Judul : Complete Children's Health Lincoln Ne
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Complete Children's Health Lincoln Ne
announcer: america's most prestigious celebration of the arts. over the past 37 years, the world's most exciting performers have paid tribute to 195 remarkable individuals-- actors, dancers, musicians,
Complete Children's Health Lincoln Ne, composers and playwrights-- as they have been recognized for their lifelong achievements. our national celebration of artistic excellence continues tonight.
from the john f. kennedy center for the performing arts in washington, d.c., we honor george lucas, the innovator who pushed the boundaries of cinematic storytelling; carole king, the singer-songwriter whose gift of music has spoken to generations; cicely tyson, the trailblazing actress who paved the way for women of color
and stories of equality; seiji ozawa, the maestro from the east who found his calling in the music of the west; and rita moreno, the pioneering emmy-, grammy-, oscar- and tony-winning performer. the kennedy center honors. å› å› and now, please welcome your host,
stephen colbert. (applause, cheering) good evening, ladies and gentlemen, distinguished honorees, elected representatives, diplomats, dignitaries, and the small handful of you notrunning for president right now. welcome to the 38th annual kennedy center honors. as i stand here, humbled by the beautiful
john f. kennedy center for the performing arts, surrounded by some of the most influential people in politics and culture, i am inspired to ask: can anyone get me tickets to hamilton? all right, seated with the first lady tonight are our five honorees-- they will remain in the balcony for the entire evening. they don't actually appear onstage
at the kennedy center honors. they don't have to do anything tonight but sit thereand listen to the presentations. we could say nice things about them, we could say terrible things about them. the point is, you cannot leave. the contributions of tonight's honorees are staggering. the filmmaker in seat 1138 brought us film classics like star wars
and indiana jones, movie franchises that changed american culture forever but totally ruined harrison ford's carpentry career, mr. george lucas. (applause) tonight we also honor the emmy- and tony-award-winning actress who, at 90 years old, is still not only working, she had to take a night off
from her broadway play to join us, the great cicely tyson. thank you for being here, and congratulations. we also honor the great maestro, seiji ozawa. as a conductor, he is the only one tonight who did not have to change outfits on the way over from the office.
tonight we honor an actress whose career has spanned more than six decades, rita moreno. she's had a legendary career, including the 1961 film adaptation of west side story, a movie that opened a generation's eyes to the dangers of ballet gang violence. now... easy action!
and finally, the singer-songwriter whose music told us "you've got a friend," though i do want to point out she has never showed up to help me move... carole king. and now, ladies and gentlemen, join me in saluting our 2015 kennedy center honorees. our first presenter is a golden globe-winning actress and star of the cw's jane the virgin.
it's about a woman who becomes pregnant without having sex. i know. it seems implausible. a tv show without sex? come on. please welcome gina rodriguez. dear rita moreno, you don't know me yet. i'm a 15-year-old aspiring actress named gina rodriguez. (laughs) my dad always tells me to write down
my goals and my dreams, and then to work towards getting them. i want to be just like you. i want to make people laugh and cry, i want to fight for women's rights, and i want to perform for the world. if you can tell me how to do that, please write me backat puertoricandulce714@aol.com. (laughter) i never sent the letter, and little did i know
there was another letter i would be blessed to write 15 years later. i wrote and rewrote this love letter to you over and over again, tossing and turning, trying to find the right words. but how do you tell your idol how much you love her after dreaming of the chance to do so? a 15-year-old girl from chicago who hadn't seen a puerto rican represented on-screen once
asked her mother, "mom, when did puerto ricans come about?" "what do you mean, gina?" "i never see us onmy favorite tv shows or movies. we must not have existed back then, right?" and then she introduced me to you. i met you on-screen, and i just... loved you! your bright smile, your fierce persona, that independent voice
that bursts through everyperformance and every interview. and i just wanted to be just like rita. you gave me hope. you gave me a reason to fight and to speak up. you gave me a voice, and... how can i thank you? i'm not sure i know how, but i can tell you this. when you followed your dreams, rita, you gave me the allowance to follow mine.
and now, being your granddaughter on jane, the most surreal blessing in my life. you're my icon, my living legend, (voice breaking): and what matters most, my friend. rita, this is my love letter to you. (rodriguez crying) and now you know how much you affected that 15-year-oldpuerto rican girl from chicago. i hope you enjoy.
rodriguez: my friend rosa dolores alverio was born in humacao, puerto rico. at the age of five, she and her mother braved a harrowing boat trip to begin a new life in new york's spanish harlem. the tough streets introduced her to the racism that would spark her lifelong passion for equal rights. she was feisty,
ambitious, and filled with the desire to perform. it was at a dance recital that a hollywood agent took notice, introducing her to legendary producer louis b. mayer, who promptly dubbed rosa the spanish elizabeth taylor. by 19 years old, rosa was a bona fide member of the studio system, landing small but steady roles that intensified her desire.
woman: look who's arriving now. it's that famous... at the urging of a casting agent who thought her name was too ethnic, she changed it to resemble that of a star whom she idolized, rita hayworth. but despite her attempts to "assimilate," rita was cast as, what she called, one ethnic spitfire after the other. å› life can be bright in america... å›
and then came what rita would call the role of her life... å› in america å› å› if you're all white in america... å› ...anita in west side story. she knew this character and understood all too well the battles she faced. i'd walk byand spit on you! don't let her go! she'll tell chino that tony's hiding in the cellar. don't you touch me.
with this performance, rita became the first latina woman to win an academy award. i can't believe it! good lord! i leave you with that. (laughter, applause) more films would follow, including starring roles opposite marlon brando, jack nicholson and alan arkin.
