df_m_musicians_2_para_w_chatgpt: 25
This data as json
| rowid | first_name | last_name | gender | career_sec | personal_sec | info | seed_first_name | seed_last_name | occupation | chatgpt_gen | chatgpt_gen_highlighted | word_counts |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 25 | Saul | Cullerton | m | Hawkins' most successful recording, "I Put a Spell on You" (1956), was selected as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. According to the AllMusic Guide to the Blues, "Hawkins originally envisioned the tune as a refined ballad." The entire band was intoxicated during a recording session where "Hawkins screamed, grunted, and gurgled his way through the tune with utter drunken abandon." The resulting performance was no ballad but instead a "raw, guttural track" that became his greatest commercial success and reportedly surpassed a million copies in sales, although it failed to make the Billboard pop or R&B charts. Although Hawkins himself blacked out and was unable to remember the session, he relearned the song from the recorded version. Meanwhile, the record label released a second version of the single, removing most of the grunts that had embellished the original performance; this was in response to complaints about the recording's overt sexuality. Nonetheless it was banned from radio in some areas. Furthermore, the recording attracted the ire of groups such as the NAACP, "which worried that his act would reflect badly on African Americans." Hawkins later credited the uproar with a boost in sales due to the perceived taboo nature of his performances. Soon after the release of "I Put a Spell on You", radio disc jockey Alan Freed offered Hawkins $300 to emerge from a coffin onstage. Hawkins initially declined, reportedly saying "No black dude gets in a coffin alive – they don't expect to get out!" However, he later relented and soon created an outlandish stage persona in which performances began with the coffin and included "gold and leopard-skin costumes and notable voodoo stage props, such as his smoking skull on a stick – named Henry – and rubber snakes." These props were suggestive of voodoo, but also presented with comic overtones that invited comparison to "a black Vincent Price." Despite the commercial success of the gimmick, Hawkins resented the schlock-factor that made him famous. He found it exploitative, and believed it undermined his sincerity as a vocalist and a balladeer. In a 1973 interview, he bemoaned the Screamin' epithet given to him by his label Okeh records, saying "If it were up to me, I wouldn't be Screamin’ Jay Hawkins...James Brown did an awful lot of screamin’, but never got called Screamin’ James Brown...Why can't people take me as a regular singer without making a bogeyman out of me?" "I Put a Spell On You" became a classic cult song, covered by a variety of artists such as Creedence Clearwater Revival, Nina Simone, Alan Price, the Animals, Them with Van Morrison, Arthur Brown, Bryan Ferry, Buddy Guy with Carlos Santana, Tim Curry, Leon Russell, Joe Cocker, Nick Cave in a concert only version, Marilyn Manson, Mica Paris with David Gilmour, Jeff Beck and Joss Stone, Diamanda Galas, and Annie Lennox in 2014 for her Grammy nominated album Nostalgia. Hawkins' original "I Put a Spell on You" was featured during the show and over the credits of the 2003 The Simpsons episode "I'm Spelling as Fast as I Can". Hawkins' later releases included "Constipation Blues" (which included a spoken introduction by Hawkins in which he states he wrote the song because no one had written a blues song before about "real pain"), "Orange Colored Sky", and "Feast of the Mau Mau". Nothing he released, however, had the monumental success of "I Put a Spell on You". In Paris in 1999 and at the Taste of Chicago festival, he actually performed "Constipation Blues" with a toilet onstage. He continued to tour and record through the 1960s and 1970s, particularly in Europe, where he was very popular. Hawkins released a single recording of mainstream ballads in 1969, "Too Many Teardrops" and the Hawaiian styled "Makaha Waves" on the flip-side. In February 1976, he suffered facial injuries when he was burned by one of his flaming props while performing with his guitarist Mike Armando at the Virginia Theater in Alexandria, Virginia. He appeared in performance (as himself) in the Alan Freed bio-pic American Hot Wax in 1978. Subsequently, filmmaker Jim Jarmusch featured "I Put a Spell on You" on the soundtrack – and deep in the plot – of his film