Louis Prima (December 7, 1910 - August 24, 1978) was born into a musical fa… Read Full Bio ↴Louis Prima (December 7, 1910 - August 24, 1978) was born into a musical family in New Orleans. His family emigrated from Sicily, Italy, and after a brief stay in Argentina settled in the United States. Prima studied violin for several years as a child. His older brother Leon was a well regarded local bandleader. Prima was proud of his heritage, and made a point of letting the audience know at every performance that he was Italian-American and from New Orleans. His singing and playing showed that he absorbed many of the same influences as his fellow Crescent City musician, Louis Armstrong, particularly in his hoarse voice and scat singing.
In his youth, Prima played trumpet with Irving Fazola, his brother's band, and the pit band of the Saenger Theater. In 1933 he began his busy recording career, as part of the David Rose orchestra at station WGN, Chicago; he was also part of the small recording group The Hotcha Trio, with Rose on piano and Norman Gast on violin. In 1934 Prima moved to New York, working regularly on 52nd Street with old New Orleans friends like Eddie Miller (tenor sax and clarinet) and George Brunies (trombone), and also new acquaintances like Pee Wee Russell (clarinet). Prima's informal jazz group was known as Louis Prima and His New Orleans Gang, and this band recorded prolifically for Brunswick through 1936, and then for Vocalion and Decca.
Prima's 1936 composition, "Sing Sing Sing", which he had released with the New Orleans Gang in March, 1936 as a Brunswick 78, Brunswick 7628, with "It's Been So Long" as the B side, became one of his biggest hits and one of the most covered standards of the swing era; Benny Goodman's performance of the song at Carnegie Hall with a featured performance by Gene Krupa on drums has become iconic.
Louis Prima and His Band
Prima moved to Los Angeles to headline at the Famous Door nightclub. He appeared in several Hollywood movies, including a featured performance with Bing Crosby in the 1936 film Rhythm on the Range. Prima and his Dixieland Gang continued to play club dates across the nation, including a 1939 stint at New York's Hickory House.
Big bands were big business then, and Prima apparently bowed to pressure from booking agents and formed a conventional big band in 1940. He exploited a distinctive, shuffling beat (which he called "Gleeby Rhythm"); this trademark Prima shuffle remained part of his repertoire for two decades. Prima sang most of the band vocals, with Lily Ann Carol as the "girl singer." Prima's high-powered drummer at this time was Jimmy Vincent, an energetic teenager who remained with the Prima band for many years.
In 1947 he added singer Cathy Ricciardi, who recorded under the name Cathy Allen. She was succeeded in 1949 by Keely Smith (who was to become his fourth wife), and the band concentrated on novelty songs like "Civilization (Bongo Bongo Bongo)" and "All Right, Louis, Drop the Gun." Prima's big band continued into the early 1950s, with a series of novelty recordings supervised (sometimes heavy-handedly) by record producer Mitch Miller.
Vegas years
The popularity of the big-band sound started to wane, and Prima began losing money, just as he needed it to support the pregnant Smith. Prima found work with Smith in small venues all over the East Coast. Eventually he called up his friend Bill Miller, who was then entertainment director of The Sahara nightclub and casino in Las Vegas, and asked for a job. His friend Cab Calloway warned him against the cramped Sahara lounge, but the financial pressure was too great. Prima telephoned saxophonist Sam Butera and instructed him to pick up a few musicians and go to Las Vegas in time for Prima's debut.
Prima acknowledged his new musicians for the opening-night crowd, and spontaneously asked Butera what the name of the band was. Butera ad-libbed, "The Witnesses!" From then on, Sam Butera and the Witnesses backed Prima and Smith on stage and records.
Prima and Smith worked hard throughout the 1950s, performing multiple shows a night and finishing at 6 a.m. Their efforts were rewarded with a resurgence in their popularity, and they were at least partly responsible for making the lounge at The Sahara a hotspot. On stage, Prima insisted on Smith adopting a humorless, poker-faced character that would play straight to Prima's zany ad libs. Smith actually had a fine sense of comedy that is often audible on the team's recordings; no matter how much the incorrigible Prima tried to disrupt her vocals, Smith would often come back with a funny remark of her own.
