Old Folks' Homes for Blacks During the Progressive Era
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Joel Katz Pt 4
The Joel Katz Story, Part 4: The Music Continues By Charlie Horner With Contributions from Pamela Horner End of an Era: The Passing of Ronnie I The year was 2008, a year that tore the heart out of many of us. It was the year Ronnie I died. Joel Katz and Ronnie I had been working closely together for al- most 30 years. There were times when Ronnie would be over Joel’s Broadway South constantly, recording groups. All told, Ronnie recorded and released approximately 1500 songs with Joel, over the years. They came out on Ronnie’s Clifton, UGHA and Ronnie label 45’s EP’s LP’s and CD’s. And those were just the songs that were re- leased. There are probably just as many recorded songs still unreleased. But Ronnie I and Joel Katz were more than just business partners. They were close friends and Joel took Ronnie’s passing very hard. Joel and the Clif- tonaires visited Ronnie the day before he died. “We just said goodbye to him,” Joel recalled. Joan and Joel Katz in Sean Lennon’s Studio “That was one of the toughest things I ever did. Ronnie Photo courtesy of Joel Katz said, ‘Joel, we did some great things together.’ Oh man, I didn’t even want to think about it. That drained every- Shortly after Ronnie I’s passing, Joel got into a thing out of me because he remembered all the records dispute with a major concert promoter that resulted in we did. I mean, at one point, he was in the studio three his being banned from singing in that promoter’s con- times a week. -
Criterions Article
Tim Hauser, Tommy West & the Criterions By Charlie Horner and Pamela Horner Excepted in part from the forthcoming book, Springwood Avenue Harmony: The Unique Musical Legacy of Asbury Park’s West Side, Volume 2, 1946 - 1980 Long before Tim Hauser formed the internationally known group, Manhattan Transfer, and Tommy Picardo took the stage name Tommy West (of the renowned songwriting, performing and recording combination Cashman, Pistilli and West), the two were part of an endearing Jersey Shore doo wop group, the Criterions. Timothy DuPron Hauser was born December 12, 1941 in Troy, New York. He moved with his parents and sister Fayette to the Jersey Shore area when he was 7 years old. Living in Wanamassa, Ocean Township, about 2 miles northwest of Asbury Park, Tim attended St. Rose High School in Belmar. In high school he sang in the glee club and played left field for the school’s varsity baseball team. Early on, Tim Hauser developed an interest in black music, specifically rhythm & blues. “He would go into Asbury Park because they had the better record stores there,” Tim’s sister Fayette told Asbury Park Press columnist Chris Jordan. “He’d bring the song, the anxious crowds surged forward to see the records home and my parents had a big console group. Feeling crushed, the fans in the front pushed record player and it had big speakers. The first back and fights broke out. At that point, the concert record he brought home was ‘Bo Diddley sings Bo was stopped and order was restored. As the Teenag- Diddley.’ He put it on the record player and played ers started their second song, more fights broke out it over and over for days. -
The Top Ten Vocal Groups of the Golden '50S
THE Top Ten Vocal Groups of the Golden ‘50s The Great R&B Files (# 6 of 12) Updated December 27, 2018 THE Top Ten Vocal Groups of the Golden ‘50s Rhythm and Blues Harmony Presented by Claus Röhnisch The R&B Pioneers Series - Volume Six of twelve Also read page 1 (86) - Top Rhythm & Blues Records - The Top R&B Hits from 30 classic years of R&B - The John Lee Hooker Session Discography with Year-By-Year Recap - The Blues Giants of the 1950s - Twelve Great Legends - Ten Sepia Super Stars of Rock ‘n’ Roll – Idols making Music Histouy - Transitions from Rhythm to Soul – Twelve Original Soul Icons - The True R&B Pioneers – Twelve Hit-Makers from the Early Years - Predecessors of the Soul Excplosion in the 1960s – Twelve Famous Favorites - The R&B Pioneers Series – The Top 30 Favorites - Clyde McPhartter - the Original Soul Star - The Clown Princes of Rock and Roll: The Coasters - Those Hoodlum Friends – The Coasters The Great R&B-files Created by Claus Röhnisch Find them all at http://www.rhythm-and-blues.info The R&B Pioneers Series – Volume Six of twelve THE Top Ten Vocal Groups of the Golden ‘50s Two great ”reference” books on Doo-Wop: The Doo-Wop Decades, 1945-1965 by B. Lee Cooper and Frank W, Hoffman CSIPP, US 2017 The Top 1000 Doo-Wop Songs by Anthony Gribin and Matthew Schiff Ttgpress, 2014 2 The R&B Pioneers Series – Volume Six of twelve THE Top Ten Vocal Groups of the Golden ‘50s Introduction Of all the countless (and mostly black) vocal groups, who gave us that exciting and wonderful harmony singing in the 1950s, I have selected ten outstanding pioneer R&B groups. -