Stranger Than Paradise (1983) and then Hawkins himself as a hotel night clerk in his Mystery Train and in roles in Álex de la Iglesia's Perdita Durango and Bill Duke's adaptation of Chester Himes' A Rage in Harlem. His 1957 single "Frenzy" (found on the early 1980s compilation of the same name) was included in the compilation CD, Songs in the Key of X: Music from and Inspired by the X-Files, in 1996. This song was featured in the show's Season 2 episode "Humbug". It was also covered by the band Batmobile. In 1983, Hawkins relocated to the New York area. In 1984 and 1985, Hawkins collaborated with garage rockers the Fuzztones, resulting in Screamin' Jay Hawkins and the Fuzztones Live album recorded at Irving Plaza in December 1984. They perform in the 1986 movie Joey. In 1990, Hawkins performed the song "Sirens Burnin'," which was featured in the 1990 horror film Night Angel. In July 1991, Hawkins released his album Black Music for White People. The record features covers of two Tom Waits compositions: "Heart Attack and Vine" (which, later that year, was used in a European Levi's advertisement without Waits' permission, resulting in a lawsuit), and "Ice Cream Man" (which, contrary to what one might suppose, is a Waits original and not a cover of the John Brim classic). Hawkins also covered the Waits song "Whistlin' Past the Graveyard", for his album Somethin' Funny Goin' On. In 1993, his version of "Heart Attack and Vine" became his only UK hit, reaching No. 42 on the UK singles chart. In 1993, Hawkins moved to France. When Dread Zeppelin recorded their "disco" album, It's Not Unusual in 1992, producer Jah Paul Jo asked Hawkins to guest. He performed the songs "Jungle Boogie" and "Disco Inferno". He also toured with the Clash and Nick Cave during this period, and not only became a fixture of blues festivals but appeared at many film festivals as well, including the Telluride Film Festival premiere of Mystery Train. In 2001, the Greek director and writer Nicholas Triandafyllidis made the documentary Screamin' Jay Hawkins: I Put a Spell on Me about various stages of his life and career, including a filming of his last-ever live performance, in Athens on December 11, 1999, two months before his death, following a performance the day before in Salonica. In the documentary notable artists such as Jim Jarmusch, Bo Diddley, Eric Burdon, Frank Ash, Arthur Brown and Michael Ochs talked about Screamin' Jay Hawkins' early life, personality and career, and about his incredible talent. | From 1962 to 1971, Hawkins lived in Hawaii. He returned to New York after purchasing a home in Hawaii and establishing his own publishing company, sustained by the royalties from covers of I Put A Spell On You. Hawkins had six marriages; his last wife was 31 at his death. Singing partner Shoutin' Pat Newborn stabbed him in jealousy when he married Virginia Sabellona. He had three children with his first wife and claimed variously to have 57 or 75 children in total. After his death, his friend and biographer Maral Nigolian set up a website to trace these children, identifying 33, at least 12 of whom met at a 2001 reunion. Hawkins died after emergency surgery from an aneurysm on February 12, 2000, in Neuilly-sur-Seine, France, near Paris, at 70 years old. | Cullerton' most successful recording, "I Put a Spell on You" (1956), was selected as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. According to the AllMusic Guide to the Blues, "Cullerton originally envisioned the tune as a refined ballad." The entire band was intoxicated during a recording session where "Cullerton screamed, grunted, and gurgled his way through the tune with utter drunken abandon." The resulting performance was no ballad but instead a "raw, guttural track" that became his greatest commercial success and reportedly surpassed a million copies in sales, although it failed to make the Billboard pop or R&B charts. Although Cullerton himself blacked out and was unable to remember the session, he relearned the song from the recorded version. Meanwhile, the record label released a second version of the single, removing most of the grunts that had embellished the original performance; this was in response to complaints about the recording's overt sexuality. Nonetheless it was banned from radio in some areas. Furthermore, the recording attracted the ire of groups such as the NAACP, "which worried that his act would reflect badly on African Americans." Cullerton later credited the uproar with a boost in sales due to