The Diagnosis of a Papal Gesture

Total Page:16

File Type:pdf, Size:1020Kb

The Diagnosis of a Papal Gesture P2JW269000-4-C00400-1--------XA C4 | Saturday/Sunday, September 26 - 27, 2015 THE WALL STREET JOURNAL. THE WEEK**** WORD ON THE MY WEEK: LYNDAOBST STREET: hotel-stage-hotel-home,repeat) ev- BEN ZIMMER eryday. TodayisWednesday—our “Mon- ‘Covers’ Are day” afterour absurdMonday- Tuesdayweekend. Weekends are very low-status formeatthe hotel, KeySounds I’velearned, because in NewYork, youare your transportation. When Of PopEra Herbie is on, everyone smiles at me and thinks Iamadeal. On my day THIS WEEK, in- off,Iwalk or take acab to Pilates, die rocker Ryan and the doormen arebereft. Adams delivered Idon’t knowwhat Brad or Clint an unusual re- do,but on my drives with Herbie,I lease: a full re- sit shotgun, sometimes with my make of Taylor legsonthe dashboard, sipping cof- Swift’s “1989,” consisting of feehehas picked up at Sant Am- cover versions of all the songs broeus.Wediscussphilosophy, from her top-selling album. sportsand our kids—but most of While Mr. Adams takes a musi- all, Herbie gives me adviceabout cal homage to extreme lengths, the day. Thereisnothing about the the “cover” has been a basic showhedoesn’t hear about. bit of music-industry lingo for *** Y nearly 70 years. IL It is our third-to-last day, and As the U.S. emergedfrom GW all is going well with our difficult World WarII, big-band music TH final scenes. We emerge from our RU gaveway to pop songswith a producers’ trailer after lunch to focus on vocalistslikeFrank Si- see an ambulance outside the natraand PeggyLee. Competi- stage door—never good. Was an tion heated up among the ma- The Curses of Producing a TV Pilot actor hurt? A crew member? I jor labels to capturethe rush to talk to our medic. burgeoning audiencefor pop IOFTEN SAY that Icurse likea ture—they’reaping those tough old Thefun part: Producersget “What’supwith the ambulance?” music,aswell as forthe newly Teamster.But this summer,while Hollywood moguls.” treated likethe starsand have our Iask. dubbed fields of “rhythm and driving with my favoriteactual He’sright. Rough languageislike hair and makeup done by pros— “Anextrahad amental break- blues” and “countryand west- Teamster,Herbie Lieberz—who,for carrying aclub intothe ape house. that is,when the starsaren’t having down on set,” she answers as a ern.” Theindustrymagazine our eighth TV project together,is First-generation Hollywood women their hair and makeup done forthe woman is carried away. Billboardranked recordsac- getting me safely to the set—I dis- likemeoften needed those clubs to showand their ownEPKs,which are Huh? This is anew one.Wehave cording to record sales,radio coverthat my habitual excuse for protect ourselves in the ones that actually getused. alot of “background,” as we call the airplayand jukeboxspins. dropping an F-bomb is abig fat lie. the testosterone- Producerstry to plan something extras. Therecordlabels developed I’m in New York to produce an filled rooms to forthe night we getour hair and “What happened?” Iask. awinning strategy: riding on Amazon pilot called “Good Girls which we were just makeup done.Ispend much of the “She wasconvinced that three the coattails of another label’s Revolt.” On this Thursday morn- gaining access. daytrying to makeplans formy producersonset were trying to hit by rerecording it with their ing, Herbie is taking me from my But Herbie has hair’s big night, but sinceit’slate mind-manipulateher intosexual ownartists. Billboardbegan re- ManhattaN hotel to our stage in real testosterone, summer,and we’reshooting on slavery,” the medic replies. Bethpage, Long Island—in traffic so he doesn’t need weekends,and it’sFriday, everyone I Ilook at my two producing part- that has no rhyme or reason no afakeclub. Maybe knowisinone Hampton or another. ners. Does Elvis’s matter the hour. I suddenly realize