Shakespeare and Compan

be: An

that quote

as he goes from detesting JFK for being turned away by him to being a close friend of a racist Richard Nixon.

the people that had been hurling slurs at him just days ago.

some that he even

amounts of

unlike any

Davis

to

tour

have

would be able to star

allowed

unknown by

parts

genre but would still

a style of

In additi

an

With

whom

this addition

stars

audiences, but

because he

an

ll issues within his

and the magic about him, and his performances would be his means “to fight”

idea

spoken of within the son

Perhaps

to switch into actually

as he states a

within

Sammy Davis Jr, still

within

directly related to love and that is undeniable

he everyday, working class people

a white upper class who longed for the control of crooners

holding

that was specifically added by Sammy Davis Jr. and the verse is more of a comedy bit as Davis inserts his voice, in a high-pitched imitative voice, as if the black magic itself is calling out.

Davis then goes into the final minute of song, which features more of a pop, swing style with a generally louder and powerful tone to the lyrics.

Davis begins to reach with his voice into almost a shouting tone and even sings with a growl in his voice, which leads to a feeling of the blues within the song

where

with mainly piano, saxophone and piano accompaniment

smooth and soft lyrics that are the typical crooner sound of the time

Sammy

couple

that as it is

audiences

survival and

had to do one thing

the

his

Davis was obviously viewed with favor with the mob as they granted him the ability to perform in typically segregated clubs and often provided him with bodyguards

Davis

Sammy Davis for his marriage to a white

would force

For example, Sammy Davis and the Rat Pack had initially supported JFK, which was seen as a threat to the Mafia due to JFK’s anti-Mafia policies.

Pack and was highly admired by them for his talent, this admiration was unusual due to their racist tendencie

this revelation and this may have influenced his future

Davis

He immediately cut Davis off as he tried to keep the favor of the majority of American voters, or middle-class white Americans.

came to the realization that

as

JFK

JFK

endeavors would involve

him and many

as he always was

was left as

President Richard

Nixon and

ut Davis being a man of steadfast beliefs, would

This would cause outrage among most of black America

decisions

so

He

West years

issues Sammy

seeing

emergence of Davis’s

into

as he suddenly

allowed

guideline

convert

began to say that

their

think

to try to

and it was “compelling” that both

Along with his race

black when it was favorable for him rather than living out the idea of being a blac

For instance, Davis would tell a story of “a childhood friend who was killed after getting into unspecified trouble” (Nekola and Kirkpatrick 20). He would often only tell this when he felt a story of overcoming violence and escaping the “serious trouble” would be necessary to relate to an audience of, mainly, young, black men (Nekola and Kirkpatrick 20).

of

that Davis would only try

Additionally, some

The more progressive groups of

them

as

by some within the African American community because they thought he looked for the approval of the white community and would do so by, “[fighting] hard against aspects of the black entertainment world that had nurtured him”

it would not be surprising that Sammy Davis faced racism from whites, but he would also face an

life decision also

through

us, besides the widespread racist acts

but now he was declared unfit for any political event and, initially, it would be harder to find work after being turned away by the president. T

JFK

due to his wish

Gala. Although there were other black artists performing,

JFK’s

in

Davis was in

that would picket theatres he appeared at

(Early 244). This was due in part to him

within

endure, and Davis often faced the extremes of racism due to his

Sammy Davis

the

Rat Pack, which allowed him to continue to find work and keep his influence when he began to strongly campaign for civil rights and just be himself.

Sammy

ould still face a large amount of backlash

did lead

to

was one that

go on to

The life of Sammy Davis Jr.

After his d

Within the

him

Despite that discrimination, Davis’s father did a good job of shielding him from racism, often explaining the remarks to be “out of jealousy,” so when Sammy was drafted into the army, he first experienced this problem head on (Rosen).

age but refused to try to take a jump in his career because

lengthy

were available

Sammy

push back

to keep true to himself or whatever

and continue to have the support of the everyday working people over keeping his political ties

But never the

Davis

y,

The

his

However, fewer than 50% of the women who report experiencingthese unwanted and offensive sexually harassing behaviors label such incidents as sexual harassment

binary agonism

Political philosophers have taught us to think that there is an inherent tension between liberty and equality, that we can pursue egalitarian commitments only at the expense of governmental intrusions that reduce liberty.

MATTERS BECAUSE

insubstantiality of modern identity is incompatible with substantial, meaningful relationships. Gatsby's motivating vision of his beloved Daisy Buchanan, itself a dream, is shattered when confronted by the hollow woman who plays the game of illusions even more brilliantly than he. Daisy, the respect-able, "careless" society woman, turns out to be no more ethical than the bootlegger. The danger of superficial style and personality was not merely that decent folk would allow scoundrels to infiltrate their ranks. Gatsby and his associates, like countless other underworld characters, warned that modern Americans, seduced by the sirens of the artificial, were headed toward the shoals of moral disaster.

Gatsby ascended from dull ordinariness to Olym~social heights on a fragile structure of elaborate illusions. Realizing "the unreality of reality;' the great man "sprang from his Platonic conception of himself." 88 It little matters that Gatsby's :'eneer of refinement is 2,.aper-thin, transparent to one who listened to his cautious speech or con-.--sidered his supposed boyhood in the "Middle West" city of San Fran-cisco

Gatsby__:aefiijed by his palatial home, fabled parties, gleaming motorcar, ana·w~obe of expensive suits and thick silk shirts-was not the man he at first ·seemea·i:oDe:This bootlegger was a master of "personal;ty," that: "un-broken series of successful gestures." Gatsby's mastery of the superfi-cial inevitably brings narrator Nick Carraway;TiFeothers;uru:Ierhis spell:

SPECTRES OF CYBERSPACE

Virtual Reality -a reality which is apparently true but not trnly True, a reality which is apparently real but not really Real.