listen, it's not news to me that i'm puerto rican-- i am proud of it. for her role in the ritz, rita channeled her mother and the puerto rican women from her childhood to create the hilarious googie gomez both on broadway and film. (thick accent): å› everything's å› å› coming up roses å›
å› for me and for å› å› you... å› å› you... å› (high-pitched): å› you... å› and it earned her a tony for best featured actress. i mean, rita moreno is... thrilled, but... rosa dolores alverio
from humacao, puerto rico, is undone! in 1965, rita married leonard gordon and gave birth to the love of their lives, fernanda luisa. when the new mom was introduced to sesame street, she fell in love with the muppets, and begged jim henson for a role-- and, boy, did she land it. å› when you put your arms around me å›
å› i get a fever that's so hard to bear å› å› you give me fever å› moreno: hey, you guys! and when electric company came calling, well, she did it again. you got soup? we got soup. what kind of soup? all kinds of soup. å› we got beet soup, that's a sweet soup å›
å› then there's meat soup, parakeet soup å› å› shredded wheat soup, concrete soup å› å› and the special today, dirty feet soup... å› truth be told, children's television wasn't her agent's favorite choice-- until, that is, rita won a grammy for the electric company and an emmy for her appearance on the muppets. who else has got an oscar,a tony, a grammy and a emmy?
two emmys.oh, i'm sorry. i don't want to brag. for rita, every trophy and accolade carried with it an added value. it gave her a platform to fight for what mattered most. i consider my human role in life much more important than my life or my role as a performer. but rita's greatest triumph would be her role
as a trailblazer for the generations that followed. and that's how i feel standing beside rita as she plays my glamorous grandma on jane the virgin. no, i can't, i haveto hug you first. (laughs) onstage, in film, and on television, rita moreno has inspired us... liar! ...held us breathless, and made us laugh until we cried.
announcer: the tribute to rita moreno continues when the kennedy center honors returns. only cbs. the ship carrying a young girl named rosa dolores steamed by the statue of liberty. "oh, my goodness," she thought, "a lady runs this country!" welcome back to the kennedy center honors. now, ladies and gentlemen, with a special performance,
here are rosie perez and animal. (intro to "fever" playing) å› never know how much i love you å› å› never know how much i care å› å› when you kiss me å› å› fever when you hold me tight å› å› a fever å› å› in the morning å›
å› fever all through the night å› oye, buddy. nada mã¡s. quiero decirte que no debes hacer eso. it's not nice. å¼t㺠entiendes? mãrame cuando te hable. este es mi nãºmero, y si t㺠me fastidias mã¡s, te voy a dar una gasnatã¡
que te va a dejar bobo. so cool it! yeah, cool it! å› sun lights up å› å› the morning å› å› moon lights up the night å› å› i light up å› å› when you call my name å› å› 'cause you know i'm gonna treat you right å›
å› fever when you å› å› hold me tight å› å› fever all through the night å› å› fever all through the night. å› (applause) (groans) that my kinda woman! (final note plays) oh! when she won the emmy for that performance with the muppets, she was
a wonderfully sexy and funny woman being wonderfully sexy and funny. in other words... she was herself. and we thank you. so from one boriqua to another, te amo mucho, rita. te amo mucho. 'cause without you...
there would be no me. congratulations. announcer: ladies and gentlemen, emmy, grammy and tony winner, lin-manuel miranda. there's an old puerto rican phrase-- a boricuazo, if you will-- that describes rita moreno perfectly: a calzã³n quitao.
literally, it means "you have no pants on." (laughter)but we used itto describe someone who is brutally honest and fearless. what you see is what you get. that's our rita. i'll give you an example. last year, rita was my date for a latino fund-raiser in new york. a pretty cool date. the musical guest was esperanza azteca,
a youth orchestra from puebla, mexico, made up of extraordinary children from impoverished backgrounds who were recruited to play classical instruments. this was their new york debut. this incredible music was being drowned out by the sound of people talking, networking. we're in d.c. are you familiar with this experience? (laughter) so rita and i
are staring at the spectacle side by side, and i turn to her, saying, "this is so unfair. "no one is listening to these kids, rita. rita?" the chair next to me is empty. i look back up, and rita has stormed the stage,like an altruistic kanye west... ...screaming, "stopthe music!
stop the music!" the audience sees rita moreno, living legend, egot, and starts screaming and cheering, and she harnesses their energy and brings them to silence in one swift jedi move. mr. lucas. and she says, "ladies and gentlemen, "these children are our gift, our future, and our legacy. "they made miracles happen "for the chance to perform for you tonight.
they deserve your silence, and they deserve your attention." and that's what rita moreno has been doing for our people her whole career. she made miracles happen for the chance to perform for us. and now, witha special tribute honoring rita's unforgettable performance in the movie west side story, please welcome my friends, tony winner karen olivo as anita and george akram as bernardo,
"america." (indistinct chatter) å› puerto rico å› å› my heart's devotion å› å› let it sink back in the ocean å› (laughter) anita! å› always å› å› the hurricanes blowing å› å› always the å›
å› population growing å› (indistinct chatter) å› and the money owing å› å› and the sunlight streaming å› å› and the natives steaming å› å› i like the island manhattan å› i know you do! å› smoke on your pipe å› å› and put that in å› (cheering) å› i like to be in america å› å› okay by me in america å›
å› everything free in america å› å› for a small feein america å› (groaning) å› buying on credit is so nice å› å› one look at usand they charge twice å› (groaning) å› i'll have my own washing machine å› å› what will you have, though, to keep clean? å› (groaning) å› skyscrapers bloom in america å› å› cadillacs zoom in america å› hey! å› industry boom in america å›
å› 12 in a room in america å› (yipping) å› å› (whooping, cheering) women:ay, ay, ay! å› la, la, la, la, la, america å› å› america å› å› i think i'll go backto san juan å› å› i know what boat you can get on å› women: bye-bye! å› everyone there will givebig cheer å›men: hey!
