American People Do Not Trust Big Government Democratic and Republican Parties and The Political Elitist Establishment In Washington — New Political Party Formed When Independents Represent 50% or More of Voters — When? 2022 or 2024 — Fiscal Responsibility, Limited Constitutional Government, Consumption Tax Replacing All Federal Taxes, and Stopping All Legal and Illegal Immigration Exceeding 1 Million Persons Per Year, Replacing The Warfare and Welfare State With A Peace and Prosperity Economy — Jobs For Everyone — I Have A Dream — The Winner Takes It All — Part 1 — Videos

Posted on December 9, 2014. Filed under: American History, Banking, Blogroll, Business, Central Intelligence Agency (CIA), College, Comedy, Communications, Constitution, Crime, Crisis, Culture, Diasters, Documentary, Economics, Education, Energy, Faith, Family, Federal Bureau of Investigation (FBI), Federal Government, Federal Government Budget, Fiscal Policy, Foreign Policy, Freedom, Friends, government, government spending, history, Homicide, Law, liberty, Life, Links, Literacy, media, Monetary Policy, Money, Music, Music, Natural Gas, Natural Gas, Oil, Oil, People, Philosophy, Photos, Politics, Radio, Radio, Raves, Resources, Security, Talk Radio, Tax Policy, Taxes, Technology, Video, War, Wealth, Weapons, Welfare, Wisdom | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , |

Project_1

The Pronk Pops Show Podcasts

Pronk Pops Show 384: December 8, 2014

Pronk Pops Show 383: December 5, 2014

Pronk Pops Show 382: December 4, 2014

Pronk Pops Show 381: December 3, 2014

Pronk Pops Show 380: December 1, 2014

Pronk Pops Show 379: November 26, 2014

Pronk Pops Show 378: November 25, 2014

Pronk Pops Show 377: November 24, 2014

Pronk Pops Show 376: November 21, 2014

Pronk Pops Show 375: November 20, 2014

Pronk Pops Show 374: November 19, 2014

Pronk Pops Show 373: November 18, 2014

Pronk Pops Show 372: November 17, 2014

Pronk Pops Show 371: November 14, 2014

Pronk Pops Show 370: November 13, 2014

Pronk Pops Show 369: November 12, 2014

Pronk Pops Show 368: November 11, 2014

Pronk Pops Show 367: November 10, 2014

Pronk Pops Show 366: November 7, 2014

Pronk Pops Show 365: November 6, 2014

Pronk Pops Show 364: November 5, 2014

Pronk Pops Show 363: November 4, 2014

Pronk Pops Show 362: November 3, 2014

Pronk Pops Show 361: October 31, 2014

Pronk Pops Show 360: October 30, 2014

Pronk Pops Show 359: October 29, 2014

Pronk Pops Show 358: October 28, 2014

Pronk Pops Show 357: October 27, 2014

Pronk Pops Show 356: October 24, 2014

Pronk Pops Show 355: October 23, 2014

Pronk Pops Show 354: October 22, 2014

Pronk Pops Show 353: October 21, 2014

Pronk Pops Show 352: October 20, 2014

Pronk Pops Show 351: October 17, 2014

Pronk Pops Show 350: October 16, 2014

Pronk Pops Show 349: October 15, 2014

Pronk Pops Show 348: October 14, 2014

Pronk Pops Show 347: October 13, 2014

Pronk Pops Show 346: October 9, 2014

Pronk Pops Show 345: October 8, 2014

Pronk Pops Show 344: October 6, 2014

Pronk Pops Show 343: October 3, 2014

Pronk Pops Show 342: October 2, 2014

Pronk Pops Show 341: October 1, 2014

Pronk Pops Show 340: September 30, 2014

Pronk Pops Show 339: September 29, 2014

Pronk Pops Show 338: September 26, 2014

Pronk Pops Show 337: September 25, 2014

Pronk Pops Show 336: September 24, 2014

Pronk Pops Show 335: September 23 2014

Pronk Pops Show 334: September 22 2014

Pronk Pops Show 333: September 19 2014

Pronk Pops Show 332: September 18 2014

Pronk Pops Show 331: September 17, 2014

Pronk Pops Show 330: September 16, 2014

Pronk Pops Show 329: September 15, 2014

Pronk Pops Show 328: September 12, 2014

Pronk Pops Show 327: September 11, 2014

Pronk Pops Show 326: September 10, 2014

Pronk Pops Show 325: September 9, 2014

Pronk Pops Show 324: September 8, 2014

Pronk Pops Show 323: September 5, 2014

Pronk Pops Show 322: September 4, 2014

Pronk Pops Show 321: September 3, 2014

 

Story 1: American People Do Not Trust Big Government Democratic and Republican Parties and The Political Elitist Establishment In Washington — New Political Party Formed When Independents Represent 50% or More of Voters — When? 2022 or 2024 — Fiscal Responsibility, Limited Constitutional Government, Consumption Tax Replacing All Federal Taxes, and Stopping All Legal and Illegal Immigration Exceeding 1 Million Persons Per Year, Replacing The Warfare and Welfare State With A Peace and Prosperity Economy — Jobs For Everyone — I Have A Dream — The Winner Takes It All — Part 1 — Videos

 

ABBA – I Have A Dream (From The Late Late Breakfast Show, England 1982)

Abba – The Winner Takes It All

Party Affiliation

Trend: Party affiliation in U.S. plus leaners

http://www.gallup.com/poll/15370/party-affiliation.aspx

 

U.S. Partisanship Shifts to GOP After Midterms

Story Highlights

  • U.S. partisanship shifts to net-Republican after midterms
  • GOP also made gains after 1994 and 2002 midterms
  • Democrats made gains following 2006 midterms

PRINCETON, N.J. — Since the Republican Party’s strong showing on Election Day last month, Americans’ political allegiances have shifted toward the GOP. Prior to the elections, 43% of Americans identified as Democrats or leaned toward the Democratic Party, while 39% identified as or leaned Republican. Since then, Republicans have opened up a slight advantage, 42% to 41%, representing a net shift of five percentage points in the partisanship gap.

U.S. Partisanship Before and After the 2014 Midterm Elections

The pre-election results are based on Gallup Daily tracking interviews with 17,259 U.S. adults, conducted between Oct. 1 and Nov. 4. The post-election interviews are based on 12,671 interviews conducted Nov. 5-30.

There have been similar “bandwagon” effects for the winning party in the past, including after the 1994 and 2002 midterm elections, when Republicans benefited, and after the 2006 election, when Democrats made gains.

U.S. Partisanship Before and After Recent Midterm Elections

The most dramatic shift occurred after the 1994 midterms, in which Republicans picked up more than 50 seats in the House of Representatives to gain a majority in that chamber for the first time in 40 years. Before the 1994 elections, Democrats enjoyed a four-point advantage in party affiliation, but after the GOP wave, Republicans emerged with a 12-point margin, for a total shift of 16 points in the gap.

In 2002, Republicans capitalized on the popularity of George W. Bush to accomplish the rare feat of having the president’s party gain seats in Congress in a midterm election. After that strong showing, partisanship moved from a five-point Democratic edge to a four-point Republican margin.

Four years later, with Bush’s job approval rating stuck below 40%, Democrats gained control of both houses of Congress. An already strong Democratic partisanship advantage of 14 points swelled to 22 points after the election.

Not every “wave” election has produced a distinct shift in a party’s advantage. The 1998 and 2010 midterms were also notable for their outcomes, but did not produce any apparent change in Americans’ basic party loyalties. In 1998, Democrats gained seats in the House even with a Democratic president in office. In 2010, Republicans gained a net of 63 seats in the House to win back control of that chamber. That year, the shifts in party allegiances seemed to be in place before the election, with the smallest Democratic edge seen in any recent midterm year. Consequently, in 2010 it appeared that shifts in party allegiances drove the election results, whereas in other years the election results seemed to produce shifts in party affiliation after the election.

The bandwagon effect can largely be explained by the amount of positive publicity given to the victorious party after its success. However, it is unclear why there would be a bandwagon effect following most midterm elections but not all of them.

No Clear Historical Pattern on How Long Post-Midterm Party Gains Last

One key question is how long the effects persist when they do occur. A review of the three elections with obvious bandwagon effects reveals no consistent pattern.

  • The 1994 Republican surge in partisanship was the largest and the longest lasting. Republicans maintained a healthy eight-point advantage in partisanship through December 1994, and an average four-point advantage from January through March 1995. By April, Democrats had regained a slight edge, and for the most part held it throughout the remainder of the year.
  • The 2002 Republican gains were fairly short-lived, evident in November and December and largely gone by January 2003. However, when the Iraq War commenced in March, Republicans saw another surge in partisanship.
  • The 2006 Democratic gains were the most brief, disappearing by December — though that still left the party with a healthy 12-point edge in partisanship.

Implications

The 2014 midterms were an unqualified success for the Republican Party. The GOP took control of the Senate and expanded its majority in the House, giving Republicans control of both houses of Congress for the first time since 2006. And that success has caused Americans to view the Republican Party more favorably than the Democratic Party, as well as to say congressional Republicans should have more influence than President Barack Obama over the direction the nation takes in the next year. Americans are also now more likely to align themselves politically with the Republican Party than the Democratic Party.

It is not clear how long these good feelings toward the GOP will last. That could be influenced by what Republicans do with their enhanced power. While they are unlikely to achieve many of their major policy objectives with a Democratic president in office, how they and the president navigate the key issues facing the nation over the next two years will go a long way toward determining where each party stands heading into the 2016 presidential election.

Survey Methods

Results for this Gallup poll are based on telephone interviews conducted Nov. 5-30, 2014, on the Gallup U.S. Daily survey, with a random sample of 12,671 adults, aged 18 and older, living in all 50 U.S. states and the District of Columbia. For results based on the total sample of national adults, the margin of sampling error is ±1 percentage point at the 95% confidence level.

Each sample of national adults includes a minimum quota of 50% cellphone respondents and 50% landline respondents, with additional minimum quotas by time zone within region. Landline and cellular telephone numbers are selected using random-digit-dial methods.

http://www.gallup.com/poll/179840/partisanship-shifts-gop-midterms.aspx

Obama Loses Support Among White Millennials

Story Highlights

  • Obama job approval among whites aged 18 to 29 is down to 34%
  • White millennials’ approval only 3 points above older whites’
  • Obama approval remains much higher among nonwhite 18-29s

PRINCETON, N.J. — President Barack Obama’s job approval rating in 2014 among white 18- to 29-year-olds is 34%, three points higher than among whites aged 30 and older. This is the narrowest approval gap between the president’s previously strong support base of white millennials and older white Americans since Obama took office.

Obama Job Approval, Younger vs. Older Whites, and All Americans, 2009-2014

By contrast, the president’s approval rating was nine percentage points higher among younger whites in 2009, and 10 points higher in 2010. Additionally, while the president’s approval among younger whites matched his overall national rating in his first two years in office, it is now eight points below the national average. These data underscore the gradual erosion of the disproportionately strong support Obama received from young white voters as he took office in 2009 and ran for re-election in 2012.

The data are based on yearly averages from Gallup’s Daily tracking, including 2014 data through November.

Obama’s support among white millennials has factored into his two presidential election successes. Exit polls conducted after the 2012 election, for example, showed that Obama received 44% of the vote of white 18- to 29-year-olds, about six points higher than he received among whites aged 30 and older. Obama’s 45% job approval rating among 18- to 29-year-old whites in 2012 mirrored these voting results closely. But the president’s 11-point drop among white 18- to 29-year-olds since 2012 is almost double the six-point drop among the national population and among older whites.

Younger Whites’ Approval Now Closer to All Other Age Groups

From a broader perspective, there is relatively little difference today in Obama’s job approval ratings among whites in any of the four major age groups. Whites aged 30 to 49, as well as those 65 and older, have given Obama a 31% approval rating so far in 2014, with 50- to 64-year-olds coming in at 32% and 18- to 29-year-olds at 34%. The spread among age categories was slightly larger in the earliest years of the Obama administration.

Obama Job Approval Among Whites, by Age, 2009-2014

Support Down, but Still Higher Among Nonwhite Than Among White Young People

Although Obama’s approval rating has dropped among black, Hispanic and Asian 18- to 29-year-olds from 2009 to 2014, just as it has among white millennials, the president maintains a much higher level of support among these groups than among whites. Specifically, Obama’s approval is 80% among young blacks, 68% among young Asians, and 55% among Hispanic 18- to 29-year-olds — contrasted with his 34% approval among white young adults.

Age affects Obama’s approval ratings differently among each of these racial and ethnic groups. Obama does slightly less well among black young people than among older blacks, and significantly better among Asians younger than 50 than among those who are older. There is little significant difference in his approval rating by age within the Hispanic population.

Obama Job Approval, by Age and Race/Ethnicity, 2014

Implications

While Obama is significantly more popular among nonwhites than among whites, he was able to count on proportionately stronger support from young whites than older whites in his 2008 and 2012 presidential election campaigns. Now, his support among white millennials appears to be waning, and these young Americans give Obama an approval rating that is only marginally higher than that among older whites.

These findings demonstrate the general importance of race and ethnicity when one talks about Obama’s job approval ratings by age. Obama continues to enjoy higher approval ratings among all 18- to 29-year-olds — regardless of race or ethnicity — than he does among the general population, but this is largely attributable to younger age groups in the U.S. being disproportionately composed of nonwhites. In other words, a big part of the age gap in Obama’s approval ratings today is attributable not so much to differences in approval within racial or ethnic groups, but to the fact that the white population in the U.S. skews older, while the nonwhite population skews younger.

The white vote has become an increasing challenge for Democratic presidential candidates in recent years, as well as Senate candidates in many Southern and swing states. Just this past weekend, a lack of strong support among white voters was instrumental in incumbent Democratic Sen. Mary Landrieu’s loss in Louisiana’s senatorial runoff election. That loss gives the Republicans control of every southern Senate seat from Texas to the Carolinas. While Democrats are likely to be helped in coming years by a growing Hispanic population, Democratic presidential candidates — and senatorial candidates in many states — will continue to need the votes of a substantial minority of white voters in order to put together a winning coalition. Thus, Obama’s continuing loss of support among younger white voters highlights one of the potential challenges ahead for Democratic candidates in 2016.

Survey Methods

Results for this Gallup poll are based on telephone interviews conducted on the Gallup U.S. Daily survey from 2009 through November 2014, with random samples of approximately 355,000 adults, aged 18 and older, living in all 50 U.S. states and the District of Columbia for each of the 2009-2012 yearly samples; approximately 175,000 adults for 2013; and 163,847 adults for Jan. 2-Nov. 30, 2014. For results based on the total sample of national adults in each yearly average, the margin of sampling error is ±1 percentage point at the 95% confidence level. The margin of sampling error for each year’s age subgroups varies by sample size.

Each sample of national adults includes a minimum quota of 50% cellphone respondents and 50% landline respondents, with additional minimum quotas by time zone within region. Landline and cellular telephone numbers are selected using random-digit-dial methods.

http://www.gallup.com/poll/179921/obama-loses-support-among-white-millennials.aspx

how_congress_spends_your_money

About the bar chart and the U.S. Federal Budget.

Bar Chart Data Source: Monthly Treasury Statement (MTS) published by the U. S. Treasury Department. WE DON’T MAKE THIS UP! IT COMES FROM THE U. S. GOVERNMENT! NO ADJUSTMENTS.

The MTS published in October, reports the final actual expenditures for the previous FY. This chart shows FY2014 actual spending data. Here is the link to download your own copy from the Treasury Department web site.

The chart normally shows the proposed budget line for the next fiscal year (FY2015 started 1 October 2014), but Congress has not passed a “budget” for FY2015; we’re still using continuing resolutions to fund the federal government.

The Congressional Budget Office reported on the Federal Debt and the Risk of a Financial Crisis in this report on the non-budget.

NDAC Challenge: Look at the bar chart to find items that are growing and items that are being reduced. Example: One of the largest growth departments is at the Department of Agriculture; it handles Food Stamps (SNAP). You pay taxes, your money is paying for food stamps.

- – – – – – -

Here is a MUST SEE … The Budget in Pictures!

NDAC studies the Budget Proposals submitted to the U.S. Senate each year by the President of the United States and by the House of Representatives. The budget submissions include Budget Historical Tables published by OMB. Expenditures are shown in Table 4.1, scroll way right to find current years actuals and estimates. Our analysis is discussed on the home page of this web site.

“Deficit” vs. “Debt”

Suppose you spend more money this month than your income. This situation is called a “budget deficit”. So you borrow (ie; use your credit card). The amount you borrowed (and now owe) is called your debt. You have to pay interest on your debt. If next month you spend more than your income, another deficit, you must borrow some more, and you’ll still have to pay the interest on your debt (now larger). If you have a deficit every month, you keep borrowing and your debt grows. Soon the interest payment on your loan is bigger than any other item in your budget. Eventually, all you can do is pay the interest payment, and you don’t have any money left over for anything else. This situation is known as bankruptcy.

“Reducing the deficit” is a meaningless soundbite. If theDEFICIT is any amount more than ZERO, we have to borrow more and the DEBT grows.

Each year since 1969, Congress has spent more money than its income. The Treasury Department has to borrow money to meet Congress’s appropriations. Here is a direct link to the Congressional Budget Office web site’s deficit analysis. We have to pay interest* on that huge, growing debt; and it dramatically cuts into our budget.

Cut spending??? What would you cut?
[All federal expenses are shown on the chart above].
And there is a lot of missing money! Where is it?
The Treasury Department has the third largest expense in the federal budget. Only Defense andentitlement programs (run by Departments of Health and Human Services, HUD, and Agriculture (food stamps)) spend more. As the debt increases, so does the interest payment. Entitlement spending is the largest item in our federal budget. Do you have “Compassion” for lower income earners? In FY2013 the U. S. Treasury Department spent $416 Billion of your money on interest payments to the holders of the National Debt.
Compare that to NASA at $17B,
Agriculture at $156B,
Labor at $80B,
Transportation at $76B!Can the federal budget be balanced? Here’s a video about that.
When you buy something, all the companies involved in producing and delivering it, were charged a wide range of taxes, and those costs are part of the price ofeverything you buy. The price of everything you buy will go up to cover any business tax increases.You are paying those corporate taxes! Read more about the proposed Energy Tax increases. So don’t forget that the price of fuel is in the cost of everything. The “Economic Stimulus” is shifting us from an “economic crisis” to a debt crisis!Consider this; if businesses could print their own money and give it away to customers so they could buy the products, many folks would be happy for a while; but the businesses would go bankrupt. Well, that’s what our government is currently doing, printing and giving away money.

 

  • It has been reported that about 50% of Americans pay no income tax. But, if those folks buy anything, they pay “embedded taxes”*. Here is a video about taxation.
    *[About 22% of the price of any product you buy is because of taxation on the companies that were involved in that product being produced and being at a place where it could be bought; and that’s before local sales taxes were added.] Every company must cover ALL its costs (including taxation) in the price of its product; or it will go bankrupt.

 

OPPOSING VIEWS AND MORE:

  • Government Programs always cost more than originally predicted. What about Healthcare?

**The Government cannot provide anything to anyone without first taking money from someone else to pay for it.

NOTABLE QUOTES

  • “For society as a whole, nothing comes as a ‘right’ to which we are ‘entitled’. Even bare subsistence has to be produced…. The only way anyone can have a right to something that has to be produced is to force someone else to produce it… The more things are provided as rights, the less the recipients have to work and the more the providers have to carry the load.” Thomas Sowell, quoted in Forbes and Reader’s Digest.
  • According to Mr. Kneeland, “…all dollars come from the people. Where do [you] think Coca-Cola gets the money to pay its taxes, Exxon gets its money to pay the Exxon Valdez fines, Denny’s gets the money to pay its Justice Department fines, or even Microsoft gets the money to defend itself? It all ultimately can come from only one place, and that’s from individuals.” ED: When you buy a product, the price of that product has to cover ALL the costs to get that product to you.
  • “A politician cannot spend one dime on any spending project without first taking that dime from the person who earned it. So, when a politician votes for a spending bill he is saying that he believes the government should spend that particular dollar rather than the individual who worked for it.” Neal Boortz.
  • “There is no such thing as government money – only taxpayer money.” William Weld, quoted in Readers Digest.
  • “Who will provide the roof to protect you from the rain, the heat to comfort you from the cold, and the coffee to fill your stomach when the damn, greedy capitalists are all gone?” – David Berresford, Thursday, May 20, 2010, Canada Free Press.
SOCIAL SECURITYis not part of the Federal Budget (General Fund). It is a separate account from the General Fund, and has its own source of income (“Payroll Tax”). Social Security payments go in the Social Security Trust Fund (SSTF), and should NOT be counted as general revenue. The SSTF is supposed to be used to pay benefits. But, the Government is under NO OBLIGATION to pay Social Security benefits, and has even borrowed substantially fromtheSSTF for general operations!As of August 2010, there is less being paid into the Social Security Trust Fund than is being paid out to beneficiaries. Social Security is now using its “surplus”.Other Government agencies borrowed from that trust fund, and now have to pay it back. But they already spent it! So how will they pay it back? Through bailouts and taxes. Here is a “must read” about the problem. Your payroll taxes are going into a bottomless hole!The Social Security Administration’s FAQ page about the Trust Fund, and their latestReport (May 2011) explain it well.Beware the term “Social Security Surplus”; there is no such thing. Social Security is aPonzi Scheme, there is never more in the Trust Fund than will ever be needed.

Social Security must be fixed. Here is a debate page. And here is more information on the Root Problem with Social Security.

The Government does not have any money, it does nothing to earn money (maybe defense). Government takes money from you and borrows more (from your children), then spends that! The bailouts of 2008 and 2009 are purely deficit spending. Expect to see enormous deficits in the forseeable future, leading to much more debt.Interest payments on that growing debt will become the largest item in the federal budget. On C-SPAN, President Obama boldly told Americans: “We are out of money.” In 1913, when the Federal Reserve was created with the duty of preserving the dollar, one 20-dollar bill could buy one 20-dollar gold piece. Today, fifty 20-dollar bills are needed to buy one 20-dollar gold piece. Under the Fed’s custody, the U.S. dollar has lost 98 percent of its value. The dollar is the storehouse of our wealth. Has the Fed faithfully safeguarded that storehouse? Thomas Jefferson said, “In questions of power let us hear no more of trust in men, but bind them down from mischief with the chains of the Constitution.”

http://www.federalbudget.com/

U.S. Debt Clock

http://www.usdebtclock.org/

where-did-your-tax-dollar-go-600americas-deficit-federal-spending-600spending-cuts-680budget-entitlement-programs-680national-defense-spending-680impact-medicare-spending-growth-680federal-spending-per-household-680

U.S. Debt Clock

http://www.usdebtclock.org/

The GOP’s ‘Cromnibus’ Compromise

Republicans look to strike back after the president’s executive action on immigration.

House Speaker John Boehner answers questions during his weekly press conference on Dec. 4, 2014, in Washington, D.C.

House Speaker John Boehner has acknowledged that there is no simple way for the GOP to undue the president’s executive action on immigration reform.

By Dec. 8, 2014
A perfect storm of historic dysfunction combined with a lame-duck Congress, a looming power change in the Senate, a budget deadline, the holidays and the countdown to the 2016 elections has not prodded lawmakers to make compromises or to do their basic budgetary work. It has, however, led to a brand-new Washington term. Enter the “cromnibus.”

That’s the name being assigned to a tortured GOP strategy to stick it to President Barack Obama and make a bold statement on immigration and border security – all while avoiding shutting down the federal government right before the holidays, a tactic that didn’t work out so well for the GOP when it happened last year.

Described as a trial balloon, the approach was floated by House Speaker John Boehner at the party’s Tuesday morning meeting last week. The GOP plan goes like this: Congress would pass an omnibus funding bill to keep almost the entire government running into September 2015. However, the Department of Homeland Security – the department that deals with the implementation of Obama’s executive action on immigration, which the Republicans hate – would limp along on a mere continuing resolution that would fund it until sometime next March. That would give Republicans time and opportunity to pressure the Obama administration into backing off its executive action somehow – or at least isolate the DHS budget so Republicans, who next year will control both the House and Senate, could deny the funds needed to implement the action. Meanwhile, House members were given a chance, before recessing for the year, to take what is widely regarded as a show vote to undo the executive action.

[READ: Republicans Use Gridlock Because It Works]

This way, lawmakers explained, House Republicans can vent about border security, Obama and the use of an executive action to grant temporary legal status to more than 4 million people in the country illegally, all without suffering the political consequences of another government shutdown.

Boehner acknowledged that there’s no easy way for congressional Republicans to undo Obama’s executive action; rank-and-file members have thrown around ideas ranging from refusing to provide funds to implement the action to a lawsuit or impeachment.

Each has its logistical and political complications: Refusing to fund Homeland Security could make Republicans look like they don’t care about the safety of the nation’s citizens; a lawsuit (even if the House is deemed to have standing to sue) could cause a political backlash; and impeachment could lead to a repeat of 1998, when a similar action against former President Bill Clinton backfired against the GOP.

Pictured: Immigration reform protesters, left, and tea party protesters, right.

