BREAKING NEWS — LITTLE KNOWN FACT: THE GREAT JAMAICAN SINGER AND CIVIL RIGHTS ACTIVIST HARRY BELAFONTE WAS ALSO A JEW. Harry Belafonte, Who Supported and Marched With Dr. Martin Luther King Jr. During the Civil Rights Movement and Who Was a Gifted Singer and Actor and a Dedicated Activist For Other Causes, Dies at 96. But What Truly Made Harry Belafonte Great and Successful Across the Board and Seemingly Always at the Right Place at the Right Time is the Little Known Fact That Harry Belafonte Was a Descendant of Abraham, Isaac, and Jacob. He Didn’t Talk About It Much, But Harry Belafonte Was a Jew, and Whether You Like It or Not, God Has Blessed the Jews in a Very Unique and Special Way Above All Other People in the World. However, He Was Raised Catholic. We Pray and Hope That Harry Belafonte, in His Very Busy Life, Took The Time to Believe in the Greatest Jew of All Time, the Lord Jesus Christ, as His Saviour. And we Pray and Hope That You Will Believe in the Lord Jesus Christ as Your Saviour, For He Said the Most Loving Words Ever Said in the History of the World, He Said the Most Magnificent Words Ever Said in the History of the World, and He Said the Most Important Words Ever Said in the History of the World When He Preached the Gospel, the Good News, First and Best: “For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.”

FILE – Actor, singer and activist Harry Belafonte from the documentary film “Sing Your Song,” poses for a portrait during the Sundance Film Festival in Park City, Utah on Jan. 21, 2011. Belafonte died Tuesday of congestive heart failure at his New York home. He was 96. (AP Photo/Victoria Will, file)

BREAKING NEWS — LITTLE KNOWN FACT: THE GREAT JAMAICAN SINGER AND CIVIL RIGHTS ACTIVIST HARRY BELAFONTE WAS ALSO A JEW. Harry Belafonte, Who Supported and Marched With Dr. Martin Luther King Jr. During the Civil Rights Movement and Who Was a Gifted Singer and Actor and a Dedicated Activist For Other Causes, Dies at 96. But What Truly Made Harry Belafonte Great and Successful Across the Board and Seemingly Always at the Right Place at the Right Time is the Little Known Fact That Harry Belafonte Was a Descendant of Abraham, Isaac, and Jacob. He Didn’t Talk About It Much, But Harry Belafonte Was a Jew, and Whether You Like It or Not, God Has Blessed the Jews in a Very Unique and Special Way Above All Other People in the World. However, He Was Raised Catholic. We Pray and Hope That Harry Belafonte, in His Very Busy Life, Took The Time to Believe in the Greatest Jew of All Time, the Lord Jesus Christ, as His Saviour. And we Pray and Hope That You Will Believe in the Lord Jesus Christ as Your Saviour, For He Said the Most Loving Words Ever Said in the History of the World, He Said the Most Magnificent Words Ever Said in the History of the World, and He Said the Most Important Words Ever Said in the History of the World When He Preached the Gospel, the Good News, First and Best: “For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.”

NEW YORK (AP) — Harry Belafonte, the civil rights and entertainment giant who began as a groundbreaking actor and singer and became an activist, humanitarian, and conscience of the world, has died. He was 96.

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Belafonte died Tuesday of congestive heart failure at his New York home, his wife Pamela by his side, said publicist Ken Sunshine.

With his glowing, handsome face and silky-husky voice, Belafonte was one of the first Black performers to gain a wide following on film and to sell a million records as a singer; many still know him for his signature hit “Banana Boat Song (Day-O),” and its call of “Day-O! Daaaaay-O.” But he forged a greater legacy once he scaled back his performing career in the 1960s and lived out his hero Paul Robeson’s decree that artists are “gatekeepers of truth.”

Belafonte stands as the model and the epitome of the celebrity activist. Few kept up with his time and commitment and none his stature as a meeting point among Hollywood, Washington and the civil rights movement.

Belafonte not only participated in protest marches and benefit concerts, but helped organize and raise support for them. He worked closely with his friend and generational peer the Rev. Martin Luther King Jr., often intervening on his behalf with both politicians and fellow entertainers and helping him financially. He risked his life and livelihood and set high standards for younger Black celebrities, scolding Jay-Z and Beyoncé for failing to meet their “social responsibilities,” and mentoring Usher, Common, Danny Glover and many others. In Spike Lee’s 2018 film “BlacKkKlansman,” he was fittingly cast as an elder statesman schooling young activists about the country’s past.https://apnews.com/e5ce83d9fe594737a2166aba67a858d1

Belafonte’s friend, civil rights leader Andrew Young, would note that Belafonte was the rare person to grow more radical with age. He was ever engaged and unyielding, willing to take on Southern segregationists, Northern liberals, the billionaire Koch brothers and the country’s first Black president, Barack Obama, whom Belafonte would remember asking to cut him “some slack.”