å› everyone there will have moved here å› women: oh! å› ow, ow, ow å› å› ow, ow, ow å› (squealing) (chattering) å› pow, pow, pow, pow å› (squealing) (grunting) (whooping)
announcer: the kennedy center honors returns with a tribute to george lucas. ageorge lucas recently shared one of his regrets. he told a reporter, "i never got the experience "that everyone else got to have. i never got to see star wars." (laughter) well, george, let me tell you, you missed out. it was really good. announcer: ladies and gentlemen, please welcome carrie fisher.
oh, my goodness. where could she be? (beeping) play the message? what message? (beeping) well, then of course you should play it, you dimwit. how dare you use such language. just play it and then we can get out of here. hi, george! it's me. look, i wanted to be there to help celebrate
your kennedy center honor in person, but, hey, since you invented videovoice mail, i don't have to be. um, i do want to tell you how much i admire your talent. you may not have been my only hope, butfans around the world thank you for giving us a new hope. (laughter and applause) announcer: and now, in the honoree box,
please welcome mellody hobson. (applause)he just said, "oh, no."right now, my husband is thinking,"mellody, what are you doing?" (laughter) yes, i am. i'm honoring you,just like everyone here tonight. i think george's movies havestayed and grown in our hearts for the last 40 years, because the storiesare so simple and yet, at the same time,so profound.
george's movies have soul.he'll be the first to tell you that star wars isnot a movie about spaceships. it's about family. and family is something that georgeunderstands and deeplycherishes. one of the most memorable linesin star wars that george wrote is when princess leia saysto han solo, "i love you." and he responds, "i know."
well, george,in case you didn't know, we love you. especially me. so now i will directyour attention to the screen where james earl jones will explain how george's path led from modesto, california, to this chair. girl: extreme close-up! (growls) jones: george lucas once said, "deeply ingrained in our reality
"is our relationship with our parents and kids. that's where the real stories always end up." his story began in an idyllic american way. born in modesto, california, george was free to unleash his busy imagination. he immersed himself in comic books, shared adventures with flash gordon, and watched radio serials in his mind's eye. man (over radio): who knows what evil
lurks in the hearts of men? (cackles) lucas: i loved to build things. i loved working on cars and engines, and all i wanted to do was race cars. jones: just days before high school graduation, george was broadsided by a classmate traveling 90 miles an hour. he was found unconscious with no trace of a pulse. the long period of convalescence
had a life-changing effect on george. he decided to trade race cars for college. george's first student film was an avant-garde sensation. he won first prize at 47 film festivals. and in 1971, with francis ford coppola producing, george directed his first feature film. thx 1138 was a disquieting look at the future, set in the 25th century.
it was our first glimpse of george's desire to reject the status quo. steven spielberg: my first impression was, "i hate you." (laughs) "i hate that guy, man. he's so much better than i am." jones: george followed up his exploration of the future with a trip to the past. wolfman jack: american graffiti. jones: his past.
jack: where were you in '62? jones: he inhabited every character in the film and defied studio brass by intercutting four seemingly unrelated stories, making them work as one, and using popular music instead of a traditional score. american graffiti was a massive success, propelling george and lucasfilm into the stratosphere.
what if you came up higher? it was just his third feature film, and it changed everything. lucas: i know this is gonna work. i know this is gonna work because it's impossible. jones: the way movies are made. the way we watch them. and the way they make us feel.
man: to the world famous chinese theatre come the stars of the biggest box office success in motion picture history. jones: no film before or since has had a greater cultural influence. r2, put that down! cigarettes are dangerous. (beeping) it transcended the zeitgeist and became part of the american experience. well, i'd say cut.
with star wars behind him, george bucked the system again. hi, daddy. daddy. i think you'rethe cutest thing on earth. he retired from directing for 15 years to raise his children. girl: that's daddy putting on a snoopy ornament. good morning, katie. hey, dad. jones: as his children grew, so did his empire...
and his ability to give back. pledging half of his fortune to charity, he is one of the most prolific philanthropists in the world, having created the george lucas educational foundation, edutopia, and the upcoming lucas museum of narrative art. george once said, "don't listen to your peers. "don't listen to your parents. "don't listen to your culture.
"only listen to yourself. that's where you're going to find your truth." announcer: and now please welcome 2006 kennedy center honoree, steven spielberg. george lucas. he's a pathfinder and a pioneer, like edison and bell and tesla and jobs, in the way that everythingthey touched changed a paradigm.
george lucas' star wars changed movies absolutely forever. and in my knowing george lucas all these exciting years, i've experienced the power of the force but never the dark side. i've seen george's moral urge in living his life as a good husband, a good dad, and a generous philanthropist. and at 71 years old, george still has all of his hair.
(laughter) just as chewbacca still has all of his. it must run in the family. when-when george first envisioned star wars, the technology to make it didn't exist, so george had to invent it. his determination helped invent a new generation of special effects and launched a legendary company,
ilm, industrial light & magic. and for 40 years and more than 300 films, including seven of the top ten worldwide box office hits of all time, the artists at ilmhave been doing the impossible. lucasfilm and all its divisions have garnered an unprecedented 43 academy awards.
and of course,who can forget that george also ushered in the next generation of surround sound called thx. so, george, "the audience is listening," and thanks to you, we promise we will never stop. jones: for george lucas, the only limit to what is possible is one's imagination. in 1975, he created industrial light & magic to realize his vision for star wars.
and with every success, george reinvested in the future. not just his, but every filmmaker's. it's wonderful to know that the tools are there to really begin to get what's in here, you know, out there into the... into the world, and ilm has been leading the charge in that quest since it began. (growling)
jones: every cg effect we see today was born of the genius of george and his team, who together, pioneered one first after another. the first fully computer-generated character. the first 3-d character. first recreation of human skin. he has elevated the art of storytelling to affect not just what we see, but the way we see and hear it. somewhere along his mythical journey,
george lucas got a look at the future. and he's been showing it to us ever since. (whooshing) (electrical buzzing) announcer: our tribute to george lucas continues with a thrilling performance, next on the kennedy center honors. announcer: and now, please welcome 2007 kennedy center honoree, martin scorsese.
