Music

The Pronk Pops Show — Week in Review — November 14-22, 2017 — Videos

Posted on November 25, 2017. Filed under: American History, Ammunition, Banking, Blogroll, Bomb, Books, Business, Central Intelligence Agency (CIA), Communications, Computers, Congress, conservatives, Constitution, Corruption, Crime, Crisis, Culture, Defense Intelligence Agency (DIA), Documentary, Drones, Economics, Employment, Energy, Entertainment, Environment, European History, Faith, Family, Federal Bureau of Investigation (FBI), Federal Communications Commission, Federal Government, Federal Government Budget, Films, Fiscal Policy, Foreign Policy, Fraud, Freedom, Friends, government, Government Land Ownership, government spending, Health, Health Care, History of Economic Thought, Homicide, Illegal, Immigration, Inflation, Internal Revenue Service (IRS), Investments, Islam, Islam, Journalism, Language, Law, Legal, Life, Links, Love, Macroeconomics, media, Medicine, Missiles, Mobile Phones, Monetary Policy, Money, Movies, Movies, Music, Music, National Security Agency (NSA), National Security Agency (NSA_, Natural Gas, Natural Gas, Newspapers, Non-Fiction, Nuclear, Nuclear Power, Obamacare, Oil, Oil, People, Philosophy, Photos, Police, Political Correctness, Politics, Press, Psychology, Quotations, Radio, Radio, Rants, Raves, Raymond Thomas Pronk, Religion, Religious, Resources, Reviews, Security, Shite, Speech, Spying, Strategy, Success, Sunni, Talk Radio, Tax Policy, Taxation, Taxes, Technology, Television, Television, Television, Terrorism, The Pronk Pops Show, Trade, Video, War, Water, Wealth, Weapons, Wisdom, Work, Writing | Tags: , , , |

 

 

Project_1

The Pronk Pops Show Podcasts

Pronk Pops Show 1005, November 22, 2017

Pronk Pops Show 1004, November 21, 2017

Pronk Pops Show 1003, November 20, 2017

Pronk Pops Show 1002, November 15, 2017

Pronk Pops Show 1001, November 14, 2017 

Pronk Pops Show 1000, November 13, 2017

Pronk Pops Show 999, November 10, 2017

Pronk Pops Show 998, November 9, 2017

Pronk Pops Show 997, November 8, 2017

Pronk Pops Show 996, November 6, 2017

Pronk Pops Show 995, November 3, 2017

Pronk Pops Show 994, November 2, 2017

Pronk Pops Show 993, November 1, 2017

Pronk Pops Show 992, October 31, 2017

Pronk Pops Show 991, October 30, 2017

Pronk Pops Show 990, October 26, 2017

Pronk Pops Show 989, October 25, 2017

Pronk Pops Show 988, October 20, 2017

Pronk Pops Show 987, October 19, 2017

Pronk Pops Show 986, October 18, 2017

Pronk Pops Show 985, October 17, 2017

Pronk Pops Show 984, October 16, 2017 

Pronk Pops Show 983, October 13, 2017

Pronk Pops Show 982, October 12, 2017

Pronk Pops Show 981, October 11, 2017

Pronk Pops Show 980, October 10, 2017

Pronk Pops Show 979, October 9, 2017

Pronk Pops Show 978, October 5, 2017

Pronk Pops Show 977, October 4, 2017

Pronk Pops Show 976, October 2, 2017

Pronk Pops Show 975, September 29, 2017

Pronk Pops Show 974, September 28, 2017

Pronk Pops Show 973, September 27, 2017

Pronk Pops Show 972, September 26, 2017

Pronk Pops Show 971, September 25, 2017

Pronk Pops Show 970, September 22, 2017

Pronk Pops Show 969, September 21, 2017

Pronk Pops Show 968, September 20, 2017

Pronk Pops Show 967, September 19, 2017

Pronk Pops Show 966, September 18, 2017

Pronk Pops Show 965, September 15, 2017

Pronk Pops Show 964, September 14, 2017

Pronk Pops Show 963, September 13, 2017

Pronk Pops Show 962, September 12, 2017

Pronk Pops Show 961, September 11, 2017

Pronk Pops Show 960, September 8, 2017

Pronk Pops Show 959, September 7, 2017

Pronk Pops Show 958, September 6, 2017

Pronk Pops Show 957, September 5, 2017

Pronk Pops Show 956, August 31, 2017

Pronk Pops Show 955, August 30, 2017

Pronk Pops Show 954, August 29, 2017

Pronk Pops Show 953, August 28, 2017

Pronk Pops Show 952, August 25, 2017

Pronk Pops Show 951, August 24, 2017

Pronk Pops Show 950, August 23, 2017

Pronk Pops Show 949, August 22, 2017

Pronk Pops Show 948, August 21, 2017

Pronk Pops Show 947, August 16, 2017

Pronk Pops Show 946, August 15, 2017

Pronk Pops Show 945, August 14, 2017

Pronk Pops Show 944, August 10, 2017

Pronk Pops Show 943, August 9, 2017

Pronk Pops Show 942, August 8, 2017

Pronk Pops Show 941, August 7, 2017

Pronk Pops Show 940, August 3, 2017

Image result for i am mad as hellImage result for illegal alien invasion of united StatesImage result for branco cartoons on roy mooreSee the source image

 

November 22, 2017 06:55 PM PST

The Pronk Pops Show 1005

November 22, 2017

Story 1: The Fed’s Great Unwind or Rolling Over Into 21st Century Greatest Depression — Videos —

Story 2: Will President Trump Be The Next President Hoover? — Videos

For additional information and videos:

https://pronkpops.wordpress.com/2017/11/22/the-pronk-pops-show-1005-story-1-the-feds-great-unwind-or-rolling-over-into-21st-century-greatest-depression-videos-story-2-will-president-trump-be-the-next-president-hoover-videos/

November 22, 2017 05:12 PM PST

The Pronk Pops Show 1004

November 21, 2017

Story 1: The Illegal Alien Family That Is Deported Together Stays Together — Let The “Dreamers” Go Back To Their Country of Origin With Families– Enforce All Immigration Laws — Remove and Deport The 30-60 Million Illegal Aliens Who Invaded The United States in Last 20 Years — No DACA Fix Needed — Trump Will Lose Many of His Supporters If He Gives Amnesty or Citizenship To Dreamers — Video —

Story 2: Feral Hog Invasion of America — Hogs Eat Everything — Kill The Hogs — Boar Busters — Videos

For additional information and videos:

https://pronkpops.wordpress.com/2017/11/21/the-pronk-pops-show-1004-november-21-2017-story-1-the-illegal-alien-family-that-is-deported-together-stays-together-let-the-dreamers-go-make-to-country-of-origin-with-families-enforce-all/

November 21, 2017 08:25 PM PST

The Pronk Pops Show 1003

November 20, 2017

Story 1: The Great Outing of Sexual Abusers in Big Lie Media and Congress — The CREEP List Grows Longer and Longer — Abuse of Power — Videos —

Story 2: A Two Charlie Day — Charlie Rose, Should Be Fired By CBS, and Charlie Manson, Dead At 83, Should Have Been Executed By State of California — Videos

For additional information and videos:

https://pronkpops.wordpress.com/2017/11/20/the-pronk-pops-show-1003-november-20-2017-story-1-the-great-outing-of-sexual-abusers-in-big-lie-media-and-congress-the-creep-list-grows-longer-and-longer-abuse-of-power-videos-story-2/

November 20, 2017 02:08 PM PST

The Pronk Pops Show 1002

November 15, 2017

Story 1: More on Moore: Roy Moore’s Attorney News Briefing — She Said Vs. He Said — Faulty Memory of Witnesses Leading To Wrongful Conviction — Sexual Abuse — Who Do You Believe? — The Voters of Alabama Must Answer This Question on December 12 — Videos —

Story 2: Will The Senate Pass A Tax Reform Bill?– NO — Tax Cut Bill — Yes — Videos —

Story 3: Who is on the Congressional CREEP List of Sexual Harassers in Congress and Their Staffs ? — Who is next to be outed? — Shout Animal House — Intimacy — Getting To Know You– Dance With Me –Videos

For additional information and videos:

https://pronkpops.wordpress.com/2017/11/16/the-pronk-pops-show-1002-november-15-2017-story-1-more-on-moore-roy-moores-attorney-news-briefing-she-said-vs-he-said-faulty-memory-of-witnesses-leading-to-wrongful-conviction-sex/

November 17, 2017 04:39 PM PST

The Pronk Pops Show 1001

November 14, 2017

Story 1: He Is Back — Let The Screaming Begin — Videos —

Story 2: Trial Balloon of Having Sessions Return To The Senate By Write In Campaign Shot Down By Attorney General Jeff Sessions — Political Elitist Establishment Trying To Overturn Alabama Voters —  Videos —

Story 3: Attorney General Sessions Grilled By House Including Whether There Will Special Counsel For Hillary Clinton Alleged Crimes — Vidoes —

Story 4: Sexual Harassment in The Senate and House — Time To Expose the Exposers — Out Them By Naming Them — Publish The Creep List — Videos

For additional information and videos:

https://pronkpops.wordpress.com/2017/11/15/the-pronk-pops-show-1001-november-14-20017-story-1-he-is-back-let-the-screaming-begin-videos-story-2-trial-balloon-of-having-sessions-return-to-the-senate-by-write-in-campaign-shot-down/

 

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Getting To Know You — Intimacy — Love — Both Sides Now — Send In The Clowns — Turn Turn Turn — Amazing Grace — Videos

Posted on November 18, 2017. Filed under: Art, Blogroll, Books, Business, Communications, Culture, Dance, Diet, Entertainment, Faith, Family, Films, Food, Health, Law, liberty, Life, Links, Love, media, Money, Movies, Movies, Music, Music, Narcissism, Newspapers, People, Philosophy, Photos, Politics, Psychology, Radio, Radio, Television, Television, Wealth, Wisdom, Writing | Tags: , , , , , , , , , , , , , , , , , |

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Why we love repetition in music – Elizabeth Hellmuth Margulis

The Beatles All You Need Is Love (Official Promo)

Sternberg’s Triangular Theory of Love

The Secret to Intimacy | The Science of Love

Looks aren’t everything. Believe me, I’m a model. | Cameron Russell

Cameron Russell’s Mission to Make Beauty About Brains

The secret to desire in a long-term relationship | Esther Perel

How to love and be loved | Billy Ward | TEDxFoggyBottom

Tony Robbins Identifies 4 Types of Love | Oprah’s Life Class | Oprah Winfrey Network

How being heartbroken was the best thing to ever happen to me: Emma Gibbs at TEDxSouthBankWomen

Creating extraordinary intimacy in a shutdown world | Michael J. Russer | TEDxUniversityofNevada

TEDxJaffa — Niveen Rizkalla — Getting Intimate with Intimacy

Mork & Mindy (1978-1982)

Published on Nov 15, 2015

Mork & Mindy was the first tv show to display an incredible talent of Robin Williams. The audience instantly fell in love with the “cute and cuddly” alien Mork and his human friend Mindy. I think of this show with great fondness because it’s extremely funny, lovely and kind. It’s the kind of TV product we really need these days. It was a huge hit back in the day and i think the people in 2015 could really use a little happiness it gives. Anyway, here’s a little video, i hope you gonna like it! Song: Walk The Moon – Shut Up and Dance

The Love Story of Mork & Mindy

Mork & Mindy – Never Thought That I Could Love

Mork & Mindy – Getting To Know You

Mork and Mindy – Dance With Me

Bing Crosby – Getting To Know You

JAMES TAYLOR – GETTING TO KNOW YOU

Getting to Know You from The King and I

Yul Brynner and Deborah Kerr perform “Shall We Dance” from The King and I

Julie Andrews – Getting to Know You

Getting to Know You
It’s a very ancient saying
But a true and honest thought
That if you become a teacher
By your pupils you’ll be taught
As a teacher I’ve been learning
You’ll forgive me if I boast
And I’ve now become an expert
On the subject I like most
Getting to know you
Getting to know you
Getting to know all about you
Getting to like you
Getting to hope you like me
Getting to know you
Putting it my way
But nicely
You are precisely
My cup of tea
Getting to know you
Getting to know all about you
Getting to like you
Getting to hope you like me
Getting to know you
Putting it my way
But nicely
You are precisely
My cup of tea
Getting to know you
Getting to feel free and easy
When I am with you
Getting to know what to say
Haven’t you noticed
Suddenly I’m bright and breezy?
Because of all the beautiful and new
Things I’m learning about you
Day by day
Getting to know you
Getting to feel free and easy
When I am with you
Getting to know what to say
Haven’t you noticed
Suddenly I’m bright and breezy?
Because of all the beautiful and new
Things I’m learning about you
Day by day
Songwriters: Oscar Ii Hammerstein / Richard Rodgers
Getting to Know You lyrics © Imagem Music Inc

Both Sides Now

Both Sides Now

Bows and flows of angel hair and ice cream castles in the air
And feather canyons everywhere, I’ve looked at clouds that way
But now they only block the sun they rain and snow on everyone
So many things I would have done, but clouds got in my way
I’ve looked at clouds from both sides now
From up and down and still somehow
It’s cloud’s illusions I recall
I really don’t know clouds at all
Moons and Junes and Ferris wheels the dizzy dancing way you feel
As every fairy tale comes real, I’ve looked at love that way
But now it’s just another show, you leave ’em laughin’ when you go
And if you care don’t let them know, don’t give yourself away
I’ve looked at love from both sides now
From give and take and still somehow
It’s love’s illusions I recall
I really don’t know love at all
Tears and fears and feeling proud, to say, “I love you” right out loud
Dreams and schemes and circus crowds, I’ve looked at life that way
But now old friends are acting strange they shake their heads, they say
I’ve changed
But something’s lost but something’s gained in living every day
I’ve looked at life from both sides now
From win and lose and still somehow
It’s life’s illusions I recall
I really don’t know life at all
Songwriters: Joni Mitchell
Both Sides Now lyrics © Sony/ATV Music Publishing LLC, Crazy Crow Music / Siquomb Music Publishing

Judy Collins – “Both Sides Now” 1987

Joni Mitchell – Both Sides Now (Live, 1970)

Judy Collins Send in the Clowns

Send in the Clowns
Isn’t it rich?
Are we a pair?
Me here at last on the ground,
You in mid-air,
Where are the clowns?
Isn’t it bliss?
Don’t you approve?
One who keeps tearing around,
One who can’t move,
Where are the clowns?
There ought to be clowns?
Just when I’d stopped opening doors,
Finally knowing the one that I wanted was yours
Making my entrance again with my usual flair
Sure of my lines
No one is there
Don’t you love farce?
My fault, I fear
I thought that you’d want what I want
Sorry, my dear!
But where are the clowns
Send in the clowns
Don’t bother, they’re here
Isn’t it rich?
Isn’t it queer?
Losing my timing this late in my career
But where are the clowns?
There ought to be clowns
Well, maybe next year

JUDY COLLINS – Turn Turn Turn (1966 )

Judy Collins Lyrics

“Turn, Turn, Turn (To Everything There Is A Season)”

Words-adapted from the bible, book of ecclesiastes
Music-pete seegerTo everything (turn, turn, turn)
There is a season (turn, turn, turn)
And a time for every purpose, under heavenA time to be born, a time to die
A time to plant, a time to reap
A time to kill, a time to heal
A time to laugh, a time to weepTo everything (turn, turn, turn)
There is a season (turn, turn, turn)
And a time for every purpose, under heaven

A time to build up, a time to break down
A time to dance, a time to mourn
A time to cast away stones, a time to gather stones together

To everything (turn, turn, turn)
There is a season (turn, turn, turn)
And a time for every purpose, under heaven

A time of love, a time of hate
A time of war, a time of peace
A time you may embrace, a time to refrain from embracing

To everything (turn, turn, turn)
There is a season (turn, turn, turn)
And a time for every purpose, under heaven

A time to gain, a time to lose
A time to rend, a time to sew
A time to love, a time to hate
A time for peace, I swear its not too late

Celtic Woman – Amazing Grace

The Most Beautiful “Amazing Grace” I’ve ever heard

AMAZING GRACE

Amazing grace, How sweet the sound
That saved a wretch like me.
I once was lost, but now I am found,
Was blind, but now I see.’Twas grace that taught my heart to fear,
And grace my fears relieved.
How precious did that grace appear
The hour I first believed.Through many dangers, toils and snares
I have already come,
‘Tis grace has brought me safe thus far
And grace will lead me home.The Lord has promised good to me
His word my hope secures;
He will my shield and portion be,
As long as life endures.Yea, when this flesh and heart shall fail,
And mortal life shall cease
I shall possess within the veil,
A life of joy and peace.When we’ve been there ten thousand years
Bright shining as the sun,
We’ve no less days to sing God’s praise
Than when we’ve first begun.

The Four Faces of Intimacy

By Beverley Golden

December 16, 2011Health, Healthy Living, Living

Intimacy among animals

 

 

 

 

 

 

 

 

It started with what seemed like a simple question I asked myself. That question, not surprisingly for anyone who knows me, led to a series of additional questions. Somehow, I wasn’t getting clear answers for myself, so I started asking people I came in contact with the same questions. The results were fascinating to me and I wanted to explore the topic more fully. The basic question: “What does intimacy mean to you?

The range of responses was wide and varied. I included both men and women, different ages, some were in relationships and others were not. Most people had to stop for a moment to really think about and put into words what intimacy meant to them. As I looked more deeply at the topic, I found that there are in fact four key types of intimacy.

What Does Intimacy Mean to You?

The people I asked generally started with the most common of the four types of intimacy: Sexual. This wasn’t too much of a surprise because sexual intimacy is probably the most stereotypical and most familiar definition of the word in modern society. Having sex, however, often has less to do with intimacy than with a physical act between people. As it ended up, the people I talked to wanted more than just the act of sex — they wanted some depth. They wanted to feel safe while being vulnerable, wanting to be seen by his/her partner. That made sense, as this form of intimacy also includes a wide range of sensuous activity and sensual expression, so it’s much more than having intercourse.

It’s interesting that the word intercourse is also defined as an “exchange especially of thoughts or feelings.” It’s curious why intimacy is challenging to people in their relationships. I continued to look further.

Connecting Emotionally

The next of the four faces of intimacy is emotional intimacy.This happens when two people feel comfortable sharing their feelings with each other. The goal is to try to be aware and understand the other person’s emotional side. My guess is that women have an easier time with this in very close female friendships, but I’d like to believe that men too are becoming more comfortable experiencing emotional intimacy. This form of intimacy I’ve become comfortable with and see as a healthy part of the give-and-take in all relationships, whether female or male.

Margaret Paul, Ph.D, refers to the fears people have in relation to emotional intimacy. She says, “Many people have two major fears that may cause them to avoid intimacy: the fear of rejection (of losing the other person), and the fear of engulfment (of being invaded, controlled, and losing oneself).” This made some sense to me.