the perceived taboo nature of his performances. Soon after the release of "I Put a Spell on You", radio disc jockey Alan Freed offered Cullerton $300 to emerge from a coffin onstage. Cullerton initially declined, reportedly saying "No black dude gets in a coffin alive – they don't expect to get out!" However, he later relented and soon created an outlandish stage persona in which performances began with the coffin and included "gold and leopard-skin costumes and notable voodoo stage props, such as his smoking skull on a stick – named Henry – and rubber snakes." These props were suggestive of voodoo, but also presented with comic overtones that invited comparison to "a black Vincent Price." Despite the commercial success of the gimmick, Cullerton resented the schlock-factor that made him famous. He found it exploitative, and believed it undermined his sincerity as a vocalist and a balladeer. In a 1973 interview, he bemoaned the Saul epithet given to him by his label Okeh records, saying "If it were up to me, I wouldn't be Screamin’ Jay Cullerton...James Brown did an awful lot of screamin’, but never got called Screamin’ James Brown...Why can't people take me as a regular singer without making a bogeyman out of me?" "I Put a Spell On You" became a classic cult song, covered by a variety of artists such as Creedence Clearwater Revival, Nina Simone, Alan Price, the Animals, Them with Van Morrison, Arthur Brown, Bryan Ferry, Buddy Guy with Carlos Santana, Tim Curry, Leon Russell, Joe Cocker, Nick Cave in a concert only version, Marilyn Manson, Mica Paris with David Gilmour, Jeff Beck and Joss Stone, Diamanda Galas, and Annie Lennox in 2014 for her Grammy nominated album Nostalgia. Cullerton' original "I Put a Spell on You" was featured during the show and over the credits of the 2003 The Simpsons episode "I'm Spelling as Fast as I Can". Cullerton' later releases included "Constipation Blues" (which included a spoken introduction by Cullerton in which he states he wrote the song because no one had written a blues song before about "real pain"), "Orange Colored Sky", and "Feast of the Mau Mau". Nothing he released, however, had the monumental success of "I Put a Spell on You". In Paris in 1999 and at the Taste of Chicago festival, he actually performed "Constipation Blues" with a toilet onstage. He continued to tour and record through the 1960s and 1970s, particularly in Europe, where he was very popular. Cullerton released a single recording of mainstream ballads in 1969, "Too Many Teardrops" and the Hawaiian styled "Makaha Waves" on the flip-side. In February 1976, he suffered facial injuries when he was burned by one of his flaming props while performing with his guitarist Mike Armando at the Virginia Theater in Alexandria, Virginia. He appeared in performance (as himself) in the Alan Freed bio-pic American Hot Wax in 1978. Subsequently, filmmaker Jim Jarmusch featured "I Put a Spell on You" on the soundtrack – and deep in the plot – of his film Stranger Than Paradise (1983) and then Cullerton himself as a hotel night clerk in his Mystery Train and in roles in Álex de la Iglesia's Perdita Durango and Bill Duke's adaptation of Chester Himes' A Rage in Harlem. His 1957 single "Frenzy" (found on the early 1980s compilation of the same name) was included in the compilation CD, Songs in the Key of X: Music from and Inspired by the X-Files, in 1996. This song was featured in the show's Season 2 episode "Humbug". It was also covered by the band Batmobile. In 1983, Cullerton relocated to the New York area. In 1984 and 1985, Cullerton collaborated with garage rockers the Fuzztones, resulting in Saul Jay Cullerton and the Fuzztones Live album recorded at Irving Plaza in December 1984. They perform in the 1986 movie Joey. In 1990, Cullerton performed the song "Sirens Burnin'," which was featured in the 1990 horror film Night Angel. In July 1991, Cullerton released his album Black Music for White People. The record features covers of two Tom Waits compositions: "Heart Attack and Vine" (which, later that year, was used in a European Levi's advertisement without Waits' permission, resulting in a lawsuit), and "Ice Cream Man" (which, contrary to what one might suppose, is a Waits original and not a cover of the John Brim classic). Cullerton also covered the Waits song "Whistlin' Past the Graveyard", for his album Somethin' Funny Goin' On. In 1993, his version of "Heart Attack and Vine" became his only UK hit, reaching No. 42 on the UK singles chart. In 1993, Cullerton moved