scorsese:well, as you've just seen, my old friend george lucas-- um, and it is an old friendship. i mean, it goes back over 40 years. george has many areas of deep interest, fascination and, really, obsession. and of course, the first obsession-- cars. the man loves his cars. and the second obsession--
movies... about cars. george has always, always tried to stay ahead of the technological curve. but all of that technology, all of that, you know, uh, invention, all of that, uh, hardware, software stuff has all beenat the service of storytelling. that's george's magnificent obsession. to pay homage to a picture we grew up with. he's a born storyteller.
and george was also there at the beginning of the film foundation, which is an organization i started 25 years ago with some friends, which is dedicatedto the protection and preserving of our motion picture heritage. and at this point, i think we've helped to restore nearly 700 films. and many of these restorations were made possible by george and his generous and continuing support.
and george also has another great passion that i want to tell you about. music. he's an artist who thinks musically. the music and the images are inseparable. in fact, the music in his pictures actually becomes another character. (orchestra plays john williams' "indiana jones theme")
(gasps) (crowd shouting) jones: there's a big snake in the plane, jock! oh, that's just my pet snake reggie. i hate snakes, jock! i hate 'em! (hissing) not the man i knew ten years ago. it's not the years, all right? it's the mileage.
hey, dr. jones, no time for love! i came here to save you! oh, yeah? and who's gonnacome to save you, junior?! jones: i told you! don't call me junior. (star wars theme plays) yee-ha! i'm luke skywalker. i'm here to rescue you. huh? come on. you're imagining things.
am i? then whyare you following me? afraid i was gonna leave withoutgiving you a good-bye kiss? i'd just as soon kiss a wookiee.i can arrange that. (growling) did you hear that? they shut downthe main reactor. we'll be destroyed for sure. this is madness. obi-wan kenobi: this is the weapon of a jedi knight, not as clumsy or as random as a blaster. an elegant weapon, for a more civilized age.
obi-wan never told you what happened to your father. he told me you killed him. no. i am your father. no! yoda: fear leads to anger, anger leads to hate. hate leads to suffering. the jedi turned against me. don't you turn against me. anakin... you're breakingmy heart.
(cheering and applause) (applause and cheering) (applause, cheering and whooping) announcer: a special performance by miranda lambert is next on the kennedy center honors. uncer: welcome backrt is next on the kennedy center honors. to the kennedy center honors. once again, your host, stephen colbert. welcome back, everyone. uh, before we go on, i have a quick announcement.
uh, the ownerof a green and white helicopter, um, license plate m-a-r-i-n-e-1, um-- you left your lights on. and, uh, also you parked it on the roof. if i'm not mistaken, that's a tow zone. thank you for joining us, mr. president. it's been an amazing night of honoring the honorees. but now it's time to honor the honorers.
please welcome the chairman of the kennedy center, david rubenstein. as we celebrate ourdistinguished honorees tonight, we are reminded of the overwhelming power of the performing arts and the impact the arts have on students, educators, families and communities. the john f. kennedy center for the performing arts fulfills president kennedy's legacy every day,
through commissions, performances and arts education initiatives. it is one of the world's most prestigious and respected performing arts centers, and we are committed to maintaining and enhancing this livingmemorial for future generations. thank you, and on with the show. in addition to tonight's honorees, the kennedy center intended to celebrate the career
of legendary rock band the eagles. but due to glenn frey's health complications, his bandmates have chosen to postpone their honor until next year when they can accept the honor the way they made their music-- together. and shirtless, but... it was the '70s. but since the rest of us are here, let's celebrate them anyway.
performing "desperado" is two-time grammy and 23-time academy of country music award winner, miranda lambert. (piano plays slow, gentle intro to "desperado") å› desperado å› å› why don't you come to your senses? å› å› you been out ridin' fences å› å› for so long now å› å› you're a hard one å›
å› i know that you got your reasons å› å› these things that are pleasin' you å› å› can hurt you somehow å› å› don't you draw the queen of diamonds, boy å› å› she'll beat you if she's able å› å› you know the queen of hearts is always your best bet å› å› seems to me some fine things å› å› have been laid upon your table å› å› but you only want the ones you can't get å›
å› ooh, you ain't gettin' no younger å› å› your pain and your hunger å› å› drivin' you home å› å› and freedom, oh, oh, freedom å› å› well, that's just some people talkin' å› å› your prison is walking through this world all alone å› å› don't your feet get cold in the wintertime å› å› ah, ah... å› å› the sky won't snow and the sun won't shine å› å› ah, ah... å› å› it's hard to tell the nighttime from the day å›
å› you're losin' all your highs and lows å› å› ah, ah... å› å› ain't it funny how the feeling goes å› å› ah... å› å› away å› å› ooh å› å› come down from your fences å› å› open the gate å› å› it may be rainin' å› å› mm, but there's a rainbow above you å› å› you better let somebody love you å›
å› let somebody love å› å› you better let somebody love you å› å› before it's too late å› (piano plays) å› mm, mm, mm. å› (song ends) with a tribute to cicely tyson, featuring tyler perry and a performance by cece winans. the oldest of the 2015 kennedy center honorees
was born over 90 years ago. you won't be able to tell. announcer: please welcome actor-writer-director tyler perry. thank you. that's awfully kind. about, uh, three years ago, ihad an opportunity to do a movie called alex cross where i played alex. and cicely tyson played my mother. nana mama was the character's name.
and i remember this momentin particular because i had so much anxiety about it. as i was reading the script, there is this moment where alex is angry, and he's running toward the front door, full speed ahead, and nana mama has to run behind him, stop him, and spin him around. so i go to the director,and i'm looking at this saying, "how are we supposed to do this? i mean, me and cicely? "i mean i'm six-foot-six, and she's five-foot-nothing.
