Working Americans 1880–2011

Home , If You Love Somebody, John Parr, Oh Sheila, One Night in Bangkok, Plow United, This Is How We Party

WORKING AMERICANS 1880–2011

Volume XII: Our History Through Music

A UNIVERSAL REFERENCE BOOK GREY HOUSE PUBLISHING PUBLISHER: Leslie Mackenzie EDITORIAL DIRECTOR: Laura Mars ASSOCIATE EDITOR: Diana Delgado PRODUCTION MANAGER: Kristen Thatcher MARKETING DIRECTOR: Jessica Moody

AUTHOR: Scott Derks CONTRIBUTORS: Jael Bridgemahon, Jimmy Copening, Lucia Derks, Suzi Kirby, Robert Long, Michael Marturana, J’Vontea Perminter, Jim Reindollar

COPYEDITOR: Elaine Alibrandi COMPOSITION: NPC Inc.

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Publisher’s Cataloging-In-Publication Data

Derks, Scott. Working Americans 1880-2011 / by Scott Derks.

v. : ill. ; cm.

Title varies. “A universal reference book.” Includes bibliographical references and indexes. Contents: v. 1. The working class—v.2. The middle class—v.3. The upper class—v.4. Their children.—v.5. At war.—v.6. Women at work—v.7. Social movements—v.8. Immigrants—v.9. Revolutionary war to civil war—v.10. Sports & Recreation.—v.11. Inventors & Entrepreneurs.— v.12. Our History Through Music. ISBN: 1-891482-81-5 (v.1) ISBN: 1-891482-72-6 (v.2) ISBN: 1-930956-38-X (v.3) ISBN: 1-930956-35-5 (v.4) ISBN: 1-59327-024-1 (v.5) ISBN: 1-59237-063-Z (v.6) ISBN: 1-59237-101-9 (v.7) ISBN: 978-1-59237-197-6 (v.8) ISBN: 978-1-59237-101-3 (v.9) ISBN: 1-59237-441-7 (v. 10) ISBN: 1-59237-565-3 (v. 11) ISBN: 978-1-59237-762-6 (v. 12)

1. Working class—United States—History. 2. Labor—United States—History. 3. Occupation—United States—History. 4. Social classes— United States—History. 5. Immigrants—Employment—United States—History. 6. United States—Economic conditions. 7. Music—United States—History. 1. Title.

HD 8066 .D47 2000 305.5/0973/0904

Printed in the USA

ISBN: 978-1-59237-762-6

TABLE OF CONTENTS

Preface...... xiii Introduction...... xv

1880 – 1899 INTRODUCTION 1891 Proﬁle: Joshua Hamilton, Barbershop Quartet Member ...... 3 Life at Home ...... 3 Life at Work ...... 5 Life in the Community: Cincinnati, Ohio ...... 7

1898 Proﬁle: Amy Marcy Cheney Beach, Child Prodigy Composer ...... 13 Life at Home ...... 13 Life at Work ...... 16 Life in the Community: Boston, Massachusetts ...... 18

Recorded Popular Songs: 1898 ...... 23

1899 Proﬁle: Albert Gustoff, Clarinetist in John Philip Sousa’s Marching Band ..25 Life at Home ...... 25 Life at Work ...... 26 Life in the Community: St. Louis, Missouri ...... 28

Development of the Clarinet...... 32

John Philip Sousa Quotations ...... 33

1899 News Feature: The Vaudeville Theater ...... 35

1900 – 1909 INTRODUCTION 1903 Proﬁle: Floyd Morioka, Methodist Choirmaster...... 41 Life at Home ...... 41 Life at Work ...... 43 Life in the Community: Spokane, Washington ...... 45

1905 Proﬁle: Monty Mandell, Journeyman Piano Player ...... 53 Life at Home ...... 53 Life at Work ...... 54 Life in the Community: New Orleans, Louisiana ...... 56

Recorded Popular Songs: 1905 ...... 63

1909 Proﬁle: Arthur Farwell, Composed Native American Music ...... 65 Life at Home ...... 65 Life at Work ...... 67 Life in the Community: St. Paul Minnesota ...... 70

1909 News Feature: The World’s Music after Five Decades ...... 77

1910 – 1919 INTRODUCTION 1913 Proﬁle: Sarah Washington, African-American Spiritual Singer ...... 83 Life at Home ...... 83 Life at Work ...... 85 Life in the Community: Denmark, South Carolina ...... 87

Booker T. Washington Quotations...... 92

1916 Proﬁle: Geraldine Farrar, New York Metropolitan Opera Singer ...... 95 Life at Home ...... 95 Life at Work ...... 97 Life in the Community: New York, New York ...... 98

