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Jerry Naylor Jackson
JERRY NAYLOR JACKSON Began His 40 Year Successful Music Career With, The San Angelo Based Country-Rock Group, The Cavaliers. Jerry's First Contact With The Cavaliers Had Been, In 1956, At The Chamber Of Commerce Sponsored Area Talent Show That Was Held At The San Angelo City Auditorium. Jerry Had Entered The Show Without A Band But Met Backstage A 3 Piece Group, That Did Early Elvis Songs, Who Offered To Play Behind Him During His Performance. This 3 Piece Un-Known Group Had To Come Up With A Last Minute Name As They Were Being Introduced As The 1st Place Winners. They Were Introduced As The Cigarette Boys, "The Cavaliers" (A Brand Of Cigarettes At The Time) Jerry Won 2nd Place Singing With The Cavaliers, Alton Baird Won 1st Singing With The Cavaliers, Plus AltonWon The Fiddle Contest. (Crowd Was Estimated At 1500 With 1200 Being Girls). In Early 1957, The Cavaliers Featuring Jerry, Played 15 Minute Radio Shows 6 Days A Week On KPEP (Where Jerry Was A D.J.) And At A Local Night Club,Taylor's Night Spot, (Formally Club 67) Three Nights A Week. The Band Also Alternated With Dean Beard & The Crew Cats, From Abilene, At The San Angelo Youth Center Where It Was Broadcast Live On KTXL. After Spending A Year In The Service Jerry Continued Working On Radio And In 1961 The Crickets Offered Jerry The Lead Vocalist Spot Left Vacant By Buddy Holly. Jerry Would Record And Travel World-Wide With The Crickets For The Next 4 Years. As A Solo Performer He Recorded Under The Name Of Jerry Naylor (His Middle Name). -
Municipal Monthly February 1, 2020 Acton, Ma
TOWN OF ACTON MUNICIPAL MONTHLY FEBRUARY 1, 2020 ACTON, MA TOWN MANAGER’S UPDATE Last month, United States Senator Ed Markey addressed more than 900 attendees at a Town Hall event in the RJ Grey Junior High School Auditorium alongside Congresswoman Lori Trahan, State Senator Jamie Eldridge, and State Representative Tami Gouveia. The delegation engaged the audience on Markey’s Green New Deal legislation and other environmental issues. Environmental sustainability and green energy efforts are values held Senator Ed Markey answering questions from the closely by the Town of Acton. To that extent, the Board of Selectman public at his Green New Deal event in Acton. recently approved the Town Manager’s Revised Budget, which among Source: twitter.com/SenMarkey other important priorities, invests more than $200,000 in sustainability efforts, including acquiring additional hybrid police cruisers, installing more EV charging stations in priority community locations, a contractor to serve as Sustainability Coordinator, and additional street tree planting. The Board of Selectmen also recently established an Agricultural Commission. Consisting of five members within the community with a passion for farming or agricultural-related activities, this commission will promote and develop resources within the community, and provide education on agricultural issues, among many other exciting responsibilities. If you are interested in serving on this commission or would like more information, please contact the Town Manager’s office at (978) 929-6611 or email [email protected] In other good news, the Town recently received a $150,000 grant from the Community Compact IT Grant Program to upgrade the aging dispatch software within our dispatch center and police cruisers. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
“Amarillo by Morning” the Life and Songs of Terry Stafford 1
In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. On Billboard magazine’s April 4, 1964, Hot 100 2 list, the “Fab Four” held the top five positions. 28 One notch down at Number 6 was “Suspicion,” 29 by a virtually unknown singer from Amarillo, Texas, named Terry Stafford. The following week “Suspicion” – a song that sounded suspiciously like Elvis Presley using an alias – moved up to Number 3, wedged in between the Beatles’ “Twist and Shout” and “She Loves You.”3 The saga of how a Texas boy met the British Invasion head-on, achieving almost overnight success and a Top-10 hit, is one of triumph and “Amarillo By Morning” disappointment, a reminder of the vagaries The Life and Songs of Terry Stafford 1 that are a fact of life when pursuing a career in Joe W. Specht music. It is also the story of Stafford’s continuing development as a gifted songwriter, a fact too often overlooked when assessing his career. Terry Stafford publicity photo circa 1964. Courtesy Joe W. Specht. In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. -
Marx, Windows Into the Soul: Surveillance and Popular Culture, Chapter A