In countering Obama on immigration, the GOP has to weigh the interests of the Hispanic community against the ideals of the party’s base.

And Republicans must be mindful of two important constituencies in 2016 – the GOP base, which wants the action undone and might reject a presidential primary candidate who won’t commit to doing so, and the Hispanic community, which might align itself even more firmly against Republicans if the GOP commits to a policy that would break up families living here with temporary legal status.

“We’re looking at a variety of options, both for right now and when Republicans control both houses of the Congress next year,” Boehner, R-Ohio, told reporters. “Frankly, we have limited options and limited abilities to deal with it directly.”

Thus, GOP strategists have proposed the “cromnibus,” a compromise that would keep nearly all agencies and programs humming along until next September (since Congress has been unable to pass any of the appropriations bills that make up the federal budget) and avoid a government shutdown that would occur if nothing is done before the current continuing resolution expires Dec. 11.

[ALSO: NSA Reform Axed From ‘Cromnibus’]

Meanwhile, Homeland Security would be put on a short budgetary leash until March. By that point, Republicans reason, they will be running both chambers of Congress and will be able to pass legislation excising funding for the part of the department that deals with the new executive action, killing it by starvation.

“The most effective thing we can do is to limit spending,” says Rep. John Fleming, R-La. While Fleming says Obama is assuming excessive powers as the nation’s chief executive, “we’ve got our own power – the power of the purse,” he adds.

Graphic quote by Rep. John Fleming, R-La.: "Republicans are blamed for everything, anyway. What difference does it make?”

But Fleming, like some other House conservatives, is irked by the idea that the House should wait until next year to go full-force against the immigration action – meaning Boehner may need House Democrats to get such a plan approved.

“I don’t think anybody wants a shutdown,” says Rep. Matt Salmon, R-Ariz. But “I think we have significant leverage.”

The simmering rebellion by House conservatives means Boehner is likely to continue to face the same internal divisions he’s had since 2011, when a wave of new tea party-aligned lawmakers gave the GOP the House majority and demanded a rightward turn in the way the party ran things. That pressure largely drove the 16-day government shutdown in October 2013 – a development polls showed Americans blamed on Republicans. So would the public also blame the GOP if Homeland Security does not get the cash it needs to keep Americans safe?

[MORE: Poll Finds Latino Boost for Obama]

“Republicans are blamed for everything, anyway – what difference does it make?” Fleming says.

However, Senate Democrats are determined not to end their reign with a shutdown, even if the GOP gets blamed for it. Getting almost all of the government funded until next fall would be “a big accomplishment,” Senate Majority Leader Harry Reid, D-Nev., told reporters.

Moreover, the GOP needs to worry about overreach, Democrats say. Any specific effort to undo the executive action is likely to be vetoed by Obama. That leaves Republicans in the same position as they were with the Affordable Care Act. They could hold a series of votes opposing it or defunding it, but none would get signed into law. And the difference with immigration, notes Rep. Elijah Cummings, D-Md., is that the substance of the order (as opposed to the process) is indeed popular with the public, in a way Obamacare is not.

“You’re talking about changing the trajectory of a family’s destiny for generations – that’s deep,” Cummings says.

Opposing Obama’s order as executive overreach might excite the GOP base, but Hispanic families are equally excited about the opportunity to stay intact in the U.S., he adds. For Boehner, the challenge may be keeping his Republican family united.

George Carlin – It’s a big club and you ain’t in it

Senator Ted Cruz: ” Let Me Be Clear, I Don’t Trust The Republicans ” – 5/22/13

Rush Limbaugh On Eric Garner, Fox News Criticism FULL INTERVIEW Rush Limbaugh Fox News Sunday

Krauthammer: A Gov’t Shutdown Would Be A Disaster For Republicans – Lou Dobbs – America’s Newsroom

Nation’s Debt Tops $18 Trillion As Dc Continues To Spend – Cavuto

U.S. Debt Clock

http://www.usdebtclock.org/

Urgent Issue Of Immigration & The Budget – Special Report 1st Segment

Americans: In Obama we don’t trust

President’s Unilateral Action on Immigration Undermines Americans’ Trust

***AMERICANS DONT TRUST THE GOVERNMENT *** there criminals.

Top 10 Government Lies – When said ‘Trust Us’

Krauthammer on Obama: American “People Think This Is Failed Presidency”

Why Shouldn’t I Work for the NSA? (Good Will Hunting)

U.S. Drones kill more people than ISIS: Chris Hedges

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Happy Birthday Little Richard — Videos

Posted on December 5, 2014. Filed under: Blogroll, Business, Communications, Culture, Dance, Freedom, Friends, media, Music, People, Radio, Raves, Talk Radio, Video, Wisdom | Tags: , , , , , , , |

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Little Richard Long Tall Sally – Tutti Frutti

Lucille♪

Little Richard – “Long Tall Sally” – from “Don’t Knock The Rock” – HQ 1956

LITTLE RICHARD – Long Tall Sally

Little Richard – Whole Lotta Shakin’ Going On – It’s Little Richard 1963

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Little Richard – Tutti Frutti [Live]

Little Richard – Tutti Frutti

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Little Richard

From Wikipedia, the free encyclopedia
Little Richard
Little Richard in 2007.jpg
Little Richard performing in Austin, Texas, in March 2007

Background informationBirth nameRichard Wayne PennimanBornDecember 5, 1932 (age 82)
Macon, Georgia, United StatesGenresR&B, rock and roll, gospel,soulOccupation(s)Singer-songwriterInstrumentsVocals, pianoYears active1947–presentLabelsRCA Victor, Peacock,Specialty, End, Goldisc Records, Little Star Records,Mercury, Atlantic, Vee-Jay,Modern, Okeh, Brunswick,Reprise, K-Tel, Warner Bros.,DisneyAssociated actsBilly Wright, Larry Williams,Don Covay, Billy Preston, Jimi Hendrix

Richard Wayne Penniman (born December 5, 1932), known by his stage name Little Richard, is an American recording artist, songwriter, and musician. He has been an influential figure in popular music and culture for over six decades. Penniman’s most celebrated work dates from the mid-1950s where his dynamic music and charismatic showmanship laid the foundation for rock and roll. His music also had a pivotal impact on the formation of other popular music genres, including soul and funk. Penniman influenced numerous singers and musicians across musical genres from rock to rap.

Penniman has been honored by many institutions, including inductions into the Rock and Roll Hall of Fame and theSongwriters Hall of Fame. He is the recipient of Lifetime Achievement Awards from The Recording Academy and theRhythm and Blues Foundation. Penniman’s “Tutti Frutti” (1955) was included in the Library of Congress’ National Recording Registry in 2010, claiming the “unique vocalizing over the irresistible beat announced a new era in music.”

Early life

Little Richard was born Richard Wayne Penniman in Macon, Georgia, on December 5, 1932, the third-eldest of twelve. His parents were Leva Mae (née Stewart) and Charles “Bud” Penniman. His father was a church deacon who sold bootlegged moonshine on the side and owned his own nightclub, the Tip In Inn.[1][2] His mother was a member of Macon’s New Hope Baptist Church.[3] Initially, Penniman’s first name was supposed to have been “Ricardo” but an error resulted in “Richard” instead.[1][4] The Penniman children were raised in the poor neighborhood of Macon called Pleasant Hill.[3] He was nicknamed “Lil’ Richard” by family due to his small and skinny frame as a child. A mischievous child who played pranks on neighbors, Penniman began singing in church at a young age.[5][6] Possibly due to complications at birth, Penniman had a slight deformity that left one of his legs shorter than the other. This produced an unusual gait, for which he was mocked over its allegedly effeminate appearance.[7]

Penniman’s family was highly religious, joining various A.M.E., Baptist and Pentecostal churches, with some family members becoming ministers. Penniman enjoyed the Pentecostal churches the most due to its charismatic worship and live music.[8] He later recalled that people in his neighborhood during segregation sang gospel songs throughout the day to keep a positive outlook because “there was so much poverty, so much prejudice in those days.”[9] Penniman had observed that people sang “to feel their connection with God” and to wash their trials and burdens away.[10] Gifted with a loud singing voice, Penniman recalled that he was “always changing the key upwards” and that they once stopped him from singing in church for “screaming and hollering” so loud, earning him the nickname “War Hawk”.[11]

Penniman’s initial musical influences were gospel performers, such as Brother Joe May, Sister Rosetta Tharpe, Mahalia Jackson and Marion Williams. May, who as a singing evangelist was known as the “Thunderbolt of the Middle West” due to his phenomenal range and vocal power, inspired the boy to become a preacher.[12][13] Penniman attended Macon’s Hudson High School where he was a below-average student. His musical talent, however, was recognized there when he learned to play the alto saxophone. Penniman’s mother recalled how Richard was “always musical” and that when he was young, he would always “beat on the steps of the house, and on tin cans and pots and pans, or whatever”, while singing.[14] She also recalled that Richard was so quick at learning to play the saxophone that he was allowed to play with the school’s marching band immediately.[14] While in high school, Penniman obtained a part-time job at the Macon City Auditoriumfor local secular and gospel concert promoter Clint Brantley. Penniman sold Coca-Cola to crowds during concerts of star performers of the day, such as Cab Calloway, Lucky Millinder and his favorite singer, Sister Rosetta Tharpe.[15]

Music career

Beginnings

On October 27, 1947, Sister Rosetta Tharpe heard 14-year-old Penniman singing two of her gospel recordings before her concert at the Macon City Auditorium. Tharpe was so impressed that she invited him to sing onstage during the concert.[15] Clint Brantley recalled that Penniman approached him before the show, announcing that Tharpe was allowing him to open the show. Brantley, as the promoter, told him he could not. However, when the curtain lifted, Penniman began to sing and surprised Brantley with his vocal ability. The crowd cheered and Tharpe paid him for his performance. Penniman was hooked on performing for a living after that.[16] He began singing with traveling shows that came through town and was losing interest in school. He would sing to draw people to the local town prophet and spiritualist, Doctor Nubilio, who wore a turban, a colorful cape and carried a black stick and something that people came to see which Nubilio called “the devil’s child” – a dried up body of a baby with claw feet like a bird and horns on its head. Nubilio told Penniman that he was “gonna be famous” but that he would have to “go where the grass is greener.”[17] Due to problems at home and school and associations in the community, Penniman left and joined Dr. Hudson’s Medicine Show in 1948, performing “Caldonia“.[17] Penniman recalled the song was the first secular R&B song he learned due to his family’s strict rules against playing R&B music, which they considered “devil music”.[18] Penniman soon joined his first musical band, Buster Brown’s Orchestra. While performing with the band, he began using the name Little Richard.[19] After his tenure with the band ended in 1950, Penniman began performing for various vaudeville groups including Sugarfoot Sam from Alabam, the Tidy Jolly Steppers, the King Brothers Circus and Broadway Follies, earning a reputation as a drag performer.[20] Around this time, Penniman began listening more to R&B and frequented Atlanta clubs where he witnessed Roy Brown and Billy Wright. Heavily influenced by Wright’s flamboyant persona and showmanship, Penniman began performing as a solo artist as part of the chitlin’ circuit.[21] Penniman gained notoriety for high-energy onstage antics during live performances.[22] He eventually befriended Wright during an Atlanta performance in 1950.[23]

In 1951, Wright put Penniman in contact with his manager, Zenas Sears, a local deejay. Sears recorded Penniman at his station backed by Wright’s band. The recordings led to a contract that year with RCA Victor.[24] Penniman recorded a total of eight sides for RCA, including the blues ballad, “Every Hour”, which became his first single and a hit in the Georgia area.[24] The release of “Every Hour” improved his relationship with his father, who began regularly performing the song at his nightclub.[24] After its release, Penniman fronted Perry Welch and His Orchestra, playing at clubs and army bases for $100 a week.[25] Penniman learned how to play boogie-woogie piano from teenage musician Esquerita around this time.[26] Penniman left RCA Victor in February 1952 after his records failed to catch on. That same month, his father was suddenly killed after a confrontation outside his club. Penniman, struggling with poverty, settled for work as a dishwasher for Greyhound Lines and hired Clint Brantley as his manager.[27] He formed a band called the Tempo Toppers that year and began to perform as part of blues package tours in clubs across the south, such as New Orleans’ Club Tijuana and Houston’s Club Matinee.[28][29] With the Tempo Toppers, Penniman signed with Don Robey‘sPeacock Records in February 1953, recording eight sides, including four with Johnny Otis and his band that were unreleased at the time.[30] [31] Penniman had a contentious relationship with Robey and soon found himself disenchanted with the record business and with his group, leaving Peacock and disbanding the Tempo Toppers. That same year, Penniman formed a hard-driving R&B band, the Upsetters, which included drummer Charles Connor and saxophonist Wilbert “Lee Diamond” Smith, which toured under Brantley’s management.[32][33][34] The Upsetters began to tour successfully, even without a bass player on songs, forcing drummer Connor to thump “real hard” on his bass drum in order to get a “bass fiddle effect.”[32]

Under the suggestion of Lloyd Price, Penniman sent a two-song demo for Price’s label, Specialty Records, in February 1955. Time passed before Penniman got a call to record for the label.[35] Art Rupe, owner of Specialty Records, loaned Penniman money to buy out his Peacock contract and Rupe set him up to work with producer Robert “Bumps” Blackwell.[36] Upon hearing the demo, Blackwell felt Penniman was Specialty’s answer to Ray Charles. Penniman told Blackwell he preferred the sound of Fats Domino. As a result, Penniman began recording at Cosimo Matassa‘s J&M Studios in New Orleans that September, recording there with several of Domino’s session musicians including drummer Earl Palmer and saxophonist Lee Allen.[37] Initial cuts failed to produce anything to inspire huge sales and Penniman and his producer took a break at a club called the Dew Drop Inn. While there, Penniman performed a risqué song he had improvised from his days on the club circuit called “Tutti Frutti“.[38] The song’s a cappella introduction was based off a drum rhythm Penniman had devised. Blackwell felt the song had hit potential and hired songwriter Dorothy LaBostrie to replace some of Penniman’s sexual lyrics with less controversial words.[39][40] Recorded in three takes in September 1955, “Tutti Frutti” was released as a single in November.[41]

Initial success and conversion

A lot of songs I sang to crowds first to watch their reaction. That’s how I knew they’d hit.

Little Richard[42]

“Tutti Frutti” became an instant hit, reaching No. 2 on Billboard magazine’s Rhythm and Blues Best-Sellers chart and crossing over to the pop charts in both the United States and overseas in the United Kingdom. It reached No. 17 on the Billboard Top 100 in America and No. 29 on the British singles chart, eventually selling a million copies.[22][43] Penniman’s next hit single, “Long Tall Sally” (1956), became his first to reach No. 1 on the R&B chart and the first to reach the top ten of the pop charts in both America and Britain. Like “Tutti Frutti”, it sold over a million copies. Following his success, Penniman built up his backup band, The Upsetters, with the addition of saxophonists Clifford “Gene” Burks and leader Grady Gaines, bassist Olsie “Baysee” Robinson and guitarist Nathaniel “Buster” Douglas.[44] Penniman began performing on package tours across the United States, often appearing last, where he would steal the show. Art Rupe described the differences between Penniman and a similar hitmaker of the early rock and roll period by stating that, while “the similarities between Little Richard and Fats Domino for recording purposes were close”, Penniman would sometimes stand up at the piano while he was recording and that onstage, where Domino was “plodding, very slow”, Penniman was “very dynamic, completely uninhibited, unpredictable, wild. So the band took on the ambience of the vocalist.”[45] During a period of racial tension in the United States, Penniman attracted mixed-race audiences at a time when public places were divided into “white” and “colored” domains. H.B. Barnum later explained that Penniman “opened the door. He brought the races together”.[46] Prior to Penniman, audiences in musical shows were either “all black or all white and no one else could come in.”[46] Penniman’s success enabled audiences of both races to enter the building, albeit still segregated (e.g. blacks on the balcony and whites on the main floor). By the end of Penniman’s performances, however, the audiences would come together to dance.[47] Despite broadcasts on TV from local supremacist groups such as the North Alabama White Citizens Council warning how rock and roll “brings the races together”, Penniman’s popularity was helping to shatter shibboleths that held that black performers could not successfully perform at “white-only venues”, especially in the South where racism was most overt.[48]

Penniman’s show, according to Barnum, was the first rock and roll show to use spotlights and flicker lights, which had been a show business tradition, accentuating Penniman’s innovative use of colorful capes, blouse shirts, makeup and suits studded with multi-colored precious stones and sequins.[49] Penniman’s onstage antics often included running on and off the stage, lifting his leg while playing his piano, and jumping up and down onstage and atop the piano, bringing audiences into a frenzy.[50] Fans reacted in similar and sometimes extreme ways. During Penniman’s show at Baltimore’s Royal Theatre in June 1956, several fans had to be restrained from jumping off the balcony. Cops stopped the show twice to prevent fans who had rushed the stage from ripping souvenirs off of Penniman.[51] During the same show, a woman threw a pair of her undergarments onstage at Penniman, leading other female fans to repeat the action.[51]

Penniman had nine hits in America in 1956 and five in Britain, with recordings such as “Slippin’ and Slidin’“, “Rip It Up” “Ready Teddy“, “The Girl Can’t Help It” and “Lucille“. Most of Penniman’s earlier hits inspired covers by the likes of Pat Boone, Elvis Presley and Bill Haley. Described as having “electrifying movie-star looks”, Penniman accepted brief roles in movies such as Don’t Knock the Rock, Mister Rock and Roll and The Girl Can’t Help It.[52] His success continued in 1957 with international hits such as “Jenny, Jenny” and “Keep A-Knockin’“. Penniman scored further hit singles such as “Good Golly Miss Molly“, eventually scoring 18 hit singles in less than three years.[53][54]

“Good Golly, Miss Molly”, 45 rpm recording on Specialty Records

In May 1957, Penniman released his first album, Here’s Little Richard, which reached No. 13 on the Billboard Top LPs chart, then a rare feat for a rock and roll artist. Penniman’s success made him a millionaire and in late 1956, he settled in Los Angeles, purchasing a mansion in a wealthy section of the city, where he lived next door to boxer Joe Louis.[55] He had engaged in a serious romance with Audrey Robinson, then a teenage college student and later a stripper under the stage name Lee Angel.[56] In October 1957, Penniman embarked on a package tour in Australia with Gene Vincent and Eddie Cochran. During the middle of the tour, he shocked the public by announcing his decision to follow a life in the ministry.[57]Penniman later explained that during a flight from Melbourne to Sydney that he had seen the plane’s red hot engines and felt angels were holding it up.[58] During the Sydney performance, Penniman saw a bright red fireball flying across the sky above him and was deeply shaken.[58] He took the event, later revealed as the launching of the first artificial Earth satelliteSputnik 1, as a sign from God to repent from performing secular music and his wild lifestyle and enter the ministry.[57]Returning to the states ten days early, Penniman later learned that his original return flight had crashed into the Pacific Ocean solidifying his belief he was doing as God wanted.[59] After a performance at the Apollo Theater and a recording session with Specialty later that month, Penniman enrolled at Oakwood College in Huntsville, Alabama, to studytheology.[60][61] Fueling his decision to leave the music business was Penniman’s feeling that he hadn’t received proper remuneration from Specialty.[62] Upon ending his contract with Specialty in 1959, Penniman reluctantly agreed to relinquish any royalties for his material.[63] In 1958, he formed the Little Richard Evangelistic Team, traveling across the country to preach.[64] A month after his conversion, while speaking at an evangelical convention in November 1957, Penniman met Ernestine Campbell, a secretary from Washington, D.C. He married her on July 11, 1959.[65]

Around this time, Penniman began recording gospel and had some chart success with songs such as “He’s Not Just a Soldier” and “Crying in the Chapel”. Another gospel single, “He Got What He Wanted”, reached the top 40 in the UK.[66] Childhood hero Mahalia Jackson acknowledged his gospel efforts after hearing him sing at Mount Moriah Baptist Church in Los Angeles.[67] After working with Penniman on the Mercury album King of the Gospel Singers, Quincy Jones remarked in 1984 that his performance in the studio impressed him more than any other artist with whom he had worked.[68]

Return to secular music

I heard so much about the audience reaction, I thought there must be some exaggeration. But it was all true. He drove the whole house into a complete frenzy … I couldn’t believe the power of Little Richard onstage. He was amazing.

Mick Jagger[69]

In 1962, concert promoter Don Arden convinced Penniman to tour Europe after telling him his records were still selling well there. Arden booked him as the headline artist with Sam Cooke second on the bill.[70] Penniman performed gospel material at the first show without Cooke opening due to the delay of his arrival, receiving a tepid reaction. After Cooke opened the second show with vigorous applause from the crowd, Penniman and his organist Billy Preston warmed up in darkness before launching into “Long Tall Sally”, resulting in hysterical responses. Penniman’s shows received similar responses wherever he would perform, including a show at Mansfield‘s Granada Theatre, which closed early due to fans rushing the stage.[71]Wanting to capitalize on Penniman’s headline-grabbing performances, Beatles manager Brian Epstein asked Penniman and Arden to allow his newly recorded band to open for Penniman on some tour dates to which they agreed, first opening at New Brighton‘s Tower Ballroom that October.[72] The following month, the Beatles opened for Penniman at the Star Club inHamburg.[73] During this time, Penniman advised the group on how to perform his songs and taught Paul McCartney his trademark vocalizations.[73] Back in the U.S., Penniman recorded six rock and roll songs with the Upsetters for Little Star Records, under the name “World Famous Upsetters”, allowing him to keep his options open in the ministry.

Penniman returned to the UK the following fall, with the Rolling Stones as openers.[74] At the end of that tour, he starred in his own special, The Little Richard Spectacular, for Granada Television. The special became a ratings success and led to two rebroadcasts following over 60,000 fan letters. Footage of the special was shown around the world, highlighting the frenzy associated with rock and roll.[75] In 1964, Penniman returned briefly to Specialty and recorded five songs, including the charted single, “Bama Lama Bama Loo”, which reached the top 20 in the UK but only made 82 in the US.[76] Later that year, he signed with Vee-Jay Records and issued the album Little Richard Is Back (And There’s a Whole Lotta Shakin’ Goin’ On!). The album failed to catch on domestically, despite a televised performance of the single “Whole Lotta Shakin’ Goin’ On” on Shindig! that drew wild responses from audience members. By September 1964, Jimi Hendrix had joined the Upsetters band, as a full member.[77] In December, Jimi and some ’50s band members joined Richard in New York for a session of remakes. The most successful collaboration between Little Richard and Hendrix came in the following year, also in New York, when Hendrix, Billy Preston, and Penniman recorded the soul ballad “I Don’t Know What You’ve Got (But It’s Got Me)”, which became a number 12 R&B hit.[78][nb 1] Penniman and Hendrix clashed over tardiness, wardrobe and Hendrix’s stage antics and as a result, in July 1965, Penniman’s brother Robert fired him.[80] That same year, Penniman attempted to set up his own record label but only cut two unreleased tracks. Instead he signed with Modern Records, which resulted in a very agreeable string of rock and soul singles but yielded just one chart-maker, “Do You Feel It?”. He left that label in early 1966 for Okeh Records. Okeh paired Penniman musically with his friend from the mid-1950s, Larry Williams, who produced two albums for him in 1966 and 1967; the first being a studio album, The Explosive Little Richard, which generated the modest hit singles, “Poor Dog” and “Commandments of Love”, and the second, Little Richard’s Greatest Hits: Recorded Live!, which returned him to the pop album charts for the first time in ten years, as well hitting number 28 on the Hot R&B LPs chart.[81][82][83] Williams also acted as the music director for Penniman’s live performances at the Okeh Club in Los Angeles amid the Okeh period, during which time the demand for Penniman’s appearances increased greatly.[84] Leaving Okeh in late-1967, Penniman briefly recorded with Brunswick but left shortly after his final session.