Love and Intimacy

However, if we believe that there are only two major energies we humans experience, love and fear (or an absence of love), then I find it interesting that in this area of intimacy, it seems people have moved from their hearts and love to an energy that stops them from experiencing their true essence and what they often yearn for the most. Love and intimacy.

In her book A Return to Love, the brilliant Marianne Williamson says it most eloquently:

“Love is what we were born with. Fear is what we have learned here. The spiritual journey is the relinquishment or unlearning of fear and the acceptance of love back into our hearts. Love is our ultimate reality and our purpose on earth. To be consciously aware of it, to experience love in ourselves and others, is the meaning of life.”

Even the Bible says, “There is no fear where love exists.” Of course I believe that love and intimacy are highly spiritual. In her book Love for No Reason, Marci Shimoff states, “Love for no reason is your natural state.” She also tells a wonderful story about a spiritual teacher who once said to her, “I love you and it’s no concern of yours.” To love, from your heart, just to love. As I talked about in my piece on what makes a good relationship, my ideal is definitely a loving spiritual partnership.

True Intimacy

I kept wondering if true intimacy could be as simple as a matter of moving back to loving ourselves first? To rediscovering the unconditional love we all were born with? The idea of self-intimacy and self-love is a fascinating concept. I’ll leave these as open-ended questions for you to ask yourselves for now. I was curious to look more closely at the other two types of intimacy.Intellectual Intimacy_conversation between men

 

The next, intellectual intimacy, is something I personally have the most comfort with. This one is about communication, and as someone who lives and breathes words, it’s extremely familiar to me. The ability to share ideas in an open and comfortable way can lead to a very intimate relationship indeed, as I’m fortunate to discover quite frequently. As someone who engages in this type of interaction all the time, it offers me a wonderful and fulfilling form of intimacy. I wondered if this was my strongest area of intimacy.

Experiential Intimacy

The fourth kind of intimacy is experiential intimacy, an intimacy of activity. I realized I experience this every time I get together with a group to create art in a silent process. It’s about letting the art unfold, by working together in co-operation. The essence of this intimate activity is that very little is said to each other, it’s not a verbal sharing of thoughts or feelings, but it’s more about involving yourself in the activity and feeling an intimacy from this involvement.

During a recent encounter I had at a contact improv jam, I realized was actually this form of intimacy. I interacted with a young man, letting our body energy lead the dance, with no eye contact and no words, just movement in a sensual and open, if not dramatic, dance. So, I understood that this experiential intimacy is also, somewhat surprisingly, in my intimacy vocabulary.Intimacy_experiential

 Joining and Separating

Rick Hanson, Ph.D says that having intimacy in our lives requires a natural balance of two great themes — joining and separation — that are in fact central to human life. Almost everyone wants both of them, to varying degrees. He goes on to say, “In other words: individuality and relationship, autonomy and intimacy, separation and joining support each other. They are often seen at odds with each other, but this is so not the case!” This also made perfect sense to me. Yin and yang. Light and dark. All the polarities we live in life, lead to a balance.

My understanding and curiosity were greatly expanded after exploring the four faces of intimacy. Maybe this awareness might make it easier to find your own perfect personal balance between them all. For me, it comes down to our willingness to explore intimacy in all its forms. It’s not necessary that every intimate relationship includes all the different types of intimacy. Ultimately it is each individual’s choice.

What I learned, makes me believe that with some balance in these areas, we might find a deeper connection and understanding of the relationships in our life. I also fully recognize that we all have different definitions of intimacy. Are men and women’s definitions dramatically different? It is a fascinating conversation to continue to explore.

Soul Intimacy

Then, as often happens with perfect synchronicity, I received my daily Gaping Void email by Hugh MacLeod with the subject: Has your soul been seen lately? It went on to say, “I saw your soul today and it made me want to cry with joy and thanks.” The topic was intimacy. What followed was a beautiful way to end my piece.

“Intimacy isn’t strictly about romantic relationships, or even relations with family — sometimes it happens quickly, and often times in ways we hardly notice.

I’m talking about that moment when someone allows the world to see what’s inside… what they are really about. It’s about seeing someone for who and what they are and that the glimpse was offered either voluntarily or without the person’s knowledge. This is an incredible moment where our existence suddenly makes sense and all comes together in a singular place.

For those of you who have experienced this, it’s something that never gets lost in memory or time. It’s like a little mirror we take out every now and then to remember a time when something so complex became so inconceivably simple. It’s pretty incredible.”

This is the essence of what intimacy is really all about. Dare to be vulnerable, dare to be seen.

Intimacy is Key to Being Healthy and Vital

Dr. Christiane Northrup in her newest book “Goddesses Never Age”, tells us that intimacy is an important part of life regardless of age. As she shares, “Age is just a number, and agelessness means not buying into the idea that a number determines everything from your state of health to your attractiveness to your value.” As a member of Team Northrup, a team whose mission is to support people to live their most vital and healthy lives, I invite you to a complimentary health and vitality consultation.

Before we talk to customize a plan for you, find out how healthy you are with the True Health Assessment. The three-part report, identifies your top health risk factors, maps out a recommended lifestyle plan that identifies ways you can improve your health and provides you with individualized nutrition recommendations based on your specific assessment answers.

Now let me ask you my starting question: What does intimacy mean to you?

https://www.beverleygolden.com/the-four-faces-of-intimacy/

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Southern Rock Star Gregg Allman Dies at Age 69 — Rest in Peace — Videos

Posted on May 27, 2017. Filed under: Art, Articles, Blogroll, Entertainment, liberty, Life, media, Money, Music, Music, People, Philosophy, Photos, Raves, Video, Welfare, Work, Writing | Tags: , , , , , , , , |

Gregg Allman, icon of Southern Rock, dead at 69

Gregg Allman Dies At 69

CBS This Morning: Gregg Allman Today

Gregg Allman – Tuesday’s Gone (Lynyrd Skynyrd – One More For The Fans)

Gregg Allman – “Tuesday’s Gone” – Skynyrd Tribute Concert @ Fox Theatre, Atlanta 11.12.2014

Gregg Allman – I’m No Angel

Gregg Allman LIVE – “I’m No Angel” | Back to Macon, GA

Gregg Allman 01/21/2012 “These Days”

Gregg Allman (and Redd Foxx) on Late Night, November 18, 1987

The Allman Brothers Band – After The Crash

The Big Interview Sneak Peek: Gregg Allman

GREGG ALLMAN DEAD AT 69 — The Last Time We Saw Him in 2014 | TMZ

“Midnight Rider” with Vince Gill, Gregg Allman and Zac Brown

The Allman Brothers Band – Midnight Rider – 9/10/1973 – Grand Opera House (Official)

Allman Brothers Band – Blue Sky

Gregg Allman performing soulful version of Come And Go Blues

Gregg Allman – Come And Go Blues – 12/11/1981 – unknown (Official)

The Allman Brothers Band – Ramblin’ Man – 7/12/1986 – Starwood Amphitheatre (Official)

The Allman Brothers Band – Ramblin’ Man – 12/16/1981 – Capitol Theatre (Official)

The Allman Brothers Band – Whipping Post – 9/23/1970 – Fillmore East (Official)

The Allman Brothers Band – Full Concert – 09/23/70 – Fillmore East (OFFICIAL)

The Allman Brothers Band – Full Concert – 01/16/82 – University Of Florida Bandshell (OFFICIAL)

The Allman Brothers Band – Jessica (EPIC Version!!!); Wanee Festival 2014-04-11

The Allman Brothers Band – Melissa – 7/29/1981 – NBC Studios (Official)

“Melissa” featuring Jackson Browne and Gregg Allman

The Allman Brothers Band – Soulshine live

The Allman Brothers Band – Soulshine – 8/14/1994 – Woodstock 94 (Official)

Gregg Allman – Queen of Hearts – 07/03/13

The Gregg Allman Band 1982 – Queen of Hearts – Saenger Theatre New Orleans

Allman Brothers Band – A Decade of Hits 1969-1979

The Allman Brothers Band enters the Rock and Roll Hall of Fame

Gregg Allman on Regis & Kathie Lee, 1991

Gregg Allman Reminisces On His Allman Brothers Days – CONAN on TBS

Howard Stern interviews Gregg Allman (05/22/12)

Gregg Allman interview – PART 1 of 14 – Dickey Betts – Saenger Theater New Orleans 1982

Gregg Allman interview PART 2 of 14 – Saenger Theater New Orleans 1982

Gregg Allman interview PART 3 of 14 – Saenger Theater New Orleans 1982

Gregg Allman interview PART 4 of 14- Saenger Theater New Orleans 1982

Gregg Allman interview PART 5 of 14- Saenger Theater New Orleans 1982

Gregg Allman interview PART 6 of 14- Saenger Theater New Orleans 1982

Gregg Allman interview PART 7 of 14- Saenger Theater New Orleans 1982

Gregg Allman interview PART 8 of 14- Saenger Theater New Orleans 1982

Gregg Allman interview PART 9 of 14- Saenger Theater New Orleans 1982

Gregg Allman interview PART 10 of 14- Saenger Theater New Orleans 1982

Gregg Allman interview PART 11 of 14- Saenger Theater New Orleans 1982

Gregg Allman interview PART 12 of 14 – Cher – Saenger Theater New Orleans 1982

Gregg Allman interview PART 13 of 14- Saenger Theater New Orleans 1982

Gregg Allman interview PART 14 of 14- Saenger Theater New Orleans 1982

Gregg Allman, Southern Rock Pioneer, Dies at 69

Gregg Allman Tour Bus Crash

REX/SHUTTERSTOCK

MAY 27, 2017 | 12:34PM PT

Gregg Allman, whose hard-jamming, bluesy sextet the Allman Brothers Band was the pioneering unit in the Southern rock explosion of the ‘70s, died Saturday due to currently unknown causes. He was 69.

As recently as April 24, reports surfaced claiming Allman was in hospice. His manager previously denied those reports to Variety, which Allman then substantiated in a Facebook post. However, he had suffered a number of ailments in recent years — including an irregular heartbeat, a respiratory infection, a hernia and a liver transplant — and cancelled many scheduled tour dates in recent months due to undisclosed health reasons.

For his work with the Allman Brothers, the legendary band he cofounded with his late brother Duane, and as a solo artist, Allman is one of the leading lights of Southern Rock. While the group’s greatest work was done before and shortly after Duane’s death in 1971, they stayed together, off and on, over 45 years and remain a singular influence on Southern rock and jam-band musicians. They were a top-drawing touring outfit until October 2014, when the group finally closed the book on their career with a series of dates at their longtime favorite venue, New York’s Beacon Theatre.

Allman’s solo career always played second to that of the band, but he enjoyed solo success with 1973’s “Laid Back” and 1987’s “I’m No Angel,” both of which were certified gold. In 2011 he released an unexpectedly strong album entitled “Low Country Blues” that was produced by T Bone Burnett (Alison Krauss/Robert Plant, Los Lobos, Elvis Costello, “O Brother Where Art Thou?”), who, along with instrumentalists like pianist Dr. John and guitarist Doyle Bramhall II, brought Allman back to his gutsy roots with stellar results.

With his older sibling, guitarist Duane Allman, the singer-keyboardist-guitarist-songwriter led one of the most popular concert attractions of the rock ballroom era; the group’s 1971 set “At Fillmore East,” recorded at Bill Graham’s New York hall, was a commercial breakthrough that showed off the band’s prodigious songcraft and instrumental strengths.

After Duane Allman’s death in a motorcycle accident weeks after the live album’s release, his younger brother led the band through four more stormy decades of playing and recording. The Allman Brothers Band’s latter-day history proved tumultuous, with other fatalities, disbandings, regroupings and very public battles with drugs and alcohol on the part of its surviving namesake.

Though Gregg Allman’s highly publicized addictions, his tabloid-ready marriage to pop vocalist Cher, and his equally public disputes with co-founding guitarist Dickey Betts came under harsh and sometimes mocking scrutiny over the years, Allman prevailed as the linchpin of an act that maintained popularity over four decades and opened the commercial door for such other Southern acts as Lynyrd Skynyrd and the Marshall Tucker Band.

As a member of the Allman Brothers Band, Allman was inducted into the Rock and Roll Hall of Fame in 1995 and was honored with a Grammy Lifetime Achievement Award in 2012.

He was born Gregory LeNoir Allman on Dec. 8, 1947, in Nashville; brother Duane was born 13 months earlier in the same hospital. In 1949, his father was shot to death by a man he offered a ride to in a bar. As their mother was studying accounting to support the family, the brothers were sent to a Tennessee military school at an early age.

The Allmans became attracted to music after seeing a 1960 concert by R&B singer Jackie Wilson in Daytona Beach, FL, where the family had moved the year before. Using money from a paper route (augmented by his mother), Gregg bought a guitar, and taught Duane his first chords. Both played guitar in the bands they founded after returning to the military academy in their teens.

Their pro bands the Escorts and the Allman Joys, which favored R&B, blues and rock covers, found work on the Florida club circuit in the mid-‘60s; Gregg began playing keyboards in the latter unit. The Allman Joys were playing without success in St. Louis when Bill McEuen, manager of the Nitty Gritty Dirt Band, met them and offered to set them up in Los Angeles.

Renamed Hour Glass, the L.A.-based group cut two unsuccessful pop-oriented albums for Liberty Records in 1967-68. Duane chafed at the direction being forced on the combo and fled for Alabama, where he became a prominent session guitarist at FAME Studios in Muscle Shoals, AL. Gregg remained in L.A. to fulfill obligations to Liberty, but was summoned to Jacksonville, FL, in 1969 by his brother, who envisioned a new blues-based band with two guitarist and two drummers, featuring members of another local combo, the 31st of February.

Calling themselves the Allman Brothers Band, the new unit – the Allmans, guitarist Betts, bassist Berry Oakley and drummers Butch Trucks and Jai Johanny “Jaimoe” Johanson – was signed by Otis Redding’s former manager Phil Walden for management and as an act on his Macon, GA-based label Capricorn Records. The group moved to Macon, which became its base for the duration.

Neither of the ABB’s first two albums was an enormous success: Its self-titled bow peaked at No. 188 in 1969, while sophomore set “Idlewild South” topped out at No. 38 in 1970. But they established Gregg Allman as a vocal, instrumental and songwriting power: His compositions included such future staples of the band’s live set as “Not My Cross to Bear,” “Dreams,” “Whipping Post” and “Midnight Rider.”

Though problems with hard drug abuse were already surfacing in the band, the Allmans became a huge concert attraction in the South; the enthusiastic sponsorship of promoter Graham led to high-profile gigs at New York’s Filllmore East (where the band attained a rabid following) and San Francisco’s Fillmore.

The Allmans made their commercial mark with “At Fillmore East”: The expansive, Tom Dowd-produced two-record set, recorded during two nights at the venue, shot to No.13 ultimately sold more than 1 million copies and became one of the defining concert recordings of its day. However, Duane Allman’s tragic death at 24 on a Macon street on Oct. 29, 1971, cast a shadow over its success.

The band completed a follow-up two-LP set, “Eat a Peach,” as a quintet, with live numbers featuring Duane filling out the contents. The 1972 package rose to No. 4 nationally and went platinum, but disaster again struck: In a mishap eerily similar to Duane Allman’s fatal crash, hard-drinking bassist Oakley died after driving his bike into the side of a truck that November.

Shaken by the deaths of his brother and Oakley and increasingly incapacitated by heroin, cocaine and alcohol, Gregg Allman ceded much of the band’s songwriting and front man duties to Betts; as he noted in “My Cross to Bear,” his 2012 memoir, “Up until then, we’d never really had a front man; Dickey took it upon himself to create that role.”

The ABB released its only No. 1 album, “Brothers and Sisters,” in 1973; the record was powered to the top by the Betts-penned No. 2 single “Ramblin’ Man,” the group’s only top-10 45.

Allman retreated from the group to cut his solo debut “Laid Back” in 1973; rising to No. 13, it would be his most popular work away from the band for nearly 40 years, and it spawned his only top-20 solo single, a down-tempo remake of “Midnight Rider.”

On the heels of the lugubrious but popular “Win, Lose or Draw” (No. 5, 1975), the group set out on its biggest, and costliest, tour to date. The ABB flew to its dates on a lavishly appointed private jet previously used by the Rolling Stones and Led Zeppelin; in his book, Allman recalls, “The first time we walked onto the plane, ‘Welcome Allman Brothers’ was spelled out in cocaine on the bar.”

The ABB returned from the 41-date tour with a mere $100,000 in hand, owing to over-the-top spending. This financial catastrophe was compounded by the indictment of the group’s security man (and Allman’s drug bag man) Scooter Herring on cocaine distribution charges; Allman testified against Herring before a grand jury and at his trial, which netted a 75-year prison sentence.

Addicted to heroin and embroiled in inter-band conflict with Betts, Allman began spending more time in Los Angeles with Cher, whom he had wed in June 1975. The incongruous couple was followed avidly by gossip columnists. In the wake of an unsuccessful 1977 solo album, “Playin’ Up a Storm” (No. 42), Allman and Cher released their only duo album, “Two the Hard Way”; embarrassingly credited to “Allman and Woman,” the set failed to chart, and its accompanying tour witnessed scuffles between hostile camps of fans in the audiences. Allman and Cher divorced in 1978.

Membership in the ABB rotated repeatedly for the remainder of the group’s career, which saw ever-diminishing contributions from writer Allman. He authored just one song for the group’s final Capricorn album, “Enlightened Rogues” (No. 27, 1979); the financially unstable imprint crashed within a year of its release. Allman was also a minor contributor to a pair of slick, poorly received albums for Arista Records in 1980-81.

During the band’s protracted hiatus of the ‘80s, Allman issued a pair of solo sets; the more popular of the two, 1987’s “I’m No Angel” (No. 30, 1987), spawned the titular radio hit.

Encouraged by airplay on the burgeoning “classic rock” radio format, the ABB reconvened for a 1989 tour. In 1990, the group recorded “Seven Turns” (No. 53) with “Fillmore East” producer Tom Dowd; the group also began multi-night residencies at New York’s Beacon Theatre, which became an annual tradition. They issued four commercially unrewarding albums – two studio sets and two concert releases – between 1991 and 1995.

Following a drunken appearance at the Rock and Roll Hall of Fame induction ceremony in New York in January 1995, onetime junkie Allman, after 11 stints in rehab, finally stopped drinking on his own, under the 24-hour watch of two nurses.

Following the exit of longtime guitarist Warren Haynes and bassist Allen Woody and the recruitment of Butch Trucks’ young nephew Derek Trucks on guitar, the ABB cut the live “Peakin’ at the Beacon” in 2000. Tension within the band had reached the breaking point, and, following a severely worded fax to Betts from the other members and subsequent legal arbitration, the Allman Brothers Band’s other founding guitarist made his exit.

The front line of Allman, Haynes and Derek Trucks and the group’s founding drummers were heard on the Allman Brothers Band’s studio collection “Hittin’ the Note” (No. 37, 2003) and the live “One Way Out” (No. 190, 2004). After 45 years in business, the band was formally dissolved after an October 2014 show at the Beacon.

