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Bugsy Malone (1976) Alan Parker

April 29th 2024

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Sarah Vaughan

Sarah Lois Vaughan (March 27, 1924 – April 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. Critic Scott Yanow wrote that she had "one of the most wondrous voices of the 20th century".

Early life

Vaughan's father, Asbury "Jake" Vaughan, was a carpenter by trade and played guitar and piano. Her mother, Ada Vaughan, was a laundress who sang in the church choir. The Vaughans lived in a house on Brunswick Street in Newark for Vaughan's entire childhood. Jake was deeply religious. The family was active in New Mount Zion Baptist Church at 186 Thomas Street. Vaughan began piano lessons at the age of seven, sang in the church choir, and played piano for rehearsals and services.

She developed an early love for popular music on records and the radio. In the 1930s, she frequently saw local and touring bands at the Montgomery Street Skating Rink. By her mid-teens, she began venturing illegally into Newark's night clubs and performing as a pianist and singer at the Piccadilly Club and the Newark Airport.

Vaughan attended East Side High School, then transferred to Newark Arts High School, which opened in 1931. As her nocturnal adventures as a performer overwhelmed her academic pursuits, she dropped out of high school during her junior year to concentrate on music.

Career

1942–43: Early career

Vaughan was frequently accompanied by a friend, Doris Robinson, on her trips into New York City. In the fall of 1942, by which time she was 18 years old, Vaughan suggested that Robinson enter the Apollo Theater Amateur Night contest. Vaughan played piano accompaniment for Robinson, who won second prize. Vaughan later decided to go back and compete as a singer herself. She sang "Body and Soul", and won—although the date of this victorious performance is uncertain. The prize, as Vaughan recalled to Marian McPartland, was $10 and the promise of a week's engagement at the Apollo. On November 20, 1942, she returned to the Apollo to open for Ella Fitzgerald.

During her week of performances at the Apollo, Vaughan was introduced to bandleader and pianist Earl Hines, although the details of that introduction are disputed. Billy Eckstine, Hines' singer at the time, has been credited by Vaughan and others with hearing her at the Apollo and recommending her to Hines. Hines claimed later to have discovered her himself and offered her a job on the spot. After a brief tryout at the Apollo, Hines replaced his female singer with Vaughan on April 4, 1943.

1943–44: Earl Hines and Billy Eckstine

Vaughan spent the remainder of 1943 and part of 1944 touring the country with the Earl Hines big band, which featured Billy Eckstine. She was hired as a pianist so Hines could hire her under the jurisdiction of the musicians' union (American Federation of Musicians) rather than the singers union (American Guild of Variety Artists). But after Cliff Smalls joined the band as a trombonist and pianist, her duties were limited to singing. The Earl Hines band in this period is remembered as an incubator of bebop, as it included trumpeter Dizzy Gillespie, saxophonist Charlie Parker (playing tenor saxophone rather than alto), and trombonist Bennie Green. Gillespie arranged for the band, although the contemporary recording ban by the musicians' union meant that no commercial recordings exist.

Eckstine quit the Hines band in late 1943 and formed a big band with Gillespie, leaving Hines to become the band's musical director. Parker joined Eckstine, and over the next few years the band included Gene Ammons, Art Blakey, Miles Davis, Kenny Dorham, Dexter Gordon, and Lucky Thompson. Vaughan accepted Eckstine's invitation to join his band in 1944, giving her the opportunity to record for the first time on December 5, 1944, on the song. "I'll Wait and Pray" for De Luxe. Critic and producer Leonard Feather asked her to record later that month for Continental with a septet that included Dizzy Gillespie and Georgie Auld. She left the Eckstine band in late 1944 to pursue a solo career, although she remained close to Eckstine and recorded with him frequently.

Pianist John Malachi is credited with giving Vaughan the moniker "Sassy", a nickname that matched her personality. She liked it, and the name and its shortened variant "Sass" stuck with colleagues and the press. In written communications, Vaughan often spelled it "Sassie".

1945–48: Early solo career

Vaughan began her solo career in 1945 by freelancing on 52nd Street in New York City at the Three Deuces, the Famous Door, the Downbeat, and the Onyx Club. She spent time at Braddock Grill next to the Apollo Theater in Harlem. On May 11, 1945, she recorded "Lover Man" for Guild with a quintet featuring Gillespie and Parker with Al Haig on piano, Curly Russell on double bass, and Sid Catlett on drums. Later that month, she went into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides.

After being invited by violinist Stuff Smith to record the song "Time and Again" in October 1945, Vaughan was offered a contract to record for Musicraft by owner Albert Marx, although she would not begin recording as a leader for Musicraft until May 7, 1946. In the intervening time, she recorded for Crown and Gotham and began performing regularly at Café Society Downtown, an integrated club in New York's Sheridan Square.

While at Café Society, Vaughan became friends with trumpeter George Treadwell, who became her manager. She delegated to him most of the musical director responsibilities for her recording sessions, allowing her to concentrate on singing. Over the next few years, Treadwell made changes in Vaughan's stage appearance. Aside from a new wardrobe and hair style, she had her teeth capped, eliminating a gap between her two front teeth.

Her recordings for Musicraft included "If You Could See Me Now" (written and arranged by Tadd Dameron), "Don't Blame Me", "I've Got a Crush on You", "Everything I Have Is Yours" and "Body and Soul". With Vaughan and Treadwell's professional relationship on solid footing, the couple married on September 16, 1946.

In 1947, Vaughan performed at the third Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin, Sr. on September 7, 1947. The Valdez Orchestra, The Blenders, T-Bone Walker, Slim Gaillard, The Honeydrippers, Johnny Otis and his Orchestra, Woody Herman, and the Three Blazers also performed that same day.

Vaughan's recording success for Musicraft continued through 1947 and 1948. Her recording of "Tenderly"—she was proud to be the first to have recorded that jazz standard—became an unexpected pop hit in late 1947. Her December 27, 1947, recording of "It's Magic" (from the Doris Day film Romance on the High Seas) found chart success in early 1948. Her recording of "Nature Boy" from April 8, 1948, became a hit around the time the popular Nat King Cole version was released. Because of a second recording ban by the musicians' union, "Nature Boy" was recorded with an a cappella choir.

1948–53: Stardom and the Columbia years

The musicians' union ban pushed Musicraft to the brink of bankruptcy. Vaughan used the missed royalty payments as an opportunity to sign with the larger Columbia record label. After the settling of legal issues, her chart successes continued with "Black Coffee" in the summer of 1949. While at Columbia through 1953, she was steered almost exclusively to commercial pop ballads, several with success on the charts: "That Lucky Old Sun", "Make Believe (You Are Glad When You're Sorry)", "I'm Crazy to Love You", "Our Very Own", "I Love the Guy", "Thinking of You" (with pianist Bud Powell), "I Cried for You", "These Things I Offer You", "Vanity", "I Ran All the Way Home", "Saint or Sinner", "My Tormented Heart", and "Time".

She won Esquire magazine's New Star Award for 1947, awards from Down Beat magazine from 1947 to 1952, and from Metronome magazine from 1948 to 1953. Recording and critical success led to performing opportunities, with Vaughan singing to large crowds in clubs around the country during the late 1940s and early 1950s. In the summer of 1949, she made her first appearance with a symphony orchestra in a benefit for the Philadelphia Orchestra entitled "100 Men and a Girl." Around this time, Chicago disk jockey Dave Garroway coined a second nickname for her, "The Divine One", that would follow her throughout her career. One of her early television appearances was on DuMont's variety show Stars on Parade (1953–54) in which she sang "My Funny Valentine" and "Linger Awhile".

In 1949, with their finances improving, Vaughan and Treadwell bought a three-story house on 21 Avon Avenue in Newark, occupying the top floor during their increasingly rare off-hours at home and moving Vaughan's parents to the lower two floors. However, business pressures and personality conflicts led to a cooling in Treadwell and Vaughan's relationship. Treadwell hired a road manager to handle her touring needs and opened a management office in Manhattan so he could work with other clients.

Vaughan's relationship with Columbia soured as she became dissatisfied with the commercial material and its lackluster financial success. She made some small-group recordings in 1950 with Miles Davis and Bennie Green, but they were atypical of what she recorded for Columbia.

Radio

In 1949, Vaughan had a radio program, Songs by Sarah Vaughan, on WMGM in New York City. The 15-minute shows were broadcast in the evenings on Wednesday through Sunday from The Clique Club, described as "rendezvous of the bebop crowd." She was accompanied by George Shearing on piano, Oscar Pettiford on double bass, and Kenny Clarke on drums.

1954–59: Mercury years

In 1953, Treadwell negotiated a contract for Vaughan with Mercury in which she would record commercial material for Mercury and jazz-oriented material for its subsidiary, EmArcy. She was paired with producer Bob Shad, and their working relationship yielded commercial and artistic success. Her debut recording session at Mercury took place in February 1954. She remained with Mercury through 1959. After recording for Roulette from 1960 to 1963, she returned to Mercury from 1964 to 1967.

Her commercial success at Mercury began with the 1954 hit "Make Yourself Comfortable", recorded in the fall of 1954, and continued with "How Important Can It Be" (with Count Basie), "Whatever Lola Wants", "The Banana Boat Song", "You Ought to Have a Wife", and "Misty". Her commercial success peaked in 1959 with "Broken Hearted Melody", a song she considered "corny" which nevertheless became her first gold record, and a regular part of her concert repertoire for years to come. Vaughan was reunited with Billy Eckstine for a series of duet recordings in 1957 that yielded the hit "Passing Strangers". Her commercial recordings were handled by a number of arrangers and conductors, primarily Hugo Peretti and Hal Mooney.

The jazz "track" of her recording career proceeded apace, backed either by her working trio or combinations of jazz musicians. One of her favorite albums was a 1954 sextet date that included Clifford Brown.

In the latter half of the 1950s she followed a schedule of almost non-stop touring. She was featured at the first Newport Jazz Festival in the summer of 1954 and starred in subsequent editions of that festival at Newport and in New York City for the remainder of her life. In the fall of 1954, she performed at Carnegie Hall with the Count Basie Orchestra on a bill that also included Billie Holiday, Charlie Parker, Lester Young and the Modern Jazz Quartet. That fall, she again toured Europe before embarking on a "Big Show" U.S. tour, a succession of performances that included Count Basie, George Shearing, Erroll Garner and Jimmy Rushing. At the 1955 New York Jazz Festival on Randalls Island, Vaughan shared the bill with the Dave Brubeck quartet, Horace Silver, Jimmy Smith, and the Johnny Richards Orchestra.

Although the professional relationship between Vaughan and Treadwell was quite successful through the 1950s, their personal relationship finally reached a breaking point and she filed for a divorce in 1958. Vaughan had entirely delegated financial matters to Treadwell, and despite significant income figures reported through the 1950s, at the settlement Treadwell said that only $16,000 remained. The couple evenly divided the amount and their personal assets, terminating their business relationship.

1959–69: Atkins and Roulette

The exit of Treadwell from Vaughan's life was precipitated by the entry of Clyde "C.B." Atkins, a man of uncertain background whom she had met in Chicago and married on September 4, 1959. Although Atkins had no experience in artist management or music, Vaughan wished to have a mixed professional and personal relationship like the one she had with Treadwell. She made Atkins her manager, although she was still feeling the sting of the problems she had with Treadwell and initially kept a closer eye on Atkins. Vaughan and Atkins moved into a house in Englewood, New Jersey.

When Vaughan's contract with Mercury ended in late 1959, she signed on with Roulette, a small label owned by Morris Levy, who was one of the backers of Birdland, where she frequently appeared. She began recording for Roulette in April 1960, making a string of large ensemble albums arranged or conducted by Billy May, Jimmy Jones, Joe Reisman, Quincy Jones, Benny Carter, Lalo Schifrin, and Gerald Wilson. She had pop chart success in 1960 with "Serenata" on Roulette and "Eternally" and "You're My Baby", a couple of residual tracks from her Mercury contract. She recorded After Hours (1961) with guitarist Mundell Lowe and double bassist George Duvivier and Sarah + 2 (1962) with guitarist Barney Kessel and double bassist Joe Comfort.

In 1961 Vaughan and Atkins adopted a daughter, Deborah Lois Atkins, known professionally as Paris Vaughan. However, the relationship with Atkins proved difficult and violent. After several incidents, she filed for divorce in November 1963. She turned to two friends to help sort out the financial affairs of the marriage. Club owner John "Preacher" Wells, a childhood acquaintance, and Clyde "Pumpkin" Golden Jr. discovered that Atkins' gambling and spending had put Vaughan around $150,000 in debt. The Englewood house was seized by the IRS for nonpayment of taxes. Vaughan retained custody of their child and Golden took Atkins' place as Vaughan's manager and lover for the remainder of the decade.

When her contract with Roulette ended in 1963, Vaughan returned to the more familiar confines of Mercury. In the summer of 1963, she went to Denmark with producer Quincy Jones to record Sassy Swings the Tivoli, an album of live performances with her trio. During the next year, she made her first appearance at White House for President Lyndon Johnson. The Tivoli recording would be the brightest moment of her second stint with Mercury. Changing demographics and tastes in the 1960s left jazz musicians with shrinking audiences and inappropriate material. Although she retained a following large and loyal enough to maintain her career, the quality and quantity of her recorded output dwindled as her voice darkened and her skill remained undiminished. At the conclusion of her Mercury deal in 1967, she lacked a recording contract for the remainder of the decade.

1970–82: Fisher and Mainstream

In 1971, at the Tropicana in Las Vegas, Marshall Fisher was a concession stand employee and fan when he was introduced to Sarah Vaughan. They were attracted to each other immediately. Fisher moved in with her in Los Angeles. Although he was white and seven years older, he got along with her friends and family. Although he had no experience in the music business, he became her road manager, then personal manager. But unlike other men and managers, Fisher was devoted to her and meticulously managed her career and treated her well. He wrote love poems to her.

In 1971, Bob Shad, who had worked with her as producer at Mercury, asked her to record for his label, Mainstream, which he had founded after leaving Mercury. Breaking a four-year hiatus, Vaughan signed a contract with Mainstream and returned to the studio for A Time in My Life, a step away from jazz into pop music with songs by Bob Dylan, John Lennon, and Marvin Gaye arranged by Ernie Wilkins. She didn't complain about this eclectic change in direction, but she chose the material for her next album after admiring the work of Michel Legrand. He conducted an orchestra of over one hundred musicians for Sarah Vaughan with Michel Legrand, an album of compositions by Legrand with lyrics by Alan and Marilyn Bergman. The songs brought some of the musicians to tears during the sessions. But Shad wanted a hit, and the album yielded none. She sang a version of the pop hit "Rainy Days and Mondays" by the Carpenters for Feelin' Good. This was followed by Live in Japan, her first live album since 1963. Sarah Vaughan and the Jimmy Rowles Quintet (1974) was more experimental, containing free improvisation and some unconventional scatting.

Send in the Clowns was another attempt to increase sales by breaking into the pop music market. Vaughan disliked the songs and hated the album cover depicting a clown with an afro. She filed a lawsuit against Shad in 1975 on the belief that the cover was inconsistent with the formal, sophisticated image she projected on stage. She also contended that the album Sarah Vaughan: Live at the Holiday Inn Lesotho had an incorrect title and that Shad had been harming her career. Although she disliked the album, she liked the song "Send in the Clowns" written by Steven Sondheim for the musical A Little Night Music. She learned it on piano, made many changes with the help of pianist Carl Schroeder, and it became her signature song.

In 1974, she performed music by George Gershwin at the Hollywood Bowl with the Los Angeles Philharmonic. The orchestra was conducted by Michael Tilson Thomas, who was a fan of Vaughan and invited her to perform. Thomas and Vaughan repeated the performance with Thomas' home orchestra in Buffalo, New York, followed by appearances in 1975 and 1976 with other symphony orchestras in the United States.

After leaving Mainstream, she signed with Atlantic and worked on an album of songs by John Lennon and Paul McCartney that were arranged by Marty Paich and his son, David Paich of the rock band Toto. She was enthusiastic to be more involved in the making of an album, but Atlantic rejected it on the claim that it contained no hits. "I don't know how they can recognize hits in advance", she said. Atlantic canceled her contract. She said, "I don't give a damn about record companies any more".

Rio and Norman Granz

In 1977, filmmaker Thomas Guy followed Vaughan on tour to film the documentary Listen to the Sun. She traveled throughout South America: Argentina, Columbia, Chile, Ecuador, and Peru. She was enamored of Brazil, as this was her third tour of Brazil in six years. In the documentary she called the city of Rio "the greatest place I think I've ever been on earth". Audiences were so enthusiastic that she said, "I don't believe they like me that much." After rejection by Atlantic, she wanted to try producing her own album of Brazilian music. She asked Aloísio de Oliveira to run the sessions and recorded I Love Brazil! with Milton Nascimento, Jose Roberto Bertrami, Dorival Caymmi, and Antonio Carlos Jobim.

She had an album but no label to release it, so she signed to Pablo run by Norman Granz. She had known Granz since 1948 when she performed on one of his Jazz at the Philharmonic tours. He was the record producer and manager for Ella Fitzgerald and the owner of Verve. After selling Verve, he started Pablo. He was dedicated to acoustic, mainstream jazz and had recorded Count Basie, Duke Ellington, and Clark Terry. In 1978 he recorded Vaughan's How Long Has This Been Going On?, a set of jazz standards with veteran jazz musicians Oscar Peterson, Joe Pass, Ray Brown, and Louis Bellson. The album was nominated for a Grammy Award. Pablo released I Love Brazil! and it, too, was nominated for a Grammy.