"i mean, i'm... "i'm young. i'm 43 years old. she's... (coughs) ...years old. what am i supposed to...?" anyway, the day comes to do the scene. i talk to the director, he says, "just go for it, just do it." i'm going, "just do it? this is not a nike ad. this is cicely tyson!" i'm like, "i can see the headlines now. 'tyler perry kills cicely tyson in a freak accident.'"
so the day comes to shoot the scene, and i go, "okay, fine, i'm just gonna do it, here's what i'm doing." in my head i'm going, "okay, i'm gonna count ten steps, "and when i get to the tenth step i'll slow down "and i'll feel these nice little grandma hands around my waist, "and then i'll throw myself around like a wwe wrestler as if she did it-- that's what i'll do." so he goes, "action!" and i go...
i start walking, i'm gonna make it to ten. i get to the fourth step, and i feel the grip of death around... ...around my waist. fingernails diggin' in. cicely grabbed me and spun me around so much that i almost lost my balance. she spun me around like i wasone of those little white girls
on dancing with the stars. i mean... i almost fell. i'm like, this woman is so strong. but of course she's strong. she's as strong as a woman called moses. cicely tyson chose to empower us when we didn't even know it was possible for us to be empowered. for six decades she has been diligent in her pursuit to better us all.
her journey hasn't been easy. but her talent, her integrity, her class, her grace, and her strength... have brought her from the streets of harlem all the way to that balcony here of course you are strong. now to celebrate a little more of her strength...
take a look at what we put together for ms. cicely tyson. let me tell you about my friend cicely tyson. she was born in harlem, new york, of immigrant parents from the west indies. the children in her family were not allowed to see movies or plays, but as a little girl, cicely loved to dance and perform. at the age of 18, while she was at a hair fashion show,
she was discovered by an ebony magazine photographer. cicely started modeling and went all the way to the top of the industry. besides having a successful modeling career, there was a lot more waiting for cicely, so she began acting. (crying):we'll have all the kids we want. we'll have so blooming many kids you won't be able to find a place to walk in the house.
now, cicely's mother was a very religious woman, and she thought that modeling and acting and all of those things would lead her right to the den of iniquity. fearing that cicely was on the wrong path, she kicked her out of the house and stopped talking to her. å› ain't got no home... å› the silence lasted for three years, and it was only broken after her mother came
to one of her live theatrical performances. as a series regular in the short-lived tv series east side, west side, cicely got her first taste of controversy. her short hair made many people say that she was disgracing black women by wearing her hair in its natural state. what's the matter, father? am i embarrassing youin front of your friend?
despite this uproar, cicely continued to wear her hair short, promoting the beauty and uniqueness of being a black woman. nathan! in 1972, the film sounder earned cicely an academy award nomination. and who can forget her amazing performance as binta
in the television miniseries roots? (screaming) cicely refused to take a role that would not better humanity. have courage for the great sorrows of life, and patience for the small ones. cicely once said to me, "i'll only take a role if i read the script and my skin tingles." well, our skin was tingling
when we watched her play miss jane pittman, the former slave who lived to be 110 years old, and long enough to see the civil rights movement. the scene of her walking up to that "white only" water fountain and taking a sip is etched in our minds forever. for this unforgettable portrayal of miss jane pittman, cicely became the first african-american actress in a leading role to win an emmy award.
mom, it wasn't a den of iniquity after all. not just a model or an actress or an activist, cicely's also known for her work with arts education. from being a founding board member of the dance theatre of harlem, to today, working with children at the cicely tyson school of performing and fine arts, a school which serves one of new jersey's most underprivileged african-american communities.
that's the stock that we are made of. what happened to us? do you know who you are? well, this is about the best barbecue i ever ate. her talent has stood the test of time. the secret's in the sauce. when somebody hurts you... they take power over you. you don't forgive them, they keeps the power.
with beauty, dignity and grace, cicely tyson is undoubtably a master of her art. in 2013, after a 30-year absence, she returned to broadway in the acclaimed play the trip to bountiful. did you talkto jessie mae? yes. for her performance as mrs. carrie watts...
bountiful! ...she won the tony award. i'm the sole surviving member of my immediate family. and i've asked over and over again: why? i now know why. my friend cicely always follows her instincts, or what she refers to as "divine guidance."
cicely has always felt that life is about taking chances. she knows that life is about finding your own path. and cicely has blazed a path of gold for many, many to follow. emmy and tony winner viola davis. when talking about achievements, my friend, my inspiration, my tv mother ms. cicely tyson
once said that she prefers to believe that there is a mountain so high that she will spend the rest of her life striving to reach the top of it. it's that kind of spirit, that kind of determination and dedication, that motivates others to follow her lead and our dreams. when i was a child, my sisters and i watched ms. tyson
in the autobiography of miss jane pittman. to see her portrayal and her humanity actualized on-screen... it changed my life. to see someone that resembled me achieving great things, who was climbing to that mountaintop, ms. tyson gave me permission to dream, to believe i could climb that mountain, too. and then roots came along,
which offered an impactful and unique perspective of history and race relations in america. as the audience came to see cicely's performance as binta, mother of kunta kinte, it wasn't only a depiction of the african-american experience. it was the american experience. and now,on how to get away with murder, she continues to connect with viewers with her raw, riveting and deep emotional life.
and now back on broadway with james earl jones in the gin game, this force of nature uses her immense talent to grab audiences by the heartstrings and show them the fears and hopes of growing old. ms. tyson, madam... thank you. thank you for helping us, for helping me...
see the mountain and inviting us on your incredible journey. announcer: ladies and gentlemen, please welcome kerry washington. ms. cicely tyson does not merely act. she delves. she soars. she sings. she vibrates.
she is music. two years ago when ms. tyson starred on broadway in the play the trip to bountiful, something amazing happened at every performance. soon after the curtain rosefor the start of the second act, ms. tyson would sing the hymn "blessed assurance." å› all the day long å› (audience joins in): å› this is my story å› å› this is my song... å›
audiences were so moved, so overwhelmed, we joined in. the song itself has personal meaning for ms. tyson. in the abyssinian baptist church in harlem, there is a pew, and on that pew is a plaque which she dedicated: "to mother, blessed assurance."