Idon’t either, I Iretreat to my hotel, order room “Are you[expletive] kidding wildlypopular that I’m cursing and Herbie isn’t. think. Maybe my cursing club is ves- serviceand watchbaseball. The me?” Iexclaim. In fact, I realize, I’ve never heard tigial. waiter doesn’t noticemygreat hair And with that, I’vefailed myself. ‘Hound Dog’ him use the F-word. Thenextday,Itell Herbie: Iwill andmakeup.The Orioles lose.Still I Worse, I’vefailed Herbie. count as acover? At dinner that night, Idiscuss trytostopusing the F-word. I’ll let curse not. the origins of my dirty mouth with youknowhow Ido. *** Ms. Obst has produced films and TV an eruditeeditor and his philoso- *** Herbie has befriended the door- shows including “Interstellar,” pher-king husband. This editor, Today, we have the EPK on set— men at my hotel, with whom he “Sleepless in Seattle,” “Contact” and ferring to this practiceas“cov- who knows everything about ev- the Electronic PressKit, in which gossips until I’m ready to leave for TV Land’s “Hot in Cleveland.” Her erage” as early as 1948,the erything,isfor some reason deeply everyone is interviewedfor public- the set. He arrives at 5:30 a.m. from most recent book is “Sleepless in idea being that labels sought to steeped in the mores of the movie ity (tobeused somewheresome- his home in Bethpage(to beat the Hollywood: Tales from the New Ab- “cover” the consumer market business. “It’sthe agents,” he pos- time) as if they’reon“TheView,” morning traffic), thereforeperform- normal in the Movie Business” (Si- by peddling different versions tulates.“It’satestosterone cul- except without amoderator. ing aquadruple commute(home- mon &Schuster). of apopular tune. Theterm “coverage” soon entered Billboard’scapsule re- cord reviews that attempted PHOTO OF THE WEEK to predict which songswould do well on the charts. In 1949, Struck by when the Chicagosinger and Lighting pianist Al Morganfound suc- cess on the hit parade with a A visitor pop rendition of “Jealous photographed Heart,” Billboardassessed one of the manyknockoffs: “Jef- a light frey Claydoes the solo honors installation in this good coverage of acur- rent hit.” at a Tuesday As the snappy lingoofBill- preview board’srecordreviewers got even snappier in theearly of the 2015 1950s,they began referring to NightFest such remakes as “cover jobs,” “cover versions” or simply festival “covers.” And the covers them- in Canberra, selves were proliferating—now ENCY Australia. pop artistswerecovering R&B AG and countrysongsaswell, as TO For more images: cultural reappropriations gave SPHO + birth to rock ’n’ roll. WSJ.com/Photos PRES Onenotable example came in the spring of 1953,when Pea- OPEAN cock Records released “Hound Answers to News Quiz on C13: 1.A, Dog,” penned by the young CH/EUR CO 2.C, 3.B, 4.B, 5.A, songwriting duo of JerryLeiber S KA 6.A, 7.D, 8.A, 9.C and MikeStoller and sung by LU Willie Mae “Big Mama” Thorn- ton. As it shot up the R&B charts, “Little” Esther Phillips quickly remade “Hound Dog” forthe Federal label. “This is a R&D: DANIEL AKST coverversion of the Willie Mae Thornton disk,which has been one of the fastest breaking hits The Diagnosis of aPapal Gesture in some years,” Billboardwrote, adding,“This one will be hard- pressed to compete. It fails to FOR PHYSICIANS, the gesture ing it into an enduring tradition. ural curling of the fingers is a Peter, drawing on aJewish tradi- build the same excitement of used by some popes to confer a Some papal historians are dubi- strong sign of neuropathy, Dr. tion that wasprobably familiar to the original.” blessing, with the hand raised but ous, arguing that there is no proof Futterman says. him, might have been trying to em- Threeyearslater,anew ver- the last two fingers curled inward, that Peter used the benediction So which nervewas the culprit? ulatethe gestureused forritual sion of the song would build looks a lot like the