Louis Prima and Keely Smith were very much the model for Sonny & Cher: the exuberant Italian musician and the serious, exotic female singer, Smith and Cher both being of Cherokee descent (although Cher's heritage is primarily Armenian). Similarly, echoes of the stage banter between Prima and Butera would be heard years later in the early performances of the E Street Band and the interplay between Bruce Springsteen and Clarence Clemons.
In 1959, Prima and Smith won the Grammy Award for Best Performance by a Vocal Group or Chorus for "That Old Black Magic."
In 1956 the Prima ensemble performed at the Sahara Hotel and Casino to record tracks for the album The Wildest!. It was an attempt by Capitol Records to capture the essence of the Vegas act. Over the next nine years, Prima and Smith raised two children, while he made scores of records, owned racehorses, appeared on television, and even opened a golf course. They outgrew the lounge and were promoted to the big room. They appeared in a few quickie musical films, including Senior Prom and Hey Boy! Hey Girl! Prima co-produced the feature Twist All Night, in which his band also appeared.
During this whirlwind of activity, according to Smith, the couple drifted farther and farther apart. One night, he refused to conduct for one of Smith's performances, delegating to Butera instead. A few days later they were in court, petitioning for divorce.
Later years
Following the divorce, he began dating Gia Maione. Maione was a long-time fan of Prima's, was already familiar with all the arrangements to his songs, and even kept a signed photo of him in her purse. She eventually became Prima's fifth and final wife, and was with the band right up until 1975. By this point, the band was putting out a markedly different and more contemporary sound, with electric organs and synthesizers, even dabbling in progressive rock.
In 1967 Prima's distinctive voice and jazzy delivery landed him a role in Walt Disney's animated feature The Jungle Book, as the raucous orangutan King Louie. He performed the hit song "I Wanna Be Like You" on the soundtrack, leading to the recording of two albums with Phil Harris: The Jungle Book and More Jungle Book, on Disneyland Records. He can also be heard on the soundtrack of another cartoon feature, The Man Called Flintstone.
He suffered a mild heart attack in 1973. In 1975, following headaches and episodes of memory loss, Louis Prima sought medical attention, and found out he had a stem brain tumor. He suffered a cerebral hemorrhage and went into a coma following surgery to remove the tumor. He never recovered, and died three years later, having been moved back to New Orleans. He was buried in Metairie Cemetery in New Orleans; his gray marble crypt is topped by a figure of Gabriel, the trumpeter-angel. The inscription on the crypt's door quote the lyrics from one of his hits: "When the end comes, I know, they'll all say 'just a gigolo' as life goes on without me. Lovingly, your little family..."
In his youth, Prima played trumpet with Irving Fazola, his brother's band, and the pit band of the Saenger Theater. In 1933 he began his busy recording career, as part of the David Rose orchestra at station WGN, Chicago; he was also part of the small recording group The Hotcha Trio, with Rose on piano and Norman Gast on violin. In 1934 Prima moved to New York, working regularly on 52nd Street with old New Orleans friends like Eddie Miller (tenor sax and clarinet) and George Brunies (trombone), and also new acquaintances like Pee Wee Russell (clarinet). Prima's informal jazz group was known as Louis Prima and His New Orleans Gang, and this band recorded prolifically for Brunswick through 1936, and then for Vocalion and Decca.
Prima's 1936 composition, "Sing Sing Sing", which he had released with the New Orleans Gang in March, 1936 as a Brunswick 78, Brunswick 7628, with "It's Been So Long" as the B side, became one of his biggest hits and one of the most covered standards of the swing era; Benny Goodman's performance of the song at Carnegie Hall with a featured performance by Gene Krupa on drums has become iconic.
Louis Prima and His Band
Prima moved to Los Angeles to headline at the Famous Door nightclub. He appeared in several Hollywood movies, including a featured performance with Bing Crosby in the 1936 film Rhythm on the Range. Prima and his Dixieland Gang continued to play club dates across the nation, including a 1939 stint at New York's Hickory House.