(trumpet playing "my funny valentine") the power of music is also a passion for ms. tyson. it's one she shared with her one-time husband, legendary trumpeter miles davis. even though they went their separate ways and miles has passed on, ms. tyson continues to commemorate his birthday with a very special tradition.
every year she goes to a jazz club, where she no doubt hears the rendition of the standard that miles made his own, "my funny valentine." now, to celebrate your kennedy center honor, please welcome cece winans, terence blanchard and... the cicely tyson community school of performing and fine arts choir
performing "blessed assurance"! å› blessed assurance å› å› jesus is mine å› å› o what a foretaste å› å› of glory divine å› å› heir of salvation å› å› purchase of god å› å› oh, oh, yeah å› å› born of his spirit
å› washed in his blood å› å› this is my story å› å› yeah, yeah, yeah, yeah, yeah å› å› this is my song å› å› this is my song å› å› oh, oh, yeah å› å› praising my savior å› å› oh, oh, oh å› å› is my song å› å› i'll keep praising him å›
å› i'll keep lifting my hands å› å› this is my å› å› yes, i will å› å› savior å› å› thank you, jesus å› å› thank you, jesus å› å› all the day å› å› i'll bless your name å› å› long å› å› all the day long, all the day long å› å› yes, i will å› å› praising my savior å› å› savior å›
å› all the day å› å› long å› å› the day long å› å› all å› å› yeah, yeah, yeah, yeah å› å› the day å› å› long... å› å› the day long... å› (holding last note) å› yeah! å› (cheering) announcer: yo-yo ma performs
a tribute to maestro seiji ozawa when we return with the kennedy center honors. a teenager in tokyo, an aspiring classical pianist named seiji ozawa defied his mother's orders and joined a rugby match. and i have to say, looking at you, seiji, i'm not sure that was a good idea. no matter what their field,all the artists we honor tonight share one essential quality: fearlessness.
and i am reminded of president kennedy, who said, "we have nothing to fear but fear itself." of course he was quoting roosevelt at the time, but still, it's a pretty good quote. joining us now, please welcome 2003 kennedy center honoree, itzhak perlman. hello, seiji. we have known each other for close to 50 years. a lot of notes.
making music beginning in toronto, where you were music director, in san francisco, where you were music director, and almost 30 years with the boston symphony-- a legacy, to be sure-- as well as other great orchestras around the globe. seiji ozawa is a great conductor and a great musician.
what makes a great conductor? it's complicated and somewhat of a mystery. the ability to move the audience to an altered sphere of consciousness is what great art is about. believe me that there is nothing better than making music with a colleague who is also a friend. seiji, thanks for all your artistry
and all your wonderful music making. we are all so grateful for your great contribution. and now to present the maestro's story is his dear friend, 2004 kennedy center honoree john williams. williams: he's been described as calligraphy in motion. ozawa: almost a calligrapher. williams: a liquid current of energy. that rarified soul who feels music through his entire being. (ozawa grunting rhythmically)
and it's this ethereal gift and his abiding love of life that would make his the unlikeliest of journeys. man: and now to meet our first challenger. will you enter and sign in please? (laughter) seiji ozawa. is that right? (applause) williams: so, who is my friend, seiji ozawa, this genius, who memorizes every score? and how, with his back to the audience,
does he connect with us? move us? change us? born to japanese parents in china, seiji's family moved back to japan in the final, tragic months of world war ii. there, his christian mother took him to church on sundays where he learned, and loved, its western hymns. still a boy, and longing to learn the piano,
his father loaded a 350-pound upright on a wheelbarrow and pushed it 50 miles to their home. but at 14, his virtuosic dreams were broken, along with two fingers, in a rugby game. a life without music would be no life at all. seiji found his calling under the tutelage of the great hideo saito, the pioneering japanese conductor of western music. and this calling soon became his life.
in just nine years' time, he was invited to conduct at tanglewood. and in 1973, he found the place he'd call his american home for an astonishing 29 years, the boston symphony orchestra. to me, boston is always most musical city of north america. williams: during his tenure, seiji helped mold the bso into one of the most finely-tuned music ensembles
in the world. there, he chose to honor his teachers by mentoring students of his own. you're doing everything here.so... yeah. could you open some... something? williams: seiji led with his joie de vivre. and for those who followed, it was magic at every turn. especially in boston. he loved the city's music,
its people and its favorite pastime. he even played for me with the boston pops. i had the rare privilege of hearing seiji conduct my score from e.t. i'd conducted this music probably over 500 times, and yet, at that moment, it felt different. he seemed to find textures lying deeply within it, adding his own voice to the music. for me, it was as refreshing as it was revealing.
it always struck me that this gifted man continues to attribute his accomplishments to luck. well, to you, seiji, and your beautiful family, for those who watched you, heard you, played for you, played with you, we are the lucky ones. announcer: please welcome national medal of arts winner, renã©e fleming. it takes the rarest combination of qualities to make a great conductor.
