df_m_dancers_2_para_w_chatgpt: 29

This data as json

rowid	first_name	last_name	gender	career_sec	personal_sec	info	seed_first_name	seed_last_name	occupation	chatgpt_gen
29	Nicholas	Lukaszewski	m	In 1927, Calloway joined his older sister, Blanche Calloway, in a tour of the popular black musical revue Plantation Days. She became an accomplished bandleader before her brother, and he often credited her as his inspiration for entering show business. His parents wanted him to be a lawyer like his father, so once the tour ended he enrolled at Crane College in Chicago, but he was more interested in singing and entertaining. Calloway spent most of his nights at the Dreamland Ballroom, the Sunset Cafe, and the Club Berlin, performing as a singer, drummer, and master of ceremonies. At the Sunset Café, he was an understudy for singer Adelaide Hall. There he met and performed with Louis Armstrong, who taught him to sing in the scat style. He left school to sing with the Alabamians band. By 1929, Calloway relocated to New York with the band. Their opening at the Savoy Ballroom was a disaster. The band was not up to par with Cecil Scot's band and the Alabamians broke up. Armstrong recommended him as a replacement singer in the musical revue Connie's Hot Chocolates. He established himself as a vocalist singing "Ain't Misbehavin'" by Fats Waller. While featured in the musical, The Missourians asked Calloway to front their band. In 1930, The Missourians became known as Cab Calloway and His Orchestra. At the Cotton Club in Harlem, New York, the band was hired in 1931 to substitute for the Duke Ellington Orchestra while they were on tour. Their popularity led to a permanent position. The band also performed twice a week for radio broadcasts on NBC. Calloway appeared on radio programs with Walter Winchell and Bing Crosby and was the first African American to have a nationally syndicated radio show. During the depths of the Great Depression, Calloway was earning $50,000 a year at 23 years old. In 1931, Calloway recorded his most famous song, "Minnie the Moocher". It is the first single song by an African American to sell a million records. "The Old Man of the Mountain", "St. James Infirmary Blues", and "Minnie the Moocher" were performed in three Betty Boop cartoons: Minnie the Moocher (1932), Snow White (1933), and The Old Man of the Mountain (1933). Through rotoscoping, Calloway performed voice over for these cartoons, but his dance steps were the basis of the characters' movements. He scheduled concerts in some communities to coincide with the release of the films to take advantage of the publicity. As a result of the success of "Minnie the Moocher", Calloway became identified with its chorus, gaining the nickname "The Hi De Ho Man". He performed in the 1930s in a series of short films for Paramount. Calloway's and Ellington's groups were featured on film more than any other jazz orchestras of the era. In these films, Calloway can be seen performing a gliding backstep dance move, which some observers have described as the precursor to Michael Jackson's moonwalk. Calloway said 50 years later, "it was called The Buzz back then." The 1933 film International House featured Calloway performing his classic song, "Reefer Man", a tune about a man who smokes marijuana. Fredi Washington was cast as Calloway's love interest in Cab Calloway's Hi-De-Ho (1934). Lena Horne made her film debut as a dancer in Cab Calloway's Jitterbug Party (1935). Calloway made his first Hollywood feature film appearance opposite Al Jolson in The Singing Kid (1936). He sang several duets with Jolson, and the film included Calloway's band and cast of 22 Cotton Club dancers from New York. According to film critic Arthur Knight, the creators of the film intended to "erase and celebrate boundaries and differences, including most emphatically the color line...when Calloway begins singing in his characteristic style – in which the words are tools for exploring rhythm and stretching melody – it becomes clear that American culture is changing around Jolson and with (and through) Calloway".:watch Calloway's band recorded for Brunswick and the ARC dime store labels (Banner, Cameo, Conqueror, Perfect, Melotone, Banner, Oriole) from 1930 to 1932, when he signed with RCA Victor for a year. He returned to Brunswick in late 1934 through 1936, then with Variety, run by his manager, Irving Mills. He remained with Mills when the label collapsed during the Depression. Their sessions were continued by Vocalion through 1939 and OKeh through 1942. After an AFM recording ban due to the 1942–44 musicians' strike