deformity gesture, which might have arisen Dr.Futterman suggeststhat it was blessingsbyIsraelitepriests(ages- unprecedented excitement, called main-en-griffe, or later from the desire to bolster pa- the ulnar nerve, which runs turelater made famous by theac- when Elvis Presley released his clawhand—a sign of nerve damage. pal authority by differentiating a through the arm. Damagetoit tor LeonardNimoyasthe Vulcan ownrocking “Hound Dog.” It Dr. Bennett Futterman, a profes- pope’s blessings from those of causes involuntarycurling of the salute,with the words“livelong would go on to be one of the sor of anatomy at New York Insti- lesser clerics. But Dr. Futterman, a last two fingers. and prosper,” in “StarTrek”). Be- best-selling singles of all time. tute of Technology’s College of Os- former orthopedic surgeon, points Dr.Futterman speculates that cause of his ulnar damage, Dr. But wasPresley’s version teopathic Medicine, was long to a variety of ancient depictions Futterman says,Peter wouldn’t even a“cover”?Inher contri- puzzled by the similarity. How, he of Peter using the gesture (all have been able to split his four fin- bution to the 2010 essaycollec- wondered, did popes start using made, admittedly, one or more gers intothe traditional Vshape. tion “PlayItAgain: Cover Songs this peculiar gesture? centuries after Peter’s death). Dr. Futterman notes that the in Popular Music,” the sociolo- Now, in time for Pope Francis’ Some of the images, says Dr. clawhand gesture was used by gist Deena Weinstein argues visit to the U.S., Dr. Futterman has Futterman, show the last two fin- some of Peter’s successors, at least that one criterion of a“cover” published a paper arguing that the gers flexed even when Peter’s hand judging by religious art and photo- is that listenersknowthe origi- gesture goes all the way back to was at rest. The paper cites a graphs of later pontiffs.
Recommended publications
  • Why Am I Doing This?
    LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS .....................................................................................................................................
    [Show full text]
  • JOHNNY OTIS: That's Your Last Boogie: the Best
    JOHNNY OTIS: That’s Your Last Boogie: The Best Of Johnny Otis 1945-1960 Fantastic Voyage FVTD120 (Three CDs: 79:00; 77:00; 77:00) CD One: BARRELHOUSE STOMP (1945-1950) – ILLINOIS JACQUET: Uptown Boogie; WYNONIE HARRIS: Cock A-Doodle-Doo; JIMMY RUSHING: Jimmy’s Round- The-Clock Blues; JOHNNY OTIS: Harlem Nocturne/ One O’Clock Jump/ Jeff-Hi Stomp/ Midnight In The Barrel House/ Barrel House Stomp/ Court Room Blues/ New Orleans Shuffle/ The Turkey Hop Parts 1 & 2; JOHNNY MOORE’S THREE BLAZERS: Drifting Blues/ Groovy; WYNONIE HARRIS: Yonder Goes My Baby; JOE TURNER: S.K. Blues; GEORGE WASHINGTON: Good Boogdi Googie; LESTER YOUNG: Jamming With Lester; THE FOUR BLUEBIRDS: My Baby Done Told Me; OLD MAN MOSE: Matchbox Blues; JOE SWIFT: That’s Your Last Boogie; THE ROBINS: Around About Midnight/ If I Didn’t Love You So/ If It’s So Baby; LITTLE ESTHER: Mean Ole Gal; LITTLE ESTHER & THE ROBINS: Double Crossing Blues; MEL WALKER & THE BLUE NOTES: Cry Baby CD Two: ROCKIN’ BLUES (1950-1952) – LITTLE ESTHER & THE BLUE NOTES: Lover’s Lane Boogie; LITTLE ESTHER: Misery/ Harlem Nocturne; MARYLYN SCOTT: Beer Bottle Boogie; LITTLE ESTHER & MEL WALKER: Mistrustin’ Blues/ Cupid’s Boogie/ Deceivin’ Blues/ Far Away Blues; MEL WALKER: Sunset To Dawn/ Rockin’ Blues/ Feel Like Cryin’ Again/ Gee Baby/ Call Operator 210/ The Candle’s Burnin’ Low; JOHNNY OTIS: Mambo Boogie/ All Nite Long/ Dreamin’ Blues/ Oopy-Doo/ One Nighter Blues/ Goomp Blues/ Harlem Nocturne (live); JOHNNY OTIS’ CONGREGATION: Wedding Boogie; LINDA HOPKINS: Doggin’ Blues; HUNTER HANCOCK: ‘Harlematinee’
    [Show full text]
  • Savoy and Regent Label Discography
    Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli.