1918 Proﬁle: Alonzo “Zo” Elliott, Wrote Famous WWI Song ...... 107 Life at Home ...... 107 Life at Work ...... 109 Life in the Community: New York, New York ...... 110

Recorded Popular Songs from WWI Era: 1914-1918 ...... 115

1919 News Feature: With the Allies on the Rhine ...... 119

1920 – 1929 INTRODUCTION 1925 Proﬁle: Leo Kunstadt, Successfully Marketed Victrola Phonographs .....125 Life at Home ...... 125 Life at Work ...... 127 Life in the Community: Chicago, Illinois ...... 129

Timeline of the Victor Phonograph Company ...... 136

1927 Proﬁle: Florence Mills, Jazz Singer & Dancer ...... 139 Life at Home ...... 139 Life at Work ...... 141 Life in the Community: Harlem, New York ...... 143

1928 News Feature: The Debut of Yehudi Menuhin, The Musical Event of the Month ...... 153

viii TABLE OF CONTENTS

1929 Proﬁle: Dock Boggs, Banjo-Picker & Singer ...... 155 Life at Home ...... 155 Life at Work ...... 157 Life in the Community: Norton, Virginia ...... 159

1930 – 1939 INTRODUCTION 1931 News Feature: The Art of Singing for the Radio...... 171

1934 Proﬁle: Russ Columbo, “Romeo of Song” ...... 173 Life at Home ...... 173 Life at Work ...... 175 Life in the Community: Camden, New Jersey ...... 177

1936 Proﬁle: Mark Strahorn, Fiddler with the Empty Road Band ...... 185 Life at Home ...... 185 Life at Work ...... 187 Life in the Community: Winston-Salem, North Carolina...... 190

1939 Proﬁle: Mary Lou Williams, Pianist, Arranger & Musical Inspiration...... 199 Life at Home ...... 199 Life at Work ...... 201 Life in the Community: Kansas City, Missouri ...... 202

Recorded Popular Songs: 1939 ...... 208

1940 – 1949 INTRODUCTION 1942 Proﬁle: Charlie Christian, Perfected the Single-String Technique on Guitar ...... 213 Life at Home ...... 213 Life at Work ...... 215 Life in the Community: Oklahoma City, Oklahoma ...... 216

1945 Proﬁle: Helen Elizabeth Jones, Trombonist in the All-Girl Traveling Band ...... 223 Life at Home ...... 223 Life at Work ...... 225 Wartime Entertainers in America ...... 227

1945 News Feature: The Music of the North American Indians...... 233

1949 Proﬁle: Martin Block, Radio Broadcaster Turned Popular Disc Jockey..... 235 Life at Home ...... 235 Life at Work ...... 237 Life in the Community: New York, New York...... 239

Recorded Popular Songs: 1949 ...... 245

ix TABLE OF CONTENTS

1950 – 1959 INTRODUCTION 1951 News Feature: The Grass Roots of Opera in America ...... 249

1957 Proﬁle: Carol Lawrence, Maria in West Side Story...... 251 Life at Home ...... 251 Life at Work ...... 253 Life in the Community: New York, New York ...... 254

1958 Proﬁle: Gil Evans, Jazz Arranger ...... 261 Life at Home ...... 261 Life at Work ...... 263 Life in the Community: New York, New York ...... 265

1959 Proﬁle: Johnny Bragg, Rock ‘n’ Roll Pioneer ...... 271 Life at Home ...... 271 Life at Work ...... 273 Life in the Community: Dallas, Texas ...... 275

Recorded Popular Songs: 1950s...... 280

Music Trivia...... 282

1960 – 1969 INTRODUCTION 1964 Proﬁle: Estelle Stewart Axton, Premier Record Producer for Black Artists ...... 287 Life at Home ...... 287 Life at Work ...... 289 Life in the Community: Memphis, Tennessee ...... 292

1966 Proﬁle: Artist Reid Miles, Created Hip Look for Blue Note Records...... 299 Life at Home ...... 299 Life at Work ...... 300 Life in the Community: New York, New York...... 301

The History of Blue Note Records...... 304

Music Trivia...... 307

1968 Proﬁle: Marshall Borowitz, Started Teenage Band “One Night Stand” at 16 ...... 309 Life at Home ...... 309 Life at Work ...... 311 Life in the Community: Myrtle Beach, South Carolina...... 313

Billboard’s Top Songs: 1968 ...... 318

1968 News Feature: Jefferson Airplane, After Bathing at Baxter’s ...... 321

x TABLE OF CONTENTS

1970 – 1979 INTRODUCTION 1972 Proﬁle: Melissa Goldberg, Grateful Dead Deadhead ...... 327 Life at Home ...... 327 Life on the Road ...... 329 Life in the Community: San Francisco, California...... 331