Penniman in 1967

Penniman struggled when he returned to secular music in the 1960s. He often complained to producers in the 1960s that he felt unappreciated as producers pushed him towards a horn-oriented Motown sound and felt he wasn’t treated with appropriate respect.[85] Penniman often performed in dingy clubs and lounges with little support from his label. Penniman adapted a wilder flamboyant and androgynous image that, while a hit with club audiences, was a problem for labels attempting to promote him to conservative R&B buyers.[86] Angered by his decision to “backslide” from his ministry, clergymen in the South forced radio disk jockeys to ignore Penniman’s work.[87] His insistence on performing in front of mixed audiences prevented him from receiving radio time in the areas of Los Angeles affected by the Watts Riots.[88] Despite recording and public relations struggles, according to hisSongwriters Hall of Fame biography, he had sold over 32 million records worldwide by 1968.[89] Focusing on live performances rather than recordings at the end of the 1960s, Penniman found success with performances in casinos and resorts in Las Vegas, New York City and Los Angeles. Penniman returned to the national spotlight in 1969 as a performer at the Atlantic City Pop Festival, where he stole the show from top performers such as Janis Joplin; he did the same to headliner John Lennon at the Toronto Pop Festival. These successes brought Penniman to talk shows such as the Tonight Show Starring Johnny Carson and the Dick Cavett Show, making him a major celebrity again.[90]

Following this, Penniman signed with Reprise Records in 1970, releasing the album, The Rill Thing, which included the charted singles “Freedom Blues” and “Greenwood, Mississippi”. Penniman’s follow-ups for Reprise failed to produce similar success and Penniman spent much of the decade performing as a guest instrumentalist on sessions with rockers such as Delaney and Bonnie, Joey Covington and Joe Walsh. The sessions for Canned Heat‘s “Rockin’ with the King” (1972) and Bachman-Turner Overdrive‘s “Take It Like a Man” (1976) resulted in chart successes. Penniman and three of his brothers formed a management company, Bud Hole Incorporated, around this time.[91] Leaving Reprise in 1973, he charted for independent labels including a Green Mountain Records single, “In the Middle of the Night”, which proceeds went to charity following a string of tornadoes that damaged 12 states.[92] Three years later, the Mainstream Records single “Call My Name” was distributed by Motown but barely charted in 1976. That same year, Penniman re-recorded 18 of his classic hits in Nashville for K-Tel Records, with a single featuring new versions of “Good Golly Miss Molly” and “Rip It Up” reaching the UK singles chart.[93] Following over ten years of drug and alcohol abuse and a string of recent personal tragedies, Penniman quit rock and roll music again in 1977 and returned to evangelism, releasing one gospel album, God’s Beautiful City, in 1979.[94]

Comeback

In 1984, Penniman filed a $112 million lawsuit against Specialty Records, Art Rupe and his publishing company Venice Music and ATV Music for not paying him royalties after he left the label in 1959.[95] The suit would be settled out of court in 1986.[96] According to some reports, Michael Jackson gave Penniman monetary compensation from his work when he co-owned the Beatles and Penniman’s songs with Sony-ATV.[97] In 1985, Charles White released Penniman’s authorized biography, Quasar of Rock: The Life and Times of Little Richard, which returned Penniman to the spotlight due to the book’s subject matter.[98] Penniman returned to show business in what Rolling Stone would refer to as a “formidable comeback” following the book’s release.[98]

Little Richard, interviewed during the 60th Annual Academy Awards, 1988

Reconciling his roles as evangelist and rock and roll musician for the first time, Penniman stated that the genre could be used for good or evil.[99] After accepting a role in the film Down and Out in Beverly Hills, Penniman and Billy Preston penned the faith-based rock and roll song, “Great Gosh A’Mighty” for its soundtrack.[99] Penniman won critical acclaim for his film role and the song found success on the American and British charts.[99] The hit led to the release of the album Lifetime Friend (1986) on Warner Bros. Records, with songs deemed “messages in rhythm” that included a gospel rap track.[100] In addition to a version of “Great Gosh A’Mighty”, cut in England, the album featured two UK charted singles, “Somebody’s Comin'” and “Operator”. Penniman spent much of the rest of the decade guesting on TV shows and appearing in films, winning new fans with what was referred to as his “unique comedic timing”.[101] In 1989, Penniman provided rhythmic preaching and background vocals on the extended live version of the U2/B.B. King hit “When Love Comes To Town“. That same year, Penniman returned to singing his classic hits following a performance of “Lucille” at a Cher-hosted AIDS benefit concert.[102]

In 1990, Penniman contributed a spoken-word rap on Living Colour‘s hit song, “Elvis Is Dead“, from their album Time’s Up.[103][104] The following year, he was one of the featured performers on the hit single and video “Voices That Care” that was produced to help boost the morale of U.S. troops involved in Operation Desert Storm. He also recorded a rock and roll version of “The Itsy Bitsy Spider” that year that led to a deal with Disney Records, resulting in the release of a hit 1992 children’s album, Shake It All About. Throughout the 1990s, Penniman performed around the world and appeared on TV, film, and tracks with other artists, including Jon Bon Jovi, Elton John and Solomon Burke. In 1992, yet another album of remakes was released, this time with Richard and Japanese guitar hero, Takanaka. Included in the band were swamp guitarist Travis Wammack and his drummer son Monkee, members of Richard’s then current touring band.

Later years

In 2000, Penniman’s life was dramatized for the biopic Little Richard, which focused on his early years including his heyday, religious conversion and return to secular music in the early 1960s. Penniman was played by actor Leon, who earned a NAACP Image Award nomination for his role as the musician. In 2002, Penniman contributed to the Johnny Cash tribute album, Kindred Spirits: A Tribute to the Songs of Johnny Cash. In 2006, Penniman was featured in a popular advertisement for the GEICO brand.[105] Then, a 2005 recording of his duet vocals with Jerry Lee Lewis appeared on a cover of the Beatles’ “I Saw Her Standing There” for Lewis’s 2006 album, Last Man Standing. The same year, Penniman signed on as a guest judge for the TV series Celebrity Duets. In 2008, Penniman and Lewis performed alongside John Fogerty at the Grammy Awards of that year in a tribute to the two artists considered to be cornerstones of rock and roll by NARAS. That same year, Penniman appeared on radio host Don Imus‘ benefit album for sick children, The Imus Ranch Record.[106] In June 2010, Penniman recorded a gospel track for an upcoming tribute album to songwriting legend Dottie Rambo.

Towards the end of the first decade of the new millennium, Rolling Stone reported that Penniman remained “one of the most recognized and quotable celebrities in the world.” Throughout the decade, he kept up a stringent touring schedule, performing primarily in the States and Europe. However, sciatic nerve pain in his left leg and then replacement of the involved hip began affecting the frequency of his performances by 2010. Despite his health issues, Penniman continued to receive critical acclaim for his performances, with Rolling Stone reporting after a performance at the Howard Theater in Washington, D.C. in June 2012 that Penniman was “still full of fire, still a master showman, his voice still loaded with deep gospel and raunchy power.”[107] Following the D.C. concert, Penniman performed a full 90 minute show at the Pensacola Interstate Fair in Pensacola in October 2012 and headlined at the Orleans Hotel in Las Vegas during Viva Las Vegas Rockabilly Weekend in March 2013.[108][109]

In 2014, actor Brandon Mychal Smith won critical acclaim for his portrayal of Little Richard in the James Brown bio-pic “Get On Up.”[110][111][112] Mick Jagger co-produced the motion picture.[113][114]

Personal life

Relationships and family

In 1956, Penniman began a romantic relationship with Audrey Robinson, a 16-year-old college student, originally from Savannah, Georgia.[115][116] According to Penniman, he would invite other men to have sex with her in groups and once invited Buddy Holly to have sex with her; Robinson denied those claims.[115][117] The relationship ended after Penniman’s religious conversion in 1957. Robinson later became a stripper using the name Lee Angel. According to Robinson, Penniman wanted to continue to see her but she felt uncomfortable seeing a preacher as a stripper.[118] Described in GQ’s UK edition as a “lifelong soulmate”[which?], Robinson and Penniman are occasionally in each other’s company.[102]

Penniman met his only wife, Ernestine Campbell, at an evangelical rally in October 1957. They began dating that year and wed in July 1959. According to Campbell, she and Penniman initially enjoyed a happy marriage with “normal” sexual relations. Campbell claimed when the marriage ended in divorce in 1963, it was due to Penniman’s celebrity status, noting that it had made life difficult for her. Penniman claimed the marriage fell apart due to him being a neglectful husband.[119] While married, in 1962, Penniman adopted a one-year-old boy, Danny Jones, from a late church associate.[115] Penniman and his son remain close, with Jones often acting as one of his bodyguards.[120]

Sexual orientation

Penniman’s sexual orientation has long been a topic of debate. Penniman claimed that as a child he felt feminine and played with girls, which was the source of jokes at his expense.[121] Caught wearing his mother’s makeup and wardrobe at times, he was brutally punished by his father.[122] Penniman began having sexual encounters with both sexes by his early teens.[123] Allegedly due to his effeminate mannerisms, Penniman’s father kicked him out of their family home at 15.[2]Penniman first became involved in voyeurism in his early twenties, when a female friend of his would drive around and pick up men who would allow him to watch them have sex in the backseat of cars. Penniman was once arrested after a gas station attendant in Macon reported sexual activity in a car featuring Penniman and a couple. Cited on a lewd conduct charge, Penniman spent three days in jail and was temporarily banned from performing in Macon.[124]

During the early 1950s, Penniman had appeared as a drag performer in various vaudeville groups. By the time he entered the chitlin’ circuit, he began using makeup regularly, influenced by Billy Wright, who recommended him his brand of makeup, Pancake 31.[23] Later, as he began experiencing success in the mid-1950s, Penniman made members of his band use makeup as a means to gain entry into white clubs during performances. Penniman later told a columnist, “I wore the make-up so that white men wouldn’t think I was after the white girls. It made things easier for me, plus it was colorful too.”[125] Penniman received female attention during his mid-1950s heyday stating that female fans would give him naked photos of themselves and their phone numbers.[126][127] In 2000, Penniman stated: “I had girlfriends and a stack of women who followed me and traveled with me. I figure if being called a sissy would make me famous, let them say what they want to.”[128]

While attending Oakwood College, Penniman recalled a male student showed himself to him. After the incident was reported to the student’s father, Penniman withdrew from the college.[129] In 1962, Penniman was again arrested after he was caught spying on men urinating at a men’s bathroom at a Trailways bus station in Long Beach, California.[130] Penniman returned to participating in sexual orgies after his return to secular music in the 1960s. He differed in depictions of his sexuality. In 1984, while he noted that he felt homosexuality was “unnatural” and “contagious”, he would tell Charles White that he was “omnisexual” after he was asked about his sex life.[131] In 1995, Penniman told Penthouse that he always knew he was gay.[115] In 2007, Mojo magazine described Penniman as a “bisexualalien”.[132]

Drug and alcohol use

Penniman allegedly was a heavy drinker and cigarette smoker during the mid-1960s. By 1972, he was using cocaine, developing an addiction to the drug. He later lamented during that period, “they should have called me Little Cocaine, I was sniffing so much of that stuff!”[133] He got addicted to heroin and PCP around that same period. Of his drug experiences, he said “I lost my reasoning”.[134] He said of his cocaine addiction that he did whatever he could to use cocaine.[135]Penniman admitted that his addiction to cocaine and heroin was costing him as much as $1,000 a day.[136] In 1977, longtime friend Larry Williams once showed up with a gun and threatened to kill Penniman for failing to pay his drug debt. Penniman later mentioned that this was the most fearful moment of his life because Williams’s own drug addiction made him wildly unpredictable. Penniman did, however, also acknowledge that he and Williams were “very close friends” and when reminiscing of the drug-fueled clash, he recalled thinking “I knew he loved me – I hoped he did”.[137] Within that same year, Penniman had several devastating personal experiences, including his brother Tony’s death of a heart attack, the accidental shooting of his nephew that he loved like a son, and the murder of two close personal friends – one a valet at “the heroin man’s house.”[136] The combination of these experiences convinced Penniman to give up drugs and alcohol, along with rock and roll, and return to the ministry.[138]

Religion

Penniman’s family had deep evangelical (Baptist and AME) Christian roots, including two uncles and a grandfather who were preachers.[11] Penniman also took part in Macon’s Pentecostal churches, which were his favorites mainly due to their music, charismatic praise, dancing in the Holy Spirit and speaking in tongues.[8] At age 10, influenced by Pentecostalism, Penniman would go around saying he was a faith healer, singing gospel music to people who were feeling sick and touching them. He later recalled that they would often indicate that they felt better after he prayed for them and would sometimes give him money.[8] Penniman had aspirations of being a preacher due to the influence of singing evangelist Brother Joe May.[11]

After he was born again in 1957, Penniman enrolled at Oakwood College in Huntsville, Alabama, a mostly black Seventh-day Adventist college, to study theology. Penniman returned to secular music in the early 1960s.[139] He was eventually ordained a minister in 1970, and again resumed evangelical activities in 1977. Penniman represented Memorial Bibles International and sold their Black Heritage Bible, which highlighted the Book’s many black characters. As a preacher, Penniman evangelized in small churches and packed auditoriums of 20,000 or more. His preaching focused on uniting the races and bringing lost souls to repentance through God’s love.[140] In 1984, Penniman’s mother, Leva Mae, died following a period of illness. Only a few months prior to her death, Penniman promised her that he would remain a Christian.[99]

During the 1980s and 1990s, Penniman officiated at celebrity weddings. In 2006, Penniman wedded twenty couples who won a contest in one ceremony.[141] The musician used his experience and knowledge as a minister and elder statesman of rock and roll to preach at funerals of musical friends such as Wilson Pickett andIke Turner.[142] At a benefit concert in 2009 to raise funds to help rebuild children’s playgrounds destroyed by Hurricane Katrina, Penniman asked guest of honorFats Domino to pray with him and others. His assistants handed out inspirational booklets at the concert—a common practice at Penniman’s shows.[143] He somberly told a Howard Theatre, Washington, D.C. audience in June 2012, “I know this is not Church, but get close to the Lord. The world is getting close to the end. Get close to the Lord.”[107] In 2013, Penniman elaborated on his spiritual philosophies, stating “God talked to me the other night. He said He’s getting ready to come. The world’s getting ready to end and He’s coming, wrapped in flames of fire with a rainbow around his throne.” Rolling Stone reported his apocalyptic prophesies generated sniggers from some audience members as well as cheers of support. Penniman responded by stating: “When I talk to you about [Jesus], I’m not playing. I’m almost 81 years old. Without God, I wouldn’t be here.”[144]

Health problems

In October 1985, Penniman returned to the United States from England, where he had finished recording his album Lifetime Friend, to film a guest spot on the show, Miami Vice. Following the taping, he accidentally crashed his sports car into a telephone pole in West Hollywood, California. He suffered a broken right leg, broken ribs and head and facial injuries.[145] His recovery from the accident took several months.[145] His accident prevented him from being able to attend the inaugural Rock and Roll Hall of Fame ceremony in January 1986 where he was one of several inductees. He instead supplied a recorded message.[81]

In 2007, Penniman was having problems walking due to sciatica in his left leg, requiring him to use crutches.[146][147] In November 2009, he entered a hospital to have replacement surgery on his left hip. Despite returning to perform the following year, Penniman’s problems with his hip continued and he is nowadays helped onstage by a wheelchair. He has told fans that his surgery has his hip “breaking inside” and refuses to have further work on it. On September 30, 2013, he revealed to Cee Lo Green at a Recording Academy fundraiser that he had suffered a heart attack at his home the week prior and stated he used aspirin and had his son turn the air conditioner on, which his doctor confirmed had saved his life. Penniman stated, “Jesus had something for me. He brought me through.”[144]

Legacy

Music

“He claims to be ‘the architect of rock and roll’, and history would seem to bear out Little Richard’s boast. More than any other performer – save, perhaps, Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona. On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as ‘Tutti Frutti‘, ‘Long Tall Sally‘ and ‘Good Golly, Miss Molly‘ defined the dynamic sound of rock and roll.”

—Rock and Roll Hall of Fame[81]

Penniman’s music and performance style had a pivotal impact on the shape of the sound and style of popular music genres of the 20th century.[22][40][148] As a rock and roll pioneer, Penniman embodied its spirit more flamboyantly than any other performer.[149] Penniman’s raspy shouting style gave the genre one of its most identifiable and influential vocal sounds and his fusion of boogie-woogie, New Orleans R&B and gospel music blazed its rhythmic trail.[149][150]

Penniman was blessed with a phenomenal voice able to generate croons, wails, and screams unprecedented in popular music.[22] He was cited by two of soul music’s pioneers, Otis Redding and Sam Cooke, as contributing to that genre’s early development. Redding stated that most of his music was patterned after Penniman’s and that he had “done a lot for [him] and [his] soul brothers in the music business.”[151] Cooke said in 1962 that Penniman had done “so much for our music”.[152] Cooke had a top 40 hit with his cover of “Send Me Some Loving” in 1963.

James Brown said that Penniman and the Upsetters, including drummer Charles “Chuck” Connor, were “the first to put the funk in rhythm”, with a biographer stating that their music “spark[ed] the musical transition from fifties rock and roll to sixties funk”.[81][153]

Penniman’s hits of the mid-1950s, such as “Tutti Frutti”, “Long Tall Sally”, “Keep A-Knockin'” and “Good Golly Miss Molly”, were generally characterized by playful lyrics with sexually suggestive connotations.[22] Allmusic writer Richie Unterberger stated that Penniman “merged the fire of gospel with New Orleans R&B, pounding the piano and wailing with gleeful abandon”, and that while “other R&B greats of the early ’50s had been moving in a similar direction, none of them matched the sheer electricity of Richard’s vocals. With his high speed deliveries, ecstatic trills, and the overjoyed force of personality in his singing, he was crucial in upping the voltage from high-powered R&B into the similar, yet different, guise of rock and roll.”[40] Due to his innovative music and style, he’s often widely acknowledged as the “architect of rock and roll”.[81]

Ray Charles introduced him at a concert in 1988 as “a man that started a kind of music that set the pace for a lot of what’s happening today.”[154] Rock and roll pioneer Bo Diddley called Penniman “one of a kind” and “a show business genius” that “influenced so many in the music business”.[152] Penniman’s contemporaries, including Elvis Presley, Bill Haley, Jerry Lee Lewis, The Everly Brothers, Gene Vincent and Eddie Cochran, all recorded covers of Penniman’s works.[155] Taken by Penniman’s music and style, and personally covering four of Penniman’s tunes on his own two breakthrough albums in 1956, Presley told Penniman in 1969 that his music was an inspiration to him and that he was “the greatest”.[156] Pat Boone noted in 1984, “no one person has been more imitated than Little Richard”.[157] As they wrote about Penniman for their Man of the Year – Legend category in 2010, GQ magazine stated that Penniman “is, without question, the boldest and most influential of the founding fathers of rock’n’roll”.[131] R&B pioneer Johnny Otis stated that “Little Richard is twice as valid artistically and important historically as Elvis Presley, the Beatles, and the Rolling Stones put together.”[152]

Society

In addition to his musical style, Penniman was cited as one of the first crossover black artists, reaching audiences of all races. His concerts broke the color line, drawing blacks and whites together despite attempts to sustain segregation. As H.B. Barnum explained in Quasar of Rock, Penniman “opened the door. He brought the races together.” [46] Barnum described Penniman’s music as not being “boy-meets-girl-girl-meets-boy things, they were fun records, all fun. And they had a lot to say sociologically in our country and the world.”[49] Barnum also stated that Penniman’s “charisma was a whole new thing to the music business”, explaining that “he would burst onto the stage from anywhere, and you wouldn’t be able to hear anything but the roar of the audience. He might come out and walk on the piano. He might go out into the audience.” Barnum also stated that Penniman was innovative in that he would wear colorful capes, blouse shirts, makeup and suits studded with multi-colored precious stones and sequins, and that he also brought flickering stage lighting from his show business experience into performance venues where rock and roll artists performed.[158]

Influence

Penniman influenced generations of performers across musical genres.[52] James Brown and Otis Redding both idolized Penniman.[157][159] Brown allegedly came up with the Famous Flames debut hit, “Please, Please, Please“, after Penniman had written the words on a napkin.[160][161] Redding started his professional career with Penniman’s band, The Upsetters.[162] He first entered a talent show performing Penniman’s “Heeby Jeebies”, winning for 15 consecutive weeks.[163] Ike Turnerclaimed most of Tina Turner‘s early vocal delivery was based on Penniman, something Penniman himself reiterated in the foreword of Turner’s biography, King of Rhythm.[164] Bob Dylan first performed covers of Penniman’s songs on piano in high school with his rock and roll group, the Golden Chords; in 1959 when leaving school, he wrote in his yearbook under “Ambition”: “to join Little Richard”.[165] Jimi Hendrix was influenced in appearance (clothing and hairstyle/mustache) and sound by Penniman. He was quoted in 1966 saying, “I want to do with my guitar what Little Richard does with his voice.”[166] Others influenced by Penniman early on in their lives included Bob Seger and John Fogerty.[167][168] Michael Jackson admitted that Penniman had been a huge influence on him prior to Off the Wall.[169]Rock critics noted similarities between Prince‘s androgynous look, music and vocal style to Penniman’s.[170][171] Upon hearing “Long Tall Sally”, John Lennoncommented that he was so impressed that he “couldn’t speak”.[172] Rolling Stones members Mick Jagger and Keith Richards were also profoundly influenced by Penniman, with Jagger citing him as his first induction to R&B music and referring to him as “the originator and my first idol”.[69] Upon hearing “Tutti Frutti”, Richards explained, “it was if, in a single instant, the world changed from monochrome to Technicolor“.[173] Penniman was an early vocal influence on Rod Stewart.[174] David Bowie called Penniman his “inspiration” stating upon listening to “Tutti Frutti” that he “heard God”.[175][176] After opening for him with his band Bluesology, pianistReginald Dwight was inspired to be a “rock and roll piano player”, later changing his name to Elton John.[177] Farookh Bulsara performed covers of Penniman’s songs as a teen, before finding fame as Freddie Mercury, frontman for Queen.[178] Penniman was referred to as Lou Reed‘s rock n roll hero, deriving inspiration from “the soulful, primal force” of the sound made by Penniman and his saxophonist on “Long Tall Sally.” Reed later stated, “I don’t know why and I don’t care, but I wanted to go to wherever that sound was and make a life.”[179] Patti Smith said, “To me, Little Richard was a person that was able to focus a certain physical, anarchistic, and spiritual energy into a form which we call rock ‘n’ roll … I understood it as something that had to do with my future. When I was a little girl, Santa Claus didn’t turn me on. Easter Bunny didn’t turn me on. God turned me on. Little Richard turned me on.”[180] The music of Deep Purple and Motörhead was also influenced by Penniman, as well as that of AC/DC.[181][182] The latter’s Bon Scott idolized Penniman and aspired to sing like him, and Angus Young was first inspired to play guitar after listening to Penniman’s music.[183][184][185][181][182] Later performers such as Mystikal, André “André 3000″ Benjamin of Outkast and Bruno Marswere cited by critics as having emulated Penniman’s style in their own works. Mystikal’s rap vocal delivery was compared to Penniman’s.[186] André 3000’s vocals in Outkast’s hit, “Hey Ya!“, were compared to an “indie rock Little Richard”.[187] Bruno Mars admitted Penniman influenced him. Mars’ song, “Runaway Baby” from his album, Doo-Wops & Hooligans was cited by the New York Times as “channeling Little Richard”.[188]

Awards and honors

Penniman received the Cashbox Triple Crown Award for “Long Tall Sally” in 1956.[189] In 1984, he was inducted into the Georgia Music Hall of Fame. He wasinducted to the Rock and Roll Hall of Fame in 1986.[81] Penniman’s influence on rock and roll was later recognized by the Rockabilly Hall of Fame.[190] In 1990, he received a star on the Hollywood Walk of Fame. He received the Lifetime Achievement Award from the Rhythm and Blues Foundation in 1994.[191] In 1993, he received the Grammy Lifetime Achievement Award.[192] In 1997, he was given the American Music Award of Merit.[193] In 2002, along with Chuck Berry and Bo Diddley, Penniman was honored as one of the first group of BMI icons at the 50th Annual BMI Pop Awards.[194] That same year, he was inducted into the NAACPImage Award Hall of Fame.[195] A year later, he was inducted into the Songwriters Hall of Fame.[89] In 2006, he was inducted into the Apollo Theater Hall of Fame.[196] Four years afterwards, he received a plaque on the theater’s Walk of Fame.[197] In 2008, he received a star at Nashville’s Music City Walk of Fame.[198]In 2009, he was inducted to the Louisiana Music Hall of Fame.[199] The UK issue of GQ named him its Man of the Year in its Legend category in 2010.[200]

Included in numerous Rolling Stone lists, Penniman’s Here’s Little Richard was ranked fifty on the magazine’s list of the 500 Greatest Albums of All Time.[201] He was ranked eighth on its list of the 100 Greatest Artists of All Time.[202] Rolling Stone listed three of Penniman’s recordings, “The Girl Can’t Help It”, “Long Tall Sally” and “Tutti Frutti”, on their 500 Greatest Songs of All Time.[203] Two of the latter songs and “Good Golly, Miss Molly” were listed on the Rock and Roll Hall of Fame’s500 Songs that Shaped Rock and Roll.[204] The Grammy Hall of Fame inducted several of Penniman’s recordings including “Tutti Frutti”, “Lucille”, “Long Tall Sally” and Here’s Little Richard.[205] “Tutti Frutti” topped music magazine Mojos list of “The 100 Records That Changed the World”.[206] The same recording was inducted to the Library of CongressNational Recording Registry with the library claiming the “unique vocalizing over the irresistible beat announced a new era in music”.[207]Penniman appeared in person to receive an honorary degree from his hometown’s Mercer University on May 11, 2013.[208] The day before the doctorate of humanities degree was to be bestowed upon him, the mayor of Macon announced that one of Penniman’s childhood homes, an historic site, will be moved to a rejuvenated section of that city’s Pleasant Hill district. It will be restored and named the Richard Penniman – Pleasant Hill Resource House, a meeting place where local history and artifacts will be displayed as provided by residents.[209][210][211]

Discography

Filmography

Notes

  1. Jump up^ Three other songs were recorded during the sessions, “Dance A Go Go” aka “Dancin’ All Around The World”, “You Better Stop”, and “Come See About Me” (possibly an instrumental), but Vee Jay did not release the latter two.[79]

