Music List.Xlsx
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
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. -
Elite Music Productions This Music Guide Represents the Most Requested Songs at Weddings and Parties
Elite Music Productions This Music Guide represents the most requested songs at Weddings and Parties. Please circle songs you like and cross out the ones you don’t. You can also write-in additional requests on the back page! WEDDING SONGS ALL TIME PARTY FAVORITES CEREMONY MUSIC CELEBRATION THE TWIST HERE COMES THE BRIDE WE’RE HAVIN’ A PARTY SHOUT GOOD FEELIN’ HOLIDAY THE WEDDING MARCH IN THE MOOD YMCA FATHER OF THE BRIDE OLD TIME ROCK N ROLL BACK IN TIME INTRODUCTION MUSIC IT TAKES TWO STAYIN ALIVE ST. ELMOS FIRE, A NIGHT TO REMEMBER, RUNAROUND SUE MEN IN BLACK WHAT I LIKE ABOUT YOU RAPPERS DELIGHT GET READY FOR THIS, HERE COMES THE BRIDE BROWN EYED GIRL MAMBO #5 (DISCO VERSION), ROCKY THEME, LOVE & GETTIN’ JIGGY WITH IT LIVIN, LA VIDA LOCA MARRIAGE, JEFFERSONS THEME, BANG BANG EVERYBODY DANCE NOW WE LIKE TO PARTY OH WHAT A NIGHT HOT IN HERE BRIDE WITH FATHER DADDY’S LITTLE GIRL, I LOVED HER FIRST, DADDY’S HANDS, FATHER’S EYES, BUTTERFLY GROUP DANCES KISSES, HAVE I TOLD YOU LATELY, HERO, I’LL ALWAYS LOVE YOU, IF I COULD WRITE A SONG, CHICKEN DANCE ALLEY CAT CONGA LINE ELECTRIC SLIDE MORE, ONE IN A MILLION, THROUGH THE HANDS UP HOKEY POKEY YEARS, TIME IN A BOTTLE, UNFORGETTABLE, NEW YORK NEW YORK WALTZ WIND BENEATH MY WINGS, YOU LIGHT UP MY TANGO YMCA LIFE, YOU’RE THE INSPIRATION LINDY MAMBO #5BAD GROOM WITH MOTHER CUPID SHUFFLE STROLL YOU RAISE ME UP, TIMES OF MY LIFE, SPECIAL DOLLAR WINE DANCE MACERENA ANGEL, HOLDING BACK THE YEARS, YOU AND CHA CHA SLIDE COTTON EYED JOE ME AGAINST THE WORLD, CLOSE TO YOU, MR. -
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 -
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. -
Skyline Orchestras
PRESENTS… SKYLINE Thank you for joining us at our showcase this evening. Tonight, you’ll be viewing the band Skyline, led by Ross Kash. Skyline has been performing successfully in the wedding industry for over 10 years. Their experience and professionalism will ensure a great party and a memorable occasion for you and your guests. In addition to the music you’ll be hearing tonight, we’ve supplied a song playlist for your convenience. The list is just a part of what the band has done at prior affairs. If you don’t see your favorite songs listed, please ask. Every concern and detail for your musical tastes will be held in the highest regard. Please inquire regarding the many options available. Skyline Members: • VOCALS AND MASTER OF CEREMONIES…………………………..…….…ROSS KASH • VOCALS……..……………………….……………………………….….BRIDGET SCHLEIER • VOCALS AND KEYBOARDS..………….…………………….……VINCENT FONTANETTA • GUITAR………………………………….………………………………..…….JOHN HERRITT • SAXOPHONE AND FLUTE……………………..…………..………………DAN GIACOMINI • DRUMS, PERCUSSION AND VOCALS……………………………….…JOEY ANDERSON • BASS GUITAR, VOCALS AND UKULELE………………….……….………TOM MCGUIRE • TRUMPET…….………………………………………………………LEE SCHAARSCHMIDT • TROMBONE……………………………………………………………………..TIM CASSERA • ALTO SAX AND CLARINET………………………………………..ANTHONY POMPPNION www.skylineorchestras.com (631) 277 – 7777 DANCE: 24K — BRUNO MARS A LITTLE PARTY NEVER KILLED NOBODY — FERGIE A SKY FULL OF STARS — COLD PLAY LONELY BOY — BLACK KEYS AIN’T IT FUN — PARAMORE LOVE AND MEMORIES — O.A.R. ALL ABOUT THAT BASS — MEGHAN TRAINOR LOVE ON TOP — BEYONCE BAD ROMANCE — LADY GAGA MANGO TREE — ZAC BROWN BAND BANG BANG — JESSIE J, ARIANA GRANDE & NIKKI MARRY YOU — BRUNO MARS MINAJ MOVES LIKE JAGGER — MAROON 5 BE MY FOREVER — CHRISTINA PERRI FT. ED SHEERAN MR. SAXOBEAT — ALEXANDRA STAN BEST DAY OF MY LIFE — AMERICAN AUTHORS NO EXCUSES — MEGHAN TRAINOR BETTER PLACE — RACHEL PLATTEN NOTHING HOLDING ME BACK — SHAWN MENDES BLOW — KE$HA ON THE FLOOR — J. -