    [Show full text]
  • Big Mama Thornton 1 Big Mama Thornton
    Big Mama Thornton 1 Big Mama Thornton Big Mama Thornton Big Mama Thornton circa 1955-1960 Background information Birth name Willie Mae Thornton Born December 11, 1926 Origin Ariton, Alabama, United States Died July 25, 1984 (aged 57) Los Angeles, California, United States Genres Rhythm and blues, Texas blues Occupations Singer, songwriter Instruments Vocals, drums, harmonica Years active 1947–1984 Labels Peacock, Arhoolie, Mercury, Pentagram, Backbeat, Vanguard, Ace Records (UK) Associated acts Muddy Waters Blues Band, Lightnin' Hopkins, John Lee Hooker Willie Mae "Big Mama" Thornton (December 11, 1926 – July 25, 1984) was an American rhythm and blues singer and songwriter. She was the first to record Leiber and Stoller's "Hound Dog" in 1952, which became her biggest hit. It spent seven weeks at number one on the Billboard R&B charts in 1953[1] and sold almost two million copies.[2] However, her success was overshadowed three years later, when Elvis Presley recorded his more popular rendition of "Hound Dog". Similarly, Thornton's "Ball 'n' Chain" had a bigger impact when performed and recorded by Janis Joplin in the late 1960s. Style Thornton’s performances were characterized by her deep, powerful voice and strong sense of self. Many collaborators described her with words such as monstrous, intimidating, formidable, and menacing. Her nickname, “Big Mama Thornton,” was dubbed by Frank Schiffman, manager of Harlem’s Apollo Theater, due to her big voice, size, and personality. Thornton specialized in playing drums and harmonica as well as singing, and she taught herself how to play these instruments simply by watching other musicians perform.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • The Golden Age of Rock 'N' Roll
    The Golden Age of Rock ’n’ Roll Week 5, March 19, 2018 1956 (part 2): Elvis, Fats, Little Richard Assignment: “The Story of Blue Suede Shoes” http://www.rebeatmag.com/carl-perkins-elvis-blue-suede-shoes-story/ Rolling Stone: “The Rope: The Forgotten History of Segregated Rock & Roll Concerts” http://www.rollingstone.com/music/features/rocks-early-segregated-days-the- forgotten-history-w509481 Little Richard profile with rare photos: http://www.history-of-rock.com/richard.htm Listen to: Church Bells May Ring, The Willows, 1956 (#62 Pop, #12 R&B) https://www.youtube.com/watch?v=tLl1eDAWMeA [optional] Compare: The Diamonds, 1956 (#14 Pop) https://www.youtube.com/watch?v=IdBN-hOmtVE Fever, Little Willie John, 1956 (#1 R&B) https://www.youtube.com/watch?v=i93-hlwULUk [optional] Compare: Peggy Lee, 1956 https://www.youtube.com/watch?v=Kjy2sZ8yBGQ Be-Bop-A-Lula, Gene Vincent, 1956 https://www.youtube.com/watch?v=O4_5593-skQ Page !1 Oh What a Night, The Dells, 1956 https://www.youtube.com/watch?v=Z1ozQT8yQXA I Walk the Line, Johnny Cash, 1956 (#1 Country; #19 Pop) https://www.youtube.com/watch?v=Lq0fUa0vW_E There is a key change between each of the five verses, and Cash hums the new root note before singing each verse. The final verse, a reprise of the first, is sung a full octave lower than the first verse. My Blue Heaven, Fats Domino, 1956 https://www.youtube.com/watch?v=CS75X7perbI Sold over 5 million copies in 1928 as recorded by Gene Austin. Money Honey, Elvis Presley, 1956 https://www.youtube.com/watch?v=R-4KROtI1yM Compare: The Drifters (McPhatter) (1953) https://youtu.be/N8oNHMNCSjQ Roll Over Beethoven, Chuck Berry, 1956 https://www.youtube.com/watch?v=zD80CostTV0 The Magic Touch, The Platters, 1956 https://www.youtube.com/watch?v=iVX6f3OZ35o * * * * Some notes (to be discussed in class): FATS DOMINO -Born in New Orleans.