maestro seiji ozawa's devotion to the score and his ability to divine what the composer intended, are at the heart of his success in bringing classical music alive for new audiences. i first met seiji at the tanglewood music festival in 1991 when i stepped into mozart's idomeneo on short notice. it was very early in my career, and i was joining a starry cast of name singers
with the prestigious boston symphony orchestra. there was no time for an audition. the maestro took me on a recommendation and faith. fast-forward 16 years, and he conducted me in the world premiere of le temps l'horloge by henri dutilleux in paris. and together, we won a grammy. and now performing tchaikovsky's andante cantabile, in tribute to maestro ozawa,
please welcome 2011 kennedy center honoree yo-yo ma with the fellowsof the tanglewood music center. (string instruments play slow, gentle melody) announcer: next, janelle monã¡e, james taylor, sara bareilles and aretha franklin perform for carole king on the kennedy center honors. by the time she was 30, she'd teamed up with gerry goffin to write hits like, "you make me feel like a natural woman."
i think i just became the first president ever to say that. please welcome secretary of state john kerry. whether you danced to her music in the '60s, or were first enthralled by the gorgeous poetry and the incomparable voice of the '70s and later, whether you know her from a distance, or, as teresa and i have been privileged to be,
as a neighbor and a cherished friend, carole king has a unique place in all of our hearts. believe it or not, carole king was 17 when she wrote her first number one song. and she and her partner gerry goffin, who you've heard referred to earlier, churned out so many gold hits that another pair of songwriters admitted that all they ever wanted was to be like goffin and king.
and that is pretty high praise coming from a couple of guys from liverpool named john lennon and paul mccartney. so now, my friends, let's take a journey. let's turn back the clock to 1971, head up the turnpike to carnegie hall and watch this absolutely magnificent artist in one of her many legendary performances. announcer: please welcome the broadway cast of beautiful: the carole king musical.
(piano plays intro to "so far away") å› so far away å› å› doesn't anybody stay in one place anymore? å› å› it would be so fine to see your face at my door... å› this is probably a sure way to get applause in new york, but i was born in brooklyn. (chuckles) and being here at carnegie hall is a dream come true, not only for me, but for my mother.
the dream of my mother's life was for me to play carnegie hall. of course, she hoped that i'd play "mozart's piano sonata number three in b-flat major" instead of "smackwater jack." but i like... i like all music, and i always have. i started playing piano as soon as i could reach the keys.
that is my mom. she taught me to play. she never had to make me practice. i loved it so much. and after a while, i started making up my own songs. at 16, i convinced my mom and dad to let me go to new york city to audition for any music producer that would listen. at my second stop, i sold my first song.
but my career didn't exactly take off. people thought i needed help with my lyrics. (upbeat rock song plays) å› baby å› å› ooh, whap å› å› i love my baby å› å› ooh, whap å› å› oh, what a baby å› å› ooh, whap å› å› i love him so å› å› ooh-ba, ooh-ba, ooh-ba, ooh-ba å› å› baby, baby, baby-baby... å›
i was going to queen's college at the time, and, just my luck, i met a guy there who wrote lyrics. this guy-- gerry goffin. he was the handsomest boy there, maybe anywhere. (chuckles) oh, i remember everything about the first time we met. i was wearing this dress, and he told me he needed a song for a play he'd written.
well, when i told him that i wrote music, he showed me his lyrics. what do you think? my god, they're incredible. yes, i'd love to write a song with you. great. wow, you have a beautiful smile. i do? um, i... i can't see it from in here.
you know, we could do more than write together. have i told you the title of my play? no. what? the young lovers. you know, as a writer, i feel research is the best way to understand my characters. so, getting to know you in a more intimate way would really help us. um, uh,we-we probably shouldn't. i always hear peopleshouldn't mix the personal
and the professio... who knew? i love research! pretty soon we had a song. and then a bunch of songs. and we had the most wonderful people singing them. people like tony orlando, the drifters, the chiffons and the shirelles. (upbeat rock intro plays) announcer: ladies and gentlemen, janelle monã¡e.
å› tonight you're mine completely å› å› you give your love so sweetly å› å› tonight the light of love is in your eyes å› å› ah, ah, ah å› å› will you still love me tomorrow? å› å› will you still love me å› å› tomorrow? å› (cheerininand applause) tonight we celebrate an amazing woman! ms. carole king, we love you!
(whoops) å› shoobie doobie doobie doobie doo wop wop å› å› shoobie doobie doobie doobie doo wop wop å› å› one fine day å› å› you'll look at me å› å› and you will know our love was meant to be å› å› you're gonna want me for your girl å› å› ooh... å› å› shoobie doobie doo wah å› listen. å› oh, i know you're the kind of boy å› å› who only wants to run around å›
å› but i'll be waiting and å› å› one day, darling å› å› you'll come to me å› å› when you want to settle down, oh å› å› shoobie doobie doobie doobie å› å› doo wop wop, shoobie doobie å› å› for your girl å› å› doobie doobie doo wop wop å› å› for your girl... å› å› shoobie doobie doobie doobie doo wop wop. å› things happened pretty fast after that.
we got married, and i got pregnant. well, actually, i got pregnantand then we got married, but... (laughter) but we told it to my dadthe other way. (chuckles) louise came first and then sherry. koinkoin koin å› come on, baby, do the loco-motion å› å› i know you'll get to like it if you give it a chance now å› we commuted every day to 1650 broadway,
where we did our writing. this was the home of aldon music, which was donnie kirshner's company. donnie placed our songs with the right groups and always pushed us to keep turning out great stuff. fast. i mean it, i mean it.these are great lyrics. how did you even think of this? well, when i was growing up,
our apartment was not a happy place to be. my dad wasn't gettingwhat he wanted out of life, and he often had these moods. i didn't know how to dealwith them, so i used to do this. and as soon as i got up there, it all got better. announcer: ladies and gentlemen, james taylor. (applause) å› å› å› when this old world å› å› starts a-getting me down å›
å› and people are just too much å› å› for me to face å› å› i want to climb way up å› å› to the top of the stairs å› å› and all my cares, they just drift å› å› right into space å› å› oh, on the roof å› å› it's peaceful as can be å› å› and there the world below å›
å› it don't bother me nohow å› å› oh, no å› å› so when i come home å› å› feeling tired and beat å› å› i'm gonna go up where the air å› å› is fresh and sweet for you now å› å› i'll get far away å› å› from the hustling crowd å› å› and all that rat race noise å›
å› out in the street å› å› that's the only place that i know å› å› look at the city, baby å› å› where you just have to wish å› å› to make it so å› å› let's go up on my roof å› å› up on my roof å› å› drop what you're doing tonight å› å› and climb up the stairs å›
å› with me and see, babe. å› what a time we had recording tapestry. (chuckles) joni mitchell was recording next door, and she and james came and sang backup on "will you love me?" my girls would interrupt from home, calling to ask if they really had to do their homework. we even used our cat, telemachus, on the cover. i think that feeling of friends and family really seeped into the album.