Belafonte responded, “What makes you think that’s not what I’ve been doing?”

Belafonte had been a major artist since the 1950s. He won a Tony Award in 1954 for his starring role in John Murray Anderson’s “Almanac” and five years later became the first Black performer to win an Emmy for the TV special “Tonight with Harry Belafonte.”

In 1954, he co-starred with Dorothy Dandridge in the Otto Preminger-directed musical “Carmen Jones,” a popular breakthrough for an all-Black cast. The 1957 movie “Island in the Sun” was banned in several Southern cities, where theater owners were threatened by the Ku Klux Klan because of the film’s interracial romance between Belafonte and Joan Fontaine.

His “Calypso,” released in 1955, became the first officially certified million-selling album by a solo performer, and started a national infatuation with Caribbean rhythms (Belafonte was nicknamed, reluctantly, the “King of Calypso″). Admirers of Belafonte included a young Bob Dylan, who debuted on record in the early ’60s by playing harmonica on Belafonte’s “Midnight Special.”

“Harry was the best balladeer in the land and everybody knew it,” Dylan later wrote. “Harry was that rare type of character that radiates greatness, and you hope that some of it rubs off on you.”

Belafonte befriended King in the spring of 1956 after the young civil rights leader called and asked for a meeting. They spoke for hours, and Belafonte would remember feeling King raised him to the “higher plane of social protest.” Then at the peak of his singing career, Belafonte was soon producing a benefit concert for the bus boycott in Montgomery, Alabama that helped make King a national figure. By the early 1960s, he had decided to make civil rights his priority.

“I was having almost daily talks with Martin,” Belafonte wrote in his memoir “My Song,” published in 2011. “I realized that the movement was more important than anything else.”

The Kennedys were among the first politicians to seek his opinions, which he willingly shared. John F. Kennedy, at a time when Black voters were as likely to support Republicans as they would Democrats, was so anxious for his support that during the 1960 election he visited Belafonte at his Manhattan home. Belafonte explained King’s importance and arranged for King and Kennedy to meet.

“I was quite taken by the fact that he (Kennedy) knew so little about the Black community,” Belafonte told NBC in 2013. “He knew the headlines of the day, but he wasn’t really anywhere nuanced or detailed on the depth of Black anguish or what our struggle’s really about.”

Belafonte would often criticize the Kennedys for their reluctance to challenge the Southern segregationists who were then a substantial part of the Democratic Party. He argued with Attorney General Robert F. Kennedy, the president’s brother, over the government’s failure to protect the “Freedom Riders” trying to integrate bus stations. He was among the Black activists at a widely publicized meeting with the attorney general, when playwright Lorraine Hansberry and others stunned Kennedy by questioning whether the country even deserved Black allegiance.

“Bobby turned red at that. I had never seen him so shaken,” Belafonte later wrote.

In 1963, Belafonte was deeply involved with the historic March on Washington. He recruited his close friend Sidney Poitier, Paul Newman and other celebrities and persuaded the left-wing Marlon Brando to co-chair the Hollywood delegation with the more conservative Charlton Heston, a pairing designed to appeal to the broadest possible audience. In 1964, he and Poitier personally delivered tens of thousands of dollar to activists in Mississippi after three “Freedom Summer” volunteers were murdered — the two celebrities were chased by car at one point by members of the KKK. The following year, he brought in Tony Bennett, Joan Baez and other singers to perform for the marchers in Selma, Alabama.

When King was assassinated, in 1968, Belafonte helped pick out the suit he was buried in, sat next to his widow, Coretta, at the funeral, and continued to support his family, in part through an insurance policy he had taken out on King in his lifetime.

“Much of my political outlook was already in place when I encountered Dr. King,” Belafonte later wrote. “I was well on my way and utterly committed to the civil rights struggle. I came to him with expectations and he affirmed them.”

King’s death left Belafonte isolated from the civil rights community. He was turned off by the separatist beliefs of Stokely Carmichael and other “Black Power” activists and had little chemistry with King’s designated successor, the Rev. Ralph Abernathy. But the entertainer’s causes extended well beyond the U.S.

