Forever Doo-Wop: Race, Nostalgia, and Vocal Group Harmony

Total Page:16

File Type:pdf, Size:1020Kb

Forever Doo-Wop: Race, Nostalgia, and Vocal Group Harmony FOREVER DOO-WOP A volume in the series american pop u lar music Edited by Jeff rey Melnick and Rachel Rubin FOREVER Race, Nostalgia, and Vocal Harmony john michael runowicz University of Massachusetts Press Amherst and Boston Copyright © 2010 by John Michael Runowicz All rights reserved Printed in the United States of America lc 2010027200 isbn 978- 1- 55849- 824- 2 (paper); 823- 5 (library cloth) Designed by Richard Hendel Set in Scala and Gill Sans by Westchester Book Printed and bound by Thomson-Shore, Inc. Library of Congress Cataloging- in- Publication Data Hersey, John Michael, 1962– Forever doo-wop : race, nostalgia, and vocal harmony / John Michael Runowicz. p. cm.—(American popular music) Includes bibliographical references and index. ISBN 978-1-55849-824-2 (pbk. : alk. paper)— ISBN 978-1-55849-823-5 (library cloth : alk. paper) 1. Doo-wop (Music)—History and criticism. I. Title. ML3527.H47 2010 782.42166—dc22 2010027200 British Library Cata loguing in Publication data are available. Like a bouquet of wildfl owers I present this to my wife, Barbara CONTENTS Preface ix Ac know ledg ments xvii Introduction 1 1 the roots of vocal harmony 23 2 the birth of doo- wop 40 3 shortcut to nostalgia 63 4 the doo- wop community 85 5 the oldies circuit 109 Afterword: The Per sis tence of Harmony 141 Notes 149 Index 175 Illustrations follow page 84. PREFACE e have a special connection to the music of our youth. The words, melodies, and rhythms that fi ll our relatively uncluttered and still developing teenage brains leave imprints that last throughout W our lives. The makers of this music also leave last- ing impressions. They are avatars of the optimism and innocence, unbri- dled energy and impulsive rage, unalloyed joy and intense sadness of our youth, emotions that seem so much more easily contacted through the pop- u lar culture of our early years than by other means. The impact of this ex- perience is made all the more poignant by how quickly it seemed to pass. As we, and the music makers, grow older, the music that we shared accu- mulates ever more layers of meaning and aff ective power. Music does this for us both individually and collectively. This book is about a genre of music called doo- wop and the par tic u lar meanings and aff ective power it has come to hold for people today. There have been other books about doo- wop that have focused primarily on its origins and fi rst fl owering in the 1950s and early 1960s, but the period of doo- wop’s adulthood, from the mid- 1960s to today, is when the story gets most interesting for me. What I off er here is a larger and more compre- hensive historical and cultural perspective on this music. Doo- wop pro- vides a rich ground to explore American society and culture. Primary is the opportunity to see how black and white Americans interact, to see the truths of the racial complexity of one node of American pop u lar culture. There is, too, the par tic u lar phenomenon of doo- wop: a style of music whose heyday lasted only a blink of an eye and whose infl uence on later music is still vastly underrated, which nevertheless spawned a long- standing, devoted, and now eco nom ical ly infl uential subculture. To dis- miss this simply as nostalgic consumption is to miss the opportunity to examine the intricacies of the role music plays throughout our lives. Doo- wop’s longevity and place in the national “psyche” makes such a study possible. But this par tic u lar study is also possible because of my fortuitous proximity to this music. I have spent the last twenty- three years working increasingly closely with one of the legendary doo- wop groups, Speedo and the Cadillacs, on what is known as the oldies circuit. A social network, what I call the doo- wop community, has supported the perform- ing careers of the members of this group for more than forty years. The doo- wop community coalesced in the late 1960s around American pop- u lar music of the 1950s. It comprises the singers, band musicians, pro- moters, and fans, who all have an often complex stake in its continued existence. Their story is also my story. It has been and remains at times diffi cult to know where I end and the community begins. So this is an experimental work in many ways. The up- close and personal nature of my social position has yielded opportunities for insight that would not have otherwise been available. But this same close proximity has also made it more diffi cult