The spectacle is capital accumulated to the point where it becomes image.

Share Observation Blogs. Workshop PRELIM 8: ACE Structure Paragrap

Civil War and its immediate aftermath. The second, perhaps more urgent to us in the early twenty-first century, is why Ward's work ultimately failed to become the great emblem of American liberty that so many critics hoped it would be. As we shall see, the answers to these two questions are linked. For what made the Freedman unconventional and innovative also made it problematic, at a time when the underlying issue of freedom was itself an un­resolved dilemma. To account for its power in

Ward's piece eventually lapsed into obscurity.

he Freedman belonged to a well-established sculptural genre, that of the small-scale statuette purchased for display on a desk or a parlor mantel. Usually these works represented the great white men whose lives embodied the dominant culture's idea of its own moral purpose.

Gray's painting was not the only work in the exhibition inspired by the Emancipation Proclamation. In a dimly lit corner of the exhibition rooms, there was a striking plaster statuette, not quite two feet high, by a little known sculptor named John Quincy Adams Ward. This was the Freedman, known to us today by several bronze casts probably produced from the original plaster mode

hat same year at the annual spring exhibition of the National Academy of Design in New York City, a smattering of patriotic art work dealt with this momentous event. New York painter Henry Peters Gray showed his America in 1862, an allegorical image featuring a personification of America breaking the chains of a kneeling slave with one hand and giving the slave a sword with the other hand. While the painting is now lost, accounts in the contem­porary press make it clear that the picture was little more than a piece of Union propaganda, cloaked in the elevated language of nineteenth-century academic art

One ever feels his twoness, -an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.

hy did God make me an outcast and a stranger in mine own house? The shades of the prison-house closed round about us all: walls strait and stubborn to the whitest, but relentlessly narrow, tall, and unsealable to sons of night who must plod darkly on in resignation, or beat unavailing palms against the stone, or steadily, half hope­lessly, watch the streak of blue above.

being a problem is a strange experience,

subjected myself to an objective examination, I discovered my blackness, my ethnic characteristics; and I was battered down by tom-toms, cannibalism, intellectual deficiency, fetichism, racial defects, slave-ships, and above all else, above all: "Sho' good eatin' .

he white man, who had woven me out of a thousand details, anecdotes, stories

or several years certain laboratories have been trying to produce a serum for "denegri­fication;" with all the earnestness in the world, laboratories have sterilized their test tubes, checked their scales, and embarked on researches that might make it possible for the miserable Negro to whiten himself and thus to throw off the burden of that corporeal malediction

Consciousness of the body is solely a negating activity. It is a third-person consciousness.

Overnight the Negro has been given two frames of reference within which he has had to place himself

For not only must the black man be black; he must be black in relation to the white man

DIRTY NIGGER!" Or simply, "Look, a Negro!"

I was an object in the midst of other objects.

whatis to be done,as long as the performance draws them out of their passive attitude and transforms them into . active participants in a shared world, Such.isthe firstconvictionthattheattical

distance separating knowledge from ignorance.

architecture and geometry,

he more numerous those anonymous and temporary observers are, the greater the risk for the inmate of being surprised and the greater his anxious awareness of being observed. The Panopticon is a marvellous machine which, what­ever use one may wish to put it to, produces homogeneous effects of power. A real subjection is born mechanically from a fictitious relation. So it is

The Panopticon is a machine for dissociating the see/being seen dyad: in the peripheric ring, one is totally seen, wjthout ever seeing; in the central tower, one sees everything without ever being seen

� surveillance is permanent in its effects, even if it is discontinuous in its action; that the perfection of power should tend to render its actual exercise unnece

things

r the future, bad reciprocal influences; if they are patients, the

mpanions. He is seen, but he does not see; he is the object of information, never a subject in communication. The arrangement of his room, opposite the central tower, imposes on him an axia

ake it possible to see constantly and to recognize immediately. In short, it reverses the principle of the dungeon; or rather of

e shadows in the cells of the periphery. They are like so many c

r, standing

tower is pierced with wide windows that open onto the inner side o

e plague gave rise. All the mechanisms of power which, even today, are disposed around the abnormal individual, to brand him and to alter him, are composed of those two forms from which they distantly

his is what was operated regularly by disciplinary power from the beginning of the nineteenth century in the psychiatric asylum, the penitentiary, the reformatory, the approved school and, to some extent, the hospital.

but the penetration of regulation into even the smallest details of everyday life through the mediation of the complete hierarchy that assured the capillary functioning of power;

he leper and his separation; the plague and its segmentations.

irregularities

surveillance

respondsbypoliticizingart.Notes1

nprinciple a workof arthasalwaysbeenreproducible.Man-made artifactscouldalwaysbeimitatedbymen

The means of reproduction are used politically and commercially to disguise or deny what their existence makes possible

he art of the past no longer exists as it once did. 7o Its authority is lost. In its place there is a language of images. What matters now is who uses that language for what purpose. This touches upon questions of copyright for reproduction, the ownership of art presses and publishers, the total policy of public art galleries and museums. As usually presented, these are narrow professional matters. One of the aims of this essay has been to show that what is really at stake is much larger. A people or a class which is cut off from its own past is far less free to choose and to act as a people or class than one that has been able to situate itself in history. This is why-and this is the only reason why-the entire art of the past has now become a political issue

What are we saying by that? Let us first be sure about what we are not saying.