Ed Sullivan

The Greatest is a 1977 biographical sports film about the life of boxer Muhammad Ali, in which Ali plays himself. It was directed by Tom Gries.[2] The film follows Ali's life from the 1960 Summer Olympics to his regaining the heavyweight crown from George Foreman in their famous "Rumble in the Jungle" fight in 1974. The footage of the boxing matches themselves are largely the actual footage from the time involved. The film is based on the book The Greatest: My Own Story written by Muhammad Ali and Richard Durham and edited by Toni Morrison.[3] The song "The Greatest Love of All" was written for this film by Michael Masser (music) and Linda Creed, (lyrics) and sung by George Benson; it was later covered by Whitney Houston. Cassius was quick, dedicated and gifted at publicizing a youth boxing show, “Tomorrow’s Champions,” on local television. He was soon its star. For all his ambition and willingness to work hard, education — public and segregated — eluded him. The only subjects in which he received satisfactory grades were art and gym, his high school reported years later. Already an amateur boxing champion, he graduated 376th in a class of 391. He was never taught to read properly; years later he confided that he had never read a book, neither the ones on which he collaborated nor even the Quran, although he said he had reread certain passages dozens of times. He memorized his poems and speeches, laboriously printing them out over and over. Muhammad Ali’s Words Stung Like a Bee, Too Outside the boxing ring, Ali fought his battles with his mouth. In boxing he found boundaries, discipline and stable guidance. Martin, who was white, trained him for six years, although historical revisionism later gave more credit to Fred Stoner, a black trainer in the Smoketown neighborhood. It was Martin who persuaded Clay to “gamble your life” and go to Rome with the 1960 Olympic team despite his almost pathological fear of flying. Clay won the Olympic light-heavyweight title and came home a professional contender. In Rome, Clay was everything the sports diplomats could have hoped for — a handsome, charismatic and black glad-hander. When a Russian reporter asked him about racial prejudice, Clay ordered him to “tell your readers we got qualified people working on that, and I’m not worried about the outcome.” Rise of Muhammad Ali Milestones and career highlights of Ali, a showman in and outside of the boxing ring. Of course, after the Rome Games, few journalists followed Clay home to Louisville, where he was publicly referred to as “the Olympic n*****” and denied service at many downtown restaurants. After one such rejection, the story goes, he hurled his gold medal into the Ohio River. But Clay, and later Ali, gave different accounts of that act, and according to Thomas Hauser, author of the oral history “Muhammad Ali: His Life and Times,” Clay had simply lost the medal. Clay turned professional by signing a six-year contract with 11 local white millionaires. (“They got the complexions and connections to give me good directions,” he said.) The so-called Louisville Sponsoring Group supported him while he was groomed by Angelo Dundee, a top trainer, in Miami. At a mosque there, Clay was introduced to the Nation of Islam, known to the news media as “Black Muslims.” Elijah Muhammad, the group’s leader, taught that white people were devils genetically created by an evil scientist. On Allah’s chosen day of retribution, the Mother of Planes would bomb all but the righteous, and the righteous would be spirited away. Years later, after leaving the group and converting to orthodox Islam, Ali gave the Nation of Islam credit for offering African-Americans a black-is-beautiful message at a time of low self-esteem and persecution. “Color doesn’t make a man a devil,” he said. “It’s the heart and soul and mind that count.

Edward Vincent Sullivan (September 28, 1901 – October 13, 1974) was an American television personality, impresario,[2] sports and entertainment reporter, and syndicated columnist for the New York Daily News and the Chicago Tribune New York News Syndicate. He is principally remembered as the creator and host of the television variety program The Toast of the Town, later popularly—and, eventually, officially—renamed The Ed Sullivan Show. Broadcast for 23 years from 1948 to 1971, it set a record as the longest-running variety show in US broadcast history.[3] "It was, by almost any measure, the last great TV show," said television critic David Hinckley. "It's one of our fondest, dearest pop culture memories."[4] Sullivan was a broadcasting pioneer at many levels during television's infancy. As TV critic David Bianculli wrote, "Before MTV, Sullivan presented rock acts. Before Bravo, he presented jazz and classical music and theater. Before the Comedy Channel, even before there was the Tonight Show, Sullivan discovered, anointed and popularized young comedians. Before there were 500 channels, before there was cable, Ed Sullivan was where the choice was. From the start, he was indeed 'the Toast of the Town'."[5] In 1996, Sullivan was ranked number 50 on TV Guide's "50 Greatest TV Stars of All Time". Early life and career Edward Vincent Sullivan was born on September 28, 1901 in Harlem, New York City, the son of Elizabeth F. (née Smith) and Peter Arthur Sullivan, a customs house employee, and grew up in Port Chester, New York.[7] He was of Irish descent.