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Today is National Tap Dance Day in honor of Bill “Bojangles” Robinson, who was born Luther Robinson in Richmond, Virginia, on May 25, 1878. His father, Maxwell, worked in a machine shop, while his mother, Maria, was a choir singer. After both of his parents died in 1885, Robinson was raised by his grandmother, Bedilia, who had been a slave earlier in her life. According to Robinson, he used physical force to compel his brother, Bill, to switch names with him, since he did not care for his given name of Luther. Additionally, as a young man, he earned the nickname “Bojangles” for his contentious tendencies.

At the age of 5, Robinson began dancing for a living, performing in local beer gardens. In 1886, at the age of 9, he joined Mayme Remington’s touring troupe. In 1891, he joined a traveling company, later performing as a vaudeville act. He achieved great success as a nightclub and musical-comedy performer. At this stage of his career, he performed almost exclusively in black theaters before black audiences.

In 1908, Robinson met Marty Forkins, who became his manager. Forkins urged Robinson to develop his solo act in nightclubs. Robinson took a break from performance to serve as a rifleman in World War I. Along with fighting in the trenches, Robinson was also a drum major who led the regimental band up Fifth Avenue upon the regiment’s return from Europe.

In 1928, he starred on Broadway in the hugely successful musical revue Blackbirds of 1928, which featured his famous “stair dance.” Blackbirds was a revue starring African-American performers, intended for white audiences. The show was a breakthrough for Robinson. He became well known as “Bojangles,” which connoted a cheerful and happy-go-lucky demeanor for his white fans, despite the nearly polar-opposite meaning of the nickname in the black community. His catchphrase, “Everything’s copacetic,” reinforced Robinson’s sunny disposition. Although he worked regularly as an actor, Robinson was best known for his tap-dance routines. He pioneered a new form of tap, shifting from a flat-footed style to a light, swinging style that focused on elegant footwork.

Robinson’s fame withstood the decline of African-American revues. He starred in 14 Hollywood motion pictures, many of them musicals, and played multiple roles opposite the child star Shirley Temple. His film credits include Rebecca of Sunnybrook Farm, The Little Colonel and Stormy Weather, co-starring Lena Horne and Cab Calloway. Despite his fame, Robinson was not able to transcend the narrow range of stereotypical roles written for black actors at the time. By accepting these roles, Robinson was able to maintain steady employment and remain in the public eye. In 1939, at the age of 61, he performed in The Hot Mikado, a jazz-inspired interpretation of Gilbert and Sullivan’s operetta. Robinson celebrated his 61st birthday publicly by dancing down 61 blocks of Broadway.

Robinson was married three times. His 1907 marriage to Lena Chase ended in 1922. He married his second wife, Fannie S. Clay, in 1922. Clay served as her husband’s manager and assisted him in founding the Negro Actors Guild of America, which advocated for the rights of African-American performers. Clay and Robinson divorced in 1943. In 1944, he married Elaine Plaines. Robinson and Plaines were together until Robinson’s death in 1949.

Bill Robinson was involved in baseball as well as theater. In 1936, He cofounded the New York Black Yankees team, based in Harlem, with financier James Semler. The team was a part of the Negro National League until 1948, when Major League Baseball first integrated racially.

Despite earning millions during his lifetime, Robinson died poor in 1949, at the age of 71. Much of his wealth went to charities in Harlem and beyond before his death. Robinson’s funeral, arranged by longtime friend and television host Ed Sullivan, was held at the 369th Infantry Regiment Armory and attended by thousands, including many stars from the entertainment industry. A eulogy by Adam Clayton Powell Sr. (father of Congressman Adam Clayton Powell Jr.) was broadcast over the radio. Robinson was buried in the Cemetery of the Evergreens in Brooklyn, New York.

Robinson remained a well-known figure after his death, particularly in dance circles. In 1989, a joint congressional resolution established National Tap Dance Day on May 25, Robinson’s birthday. Additionally, a public park in Harlem bears Robinson’s name—a way of honoring his charity contributions and participation in the neighborhood’s civic life.

Sources: YouTube and biography.com

@thefullbronte “everything’s copacetic” -Clete Purcell

BOI I RAN: tcc edition

Kudos to @dahm-sub for thinking of the idea and also inputting her ideas!

This beautiful piece of art can be used in many situations. Let’s name a few.

*When dat boi is coming in a volkswagen and is asking if you need a ride

*when dat boi is coming to the cafeteria with his no homo boi in no homo matching trenchcoats

*when dat boi invites you to his clown party

*when dat boy offers to pay you for pics at his place

*when dat boi asks if you wanna play doom

* when dat boi asks for help with his crutches

*when dat boi asks if you wanna go to the baptist chruch

*when dat boi says drink the kool aid

*when dat boi walks by blasting AC DC

*when dat boi’s daddy says he smells something from the basement

*when dat boi’s grandma says “wtf is there a mannequin in here”

*when dat boi asks you to listen to opera and blow some coke

*when your chilling in your grave and you hear dat boi lowkey roast you in a interview harder then the electric chair

*when your eating lunch with your buddy outside and the no homo crew come up to school with guns

*when your at a pagent and dat boi offers pineapple and milk

*when you’re in moscow and dat boi offers you some vodka and a stroll thru the woods

*when dat boi says “you like guys who makes home cooked meals, right?”

*when dat 7’ boi picks you up hitchhiking at UCLA

*when you win a date with dat boi on national tv

*when you see dat boi in a hotel elevator doing that spongebob pioneer road dance

*when dat boi wants to feel your heartbeat

*when dat boi straight up goes talking about he jacked up to the memory of his victims death…in court

*when dat boi wants to preserve the memory of his mother

*when dat boi offers to lend you his nipple belt

*when dat boi wants to clown around

*when dat boi says he wants to move to a settlement in south america away from everyone else

*when dat boi wants to have some wax play

*when your in your home having a party but you hear the dat boi family breaking in like

*when dat boi offers to bring you home to his ranch with the rest of his fam

*when you see dat boi in a scooter chair thing after 60 years later and he looks like he is going to call his fam to run you over in it

*when your walking in the park and you see dat boi walk a dog named lassie

Intro - June, 2013 [Translated]

Here is a great RAM-era interview I found on Issuu.com! There’s discussion about the guest musicians, real instruments vs electronic equipment, the lyrics, why new music takes them so long, and the RAM marketing campaign. Fair warning that I do not speak German, and this was done via Google Translate and WordReference.com, so it’s loosely translated at best, but it is nice readable English.

“ONLY THE MUSIC”
Intro Magazine, June 2013

Eight years ago, Daft Punk released their last studio album Human After All. Now, Thomas Bangalter and Guy-Manuel de Homem-Christo are back: Random Access Memories, their most elaborate work, is completely without outside samples and is based on a cross-generational guest list. Together with Giorgio Moroder, Nile Rodgers, Pharrell Williams, and six other guest musicians, they explore a spectrum of sounds ranging from West Coast Pop to disco, to contemporary house and R&B.

The Random Access Memories project was subject to extreme secrecy. Following a strict schedule set by the two Frenchmen, it was revealed to the public little by little via advertising clips on Saturday Night Live and at the Coachella Festival. Sebastian Ingenhoff and Thomas Venker speak exclusively with Thomas Bangalter and Guy-Manuel de Homem-Christo about the album’s different production methods, the slow work pace, the guest musicians, and the long-awaited lyrics.

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