Oldies Karaoke Liederliste – Unsere Favoriten Weitere Songs Können Vor Ort Gedownloaded Werden
Oldies Karaoke Liederliste – Unsere Favoriten Weitere Songs können vor Ort gedownloaded werden 201: California Dreamin/The Mamas and the papas 202: The House of the Rising sun/The Animals 203: Stand by me/Ben E. King 204: Unchained Melody/Righteous Brothers 205: Living next door to Alice/Smokie 206: Beautiful Sunday/Daniel Boon 207: Can‘t help falling in Love/Elvis Presley 208: Total Eclipse of the heart/Bonnie Tyler 209: Have you ever seen the rain/Creedence Clearwater Revival 210: 500 Miles/The Proclaimers 211: It must have been love/Roxette 212: Let it Be/Beatles 213: Nothing else matters/Metallica 214: Dancing Queen/ABBA 215: My way/Frank Sinatra 216: Bad moon Rising/Creedence Clearwater Revival 217: Hey Jud/Beatles 218: The Rose/Bette Midler 219: New York, New York/Frank Sinatra 220: Sailing/Rod Steward 221: Stand by your man/Tammy Wynette 222: What a wonderful world/Louis Amstrong 223: Imagine/John Lennon 224: Take me home, country roads/John Denver 225: Moviestar/Harpo 226: Sweet Caroline/Neil Diamond 227: Yesterday/Beatles 228: Bohemian Rhapsody/Queen 229: Chiquitita/ABBA 30: Gimme!Gimme! Gimme!/ABBA 231: Bright Eyes/Art Garfunkel 232: Listen to your heart/Roxette 233: We are the Champions/Queen 234: Mexican Girl/Smokie 235: I just called to say i love you/Stevie Wonder 236: House of the rising sun/The Animals 237: Careless Whisper/George Michael 238: Green, green Gras of home/Tom Jones 239: Always on my mind/Elvis Presley 240: Send me an angel/Scorpions Seite 2 241: Bridge over troubled water/Simon and Garfunkel 242: Who want‘s -
The Queen Kings Ist Die Neue Supergruppe Unter Den
Repertoire _________________________________________________________ Das Queen Kings-Repertoire umfasst über 70 Titel von Queen und Neben- bzw. Soloprojekten der Queen-Musiker. Aus diesem Repertoire von über 4 Stunden wird eine für den Anlass geeignete Spielfolge zusammengestellt. 1. Another one bites the dust 40. Made in heaven 2. A kind of magic 41. March of the black Queen 3. Bicycle Race 42. Millionaire Waltz 4. Breakthru 43. Miracle 5. Barcelona 44. Mr. Bad Guy 6. Bohemian Rhapsody 45. Mustafa 7. Crazy little thing called love 46. Nevermore 8. Dead on time 47. No one but you 9. Death on two legs Live Killers Medley 48. Now I’m here vor Killer Queen 49. Ogre Battle 10. Don’t stop me now 50. One vision 11. Dragon attack 51. Play the game 12. Dreamer’s ball 52. Princes of the universe 13. Fat bottomed girls 53. (Put out the fire) 14. Father to son 54. Radio Ga-Ga 15. Flash / the hero / Flash 55. Sail away sweet sister 16. Friends will be friends 56. Save me 17. Get down, make love 57. Seven seas of rhye halb/komplett 18. Good old-fashioned loverboy 58. Sheer Heart attack 19. Guide me home 59. Somebody to love 20. Hammer to fall 60. Show must go on 21. Heaven for everyone 61. Spread your wings 22. How can I go on 62. Stone cold crazy 23. In my defence 63. Under pressure 24. In the lap of the gods 64. Teo Toriatte 25. Innuendo 65. ’39 26. Invisible Man 66. Tie your mother down 27. Is this the world we created 67. -
A Doo Wop Celebration IV!”