DOMINO Born Antoine Domino May 10Th, 1929 New Orleans, Louisiana
Cochran DOM INO Born Antoine Domino May 10th, 1929 New Orleans, Louisiana The New Orleans style of rhythm and blues that Harrison Verrett, taught Fats to play the piano. By Antoine “Fats” Domino grew up playing instantly be age 10, Fats was following in the illustrious footsteps came part of that brand-new thing called rock and of such New Orleans piano greats as Professor Long roll. So, to reach the burgeoning young music audi hair and Amos Milburn, performing for small change ence, Fats never had to break away from what was for in local honky-tonks. At 14, Fats got serious: he him a family tradition. dropped out of school, took a day job at a bedspring Although he was a Fifties star who could sell more factory and spent his nights in the dubs, often playing records than almost anyone but Ellvis Presley, Fats alongside his musical mentors. It was at the Hideaway was more inspirational than insurrectionary. Never Club that bandleader Bill Diamond dubbed him theless, even he couldn’t help generating som e contro “Fats,” for obvious reasons. It was also at the Hide versy. A 1955 dance at the Ritz Ballroom in Bridge away that Fats met trumpeter, bandleader and Impe port, Connecticut, at which Fats was scheduled to rial Records A&R rep Dave Bartholomew. Their first perform, was canceled by police because “rock and session together in 1949 produced “The Fat Man,” roll dances might be featured” — raising the specter of Fats’ first R&B hit: “They call me the Fat Man/Be- riots to the officers of the law. -
Songs in the Key of Z
covers complete.qxd 7/15/08 9:02 AM Page 1 MUSIC The first book ever about a mutant strain ofZ Songs in theKey of twisted pop that’s so wrong, it’s right! “Iconoclast/upstart Irwin Chusid has written a meticulously researched and passionate cry shedding long-overdue light upon some of the guiltiest musical innocents of the twentieth century. An indispensable classic that defines the indefinable.” –John Zorn “Chusid takes us through the musical looking glass to the other side of the bizarro universe, where pop spelled back- wards is . pop? A fascinating collection of wilder cards and beyond-avant talents.” –Lenny Kaye Irwin Chusid “This book is filled with memorable characters and their preposterous-but-true stories. As a musicologist, essayist, and humorist, Irwin Chusid gives good value for your enter- tainment dollar.” –Marshall Crenshaw Outsider musicians can be the product of damaged DNA, alien abduction, drug fry, demonic possession, or simply sheer obliviousness. But, believe it or not, they’re worth listening to, often outmatching all contenders for inventiveness and originality. This book profiles dozens of outsider musicians, both prominent and obscure, and presents their strange life stories along with photographs, interviews, cartoons, and discographies. Irwin Chusid is a record producer, radio personality, journalist, and music historian. He hosts the Incorrect Music Hour on WFMU; he has produced dozens of records and concerts; and he has written for The New York Times, Pulse, New York Press, and many other publications. $18.95 (CAN $20.95) ISBN 978-1-55652-372-4 51895 9 781556 523724 SONGS IN THE KEY OF Z Songs in the Key of Z THE CURIOUS UNIVERSE OF O U T S I D E R MUSIC ¥ Irwin Chusid Library of Congress Cataloging-in-Publication Data Chusid, Irwin. -
<I>Malt Shop Memories</I>