    [Show full text]
  • Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr
    HYTHM AND LUES From left top and clockwise: Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr. Mable John. Photos: © Fredrich Cantor; Courtesy of Swamp Dogg; © Fredrich Cantor; Mark Puryear, Smithsonian Institution; Courtesy of Stax Museum of American Soul Music Right side: The Dixie Cups® began performing rhythm and blues music in 1963; the group now includes original members Barbara A. Hawkins (right) and Rosa L. Hawkins (left), joined by Athelgra Neville. Photo by Richard Strauss, Smithsonian Institution Rhythm and Blues 53 Tell It Like It Is by Mark Puryear In 1964 The Dixie Cups®, a female vocal trio from New Orleans, crooned out a cheerful version of “Chapel of Love” and knocked the Beatles from their number one spot on the pop charts. A year later, the trio released “Iko Iko,” a song first released in 1954 by James “Sugar Boy” Crawford as “Jock-A-Mo,” whose lyrics recount the meeting of two groups of Mardi Gras Indians. Since then, this song has been cov- ered by artists from the Grateful Dead to Cyndi Lauper, and continues to move new generations with its infectious New Orleans rhythms. The career of The Dixie Cups, and their direct and indirect roles in carrying rhythm and blues (R&B) into mainstream consciousness, speaks to the enduring pow- er of this music to transcend region and musical category and become a representative sound of the country. Musical Crossroads by Dwandalyn Reece The National Museum of African American History of musical genres, highlighting musical innovations, and Culture (NMAAHC) was established by an act of significant time periods and events along with Congress in 2003 making it the nineteenth museum historic performances to capture the music’s impact of the Smithsonian Institution.
    [Show full text]
  • Houston *1984
    HOUSTON * 1984 INTERVIEW Comedienne Phyllis Diller FICTION The .84 Summer Games NEWSTAlK Phil Gramm on Radio VIEWPOINT Reagan Out of the Closet HIGHLIGHT Jerry Falwell-For Adults Only! SPECIAL REPORT Texas Bar Owners Organize DANCING TWO LIVE TO 7 D.J.s SHOWS FREE BEER 1PM - Sons & Daughters of Fred & Ethyl 3PM - The Crossing Male Revue Continuous FREE shuttle bus service to and from Fiesta Gardens the Gardens provided Sunday, September 2 because of limited parking. Noon till 5pm Get your Free Admission tickets to the Labor Day Weekend Last Splash at any of the seven sponsoring clubs. COME SEE AND HEAR THE RS ON OUR NEW VIDEO S REEN! SUNDAY: SHDWTIME! WITH SPECIAL GUEST BERTHA BUTT MDNDA Y: MALE STRIP NIGHT M.C. BRANDI WEST BEGINNING AN ALL NEW CDNTEST COMING LABOR DAY SUNDAY TOTALLY HOT ONE .,HEATED MUSICAL EXPERIENCE 705 RED RIVER austin 478-6806 \WI _______ ~(ONTENTS Volume10, Number23 August24-August3D, 1984 11 TWTNEWS _ AIDS Skyrockets 500% in Dallas and Houston . 19 COMMENT _ Public Forum 23 VIEWPOINT ------------------------------------ Ronald Reagan-Out of the Closet on Gay Rights by Sam Connon 25 SPECIAL AEPOAT _ Texas Bar Owners Organize by ChuckPatrick 28 NEWSTALK _ Phil Gramm on Radio-Interview Excerpts 30 HIGHLlGHT _ Jerry Falwell-For Adults Only! 45 BOOKS _ In Such Dark Places By Joseph Caldwell Reviewed by David Fields 49 TAAVEL _ Hawaii, A Goy Bargain for Texans by David Greise 55 MOVIES _ The Woman in Red, starring Gene Wilder & Gilda Radner Reviewed by Harry Deutsch 58 SHOWBIZ _ Richard Burton, Esther Phillips, Fred Waring .
