My Mother, Judith Miller for the Last Part of Her Life

Total Page:16

File Type:pdf, Size:1020Kb

My Mother, Judith Miller for the Last Part of Her Life Leaving Kentucky in the Broad Daylight By Katrina Rasbold Text Copyright © 2013 Katrina Rasbold All Rights Reserved All photography within this book is the property of the author. Table of Contents Prologue I Was Born At a Very Young Age… Of Cows and Corn Escalators… The Big House and a Mystical Little Boy My Daddy & Mr Polk Daddy, You So Crazy (But Thanks for the Name) When 1967 Totally Changed My Life… Freezers Eat Children More Like Social Caterpillars Than Butterflies My Poor Aunt Patsy… My Granny and Martine and Her Attack Bird… Other Interesting Women, Including Mama… Mama’s Talents… More About Pa Mitchell (The Man With The Minners) and Granny… Then I Got Old and Went to School… Mary Poppins I - Am - Not That Time Delena and I Probably Broke Some Guy’s Hand Steppin’ Out Into the World… Job Openings in Both the Frying Pan and the Fire… My Rabbit Died 1978 Was a Very Big Year… Afterward About The Author Prologue In a way, I wrote this book to write another one. I also wrote that sentence so that the first line of my book would not be “I was getting a pap smear one day.” Anyway, I was getting a pap smear one day, when my friend Vaughna, who was the one doing the pap smear at the time, off-handedly said, “Do you want to write a book together?” Vaughna’s comment was remarkable for a couple of reasons: 1) This was only the second time I’d ever seen Vaughna in my life. I rarely seek out medical care and my trip to her the year before to talk about a persistent vaggie itch and some mild insomnia was the first time I’d been in a medical facility since 1999 when my midwife insisted I have the required physician’s visit in order qualify to deliver my baby at home. By the time Vaughna was sweeping my cervix with her mighty OCedar cytobroom, that home-birthed baby was twelve years old, so you can do the math. One of the things I love about Vaughna is that she was never judgey about my chosen lack of medical care. It’s not really about a disdain for Westernized medicine; it’s just an attitude of “if it ain’t broke, don’t fix it.” Vaughna gets that and so many other things and that is why she is my caregiver. 2) When she asked the question about writing the book, Vaughna had no idea I was a writer. That was one of the many things she did not yet know about me. Vaughna is just that way, which is one of the many reasons I love her. She just knows stuff and you have to have people in your life who just know stuff. I immediately affirmed that yes, I would love to write a book on a year of flourishing health with her and together we set about our task, which involved meeting over lunch and talking about things we’d learned and thoughts we’d had on the subject and our side notes to the re-reading (for the 4th or 5th time) of Dr. Christiane Northrup’s amazing book, Women’s Bodies, Women’s Wisdom. In the context of completing the exercises in the book, we went over our childhood memories and I casually mentioned that I had very few memories prior to the time when I left home in 1978. Vaughna pushed at me a little and I came up with two or three, but continued to insist that almost no other memories were in there. She insisted they were there and like I told you, Vaughna knows stuff. Once, I actually spoke to a child psychologist and asked why I had so few childhood memories. I actually had some concerns that I was blocking out some kind of trauma or something. Laura, the lady I was asking, waved it off and said that most people have fairly sparse childhood memories not only because it was a long time ago, but also because as children, our brains are set on “experience” rather than “record,” so not a lot is retained in the same way it is when we are older. After that, I didn’t worry about it much anymore and let it go…until Vaughna questioned it. The next time I saw Vaughna, I plopped several typewritten pages down in front of her containing the beginning of this book; the rudimentary memories I was able to pull up in one sitting. In her wonderful book The Red Tent, Anita Diamant puts forth the idea that in order to tell your own story, you have to tell your parents’ story. That option is lost to me. As you will see if you are brave enough to read on, I left home at