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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. -
Music I Begins at 9 P.M
26 Greenfield Recorder, Thursday, April 25, 198S • £ A Ifilllil ii ) Leisure Calendar is a free public service provided by ________ shop, "The Old Maid and the Thief," by Gian Carolo Me-* the Greenfield Recorder for its readers. notti. 8 p.m. Recital Hall, Arts Center on Brickyard Pond- Individuals and organizations are invited to submit infor Free admission. mation for publical.on. All material must include: date, time, location, admission price, sponsor and a brief de scription of the event. Deadline is 10 days before publica Dance tion date. Events must be open to the public. Photographs I are welcome and should be black-and-white glossies. Be THE MONADNOCK FOLKLORE SOCIETY sponsors *\ sure to include proper identification on photos. If you contra dance in Greenfield (N.H.) Town Hall, 8 to 11:30c would like your photo returned, enclose a self-addressed p.m. Potluck supper at 7 p.m. Beginners welcome. Ad-r stamped envelope. mission $3. \ Send information, to: Leisure Calendar, Greenfield Re corder, 14 Hope St., Greenfield, Mass. 01301 or call 772- i 0261 (Ext. 316). Films Because space varies from week to week, we regret that we cannot guarantee that all listings will be printed. ACTOR'S THEATER, 2 Flat St., BratUeboro, Vt.; "A Boy- and His Dog," 197S underground science-fiction film ocu survival after nuclear war. Latchis Ballroom, 7 p.m./, Continues April 28 and May 4 and 5. >; -rfc Clubs * CALVIN'S, Fiske Avenue, Greenfield: The Mix. Music I begins at 9 p.m. $2 cover charge. ST AGE WEST: "The Good Doctor," by Neil Simon. -
September 06-Final.Indd
2007 International Midwinter Convention 2007 International Buffalo Bills-Era Midwinter Convention Quartet Contest January 21 - 28, 2007 Throughout 2007, we’ll be celebrating the longevity of barbershop music as Headquarters Hotel: Hyatt Regency evidenced by the 50th Anniversary of The Venue: Kiva Auditorium Music Man. As a tribute to this endearing showcase for barbershop music, the 2007 promises to be a banner year for the Barbershop Harmony Society will host the Buffalo Bills-Era Society and you can help launch it in true four-part harmony style. At Quartet Contest. Sing the old songs the way they did fifty years ago. this year’s Midwinter Convention, history and harmony go hand-in- Experience the five-category judging system, and see how your hand. You’ll experience the best from the past, plus encounter some quartet might have done against our most famous champs! All new things to broaden your barbershop horizons. We’ll look back at details regarding the contest, entry form and rules are listed on what has made barbershop music so popular and we’ll look ahead to www.barbershop.org/musicman. Not only will first, second and see where Barbershoppers are taking the music in the future. Here’s third place winners get bragging rights, but they’ll get their share of what’s in store for you. $6,000 in prize money being donated by members of the Pioneers. Time for Tags Midwinter Golf Outing Plenty of time will be set aside between workshops, seminars, Join us for the golf outing on Wednesday, January 24, 2007 at the shows and speakers for getting together with fellow singers. -
Allenhurst Looking Good!
Serving Our Loyal Readers Since 1875 NOW m i l s SERVING: Wayside Oakhurst Wanamassa Tinton Falls Deal Allenhurst -5T Z .Z 0 TN ‘ viywd A diiaSb Loch Arbour "3Ab isyid oos Asbury Park ■ail iiia n d nawd Aanasw Z6/IS/3I 9TT0 T VOL. CXVIV NO. 35 TOWNSHIP OF NEPTUNE, N.J. THURSDAY, SEPTEMBER 1, 1994 USPS 402420 THIRTY-FIVE CENTS Sffkkw-t M.-wtmmM, Mayor Candiano Sees Bright Future For Asbury Park by Joan Elmore Asbury Park - Mayor Patricia Candiano is very optimistic about her city. The recent naming of Asbury Park as an Urban Enterprise Zone (UEZ) will provide benefits sure to boost the town's economy. Tax reductions and credits will be realized by eligible retail businesses and those in specified zones. The financiai enhancements are expected to attract new business and help combat Asbury Park’s recent "image" problems. BOB STRANO JR., left, the builder who is refurbishing Main Street in Allenhurst, Deputy Mayor Candiano plans with Borough Clerk/Administrator VITO GADALETA. has received local support from JCP&L, Bell Atlantic and NJ Natural Gas, each of Allenhurst Looking Good! whom will introduce incen tive programs for businesses year latentw tNA Allenhurst chased old buildings on the by Joan Elmore within the UEZ by enabling North End and completely Realty, jwljich owns the prop reduced utility rates. Core renovated them. erty, has already leased States, Central Jersey Bank Allenhurst - When Chief Mr. Gadaleta is very op most of the new apartments and Sovereign Bank have timistic about the expansion/ Tembroeck of the Allenhurst above the store’s complex. -
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. -
Encyclopedia of Rock the Definitive, Illustrated Encyclopedia of Rock
