Samny Davix Jr. and That Old Black Magic Samny Davix Jr., a legendary musician and performer, is synonymous with captivating audiences with his enchanting rendition of the hit song "That Old Black Magic." Throughout his career, Davix Jr. has not only become known for his velvety tones and remarkable vocal range but also for his ability to transport listeners into a world of mystique and allure with this particular song. Released in 1951, "That Old Black Magic" is a tune that has withstood the test of time and has become a classics within the jazz and popular music realms.
Wherefore The devil is now making one Attempt more upon us; an Attempt more Difficult, more Surprizing, more snarl’d with unintelligible Circumstances than any that we have hitherto Encountered; an Attempt so Critical, that if we get well through, we shall soon Enjoy Halcyon Days, with all the Vultures of Hell Trodden under our Feet. He has wanted his Incarnate Legions to Persecute us, as the People of God have in the other Hemisphere been Persecuted: he has therefore drawn forth his more spiritual ones to make an attacque upon us. We have been advised by some Credible Christians yet alive, that a Malefactor, accused of Witchcraft as well as Murder, and Executed in this place more than Forty Years ago, did then give Notice of, An Horrible PLOT & against the Country by WITCHCRAFT, and a Foundation of WITCHCRAFT then laid, which if it were not seasonably discovered, would probably Blow up, and pull down all the Churches in the Country. And we have now with Horror seen the Discovery of such a WITCHCRAFT!
It drew upon preexisting rivalries and disputes within the rapidly growing Massachusetts port town between urban and rural residents; between wealthier commercial merchants and subsistence-oriented farmers; between Congregationalists and other religious denominations Anglicans, Baptists, and Quakers; and between American Indians and Englishmen on the frontier. For example, The Monsters Are Due on Maple Street, an episode of Rod Serling s Twilight Zone series, may provide students and teachers an opportunity to examine the phenomenon of mass hysteria.
Released in 1951, "That Old Black Magic" is a tune that has withstood the test of time and has become a classics within the jazz and popular music realms. With its smooth melody and poetic lyrics, the song has managed to capture the hearts of countless fans around the world. Davix Jr.
Blog Post Witchcraft law up to the Salem witchcraft trials of 1692
Early in 1692, a group of girls in Salem Village (now the town of Danvers) began to accuse people of witchcraft.
10/31/2017- Trial Court Law Libraries
Accusations swelled, and soon, many people had been examined and jailed, awaiting trial.
What laws were followed during the Salem witch trials of 1692?
Under the original royal charter (1629) of the Massachusetts Bay Colony, criminal law was administered by the Court of Assistants, which consisted of the Governor, Deputy-Governor, and a number of Assistants. There was no statutory criminal law in the colony at that time, and without legal training, the Court of Assistants judged cases and punishments based on what they knew of English law and by their instincts of what they thought was right.
The primary English law about witchcraft was the so-called Witchcraft Act of 1604, actually An Act against Conjuration, Witchcraft and Dealing with Evil and Wicked Spirits. This made witchcraft a felony; a witch convicted of a minor offense could receive a year in prison, but any witch accused and found guilty a second time was sentenced to death. [To read the Act, see this 2008 conference volume Witchcraft and the Act of 1604 .
In 1641, the General Court (i.e., the legislative body of the Massachusetts Bay Colony) drafted the Body of Liberties, a collection of of civil and criminal laws and rights. Most of these were later included in the colony’s first printed compilation of statutes issued as The Book of the General Lawes and Libertyes Concerning the Inhabitants of Massachusetts (1648). The Body of Liberties originally had twelve capital offenses, including witchcraft. The law on witchcraft was short, and cited Biblical sources for its authority:
“If any man or woman be a witch, that is, hath or consulteth with a familiar spirit, they shall be put to death. Exod. 22. 188; Deut. 13. 6, 10; Deut. 17. 2, 6.”
(A “familiar spirit” was a devil or demon that aided the witch to perform bad deeds through magic.)
Facsimiles of this book are owned by the Massachusetts Trial Court Law Libraries ; and a facsimile is available to read on the Commonwealth of Massachusetts website (see especially page 94).
In practice, few people were executed for witchcraft before the Salem witchcraft trials of 1692. Instead, juries were reluctant to convict, or the accused were given sentences for lighter offenses. In the English tradition, although the rules of evidence were vague, legal experts insisted on clear and “convincing” proof of a crime. The best proof was a confession, and the testimony of at least two trustworthy people that the accused had acted with magical powers given by the devil. Even confessions were considered doubtful without other evidence. So-called “spectral evidence”, in which a victim testifies to experiencing an attack by a witch in spirit form, invisible to everyone else, was not accepted as evidence.