Allman’s old habits caught up with him in the ‘00s. Diagnosed with hepatitis C – a disease common to intravenous drug users – in 2007, he learned that he was suffering from liver cancer in 2008. He underwent successful liver transplant surgery at the Mayo Clinic in 2010.

Before his surgery, Allman entered the studio to record his first solo album in 13 years. “Low Country Blues,” a striking and powerful recital of old blues songs, augmented by one Allman-Haynes original and produced by T Bone Burnett (Alison Krauss/Robert Plant, Los Lobos, Elvis Costello, “O Brother Where Art Thou?”), garnered the best reviews of his career, collected a Grammy Award nomination and became his highest-charting solo release, reaching No. 5 in early 2011.

However, health problems and catastrophe continued to dog him. He cut short a 2011 European tour because of respiratory issues, which ultimately mandated lung surgery. He faced a drug relapse spurred by painkillers, and did a stint in rehab. In 2014, a film based on his 2012 memoir, “Midnight Rider,” ceased production after a camera assistant on director Randall Miller’s feature was killed by a freight train on the first day of shooting.

Married and divorced six times, Allman is survived by three sons and two daughters, all by different mothers. Four of the children are professional musicians.

http://variety.com/2017/music/people-news/gregg-allman-dies-dead-69-southern-rock-1202446640/

Gregg Allman

From Wikipedia, the free encyclopedia
Gregg Allman
Gregg Allman (5880514910).jpg

Allman performing in 2011
Born Gregory LeNoir Allman
December 8, 1947
Nashville, Tennessee, U.S.
Died May 27, 2017 (aged 69)
Savannah, Georgia, U.S.
Cause of death Complications from liver cancer
Occupation
  • Singer-songwriter
  • musician
Years active 1960–2017
Spouse(s) Shelley Jefts (m. 1971; div. 1972)
Janice Mulkey (m. 1973; div. 1974)
Cher (m. 1975; div. 1979)
Julie Bindas (m. 1979; div. 1984)
Danielle Galliano (m. 1989; div. 1994)
Stacey Fountain (m. 2001; div. 2008)
Children 5; including Devon and Elijah Blue
Musical career
Genres
Instruments
  • Vocals
  • keyboards
  • guitar
Labels
Associated acts
Website greggallman.com

Gregory LeNoir “Gregg” Allman (December 8, 1947 – May 27, 2017) was an American musician, singer and songwriter.

He is best known for performing in the Allman Brothers Band. He was born and spent much of his childhood in Nashville, Tennessee, before relocating to Daytona Beach, Florida. He and his brother, Duane Allman, developed an interest in music in their teens, and began performing in the Allman Joys in the mid-1960s. In 1967, they relocated to Los Angeles and were renamed the Hour Glass, releasing two albums for Liberty Records. In 1969, he and Duane regrouped to form the Allman Brothers Band, which settled in Macon, Georgia.

The Allman Brothers Band began to reach mainstream success by the early 1970s, with their live album At Fillmore East representing a commercial and artistic breakthrough. Shortly thereafter, Duane was killed in a motorcycle crash in 1971. The following year, the band’s bassist, Berry Oakley was also killed in a motorcycle accident very close to the location of Duane’s wreck. Their 1973 album Brothers and Sisters became their biggest hit, and Allman pursued a solo career afterward, releasing his debut album, Laid Back the same year. Internal turmoil took over the group, leading to a 1975 breakup. Allman was married to pop star Cher for the rest of the decade, while he continued his solo career with the Gregg Allman Band. After a brief Allman Brothers reunion and a decade of little activity, he reached an unexpected peak with the hit single “I’m No Angel” in 1987. After two more solo albums, the Allman Brothers reformed for a third and final time in 1989, and continued performing until 2014. He released his most recent solo album, Low Country Blues, in 2011, and his next, Southern Blood, is set to be released in 2017.

For his work in music, Allman was referred to as a Southern rock pioneer[1] and received numerous awards, including several Grammys; he was inducted into the Rock and Roll Hall of Fame and the Georgia Music Hall of Fame. His distinctive voice placed him in 70th place in the Rolling Stone list of the “100 Greatest Singers of All Time”.[2] Allman released an autobiography, My Cross to Bear, in 2012.

Early life

Allman and his brother Duane attended Castle Heights Military Academy in Lebanon, Tennessee in their childhood.

Allman was born Gregory LeNoir Allman at St. Thomas Hospital on December 8, 1947 in Nashville, Tennessee, to Willis Turner Allman and Geraldine Robbins Allman.[3] The couple had met during World War II in Raleigh, North Carolina, when Allman was on leave from the U.S. Army, and were later married. They moved to Vanleer, Tennessee, in 1945.[citation needed] Their first child, Duane Allman, was born in Nashville in 1946.

In 1949, Willis Allman, having been recently promoted to captain, offered a hitchhiker a ride home and was subsequently shot and killed.[4]Geraldine moved to Nashville with her two sons, and she never remarried.[5] Lacking money to support her children, she enrolled in college to become a Certified Public Accountant (CPA)—state laws at the time, according to her son, required students to live on-campus.[6] As a result, Gregg and his older brother were sent to Castle Heights Military Academy in nearby Lebanon.[3] A young Gregg interpreted these actions as evidence of his mother’s dislike for him, though he later came to understand the reality: “She was actually sacrificing everything she possibly could—she was working around the clock, getting by just by a hair, so as to not send us to an orphanage, which would have been a living hell.”[7]

While his brother adapted to his surroundings with a defiant attitude, Allman felt largely depressed at the school. With little to do, he studied often and developed an interest in medicine—had he not gone into music, he hoped to become a dentist.[8] He was rarely hazed at Castle Heights as his brother protected him, but often suffered beatings from instructors when he received poor grades.[9] The brothers returned to Nashville upon their mother’s graduation. Growing up, he continually fought with Duane, though he knew that he loved him and that it was typical of brothers. Duane was a mischievous older child, who constantly played pranks on his younger sibling.[10] The family moved to Daytona Beach, Florida, in 1959.[6] Gregg tended to look forward to his summer breaks, where he spent time with his uncles in Nashville, who he came to view in a fatherly regard.[11] Allman would later recall two separate events in his life that led to his interest in music. In 1960, the two brothers attended a concert in Nashville with Jackie Wilson headlining alongside Otis Redding, B.B. King, and Patti LaBelle.[8] Allman was also exposed to music through Jimmy Banes, a mentally challenged neighbor of his grandmother in Nashville. Banes introduced Allman to the guitar and the two began spending time on his porch each day as he played music.[12]

Gregg worked as a paperboy to afford a Silvertone guitar, which he purchased at a Sears when he saved up enough funds.[6] He and his brother often fought to play the instrument, though there was “no question that music brought” the two together.[13] In Daytona, they joined a YMCA group called the Y Teens, their first experience performing music with others.[14] He and Duane returned to Castle Heights in their teen years, where they formed a band, the Misfits.[15] Despite this, he still felt “lonesome and out of place,” and quit the academy.[16] He returned to Daytona Beach and pursued music further, and the duo formed another band, the Shufflers, in 1963.[14] He attended high school at Seabreeze High School, where he graduated in 1965.[17]However, he grew undisciplined in his studies as his interests diverged: “Between the women and the music, school wasn’t a priority anymore.”[18]

Music career

Early bands (1960–1968)

“We would rehearse every day in the club, go have lunch, rehearse some more, go home and take a shower, then go to the gig. Sometimes we would rehearse after we got home from the gig too, just get out the acoustics and play. The next day, we’d go have breakfast, go rehearse, and do it all over again. We rehearsed constantly.”

—Allman on his musical evolution[19]

The two Allman brothers began meeting various musicians in the Daytona Beach area. They met a man named Floyd Miles, and they began to jam with his band, the Houserockers. “I would just sit there and study Floyd […] I studied how he phrased his songs, how he got the words out, and how the other guys sang along with him,” he would later recall.[20] They later formed their first “real” band, the Escorts, which performed a mix of top 40 and rhythm and blues music at clubs around town.[21] Duane, who took the lead vocal role on early demos, encouraged his younger brother to sing instead.[22] He and Duane often spent all of their money on records as educational material, as they attempted to learn songs from them. The group performed constantly as music became their entire focus; Allman missed his high school graduation because he was performing that evening.[23] In his autobiography, Allman recalls listening to Nashville R&B station WLAC at night and discovering artists such as Muddy Waters, which later became central to his musical evolution.[19] He narrowly missed being drafted into the Vietnam War by intentionally shooting himself in the foot.[24]

The Escorts evolved into the Allman Joys, the brothers’ first successful band. After a successful summer run locally, they hit the road in fall 1965 for a series of performances throughout the Southeast; their first show outside of Daytona was at the Stork Club in Mobile, Alabama—where they were booked for 22 weeks straight.[25] Afterwards, they were booked at the Sahara Club in nearby Pensacola, Florida, for several weeks.[26] Allman later regarded Pensacola as “a real turning point in my life,” as it was where he learned how to capture audiences and about stage presence.[27] He also received his first Vox keyboard there, and learned how to play it over the ensuing tour.[28] By the following summer, they were able to book time at a studio in Nashville, where they recorded several songs, aided by a plethora of drugs. These recordings were later released as Early Allman in 1973, to Allman’s dismay.[29] He soon grew tired of performing covers and began writing original compositions.[30] They settled in St. Louis for a time, where in the spring of 1967 they began performing alongside Johnny Sandlin and Paul Hornsby, among others, under various names. They considered disbanding, but Bill McEuen, manager of the Nitty Gritty Dirt Band, convinced the band to relocate to Los Angeles, outright giving them the funds to do so.[31]

He arranged a recording contract with Liberty Records in June 1967,[32] and they began to record an album under the new name the Hour Glass, suggested by their producer, Dallas Smith. Recording was a difficult experience; “the music had no life to it—it was poppy, preprogrammed shit,” Allman felt.[33] Though they considered themselves sellouts, they needed money to live.[33] At concerts, they declined to play anything off their debut album, released that October, instead opting to play the blues.[34] Such gigs were sparse, however, as Liberty only allowed one performance per month.[35] After some personnel changes, they recorded their second album, Power of Love, released in March 1968. It contained more original songs by Allman, though they still felt constricted by its process. They embarked on a small tour, and recorded some new demos at FAME Studios in Muscle Shoals, Alabama.[36] Liberty disliked the recordings, and the band broke up when Duane explicitly told off executives. They threatened to freeze the band, so they would be unable to record for any other label for seven years.[37]Allman stayed behind to appease the label, giving them the rights to a solo album. The rest of the band mocked Allman, viewing him as too scared to leave and return to the South.[37]

Meanwhile, Duane Allman had returned to Florida where he met Butch Trucks, a drummer in the band the 31st of February. In October 1968, the 31st of February, aided by Gregg and Duane Allman, recorded several songs.[38] Allman returned to Los Angeles to fulfill his deal with Liberty, writing more original songs on the Hammond organ at the studio.[39] Duane began doing session work at Fame in Muscle Shoals during this time, where he began putting together a new band. He phoned his brother with the proposition of joining the new band—which would have two guitarists and two drummers. With his deal at Liberty fulfilled, he drove to Jacksonville, Florida, in March 1969 to jam with the new band. Allman at first thought two drummers would be a tortuous experience, but found himself pleasantly surprised by the successful jam.[40] He called the birth of the group “one of the finer days in my life […] I was starting to feel like I belonged to something again.”[41]

The Allman Brothers Band and mainstream success

Formation and touring (1969–1971)

The Allman Brothers Band moved to Macon, Georgia,[42] and forged a strong brotherhood, spending countless hours rehearsing, consuming psychedelic drugs, and hanging out in Rose Hill Cemetery, where they would write songs—”I’d be lying if I said I didn’t have my way with a lady or two down there,” said Allman.[43][44] The group remade old blues numbers like “Trouble No More” and “One Way Out“, in addition to improvised jams such as “Mountain Jam“.[45] Gregg, who had struggled to write in the past, became the band’s sole songwriter, composing songs such as “Whipping Post” and “Black-Hearted Woman.”[46] The group’s self-titled debut album was released in November 1969 through Atco and Capricorn Records,[47] but received a poor commercial response, selling less than 35,000 copies upon initial release.[48] The band played continuously in 1970, performing over 300 dates on the road,[49][50] which contributed to a larger following.[51] Oakley’s wife rented a large Victorian home in Macon and the band moved into what they dubbed “the Big House” in March 1970.[52] Their second record, Idlewild South (named after a farmhouse on a lake outside of Macon they rented),[53] was issued by Atco and Capricorn Records in September 1970, less than a year after their debut.[53]

Elder brother Duane Allman, who was killed in a motorcycle crash in 1971

Their fortunes began to change over the course of 1971, where the band’s average earnings doubled.[54] “We realized that the audience was a big part of what we did, which couldn’t be duplicated in a studio. A lightbulb finally went off; we needed to make a live album,” said Allman.[55] At Fillmore East, recorded at the Fillmore East in New York, was released in July 1971 by Capricorn.[56] While previous albums by the band had taken months to hit the charts (often near the bottom of the top 200), the record started to climb the charts after a matter of days.[57] At Fillmore East peaked at number thirteen on Billboard‘s Top Pop Albums chart, and was certified gold by the Recording Industry Association of America that October, becoming their commercial and artistic breakthrough.[57] Although suddenly very wealthy and successful, much of the band and its entourage now struggled with addiction to numerous drugs; they all agreed to quit heroin, but cocaine remained a problem.[58] His last conversation with his brother was an argument over the substance, in which Gregg lied. In his autobiography, Allman wrote: “I have thought of that lie every day of my life […] told him that lie, and he told me that he was sorry and that he loved me.”[59]

Shortly after At Fillmore East was certified gold in domestic sales, Duane was killed in a motorcycle accident in Macon.[60] At his funeral the next day, Gregg performed “Melissa”, which was his brother’s favorite song.[61] After the service, he confided in his bandmates that they should continue. He left for Jamaica to get away from Macon, and was in grief for the following few weeks.[62] “I tried to play and I tried to sing, but I didn’t do too much writing. In the days and weeks that followed, […] I wondered if I’d ever find the passion, the energy, the love of making music,” he remembered.[62] As the band took some time apart to process their loss, At Fillmore East became a major success in the U.S. “What we had been trying to do for all those years finally happened, and he was gone.”[63] Allman later expanded upon his brother’s passing in his autobiography:

“When I got over being angry, I prayed to him to forgive me, and I realized that my brother had a blast. […] Not that I got over it—I still ain’t gotten over it. I don’t know what getting over it means, really. I don’t stand around crying anymore, but I think about him every day of my life. […] Maybe a lot of learning how to grieve was that I had to grow up a little bit and realize that death is part of life. Now I can talk to my brother in the morning, and he answers me at night. I’ve opened myself to his death and accepted it, and I think that’s the grieving process at work.”[64]

Mainstream success and fame (1972–1976)

Allman performing with the Allman Brothers in 1975

After Duane’s death, the band held a meeting on their future; it was clear all wanted to continue, and after a short period, the band returned to the road.[65] They completed their third studio album, Eat a Peach, that winter, which raised each member’s spirits: “The music brought life back to us all, and it was simultaneously realized by every one of us. We found strength, vitality, newness, reason, and belonging as we worked on finishing Eat a Peach“, said Allman.[66] Eat a Peach was released the following February, and it became the band’s second hit album, shipping gold and peaking at number four on Billboard‘s Top 200 Pop Albums chart.[67] “We’d been through hell, but somehow we were rolling bigger than ever,” Allman recalled.[68] Betts had to convince the band members to tour, since all other members were reluctant.[69] The Allman Brothers Band played 90 shows in 1972 in support of the record. “We were playing for him and that was the way to be closest to him,” said Trucks.[69] The band purchased 432 acres of land in Juliette, Georgia for $160,000 and nicknamed it “the Farm”; it soon became a group hangout.[70] Oakley, however, was visibly suffering from the death of his friend,[71] and he too was killed in a motorcycle crash in November 1972.[72] “Upset as I was, I kind of breathed a sigh of relief, because Berry’s pain was finally over,” Allman said.[68]

The band unanimously decided to carry on, and enlisted Lamar Williams on bass and Chuck Leavell on piano. The band began recording Brothers and Sisters, their follow-up album, and Betts became the group’s de facto leader during the recording process.[73] Meanwhile, after some internal disagreements, Allman began recording a solo album, which he titled Laid Back. The sessions for both albums often overlapped and its creation caused tension within the rest of the band.[74] Both albums were released in the autumn of 1973, with Brothers and Sisters cemented the Allman Brothers’ place among the biggest rock bands of the 1970s. “Everything that we’d done before—the touring, the recording—culminated in that one album,” Allman recalled.[75]Ramblin’ Man“, Betts’ country-infused number, received interest from radio stations immediately, and it rose to number two on the Billboard Hot 100.[67] The Allman Brothers Band returned to touring, playing larger venues, receiving more profit and dealing with less friendship, miscommunication and spiraling drug problems.[67][76] This culminated in a backstage brawl when the band played with the Grateful Dead at Washington‘s RFK Stadium in June 1973, which resulted in the firing of three of the band’s longtime roadies.[77] The band played arenas and stadiums almost solely as their drug use escalated. In 1974, the band was regularly making $100,000 per show, and was renting the Starship, a customized Boeing 720B used by Led Zeppelin and the Rolling Stones.[78] “When [we] got that goddamn plane, it was the beginning of the end,” said Allman.[79]

In between tours, Allman embarked on another tour to promote Laid Back. He brought along the musicians who helped record the album as his band, and hired a full string orchestra to accompany the group.[74] A live album of material from the tour was released as The Gregg Allman Tour later that year, to help recoup costs for the tour.[80] It went up against Betts’ first solo record, Highway Call, prompting some to dub their relationship a rivalry. Their relationships became increasingly frustrated, amplified by heavy drug and alcohol abuse.[81] In January 1975, Allman began a relationship with pop star Cher—which made him more “famous for being famous than for his music,” according to biographer Alan Paul.[82] The sessions that produced 1975’s Win, Lose or Draw, the last album by the original Allman Brothers Band, were disjointed and inconsistent. Allman was spending more time in Los Angeles with Cher.[83] Their time off from one another the previous fall “only exaggerated the problems between our personalities. With each day there was more and more space between us; the Brotherhood was fraying, and there wasn’t a damn thing any of us could do to stop it.”[84]

Upon its release, it was considered subpar and sold less than its predecessor; the band later remarked that they were “embarrassed” about the album.[85] From August 1975 to May 1976, the Allman Brothers Band played 41 shows to some of the biggest crowds of their career.[86] Gradually, the members of the band grew apart during these tours, with sound checks and rehearsals “[becoming] a thing of the past.”[86] Allman later pointed to a benefit for presidential candidate Jimmy Carter as the only real “high point” in an otherwise “rough, rough tour.” The shows were considered lackluster and the members were excessive in their drug use.[87][88] The “breaking point” came when Allman testified in the trial of security man Scooter Herring.[67]Bandmates considered him a “snitch,” and he received death threats, leading to law-enforcement protection.[89] Herring was convicted on five counts of conspiracy to distribute cocaine and received a 75-year prison sentence, which were later overturned as he received a lesser sentence.[89] For his part, Allman always maintained that Herring had told him to take the deal and he would take the fall for it, but nevertheless, the band refused to communicate with him.[89] As a result, the band finally broke up; Leavell, Williams, and Jaimoe continued playing together in Sea Level, Betts formed Great Southern, and Allman founded the Gregg Allman Band.[90]

Mid-career and struggles

Marriages, breakups, and music (1977–1981)

Allman married Cher in June 1975, and the two lived in Hollywood during their years together as tabloid favorites.[4] Their marriage produced one son, Elijah Blue Allman, who was born in July 1976.[91] He recorded his second solo album, Playin’ Up a Storm, with the Gregg Allman Band, and it was released in May 1977. He also worked on an collaborative album with Cher titled Two the Hard Way, which, upon its release, was a massive failure.[73] The couple went to Europe to tour in support of both albums,[92] though the crowd reception was mixed.[93] With a combination of Allman Brothers fans and Cher fans, fights often broke out in venues, which led Cher to cancel the tour.[94] Turmoil began to overwhelm their relationship, and the two divorced in 1978.[95] Allman returned to Daytona Beach to stay with his mother, spending the majority of his time partying, chasing women, and touring with the Nighthawks, a blues band.[96]In a 2011 interview with WBUR’s On Point, Allman told host Tom Ashbrook that he was also uncomfortable with his wife’s celebrity lifestyle.

