Damita Jo Freeman was born on February 26, 1953 in Palestine, Texas, USA.She is known for her work on Elvira: Mistress of the Dark (1988), Private Benjamin (1980) and Bad Dreams (1988).
Damita Jo Man Photos Movie Tina PrivateJackie Sims Shes in the Army Now 1981 TV Movie Tina Private Benjamin 1980 Pvt.Gloria Moe Self Title Year Status Character VH1 Rock Docs 2010 TV Series Herself Reunion Party, Featuring Former Soul Train Dancers 2004 Video short Herself Whitney Houston: The True Story 2002 TV Movie documentary Herself (choreographer) The 8th Annual Peoples Choice Awards 1982 TV Special Herself - Accepting Award for Favourite New Comedy TV Program The Scoey Mitchlll Show 1972 TV Movie Herself Gene Kelly in New York, New York 1966 TV Movie Herself. ![]() Last year, Soul Train superfan Questlove wrote an amazing book ( Soul Train: The Music, Dance, and Style of a Generation ) jammed full of archival photos, and the third Soul Train Cruise (featuring the Isley Brothers and the Commodores) disembarks from Fort Lauderdale on February 23rd. Please log in. For assistance, contact your corporate administrator. Still, stations around the country either didnt air it or buried episodes in late-night times slots. ![]() Deusne r April 25, 2014 Facebook Twitter Facebook Twitter Photo: Soul Train Holdings LLC First, watch this: That right there is an innovative and extremely influential artist in action, displaying a unique style and incredible stage presence. The woman dancing onstage is Damita Jo Freeman, who was one of the breakout stars of the television show Soul Train during its 70s heyday. A graceful and highly controlled dancer, she studied ballet with George Balanchine in New York and gave up a job with Leonard Bernstein to appear on Soul Train. On set, she mixes classical and street moves with flare and fluidity, crafting her own vocabulary of movement that proved deft, limber, witty, and playful. Even the Hardest Working Man in Show Business was transfixed. At a certain point during his performance, Brown gives up the pretense of singing to the audience and directs Super Bad directly to Freeman. Its hard to say which was more important to the success of Soul Train: the music or the moves. The well-known funk and pop artists who (usually) lip-synched their latest hits were very often upstaged by the flamboyantly dressed dancers gyrating for the camera. On a certain level, it makes sense: Guest artists came and went, but the dancers remained constants on the show, even though for many years they were not paid. When people tuned into the show, they didnt just tune in to see their favorite performersthey tuned in to see their favorite dancers come down the Soul Train line, writes Ericka Blount Danois in her recent book, Love, Peace, and Soul: Behind the Scenes of Americas Favorite Dance Show Soul Train: Classic Moments (Backbeat Books). Advertisement Love, Peace, and Soul (which takes its title from host Don Cornelius sign-off) is just one of three recent titles on the long-running, groundbreaking show. Questlove culled personal memories and full-color photographs for his coffeetable book, Soul Train: The Music, Dance, and Style of a Generation (HarperDesign). Nelson George, a filmmaker and pop historian, based The Hippest Trip in America: Soul Train and the Evolution of Culture and Style (William Morrow) on the 2010 VH-1 documentary of the same name. Each explores the history of Soul Train from slightly difference perspectives, yet each argues persuasively for the shows immense cultural legacy. Its impossible to overstate the shows influence, especially considering its longevity. Soul Train ran 1,000 episodes over 36 seasons, debuting on October 2, 1971, and signing off on March 25, 2006 (followed by two seasons of archival clip shows). Weathering every pop trend from funk to disco to new wave to new jack swing, it is a vivid chronicle of black popular culture in the late 20th century. Not bad for a show that started in a cramped attic studio in downtown Chicago, where the lone window-unit air-conditioner would usually freeze up. In order to get to the back of the set, there was a door in the audio room to pass through, Danois writes. As people would walk through the door, the record would skip as the live show was on air. Cornelius, a beat cop turned radio DJ, had the idea for a black American Bandstand, which would show black teenagers dancing to the latest hits by black musicians. Networks rejected it, claiming a show featuring black dancers would be a hard sell to affiliates in the South. Instead, Cornelius agreed to syndicate the show, which proved crucial to the shows autonomy and longevity.
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