Marx, Windows Into the Soul: Surveillance and Popular Culture, Chapter A Culture and Contexts (intro from printed book) News stories don’t satisfy on a human level. We know that Guantanamo is still open, but do we really know what that means?’ The idea is to experience an emotional understanding, so it’s not just an intellectual abstraction. -Laura Poitras, filmmaker The structure, process and narrative units that make up most of the book rely on language in presenting facts and argument. In contrast, the emphasis in this unit is on forms of artistic expression. .Images and music are one component of the culture of surveillance that so infuses our minds and everyday life. The symbolic materials and meanings of culture are social fabrications (though not necessarily social deceptions). They speak to (and may be intended to create or manipulate) needs, aspirations, and fears. Culture communicates meaning and can express (as well as shape) the shared concerns of a given time period and place. Surveillance technology is not simply applied; it is also experienced by agents, subjects, and audiences who define, judge and have feelings about being watched or a watcher. Our ideas and feelings about surveillance are somewhat independent of the technology per se. As with the devil in Spanish literary tradition (image below) the artist can serve to take the lid off of what is hidden, revealing deeper meanings. Here the artist acts in parallel to the detective and the whistleblower: Marx, Windows Into the Soul: Surveillance and Popular Culture, Chapter A In the original version of the book I divided the cultural materials into two units. -
Jay Richardson Brushes Away Snow That's Drifted Around
When popular Beaumont deejay J.P. Richardson died on Feb. 3, 1959, with Buddy Holly and Ritchie Valens, he left behind more than ‘Chantilly Lace’ … he left a briefcase of songs never sung, a widow, a daughter and unborn son, and a vision of a brave new rock world By RON FRANSCELL Feb. 3, 2005 CLEAR LAKE, IOWA –Jay Richardson brushes away snow that’s drifted around the corpse-cold granite monument outside the Surf ballroom, the last place his dead father ever sang a song. Four words are uncovered: Their music lives on. But it’s just a headstone homily in this place where they say the music died. A sharp wind slices off the lake under a steel-gray sky. It’s the dead of winter and almost nothing looks alive here. The ballroom – a rock ‘n’ roll shrine that might not even exist today except for three tragic deaths – is locked up for the weekend. Skeletal trees reach their bony fingers toward a low and frozen quilt of clouds. A tattered flag’s halyard thunks against its cold, hollow pole like a broken church bell. And not a word is spoken. Richardson bows his head, as if to pray. This is a holy place to him. “I wish I hadn’t done that,” he says after a moment. Is he still haunted by the plane crash that killed a father he never knew? Can a memory be a memory if it’s only a dream? Why does it hurt him to touch this stone? “Cuz now my damn hand is cold,” Richardson says, smiling against the wind. -
Salsa2bills 1..2
By:AADuncan S.C.R.ANo.A12 CONCURRENT RESOLUTION 1 WHEREAS, Texas is well known for its pioneering musical 2 talent, and The Crickets are among those Texas legends who grew to 3 symbolize this brilliant creative spirit; and 4 WHEREAS, Originally formed in Lubbock by Buddy Holly, J.AI. 5 Allison, and Joe B. Mauldin, the group went on to include Sonny 6 Curtis, Niki Sullivan, Tommy Allsup, and Earl Sinks; and 7 WHEREAS, The Crickets were one of the first rock and roll 8 bands to be self-contained, writing, playing, producing, and 9 recording their own material; and 10 WHEREAS, Beginning in 1957, hits such as "That 'll Be the 11 Day," "Peggy Sue," "Oh Boy," "Not Fade Away," "Maybe Baby," "It 's So 12 Easy," "I Fought the Law," and "More Than I Can Say" established The 13 Crickets as a leading rock and roll band that would become known the 14 world over; and 15 WHEREAS, By solidifying the rock and roll instrumental format 16 of bass, guitars, drums, and vocals, and writing their own 17 material, The Crickets provided a blueprint and inspiration for the 18 Beatles, the Rolling Stones, and virtually every major rock band 19 that came after them; and 20 WHEREAS, Nearly 50 years later, The Crickets continue to 21 record and perform, and their songs are considered rock and roll 22 standards as evidenced by their release last year of "The Crickets 23 and Their Buddies," an all-star collection of The Crickets playing 24 their songs with such talented musicians and friends as Rodney 79R9007 MW-D 1 S.C.R.ANo.A12 1 Crowell, Waylon Jennings, John Prine, Phil and Jason Everly, Eric 2 Clapton, and Nanci Griffith; now, therefore, be it 3 RESOLVED, That the 79th Legislature of the State of Texas 4 hereby pay tribute to The Crickets for their many contributions to 5 Texas music and recognize March 16, 2005, as The Crickets Day in 6 Texas in their honor; and, be it further 7 RESOLVED, That an official copy of this resolution be 8 prepared for the members of The Crickets as an expression of high 9 regard by the Texas Senate and House of Representatives. -
Organic Voodoo Soup!!