The Allman Brothers Band reunited in 1978, hiring two new members: guitarist Dan Toler and bassist David Goldflies.[90] Betts had approached Allman during his time in Daytona regarding a reunion.[97] Allman remembered that each member had their own reasons for rejoining, though he surmised it was a combination of displeasure with how things ended, missing each other, and a need for money.[98] The band’s reunion album, Enlightened Rogues, was released in February 1979 and was a mild commercial success.[99][100] Betts’ lawyer, Steve Massarsky, began managing the group,[100] and led the band to sign with Arista, who pushed the band to “modernize” their sound.[101] Their first Arista effort, Reach for the Sky (1980), was produced by Nashville songwriters Mike Lawler and Johnny Cobb.[101] Drugs remained a problem with the band, particularly among Betts and Allman.[102] The band again grew apart, replacing Jaimoe with Toler’s brother Frankie.[103] “One of the real blights on the history of the Allman Brothers Band was that Jaimoe, this gentle man, was fired from this organization,” said Allman later.[104]Not long after, “the band changed managers, hiring the promoter John Scher after Massarsky eased himself out, reportedly saying, ‘It’s a million-dollar headache and a quarter-million-dollar job.'”[105]

For their second and final album with Arista, Brothers of the Road, they collaborated with a “name producer” (John Ryan, of Styx and the Doobie Brothers), who pushed the band even harder to change their sound.[106]Straight from the Heart” was the album’s single, which became a minor hit but heralded the group’s last appearance on the top 40 charts.[107] The band, considering their post-reunion albums “embarrassing,” subsequently broke up in 1982 after clashing with Clive Davis, who rejected every producer the band suggested for a possible third album, including Tom Dowd and Johnny Sandlin.[108] “We broke up in ’82 because we decided we better just back out or we would ruin what was left of the band’s image,” said Betts.[108] The band’s final performance came on Saturday Night Live in January 1982, where they performed “Southbound” and “Leavin’.”[109] “It was like a whole different band made those records […] In truth, though, I was just too drunk most of the time to care one way or the other,” Allman would recall.[110]

Downtime, a surprise hit, and another reformation (1982–1990)

“No two ways about it, the ’80s were rough. […] It was seven years of going, “What is it that I do?” Being self-employed your whole life, that becomes a certain rock, a reinforcement. When that’s gone, not only are you bored stiff, but you just want to cry—”What do I do? I know I used to serve a purpose.”[111]

—Allman reflecting on his career in the 1980s

Allman spent much of the 1980s adrift and living in Sarasota, Florida with friends Marcia and Chuck Boyd.[112] His alcohol abuse was at one of its worst points, with Allman consuming “a minimum of a fifth of vodka a day.”[113] He felt the local police pursued him heavily, due to his tendency to get inebriated and “go jam anywhere.”[114] He was arrested and charged with a DUI; as a result, he spent five days in jail and was charged $1,000.[111] While he did not consider himself “washed up,” he noted in his autobiography that “there’s that fear of everybody forgetting about you.”[111] Southern rock faded from popular culture and electronic music formed much of the pop music of the decade. “There was hardly anybody playing live music, and those who did were doing it for not much money, in front of some die-hard old hippies in real small clubs,” he later recalled.[115] Nevertheless, he reformed the Gregg Allman Band and toured nationwide.[116] He often went to Telstar Studios to rehearse and write new songs. At one point, he attempted to reconnect with his children, though, according to him, “it just wasn’t a good situation.”[117]

By 1986, he felt tired of having little funds, and teamed up with former bandmate Betts for several performances together. It led to two Allman Brothers reunion performances that summer. Eventually, tension would arise and they would spend time apart again.[118] After recording several demos in Los Angeles, Allman was offered a recording contract by Epic Records.[119] He recorded his third solo release, I’m No Angel, at Criteria in Miami. Released in 1987, the title track became a surprise hit on radio. Allman released another solo album the following year, Just Before the Bullets Fly, though it did not sell as well as its predecessor. His alcohol abuse continued in the late 1980s, as he moved to Los Angeles and lived at the Riot House.[120] He married Danielle Galliano in a midlife crisis wherein he felt he would one day be too “old and ugly” to get married.[120] The marriage began with Allman overdosing at the Riot House—”so our marriage started off with a bang,” he said.[121] He dabbled in acting for the first time, taking a small part in the film Rush Week (1989),[122] and he sang the opening track to the film Black Rain (1989).[120]

The Allman Brothers Band celebrated its twentieth anniversary in 1989, and the band reunited for a summer tour, with Jaimoe once again on drums.[123] In addition, they featured guitarist Warren Haynes and pianist Johnny Neel, both from the Dickey Betts Band, and bassist Allen Woody, who was hired after open auditions held at Trucks’s Florida studio.[123] The classic rock radio format had given the band’s catalog songs new relevance, as did a multi-CD retrospective box set, Dreams.[124] Epic, who had worked with Allman on his solo career, signed the band. Danny Goldberg became the band’s manager; he had previously worked with acts such as Led Zeppelin and Bonnie Raitt.[125] The group were initially reluctant to tour, but found they performed solidly; in addition, former roadies such as “Red Dog” returned.[126] The band returned to the studio with longtime producer Tom Dowd for 1990’s Seven Turns, which was considered a return to form.[67][127]Good Clean Fun” and “Seven Turns” each became big hits on the Mainstream Rock Tracks chart. The addition of Haynes and Woody had “reenergized” the ensemble.[128] Neel left the group in 1990, and the band added percussionist Marc Quiñones, formerly of Spyro Gyra, the following year.[129]

Reforming the band and breaking addictions (1991–2000)

The band began touring heavily,[130] which helped build a new fan base: “We had to build a fan base all over again, but as word of mouth spread about how good the music was, more and more people took notice. It felt great, man, and that really helped the music,” Allman recalled.[131] Their next studio effort, Shades of Two Worlds (1992), produced the crowd favorite “Nobody Knows”.[132] Allman took his second and final acting role in Rush (1991), a crime drama. Allman greatly enjoyed the experience: “It was a different facet of the entertainment industry, and I wanted to see how those people worked together.”[133] The band grew contentious over a 1993 tour, in which Betts was arrested when he shoved two police officers.[130]Despite the growing tension, Haynes remained a member and Betts returned.[134] Their third post-reunion record, Where It All Begins (1994), was recorded entirely live.[134] The band continued to tour with greater frequency, attracting younger generations with their headlining of the H.O.R.D.E. Festival.[107][135] Allman’s daughter, Island, came to live with him in Los Angeles, and despite early struggles, they eventually grew very close.[136] “Island is the love of my life, she really is,” he would later write.[97]

For much of the 1990s, Allman lived in Marin County, California, spending his free time with close friends and riding his motorcycle.[137] The band was inducted into the Rock and Roll Hall of Fame in January 1995; Allman was severely inebriated and could not make it through his acceptance speech.[138] Seeing the ceremony broadcast on television later, Allman was mortified, providing a catalyst for his final, successful attempt to quit alcohol and substance abuse. He hired two in-home nurses that switched twelve-hour shifts to help him through the process.[139]He was immensely happy to finally quit alcohol, writing later in his autobiography: “Did I get any positive anything out of all that? And you’ve got to admit to yourself, no, I didn’t. You can see what happened and that by the grace of God, you finally quit before it killed you.”[139] Allman recorded a fifth solo album, Searching for Simplicity, which was quietly released on 550 Music.[73]Despite positive developments in his personal life, things began declining among the band members. During their 1996 run at the Beacon, turmoil came to a breaking point between Allman and Betts, nearly causing a cancellation of a show and causing another band breakup.[140] Haynes and Woody left to focus on Gov’t Mule, feeling as though a break was imminent with the Allman Brothers Band.[141][142]

The group recruited Oteil Burbridge of the Aquarium Rescue Unit to replace Woody on bass, and Jack Pearson on guitar.[143] Concerns arose over the increasing loudness of Allman Brothers shows, which were largely centered on Betts.[142] Pearson, struggling with tinnitus, left as a result following the 1999 Beacon run.[144] Trucks phoned his nephew, Derek Trucks, to join the band for their thirtieth anniversary tour.[145] The Beacon run in 2000, captured on Peakin’ at the Beacon, was ironically considered among the band’s worst performances; an eight-show spring tour led to even more strained relations in the group.[146] “It had ceased to be a band—everything had to be based around what Dickey was playing,” said Allman.[147] Anger boiled over within the group towards Betts, which led to all original members sending him a letter, informing him of their intentions to tour without him for the summer.[148] All involved contend that the break was temporary, but Betts responded by hiring a lawyer and suing the group, which led to a permanent divorce.[147] That August, Woody was found dead in a hotel room in New York,[149] which hit Allman particularly hard.[150] In 2001, Haynes rejoined the band for their Beacon run,[149] setting the stage for over a decade of stability within the group.

Later years

Touring and health problems (2000–2014)

Allman during the Allman Brothers Band’s annual residency at the Beacon Theater in New York in 2009

Allman moved to Savannah, Georgia, in 2000, purchasing five acres on the Belfast River.[151] The last incarnation of the Allman Brothers Band was well-regarded among fans and the general public, and remained stable and productive.[67][107] The band released their final studio recording, Hittin’ the Note (2003), to critical acclaim.[107] Allman co-wrote many songs on the record with Haynes, and he regarded it as his favorite album by the group since their earliest days. The band continued to tour throughout the 2000s, remaining a top touring act, regularly attracting more than 20,000 fans.[67]The decade closed with a successful run at the Beacon Theater, in celebration of the band’s fortieth anniversary.[152] “That [2009 run] was the most fun I’ve ever had in that building,” said Allman, and it was universally regarded within the band as a career highlight.[153][154][107] The run featured numerous special guests, including Eric Clapton, whom all in the band regarded as the most “special” guest, due to his association with Duane.[155]

He was diagnosed with hepatitis C in 2007—which he attributed to a dirty tattoo needle.[156] By the next year, they had discovered three tumors within his liver, and he was recommended to the Mayo Clinic in Jacksonville by a Savannah doctor for a liver transplant.[157] He went on a waiting list and after five months, he underwent a successful liver transplant in 2010.[158] He was reluctant to pursue a new solo album after the death of longtime producer Tom Dowd in 2002, but eventually recorded with producer T-Bone Burnett on his seventh release, Low Country Blues.[159] He was initially reluctant to Burnett’s suggestion to not bring his normal band, but he eventually became very positive about the recording, later calling it “a true highlight of my career.”[160] It went unreleased during his health problems, and during that time, it became something of a confidence booster: “When things got real bad, real painful, I would just think about this record and it was kind of a life support system.”[159] Upon its release in January 2011, it represented Allman’s highest ever chart peak in the United States, debuting at number five.[161]

He promoted the album heavily in Europe, until he had to cancel the rest of the trip due to an upper respiratory condition.[162] This infection led to a lung surgery later that year.[151] He went to rehab in 2012 for addiction following his medical treatments.[163] That year, Allman released his memoir, My Cross to Bear, which was thirty years in the making.[164] It eventually got optioned to be turned into a feature film—titled Midnight Rider—that was eventually canceled after a train accident on set caused the death of a member of the crew. In 2014, a tribute concert was held celebrating Allman’s career; it was later released as All My Friends: Celebrating The Songs & Voice Of Gregg Allman.[165] The same year, the Allman Brothers Band performed their final concerts, as Haynes and Derek Trucks desired to depart the group.[166][167]

Recent events (2015–2017)

After the dissolution of the Allman Brothers, Allman kept busy performing music with his band, releasing the live album Gregg Allman Live: Back to Macon, GA in 2015.[168] His health problems remained; he had atrial fibrillation. As a result, he attempted to grow healthier, switching to a gluten-free vegan diet.[165] He attempted to keep a light schedule at the advice of doctors, who warned that too many performances might amplify his conditions. Allman’s mother, Geraldine, died in July 2015 at the age of 98.[168] On April 6, 2016, Allman’s tour bus carrying his crew and horns crashed into a hillside in Jackson County, West Virginia. Allman was not among those injured.[169] One month later, he received an honorary doctorate from Mercer University in Macon, presented by former President Jimmy Carter.[170]

Allman recorded his last album, Southern Blood, with producer Don Was at FAME Studios in Muscle Shoals, Alabama. The album was recorded with his then-current backing band.[171] It is set for a January 2017 release.[172]

Personal life

Allman’s brother Duane died in a motorcycle accident in Macon, Georgia, in October 1971. “Duane was the father of the band,” Gregg Allman later told Guitar Player magazine. “Somehow he had this real magic about him that would lock us all in, and we’d take off.”

While enjoying great commercial success, Allman was in a downward spiral in his personal life. He became a heroin addict and was arrested on drug charges in 1976. To avoid jail, Allman agreed to testify against Scooter Herring, his road manager. Herring was later found guilty on narcotics distribution charges and sentenced to 75 years in prison.[173] Allman’s testimony was seen as a betrayal by his bandmates, who swore that they would never work with him again.

In 2007, Allman was diagnosed with hepatitis C. The condition “was laying dormant for awhile and just kind of crept up on me. I was worn out. I had to sleep 10 or 11 hours a day to two or three [hours],” he explained to Billboard. He had a liver transplant in 2010.[174] In April 2017, he denied reports that he had entered hospice care, but was resting at home on doctor’s orders.[175]

Marriages, relationships and children

Allman’s partners included Shelley Kay Winters, Janice Blair, Cher, Julie Bindas, Ganielle J P Galiana and Stacey Fountain. In 2012 he announced an engagement on the Piers Morgan show to Shannon Williams.[176]

Allman had five children – son Devon Allman, 44, lead singer of Honeytribe, from his marriage to Shelley Kay Winters, Elijah Blue Allman, 40, lead singer of Deadsy, from his marriage to Cher, Delilah Island Allman, 35, from his marriage to Julie Bindas, Michael Sean Allman, 50, from a relationship with former waitress Mary Lynn Green, and Layla Brooklyn Allman, 23, from a relationship with radio journalist Shelby Blackburn.[176]

Death

Following a series of health problems,[177] Allman died at his home in Savannah, Georgia, on May 27, 2017 due to complications of liver cancer. He was 69.[178][179][180][181]

Discography

Studio
Live

See also

References

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O brother where art thou — Videos

Posted on May 11, 2017. Filed under: American History, Art, Art, Blogroll, Communications, Culture, history, Music, People, Philosophy, Raves, Raymond Thomas Pronk | Tags: , , , , , , , , , , |

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Down In The River To Pray

O Brother,Where Art Thou? ” Three Sirens-,,Go to Sleep Little Baby!”

O Brother Where Art Though – The Soggy Bottom Boys – I Am A

O Brother, Where Art Thou? – Constant Sorrow [HD]

In The Jailhouse Now

O Brother, Where Art Thou? (1/10) Movie CLIP – Yours Truly (2000) HD

O Brother, Where Art Thou? (2/10) Movie CLIP – We’re in a Tight Spot! (2000) HD

O Brother, Where Art Thou? (3/10) Movie CLIP – Crossroads (2000) HD

O Brother, Where Art Thou? (4/10) Movie CLIP – Baby Face Nelson (2000) HD

The Sirens – O Brother, Where Art Thou? (5/10) Movie CLIP (2000) HD

O Brother, Where Art Thou? (6/10) Movie CLIP – Horny Toad (2000) HD

O Brother, Where Art Thou? (7/10) Movie CLIP – Big Dan Teague (2000) HD

O Brother, Where Art Thou? (8/10) Movie CLIP – Klan Rally (2000)

O Brother, Where Art Thou? (9/10) Movie CLIP – Saved by the Flood

O Brother, Where Art Thou? (10/10) Movie CLIP – The South Is Gonna Change (2000) HD

O Brother, Where Art Thou?

From Wikipedia, the free encyclopedia
O Brother, Where Art Thou?
O brother where art thou ver1.jpg

Theatrical release poster
Directed by Joel Coen
Produced by
  • Ethan Coen
Written by
  • Ethan Coen
  • Joel Coen
Based on The Odyssey
by Homer
Starring
Music by T Bone Burnett
Cinematography Roger Deakins
Edited by
Production
company
Distributed by
Release date
  • October 19, 2000
Running time
107 minutes
Country
  • United Kingdom[1]
  • United States[1]
  • France[1]
Language English
Budget $26 million[2]
Box office $71.9 million[3]

O Brother, Where Art Thou? is a 2000 adventure film written, produced, and directed by Joel and Ethan Coen, and starring George Clooney, John Turturro, and Tim Blake Nelson, with John Goodman, Holly Hunter, and Charles Durning in supporting roles. Set in 1937 rural Mississippi[4] during the Great Depression, the film’s story is a modern satire loosely based on Homer‘s epic poem, Odyssey. The title of the film is a reference to the 1941 film Sullivan’s Travels, in which the protagonist (a director) wants to film O Brother, Where Art Thou?, a fictional book about the Great Depression.[5]

Much of the music used in the film is period folk music,[6] including that of Virginia bluegrass singer Ralph Stanley.[7] The movie was one of the first to extensively use digital color correction, to give the film an autumnal, sepia-tinted look.[8] The film received positive reviews, and the American folk music soundtrack won a Grammy for Album of the Year in 2001.[9] The original band soon became popular after the film release and the country and folk musicians who were dubbed into the film, such as John Hartford, Alison Krauss, Emmylou Harris, Gillian Welch, Chris Sharp, and others, joined together to perform the music from the film in a Down from the Mountain concert tour which was filmed for TV and DVD.[6]

Plot

Three convicts, Ulysses Everett McGill, Pete Hogwallop, and Delmar O’Donnell escape from a chain gang and set out to retrieve a supposed treasure Everett buried before the area is flooded to make a lake. The three get a lift from a blind man driving a handcar on a railway. He tells them, among other prophecies, that they will find a fortune but not the one they seek. The trio make their way to the house of Wash, Pete’s cousin. They sleep in the barn, but Wash reports them to Sheriff Cooley, who, along with his men, torches the barn. Wash’s son helps them escape.