Citations

  1. ^ Jump up to:a b Kirby 2009, p. 30.
  2. ^ Jump up to:a b White 2003, p. 21.
  3. ^ Jump up to:a b White 2003, pp. 3.
  4. Jump up^ White 2003, pp. 4–5.
  5. Jump up^ Otfinoski 2010, p. 144.
  6. Jump up^ White 2003, p. 7.
  7. Jump up^ White 2003, p. 6.
  8. ^ Jump up to:a b c White 2003, pp. 16–17.
  9. Jump up^ White 2003, pp. 7–9.
  10. Jump up^ White 2003, p. 8.
  11. ^ Jump up to:a b c White 2003, p. 16.
  12. Jump up^ White 2003, pp. 15–17.
  13. Jump up^ Ryan 2004, p. 77.
  14. ^ Jump up to:a b White 2003, p. 18.
  15. ^ Jump up to:a b White 2003, p. 17.
  16. Jump up^ Lauterbach 2011, p. 152.
  17. ^ Jump up to:a b White 2003, pp. 21–22.
  18. Jump up^ White 2003, p. 22: “It was the only song I knew that wasn’t a church song”.
  19. Jump up^ White 2003, pp. 22–23.
  20. Jump up^ White 2003, pp. 24–25.
  21. Jump up^ White 2003, pp. 25–27.
  22. ^ Jump up to:a b c d e Langdon C. Winner. “Little Richard (American musician)”. Britannica Online Encyclopedia. Retrieved March 7, 2013.
  23. ^ Jump up to:a b White 2003, p. 25.
  24. ^ Jump up to:a b c White 2003, p. 28.
  25. Jump up^ White 2003, p. 29.
  26. Jump up^ White 2003, pp. 29–30.
  27. Jump up^ White 2003, p. 34.
  28. Jump up^ White 2003, pp. 35-36.
  29. Jump up^ Berry 2009, pp. 106–107.
  30. Jump up^ White 2003, pp. 36-38.
  31. Jump up^ White 2003, pp. 263–264.
  32. ^ Jump up to:a b White 2003, pp. 38–39.
  33. Jump up^ Allmusic 2013a.
  34. Jump up^ Jonny Whiteside, “Charles Connor: The Rock and Roll Original”, LA Weekly, May 14, 2014.
  35. Jump up^ White 2003, pp. 40–41.
  36. Jump up^ Nite 1984, p. 390.
  37. Jump up^ White 2003, pp. 44–47.
  38. Jump up^ White 2003, p. 39.
  39. Jump up^ White 2003, pp. 55–56.
  40. ^ Jump up to:a b c Allmusic 2013b.
  41. Jump up^ White 2003, p. 264.
  42. Jump up^ Du Noyer 2003, p. 14.
  43. Jump up^ “Show 6 – Hail, Hail, Rock ‘n’ Roll: The rock revolution gets underway. [Part 2]: UNT Digital Library”. Digital.library.unt.edu. March 16, 1969. Retrieved September 18, 2010.
  44. Jump up^ White 2003, p. 58.
  45. Jump up^ White 2003, pp. 74–75.
  46. ^ Jump up to:a b c White 2003, p. 69.
  47. Jump up^ Pegg 2002, p. 50: “Although they still had the audiences together in the building, they were theretogether. And most times, before the end of the night, they would be all mixed together”.
  48. Jump up^ White 2003, pp. 82–83.
  49. ^ Jump up to:a b White 2003, p. 70.
  50. Jump up^ Bayles 1996, p. 133: “He’d be on the stage, he’d be off the stage, he’d be jumping and yelling, screaming, whipping the audience on …”.
  51. ^ Jump up to:a b White 2003, p. 66.
  52. ^ Jump up to:a b Myers, Marc (October 10, 2010). “Little Richard, The First”. The Wall Street Journal. Retrieved September 29, 2011.
  53. Jump up^ White 2003, p. 241.
  54. Jump up^ White 2003, pp. 264–265.
  55. Jump up^ White 2003, pp. 82.
  56. Jump up^ White 2003, pp. 70–74.
  57. ^ Jump up to:a b White 2003, pp. 89–92.
  58. ^ Jump up to:a b White 2003, p. 91.
  59. Jump up^ White 2003, p. 92.
  60. Jump up^ White 2003, p. 95.
  61. Jump up^ Miller 1996, p. 248.
  62. Jump up^ White 2003, pp. 88–89.
  63. Jump up^ White 2003, pp. 95–97.
  64. Jump up^ White 2003, pp. 94–95.
  65. Jump up^ White 2003, p. 97.
  66. Jump up^ White 2003, p. 267.
  67. Jump up^ White 2003, p. 103: “He sang gospel the way it should be sung. He had that primitive beat and sound that came so naturally … the soul in his singing was not faked. It was real”.
  68. Jump up^ White 2003, p. 102: “Richard had such a unique voice and style that no one has ever matched it – even to this day”.
  69. ^ Jump up to:a b White 2003, p. 119.
  70. Jump up^ White 2003, p. 106.
  71. Jump up^ White 2003, p. 112.
  72. Jump up^ Winn 2008, p. 12.
  73. ^ Jump up to:a b Harry 2000, p. 600.
  74. Jump up^ Hinckley 1995, pp. 16–18.
  75. Jump up^ White 2003, p. 121.
  76. Jump up^ White 2003, p. 248.
  77. Jump up^ McDermott 2009, p. 13.
  78. Jump up^ McDermott 2009, p. 12: Hendrix recording with Penniman; Shadwick 2003, pp. 56–57: “I Don’t Know What You Got (But It’s Got Me)” recorded in New York City.
  79. Jump up^ Shadwick 2003, p. 57.
  80. Jump up^ Shadwick 2003, pp. 56–60.
  81. ^ Jump up to:a b c d e f “Little Richard”. The Rock and Roll Hall of Fame. 1986. Retrieved March 6, 2013.
  82. Jump up^ White 2003, pp. 253–255.
  83. Jump up^ White 2003, pp. 268–269.
  84. Jump up^ White 2003, p. 129.
  85. Jump up^ “Religion and Rock and Roll”, Joel Martin Show, WBAB 102.3 FM, NY. Guests: Harry Hepcat and Little Richard, August 16, 1981.
  86. Jump up^ Gulla 2008, p. 41.
  87. Jump up^ White 2003, p. 132.
  88. Jump up^ White 2003, p. 133.
  89. ^ Jump up to:a b “Songwriters Hall of Fame – Little Richard Biography”. Songwriters Hall of Fame. RetrievedDecember 15, 2012.
  90. Jump up^ Gulla 2008, pp. 41–42.
  91. Jump up^ White 2003, p. 168.
  92. Jump up^ Jet 1973, p. 62.
  93. Jump up^ Betts, Graham (2004). Complete UK Hit Singles 1952–2004 (1st ed.). London: Collins. p. 457.ISBN 0-00-717931-6.
  94. Jump up^ White 2003, p. 201.
  95. Jump up^ Ocala Star-Banner 1984, p. 2.
  96. Jump up^ Billboard 1986, p. 84.
  97. Jump up^ “Michael Jackson’s mom played role in business – Entertainment – Celebrities”. August 5, 2009. Retrieved December 28, 2012.
  98. ^ Jump up to:a b Rolling Stone 2013.
  99. ^ Jump up to:a b c d White 2003, p. 221.
  100. Jump up^ White 2003, p. 273.
  101. Jump up^ Little Richard at the Internet Movie Database
  102. ^ Jump up to:a b Chalmers 2010e.
  103. Jump up^ Mahon 2004, p. 151.
  104. Jump up^ Rodman 1996, p. 46.
  105. Jump up^ “The Unlikely Titan Of Advertising”. CBS News. February 14, 2007.
  106. Jump up^ “Singers Aid a Charity and The Man Who Runs It”. September 10, 2008.
  107. ^ Jump up to:a b By Patrick Doyle (June 17, 2012). “Little Richard Tears Through Raucous Set in Washington, D.C. | Music News”. Rolling Stone. RetrievedMarch 2, 2013.
  108. Jump up^ “Little Richard in concert”. GoPensacola.com. October 28, 2012. Retrieved April 14, 2013.
  109. Jump up^ “Photos: Little Richard headlines at Viva Las Vegas Rockabilly Weekend at The Orleans”. Las Vegas Sun. April 1, 2013. Retrieved April 2, 2013.
  110. Jump up^ David Blaustein, “Will ‘Get On Up’ Make You Stand Up and Cheer?”, ABC News, August 1, 2014.
  111. Jump up^ Mark McCarver, “James Brown’s biopic ‘Get On Up’ takes huge risks with mixed results”, Baltimore Post-Examiner, August 1, 2014.
  112. Jump up^ “These Are The Best Parts Of ‘Get On Up'”, The Huffington Post, August 1, 2014.
  113. Jump up^ “Get on Up (2014)”, IMDb, August 1, 2014.
  114. Jump up^ Annette Witheridge, “My mate the sex machine: Mick Jagger on his movie about his ‘inspiration’ James Brown”, Mirror, August 2, 2014.
  115. ^ Jump up to:a b c d Chalmers 2010c.
  116. Jump up^ Chalmers 2010d.
  117. Jump up^ White 2003, pp. 84–85.
  118. Jump up^ White 2003, p. 99.
  119. Jump up^ White 2003, p. 105.
  120. Jump up^ Christopher Merchant, “Little Richard’s Cadillac struck in Murfreesboro crash”, The Tennesseean, August 28, 2014.
  121. Jump up^ White 2003, p. 9.
  122. Jump up^ Jet 2000, p. 64.
  123. Jump up^ White 2003, p. 10.
  124. Jump up^ White 2003, p. 41.
  125. Jump up^ Jet 1984, p. 60.
  126. Jump up^ White 2003, p. 70-71.
  127. Jump up^ Gulla 2008, p. 36.
  128. Jump up^ Jet 2000, p. 65.
  129. Jump up^ White 2003, pp. 100–101.
  130. Jump up^ Moser 2007, p. 137.
  131. ^ Jump up to:a b Chalmers 2010b.
  132. Jump up^ Kirby 2009, p. 8.
  133. Jump up^ White 2003, p. 187-189.
  134. Jump up^ Jet 1984, p. 60: “I used to have standards in my life and I lost all of that”.
  135. Jump up^ Jet 1984, p. 60: “I was one of the biggest cocaine addicts, smoking it, snorting it and whatever cocaine could do, I did”.
  136. ^ Jump up to:a b White 2003, p. 188.
  137. Jump up^ White 2003, p. 186.
  138. Jump up^ Sarasota Herald-Tribune 1979, p. 13.
  139. Jump up^ Gilliland 1969, show 14, track 4.
  140. Jump up^ White 2003, pp. 203–214.
  141. Jump up^ “Little Richard Weds 20 Couples”.Contactmusic.com. December 19, 2006. RetrievedFebruary 1, 2013.
  142. Jump up^ Havers 2010, p. 127.
  143. Jump up^ “Fats Domino Makes Rare Concert Appearance”. abclocal.go.com. 2009. RetrievedAugust 12, 2013.
  144. ^ Jump up to:a b “Little Richard Tells Cee Lo About Recent Heart Attack”. Rolling Stone. September 30, 2013. Retrieved October 2, 2013.
  145. ^ Jump up to:a b White 2003, p. 219.
  146. Jump up^ Kirby 2009, p. 192.
  147. Jump up^ “Weekend of Legends | 06.06-06.08 | NYC on JamBase”. Jambase.com. Retrieved 2014-05-23.
  148. Jump up^ Gulla 2008, p. 27-28.
  149. ^ Jump up to:a b Campbell 2011, p. 180.
  150. Jump up^ Campbell 2008, p. 168-169.
  151. Jump up^ Brown 2002, p. 10.
  152. ^ Jump up to:a b c White 2003, p. 228.
  153. Jump up^ Palmer 2011, p. 139.
  154. Jump up^ Rome 1988.
  155. Jump up^ Gulla 2008, p. 27.
  156. Jump up^ White 2003, p. 227: Elvis Presley – “Your music has inspired me. You are the greatest”.
  157. ^ Jump up to:a b White 2003, p. 231.
  158. Jump up^ White 2003, pp. 68–70.
  159. Jump up^ 100 Greatest Singers: 12 – Little Richard,Rolling Stone.
  160. Jump up^ Merlis 2002, p. foreword.
  161. Jump up^http://www.macon.com/2014/07/26/3218915/midstate-residents-who-knew-godfather.html
  162. Jump up^ Gulla 2008, p. 398.
  163. Jump up^ Guralnick 1999, pp. 164–166.
  164. Jump up^ Collis 2003, p. foreword.
  165. Jump up^ Shelton 2003, p. 39.
  166. Jump up^ Murray 1989, p. 39.
  167. Jump up^ “Bob Seger: Influences”. RetrievedDecember 20, 2012.
  168. Jump up^ “John Fogerty: The Extended Interview”. Americansongwriter.com. May 28, 2013. RetrievedAugust 12, 2013.
  169. Jump up^ Herron, Martin (June 26, 2009). “‘Michael Jackson saved my life'”. Scarborough Evening News. Retrieved August 10, 2009.
  170. Jump up^ Gina Vivinetto (April 29, 2004). “Floridian: Prince and the evolution”. St. Petersburg Times. Retrieved March 26, 2012.
  171. Jump up^ “Beatles accept award Rock and Roll Hall of Fame inductions 1988″. Retrieved December 31, 2012.
  172. Jump up^ White 2003, p. 227.
  173. Jump up^ Kirby 2009, p. 13.
  174. Jump up^ Ewbank 2005, p. 7: “He also had an impact on the young Rod Stewart: ‘I remember trying to sound like Little Richard'”.
  175. Jump up^ White 2003, p. 228: “After hearing Little Richard on record, I bought a saxophone and came into the music business. Little Richard was my inspiration”.
  176. Jump up^ Doggett 2007.
  177. Jump up^ Blackwell 2004, p. 65: “when I saw Little Richard standing on top of the piano, all the stage lights, sequins and energy, I decided then and there that I wanted to be a rock and roll piano player”.
  178. Jump up^ Hodkinson 2004, p. 61.
  179. Jump up^ Male, Andrew (November 26, 2013). “Little Richard: Lou Reed’s Rock’n’roll Hero”. Mojo. Retrieved February 10, 2014.
  180. Jump up^ “The New Inquiry”. Retrieved October 7, 2013.
  181. ^ Jump up to:a b White 2003, p. 230: Jon Lord – “There would have been no Deep Purple if there had been no Little Richard”.
  182. ^ Jump up to:a b “Motorhead’s Lemmy Says Little Richard Should Be Golden God”. YouTube. RetrievedMarch 26, 2012.
  183. Jump up^ “AC/DC Guitarist Angus Young Remembers Bon Scott – “When I Think Back In Hindsight, He Was A Guy That I Always Knew Was Full Of Life””. Bravewords.com. Retrieved September 16, 2012.
  184. Jump up^ “Angus Young”. Retrieved December 20, 2012.
  185. Jump up^ Jake 2013, p. 37.
  186. Jump up^ Sanneh, Kelefa (December 3, 2000). “MUSIC; Rappers Who Definitely Know How to Rock”. The New York Times.
  187. Jump up^ Caramanica, Jon (September 24, 2003).“Speakerboxxx/The Love Below”. Rolling Stone. Retrieved December 31, 2012.
  188. Jump up^ “Critic’s Notebook: Bruno Mars in Ascension”.New York Times. October 6, 2010. RetrievedJanuary 4, 2013.
  189. Jump up^ “Little Richard: Awards”. March 4, 2013.
  190. Jump up^ “RAB Hall of Fame: Little Richard”. RetrievedDecember 31, 2012.
  191. Jump up^ Orlando Sentinel 1994.
  192. Jump up^ “Lifetime Awards”. GRAMMY.com. August 5, 2013. Retrieved August 5, 2013.
  193. Jump up^ “Music Awards Show To Fete Little Richard – Chicago Tribune”. Chicago Tribune. January 3, 1997.
  194. Jump up^ “BMI ICON Awards Honor Three of Rock & Roll’s Founding Fathers”. bmi.com. June 30, 2002. Retrieved August 12, 2013.
  195. Jump up^ “Hall of Fame Inductee: Little Richard”.Variety.com. Retrieved January 4, 2013.
  196. Jump up^ “Apollo’s new legends inducted”.Caribbeanlifenews.com. Caribbean Life. June 13, 2012. Retrieved January 4, 2013.
  197. Jump up^ “Quincy Jones, Patty LaBelle, Gladys Knight and More Honored as New York’s Apollo Theater Unveils Walk of Fame”. May 11, 2010. RetrievedJanuary 4, 2013.
  198. Jump up^ “Inductee Information to the Music City Walk of Fame”. Visitmusiccity.com. RetrievedSeptember 18, 2010.
  199. Jump up^ “LITTLE RICHARD 2009″. Louisiana Music Hall of Fame. Retrieved September 18, 2010.
  200. Jump up^ Chalmers 2010a.
  201. Jump up^ Rolling Stone 2003.
  202. Jump up^ Rolling Stone 2004a.
  203. Jump up^ Rolling Stone 2004b.
  204. Jump up^ “Experience The Music: One Hit Wonders and The Songs That Shaped Rock and Roll”. The Rock and Roll Hall of Fame. 2007. RetrievedDecember 17, 2012.
  205. Jump up^ “GRAMMY Hall of Fame”. Grammy.org. Retrieved December 31, 2012.
  206. Jump up^ “Rocklist.net…Mojo Lists”. Retrieved March 4,2012.
  207. Jump up^ National Recording Registry 2010.
  208. Jump up^ “Little Richard Bestowed Honorary Degree at Mercer University”. WMAZ.com. May 11, 2013. Retrieved May 11, 2013.
  209. Jump up^ “Little Richard’s boyhood home to be moved”.Associated Press. May 11, 2013. Retrieved May 13,2013.
  210. Jump up^ “State to buy Little Richard’s house”. The Telegraph. May 10, 2013. Retrieved May 13, 2013.
  211. Jump up^ “Good golly: DOT will relocate Little Richard’s boyhood home”. 11alive.com. May 13, 2013. Retrieved May 28, 2013.

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The Coming Wipe Out Election of 2014 Drowns Democrats in Defeat and Obama’s Failed Presidency — Republicans Will Control Senate With 56 Senators and House With 250 Representatives — Jobs –Obamacare–Budgets — Scandals (JOBS) Were The Issues — Big Losers: The Washington Political Elitist Establishment (PEEs) and Mainstream Media — Real Winners: Independents and Tea Party Patriots — Balance The Budget and Enforce Immigration Law and Deport The 30-50 Illegal Aliens Now Or You Are Next! — Videos

Posted on November 4, 2014. Filed under: American History, Blogroll, Business, Catholic Church, Communications, Constitution, Crisis, Demographics, Economics, Employment, Faith, Family, Federal Communications Commission, Federal Government, Federal Government Budget, Fiscal Policy, government, government spending, history, Illegal, Immigration, Inflation, Investments, Law, Legal, liberty, Life, Links, Literacy, media, National Security Agency (NSA_, People, Philosophy, Politics, Press, Psychology, Public Sector, Radio, Rants, Raves, Religion, Resources, Security, Strategy, Talk Radio, Unemployment, Unions, Video, War, Wealth, Welfare, Wisdom | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , |

Project_1

The Pronk Pops Show Podcasts

Pronk Pops Show 362: November 3, 2014

Pronk Pops Show 361: October 31, 2014

Pronk Pops Show 360: October 30, 2014

Pronk Pops Show 359: October 29, 2014

Pronk Pops Show 358: October 28, 2014

Pronk Pops Show 357: October 27, 2014

Pronk Pops Show 356: October 24, 2014

Pronk Pops Show 355: October 23, 2014

Pronk Pops Show 354: October 22, 2014

Pronk Pops Show 353: October 21, 2014

Pronk Pops Show 352: October 20, 2014

Pronk Pops Show 351: October 17, 2014

Pronk Pops Show 350: October 16, 2014

Pronk Pops Show 349: October 15, 2014

Pronk Pops Show 348: October 14, 2014

Pronk Pops Show 347: October 13, 2014

Pronk Pops Show 346: October 9, 2014

Pronk Pops Show 345: October 8, 2014

Pronk Pops Show 344: October 6, 2014

Pronk Pops Show 343: October 3, 2014

Pronk Pops Show 342: October 2, 2014

Pronk Pops Show 341: October 1, 2014

Pronk Pops Show 340: September 30, 2014

Pronk Pops Show 339: September 29, 2014

Pronk Pops Show 338: September 26, 2014

Pronk Pops Show 337: September 25, 2014

Pronk Pops Show 336: September 24, 2014

Pronk Pops Show 335: September 23 2014

Pronk Pops Show 334: September 22 2014

Pronk Pops Show 333: September 19 2014

Pronk Pops Show 332: September 18 2014

Pronk Pops Show 331: September 17, 2014

Pronk Pops Show 330: September 16, 2014

Pronk Pops Show 329: September 15, 2014

Pronk Pops Show 328: September 12, 2014

Pronk Pops Show 327: September 11, 2014

Pronk Pops Show 326: September 10, 2014

Pronk Pops Show 325: September 9, 2014

Pronk Pops Show 324: September 8, 2014

Pronk Pops Show 323: September 5, 2014

Pronk Pops Show 322: September 4, 2014

Pronk Pops Show 321: September 3, 2014

Pronk Pops Show 320: August 29, 2014

Pronk Pops Show 319: August 28, 2014

Pronk Pops Show 318: August 27, 2014 

Pronk Pops Show 317: August 22, 2014

Pronk Pops Show 316: August 20, 2014

Pronk Pops Show 315: August 18, 2014

Pronk Pops Show 314: August 15, 2014

Pronk Pops Show 313: August 14, 2014

Pronk Pops Show 312: August 13, 2014

Pronk Pops Show 311: August 11, 2014

Pronk Pops Show 310: August 8, 2014

Pronk Pops Show 309: August 6, 2014

Pronk Pops Show 308: August 4, 2014

Pronk Pops Show 307: August 1, 2014

Story 1: The Coming Wipe Out Election of 2014 Drowns Democrats in Defeat and Obama’s Failed Presidency — Republicans Will Control Senate With 56 Senators and House With 250 Representatives — Jobs –Obamacare–Budgets — Scandals (JOBS) Were The Issues — Big Losers: The Washington Political Elitist Establishment (PEEs) and Mainstream Media — Real Winners: Independents and Tea Party Patriots — Balance The Budget and Enforce Immigration Law and Deport The 30-50 Illegal Aliens Now Or You Are Next! — Videos

Independent-voters

Combined--Control_of_the_U.S._House_of_Representatives_-_Control_of_the_U.S._Senate

Party Affiliation

Party affiliation in U.S. plus leaners

Trend: In politics, as of today, do you consider yourself a Republican, a Democrat, or an independent? (Asked of independents:) As of today, do you lean more to the Democratic Party or the Republican Party?

http://www.gallup.com/poll/15370/party-affiliation.aspx

The Ventures Live: Wipe Out

• Glenn Beck Discusses 2014 Midterm Elections • Hannity • 10/28/14

Will Republicans win control the Senate?

Scathing Immigration Report – Illegal Immigration Laura Ingraham Weighs In – O’Reilly

Officials say suspect in killings of California deputies was deported twice

Mexican Man Who was Deported Twice Kills 2 Cops and 1 Civilian in California.

Suspect in Killing of Deputies Was Twice Deported

Deputy killed, three others hurt in California shooting spree

Suspect in Sacramento deputy shootings now in custody

Illegal alien kills two California sheriff deputies

Confirmed — illegal alien drug dealer cop killer deported twice

Sheriff’s officials have identified the suspect as Marcelo Marquez, but the U.S. Immigration and Customs Enforcement agency said in a statement Saturday that his name actually is Luis Enrique Monroy-Bracamonte.

Glenn Beck On Tea Party Vs Republican Party – O’Reilly

Poll shows independents growing in US

Poll Record High 42 Percent Americans Identify As Independents

Most Political Independents Ever In USA

Reason’s Nick Gillespie on the Rise of the Independent Voter

Dan Mitchell Discussing the Tipping Point when America Becomes a Failed Welfare State

5 Facts About Govt Spending: Nick Gillespie at Reason Weekend 2012

“Politicians are like criminals in Batman comics. They’re a superstitious, cowardly lot. And the minute that they know they’re going to lose elections because they’re spending too much money, they will find their inner cheapskate and start [spending less],” said Reason’s Nick Gillespie during his speech at the Reason Weekend event in Las Vegas. In “5 Unacknowledged, Unexpected, and Unavoidable Facts about Government Spending and the Economy,” Gillespie says politicians such as President Obama and John Boehner are in denial. Influential economists like Paul Krugman and Lawrence Summers correctly diagnose debt as a problem even as they prescribe more debt as the cure. Gillespie argues that: • We’re spending too much. Two wars, entitlement growth, and a massive stimulus are the results of a spending frenzy over the last decade. • We’ve got too much debt. Every level of government is in over their heads. The literal and figurative bankruptcies of cities such as Stockton, California and Harrisburg, Pennsylvania are the canaries in the coal mine. • Debt overhang kills growth. The latest studies are clear: excessive debt, sustained over long periods of time, hurts economic growth. Beyond the cost of higher interest rate payments, increasingly higher debt loads — which Gillespie calls “a ziggurat of doom” — promises to reduce opportunities for everyone. • Spending growth is driven by entitlements. Since the Great Society programs of the 1960s, the government has switched from providing infrastructure and basic services, to being a national insurance broker. The consequences of this are dire because, as statistician Nate Silver notes, “most of us don’t much care for our insurance broker.” • Trust in government is at historic lows. This kind of distrust is an inevitable result of a mismanaged economy. Yet it’s also cause for optimism. Public discontent sow the seeds of reform, allowing the possibility of meaningful fiscal reform. Gillespie’s talk, in which he also sketches solutions to long-term economic malaise, is followed by audience Q&A.