the age of 16 in 1978. During the years that followed, I was so busy trying to sort out my own life that I paid very little attention to hers. We saw each other every 2-3 years, then every 3-5 years and then every 10 years. I never asked the right questions to get the information that would be important to me as I got older. I was well into my late forties before family stories had meaning to me and by then, it was too late to ask. This book is, in part, an effort to keep my children from having that regret. It’s all here, kids. In 1986, my father died at the age of 51. My mother died in 2003 at 60 and all four of my grandparents are gone. It is incredible how untethered a person feels when they are orphaned and there is no upline on the family tree. No one shares your memories. No one validates your past. It is all subjective to your own patchy recollections. This book is my attempt to commit to writing what I can remember now so that I can keep that information close to me as I get older. Mom and Dad did not leave me words, but they did leave me photos and based on what they reveal, there was a time when they thought more highly of each other than they did for most of the time I knew them. There was a girl, whose name was Lou: And there was a guy whose name as actually Guy: Apparently, they would canoodle from time to time. They said they were eating potato chips He went into the U.S. Army as a telecommunications engineer. She finished high school. He came back in time for her graduation. And he put on her cap and gown They were married on June 5, 1960 at Red Hill Baptist Church. That is my mom’s twin sister, Sue, beside her. And now you know what I know about my parents’ courtship. I woke up in the middle of the night once wondering where they met. Months later, I asked my aunts and uncles and none of them could remember. I have a memory stirring around in my head that they met at a roller skating rink in Livermore, Kentucky. Mom was there on a church trip and Dad was just there. While Dad was in Germany, a friend of his was going to Kentucky and my father asked him to take my mother’s engagement ring to her. The friend agreed. For reasons unknown, the friend instead mailed my mother’s ring to her with note of explanation, so she got an engagement ring in the mail from a return address she did not know. So many mysteries I can never unravel! After Mom and Dad married, they moved to Augusta to live with my grandmother and grandfather. A very chaste and appropriate 15 months after they were married, I was born. That is where this story picks up. I Was Born At a Very Young Age… I was born on September 5, 1961 and I have just learned that the number one song that week was actually “Michael Roll Your Boat Ashore” by the Highwaymen. Not “Rock Around the Clock” or “Peggy Sue” or “Runaway” or any other of the tremendously cool songs that ran barefoot through the sixties. It was a campfire song. I hate camping. One of the first things my husbands learn about me is I do not camp. In fact, it’s on “the list” that must be consulted before long-term relationships are considered. “Do you require companionship for sleeping arrangements that involve a tent?” It’s right up there with “Do you know which channel is ESPN on my satellite dish guide and do you ever have any intention of using it?” and “Can you fix my car?” It’s a fairly long list, but that’s a subject for another book. In fact, maybe one day I will write a book about all of the questions a smart woman asks before she ties the knot. My mother and father lived with my father’s parents at the time I was born. I have no idea know exactly what my father or grandfather did for a living at the time (and Lord knows there’s no one to ask about it), but they both worked away from home. Home was Augusta, Kentucky, and my grandmother was the minister of a church there. I cannot say that I know the denomination, the doctrine or even the name of the church. What I can tell you, it was likely the holy rollingest church in that town in September of 1961.
Recommended publications
  • 1950S Playlist