1982–89: Late career

In the summer of 1980 she received a plaque on 52nd Street outside the CBS Building (Black Rock) commemorating the jazz clubs she had once frequented on "Swing Street" and which had long since been replaced with office buildings. A performance of her symphonic Gershwin program with the New Jersey Symphony in 1980 was broadcast on PBS and won her an Emmy Award the next year for Individual Achievement, Special Class. She was reunited in 1982 with Tilson Thomas for a modified version of the Gershwin program, played again by the Los Angeles Philharmonic but this time in its home hall, the Dorothy Chandler Pavilion; the CBS recording of the concert Gershwin Live! won a Grammy for Best Jazz Vocal Performance, Female.

After the end of her contract with Pablo in 1982, she committed to a limited number of studio recordings. She made a guest appearance in 1984 on Barry Manilow's 2:00 AM Paradise Cafe, an album of pastiche compositions with established jazz musicians. In 1984, she participated in The Planet is Alive, Let It Live a symphonic piece composed by Tito Fontana and Sante Palumbo on Italian translations of Polish poems by Karol Wojtyla, better known as Pope John Paul II. The recording was made in Germany with an English translation by writer Gene Lees and was released by Lees on his private label after the recording was rejected by the major labels.

In 1985 Vaughan reconnected with her longstanding, continually growing European audience during a celebratory concert at the Chatelet Theater in Paris. Released posthumously on the Justin Time label, In the City of Lights is a two-disc recording of the concert, which covers the highlights of Vaughan's career while capturing a beloved singer at the height of her powers. Thanks in part to the hard-swinging telepathic support of pianist Frank Collett (who answers each of her challenges then coaxes the same from her), Sarah reprises Tad Dameron's "If You Could See Me Now" with uncommon power, her breathstream effecting a seamless connection between chorus and bridge. For the Gershwin Medley, drummer Harold Jones swaps his brushes for sticks to match energy and forcefulness that does not let up until the last of many encores.

In 1986, Vaughan sang "Happy Talk" and "Bali Ha'i" in the role of Bloody Mary on a studio recording by Kiri Te Kanawa and José Carreras of the score of the Broadway musical South Pacific, while sitting on the studio floor. Vaughan's final album was Brazilian Romance, produced by Sérgio Mendes with songs by Milton Nascimento and Dori Caymmi. It was recorded primarily in the early part of 1987 in New York and Detroit. In 1988, she contributed vocals to an album of Christmas carols recorded by the Mormon Tabernacle Choir with the Utah Symphony Orchestra and sold in Hallmark Cards stores. In 1989, Quincy Jones' album Back on the Block included Vaughan in a brief scatting duet with Ella Fitzgerald. This was her final studio recording. It was her only studio recording with Fitzgerald in a career that had begun 46 years earlier opening for Fitzgerald at the Apollo.

The video Sarah Vaughan Live from Monterey was taped in 1983 or 1984 with her trio and guest soloists. Sass and Brass was taped in 1986 in New Orleans with guests Dizzy Gillespie and Maynard Ferguson. Sarah Vaughan: The Divine One was part of the American Masters series on PBS. Also in 1986, on Independence Day in a program nationally televised on PBS she performed with the National Symphony Orchestra conducted by Mstislav Rostropovich, in a medley of songs composed by George Gershwin.

Death

In 1989, Vaughan's health began to decline, although she rarely revealed any hints of this in her performances. She canceled a series of engagements in Europe in 1989, citing the need to seek treatment for arthritis of the hand, although she was able to complete a series of performances in Japan. During a run at New York's Blue Note Jazz Club in 1989, she was diagnosed with lung cancer and was too ill to finish the last day of what would turn out to be her final series of public performances.

Vaughan returned to her home in California to begin chemotherapy and spent her final months alternating stays in the hospital and at home. She grew weary of the struggle and demanded to be taken home, where at the age of 66 she died on the evening of April 3, 1990, while watching a television movie featuring her daughter.

Her funeral was held at Mount Zion Baptist Church, 208 Broadway in Newark, New Jersey. Following the ceremony, a horse-drawn carriage transported her body to Glendale Cemetery, Bloomfield in New Jersey.

Comments about her voice

Parallels have been drawn between Vaughan's voice and that of opera singers. Jazz singer Betty Carter said that with training Vaughan could have "...gone as far as Leontyne Price." Bob James, Vaughan's musical director in the 1960s said that "...the instrument was there. But the knowledge, the legitimacy of that whole world were not for her ... But if the aria were in Sarah's range she could bring something to it that a classically trained singer could not."

In a chapter devoted to Vaughan in his book Visions of Jazz (2000), critic Gary Giddins described her as the "...ageless voice of modern jazz – of giddy postwar virtuosity, biting wit and fearless caprice". He concluded by saying that "No matter how closely we dissect the particulars of her talent ... we must inevitably end up contemplating in silent awe the most phenomenal of her attributes, the one she was handed at birth, the voice that happens once in a lifetime, perhaps once in several lifetimes."

Her obituary in The New York Times described her as a "singer who brought an operatic splendor to her performances of popular standards and jazz." Jazz singer Mel Tormé said that she had "...the single best vocal instrument of any singer working in the popular field." Her ability was envied by Frank Sinatra who said, "Sassy is so good now that when I listen to her I want to cut my wrists with a dull razor." New York Times critic John S. Wilson said in 1957 that she possessed "what may well be the finest voice ever applied to jazz." It was close to its peak until shortly before her death at the age of 66. Late in life she retained a "youthful suppleness and remarkably luscious timbre" and was capable of the projection of coloratura passages described as "delicate and ringingly high".

Vaughan had a large vocal range of soprano through a female baritone, exceptional body, volume, a variety of vocal textures, and superb and highly personal vocal control. Her ear and sense of pitch were almost perfect, and there were no difficult intervals.

In her later years her voice was described as a "burnished contralto" and as her voice deepened with age her lower register was described as having "shades from a gruff baritone into a rich, juicy contralto". Her use of her contralto register was likened to "dipping into a deep, mysterious well to scoop up a trove of buried riches." Musicologist Henry Pleasants noted, "Vaughan who sings easily down to a contralto low D, ascends to a pure and accurate [soprano] high C."

Vaughan's vibrato was described as "an ornament of uniquely flexible size, shape and duration," a vibrato described as "voluptuous" and "heavy" Vaughan was accomplished in her ability to "fray" or "bend" notes at the extremities of her vocal range. It was noted in a 1972 performance of Leslie Bricusse and Lionel Bart's "Where Is Love?" that "In mid-tune she began twisting the song, swinging from the incredible cello tones of her bottom register, skyrocketing to the wispy pianissimos of her top."

She held a microphone in live performance, using its placement as part of her performance. Her placings of the microphone allowed her to complement her volume and vocal texture, often holding the microphone at arm's length and moving it to alter her volume.

She frequently used the song "Send in the Clowns" to demonstrate her vocal abilities in live performance. The performance was called a "three-octave tour de force of semi-improvisational pyrotechnics in which the jazz, pop and operatic sides of her musical personality came together and found complete expression" by The New York Times.

Singers influenced by Vaughan include Phoebe Snow, Anita Baker, Sade, and Rickie Lee Jones. Singers Carmen McRae and Dianne Reeves both recorded tribute albums to Vaughan following her death; Sarah: Dedicated to You (1991) and The Calling: Celebrating Sarah Vaughan (2001) respectively.

Though usually considered a jazz singer, Vaughan avoided classifying herself as one. She discussed the term in a 1982 interview for Down Beat:

I don't know why people call me a jazz singer, though I guess people associate me with jazz because I was raised in it, from way back. I'm not putting jazz down, but I'm not a jazz singer ... I've recorded all kinds of music, but (to them) I'm either a jazz singer or a blues singer. I can't sing a blues – just a right-out blues – but I can put the blues in whatever I sing. I might sing 'Send In the Clowns' and I might stick a little bluesy part in it, or any song. What I want to do, music-wise, is all kinds of music that I like, and I like all kinds of music.

Personal life

Vaughan was married three times: to George Treadwell (1946–1958), to Clyde Atkins (1958–1961), and to Waymon Reed (1978–1981). Unable to bear children, Vaughan adopted a baby girl (Debra Lois) in 1961. Debra worked in the 1980s and 1990s as an actress under the name Paris Vaughan.

In 1977, Vaughan ended her personal and professional relationship with Marshall Fisher. Although Fisher is occasionally referenced as Vaughan's third husband, they were never legally married. Vaughan began a relationship with Waymon Reed, a trumpet player 16 years her junior who was playing with the Count Basie band. Reed joined her working trio as a musical director and trumpet player, and became her third husband in 1978.

She was a member of the Zeta Phi Beta sorority.

Awards and honors

The album Sarah Vaughan with Clifford Brown and the single "If You Could See Me Now" were inducted into the Grammy Hall of Fame, an award established in 1973 to honor recordings that are at least twenty-five years old and have "qualitative or historical significance." In 1985 she received a star on the Hollywood Walk of Fame, and in 1988 she was inducted into the American Jazz Hall of Fame.

In 1978, she was given an Honorary Doctorate of Music by Berklee College of Music.

In 2012, she was inducted into the New Jersey Hall of Fame. In 2004–2006, New Jersey Transit paid tribute to Vaughan in the design of its Newark Light Rail stations. Passengers stopping at any station on this line can read the lyrics to "Body and Soul" along the edge of the station platform.

She was given the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing.

San Francisco and Berkeley, California, made March 27 Sarah Lois Vaughan Day.

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FEBRUARY Clive Swift - Feb. 1 (TV Actor) Neal James - Feb. 1 (Reality Star) *Kristoff St. John - Feb. 3 (Soap Opera Actor) Julie Adams - Feb. 3 (TV Actress) Matti Nykanen - Feb. 4 (Skier) Albert Finney - Feb. 7 (Movie Actor) John Dingell - Feb. 7 (Politician) Frank Robinson - Feb. 7 (Baseball Player) Fabio Legarda - Feb. 7 (Reggaeton Singer) Cadet - Feb. 9 (Rapper) Ron W. Miller - Feb. 9 (Entrepreneur) Jan Michael Vincent - Feb. 10 (Movie Actor) Pedro Morales - Feb. 12 (Wrestler) Gordon Banks - Feb. 12 (Soccer Player) Bruno Ganz - Feb. 15 (Movie Actor) Saban Saulic - Feb. 17 (Folk Singer) Sean Milliken - Feb. 17 (Reality Star) *Karl Lagerfeld - Feb. 19 (Fashion Designer) Stanley Donen - Feb. 21 (Director) Beverley Owen - Feb. 21 (TV Actress) Peter Tork - Feb. 21 (Pop Singer) Brody Stevens - Feb. 22 (Comedian) Morgan Woodward - Feb. 22 (TV Actor) Clark James Gable - Feb. 22 (TV Actor) Lisa Sheridan - Feb. 25 (TV Actress) Mark Hollis - Feb. 25 (Rock Singer) Christian Bach - Feb. 26 (Soap Opera Actress) Nathaniel Taylor - Feb. 27 (TV Actor) Andre Previn - Feb. 28 (Composer) Anna Cunningham - Feb. 28 (TikTok Star)

MARCH Katherine Helmond - March 1 (TV Actress) Elly Mayday - March 1 (Model) Janice Freeman - March 2 (Pop Singer) **Luke Perry - March 4 (TV Actress) Keith Flint - March 4 (Pop Singer) Ted Lindsay - March 4 (Hockey Player) King Kong Bundy - March 4 (Wrestler) Chokoleit - March 9 (Comedian) Jed Allan - March 9 (Soap Opera Actor) Hal Blaine - March 11 (Drummer) Felicite Tomlinson - March 13 (Instagram Star) Mike Thalassitis - March 15 (Reality Star) Lil Mister - March 15 (Rapper) Dick Dale - March 16 (Guitarist) Richard Erdman - March 16 (TV Actor) Scott Walker - March 22 (Pop Singer) Agnes Varda - March 29 (Director) Nipsey Hussle - March 31 (Rapper)

APRIL Wowaka - April 5 (Pop Singer) Seymour Cassel - April 7 (Movie Actor) Mya-Lecia Naylor - April 7 (TV Actress) Earl Thomas Conley - April 10 (Country Singer) Bibi Andersson - April 14 (Movie Actress) Georgia Engel - April 15 (TV Actress) Black Jezuss - April 15 (Rapper) Alan García - April 17 (Politician) Lorraine Warren - April 18 (Supernatural Investigator) Julio Melgar - April 19 (World Music Singer) Stefanie Sherk - April 20 (TV Actress) Ken Kercheval - April 21 (TV Actor) Mark Medoff - April 23 (Playwright) John Singleton - April 29 (Director) **Peter Mayhew - April 30 (Movie Actor)

MAY   Rachel Jones - May 4 (Blogger) Rachel Held Evans - May 4 (Religious Author) Max Azria - May 6 (Fashion Designer) Jim Fowler - May 8 (TV Show Host) Peggy Lipton - May 11 (TV Actress) Pua Magasiva - May 11 (TV Actor) Alvin Sargent - May 11 (ScreenWriter) Elsa Patton - May 12 (Reality Star) Doris Day - May 13 (Movie Actress) *Grumpy Cat - May 14 (Cat) Tim Conway - May 14 (TV Actor) Isaac Kappy - May 14 (Movie Actor) I.M. Pei - May 16 (Architect) Ashley Massaro - May 16 (Wrestler) Bob Hawke - May 16 (World Leader) Herman Wouk - May 18 (Noveist) Niki Lauda - May 20 (Race Car Driver) Bart Starr - May 26 (Football Player) Gabriel Diniz - May 27 (World Music Singer) Bill Buckner - May 27 (Baseball Player) Susan Anne Christman - May 29 (Family Member) Leon Redbone - May 30 (Jazz Singer) Patricia Bath - May 30 (Inventor) Roky Erickson - May 31 (Rock Singer)

JUNE José Antonio Reyes - June 1 (Soccer Player) Ani Yudhoyono - June 1 (Political Wife) Dr. John - June 6 (Jazz Singer) Noemi Ban - June 7 (Non-Fiction Author) Curlyhead.kidd - June 8 (Instagram Star) Mary Duggar - June 9 (Reality Star) Bushwick Bill - June 9 (Rapper) Gabriele Grunewald - June 11 (Runner) Sylvia Miles - June 12 (Movie Actress) Sean McCann - June 13 (TV Actor) Edith González - June 13 (Soap Opera Actress) Franco Zeffirelli - June 15 (Director) Bishop Bullwinkle - June 16 (Soul Singer) Mohamed Morsi - June 17 (Politician) Gloria Vanderbilt - June 17 (Entrepreneur) Philippe Zdar - June 19 (DJ) Judith Krantz - June 22 (Novelist) Dave Bartholomew - June 23 (Songwriter) Stephanie Niznik - June 23 (TV Actress) Fame Reek - June 24 (Rapper) Billy Drago - June 24 (Moive Actor) Etika - June 25 (Youtube Star) **Beth Chapman - June 26 (Reality Star) Max Wright - June 26 (TV Actor) Hella Sketchy - June 27 (Rapper)

JULY Tyler Skaggs - July 1 (Baseball Player) Lee Iacocca - July 2 (Entrepreneur) Arte Johnson - July 3 (TV Actor) Chris Cline - July 4 (Entrepreneur) **Cameron Boyce - July 6 (TV Actor) Martin Charnin - July 6 (Director) Joao Gilberto - July 6 (Guitarist) *Rip Torn - July 9 (Movie Actor) Freddie Jones - July 9 (Movie Actor) **Denise Nickerson - July 10 (Movie Actress) Emily Hartridge - July 12 (Youtube Star) Bianca Devins - July 14 (Instagram Star) Rutger Hauer - July 19 (Movie Actor) Gabe Khouth - July 23 (Voice Actor) David Hedison - July 23 (TV Actor) Beji Essebsi - July 25 (Politician) Russi Taylor - July 26 (Voice Actress) Carlos Cruz-Diez - July 27 (Pop Artist) Dillon Henderson - July 28 (Youtube Star) The King of Random - July 29 (Youtube Star) Nick Buoniconti - July 30 (Football Player) Harold Prince - July 31 (TV Producer)

AUGUST Toni Morrison - Aug. 5 (Novelist) David Berman - Aug. 7 (Rock Singer) Ben Unwin - Aug. 14 (TV Actor) Peter Fonda - Aug. 16 (Movie Actor) Cedric Benson - Aug. 17 (Football Player) Gina Lopez - Aug. 19 (Environmentalist) Jessi Combs - Aug. 27 (TV Show Host) Valerie Harper - Aug. 30 (TV Actress)

SEPTEMBER Peter Lindbergh - Sept. 3 (Photographer) Carol Lynley - Sept. 3 (Movie Actress) Lashawn Daniels - Sept. 3 (Songwriter) Chris March - Sept. 5 (Fashion Designer) Jimmy Johnson - Sept. 5 (Guitarist) Robert Mugabe - Sept. 6 (World Leader) Robert Axelrod - Sept. 7 (Voice Actor) Camilo Sesto - Sept. 8 (World Music Singer) Robert Frank - Sept. 9 (Photographer) Daniel Johnston - Sept. 11 (Folk Singer) Eddie Money - Sept. 13 (Rock Singer) Ric Ocasek - Sept. 15 (Rock Singer) Phyllis Newman - Sept. 15 (Stage Actress) Suzanne Whang - Sept. 17 (TV Actress) Cokie Roberts - Sept. 17 (Journalist) Aron Eisenberg - Sept. 21 (TV Actor) Sid Haig - Sept. 21 (Movie Actor) Carl Ruiz - Sept. 21 (Chef) Robert Hunter - Sept. 23 (Songwriter) Linda Porter - Sept. 25 (TV Actor) Jacques Chirac - Sept. 26 (Politician) Jose Jose - Sept. 28 (World Music Singer) Jessye Norman - Sept. 30 (Opera Singer) Louie Rankin - Sept. 30 (Reggae Singer)

OCTOBER Karel Gott - Oct. 1 (Pop Singer) Kim Shattuck - Oct. (Rock Singer) Diahann Carroll - Oct. 4 (TV Actress) Ginger Baker - Oct. 6 (Drummer) Rip Taylor - Oct. 6 (Movie Actor) Larry Junstrom - Oct. 6 (Guitarist) David Weisman - Oct. 9 (Film Producer) *Robert Forster - Oct. 11 (Movie Actor) Kadri Gopalnath - Oct. 11 (Saxophonist) Sulli - Oct. 14 (TV Actress) Elijah Cummings - Oct. 17 (Politician) Alicia Alonso - Oct. 17 (Dancer) Bill Macy - Oct. 17 (TV Actor) Willie Brown - Oct. 22 (Football Player) Robert Evans - Oct. 26 (Film Producer) John Witherspoon - Oct. 29 (TV Actor)

NOVEMBER Rudy Boesch - Nov. 1 (Reality Star) Brian Tarantina - Nov. 2 (TV Actor) Walter Mercado - Nov. 2 (TV Show Host) Laurel Griggs - Nov. 5 (Stage Actress) Fred Cox - Nov. 20 (Football Player) Goo Hara - Nov. 24 (Pop Singer) Gary Rhodes - Nov. 26 (Chef) Godfrey Gao - Nov. 27 (Model)

DECEMBER Shelley Morrison - Dec. 1 (TV Actress) Ron Leibman - Dec. 6 (TV Actor) Juice WRLD - Dec. 8 (Rapper) Caroll Spinney - Dec. 8 (Puppeteer) Rene Auberjonois - Dec. 8 (TV Actor) Marie Fredriksson - Dec. 9 (Pop Singer) Philip McKeon - Dec. 10 (TV Actor) Danny Aiello - Dec. 12 (Movie Actor) Chuy Bravo - Dec. 14 (Reality Star) Mama Cax - Dec. 16 (Blogger) Claudine Auger - Dec. 18 (Movie Actress) Sue Lyon - Dec. 26 (Movie Actress) Don Imus - Dec. 27 (Radio Host)

[unsettlingstories]

A collection of complaints about the youth throughout history

The children now love luxury; they have bad manners, contempt for authority; they show disrespect for elders and love chatter in place of exercise. Children are now tyrants, not the servants of their households. They no longer rise when elders enter the room. They contradict their parents, chatter before company, gobble up dainties at the table, cross their legs, and tyrannize their teachers.