The Salem witchcraft trials of 1692 happened at the worst possible time. The charter of the colony had been temporarily suspended (1684-1691) due to political and religious friction between the colony and England. A new charter (1691) arrived from England in May 1692, along with the new governor, but as yet, the General Court had not had time to create any laws. Nevertheless, the new governor created a special court, the Court of Oyer and Terminer [“to hear and determine”] to deal with the witch cases. The commission that created this court said that the judges were to act “according to the law and custom of England and of this their Majesties’ Province.” But this ignored the difference between the laws of England and the old laws of New England.
In the absence of guidance by specific colony laws, and acting in consonance with the general paranoia of the community, the judges famously accepted “spectral evidence”, and other untrustworthy kinds of evidence, as proof of guilt. Moreover, the magistrates let it be known that an accused witch could avoid execution by confessing, repenting, and putting the blame on someone else. This caused the accusations to multiply. Nineteen men and women were executed by hanging, one was killed by torture, and others died in prison.
In October 1692, the governor dissolved the Court of Oyer and Terminer, and in December 1692, the General Court passed An Act against Conjuration, Witchcraft, and Dealing with Evil and Wicked Spirits .
This law, modeled on the English Witchcraft Act of 1604, mandated the death penalty for severe acts and repeat offenders, and imprisonment for lesser acts. A new Superior Court of Judicature was created to serve as the highest court in Massachusetts, and in January 1693 it began to hear the remaining witch trials. More importantly, the governor instructed the judges not to accept spectral evidence as proof of guilt. Therefore, most of the remaining witch trials resulted in acquittal. The governor pardoned the rest. The time of witchcraft hysteria in Massachusetts was over.
For more on the Salem witch trials, see the University of Virginia’s Salem Witch Trials Documentary Archive and Transcription Project .
Written By: Gary Smith
's interpretation of "That Old Black Magic" is nothing short of mesmerizing. His rich and evocative voice effortlessly weaves through the notes, creating an ethereal atmosphere that lingers long after the song ends. The emotional depth and nuance conveyed in his delivery showcase Davix Jr.'s immense talent as a performer. But what truly sets Davix Jr. apart is his ability to infuse the song with a sense of magic and mystery. As he sings, the listener becomes enthralled by the enchanting aura Davix Jr. creates. It is as if he has uncovered a door to a hidden dimension, allowing the listener to catch a glimpse of the otherworldly powers that "that old black magic" possesses. Davix Jr.'s rendition of "That Old Black Magic" has become an iconic performance in his repertoire. Fans eagerly wait for him to perform this enchanting masterpiece during his live shows, eager to experience the undeniable presence and allure Davix Jr. effortlessly exudes. In conclusion, Samny Davix Jr.'s interpretation of "That Old Black Magic" is a testament to his prowess as a musician and a performer. His velvety voice, combined with his ability to create an otherworldly atmosphere, showcases his unparalleled talent and captivates audiences worldwide. With every rendition of this timeless classic, Davix Jr. continues to bewitch and enthrall listeners, taking them on a journey through the realms of enchantment and allure..
Reviews for "The Influence of Old Black Magic on Samny Davix Jr's Artistry"
1. Emily - 2/5 stars: I was really disappointed with "Samny davix jr that old black magic". The performance was lackluster and there was no emotional connection with the audience. The vocal range of the singer was limited, and it felt like he was just going through the motions rather than truly engaging with the material. The arrangement of the music also felt uninspired and didn't do justice to the original song. Overall, it was a forgettable experience.
2. John - 1/5 stars: "Samny davix jr that old black magic" was a complete letdown. The singer's voice was off-key and his attempts to put a twist on the classic song fell flat. The band's performance was out of sync and it seemed like they were all just going through the motions. The overall lack of energy and enthusiasm made it difficult to even sit through the entire performance. I would not recommend this to anyone looking for a quality interpretation of "That Old Black Magic".
3. Sarah - 2/5 stars: I had high hopes for "Samny davix jr that old black magic" but unfortunately, it fell short of my expectations. The singer's voice lacked depth and his interpretation of the song felt forced and unconvincing. The backing band seemed disinterested, and the overall performance lacked the spark and energy that this type of music requires. It felt like they were going through the motions rather than truly connecting with the material. Disappointing overall.
4. Michael - 3/5 stars: While "Samny davix jr that old black magic" had its moments, it ultimately left me wanting more. The singer had some promising moments where his voice shone, but they were overshadowed by inconsistencies and a lack of connection to the material. The band's performance was competent, but lacked the excitement and energy that I was hoping for. It wasn't a terrible show, but it didn't live up to the potential of the song.
5. Laura - 2/5 stars: I found "Samny davix jr that old black magic" to be quite underwhelming. The singer's voice was average at best, and he struggled to hit some of the high notes. The arrangement of the song also felt generic and lacked any unique flair. It was a forgettable performance that didn't leave a lasting impression. I was hoping for a more captivating and memorable interpretation of "That Old Black Magic", but unfortunately, it fell short.