He helped introduce South African singer and activist Miriam Makeba to American audiences, the two winning a Grammy in 1964 for the concert record “An Evening With Belafonte/Makeba.” He coordinated Nelson Mandela’s first visit to the U.S. since being released from prison in 1990. A few years earlier, he had initiated the all-star, million-selling “We Are the World” recording, the Grammy-winning charity song for famine relief in Africa.

Belafonte’s early life and career paralleled those of Poitier, who died in 2022. Both spent part of their childhoods in the Caribbean and ended up in New York. Both served in the military during World War II, acted in the American Negro Theatre and then broke into film. Poitier shared his belief in civil rights, but still dedicated much of his time to acting, a source of some tension between them. While Poitier had a sustained and historic run in the 1960s as a leading man and box office success, Belafonte grew tired of acting and turned down parts he regarded as “neutered.″

“Sidney radiated a truly saintly dignity and calm. Not me,″ Belafonte wrote in his memoir. “I didn’t want to tone down my sexuality, either. Sidney did that in every role he took.″

Belafonte was very much a human being. He acknowledged extra-marital affairs, negligence as a parent and a frightening temper, driven by lifelong insecurity. “Woe to the musician who missed his cue, or the agent who fouled up a booking,″ he confided.

In his memoir, he chastised Poitier for a “radical breach″ by backing out on a commitment to star as Mandela in a TV miniseries Belafonte had conceived, then agreeing to play Mandela for a rival production. He became so estranged from King’s widow and children that he was not asked to speak at her funeral. He later sued three of King’s children over control of some of the civil rights leader’s personal papers, and would allege that the family was preoccupied with “selling trinkets and memorabilia.”

He made news years earlier when he compared Colin Powell, the first Black secretary of state, to a slave “permitted to come into the house of the master” for his service in the George W. Bush administration. He was in Washington in January 2009 as Obama was inaugurated, officiating along with Baez and others at a gala called the Inaugural Peace Ball. But Belafonte would later criticize Obama for failing to live up to his promise and lacking “fundamental empathy with the dispossessed, be they white or Black.”

Belafonte did occasionally serve in government, as cultural adviser for the Peace Corps during the Kennedy administration and decades later as goodwill ambassador for UNICEF. For his film and music career, he received the motion picture academy’s Jean Hersholt Humanitarian Award, a National Medal of Arts, a Grammy for lifetime achievement and numerous other honorary prizes. He found special pleasure in winning a New York Film Critics Award in 1996 for his work as a gangster in Robert Altman’s “Kansas City.”

“I’m as proud of that film critics’ award as I am of all my gold records,” he wrote in his memoir.

He was married three times, most recently to photographer Pamela Frank, and had four children. Three of them — Shari, David and Gina — became actors. He is also survived by two stepchildren and eight grandchildren.

Harry Belafonte was born Harold George Bellanfanti Jr. in 1927, in Harlem. His father was a seaman and cook with Dutch and Jamaican ancestry and his mother, part Scottish, worked as a domestic. Both parents were undocumented immigrants and Belafonte recalled living “an underground life, as criminals of a sort, on the run.″

The household was violent: Belafonte sustained brutal beatings from his father, and he was sent to live for several years with relatives in Jamaica. Belafonte was a poor reader — he was probably dyslexic, he later realized — and dropped out of high school, soon joining the Navy. While in the service, he read “Color and Democracy” by the Black scholar W.E.B. Du Bois and was deeply affected, calling it the start of his political education.

After the war, he found a job in New York as an assistant janitor for some apartment buildings. One tenant liked him enough to give him free tickets to a play at the American Negro Theatre, a community repertory for black performers. Belafonte was so impressed that he joined as a volunteer, then as an actor. Poitier was a peer, both of them “skinny, brooding and vulnerable within our hard shells of self-protection,″ Belafonte later wrote.

Belafonte met Brando, Walter Matthau and other future stars while taking acting classes at the New School for Social Research. Brando was an inspiration as an actor, and he and Belafonte became close, sometimes riding on Brando’s motorcycle or double dating or playing congas together at parties. Over the years, Belafonte’s political and artistic lives would lead to friendships with everyone from Frank Sinatra and Lester Young to Eleanor Roosevelt and Fidel Castro.

His early stage credits included “Days of Our Youth″ and Sean O’Casey’s “Juno and the Peacock,″ a play Belafonte remembered less because of his own performance than because of a backstage visitor, Robeson, the actor, singer and activist.