Socrates (Attributed) 4th Century BC

“[Young people] are high-minded because they have not yet been humbled by life, nor have they experienced the force of circumstances. ... They think they know everything, and are always quite sure about it.”

Rhetoric, Aristotle 4th Century BC

“The beardless youth… does not foresee what is useful, squandering his money.”

Horace 1st Century BC

Our sires' age was worse than our grandsires'. We, their sons, are more worthless than they; so in our turn we shall give the world a progeny yet more corrupt.

Book III of Odes, Horace circa 20 BC

In all things I yearn for the past. Modern fashions seem to keep on growing more and more debased. I find that even among the splendid pieces of furniture built by our master cabinetmakers, those in the old forms are the most pleasing. And as for writing letters, surviving scraps from the past reveal how superb the phrasing used to be. The ordinary spoken language has also steadily coarsened. People used to say "raise the carriage shafts" or "trim the lamp wick," but people today say "raise it" or "trim it." When they should say, "Let the men of the palace staff stand forth!" they say, "Torches! Let's have some light!" Instead of calling the place where the lectures on the Sutra of the Golden Light are delivered before the emperor "the Hall of the Imperial Lecture," they shorten it to "the Lecture Hall," a deplorable corruption, an old gentleman complained.

Tsurezuregusa (Essays in Idleness), Yoshida Kenkō 1330 - 1332

Youth were never more sawcie, yea never more savagely saucie . . . the ancient are scorned, the honourable are contemned, the magistrate is not dreaded.

The Wise-Man's Forecast against the Evill Time, Thomas Barnes 1624

... I find by sad Experience how the Towns and Streets are filled with lewd wicked Children, and many Children as they have played about the Streets have been heard to curse and swear and call one another Nick-names, and it would grieve ones Heart to hear what bawdy and filthy Communications proceeds from the Mouths of such...

A Little Book for Children and Youth - Being Good Counsel and Instructions for Your Children, Earnestly Exhorting Them to Resist the Temptation of the Devil, Robert Russel 1695

“Whither are the manly vigour and athletic appearance of our forefathers flown? Can these be their legitimate heirs? Surely, no; a race of effeminate, self-admiring, emaciated fribbles can never have descended in a direct line from the heroes of Potiers and Agincourt...”

Letter in Town and Country magazine republished in Paris Fashion: A Cultural History 1771

The total neglect of this art [speaking] has been productive of the worst consequences...in the conduct of all affairs ecclesiastical and civil, in church, in parliament, courts of justice...the wretched state of elocution is apparent to persons of any discernment and taste… if something is not done to stop this growing evil …English is likely to become a mere jargon, which every one may pronounce as he pleases.

A General Dictionary of the English Language, Thomas Sheridan 1780

The free access which many young people have to romances, novels, and plays has poisoned the mind and corrupted the morals of many a promising youth; and prevented others from improving their minds in useful knowledge. Parents take care to feed their children with wholesome diet; and yet how unconcerned about the provision for the mind, whether they are furnished with salutary food, or with trash, chaff, or poison?

Memoirs of the Bloomsgrove Family, Reverend Enos Hitchcock 1790

We remarked with pain that the indecent foreign dance called the Waltz was introduced (we believe for the first time) at the English court on Friday last … it is quite sufficient to cast one's eyes on the voluptuous intertwining of the limbs and close compressor on the bodies in their dance, to see that it is indeed far removed from the modest reserve which has hitherto been considered distinctive of English females. So long as this obscene display was confined to prostitutes and adulteresses, we did not think it deserving of notice; but now that it is attempted to be forced on the respectable classes of society by the civil examples of their superiors, we feel it a duty to warn every parent against exposing his daughter to so fatal a contagion.

The Times of London Summer, 1816

On the use of you in place of thou in speech:

I know not any we may so properly refer the grammar of the matter to, not only derides it, but bestows a whole discourse upon rendering it absurd : plainly manifesting, that it is impossible to preserve numbers, if You, the only word for more than one, be used to express one...

William Evans, ‎Thomas Evans 1837

...a fearful multitude of untutored savages... [boys] with dogs at their heels and other evidence of dissolute habits...[girls who] drive coal-carts, ride astride upon horses, drink, swear, fight, smoke, whistle, and care for nobody...the morals of children are tenfold worse than formerly.

Anthony Ashley Cooper, the 7th Earl of Shaftesbury, Speech to the House of Commons February 28, 1843

... see the simpering little beau of ten gallanting home the little coquette of eight, each so full of self-conceit and admiration of their own dear self, as to have but little to spare for any one else... and confess that the sight is both ridiculous and distressing... the sweet simplicity and artlessness of childhood, which renders a true child so interesting, are gone (like the bloom of the peach rudely nipped off) never to return.

"Children And Children's Parties", published in The Mothers' Journal and Family Visitant, S.B.S. 1853

Household luxuries, school-room steam-press systems, and, above all, the mad spirit of the times, have not come to us without a loss more than proportionate...[a young man] rushes headlong, with an impetuosity which strikes fire from the sharp flints under his tread...Occasionally, one of this class...amasses an estate, but at the expense of his peace, and often of his health. The lunatic asylum or the premature grave too frequently winds up his career...We expect each succeeding generation will grow "beautifully less."

“Degeneracy of Stature”, The National Era, Thrace Talmon December 18, 1856

A pernicious excitement to learn and play chess has spread all over the country, and numerous clubs for practicing this game have been formed in cities and villages...chess is a mere amusement of a very inferior character, which robs the mind of valuable time that might be devoted to nobler acquirements, while it affords no benefit whatever to the body. Chess has acquired a high reputation as being a means to discipline the mind, but persons engaged in sedentary occupations should never practice this cheerless game; they require out-door exercises--not this sort of mental gladiatorship.

Scientific American July, 1858

A mendacious umbrella is a sign of great moral degradation. Hypocrisy naturally shelters itself below a silk; while the fast youth goes to visit his religious friends armed with the decent and reputable gingham. May it not be said of the bearers of these inappropriate umbrellas that they go about the streets "with a lie in their right hand"?

“The Philosophy of Umbrellas”, Robert Louis Stevenson 1894

“‘We want to get married, but there is nowhere we can set up a house of our own. It is either a case of waiting goodness knows how long, and we've waited all the war, or, going to live with Mary's mother.’ How often is a similar remark heard in those days, for it is the problem that young people all over the country have to face. Thousands of young fellows have come home from the war intent on setting up a home with the girl of their heart only to find that there are no homes to be had… Many men, of course, have not waited for houses, but have got married and gone into rooms or to live with relatives, but neither course can be considered very satisfactory.”

Nowhere to Set Up House, Dundee Courier 1920

Never has youth been exposed to such dangers of both perversion and arrest as in our own land and day. Increasing urban life with its temptations, prematurities, sedentary occupations, and passive stimuli just when an active life is most needed, early emancipation and a lessening sense for both duty and discipline, the haste to know and do all befitting man's estate before its time, the mad rush for sudden wealth and the reckless fashions set by its gilded youth--all these lack some of the regulatives they still have in older lands with more conservative conditions.

The Psychology of Adolescence, Granville Stanley Hall 1904

“We defy anyone who goes about with his eyes open to deny that there is, as never before, an attitude on the part of young folk which is best described as grossly thoughtless, rude, and utterly selfish.”

The Conduct of Young People, Hull Daily Mail 1925

...[The screen artists'] beauty, their exquisite clothing, their lax habits and low moral standards, are becoming unconsciously appropriated by the plastic minds of American youth. Let them do what they may; divorce scandals, hotel episodes, free love, all are passed over and condoned by the young... The eye-gate is the widest and most easily accessible of all the avenues of the soul; whatever is portrayed on the screen is imprinted indelibly upon the nation's soul.

The Pentecostal Evangel November 6, 1926

The bad manners of all parliaments, the general tendency to connive at a rather shady business transaction if it promises to bring in money without work, jazz and Negro dances as the spiritual outlet in all circles of society, women painted like prostitutes, the efforts of writers to win popularity by ridiculing...the correctness of well-bred people, and the bad taste shown even by the nobility and old princely families in throwing off every kind of social restraint and time-honoured custom: all of these go to prove that it is now the vulgar mob that gives the tone.

Hour of Decision, Oswald Spengler (translated by C.F. Atkinson, 1942) 1933

“The Chairman alluding to the problem of young people and their English said his experience was that many did not seem able to express or convey to other people what they meant. They could not put their meaning into words, and found the same difficulty when it came to writing.”

Unable to Express Thoughts: Failing of Modern Young People, Gloucester Citizen

1936

“Probably there is no period in history in which young people have given such emphatic utterance to a tendency to reject that which is old and to wish for that which is new.”

Young People Drinking More, Portsmouth Evening News 1936

“Cinemas and motor cars were blamed for a flagging interest among young people in present-day politics by ex-Provost JK Rutherford… [He] said he had been told by people in different political parties that it was almost impossible to get an audience for political meetings. There were, of course, many distractions such as the cinema…”

Young People and Politics, Kirkintilloch Herald 1938

“Parents themselves were often the cause of many difficulties. They frequently failed in their obvious duty to teach self-control and discipline to their own children.”

Problems of Young People, Leeds Mercury 1938

“…in youth clubs were young people who would not take part in boxing, wrestling or similar exercises which did not appeal to them. The ‘tough guy’ of the films made some appeal but when it came to something that led to physical strain or risk they would not take it.”

Young People Who Spend Too Much, Dundee Evening Telegraph 1945

“How to bring young people into membership of the Church was a pressing problem raised at a meeting… Sunday School teachers in the audience had found that children were apt to leave Sunday School when they had completed their day school education. They were not following on into the church.”

Why Do Young People Neglect Religion?, Shield Daily News 1947

“It’s an irony, but so many of us are a cautious, nervous, conservative crew that some of the elders who five years ago feared that we might come trooping home full of foreign radical ideas are now afraid that the opposite might be too true, and that we could be lacking some of the old American gambling spirit and enterprise.”

The Care and Handling of a Heritage: One of the “scared-rabbit” generation reassures wild-eyed elders about future, Life 1950

“Many [young people] were so pampered nowadays that they had forgotten that there was such a thing as walking, and they made automatically for the buses… unless they did something, the future for walking was very poor indeed.”

Scottish Rights of Way: More Young People Should Use Them, Falkirk Herald 1951

“A few [35-year-old friends] just now are leaving their parents’ nest. Many friends are getting married or having a baby for the first time. They aren’t switching occupations, because they have finally landed a ‘meaningful’ career – perhaps after a decade of hopscotching jobs in search of an identity. They’re doing the kinds of things our society used to expect from 25-year-olds.”

Not Ready for Middle Age at 35, Wall Street Journal 1984

“What really distinguishes this generation from those before it is that it's the first generation in American history to live so well and complain so bitterly about it.”

The Boring Twenties, Washington Post 1993

“The traditional yearning for a benevolent employer who can provide a job for life also seems to be on the wane… In particular, they want to avoid ‘low-level jobs that aren’t keeping them intellectually challenged.’”

Meet Generation X, Financial Times 1995

“They have trouble making decisions. They would rather hike in the Himalayas than climb a corporate ladder. They have few heroes, no anthems, no style to call their own. They crave entertainment, but their attention span is as short as one zap of a TV dial.”

Proceeding with Caution, Time 2001

And one more reflection:

“He felt that the people who were giving that kind of charge, that sweeping condemnation, were generally out of touch with the young people… ‘I think that if we knew the boys and girls — and I am thinking particularly tonight the young people of Britain — of those modern times, we should feel that after all they are very much like ourselves. They think very much like ourselves only their expression of their thinking is a little bit different.’”

Modern Young People: ‘A Glorious Lot’, Cornishman 1934

Sources:

http://www.bbc.com/capital/story/20171003-proof-that-people-have-always-complained-about-young-adults

http://mentalfloss.com/article/52209/15-historical-complaints-about-young-people-ruining-everything

The Friends' Library: Comprising Journals, Doctrinal Treatises, and Other Writings of Members of the Religious Society of Friends - edited by William Evans, Thomas Evans

https://quoteinvestigator.com/2010/05/01/misbehaving-children-in-ancient-times/

Just thought you guys would find this cool. From here.

[grigori77]

2018 in Movies - My Top 30 Fave Movies (Part 2)

20.  OVERLORD – 2018’s chief runner-up for horror movie of the year is brash, noisy and spectacularly glossy, but also fiendishly inventive and surprisingly original given that it borrows its central concept from several older, schlockier offerings.  Originally touted as the fourth film in the Cloverfield “franchise”, time (and producer J.J. Abrams) has told, and this is in fact entirely its own thing – an action-packed horror thriller set in the explosive midst of World War II’s D-Day landings. Nearly the entire narrative thrust of the film revolves around US Army Private Ed Boyce (Fences’ Jovan Adepo), a gentle, shy draftee who’s part of an Airborne squad sent to jump in ahead of the Normandy invasion and knock out a German radio tower built on an old church, but when their plane gets shot down over the drop-zone he winds up one of a ragtag team of only five survivors, led by young but battle-hardened veteran Corporal Ford (Everybody Wants Some! star Wyatt Russell, son of Kurt), who insists they complete their mission.  When they reach the tower, however, they find the town under the control of an SS company led by Captain Wafner (Game of Thrones’ Pilou Asbæk), who spearheads an unholy experimental research project attempting to bring dead German soldiers back as unstoppable zombie killing machines.  It’s a deceptively simple premise, but from this little acorn has grown a mighty oak of a film, a thunderous, non-stop thrill-ride that cranks up the tension within minutes of the start and never lets up thereafter, keeping us drawn out on a knife’s edge for long stretches of unbearable suspense when it’s not hurling a series of intense and brutal set-pieces at us, some of the most bravura sequences playing out in audaciously long single-take tracking shots.  Relative newcomer director Julius Avery may have been an unknown quantity (he only had one feature to his name before this, so-so Aussie heist thriller Son of a Gun), but he’s taken to this challenging project like an old hand, showing the kind of amazing talent and seasoned skill that really make you want to see what he’s going to do next, while screenwriters Billy Ray (The Hunger Games, Captain Phillips) and Mark L. Smith (Vacancy, The Revenant) have taken the seemingly clichéd material and crafted something rewardingly fresh and inventively nasty, the kind of body horror gorehounds go proper nuts for. The cast are also uniformly excellent – Adepo is a likeably vulnerable hero who finds his courage over the course of the film, so his transition from timid boy to avenging badass is pleasingly believable, while Russell proves just how much like his dad he is by investing Ford with a fierce single-minded drive and an earthy physicality destined to make him a powerful action star; there’s also strong support from John Magaro (Not Fade Away, Jack Ryan) and Agents of SHIELD star Iain De Caestecker as fellow Airborne troops Tibbet and Chase and newcomer Mathilde Ollivier as Chloe, the tough, take-no-shit local girl who helps the squad, while Asbæk pretty much steals the film as Wafner, a major-league creepy, gleefully sadistic psychopath who’s just as memorably monstrous as his ruined creations.  Altogether this is a magnificent breakthrough for a promising new talent and one of the best action horrors I’ve seen in years, such a spectacular and memorable film it didn’t need the implied Cloverfield connection to get any attention.