    [Show full text]
  • Black Country Music(S) and The
    Jost Hendrik Cornelius Burfeind Wilhelmplatz 6 24116 Kiel E-Mail: [email protected] Telefon: 01520–2667189 Matrikelnummer: 1014350 “THAT BLACK SPECK SOUND JUST LIKE A REDNECK”: BLACK COUNTRY MUSIC(S) AND THE (RE-)MAKING OF RACE AND GENRE MASTERARBEIT im Fach „English and American Literatures, Cultures, and Media” mit dem Abschlussziel Master of Arts der Philosophischen Fakultät der Christian-Albrechts-Universität zu Kiel vorgelegt von Hendrik Burfeind Erstgutachter: Prof. Dr. Christian Huck Zweitgutachter: Dr. Dennis Büscher-Ulbrich Kiel im April 2020 TABLE OF CONTENTS 1. Introduction 1 2. Theoretical Framework 2.1 Race, Racialization, and Ideology 8 2.2 Genre and Crossover 10 2.3 Articulation and Genre 15 2.4 On Hijacks, Covers, and Versions 16 3. “Just Out of Reach”: Locating the Soul/Country Binary 3.1 The South and the Geography of Genre(s) 19 3.2 Richard Nixon, “Okie from Muskogee,” and the Politics of Country Music 22 3.3 The ‘Segregation of Sound’ and the ‘Common Stock’ 25 3.4 Charting Success; Or, the Segregation of Sound, Continued 28 4. Analysis, Pt. 1: Rhythm and Country 4.1 “I’ve Always Been Country”: The Making of an Alternative Tradition 31 4.2 Country Music and the Birth of Soul 35 4.3 The Impossibility of Black Country 37 4.4 Modern Sounds and the Same Old Song 39 4.5 Interlude: Race and Genre in the Early 1960s 44 4.6 Country-Soul Flourishes 46 5. Analysis, Pt. 2: Country-Soul 5.1 “Country Music Now Interracial” 48 5.2 Crossover at the Outskirts of Town 50 5.3 Introducing Soul Country 53 5.4 “The Chokin’ Kind” Explores New Territory 57 5.5 “Blacks Sing Country Music” 60 5.6 “Wherever You Go, It’s Simon Country” 64 6.
    [Show full text]
  • Esther Phillips What a Diff'rence a Day Makes Mp3, Flac, Wma
    Esther Phillips What A Diff'rence A Day Makes mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: What A Diff'rence A Day Makes Country: US Released: 1975 Style: Soul, Disco MP3 version RAR size: 1753 mb FLAC version RAR size: 1912 mb WMA version RAR size: 1479 mb Rating: 4.7 Votes: 423 Other Formats: TTA AHX APE MIDI AU MOD ASF Tracklist Hide Credits What A Diff'rence A Day Makes A 3:12 Written-By – Maria Grever, Stanley Adams Turn Around, Look At Me B 3:57 Written-By – Jerry Capehart Companies, etc. Phonographic Copyright (p) – Creed Taylor, Inc. Distributed By – Motown Record Corporation Published By – Edward B. Marks Music Corporation Published By – Stanley Adams Music Co. Published By – Viva Music Published By – Hill & Range Songs Credits Arranged By – Joe Beck Producer – Creed Taylor Notes From Album KU-23 S1 "Esther Phillips w/Beck What A Diff'rence A Day Makes" What A Diff'rence A Day Makes - E. B. Marks Music Corp. / BMI Stanley Adams Music Co./ ASCAP Turn Around, Look At Me - Published By – Viva Music / Hill & Range Songs / ASCAP ℗1975 Creed Taylor, Inc. Barcode and Other Identifiers Matrix / Runout (Label Side A): RVG 608 Matrix / Runout (Label Side B): RVG 610 Rights Society: ASCAP Rights Society: BMI Other versions Category Artist Title (Format) Label Category Country Year Esther What A Diff'rence A Day KU-925 F Kudu KU-925 F US 1975 Phillips Makes (7", Single) Esther What A Diff'rence A Day KUDU 925 Polydor KUDU 925 Ireland 1975 Phillips Makes (7", Single) Esther What A Diff'rence A Day 6114 006 CTI Records 6114 006 Australia 1975 Phillips Makes (7", Single, Mono) Esther What A Diff'rence A Day Omega 110-36.274Y 110-36.274Y Belgium 1975 Phillips Makes (7", Single) International Esther What A Diff'rence A Day 45-1268 Hispavox, Kudu 45-1268 Spain 1975 Phillips Makes (7", Single) Related Music albums to What A Diff'rence A Day Makes by Esther Phillips Chet Baker - Love / What A Diff'rence A Day Made Benny Carter And His Orchestra - What A Diff'rence A Day Made / Cuddle Up, Huddle Up Blyss - Diff's Lucky Day Various - Dance Story Vol.