for me to maintain the safe observational distance from which the usual “re- searcher objectivity” can be claimed. There is always the question, can the storyteller ever be completely removed from the story? Without equivoca- tion, I answer a resounding no. I have become part of what I continue to study— a personal journey that began over two de cades ago. I fi rst met Earl “Speedo” Carroll, the lead singer of the black vocal group the Cadillacs, in the summer of 1987. Peter Millrose, a college friend who was the keyboard player in the Cadillacs’ band and who, like me, is white and a generation younger than Carroll, introduced us. I auditioned to be their guitarist not knowing who the Cadillacs were, although Peter had informed me that they were a fairly well- known New York– area “doo- wop” group who had had a handful of hits in the 1950s. (Playing with the Cadil- lacs was a “good gig,” as Paul Schafer, David Letterman’s bandleader, once told Peter.) My background as a guitarist was in the white rock music of the sixties, seventies, and early eighties, a musical life with an infancy in the British Invasion (the Beatles and Rolling Stones), an adolescence in album- oriented rock (Led Zeppelin and Yes), and an early adulthood in new wave and punk (Elvis Costello and the Clash). In my time with the Cadillacs, I would learn, among many other things, about the African American origin of much of the white rock of my youth. I did not realize it at the time, but I had just enrolled in the school of rhythm and blues. I was taught my fi rst lesson during the audition. Following the chord chart, I played along with Peter on keyboard and Carroll singing. During the song “Zoom,” an up- tempo, jump- blues number (my fi rst encounter with this term), Carroll stopped the music and good- naturedly instructed me to play the chords not on every beat of the four- bar mea sure but just on x preface beats two and four. He also asked that I voice or pitch the chords a little higher, and play them more sharply or staccato. It was a subtle but essen- tial aspect of rhythm and blues guitar playing, and it helped me to recon- ceptualize what it meant to be in a band. In the music of my youth, the guitar dominated the sound. Big, resounding chords and riff s defi ned the texture of most of the music. In the Cadillacs’ band I soon learned that the guitar was just one part of a sonic whole; keyboards, drums, bass, saxophone, and vocals all have an important role to play in the ensemble. Learning to play the guitar diff erently was only the beginning of my od- yssey with Speedo and the Cadillacs. As time went on and I got to know the singers and my fellow band members, a rich, musically infused social network began to reveal itself. I soon discovered that the Cadillacs are one of many vocal groups with roots in the 1950s and early 1960s that perform on the oldies circuit. Everyone had been in show business for de cades, and they had comic, tragic, and inspiring stories to tell. All the stories I was told or overheard had a quality that made them unique to the oldies circuit— the result of a decades- old social milieu in which race, nostalgia, and vocal harmony were common interrelated themes. At a show somewhere in Staten Island, after about four or fi ve years of steady gigging with the Cadillacs, I momentarily stepped out of my role as guitarist and noticed that something special was going on. The concert featured an equal number of white and black acts for a predominantly white middle- aged audience. The show was billed as a “trip down memory lane,” and a picture of a vocal group of indeterminate race was displayed on the program. My “aha!” moment came when I realized that what was being said backstage diff ered from what I overheard in the audience: the per- formers and the concertgoers were not necessarily taking the same nos- talgic journey. My defi nition of nostalgia then was “an overly sentimental look at the past through rose- colored glasses.” But it did not describe what I was witnessing. African American middle- aged singers were sharing the bill with white middle- aged singers, singing in musical harmony, though not necessarily in the same groups. They seemed to be modeling a kind of social harmony that may or may not actually exist, at least not in the straightforward, simple way that the audience may have perceived it. About this time I began pursuing a graduate degree in music, and during my fi rst semester I realized that the musical culture of doo- wop, the oldies circuit, and the Cadillacs were a perfect subject for ethnomusi- cological research.
