Cab Calloway
A singer, dancer, and bandleader, Cab led one of the most popular African American big bands during the jazz and swing eras of the 1930s-40s, with Harlem’s famous Cotton Club as his home stage. Best known for his “Hi de hi de hi de ho” refrain from signature song “Minnie the Moocher,” portrayal of Sportin’ Life in Porgy and Bess (1952), and role in The Blues Brothers (1980), Cab influenced countless performers, including Michael and Janet Jackson, and many of today’s hip-hop artists.
Discover how television has reflected the African American experience in this retrospective of the medium's first half-century. Actors, writers and historians discuss the image of black America on television from Amos and Andy to the present day. The interviews accompany clips from groundbreaking shows and performances by entertainment pioneers that create a timeline of the portrayal of African Americans throughout TV history.
Director — and piano player — Clint Eastwood (Play Misty for Me, Bird, Unforgiven) explores his life-long passion for piano blues, using a treasure trove of rare historical footage in addition to interviews and performances by such living legends as Pinetop Perkins and Jay McShann, as well as Dave Brubeck and Marcia Ball.
The Stories Behind the Making of The Blues Brothers is an hour- long documentary featuring every participant from the film. Star and co-writer Dan Aykroyd explains how a joke that he and best friend John Belushi shared with friends evolved from a Saturday Night Live skit to a best-selling album and then to a film. Director John Landis covers the difficult production, from the outrageous stunts to Belushi's disappearances from the set.
Jake Blues is just out of jail, and teams up with his brother, Elwood on a 'mission from God' to raise funds for the orphanage in which they grew up. The only thing they can do is do what they do best: play music. So they get their old band together, and set out on their way—while getting in a bit of trouble here and there.
Ossie Davis narrates a history of "race films," films made before 1950 which catered to a primarily black audience.
Adapted from the book by Charles Tazewell. Michael, a shepherd boy living in Biblical times, finds himself transported to Heaven on his eighth birthday. Michael doesn't fully understand where he is, or why he's there. A guardian angel named Patience is given the task of showing Michael the joys of Heaven and helping him find his place in the Hereafter.
An up-and-coming poker player tries to prove himself in a high-stakes match against a long-time master of the game.
Will Handy grows up in Memphis with his preacher father and his Aunt Hagar. His father intends for him to use his musical gifts only in church, but he can't stay away from the music of the streets and workers. After he writes a theme song for a local politician, Gogo, a speakeasy singer, convinces Will to be her accompanist. Will is estranged from his father for many years while he writes and publishes many blues songs. At last the family is reunited when Gogo brings them to New York to see Will's music played by a symphony orchestra.
Rhythm and Blues Revue is a plotless variety show, one of several compiled for theatrical exhibition from the made-for-television short films produced by Snader and Studio Telescriptions, with newly-filmed host segments by Willie Bryant. Originally 86 minutes, the "short" version available on public domain collections and websites is missing a reel
Louis Jordan, with his band, sings and performs the title song, "Caldonia,", and "Honey Child," "Tillie" and 'Buzz Me", wowing the jitter-buggers, zoot suits and bobby-soxers of the mid-1940s, all built around a wisp of a plot dealing with the difficulties of production in Harlem.
Cab Calloway & Dotty Saulter perform "I Was Here When You Left Me".
As dancer Ginny Walker performs on stage, a veiled woman in the audience stands up, accuses Ginny of stealing her husband and then fires a gun at her. After Ginny collapses and is taken to her dressing room, the woman, Julia Westcolt, a friend of Ginny's, dashes backstage, discards her veil, and then congratulates her friend on their successful publicity stunt. When Ginny's press agents, Gus Crane and his son Junior, visit their client backstage, she brags about her feat and chides them for not being more creative in promoting her. Horrified at Ginny's brashness, Junior, a conservative Harvard graduate, chastises her and leaves the room.
Dancing great Bill Williamson sees his face on the cover of Theatre World magazine and reminisces: Just back from World War I, he meets lovely singer Selina Rogers at a soldiers' ball and promises to come back to her when he "gets to be somebody." Years go by, and Bill and Selina's rising careers intersect only briefly, since Selina is unwilling to settle down. Will she ever change her mind? Concludes with a big all-star show hosted by Cab Calloway.
Cab Calloway and The Cabaliers are singing about how The Big Bad Wolf only talks about his Disney money, Felix the Cat is fat and rich, and Mickey the Mouse is riding in his motor car, while the skunk moans about how "nobody loves me" on account of him just being a "dirty old skunk".
Young Cab Calloway's mother is concerned, because Cab spends his days listening to the radio, pretending to lead a miniature orchestra. A deacon passing by the apartment hears him singing and advises him go to his wife's gypsy tea room. As she reads the tea leaves, she sees situations which lead to Cab and his orchestra performing musical numbers.
Neurotic Broadway star Al Jackson faces professional ruin when he loses his voice. While recuperating in the country, he falls in love with farm girl Ruth Haines, the pretty aunt of precocious little Sybil Haines.
Cab Calloway performs at the Cotton Club before he takes his friends down to Harlem for a jitterbug party.
This riveting collection of jazz singer and bandleader Cab Calloway's most electrifying performances brings to life a bygone era of swinging jazz and heart-stopping musical numbers. One of the great jazz artists of his time, Calloway was closely associated with the musical movement of 1930s and 40s Harlem, and was a regular performer at the famed Cotton Club.
This jazz musical short has a comedy plot about marital infidelity.
A reporter interviews Max Fleischer about his creation, and Betty illustrates with excerpts from three prior cartoons.
Betty Boop goes to see the fearsome Old Man of the Mountain for herself; he sings the title song and a duet with Betty.
Assorted wacky characters converge on a Chinese hotel to bid on a new invention ... television.
Betty Boop and Bimbo run away from home, but that night they are scared by a chorus of ghosts singing the title song.
The top brass at a radio station believe their popular new star singer is paying more attention to his love life than to his career.