Eight Reasons Why Big Government Hurts Economic Growth

Free Markets and Small Government Produce Prosperity

Want Less Corruption? Shrink the Size of Government

 

TAKE IT TO THE LIMITS: Milton Friedman on Libertarianism

This interview was filmed February 10, 1999. What are the elements of the libertarian movement and how does one of its most illustrious proponents, Milton Friedman, apply its tenets to issues facing the United States today? Milton Friedman, Senior Research Fellow, Hoover Institution, Nobel Laureate in Economic Sciences discusses how he balances the libertarians’ desire for a small, less intrusive government with environmental, public safety, food and drug administration, and other issues.

TAKEOVER: “The Rise Of The Tea Party”

The Tea Party Continuing the Revolution in American Thought

Tea Party America (BBC Documentary)

Yaron Brook at Tea Party Patriots Summit

Will Hunting had it right 14 years ago

George Carlin – It’s a big club and you ain’t in it

George Carlin – Voting

Independments Walk Out of

The Democratic and Republican Parties

The Ventures – Walk Don’t Run

Independent and Tea Party Patriot Candidates

 And New Third Party Are In The Pipeline

The Ventures – PIPELINE

U.S. Voters Divided on Party Better to Control Congress

U.S. registered voters do not have a clear preference on whether the country would be better off if Republicans (29%) or Democrats (27%) controlled Congress, with 40% saying it would be the same regardless of which party is in power. In the 2006 Democratic and 2010 Republican “wave” elections, voters had a clear preference for the party that won. Today’s views are most similar to the 2002 elections, which saw more modest change in the party composition of Congress. Trend: Do you think the country would be better off if the Republicans controlled Congress, if the Democrats controlled Congress, or would the country be the same regardless of which party controlled Congress? The 2006 and 2010 elections were contested at a time when one party had control of the presidency and both houses of Congress, and voters were more likely to think the country would benefit from shifting control of Congress away from the majority party than keeping it with that party. In 2002, as now, party control was divided, with the president’s party having control of one house of Congress but not the other. The blurred lines of accountability could explain why voters did not more clearly show a preference for which party controlled Congress in 2002 or this year. But other aspects of Americans’ current mood look more like they did in 2006 and 2010 — and in other years, such as 1982 and 1994, in which there were major shakeups in congressional membership — than in 2002. These include their subpar ratings of the job performance of the president and of Congress, and their low satisfaction with the direction of the country as a whole. Key Election Indicators in Recent Midterm Election Years The president’s party typically loses seats in midterm elections, but those losses tend to be greater when Americans’ approval ratings of the president, and of Congress, are relatively poor, and when Americans are not satisfied with the way things are going in the United States. In years like 1986, 1998 and 2002, when Americans were generally upbeat about the state of the nation, there tended to be less change in the membership of Congress in the midterm elections. Importantly, though these key indicators are still low on an absolute basis, most of the current updates are a bit more positive than what Gallup measured earlier this year. For example, congressional job approval has averaged 14% so far in 2014 and has not been as high as the current 20% since just before the 2012 elections. Also, the current 27% satisfied with the way things are going in the United States exceeds the 2014 average to date of 23%; satisfaction was last at this level in July 2013. President Barack Obama’s job approval rating, 44% in the Oct. 29-Nov. 2 poll, is nominally more positive, but not significantly different from, the 42% he has averaged in Gallup Daily tracking over the past week. Americans’ improving economic confidence may be one reason the current national mood indicators are a bit more positive than they have been. And while the level of improvement is not enough to fundamentally erase the Republicans’ advantage going into Tuesday’s elections, it does suggest the negative climate that has been providing the wind at the GOP’s back may not be quite strong as it was a few months, or even weeks, ago. Implications The national political climate, as measured by several key indicators of Americans’ satisfaction with current conditions in the country and how the nation is being governed, usually gives a strong sense of which way a midterm election will go. And this year, with a Democratic president in office and Americans in a generally negative mood, the fundamentals point to 2014 being a better year for the Republican Party than the Democratic Party. Indeed, the general consensus among political experts is that the Republicans will increase their majority in the House of Representatives and could win control of the Senate. And though the key indicators are about as negative this year as they have been in past wave elections, 2014 may not see the same level of shakeup in Congress as was the case in 2006, 2010 and other years. The key variable working against a 2014 wave may be that divided party control in Washington already exists when it did not in 1994, 2006 and 2010, and thus, frustrated voters this year have no clear way to act on their frustration by changing the party composition of the federal government. With Obama in office for two more years and little chance of Republicans losing their House majority, divided government should still be in place regardless of which party has the Senate majority, and the way the nation is governed over the next two years may not materially change. Survey Methods Results for this Gallup poll are based on telephone interviews conducted Oct. 29-Nov. 2, 2014, with a random sample of 1,832 adults, aged 18 and older, living in all 50 U.S. states and the District of Columbia. For results based on the total sample of national adults, the margin of sampling error is ±3 percentage points at the 95% confidence level. For results based on the total sample of 1,590 registered voters, the margin of sampling error is ±3 percentage points at the 95% confidence level. Each sample of national adults includes a minimum quota of 50% cellphone respondents and 50% landline respondents, with additional minimum quotas by time zone within region. Landline and cellular telephone numbers are selected using random-digit-dial methods.

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Ebola Theme Song — New York, New York — Videos

Posted on October 26, 2014. Filed under: American History, Art, Blogroll, Comedy, Communications, Diasters, Disease, Documentary, Ebola, Economics, Faith, Federal Government, Federal Government Budget, Health Care, history, liberty, Life, Links, media, Music, Obamacare, People, Philosophy, Photos, Politics, Raves, Video, Wisdom | Tags: , , , , , , , , , , , , , |

Frank Sinatra-New York,New York

Start spreadin’ the news, I’m leavin’ today
I want to be a part of it
New York, New York
These vagabond shoes, are longing to stray
Right through the very heart of it
New York, New YorkI want to wake up, in a city that never sleeps
And find I’m king of the hill
Top of the heapThese little town blues, are melting awayEbola Theme Song — New York, New York
I’ll make a brand new start of it
In old New York
If I can make it there, I’ll make it anywhere
It’s up to you, New York..New YorkNew York…New York
I want to wake up, in a city that never sleeps
And find I’m A number one, top of the list
King of the hill, A number one….These little town blues, are melting away
I’ll make a brand new start of it
In old New York
If I can make it there, I’ll make it anywhere
It’s up to you, New York..New York New York!!!

Frank Sinatra – New York New York Song **Lyrics** [HD]

Frank Sinatra, My Way, With Lyrics

“My Way”

And now, the end is here
And so I face the final curtain
My friend, I’ll say it clear
I’ll state my case, of which I’m certain
I’ve lived a life that’s full
I traveled each and ev’ry highway
And more, much more than this, I did it my wayRegrets, I’ve had a few
But then again, too few to mention
I did what I had to do and saw it through without exemption
I planned each charted course, each careful step along the byway
And more, much more than this, I did it my wayYes, there were times, I’m sure you knew
When I bit off more than I could chew
But through it all, when there was doubt
I ate it up and spit it out
I faced it all and I stood tall and did it my wayI’ve loved, I’ve laughed and cried
I’ve had my fill, my share of losing
And now, as tears subside, I find it all so amusing
To think I did all that
And may I say, not in a shy way,
“Oh, no, oh, no, not me, I did it my way”For what is a man, what has he got?
If not himself, then he has naught
To say the things he truly feels and not the words of one who kneels
The record shows I took the blows and did it my way![instrumental]Yes, it was my way

Frank Sinatra – “It Was A Very Good Year”

“It Was A Very Good Year”

[spoken intro:]
Here’s an awfully pretty folk songWhen I was seventeen it was a very good year
It was a very good year for small town girls and soft summer nights
We’d hide from the lights on the village green
When I was seventeen[brief instrumental]When I was twenty-one it was a very good year
It was a very good year for city girls who lived up the stair
With all that perfumed hair and it came undone
When I was twenty-one[brief instrumental]Then I was thirty-five it was a very good year
It was a very good year for blue-blooded girls
Of independent means, we’d ride in limousines their chauffeurs would drive
When I was thirty-five[brief instrumental]But now the days grow short, I’m in the autumn of the year
And now I think of my life as vintage wine from fine old kegs
From the brim to the dregs, and it poured sweet and clear
It was a very good year[brief instrumental]It was a mess of good years

Frank Sinatra – It Was A Very Good Year Medley Mix – Live

CHICAGO My Kind Of Town – Frank Sinatra

“My Kind Of Town”

Now this could only happen to a guy like me
And only happen in a town like this
So may I say to each of you most gratef’lly
As I throw each one of you a kissThis is my kind of town, Chicago is
My kind of town, Chicago is
My kind of people, too
People who smile at youAnd each time I roam, Chicago is
Calling me home, Chicago is
Why I just grin like a clown
It’s my kind of town[brief instrumental]My kind of town, Chicago is
My kind of town, Chicago is
My kind of razzmatazz
And it has all that jazzAnd each time I leave, Chicago is
Tuggin’ my sleeve, Chicago is
The Wrigley Building, Chicago is
The Union Stockyard, Chicago is
One town that won’t let you down
It’s my kind of town

 

Frank Sinatra Greatest Hits (Full Album) – The Best Of Frank Sinatra

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We Will Rock You — Rand Rocks Republican Boat At CPAC and Ted Tells The Truth — Lovers of Liberty Unite — We Are The Champions — Videos

Posted on March 8, 2014. Filed under: American History, Blogroll, College, Culture, Education, Employment, Energy, Freedom, Friends, government spending, Heroes, history, Investments, Language, Law, liberty, Life, Links, Literacy, Music, People, Philosophy, Photos, Politics, Raves, Talk Radio, Wisdom | Tags: , , , , , , , , , , , , , |

Queen – We Will Rock You

Hues Corporation – Rock the Boat

Conservatives Gather For CPAC – Special Report All Star

Rand Paul full speech at CPAC 2014

Sen. Ted Cruz at CPAC: How We Win

Queen – We Are The Champions

Rand Paul urges conservatives to fight with him for liberty

Sen. Rand Paul urged the thousands that turned out for the Conservative Political Action Conference (CPAC) to imagine electing a “friend of liberty” to the White House who will defend the Constitution and push back against a federal government that is trampling over their individual rights.

Mr. Paul, a likely 2016 presidential contender, suggested that he might fit the bill, and said it will take a “national revival of liberty” to restore the constitutional rights that have have been under assault by the Obama administration.


SEE ALSO: CPAC 2013: Paul takes ‘stale’ GOP to task


“You may think I am talking about electing a Republican. I am not,” Mr. Paul said. “I am talking about electing lovers of liberty. It isn’t good enough to pick the lesser of two evils. We must elect men and women of principle, and conviction and action that will lead us back to greatness.”

The remarks sparked a round of applause from libertarian-leaning crowd, which is champing at the bit for Mr. Paul to follow in the footsteps of his father, former Texas Rep. Ron Paul, by running for the White House.

“There is a great battle going on,” Mr. Paul told the crowd. “It is for the heart and soul of America. The Fourth Amendment is equally important as the Second Amendment and conservatives cannot forget this.”

The roughly 20-minute address touched on some of the same themes that the Kentucky Republican raised in his 2013 CPAC speech, when he said the “GOP of old has grown stale and moss-covered.”

Mr. Paul raised his national profile almost exactly a year ago when he led a filibuster against the nomination of John O. Brennan as CIA director, threatening to block the confirmation until the Obama administration clarified that it will not use drones to kill Americans on U.S. soil.

More recently, he filed a class-action lawsuit to halt the National Security Agency’s phone records collection program.


SPECIAL COVERAGE: CPAC 2014 – Latest news from the Conservative Political Action Conference


“Mr. President, we will not let you run roughshod over our rights,” Mr. Paul said Friday. “We will challenge you in the courts, we will battle you at the ballot box. Mr. President, we will not let you shred our Constitution.

“It is decidedly not a time for the faint of heart,” he said. “It is a time for boldness and action. The time is now. Stand with me, let us stand together for liberty.”

Read more: http://www.washingtontimes.com/news/2014/mar/7/rand-paul-urges-conservatives-fight-liberty/#ixzz2vOnLNA8m
Follow us: @washtimes on Twitter

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A Whiter Shade of Pale — Videos

Posted on January 16, 2014. Filed under: Art, Blogroll, Communications, liberty, Life, media, Music, People, Philosophy, Psychology, Video, Wealth, Wisdom, Writing | Tags: , , , , , , , , , , , |

Procol Harum ‘A Whiter Shade Of Pale’ 1967

A Whiter Shade Of Pale – Procol Harum

Procol Harum – A Whiter Shade Of Pale (Live at the Union Chapel)

Joe Cocker – A Whiter Shade Of Pale (LIVE in Berlin) HD

Willie Nelson – A Whiter Shade Of Pale – 1982

Andreas Kümmert: Whiter Shade Of Pale | The Voice of Germany 2013 | Showdown

Annie Lennox – A Whiter Shade of Pale (Remastered)

ANNIE LENNOX – A Whiter Shade of Pale (Senza Luce)

Whiter Shade of Pale – Annie Lennox

A Whiter Shade of Pale – Sarah Brightman

David Lanz – A Whiter Shade of Pale

We skipped the light fandango
turned cartwheels ‘cross the floor
I was feeling kinda seasick
but the crowd called out for more
The room was humming harder
as the ceiling flew away
When we called out for another drink
the waiter brought a tray

And so it was that later
as the miller told his tale
that her face, at first just ghostly,
turned a whiter shade of pale

She said, ‘There is no reason
and the truth is plain to see.’
But I wandered through my playing cards
and would not let her be
one of sixteen vestal virgins
who were leaving for the coast
and although my eyes were open
they might have just as well’ve been closed

She said, ‘I’m home on shore leave,’
though in truth we were at sea
so I took her by the looking glass
and forced her to agree
saying, ‘You must be the mermaid
who took Neptune for a ride.’
But she smiled at me so sadly
that my anger straightway died

If music be the food of love [see note, left, about this verse + its opening]
then laughter is its queen
and likewise if behind is in front
then dirt in truth is clean
My mouth by then like cardboard
seemed to slip straight through my head
So we crash-dived straightway quickly
and attacked the ocean bed

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Jim Croce — Videos

Posted on November 12, 2013. Filed under: Art, Art, Blogroll, Communications, Culture, Diasters, Music, Video, Wealth, Wisdom | Tags: , , , , , , , |

croce9_jim_maury

Jim-Croce-wid

Jim Croce Behind The Music

Jim Croce Video Tape Network (VTN) Concert 1973

Jim Croce “One Of A Kind” 1973 KCET-TV (Part 1 of 2)

Groovy Movies: Jim Croce “One Of A Kind” 1973 KCET-TV (Part 2 of 2)

Jim Croce – I Got a Name (1973)

Jim Croce – I’ll Have To Say I Love You In A Song (1973)

Jim Croce – Time in a bottle – 1973

Jim Croce – Operator (That’s Not The Way It Feels)

Jim Croce – Bad Bad Leroy Brown (Midnight Special – 1973)

Jim Croce – Lovers Cross – BBC

Jim Croce -These Dreams

Jim Croce – Bad Bad Leroy Brown (Live) [remastered 16:9]

Jim Croce – New York’s Not My Home

Jim Croce – The Hard Way Everytime

Jim Croce – Recently

Jim Croce 1973 Final Show Louisiana

Photographs & Memories: His Greatest Hits by Jim Croce ( Full Album )

jim_croce_50th

Background Articles and Videos

An Afternoon With Ingrid Croce

Nyberg: A.J. Croce speaks about dad’s music

Jim Croce

James Joseph “Jim” Croce (/ˈkri/; January 10, 1943 – September 20, 1973) was an American singer-songwriter. Between 1966 and 1973, Croce released five studio albums and 11 singles. His singles “Bad, Bad Leroy Brown” and “Time in a Bottle” were both number one hits on the Billboard Hot 100 charts.

Early life

Croce was born in South Philadelphia, Pennsylvania, on January 10, 1943, to James Albert and Flora Mary (Babucci) Croce, Italian Americans.[2] Croce took a strong interest in music at a young age. At five, he learned to play his first song on the accordion, “Lady of Spain.”

Croce attended Upper Darby High School in Drexel Hill, Pennsylvania. After graduating in 1960, he studied at Malvern Preparatory School for a year before enrolling at Villanova University, where he majored in psychology and minored inGerman.[3][4] He graduated with a Bachelor degree in 1965. Croce was zxcvsafdgtfawerga member of the Villanova Singers and the Villanova Spires. When the Spires performed off-campus or made recordings, they were known as The Coventry Lads.[5] Croce was also a student disc jockey at WKVU (which has since become WXVU).[6][7][8]

Career

Early career

Croce did not take music seriously until he studied at Villanova, where he formed bands and performed at fraternity parties, coffee houses, and universities around Philadelphia, playing “anything that the people wanted to hear: blues, rock, a cappella, railroad music… anything.” Croce’s band was chosen for a foreign exchange tour of AfricaMiddle East, and Yugoslavia. He later said, “we just ate what the people ate, lived in the woods, and played our songs. Of course they didn’t speak English over there but if you mean what you’re singing, people understand.” Croce met his future wife Ingrid Jacobson at a hootenanny at Philadelphia Convention Hall, where he was judging a contest.

Croce released his first album, Facets, in 1966, with 500 copies pressed. The album had been financed with a $500 wedding gift from Croce’s parents, who set a condition that the money must be spent to make an album. They hoped that he would give up music after the album failed, and use his college education to pursue a “respectable” profession.[9] However, the album proved a success, with every copy sold.

1960s

From the mid-1960s to early 1970s, Croce performed with his wife as a duo. At first, their performances included songs by artists such as Ian and SylviaGordon LightfootJoan Baez, and Woody Guthrie, but in time they began writing their own music. During this time, Croce got his first long-term gig at a rural bar and steak house in Lima, Pennsylvania, called The Riddle Paddock. His set list covered several genres, including blues, country, rock and roll, and folk.

Croce married his wife Ingrid in 1966, and converted to Judaism, as his wife was Jewish, though he became non-practicing and was generally anti-organized religion. He and Ingrid were married in a traditional Jewish ceremony.[10] He enlisted in the Army National Guard that same year to avoid being drafted and deployed to Vietnam, and served on active duty for four months, leaving for duty a week after his honeymoon.[11] Croce, who was not good with authority, had to go through basic training twice.[12] He said he would be prepared if “there’s ever a war where we have to defend ourselves with mops”.

In 1968, the Croces were encouraged by record producer Tommy West to move to New York City. The couple spent time in the Kingsbridge section of the Bronx and recorded their first album with Capitol Records. During the next two years, they drove more than 300,000 miles,[13] playing small clubs and concerts on the college concert circuit promoting their album Jim & Ingrid Croce.

Becoming disillusioned by the music business and New York City, they sold all but one guitar to pay the rent and returned to the Pennsylvania countryside, settling in an old farm in Lyndell, where Croce got a job driving trucks and doing construction work to pay the bills while continuing to write songs, often about the characters he would meet at the local bars and truck stops and his experiences at work; these provided the material for such songs as “Big Wheels” and “Workin’ at the Car Wash Blues“.

1970s

The couple returned to Philadelphia and Croce decided to be “serious” about becoming a productive member of society. “I’d worked construction crews, and I’d been a welder while I was in college. But I’d rather do other things than get burned,” he later said. His determination to be “serious” led to a job at a Philadelphia R&B AM radio station, WHAT, where he translated commercials into “soul”. “I’d sell airtime to Bronco’s Poolroom and then write the spot: “You wanna be cool, and you wanna shoot pool… dig it.”

In 1970, Croce met the classically trained pianist-guitarist and singer-songwriter Maury Muehleisen from Trenton, New Jersey through producer Joe Salviuolo. Salviuolo had been friends with Croce when they attended Villanova University together, and Salviuolo later discovered Muehleisen when he was teaching at Glassboro State College in New Jersey. Salviuolo brought the Croce and Muehleisen duo together at the production office of Tommy West and Terry Cashman in New York City. Initially, Croce backed Muehleisen on guitar at his gigs but in time their roles reversed, with Muehleisen adding lead guitar to Croce’s music.

In 1972, Croce signed to a three-record deal with ABC Records and released two albums, You Don’t Mess Around with Jim and Life and Times. The singles “You Don’t Mess Around with Jim“, “Operator (That’s Not the Way It Feels)“, and “Time in a Bottle” (written for his then-unborn son, A. J. Croce) all received airplay. Croce’s biggest single, “Bad, Bad Leroy Brown“, hit No. 1 on the American charts in July 1973. That year, the Croces relocated to San DiegoCalifornia.

As his career picked up, Croce began touring the United States with Muehleisen, performing live, including in large coffee houses, on college campuses, and at folk festivals. However, Croce’s financial situation was still dire. The record company had fronted him the money to record the album, and much of the money the album earned went back to pay the advance. In February 1973, Croce and Muehleisen traveled to Europe to promote the album, visiting LondonParis, and Amsterdam, and getting positive reviews. Croce also began appearing on television, including onDon Kirshner’s Rock Concert and The Midnight Special, which he co-hosted. In July 1973, Croce and Muehleisen again visited London and performed on The Old Grey Whistle Test. Croce finished recording the album I Got a Name one week before his death. During his tours, Croce grew increasingly homesick, and decided to take a break from music and settle down with his wife and infant son after his Life and Times tour was completed.[14][15] In a letter to his wife which arrived after his death, Croce stated his intention to quit music and stick to writing short stories and movie scripts as a career, and withdraw from public life.[16][17]

Death

On Thursday, September 20, 1973, during Croce’s Life and Times tour and the day before his ABC single “I Got a Name” was released, Croce, Muehleisen, and four others were killed when the chartered Beechcraft E18S he was traveling in crashed while taking off from the Natchitoches Regional Airport in Natchitoches, Louisiana. Others who died in the crash were charter pilot Robert N. Elliott, comedian George Stevens, manager and booking agent Kenneth D. Cortose, and road manager Dennis Rast.[18][19] Croce had just completed a concert at Northwestern State University‘s Prather Coliseum in Natchitoches and was flying to Sherman, Texas, for a concert at Austin College. The plane crashed an hour after the end of the concert.

An investigation showed that the plane crashed on take off after clipping a pecan tree at the end of the runway. The plane failed to gain enough altitude to clear the tree and did not maneuver to avoid it, even though it was the only tree for hundreds of yards. It was reported as dark, but with clear sky, calm winds, and over five miles of visibility with haze. The report from the NTSB[20] listed the probable cause as the pilot’s failure to see and avoid obstructions due to pilot physical impairment and fog obstructing vision. The 57-year-old charter pilot suffered from severe coronary artery disease and had run three miles to the airport from a motel. He had an ATP Certificate, 14,290 hours total flight time and 2,190 hours in the Beech 18 type.[20] A later investigation placed sole blame for the accident on pilot error due to his downwind takeoff into a “black hole”.[21]

Jim Croce was buried at Haym Salomon Memorial Park in Frazer, Pennsylvania.[22]

Legacy

The album I Got a Name was released on December 1, 1973.[23] The posthumous release included three hits: “Workin’ at the Car Wash Blues“, “I’ll Have to Say I Love You in a Song“, and the title song, which had been used as the theme to the film The Last American Hero which was released two months prior to his death. The album reached No. 2 and “I’ll Have to Say I Love You in a Song” reached No. 9 on the singles chart.