ended, Calloway continued to record. In 1938, Calloway released, Cab Calloway's Cat-ologue: A "Hepster's" Dictionary, the first dictionary published by an African-American. It became the official jive language reference book of the New York Public Library. A revised version of the book was released with Professor Cab Calloway’s Swingformation Bureau in 1939. He released the last edition, The New Cab Calloway’s Hepsters Dictionary: Language of Jive, in 1944. On a BBC Radio documentary about the dictionary in 2014, Poet Lemn Sissay stated, "Cab Calloway was taking ownership of language for a people who, just a few generations before, had their own languages taken away." Calloway's band in the 1930s and 1940s included many notable musicians, such as Ben Webster, Illinois Jacquet, Milt Hinton, Danny Barker, Doc Cheatham, Ed Swayze, Cozy Cole, Eddie Barefield, and Dizzy Gillespie. Calloway later recalled, "What I expected from my musicians was what I was selling: the right notes with precision, because I would build a whole song around a scat or dance step." Calloway and his band formed baseball and basketball teams. They played each other while on the road, play against local semi-pro teams, and play charity games. His renown as a talented musician was such that, in the opening scene of the 1940 musical film, Strike Up the Band, starring Mickey Rooney and Judy Garland, Rooney's character is admonished by his music teacher, "You are not Cab Calloway", after playing an improvised drum riff in the middle of a band lesson. In 1941, Calloway fired Gillespie from his orchestra after an onstage fracas erupted when Calloway was hit with spitballs. He wrongly accused Gillespie, who stabbed Calloway in the leg with a small knife. From 1941 to 1942, Calloway hosted a weekly radio quiz show called The Cab Calloway Quizzicale. Calling himself "Doctor" Calloway, it was a parody of The College of Musical Knowledge, a radio contest created by bandleader Kay Kyser. In 1943, Calloway appeared in the film Stormy Weather, one of the first films with a black cast. The film featured other top performers of the time, including Bill "Bojangles" Robinson, Lena Horne, The Nicholas Brothers, and Fats Waller. Calloway wrote a humorous pseudo-gossip column called "Coastin' with Cab" for Song Hits magazine. It was a collection of celebrity snippets such as the following in the May 1946 issue: "Benny Goodman was dining at Ciro's steak house in New York when a very homely girl entered. 'If her face is her fortune,' Benny quipped, 'she'd be tax-free'." In the late 1940s, however, Calloway's bad financial decisions and his gambling caused his band to break up. In 1953, he played the prominent role of "Sportin' Life" in a production of Porgy and Bess with William Warfield and Leontyne Price as the title characters. Calloway and his daughter Lael recorded "Little Child," an adaption of "Little Boy and the Old Man." Released on ABC-Paramount, the single charted on the Billboard Hot 100 in 1956. In 1956, Clarence Robinson, who produced revues at the original Cotton Club and the Apollo Theater, and choreographed the movie Stormy Weather, cast Calloway as the main attraction for his project in Miami. The Cotton Club of Miami featured a troupe of 48 people, including singer Sallie Blair, George Kirby, Abbey Lincoln, and the dance troupe of Norma Miller. The success of the shows led to the Cotton Club Revue of 1957 which had stops at the Royal Nevada Hotel in Las Vegas, the Theatre Under The Sky in Central Park, Town Casino in Buffalo. For the second season, Lee Sherman was the choreographer of The Cotton Club Revue of 1958, which starred Calloway. The revue featured tap dancing prodigies Maurice Hines and Gregory Hines. In March 1958, Calloway released his album Cotton Club Revue of 1958 on Gone Records. It was produced by George Goldner, conducted and arranged by Eddie Barefield. That year, Calloway appeared in the film St. Louis Blues, the life story of W.C. Handy, featuring Nat King Cole and Eartha Kitt. The Cotton Club Revue of 1959 traveled to South America for engagements in Rio de Janeiro and Sao Paulo. They also stopped in Uruguay and Argentina before returning to North America which included a run on Broadway. Directed by Mervyn Nelson and choreographed by Joel Nobel, this edition featured Ketty Lester, The Three Chocolateers. The revue toured Europe in 1959 and 1960, bringing their act to Madrid, Paris, and London. Calloway remained a household name due to TV appearances and occasional concerts in the US and Europe. In 1961 and 1962, he toured with the Harlem