ADoo Wop DooCELEBRATION! WopIV starring Herb Reed’s THE PLATTERS, THE CRYSTALS and IVTHE DUBS! NEWS RELEASE Contact: Diane Steinert 330-677-4549 High-resolution images available at WesternReservePBS.org/press.htm FOR IMMEDIATE RELEASE Western Reserve PBS to Host “A Doo Wop Celebration IV!” Popular event featuring Herb Reed’s The Platters, The Crystals and The Dubs to be held Saturday, June 5, at The Kent Stage KENT, Ohio — May 5, 2010 — The groups who immortalized songs including “Only You (and You Alone),” “Will You Love Me Tomorrow” and “Could This Be Magic” will perform at The Kent Stage on Saturday, June 5. Herb Reed’s The Platters, The Crystals and The Dubs will perform their classic hits for two Western Reserve PBS benefit concerts at 4 p.m. and 8 p.m. Reserved-seating tickets are on sale for $35. A limited number of $65 Gold Presented by Circle tickets, which include best-in-house seats plus a private dinner reception and meet- and-greet session with members of the groups, are available. “In a venue that holds just 640 people, everyone gets a great seat at The Kent Stage,” said Lisa Martinez, vice president of marketing and development at Western Reserve Public Media. “This year’s show features an outstanding line-up of classic doo wop performers and offers fantastic entertainment for a very affordable price.” To order tickets, call Western Reserve PBS at 1-800-554-4549 or visit WesternReservePBS.org/doowop. Proceeds will benefit Western Reserve PBS. 1750 Campus Herb Reed’s Platters Center Drive P. -
The Sock Hop and the Loft: Jazz, Motown, and the Transformation of American Culture, 1959-1975
The Sock Hop and the Loft: Jazz, Motown, and the Transformation of American Culture, 1959-1975 The Commerce Group: Kat Breitbach, Laura Butterfield, Ashleigh Lalley, Charles Rosentel Steve Schwartz, Kelsey Snyder, Al Stith In the words of the prolific Peter Griffin, “It doesn’t matter if you’re black or white. The only color that really matters is green.” Notwithstanding the music industry’s rampant racism, the clearest view of how African Americans transformed popular music between 1959 and 1975 is through the lens of commerce. Scrutinizing the relationship between creators and consumers opens up a broad view of both visual and auditory arts. The sources we selected range from cover art and an Andy Warhol silkscreen to books on the industry’s backroom deals and the Billboard Hot 100 to a retrospective Boyz II Men album on Motown’s history and an NPR special on Jimi Hendrix for kids. Combining both sight and sound, we offer online videos, a documentary on jazz, and blaxploitation films. The unparalleled abilities of Motown’s music to transcend racial barriers and serve as a catalyst for social change through an ever-widening audience necessitates a study of Berry Gordy’s market sense and the legacy of his “family” in popular culture from the 1970s through today. First, the ubiquity of the Motown sound meant that a young, interracial audience enjoyed music that had been largely exclusive to black communities. The power of this “Sound of Young America” crossover was punctuated by Dr. Martin Luther King Jr.’s affirmation in his “Transforming a Neighborhood into a Brotherhood” address that radio’s capacity to bridge black and white youth through music and create “the language of soul” surpasses even Alexander the Great’s conquests. -
CONTACT, the Phoenix Project, November 9, 1993
CONTACT THE PHOENIX PROJECT “YE SHALL KNOW THE TRUTH AND THE TRUTH SHALL MAKE YOU MAD.!” VOLUME 3, NUMBER 7 NEWS REVIEW ,I $ 2.00 NOVEMBER 9, 1993 Gov. Carnahan: We’re Mad As Hell WE WON'T TAKE IT MUCH LONGER! 