever to hold the title. His first humanitarian odyssey in that position brought him to Dakar, Senegal, where he served as head of a four-day symposium in which African intellectuals and artists strove to publicize and consider solutions to the variegated problems besetting children on that continent. His commitment to the survival and health of Third World children led Ebony magazine to dub him "The Children's Patron Saint" and a "prime minister of hope," and earned him the 1989 Danny Kaye Award by the U.S. Committee for UNICEF. Vigorously pursuing a UNICEF drive to immunize children in developing counties, Belafonte has been called on frequently to testify before congressional committees. Through a fund bearing his name, Belafonte has opened new cultural exchanges with African nations, enabling African students to pursue an education in the United States.
As an outspoken critic of South Africa's apartheid government, Belafonte orchestrated a burst of artistic, if not political, liberation with the 1988 release of his critically acclaimed album Paradise in Gazankulu. Because of his arrest years earlier during an antiapartheid protest outside the South African Embassy in Washington D.C., his advocacy of strict international economic sanctions, and his repeated calls for the release of then imprisoned African National Congress leader Nelson Mandela, Belafonte was considered a persona non grata--unaccepted or unwelcome--in South Africa and could not go to that country in order to work on the album. Instead, musicians recorded the music there and the tapes were sent to the United States, where Belafonte added the vocals. Though banned on South African radio, Paradise was praised internationally for beautifully capturing in music the painful and haunting stories and poems describing life in a land infamous for its oppression.
In 1989 Belafonte was one of the recipients of the Kennedy Center Honors for lifetime achievement in the performing arts, arguably the most prestigious award given to artists by the U.S. government. "I couldn't help thinking how much of my life had been spent at odds with these people, with the establishment, and here they were honoring me," he was quoted as telling the Ottawa Citizen. "I've been critical of government actions and I will continue to be critical, and here I was being recognized for my accomplishments. It made me fall in love with America all over again."
Awards
Tony Award for best supporting actor, 1953, for John Murray Anderson's Almanac; Emmy Award, 1960, for Tonight With Harry Belafonte; Grammy Award, 1985, for We Are the World; Danny Kaye Award, U.S. Committee for UNICEF, 1989.
Darker Than Black Wallpaper
Darker Than Black Wallpaper
Darker Than Black Wallpaper
Darker Than Black Wallpaper
Darker Than Black Wallpaper
Darker Than Black Wallpaper
Darker Than Black Wallpaper
Darker Than Black Wallpaper
Darker Than Black Wallpaper
Darker Than Black Wallpaper
Darker Than Black Wallpaper
Darker Than Black Wallpaper
Darker Than Black Wallpaper
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