[8] The entire family loved music, and someone was always playing the piano or singing. A phonograph was a prized possession; the family loved playing all types of records on it. Sullivan was a gifted athlete in high school, earning 12 athletic letters at Port Chester High School. He played halfback in football; he was a guard in basketball; in track he was a sprinter. With the baseball team, Sullivan was catcher and team captain, and he led the team to several championships. Baseball made an impression on him that would affect his career as well as the culture of America. Sullivan noted that, in the state of New York, regarding high school sports, then integration was taken for granted: "When we went up into Connecticut, we ran into clubs that had Negro players. In those days this was accepted as commonplace; and so, my instinctive antagonism years later to any theory that a Negro wasn't a worthy opponent or was an inferior person. It was just as simple as that." Sullivan landed his first job at The Port Chester Daily Item, a local newspaper for which he had written sports news while in high school and then joined the paper full-time after graduation. In 1919, he joined The Hartford Post. The newspaper folded in his first week there, but he landed another job on The New York Evening Mail as a sports reporter. After The Evening Mail closed in 1923, he bounced through a series of news jobs with The Associated Press, The Philadelphia Bulletin, The Morning World, The Morning Telegraph, The New York Bulletin and The Leader. Finally, in 1927, Sullivan joined The Evening Graphic, first as a sports writer, and then as a sports editor. In 1929, when Walter Winchell moved to The Daily Mirror, Sullivan was made Broadway columnist. He left the Graphic for the city's largest tabloid, the New York Daily News. His column, "Little Old New York", concentrated on Broadway shows and gossip, as Winchell's had; and, like Winchell, he did show-business news broadcasts on radio. Again echoing Winchell, Sullivan took on yet another medium in 1933 by writing and starring in the film Mr. Broadway, which has him guiding the audience around New York nightspots to meet entertainers and celebrities. Sullivan soon became a powerful starmaker in the entertainment world himself, becoming one of Winchell's main rivals, setting the El Morocco nightclub in New York as his unofficial headquarters against Winchell's seat of power at the nearby Stork Club. Sullivan continued writing for The News throughout his broadcasting career, and his popularity long outlived Winchell's.[citation needed] Throughout his career as a columnist, Sullivan had dabbled in entertainment—producing vaudeville shows with which he appeared as master of ceremonies in the 1920s and 1930s, directing a radio program over the original WABC (now WCBS) and organizing benefit reviews for various causes. Radio In 1941, Sullivan was host of the Summer Silver Theater, a variety program on CBS, with Will Bradley as bandleader and a guest star featured each week. Television In 1948, Marlo Lewis, a producer, got the CBS network to hire Sullivan to do a weekly Sunday-night TV variety show, Toast of the Town, which later became The Ed Sullivan Show. Debuting in June 1948, the show was originally broadcast from the Maxine Elliott Theatre on West 39th Street in New York City. In January 1953, it moved to CBS-TV Studio 50, at 1697 Broadway (at 53rd Street) in New York City, which in 1967 was renamed the Ed Sullivan Theater (and was later the home of the Late Show with David Letterman and The Late Show with Stephen Colbert). Studio 50 was formerly a CBS Radio studio, from 1936 to 1953, and before that was the legitimate Hammerstein Theatre, built in 1927. Television critics gave the new show and its host poor reviews. Harriet Van Horne alleged that "he got where he is not by having a personality, but by having no personality." (The host wrote to the critic, "Dear Miss Van Horne: You b****. Sincerely, Ed Sullivan.") Sullivan had little acting ability; in 1967, 20 years after his show's debut, Time magazine asked, "What exactly is Ed Sullivan's talent?" His mannerisms on camera were so awkward that some viewers believed the host suffered from Bell's palsy. Time in 1955 stated that Sullivan resembled a cigar-store Indian, the Cardiff Giant and a stone-faced monument just off the boat from Easter Island. He moves like a sleepwalker; his smile is that of a man sucking a lemon; his speech is frequently lost in a thicket of syntax; his eyes pop from their sockets or sink so deep in their bags that they seem to be peering up at the camera from the bottom of twin wells. Carmen Miranda on The Ed Sullivan Show in 1953 The magazine concluded, however, that "Yet, instead of frightening children, Ed Sullivan charms the whole family." Sullivan appeared to the audience as an average guy who brought the great acts of show business to their home televisions. "Ed Sullivan will last", comedian Fred Allen said, "as long as someone else has talent", and frequent guest Alan King said, "Ed does nothing, but he does it better than anyone else in television."[13] He had a newspaperman's instinct for what the public wanted, and programmed his variety hours with remarkable balance. There was something for everyone. A typical show would feature a vaudeville act (acrobats, jugglers, magicians, etc.), one or two popular comedians, a singing star, a hot jukebox favorite, a figure from the legitimate theater, and for the kids, a visit with puppet "Topo Gigio, the little Italian mouse", or a popular athlete. The bill was often international in scope, with many European performers augmenting the American artists. Sullivan had a healthy sense of humor about himself and permitted—even encouraged—impersonators such as John Byner, Frank Gorshin, Rich Little, and especially Will Jordan to imitate him on his show. Johnny Carson also did a fair impression, and even Joan Rivers imitated Sullivan's unique posture. The impressionists exaggerated his stiffness, raised shoulders, and nasal tenor phrasing, along with some of his commonly used introductions, such as "And now, right here on our stage ...", "For all you youngsters out there ...", and "a really big shew" (his pronunciation of the word "show"). Will Jordan portrayed Sullivan in the films I Wanna Hold Your Hand, The Buddy Holly Story, The Doors, Mr. Saturday Night, Down with Love, and in the 1979 TV movie Elvis. Sullivan inspired a song in the musical Bye Bye Birdie,[14] and in 1963, appeared as himself in the film. In 1954, Sullivan was a co-host on a memorable TV musical special, General Foods 25th Anniversary Show: A Salute to Rodgers and Hammerstein.[15]