They pick up Tommy Johnson, a young black man, who claims he sold his soul to the devil in exchange for the ability to play guitar. In need of money, the four stop at a radio broadcast tower where they record a song as The Soggy Bottom Boys. That night, the trio part ways with Tommy after their car is discovered by the police. Unbeknownst to them, the recording becomes a major hit.

Near a river, the group hears singing. They see three women washing clothes and singing. The women drug them with corn whiskey and they lose consciousness. Upon waking, Delmar finds Pete’s clothes lying next to him, empty except for a toad. Delmar is convinced the women were Sirens and transformed Pete into the toad. Later, one-eyed Bible salesman Big Dan Teague invites them for a picnic lunch, then mugs them and kills the toad.

Everett and Delmar arrive in Everett’s home town. Everett confronts his wife Penny, who changed her last name and told his daughters he was dead. He gets into a fight with Vernon T. Waldrip, her new “suitor.” They later see Pete working on a chain gang. Later that night, they sneak into Pete’s holding cell and free him. As it turns out, the women had dragged Pete away and turned him in to the authorities. Under torture, Pete gave away the treasure’s location to the police. Everett then confesses that there is no treasure. He made it up to convince the guys he was chained with to escape with him. Pete is enraged at Everett, because he had two weeks left on his original sentence, and must serve fifty more years for the escape.

The trio stumble upon a Ku Klux Klan rally, who are planning to hang Tommy. The trio disguise themselves as Klansmen and attempt to rescue Tommy. However, Big Dan, a Klan member, reveals their identities. Chaos ensues, and the Grand Wizard reveals himself as Homer Stokes, a candidate in the upcoming gubernatorial election. The trio rush Tommy away and cut the supports of a large burning cross, leaving it to fall on Big Dan.

Everett convinces Pete, Delmar and Tommy to help him win his wife back. They sneak into a Stokes campaign gala dinner she is attending, disguised as musicians. The group begins a performance of their radio hit. The crowd recognizes the song and goes wild. Homer recognizes them as the group who humiliated his mob. When he demands the group be arrested and reveals his white supremacist views, the crowd runs him out of town on a rail. Pappy O’Daniel, the incumbent candidate, seizes the opportunity, endorses the Soggy Bottom Boys and grants them full pardons. Penny agrees to marry Everett with the condition that he find her original ring.

The next morning, the group sets out to retrieve the ring, which is at a cabin in the valley, which Everett earlier claimed was the location of his treasure. The police, having learned of the place from Pete, arrest the group. Dismissing their claims of receiving pardons, Sheriff Cooley orders them hanged. Just as Everett prays to God, the valley is flooded and they are saved. Tommy finds the ring in a desk that floats by, and they return to town. However, when Everett presents the ring to Penny, it turns out it wasn’t her ring, and she doesn’t even remember where she put it.

Cast

  • George Clooney as Ulysses Everett McGill, a man who is imprisoned for practicing law without a license. He claims to have escaped from prison so he can find a stash of money he had hidden, though in reality it is so he can get back to his family before his wife remarries. He corresponds to Odysseus (Ulysses) in the Odyssey.[10]
  • John Turturro, as Pete Hogwallop, a fellow criminal who reveals little about his past. He believes in being true to one’s kin, even when his cousin Washington B. Hogwallop betrays him. He dreams of moving out west and opening a fine restaurant, where he will be the maître d’. He agreed to go along with the breakout, though he only had two weeks left on his sentence.
  • Tim Blake Nelson as Delmar O’Donnell, a small-time crook imprisoned for robbing a Piggly Wiggly in Yazoo City; he initially claims innocence but later admits he is guilty. Delmar says he will spend his share of Everett’s nonexistent money buying back his family farm, believing, “You ain’t no kind of man if you ain’t got land.”
  • Chris Thomas King as Tommy Johnson, a skilled blues musician. He is the accompanying guitarist in the Soggy Bottom Boys. He claims he sold his soul to the devil in exchange for his skill on the guitar. He shares his name and story with Tommy Johnson, a blues musician with a mysterious past, who is said to have sold his soul to the devil at the Crossroads (a story more often attributed to Robert Johnson).[11][12]
  • Frank Collison as Washington B. “Wash” Hogwallop, Pete’s paternal cousin. He removes the escapees’ chains but later betrays the men to the police.
  • John Goodman as Daniel “Big Dan” Teague, a one-eyed man who masquerades as a bible salesman and mugs Everett and Delmar. He later reveals the identity of the trio when they are disguised at a Ku Klux Klan rally, but they kill him by cutting loose a burning cross, which falls on him and the Klansmen. He corresponds to the cyclops Polyphemus in the Odyssey.[10]
  • Holly Hunter as Penny, Everett’s ex-wife, who is fed up with Everett’s wheeling and dealing. She divorces him while he is in prison, telling their children he was hit by a Louisville & Nashville train. She is engaged to Vernon T. Waldrip until Everett wins her back. She corresponds to Penelope in the Odyssey.[10] (Penelope is an icon of the faithful wife, as she rejected her many suitors, stalling for time while awaiting Odysseus’ return.)
  • Charles Durning as Menelaus “Pappy” O’Daniel, the incumbent Governor of Mississippi. He is frequently seen berating his son and his campaign managers, who are depicted as simpletons. The character is based on Texas governor W. Lee “Pappy” O’Daniel.[13](Flensted-Jensen elaborates on the connection between the fictional and the real Pappy O’Daniel.)[10] He corresponds to Menelaus in the Odyssey.
  • Daniel von Bargen as Sheriff Cooley, a ruthless rural sheriff who, with his bloodhound, pursues the trio for the duration of the film. It is implied several times that he is the devil incarnate, and Cooley fits Tommy Johnson’s description of Satan: Cooley’s sunglasses evoke Satan’s “big empty eyes.” He eventually ambushes the escapees after they have been pardoned by the governor. He intends to hang them nonetheless, but when the valley is flooded, he, his men, and his dog all drown. He corresponds to Poseidon in the Odyssey.[10] He has been compared to Boss Godfrey in Cool Hand Luke.[14]
  • Wayne Duvall as Homer Stokes, the reform candidate in the upcoming election for Governor. He travels the countryside with a dwarf, who depicts the “little man”, and a broom, with which he promises to “sweep this state clean”. He is secretly an Imperial Wizard in the Ku Klux Klan. He falsely identifies Everett, Pete, and Delmar as people of color because they are dirty.
  • Ray McKinnon as Vernon T. Waldrip, Penny’s bona fide suitor and the manager of Homer Stokes’s election campaign. It has been suggested that his name is a nod to novelist Howard Waldrop, whose novella A Dozen Tough Jobs is one of the inspirations for the film.[15] He corresponds to the Suitors of Penelope in the Odyssey.[10]
  • Michael Badalucco as George Nelson, a bipolar bank robber who dislikes being called “Baby Face”. The real George Nelson died in 1934, three years before the story is set. Nelson died in a shootout known as the Battle of Barrington rather than by electric chair, as suggested in the film.
  • Stephen Root as Mr. Lund, the blind radio station manager who records Everett’s story in the song “Man of Constant Sorrow” and makes him known throughout the state. He corresponds to Homer.[10]
  • Lee Weaver as the Blind Seer, a mysterious railroad man who accurately predicts the outcome of the trio’s adventure as well as several other incidents. He corresponds to Tiresias in the Odyssey.[10]

Production

The idea of O Brother, Where Art Thou? arose spontaneously. Work on the script began long before the start of production in December 1997 and was at least half-written by May 1998. Despite the fact that Ethan described the Odyssey as “one of my favorite storyline schemes”, neither of the brothers had read the epic and were only familiar with its content through adaptations and numerous references to the Odyssey in popular culture.[16] According to the brothers, Nelson (who has a degree in classics from Brown University)[17][18] was the only person on the set who had read the Odyssey.[19]

The title of the film is a reference to the 1941 Preston Sturges film Sullivan’s Travels, in which the protagonist (a director) wants to direct a film about the Great Depression called O Brother, Where Art Thou?[5] that will be a “commentary on modern conditions, stark realism, and the problems that confront the average man”. Lacking any experience in this area, the director sets out on a journey to experience the human suffering of the average man but is sabotaged by his anxious studio. The film has some similarity in tone to Sturges’s film, including scenes with prison gangs and a black church choir. The prisoners at the picture show scene is also a direct homage to a nearly identical scene in Sturges’s film.[20]

Joel Coen revealed in a 2000 interview that he came to Phoenix, Arizona, to offer the lead role to Clooney. Clooney agreed to do the role immediately, without reading the script. He stated that he liked even the Coens’ least successful films.[21] Clooney did not immediately understand his character and sent the script to his uncle Jack who lived in Kentucky and asked him to read the entire script into a tape recorder.[22] Unknown to Clooney, in his recording, Jack, a devout Baptist, omitted all instances of the words “damn” and “hell” from the Coens’ script, which only became known to Clooney after the directors pointed this out to him in the middle of shooting.[22]

This was the fourth film of the brothers in which John Turturro has starred. Other actors in O Brother, Where Art Thou? who had worked previously with the Coens include John Goodman (three films), Holly Hunter (two), Michael Badalucco and Charles Durning (one film each).

The Coens used digital color correction to give the film a sepia-tinted look.[8] Joel stated this was because the actual set was “greener than Ireland.” [22] Cinematographer Roger Deakins stated, “Ethan and Joel favored a dry, dusty Delta look with golden sunsets. They wanted it to look like an old hand-tinted picture, with the intensity of colors dictated by the scene and natural skin tones that were all shades of the rainbow.”[23] Initially the crew tried to perform the color correction using a physical process, however after several tries with various chemical processes proved unsatisfactory, it became necessary to perform the process digitally.[22]

This was the fifth film collaboration between the Coen Brothers and Deakins, and it was slated to be shot in Mississippi at a time of year when the foliage, grass, trees, and bushes would be a lush green.[23] It was filmed near locations in Canton, Mississippi and Florence, South Carolina in the summer of 1999.[24] After shooting tests, including film bipack and bleach bypass techniques, Deakins suggested digital mastering be used.[23] Deakins subsequently spent 11 weeks fine-tuning the look, mainly targeting the greens, making them a burnt yellow and desaturating the overall image in the digital files.[8] This made it the first feature film to be entirely color corrected by digital means, narrowly beating Nick Park‘s Chicken Run.[8]

O Brother, Where Art Thou? was the first time a digital intermediate was used on the entirety of a first-run Hollywood film that otherwise had very few visual effects. The work was done in Los Angeles by Cinesite using a Spirit DataCine for scanning at 2K resolution, a Pandora MegaDef to adjust the color, and a Kodak Lightning II recorder to put out to film.[25]

A major theme of the film is the connection between old-time music and political campaigning in the Southern U.S. It makes reference to the traditions, institutions, and campaign practices of bossism and political reform that defined Southern politics in the first half of the 20th century.

The Ku Klux Klan, at the time a political force of white populism, is depicted burning crosses and engaging in ceremonial dance. The character Menelaus “Pappy” O’Daniel, the governor of Mississippi and host of the radio show The Flour Hour, is similar in name and demeanor to W. Lee “Pappy” O’Daniel,[26] one-time Governor of Texas and later U.S. Senator from that state.[27] W. Lee O’Daniel was in the flour business, and used a backing band called the Light Crust Doughboys on his radio show.[28] In one campaign, W. Lee O’Daniel carried a broom,[29] an oft-used campaign device in the reform era, promising to sweep away patronage and corruption.[29] His theme song had the hook, “Please pass the biscuits, Pappy”, emphasizing his connection with flour.[28]

While the film borrows from real-life politics, differences are obvious between the characters in the film and historical political figures. The O’Daniel of the movie used “You Are My Sunshine” as his theme song (which was originally recorded by real-life Governor of Louisiana James Houston “Jimmie” Davis[30]) and Homer Stokes, as the challenger to the incumbent O’Daniel, portrays himself as the “reform candidate”, using a broom as a prop.

Music

Music in the film was originally conceived as a major component of the film, not merely as a background or a support. Producer and musician T-Bone Burnett worked with the Coens while the script was still in its working phases, and the soundtrack was recorded before filming commenced.[31]

Much of the music used in the film is period-specific folk music,[6] including that of Virginia bluegrass singer Ralph Stanley.[7] The musical selection also includes religious music, including Primitive Baptist and traditional African American gospel, most notably the Fairfield Four, an a cappella quartet with a career extending back to 1921 who appear in the soundtrack and as gravediggers towards the film’s end. Selected songs in the film reflect the possible spectrum of musical styles typical of the old culture of the American South: gospel, delta blues, country, swing and bluegrass.[32][33]

The use of dirges and other macabre songs is a theme that often recurs in Appalachian music[34] (“O Death”, “Lonesome Valley”, “Angel Band“, “I Am Weary”) in contrast to bright, cheerful songs (“Keep On the Sunny Side”, “In the Highways”) in other parts of the film.

The voices of the Soggy Bottom Boys were provided by Dan Tyminski (lead vocal on “Man of Constant Sorrow”), Nashville songwriter Harley Allen, and the Nashville Bluegrass Band‘s Pat Enright.[35] The three won a CMA Award for Single of the Year[35] and a Grammy Award for Best Country Collaboration with Vocals, both for the song “Man of Constant Sorrow”.[9] Tim Blake Nelson sang the lead vocal on “In the Jailhouse Now“.[5]

“Man of Constant Sorrow” has five variations: two are used in the film, one in the music video, and two in the soundtrack album. Two of the variations feature the verses being sung back-to-back, and the other three variations feature additional music between each verse.[36] Though the song received little significant radio airplay,[37] it reached #35 on the U.S. Billboard Hot Country Singles & Tracks chart in 2002.[38] The version of “I’ll Fly Away” heard in the film is performed not by Krauss and Welch (as it is on the CD and concert tour), but by the Kossoy Sisters with Erik Darling accompanying on long-neck five-string banjo, recorded in 1956 for the album Bowling Green on Tradition Records.[39]

Release

The film premiered at the AFI Film Festival on October 19, 2000.[1] It grossed $71,868,327 worldwide[3] off its $26 million budget.[2]

Reception

Review aggregation website Rotten Tomatoes gives it a score of 77% based on 147 reviews and an average score of 7.1/10. The consensus reads: “Though not as good as Coen brothers’ classics such as Blood Simple, the delightfully loopy O Brother, Where Art Thou? is still a lot of fun.”[40] The film holds an average score of 69/100 on Metacritic based on 30 reviews.[41]

Roger Ebert gave two and a half out of four stars to the film, saying all the scenes in the film were “wonderful in their different ways, and yet I left the movie uncertain and unsatisfied”.[42]

Awards

The film was selected into the main competition of the 2000 Cannes Film Festival.[43]

The film also received two Academy Award nominations at the 73rd Academy Awards: Best Adapted Screenplay and Best Cinematography. Cinematographer Roger Deakins was recognized with both Academy Award and ASC Outstanding Achievement Award nominations for his work on the film.[23]

For his portrayal of Ulysses Everett McGill, George Clooney received the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy. The film was also nominated for the Golden Globe Award for Best Motion Picture – Musical or Comedy.

The film is recognized by American Film Institute in these lists:

The Soggy Bottom Boys

The Soggy Bottom Boys, the musical group that the main characters form, serve as accompaniment for the film. The name is an homage to the Foggy Mountain Boys, a bluegrass band led by Lester Flatt and Earl Scruggs.[45] In the film, the songs credited to the band are lip-synched by the actors, except that Tim Blake Nelson does sing his own vocals on “In the Jailhouse Now.” The actual musicians are Dan Tyminski (guitar and lead vocals), Harley Allen, and Pat Enright.[46][47] The band’s hit single is Dick Burnett‘s “Man of Constant Sorrow,” a song that had already enjoyed much success in real life.[48] After the film’s release, the fictitious band became so popular that the country and folk musicians who were dubbed into the film, such as Ralph Stanley, John Hartford, Alison Krauss, Emmylou Harris, Gillian Welch, Chris Sharp, and others, all got together and performed the music from the film in a Down from the Mountain concert tour which was filmed for TV and DVD.[6]

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Ella Fitzgerald — Videos

Posted on February 5, 2017. Filed under: American History, Art, Culture, Entertainment, history, Music, Music, People, Photos, Video, Wisdom, Writing | Tags: , , , , , , |

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Ella Fitzgerald – My Funny Valentine (High Quality – Remastered)

Benny Goodman & Ella Fitzgerald – Goodnight My Love (1937)

Manhattan – Ella Fitzgerald lyrics

Ella Fitzgerald – The Very Thought Of You (lyrics on screen)

Ella Fitzgerald- “It Don’t Mean A Thing If It Ain’t Got That Swing” 1957 (RITY Archives)

Ella Fitzgerald – Midnight Sun – LIVE 1958

Ella Fitzgerald in Copenhagen 1965

Ella Fitzgerald – Summertime (1968)

Summertime,
And the livin’ is easy
Fish are jumpin’
And the cotton is high

Oh, Your daddy’s rich
And your mamma’s good lookin’
So hush little baby
Don’t you cry

One of these mornings
You’re going to rise up singing
Then you’ll spread your wings
And you’ll take to the sky

But ’til that morning
There’s a’nothing can harm you
With your daddy and mammy
Standing by
Don’t you cry

Ella Fitzgerald How High is the moon

Ella Fitzgerald and Louis Armstrong – Summertime

Ella & Louis – Cheek to Cheek

Ella Fitzgerald & Louis Armstrong: Dream A Little Dream Of Me

Ella Fitzgerald & Louis Armstrong – Stars Fell On Alabama (1956)

Ella Fitzgerald & Louis Armstrong – Tenderly (Verve Records 1956)

E.Fitzgerald & L.Armstrong, Duets and more (full album)

Let’s Do It (Let’s Fall In Love) by Ella Fitzgerald

Ella Fitzgerald – Mack The Knife (High Quality)

Ella Fitzgerald – Misty

Ella Fitzgerald and The Inkspots – Into Each Life Some Rain Must Fall

Ella Fitzgerald – Hello Dolly (live)

Ella Fitzgerald – The Girl From Ipanema

Ella Fitzgerald – For Once In My Life (Live in Berlin 1968)

Ella Fitzgerald – Live At Ronnie Scott’s (!974)

ELLA FITZGERALD LIVE IN TOKYO (1983)

Ella Fitzgerald LIVE IN MILANO, ITALY 1984

Ella Fitzgerald – Night and Day (w/ lyrics)

Frank Sinatra – The Lady Is A Tramp ft. Ella Fitzgerald

Ella Fitzgerald – Blue Skies (High Quality – Remastered)

Ella Fitzgerald – Cry me a river

Ella Fitzgerald-How deep is the ocean?