The song “Time in a Bottle” had been featured over the opening and closing credits and during a scene in which Desi Arnaz Jr. is opening the You Don’t Mess Around With Jim album in the ABC made-for-television movie She Lives!, which aired on September 12, 1973.[24] That appearance had generated significant interest in Croce and his music in the week just prior to the plane crash. That, combined with the news of the death of the singer, sparked a renewed interest in Croce’s previous albums. Consequently, three months later, “Time in a Bottle”, originally released on Croce’s first album the year before, hit number one on December 29, 1973, the third posthumous chart-topping song of the rock era following Otis Redding‘s “(Sittin’ On) The Dock of the Bay” and Janis Joplin‘s recording of “Me and Bobby McGee“.

greatest hits package entitled Photographs & Memories was released in 1974. Later posthumous releases have included Home Recordings: AmericanaFacetsJim Croce: Classic HitsDown the Highway, and DVD and CD releases of Croce’s television performances, Have You Heard: Jim Croce Live. In 1990, Croce was inducted into the Songwriters Hall of Fame.[25]

The Croces’ son Adrian James (born September 28, 1971) is a singer-songwriter, musician, and pianist, and he owns and operates his own record label, Seedling Records.[26]

From 1985 to 2013 Ingrid Croce owned and managed Croce’s Restaurant & Jazz Bar—a project she and Croce had jokingly discussed a decade earlier—in the historic Gaslamp Quarter in downtown San Diego.[27] On July 3, 2012, she published a memoir about her husband, entitled I Got a Name: The Jim Croce Story.[28]

Discography

Main article: Jim Croce discography

Croce had recorded a total of five studio albums and eleven singles by the time of his death.

http://en.wikipedia.org/wiki/Jim_Croce

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The Day ObamaCare Died – American Pie Parody — Videos

Posted on November 2, 2013. Filed under: American History, Blogroll, Business, College, Communications, Culture, Diasters, Economics, Education, Employment, Entertainment, Federal Government, Federal Government Budget, Fiscal Policy, Foreign Policy, government, government spending, Health Care, history, Illegal, Immigration, Language, Law, liberty, Life, Macroeconomics, media, Music, Music, People, Philosophy, Photos, Politics, Public Sector, Rants, Raves, Talk Radio, Tax Policy, Unemployment, Unions, Video, War, Wisdom | Tags: , , , , , , , , , , |

the_day_obamacare_died

The Day ObamaCare Died – American Pie Parody

Don McLean – American Pie better quality

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Obama Picks Theme Song — Smiling Faces Sometimes — Performed By The Undisputed Truth — for Relaunch of Obamacare’s HealthCare.gov Website! — Videos

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Obama Picks Theme Song — Smiling Faces Sometimes — Performed By The Undisputed Truth — for Relaunch of Obamacare’s HealthCare.gov Website! — Videos

Posted on November 1, 2013. Filed under: American History, Blogroll, Business, Communications, Constitution, Culture, Diasters, Economics, Entertainment, Federal Government, Federal Government Budget, Fiscal Policy, government spending, Health Care, Heroes, history, Investments, IRS, Language, Law, liberty, Life, Links, Literacy, media, Music, Music, People, Philosophy, Photos, Politics, Psychology, Rants, Raves, Security, Talk Radio, Tax Policy, Taxes, Unemployment, Video, Wealth, Wisdom | Tags: , , , , , , , , , , , , |

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The Undisputed Truth – Smiling Faces Sometimes

The Undisputed Truth – Smiling Faces.Live TV Performance 1975

The Undisputed Truth “Smiling Faces Sometimes” (1971)

The+Undisputed+Truth+theundisputedtruth

Smiling faces sometimes pretend to be your friend
Smiling faces show no traces of the evil that lurks within
Smiling faces, smiling faces sometimes
They don’t tell the truth uh
Smiling faces, smiling faces
Tell lies and I got proof

The truth is in the eyes
Cause the eyes don’t lie, amen
Remember a smile is just
A frown turned upside down
My friend let me tell you
Smiling faces, smiling faces sometimes
They don’t tell the truth, uh
Smiling faces, smiling faces
Tell lies and I got proof
Beware, beware of the handshake
That hides the snake
I’m telling you beware
Beware of the pat on the back
It just might hold you back
Jealousy (jealousy)
Misery (misery)
Envy

I tell you, you can’t see behind smiling faces
Smiling faces sometimes they don’t tell the truth
Smiling faces, smiling faces
Tell lies and I got proof

Smiling faces, smiling faces sometimes
They don’t tell the truth
Smiling faces, smiling faces
Tell lies and I got proof
(Smiling faces, smiling faces sometimes)
(Smiling faces, smiling faces sometimes)
I’m telling you beware, beware of the handshake
That hides the snake
Listen to me now, beware
Beware of that pat on the back
It just might hold you back
Smiling faces, smiling faces sometimes
They don’t tell the truth
Smiling faces, smiling faces
Tell lies and I got proof

Your enemy won’t do you no harm
Cause you’ll know where he’s coming from
Don’t let the handshake and the smile fool ya
Take my advice I’m only try’ to school ya

healthcare_gov

valerie_jarrett

Valerie Jarrett Picks Two Theme Songs  “What’s Going On” and

What’s Happening Brother  Performed By Marvin Gaye

Marvin Gaye “What’s Going On – What’s Happening Brother”

“What’s Going On”

Mother, mother
There’s too many of you crying
Brother, brother, brother
There’s far too many of you dying
You know we’ve got to find a way
To bring some lovin’ here today – Ya

Father, father
We don’t need to escalate
You see, war is not the answer
For only love can conquer hate
You know we’ve got to find a way
To bring some lovin’ here today

Picket lines and picket signs
Don’t punish me with brutality
Talk to me, so you can see
Oh, what’s going on
What’s going on
Ya, what’s going on
Ah, what’s going on

In the mean time
Right on, baby
Right on
Right on

Father, father, everybody thinks we’re wrong
Oh, but who are they to judge us
Simply because our hair is long
Oh, you know we’ve got to find a way
To bring some understanding here today
Oh

Picket lines and picket signs
Don’t punish me with brutality
Talk to me
So you can see
What’s going on
Ya, what’s going on
Tell me what’s going on
I’ll tell you what’s going on – Uh
Right on baby
Right on baby

What’s Happening Brother

Hey baby, what’cha know good
I’m just gettin’ back, but you knew I would
War is hell, when will it end,
When will people start gettin’ together again
Are things really gettin’ better, like the newspaper said
What else is new my friend, besides what I read
Can’t find no work, can’t find no job my friend
Money is tighter than it’s ever been
Say man, I just don’t understand
What’s going on across this land
Ah what’s happening brother,
Oh ya, what’s happening my man
Are they still gettin’ down where we used to go and dance
Will our ball club win the pennant,
do you think they have a chance
And tell me friend, how in the world have you been.
Tell me what’s out and I want to know what’s in.
What’s the deal man, what’s happening
What’s happening brother
Ah what’s happening brother
What’s happening my man
Ah what’s happening brother
What’s been shaken up and down the line
I want to know cause I’m slightly behind the time.
marvin-gaye-piano1
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Not Tweeting– Twerking — Sure Beats Tweeting — Queen of The Twerk — Miley Cryrus — Tweeting With The Jackson Five — Jerk with New Boyz — Do The Jerk With The Larks and The Righteous Brothers — Do The Twist With Chubby Checker — Photos and Videos

Posted on August 26, 2013. Filed under: Art, Blogroll, College, Communications, Cult, Culture, Dance, Education, Entertainment, liberty, Life, Links, media, People, Philosophy, Rants, Raves, Talk Radio, Video, Wisdom | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , |

Miley-Cyrus-and-Robin-Thicke

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Miley Cyrus “We Can’t Stop” Twerking Performance – MTV VMA 2013

Miley Cyrus: We Can’t Stop – Twerking

Miley Cyrus – We Can’t Stop

keep-calm-and-show-me-what-you-twerking-with-3

Miley-Cyrus-Twerking-Onstage-At-A-Juicy-J-Concert-At-House-Of-Blues-In-Los-Angeles

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Miley-Cyrus-Twerking

Miley-Decisions

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UrbanMediaKings_comTwerk

twerking

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twerking

Twerking

The rhythmic gyrating of the lower fleshy extremities in a lascivious manner with the intent to elicit sexual arousal or laughter in ones intended audience
Hey Girl, lets Twerk on the dance floor.

http://www.urbandictionary.com/define.php?term=twerk

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twerking_off

keep-cool-and-start-twerking

Tweeting

For most of history, “tweet” has been the sound a bird makes.  However, with the advent of Twitter, the word “tweet” has taken on a whole new meaning.

A tweet is an online posting, or “micro-blog” created by a Twitter user.  The purpose of each tweet is to answer the question, “What are you doing?”  However, tweets can contain any information you want to post, such as your plans for the weekend, your thoughts about a TV show, or even notes from a lecture.  You can publish a tweet using a computer or a mobile phone.  Once published, the tweet will appear on the Twitter home pages of all the users that are following you.  Likewise, your Twitter home page will display the most recent tweets of the users that you are following.

Each tweet is limited to 140 characters or less.  This limit makes it possible to show several tweets on one page without certain tweets taking up a lot more space than others.  However, it also means that tweets must be brief, so you must choose your words wisely.  Of course, there is no limit to how many tweets you can post, so if you really have a lot to say, you can publish several tweets in a row.  After all, what better way to spend your time than to let the world know that you are at Starbucks, drinking a Frappuccino and reading the latest issue of TIME magazine.  That is important information to share with the world.

http://www.techterms.com/definition/tweet

Tweet

noun
1.

a weak chirping sound, as of a young or small bird.
2.

Digital Technology . a very short message posted on the Twitter Web site: the message may include text, keywords, mentions of specific users, links to Web sites, and links to images or videos on a Web site.
verb (used without object)

3.

to make a weak chirping sound.
4.

Digital Technology . to post a message on Twitter: She tweets a lot about movies.
verb (used with object)

5.

Digital Technology . to post (a message) on Twitter for (people) to read: He tweeted his fans after the event.

“The Twitter Song” – Rockin’ Robin Spoof – I’m tweeting

Rockin’ Robin (Original)

Rockin’ Robin [Lyrics]

The Jackson 5 – Rockin’ Robin 1972 RARE

The Muppet Show – Rockin’ Robin

keep-calm-and-twerk-on

Miley Cyrus Vs. Vanessa Hudgens Twerk Off

How to Twerk | Club Dance Moves

101 WAYS to TWERK!!!

Lady – Twerk (Prod. by WGMI/2Much)

You’re A Jerk * New Boyz * OFFICIAL HD Music Video Behind The Scenes w/ Skee.TV

I Could Do It Better (Jerk Music Video) by Young Avz and Silky from Montreal

Learn Hip Hop Dance: The Jerk

The Larks “The Jerk”

The Righteous Brothers – Come On Do The Jerk (Shindig 1964)

The Twist – Chubby Checker

Chubby Checker – The twist

Background Articles and Videos

DJ Jubilee “Jubilee All”

Chubby Checker – Pony Time

The Olympics The Hully Gully

The Roaring Twenties – Dancing The Shimmy

Belly Dance How to: Hip Shimmy Move – Belly Dancing – with Neon 

 

Gaga Who? Miley Cyrus Snatches Crown for Queen of Obscene at VMAs

With Lady Gaga set to open the MTV Video Music Awards, the audience braced themselves for a dose of patented Gaga shock treatment. For half a decade plus now, Gaga has served as the reliable producer of those jaw-dropping moments that dominate water cooler talk the next day.

And this year looked to be a return to form. Gaga, looking for a bit of a comeback after some time out of the spotlight, needed to hit the stage hard. Counting on her chatter-generating skills, MTV booked her Ladyship into the lead-off slot. On the red carpet before the show, Gaga was asked how she planned to stun the crowd. The expectations were high.

But after coming out standing in a milk carton, a few retrospective wig changes, smearing some paint on her face, the big moment? A quick spin to flash the singer’s teeny tiny thong.

Just when people began to relax after Gaga’s not-so-weird performance, the real sucker punch of the night came: when the girl who was still a practically a Disney princess while Gaga was rocking a meat dress – Miley Cyrus hit the stage.

Cyrus stepped up and assumed the throne for the strangest, most provocative performer at this year’s VMAs, fitting nicely into the crown for Queen of Obscene, funny hair horns and all.

The singer emerged  in a furry gray leotard with the face of a seemingly-intoxicated teddy bear to perform her single “We Can’t Stop.” Following the theme of her music video, she was backed up by a gaggle of dancers with the giant teddy bear backpacks, folks in teddy bear suits, and the World’s Tallest Burlesque Dancer, Amazon Ashley, who stands at 6’7”.

Living up to her reputation for shamelessly working it, she didn’t disappoint as she playfully bounced, popped and thrust through the song that had viewers in a trance.

Once Robin Thicke came out to perform what is probably the song of summer ’13, “Blurred Lines,” Cyrus shed the fun fur to reveal a very Gaga-esque nude vinyl bikini, not much unlike the latex getup Gaga wore at the 2011 Grammys. And she just kept twerking like she copyrighted the move.

“Miley better get a pregnancy test after all that twerkin’, ” joked comedian Kevin Hart during the show. The whole audience may need to as well. The 20-year-old left Gaga in the dust with her gratuitous show of both skin and gesturing this year, blowing up social media with images and commentary on her performance.

After Miley’s dance, we’ll never look at a foam finger the same way again. Prancing about the stage with the prop, the singer made every rude, crude gesture imaginable. Then she took it a step further and made Robin Thicke the victim of some very lewd pokes.

Ultimately, Miley Cyrus has made it clear over and over again that she is all grown up and raising the bar for sexiness and strangeness with every appearance. Could she be the next Lady Gaga? Where do you think she’ll go from here?

As Jay Z says in “Somewhereinamerica,” “Somewhere in America / Miley Cyrus is still twerkin’ / Twerk, twerk Miley, Miley.”

http://music.yahoo.com/blogs/stop-the-presses/gaga-who–miley-cyrus-snatches-crown-for-queen-of-obscene-at-vmas-014117285.html

Miley Cyrus

From Wikipedia, the free encyclopedia
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Miley Ray Cyrus (born Destiny Hope Cyrus; November 23, 1992)[2][3] is an American actress and recording artist. The daughter of country singer Billy Ray Cyrus, she held minor roles in the television series Doc and the film Big Fish in her childhood. In 2006, Cyrus rose to prominence as a teen idol after being cast in the Disney Channel television series Hannah Montana, in which she portrayed the starring character Miley Stewart. After signing a recording contract with Hollywood Records in 2007, she released Hannah Montana 2: Meet Miley Cyrus, which served as the series’ soundtrack and Cyrus’ debut studio album. It sold three million copies in the United States, and additionally produced the Billboard Hot 100 top-ten single “See You Again“. Later that year, her Best of Both Worlds Tour was adapted into the film Hannah Montana & Miley Cyrus: Best of Both Worlds Concert.

Cyrus’ second album Breakout (2008) was certified platinum by the Recording Industry Association of America (RIAA) for sales exceeding one million copies. It also featured the successful tracks “7 Things” and “Fly on the Wall“. That same year, she launched her film career as the voice actress for Penny in the animated film Bolt. She earned a nomination for the Golden Globe Award for Best Original Song for her performance of its theme song, “I Thought I Lost You“. In 2009, Cyrus starred in the feature film Hannah Montana: The Movie, the soundtrack of which introduced her to country and adult contemporary markets. Its lead single, “The Climb“, remains among Cyrus’ most successful singles to date.

Cyrus began to cultivate an adult image and mainstream pop sound with her extended play The Time of Our Lives (2009). Peaking at number two on the Billboard Hot 100, its track “Party in the U.S.A.” became Cyrus’ highest-peaking single on the chart thus far. Her increasingly maturing image progressed with the release of the film The Last Song and her third album, Can’t Be Tamed in 2010. The latter project featured more prominent dance elements than her earlier releases, and was promoted through sexually-themed performances. In 2011, Cyrus was featured as a teenage rebellion in the drama film LOL, though its limited release failed to make back its budget. She also appeared in the direct-to-video film So Undercover. In 2013, Cyrus signed a recording contract with RCA Records, and announced plans to release her fourth album, Bangerz, later that year. Its lead single, “We Can’t Stop“, was noted for developing an increasingly provocative image, particularly through its accompanying music video.

Since her debut, Cyrus has become one of the most successful artists to originate from Disney. Cyrus ranked number thirteen on Forbes‘ 2010 Celebrity 100.[4] For the 2011 Guinness World Records, she was named the “Most Charted Teenager” following her 29th US Billboard Hot 100 chart entry on November 7, 2009 with “Party in the USA”.[5] She has attained a total of six Top 10 hits on the Billboard Hot 100, and had four RIAA certified albums by the age of 18.

http://en.wikipedia.org/wiki/Miley_Cyrus

Twerking

From Wikipedia, the free encyclopedia
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Twerking is a dance move that involves a person shaking the hips in an up-and-down bouncing motion, causing the dancer to shake, “wobble” and “jiggle.”[1] To “twerk” means to “dance in a sexually suggestive fashion by twisting the hips.”[2]

Etymology

The word “twerking” is of uncertain origin. Possibilities include:

  1. a contraction of “footwork“, or[1]
  2. a portmanteau of twist and jerk.[1]

Ties have been made to many traditional African dances.[3] An example of such traditional dances is Mapouka.

In popular culture

Twerking was introduced into hip-hop culture by way of the New Orleans bounce music scene. In 1993, DJ Jubilee recorded the dance tune “Do The Jubilee All” in which he chanted, “Twerk baby, twerk baby, twerk, twerk, twerk.” The video for the song increased the popularity of twerking. In 1995 New Orleans-based rapper Cheeky Blakk recorded the song “Twerk Something!” a call-and-response dance song dedicated to twerking. In 1997 DJ Jubilee recorded “Get Ready, Ready” in which he encouraged listeners to “Twerk it!”.

A great amount of credit for the expansion of twerking outside of New Orleans can be given to strip clubs in Houston and Atlanta. Twerking was receiving recognition in national releases at least as early as the year 2000, when the Atlanta-based Ying Yang Twins released their debut single “Whistle While You Twurk,” which received national airplay peaking at #17 on the Hip Hop Chart and was further referenced in their 2002 follow-up release, “Say I Yi Yi,” which prominently features the lyrics “She got her hands up on her knees and her elbows on her thighs, she like to twerk and that’s for certain I can tell that she fly.” In 2011 The Twerk Team was mentioned in the song “Round of Applause” by Atlanta-based rapper Waka Flocka Flame featuring Drake, including the line, “Bounce that ass, shake that ass like the Twerk Team”.[3] Bandz A Make Her Dance rapper Juicy J has a lyric, “Start twerking when she hear her song”,[4] while French Montana questions the ability of a girl to twerk by asking, “What you twerkin’ with” in his song “Pop That” featuring Drake, Lil Wayne, and Rick Ross.[5] The song, along with “Express Yourself” by Nicky Da B & Diplo, “Made twerking the most popular dance move since the Dougie“.[6]

In 2013, 33 students from Scripps Ranch High School were suspended for using school equipment to make a twerking video on school grounds that was later uploaded to YouTube.[7][8]

References

  1. ^ a b c Levy, Megan (14 December 2012). “Do you know how to twerk? (Or even what it is?)”. The Age. Retrieved 20 December 2012.
  2. ^ Ivett, Alex (13 December 2012). “Aussie’s most googled 2012: Lara Bingle, reality TV and “how to love””. Australian Times. Retrieved 20 December 2012.
  3. ^ a b Morgan, Glennisha. “Could ‘Twerking’ Possibly Be a New Way to Stay Fit?”. Frugivore Magazine. Retrieved April 12, 2013.
  4. ^ “Juicy J – Bands A Make Her Dance (Remix 2) Lyrics”. RapGenius. Retrieved 20 December 2012.
  5. ^ “French Montana – Pop That Lyrics”. RapGenius. Retrieved 20 December 2012.
  6. ^ Weiss, Jeff (28 December 2012). “2012: The Year We All Got Ratchet”. MTV Hive. Retrieved 8 January 2013.
  7. ^ “San Diego high school students suspended over sexually suggestive ‘twerking’ dance video”. NY Daily News. 2013-05-02. Retrieved 2013-06-25.
  8. ^ Butler, Bethonie (2013-05-06). “Twerking: What is it, and why did it get high school students suspended? – Washington Post”. Articles.washingtonpost.com. Retrieved 2013-06-25.

External links

http://en.wikipedia.org/wiki/Twerking

Miley Cyrus – We Can’t Stop

Miley Cyrus – Party In The U.S.A.

Miley Cyrus – Can’t Be Tamed

Miley Cyrus – Who Owns My Heart

Miley Cyrus’s Audition for Hannah Montana (extended)

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Walk Off The Earth — Videos

Posted on April 3, 2013. Filed under: Art, Blogroll, Business, Communications, Culture, Entertainment, liberty, Life, media, Music, People, Philosophy, Raves, Video, Wisdom | Tags: , , , , , |

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Walk Off The Earth

Somebody That I Used to Know – Walk off the Earth (Gotye – Cover)

BIG NEWS from Walk off the Earth!!!

CHEERS (Drink To That) by Gianni and Sarah [Walk off the Earth]

Reckoning Song (One Day) – Walk off the Earth

The Edge of Glory – [Walk off the Earth + Roomie] Lady Gaga Cover

Les Champs-Élysées – Walk off the Earth

Karma Police – Gianni and Sarah (Radiohead Loop Cover)

Love Sponge – Gianni and Sarah [Walk off the Earth]

Some Nights – Walk off the Earth + Julia Nunes

Home – Walk off the Earth + Street Pharmacy

Party Rock Anthem – [Walk off the Earth] + All About Maggie

From Me To You – Walk off the Earth (The Beatles)

Yesterday – [Walk off the Earth] Beatles Cover

BLACKBIRD – The Beatles (Cover) by Gianni and Myles

Magic – [Walk off the Earth] B.o.B. Cover

Man Down – [Walk off the Earth] Rihanna Cover

Can’t Take My Eyes Off You – Walk off the Earth (Feat. Selah Sue)

Little Boxes – Walk off the Earth

I Knew You Were Trouble – WALK OFF THE EARTH Feat. KRNFX

Gang of Rhythm – Walk off the Earth (Official Video)

RED HANDS – Walk off the Earth

Red Hands – Walk off the Earth Live on German Talk Show

Someone Like You – [Walk off the Earth] – Adele Cover

Summer Vibe – Walk off the Earth (Original)

Burn One Down – Gianni and Sarah

Corner of Queen – Walk off the Earth (Original)

Payphone – Walk off the Earth (Explicit Lyrics)

Fairytale of New York – Gianni and Sarah (Walk off the Earth)

Love The Way You Lie – [Walk off the Earth] Eminem Cover

Grenade – [Walk off the Earth] Bruno Mars Cover

Ice Cream – [Walk off the Earth]

Walk Off The Earth – Gang of Rhythm (Bing Lounge)

Walk Off The Earth – Revolutions In My Head (hometown show live @ SOM ’12)

Walk Off The Earth Live NY FULL CONCERT R.E.V.O. Tour / Town Ballroom / 12-07-12 Watch in HD!

walk

Walk off the Earth

Walk off the Earth is a Canadian indie band that formed in 2006 in Burlington, Ontario, and has gained success around the world by making low-budget music videos of covers and originals. The band built its fan base independently with no help from record labels, booking agents, or management. In February 2012, the music industry publication Crazed Hits reported that the band had signed a recording contract with Columbia Records.[1] The band is best known for its covers of popular music on YouTube, making use of uncommon instruments such as the ukulele and the theremin, as well as looping samples. The band’s recorded music and videos are produced by member and multi-instrumentalist, Gianni Luminati Nicassio.

Career

The band’s first success came from covering the songs of The Gregory Brothers. The video of the band’s cover of Gotye’s “Somebody That I Used to Know” became rapidly popular on YouTube in early 2012, gathering over 127 million views in four months[2] and received positive responses from both Gotye and his co-singer on the song, Kimbra.[3][4] The band has also covered “Someone Like You” by Adele, “Party Rock Anthem” by LMFAO, “Payphone” by Maroon 5, “Roll Up” by Wiz Khalifa and dozens of other tracks.[5] In December 2012, the band released an original single titled “Gang of Rhythm”.[6] On March 11, RollingStone magazine streamed their unreleased R.E.V.O. LP in its entirety. It received rave reviews from thousands of fans and social bloggers. The full length R.E.V.O. album was released on March 19, 2013.

Members

Sarah Blackwood and Ryan Marshall performing at Walk off the Earth’s hometown performance in Burlington.

  • Gianni Luminati – Bass, Guitar, Ukulele, Banjo, Kazoo, Drums, Vocals, Theremin, Beatbox, Xylophone, Cigar Box Guitar, Cigar Box Ukulele, Piano, cajon
  • Sarah Blackwood – Guitar, Bass, Kazoo, Ukulele, Banjo, Glockenspiel, Tambourine, Cigar Box Guitar, Xylophone, Piano, Vocals
  • Ryan Marshall – Guitar, Bass, Trumpet, Piano, Harmonica, Vocals
  • Mike “Beard Guy” Taylor – Piano, Vocals, Xylophone, Trumpet, Melodica
  • Joel Cassady – Drums, Cigar Box Guitar, Vocals
Touring members
  • Lee Bolt – Guitar, Banjo
  • Shameless James O’Neill – Trumpet, Percussion
Past members
  • Pete Kirkwood – Drums, Vocals

Personal life

On 29 January 2013, band members, Gianni and Sarah, spread the news via Youtube that they were expecting a baby together.[7]

Popularity

  • The Band’s cover of Gotye’s “Somebody That I Used to Know” – with accompanying video where all five members are shown playing on one guitar – went viral in early 2012, and has so far gained over 147 million hits on YouTube.[8]
  • Ellen DeGeneres featured the band on her January 23, 2012 show where they played live, again on one guitar.
  • The band’s cover of Taylor Swift’s “I Knew You Were Trouble” with four of the five members and guest beatboxer KRNFX using only vocals (in the style of a capella) and uploaded to YouTube on January 1 of 2013 has since gone viral.[9]

Awards and nominations

Year Award ceremony Award Result
2013 Juno Awards Breakthrough Group of the Year Pending
Video of the Year – Little Boxes Pending

Discography

Albums

  • 2007: Smooth Like Stone on a Beach
  • 2010: My Rock
  • 2012: R.E.V.O. EP
  • 2012: “Vol.1″
  • 2012: “Vol.2″
  • 2013: R.E.V.O. LP

Singles

List of singles, with selected chart positions and certifications, showing year released and album name
Title Year Peak chart positions Certifications Album
AUT BEL
(Vl)
BEL
(Wa)
CAN DEN FRA
[10]
IRL NED SUI SWE US UK
Somebody That I Used to Know 2012 30 30 28 13 12 80 48 9 54 45 109 80 R.E.V.O.
“Red Hands” 2013 13
“—” denotes releases that did not chart

Production

The band’s studio albums “My Rock” and “Smooth Like Stone on a Beach” were both recorded and produced by band member Gianni Luminati Nicassio in his private studio in Burlington, Ontario. In an interview with MTV’s Brenna Ehrlich, Sarah Blackwood mentioned that the band’s upcoming third album is being co-produced by Gianni Luminati and Tawgs Salter.