1117193 #l HATONN in every category. We suggest that you pure excitement, monetary gain, “I Spy”, to NOT BE LISTED AMONG THOSE CRIMI- total devotion to our nation, the United “We” may be a small paper but we ARE NALS, SIR. If, indeed, you do not know States of America. We are not given the the voice of the people of this nation, under about this atrocity in your dooryard-that right to judge reasons-only performance GOD who proclaims freedom and justice you find out lest you be painted with the and mistreatment at the hands of those for ALL. We are going to turn this focus of same black brush of disregard for all jus- put in office TO PROTECT OUR FREEDOM light onto you and the judicial non-system tice and order in our once great nation. AND RIGHTS UNDER THE CONSTITU- of Missouri, Sir, until you let Gunther If, Sir, you do not feel capable of acting TIONS OF OUR STATES AND NATION. Russbacher go. You HAVE all the informa- as a Governor of a great State, then we Puppet-masters? The higher echelon of tion regarding this servant of our govern- suggest you ask your puppet-masters about misrepresentation of We-The-People-the ment who is now sick and possibly dying in the seriousness of this incarceration con- very ones involved directly-the Kissinger-s, your State Prison simply to maintain his tinuing. -
Dion and the Teen Idols
DION AND THE TEEN IDOLS OVERVIEW ESSENTIAL QUESTION What role did the so-called “teen idols” of the late 1950s play in bringing Rock and Roll into mainstream American culture? OVERVIEW Rock and Roll evolved from Rhythm and Blues, a sound developed by African-American musicians that by the early 1950s had begun to reach a new audience among young white teenagers. By nature of its association with black America, there were those who feared that Rock and Roll was a corrupting influence on American youth, promoting socializing between races and juvenile delinquency. Music was not the only thing that disturbed those concerned about Rock and Roll’s influence. Films such as The Wild One (1953), featuring Marlon Brando as the leader of a motorcycle gang, seemed to suggest that teenagers, if not given proper guidance, might fall in with the “wrong kind of crowd.” In an attempt to encourage “good citizenship,” Parent-Teacher Associations and superintendents across the country created codes of conduct for their pupils to monitor school attire, curfew hours, and social behavior both on and off campus. Rock and Roll, and the culture around it, were viewed as something to control. Concurrently, pioneer jockey Alan Freed, the man who first attached the term “Rock and Roll” to the latest R&B recordings, was encountering troubles of his own. In August 1957, Freed’s ABC teen dance show Big Beat was cancelled after African-American artist Frankie Lymon was seen dancing with a white girl on the program, an image that outraged the network’s southern affiliates. -
Freddie Mercury (Farrokh Bulsara) Bronchial Pneumonia Brought on by AIDS
Freddie Mercury (farrokh bulsara) Bronchial pneumonia brought on by AIDS Born: September 5, 1946 Died: November 24, 1991 “When I go on stage,” Freddie Mercury told Melody Maker in 1981, fokkin’ happened!” Though America remained unswayed, Europe “whether I’m rich or starving, I want to give my all. I want to go on remembered that it loved Queen. “It was the perfect stage for there and die for the show!” Freddie,” said Geldof. “He could ponce about in front of the Some stars are celebrated because of their early death. Freddie whole world.” Mercury is no such star. Queen made him famous, Live Aid made The band’s subsequent Magic shows of 1986 proved them him a legend, and death made him immortal. masters of stadium rock. The tour ended—as did Mercury’s Farrokh Bulsara first made music in his native Zanzibar, in school touring history—with a spectacular performance at Knebworth band The Hectics. Relocating to Britain, he joined guitarist Brian in England’s Hertfordshire, in front of 120,000 fans. May and drummer Roger Taylor in Smile in 1970. His stage name Mercury’s solo career ticked over with a cover of the Platters’ paid tribute to the messenger of the gods, but Mercury was also, “The Great Pretender” in 1987 and a titanic team-up with opera in astrological terms, his rising planet. With bassist John Deacon, singer Montserrat Caballe on the splendidly silly “Barcelona.” Smile became Queen—whose triumphs like “Bohemian Rhapsody” Mercury’s final solo single in his lifetime was 1989’s forgotten obscure a discography packed with gems.