Ella Fitzgerald “One Note Samba”

How High The Moon 1958

Ella Fitzgerald British TV 1961 Mr Paganini

Mr Paganini

Ella Fitzgerald – Round Midnight

Ella Fitzgerald The Man I love

Ella sings “Stormy Weather” with Joe Pass, Hannover 1975

Ella Fitzgerald – Sammy Davis Jr. 60th Anniversary Celebration (1990)

Karen Carpenter/Ella Fitzgerald medley, recorded for “Music,Music,Music

Ella Fitzgerald & Joe Pass – Once in a While

Ella Fitzgerald – My Heart Belongs to Daddy

Marilyn Monroe and Ella Fitzgerald sing “My Heart Belongs To Daddy”

Marilyn Monroe And Ella Fitzgerald Sing LAZY Together

Marilyn Monroe Talking About Ella Fitzgerald, Frank Sinatra And Sammy Davis jr

The Best Of Ella Fitzgerald

Ella Fitzgerald – All the Best (FULL ALBUM)

Ella Fitzgerald Greatest hits playlist – Collection HD/HQ

Ella Fitzgerald Interview 1974 Brian Linehan’s City Lights

Ella Fitzgerald kicked off a plane because of her race: CBC Archives | CBC

What’s My Line? – Ella Fitzgerald

Kennedy Center Honors Ella Fitzgerald 1979

ELLA FITZGERALD RECEIVES THE PRESIDENT’S AWARD

ELLA FITZGERALD BIOGRAPHY PART 1

ELLA FITZGERALD BIOGRAPHY PART 2

ELLA FITZGERALD BIOGRAPHY PART 3

ELLA FITZGERALD BIOGRAPHY PART 4

ELLA FITZGERALD BIOGRAPHY PART 5

ELLA FITZGERALD BIOGRAPHY PART 6

ELLA FITZGERALD BIOGRAPHY PART 7

ELLA FITZGERALD BIOGRAPHY PART 8

ELLA FITZGERALD BIOGRAPHY PART 9

ELLA FITZGERALD BIOGRAPHY PART 10

ELLA FITZGERALD BIOGRAPHY PART 11

Ella Fitzgerald

From Wikipedia, the free encyclopedia
Ella Fitzgerald
Ella Fitzgerald (Gottlieb 02871).jpg

Fitzgerald in November 1946
Born Ella Jane Fitzgerald
April 25, 1917
Newport News, Virginia, U.S.
Died June 15, 1996 (aged 79)
Beverly Hills, California, U.S.
Cause of death Diabetes mellitus
Spouse(s) Benny Kornegay
(m. 1941; annulled 1943)
Ray Brown
(m. 1947; div. 1953)
Children Ray Brown Jr.
Musical career
Genres
Occupation(s) Singer, actress
Instruments Vocals
Years active 1934–1994
Labels
Website ellafitzgerald.com

Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazzsinger often referred to as the First Lady of Song, Queen of Jazz and Lady Ella. She was noted for her purity of tone, impeccable diction, phrasing and intonation, and a “horn-like” improvisational ability, particularly in her scat singing.

After tumultuous teenage years, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country, but most often associated with the Savoy Ballroom in Harlem. Fitzgerald’s rendition of the nursery rhymeA-Tisket, A-Tasket” helped boost both her and Webb to national fame. Taking over the band after Webb died, Fitzgerald left it behind in 1942 to start a solo career that would last effectively the rest of her life.

Signed with manager and Savoy co-founder Moe Gale[1] from early in her career, she eventually gave managerial control for her performance and recording career to Norman Granz, who built up the label Verve Records based in part on Fitzgerald’s vocal abilities. With Verve she recorded some of her more widely noted works, particularly her interpretation of the Great American Songbook.

While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and The Ink Spots were some of her most notable acts outside of her solo career. These partnerships produced recognizable songs like “Dream a Little Dream of Me“, “Cheek to Cheek“, “Into Each Life Some Rain Must Fall“, and “It Don’t Mean a Thing (If It Ain’t Got That Swing)“. In 1993, Fitzgerald capped off her sixty-year career with her last public performance. Three years later, she died at the age of 79, following years of decline in her health. After her passing, Fitzgerald’s influence lived on through her fourteen Grammy Awards, National Medal of Arts, Presidential Medal of Freedom, and tributes in the form of stamps, music festivals, and theater namesakes.

Early life

Fitzgerald was born on April 25, 1917, in Newport News, Virginia, the daughter of William Fitzgerald and Temperance “Tempie” Fitzgerald.[2] Her parents were unmarried but lived together for at least two and a half years after she was born. In the early 1920s Fitzgerald’s mother and her new partner, a Portuguese immigrant named Joseph Da Silva,[2] moved to the city of Yonkers, in Westchester County, New York, as part of the first Great Migration of African Americans.[2] Initially living in a single room, her mother and Da Silva soon found jobs. Her half-sister, Frances Da Silva, was born in 1923.[3] By 1925, Fitzgerald and her family had moved to nearby School Street, then a predominantly poor Italian area.[3] She began her formal education at the age of six and proved to be an outstanding student, moving through a variety of schools before attending Benjamin Franklin Junior High School from 1929.[4]

Fitzgerald had been passionate about dancing from third grade, being a fan of Earl “Snakehips” Tucker in particular, and would perform for her peers on the way to school and at lunchtime.[5] Fitzgerald and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, and she regularly attended worship services, Bible study, and Sunday school.[5] The church provided Fitzgerald with her earliest experiences in formal music making, and she may also have had a short series of piano lessons during this period.[6]

During this period Fitzgerald listened to jazz recordings by Louis Armstrong, Bing Crosby, and The Boswell Sisters. Fitzgerald idolized the Boswell Sisters’ lead singer Connee Boswell, later saying, “My mother brought home one of her records, and I fell in love with it….I tried so hard to sound just like her.”[7]

In 1932, her mother died from serious injuries she received in a car accident [8] when Fitzgerald was 15 years of age. This left her at first in the care of her stepfather but before the end of April 1933, she had moved in with her aunt in Harlem.[9]This seemingly swift change in her circumstances, reinforced by what Fitzgerald biographer Stuart Nicholson describes as rumors of her stepfather’s “ill treatment” of Fitzgerald, leaves him to speculate that Da Silva might have abused her.[9]

Regardless, following these traumas, Fitzgerald began skipping school and letting her grades suffer. During this period she worked at times as a lookout at a bordello and with a Mafia-affiliated numbers runner.[10] Ella Fitzgerald never talked publicly about this time in her life.[11] When the authorities caught up with her, she was first placed in the Colored Orphan Asylum in Riverdale, Bronx.[12] However, when the orphanage proved too crowded, she was moved to the New York Training School for Girls in Hudson, New York, a state reformatory located about 120 miles north of New York City. Eventually she escaped and for a time she was homeless.

Early career

A young Fitzgerald, photographed by Carl Van Vechten in 1940

While she seems to have survived during 1933 and 1934 in part from singing on the streets of Harlem, Fitzgerald made her most important amateur singing debut at age 17 on November 21, 1934, in one of the earliest of the famous Amateur Nights at the Apollo Theater.[13][14] She had originally intended to go on stage and dance, but, intimidated by a local dance duo called the Edwards Sisters, she opted to sing instead.[14][15] Performing in the style of Connee Boswell, she sang “Judy” and “The Object of My Affection” and won the first prize of $25.00.[16] In theory, she also won the chance to perform at the Apollo for a week but, seemingly because of her disheveled appearance, the theater never gave her that part of her prize.[17]

In January 1935 Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House.[13] Around this same time, she was introduced to the drummer and bandleader Chick Webb, who had asked his recently signed singer Charlie Linton to help find him a female singer. Though Webb was, as The New York Times later wrote, “reluctant to sign her….because she was gawky and unkempt, a ‘diamond in the rough,'”[7] he offered her the opportunity to test with his band when they played a dance at Yale University.[13]

Met with approval by both audiences and her fellow musicians, Fitzgerald was asked to join Webb’s orchestra and soon gained acclaim as part of the group’s renowned performances at Harlem’s Savoy Ballroom.[13] Fitzgerald recorded several hit songs with them, including “Love and Kisses” and “(If You Can’t Sing It) You’ll Have to Swing It (Mr. Paganini)“.[13] But it was her 1938 version of the nursery rhyme, “A-Tisket, A-Tasket,” a song she co-wrote, that brought her wide public acclaim.[18][19] Later that year Ella recorded her second hit, “I Found My Yellow Basket.”

Webb died of spinal tuberculosis on June 16, 1939,[20] and his band was renamed Ella and her Famous Orchestra, with Fitzgerald taking on the role of nominal bandleader.[21] Fitzgerald recorded nearly 150 songs with Webb’s orchestra between 1935 and its final end in 1942. In her New York Times obituary of 1996, Stephen Holder echoed the conventional critical view of the time in describing “the majority” of her recordings during this period as “novelties and disposable pop fluff”.[7] In addition to her work with Webb, Fitzgerald performed and recorded with the Benny Goodman Orchestra. She had her own side project, too, known as Ella Fitzgerald and Her Savoy Eight.

Decca years

Fitzgerald performing with Dizzy Gillespie, Ray Brown, Milt Jackson and Timme Rosenkrantz in September 1947, New York

In 1942, Fitzgerald left the band to begin a solo career.[22] Continuing under contract to the Decca label that she had worked with while part of Webb’s orchestra, she had several popular hits while recording with such artists as Bill Kenny & the Ink Spots,[23] Louis Jordan,[24] and the Delta Rhythm Boys.[25]

With Decca’s Milt Gabler as her manager, Fitzgerald began working regularly for the jazz impresario Norman Granz and appeared regularly in his Jazz at the Philharmonic (JATP) concerts. Her relationship with Granz was further cemented when he became her manager, although it would be nearly a decade before he could record her on one of his many record labels.

With the demise of the Swing era and the decline of the great touring big bands, a major change in jazz music occurred. The advent of bebop led to new developments in Fitzgerald’s vocal style, influenced by her work with Dizzy Gillespie‘s big band. It was in this period that Fitzgerald started including scat singing as a major part of her performance repertoire. While singing with Gillespie, Fitzgerald recalled, “I just tried to do [with my voice] what I heard the horns in the band doing.”[16]

Her 1945 scat recording of “Flying Home” arranged by Vic Schoen would later be described by The New York Times as “one of the most influential vocal jazz records of the decade….Where other singers, most notably Louis Armstrong, had tried similar improvisation, no one before Miss Fitzgerald employed the technique with such dazzling inventiveness.”[7] Her bebop recording of “Oh, Lady Be Good!” (1947) was similarly popular and increased her reputation as one of the leading jazz vocalists.[26]

Verve years

Fitzgerald was still performing at Granz’s JATP concerts by 1955. She left Decca and Granz, now her manager, created Verve Records around her. She later described the period as strategically crucial, saying, “I had gotten to the point where I was only singing be-bop. I thought be-bop was ‘it’, and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman … felt that I should do other things, so he produced The Cole Porter Songbook with me. It was a turning point in my life.”[7]

On March 15, 1955[27] Ella Fitzgerald opened her initial engagement at the Mocambo nightclub in Hollywood,[28] after Marilyn Monroe lobbied the owner for the booking.[29] The booking was instrumental in Fitzgerald’s career. Bonnie Greer dramatized the incident as the musical drama, Marilyn and Ella, in 2008. It had previously been widely reported that Fitzgerald was the first black performer to play the Mocambo, following Monroe’s intervention, but this is not true. African-American singers Herb Jeffries,[30] Eartha Kitt,[31] and Joyce Bryant[32] all played the Mocambo in 1952 and 1953, according to stories published at the time in Jet magazine and Billboard.

Ella Fitzgerald Sings the Cole Porter Songbook, released in 1956, was the first of eight Songbook sets Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each set, taken together, represent the greatest part of the cultural canon known as the Great American Songbook. Her song selections ranged from standards to rarities and represented an attempt by Fitzgerald to cross over into a non-jazz audience. The sets are the most well-known items in her discography.

Fitzgerald in 1968, courtesy of the Fraser MacPherson estate

Ella Fitzgerald Sings the Duke Ellington Song Book was the only Songbook on which the composer she interpreted played with her. Duke Ellington and his longtime collaborator Billy Strayhorn both appeared on exactly half the set’s 38 tracks and wrote two new pieces of music for the album: “The E and D Blues” and a four-movement musical portrait of Fitzgerald (the only Songbook track on which Fitzgerald does not sing). The Songbook series ended up becoming the singer’s most critically acclaimed and commercially successful work, and probably her most significant offering to American culture. The New York Times wrote in 1996, “These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration.”[7]

Days after Fitzgerald’s death, The New York Times columnist Frank Rich wrote that in the Songbook series Fitzgerald “performed a cultural transaction as extraordinary as Elvis‘ contemporaneous integration of white and African American soul. Here was a black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians.”[10] Frank Sinatra, out of respect for Fitzgerald, prohibited Capitol Records from re-releasing his own recordings in separate albums for individual composers in the same way.[citation needed]

Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983; the albums being, respectively, Ella Loves Cole and Nice Work If You Can Get It. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antônio Carlos Jobim.

While recording the Songbooks and the occasional studio album, Fitzgerald toured 40 to 45 weeks per year in the United States and internationally, under the tutelage of Norman Granz. Granz helped solidify her position as one of the leading live jazz performers.[7] In 1961 Fitzgerald bought a house in the Klampenborg district of Copenhagen, Denmark, after she began a relationship with a Danish man. Though the relationship ended after a year, Fitzgerald regularly returned to Denmark over the next three years, and even considered buying a jazz club there. The house was sold in 1963, and Fitzgerald permanently returned to the United States.[33]

There are several live albums on Verve that are highly regarded by critics. Ella at the Opera House shows a typical JATP set from Fitzgerald. Ella in Rome and Twelve Nights in Hollywood display her vocal jazz canon. Ella in Berlin is still one of her best-selling albums; it includes a Grammy-winning performance of “Mack the Knife” in which she forgets the lyrics but improvises magnificently to compensate.

Verve Records was sold to MGM in 1963 for $3 million and in 1967 MGM failed to renew Fitzgerald’s contract. Over the next five years she flitted between Atlantic, Capitol and Reprise. Her material at this time represented a departure from her typical jazz repertoire. For Capitol she recorded Brighten the Corner, an album of hymns, Ella Fitzgerald’s Christmas, an album of traditional Christmas carols, Misty Blue, a country and western-influenced album, and 30 by Ella, a series of six medleys that fulfilled her obligations for the label. During this period, she had her last US chart single with a cover of Smokey Robinson‘s “Get Ready“, previously a hit for the Temptations, and some months later a top-five hit for Rare Earth.

The surprise success of the 1972 album Jazz at Santa Monica Civic ’72 led Granz to found Pablo Records, his first record label since the sale of Verve. Fitzgerald recorded some 20 albums for the label. Ella in London recorded live in 1974 with pianist Tommy Flanagan, guitarist Joe Pass, bassist Keter Betts and drummer Bobby Durham, was considered by many to be some of her best work. The following year she again performed with Joe Pass on German television station NDR in Hamburg. Her years with Pablo Records also documented the decline in her voice. “She frequently used shorter, stabbing phrases, and her voice was harder, with a wider vibrato”, one biographer wrote.[34] Plagued by health problems, Fitzgerald made her last recording in 1991 and her last public performances in 1993.[35]

Film and television

Fitzgerald shakes hands with President Ronald Reagan after performing in the White House, 1981

In her most notable screen role, Fitzgerald played the part of singer Maggie Jackson in Jack Webb‘s 1955 jazz film Pete Kelly’s Blues.[36] The film costarred Janet Leigh and singer Peggy Lee.[37] Even though she had already worked in the movies (she had sung briefly in the 1942 Abbott and Costello film Ride ‘Em Cowboy),[38] she was “delighted” when Norman Granz negotiated the role for her, and, “at the time….considered her role in the Warner Brothers movie the biggest thing ever to have happened to her.”[34] Amid The New York Times pan of the film when it opened in August 1955, the reviewer wrote, “About five minutes (out of ninety-five) suggest the picture this might have been. Take the ingenious prologue … [or] take the fleeting scenes when the wonderful Ella Fitzgerald, allotted a few spoken lines, fills the screen and sound track with her strong mobile features and voice.”[39]Fitzgerald’s race precluded major big-screen success. After Pete Kelly’s Blues, she appeared in sporadic movie cameos, in St. Louis Blues (1958),[40] and Let No Man Write My Epitaph (1960).[41] Much later, she appeared in the 1980s television drama The White Shadow.

She made numerous guest appearances on television shows, singing on The Frank Sinatra Show, The Andy Williams Show, The Pat Boone Chevy Showroom, and alongside other greats Nat King Cole, Dean Martin, Mel Tormé, and many others. She was also frequently featured on The Ed Sullivan Show. Perhaps her most unusual and intriguing performance was of the “Three Little Maids” song from Gilbert and Sullivan‘s comic operetta The Mikado alongside Joan Sutherland and Dinah Shore on Shore’s weekly variety series in 1963. A performance at Ronnie Scott’s Jazz Club in London was filmed and shown on the BBC. Fitzgerald also made a one-off appearance alongside Sarah Vaughan and Pearl Bailey on a 1979 television special honoring Bailey. In 1980, she performed a medley of standards in a duet with Karen Carpenter on the Carpenters’ television program Music, Music, Music.[42]

Fitzgerald also appeared in TV commercials, her most memorable being an ad for Memorex.[43] In the commercials, she sang a note that shattered a glass while being recorded on a Memorex cassette tape.[44] The tape was played back and the recording also broke the glass, asking: “Is it live, or is it Memorex?”[44] She also starred in a number of commercials for Kentucky Fried Chicken, singing and scatting to the fast-food chain’s longtime slogan, “We do chicken right!”[45] Her final commercial campaign was for American Express, in which she was photographed by Annie Leibovitz.[46]

Collaborations

Fitzgerald’s most famous collaborations were with the vocal quartet Bill Kenny & the Ink Spots, trumpeter Louis Armstrong, the guitarist Joe Pass, and the bandleaders Count Basie and Duke Ellington.