the winner is carole king, "you've got a friend." (cheering and applause) announcer: ladies and gentlemen, sara bareilles. å› when you're down å› å› and troubled å› å› and you need a helping hand å› å› and nothing å› å› nothing is going right å› å› close your eyes and think of me å›
å› and soon i will be there å› å› to brighten å› å› even your darkest nights å› å› you just call out my name å› å› and you know wherever i am å› å› i'll come running å› å› to see you again å› å› winter, spring, summer, or fall å› å› all you got to do is call å›
å› and i'll be there, yes, i will å› å› hey, ain't it good to know å› å› you've got a friend å› å› people can be so cold å› å› hurt you and desert you å› å› they'll take your soul if you let them å› å› so don't let them å› å› you just call å› å› out my name å› å› out my name å›
å› i'll come running, yes, i will å› å› to see you again... å› å› and i'll be there å› å› you've got a friend. å› eventually, gerry and i broke up, though i am glad to say we stayed friends. and i had to leave donnie because i moved to l.a. but before i left new york, gerry and i were walking down broadway
when jerry wexler, the cofounder of atlantic records, pulled up in his limo and said he had a song he wanted us to write. it turned out to be the last big hit gerry and i did together. but what a way to end it. especially since the woman who sang it was one of the great american artists of all time. i would later do a version of it myself on tapestry, but it was different from hers, because,
well, there is only one aretha franklin! (cheering and applause) å› å› (playing intro to "natural woman") å› looking out å› å› on the morning rain å› å› ah-ooh å› å› i used to feel å› å› so uninspired å› å› ah-ooh, ooh å› å› when i knew å›
å› i had to face another day å› å› ah-ooh å› å› lord, it made me feel å› å› so tired å› å› before the day i met you å› å› life was so unkind å› å› but you're the key to my peace å› å› of mind å› å› 'cause you make me feel å› å› you make me feel å›
å› you make me feel like a natural woman å› å› when my soul å› å› when my soul was in the lost and found å› å› was in the lost and found å› å› a mighty good man came along to claim it å› å› oh, yeah å› å› ah-ooh å› å› i didn't know å› å› i didn't know just what was wrong with me å› å› just what was wrong with me å› å› until his kiss helped me name it å› å› oh... å›
å› now i'm no longer doubtful å› å› of what i'm living for å› å› and if i make you happy å› å› i don't need to do more å› å› you make me feel... å› å› feel like a natural woman, yes å› å› oh, baby å› å› what you done to me å› å› what you done to me å› å› so, so, so good inside å› å› good inside å›
å› and i å› å› i just want to be å› å› want to be å› å› i wanna get next to a man who makes me feel å› å› so alive... å› å› i want, you make me feel å› å› oh... å› å› you make me feel å› å› he makes me feel å› å› he makes me feel like a å› å› you make me feel like a å› å› i feel like, i feel like å› å› natural woman, woman å› å› oh, yeah å›
å› yeah, yeah å› å› you make å› å› he makes me feel å› å› me feel å› å› he makes me feel like å› å› you make me feel like a å› å› ah... ah... å› å› natural woman å› å› ah... å› å› woman å› å› he makes me feel å› å› you make me feel å› å› he makes me å› å› you make me feel å› å› feel like å› å› like a natural å› å› i feel like a natural å› å› woman å›
å› a woman, a woman å› å› you make me feel å› å› a woman, oh å› å› you make me feel å› å› a woman, mmm å› å› like a natural woman å› å› a woman å› å› woman å› å› a woman, a woman... å› å› woman å› å› oh... woman... å› announcer: more with stephen colbert, plus the finale of the kennedy center honors. thank you once again tothe broadway cast of beautiful,
ladies and gentlemen. well, we've reached the end of tonight's ceremony, this fantastic night of performances and tributes to our incredible honorees. thank you to all the performers. thank you to the kennedy center for hosting such a special event. and how about a round ofapplause for our wonderful host
stephen colbert. (laughter, applause) oh, my god. that is so not necessary. and again, we thank our honorees. your work, your talent, your drive, and your pursuitof artistic excellence is a gift to the world that will be cherished for generations. and as we say good night, let's celebrate with the music of carole king.
å› i feel the earth move under my feet å› å› i feel the sky tumbling down å› å› i feel my heart start to trembling whenever å› å› you're around å› å› ooh, baby å› å› when i see your face å› å› mellow as the month of may å› å› oh, darling å› å› i can't stand it å›
å› when you look at me that way å› å› i feel the sky tumbling down, tumbling å› å› i feel my heart start to trembling å› å› whenever you're around... å› å› when you're near me å› å› and touching me so tenderly å› å› i know that my emotions å› å› will never, ever, ever be free å› å› i feel the earth å›
å› move under my feet, i feel the sky å› å› tumbling down å›å› tumbling down, tumbling down å› å› i feel the sky tumbling down, tumbling down å› å› oh... å› å› tumbling down, tumbling down å› å› tumbling down, tumbling down... å› å› come tumbling down. å› captioning sponsored by cbs captioned by media access group at wgbh access.wgbh.org
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