from the definitive, illustrated encyclopedia of rock the definitive, illustrated encyclopedia of rock Richard Buskin, Alan Clayson, Joe Cushley, Rusty Cutchin, Jason Draper, Hugh Fielder, Mike Gent, Drew Heatley, Michael Heatley, Jake Kennedy, Colin Salter, Ian Shirley, John Tobler General Editor: Michael Heatley • Foreword by Scotty Moore FLAME TREE PUBLISHING from the definitive, illustrated FlameTreeRock.com offers a very wide This is a FLAME TREE digital book range of other resources for encyclopedia of rock your interest and entertainment: Publisher and Creative Director: Nick Wells Project Editor: Sara Robson Commissioning Editor: Polly Prior 1. Extensive lists and links of artists, Designer: Mike Spender and Jake The 1950s was the decade when the straitjacket imposed by the organised by decade: Sixties, Picture Research: Gemma Walters Contents Seventies etc. Production: Kelly Fenlon, Chris Herbert and Claire Walker recent world war was loosened a little – and rock took full advantage. The Sun studios in Memphis and Chess Records in Chicago were the 2. Free ebooks with the story of other Special thanks to: Joe Cushley, Jason Draper, Jake Jackson, places to be as the likes of Elvis, Jerry Lee Lewis and Chuck Berry Karen Fitzpatrick, Rosanna Singler and Catherine Taylor Sources & Sounds ..................................4 musical genres, such as turned the existing generation gap into a chasm. soul, R&B, disco, rap & Hip Hop. Based on the original publication in 2006 Though he did not always appear in vision, Bill Haley reaped the This edition published in digital form by: Key Artists ........................................8–25 3. Special features on the many styles FLAME TREE PUBLISHING rewards as rock helped Hollywood bring in the younger generation – of rock: what is the difference between Crabtree Hall, Crabtree Lane even if a few seats were slashed in the process. -
A Legacy of Unequal Protection
Copyright, Culture & Black Music: A Legacy of Unequal Protection by K.J. GREENE* I. Structure And Function Of The Copyright Regime.. 344 A. Origins and Purpose ................................. ... 344 B. Foundations of Copyright Law ............................ 348 1. Rights Protected by Copyright ........................ 348 2. The Idea-Expression Dichotomy ..................... 349 3. Requirement of Reduction to Tangible Form.. 351 4. Originality and Minimal Creativity ................. 351 5. Registration Formalities ................................. 353 II. Copyright and Culture ............................................. 354 III. African-American Artists & Intellectual Property ..... 361 A . Background ........................................................ 361 B. A History of Appropriation .................................. 367 1. Patterns of Inadequate Protection ................... 371 2. Harm To The Community ............................... 373 C. The Relationship Between Appropriation of African-American Music and American Copyright Law .................................................... 375 IV. Civil Rights As Intellectual Property Rights ............... 383 V. Toward Possible Prescriptions .................................. 388 A. Access to Legal Services ..................................... 389 B. Importation of Moral Rights Notions ................... 390 C. Heightened Standard of Originality ..................... 391 VI. C onclusion ............................................................... 39 1 * B.A., S.U.N.Y., -
Franki the E Lymon Teenage
performers franki e lymon the teenage Ronnie Spector, in her autobiography, Be M y Baby, rock & roll audience with talent and charisma that belied wrote, “A lot of entertainers can’t or won’t tell you where his years. With his cool, assured trill he performed vocal they got their style from. But I know exactly where I got acrobatics an untrained 13-year-old should not have been my voice. Frankie Lymon ... I was twelve when I first able to execute. Barely settled into junior high, Frankie heard Frankie and the Teenagers sing ‘Why f>o Fools Fall Lymon was a star and an idol. in Love?’. Frankie had the greatest voice I’d ever heard.” Fame found Frankie and the Teenagers living life in a Diana Ross has said that she started out trying to emu way they could only have imagined months ago. They late Lymon’s high-pitched, crystalline voice, his enuncia starred in Alan Freed’s package shows and movies, did tion and whip-crack timing. Marvin Gaye, upon first wit Sullivan and Bandstand, traveled America and flew to nessing his M otown labelmate Michael Jackson in action;, London, where they performed at the Palladium. By the commented, “It was Frankie Lymon all over again.” en# ol 1956, one of the most popular groups in the The object of this admiration, it should be noted, was world consisted of five black teenage R&B singers from all of 13 years old when he recorded his first and most New York City. beloved hit. For the next 18 months, he and his group In retrospect, what happened was perhaps inevitable. -
(And) Black Music: a Legacy of Unequal Protection K