1973 News Feature: The Sherrill Sound ...... 343

1976 Proﬁle: Danny Goldberg, Writer Billboard Magazine, Promoter...... 345 Life at Home ...... 345 Life at Work ...... 347 Life in the Community: Los Angeles, California...... 350

1979 Proﬁle: Eduardo “Lalo” Guerrero, “Father of Chicano Music”...... 359 Life at Home ...... 359 Life at Work ...... 360 Life in the Community: East Los Angeles, California...... 362

Musical Events of 1979...... 366

1980 – 1989 INTRODUCTION 1981 News Feature: Purveying Hard-Core Funk...... 377

1982 Proﬁle: Brad Lawson, Sound Assistant for Austin City Limits TV Show ...... 379 Life at Home ...... 379 Life at Work ...... 382 Life in the Community: Austin, Texas ...... 383

1983 Proﬁle: George Clinton, “The Prince of Funk” ...... 391 Life at Home ...... 391 Life at Work ...... 393 Life in the Community: Detroit, Michigan ...... 394

1985 Proﬁle: Carleen Cahill, Classical Music Singer ...... 401 Life at Home ...... 401 Life at Work ...... 403 Life in the Community: Hillsdale, New York ...... 404

Top Singles: 1985...... 409

1990 – 1999 INTRODUCTION 1993 Proﬁle: Anwar X. Holliday, Music Promoter ...... 417 Life at Home ...... 417 Life at Work ...... 419 Life in the Community: Queens, New York...... 421

xi TABLE OF CONTENTS

1995 Proﬁle: Jim “Soni” Sonefeld, Hootie & the Blowﬁsh Member...... 429 Life at Home ...... 429 Life at Work ...... 431 Life in the Community: Columbia, South Carolina...... 432

1996 News Feature: New Music...... 439

1995 Proﬁle: Zachary Alexander, French Hornist ...... 441 Life at Home ...... 441 Life at Work ...... 442 Life in the Community: Pittsburgh, Pennsylvania ...... 432

Top Songs: 1998 ...... 449

2000 – 2011 INTRODUCTION 2006 Proﬁle: William Bartlett Barret IV, Music Copyright Lawyer...... 457 Life at Home ...... 457 Life at Work ...... 459 Life in the Community: Yuma, Arizona ...... 460

2007 Proﬁle: Ryland Edwards, Jazz Saxophonist & Recording Engineer ...... 469 Life at Home ...... 469 Life at School and Work ...... 472 Life in the Community: New York, New York...... 472

2011 Proﬁle: Wayne C. Henderson, Master Guitar Builder ...... 479 Life at Home ...... 479 Life at Work ...... 481 Life in the Community: Rugby, Virginia...... 482

2011 News Feature: Me and Brian McGee, Leaving His Roots Behind ...... 489

Sources...... 491 Index ...... 493

xii PREFACE

This book is the twelfth in a series examining the social and economic lives of working Americans. In this volume, the focus is on music and musicians whose skill and creativity bring so much joy. Without their willingness to practice countless hours each day, their excitement in exploring new sounds and technology, their creativity not always with monetary reward, the world would be a much poorer place. Their stories range from a self-trained clarinetist in John Philip Sousa’s Marching Band to the wild world of funk master George Clinton. This volume explores the role emerging technology played in the popularity of crooners, Broadway musicals and the demise of records, as well as life as a “Dead head” following the Grateful Dead from event to event. Along the way we encounter a rock critic turned promoter who represented one of Britain’s premier acts, an opera singer who mesmerized the royalty of Europe, a small-town barbershop quartet, a fledgling band who spent a summer playing at Myrtle Beach, South Carolina, and a master guitar maker with dozens of playing awards to his credit. In all, there are 36 stories about making music, learning to perform and the joys of a perfect set. In this volume of the Working Americans series, a variety of musical occupations are explored, ranging from copyright attorney to opera singer, guitar maker to disc jockey, traveling musician to promoter. For most, the love of music began in childhood and blossomed continuously as they grew older—whether they were amateurs or professional performers. Luck occasionally helped them gain notice and opportunity, but only dedication to their craft and talent allowed them to succeed. Some became rich through music; some simply enjoyed their lives more fully. As in previous volumes, all the profiles are modeled on real people and events, with details added based on statistics, the popularity of an idea, or writings of the time. Unlike most previous volumes, the need to identify well known performers by name overrode the historical pattern of these books using no factual names. Therefore, the majority of the individuals profiled in this volume include their real names. They are: Amy Beach (1898), Arthur Farwell (1909), Geraldine Farrar (1916), Zo Elliott (1918), Florence Mills (1927), Russ Columbo (1934), Mary Lou Williams (1939), Charlie Christian (1942), Helen Jones (1945), Martin Block (1949), Carol Lawrence (1957), Gil Evans (1958), Johnny Bragg (1959), Estelle Axton (1964), Reid Miles (1966), Danny Goldberg (1976), Lalo Guerrero (1979), George Clinton (1983), Soni Sonefeld (1995) and Wayne Henderson (2011). Otherwise, every effort has been made to profile accurately the individual’s expertise, as well as home and work experiences. To ensure that the profiles reflect the mood of each decade and the feelings of the subjects, letters, biographies, interviews, high school annuals, and magazine articles were consulted and used. In some cases, the people profiled represent national trends and feelings, but mostly they represent themselves. Ultimately, it is the working Americans and their activities—along with their investment, spending decisions, passions and jobs—that shape the society and economy of the United States.