  • From 1943 to 1950, Fitzgerald recorded seven songs with the Ink Spots featuring Bill Kenny. Out of all seven recordings, four reached the top of the pop charts including “I’m Making Believe” and “Into Each Life Some Rain Must Fall” which both reached #1.
  • Fitzgerald recorded three Verve studio albums with Armstrong, two albums of standards (1956’s Ella and Louis and 1957’s Ella and Louis Again), and a third album featured music from the Gershwin musical Porgy and Bess. Fitzgerald also recorded a number of sides with Armstrong for Decca in the early 1950s.
  • Fitzgerald is sometimes referred to as the quintessential swing singer, and her meetings with Count Basie are highly regarded by critics. Fitzgerald features on one track on Basie’s 1957 album One O’Clock Jump, while her 1963 album Ella and Basie! is remembered as one of her greatest recordings. With the ‘New Testament’ Basie band in full swing, and arrangements written by a young Quincy Jones, this album proved a respite from the ‘Songbook’ recordings and constant touring that Fitzgerald was engaged in during this period. Fitzgerald and Basie also collaborated on the 1972 album Jazz at Santa Monica Civic ’72, and on the 1979 albums Digital III at Montreux, A Classy Pair and A Perfect Match.
  • Fitzgerald and Joe Pass recorded four albums together toward the end of Fitzgerald’s career. She recorded several albums with piano accompaniment, but a guitar proved the perfect melodic foil for her. Fitzgerald and Pass appeared together on the albums Take Love Easy (1973), Easy Living (1986), Speak Love (1983) and Fitzgerald and Pass… Again (1976).
  • Fitzgerald and Duke Ellington recorded two live albums and two studio albums. Her Duke Ellington Songbook placed Ellington firmly in the canon known as the Great American Songbook, and the 1960s saw Fitzgerald and the ‘Duke’ meet on the Côte d’Azur for the 1966 album Ella and Duke at the Cote D’Azur, and in Sweden for The Stockholm Concert, 1966. Their 1965 album Ella at Duke’s Place is also extremely well received.

Fitzgerald had a number of famous jazz musicians and soloists as sidemen over her long career. The trumpeters Roy Eldridge and Dizzy Gillespie, the guitarist Herb Ellis, and the pianists Tommy Flanagan, Oscar Peterson, Lou Levy, Paul Smith, Jimmy Rowles, and Ellis Larkins all worked with Ella mostly in live, small group settings.

Possibly Fitzgerald’s greatest unrealized collaboration (in terms of popular music) was a studio or live album with Frank Sinatra. The two appeared on the same stage only periodically over the years, in television specials in 1958 and 1959, and again on 1967’s A Man and His Music + Ella + Jobim, a show that also featured Antônio Carlos Jobim. Pianist Paul Smith has said, “Ella loved working with [Frank]. Sinatra gave her his dressing-room on A Man and His Music and couldn’t do enough for her.” When asked, Norman Granz would cite “complex contractual reasons” for the fact that the two artists never recorded together.[34] Fitzgerald’s appearance with Sinatra and Count Basie in June 1974 for a series of concerts at Caesars Palace, Las Vegas, was seen as an important incentive for Sinatra to return from his self-imposed retirement of the early 1970s. The shows were a great success, and September 1975 saw them gross $1,000,000 in two weeks on Broadway, in a triumvirate with the Count Basie Orchestra.

Later life and death

Fitzgerald had suffered from diabetes for several years of her later life, which had led to numerous complications.[7] In 1985, Fitzgerald was hospitalized briefly for respiratory problems,[47] in 1986 for congestive heart failure,[48] and in 1990 for exhaustion.[49] In March 1990 she appeared at the Royal Albert Hall in London, England with the Count Basie Orchestra for the launch of Jazz FM, plus a gala dinner at the Grosvenor House Hotel at which she performed.[50] In 1993, she had to have both of her legs amputated below the knee due to the effects of diabetes.[51] Her eyesight was affected as well.[7]

In 1996, tired of being in the hospital, she wished to spend her last days at home. Confined to a wheelchair, she spent her final days in her backyard of her Beverly Hills mansion on Whittier, with her son Ray and 12-year-old granddaughter, Alice. “I just want to smell the air, listen to the birds and hear Alice laugh,” she reportedly said. On her last day, she was wheeled outside one last time, and sat there for about an hour. When she was taken back in, she looked up with a soft smile on her face and said, “I’m ready to go now.” She died in her home on June 15, 1996 at the age of 79.[7] A few hours after her death, the Playboy Jazz Festival was launched at the Hollywood Bowl. In tribute, the marquee read: “Ella We Will Miss You.”[52] Her funeral was private,[52] and she was buried at Inglewood Park Cemetery in Los Angeles.

Personal life

Fitzgerald married at least twice, and there is evidence that she may have married a third time. Her first marriage was in 1941, to Benny Kornegay, a convicted drug dealer and local dockworker. The marriage was annulled in 1942.[53]

Her second marriage was in December 1947, to the famous bass player Ray Brown, whom she had met while on tour with Dizzy Gillespie’s band a year earlier. Together they adopted a child born to Fitzgerald’s half-sister, Frances, whom they christened Ray Brown, Jr. With Fitzgerald and Brown often busy touring and recording, the child was largely raised by his mother’s aunt, Virginia. Fitzgerald and Brown divorced in 1953, bowing to the various career pressures both were experiencing at the time, though they would continue to perform together.[7]

In July 1957, Reuters reported that Fitzgerald had secretly married Thor Einar Larsen, a young Norwegian, in Oslo. She had even gone as far as furnishing an apartment in Oslo, but the affair was quickly forgotten when Larsen was sentenced to five months’ hard labor in Sweden for stealing money from a young woman to whom he had previously been engaged.[54]

Fitzgerald was also notoriously shy. Trumpet player Mario Bauzá, who played behind Fitzgerald in her early years with Chick Webb, remembered that “she didn’t hang out much. When she got into the band, she was dedicated to her music….She was a lonely girl around New York, just kept herself to herself, for the gig.”[34] When, later in her career, the Society of Singers named an award after her, Fitzgerald explained, “I don’t want to say the wrong thing, which I always do but I think I do better when I sing.”[16]

Fitzgerald was a quiet but ardent supporter of many charities and non-profit organizations, including the American Heart Association and the City of Hope Medical Center. In 1993, she established the Ella Fitzgerald Charitable Foundation.[55]

Discography and collections

Further information: Ella Fitzgerald discography

The primary collections of Fitzgerald’s media and memorabilia reside at and are shared between the Smithsonian Institution and the US Library of Congress [56]

Awards, citations and honors

Fitzgerald won thirteen Grammy Awards,[57] and received the Grammy Lifetime Achievement Award in 1967.[58]

In 1958 Fitzgerald was the first African American female to win at the inaugural show.[59]

Other major awards and honors she received during her career were the Kennedy Center for the Performing Arts Medal of Honor Award, National Medal of Art, first Society of Singers Lifetime Achievement Award, named “Ella” in her honor, Presidential Medal of Freedom, and the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing, and the UCLA Medal (1987).[60] Across town at the University of Southern California, she received the USC “Magnum Opus” Award which hangs in the office of the Ella Fitzgerald Charitable Foundation. In 1990, she received an honorary doctorate of Music from Harvard University.[61]

Tributes and legacy

Fitzgerald in 1960 by Erling Mandelmann

The career history and archival material from Ella’s long career are housed in the Archives Center at the Smithsonian‘s National Museum of American History, while her personal music arrangements are at the Library of Congress. Her extensive cookbook collection was donated to the Schlesinger Library at Harvard University, and her extensive collection of published sheet music was donated to UCLA.

In 1997, Newport News, Virginia created a music festival with Christopher Newport University to honor Ella Fitzgerald in her birth city. Past performers at the week-long festival include: Diana Krall, Arturo Sandoval, Jean Carne, Phil Woods, Aretha Franklin, Victoria Wyndham, Charles Keating, Freda Payne, Cassandra Wilson, Ethel Ennis, David Sanborn, Jane Monheit, Dianne Reeves, Dee Dee Bridgewater, Ramsey Lewis, Patti Austin, Lalah Hathaway, Ledisi, Chrisette Michele, Natalie Cole, Freddie Jackson, Joe Harnell, Roy Ayers and Ann Hampton Callaway.

Callaway, Dee Dee Bridgewater, and Patti Austin have all recorded albums in tribute to Fitzgerald. Callaway’s album To Ella with Love (1996) features fourteen jazz standards made popular by Fitzgerald, and the album also features the trumpeter Wynton Marsalis. Bridgewater’s album Dear Ella (1997) featured many musicians that were closely associated with Fitzgerald during her career, including the pianist Lou Levy, the trumpeter Benny Powell, and Fitzgerald’s second husband, double bassist Ray Brown. Bridgewater’s following album, Live at Yoshi’s, was recorded live on April 25, 1998, what would have been Fitzgerald’s 81st birthday.

Austin’s album, For Ella (2002) features 11 songs most immediately associated with Fitzgerald, and a twelfth song, “Hearing Ella Sing” is Austin’s tribute to Fitzgerald. The album was nominated for a Grammy. In 2007, We All Love Ella, was released, a tribute album recorded for the 90th anniversary of Fitzgerald’s birth. It featured artists such as Michael Bublé, Natalie Cole, Chaka Khan, Gladys Knight, Diana Krall, k.d. lang, Queen Latifah, Ledisi, Dianne Reeves, Linda Ronstadt, and Lizz Wright, collating songs most readily associated with the “First Lady of Song”. Folk singer Odetta‘s album To Ella (1998) is dedicated to Fitzgerald, but features no songs associated with her. Her accompanist Tommy Flanagan affectionately remembered Fitzgerald on his album Lady be Good … For Ella (1994).

Ella, elle l’a“, a tribute to Fitzgerald written by Michel Berger and performed by French singer France Gall, was a hit in Europe in 1987 and 1988.[62] Fitzgerald is also referred to in the 1976 Stevie Wonder hit “Sir Duke” from his album Songs in the Key of Life, and the song “I Love Being Here With You”, written by Peggy Lee and Bill Schluger. Sinatra’s 1986 recording of “Mack the Knife” from his album L.A. Is My Lady (1984) includes a homage to some of the song’s previous performers, including ‘Lady Ella’ herself. She is also honored in the song “First Lady” by Canadian artist Nikki Yanofsky.

In 2008, the Downing-Gross Cultural Arts Center in Newport News named its brand new 276-seat theater the Ella Fitzgerald Theater. The theater is located several blocks away from her birthplace on Marshall Avenue. The Grand Opening performers (October 11 and 12, 2008) were Roberta Flack and Queen Esther Marrow.

In 2012, Rod Stewart performed a “virtual duet” with Ella Fitzgerald on his Christmas album Merry Christmas, Baby, and his television special of the same name.[63]

There is a bronze sculpture of Fitzgerald in Yonkers, the city in which she grew up, created by American artist Vinnie Bagwell. It is located southeast of the main entrance to the Amtrak/Metro-North Railroad station in front of the city’s old trolley barn. A bust of Fitzgerald is on the campus of Chapman University in Orange, California. On January 9, 2007, the United States Postal Service announced that Fitzgerald would be honored with her own postage stamp.[43] The stamp was released in April 2007 as part of the Postal Service’s Black Heritage series.[64]

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Henry Robinson Luce (April 3, 1898 – February 28, 1967), was a Chinese-American magazine magnate, who was called “the most influential private citizen in the America of his day”. About the book: https://www.amazon.com/gp/product/080…

He launched and closely supervised a stable of magazines that transformed journalism and the reading habits of upscale Americans. Time summarized and interpreted the week’s news; Life was a picture magazine of politics, culture, and society that dominated American visual perceptions in the era before television; Fortune explored in depth the economy and the world of business, introducing to executives avant-garde ideas such as Keynesianism; and Sports Illustrated explored the motivations and strategies of sports teams and key players. Counting his radio projects and newsreels, Luce created the first multimedia corporation. He was born in China to missionary parents. He envisaged that the United States would achieve world hegemony, and, in 1941, he declared the 20th century would be the “American Century”.

Nightly discussions of the concept of a news magazine led Luce and Hadden, both age 23, to quit their jobs in 1922. Later that same year, they formed Time Inc. Having raised $86,000 of a $100,000 goal, they published the first issue of Time on March 3, 1923. Luce served as business manager while Hadden was editor-in-chief. Luce and Hadden annually alternated year-to-year the titles of president and secretary-treasurer. In 1925, Luce decided to move headquarters to Cleveland, while Hadden was on a trip to Europe. Cleveland was cheaper, and Luce’s first wife, Lila, wanted out of New York. When Hadden returned, he was horrified and moved Time back to New York. Upon Hadden’s sudden death in 1929, Luce assumed Hadden’s position.

Luce launched the business magazine Fortune in February 1930 and acquired Life in order to relaunch it as a weekly magazine of photojournalism in November 1936; he went on to launch House & Home in 1952 and Sports Illustrated in 1954. He also produced The March of Time weekly newsreel. By the mid 1960s, Time Inc. was the largest and most prestigious magazine publisher in the world. (Dwight Macdonald, a Fortune staffer during the 1930s, referred to him as “Il Luce”, a play on the Italian Dictator Mussolini, who was called “Il Duce”).)

President Franklin D. Roosevelt, aware that most publishers were opposed to him, issued a decree in 1943 that blocked all publishers and media executives from visits to combat areas; he put General George Marshall in charge of enforcement. The main target was Luce, who had long opposed FDR. Historian Alan Brinkley argued the move was “badly mistaken”, for had Luce been allowed to travel, he would have been an enthusiastic cheerleader for American forces around the globe. But stranded in New York City, Luce’s frustration and anger expressed itself in hard-edged partisanship.[4] Luce, supported by Editor-in-Chief T. S. Matthews, appointed Whittaker Chambers as acting Foreign News editor in 1944, despite the feuds Chambers had with reporters in the field.[5]

Luce, who remained editor-in-chief of all his publications until 1964, maintained a position as an influential member of the Republican Party.[6] An instrumental figure behind the so-called “China Lobby”, he played a large role in steering American foreign policy and popular sentiment in favor of Nationalist leader Chiang Kai-shek and his wife Soong Mei-ling in their war against the Japanese. (The Chiangs appeared in the cover of Time eleven times between 1927 and 1955.[7])

It has been reported that Luce, during the 1960s, tried LSD and reported that he had talked to God under its influence.[8]

Once ambitious to become Secretary of State in a Republican administration, Luce penned a famous article in Life magazine in 1941, called “The American Century”, which defined the role of American foreign policy for the remainder of the 20th century (and perhaps beyond).

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CreditIllustration by Javier Jaén

Our new president is a private-jet-setting billionaire Ivy League graduate, a real estate tycoon, a TV star and a son of inherited wealth. But he is no longer, by his own calculations, a member of the “elite.” Nor are the men (and the few women) now joining his inner circle — 1-percenters and corporate executives, Harvard and Yale alumni, Silicon Valley entrepreneurs and Goldman Sachs bankers. The true elite apparently sits elsewhere, among those who, in Sarah Palin’s notable 2008 formulation, think “that they’re — I guess — better than anyone else.”

As an adjective, the word “elite” still conveys something positive, even aspirational: elite athlete, elite model, elite travel services. But as a noun, embodied by actual living people, it has become one of the nastiest epithets in American politics. “Elites have taken all the upside for themselves and pushed the downside to the working- and middle-class Americans,” complains Trump’s adviser Steve Bannon (of Harvard, Goldman Sachs and Hollywood). In this formulation, elites are a destructive, condescending collective, plotting against the beleaguered masses outside their ranks.

And in these attacks, the president-elect and his team are deploying one of the most effective partisan political stereotypes of the modern age. For most of American history, anti-elite sentiment was a matter of up versus down, not left versus right. But about half a century ago, the conservative movement set out to claim anti-elite politics as its own. That meant redefining the term away from class and toward culture, where the “elite” could be identified by its liberal ideas, coastal real estate and highbrow consumer preferences. The right-wing Club for Growth captured this type in a famous 2004 attack ad, instructing the Democrat Howard Dean to “take his tax-hiking, government-expanding, latte-drinking, sushi-eating, Volvo-driving, New York Times-reading, body-piercing, Hollywood-loving, left-wing freak show back to Vermont where it belongs.”

By the 1990s, bashing the ‘liberal elite’ had become a favorite blood sport of the American right.

Trump adjusted the formula for the hot topics of the 2016 campaign. “I was on the right side of that issue, as you know, with the people,” he boasted after Brexit, adding that “Hillary, as always, stood with the elites.” His complaints against “political correctness” conjure a world of absurdist campus politics, where overprivileged students squabble over gender pronouns and the fine points of racial victimization. “Media elites” come in for special attack, cordoned off in pens to be mocked and jeered at during rallies, labeled both liars and incompetents.

But Trump has also ventured beyond mere name-calling, turning the 2016 election into a competition between knowledge systems: the tell-it-like-it-is “people” versus the know-it-all “elites.” His campaign insisted for months that pollsters and technocrats and media would be proven wrong by his electoral success. The fact that he did win dealt a blow to an entire worldview, one in which empirical inquiry and truth-telling were supposed to triumph in the end. The question, now, is whether it’s possible to run an executive branch based on hostility toward experts and professionals of all political stripes — and how many billionaires and Ivy Leaguers Trump can appoint before this rhetorical pose begins to break down altogether.

The notion that distant elites might be conspiring against the people comes straight from the Founding Fathers, whose Declaration of Independence lamented the “long train of abuses and usurpations” inflicted upon ordinary Americans by an arrogant British king. From there on, United States history might be seen as a repeating cycle of anti-elite revolt. The Jacksonians rebelled against the Founders’ aristocratic pretensions. Northern “free labor” went to war against the oligarchical slavocracy. And the Populist revolts of the late 19th century adapted this story to modern capitalism, with farmers and laborers rebelling against robber barons, bankers, time-management experts and college-educated professionals.

The first historians to study those Populists described them as heroic crusaders, champions of the “people” against the “powers.” But by the middle of the 20th century, alarmed by the rise of fascism and homegrown demagogues like Senator Joseph McCarthy, a new generation of scholars took a more anxious view of the anti-elite spirit. In his 1955 book “The Age of Reform,” Richard Hofstadter dismissed the Populists as backward-looking, provincial anti-Semites, the latent fascists of their day. Eight years later, his “Anti-Intellectualism in American Life” documented a dangerous suspicion of “the critical mind” that seemed to course through the national culture. From his perspective, the 1952 election captured everything wrong with American political life, with Dwight Eisenhower’s “philistinism” winning over Adlai Stevenson’s “intellect.”

The question is whether it’s possible to run an executive branch based on hostility toward experts and professionals of all political stripes.

Hofstadter did not usually describe his ideal intellectually minded citizens as members of an “elite.” That word conveyed something different — a ruling class that held direct political and economic power. The most famous articulation of this view came from the sociologist C. Wright Mills, in his 1956 assessment of America’s “power elite.” “They rule the big corporations,” Mills wrote. “They run the machinery of the state and claim its prerogatives. They direct the military establishment.” In Mills’s view, these people were tied together not by culture or ideology but by their positions at the helms of large, ever-more-complex institutions. As individuals, they might be Republicans or Democrats, and might live in Ohio or California. The point was that they were in charge of things.

But that vision never gained much traction in mainstream politics, where a more partisan, targeted definition was starting to emerge. William F. Buckley Jr. carved out some essentials in his first book, “God and Man at Yale,” drawing a neat distinction between respectable Ivy-educated men like himself and the socialistic eggheads of the professoriate. Ronald Reagan chose the term “elite” to bring it all together in his famed 1964 speech, “A Time for Choosing,” delivered on behalf of the Republican presidential candidate Barry Goldwater. “This is the issue of this election,” he said: “whether we believe in our capacity for self-government or whether we abandon the American Revolution and confess that a little intellectual elite in a far-distant capitol can plan our lives for us better than we can plan them ourselves.”