Recommended publications
  • People in the News Presidents Join Mourners at King Funeral
    Who Is Going To Lead Black America? - Page 3 African Chappelle American Black History Opens Up Month Profile Read-In On "Oprah" Page 2 Page 6 Page 7 A Division of ^^^^^^Pppormmty News, Inc. Volume XV, Number V SERVING PLANO, DALLAS, RICHARDSON, GARLAND, IRVING, MCKINNEY AND MESQUITE February 09 - Februarv 15, 2006 Your Gateway to D all as ^ North of Trinity River ^ Fifty Cents www.MOiVTheGazette.com People In Presidents Join Mourners "Special Moments" The News At King Funeral Focuses On Developing Ten thousand mourners _ including four U.S. Young Girl's Self-Esteem Detective Mike Johnson presidents, numerous members of Congress and has rccenily been appointed many gray-haired veterans of the civil rights By: PaulHaUey to the position of Public movement _ said goodbye to Coretta Scott King Dreamery Optimist^ Visionary. Information Officer for the When it comes to the plight Piano Police Department. on Tuesday, with President Bush saluting her as "I look forward to the "a woman wiio worked to make our nation of Afiican American girls and opportumty to connect with whole." women, each of those adjectives officers in various pans describe consultant Renee' The immense crowd filled the New Birth of the Piano Police Wroten. As founder and Dq>artmcnt. There are a lot Missionary Baptist Church _ a modem, arena- President of Special Moments of officers behind the scenes style megachurch in a subuiiian Adanta county Consulting which includes The doing really good work in the thai was once a stronghold of the Ku Klux Klan community, and part of my Wroten Academy, Ms.
    [Show full text]
  • Diane Edith Watson: the Iconic Living Legend of Los Angeles Politics
    VOL. LXXXVII NO. 6, $1.00 +CA. Sales Tax “For Over Eighty Years, The Voice of Our Community Speaking for Itself.” THURSDAY, FEBRUARY 11, 2021 VOL. LXXVV, NO. 49 • $1.00 + CA. Sales Tax “For Over Eighty Years The Voice of Our Community Speaking for Itself THURSDAY, DECEMBER 12 - 18, 2013 Diane Edith Watson: The Iconic Living Legend of Los Angeles Politics Vice President Kamala has traveled the world and her family. She was born Harris. believes that understanding in Los Angeles in County The iconic political the culture, mentality and General Hospital. Her fa- leader still spends her days customs around the world, ther, William Allen Louis (although quarantined) on has played a large part in Watson, was one of the the phone talking, mentor- allowing her to understand first Black officers hired ing and issuing advice to and succeed in all of her in LAPD and she says her some of the most influen- positions, over her long mother, Dorothy Elizabeth tial leaders from Los An- and heralded political ca- O’Neal Watson, was an geles to Washington D.C. reer. educator and one of the or- Over her five decades in In an interview with The ganizers of Holman United Diane Edith Watson COURTESY PHOTO Diane Watson (m) on the podium at her district office in Los Angeles with the late John Mack (l) and Willis Edwards (r). COURTESY PHOTO BY DANNY J. BAKEWELL, JR. legendary political icon had had already spoken with a Executive Editor already been on the phone cadre of Washington D.C. with House Speaker Nancy leaders, all in the hopes that public service, Diane Wat- Sentinel, Watson spoke Methodist Church on Ad- Diane Edith Watson has Pelosi, was coordinating her the retired congresswoman son has been a school board about her life and says ams Blvd., although Wat- lived a full life and shows pink and green wardrobe was feeling up to making member, a California sena- that the basis of her acts- son is and has remained, to no signs of slowing down.