References

  1. ^ a b “Columbia signs Walk off the Earth”. Crazed Hits. Retrieved 8 February 2012.
  2. ^ Cashmere, Paul (9 January 2012). “Gotye Cover Inspires Russell Crowe To Pitch To Walk off the Earth”. Noise11. Retrieved 9 January 2012.
  3. ^ “Twitter post by Gotye”. Retrieved 8 January 2012.
  4. ^ Cashmere, Paul (8 January 2012). “Kimbra Impressed With Gotye Cover By Walk off the Earth”. Noise11. Retrieved 8 January 2012.
  5. ^ CTV Edmonton (Jan 13 2012). “Ont. band Walk Off the Earth has viral YouTube hit”. CTV News. BellMedia. Retrieved 14 January 2012.
  6. ^ “Gang of Rhythm by Walk Off The Earth”. Retrieved 9 February 2013.
  7. ^ “BIG NEWS from Walk off the Earth!!!”. Walk off the Earth. Retrieved 29 January 2013.
  8. ^ Walk off the Earth cover of “Somebody That I Used to Know”
  9. ^ “Walk Off The Earth’s “I Knew You Were Trouble” Cover Goes Viral”. Metro Lyrics. Retrieved 1 January 2013.
  10. ^ LesCharts.com French and European chart positions for Walk off the Earth’s version “Somebody That I Used to Know”
  11. ^ Canadian certification

External links

http://en.wikipedia.org/wiki/Walk_off_the_Earth

Background Articles and Videos

Philip DeFranco interviews Walk off the Earth

Walk Off The Earth’s Interview in Singapore – Imagine TV Network

WALK OFF THE EARTH – INTERVIEW (WTKGTS#100)

Gianni and Sarah – Interviewed at Lollapalooza (The Weekly Feed)

BPC Talks to Walk Off the Earth

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Phil Ramone — Rest In Peace — Videos

Posted on March 30, 2013. Filed under: Blogroll, Communications, Culture, Law, liberty, Life, Links, media, Music, People, Philosophy, Raves, Video, Wealth, Wisdom | Tags: , , , , , |

phil_ramone

Phil Ramone: Interview With Broadcast Studio Supervisor For The 2010 Grammys, Part One (Video)

Phil Ramone: Interview With Broadcast Studio Supervisor For The 2010 Grammys, Part Two (Video)

Phil Ramone: Interview With Broadcast Studio Supervisor For The 2010 Grammys, Part Three (Video)

Phil Ramone: Interview With Broadcast Audio Supervisor For The 2010 Grammys, Part Four (Video)

Musique. Interview Who’s who : Phil Ramone

Catch A Fire – Phil Ramone

Billy Joel: Inducts Phil Ramone into Songwriters Hall of Fame 2010

Billy Joel – Just the way you are

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Legends – Phil Ramone

Phil Ramone “Music Production Long Version” (Web 72)

 

Sitting With Phil Ramone Jan 2011 Interview

Phil Ramone at U Mass Lowell, November 14th, 2008 (Part 1)

Phil Ramone at U Mass Lowell, November 14th, 2008 (Part 2)

Phil Ramone talks about 10cc’s influence on Just the WayYou Are

Phil Ramone’s Road Recovery Master Class

Who is Phil Ramone?

Phil Ramone Biography

The Salvation Army Phil Ramone Orchestra for Children

phil_ramone_2

 

A former violin prodigy and expert engineer, he worked with Dylan, Sinatra, McCartney, Bennett, Charles, Streisand, Simon, Joel and Bacharach and spent more than 50 years in the business.

Phil Ramone, the instinctive music producer whose mixing mastery for Frank Sinatra, Barbra Streisand, Bob Dylan, Ray Charles, Paul Simon and Billy Joel helped fashion some of the most sumptuous and top-selling albums of his era, has died. He was 72.

The 14-time Grammy winner and 33-time nominee once dubbed “The Pope of Pop” was hospitalized in late February with an aortic aneurysm in New York and died Saturday morning at New York Presbyterian Hospital, according to Ramone’s son Matt.

A native of South Africa who at age 10 performed as a violinist for Queen Elizabeth II, Ramone spent years working as a songwriter, engineer and acoustics expert in New York before charting a path that would make him a trusted studio partner in the eyes (and ears) of the industry’s biggest stars.

Among the albums on which he worked were Streisand’s 1967 live A Happening in Central Park; Paul & Linda McCartney’s Ram (1971), sandwiched between the Beatles and Wings eras; Dylan’s aching Blood on the Tracks (1975); Simon’s pop classic Still Crazy After All These Years (1975); Joel’s critical and commercial breakthrough The Stranger (1977); Sinatra’s last-gasp Duets (1993), a model of technical wizardry; and Charles’ final album, the mega-selling Genius Loves Company (2004).

Ramone served as a songwriter in New York’s famed Brill Building music factory and worked early on with Quincy Jones, Tom Dowd, Creed Taylor, Jerry Leiber & Mike Stoller and Burt Bacharach & Hal David, among others. In 1959, he launched the A&R Recording studios on Seventh Avenue in New York, where Blood on the Tracks and so many other classics were recorded.

Asked to describe his philosophy as a producer, Ramone told Sound on Sound magazine in 2005: “I served a long time as an engineer and watched many famous producers work, and I decided on the personality that came most easily to me, which is the more relaxed; to give artists encouragement when needed.

“Players are like prodigies, thoroughbreds,” he added. “You have to handle them with care.”

Born on Jan. 5, 1941, Ramone at age 3 began studying the piano and violin, and he attended the Juilliard School in New York as a teenager. Although he was an accomplished performer and composer, he was attracted to the technical side of music and became a wizard working with the dials.

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In 1964, Ramone engineered the classic bossa nova album Getz/Gilberto, from American saxophonist Stan Getz and Brazilian guitarist Joao Gilberto. It would become one of the biggest-selling jazz albums of all time and earn him his first Grammy, for best engineered recording. It also won the album of the year Grammy.

Later in the decade, he worked with folk superstars Peter, Paul and Mary, then won another Grammy in 1969 as co-producer of the original Broadway cast album of Promises, Promises, with music and lyrics by Bacharach and David.

Ramone’s career reached another level in 1975 when he produced Simon’s Still Crazy After All These Years — which featured the No. 1 single “50 Ways to Leave Your Lover” and won Ramone a Grammy for album of the year — and Blood on the Tracks.

About the Dylan album, Ramone said: “It turned out to be the best four days of what Bob Dylan does, which is he wanders from song to song, sometimes coming back to the first one. Other than changing the roll of tape, you just had to let it all happen.”

In 1977, he produced Kenny LogginsCelebrate Me Home, Phoebe Snow’s Never Letting Go and Joel’s The Stranger, which kicked off a seven-album, decade-long relationship with the Long Island-raised singer-songwriter. He and Joel were “both lunatics,” he once said.

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For the screeching tires on “Movin’ Out (Anthony’s Song)” from The Stranger, Ramone recorded bassist Doug Stegmeyer’s Corvette peeling out, taping a microphone to the tailpipe. He also added a bit of echo to Joel’s whistling throughout the album.

“There’s nothing like the challenge of devising and reproducing an effect you’re looking for,” Ramone wrote in his 2007 book, Making Records: The Scenes Behind the Music. “Sometimes that chase is more exciting than the catch.”

Ramone won the record of the year Grammy for Joel’s “Just the Way You Are” from the album (after removing a “cha-cha-cha” background from the song), captured album of the year for the follow-up 52nd Street and was named producer of the year in 1980 after guiding the rock-infused Glass Houses, which featured Joel’s first chart-topping single, “It’s Still Rock and Roll to Me.”

On Oct. 1, 1982, 52nd Street became the first commercially released compact disc, and Ramone later received a Technical Grammy for his lifetime of innovative contributions to the industry.

In 1993, Ramone produced Duets, a comeback album for Sinatra. The legendary singer never sang in the same studio with his duet partners, who included Streisand, Natalie Cole, Aretha Franklin, Tony Bennett, Bono and Kenny G. Ramone used an EDNet fiber-optic system to record the artists in different locations in real time.

The first of two Sinatra Duets albums sold more than 3 million copies in the U.S. and made it to No. 2 on the Billboard albums chart.

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For Genius Loves Company, Ramone and fellow producer John Burk provided a clean, retro setting for the pop classics sung by Charles with James Taylor, Bonnie Raitt, Elton John, Norah Jones and others. The album, recorded over a period of nine months and released in August 2004 — two months after Charles’ death — earned triple-platinum status, made it to No. 1 and raked in eight Grammys.

“If Ray is looking upon us now, he’s just made his career last another 50 years,” Ramone said as he accepted the Grammy for Album of the Year.

Ramone also produced Bennett’s Duets II, the 2011 release famous for the crooner’s collaboration with Amy Winehouse. With that album, Bennett became the oldest living artist to debut at No. 1 on the Billboard 200.

Other Ramone-produced albums include Lesley Gore’s I’ll Cry If I Want To (1963), Julian Lennon’s debut Valotte (1984), the Broadway cast album for Passion (1994), Liza Minnelli’s live Liza’s Back (2002), Rod Stewart’s It Had to Be You: The Great American Songbook (2002) and recent works from George Michael, Dionne Warwick and Glee star Matthew Morrison.

Ramone recorded Streisand and Kris Kristofferson live during filming for A Star Is Born (1976) and co-wrote “Imagination,” sung by Laura Branigan in Flashdance (1983), good for another Grammy. He also contributed to the films Midnight Cowboy (1969), Ghostbusters (1984) and Beyond the Sea (2004), with Kevin Spacey acting and singing as Bobby Darin.

Ramone also recorded Marilyn Monroe’s boozy rendition of “Happy Birthday to You” sung to President John F. Kennedy in 1962 and received an Emmy in 1973 for his work as an audio designer on the NBC special Liza With a Z.

In a Recording Academy statement confirming his passing, the Grammy organization also credited Ramone as “a pioneer of audio technological developments — creating new innovations for the compact disc and surround sound technologies.”

In an interview with Music Radar in November, Ramone credited his ability to seize upon spontaneity as one reason he became such a prolific hitmaker.

“You have to be able to run as fast as the artist, capture the magic early on,” he said. “After a few takes, people start intellectualizing what they’re doing, and it loses something. What’s special happens right away — so you have to be ready for it.”

In addition to his son Matt, Ramone is survived by wife Karen and sons BJ and Simon.

http://www.hollywoodreporter.com/news/music-producer-phil-ramone-ray-charles-frank-sinatra-425444

Phil Ramone, Famed Record Producer of Paul Simon, Billy Joel, Tony Bennett, Dies

Exclusive UPDATE: Billy Joel says:

“I always thought of Phil Ramone as the most talented guy in my band. He was the guy that no one ever ever saw onstage.
He was with me as long as any of the musicians I ever played with – longer than most. So much of my music was shaped by him and brought to fruition by him.
I have lost a dear friend – and my greatest mentor.The music world lost a giant today.”

Earlier: Heartbreaking: my friend, the friend of so many in the music business, has died at age 72. Phil had been in a New York hospital for the last few weeks, recovering from an aortic aneurysm. It’s just tragic. Phil produced the great music by Paul Simon, Billy Joel, and Tony Bennett– all of whom had been keeping in touch with Phil’s family constantly over the last few weeks.

Phil had 14 Grammy awards– and not enough frankly. Just in the last two years he’d produced Tony Bennett’s “Duets II” and “Viva Duets,” as well as Paul Simon’s critically acclaimed “So Beautiful, So What” and was finishing up a new album with George Michael.

To say Phil was a musical genius, a gentleman, the sweetest and nicest guy–it’s all not enough. For years he’s been producing the annual Songwriters Hall of Fame show and it’s been such a great experience. This past winter, right before he became ill, Phil was honored by the Salvation Army for all of work in the last few years. He was so proud of organizing their kids’ orchestra. He was beaming when they played at the Marriott Marquis that night. And he was so thrilled that Aretha Franklin came to honor him as well.

All I can think of this afternoon is Phil in the studio recording the “Duets II” album in the summer of 2011. I came into see him, and it he was drenched in sweat. It was at least 100 degrees outside, and Aretha had asked that the air conditioning be turned off while she and Tony Bennett recorded “How Do You Keep the Music Playing.” Phil was wearing a light blue dress shirt, and all of it was wet by degrees. I said, “Phil are you all right?” He looked at me with that big smile. “Do ya see what’s going on in there?” he pointed to Aretha and Tony on other side of the glass. “I’m great. Hot. But great.”

 

 

Phil Ramone, Famed Record Producer of Paul Simon, Billy Joel, Tony Bennett, Dies

Phil Ramone, Famed Record Producer of Paul Simon, Billy Joel, Tony Bennett, Dies

phil.ramone

<!– –>03/30/13 12:00pm Roger Friedman 1
 

Exclusive UPDATE: Billy Joel says:

“I always thought of Phil Ramone as the most talented guy in my band. He was the guy that no one ever ever saw onstage.
He was with me as long as any of the musicians I ever played with – longer than most. So much of my music was shaped by him and brought to fruition by him.
I have lost a dear friend – and my greatest mentor.The music world lost a giant today.”

Earlier: Heartbreaking: my friend, the friend of so many in the music business, has died at age 72. Phil had been in a New York hospital for the last few weeks, recovering from an aortic aneurysm. It’s just tragic. Phil produced the great music by Paul Simon, Billy Joel, and Tony Bennett– all of whom had been keeping in touch with Phil’s family constantly over the last few weeks.

Phil had 14 Grammy awards– and not enough frankly. Just in the last two years he’d produced Tony Bennett’s “Duets II” and “Viva Duets,” as well as Paul Simon’s critically acclaimed “So Beautiful, So What” and was finishing up a new album with George Michael.

To say Phil was a musical genius, a gentleman, the sweetest and nicest guy–it’s all not enough. For years he’s been producing the annual Songwriters Hall of Fame show and it’s been such a great experience. This past winter, right before he became ill, Phil was honored by the Salvation Army for all of work in the last few years. He was so proud of organizing their kids’ orchestra. He was beaming when they played at the Marriott Marquis that night. And he was so thrilled that Aretha Franklin came to honor him as well.

All I can think of this afternoon is Phil in the studio recording the “Duets II” album in the summer of 2011. I came into see him, and it he was drenched in sweat. It was at least 100 degrees outside, and Aretha had asked that the air conditioning be turned off while she and Tony Bennett recorded “How Do You Keep the Music Playing.” Phil was wearing a light blue dress shirt, and all of it was wet by degrees. I said, “Phil are you all right?” He looked at me with that big smile. “Do ya see what’s going on in there?” he pointed to Aretha and Tony on other side of the glass. “I’m great. Hot. But great.”

Phil’s Grammys:

  • 2006 Producer, Best Traditional Pop Vocal Album, Tony Bennett Duets: An American Classic
  • 2005 Producer, Best Traditional Pop Vocal Album, Tony Bennett The Art of Romance
  • 2004 Producer, Album of the Year, Ray Charles Genius Loves Company
  • 2004 Producer, Best Surround Sound Album, Ray Charles Genius Loves Company
  • 2004 Technical Grammy, for contributions of outstanding technical significance to the recording field.
  • 2002 Producer – Best Traditional Pop Vocal Album Playin’ With My Friends: Bennett Sings The Blues
  • 1994 Producer – Best Musical Show Album, Passion
  • 1983 Composer – Best Instrumental Composition Written for a Motion Picture or for Television Flashdance
  • 1980 Producer of the Year – Non-Classical
  • 1979 Producer, Album of the Year, 52nd Street
  • 1978 Producer, Record of the Year, Just The Way You Are
  • 1975 Producer, Album of the Year, Still Crazy After All These Years
  • 1969 Producer, Best Musical Show Album, Promises, Promises
  • 1964 Engineer, Best Engineered Recording (non- classical) Getz/Gilberto

Phil Ramone

Philip “Phil” Ramone (January 5, 1941 – March 30, 2013) was an South African–born American recording engineer, record producer, violinist, and composer,[1] who, in 1958, co-founded A & R Recording, Inc., a recording studio at 112 West 48th Street, New York — above what then was Manny’s Music. The success of that studio grew into several studios and a record producing company. He was described by Billboard as “legendary”,[2] and the BBC as a “CD pioneer”.[3]

Early life

Ramone was born in South Africa and grew up in Brooklyn. As a child in South Africa, Ramone was a musical prodigy, beginning to play the violin at age three and performing for Elizabeth II at age ten.[4] In the late 1940s he trained as a classical violinist at The Juilliard School, where one of his classmates was Phil Woods. Ramone opened his own recording studio before he was 20.[5] He became a naturalized citizen of the U.S.A. on December 14, 1953.[6]

Professional career

A & R Recording

In 1959, Ramone established an independent recording studio A & R Recording (the initials were derived from the last initials of Ramone and his then-business partner Jack Arnold). Later the partnership consisted of Brooks Arthur owning half and Ramone, Don Frey, and Arthur Downs Ward (1922–2002) owning the other half.[7]

In the studio he quickly gained a reputation as a sound engineer and music producer, in particular for his use of innovative technology. Among those whose music he has produced are Clay Aiken, Burt Bacharach, The Band, Bono, Laura Branigan, Ray Charles, Karen Carpenter, Chicago, Peter Cincotti, Natalie Cole, Bob Dylan, Sheena Easton, Melissa Errico, Gloria Estefan, Aretha Franklin, Billy Joel, Elton John, Quincy Jones, Patricia Kaas, B. B. King, Julian Lennon, Shelby Lynne, Madonna, Barry Manilow, Richard Marx, Paul McCartney, George Michael, Liza Minnelli, Anne Murray, Olivia Newton-John, Sinéad O’Connor, Fito Páez, Luciano Pavarotti, Peter Paul and Mary, Andre Previn, Diane Schuur, Carly Simon, Paul Simon, Frank Sinatra, Rod Stewart, James Taylor, The Guess Who, Dionne Warwick and Stevie Wonder. He is also credited with recording Marilyn Monroe’s intoxicated version of “Happy Birthday to You” to President John F. Kennedy.[1]

His early work in producing and engineering was with jazz artists, working on John Coltrane records and acting as engineer for the landmark Getz/Gilberto album in 1964, for which he won his first Grammy. He transitioned during the 1960s to working with folk-rock, pop-rock, and R&B acts such as Peter, Paul, and Mary, James Taylor, Aretha Franklin, and Bob Dylan, first primarily as an engineer, and later as a producer. He won his first production Grammy for his work on 1975’s Still Crazy After All These Years by Paul Simon. His breakthrough album became Billy Joel’s 1977 album The Stranger and began a fruitful collaboration that would lead to Ramone producing a string of hit Joel albums throughout the rest of the 1970s and 1980s. In 1993, he produced Duets, Frank Sinatra’s comeback album, a commercial hit that peaked at #2 on the Billboard Album Chart. During the rest of the 1990s, Ramone moved from production work to his primary role as an industry executive, serving as chairman of The Recording Academy, though he would still be involved in some studio work including several Broadway cast recordings, as well as helping produce, with Quincy Jones, the televised A Tribute to Brian Wilson in 2001.[8]

Technical innovations

October 1, 2012, marked the thirtieth anniversary of the world’s first commercially marketed compact disc. On that date in 1982, A & R Recording released a digital compact disc version of Billy Joel’s 52nd Street in Japan, alongside Sony’s CD player CDP-101.[9]

Ramone introduced optical surround sound for movies.[10] His book, Making Records: The Scenes Behind the Music, written with Chuck Granata, was released on October 9, 2007. Also in October 2007, Ramone produced a limited engagement performance of Richard Vetere’s Be My Love: The Mario Lanza Story.[11] The play was directed by Charles Messina and co-produced by Sonny Grosso. It premiered at The Tilles Center in Greenvale, New York[12]

Other professional activities

In addition to producing music, Ramone has numerous concert, film, Broadway and television productions to his credit that include “A Star is Born”, “August Rush”, “Beyond the Sea”, “Flashdance”, “Ghostbusters”, “Midnight Cowboy”, “On Her Majesty’s Secret Service”, “Passion”, “Seussical”, “Simon and Garfunkel: The Concert In Central Park”, Songwriters Hall of Fame Awards, “The Score”, VH1/BBC “Party at the Palace: Queen’s Jubilee Concert”, and “The Good Thief”.[13]

 Most recent work

On July 8, 2008, Columbia records released The Stranger 30th Anniversary, which features interviews with Ramone. This box set includes a remastered version of the 1977 Billy Joel album, The Stranger by Ramone.[14] The following summer, Ramone produced Gershwin Across America, a tribute album to the music of George and Ira Gershwin. The album features Jewel, Jason Mraz, Darius Rucker, and Paul Simon among others.[15] In 2011, Ramone worked with George Michael, during his 2011 Symphonica Tour.[1]

Personal life

Ramone was married to Karen Ichiuji-Ramone, with whom he had three sons.[10]

Death

Ramone died on March 30, 2013, in a Manhattan hospital after being admitted for surgery.[16][17] His family did not immediately release details.[5]

Awards

Ramone was nominated for 33 Grammy awards, winning 14 including a Technical Grammy Award in 2005 for a lifetime of innovative contributions to the recording industry.[18][19]

  • 1965 – Best Engineered Recording (non classical), for Getz/Gilberto
  • 1970 – Best Musical Show Album for producing Promises, Promises
  • 1976 – Album of the Year for producing Still Crazy After All These Years
  • 1979 – Record of the Year for producing “Just the Way You Are”
  • 1980 – Album of the Year for producing 52nd Street
  • 1981 – Producer of the Year (non classical)
  • 1984 – Best Album Of Original Score Written For A Motion Picture Or A Television Special, for Flashdance
  • 1995 – Best Musical Show Album for producing Passion
  • 2003 – Best Traditional Pop Vocal Album, for producing “Playin’ With My Friends: Bennett Sings The Blues”
  • 2005 – Album of the Year and Best Surround Sound Album for producing Genius Loves Company
  • 2006 – Best Traditional Pop Vocal Album for producing The Art of Romance
  • 2007 – Best Traditional Pop Vocal Album for producing Duets: An American Classic
  • 2012 – Best Traditional Pop Vocal Album for producing Duets II

He also won an Emmy Award in 1973 as sound mixer for “Duke Ellington…We Love You Madly”, a tribute to Duke Ellington broadcast on CBS.[3]

Ramone was awarded honorary degrees by Five Towns College, Berklee College of Music, and Skidmore College. He was a member of Berklee’s Board of Trustees. He was also awarded a Fellowship by the Audio Engineering Society in 2007.[20]

References

  1. ^ a b c “Biography: Phil Ramone”. philramone.com. Retrieved March 30, 2013. 
  2. ^ Barnes, Mike (March 30, 2013). “Legendary Producer Phil Ramone Dies at Age 72″. Billboard. Retrieved March 30, 2013. 
  3. ^ a b “US music producer and CD pioneer Phil Ramone dies”. BBC News. March 30, 2013. Retrieved March 30, 2013. 
  4. ^ “Legendary Music Producer Phil Ramone Dies at 72″. The Hollywood Reporter. Retrieved March 30, 2013. 
  5. ^ a b “Phil Ramone, pioneering music producer and engineer, dies aged 72″. guardian.co.uk. March 30, 2013. Retrieved March 30, 2013. 
  6. ^ US District Court for the Southern District of New York, Petition No. 625266, Admission No. 7198731
  7. ^ Eskow, Gary (June 1, 2005). “Classic Tracks: Janis Ian’s “At Seventeen””. Mix. Retrieved March 30, 2013. 
  8. ^ Ruhlmann, William. “Phil Ramone”. Allmusic.com. Retrieved 30 March 2013. 
  9. ^ “Sony History: A Great Invention 100 Years On”. Sony. Archived from the original on August 2, 2008. Retrieved February 28, 2012. 
  10. ^ a b Barker, Andrew (March 30, 2013). “Phil Ramone, Pioneering Music Engineer and Producer, Dies at 72″. Variety. Retrieved March 30, 2013. 
  11. ^ “Phil Ramone Project”. Frost School of Music. Retrieved March 30, 2013. 
  12. ^ “Richard Vetere Collection”. Stony Brook University Special Collections & University Archives. Retrieved March 30, 2013. 
  13. ^ “Phil Ramone: About”. philramone.com. Retrieved March 30, 2013. 
  14. ^ “Billy Joel The Stranger: 30th Anniversary Deluxe Edition Review”. BBC Music. July 14, 2008. Retrieved March 30, 2013. 
  15. ^ Mergner, Lee (August 25, 2010). “All-star lineup performs Gershwin across America at Hollywood Bowl”. Jazz Times. Retrieved March 30, 2013. 
  16. ^ Martinez, Michael (March 30, 2013). “Music producer and innovator Phil Ramone dead at age 72″. CNN. Retrieved March 30, 2013. 
  17. ^ “Legendary record producer Phil Ramone in ‘critical care'”. NME. March 1, 2013. Retrieved March 30, 2013. 
  18. ^ “Past winners search”. Grammy.com. Retrieved March 30, 2013. 
  19. ^ “Technical GRAMMY award”. Retrieved March 31, 2013. 
  20. ^ “AES Historical Web Store: Oral History Project: Phil Ramone (101)”. Audio Engineering Society. Retrieved March 30, 2013.
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Everybody Hurts–Videos

Posted on February 24, 2013. Filed under: American History, Blogroll, Communications, government, government spending, history, Language, liberty, Life, Links, media, Music, People, Philosophy, Psychology, Raves, Religion, Video, Wisdom | Tags: , , , , , , , , |

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R.E.M. – Everybody Hurts (Video)

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David Bowie is Back–Where Are We Now?–Happy Birthday–Videos

Posted on January 8, 2013. Filed under: Blogroll, Communications, Culture, liberty, Life, Links, Music, People, Video, Wisdom | Tags: , , , , , , |

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David Bowie: Where Are We Now? Full Video 

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A documentary, which takes you on a journey of Bowie’s revolutionary career, struggle with his personal life and his achievements and successes. Features interviews with Bowie, Iman his wife, his musical contemporaries including Iggy Pop, Moby and Trent Razor. Exclusive footage of live performances of the showman’s best and music and film to showcase 30 years of his career. Highlights Bowie’s interests, passions and involvement with the arts. One not to be missed!