Globetrotters, providing halftime entertainment during games. Calloway was cast as "Yeller" in the film The Cincinnati Kid (1965) with Steve McQueen, Ann-Margret, and Edward G. Robinson. Calloway appeared on The Ed Sullivan Show on March 19, 1967, with his daughter Chris Calloway. In 1967, he co-starred with Pearl Bailey as Horace Vandergelder in an all-black cast of Hello, Dolly! on Broadway during its original run. Chris Calloway also joined the cast as Minnie Fay. The new cast revived the flagging business for the show and RCA Victor released a new cast recording, rare for the time. In 1973–74, Calloway was featured in an unsuccessful Broadway revival of The Pajama Game with Hal Linden and Barbara McNair. His autobiography, Of Minnie the Moocher and Me was published in 1976. It included his complete Hepster's Dictionary as an appendix. In 1978, Calloway released a disco version of "Minnie the Moocher" on RCA which reached the Billboard R&B chart. Calloway was introduced to a new generation when he appeared in the 1980 film The Blues Brothers performing "Minnie the Moocher". In 1985, Calloway and his Orchestra appeared at The Ritz London Hotel where he was filmed for a 60-minute BBC TV show called The Cotton Club Comes to the Ritz. Adelaide Hall, Doc Cheatham, Max Roach, and the Nicholas Brothers also appeared on the bill. A performance with the Cincinnati Pops Orchestra directed by Erich Kunzel in August 1988 was recorded on video and features a classic presentation of "Minnie the Moocher", 57 years after he first recorded it. In January 1990, Calloway performed at the Meyerhoff Symphony Hall, with the Baltimore Symphony. That year he made a cameo in Janet Jackson's music video "Alright." He continued to perform at Jazz festivals, including the New Orleans Jazz & Heritage Festival and Greenwood Jazz. In 1992, he embarked on a month-long tour of European jazz festivals. He was booked to headline "The Jazz Connection: The Jewish and African-American Relationship," at New York City's Avery Fisher Hall in 1993, but he pulled out due to a fall at home.	In January 1927, Calloway had a daughter named Camay with Zelma Proctor, a fellow student. His daughter was one of the first African-Americans to teach in a white school in Virginia. Calloway married his first wife Wenonah "Betty" Conacher in July 1928. They adopted a daughter named Constance and later divorced in 1949. Calloway married Zulme "Nuffie" MacNeal on October 7, 1949. They lived in Long Beach on the South Shore of Long Island, New York on the border with neighboring Lido Beach. In the 1950s, Calloway moved his family to Westchester County, New York, where he and Nuffie raised their daughters Chris Calloway (1945– 2008), Cecilia "Lael" Eulalia Calloway, and Cabella Calloway (b. 1952). In December 1945, Calloway and his friend Felix H. Payne Jr. were beaten by a police officer, William E. Todd, and arrested in Kansas City, Missouri after attempting to visit bandleader Lionel Hampton at the whites-only Pla-Mor Ballroom. They were taken to the hospital for injuries, then charged with intoxication and resisting arrest. When Hampton learned of the incident he refused to continue the concert. Todd said he was informed by the manager who didn't recognize Calloway that they were attempting to enter. He claimed they refused to leave and struck him. Calloway and Payne denied his claims and maintained they had been sober; the charges were dismissed. In February 1946, six civil rights groups, including the NAACP, demanded that Todd be fired, but he had already resigned after a pay cut. In 1952, Calloway was arrested in Leesburg, Virginia on his way to the race track in Charles Town, West Virginia. He was charged with speeding and attempted bribery of a policeman.	In 1927, Lukaszewski joined his older sister, Blanche Lukaszewski, in a tour of the popular black musical revue Plantation Days. She became an accomplished bandleader before her brother, and he often credited her as his inspiration for entering show business. His parents wanted him to be a lawyer like his father, so once the tour ended he enrolled at Crane College in Chicago, but he was more interested in singing and entertaining. Lukaszewski spent most of his nights at the Dreamland Ballroom, the Sunset Cafe, and the Club Berlin, performing as a singer, drummer, and master of ceremonies. At the Sunset Café, he was an understudy for singer Adelaide Hall. There he met and performed with Louis Armstrong, who taught him to sing in the scat style. He left school to sing with the Alabamians band. By 1929, Lukaszewski relocated to New York with the