19.  SICARIO 2: SOLDADO – screenwriter Taylor Sheridan has been a particularly strong blip on my one-to-watch radar for a few years now, impressing with modest sleeper hit Hell Or High Water and making an astonishing directorial debut with the (literal) ice-cold Wind River, but his greatest achievement remains 2015’s tour-de-force suspense thriller Sicario, the film that made his name and also turned up-and-comer director Denis Villeneuve into a genuine superstar (leading to him helming his masterpiece, Blade Runner 2049).  Straight away I wanna make it painfully clear – this is NOT as good as the first film, the lack of Emily Blunt’s spectacular character’s grounding presence and Villeneuve’s truly AWESOME flair meaning it just can’t reach its predecessor’s intoxicating heights.  But as sequels go this is an absolute belter, and there’s no denying Sicario’s dark and edgy world was one I was really itching to return to, so this is still an undeniable treat.  New director Stefano Sollima may not be the seminal master the man who kicked off the franchise is, but he’s certainly got some well-suited, heavyweight talent of his own, having cut his teeth on cult Italian crime shows like Gomorrah and Romanzo Criminale, and his own breakout thriller All Cops Are Bastards, and he definitely revives the first film’s oppressive moral darkness and relentless atmosphere of implied, inherent threat.  Blunt may be out, but her co-stars are back in the same fine form they displayed in their first outing – Josh Brolin is at his reliable best as slovenly CIA special ops master Matt Graver, his shit-eating grin present and correct even if he is still rocking his intimidating Deadpool 2 build, while Benicio Del Toro finally gets to take centre stage as his chief asset, Colombian lawyer-turned-assassin Alejandro Gillick, still itching for the chance to put the hurt on the brutal Mexican drug cartel that killed his family and destroyed his old life.  There’s still a strong female presence in the cast too – Transformers: the Last Knight’s Isabela Moner is a little spitfire of adolescent entitlement as Isabela Reyes, the kingpin’s daughter who becomes a pawn in Graver’s government-backed plan to trigger a cartel civil war and tear them apart from the inside, while the always excellent Catherine Keener is a dangerously classy ice queen as Cynthia Forbes, the high-ranking CIA controller overseeing the operation – while there’s quality support from the likes of Matthew Modine, Burn Notice’s Jeffrey Donovan (reprising his role from the first film as Graver’s lieutenant Steve Forsing) and a particularly memorable turn from Bruno Bichir as Angel, a deaf-mute Mexican farmer who’s suffered his own hardships at the hands of the cartels.  This is very much Del Toro’s film, though, the method master thoroughly inhabiting his role and once again bringing that dead-eyed lethality to bear while he paradoxically makes us care about and root for a ruthless, cold-blooded killer.  As with the first film, this is a simply MESMERISING thriller, gritty and edgy as it revels in its raw, forensic attention to detail, ruthless intelligence and densely-woven, serpent twisty plotting, and once again delivers magnificently in the action camp with a series of brutal, pulse-pounding bullet-riddled action sequences.  Enthralling, unflinching and beautiful in a desolate, windswept kind of way, this is every inch the sequel Sicario deserved, and thriller cinema at its best.  Taylor Sheridan’s written another winner.

18.  YOU WERE NEVER REALLY HERE – this unstoppable underdog sleeper hit is a twisted beast, a film that makes you so uncomfortable it’s almost unwatchable, but you can’t look away, nor would you really want to.  It’s a troubling film, but it’s INCREDIBLE.  Then again, it is pretty much what we’ve come to expect from acclaimed filmmaker Lynn Ramsay, writer/director of controversial but highly-regarded films like Ratcatcher, Morvern Callar and, of course, We Need To Talk About Kevin, and this adaptation of Jonathan Ames’ novel fits in with that lofty company like the missing piece in a jigsaw puzzle. It’s a short, (razor) sharp shock of a film, its slender 90 minute running time perfectly trimmed of excess fat, its breathless pace drawing us in while its pervading sense of impending doom keeps us uneasy.  Joaquin Phoenix delivers one of the best performances of his career as Joe, a combat veteran and former FBI agent who hires out his services rescuing kidnapped and trafficked girls, usually delivering brutal retribution on those responsible in the process; he’s also a very troubled human being, his crippling battle-trauma merely compounding much more deep-seeded damage resulting from a horribly abusive childhood, only able to find real peace caring for his housebound elderly mother (Orange Is the New Black’s Judith Anna Roberts).  So when his latest assignment from trusted handler John McCleary (The Wire and Gotham’s John Doman) – finding Nina (Wonderstruck’s Ekaterina Samsonov), the missing daughter of New York Senator Albert Votto (Alex Manette) – goes horribly wrong, Joe finds his world imploding and lashes out with all the bloodthirsty violence he can muster.  Phoenix is mesmerising, his deceptively subtle performance hinting at a human being mentally unravelling before our eyes, but he’s also like a cornered beast when roused, attacking enemies (both real and perceived) with wince-inducing viciousness; Samsonov and Roberts are both similarly impressive, while a late entrance from 90s indie darling Alessandro Nivola is a welcome, game-changing breath of fresh air.  Typically for Ramsay, this is a work of mood and atmosphere first and foremost, an air of breathy anticipation and moody introspection colouring many scenes, but she still weaves a compelling story and quickens the pulse with some blistering, blood-soaked set-pieces, rushing us along on a heady mix of righteous fury and troublingly twisted catharsis before dumping us, breathless and shell-shocked, at the unsettling yet strangely uplifting climactic denouement. This was one of the year’s most haunting films, and further proof of the undeniable talents of one of cinema’s most important filmmakers.

17.  FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD – 2016 saw stratospherically successful author J.K. Rowling return to the Wizarding World she created in her Harry Potter books with a completely original film set decades before that series, introducing us to a new, albeit much earlier group of magical adventurers, chief among them Newt Scamander (Eddie Redmayne), a kind, oddball and brilliantly intelligent expert on mystical, supernatural creatures.  The film was, inevitably, a massive hit, guaranteeing a follow-up (or four, as we’re now being guaranteed no less than FIVE films in total in this new series), and two years later we return to the Wizarding World of the late 1920s to find things are getting a little darker and A LOT more dangerous.  Notorious dark wizard Gellert Grindelwald (Johnny Depp), captured at the end of the first film, has escaped his prison (in the film’s most spectacular, jaw-dropping set-piece) and is now hiding out in Paris, gathering his supporters and searching for the ultimate weapon which will help him in his dastardly plot to enslave the muggles – Credence Barebone (Justice League’s Ezra Miller), the powerful Obscurus who survived his apparent death in New York and is now searching for the truth about who he really is. Grindelwald isn’t the only one hunting him – aurors from the British and American Ministries of Magic are hot on his trail, among others, while Hogwarts teacher Professor Albus Dumbledore (Jude Law) has convinced his favourite former student, Newt, to try and find him before he can be killed or corrupted.  David Yates, the director of ALL Rowling adaptations since Harry Potter & the Goblet of Fire, has consistently brought this rich, exotic and endlessly inventive world to potent, vital life on the big screen, and his SEVENTH tour of duty proves to be no exception – this is EXACTLY the kind of rip-roaring fantastical romp we’ve come to expect from his collaborations with Rowling, albeit taking a turn into darker, more grown-up territory for this second chapter in the new saga as the stakes are raised and the first battle-lines are drawn.  There are revelations and twists and surprises aplenty throughout, some genuine jaw-dropping, gut-punch moments among them, and it moves the story into particularly fertile ground for what’s still to come.  The returning cast are just as impressive this time around, each character arc moving forward in interesting and compelling ways – Redmayne is as likeable as ever as Newt, but invests fresh purpose and a new, steely resolve now he’s chosen a side in the conflict to come, while it’s fascinating (and more than a little heartbreaking) watching Jacob and Queenie (Dan Fogle and Alison Sudol), the star-crossed muggle/witch lovers, tackle the harsh realities of their problematic romance, and Miller is deeply affecting as a lost soul desperate for long-hidden truths and a sense of belonging – and there are some equally notable (relatively) new faces added to the roster too – Claudia Kim’s Nagini, the soulful Maledictus tragically cursed to someday become trapped in the form of Voldemort’s giant snake, is frustratingly underused but extremely memorable nonetheless, and I can only hope we’ll get a more substantial introduction to Newt’s more confident and successful war hero brother Theseus (Callum Turner) in future instalments, but Zoe Kravitz gets a killer role as the third point in the Scamander love triangle, Leta Lestrange, Newt’s oldest and closest friend but Theseus’ fiancée, and she’s FANTASTIC throughout, while Depp finally gets to really sink his teeth into the role of the most feared man in the Wizarding World until You-Know-Who showed up, investing Grindelwald with just the kind of subtle, seductive brilliance needed to make him such a compelling villain.  The best new addition, however, is Jude Law, the THIRD actor to date to play Dumbledore, and I’m sorely tempted to say he might be the best of the bunch, PERFECTLY capturing the cool ease and irreverent charm of Rowling’s character as well as (obviously) lending him a much more vital, youthful swagger that’s sure to serve him well in the subsequent films.  This has proven to be something of a marmite film, dividing opinions and being called “needlessly complicated” or “overburdened”, but I never saw that – there’s much to enjoy here, and it feels as fresh, rewarding and downright entertaining as any of its predecessors.  As far as I’m concerned this leaves the series in SPECTACULAR shape, and I can’t wait to see where we go from here.

16.  FIRST MAN – when it comes to true life tales of great courage and epic achievement, you can’t get much bigger than the first man to walk on the Moon, and it’s a subject that’s been revisited again and again over the years.  And yet, until now there’s never really been a film that’s truly brought it to true vivid life like other space-exploration stories have in the lofty likes of Apollo 13 and The Right Stuff.  It seems like Hollywood had to think outside the box to get this one to work, and it turns out that Damien Chazelle, Oscar-winning director of La La Land and Whiplash, was the offbeat talent for the job. Taking a much more gritty, documentary-style approach to the story, he presents the story of NASA’s immensely ambitious Apollo programme as a low-key procedural, seeming far more interested in the nuts-and-bolts details than the grand, sweeping adventures of legend. That’s not to say that there aren’t big moments – there are PLENTY, from a terrifyingly claustrophobic sequence revolving around a life-threatening malfunction during one of the earlier, feet-finding capsule flights to the stirring, spectacular Moon-landing itself – but many of the film’s biggest fireworks are emotional, which is just where Chazelle seems to be moist comfortable.  The film is thoroughly DOMINATED by his regular acting collaborator Ryan Gosling, whose characteristic laconic internalisation is a perfect fit for Neil Armstrong, a man trapped at the heart of immense historical events and haunted by deep personal tragedy who nonetheless maintains a steely cool and perfectly professional demeanour, but Claire Foy is just as important as Armstrong’s much put-upon wife Janet, whose emotional turmoil in the face of his potential impending death is a harrowing thing, and she delivers a mesmerizingly powerful performance that proves the perfect ferocious fire to Gosling’s understated ice; there’s also a truly stunning ensemble supporting cast on offer here, an embarrassment of riches that includes Jason Clarke, Kyle Chandler, Patrick Fugit, Shea Whigham and the mighty Ciaran Hinds.  Chazelle has directed another cracker here, emotionally rich and endlessly fascinating, visually unique and consistently surprising, with the kind of power and pathos that all but GUARANTEES great things to come during Awards season, and he’s helped enormously by a cracking script from Oscar-winning Spotlight writer Josh Singer and an offbeat but thoroughly arresting score from his regular musical collaborator Justin Hurwitz.  Challenging, uplifting and impossible to forget, this truly deserves to be ranked among the other great Space Race movies.

15.  BUMBLEBEE – I find it telling, and maybe a little damning, that it wasn’t until Michael Bay stepped back from the director’s chair and settled for the role of producer that we FINALLY got a truly GREAT Transformers movie.  There’s no denying his films have been visually striking and certainly diverting, but even at their best they were loud, dumb throwaway fun, while at their worst they pretty much SHAT on our collective nostalgic memory of their source material.  When this new “standalone” film was first announced, I was deeply sceptical, expecting more of the same, a shameless cash-in on the popularity of one the robotic cast’s most iconic members.  How glad I am to have been proven wrong for once – Bumblebee is much more than just a shot in the arm for a flagging franchise, it’s a perfect chance for them to start again, a perfectly pitched, stripped back little wonder that finally captures the true wonder and pure, primary-coloured FUN of the original toy line and Saturday morning cartoon show. It also marks the live-action debut of director Travis Knight, who cut his teeth creating stunning stop-motion animation for Laika (makers of Coraline) before bringing the studio monumental acclaim with his first helming gig on the AWESOME Kubo & the Two Strings, and he proves JUST as adept at wringing powerful, palpable emotions from flesh-and-blood (and digital) actors as he is with miniature wire-frame puppets.  Essentially a prequel/origin story, this tells the story of how lone Autobot scout Bumblebee first came to Earth, and it’s a much simpler and more archetypal film than we’re used to, a cool simplification that works wonders – he’s back in his classic VW Beetle chassis and a good deal more vulnerable now, while this might be the best we’ve seen Hailee Steinfeld, who stars as Charlie Watson, the 19-year old girl he befriends.  She’s an awkward, geeky kid, cast adrift by recent loss and trying to make things right in her life again, and her VERY unique new car certainly fills a major gap for her; Love, Simon’s Jorge Lendeborg is a lovably dorky puppy-dog as her new next-door neighbour and would-be boyfriend Memo, while Californication’s Pamela Adlon is sweet but steely as Charlie’s good-natured but somewhat exasperated mother Sally; the film is frequently stolen, however, by the mighty John Cena, who’s always had a powerful gift for comedy and is clearly having the time of his life hamming it up as he gamely pastiches his action hero persona.  There’s also a refreshing drop in the number of robots on display here – with Transformers, less is clearly more, and there’s far greater pleasure to be had in watching Bumblebee on his own trying to hold his own against the film’s two main savage villains, Decepticon headhunters Shatter (voiced with creepy confidence by Angela Bassett) and Dropkick (a brilliantly sociopathic turn from Justin Theroux), both of whom are MUCH more well-drawn than the series’ average bad guys.  This is a FANTASTIC film, the Transformers movie we’ve always deserved – the 80s period setting is EXQUISITELY captured (from the killer soundtrack to Charlie’s whole punk rock vibe, clearly styled after Joan Jett), the general tone is played very much for laughs but the humour no longer feels forced or childish, much more sophisticated here than in the average Bay-fest, and there are some spectacular action sequences that are this time VERY MUCH in service to the story.  The film was written by relative newcomer Christina Hodgson, mostly just known for Unforgettable while three of her screenplays languish on the Black List of Hollywood’s best unproduced scripts, and on the strength of this I CAN’T WAIT to see more from her – she’s already penned the coming Birds of Prey movie for DC, which I’m absolutely champing at the bit to see, and has now been signed up to write the Batgirl movie too, so we shouldn’t have long to wait.  This has already been favourably compared to The Iron Giant, one of my favourite animated features EVER, and I can wholeheartedly agree with that opinion – this is EXACTLY what we’ve been waiting for in a Transformers movie, and if it’s a sign of things to come then I wholeheartedly approve.  More of this, please!

14.  READY PLAYER ONE – Steven Spielberg is one of my very favourite directors, a peerless master of cinema whose iconic blockbusters have fuelled my imagination and captured my heart since early childhood.  Of course, he’s also a hugely talented auteur whose more serious work is rightly regarded as some of the most important moving picture art of all time (Schindler’s List is, of course, a given, but I for one am also MASSIVELY enamoured of the undeniable power and uncompromising maturity of Munich), but I’ve always found him at his best when he makes films to entertain the popcorn-munching masses. His most welcome return to true escapist cinema comes in the form of a magnificent adaptation of the one of the most singularly geeky novels of the 21st Century, Ernest Cline’s meticulous love letter to 80s pop culture and nerd nostalgia, a book which was itself HEAVILY influenced by Spielberg’s own most enduring works.  There’s something deeply meta in him tackling the material, then, but the Beard keeps his own potentially self-serving references to the bare minimum, instead letting the book’s other major influences come to the fore as well as allowing Cline himself (adapting his own book alongside Marvel heavyweight Zak Penn (X2 and The Avengers to name but a few) to introduce some new elements of his own.  There’s some definite streamlining, but it’s always in service to the story and helps things to work as well as they can cinematically, and besides, NO ONE does this kind of thing better than the Beard … anyway, to the uninitiated, RPO takes place in and around the OASIS, the gargantuan VR universe that the overpopulated, rundown world of the future has become ubiquitously addicted to, now considered the Earth’s greatest resource, and the setting for an epic hunt for an “Easter Egg” left by its deceased wunderkind creator, James Halliday (another brilliant, immersive turn from Spielberg’s current favourite acting collaborator, Mark Rylance), which will bestow its discoverer with unimaginable riches and ownership of the OASIS itself.  The main thrust of the story is the battle of wills between geeky slum kid “Gunter” (essentially a pop culture-obsessed treasure hunting expert on all things Halliday) Wade Watts, aka Parzival (X-Men’s Tye Sheridan) and Nolan Sorrento (Ben Mendelsohn), the reptilian CEO of IOI (Innovative Online Industries), the evil multinational that wants to seize control of the OASIS, no matter the cost – it’s a high stakes game indeed, as Wade finds his actions in the wild, imagination-is-the-only-limit online world can have very serious consequences on his own life in reality.  It’s suitably exciting and action packed then, but there’s a real sense of fun and irreverent joy to proceedings that’s been somewhat lacking from many of Spielberg’s films of late, especially in the insane inventiveness of the OASIS itself, a universe where you can be and do absolutely ANYTHING, and where Halliday’s nostalgic pop culture loves have been embraced by society at large in  MAJOR WAY … hence the GIGANTIC potential for spot-the-reference in virtually every scene – seriously, this is one of those movies that REALLY rewards repeat viewing.  Sheridan is a very likeable hero, a plucky and resourceful young dreamer you can’t help rooting for, while Mendelsohn gave us one of the year’s best screen villains, the kind of oily scumbag you just love to hate; Bates Motel’s Olivia Cooke is just the spunky little badass you imagined fellow Gunter Art3mis to be, but with bonus realism and vulnerability, Master of None actress/writer Lena Waithe is pleasingly awkward in spite of her intimidating avatar as Wade’s best friend Aech, T.J. Miller frequently steals the film as intimidating but seriously nerdy bounty hunter I-ROK, and Philip Zhao and Win Morisaki make for a lovably goofy double act as samurai/ninja obsessives Shoto and Daisho, while Simon Pegg is his usual warm and fuzzy self as OASIS co-creator Ogden Morrow.  This is a gloriously OTT visual extravaganza brimming with fandom appeal and MASSIVE nostalgia value, a thrilling escapist adventure packed with precision-crafted and endlessly inventive action, and a consistently laugh-out-loud comic classic stuffed with knowing one-liners and genius sight gags … and of course, this being Spielberg, TONS of emotional heft and genuine, saccharine-free pathos.  I could gripe about the fact that without John Williams on the score it doesn’t feel QUITE right, but that would be a lie – the choice to instead go with Alan Silvestri is actually a genius fit for the film, the composer unleashing his very best work since the Back to the Future trilogy.  This is EXACTLY what we’ve come to expect from the original MASTER of the popcorn-crowd blockbuster, and it’s a genuine pleasure to have him back doing what he does best.