Hastings Communications and Entertainment Law Journal Volume 21 | Number 2 Article 2 1-1-1998 Copyright, Culture & (and) Black Music: A Legacy of Unequal Protection K. J. Greene Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation K. J. Greene, Copyright, Culture & (and) Black Music: A Legacy of Unequal Protection, 21 Hastings Comm. & Ent. L.J. 339 (1998). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol21/iss2/2 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Copyright, Culture & Black Music: A Legacy of Unequal Protection by K.J. GREENE* I. Structure And Function Of The Copyright Regime.. 344 A. Origins and Purpose ................................. ... 344 B. Foundations of Copyright Law ............................ 348 1. Rights Protected by Copyright ........................ 348 2. The Idea-Expression Dichotomy ..................... 349 3. Requirement of Reduction to Tangible Form.. 351 4. Originality and Minimal Creativity ................. 351 5. Registration Formalities ................................. 353 II. Copyright and -
Richard Barrett and the Teenagers
The Musical Legacy of Richard Barrett – Part 2 Richard Barrett and the Teenagers by Charlie Horner With Contributions from Pamela Horner and Val Shively Garnes (bass). [Ed. Note: Other names reportedly used by Even as the Valentines concentrated on singing, the group include the Earth Angels and Coupe De Richard Barrett applied his talents on the other side of the Villes.[13]] In the grocery store worked a twelve-year-old microphone. By early 1955, the Valentines were discouraged named Frankie Lymon. with Old Town records and looking for a new label. At an “We learned that Richard Barrett of the Valentines, aborted recording session, the Valentines were approached had moved into the neighborhood,” remembered Jimmy by George Goldner who lured them to his Rama label. Merchant. “This was our opportunity to do our best to get Throughout the summer of 1955, the Valentines played lo- into Richard’s path. We would do anything we could, to do cally and rehearsed for their upcoming recording session that. We were already singing there on the corner, right with Rama. Richard Barrett lived in a second floor apart- underneath his window. Frankie was working in the grocery ment on the northeast corner of 165th and Amsterdam Ave- store as a clerk. Frankie was not yet in the group, at all.” nue in the Washington Heights section of Harlem. The Jimmy took us back to the beginnings of the group. apartment was directly above a black owned grocery. “Sherman Garnes and I met in September 1954 and became “The Valentines were working the Apollo quite of- good friends. -
Federal Versus State Jurisdiction and Limitattions Versus Laches In
Loyola of Los Angeles Entertainment Law Review Volume 23 Number 1 Article 2 6-1-2002 Federal versus State Jurisdiction and Limitattions versus Laches in Songwriter Disputes: The Split among the Federal Circuits in Let the Good Times Roll, Why Do Fools Fall in Love, and Joy to the World Don E. Tomlinson Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Don E. Tomlinson, Federal versus State Jurisdiction and Limitattions versus Laches in Songwriter Disputes: The Split among the Federal Circuits in Let the Good Times Roll, Why Do Fools Fall in Love, and Joy to the World, 23 Loy. L.A. Ent. L. Rev. 55 (2002). Available at: https://digitalcommons.lmu.edu/elr/vol23/iss1/2 This Article is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. FEDERAL VERSUS STATE JURISDICTION AND LIMITATIONS VERSUS LACHES IN SONGWRITER DISPUTES: THE SPLIT AMONG THE FEDERAL CIRCUITS IN LET THE GOOD TIMES ROLL, WHY DO FOOLS FALL IN LOVE?, AND JOY TO THE WORLD Don E. Tomlinson* I. INTRODUCTION For songwriter Shirley Goodman, the "good times rolled" (at least judicially).' For songwriters Herman Santiago and Jimmy Merchant, "fools" may be a more apt description.2 Likewise, Danny Jackson's songwriting "world" contains little "joy.",3 For all these songwriters, the pyrrhic good news was that they were (at least in effect) judicially determined to have been co-writers of three famous rock 'n' roll songs. -
The City That Banned Rock & Roll
“The City that Banned Rock & Roll” Excerpted from the forthcoming book, Springwood Avenue Harmony: The Unique Musical Heritage of Asbury Park”s West Side (1880 - 1980) By Charlie Horner and Pamela Horner Well, OK. Asbury Park, NJ, didn’t music) is absolutely animalistic. It’s like having actually ban Rock & Roll from the entire city, human beings revert back to animals.” only the boardwalk area. And the ban didn’t At the same time, Asbury Park initially really last very long. Still, in the eyes of the seemed to embrace the new music. Bill Haley & world in 1956, Asbury Park was at the forefront the Comets, whose popularity was greatly of the fight against this devil’s music that was boosted by the inclusion of “Rock Around The driving the country’s youth to sex, drugs, moral Clock” in the beginning of the movie depravity and juvenile delinquency. Blackboard Jungle, were booked to play the For the folks on Asbury Park’s Casino over the 1955 Fourth of July weekend. predominantly African American West Side, the The Casino, at the south end of Asbury Park’s infectious beat and blue notes of Rhythm & boardwalk boasted the largest dance floor in Blues had been known for some years. But by New Jersey along with 3000 seats and a snack the mid-1950’s, white American teenagers were bar. being exposed to this music in great numbers through local radio. Now called “Rock & Roll” the music faced serious backlash from alarmed parents who feared the music’s “animalistic beat” and often risque lyrics were leading their children into juvenile delinquency.