Working Americans 1880-2011 Volume XII: Our History Through Music is the 12th volume in the Working Americans series. Like its predecessors, this work profiles the lives of Americans – how they lived, how they worked, how they thought – decade by decade. The earliest volumes focus on economic status or social issues. More recent volumes focus on a specific group of Americans – athletes in Volume X and entrepreneurs in Volume XI. This volume highlights American music and musicians – from classical performers to rock star groupies, from production crews to impresarios. Our History Through Music depicts the soundtrack of America – from Appalachia to the Big Apple, from the phonograph to iTunes. Arranged in 12 chapters, this newest Working Americans includes three Profiles per chapter for a total of 36. Each profile offers personal insight using Life at Home, Life at Work and Life in the Community categories. These personal topics are followed by historical and economic data of the time. Historical Snapshots chronicle major milestones. Lists of Popular Songs, Quotes of Famous Musicians, and Timelines of music-related events, i.e. Development of the Clarinet, and the Creation of the Victor Phonograph Company appear throughout. A variety of News Features puts the subject’s life and work in context of the day. These common elements, as well as specialized data, such as Selected Prices, in currency of the time, punctuate each chapter and act as statistical comparisons between decades. The 36 individuals profiled in this volume represent all regions of the country, and a wide variety of ages and ethnic backgrounds. In Volume XII: Our History Through Music, you will:

s-ARCHWITHCLARINETPLAYER!LBERT'USTOFFIN*OHN0HILIP3OUSAS"AND s'OBEHINDTHESCENESWITHDIVA'ERALDINE&ARRAR s2EADOFTHERIVALRYBETWEENCROONERS2USS#OLUMBOAND"ING#ROSBY s,EARNHOWTHE,INDBERGHKIDNAPPINGCREATEDTHEDISCJOCKEY s*OINTHE0RISONAIRESBEHINDBARSBYDAYANDONSTAGEOUTSIDEBYNIGHT s'ETINTHEMOODWITH"LUE.OTE2ECORDSDESIGNER2EID-ILES s"UILDGUITARSWITHMASTER7AYNE(ENDERSON

All twelve volumes, regardless of economic status, time period, or speciﬁc focus, offer a unique, almost uncanny, look at those Americans whose talents, desires, motivations, struggles, and values shaped – and continue to shape – this nation. Without exception, the 401 individuals proﬁled in the twelve volumes of this Working Americans series are working toward their version of the American dream. Like its companion volumes, Working Americans 1880-2011 Volume XII: Our History Through Music is a compilation of original research (personal diaries and family histories) plus printed material (government statistics, commercial advertisements, and news features). The text, in easy-to-read bulleted format, is supported with hundreds of

xv © 2011 Grey House Publishing © 2011 Grey House Publishing 1909 PROFILE Despite the scorn of his fellow musicians, Arthur Farwell used the musical rhythms of native Americans to compose “American” music, earning himself the title of being an “Indianist.”