13.  INCREDIBLES 2 – writer-director Brad Bird (The Iron Giant, Mission: Impossible – Ghost Protocol, Tomorrowland) is the man responsible for what I consider to be Disney-affiliated animation studio Pixar’s finest hour – forget Toy Story, Finding Nemo or Inside Out (although I admit they’re also f£$%ing awesome), 2004’s The Incredibles is where I place my allegiances.  Of course, it helps that Bird and co essentially created an unofficial Fantastic Four movie four years before the MCU even got started, back when the X-Men movies were in their prime the first time round – I’m an unashamed comic book geek and I LOVE superhero movies, so this was cinematic catnip for me. Needless to say, like many other instant fans I CRIED OUT for more, and got increasingly restless as Pixar cranked out sequel after sequel for their other big hitters but remained frustratingly silent on the matter of their own super-family.  Finally (and, interestingly, just as the MCU celebrated its own tenth anniversary) they delivered, and MY GOD what a gem it is. Brad Bird has achieved the impossible, matching the first film for wow-factor and geek-gasm, picking up RIGHT where the first film left off (seriously, we finally get to see the chaos that ensued after John Ratzenberger’s Underminer emerged in The Incredibles’ closing moments) with an instantly familiar yet refreshingly different tale of newly-united super-family the Parrs as they make their faltering first steps as a bona fide superhero TEAM.  I don’t want to give much more away – this is a film best watched good and cold – suffice to say that father Bob/Mr Incredible (Poltergeist’s perfect screen dad, Craig T. Nelson) and mother Helen/Elastigirl (the always wonderful Holly Hunter) face new challenges as they attempt to balance their revitalised crime-fighting careers with keeping their family from imploding under the weight of much more down-to-earth problems, from daughter Violet (Sarah Vowell) suffering teenage heartbreak to son Dash (Huckleberry Milner, taking over for previous vocal talent Spencer Fox) struggling with “New Math” … as well as, in one of the film’s strongest storylines, infant Jack-Jack’s newly-emerged superpowers, which lead to some BRILLIANT moments of truly inspired humour and occasional full-on WEIRDNESS.  Needless to say the external fireworks are just as impressive as the domestics – there’s a cool new villain in the form of tech-savvy puppet-master the Screenslaver (Bill Wise), who puts Helen through her paces as she stumbles onto a truly diabolical criminal conspiracy – the set-pieces are as strong as the first film’s, a spectacularly ballistic chase after a runaway train particularly impressing, while Bird and co have come up with rewardingly fresh moments to up the power ante from the series opener and show off the established characters’ talents in new ways, as well as introducing some great new supers to the mix (pick of the crop is Sophia Bush’s lovably awkward wormhole-juggler Void). The returnees are all as strong as they were first time round (including Samuel L. Jackson’s super-cool iceman Frozone), while there are memorable new faces to enjoy too, particularly the Incredibles’ born-fanboy tycoon sponsor Winston Deavor (Breaking Bad/Better Call Saul’s Bob Odenkirk) and his cynical scientist sister Evelyn (Catherine Keener), but once again the film is thoroughly stolen by Bird himself, even more hilarious in his short but ever-so-sweet role as thoroughly unique fashion mogul Edna Mode.  Fun, thrilling and packed with DEEP belly-laughs, this is JUST as strong as the first film, a pitch-perfect continuation that pays off its predecessor beautifully while boldly carving new ground for what looks set to be a bright future indeed … let’s just hope we don’t have to wait another FOURTEEN YEARS this time round, okay?

12.  ANT-MAN & THE WASP – 2018 was indeed the Marvel Cinematic Universe’s TENTH ANNIVERSARY, and their summer season offering OFFICIALLY made it three for three in the year’s hit parade, following runaway smash Black Panther and Avengers: Infinity War, the culmination of the ten year big screen phenomenon that began with Iron Man way back in 2008.  In the heady aftermath of the series’ all-conquering behemoth, the second screen outing of the Avenger’s “smallest” member may seem like something of an afterthought, but trust me, this is anything but.  The last time we saw Scott Lang (Paul Rudd), he was languishing in a hi-tech prison after coming to Captain America’s aid in 2016’s Civil War, and his absence from the Infinity War roster was not only noticeable but truly frustrating, but now, at last, we find out WHY he was a no-show.  Scott took a deal to protect his family, and is now finishing up a two year stint under house arrest, clearly going a little stir-crazy as a result, but he’s been able to stay in touch with his beloved daughter Cassie (Abbie Ryder Fortson, still adorable but growing up REALLY FAST) and form a new security firm with his best friend Luis (Michael Peña), cleverly named “X-Con Security”.  He’s also been long out of contact with his mentor and original Ant-Man Hank Pym (Michael Douglas) and his maybe girlfriend Hope Van Dyne (Evangeline Lilly), Hank’s daughter, after essentially stealing the Ant-Man suit to go break the law in Germany, thus turning his one-time allies into wanted fugitives, but they re-enter his life at the worst possible time when it becomes clear that Scott holds the key to returning Hank’s wife Janet (a small but potent role for Michelle Pfeiffer) from the seemingly impenetrable reaches of the Quantum Realm.  With us so far?  Yeah, the plot’s a bit of a head-spinner – and it gets even MORE complicated once a brand new threat emerges in the form of the Ghost (Killjoys’ Hannah John-Kamen), a lethal assassin who can phase through various physical states (frequently turning her into a LITERAL phantom), who’s determined to get her hands on Hank’s new quantum tunnelling tech – but as with the first film (and its closest MCU kin, the Guardians of the Galaxy), this is really just the backdrop for another laugh-out-loud comedy caper.  Returning director Peyton Reed now officially makes Ant-Man his own (finally getting out from under the big shadow cast by the first film’s almost-helmer Edgar Wright), cranking the laugh-meter up even higher while also increasing the emotional weight and underlying dramatic heft of the central plot, as the dysfunctional surrogate family of Team Pym struggle to get back together after circumstances tore them apart – there are moments of genuine, heartstring-tugging power strung throughout, although they really just serve to temper the steady string of snappy one-liners, inspired sight-gags and, of course, Peña’s constant, riotous scene-stealing.  He really does come dangerously close to running away with the entire film, but the rest of the cast are too strong to really let that happen – Rudd is really getting into the whole action-man thing now, but he remains consistently, pitch-perfectly HILARIOUS, while Lilly finally gets to properly jump into the action herself now that Hope has officially succeeded her mother as the second generation of the Wasp, Ant-Man’s hard-hitting, high-flying and seriously badass partner, and Michael Douglas gets a much bigger, far more active role this time round.  This film’s weak-link may be its villain, with the Ghost ultimately proving a little one-note and ineffectual as a threat, but there’s no denying John-Kamen is a spectacular actress with a bright future, and her character certainly is distinctive, with a tragic back-story and personal drive that makes her rewardingly sympathetic; besides, there’s additional antagonism from slimy black market dealer Sonny Burch (the ever-reliable Walton Goggins), who’s also out to steal Hank’s tech, and The Interview’s Randall Park as Jimmy Woo, the brilliantly nerdy FBI agent keeping a close eye on Scott, while Laurence Fishburne is complex and ambiguous as Hank’s bitter one-time project partner Bill Foster.  Reed once again delivers big-time on the action front too, wrangling some cracking fights and chases to get pulses racing amidst all the laughs, as well as finding plenty of inspired new ways to shake things up with Scott and Hope’s abilities to shrink (and now grow to truly MASSIVE scale) at will, and everything builds to a pleasingly powerful but also very fun ending that makes this a perfect family-night-out movie.  And, of course, there’s also two cut-scenes interspersing the end credits – the second is amusing but ultimately throwaway, but the first is CRUCIALLY important to the post-Infinity War playing field of the series as a whole.  Ultimately this was the LEAST impressive of the year’s MCU offerings, but that’s not a detraction – it’s just that, while this is really awesome, its predecessors are just EVEN MORE so.  Another absolute winner from Marvel, then.

11.  HOLD THE DARK – Neflix Originals’ best feature film of 2018 was this revenge thriller from Jeremy Saulnier, acclaimed director of Blue Ruin and Green Room, which marks his fourth collaboration with lifelong friend and regular acting collaborator Macon Blair (here also serving as screenwriter), adapted from the novel by William Giraldi.  It’s a dark, bleak and introspective affair, an approach which goes well with its absolutely stunning but bitterly inhospitable Alaskan wilderness setting, an environment which, through Saulnier’s eye and the stylish lens of cinematographer Magnus Nordenhof Jønck, is as brutal and bloodthirsty as it is beautiful.  Jeffrey Wright is typically understated but majestic as Russell Core, a writer who studies the behaviour of wolves, who is drawn to the remote Alaskan town of Keelut by grieving mother Medora Sloane (Mad max: Fury Road’s Riley Keough), who wants him to hunt the wolf she claims is responsible for killing her six year old son so she has something to show to her husband, Vernon (Alexander Skarsgård), when he returns from the war in Iraq. Soon enough, however, it becomes clear to Core that something else is going on in Keelut, and the deeper he digs for the truth the more horrific the revelations become, leading to deadly confrontations and a whole lot of blood.  Saulnier is a master at creating a relentless atmosphere of skin-crawling dread and unbearable tension, taking his time building the suspense to breaking point before finally unleashing all that pent up pressure in one hell of a centrepiece set-piece, a blistering, drawn-out shootout in the snow that’ll leave fingernails bitten down to the quick, but he also frequently exercises a flair for subtle, contemplative introspection, just as happy to let quieter moments breathe to create scenes of breathless, aching beauty or eerie, haunting discomfort.  Wright is a strong, grounding influence throughout the film, further anchored by the simple, honest decency of James Badge Dale’s put-upon small-town sheriff Donald Marium, but most everyone else is damaged or downright twisted in one form or another – Keough is truly batshit crazy, floating through the film like a silent wraith with big empty eyes, while Skarsgård is a stone-cold killing machine as he embarks on a relentless, blood-soaked quest for vengeance, and relative unknown Julian Black Antelope sears himself into your memory as vengeful grief drives him to explosive self destruction.  This is a desolate and devastating film, but there are immense rewards to be found in its depths, and there’s a sense of subtle, fragile hope in to be found in the closing moments – this film is guaranteed to stay with you long after the credits have rolled, another gold-standard thriller from two truly masterful talents.

[tuseriesdetv]

Noticias de la semana: Las cuatro nuevas series de 'Juego de Tronos'

El futuro de Game of Thrones

HBO ya ve cerca el final de Juego de Tronos y empieza a pensar en el futuro de la franquicia. La cadena ha comenzado a hablar con George R.R. Martin y otros cuatro guionistas para desarrollar cuatro series que explorarían historias de distintas épocas de este universo, sin aclarar si serían precuelas, secuelas o spin-offs. Estos guionistas son Max Borenstein (Kong: Skull Island, Minority Report), Jane Goldman (Kick-Ass, Kingsman), Brian Helgeland (Mystic River, A Knight's Tale) y Carly Wray (Mad Men, The Leftovers), que no tienen ninguna relación con la serie original. Weiss y Benioff no están unidos a estos proyectos actualmente, pero serían productores ejecutivos de cualquiera de ellos junto a Martin si llegasen a materializarse. Sin prisa, su futuro depende de los guiones. [Fuente]

Eric Dane pide una pausa

Tras volver de dos semanas de vacaciones, la producción de The Last Ship vuelve a detenerse hasta el 29 de mayo a petición de Eric Dane, que quiere tratar su depresión. En 2011, Dane buscó ayuda profesional para su adicción a los analgésicos prescritos tras una lesión deportiva. Todavía no hay fecha de estreno de la cuarta temporada, pero no se esperan retrasos ya que se ha completado su grabación. Ya se centran en la quinta, que se emitirá en 2018. [Fuente]

Renovaciones de series

Hulu ha renovado The Handmaid's Tale por una segunda temporada

SundanceTV ha renovado Hap and Leonard por una tercera temporada

Hulu ha renovado Freakish por una segunda temporada

Sky1 ha renovado Jamestown por una segunda temporada

BBC One ha renovado Line of Duty por una sexta temporada

ITV2 ha renovado Plebs por una cuarta temporada

Cancelaciones de series

FOX ha cancelado Pitch tras su primera temporada

NBC ha cancelado Emerald City tras su primera temporada

Incorporaciones y fichajes de series

Anna Paquin (True Blood, X-Men) y Terrence Howard (Empire, Wayward Pines) protagonizarán el episodio "Real Life" de Electric Dreams. Serán una agente de policía y un diseñador de juegos que se unen para atrapar peligrosos asesinos.

Alec Baldwin (30 Rock, Saturday Night Live) será George Tenet, exdirector de la CIA, en The Looming Tower, la miniserie de Hulu sobre el 11-S.

Will Chase (Nashville, Smash) será recurrente en la segunda temporada de Stranger Things como Neil Mayfield, padre de una familia recién llegada a Hawkins.

The Guest Book, la nueva comedia de TBS sobre los huéspedes de un hotel en un pueblo de montaña, tendrá a Kellie Martin (Life Goes On), Charlie Robinson (Hart of Dixie, Night Court), Aloma Wright (Suits, Scrubs), Carly Jibson, Lou Wilson, Garret Dillahunt (Raising Hope, The Mindy Project), Laura Bell Bundy (Anger Management, Hart of Dixie) y Eddie Steeples (My Name is Earl). También contará con Margo Martindale, Danny Pudi, Jenna Fischer, Kate Micucci, Jaime Pressly, Stockard Channing, Michael Rapaport, Andrew J. West, John Ortiz, David Zayas, Shannon Woodward, Stephnie Weir, Tommy Dewey, Lauren Lapkus, Michaela Watkins y Mary Lynn Rajskub como invitados.

Sheryl Lee Ralph (Moesha, Instant Mom) y Carly Jibson serán recurrentes en la segunda temporada de One Mississippi.

Joel Johnstone (Getting On, The Astronaut Wives Club) y Caroline Aaron (Edward Scissorhands, Cellular) serán recurrentes en The Marvelous Mrs. Maisel como Archie, compañero de trabajo y mejor amigo de Joel Maisel (Michael Zegen), y Shirley Maisel, la madre de Joel.

Efrat Dor (The Zookeeper's Wife, Asfur) será recurrente como Katrina, esposa de la alcaldesa Antonia Peña (Alexandra Barreto), en Mayans MC, todavía en fase de piloto.

Izzie Steele (Pillow Talk) será recurrente en Dirk Gently como Tina Tevetino, agente de policía.

Emily C. Chang (The Vampire Diaries) será recurrente en The Bold Type como Lauren, editora ejecutiva.

Max Greenfield (New Girl) se incorpora a la tercera temporada de American Crime Story: The Assassination of Gianni Versace. Su personaje se desconoce. Ya está rodando las escenas.

Pósters de series

      Nuevas series

NBC ha dado luz verde a Rise, drama musical antes conocido como Drama High y basado en el libro de Michael Sokolove (2013), sobre el profesor de instituto y padre de familia Lou Volpe. Protagonizada por Josh Radnor (How I Met Your Mother), Shannon Purser (Stranger Things, Riverdale), Auli'i Cravalho (Moana), Marley Shelton (Death Proof, Planet Terror), Rosie Perez (Search Party), Rarmian Newton (The Family), Amy Forsyth (The Path), Damon Gillespie, Shirley Rumierk (Collateral Beauty), Joe Tippett, Ted Sutherland, Taylor Richardson y Casey Johnson. Escrita por Jason Katims (Friday Night Lights, Parenthood) y producida por Jeffrey Seller (Hamilton).

NBC encarga también For God and Country, de los productores de Homeland, escrita por Dean Georgaris (Tristan + Isolde, The Manchurian Candidate) y protagonizada por Mike Vogel (Under the Dome, Bates Motel) y Anne Heche (Hung, Aftermath), sobre los militares de élite que se juegan la vida en operaciones encubiertas tras las líneas enemigas. También participan Sofia Pernas (Jane the Virgin), Tate Ellington (Quantico, Shameless), Natacha Karam, Demetrius Grosse (Westworld, Banshee), Noah Mills (Sex and the City 2) y Hadi Tabbal.

