The Jackson 5
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Merchant, Jimmy Merchant, Jimmy
Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 4-7-2006 Merchant, Jimmy Merchant, Jimmy. Interview: Bronx African American History Project Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Merchant, Jimmy. 7 April 2006. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewee: Jimmy Merchant Interviewers: Alessandro Buffa, Loreta Dosorna, Dr. Brian Purnell, and Dr. Mark Naison Date: April 7, 2006 Transcriber: Samantha Alfrey Mark Naison (MN): This is the 154th interview of the Bronx African American History Project. We are here at Fordham University on April 7, 2006 with Jimmy Merchant, an original and founding member of Frankie Lymon and the Teenagers, who has also had a career as an artist. And with us today, doing the interviews, are Alessandro Buffa, Lorreta Dosorna, Brian Purnell, and Mark Naison. Jimmy, can you tell us a little about your family and where they came from originally? Jimmy Merchant (JM): My mom basically came from Philadelphia. My dad – his family is from the Bahamas. He – my dad – was shifted over to the south as a youngster. His mother was from the Bahamas and she moved into the South – South Carolina, something like that – and he grew up there. -
Midnight Special Songlist
west coast music Midnight Special Please find attached the Midnight Special song list for your review. SPECIAL DANCES for Weddings: Please note that we will need your special dance requests, (I.E. First Dance, Father/Daughter Dance, Mother/Son Dance etc) FOUR WEEKS in advance prior to your event so that we can confirm that the band will be able to perform the song(s) and that we are able to locate sheet music. In some cases where sheet music is not available or an arrangement for the full band is need- ed, this gives us the time needed to properly prepare the music and learn the material. Clients are not obligated to send in a list of general song requests. Many of our clients ask that the band just react to whatever their guests are responding to on the dance floor. Our clients that do provide us with song requests do so in varying degrees. Most clients give us a handful of songs they want played and avoided. Recently, we’ve noticed in increase in cli- ents customizing what the band plays and doesn’t play with very specific detail. If you de- sire the highest degree of control (allowing the band to only play within the margin of songs requested), we ask for a minimum of 100 requests. We want you to keep in mind that the band is quite good at reading the room and choosing songs that best connect with your guests. The more specific/selective you are, know that there is greater chance of losing certain song medleys, mashups, or newly released material the band has. -
Letter Reso 1..4
*LRB09613384KXB28107r* HR0544 LRB096 13384 KXB 28107 r 1 HOUSE RESOLUTION 2 WHEREAS, The members of the Illinois House of 3 Representatives and State Representative Monique D. Davis are 4 saddened to learn of the death of Michael Jackson, who passed 5 away on June 25, 2009; and 6 WHEREAS, Michael Joseph Jackson was born on August 29, 1958 7 in Gary, Indiana to Joseph and Katherine Jackson; at the age of 8 4, he began singing with his brothers, Marlon, Jermaine, 9 Jackie, and Tito, as the Jackson 5; and 10 WHEREAS, By 1968, the Jacksons had cut singles for a local 11 Indiana label called Steeltown; at an engagement that year at 12 Harlem's famed Apollo Theater, singer Gladys Knight and pianist 13 Billy Taylor saw their act and recommended them to Motown 14 founder Berry Gordy; and 15 WHEREAS, Motown moved the Jacksons to California, and in 16 August 1968 they gave a breakthrough performance at a Beverly 17 Hills club called The Daisy; their first album, "Diana Ross 18 Presents the Jackson 5," was released in December 1969, and it 19 yielded the No. 1 hit "I Want You Back," with 11-year-old 20 Michael on the lead vocals; "ABC," "I’ll Be There," and other 21 hits followed, and the group soon had their own television 22 series, a Saturday morning cartoon, and an array of licensed -2-HR0544LRB096 13384 KXB 28107 r 1 merchandise aimed at youngsters; and 2 WHEREAS, By 1972, Michael Jackson had his first solo album, 3 "Got to Be There," which included the title hit as well as 4 "Rockin' Robin"; his first solo No. -
The Triple System of Family Law