Life at Home s 7HEN PUBLISHERS REJECTED !RTHUR &ARWELLS CONCEPT OF USING Native American musical rhythms to create “American” music, he founded the Wa-Wan Press in 1901 to promote the importance of exploring folk music in search of America’s musical roots. s &OR THE PAST EIGHT YEARS HE HAD RUN THE OPERATION FROM HIS HOUSE doing nearly everything by himself. s !RTHUR WAS BORN IN IN 3T 0AUL -INNESOTA TO WELL EDUCATED New England transplants; his father prospered in the hardware business. s 4HIS PROVIDED THE FAMILY WITH SERVANTS TUTORS AND LUXURIES SUCH as electricity. s !RTHUR STUDIED THE VIOLIN AS A BOY AND DISPLAYED ENORMOUS prowess. s (IS EDUCATED MOTHER ENCOURAGED HIS INTERESTS AND WROTE SEVERAL progressive articles on child rearing forthe Chicago-based Christian Union Magazine. s !T HOME SHE REVELED IN THE OPPORTUNITY TO STAGE MUSICALS featuring Arthur, his sister Sidney, and children of their neighbors. s !S A TEEN !RTHUR ALSO DEVELOPED HIS HANDYMAN SKILLS WITH excessive tinkering, created his own camera and fashioned a dark room, built a recording telegraph and visited Indian camps Arthur Farwell used the rhythms of Native along the shores of Lake Superior. American music to compose what he called s 4HERE HE WITNESSED 3IOUX )NDIANS PERFORM SUN DANCES AND DRANK American music. in the impressive speeches made by the old Indian priests.

Booker T. Washington Quotations:

The plantation songs known as “spirituals” are the spontaneous outburst of intense religious fervor.... They breathe a childlike faith in a personal Father, and glow with the hope that the children of bondage will ultimately pass out of the wilderness of slavery into the land of freedom. In singing of a deliverance which they believed would surely come, with bodies swaying, with the enthusiasm born of a common experience and of a common hope, they lost sight for the moment of the auction block, of the separation of mother and child, of sister and brother. There is in the plantation songs the pathos and the beauty that appeals to a wide range of tastes, and their harmony makes abiding impressions upon persons of the highest culture. The music of these songs goes to the heart because it comes from the heart.

No race can prosper till it learns that there is as much dignity in tilling a ﬁeld as in writing a poem.

Nothing ever comes to one that is worth having except as a result of hard work.

One man cannot hold another man down in the ditch without remaining down in the ditch with him.

Success in life is founded upon attention to the small things rather than to the large things, to the everyday things nearest to us rather than to the things that are remote and uncommon.

Success is to be measured not so much by the position that one has reached in life as by the obstacles which he has overcome.

The individual who can do something that the world wants done will, in the end, make his way regardless of his race.

There are two ways of exerting one’s strength: one is pushing down, the other is pulling up.

Imagery in Plantation-Based Spiritual: “Changed My Name” Spirituals: I tol’ Jesus it would be all right Satan = slave owner If He changed mah name King Jesus = slave benefactor Babylon = winter Jesus tol’ me I would have to live humble Hell = traveling farther south If He changed mah name Jordan (River) = ﬁrst steps to freedom Israelites = enslaved African-Americans Jesus tol’ me that the world would be ’gainst me Egyptians = slaveholders If He changed mah name Canaan = land of freedom Heaven = Canada or points north But I tol’ Jesus it would be all right Home = Africa If He changed mah name

Timeline of the Victor Phonograph Company

1900 Eldridge Johnson purchased the Berliner Gramophone Company after Berliner lost a legal battle over rights to manufacture ﬂat-disc gramophones; Johnson formed the Consolidated Talking Machine Company.

1901 Johnson reorganized Consolidated Talking Machine and called the new venture The Victor Talking Machine Company. Victor $3, Type A, Type B, Type C, Monarch, and Monarch Deluxe models were introduced. Victor sold 7,570 phonographs during the year.

1902 Victor introduced the “Rigid Arm” tone arm concept, which allowed the arm to pivot independently from the horn. Victor Monarch Jr., Monarch Special, Type P, Royal, Victor II, Victor III and Victor IV models were introduced.

1903 Victor introduced Type D, Type Z, Victor I models. Initial sketches of an internal horn phonograph design appeared, eventually leading to production of the Victrola.

1904 Victor introduced the deluxe gold-trimmed Victor VI model, selling for $100. A tapering tone arm debuted on certain models.

1905 Victor sold 65,591 phonographs during the year.

1906 The pneumatic-powered Victor Auxetophone, introduced in May, sold for $500. The Victrola, the ﬁrst internal horn phonograph, was introduced and became an instant success.

1907 Victor began transitioning manufacture of Victrola cabinets to its Camden plant. The “domed lid” was introduced on the Victrola.