names, Vol. 57 No. 3, September, 2009, 162–174 Selling Decency and Innocence: Names of Singing Groups in the Malt Shop Memories Collection Margaret G Lee Hampton University, USA This study examines the names of sixty-fi ve male and female singing groups in the Malt Shop Memories collection and their economic, social, and cultural infl uences. Record companies’ efforts to sell the emerging rock’n’roll to teenagers of mid-1950s to mid-1960s affl uent America resulted in group names intended to reduce the negative attitudes toward the music. Non-threatening group names were designed to exude images of whole- someness and purity to appease parents and the public who regarded rock’n’roll as chaotic, vulgar, and the cause of America’s social ills. These names, refl ecting such ordinary categories as Birds and Animals, Place Names, Mystique and Wonder, and more, combined with a mandated dress code to sell an image of decency and innocence in the face of a rebellious new style of music. keywords Malt Shop group names, Rock’n’roll group names, Doo-wop group names, 1950s-60s singing groups, Rock music group names, Girl group names, Vocal group names Introduction and background Malt Shop Memories is a Time Life, 150-song, ten-CD collection of oldies classics by the original artists. Released in 2006, the collection encompasses the period, as described in its television advertisement, “between the birth of rock ‘n’ roll in the mid-50’s to the British Invasion of the mid-60’s [. .] when American pop music took the world by storm.” This was one of the most innovative and dynamic periods in America’s music history. -
The Application of Antidiscrimination Laws to Quasi-Private Clubs
Michigan Journal of Gender & Law Volume 2 Issue 1 1994 The Key to Unlocking the Clubhouse Door: The Application of Antidiscrimination Laws to Quasi-Private Clubs Sally Frank Drake University Law School Follow this and additional works at: https://repository.law.umich.edu/mjgl Part of the Civil Rights and Discrimination Commons, Courts Commons, and the Legislation Commons Recommended Citation Sally Frank, The Key to Unlocking the Clubhouse Door: The Application of Antidiscrimination Laws to Quasi-Private Clubs, 2 MICH. J. GENDER & L. 27 (1994). Available at: https://repository.law.umich.edu/mjgl/vol2/iss1/3 This Article is brought to you for free and open access by the Journals at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Journal of Gender & Law by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. THE KEY TO UNLOCKING THE CLUBHOUSE DOOR: THE APPLICATION OF ANTIDISCRIMINATION LAWS TO QUASI-PRIVATE CLUBS Sally Trank* I. The Importance of Association and the Harm of Discrimination - 31 A. Why People Join Organizations . 31 B. Problems Caused by Discrimination in Quasi-Private Clubs . 34 II. The Impact of Law and Judicial Opinions on Quasi-Private Clubs. 39 A. The Constitution . 39 B. State and Federal Laws That Address Discrimination in Quasi-Private Clubs • 40 1. The Effect of Using "Place" as a Distinguishing Feature in Public Accommodations Statutes. 41 2. Is the Club Open to the General Public? • 44 3. Statutes That Bar Discrimination in "Businesses" • 48 4. -
Distillation of Sound: Dub in Jamaica and the Creation of Culture
Wayne State University Wayne State University Dissertations January 2019 Distillation Of Sound: Dub In Jamaica And The Creation Of Culture Eric J. Abbey Wayne State University, [email protected] Follow this and additional works at: https://digitalcommons.wayne.edu/oa_dissertations Part of the Music Commons, and the Social and Cultural Anthropology Commons Recommended Citation Abbey, Eric J., "Distillation Of Sound: Dub In Jamaica And The Creation Of Culture" (2019). Wayne State University Dissertations. 2198. https://digitalcommons.wayne.edu/oa_dissertations/2198 This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. DISTILLATION OF SOUND: DUB IN JAMAICA AND THE CREATION OF CULTURE by ERIC ABBEY DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, MI in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2019 MAJOR: ENGLISH (Film and Media Studies) Approved By: _______________________________________________ Advisor Date _______________________________________________ Date _______________________________________________ Date _______________________________________________ Date © COPYRIGHT BY ERIC ABBEY 2019 All Rights Reserved DEDICATION To Owen and Brendan: Keep Creating ii ACKNOWLEDGEMENTS This project would not have been possible without the support of the people in my life. Thank you to everyone who has ever played a role. To Owen and Brendan for being my hooligans. To Cassandra for allowing me to feel the peace that was needed to complete this project. To Jeremy Abbey for the constant push. To everyone at Eastern Kendo Club for understanding my absence while working on this project.