“What I remember more than anything Robeson said, was the love he radiated, and the profound responsibility he felt, as an actor, to use his platform as a bully pulpit,″ Belafonte wrote in his memoir. His friendship with Robeson and support for left-wing causes eventually brought trouble from the government. FBI agents visited him at home and allegations of Communism nearly cost him an appearance on “The Ed Sullivan Show.″ Leftists suspected, and Belafonte emphatically denied, that he had named names of suspected Communists so he could perform on Sullivan’s show.

By the 1950s, Belafonte was also singing, finding gigs at the Blue Note, the Vanguard and other clubs — he was backed for one performance by Charlie Parker and Max Roach — and becoming immersed in folk, blues, jazz and the calypso he had heard while living in Jamaica. Starting in 1954, he released such top 10 albums as “Mark Twain and Other Folk Favorites″ and “Belafonte,″ and his popular singles included “Mathilda,″ “Jamaica Farewell″ and “The Banana Boat Song,″ a reworked Caribbean ballad that was a late addition to his “Calypso″ record.

“We found ourselves one or two songs short, so we threw in `Day-O’ as filler,″ Belafonte wrote in his memoir.

He was a superstar, but one criticized, and occasionally sued, for taking traditional material and not sharing the profits. Belafonte expressed regret and also worried about being typecast as a calypso singer, declining for years to sing “Day-O″ live after he gave television performances against banana boat backdrops.

Belafonte was the rare young artist to think about the business side of show business. He started one of the first all-Black music publishing companies. He produced plays, movies and TV shows, including Off-Broadway’s “To Be Young, Gifted, and Black,” in 1969. He was the first Black person to produce for TV.

Belafonte made history in 1968 by filling in for Johnny Carson on the “Tonight” show for a full week. Later that year, a simple, spontaneous gesture led to another milestone. Appearing on a taped TV special starring Petula Clark, Belafonte joined the British singer on the anti-war song “On the Path of Glory.″ At one point, Clark placed a hand on Belafonte’s arm. The show’s sponsor, Chrysler, demanded the segment be reshot. Clark and Belafonte resisted, successfully, and for the first time a white woman touched a Black man’s arm on primetime television.

In the 1970s, he returned to movie acting, co-starring with Poitier in “Buck and the Preacher,″ a commercial flop, and the raucous and popular comedy “Uptown Saturday Night.” His other film credits include “Bobby,″ “White Man’s Burden,″ cameos in Altman’s “The Player″ and “Ready to Wear,″ and the Altman-directed TV series “Tanner on Tanner.″ In 2011, HBO aired a documentary about Belafonte, “Sing Your Song.”

Mindful to the end that he grew up in poverty, Belafonte did not think of himself as an artist who became an activist, but an activist who happened to be an artist.

“When you grow up, son,″ Belafonte remembered his mother telling him, “never go to bed at night knowing that there was something you could have done during the day to strike a blow against injustice and you didn’t do it.″

Source: the Associated Press, HILLEL ITALIE: https://apnews.com/article/harry-belafonte-dead-2d8cbdf0043e4383a6c4a85c862cdbe1

More on Harry Belafonte

Belafonte was born Harold George Bellanfanti Jr. at Lying-in Hospital on March 1, 1927, in Harlem, New York, the son of Jamaican-born parents Harold George Bellanfanti Sr., who worked as a chef, and Melvine (née Love), a housekeeper. His mother was the child of a Scottish Jamaican mother and an Afro-Jamaican father, and his father was the child of a Black American mother and a Dutch-Jewish father of Sephardic Jewish descent. Harry, Jr. was raised Catholic.[15]

From 1932 to 1940, Belafonte lived with one of his grandmothers in her native country of Jamaica, where he attended Wolmer’s Schools. Upon returning to New York City, he attended George Washington High School after which he joined the U.S. Navy and served during World War II. In the 1940s, he was working as a janitor’s assistant when a tenant gave him, as a gratuity, two tickets to see the American Negro Theater. He fell in love with the art form and also became friends with Sidney Poitier. The financially struggling pair regularly purchased a single seat to local plays, trading places in between acts, after informing the other about the progression of the play. At the end of the 1940s, he took classes in acting at the Dramatic Workshop of The New School in New York City with the influential German director Erwin Piscator alongside Marlon Brando, Tony Curtis, Walter Matthau, Bea Arthur, and Poitier, while performing with the American Negro Theater. He subsequently received a Tony Award for his participation in the Broadway revue John Murray Anderson’s Almanac (1954). He also starred in the 1955 Broadway revue 3 for Tonight with Gower Champion.