Welcome to a spoonful of Organic Voodoo Soup!! LOS PLANTRONICS’ brand new recordings have arrived fresh from the mixing desk, a revolutionary blast from the future and the past. The self explainery title of the album is “ORGANIC VOODOO SOUP” which has turned out to be a bigger, wider and a more wholesome record than their earlier works. In a way, this album has a more focused vision of a proper long play, as opposed to a collection of good songs. Their murky swamp rock sound contains a variety of influences; - garage- soul-boogaloo, electric swamp-R&B, Sun studio gospel-billy, Stax (studio) instrumentals, Chess recordings, Byrds-psychedelia, Memphis horns, Blaxploitation, space-surf guitars, biker-soundtracks, Hammond grooves, spaghetti-westerns, campfire guitars, Mariachi brass, New Orleans funk, Latin jazz, Asian mountain-music, American crime-writers and 1500 century painters! If you dig organic music and recordings you will dig this and with a gumbo of different influences the album is one big pot of boiling Organic Voodoo soup! All ”basic tracks” is recorded live at Parachute studio w/Roar Nilsen as engineer and the elite of Norwegian musicians contributes to the album (Cumshots, El Cuero, Shit City, Grand Café, Nora Noor, Raga Rockers), as well as the African congas player Tabu S. Omari and the vocal group Suspicious Four. Tape-virtuous Don Dons (psychedelic guitar rocker in WE) mixed the album down to 2 inch tape. LOS Plantronics doesn’t sound like anybody else! They never did…But this time they have really outdone themselves and challenged the listener with more complex songs, detailed orchestrating and arranging. -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
Stars Over Clear Lake D Loretta Ellsworth
Stars Over Clear Lake d Loretta Ellsworth Thomas Dunne Books St. Martin's Press New York 053-66526_ch00_5P.indd iii 2/20/17 6:56 AM This is a work of fi ction. All of the characters, organ izations, and events portrayed in this novel are either products of the author’s imagination or are used fi ctitiously. thomas dunne books. An imprint of St. Martin’s Press. stars over clear lake. Copyright © 2017 by Loretta Ellsworth. All rights reserved. Printed in the United States of Amer i ca. For information, address St. Martin’s Press, 175 Fifth Ave nue, New York, N.Y. 10010. www . thomasdunnebooks . com www . stmartins . com Title-page photo courtesy of freeimages.com The Library of Congress Cataloging-in- Publication Data is available upon request. ISBN 978-1-250-09703-3 (hardcover) ISBN 978-1-250-09704-0 (e-book) Our books may be purchased in bulk for promotional, educational, or business use. Please contact your local bookseller or the Macmillan Corporate and Premium Sales Department at 1-800-221-7945, extension 5442, or by e-mail at MacmillanSpecialMarkets@macmillan. com. First Edition: May 2017 10 9 8 7 6 5 4 3 2 1 053-66526_ch00_5P.indd iv 2/20/17 6:56 AM One d 2007 haven’t been inside this place in fi fty years,” I say softly as I pause in Ifront of the sand-colored brick building. The outside of the Surf Ballroom hasn’t changed from when it opened in 1948, its rounded roof making it look like a roller derby from the outside. -
Who Killed Buddy Holly ?
SpringerBriefs in Business For further volumes: http://www.springer.com/series/8860 Ronnie J. Phillips Rock and Roll Fantasy? The Reality of Going from Garage Band to Superstardom Ronnie J. Phillips Colorado State University Fort Collins, CO, USA ISSN 2191-5482 ISSN 2191-5490 (electronic) ISBN 978-1-4614-5899-9 ISBN 978-1-4614-5900-2 (eBook) DOI 10.1007/978-1-4614-5900-2 Springer New York Heidelberg Dordrecht London Library of Congress Control Number: 2012951330 © Springer Science+Business Media New York 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, speci fi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on micro fi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied speci fi cally for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. Permissions for use may be obtained through RightsLink at the Copyright Clearance Center. Violations are liable to prosecution under the respective Copyright Law. The use of general descriptive names, registered names, trademarks, service marks, etc. -
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