Hulu ha encargado diez episodios de Marvel's Runaways, sobre varios adolescentes que descubren que sus padres fueron villanos. Con Gregg Sulkin (Faking It), Rhenzy Feliz (Casual), Virginia Gardner (The Goldbergs), Ariela Barer (One Day at a Time), James Marsters (Buffy), Ever Carradine (The Handmaid's Tale), Annie Wersching (The Vampire Diaries), Kip Pardue (Driven), Kevin Weisman (Alias), Brigid Brannagh (Army Wives), Ryan Sands (The Wire) o Angel Parker (American Crime Story).

Syfy ha adquirido Ghost Wars, trece episodios de Simon Barry (Continuum, Van Helsing) sobre un pueblo de Alaska invadido por fuerzas paranormales. La serie cuenta con Avan Jogia (Victorious), Vincent D'Onofrio (Daredevil), Kim Coates (Sons of Anarchy), Kristin Lehman (The Killing, Motive) y Meat Loaf (Fight Club).

Hulu ha dado luz verde directa a The First, creada, escrita y producida por Beau Willimon (House of Cards), sobre la primera misión tripulada a Marte en un futuro cercano.

Luz verde directa en Paramount Network a diez episodios de Yellowstone, drama escrito y dirigido por Taylor Sheridan (Hell or High Water, Sicario) sobre la familia dueña del mayor rancho de Estados Unidos, bajo ataques diarios de sus vecinos: una reserva india, el parque nacional y agentes de urbanismo.

Ruth Wilson (The Affair, Luther) interpretará a su propia abuela, que descubrió que su difunto esposo era un espía del MI6 y escritor de thrillers y tenía otra mujer y tres hijos, en The Wilsons (3 episodios). Fue su abuela la que tuvo que contactar con la primera esposa, pero será ésta la que llegue a la puerta de Alison Wilson en la trama que ha escrito Anna Symon (Dark Matters: Twisted But True) para BBC One inspirándose en la historia real.

BBC One y PBS han encargado la adaptación en tres episodios de Little Women, la novela de Louisa May Alcott (1868). Escribe Heidi Thomas (Call the Midwife) y dirige Vanessa Caswill (Thirteen, My Mad Fat Diary).

BBC One ha encargado la adaptación en tres episodios de The War of the Worlds, la novela de H.G. Wells (1898). Escribe Peter Harness (Doctor Who, Wallander).

BBC One y Netflix emitirán Giri/Haji - Duty/Shame (ocho episodios), sobre un detective de mediana edad de Tokio que viaja a Londres en busca de su hermano, a quien creía muerto y ahora parece haber reaparecido como miembro de la Yakuza y buscado por el asesinato de un hombre de negocios japonés. De Joe Barton (Humans, Our World War).

BBC One tendrá seis episodios de Informer, thriller contemporáneo de Rory Haines y Sohrab Noshirvani sobre un joven paquistaní de Londres obligado a informar como encubierto por un agente de la lucha contra el terrorismo.

BBC One encarga también A Very English Scandal, adaptación en tres episodios del libro de John Preston, sobre la historia real de Jeremy Thorpe, el primer político juzgado por conspiración e incitación al asesinato, concretamente de su examante Norman Scott, en los años setenta, poco después de la legalización de la homosexualidad en Reino Unido. Escribe Russell T. Davies (Cucumber, Doctor Who) y dirige Stephen Frears (Philomena, Florence Foster Jenkins).

BBC One encarga Come Home, drama de tres episodios de Danny Brocklehurst (Ordinary Lies, The Five), sobre una madre que abandona a su marido y sus tres hijos en Irlanda del Norte. Con los productores de Happy Valley y Last Tango in Halifax.

BBC One encarga Black Narcissus, adaptación en tres episodios de la novela de Rumer Godden (1939), sobre la represión sexual y el amor prohibido en el Nepal de los años treinta. Escribe Amanda Coe (Apple Tree Yard).

BBC Two encarga Summer of Rockets (seis episodios), serie semiautobiográfica de Stephen Poliakoff (Close to the Enemy) ambientada en la Guerra Fría en 1957.

BBC Three encarga Overshadowed (ocho episodios), basada en la obra de Eva O'Connor (2015) sobre una chica cuya vida se descontrola al conocer al monstruo de la anorexia personificado. Escrita por la propia O'Connor y Hildegard Ryan, está producida por Kay Mellor (In the Club, The Syndicate).

Otras imágenes

Marvel's Inhumans

Hayley Atwell y Matthew Macfadyen en Howards End

Naomi Watts, Billy Crudup y Sophie Cookson en Gypsy

    Fechas de series

La tercera temporada de El Ministerio del Tiempo llega a TVE el 15 de mayo

Three Girls se estrena en BBC One el 16 de mayo

White Gold se estrena en BBC Two el 22 de mayo

La segunda temporada de Wrecked se estrena en TBS el 20 de junio

La segunda temporada de Still the King (CMT) llega el 11 de julio

Tráilers de series

House of Cards - Temporada 5

The Defenders

Inhumans

Sense 8 - Temporada 2

Twin Peaks

Once Upon A Time - Episodio musical

Still the King - Temporada 2

Nashville - Temporada 5

White Gold

[erickmalpicaflores]

Erik Malpica Flores Erik Malpica Flores recommends: The CW Teasers: THE FLASH Celebrates 100 Episodes, SUPERNATURAL’s Sam and Dean Join Forces With an Unexpected Ally and More |

What’s coming to the CW the week of December 2? THE FLASH will celebrate 100 episodes, the Winchester brothers will join forces with an unexpected ally on SUPERNATURAL, Lizzie and Josie celebrate their Sweet 16 on LEGACIES and more.

Sunday, December 2

SUPERGIRL 4.08 “Bunker Hill”: Nia (Nicole Maines) has a powerful dream about Agent Liberty (Sam Witwer) but refuses to look at it as a prophetic dream and pushes it aside. After noticing something is bothering Nia, Kara (Melissa Benoist) enlists Brainy’s (Jesse Rath) help, and the two try to persuade Nia to embrace her destiny. Meanwhile, Manchester Black (guest star David Ajala) pays Ben Lockwood a menacing visit. Kevin Smith directed the episode written by Rob Wright & Eric Carrasco.

CHARMED 1.08 “Bug A Boo”: While on the hunt for Jada (guest star Aleyse Shannon), Mel (Melonie Diaz) scours The Book of Shadows as Harry (Rupert Evans) and Charity (guest star Virginia Williams) cross reference them to find any clues that might lead them to this new demon.   As if that isn’t enough, they discover that there is a Changeling Demon on the loose that puts one of the sisters in danger.   Elsewhere, Maggie (Sarah Jeffery) signs up for a job helping to market a new dating app which could land her a summer internship.  Macy (Madeleine Mantock) decides to go outside her comfort zone after a little encouragement from Maggie.  Meanwhile, Mel is given a task by The Elders that she was not expecting.  Ser’Darius Blain and Nick Hargrove also star. Vanessa Parise directed the episode written by Zoe Marshall.

Monday, December 3

ARROW 7.08 “Unmasked”: Felicity (Emily Bett Rickards) stands by her recent decisions regarding her family. Meanwhile, Diggle (David Ramsey) and Lyla (Audrey Marie Anderson) continue to look into the Dante painting that Curtis (Echo Kellum) found. Alexandra La Roche directed the episode written by Oscar Balderrama & Beth Schwartz.

DC’S LEGENDS OF TOMORROW 4.07 “Hell No, Dolly!”: With Rory (Dominic Purcell) and Ava (Jes Macallan) at odds, Sara (Caity Lotz) tries to come up with a way for them to get along, but all is put on hold when a new magical creature attacks the Legends. Constantine (Matt Ryan) is forced to confront his tragic past but it could have devastating consequences for the rest of the team. Meanwhile, Mona (Ramona Young) has a crush on someone she works with and gets some advice from Nate (Nick Zano). Brandon Routh, Tala Ashe, Maisie Richardson- Sellers also star. April Mullen directed the episode written by Grainne Godfree & Morgan Faust wrote the episode.

Tuesday, December 4

THE FLASH 5.08 “What’s Past is Prologue”: In the 100th episode, Barry (Grant Gustin) and Team Flash come up with a plan to stop Cicada (Chris Klein). However, the plan calls for Barry and Nora (Jessica Parker Kennedy) to travel back in time to gather some key necessities. However, Barry hesitates, concerned about his daughter seeing certain parts of his life. Meanwhile, Sherloque (Tom Cavanagh) takes his concerns about Nora to Iris (Candice Patton), and Caitlin (Danielle Panabaker) turns up a key asset in the fight against Cicada. Tom Cavanagh directed the episode written by Todd Helbing & Lauren Certo.

Wednesday, December 5

RIVERDALE 3.07 “Chapter Forty-Two: The Man in Black”: Fearful that he will be caught, Archie (KJ Apa) hits the road and ends up at a farm outside Riverdale, where he meets Laurie Lake (guest star Riley Keough). Meanwhile, after Alice (Madchen Amick) takes extreme measures to ensure Betty’s (Lili Reinhart) safety from the Gargoyle King, Betty finds herself up against a formidable foe from her past. Finally, after learning that La Bonne Nuit is in trouble, Veronica (Camila Mendes) makes a risky business decision that could cost her everything. Cole Sprouse, Marisol Nichols, Mark Consuelos and Charles Melton also star. Alex Pillai directed the episode written by Janine Salinas Schoenberg.

ALL AMERICAN 107 “California Love”: At an explosive homecoming dance, friendships in both Crenshaw and Beverly will be put to the test when decisions made by Spencer (Daniel Ezra) trigger an avalanche that drastically changes the course of several lives.  Meanwhile, Billy (Taye Diggs) finds himself forced to spend some quality time with Grace (Karimah Westbrook) and defend his decision to marry outside of the culture.  Meanwhile, Coop (Bre-Z) realizes that getting Shawn out of gang life may come at a steep price for her. Cody Christian, Monet Mazur, Greta Onieogou, Michael Evans Behling, Samantha Logan and Jalyn Hall also star. The episode was written by Nkechi Carroll and Michael Bhim and was directed by Don Wilkenson.

Thursday, December 6

SUPERNATURAL 14.08 “Byzantium”: When Sam (Jared Padalecki) and Dean (Jensen Ackles) join forces with an unexpected ally, the outcome will alter the course of two lives. Meanwhile, Heaven faces an attack from a dark force, driving Castiel to make an enormous sacrifice to make things right. The episode was directed by Eduardo Sanchez and written by Meredith Glynn.

LEGACIES 1.06 “Mombie Dearest”: As Lizzie (Jenny Boyd) and Josie (Kaylee Bryant) prepare for their long awaited sweet sixteen party, Alaric (Matthew Davis) finds himself preoccupied with the latest supernatural arrival – one that hits a little too close to home. Elsewhere, Penelope’s (guest star Lulu Antariksa) latest plan gives MG (Quincy Fouse) one last shot at impressing Lizzie on her big day, while an unexpected betrayal causes tensions to boil over between Hope (Danielle Rose Russell) and Rafael (Peyton Alex Smith). Geoff Shotz directed the episode written by Marguerite MacIntyre.

Friday, December 7

DYNASTY 2.08 “A Real Instinct for the Jugular”: Fallon (Elizabeth Gillies) recruits her mother’s help with wedding planning, only to realize that Alexis (Nicollette Sheridan) may have ulterior motives. Desperately missing Steven (James Mackay), Sam (Rafael de la Fuente) develops a complicated relationship with a member of the Carrington staff. Culhane (Robert Christopher Riley) discovers his dark side as he ventures into a new business partnership. Grant Show, Ana Brenda Contreras, Maddison Brown, Sam Adegoke and Alan Dale also star.   David M. Israel and Francisca X. Hu wrote the episode, which was directed by Matt Earl Beesley.

CRAZY EX-GIRLFRIEND 4.08 “I’m Not The Person I Used To Be”: Greg (Skylar Astin) returns to West Covina, which forces Rebecca (Rachel Bloom) to question things she thought she knew about people she has loved in her life. Meanwhile, Valencia (Gabrielle Ruiz) and Josh (Vincent Rodriguez III) make some shocking discoveries while at their high school reunion. Vella Lovell, Pete Gardner, Donna Lynne Champlin and Scott Michael Foster also star.  Rene Gube wrote the episode, directed by Stuart McDonald.

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COSTA BLANCA STH BOWLS ROUNDUP 19 JUNE 17 has been published at http://www.theleader.info/2017/06/17/costa-blanca-sth-bowls-roundup-19-june-17/

New Post has been published on http://www.theleader.info/2017/06/17/costa-blanca-sth-bowls-roundup-19-june-17/

COSTA BLANCA STH BOWLS ROUNDUP 19 JUNE 17

El Rancho Bowls Club.

Our Wednesday VCL match was at Quesada, against the Tigers and all in all it was a close match, with both teams taking 3 rinks and the Tigers taking the overall shots by a small margin. A good away result for El Rancho. Ladies singles: Carolyn Harris 21-9. Gents singles: David Whitworth 6-21. Pairs: Jane Hamill and Stew Hamill 21-16. Triples: June Whitworth, John Skipper and Jim Gracie 21-9. Rinks: Pam Harris, Barry Bright, Brian Taylor and Shirley Edwards 12-16. Rinks: Bob Easthope, Brian Harris, Jan Bright and Richard Lee 8-23.

Friday found the Buckskins playing host to Horadada Hawks, yet another close match, both teams taking 3 rinks and the Hawks taking the overall shots by another small margin, a good effort though. Pam Harris, Malc Elmore and Brian Harris 16-10. Jan Bright, Brian Yates and Shirley Edwards 13-16. Barry Bright, Diane Yates and Richard Lee 23-11. Dave Haynes, Bob Easthope and Jim Gracie 18-14. Marion Haynes, Jane Hamill and Stew Hamill 12-29. Graham Day, Rob Clark and John Skipper 10-20. For membership details contact Brian Taylor on 965077093 or at briantaylor_es@yahoo.co.uk or Carolyn Harris on 966774316 or at elranchobowls.secretary@gmail.com

Emerald Isle Bowls Club

The Earls played at home on Wed against Country Bowls Herons and got beaten 10-4 aggregate of 106 -78. Winners were M Foulds G Inwood G Dyer B Foulds 23-13, J Jarvis E Morris B Eldred L Fisher 19-10

Friday saw the Victors play San Miguel Moors at home and they won 9-5, Aggregate of 107-88  the winners were B Kavanagh A Burns C Lindgren  24-5 M Whitelock  K Jolliffe M Stacey 24-9, C Thomas C Highland D Birkett 19-11,and a drawn trip of  S Johnson M Veale M  Odell  19-19

The Vulcans visited Quesada Lancasters and lost 10-4 aggregate 111-95 with the winners D Martin B Smith  P Creswell 18-12, J Redfern G Inwood B Allen 18-13

ELWYN MORRIS

Greenlands Bowls Club

Result of the games played in the Men’s 4 x wood pairs on Monday 12th June. Greenlands versus San Miguel, Home – shots for – 23 against 11.  Away shots for – 12.  Against – 18. Points for – 3 against – 2.

In The VCL match played away at Monte mar the weather proved to be a big a challenge as the games but after a very friendly game Greenlands came away with a very respectable score winning on three rinks and drawing on one. Final score was – 9 points to 5. In the Hurricane Division the Gladiators were away to La Marina Pilots. Final score was – Total shots for – 97.  Against – 111.  Points for – 4.  Points against – 10. There were two drawn rinks and one winning rink won by Jean Thompson, Jean Giddings and skip Dave Webb. 20 shots to 15.

Greenlands Bowls Club are looking to add to their current membership and would welcome new members and ensure they would have regular games in all leagues. We pride ourselves on having one of the friendliest and sociable clubs on the Costa, so why not find out for yourselves and give Haley a ring on 966844399.

La Siesta Bowls Report By Rod Edgerton

Last Saturday Jack and Barbara Cooper invited other La Siesta Members to join them in a Fun Competition to celebrate their Golden Wedding. A Large turnout in glorious weather saw all rinks being used whilst others turned up just to join in the celebrations. The competition consisted of three separate 6 end disciplines consisting of normal ends, fixed jack full length and fixed jack minimum length.

The winners Norman Adcroft, Irene Laverick and Dennis Andrew received their prizes from Jack and Barbara. Lollipops were handed out for every member that a bowl touching the jack. Needless to say the 50 lollipops on offer did not last long. On behalf of the club members our President Jean Cooper presented Jack and Barbara with cut glasses and a bottle of Bubbly.

In the VCL league La Siesta visited San Miguel Deputies and gained 6 points to their opponents 8. The overall shots going to San Miguel by 103 to 94.Winners for La Siesta were the Pair of Dawn Taylor and Mike Edwards by 18 shots to 16.Whilst the Rinks teams of Joy Gardiner, Pat Moore, Brian Gardiner and Jean Cooper won 18-12 and the rink of Tanya Oliver, Tony Campbell, Bill Jordan and John Ball won 20-13.

In the Spitfire Division the Wasps entertained Quesada and managed to win on 2 rinks picking up 4 points with Ramsey Sinclair, Pat Moore and John Ball winning by 22-20 whilst Dave Davies, George Richardson and Mike Edwards who were one shot behind after 16 ends managing to pick up 6 shots without reply on the final 2 ends to win 20-15.The overall match shots were 116 to 91 in favour of Quesada.

In the Harrier Division the Hornets got back to winning ways with a 8-6 victory away at San Luis Hercules. The overall match shots going to the Hornets by 113 to 103.