    1/10/2005 MONTH YEAR TITLE ARTIST Jan 1950 RAG MOP AMES BROTHERS Jan 1950 WITH MY EYES WIDE OPEN I'M DREAMING PATTI PAGE Jan 1950 ENJOY YOURSELF (IT'S LATER THAN YOU THINK) GUY LOMBARDO Jan 1950 I ALMOST LOST MY MIND IVORY JOE HUNTER Jan 1950 THE WEDDING SAMBA EDMUNDO ROS Jan 1950 I SAID MY PAJAMAS (AND PUT ON MY PRAY'RS) TONY MARTIN/FRAN WARREN Jan 1950 SENTIMENTAL ME AMES BROTHERS Jan 1950 QUICKSILVER BING CROSBY/ANDREWS SISTERS Jan 1950 CHATTANOOGIE SHOE SHINE BOY RED FOLEY Jan 1950 BIBBIDI-BOBBIDI-BOO PERRY COMO Feb 1950 IT ISN'T FAIR SAMMY KAYE/DON CORNELL Feb 1950 RAG MOP LIONEL HAMPTON Feb 1950 THE THIRD MAN THEME ANTON KARAS Feb 1950 MY FOOLISH HEART GORDON JENKINS Feb 1950 THE CRY OF THE WILD GOOSE FRANKIE LAINE Feb 1950 THE FAT MAN FATS DOMINO Feb 1950 DADDY'S LITTLE GIRL MILLS BROTHERS Feb 1950 MUSIC MUSIC MUSIC TERESA BREWER Mar 1950 THE THIRD MAN THEME GUY LOMBARDO Mar 1950 CANDY AND CAKE MINDY CARSON Mar 1950 MY FOOLISH HEART BILLY ECKSTINE Mar 1950 IF I KNEW YOU WERE COMIN' I'D'VE BAKED A CAKE EILEEN BARTON Mar 1950 WANDERIN' SAMMY KAYE Mar 1950 DEARIE GUY LOMBARDO Apr 1950 COUNT EVERY STAR HUGO WINTERHALTER Apr 1950 HOOP-DEE-DOO PERRY COMO Apr 1950 BEWITCHED BILL SNYDER Apr 1950 PETER COTTONTAIL GENE AUTRY Apr 1950 ARE YOU LONESOME TONIGHT BLUE BARRON May 1950 THE OLD PIANO ROLL BLUES HOAGY CARMICHAEL/CASS DALEY May 1950 BEWITCHED DORIS DAY May 1950 VALENCIA TONY MARTIN May 1950 I DON'T CARE IF THE SUN DON'T SHINE PATTI PAGE May 1950 I WANNA BE LOVED ANDREWS SISTERS May 1950 BONAPARTE'S RETREAT KAY STARR Jun 1950 MONA
    [Show full text]
  • Updates & Amendments to the Great R&B Files
    Updates & Amendments to the Great R&B Files The R&B Pioneers Series edited by Claus Röhnisch from August 2019 – on with special thanks to Thomas Jarlvik The Great R&B Files - Updates & Amendments (page 1) John Lee Hooker Part II There are 12 books (plus a Part II-book on Hooker) in the R&B Pioneers Series. They are titled The Great R&B Files at http://www.rhythm-and- blues.info/ covering the history of Rhythm & Blues in its classic era (1940s, especially 1950s, and through to the 1960s). I myself have used the ”new covers” shown here for printouts on all volumes. If you prefer prints of the series, you only have to printout once, since the updates, amendments, corrections, and supplementary information, starting from August 2019, are published in this special extra volume, titled ”Updates & Amendments to the Great R&B Files” (book #13). The Great R&B Files - Updates & Amendments (page 2) The R&B Pioneer Series / CONTENTS / Updates & Amendments page 01 Top Rhythm & Blues Records – Hits from 30 Classic Years of R&B 6 02 The John Lee Hooker Session Discography 10 02B The World’s Greatest Blues Singer – John Lee Hooker 13 03 Those Hoodlum Friends – The Coasters 17 04 The Clown Princes of Rock and Roll: The Coasters 18 05 The Blues Giants of the 1950s – Twelve Great Legends 28 06 THE Top Ten Vocal Groups of the Golden ’50s – Rhythm & Blues Harmony 48 07 Ten Sepia Super Stars of Rock ’n’ Roll – Idols Making Music History 62 08 Transitions from Rhythm to Soul – Twelve Original Soul Icons 66 09 The True R&B Pioneers – Twelve Hit-Makers from the
    [Show full text]
  • 170908 Zsat 224 Songs, 7.6 Hours, 1.52 GB
    Page 1 of 9 170908 zsat 224 songs, 7.6 hours, 1.52 GB Name Time Album Artist 1 Wally Gator Radio Emergency Test 0:30 Wally Gator 2 No no dont understand how radio works 0:03 3 Chromium Switch truncated 0:07 Firesign Theatre 4 Station Identification 0:07 Station ID Cara Dell'Apa 5 Hep Cat Baby 2:00 The Hillbillies - They Tried To Rock Vol. 1 (Bcd 17… Eddy Arnold 6 listen to this fascist gas bag 0:03 7 YouMean 0:03 Waiting For The Electrician or Someone Like Him Firesign Theater 8 loadofcrap 0:05 9 Theme From The Munsters 1:52 Lost Jukebox: Volume 182 Billy Strange 10 ANNOUNCER BREAK SILENCE 4 MINUTES 4:01 ANNOUNCER BREAK SILENCE 4 MINUTES 11 Gutterball <bowling sport foul bowl> 2:07 Diggin' Out 07 The Goldtones 12 My name is Peabody, I suppose you know yours 0:03 13 huffin' & puffin' 2:24 Jook Block Busters 2 Cal Green 14 Hey Pee Wee do you know what time it is_ clocky 0:02 15 chunky extra thick for extra flavor 0:03 16 Chunky 2:14 Out of Control Crossfires 17 Out of Control 2:15 Out of Control Crossfires 18 ANNOUNCER BREAK SILENCE 4 MINUTES 4:01 ANNOUNCER BREAK SILENCE 4 MINUTES 19 Have Mercy Baby 1:44 Ballroom Dancers 16 Billy Wright 20 Homer - D'oh! (2) 0:00 Simpsons 21 Homer - Timid d'oh (1) 0:01 Simpsons 22 Lisa - D'oh! 0:01 Simpsons 23 Homer - Exasperated d'oh 0:01 Simpsons 170908 zsat Page 2 of 9 Name Time Album Artist 24 Homer - Soft d'oh 0:01 25 Ooohh baby.