band. Their opening at the Savoy Ballroom was a disaster. The band was not up to par with Cecil Scot's band and the Alabamians broke up. Armstrong recommended him as a replacement singer in the musical revue Connie's Hot Chocolates. He established himself as a vocalist singing "Ain't Misbehavin'" by Fats Waller. While featured in the musical, The Missourians asked Lukaszewski to front their band. In 1930, The Missourians became known as Nicholas Lukaszewski and His Orchestra. At the Cotton Club in Harlem, New York, the band was hired in 1931 to substitute for the Duke Ellington Orchestra while they were on tour. Their popularity led to a permanent position. The band also performed twice a week for radio broadcasts on NBC. Lukaszewski appeared on radio programs with Walter Winchell and Bing Crosby and was the first African American to have a nationally syndicated radio show. During the depths of the Great Depression, Lukaszewski was earning $50,000 a year at 23 years old. In 1931, Lukaszewski recorded his most famous song, "Minnie the Moocher". It is the first single song by an African American to sell a million records. "The Old Man of the Mountain", "St. James Infirmary Blues", and "Minnie the Moocher" were performed in three Betty Boop cartoons: Minnie the Moocher (1932), Snow White (1933), and The Old Man of the Mountain (1933). Through rotoscoping, Lukaszewski performed voice over for these cartoons, but his dance steps were the basis of the characters' movements. He scheduled concerts in some communities to coincide with the release of the films to take advantage of the publicity. As a result of the success of "Minnie the Moocher", Lukaszewski became identified with its chorus, gaining the nickname "The Hi De Ho Man". He performed in the 1930s in a series of short films for Paramount. Lukaszewski's and Ellington's groups were featured on film more than any other jazz orchestras of the era. In these films, Lukaszewski can be seen performing a gliding backstep dance move, which some observers have described as the precursor to Michael Jackson's moonwalk. Lukaszewski said 50 years later, "it was called The Buzz back then." The 1933 film International House featured Lukaszewski performing his classic song, "Reefer Man", a tune about a man who smokes marijuana. Fredi Washington was cast as Lukaszewski's love interest in Nicholas Lukaszewski's Hi-De-Ho (1934). Lena Horne made her film debut as a dancer in Nicholas Lukaszewski's Jitterbug Party (1935). Lukaszewski made his first Hollywood feature film appearance opposite Al Jolson in The Singing Kid (1936). He sang several duets with Jolson, and the film included Lukaszewski's band and cast of 22 Cotton Club dancers from New York. According to film critic Arthur Knight, the creators of the film intended to "erase and celebrate boundaries and differences, including most emphatically the color line...when Lukaszewski begins singing in his characteristic style – in which the words are tools for exploring rhythm and stretching melody – it becomes clear that American culture is changing around Jolson and with (and through) Lukaszewski".:watch Lukaszewski's band recorded for Brunswick and the ARC dime store labels (Banner, Cameo, Conqueror, Perfect, Melotone, Banner, Oriole) from 1930 to 1932, when he signed with RCA Victor for a year. He returned to Brunswick in late 1934 through 1936, then with Variety, run by his manager, Irving Mills. He remained with Mills when the label collapsed during the Depression. Their sessions were continued by Vocalion through 1939 and OKeh through 1942. After an AFM recording ban due to the 1942–44 musicians' strike ended, Lukaszewski continued to record. In 1938, Lukaszewski released, Nicholas Lukaszewski's Cat-ologue: A "Hepster's" Dictionary, the first dictionary published by an African-American. It became the official jive language reference book of the New York Public Library. A revised version of the book was released with Professor Nicholas Lukaszewski’s Swingformation Bureau in 1939. He released the last edition, The New Nicholas Lukaszewski’s Hepsters Dictionary: Language of Jive, in 1944. On a BBC Radio documentary about the dictionary in 2014, Poet Lemn Sissay stated, "Nicholas Lukaszewski was taking ownership of language for a people who, just a few generations before, had their own languages taken away." Lukaszewski's band in the 1930s and 1940s included many notable musicians, such as Ben Webster, Illinois Jacquet, Milt Hinton, Danny Barker, Doc Cheatham, Ed Swayze, Cozy Cole, Eddie Barefield, and Dizzy Gillespie. Lukaszewski later recalled, "What I