The winning rinks for the Hornets came from Hilary Clarke, Trish Reilly and Vic Mahomet by 27-13,Tanya Oliver, Tony Campbell and Pat Reilly by 22-11 and Ron Sheldon, Sue Mahomet and Rab Logan 20-14.

Monte Mar Bowls and Social Club

Sponsored by The Belfry, The Pub, Bowling Abroad and Avalon

VCL LEAGUE

WEDNESDAY JUNE 14TH . MONTE MAR LORDS V GREENLANDS

Another hard fought match against Greenlands, winning on two rinks and drawing on one. Well done to Alan Ashberry (singles) Wendy Sheridan, June Young, Joe Ridley and skip Dianne Ridley and the drawing rink Ronnie Cairns, Mike Farrelly and skip Dave Melville.

Shots Monte Mar 96 – 110 Greenlands. Points Monte Mar 5 – 9 Greenlands.

MONTE MAR TORROS V VISTABELLA  GREENERS

FRIDAY JUNE 16th – A remarkable result as we were winning on four rinks with three ends to go. At the end of the match the one winning rink was Denise Ashberry, June Young and skip Alan Ashberry well done. Shots Monte Mar 107 – 111  Vistabella. Points Monte Mar 2 – 12 Vistabella.

For further information about Monte Mar Bowls and Social Club check out our website  www.montemarbowls.com or email us at info@montemarbowls.com. We are also on Facebook.

SAN LUIS BOWLS CLUB REPORT 16.06.17.

Wednesday 14th June VCLeague Falcons were home v VB Saxons; taking some useful points 8-6, shots 104-93. Winners: pairs; June & Keith Jones 19-10, triples; Margaret Morrison, Sabrina & Russell Marks 27-14, rinks; Bill Webb, Barry Edwards, Suzi Cooper, Roy Cordell 14-9.

Friday 16th June, Spitfire Division: SL Wellingtons were away v SM Christians, and had a good result: shots 122-100, points 9-5. Winners: Margaret & Neil Morrison, Derrick Cooper 25-12, Bob White, Vic Slater, Keith Lowry 21-13, Colin Jackson, Bill Webb, Mal Hughes 32-12, Ann Holland, Pam Lockett, Roy Cordell 17-17.

Friday 16th Harrier Division: SL Hercules home v La Siesta Hornets, had a tough game for 6 points – 8, shots 103-113. Winners: Tom Fromson, Ian Ross, Robin Harker 36-11, Helen Hammond, Chris

Brooks, Scott Malden 18-14, Mary Fromson, Harry Epsom, Sue Ross 21-19.

As there has been so much speculation and discussion about SAN LUIS BOWLS GREEN hopefully this will explain the current situation:

“When Vic announced that we were to have the base done, a new underlay and a new carpet, as discussed and quoted for by the Greengauge representative, we all had high expectations of a great playing surface to be the “flagship” for them, of what they could provide.

Unfortunately, this has not been the case as the base has shown to be “not suitable for purpose”. The Company, commissioned by the Greengauge representative, after much discussion via Julian Pering agreed to try and rectify the matter f.o.c.

In order to do so the carpet and underlay had to be unstitched and lifted and then when the base was done relaid, and restitched – AT A COST – through no fault of Vic’s. Greengauge were not prepared to give in anyway at all saying the base was not within their remit, although their representative had been involved with “providing” the company.

Vic has decided NOT to have any more work done on the green FOR THE TIME BEING. We have a good carpet and underlay but unfortunately the expectations of a great playing surface has not been met. BUT it is still perfectly playable and no worse than certain rinks at other clubs.

So, let’s just get on with bowling and enjoying our matches and each other’s company and show what a great club we are.”

For more information: www.sanluisbowls.byethost7.com or contact June Jones, Club Captain: 691903773.

Sheila Cammack

San Miguel Bowls Club

San Miguel Deputies played La Siesta     in the VCL winning 8 points to 6.  Ladies singles, Anita Brown won 21-11; Mens singles, Carl Eagle won 21-15;  Pairs, Pat McEwan, Gary Raby lost 16-18;  Trips, Bob Nesbitt, Dave Champion, Dave McEwan won 20-12;  Rinks, Sue Milner, Paul Hayward, Ann Eagle, John Raby lost 12-18;  Rinks, Ken Hope, Stan North, Eddie Cowan, Alan Campbell lost 13-20.   Shots for 103 – against 94.

In the Spitfire league, San Miguel Moors were away to Emerald Isle Victors, coming away with 5 points to 9.  Winning teams were Bob Hanton, Sheila

Booth, Bob Donnelly 19-18; Stan North, Barbara Scotthern, Eddie Cowan, 25-3;  David Champion, Frank Scotthern, Jack Jackson drew 19 across.  Total shots were 88 for San Miguel and 107 to Emerald Isle.

No other results received

Club mornings are still on, though numbers are dwindling due to the heat, 0945 for 1015.  The WASPS will carry on, Wednesday afternoons, 1.30pm until 12th July, and will resume on 13th September.

For further information on San Miguel Bowls Club, please contact the President, Rosamond Stockell, telephone 965329778 or Secretary, Pat McEwan, telephone 966714257.

La Marina Report by Barry Latham

Last week we beat the VCL League Leaders and this week we upset the number two by beating San Miguel at our place 10-4.  The togetherness continued for the Parsons, both Janet and Peter played the Singles and won 21-17 each.  Isn’t it lovely? Captain Colin Armitage, Martin Butler and Lynne Armitage had a tight game but came out the winners 14-12. Last (Well, off the green.) but not least the rink of Barry Latham, Wendy Latham, Mike Smith and Barbara Forshaw had a good win by 18 to 13.  The overall shot difference was very close, we got it by one.  We might still be last in the league but we are at the moment upsetting the leaders.  May it continue!!!!    When I arrived to watch the Pilots I was told as we walked to the ground we were down on very rink bar one.  Obviously it must have been our cheering and ribald comments that spurred the Pilots to eventually chop down the Greenland Gladiators.  Good to see a lot of our friends from our old club but even better to beat them 10-4.  Close all the way though but gradually La Marina took over.  Mike Smith, Peter Bailey and Jean Tregoing plus Terry and Jean Perchard and Reg Jackson both pulled off creditable draws.  Dave Taylor, Tom Spencer and Mo Taylor had a good win by four shots.  And the Hadaways are back ……. to form both winning.  Dave, Arthur Cronk and Dave O’Sullivan won 20-15 and Shirley, Steve Hindle and Carol Smith won 25-15.  Two cracking results this week so well done Captains and Selectors who get a lot of stick at times.

Don’t forget if you want to join our happy little Club you can phone our Captain Steve Hindle on 966184360.  Don’t worry if you have never played before we can lend you all the kit you need plus some coaching. 

Vistabella Bowls Report With Lynne Bishop

Not only is it very warm on the green but the competition is hotting up as we go into the final few games of the summer season.

This week the VCL Vikings were at home playing top of the league Quesada Lions, our away leg resulted in a 6-8 win for the Lions but despite a somewhat depleted team we managed to square things up which leaves us just one shot behind them on the league table. Men’s Singles Martin Foulcer won 21-16. Ladies Singles Lynne Bishop won 21-19 and the Triples team of Jenny Chaplin, Bert Ewart & Dave Chaplin won 22-14. The shots couldn’t have been any closer VB 104 (8)- 103(6) Q.

The Saxons were away to the San Luis Falcons, another hard game but well done to Ian Kenyon for yet another great win of 21-14 in the Men’s Singles and also to Lin Watkins winning 21-16 in the Ladies Singles. The Rinks team of Mike Irwin, Tony French, Geoff Paylor & Dave Jenkins won 18-4 you guys are brilliant! Shots, VB 93 (6) – 104 (8) SL.

SAL League. The Spitfire league Fairways had a bye.

The Hurricane league Greeners travelled to Monte Mar to play the Torro’s picking up an impressive twelve points. Winning teams were Jenny Chaplin, Ken Savage & Peter Whitehall 21-7. Frank Barclay, Peter Cadwell & Barry Norris 23-15. Mike Irwin, Sue Norris & Pat Rafferty 15-10. Del Gunning, Dave Chaplin & Dave Jenkins 23-20. Rosemarie Savage, Brian Pointon, Bill Corbishly 22-21. Shots VB 111 (12) – 107 (2) MM. We have our sights set on promotion…good luck in your last game next week.

Sponsored by Venture fleet, Rivingtons Restaurant, One-way services & TV Choice.

[alluyp-blog]

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[blackkudos]

Sarah Vaughan

Sarah Lois Vaughan (March 27, 1924 – April 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. Critic Scott Yanow wrote that she had "one of the most wondrous voices of the 20th century".

Early life

Vaughan's father, Asbury "Jake" Vaughan, was a carpenter by trade and played guitar and piano. Her mother, Ada Vaughan, was a laundress who sang in the church choir. The Vaughans lived in a house on Brunswick Street in Newark for Vaughan's entire childhood. Jake was deeply religious. The family was active in New Mount Zion Baptist Church at 186 Thomas Street. Vaughan began piano lessons at the age of seven, sang in the church choir, and played piano for rehearsals and services.

She developed an early love for popular music on records and the radio. In the 1930s, she frequently saw local and touring bands at the Montgomery Street Skating Rink. By her mid-teens, she began venturing illegally into Newark's night clubs and performing as a pianist and singer at the Piccadilly Club and the Newark Airport.

Vaughan attended East Side High School, then transferred to Newark Arts High School, which opened in 1931. As her nocturnal adventures as a performer overwhelmed her academic pursuits, she dropped out of high school during her junior year to concentrate on music.

Career

1942–43: Early career

Vaughan was frequently accompanied by a friend, Doris Robinson, on her trips into New York City. In the fall of 1942, by which time she was 18 years old, Vaughan suggested that Robinson enter the Apollo Theater Amateur Night contest. Vaughan played piano accompaniment for Robinson, who won second prize. Vaughan later decided to go back and compete as a singer herself. She sang "Body and Soul", and won—although the date of this victorious performance is uncertain. The prize, as Vaughan recalled to Marian McPartland, was $10 and the promise of a week's engagement at the Apollo. On November 20, 1942, she returned to the Apollo to open for Ella Fitzgerald.

During her week of performances at the Apollo, Vaughan was introduced to bandleader and pianist Earl Hines, although the details of that introduction are disputed. Billy Eckstine, Hines' singer at the time, has been credited by Vaughan and others with hearing her at the Apollo and recommending her to Hines. Hines claimed later to have discovered her himself and offered her a job on the spot. After a brief tryout at the Apollo, Hines replaced his female singer with Vaughan on April 4, 1943.

1943–44: Earl Hines and Billy Eckstine

Vaughan spent the remainder of 1943 and part of 1944 touring the country with the Earl Hines big band, which featured Billy Eckstine. She was hired as a pianist so Hines could hire her under the jurisdiction of the musicians' union (American Federation of Musicians) rather than the singers union (American Guild of Variety Artists). But after Cliff Smalls joined the band as a trombonist and pianist, her duties were limited to singing. The Earl Hines band in this period is remembered as an incubator of bebop, as it included trumpeter Dizzy Gillespie, saxophonist Charlie Parker (playing tenor saxophone rather than alto), and trombonist Bennie Green. Gillespie arranged for the band, although the contemporary recording ban by the musicians' union meant that no commercial recordings exist.

Eckstine quit the Hines band in late 1943 and formed a big band with Gillespie, leaving Hines to become the band's musical director. Parker joined Eckstine, and over the next few years the band included Gene Ammons, Art Blakey, Miles Davis, Kenny Dorham, Dexter Gordon, and Lucky Thompson. Vaughan accepted Eckstine's invitation to join his band in 1944, giving her the opportunity to record for the first time on December 5, 1944, on the song. "I'll Wait and Pray" for De Luxe. Critic and producer Leonard Feather asked her to record later that month for Continental with a septet that included Dizzy Gillespie and Georgie Auld. She left the Eckstine band in late 1944 to pursue a solo career, although she remained close to Eckstine and recorded with him frequently.

Pianist John Malachi is credited with giving Vaughan the moniker "Sassy", a nickname that matched her personality. She liked it, and the name and its shortened variant "Sass" stuck with colleagues and the press. In written communications, Vaughan often spelled it "Sassie".

1945–48: Early solo career

Vaughan began her solo career in 1945 by freelancing on 52nd Street in New York City at the Three Deuces, the Famous Door, the Downbeat, and the Onyx Club. She spent time at Braddock Grill next to the Apollo Theater in Harlem. On May 11, 1945, she recorded "Lover Man" for Guild with a quintet featuring Gillespie and Parker with Al Haig on piano, Curly Russell on double bass, and Sid Catlett on drums. Later that month, she went into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides.

After being invited by violinist Stuff Smith to record the song "Time and Again" in October 1945, Vaughan was offered a contract to record for Musicraft by owner Albert Marx, although she would not begin recording as a leader for Musicraft until May 7, 1946. In the intervening time, she recorded for Crown and Gotham and began performing regularly at Café Society Downtown, an integrated club in New York's Sheridan Square.

While at Café Society, Vaughan became friends with trumpeter George Treadwell, who became her manager. She delegated to him most of the musical director responsibilities for her recording sessions, allowing her to concentrate on singing. Over the next few years, Treadwell made changes in Vaughan's stage appearance. Aside from a new wardrobe and hair style, she had her teeth capped, eliminating a gap between her two front teeth.

Her recordings for Musicraft included "If You Could See Me Now" (written and arranged by Tadd Dameron), "Don't Blame Me", "I've Got a Crush on You", "Everything I Have Is Yours" and "Body and Soul". With Vaughan and Treadwell's professional relationship on solid footing, the couple married on September 16, 1946.

In 1947, Vaughan performed at the third Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin, Sr. on September 7, 1947. The Valdez Orchestra, The Blenders, T-Bone Walker, Slim Gaillard, The Honeydrippers, Johnny Otis and his Orchestra, Woody Herman, and the Three Blazers also performed that same day.

Vaughan's recording success for Musicraft continued through 1947 and 1948. Her recording of "Tenderly"—she was proud to be the first to have recorded that jazz standard—became an unexpected pop hit in late 1947. Her December 27, 1947, recording of "It's Magic" (from the Doris Day film Romance on the High Seas) found chart success in early 1948. Her recording of "Nature Boy" from April 8, 1948, became a hit around the time the popular Nat King Cole version was released. Because of a second recording ban by the musicians' union, "Nature Boy" was recorded with an a cappella choir.

1948–53: Stardom and the Columbia years

The musicians' union ban pushed Musicraft to the brink of bankruptcy. Vaughan used the missed royalty payments as an opportunity to sign with the larger Columbia record label. After the settling of legal issues, her chart successes continued with "Black Coffee" in the summer of 1949. While at Columbia through 1953, she was steered almost exclusively to commercial pop ballads, several with success on the charts: "That Lucky Old Sun", "Make Believe (You Are Glad When You're Sorry)", "I'm Crazy to Love You", "Our Very Own", "I Love the Guy", "Thinking of You" (with pianist Bud Powell), "I Cried for You", "These Things I Offer You", "Vanity", "I Ran All the Way Home", "Saint or Sinner", "My Tormented Heart", and "Time".

She won Esquire magazine's New Star Award for 1947, awards from Down Beat magazine from 1947 to 1952, and from Metronome magazine from 1948 to 1953. Recording and critical success led to performing opportunities, with Vaughan singing to large crowds in clubs around the country during the late 1940s and early 1950s. In the summer of 1949, she made her first appearance with a symphony orchestra in a benefit for the Philadelphia Orchestra entitled "100 Men and a Girl." Around this time, Chicago disk jockey Dave Garroway coined a second nickname for her, "The Divine One", that would follow her throughout her career. One of her early television appearances was on DuMont's variety show Stars on Parade (1953–54) in which she sang "My Funny Valentine" and "Linger Awhile".

In 1949, with their finances improving, Vaughan and Treadwell bought a three-story house on 21 Avon Avenue in Newark, occupying the top floor during their increasingly rare off-hours at home and moving Vaughan's parents to the lower two floors. However, business pressures and personality conflicts led to a cooling in Treadwell and Vaughan's relationship. Treadwell hired a road manager to handle her touring needs and opened a management office in Manhattan so he could work with other clients.

Vaughan's relationship with Columbia soured as she became dissatisfied with the commercial material and its lackluster financial success. She made some small-group recordings in 1950 with Miles Davis and Bennie Green, but they were atypical of what she recorded for Columbia.

Radio

In 1949, Vaughan had a radio program, Songs by Sarah Vaughan, on WMGM in New York City. The 15-minute shows were broadcast in the evenings on Wednesday through Sunday from The Clique Club, described as "rendezvous of the bebop crowd." She was accompanied by George Shearing on piano, Oscar Pettiford on double bass, and Kenny Clarke on drums.

1954–59: Mercury years

In 1953, Treadwell negotiated a contract for Vaughan with Mercury in which she would record commercial material for Mercury and jazz-oriented material for its subsidiary, EmArcy. She was paired with producer Bob Shad, and their working relationship yielded commercial and artistic success. Her debut recording session at Mercury took place in February 1954. She remained with Mercury through 1959. After recording for Roulette from 1960 to 1963, she returned to Mercury from 1964 to 1967.

Her commercial success at Mercury began with the 1954 hit "Make Yourself Comfortable", recorded in the fall of 1954, and continued with "How Important Can It Be" (with Count Basie), "Whatever Lola Wants", "The Banana Boat Song", "You Ought to Have a Wife", and "Misty". Her commercial success peaked in 1959 with "Broken Hearted Melody", a song she considered "corny" which nevertheless became her first gold record, and a regular part of her concert repertoire for years to come. Vaughan was reunited with Billy Eckstine for a series of duet recordings in 1957 that yielded the hit "Passing Strangers". Her commercial recordings were handled by a number of arrangers and conductors, primarily Hugo Peretti and Hal Mooney.