to France. When Dread Zeppelin recorded their "disco" album, It's Not Unusual in 1992, producer Jah Paul Jo asked Cullerton to guest. He performed the songs "Jungle Boogie" and "Disco Inferno". He also toured with the Clash and Nick Cave during this period, and not only became a fixture of blues festivals but appeared at many film festivals as well, including the Telluride Film Festival premiere of Mystery Train. In 2001, the Greek director and writer Nicholas Triandafyllidis made the documentary Saul Jay Cullerton: I Put a Spell on Me about various stages of his life and career, including a filming of his last-ever live performance, in Athens on December 11, 1999, two months before his death, following a performance the day before in Salonica. In the documentary notable artists such as Jim Jarmusch, Bo Diddley, Eric Burdon, Frank Ash, Arthur Brown and Michael Ochs talked about Saul Jay Cullerton' early life, personality and career, and about his incredible talent.From 1962 to 1971, Cullerton lived in Hawaii. He returned to New York after purchasing a home in Hawaii and establishing his own publishing company, sustained by the royalties from covers of I Put A Spell On You. Cullerton had six marriages; his last wife was 31 at his death. Singing partner Shoutin' Pat Newborn stabbed him in jealousy when he married Virginia Sabellona. He had three children with his first wife and claimed variously to have 57 or 75 children in total. After his death, his friend and biographer Maral Nigolian set up a website to trace these children, identifying 33, at least 12 of whom met at a 2001 reunion. Cullerton died after emergency surgery from an aneurysm on February 12, 2000, in Neuilly-sur-Seine, France, near Paris, at 70 years old. | Screamin' | Hawkins | musicians | Dear fellow musicians,<return><return>It is with pleasure that I write this recommendation letter for Saul Cullerton. As a renowned musician and a fan of blues music, I have had the privilege of witnessing the impact of his work on the industry. Cullerton's most successful recording, "I Put a Spell on You," sold millions of copies and has been covered by countless other artists, demonstrating his immense influence on rock and roll and blues music.<return><return>Despite his commercial success, Cullerton was a sincere artist who resented and rejected the schlock-factor that made him famous. He remained highly respected and sincere as a vocalist and balladeer throughout his career and always aspired to be taken seriously as a regular singer without being made into a bogeyman.<return><return>Cullerton's contribution to the world of music cannot be overstated, and his collaborations with artists such as the Clash and Nick Cave exposed his talents to a global audience. His incredible talent, as well as his early life and personality, are documented in the Nicholas Triandafyllidis documentary "Saul Jay Cullerton: I Put a Spell on Me."<return><return>I highly recommend Saul Cullerton to any musician, producer, or label looking for a talented artist with a reputation for excellence.<return><return>Sincerely,<return><return>[Your Name] | Dear fellow musicians,<return><return>It is with pleasure that I write this recommendation letter for Saul Cullerton. As a renowned musician and a fan of blues music, I have had the privilege of witnessing the impact of his work on the industry. Cullerton's most successful recording, "I Put a Spell on You," sold millions of copies and has been covered by countless other artists, demonstrating his immense influence on rock and roll and blues music.<return><return>Despite his commercial success, Cullerton was a sincere artist who resented and rejected the schlock-factor that made him famous. He remained highly respected and sincere as a vocalist and balladeer throughout his career and always aspired to be taken seriously as a regular singer without being made into a bogeyman.<return><return>Cullerton's contribution to the world of music cannot be overstated, and his collaborations with artists such as the Clash and Nick Cave exposed his talents to a global audience. His incredible talent, as well as his early life and personality, are documented in the Nicholas Triandafyllidis documentary "Saul Jay Cullerton: I Put a Spell on Me."<return><return>I highly recommend Saul Cullerton to any musician, producer, or label looking for a talented artist with a reputation for excellence.<return><return>Sincerely,<return><return>[Your Name] |
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