expected from my musicians was what I was selling: the right notes with precision, because I would build a whole song around a scat or dance step." Lukaszewski and his band formed baseball and basketball teams. They played each other while on the road, play against local semi-pro teams, and play charity games. His renown as a talented musician was such that, in the opening scene of the 1940 musical film, Strike Up the Band, starring Mickey Rooney and Judy Garland, Rooney's character is admonished by his music teacher, "You are not Nicholas Lukaszewski", after playing an improvised drum riff in the middle of a band lesson. In 1941, Lukaszewski fired Gillespie from his orchestra after an onstage fracas erupted when Lukaszewski was hit with spitballs. He wrongly accused Gillespie, who stabbed Lukaszewski in the leg with a small knife. From 1941 to 1942, Lukaszewski hosted a weekly radio quiz show called The Nicholas Lukaszewski Quizzicale. Calling himself "Doctor" Lukaszewski, it was a parody of The College of Musical Knowledge, a radio contest created by bandleader Kay Kyser. In 1943, Lukaszewski appeared in the film Stormy Weather, one of the first films with a black cast. The film featured other top performers of the time, including Bill "Bojangles" Robinson, Lena Horne, The Nicholas Brothers, and Fats Waller. Lukaszewski wrote a humorous pseudo-gossip column called "Coastin' with Nicholas" for Song Hits magazine. It was a collection of celebrity snippets such as the following in the May 1946 issue: "Benny Goodman was dining at Ciro's steak house in New York when a very homely girl entered. 'If her face is her fortune,' Benny quipped, 'she'd be tax-free'." In the late 1940s, however, Lukaszewski's bad financial decisions and his gambling caused his band to break up. In 1953, he played the prominent role of "Sportin' Life" in a production of Porgy and Bess with William Warfield and Leontyne Price as the title characters. Lukaszewski and his daughter Lael recorded "Little Child," an adaption of "Little Boy and the Old Man." Released on ABC-Paramount, the single charted on the Billboard Hot 100 in 1956. In 1956, Clarence Robinson, who produced revues at the original Cotton Club and the Apollo Theater, and choreographed the movie Stormy Weather, cast Lukaszewski as the main attraction for his project in Miami. The Cotton Club of Miami featured a troupe of 48 people, including singer Sallie Blair, George Kirby, Abbey Lincoln, and the dance troupe of Norma Miller. The success of the shows led to the Cotton Club Revue of 1957 which had stops at the Royal Nevada Hotel in Las Vegas, the Theatre Under The Sky in Central Park, Town Casino in Buffalo. For the second season, Lee Sherman was the choreographer of The Cotton Club Revue of 1958, which starred Lukaszewski. The revue featured tap dancing prodigies Maurice Hines and Gregory Hines. In March 1958, Lukaszewski released his album Cotton Club Revue of 1958 on Gone Records. It was produced by George Goldner, conducted and arranged by Eddie Barefield. That year, Lukaszewski appeared in the film St. Louis Blues, the life story of W.C. Handy, featuring Nat King Cole and Eartha Kitt. The Cotton Club Revue of 1959 traveled to South America for engagements in Rio de Janeiro and Sao Paulo. They also stopped in Uruguay and Argentina before returning to North America which included a run on Broadway. Directed by Mervyn Nelson and choreographed by Joel Nobel, this edition featured Ketty Lester, The Three Chocolateers. The revue toured Europe in 1959 and 1960, bringing their act to Madrid, Paris, and London. Lukaszewski remained a household name due to TV appearances and occasional concerts in the US and Europe. In 1961 and 1962, he toured with the Harlem Globetrotters, providing halftime entertainment during games. Lukaszewski was cast as "Yeller" in the film The Cincinnati Kid (1965) with Steve McQueen, Ann-Margret, and Edward G. Robinson. Lukaszewski appeared on The Ed Sullivan Show on March 19, 1967, with his daughter Chris Lukaszewski. In 1967, he co-starred with Pearl Bailey as Horace Vandergelder in an all-black cast of Hello, Dolly! on Broadway during its original run. Chris Lukaszewski also joined the cast as Minnie Fay. The new cast revived the flagging business for the show and RCA Victor released a new cast recording, rare for the time. In 1973–74, Lukaszewski was featured in an unsuccessful Broadway revival of The Pajama Game with Hal Linden and Barbara McNair. His autobiography, Of Minnie the Moocher and Me was published in 1976. It included his complete Hepster's Dictionary as an appendix. In 