1908 Victor sold a record 107,000 phonographs.

Music Trivia s ,ITTLE2ICHARDSSONGh4UTTI&RUTTIvORIGINALLYCONTAINEDTHELYRICSh4UTTI&RUTTI good booty,” but in 1955, Specialty Records had songwriter Dorothy LaBostrie tame it down to “Tutti Frutti, oh Rudy.” s 2AY#HARLESSRELEASEh7HATD)3AYvWASCREATEDONTHESPOTWHENHE ran out of songs during a marathon dance show in Pittsburgh; concerning the sexy vocal bridge that made the song famous, Charles said, “Hell, let’s face it, everybody knows about the ummmmh, unnnh. That’s how we all got here.” s 4HEROCKNROLLSONGh*OHNNY"'OODEvBY#HUCK"ERRY WHICHWASRELEASED in 1958, originally contained the words “That little colored boy could play,” but was changed to “country boy” so the record could get airtime on the radio. s %LVIS0RESLEYSRELEASEOFh(OUND$OGvINWENTTHROUGHTAKESATTHE RCA studios in New York. “I don’t care what you say,” he told a reporter. “It ain’t nasty.” s 4HETITLEOFTHE"UDDY(OLLYANDTHE#RICKETSSONGh4HATLL"ETHE$AYvCAME from a recurring line in the John Wayne Western movie The Searchers s &ATS $OMINOS BIGGEST HIT h"LUEBERRY (ILL v RELEASED IN WAS ORIGINALLY recorded by Gene Autry in 1940.

Music can name the unnamable and communicate the unknowable. —Leonard Bernstein

Musical Events of 1979

s 3TEPHEN3TILLSBECAMETHElRSTMAJORROCKARTIST to record digitally, laying down four songs at The Record Plant in Los Angeles. s 2OD3TEWARTSh$O9A4HINK)M3EXYvHIT on the Billboard charts and stayed there for four weeks. s &ORTY THREE MILLION VIEWERS WATCHED Elvis! on ABC, a made-for-TV movie starring Kurt Russell as Elvis. s 4HE "EE 'EES COLLECTED FOUR 'RAMMYS FOR Saturday Night Fever. s ""+INGBECAMETHElRSTBLUESARTISTTOTOUR the Soviet Union, kicking off a one-month tour there. s 3OUL SINGER *AMES "ROWN PERFORMED AT THE Grand Ole Opry. s 4HE 0RETENDERS SIGNED A CONTRACT WITH 3IRE Records. s 3INGER $ONNY (ATHAWAY DIED AFTER FALLING stories from his hotel room in New York City. s -#! 2ECORDS PURCHASED!"# 2ECORDS FOR A reported $20 million. s 3EX0ISTOLSBASSIST3ID6ICIOUSWASFOUNDDEAD from an overdose, a day after being released on bail from Rikers Island prison. s 4HE#LASHKICKEDOFFTHEIRlRSTCONCERTONTHEIR ﬁrst American tour at the Berkeley Community Theatre outside San Francisco, California, with the song “I’m So Bored with the U.S.A.” s 6AN(ALENRELEASEDTHEIRSECONDALBUM Van Halen II. s %RIC#LAPTONMARRIED0ATTI"OYD EX WIFEOF#LAPTONSFRIEND'EORGE(ARRISON s +ATE"USHBECAMETHElRSTARTISTTOUSEAWIRELESSMICROPHONE ENABLINGHERTOSINGANDDANCEATTHESAME time. s /NEHUNDREDTENTHOUSANDPEOPLEATTENDEDTHE#ALIFORNIA-USIC&ESTIVALATTHE,!-EMORIAL#OLISEUM where the performers included Aerosmith, The Boomtown Rats, Cheap Trick, Ted Nugent, and Van Halen. s /ZZY/SBOURNEWASlREDASLEADSINGEROF"LACK3ABBATH s )RON-AIDEN 3AMSON AND!NGEL7ITCHSHAREDABILLATTHE-USIC-ACHINEIN#AMDEN ,ONDONCRITIC'EOFF Barton coined the term “New Wave of British Heavy Metal” in a review of the show for Sounds magazine. s 4HREEOFTHEEX "EATLESPERFORMEDONTHESAMESTAGE AS0AUL-C#ARTNEY 'EORGE(ARRISON AND2INGO3TARR jammed with Eric Clapton, Ginger Baker, Mick Jagger, and others at a wedding reception for Clapton at his home. s %LTON*OHNPLAYEDEIGHTCONCERTSINTHE3OVIET5NION s !LTERNATIVE4ENTACLESRECORDLABELWASESTABLISHEDBY$EAD+ENNEDYSFRONTMAN*ELLO"IAFRA s "ILL(ALEYMADEHISlNALSTUDIORECORDINGSAT-USCLE3HOALS !LABAMA s 4HE"EE'EESPLAYEDTOASOLD OUTCROWDAT,OS!NGELES$ODGER3TADIUMASPARTOFTHEIR3PIRITS(AVING&LOWN tour.