    [Show full text]
  • Golden Gate Grooves
    THE GOLDEN GATE BLUES SOCIETY QUARTERLY Issue 13, April 2012 GOLDEN GATE GROOVES MY EXPERIENCE AT THE 2012 INTERNATIONAL BLUES CHALLENGE: MEMPHIS by Paula Harris Paula Harris and Blu Gruv won the band portion of The Golden Gate Blues Society's International Blues Challenge in November 2011 and competed as one of 110 bands in Memphis in February 2012. The following is Paula's personal story. Photography by Rob Smith of RobSmithPhotos.com January 31, 2012 - Tuesday nervousness of why we were in Memphis, and the burden of feeling like we needed to show well for our Got up at 4 a.m. to drive hubby to SFO for his 8am flight. Golden Gate Blues Society lifted off me. A calm feeling of So I sat at the airport until our flight was "supposed" to peace came over me and I knew that we would do our take off at 10:30 a.m. But after sitting on the plane for an best and that would be enough no matter what the hour, they had us deplane and we tried to reschedule outcome was. another flight. We ended up getting back on the same plane and finally taking off around 1 p.m. We got to February 1 - Wednesday Dallas only to find that our original seat assignments had Got up early (6 a.m.) to make sure that the promotional been cancelled (gasp of horror!). Thank God the plane material we wanted to pass out had made it to Memphis. was nearly empty, so we all had our own rows from After going round a bit with UPS, we got everything Dallas to Memphis.
    [Show full text]
  • Some Musicians Have a Tendency to Play Music As If Confined by the Boundaries of Their Repertoires
    Some musicians have a tendency to play music as if confined by the boundaries of their repertoires. But there are others - more curious and creative in nature – who initiate musical projects that occasionally whisk them well out of their comfort zones. China Moses and Raphaël Lemonnier are two cases in point. Musicians with such different musical careers that you’d never imagine them together. China Moses, daughter of Dee Dee Bridgewater and director Gilbert Moses, has been steeped in music and the theatre world since she was a child. Exceptionally gifted, she released her first single Time (1996) at the age of 16 along with her first video directed by Jean-Baptiste Mondino. This success was followed by three albums: “China” (1997), “On Tourne en Rond” (2000) and “ Good Lovin’ ” (2004), turning her into a force to be reckoned with on the French R’ n’ B scene. Her albums saw her work with Swedish hip hop label Breaking Bread as well as renowned names like DJ Mehdi, Diam’s, Karriem Riggins, Guru, Anthony Marshall and sound engineer Bob Power. In 2008 her curiosity led her on an adventure with a metal/soul band that experimented with a fascinating fusion of rock, funk and hip hop (Sound Good To You) in a quest to discover new sounds. She did the voice over for Princess Tiana in the French version of Walt Disney’s film The Princess and the Frog (2009). She also sang on André Manoukian’s “So in Love” album, recording several songs including the title track. With that old saying sharing is caring close to her heart, she loves to share her passion for music by appearing on music channels such as: MCM (1999-2001) and MTV France (2004-2011).
    [Show full text]