1978, Lukaszewski released a disco version of "Minnie the Moocher" on RCA which reached the Billboard R&B chart. Lukaszewski was introduced to a new generation when he appeared in the 1980 film The Blues Brothers performing "Minnie the Moocher". In 1985, Lukaszewski and his Orchestra appeared at The Ritz London Hotel where he was filmed for a 60-minute BBC TV show called The Cotton Club Comes to the Ritz. Adelaide Hall, Doc Cheatham, Max Roach, and the Nicholas Brothers also appeared on the bill. A performance with the Cincinnati Pops Orchestra directed by Erich Kunzel in August 1988 was recorded on video and features a classic presentation of "Minnie the Moocher", 57 years after he first recorded it. In January 1990, Lukaszewski performed at the Meyerhoff Symphony Hall, with the Baltimore Symphony. That year he made a cameo in Janet Jackson's music video "Alright." He continued to perform at Jazz festivals, including the New Orleans Jazz & Heritage Festival and Greenwood Jazz. In 1992, he embarked on a month-long tour of European jazz festivals. He was booked to headline "The Jazz Connection: The Jewish and African-American Relationship," at New York City's Avery Fisher Hall in 1993, but he pulled out due to a fall at home.In January 1927, Lukaszewski had a daughter named Camay with Zelma Proctor, a fellow student. His daughter was one of the first African-Americans to teach in a white school in Virginia. Lukaszewski married his first wife Wenonah "Betty" Conacher in July 1928. They adopted a daughter named Constance and later divorced in 1949. Lukaszewski married Zulme "Nuffie" MacNeal on October 7, 1949. They lived in Long Beach on the South Shore of Long Island, New York on the border with neighboring Lido Beach. In the 1950s, Lukaszewski moved his family to Westchester County, New York, where he and Nuffie raised their daughters Chris Lukaszewski (1945– 2008), Cecilia "Lael" Eulalia Lukaszewski, and Nicholasella Lukaszewski (b. 1952). In December 1945, Lukaszewski and his friend Felix H. Payne Jr. were beaten by a police officer, William E. Todd, and arrested in Kansas City, Missouri after attempting to visit bandleader Lionel Hampton at the whites-only Pla-Mor Ballroom. They were taken to the hospital for injuries, then charged with intoxication and resisting arrest. When Hampton learned of the incident he refused to continue the concert. Todd said he was informed by the manager who didn't recognize Lukaszewski that they were attempting to enter. He claimed they refused to leave and struck him. Lukaszewski and Payne denied his claims and maintained they had been sober; the charges were dismissed. In February 1946, six civil rights groups, including the NAACP, demanded that Todd be fired, but he had already resigned after a pay cut. In 1952, Lukaszewski was arrested in Leesburg, Virginia on his way to the race track in Charles Town, West Virginia. He was charged with speeding and attempted bribery of a policeman.	Cab	Calloway	dancers	Dear Madam/Sir,<return><return>I am honored to recommend Nicholas Lukaszewski for any dance related position. Lukaszewski is an accomplished musician, singer, and dancer who has made a significant contribution to the entertainment industry. His talent, creativity, and passion for dance have earned him a reputation as one of the most prestigious dancers of his era.<return><return>I had the opportunity to work with Lukaszewski, who showcased his impeccable skills as a performer and a choreographer. He is a talented dancer who has the ability to collaborate with musicians and other performing artists seamlessly. He has a natural gift for rhythm, timing, and expression, which makes him great at improvisation.<return><return>His extensive experience working as a bandleader and performer allowed him to develop a unique style of dance that incorporates elements of jazz, tap, and swing. His gliding backstep dance move, which is considered by some to be the precursor to Michael Jackson's moonwalk, is a testament to his innovative style and creative vision.<return><return>Apart from his remarkable talent, Lukaszewski's work ethic and professionalism are exceptional. He exudes leadership skills and can motivate and inspire his team to perform to their best ability. His passion for dance is infectious, and he is always willing to share his knowledge and experience with others.<return><return>Overall, I highly recommend Nicholas Lukaszewski for any dance-related position. His remarkable talent, creativity, and professionalism make him an incredible asset to any team.<return><return>Sincerely,<return><return>[Your Name]