    [Show full text]
  • Clyde Mcphatter 1987.Pdf
    Clyde McPhatter was among thefirst | singers to rhapsodize about romance in gospel’s emotionally charged style. It wasn’t an easy stepfor McP hatter to make; after all, he was only eighteen, a 2m inister’s son born in North Carolina and raised in New Jersey, when vocal arranger and talent manager Billy | Ward decided in 1950 that I McPhatter would be the perfect choice to front his latest concept, a vocal quartet called the Dominoes. At the time, quartets (which, despite the name, often contained more than four members) were popular on the gospel circuit. They also dominated the R&B field, the most popular being decorous ensembles like the Ink Spots and the Orioles. Ward wanted to combine the vocal flamboyance of gospel with the pop orientation o f the R&B quartets. The result was rhythm and gospel, a sound that never really made it across the R &B chart to the mainstream audience o f the time but reached everybody’s ears years later in the form of Sixties soul. As Charlie Gillett wrote in The Sound of the City, the Dominoes began working instinctively - and timidly. McPhatter said, ' ‘We were very frightened in the studio when we were recording. Billy Ward was teaching us the song, and he’d say, ‘Sing it up,’ and I said, 'Well, I don’t feel it that way, ’ and he said, ‘Try it your way. ’ I felt more relaxed if I wasn’t confined to the melody. I would take liberties with it and he’d say, ‘That’s great.
    [Show full text]
  • Extra Special Supplement to the Great R&B Files Includes Updated
    The Great R&B Pioneers Extra Special Supplement to the Great R&B Files 2020 The R&B Pioneers Series edited by Claus Röhnisch Extra Special Supplement to the Great R&B Files - page 1 The Great R&B Pioneers Is this the Top Ten ”Super Chart” of R&B Hits? Ranking decesions based on information from Big Al Pavlow’s, Joel Whitburn’s, and Bill Daniels’ popularity R&B Charts from the time of their original release, and the editor’s (of this work) studies of the songs’ capabilities to ”hold” in quality, to endure the test of time, and have ”improved” to became ”classic representatives” of the era (you sure may have your own thoughts about this, but take it as some kind of subjective opinion - with a serious try of objectivity). Note: Songs listed in order of issue date, not in ranking order. Host: Roy Brown - ”Good Rocking Tonight” (DeLuxe) 1947 (youtube links) 1943 Don’t Cry, Baby (Bluebird) - Erskine Hawkins and his Orchestra Vocal refrain by Jimmy Mitchell (sic) Written by Saul Bernie, James P. Johnson and Stella Unger (sometimes listed as by Erskine Hawkins or Jmmy Mitchelle with arranger Sammy Lowe). Originally recorded by Bessie Smith in 1929. Jimmy 1. Mitchell actually was named Mitchelle and was Hawkins’ alto sax player. Brothers Paul (tenorsax) and Dud Bascomb (trumpet) played with Hawkins on this. A relaxed piano gives extra smoothness to it. Erskine was a very successful Hawkins was born in Birmingham, Alabama. Savoy Ballroom ”resident” bandleader and played trumpet. in New York for many years.
    [Show full text]
  • 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.