Big bands were big business then, and Prima apparently bowed to pressure from booking agents and formed a conventional big band in 1940. He exploited a distinctive, shuffling beat (which he called "Gleeby Rhythm"); this trademark Prima shuffle remained part of his repertoire for two decades. Prima sang most of the band vocals, with Lily Ann Carol as the "girl singer." Prima's high-powered drummer at this time was Jimmy Vincent, an energetic teenager who remained with the Prima band for many years.
In 1947 he added singer Cathy Ricciardi, who recorded under the name Cathy Allen. She was succeeded in 1949 by Keely Smith (who was to become his fourth wife), and the band concentrated on novelty songs like "Civilization (Bongo Bongo Bongo)" and "All Right, Louis, Drop the Gun." Prima's big band continued into the early 1950s, with a series of novelty recordings supervised (sometimes heavy-handedly) by record producer Mitch Miller.
Vegas years
The popularity of the big-band sound started to wane, and Prima began losing money, just as he needed it to support the pregnant Smith. Prima found work with Smith in small venues all over the East Coast. Eventually he called up his friend Bill Miller, who was then entertainment director of The Sahara nightclub and casino in Las Vegas, and asked for a job. His friend Cab Calloway warned him against the cramped Sahara lounge, but the financial pressure was too great. Prima telephoned saxophonist Sam Butera and instructed him to pick up a few musicians and go to Las Vegas in time for Prima's debut.
Prima acknowledged his new musicians for the opening-night crowd, and spontaneously asked Butera what the name of the band was. Butera ad-libbed, "The Witnesses!" From then on, Sam Butera and the Witnesses backed Prima and Smith on stage and records.
Prima and Smith worked hard throughout the 1950s, performing multiple shows a night and finishing at 6 a.m. Their efforts were rewarded with a resurgence in their popularity, and they were at least partly responsible for making the lounge at The Sahara a hotspot. On stage, Prima insisted on Smith adopting a humorless, poker-faced character that would play straight to Prima's zany ad libs. Smith actually had a fine sense of comedy that is often audible on the team's recordings; no matter how much the incorrigible Prima tried to disrupt her vocals, Smith would often come back with a funny remark of her own.
Louis Prima and Keely Smith were very much the model for Sonny & Cher: the exuberant Italian musician and the serious, exotic female singer, Smith and Cher both being of Cherokee descent (although Cher's heritage is primarily Armenian). Similarly, echoes of the stage banter between Prima and Butera would be heard years later in the early performances of the E Street Band and the interplay between Bruce Springsteen and Clarence Clemons.
In 1959, Prima and Smith won the Grammy Award for Best Performance by a Vocal Group or Chorus for "That Old Black Magic."
In 1956 the Prima ensemble performed at the Sahara Hotel and Casino to record tracks for the album The Wildest!. It was an attempt by Capitol Records to capture the essence of the Vegas act. Over the next nine years, Prima and Smith raised two children, while he made scores of records, owned racehorses, appeared on television, and even opened a golf course. They outgrew the lounge and were promoted to the big room. They appeared in a few quickie musical films, including Senior Prom and Hey Boy! Hey Girl! Prima co-produced the feature Twist All Night, in which his band also appeared.
During this whirlwind of activity, according to Smith, the couple drifted farther and farther apart. One night, he refused to conduct for one of Smith's performances, delegating to Butera instead. A few days later they were in court, petitioning for divorce.
Later years
Following the divorce, he began dating Gia Maione. Maione was a long-time fan of Prima's, was already familiar with all the arrangements to his songs, and even kept a signed photo of him in her purse. She eventually became Prima's fifth and final wife, and was with the band right up until 1975. By this point, the band was putting out a markedly different and more contemporary sound, with electric organs and synthesizers, even dabbling in progressive rock.
In 1967 Prima's distinctive voice and jazzy delivery landed him a role in Walt Disney's animated feature The Jungle Book, as the raucous orangutan King Louie. He performed the hit song "I Wanna Be Like You" on the soundtrack, leading to the recording of two albums with Phil Harris: The Jungle Book and More Jungle Book, on Disneyland Records. He can also be heard on the soundtrack of another cartoon feature, The Man Called Flintstone.