    [Show full text]
  • Australian Aboriginal Verse 179 Viii Black Words White Page
    Australia’s Fourth World Literature i BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Australia’s Fourth World Literature iii BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Adam Shoemaker THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS iv Black Words White Page E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au Previously published by University of Queensland Press Box 42, St Lucia, Queensland 4067, Australia National Library of Australia Cataloguing-in-Publication entry Black Words White Page Shoemaker, Adam, 1957- . Black words white page: Aboriginal literature 1929–1988. New ed. Bibliography. Includes index. ISBN 0 9751229 5 9 ISBN 0 9751229 6 7 (Online) 1. Australian literature – Aboriginal authors – History and criticism. 2. Australian literature – 20th century – History and criticism. I. Title. A820.989915 All rights reserved. You may download, display, print and reproduce this material in unaltered form only (retaining this notice) for your personal, non-commercial use or use within your organization. All electronic versions prepared by UIN, Melbourne Cover design by Brendon McKinley with an illustration by William Sandy, Emu Dreaming at Kanpi, 1989, acrylic on canvas, 122 x 117 cm. The Australian National University Art Collection First edition © 1989 Adam Shoemaker Second edition © 1992 Adam Shoemaker This edition © 2004 Adam Shoemaker Australia’s Fourth World Literature v To Johanna Dykgraaf, for her time and care
    [Show full text]
  • The Mystics Press Kit 2019 Page 2 of 8
    The https://youtu.be/UJjvxsYzlk8 The Page 1 of 8 Mystics Press Kit 2019 Discover The Mystics Journey To Fame Hearts Cry Out for the Mystics Unravel The Mystics Secret To Thrive Capture The Mystics Magic Embrace The Mystics Four members Delight In the Mystics Treasured moments The Mystics Manager, Joni Sperling (352) 513-3662 E-Mail: [email protected] Press Kit Created By Nola Joy Carello, Publicist www.theoriginalmystics.com (916) 362-6477 http://nolajoyproductionstv.com/ Effective: 8/7/2019 The Mystics Press Kit 2019 Page 2 Of 8 Discover The Mystics Journey To Fame! Imagine….The early 1950’s and 1960’s - Brooklyn, New York Candy stores galore, Kids jumping rope, Neighbors talking with neighbors, Trips to Coney Island, Savory cotton candy, Dancing in the streets, Eluding the mob and Back alley singing where five teenagers harmonized before Competing in a Talent Show at the opulent Loew’s Oriental Theatre located at 86th Street near 18th Avenue, where The Overons began their career! The Overons evolved into The Mystics! Love The Mystics! The driving force of The Mystics has been original member George Galfo! The Mystics Press Kit 2019 Page 3 Of 8 Hearts Cry Out For The Mystics! The Mystics performances are captivating, exhilarating, passionate, engaging and mesmerizing! The Mystics celebrate their 60th anniversary of their mega seller 1959 International and National Hit HUSHABYE which reigned on the charts for six months and are celebrating their 62nd year in the music and entertainment industry. Audiences love The Mystics members who hail from Brooklyn, New York - George Galfo, Phil Cracolici, Rocky Marsicano and Ralph Varrone The Mystics appeared on Dick Clark’s American Bandstand numerous times.