    [Show full text]
  • American Popular Music
    American Popular Music Larry Starr & Christopher Waterman Copyright © 2003, 2007 by Oxford University Press, Inc. This condensation of AMERICAN POPULAR MUSIC: FROM MINSTRELSY TO MP3 is a condensation of the book originally published in English in 2006 and is offered in this condensation by arrangement with Oxford University Press, Inc. Larry Starr is Professor of Music at the University of Washington. His previous publications include Clockwise from top: The Dickinson Songs of Aaron Bob Dylan and Joan Copland (2002), A Union of Baez on the road; Diana Ross sings to Diversities: Style in the Music of thousands; Louis Charles Ives (1992), and articles Armstrong and his in American Music, Perspectives trumpet; DJ Jazzy Jeff of New Music, Musical Quarterly, spins records; ‘NSync and Journal of Popular Music in concert; Elvis Studies. Christopher Waterman Presley sings and acts. is Dean of the School of Arts and Architecture at the University of California, Los Angeles. His previous publications include Jùjú: A Social History and Ethnography of an African Popular Music (1990) and articles in Ethnomusicology and Music Educator’s Journal. American Popular Music Larry Starr & Christopher Waterman CONTENTS � Introduction .............................................................................................. 3 CHAPTER 1: Streams of Tradition: The Sources of Popular Music ......................... 6 CHAPTER 2: Popular Music: Nineteenth and Early Twentieth Centuries .......... ... 1 2 An Early Pop Songwriter: Stephen Foster ........................................... 1 9 CHAPTER 3: Popular Jazz and Swing: America’s Original Art Form ...................... 2 0 CHAPTER 4: Tin Pan Alley: Creating “Musical Standards” ..................................... 2 6 CHAPTER 5: Early Music of the American South: “Race Records” and “Hillbilly Music” ....................................................................................... 3 0 CHAPTER 6: Rhythm & Blues: From Jump Blues to Doo-Wop ................................
    [Show full text]
  • Big Al's R&B, Extra Charts
    78 The R & B Book RECORDS; 1 CHOO CHOO CH'BQOGIBF-Jordan 53 MY HEART BELONGS TO YOU-Sildham 104 ROUTE eel-Cole 2 AINT NOBODY HERE BUT US CHICKENS/ 54 LITTLE GIRL DONT CRY Jackson 195 HAWK'S BOOGIE-Hawkins LET THE QQOO TIMES ROLL-Jordan 55 BEWILDERED-Mllbum 106 HOP, SKIP, AND JUMP/ 3 HEYI BA-BA.RE-BOP-Hampton 56 MAIN STEM-Elllngton EVERYTHING I DO IS WRONG-Milton 107 A LITTLE BIRD TOLD ME-Watson 4 THE HUCKLE-BUCK-Wllllams 5? APOLLO JUMP-Mlllineler 10G ITS TOO SOON TO KNOW-Orioles 5 PONT CRY. BABY-Hawklns SB SALT PORK, WEST VIRGINIA/F-Jordan 1081 WANT TO BE LOVED-Hampton e THE HQNEYDRIPPER-Llggins SB LETS BEAT OUT SOME LQVE-Johnson 100 WHY DONT YOU HAUL OFF AND 7 TROUBLE BLUES-Brown 60 SWEET SLUMBER-Mllllnder LOVE ME-Jackson B SNATCH AND GRAB ff-l.ee 61 THE QYPSY-Ink Spots 110 NUMBERS BOOGIE-Roblnson 9CALDONIAflF-Jordan 621'MLOST-Carter 111 SUNNY ROAD-Sykes 10 STRAIQHTEN UP AND FLY RIQHT/F-Cole 63 TEXAS AND PAGIRCIF-Jordan 11 BOOGIE WOOQIE BLUE PLATE-Jordan 04 'LONQ ABOUT MIDNISHT-Brown 112 IT'S MIDNIGHT-Llttlefleld e& DONT STOP NOW-Banks 113 ROCKIM- AT MIDNIGHT Brown 12BUZZMEfF-Jordan 114 HURRY, HURRY/POINCIflNA Carter 13 INTO EACH LIFE SOME RAIN MUST FALU 66 ROOMIN' HOUSE BOOQIEfF-Mllbum 115 IT CANT BE WRONG 4 Vagabonds I'M MAKING BELIEVE-Flizgsraldflnk Spots 67 BABY GET LOSTf lieTREES-Klbbler 14 Q.I. JIVE/IS YOU IS OR IS YOU AINT-Jordan LONQ JOHN BLUES-Washlngton 117 DONT BE A BABY, BABY-Mllis Bros.