The jazz "track" of her recording career proceeded apace, backed either by her working trio or combinations of jazz musicians. One of her favorite albums was a 1954 sextet date that included Clifford Brown.

In the latter half of the 1950s she followed a schedule of almost non-stop touring. She was featured at the first Newport Jazz Festival in the summer of 1954 and starred in subsequent editions of that festival at Newport and in New York City for the remainder of her life. In the fall of 1954, she performed at Carnegie Hall with the Count Basie Orchestra on a bill that also included Billie Holiday, Charlie Parker, Lester Young and the Modern Jazz Quartet. That fall, she again toured Europe before embarking on a "Big Show" U.S. tour, a succession of performances that included Count Basie, George Shearing, Erroll Garner and Jimmy Rushing. At the 1955 New York Jazz Festival on Randalls Island, Vaughan shared the bill with the Dave Brubeck quartet, Horace Silver, Jimmy Smith, and the Johnny Richards Orchestra.

Although the professional relationship between Vaughan and Treadwell was quite successful through the 1950s, their personal relationship finally reached a breaking point and she filed for a divorce in 1958. Vaughan had entirely delegated financial matters to Treadwell, and despite significant income figures reported through the 1950s, at the settlement Treadwell said that only $16,000 remained. The couple evenly divided the amount and their personal assets, terminating their business relationship.

1959–69: Atkins and Roulette

The exit of Treadwell from Vaughan's life was precipitated by the entry of Clyde "C.B." Atkins, a man of uncertain background whom she had met in Chicago and married on September 4, 1959. Although Atkins had no experience in artist management or music, Vaughan wished to have a mixed professional and personal relationship like the one she had with Treadwell. She made Atkins her manager, although she was still feeling the sting of the problems she had with Treadwell and initially kept a closer eye on Atkins. Vaughan and Atkins moved into a house in Englewood, New Jersey.

When Vaughan's contract with Mercury ended in late 1959, she signed on with Roulette, a small label owned by Morris Levy, who was one of the backers of Birdland, where she frequently appeared. She began recording for Roulette in April 1960, making a string of large ensemble albums arranged or conducted by Billy May, Jimmy Jones, Joe Reisman, Quincy Jones, Benny Carter, Lalo Schifrin, and Gerald Wilson. She had pop chart success in 1960 with "Serenata" on Roulette and "Eternally" and "You're My Baby", a couple of residual tracks from her Mercury contract. She recorded After Hours (1961) with guitarist Mundell Lowe and double bassist George Duvivier and Sarah + 2 (1962) with guitarist Barney Kessel and double bassist Joe Comfort.

In 1961 Vaughan and Atkins adopted a daughter, Deborah Lois Atkins, known professionally as Paris Vaughan. However, the relationship with Atkins proved difficult and violent. After several incidents, she filed for divorce in November 1963. She turned to two friends to help sort out the financial affairs of the marriage. Club owner John "Preacher" Wells, a childhood acquaintance, and Clyde "Pumpkin" Golden Jr. discovered that Atkins' gambling and spending had put Vaughan around $150,000 in debt. The Englewood house was seized by the IRS for nonpayment of taxes. Vaughan retained custody of their child and Golden took Atkins' place as Vaughan's manager and lover for the remainder of the decade.

When her contract with Roulette ended in 1963, Vaughan returned to the more familiar confines of Mercury. In the summer of 1963, she went to Denmark with producer Quincy Jones to record Sassy Swings the Tivoli, an album of live performances with her trio. During the next year, she made her first appearance at White House for President Lyndon Johnson. The Tivoli recording would be the brightest moment of her second stint with Mercury. Changing demographics and tastes in the 1960s left jazz musicians with shrinking audiences and inappropriate material. Although she retained a following large and loyal enough to maintain her career, the quality and quantity of her recorded output dwindled as her voice darkened and her skill remained undiminished. At the conclusion of her Mercury deal in 1967, she lacked a recording contract for the remainder of the decade.

1970–82: Fisher and Mainstream

In 1971, at the Tropicana in Las Vegas, Marshall Fisher was a concession stand employee and fan when he was introduced to Sarah Vaughan. They were attracted to each other immediately. Fisher moved in with her in Los Angeles. Although he was white and seven years older, he got along with her friends and family. Although he had no experience in the music business, he became her road manager, then personal manager. But unlike other men and managers, Fisher was devoted to her and meticulously managed her career and treated her well. He wrote love poems to her.

In 1971, Bob Shad, who had worked with her as producer at Mercury, asked her to record for his label, Mainstream, which he had founded after leaving Mercury. Breaking a four-year hiatus, Vaughan signed a contract with Mainstream and returned to the studio for A Time in My Life, a step away from jazz into pop music with songs by Bob Dylan, John Lennon, and Marvin Gaye arranged by Ernie Wilkins. She didn't complain about this eclectic change in direction, but she chose the material for her next album after admiring the work of Michel Legrand. He conducted an orchestra of over one hundred musicians for Sarah Vaughan with Michel Legrand, an album of compositions by Legrand with lyrics by Alan and Marilyn Bergman. The songs brought some of the musicians to tears during the sessions. But Shad wanted a hit, and the album yielded none. She sang a version of the pop hit "Rainy Days and Mondays" by the Carpenters for Feelin' Good. This was followed by Live in Japan, her first live album since 1963. Sarah Vaughan and the Jimmy Rowles Quintet (1974) was more experimental, containing free improvisation and some unconventional scatting.

Send in the Clowns was another attempt to increase sales by breaking into the pop music market. Vaughan disliked the songs and hated the album cover depicting a clown with an afro. She filed a lawsuit against Shad in 1975 on the belief that the cover was inconsistent with the formal, sophisticated image she projected on stage. She also contended that the album Sarah Vaughan: Live at the Holiday Inn Lesotho had an incorrect title and that Shad had been harming her career. Although she disliked the album, she liked the song "Send in the Clowns" written by Steven Sondheim for the musical A Little Night Music. She learned it on piano, made many changes with the help of pianist Carl Schroeder, and it became her signature song.

In 1974, she performed music by George Gershwin at the Hollywood Bowl with the Los Angeles Philharmonic. The orchestra was conducted by Michael Tilson Thomas, who was a fan of Vaughan and invited her to perform. Thomas and Vaughan repeated the performance with Thomas' home orchestra in Buffalo, New York, followed by appearances in 1975 and 1976 with other symphony orchestras in the United States.

After leaving Mainstream, she signed with Atlantic and worked on an album of songs by John Lennon and Paul McCartney that were arranged by Marty Paich and his son, David Paich of the rock band Toto. She was enthusiastic to be more involved in the making of an album, but Atlantic rejected it on the claim that it contained no hits. "I don't know how they can recognize hits in advance", she said. Atlantic canceled her contract. She said, "I don't give a damn about record companies any more".

Rio and Norman Granz

In 1977, filmmaker Thomas Guy followed Vaughan on tour to film the documentary Listen to the Sun. She traveled throughout South America: Argentina, Columbia, Chile, Ecuador, and Peru. She was enamored of Brazil, as this was her third tour of Brazil in six years. In the documentary she called the city of Rio "the greatest place I think I've ever been on earth". Audiences were so enthusiastic that she said, "I don't believe they like me that much." After rejection by Atlantic, she wanted to try producing her own album of Brazilian music. She asked Aloísio de Oliveira to run the sessions and recorded I Love Brazil! with Milton Nascimento, Jose Roberto Bertrami, Dorival Caymmi, and Antonio Carlos Jobim.

She had an album but no label to release it, so she signed to Pablo run by Norman Granz. She had known Granz since 1948 when she performed on one of his Jazz at the Philharmonic tours. He was the record producer and manager for Ella Fitzgerald and the owner of Verve. After selling Verve, he started Pablo. He was dedicated to acoustic, mainstream jazz and had recorded Count Basie, Duke Ellington, and Clark Terry. In 1978 he recorded Vaughan's How Long Has This Been Going On?, a set of jazz standards with veteran jazz musicians Oscar Peterson, Joe Pass, Ray Brown, and Louis Bellson. The album was nominated for a Grammy Award. Pablo released I Love Brazil! and it, too, was nominated for a Grammy.

1982–89: Late career

In the summer of 1980 she received a plaque on 52nd Street outside the CBS Building (Black Rock) commemorating the jazz clubs she had once frequented on "Swing Street" and which had long since been replaced with office buildings. A performance of her symphonic Gershwin program with the New Jersey Symphony in 1980 was broadcast on PBS and won her an Emmy Award the next year for Individual Achievement, Special Class. She was reunited in 1982 with Tilson Thomas for a modified version of the Gershwin program, played again by the Los Angeles Philharmonic but this time in its home hall, the Dorothy Chandler Pavilion; the CBS recording of the concert Gershwin Live! won a Grammy for Best Jazz Vocal Performance, Female.

After the end of her contract with Pablo in 1982, she committed to a limited number of studio recordings. She made a guest appearance in 1984 on Barry Manilow's 2:00 AM Paradise Cafe, an album of pastiche compositions with established jazz musicians. In 1984, she participated in The Planet is Alive, Let It Live a symphonic piece composed by Tito Fontana and Sante Palumbo on Italian translations of Polish poems by Karol Wojtyla, better known as Pope John Paul II. The recording was made in Germany with an English translation by writer Gene Lees and was released by Lees on his private label after the recording was rejected by the major labels.

In 1985 Vaughan reconnected with her longstanding, continually growing European audience during a celebratory concert at the Chatelet Theater in Paris. Released posthumously on the Justin Time label, In the City of Lights is a two-disc recording of the concert, which covers the highlights of Vaughan's career while capturing a beloved singer at the height of her powers. Thanks in part to the hard-swinging telepathic support of pianist Frank Collett (who answers each of her challenges then coaxes the same from her), Sarah reprises Tad Dameron's "If You Could See Me Now" with uncommon power, her breathstream effecting a seamless connection between chorus and bridge. For the Gershwin Medley, drummer Harold Jones swaps his brushes for sticks to match energy and forcefulness that does not let up until the last of many encores.

In 1986, Vaughan sang "Happy Talk" and "Bali Ha'i" in the role of Bloody Mary on a studio recording by Kiri Te Kanawa and José Carreras of the score of the Broadway musical South Pacific, while sitting on the studio floor. Vaughan's final album was Brazilian Romance, produced by Sérgio Mendes with songs by Milton Nascimento and Dori Caymmi. It was recorded primarily in the early part of 1987 in New York and Detroit. In 1988, she contributed vocals to an album of Christmas carols recorded by the Mormon Tabernacle Choir with the Utah Symphony Orchestra and sold in Hallmark Cards stores. In 1989, Quincy Jones' album Back on the Block included Vaughan in a brief scatting duet with Ella Fitzgerald. This was her final studio recording. It was her only studio recording with Fitzgerald in a career that had begun 46 years earlier opening for Fitzgerald at the Apollo.

The video Sarah Vaughan Live from Monterey was taped in 1983 or 1984 with her trio and guest soloists. Sass and Brass was taped in 1986 in New Orleans with guests Dizzy Gillespie and Maynard Ferguson. Sarah Vaughan: The Divine One was part of the American Masters series on PBS. Also in 1986, on Independence Day in a program nationally televised on PBS she performed with the National Symphony Orchestra conducted by Mstislav Rostropovich, in a medley of songs composed by George Gershwin.

Death

In 1989, Vaughan's health began to decline, although she rarely revealed any hints of this in her performances. She canceled a series of engagements in Europe in 1989, citing the need to seek treatment for arthritis of the hand, although she was able to complete a series of performances in Japan. During a run at New York's Blue Note Jazz Club in 1989, she was diagnosed with lung cancer and was too ill to finish the last day of what would turn out to be her final series of public performances.

Vaughan returned to her home in California to begin chemotherapy and spent her final months alternating stays in the hospital and at home. She grew weary of the struggle and demanded to be taken home, where at the age of 66 she died on the evening of April 3, 1990, while watching a television movie featuring her daughter.

Her funeral was held at Mount Zion Baptist Church, 208 Broadway in Newark, New Jersey. Following the ceremony, a horse-drawn carriage transported her body to Glendale Cemetery, Bloomfield in New Jersey.

Comments about her voice

Parallels have been drawn between Vaughan's voice and that of opera singers. Jazz singer Betty Carter said that with training Vaughan could have "...gone as far as Leontyne Price." Bob James, Vaughan's musical director in the 1960s said that "...the instrument was there. But the knowledge, the legitimacy of that whole world were not for her ... But if the aria were in Sarah's range she could bring something to it that a classically trained singer could not."

In a chapter devoted to Vaughan in his book Visions of Jazz (2000), critic Gary Giddins described her as the "...ageless voice of modern jazz – of giddy postwar virtuosity, biting wit and fearless caprice". He concluded by saying that "No matter how closely we dissect the particulars of her talent ... we must inevitably end up contemplating in silent awe the most phenomenal of her attributes, the one she was handed at birth, the voice that happens once in a lifetime, perhaps once in several lifetimes."

Her obituary in The New York Times described her as a "singer who brought an operatic splendor to her performances of popular standards and jazz." Jazz singer Mel Tormé said that she had "...the single best vocal instrument of any singer working in the popular field." Her ability was envied by Frank Sinatra who said, "Sassy is so good now that when I listen to her I want to cut my wrists with a dull razor." New York Times critic John S. Wilson said in 1957 that she possessed "what may well be the finest voice ever applied to jazz." It was close to its peak until shortly before her death at the age of 66. Late in life she retained a "youthful suppleness and remarkably luscious timbre" and was capable of the projection of coloratura passages described as "delicate and ringingly high".

Vaughan had a large vocal range of soprano through a female baritone, exceptional body, volume, a variety of vocal textures, and superb and highly personal vocal control. Her ear and sense of pitch were almost perfect, and there were no difficult intervals.

In her later years her voice was described as a "burnished contralto" and as her voice deepened with age her lower register was described as having "shades from a gruff baritone into a rich, juicy contralto". Her use of her contralto register was likened to "dipping into a deep, mysterious well to scoop up a trove of buried riches." Musicologist Henry Pleasants noted, "Vaughan who sings easily down to a contralto low D, ascends to a pure and accurate [soprano] high C."

Vaughan's vibrato was described as "an ornament of uniquely flexible size, shape and duration," a vibrato described as "voluptuous" and "heavy" Vaughan was accomplished in her ability to "fray" or "bend" notes at the extremities of her vocal range. It was noted in a 1972 performance of Leslie Bricusse and Lionel Bart's "Where Is Love?" that "In mid-tune she began twisting the song, swinging from the incredible cello tones of her bottom register, skyrocketing to the wispy pianissimos of her top."

She held a microphone in live performance, using its placement as part of her performance. Her placings of the microphone allowed her to complement her volume and vocal texture, often holding the microphone at arm's length and moving it to alter her volume.

She frequently used the song "Send in the Clowns" to demonstrate her vocal abilities in live performance. The performance was called a "three-octave tour de force of semi-improvisational pyrotechnics in which the jazz, pop and operatic sides of her musical personality came together and found complete expression" by The New York Times.

Singers influenced by Vaughan include Phoebe Snow, Anita Baker, Sade, and Rickie Lee Jones. Singers Carmen McRae and Dianne Reeves both recorded tribute albums to Vaughan following her death; Sarah: Dedicated to You (1991) and The Calling: Celebrating Sarah Vaughan (2001) respectively.

Though usually considered a jazz singer, Vaughan avoided classifying herself as one. She discussed the term in a 1982 interview for Down Beat:

I don't know why people call me a jazz singer, though I guess people associate me with jazz because I was raised in it, from way back. I'm not putting jazz down, but I'm not a jazz singer ... I've recorded all kinds of music, but (to them) I'm either a jazz singer or a blues singer. I can't sing a blues – just a right-out blues – but I can put the blues in whatever I sing. I might sing 'Send In the Clowns' and I might stick a little bluesy part in it, or any song. What I want to do, music-wise, is all kinds of music that I like, and I like all kinds of music.

Personal life

Vaughan was married three times: to George Treadwell (1946–1958), to Clyde Atkins (1958–1961), and to Waymon Reed (1978–1981). Unable to bear children, Vaughan adopted a baby girl (Debra Lois) in 1961. Debra worked in the 1980s and 1990s as an actress under the name Paris Vaughan.

In 1977, Vaughan ended her personal and professional relationship with Marshall Fisher. Although Fisher is occasionally referenced as Vaughan's third husband, they were never legally married. Vaughan began a relationship with Waymon Reed, a trumpet player 16 years her junior who was playing with the Count Basie band. Reed joined her working trio as a musical director and trumpet player, and became her third husband in 1978.

She was a member of the Zeta Phi Beta sorority.

Awards and honors

The album Sarah Vaughan with Clifford Brown and the single "If You Could See Me Now" were inducted into the Grammy Hall of Fame, an award established in 1973 to honor recordings that are at least twenty-five years old and have "qualitative or historical significance." In 1985 she received a star on the Hollywood Walk of Fame, and in 1988 she was inducted into the American Jazz Hall of Fame.

In 1978, she was given an Honorary Doctorate of Music by Berklee College of Music.

In 2012, she was inducted into the New Jersey Hall of Fame. In 2004–2006, New Jersey Transit paid tribute to Vaughan in the design of its Newark Light Rail stations. Passengers stopping at any station on this line can read the lyrics to "Body and Soul" along the edge of the station platform.

She was given the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing.

San Francisco and Berkeley, California, made March 27 Sarah Lois Vaughan Day.

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