    [Show full text]
  • Record Dedicated to Serving the Needs of the Music & Record Worldindustry
    record Dedicated To Serving The Needs Of The Music & Record worldIndustry May 11, 1969 60c In the opinion of the editors, this week the following records are the WHO IN SINGLE PICKS OF THE WEEK THE WORLD -.A.11111111." LOVE MI TONIGHT TON TOWS Tom Jones, clicking on Young -HoltUnlimited have JerryButlerhas a spicy Bob Dylan sings his pretty stateside TV these days, a new and funky ditty and moodyfollow-up in "I Threw ftAll Away" (Big shouldscoreveryheavily called "Young and Holtful" "Moody Woman" (Gold Sky, ASCAP), which has with"Love Me Tonight" (Dakar - BRC, BMI), which Forever-Parabut, BMI(,pro- caused muchtalkinthe (Duchess, BMI)(Parrot hassomejazzandLatin duced by Gamble -Huff (Mer- "NashvilleSkyline"elpee 40038(. init (Brunswick 755410). cury 72929). (Columbia 4-448261. SLEEPER PICKS OF THE WEEK TELLING ALRIGHT AM JOE COCKER COLOR HIM FATHER THE WINSTONS Joe Cocker sings the nifty The Winstons are new and Roy Clark recalls his youth TheFive Americans geta Traffic ditty that Dave will make quite a name for on the wistful Charles Az- lot funkier and funnier with Mason wrote, "FeelingAl- themselveswith"Color navour - Herbert Kretzmer, "IgnertWoman" (Jetstar, right" (Almo, ASCAP). Denny Him Father"(Holly Bee, "Yesterday,When I Was BMI(, which the five guys Cordell produced (A&M BMI), A DonCarrollPra- Young"(TRO - Dartmouth, wrote (Abnak 137(. 1063). duction (Metromedia117). ASCAP) (Dot 17246). ALBUM PICKS OF THE WEEK ONUTISNINF lUICICCIENS GOLD "Don Kirshner Cuts 'Hair' " RogerWilliams plays "MacKenna's Gold," one of Larry Santos is a newcomer is just what the title says "HappyHeart" andalso the big summer movies, has with a big,huskyvoice I hree Records from 'Hair' withHerbBernsteinsup- getsmuchivorymileage a scorebyQuincy Jones and a good way with tune- plying arrangements and from "Those Were the and singing byJoseFeli- smithing.
    [Show full text]
  • In Theopinion of Theeditors, This Week the Following Records Are The
    record Formerly MUSIC worldVENDOR Vol. 19, No. 927 March 13, 1965 In theopinion of theeditors, this week the following records are the recordroll/1 world J F1,4 WHO SINGLE PICK OF THE WEEK RECORDNO. VOCAL Will. The Kama -Sutracrowdknowsthe 45-5500 iRST ACCOMP IN THE rill 12147) MAGGIE MUSS. TIME 2.06 (OW) musical tricks of the trade and they ply them on this galvanic rock.Gal wails at her bossy guy in a way that teens will understand.Production is WHO ARE YOU complexandappealing.Jubileeis WORLD (Chi Taylor-Ted Oaryll) STACEY CANE By GARY SHERMAN releasing the deck (5500). KAMA-SUTRA PRODUCTIONS pr HY MIIRAHI-PHI( STFINPERc ARTIE RIP,' NVICro#e NANCY ADAMS SLEEPER OF THE WEEK 47-8529 RCA has a new thrush who can sell Omer Productions, a song but good. Her name is Nancy Inc.,ASCAP SPHIA-1938 Adams and this single outing should 2:31 establish her on the scene. Tune is by hit writer Robert Allen. (RCA Victor NOTHING IS TOO GOOD FOR YOU 47.8529) Slew, GEORGE STEVENS THE GREATEST STORY EVER TOLD ALBUM Russell Sims, President Of OF THE WEEK Sims Records, & Jerry Wexler, TheGeorgeStevensproductionof Atlantic Exec VP, At Signing "The Greatest Story Ever Told" will be Of Pact For Atlantic To Dis- playinginan increasing number of areas over the next months.Movie- ... tribute All Sims Product. goers are highly likely to want this Story On Page 6. album which contains the stately and reverant Alfred Newman score for the film.United Artists has the beauti- fully packaged album (UAL/JAS 5120).