    [Show full text]
  • North Philly Harmony: the Dreamers & Universals Story
    Reprinted with permission from Echoes of the Past magazine No. 109 (Autumn 2014). © 2014 by Classic Urban Harmony LLC North Philly Harmony: The Dreamers & Universals Story By Charlie Horner With Contributions from Pamela Horner During the 1950’s and 1960’s, inner city Philadelphia was a center for R&B street corner singing. Philadelphia developed its own vocal group sound, “The Philly Sound,” characterized by haunting ballads with a high tenor lead, an even higher floating tenor, a strong second tenor, a bari- tone and bass. While the “Philly Sound” is easily recognized, some variations can be heard depend- ing on the neighborhood of the group’s origin. Philadelphia was and still is a city of neighbor- hoods. Some neighborhoods had nightly sing-fests on certain corners or recreation centers where crowds of young men (and sometimes young women) gathered to sing all night. At places like West Philly’s 54th and Race Streets, 15 or 20 teenag- ers would gather each evening and divide up into quartets or quintets and compete. Out of that par- ticular gathering came groups like the Castelles, Dreams, Capris and Sonny Gordon & the Angels. There, groups traded songs, singing styles and even members frequently. Sometimes singers from other parts of the city would travel to these vocal har- mony hot spots to lend a voice and check out the competition. Singers would frequently, but not al- This June 1956 newspaper clipping with photo ways, be given free passage through other neighbor- of the Dreamers tells of their next hood “turfs”. As a consequence, singers from one release, “Ida Lou”.
    [Show full text]
  • 2017-04-10 Exhibits to Declaration of Administrator
    Case 2:13-cv-05693-PSG-GJS Document 686-4 Filed 04/10/17 Page 1 of 303 Page ID #:24740 Exhibit A Page 1 of 303 Case 2:13-cv-05693-PSG-GJS Document 686-4 Filed 04/10/17 Page 2 of 303 Page ID #:24741 UNITED STATES DISTRICT COURT FOR THE CENTRAL DISTRICT OF CALIFORNIA NOTICE OF PENDENCY OF CLASS ACTION SETTLEMENT A federal court authorized this notice. This notice is not an endorsement of plaintiff’s claims or an attorney solicitation. Distribution of this notice does not guarantee that you will recover money. Please read this notice carefully; it affects your legal rights. If You Are An Owner Of A Sound Recording(s) Fixed Prior To February 15, 1972 (“Pre-1972 Sound Recording”) Which Has Been Performed, Distributed, Reproduced, Or Otherwise Exploited By Sirius XM in the United States Without A License Or Authorization To Do So From August 1, 2009 Through November 14, 2016, You Could Get Benefits From a Class Action Settlement. If you are an owner of a Pre-1972 Sound Recording performed, distributed, reproduced, or otherwise exploited by Sirius XM in the United States without a license or authorization to do so from August 1, 2009 through November 14, 2016 (“Class Period”), you may be a member of a proposed nationwide Settlement Class and entitled to payments and future royalties. • If the Court approves the proposed settlement, Sirius XM will pay the Settlement Class: • $25 million for past performances, • if Sirius XM loses certain appeals, up to an additional $15 million, for a total of $40 million, for past performances, and • a royalty rate of up to 5.5% on future performances of Pre-1972 Sound Recordings owned by Settlement Class Members who make valid claims.