He suffered a mild heart attack in 1973. In 1975, following headaches and episodes of memory loss, Louis Prima sought medical attention, and found out he had a stem brain tumor. He suffered a cerebral hemorrhage and went into a coma following surgery to remove the tumor. He never recovered, and died three years later, having been moved back to New Orleans. He was buried in Metairie Cemetery in New Orleans; his gray marble crypt is topped by a figure of Gabriel, the trumpeter-angel. The inscription on the crypt's door quote the lyrics from one of his hits: "When the end comes, I know, they'll all say 'just a gigolo' as life goes on without me. Lovingly, your little family..."
I Love Paris
Louis Prima Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Every time I look down on this timeless town
Whether blue or gray be her skies.
Whether loud be her cheers or soft be her tears,
More and more do I realize:
I love Paris in the springtime.
I love Paris in the fall.
I love Paris in the winter when it drizzles,
I love Paris in the summer when it sizzles.
I love Paris every moment,
Every moment of the year.
I love Paris, why, oh why do I love Paris?
Because my love is near.
Whether blue or gray be her skies.
Whether loud be her cheers or soft be her tears,
More and more do I realize:
I love Paris in the springtime.
I love Paris in the fall.
I love Paris in the winter when it drizzles,
I love Paris every moment,
Every moment of the year.
I love Paris, why, oh why do I love Paris?
Because my love is near.
Louis Prima's song "I Love Paris" is a love letter to the beautiful and timeless city of Paris. Throughout the song, Prima expresses his deep affection for the city, regardless of the season or weather. He sings that every time he looks down on the city, he feels an overwhelming sense of love and appreciation for it.
The lyrics describe how Prima loves Paris in spring, fall, winter, and summer. Whether the skies are blue or gray, and whether the city is filled with loud cheers or soft tears, Prima's love for Paris only grows stronger. He loves the city every moment of the year, and he asks himself why he loves it so much. Finally, he answers his own question by saying that his love is near, implying that there is a person in the city who he is deeply in love with.
The song "I Love Paris" is a celebration of the city of love and its timeless beauty. Prima's smooth vocals and the upbeat jazz melody capture the essence of Paris and its unique charm. The lyrics express a deep and genuine affection for the city, inviting listeners to share in the joy and excitement of being in Paris.
Line by Line Meaning
Every time I look down on this timeless town
Whenever I cast my eyes upon this ageless city
Whether blue or gray be her skies.
No matter if her heavens are colored blue or grey.
Whether loud be her cheers or soft be her tears,
Even if her people are loud with boisterous chants or quiet with sorrowful tears.
More and more do I realize:
The more I observe and experience,
I love Paris in the springtime.
I adore Paris when spring has arrived
I love Paris in the fall.
I cherish Paris surrounded by autumn hues
I love Paris in the winter when it drizzles,
I am enamored with Paris when winter rain is falling
I love Paris in the summer when it sizzles.
I revel in Paris during the hot, sizzling days of summer.
I love Paris every moment,
I adore Paris with every breath I take
Every moment of the year.
Without exception, throughout the entirety of each year.
I love Paris, why, oh why do I love Paris?
I am deeply in love with Paris; the question is, why?
Because my love is near.
My beloved is with me here in Paris.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Tratore, Songtrust Ave, Warner Chappell Music, Inc.
Written by: Cole Porter
Lyrics Licensed & Provided by LyricFind
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@HouseFromSmartCity
Sigh. I do the same thing candace. The lone Wolf lifestyle definitely comes as advertised: lonely 🐺
That’s why sometimes you gotta be easy on yourself. Puff on some hookah, throw on Magic Mike, and just reflect.
There’s 4 types of Gigolos in this world:
https://youtu.be/HQbYv20y0yU
The Casanova is a lone Wolf 🐺 so you are in good company 👌🏽
Respect to you candace!
@lynnciafregarbesi6311
I'm just a gigolo and everywhere I go
People know the part I'm playing
Paid for every dance, selling each romance
Ooh, and they're sayin'
There will come a day when youth will pass away
What will they say about me?