    [Show full text]
  • On John Lennon's Music
    “She Said She Said” – The Influence of "Feminine Voices" on John Lennon’s Music (1) John Lennon’s songs show the recurrent influence of female voices, and this can be shown by musicological comparisons of Lennon compositions with earlier songs sung by women, which he was familiar with. Some of these resemblances have already been pointed out; others are discussed here for the first time. Although these influences featured throughout Lennon’s work, we will focus on the early Beatles (1958-1963), and how specific songs, mostly US R&B, influenced Lennon’s songwriting (he wrote in partnership with Paul McCartney, but it is possible to establish the balance of their contributions by reference to secondary literature, eg Miles 1997, Sheff and Golson 1982, MacDonald 2005). (2) In the period 1958-1963 the Beatles developed from a covers band into the most famous popular music group in the world. The group were constantly listening for new material (they had a huge repertoire of covers), and were absorbing and experimenting with different musical styles in response to increasingly feminised audiences. They initially saw their songwriting as addressing a primarily female audience (Lewisohn 2013). Moreover, almost all the works featuring woman’s voices identified in Lennon’s work come from this period. (3) Lennon, by most accounts, was the “macho” Beatle and was occasionally violent towards women, so it seems surprising that he led the way in covering and borrowing from songs sung by women, most particularly, early 60s US girl-groups such as The Shirelles, the Marvelettes and The Cookies. (4) Most accounts of the Beatles' influences emphasise male artists such as Elvis Presley, Little Richard, Buddy Holly and Chuck Berry (Dafydd, Crampton 1996, 4; Gould 2007, 58–68).
    [Show full text]
  • Mastery and Masquerade in the Transatlantic Blues Revival
    Journal of the Royal Musical Association, 2018 Vol. 143, No. 1, 173–210, https://doi.org/10.1080/02690403.2018.1434352 Mastery and Masquerade in the Transatlantic Blues Revival ROSS COLE We wear the mask that grins and lies, It hides our cheeks and shades our eyes, — his debt we pay to human guile; With torn and bleeding hearts we smile, And mouth with myriad subtleties. (Paul Laurence Dunbar)1 When Dunbar, the most celebrated African American poet of the Reconstruction era, published his terse commentary on the trauma of racism ‘We Wear the Mask’, he distilled an abiding facet of the relationship of black to white: whether slave or free, African Americans had been forced to perform a veneer of mirth veiling an inner self torn asunder. Indebted to and necessitated by artful deception and the tactics of trickery, this igurative disguise – manifest in expressive culture as well as the ‘myriad subtleties’ of vernacular language – is the mask of racial alterity. What Dunbar is implying is that black voices of both acquiescence and resistance were mediated by this process of masquerade. he meanings and histories of black music, in consequence, are complex and polysemous. As Charles Keil airmed in 1966, black music functions as a ‘projective test’ through which ‘white liberals, black militants, and others of varying pigmentation and persuasion hear in the blues essentially what they want to hear, ind in the blues ethos what they expect to ind’.2 Such insights serve as a perennial warning for scholars caught up in what Ronald Radano and Philip Bohlman have called the ‘racial imagination’ – a network of unexamined assumptions that lead us to view music Email: [email protected] I wish to thank Sam Barrett, Philip V.
    [Show full text]
  • Jazzflits 01 09 2003 – 01 03 2021
    1 19de JAARGANG, NR. 354 22 MAART 2021 IN DIT NUMMER: 1 BERICHTEN 5 JAZZ OP PAPIER Jeff Gold: ‘Sittin' in’. 6 JAZZ OP DE PLAAT Grégoire Maret & Jazz Station Big Band, Masabumi Kikuchi, Machine Mass Sextet, Christian Pabst, Jeremy Pelt e.a. EN VERDER (ONDER MEER): 12 Ike Quebec (Erik Marcel Frans) 17,5 J AAR JAZZFLITS 01 09 2003 – 01 03 2021 NR. 355 KOMT 5 APRIL UIT ONAFHANKELIJK JAZZPERIODIEK SINDS 2003 BERICHTEN Chris Barber overleden De Britse ‘trad jazz’-trombonist en band- leider Chris Barber is op 2 maart overle- den. Hij was 90 jaar oud en leed aan dementie. Barber bracht honderden opnames uit, verkocht miljoenen platen en gaf meer dan 15.000 concerten in vijftig verschillende landen. Barber ging twee jaar geleden met pensioen. Een impressie van Jazz Middelheim 2010. (Foto: Joke Schot) ‘J AZZ MIDDELHEIM MOET KUNNEN DOORGAAN’ Het festival Jazz Middelheim, dat op 14 en 15 augustus in Antwerpen staat gepland, moet kunnen doorgaan. Dat vindt Bertrand Flamang, de organisator van het festival. Hij rekent erop dat na de zomer de vaccinatiecampagne is beëindigd en is ervan overtuigd dat hij maatregelen kan treffen om een coronaveilig festival te organiseren. Chris Barber. (Persfoto) “Die blik op de toekomst is niet optimistisch of opportunistisch omdat ik organisator ben van een festival. Ik vind dat objectief Wim en Ria Wigt waren meer dan vijftig en realistisch. De (Belgische, red.) overheid heeft een jaar de jaar zijn manager en brachten meer dan 25 platen uit van The Chris Barber Band tijd gehad om een vaccinatiecampagne op te zetten.