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The Band–The Last Waltz–Videos

Posted on July 27, 2012. Filed under: American History, Blogroll, Business, Communications, Culture, Economics, Entertainment, history, Language, Law, liberty, Life, Links, media, Movies, Music, People, Philosophy, Raves, Video, Wisdom | Tags: , , , , , , , |

The Last Waltz was a concert by the Canadian rock group, The Band, held on American Thanksgiving Day, November 25, 1976,
at Winterland Ballroom in San Francisco. The Last Waltz was advertised as the end of The Band’s touring career,

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Adele–Videos

Posted on February 13, 2012. Filed under: Art, Blogroll, Communications, Culture, Economics, Entertainment, Language, Law, liberty, Links, media, Music, People, Philosophy, Radio, Raves, Video, Wealth, Wisdom | Tags: , , , , , , , |

“Mum loves me being famous! She is so excited and proud, as she had me so young and couldn’t support me, so I am living her dream, it’s sweeter for both of us. It’s her 40th birthday soon and I’m going to buy her 40 presents.”

She amazed us again….

Adele – Someone Like You

Adele – Turning Tables 

Adele- Don’t You Remember

Adele – Someone Like You (Live in Her Home) 

Adele – Make You Feel My Love (Live on Letterman) 

ADELE – ‘Make You Feel My Love’ 

Adele – One And Only 

Adele – Rumour Has It

ADELE – ‘Cold Shoulder’

Adele – Crazy For You

ADELE – ‘Hometown Glory’

Adele – He won’t go (with lyrics)

Adele – First Love 

Adele – Set Fire To The Rain (Live from the Tabernacle, London, 24 January 2011)

Adele – Set Fire To The Rain

Adele – I Can’t Make You Love Me

Adele – Rolling In The Deep

Adele – Chasing Pavements

Adele Turning Set Fire To Rain Live X Factor Rihanna You Da One Lyrics Grammy Nominations AMA 2012

Adele – Make You Feel My Love [Official Video] 

‘My life is full of drama and I won’t have time to worry about something as petty as what I look like. I don’t like going to the gym.

‘I like eating fine foods and drinking nice wine. Even if I had a really good figure, I don’t think I’d get my t**s and a** out for no one.

‘I love seeing Lady Gaga’s boobs and bum. I love seeing Katy Perry’s boobs and bum. Love it. But that’s not what my music is about. I don’t make music for eyes, I make music for ears.’

Background Articles and Videos

 Adele wins a Grammy for Best Pop Solo Performance

Adele 21 – Track By Track Interview

Adele — Exclusive WSJ Interview 

Adele – Ushi the (complete) interview

Adele – Interview (The Jonathan Ross Show – 3rd September 2011) 

ADELE – Live At The Royal Albert Hall DVD (Trailer) 

Adele & Amy Winehouse performing @ The BRIT Awards (2008) 

Adele (singer)

“…Adele Laurie Blue Adkins[2] (born 5 May 1988), better known mononymously as Adele, is an English recording artist and songwriter. Adele was offered a recording contract from XL Recordings after a friend posted her demonstration on Myspace in 2006. The next year she received the Brit Awards “Critics’ Choice” and won the BBC Sound of 2008. Her debut album, 19 was released in 2008 to much commercial and critical success in the UK. 19 was certified four times platinum in the UK.[3] Her career in the US was boosted by a Saturday Night Live appearance in late 2008. At the 2009 Grammy Awards, Adele received the awards for Best New Artist and Best Female Pop Vocal Performance.[4][5] She has also won a total of 8 Grammy Awards and 1 Brit Award.

Adele released her second album, 21 in early 2011.[6][7] The album was well received critically and surpassed the success of her debut commercially.[8] 21 has been certified 14 times platinum in the UK;[3] in the US the album held the top position longer than any other album since 1993.[9][10] The success of 21 earned Adele numerous mentions in the Guinness Book Of World Records. The album won the Grammy for Album of the Year. She is the first artist to sell more than 3 million copies of an album in a year in the UK.[11] With her two albums and the first two singles from 21, “Rolling in the Deep” and “Someone Like You”, Adele became the first living artist to achieve the feat of two top five hits in both the UK Official Singles Chart and the Official Albums Chart simultaneously since the Beatles in 1964.[12][13] With her third release from the album, “Set Fire to the Rain”, becoming her third number one single in the US, Adele became the first artist in history to lead the Billboard 200 concurrently with three Billboard Hot 100 number ones.[14] 21 is the longest running number one album by a female solo artist on the UK Albums Chart[15] and is tied for the longest cumulative stay at number one by a female solo artist as well.[11] In 2011, Billboard named Adele artist of the year.[16]

Adele Website

http://www.adele.tv/

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Whitney Houston–Videos

Posted on February 13, 2012. Filed under: American History, Blogroll, Culture, Economics, Entertainment, Films, history, liberty, Life, Links, media, Music, People, Philosophy, Raves, Video, Wisdom | Tags: , , , , , , , |

Whitney Houston – I Will Always Love You     Official Music Video

Whitney Houston – Where Do Broken Hearts Go (Medley) 

where do broken hearts go by whitney houston with lyrics

Whitney Houston sings at New Hope Baptist Church in Newark, NJ.

Whitney Houston – Memories (1982) 

Merv Griffin Show- Whitney Houston and Cissy Houston sings Sweet Baby/You Send Me/Aint No Way 1983

Whitney Houston   1985   Opening Act for Luther Vandross 

Whitney Houston – Saving all my love for you  – Peters Popshow – 1985 

Whitney Houston – Saving all my love for you  – Peters Popshow – 1985 

Whitney Houston – I Wanna Dance With Somebody (Who Loves Me) 

Whitney Houston – All At Once (1987)

Whitney Houston – Saving All My Love – HQ Live 

Whitney Houston – All The Man That I Need 

Whitney Houston  – Saving All My love For You (Live French Show)

Whitney Houston   One Moment In Time(Grammy Awards Live)

Whitney Houston – I Will Always Love You

Whitney Houston – Saving All My Love For You

Whitney Houston – How Will I Know 

Whitney Houston – So Emotional 

Whitney Houston – I’m Every Woman 

Whitney Houston – It’s Not Right But It’s Okay 

Whitney Houston – Exhale

Whitney Houston – All The Man That I Need

Whitney Houston – I Look To You

Whitney Houston – Run To You

Whitney Houston – I Wanna Dance With Somebody

Whitney Houston – Greatest Love Of All

Whitney Houston – I Have Nothing

Whitney Houston – Didn’t We Almost Have It All

Baclground Articles and Videos

Whitney Houston’s Death: 2012 Grammy Awards to Pay Tribute to Her Career

Whitney Houston – This is My Life – Part 1 

Whitney Houston – This is My Life – Part 2 

Whitney Houston – This Is My Life – Part 3 

Whitney Houston Rolling Stone Interview 1986

Whitney Houston MTV Interview (1988)

Whitney Houston on The Arsenio Hall Show (1990)

Whitney Houston on The Arsenio Hall Show (1992) Part 1 

Whitney Houston on The Arsenio Hall Show (1992) Part 2 

Whitney Houston on The Arsenio Hall Show (1992) Part 3

Whitney Houston – Barbara Walters Special 1993 – Part 1 

Whitney Houston – Barbara Walters Special 1993 – Part 2

Whitney Houston interview by Diane Sawyer

Whitney Houston UK Interview 1996 Rare

Whitney Houston Interview

Whitney Houston

“…Whitney Elizabeth Houston (August 9, 1963 – February 11, 2012) was an American recording artist, actress, producer, and model. In 2009, the Guinness World Records cited her as the most-awarded female act of all time.[1] Her awards include two Emmy Awards, six Grammy Awards, 30 Billboard Music Awards, and 22 American Music Awards, among a total of 415 career awards in her lifetime. Houston was also one of the world’s best-selling music artists, having sold over 170 million albums, singles and videos worldwide.[2][3] Inspired by prominent soul singers in her family, including her mother Cissy Houston, cousins Dionne Warwick and Dee Dee Warwick, and her godmother Aretha Franklin, Houston began singing with her New Jersey church’s junior gospel choir at age 11.[4] After she began performing alongside her mother in night clubs in the New York City area, she was discovered by Arista Records label head Clive Davis. Houston released seven studio albums and three movie soundtrack albums, all of which have diamond, multi-platinum, platinum or gold certification.

Houston is the only artist to chart seven consecutive No. 1 Billboard Hot 100 hits (“Saving All My Love for You”, “How Will I Know”, “Greatest Love of All”, “I Wanna Dance with Somebody (Who Loves Me)”, “Didn’t We Almost Have It All”, “So Emotional” and “Where Do Broken Hearts Go”). She is the second artist behind Elton John and the only female artist to have two number-one Billboard 200 Album awards (formerly “Top Pop Album”) on the Billboard magazine year-end charts. Houston’s 1985 debut album Whitney Houston became the best-selling debut album by a female act at the time of its release. The album was named Rolling Stone‘s best album of 1986, and was ranked at number 254 on Rolling Stone‘s list of the 500 Greatest Albums of All Time.[5] Her second studio album Whitney (1987) became the first album by a female artist to debut at number one on the Billboard 200 albums chart.[5] Houston’s crossover appeal on the popular music charts as well as her prominence on MTV, starting with her video for “How Will I Know”,[6] influenced several African-American female artists to follow in her footsteps.[7][8]

Houston’s first acting role was as the star of the feature film The Bodyguard (1992). The film’s original soundtrack won the 1994 Grammy Award for Album of the Year. Its lead single “I Will Always Love You”, became the best-selling single by a female artist in music history. With the album, Houston became the first act (solo or group, male or female) to sell more than a million copies of an album within a single week period.[5] The album makes her the only female act in the top 10 list of the best-selling albums of all time, at number four. Houston continued to star in movies and contribute to their soundtracks, including the films Waiting to Exhale (1995) and The Preacher’s Wife (1996). The Preacher’s Wife soundtrack became the best-selling gospel album in history.[9] Three years after the release of her fourth studio album My Love Is Your Love (1998), she renewed her recording contract with Arista Records.[9] She released her fifth studio album Just Whitney in 2002, and the Christmas-themed One Wish: The Holiday Album in 2003. In 2009, Houston released her seventh studio album I Look to You. …”

http://www.youtube.com/watch?v=3WH1Ma50QUk&feature=related

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Merry Christmas from Ron Paul and the Founding Fathers–Videos

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Merry Christmas from Ron Paul and the Founding Fathers

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Four High Definition HD Videos On Degas, Manet, Monet, Van Gogh, and Vermeer Posted To The A Pronk Studio Video Channel On YouTube–Videos–Give Them A View!

Posted on May 13, 2011. Filed under: Art, Blogroll, Communications, liberty, Life, Links, media, Music, People, Rants, Video, Wealth, Wisdom | Tags: , , , , , , , , , , , , , , , , , |

A PRONK STUDIO VIDEO

Degas

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A PRONK STUDIO VIDEO

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Happy Birthday and May Day Judy Collins–Who Knows Where The Time Goes–Videos

Posted on May 1, 2011. Filed under: Blogroll, Communications, Culture, Entertainment, Language, Law, liberty, Life, Links, media, Music, People, Philosophy, Raves, Video, Wealth, Wisdom | Tags: , , , , , , , , |

 

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Bob Seger–Videos

Posted on April 30, 2011. Filed under: American History, Art, Blogroll, Communications, Culture, Entertainment, history, Language, Law, liberty, Life, Links, media, Music, People, Philosophy, Psychology, Rants, Raves, Security, Talk Radio, Technology, Video, Wealth, Wisdom | Tags: , , , , , , , , |

“Every now and then you’ll nail one that’s really, really special. And that’s what you live for.

Bob Seger Live-Old Time Rock n Roll

 

Bob Seger Ramblin Gamblin Man

 

Bob Seger – Turn the Page

 

Bob Seger – Still The Same

Bob Seger-Her Strut live

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In Your Time – Bob Seger Music Video

 

Night Moves

 

 

You’ll Accompany Me Live-Bob Seger

 

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Bob Seger Tour 2011 – Old Time Rock & Roll – Toledo 3-26-2011

 

 

Bob Seger & Kid Rock Real Mean Bottle 12/20/06 Detroit

 

Bob Seger Wait For Me

 

“I write a lot of songs people don’t hear. I really just enjoy the process. I finish ‘em all. I don’t think there’s a whole lot of difference between the bad ones and the good ones.”

 

 

Background Articles and Videos

 

Bob Seger accepts award Rock and Roll Hall of Fame and Museum inductions 2004

 

Bob Seger Rock N Roll Hall Of Fame

 

Bob Seger Sunday Morning

 

Bob Seger on Entertainment Tonight

 

Bob Seger:CBS TV Interview 1996 Mystery Tour 1996

 

BOB SEGER – Face the Promise (his life)

 

Bob Seger:In Concert ABC Special interview

 

Bob Seger TV Interview December 1976

 

Bob Seger

“…Robert Clarke Seger (born May 6, 1945) is an American singer-songwriter, guitarist and pianist.

As a locally successful Detroit-area artist, he performed and recorded as The Bob Seger System throughout the 1960s. By the early 1970s, he had dropped the “System” from his recordings, and he continued to strive for national success with other various bands. In 1973 he put together “The Silver Bullet Band,” an evolving group of Detroit-area musicians, with whom he became most successful. In 1976, he achieved national fame with two albums, the live record Live Bullet, and the studio record Night Moves. On his studio albums he also worked extensively with the Alabama-based Muscle Shoals Rhythm Section, appearing on several of Seger’s best selling singles and albums.

A roots rocker with a classic raspy, shouting voice, Seger was first inspired by Little Richard and Elvis Presley, along with James Brown.[1] He wrote and recorded songs that dealt with blue-collar themes. Seger has recorded many rock and roll hits, including “Night Moves”, “Turn the Page”, and “Like a Rock”, and also co-wrote the Eagles number one hit “Heartache Tonight”. His iconic signature song “Old Time Rock and Roll” was named one of the Songs of the Century in 2001. With a career spanning five decades, Seger continues to perform and record today.

“Old Time Rock & Roll” charted #2 as most played Jukebox Singles of all Time, second only to Patsy Cline’s “Crazy”.

Seger’s songs have been covered by many artists including Thin Lizzy and Metallica.

Seger was inducted into the Rock and Roll Hall of Fame in 2004. …”

“…Recent Works & 2011 Tour

In October 2009, Yessian Music reported on its social networking sites that Seger was re-recording his albums Smokin’ O.P.’s and Seven. On October 25, 2009 it was revealed that Seger indeed had done some re-recording of older songs for an upcoming compilation album entitled Early Seger Vol. 1,[11] a collection of out of print songs and also previously unreleased material. The album was released on November 24, 2009, initially exclusively available for purchase at Meijer. A week later it was available for download at BobSeger.com.[12]

Seger lives mainly at his home in Orchard Lake Village, Michigan, a suburb of Detroit. He frequents many local events including West Bloomfield High School football games to watch his son who is in the nationally-ranked marching band. Seger also has a vacation house near Good Hart, Michigan.

Seger made an announcement on 26 March during an interview with Dick Purtan on Detroit’s WOMC-FM that he plans to tour in late 2010. These concerts will be Seger’s first since 2007’s 50-stop US tour which followed the release of his last album Face the Promise.

Seger contributed piano and vocals on Kid Rock’s 2010 album Born Free. Alongside Seger, the album also featured Sheryl Crow, Zac Brown Band, and Martina Mcbride among others.

On January 25th and 26th, videos were uploaded to Seger’s official Facebook page (and later on his official website) and teased older Seger songs while lying under a blurred screen, a map of the U.S. with 5 noted states highlighted, and a message at the end saying “Stay Tuned to BobSeger.com.” On January 27th, Seger made an announcement on his official website of a 2011 Tour subjected to kick off in March 2011. In a Rolling Stone article, additional information was added saying that Seger had 20-30 dates already booked and was expected to tour again in the Fall. In other news, the same article noted that Seger had been recording non-stop since the end of the Face the Promise tour and that a new album was currently in the works, and Seger was satisfied with over half of it already. It was also stated that Seger would be sampling a few songs from the forthcoming record during the first leg of the tour in hopes of having the album released shortly before, during, or after the tour, hinting at a Summer 2011 release.

On March 2, 2011, Seger released the first single from his forthcoming album, Downtown Train, a Tom Waits cover. …”

http://en.wikipedia.org/wiki/Bob_Seger

Bob Seger Biography

“…Seger’s first new album in 11 years, titled Face the Promise, was released in 2006. In its first 45 days, the album sold more than 400,000 copies. The album has sold over 1 million copies to date and stayed on the Billboard chart for months. His supporting tour was also eagerly anticipated, with many shows selling out within minutes. Showing that Seger’s legendary appeal in Michigan had not diminished, all 15,000 tickets available for his first show at Grand Rapids’ Van Andel Arena sold out in under five minutes; three additional shows were subsequently added, each of which also sold out. …”

http://www.lyricsfreak.com/b/bob+seger/biography.html

Bob Seger- Official Web Site

http://www.bobseger.com/

The Seger File-Unofficial Web Site

http://www.segerfile.com/

 

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Barry Manilow–Videos

Johnny Mathis–Videos

Don McLean–Videos

Bette Midler–Videos

Joni Mitchell–Videos

Olivia Newton-John–Videos

Roy Orbison–Videos

The Platters–Videos

Elvis Presley–Videos

Queen–Videos

Otis Redding–Videos

Lionel Richie–Videos

The Righteous Brothers–Videos

The Rolling Stones–Videos

Linda Ronstadt–Videos

Sam & Dave–Videos

Neil Sedaka–Videos

Diana Ross and The Supremes–Videos

Carly Simon–Videos

Simon & Garfunkel–Videos

Frank Sinatra–Videos

Dusty Springfield–Videos

Bruce Springsteen–Videos

Rod Stewart–Videos

Barbra Streisand–Videos

Songs

Singers and Songs: Musical Artists–Videos

Donna Summer–Videos

Switchfoot–Videos

James Taylor–Videos

Tina Turner–Videos

Shania Twain–Videos

Village People–Videos

Hayley Westenra–Videos

Steve Winwood–Videos

Stevie Wonder–Videos

Tammy Wynette–Videos

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Doris Day–Videos

Posted on January 7, 2011. Filed under: Blogroll, Communications, Culture, Entertainment, liberty, Life, Links, media, Movies, Music, People, Philosophy, Raves, Video | Tags: , , , , , , |

“If it’s true that men are such beasts, this must account for the fact that most women are animal lovers.”

Doris Day – The Way We Were

 

Doris Day, “Bewitched, Bothered & Bewildered”

 

Doris Day – Close Your Eyes

 

Doris Day – If I Were A Bell

 

Doris Day – Moonglow

 

Doris Day – Fly Me To The Moon

 

 

Doris Day – I Want To Be Happy

 

Doris Day – Glass Bottom Boat

 

 

Doris Day Photos, “I’ll See You In My Dreams”

 

YOUNG AT HEART – DORIS DAY SINGS….

 

Doris Day – Falling In Love Again

 

Doris Day – Stay With The Happy People

 

 

Doris Day – keep smillin’ keep laughing Be happy(pub orange)

 

Doris Day – Que Sera Sera

 

DORIS DAY sings Christmas song SILVER BELLS on her TV sitcom

 

DORIS DAY TODAY (“The Way We Were” / Godspell / John Denver)

 

Doris Day sings The Party’s Over

     “The really frightening thing about middle age is the knowledge that you’ll grow out of it.”

 

Background Articles and Videos

Doris Day & Friends talk about the real Doris Day

Doris Day & Rock Hudson – Forever Friends

Doris Day Fights for Pets

 

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Don McLean–Videos

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Joni Mitchell–Videos

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Simon & Garfunkel–Videos

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Bruce Springsteen–Videos

Rod Stewart–Videos

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Snow Patrol–Videos

Posted on December 2, 2010. Filed under: Art, Blogroll, Communications, Language, Law, liberty, Life, Links, media, Music, People, Philosophy, Politics, Rants, Raves, Video | Tags: , , , , , , |

Snow Patrol – Open Your Eyes

 

Snow Patrol – Chocolate

 

Snow Patrol – You’re All I Have

 

Snow Patrol : Take Back The City : Rove Live

 

Snow Patrol – Crack The Shutters

 

Snow Patrol – Somewhere A Clock Is Ticking

 

Snow Patrol – Spitting Games

 

Snow Patrol – Chasing Cars (2007 version)

 

Snow Patrol – You could be happy

 

Snow Patrol – Run

 

Snow Patrol – Lifeboats – A Hundred Million Suns

 

Lifeboats – Snow Patrol – Directed by Justin Alt

 

 

Snow Patrol – Batten Down The Hatch ‘Reworked’, Newcastle Nov 09

 

Snow Patrol – Batten Down The Hatch – Royal Albert Hall 24/11/09

 

Snow Patrol & James Corden – Set The Fire To The Third Bar – Royal Albert Hall 24/11/09

 

 

now Patrol – The Golden Floor – LIVE (HQ) Munich 24.05.2009

 

Snow Patrol – The Golden Floor – House of Blues San Diego

 

Snow Patrol – If There’s A Rocket Tie Me To It – Later Jools

 

Snow Patrol – Signal Fire

 

Snow Patrol – Just Say Yes

 

 

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Snow Patrol – ‘No Disco’ Interview

 

KROQ’s Kat Corbett interviewing Snow Patrol

 

 

Snow Patrol – Just Say Yes & NEW ALBUM

 

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Snow Patrol – Up To Now Documentary Webisode 6

 

Gary Lightbody from Snow Patrol talks to Ruth Scott PT 1/2

 

 

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Snow Patrol Interview

 

Gary Lightbody

 

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Snow Patrol

http://www.snowpatrol.com/

Snow Patrol

“…Snow Patrol are an alternative rock band from Northern Ireland. [1] Formed at the University of Dundee in 1994,[2] the band is now based in Glasgow. The band’s first three records, the EP Starfighter Pilot (1997), and the studio albums Songs for Polarbears (1998) and When It’s All Over We Still Have to Clear Up (2001), were commercially unsuccessful and were released by the independent labels Electric Honey and Jeepster respectively. The band then signed on to the major record label Polydor Records in 2002.

Snow Patrol rose to national fame with their major label debut, Final Straw, in 2003. The album was certified 5x platinum in the UK[3] and eventually sold over 3 million copies worldwide. Their next studio album, Eyes Open, (2006) and its hit single “Chasing Cars”, propelled the band to greater international fame. The album topped the UK Album Charts and was the best-selling British album of the year, selling over 6 million copies worldwide. In 2008, the band released their fifth studio album A Hundred Million Suns and in 2009 their first compilation album, Up to Now.

During the course of their career, Snow Patrol have won five Meteor Ireland Music Awards and have been nominated for three BRIT Awards. Since the release of Final Straw, the band have sold over ten million albums worldwide.[4] …”

http://en.wikipedia.org/wiki/Snow_Patrol

 

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