Top Singles: 1985

1. “Careless Whisper,” Wham! 2. “Say You, Say Me,” Lionel Richie 3. “Separate Lives,” Phil Collins and Marilyn Martin 4. “I Want to Know What Love Is,” Foreigner 5. “Money for Nothing,” Dire Straits 6. “We Are the World,” USA for Africa 7. “Broken Wings,” Mr. Mister 8. “Everybody Wants to Rule the World,” Tears for Fears 9. “The Power of Love,” Huey Lewis and the News 10. “We Built This City,” Starship 11. “St. Elmo’s Fire,” John Parr 12. “Can’t Fight This Feeling,” REO Speedwagon 13. “Crazy for You,” Madonna 14. “Easy Lover,” Phillip Bailey and Phil Collins 15. “Everytime You Go Away,” Paul Young 16. “Don’t You (Forget About Me),” Simple Minds 17. “Take on Me,” a-ha 18. “Party All the Time,” Eddie Murphy 19. “Everything She Wants,” Wham! 20. “Shout,” Tears for Fears 21. “Alive and Kicking,” Simple Minds 22. “I Miss You,” Klymaxx 23. “Sea of Love,” Honeydrippers 24. “Cool it Now,” New Edition 25. “Part-Time Lover,” Stevie Wonder 26. “Saving All My Love for You,” Whitney Houston 27. “Sussudio,” Phil Collins 28. “Oh Sheila,” Ready for the World 29. “A View to a Kill,” Duran Duran 30. “One More Night,” Phil Collins 31. “Cherish,” Kool & the Gang 32. “Heaven,” Bryan Adams 33. “The Heat Is On,” Glenn Frey 34. “Raspberry Beret,” Prince and The Revolution 35. “You’re the Inspiration,” Chicago 36. “If You Love Somebody Set Them Free,” Sting 37. “Miami Vice Theme,” Jan Hammer 38. “Freeway of Love,” Aretha Franklin 39. “Don’t Lose My Number,” Phil Collins 40. “Never,” Heart 41. “Things Can Only Get Better,” Howard Jones 42. “The Boys of Summer,” Don Henley 43. “Rhythm of the Night,” DeBarge 44. “We Don’t Need Another Hero,” Tina Turner 45. “We Belong,” Pat Benatar 46. “Loverboy,” Billy Ocean 47. “All I Need,” Jack Wagner 48. “One Night In Bangkok,” Murray Head 49. “Never Surrender,” Corey Hart 50. “Lovergirl,” Teena Marie

Top Songs: 1998

1. “I Don’t Want To Miss a Thing,” Aerosmith

2. “Everybody (Backstreet’s Back),” Backstreet Boys

3. “Jump Jive An’ Wail,” Brian Setzer Orchestra

4. “I Want You Back,” N*Sync

5. “The Cup of Life,” Ricky Martin

6. “Too Close,” Next

7. “Good Riddance (Time Of Your Life),” Green Day

8. “From This Moment On,” Shania Twain

9. “My Heart Will Go On,” Celine Dion

10. “Suavemente,” Elvis Crespo

11. “Nice & Slow,” Usher

12. “Tearin’ Up My Heart,” *NSYNC

13. “A Song For Mama,” Boyz II Men

14. “The Boy Is Mine,” Brandy & Monica

15. “Ghetto Supastar (That Is What You Are),” Pras Michel

16. “Intergalactic,” Beastie Boys

17. “Stay (Wasting Time),” Dave Matthews Band

18. “No, No, No part 2,” Destiny’s Child

19. “This Is How We Party,” S.O.A.P.

20. “I’ll Be,” Edwin McCain

21. “Just The Two of Us,” Will Smith

22. “Cruel Summer,” Ace of Base

23. “Gettin’ Jiggy Wit It,” Will Smith

24. “Zoot Suit Riot,” Cherry Poppin’ Daddies

25. “Landslide,” Fleetwood Mac

“Any farewell show feels a little bittersweet. I’ve been through two or three of those,” says Brian McGee. McGee has lived in North Carolina for the last decade, establishing himself in the local singer/songwriter scene and releasing two albums, including last year’s The Taking or the Leaving.

McGee and his wife are moving to New Jersey on August 21, the day after the singer performs a farewell show at The Grey Eagle in Nashville. She will be attending graduate school at Rutgers, he will be reuniting with his punk rock group Plow United to headline the Riot Fest East in Philadelphia on September 24.

“I’m looking forward to the change,” he says. “I’ve been in North Carolina for 11 years, it’s been great. I think I’m ready for something else, something new, something to take me out of my comfort zone and shake things up a little bit.”

McGee, like fellow singer Pierce Edens, was influenced strongly by Nirvana and the Seattle grunge scene. “From playing in punk bands, I definitely was not the quintessential, clean country bluegrass singer or writer. So I have naturally more not-so-smooth edges. I think of Pierce kind of the same way. He definitely has that guttural, grungy kind of thing.”