    [Show full text]
  • Summerhill Is the Most Unusual School in the World. Here's a Place Where
    Summerhill is the most unusual school in the world. Here’s a place where children are not compelled to go to class – they can stay away from lessons for years, if they want to. Yet, strangely enough, the boys and girls in this school LEARN! In fact, being deprived of lessons turns out to be a severe punishment. Summerhill has been run by A. S . Neill for almost forty years. This is the world’s greatest experiment in bestowing unstinted love and approval on children. This is the place, where one courageous man, backed by courageous parents, has had the fortitude to actually apply – without reservation – the principles of freedom and non- repression. The school runs under a true children’s government where the “bosses” are the children themselves. Despite the common belief that such an atmosphere would create a gang of unbridled brats, visitors to Summerhill are struck by the self-imposed discipline of the pupils, by their joyousness, the good manners. These kids exhibit a warmth and lack of suspicion toward adults, which is the wonder, and delight of even official British school investigators. In this book A. S. Neill candidly expresses his unique - and radical – opinions on the important aspects of parenthood and child rearing. These strong commendations of authors and educators attest that every parent who reads this book will find in it many examples of how Neill’s philosophy may be applied to daily life situations. Educators will find Neill’s refreshing viewpoints practical and inspiring. Reading this book is an exceptionally gratifying experience, for it puts into words the deepest feelings of all who care about children, and wish to help them lead happy, fruitful lives.
    [Show full text]
  • Billboard Magazine
    Frankie Beverly & Maze Tribute Album In The Works Page 1 of 2 Powered by Frankie Beverly & Maze Tribute Album In The Works April 07, 2009 01:02 PM ET Gail Mitchell, L.A. Gospel star Donald Lawrence and Grammy-nominated producer Rex Rideout are among the first collaborators to sign up for an all-star tribute album honoring legendary R&B group Maze, Billboard has learned exclusively. "I Wanna Thank You...An All-Star Tribute to Maze featuring Frankie Beverly" is being produced through Brantera Music Group Inc., headed by Beverly's son Anthony. In addition to Lawrence, who is contributing a full-blown gospel version of Maze's 1984 track, "I Wanna Thank You," Anthony is currently negotiating with several other veteran and new artists from the R&B, gospel and jazz arenas. Rideout is serving as co-producer of the project, whose selections will include a cross section of memorable Maze tunes, among them: the No. 1 R&B hits "Back in Stride" and "Can't Get Over You," "Silky Soul," "Before I Let Go" and "Golden Time of Day." Getting its big break in the early '70s as the backing band and opening act on a Marvin Gaye tour, Maze signed with Capitol and later segued to Warner Bros.. The group's first major R&B chart credit was 1977's "While I'm Alone" which peaked at No. 21. "After 30 hit singles and 12 albums, I thought it was time to get this done," says Anthony, who doubles as the project's executive producer. "The group's longevity boils down to one word: real.
    [Show full text]
  • "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
    Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.
    [Show full text]