Harry Belafonte (born Harold George Bellanfanti Jr.; March 1, 1927 – April 25, 2023) was an American singer, activist, and actor. As arguably the most successful Jamaican-American pop star of his time, he popularized Jamaican mento folk songs which was marketed as Trinbagonian Calypso musical style with an international audience in the 1950s. His breakthrough album Calypso (1956) was the first million-selling LP by a single artist.[1]

Belafonte was best known for his recordings of “The Banana Boat Song“, with its signature “Day-O” lyric, “Jump in the Line (Shake, Senora)“, “Jamaica Farewell” and “Mary’s Boy Child“. He recorded and performed in many genres, including blues, folk, gospel, show tunes, and American standards. He also starred in several films, including Carmen Jones (1954), Island in the Sun (1957), and Odds Against Tomorrow (1959).

Belafonte considered the actor, singer and activist Paul Robeson a mentor, and he was a close confidant of Martin Luther King Jr. during the Civil Rights Movement of the 1950s and 1960s. As he later recalled, “Paul Robeson had been my first great formative influence; you might say he gave me my backbone. Martin King was the second; he nourished my soul. Throughout his career, Belafonte was an advocate for political and humanitarian causes, such as the Anti-Apartheid Movement and USA for Africa. From 1987 until his death, he was a UNICEF Goodwill Ambassador. He was a vocal critic of the policies of the George W. Bush presidential administrations. Belafonte acted as the American Civil Liberties Union celebrity ambassador for juvenile justice issues.

Belafonte won three Grammy Awards (including a Grammy Lifetime Achievement Award), an Emmy Award, and a Tony Award. In 1989, he received the Kennedy Center Honors. He was awarded the National Medal of Arts in 1994. In 2014, he received the Jean Hersholt Humanitarian Award at the Academy’s 6th Annual Governors Awards and in 2022 was inducted into the Rock and Roll Hall of Fame in the Early Influence category.

Belafonte supported the Civil Rights Movement in the 1950s and 1960s and was one of Martin Luther King Jr.‘s confidants. He provided for King’s family since King made only $8,000 a year as a preacher. Like many other civil rights activists, Belafonte was blacklisted during the McCarthy era. During the 1963 Birmingham Campaign, he bailed King out of Birmingham City Jail and raised $50,000 to release other civil rights protesters. He contributed to the 1961 Freedom Rides, supported voter registration drives, and helped to organize the 1963 March on Washington.

During the “Mississippi Freedom Summer” of 1964, Belafonte bankrolled the Student Nonviolent Coordinating Committee, flying to Mississippi that August with Sidney Poitier and $60,000 in cash and entertaining crowds in Greenwood. In 1968, Belafonte appeared on a Petula Clark primetime television special on NBC. In the middle of a duet of On the Path of Glory, Clark smiled and briefly touched Belafonte’s arm, which prompted complaints from Doyle Lott, the advertising manager of the show’s sponsor, Plymouth Motors. Lott wanted to retape the segment, but Clark, who had ownership of the special, told NBC that the performance would be shown intact or she would not allow it to be aired at all. Newspapers reported the controversy, Lott was relieved of his responsibilities,[51] and when the special aired, it attracted high ratings.

In 2005, Belafonte founded The Gathering for Justice after he witnessed news reports of a 5-year-old Black girl, Jaiesha Scott, being handcuffed and arrested in her Florida classroom for “being unruly”. After dedicating his life to the Civil Rights movement, and seeing so many gains, he was struck in that moment with the distance left to go. The mission of The Gathering for Justice is to end child incarceration and eliminate the racial inequities that permeate the justice system. The Gathering for Justice has two state-based task forces, Justice League NYC (established in 2013) and Justice League California (established in 2017), both of which bring together juvenile and criminal justice experts, advocates, artists and individuals who’ve experienced or been impacted by incarceration directly.

Belafonte taped an appearance on an episode of The Smothers Brothers Comedy Hour to be aired on September 29, 1968, performing a controversial “Mardi Gras” number intercut with footage from the 1968 Democratic National Convention riots. CBS censors deleted the segment. The full unedited content was broadcast in 1993 as part of a complete Smothers Brothers Hour syndication package.

Source: https://en.wikipedia.org/wiki/Harry_Belafonte

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