When the end comes, I know
They was just the gigolos
Life goes on without me
I'm just a gigolo and everywhere I go
People know the part I'm playing
Paid for every dance, selling each romance
Ooh, what they're sayin'
And there will come a day when youth will pass away
What will they say about me?
When the end comes, I know
They was just a gigolo
Life goes on without me, 'cause
I ain't got nobody
Nobody cares for me
Nobody cares for me
I'm so sad and lonely
Sad and lonely, sad and lonely
Won't some sweet mama come and take a chance with me?
'Cause I ain't so bad
An' I'll sing her sweet love songs
All of the time
She will only be, only be
Bip boz dee, boze dee, bop, biddly bop
I ain't got nobody
Nobody cares for me
Nobody cares for me
Nobody cares for me
Nobody cares for me
Humala bebuhla zeebuhla boobuhla
Humala bebuhla zeebuhla bop
I ain't got nobody
Nobody cares for me
Nobody cares for me
I'm so sad and lonely
Oh lonely, oh lonely, lonely, lonely
Won't some sweet mama, come and rescue me
'Cause I ain't so bad
An' I'll sing her sweet love songs
All of the time
She will only be, only, only, only
Only, only, only, only be
Baby, c'mon sugar, darling
Ain't got nobody, baby
There's nobody (nobody)
There's nobody (nobody)
There's nobody (nobody)
There's nobody (nobody)
There's no one (no one)
There's no one (no one)
Loot de loot (loot de loot)
Dolly dolly (dolly dolly)
Gernish gernish (gernish gernish)
Stot say da wool (stot say da wool)
Over den (over den)
Nobody (nobody)
No, no one (no, no one)
Nobody (nobody)
Nobody (nobody)
Nobody (nobody)
Nobody (nobody)
Nobody cares for me
@kurocrow-chan8880
Lyrics
I'm just a gigolo and everywhere I go
People know the part I'm playing
Paid for every dance, selling each romance
Ooh, what they're saying
There will come a day and youth will pass away
What, what will they say about me
When the end comes I know they'll say just a gigolo's
Life goes on without me
I'm just a gigolo everywhere I go
People know the part I'm playing
Paid for every dance, selling each romance
Ooh, what they're saying
And there will come a day and youth will pass away
What will they say about me
When the end comes I know they'll say just a gigolo's
Life goes on without me
'Cause I ain't got nobody
Oh and there's nobody that cares for me
There's nobody that cares for me
I'm so sad and lonely
Sad and lonely, sad and lonely
Won't some sweet mama
Come and take a chance with me
'Cause I ain't so bad
Sing on, pretty love song, all of the time
She will only be, only be
I ain't got nobody
Oh and there's nobody that cares for me
There's nobody that cares for me
Nobody that cares for me
Nobody that cares for me
I ain't got nobody, nobody
Nobody that cares for me
There's nobody that cares for me
I'm so sad and lonely
Oh lonely, oh lonely
Won't some sweet mama
Come and rescue me
'Cause I ain't so bad
And I'll sing her three love songs all of the time
'Cause she will only be, only, only, only, only, only, only be my baby
Come on, sugar, darling, honey
And there's nobody, there's nobody
There's nobody, there's nobody
There's no one, there's no one
Nobody, no, no one
Nobody, nobody
Nobody, nobody
Nobody cares for me
@edendavid-mccrann7800
That Harley escape scene kicked ass! I got chill when the flowers blew behind her as she screamed. A great action scene, and a beautiful song
@Ethan-kd7ni
Same but I can't find the clip of it anywhere
@edendavid-mccrann7800
@@Ethan-kd7ni the movie is out tomorrow on HBOMax, it'll be all over YouTube by then
@hartiniprm9297
This scene so cool
@chickennuggetsaregoodsoyou9883
YES
@chickennuggetsaregoodsoyou9883
The shark guy is my favorite thank God he survived the movie
@luisnajera226
This is my favorite song because what he says is a sad fact, but the way he expresses it makes you fell like it'll be just fine.
@electricpollusion
Luis Najera so you are saying that you are a giggolo 😂
@Imani_AM
What the hell is your profile picture 😬 it's freaking me out 😳
@jeremylefevre2451
It's because we are in the 50s... Even if there was the Soviet union life used to be happy...