Scholarship Repository University of Minnesota Law School Articles Faculty Scholarship 2013 The Triple System of Family Law June Carbone University of Minnesota Law School, [email protected] Naomi Cahn George Washington University Law School, [email protected] Follow this and additional works at: https://scholarship.law.umn.edu/faculty_articles Part of the Law Commons Recommended Citation June Carbone and Naomi Cahn, The Triple System of Family Law, 2013 MICH. ST. L. REV. 1185 (2013), available at https://scholarship.law.umn.edu/faculty_articles/203. This Article is brought to you for free and open access by the University of Minnesota Law School. It has been accepted for inclusion in the Faculty Scholarship collection by an authorized administrator of the Scholarship Repository. For more information, please contact [email protected]. THE TRIPLE SYSTEM OF FAMILY LAW June Carbone & Naomi Cahn* 2013 MICH. ST. L. REv. 1185 TABLE OF CONTENTS INTRO DUCTIO N ........................................................................................ 1185 I. T HE SYSTEM S.................................................................................... 1192 A . C lass .......................................................................................... 1 192 B. Family Demographics: The Elite and the Marginalized ........... 1194 C. Family Demographics: The Middle .......................................... 1199 II. THE SYSTEMS AND THE LAW: THE NEW MARITAL SCRIPT [OR INTERACTIONS BETWEEN THE LAW AND THE TRIPLE SY STEM S] ......................................................................................... -
100 Years: a Century of Song 1950S
100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary -
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Case 1:03-cv-00844-SEB-MJD Document 227 Filed 11/10/05 Page 1 of 4 PageID #: <pageID> UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF INDIANA INDIANAPOLIS DIVISION ELVY WOODARD, WILLIAM ADAMS ) a/k/a GORDON KEITH, ALAN MICHAEL ) ROGERS and RIPPLES AND WAVES; ) ) Plaintiffs, ) ) v. ) ) MICHAEL JACKSON, TITO JACKSON, ) MARLON JACKSON, JACKIE ) JACKSON, JERMAINE JACKSON, ) CASE NO. 1:03-cv-0844-DFH JOSEPH JACKSON, THE JACKSON ) FIVE, UNIVERSAL MUSIC GROUP, a ) California corporation, as successor ) in interest to MOTOWN RECORD ) CORPORATION, a dissolved Michigan ) Corporation, and MOTOWN RECORD ) CORPORATION OF CALIFORNIA, INC., ) a dissolved California corporation, and ) DOES 1 THROUGH 100, inclusive, ) ) Defendants. ) JUDGMENT AWARDING ATTORNEY FEES The court having this day granted the attorney fee petitions filed by plaintiffs, it is hereby ORDERED, ADJUDGED, AND DECREED that plaintiffs’ attorney Norman Reed recover from defendants Tito Jackson, Marlon Jackson, Jermaine Jackson, and Jackie Jackson, jointly and severally, the sum of Three Thousand Five Hundred Thirty Dollars ($3,530.00), and that plaintiffs’ counsel Gerald Roberts recover from defendants Tito Jackson, Marlon Jackson, Jermaine Case 1:03-cv-00844-SEB-MJD Document 227 Filed 11/10/05 Page 2 of 4 PageID #: <pageID> Jackson, and Jackie Jackson, jointly and severally, the sum of Eleven Hundred Twenty Dollars ($1,120.00). Date: November 10, 2005 DAVID F. HAMILTON, JUDGE United States District Court Southern District of Indiana Laura Briggs,A. Briggs, Clerk Clerk United States District Court BY: ______________________________ By: Deputy Deputy Clerk Clerk, U.S. District Court -2- Case 1:03-cv-00844-SEB-MJD Document 227 Filed 11/10/05 Page 3 of 4 PageID #: <pageID> Copies to: Scott H. -
Partyman by Title
Partyman by Title #1 Crush (SCK) (Musical) Sound Of Music - Garbage - (Musical) Sound Of Music (SF) (I Called Her) Tennessee (PH) (Parody) Unknown (Doo Wop) - Tim Dugger - That Thing (UKN) 007 (Shanty Town) (MRE) Alan Jackson (Who Says) You - Can't Have It All (CB) Desmond Decker & The Aces - Blue Oyster Cult (Don't Fear) The - '03 Bonnie & Clyde (MM) Reaper (DK) Jay-Z & Beyonce - Bon Jovi (You Want To) Make A - '03 Bonnie And Clyde (THM) Memory (THM) Jay-Z Ft. Beyonce Knowles - Bryan Adams (Everything I Do) I - 1 2 3 (TZ) Do It For You (SCK) (Spanish) El Simbolo - Carpenters (They Long To Be) - 1 Thing (THM) Close To You (DK) Amerie - Celine Dion (If There Was) Any - Other Way (SCK) 1, 2 Step (SCK) Cher (This Is) A Song For The - Ciara & Missy Elliott - Lonely (THM) 1, 2, 3, 4 (I Love You) (CB) Clarence 'Frogman' Henry (I - Plain White T's - Don't Know Why) But I Do (MM) 1, 2, 3, 4, Sumpin' New (SF) Cutting Crew (I Just) Died In - Coolio - Your Arms (SCK) 1,000 Faces (CB) Dierks Bentley -I Hold On (Ask) - Randy Montana - Dolly Parton- Together You And I - (CB) 1+1 (CB) Elvis Presley (Now & Then) - Beyonce' - There's A Fool Such As I (SF) 10 Days Late (SCK) Elvis Presley (You're So Square) - Third Eye Blind - Baby I Don't Care (SCK) 100 Kilos De Barro (TZ) Gloriana (Kissed You) Good - (Spanish) Enrique Guzman - Night (PH) 100 Years (THM) Human League (Keep Feeling) - Five For Fighting - Fascination (SCK) 100% Pure Love (NT) Johnny Cash (Ghost) Riders In - The Sky (SCK) Crystal Waters - K.D. -
