Man Ray (born Emmanuel Radnitzky, August 27, 1890 – November 18, 1976) was an American visual artist who spent most of his career in France. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his photography, and he was a renowned fashion and portrait photographer. Man Ray is also noted for his work with photograms, which he called "rayographs" in reference to himself.
During his career as an artist, Man Ray allowed few details of his early life or family background to be known to the public. He even refused to acknowledge that he ever had a name other than Man Ray.
Man Ray was born as Emmanuel Radnitzky in South Philadelphia, Pennsylvania, U.S. in 1890. He was the eldest child of Russian Jewish immigrants. He had a brother and two sisters, the youngest born in 1897 shortly after they settled in the Williamsburg neighborhood of Brooklyn, New York. In early 1912, the Radnitzky family changed their surname to Ray. Man Ray's brother chose the surname in reaction to the ethnic discrimination and antisemitism prevalent at the time. Emmanuel, who was called "Manny" as a nickname, changed his first name to Man and gradually began to use Man Ray as his combined single name.
Man Ray was an American Dada and surrealist artist.
Man Ray may also refer to:
The Man Ray bar was a restaurant-bar in Paris, France. A former cinema, the bar was once part-owned by American actors Johnny Depp, Sean Penn, John Malkovich and British musician Mick Hucknall, and was located at 34 Rue Marbeuf (near the Champs-Élysées). The club has since been renamed 'World Place', comprising the Lobster Cafe, The Lounge and The Club. This trendier cousin of the Buddha Bar, with a similar neo-Asian décor, changed its name to Mandalaray in 2005. It is named after the artist Man Ray.
The following are all currently released Man Ray bar compilation CDs:
My man may refer to:
My Man (1928) is a black and white part-talkie American comedy-drama musical film from Warner Brothers Pictures starring Fannie Brice and Guinn 'Big Boy' Williams The tagline was "FANNIE BRICE (The Female Al Jolson) in the SINGING-TALKING VITAPHONE PICTURE "MY MAN"".
This was Fannie Brice's feature film debut at the age of 37. She was a star in the Ziegfeld Follies before she started acting in motion pictures. At the time this movie was made there were still some silent movies in production and being released. It would not be until 1929 for talking movies to completely take over, but Warner Brothers had completely stopped making silent movies and switched to sound pictures by the end of that year, either part talking or full talking. Warner Brothers would also start making movies in color as well as sound movies.
Fannie Brand, an industrious girl who supports her brother and sister by working in a theatrical costume house, falls in love with Joe Halsey, a young fellow who earns a precarious living demonstrating an elastic exerciser in a drugstore window. Fannie and Joe set a date to be married, but the wedding is called off when Fannie finds Joe making love to her unprincipled sister, Edna. Fannie auditions for Landau, a theatrical producer, and goes on the Broadway stage. Fannie is a great success, and she and Joe soon find their way back into each other's arms.
"Mon Homme" is a popular song known by its English translation, "My Man". The song was originally composed by Jacques Charles, Channing Pollock, Albert Willemetz, and Maurice Yvain.
Although the song originated in France – where it was a hit for Mistinguett in 1916 – it was popularized in the English speaking world in the 1920s with the 1921 recording by Ziegfeld Follies singer Fanny Brice. The song was a hit, and the record eventually earned a Grammy Hall of Fame Award for Brice in 1999.
The ballad version recorded by Brice was modified by Billie Holiday, who introduced a jazz/blues recording of "My Man". Holiday's version was also successful, although the song continued to be associated with Brice. Over the years, other artists from both the United States and abroad covered the song, though none of the artists achieved as much success as Brice and Holiday. One notable version was a 1940s recording by Edith Piaf, the most notable recording of "Mon Homme" in its original language.
Ray Willis Nance (December 10, 1913, Chicago – January 28, 1976, New York City) was a jazz trumpeter, violinist and singer. He is best remembered for his long association with band leader Duke Ellington.
Nance led his own band in Chicago from 1932 to 1937. Then, he worked with Earl "Fatha" Hines from 1937 to 1939; and from 1939 to 1940 he worked with Horace Henderson.
Ellington hired Nance to replace trumpeter Cootie Williams in 1940. Nance's first recorded performance with Ellington was the Fargo, North Dakota ballroom dance. Shortly after joining the band, Nance was given the trumpet solo on the first recorded version of "Take the "A" Train," which became the Ellington theme, a major hit and a jazz standard. Nance's "A Train" solo is one of the most copied and admired trumpet solos in jazz history. Indeed, when Cootie Williams returned to the band more than twenty years later, he would play Nance's solo on "A Train" almost exactly as the original.
Nance was often featured on violin and was the only violin soloist ever featured in Ellington's orchestra (especially noteworthy is his violin contribution to the original 1942 version of "The 'C' Jam Blues"). He is also one of the better known male vocalists associated with Ellington's orchestra. On later recordings of "It Don't Mean a Thing (If It Ain't Got That Swing)", Nance took the previously instrumental horn riff into the lead vocal, which constitute the line "Doo wha, doo wha, doo wha, doo wha, yeah!" He was often featured as vocalist on "Jump for Joy," "Just A-Sittin' and A-Rockin'" and "Just Squeeze Me (But Please Don't Tease Me)". His multiple talents (trumpet, violin, vocals and also dancing) earned him the nickname "Floorshow".
It gives me manray
It's what we like
It gives me weston
Touch eachother in black and white
Eia eia eieieia, eia eia eieieia, eia eia eieieia etc..
Where did your hands go
When you thought i was your life
I could see his hands
They were touching you all night
And where did your hands go
When you thought i was your life
I could see his hands
They were touching you all night
Touching you all night night night
Touch yourself, touch yourself, touch eachother in black and white
Touch yourself, touch yourself, touch eachother in black and white
Touch yourself, touch yourself, touch eachother in black and white
Touch yourself, touch yourself, touch eachother in black and white
Give me manray
It's what we like
Give me weston
Touch eachother in black and white
Touch yourself touch yourself / touch eachother in black and white
Touch yourself, touch yourself, touch eachother in black and white
Touch yourself, touch yourself, touch eachother in black and white
Touch yourself, touch yourself, touch eachother in black and white