![]() ![]() But Clark insists now it was an artistic decision, not a political one. “I stumbled into that … I’ve never got political about anything.”Ĭlark, her husband Claude Wolff and their lawyer ordered NBC to erase the other takes so there was only the one with them touching, Belafonte casting her in his autobiography as a gleeful co-conspirator to “nail the bastard”. Belafonte, a prominent civil rights campaigner, was aware of the potential consequences, but Clark was “an innocent”, she says. They inadvertently caused a media storm in 1968, when Clark took Belafonte’s arm during a duet for her one-hour special for NBC a Plymouth Motors advertising executive took exception to a white woman and a black man touching on television. ![]() ![]() “I think he kind of fancied me,” she adds, somewhat bashfully. Meeting celebrities was exciting, she says, but “the really great people” stand out – Quincy Jones was “wonderful”, and she and Harry Belafonte “adored each other”. Steve McQueen, the King of Cool, told her he loved her in a restaurant. She worked with Fred Astaire, Dean Martin, Bobby Darin and the Muppets. It cut through absolutely everything” – and Clark was quickly sucked into the upper echelons of American show business. It went to No 1 in the US – “There was no escaping it. It was in 1964 that she became famous worldwide, with Downtown, the smash hit that beat the Beatles to a Grammy and led her to be anointed “the First Lady of the British Invasion”. ![]()
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