    [Show full text]
  • Singles-David.Xlsx Namekey Titlea Artist Titleb Label Catnum
    singles-david.xlsx NameKey TitleA Artist TitleB Label CatNum CommentsOwnerConditionCat ABBA Angel Eyes ABBA Angel Eyes Atlantic 3609 dj DF 1 P ABBA Fernando ABBA Rock Me Atlantic 45-3346 DF 1 P ABBA Knowing Me, Knowing You ABBA Happy Hawaii Atlantic 3387 DF 2 P ABBA Waterloo ABBA Watch Out Atlantic 45-3035 DF 2 P ABC The Look Of Love ABC Theme From Mantrap Mercury 76168 DF 2 P ACDC Back In Black AC/DC What Do You Do For Money HoneyAtlantic 3787 DF 2 RR ACDC Back In Black AC/DC You Shook Me All Night Long Atlantic OS 13235 btb DF 1 RR ACUFF Wabash Cannon Ball Roy Acuff The Precious Jewel Columbia 4-52014 DF 2 CW AEROSMITH Come Together Aerosmith Kings and Queens Columbia 3-10802 DF 2 RR AEROSMITH Dream On Aerosmith Somebody Columbia 3-10278 DF 2 RR AFRIKA Reckless Afrika Bambaataa and FamilyReckless Capitol P-B-44163 dj DF 3 RE ALEGRES Paloma Del Alma Los Alegres De Teran Novturno A Rosario Columbia 10147 DF 3 SP ALPERT A Banda Herb Alpert's Tijuana Brass Miss Frenchy Brown A&M 870 DF 2 P ALPERT Marching Through Madrid Herb Alpert's Tijuana Brass Struttin' With Maria A&M 706 DF 2 P ALPERT Mexican Road Race Herb Alpert Wade in The Water A&M 840 DF 2 IN ALPERT Spanish Flea Herb Alpert What Now My Love A&M 792 DF 2 P ALPERT The Lonely Bull Herb Alpert & the Tijuana BrassAcapulco 1922 A&M 703 DF 3 P ALPERT The Work Song Herb Alpert's Tijuana Brass Plucky A&M 805 DF 3 IN ALPERT This Guy's In Love With You Herb Alpert's Tijuana Brass A Quiet Tear A&M 929 DF 3 P ALPERT Tijuana Taxi Herb Alpert & The Tijuana BrassZorba The Greek A&M 8507 btb DF
    [Show full text]
  • LUKEHO ZPĚVNÍK „Best of 60S Music V. 2“
    LUKEHO ZPĚVNÍK volume 2 „Best of 60s music v. 2“ (bez Beatles) Písničky od anglických/amerických kapel ze 60. let (Buddy Holly, Everly Brothers, CCR, Beach boys, Bobby Darin aj...) reklama: Beatles revival The Basketles (www.basketles.cz) :) (Není na prodej, jen pro soukromé potřeby) 1 OBSAH ZPĚVNÍKU Bad to me (Billy J. Kramer) - 80 Barbara Ann (Beach Boys) - 71 Battle of New Orleans (Johnny Horton) - 22 Be my baby (Ronnettes) – 7 Bike (Pink Floyd) - 59 Brain damage (Pink Floys) – 6 Bridge over troubledwater(Simon) – 46 Bye bye love (Everly Brothers) - 64 California Dreaming (Mammas and Pappas) – 9 Carrie Anne (Hollies) – 26 C´est la vie (Berry) - 51 Cocaine (J.J. Cale) – 37 Come and get it (Badfinger) - 63 Crying in the rain (Everly brothers) - 4 Don´t turn around (Merseybeats) – 10 Do you wanna dance (Beach boys) - 82 Dream Lover (Bobby Darin) – 16 Farmer John (Searchers) – 32 Ferry ´cross the mersey (Gerry and the Pacemakers) – 56 Fortunate son (CCR) - 70 Go now (Moddy blues) - 54 Good vibrations (Beach boys) 30-31 The Great pretender - 18 Groovy kind of love (Mindbenders) – 11 Heart of gold (Neil Young) – 33 Heart of the country (McCartney) - 66 Help me Rhonda (Beach Boys) - 43 Hey Joe (Hendrix) – 38 I get around (Beach Boys) – 68 I´m telling you know (Freddie and dreamers) – 72 I´m waiting for the man (Velvet underground) - 75 It never rains in california (Albert Hammond) - 69 It´s so easy (Buddy Holly) - 19 It´s too late (Carol King) – 5 It´s up to you (Nelson) - 53 Johnny B. Goode (Chuck Berry) – 49 Just one looke (Hollies) - 57 Keep your hands off my baby – 35 Lady Godiva (Peter and Gordon) - 79 Laugh laugh (Beau Brummels) – 39 Long Tall Sally (Richard) – 47 2 Memphis, Tennesee - 48 Mercy Mercy (Stones) – 34 Moon river (Andy Williams) - 42 Mr.
    [Show full text]