You Are Not Alone UK.Indd
PROLOGUE 2005 THE BATHROOM MIRROR AT A LITTLE hotel in Santa Maria, California, is fogged with condensation, and there is so much steam from my morning shower that my refl ection is rendered invisible. As I stand at the sink, dripping wet and wrapped in a towel, the opaque glass is now nothing but an inviting canvas of mist on which to log a thought I have been repeating in my head. ‘MICHAEL JACKSON 1,000% INNOCENT’, I daub with my fi nger, ending with a full-stop that I convert into a smiley-face. Believe in the happy ending. I stare at this message and focus on a visualised outcome: victory, justice and vindication. It is 10 March 2005: day 11 of the courthouse circus that sees my brother accused of child molestation. ‘MICHAEL JACKSON 1,000% INNOCENT’, I read again. I continue to stare at the top left corner of the mirror, watching the smiley-face start to run. Transfi xed, I fl ash back to Michael’s bath- room at the Hayvenhurst estate in Encino, outside Los Angeles – his home prior to Neverland – and know that I am mimicking in 2005 what he did in 1982. Back then, in the top left corner of his ix YYouou AArere NNotot AAlone_UK.inddlone_UK.indd ixix 110/08/20110/08/2011 15:0715:07 YOU ARE NOT ALONE mirror, he took a black felt permanent marker – to match the black marble – and scrawled: ‘THRILLER! 100 MILLION SALES … SELL OUT STADIUMS’. Think it, see it, believe it, make it happen. Will it into reality, as taught to us in childhood by our mother, Katherine, and father, Joseph. -
Michael Jackson the Perform a N C
MICHAEL JACKSON 101 THE PERFORMANCES MICHAEL JACKSON 101 THE PERFORMANCES &E Andy Healy MICHAEL JACKSON 101 THE PERFORMANCES . Andy Healy 2016 Michael gave the world a wealth of music. Songs that would become a part of our collective sound track. Under the Creative Commons licence you are free to share, copy, distribute and transmit this work with the proviso that the work not be altered in any way, shape or form and that all And for that the 101 series is dedicated to Michael written works are credited to Andy Healy as author. This Creative Commons licence does not and all the musicians and producers who brought the music to life. extend to the copyrights held by the photographers and their respective works. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. This special Performances supplement is also dedicated to the choreographers, dancers, directors and musicians who helped realise Michael’s vision. I do not claim any ownership of the photographs featured and all rights reside with the original copyright holders. Images are used under the Fair Use Act and do not intend to infringe on the copyright holders. By a fan for the fans. &E 101 hat makes a great performance? Is it one that delivers a wow factor? W One that stays with an audience long after the houselights have come on? One that stands the test of time? Is it one that signifies a time and place? A turning point in a career? Or simply one that never fails to give you goose bumps and leave you in awe? Michael Jackson was, without doubt, the consummate performer. -
Michael Jackson's Gesamtkunstwerk
Liminalities: A Journal of Performance Studies Vol. 11, No. 5 (November 2015) Michael Jackson’s Gesamtkunstwerk: Artistic Interrelation, Immersion, and Interactivity From the Studio to the Stadium Sylvia J. Martin Michael Jackson produced art in its most total sense. Throughout his forty-year career Jackson merged art forms, melded genres and styles, and promoted an ethos of unity in his work. Jackson’s mastery of combined song and dance is generally acknowledged as the hallmark of his performance. Scholars have not- ed Jackson’s place in the lengthy soul tradition of enmeshed movement and mu- sic (Mercer 39; Neal 2012) with musicologist Jacqueline Warwick describing Jackson as “embodied musicality” (Warwick 249). Jackson’s colleagues have also attested that even when off-stage and off-camera, singing and dancing were frequently inseparable for Jackson. James Ingram, co-songwriter of the Thriller album hit “PYT,” was