McGee’s first album, Brian McGee & The Hollow Speed, reflects the strong interest he had in old-time country music. “I wanted my songs to have that flavor, with banjos and fiddles on them.”

His new album, The Taking or the Leaving, is a point of departure from that roots music sound. “I walked away from that because, to be honest, I don’t think clean Americana stuff is where I thrive.

“I came from loud punk rock, so playing rock ‘n’ roll with electric guitars is much more natural to me, and a lot of that comes through,” he says. “I was listening to the Rolling Stones and the Replacements, which I’ve always loved. It was more where my writing was going, to a rock ‘n’ roll vibe.”

We thank the following publications for permission to use material that appears throughout this volume.

Bold Life, 489 Columbus Daily Telegraph, 320 DownBeat Magazine, 268 Frederick Post (Maryland), 242 Hit Parader, 295, 321 Kerrville Daily Times (Texas), 448 Long Beach Independent, 259, 279 Lubbock Evening Journal, 400 Muscatine Journal and News-Tribune, (Iowa), 231 New York Magazine, 412 Oakland Tribune, 244, 268 Oelwein Daily Register (Iowa), 269 Orlando Sentinel, 476 Portsmouth Times (Ohio), 243 Reminisce, 221 Rock Hill Evening Herald, 317 Rolling Stone, 365, 370, 410-411 Santa Fe New Mexican, 369, 388 Syracuse Herald American, 439 Syracuse Herald Journal, 438 The New York Times, 319, 377, 407, 424-426, 435, 450, 464, 466, 477, 485-486 The Sunday Times, (London, U.K), 355 The Syracuse Post-Standard, 447 The Tulane Hullabaloo, 338 Time, 343 Winnipeg Free Press, 368

Afro-American Realty Company, 144 Ambassador Hotel, 314 A After Bathing at Baxter's, 321–323 Amberol cylinder, 126 Aguilera, Christina, 474 Ambré Solaire sunblock, 191 a cappella singing, 6 Ah, Wilderness!, 255 American Bandstand, 257, 289, 310, 380 ABBA, 384 Aida, 240 American Baptist Theological Seminary, Abbey, Henry E., 98 Air-Wick (advertisement), 267 275 ABC Television Network, 257, 302 airplanes American Basketball Association, 351 abolitionists, 7 first commercial, 72 American dream, selling, 255 Abraham Lincoln Brigade, 191 first solo non-stop transatlantic flight, American Express, 8 Abrams, David, 447 145, 156 American Federation of Musicians (AFM), abstinence pledges, 47 flight attendants, 266 187, 237, 263 Academies and Colleges (advertisement), 19 transatlantic, 266 American Idol, 461, 474 Academy Awards, 228, 257, 277, 384, 405, Al-Qaeda, 483 "American Indian Composer, " 75–76 422 Alaska, admitted to the Union, 277 American League, 47 Academy of Motion Picture Arts and Alcatraz prison, 178 American Legion Convention, 351 Sciences, 145 alcohol abstinence pledges, 47 American musical theater, turning point in, Ace, Johnny, 290 Aldrich, Richard, 102 253 Ace Tone keyboard (advertisement), 294 Aldridge Theater, 217 American Negroes, 69 Acid Tests, 302, 329 Alexander, Charles M., 94 American Revolution, 18, 421 Acuff, Roy, 274 Alexander, Clifford, Jr., 351 American Society of Composers, Authors Acuna, Manuel, 360–361 Alexander, James, 290 and Publishers (ASCAP), 237, 263 Adams, Eddie, 314 Alexander, Zachary, 441–444 American Water Works Association, 204 Adelphi Theater (advertisement), 188 Ali, Muhammad, 293 Amica, 97 Adler, Richard, 256 "Alice's Restaurant," 309 Ampex Recorders, 287 "Advertisement: To Commemorate the New album cover, 310 Anderson, Marian, 204 Grateful Dead Album, We Present Our All-American Soap Box Derby, 178 Andrews, Edmund L., 424 Pigpen Look-Alike Contest (Part Two)", "All Coons Look Alike to Me," 54 Andrews, Julie, 256, 257 339 Allegretti, Cosmo, 251 "Anglo-Saxon" way of life, 42 advertising agencies, 8 Allison, Robert, 20 Animals, the, 329 African-Americans allusions, to the Bible, 85 Ann Arbor, Michigan, 402 feared, 7 Alpha Sigma Tau Sorority, 29 anthems, 44 forced integration of, 257 Alvin and the Chipmunks, 361 anti-Semitism, 20 African musical elements, 54, 84 Amadeus, 405 antiphony, 84