astonished when he observed Jackson burst into dance moves while recording that song, since in Ingram’s studio experience singers typically conserve their breath for recording (Smiley). Similarly, Bruce Swedien, Jackson’s longtime studio recording engineer, told National Public Radio, “Re- cording [with Jackson] was never a static event. We used to record with the lights out in the studio, and I had him on my drum platform. Michael would dance on that as he did the vocals” (Swedien ix-x). Surveying his life-long body of work, Jackson’s creative capacities, in fact, encompassed acting, directing, producing, staging, and design as well as lyri- cism, music composition, dance, and choreography—and many of these across genres (Brackett 2012). -
Fear of the American Teenager
FEAR OF THE AMERICAN TEENAGER OVERVIEW ESSENTIAL QUESTION What made the teenager a source of anxiety during the 1950s? OVERVIEW After World War II, America experienced unparalleled growth and prosperity. The children born during the early years of the postwar “baby boom” were becoming teenagers by the late 1950s. Because of the burgeoning economy, many middle-class teens had more leisure time and more spending power than previous generations of young people. As examined in the Birth of American Teenager lesson, teenagers of the 1950s began exerting a growing influence on American life and commerce. But the rapid rise of this growing demographic also unleashed a wave of anxiety among adults. It was a fear both real and imagined. The number of crimes committed by teenagers was, in fact, rising throughout the nation. But there was also a level of intense anxiety that seemed unwarranted concerning the new power of the emerging teen demographic. Teenagers seemed to be challenging the social fabric of America. Many questioned, and even blamed, movies, comic books, and Rock and Roll for its influence on the rising misbehavior of youth. According to a lengthy report on juvenile delinquency in the 1955 Saturday Evening Post, crime committed by teenagers increased by a drastic 45% between 1950 and 1955. There were more extreme cases of teenage violence as well, like that of Charlie Starkweather, a white teenager from a working class family in Lincoln, Nebraska. When Starkweather went on a two-month murder spree in 1958, killing eleven people in the Midwest, his gruesome actions challenged the notion that teenage crime was relegated to poor, urban areas. -
KARAOKE Buch 2019 Vers 2
Wenn ihr euer gesuchtes Lied nicht im Buch findet - bitte DJ fragen Weitere 10.000 Songs in Englisch und Deutsch auf Anfrage If you can’t find your favourite song in the book – please ask the DJ More then 10.000 Songs in English and German toon request 10cc Dreadlock Holiday 3 Doors Down Here Without You 3 Doors Down Kryptonite 4 Non Blondes What's Up 50 Cent Candy Shop 50 Cent In Da Club 5th Dimension Aquarius & Let The Sunshine A Ha Take On Me Abba Dancing Queen Abba Gimme Gimme Gimme Abba Knowing Me, Knowing You Abba Mama Mia Abba Waterloo ACDC Highway To Hell ACDC T.N.T ACDC Thunderstruck ACDC You Shook Me All Night Long Ace Of Base All That She Wants Adele Chasing Pavements Adele Hello Adele Make You Feel My Love Adele Rolling In The Deep Adele Skyfall Adele Someone Like You Adrian (Bombay) Ring Of Fire Adrian Dirty Angels Adrian My Big Boner Aerosmith Dream On Aerosmith I Don’t Want To Miss A Thing Afroman Because I Got High Air Supply All Out Of Love Al Wilson The Snake Alanis Morissette Ironic Alanis Morissette You Oughta Know Alannah Miles Black Velvet Alcazar Crying at The Discotheque Alex Clare Too Close Alexandra Burke Hallelujah Alice Cooper Poison Alice Cooper School’s Out Alicia Keys Empire State Of Mind (Part 2) Alicia Keys Fallin’ Alicia Keys If I Ain’t Got You Alien Ant Farm Smooth Criminal Alison Moyet That Old Devil Called Love Aloe Blacc I Need A Dollar Alphaville Big In Japan Ami Stewart Knock On Wood Amy MacDonald This Is The Life Amy Winehouse Back To Black Amy Winehouse Rehab Amy Winehouse Valerie Anastacia I’m Outta Love Anastasia Sick & Tired Andy Williams Can’t Take My Eyes Off Of You Animals, The The House Of The Rising Sun Aqua Barbie Girl Archies, The Sugar, Sugar Arctic Monkeys I Bet You Look Good On The Dance Floor Aretha Franklin Respect Arrows, The Hot Hot Hot Atomic Kitten Eternal Flame Atomic Kitten Whole Again Avicii & Aloe Blacc Wake Me Up Avril Lavigne Complicated Avril Lavigne Sk8er Boi Aztec Camera Somewhere In My Heart Gesuchtes Lied nicht im Buch - bitte DJ fragen B.J.