Lyndon Johnson won that election in a blowout, but Reagan’s vision of a smug and detached liberal elite helped spark the oncoming “culture wars,” pitting a supposedly indignant Middle America against the liberal snobs of the coasts. By the 1990s, with the rise of right-wing media stars like Rush Limbaugh and Bill O’Reilly, bashing the “liberal elite” had become a favorite blood sport of the American right.

Despite all the abuse hurled their way, some “liberal elites” have accepted at least part of their detractors’ critique, particularly on the progressive left. It was during Bill Clinton’s presidency that the social critic Christopher Lasch published “The Revolt of the Elites and the Betrayal of Democracy,” which mourned that “upper-middle-class liberals” had turned into “petulant, self-righteous, intolerant” scolds, thoroughly out of touch with the concerns of Middle America. Since then, the torch has passed to a younger generation of writers, including MSNBC’s Chris Hayes, whose 2012 “Twilight of the Elites” called for rethinking the entire ethos of liberal “meritocracy” — a system, he argued, that tends to fuel self-congratulation and incompetence at the top while offering little but contempt and dim prospects for those at the bottom.

So as 2017 begins, we find ourselves in a strange and uncertain political moment. Antipathy toward a wealthy, preening managerial class seems to be gaining popularity across the political spectrum — and, oddly, to have helped elect a wealthy, preening incoming president. Meanwhile, both liberal and conservative “elites” are scrambling to figure out what happens if the president-elect continues to reject basic political norms and even routine intelligence briefings. Under a Trump presidency, such “elites” may have no choice but to attempt a radical redefinition of their role in American life. Otherwise, the man in the White House will do it for them.

http://www.nytimes.com/2017/01/03/magazine/how-elites-became-one-of-the-nastiest-epithets-in-american-politics.html?_r=0

Henry Luce

From Wikipedia, the free encyclopedia
Henry Luce
Clare Boothe Luce and Henry Luce NYWTS.jpg

Luce with wife Clare Boothe Luce, a famous playwright and politician (1954)
Born Henry Robinson Luce
April 3, 1898
Tengchow, China
Died February 28, 1967 (aged 68)
Phoenix, Arizona, U.S.
Occupation Publisher; Journalist
Political party Republican
Spouse(s) Lila Ross Hotz (1923–1935)
Clare Boothe Luce
(1935–1967, his death)
Children 3, including Ann Clare Brokaw (step-daughter)
Parent(s) Henry W. Luce and Elizabeth Middleton Root

Henry Robinson Luce (April 3, 1898 – February 28, 1967) was an American magazine magnate who was called “the most influential private citizen in the America of his day”.[1] He launched and closely supervised a stable of magazines that transformed journalism and the reading habits of upscale Americans. Time summarized and interpreted the week’s news; Life was a picture magazine of politics, culture, and society that dominated American visual perceptions in the era before television; Fortune explored in depth the economy and the world of business, introducing to executives avant-garde ideas such as Keynesianism; and Sports Illustrated explored the motivations and strategies of sports teams and key players. Counting his radio projects and newsreels, Luce created the first multimedia corporation. He was born in China to missionary parents. He envisaged that the United States would achieve world hegemony, and, in 1941, he declared the 20th century would be the “American Century“.[2][3]

Life and career

Luce was born in Tengchow, Shandong, China, (now Penglai) on April 3, 1898, the son of Elizabeth Root Luce and Henry Winters Luce, who was a Presbyterian missionary.[3] He received his education in various Chinese and English boarding schools, including the China Inland Mission Chefoo School.

At 15, he was sent to the US to attend the Hotchkiss School in Connecticut, where he edited the Hotchkiss Literary Monthly. It was there he first met Briton Hadden,[3] who would become a lifelong partner. At the time, Hadden served as editor-in-chief of the school newspaper, and Luce worked as an assistant managing editor. Both went on to Yale College, where Hadden served as chairman and Luce as managing editor of The Yale Daily News. Luce was also a member of Alpha Delta Phi and Skull and Bones. After being voted “most brilliant” of his class and graduating in 1920, he parted ways with Hadden to embark for a year on historical studies at Oxford University, followed by a stint as a cub reporter for the Chicago Daily News.

In December 1921, Luce rejoined Hadden to work at The Baltimore News. Recalling his relationship with Hadden, Luce later said, “Somehow, despite the greatest differences in temperaments and even in interests, we had to work together. We were an organization. At the center of our lives — our job, our function — at that point everything we had belonged to each other.”[citation needed]

Magazines

Nightly discussions of the concept of a news magazine led Luce and Hadden, both age 23, to quit their jobs in 1922. Later that same year, they partnered with Robert Livingston Johnson and another Yale classmate to form Time Inc.[4] Having raised $86,000 of a $100,000 goal, they published the first issue of Time on March 3, 1923. Luce served as business manager while Hadden was editor-in-chief. Luce and Hadden annually alternated year-to-year the titles of president and secretary-treasurer while Johnson served as vice president and advertising director. In 1925, Luce decided to move headquarters to Cleveland, while Hadden was on a trip to Europe. Cleveland was cheaper, and Luce’s first wife, Lila, wanted out of New York. When Hadden returned, he was horrified and moved Time back to New York. Upon Hadden’s sudden death in 1929, Luce assumed Hadden’s position.

Luce launched the business magazine Fortune in February 1930 and acquired Life in order to relaunch it as a weekly magazine of photojournalism in November 1936; he went on to launch House & Home in 1952 and Sports Illustrated in 1954. He also produced The March of Time weekly newsreel. By the mid 1960s, Time Inc. was the largest and most prestigious magazine publisher in the world. (Dwight Macdonald, a Fortune staffer during the 1930s, referred to him as “Il Luce”, a play on the Italian Dictator Mussolini, who was called “Il Duce”).)

President Franklin D. Roosevelt, aware that most publishers were opposed to him, issued a decree in 1943 that blocked all publishers and media executives from visits to combat areas; he put General George Marshall in charge of enforcement.[citation needed] The main target was Luce, who had long opposed Roosevelt. Historian Alan Brinkley argued the move was “badly mistaken” and said had Luce been allowed to travel, he would have been an enthusiastic cheerleader for American forces around the globe.[citation needed] However, stranded in New York City, Luce’s frustration and anger expressed itself in blatant partisanship.[5]

Luce, supported by Editor-in-Chief T. S. Matthews, appointed Whittaker Chambers as acting Foreign News editor in 1944, despite the feuds that Chambers had with reporters in the field.[6]

Luce, who remained editor-in-chief of all his publications until 1964, maintained a position as an influential member of the Republican Party.[7] An instrumental figure behind the so-called “China Lobby“, he played a large role in steering American foreign policy and popular sentiment in favor of Kuomintang leader Chiang Kai-shek and his wife, Soong Mei-ling, in their war against the Japanese. (The Chiangs appeared in the cover of Time eleven times between 1927 and 1955.[8])

It has been reported that Luce, during the 1960s, tried LSD and reported that he had talked to God under its influence.[9]

Once ambitious to become Secretary of State in a Republican administration, Luce penned a famous article in Life magazine in 1941, called “The American Century“, which defined the role of American foreign policy for the remainder of the 20th century (and perhaps beyond).[7]

An ardent anti-Soviet, he once demanded John Kennedy invade Cuba, later to remark to his editors that if he did not, his corporation would act like Hearst during the Spanish–American War. The publisher would advance his concepts of US dominance of the “American Century” through his periodicals with the ideals shared and guided by members of his social circle, John Foster Dulles, Secretary of State and his brother, director of the CIA, Allen Dulles. To highlight the cozy extent of their alliance, rumors swirled that the publisher shared the wartime mistress of the spymaster with Clare Booth Luce.[10]

Family

Luce had two children, Peter Paul and Henry Luce III, with his first wife, Lila Hotz. He married his second wife, Clare Boothe Luce in 1935, who had an 11-year-old daughter, Ann Clare Brokaw, whom he raised as his own. He died in Phoenix, Arizona in 1967. According to the Henry Luce Foundation, he died suddenly at age 68 while visiting his home on Fishers Island, New York, of cardiac arrest. At his death, he was said to be worth $100 million in Time Inc. stock.[11] Most of his fortune went to the Henry Luce Foundation. During his life, Luce supported many philanthropies such as Save the Children Federation, the Metropolitan Museum of Art and United Service to China, Inc. He is interred at Mepkin Plantation in South Carolina.

He was honored by the United States Postal Service with a 32¢ Great Americans series (1980–2000) postage stamp.[12] Mr. Luce was inducted into the Junior Achievement U.S. Business Hall of Fame in 1977.

Designed by I. M. Pei, the Luce Memorial Chapel, on the campus of Tunghai University, Taiwan, was constructed in memoriam of Henry Luce’s father.

References

  1. Jump up^ Robert Edwin Herzstein (2005). Henry R. Luce, Time, and the American Crusade in Asia. Cambridge U.P. p. 1.
  2. Jump up^ Editorial (1941-02-17) The American Century, Life Magazine
  3. ^ Jump up to:a b c Baughman, James L. (April 28, 2004). “Henry R. Luce and the Rise of the American News Media”. American Masters (PBS). Retrieved 19 June 2014.
  4. Jump up^ Warburton, Albert (Winter 1962). “Robert L. Johnson Hall Dedicated at Temple University” (PDF). The Emerald of Sigma Pi. Vol. 48 no. 4. p. 111.
  5. Jump up^ Alan Brinkley, The Publisher: Henry Luce and his American Century (2010) pp 302-3
  6. Jump up^ Brinkley, The Publisher: Henry Luce and his American Century (2010) pp 322-93
  7. ^ Jump up to:a b “Henry R. Luce: End of a Pilgrimage”. – TIME. – March 10, 1967
  8. Jump up^ “Time magazine historical search”. Time magazine. Retrieved 19 June 2014.
  9. Jump up^ Maisto, Stephen A., Galizio, Mark, & Connors, Gerald J. (2008). Drug Use and Abuse: Fifth Edition. Belmont: Thomson Higher Education. ISBN 0-495-09207-X
  10. Jump up^ Talbot, David. “The Devils’ Chessboard: Allen Dulles, The CIA and the Rise of America’s Secret Government.” (2015) Harper-Collins, pub., New York, New York pp. 236-238, 444.
  11. Jump up^ Edwin Diamond (October 23, 1972). “Why the Power Vacuum at Time Inc. Continues”. New York Magazine.
  12. Jump up^ “Henry R. Luce”. US Stamp Gallery. April 3, 1998.

Further reading

  • Baughman, James L. “Henry R. Luce and the Business of Journalism.” Business & Economic History On-Line 9 (2011). online
  • Baughman, James L. Henry R. Luce and the Rise of the American News Media (2001) excerpt and text search
  • Brinkley, Alan. The Publisher: Henry Luce and His American Century, Alfred A. Knopf (2010) 531 pp.
  • Brinkley, Alan. What Would Henry Luce Make of the Digital Age?, TIME (April 19, 2010) excerpt and text search
  • Elson, Robert T. Time Inc: The Intimate History of a Publishing Enterprise, 1923-1941 (1968); vol. 2: The World of Time Inc.: The Intimate History, 1941-1960 (1973), official corporate history
  • Herzstein, Robert E. Henry R. Luce, Time, and the American Crusade in Asia (2006) excerpt and text search
  • Herzstein, Robert E. Henry R. Luce: A Political Portrait of the Man Who Created the American Century (1994).
  • Morris, Sylvia Jukes. Rage for Fame: The Ascent of Clare Boothe Luce (1997).
  • Wilner, Isaiah. The Man Time Forgot: A Tale of Genius, Betrayal, and the Creation of Time Magazine, HarperCollins, New York, 2006

External links

https://en.wikipedia.org/wiki/Henry_Luce

W. A. Swanberg

From Wikipedia, the free encyclopedia

William Andrew Swanberg (November 23, 1907 in St. Paul, Minnesota – September 17, 1992 in Southbury, Connecticut)[1] was an American biographer. He may be known best for Citizen Hearst, a biography of William Randolph Hearst, which was recommended by the Pulitzer Prize board in 1962 but overturned by the trustees.[2] He won the 1973 Pulitzer Prize for Biography or Autobiography for his 1972 biography of Henry Luce,[3] and the National Book Award in 1977 for his 1976 biography of Norman Thomas.[4]

Life

Swanberg was born in Saint Paul, Minnesota in 1907, and earned his B.A. at the University of Minnesota in 1930.[5]

With grudging and only partial help from his father, who wanted his son to be a cabinet maker like himself, Swanberg earned his degree, only to find that employment as a journalist with such local daily newspapers as the St. Paul Daily News and the Minneapolis Star was unsatisfactory, as their staff were shrinking during the Great Depression. Swanberg instead held a succession of low-paying manual labor jobs. After five years he followed a college friend to New York City in September 1935. After months of anxious job-hunting he secured an interview at the Dell Publishing Company with president George T. Delacorte Jr. himself, and was hired as an assistant editor of three lowbrow magazines. Money saved in the next months enabled him to return briefly to the Midwest to marry his college sweetheart Dorothy Green, and bring her to New York. He soon began to climb up the editorial ladder at Dell, and by 1939 he was doing well enough to buy a house in Connecticut.

When the United States entered World War II, Swanberg was 34 years old, the father of two children and suffering from a hearing disability. Rejected by the army, he enlisted in the Office of War Information in 1943 and, after training was sent to England following D-Day. In London, amid the V-1 and V-2 attacks, he prepared and edited pamphlets to be air-dropped behind enemy lines in France and later in Norway.[6] With the end of the war he returned in October 1945 to Dell and the publishing world.

Swanberg did not return to magazine editing but instead did freelance work within and without Dell. By 1953 he began carving out time for researching his first book (Sickles), which Scribner’s purchased, beginning a long-term association. Swanberg’s early hopes of newspaper work never materialized, but by the mid-1950s he had established himself as scholarly biographer. His efforts proved to be labor-intensive and required up to four years apiece, even when assisted by the research and transcription efforts of his wife Dorothy. Upon turning 80 in 1987, Swanberg attempted one last biography, about William Eugene “Pussyfoot” Johnson (1862–1945).[7] He was at work on that project when he succumbed to heart failure at his typewriter in Southbury, Connecticut on September 17, 1992.

Swanberg was a Guggenheim fellow in 1960. His papers are archived at Columbia University.

The Hearst Affair

Swanberg’s 1961 book Citizen Hearst: A Biography of William Randolph Hearst was recommended for a Pulitzer Prize for Biography or Autobiography by the advisory board but rejected by the trustees of Columbia University, apparently because they thought that Hearst was not dignified enough to be the subject of the award. It was the first time in 46 years that the trustees rejected a recommendation from the advisory board, and the news caused sales to soar.[1]

Works

In a statistical overview derived from writings by and about William Andrew Swanberg, OCLC/WorldCat [clarification needed] encompasses roughly 30+ works in 100+ publications in 5 languages and 16,000+ library holdings.[8]

Literary Awards

References

  1. ^ Jump up to:a b www.nytimes.com
  2. ^ Jump up to:a b Hohenberg, John. The Pulitzer Diaries: Inside America’s Greatest Prize. 1997. p. 109.
  3. ^ Jump up to:a b “Biography or Autobiography”. Past winners and finalists by category. The Pulitzer Prizes. Retrieved 2012-03-17.
  4. ^ Jump up to:a b “National Book Awards – 1977”. National Book Foundation. Retrieved 2012-03-17.
  5. Jump up^ Gale Contemporary Authors Online. Volume 13.[page needed]
  6. Jump up^ Gale, p. 264
  7. Jump up^ Gale, p. 277
  8. Jump up^ WorldCat Identities: Swanberg, W. A. 1907-

External links

  • W. A. Swanberg Papers Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania

https://en.wikipedia.org/wiki/W._A._Swanberg

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Unconditional Positive Regard — Anticipation –You Can Get What You Want — Change Your Expectations — Choose What You Want! — Commit To Mastery — Love — Videos

Posted on December 16, 2016. Filed under: Babies, Blogroll, Communications, Entertainment, Faith, Family, Friends, Heroes, liberty, Life, Literacy, Love, Mastery, media, Music, Music, People, Philosophy, Programming, Radio, Raves, Raymond Thomas Pronk, Success, Television, Video, Wealth, Wisdom, Work, Writing | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , |

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The first 20 hours — how to learn anything | Josh Kaufman | TEDxCSU

Unconditional positive regard — the power of self acceptance | Michelle Charfen | TEDxRedondoBeach

After watching this, your brain will not be the same | Lara Boyd | TEDxVancouver

Why you don’t get what you want; it’s not what you expect | Jennice Vilhauer | TEDxPeachtree

Bill Gates on Expertise: 10,000 Hours and a Lifetime of Fanaticism

CHANGE YOUR MIND AND BECOME SUCCESSFUL – Best Motivational Videos Compilation for 2017

Malcolm Gladwell: Outliers

Tim Ferriss Scoffs at Gladwell’s 10,000 Hours

Tim Ferriss shares how to master any skill by deconstructing it | The Next Web

The Rolling Stones – You Can’t Always Get What You Want (TV Show ’69)

I saw her today at the reception
A glass of wine in her hand
I knew she would meet her connection
At her feet was a footloose man
No, you can’t always get what you want
You can’t always get what you want
You can’t always get what you want
But if you try sometime you find
You get what you need
I saw her today at the reception
A glass of wine in her hand
I knew she was gonna meet her connection
At her feet was a footloose man
You can’t always get what you want
You can’t always get what you want
You can’t always get what you want
But if you try sometimes well you might find
You get what you need
And I went down to the demonstration
To get my fair share of abuse
Singing, “We’re gonna vent our frustration
If we don’t we’re gonna blow a 50-amp fuse”
You can’t always get what you want
You can’t always get what you want
You can’t always get what you want
But if you try sometimes well you just might find
You get what you need
I went down to the Chelsea drugstore
To get your prescription filled
I was standing in line with Mr. Jimmy
And man, did he look pretty ill
We decided that we would have a soda
My favorite flavor, cherry red
I sung my song to Mr. Jimmy
Yeah, and he said one word to me, and that was “dead”
I said to him
You can’t always get what you want
You can’t always get what you want
You can’t always get what you want
But if you try sometimes you just might find
You get what you need
You get what you need–yeah, oh baby
I saw her today at the reception
In her glass was a bleeding man
She was practiced at the art of deception
Well I could tell by her blood-stained hands
You can’t always get what you want
You can’t always get what you want
You can’t always get what you want
But if you try sometimes you just might find
You just might find
You get what you need
You can’t always get what you want
You can’t always get what you want
You can’t always get what you want
But if you try sometimes you just might find
You just might find
You get what you need

Carly Simon – Anticipation

Lyrics

We can never know about the days to come
But we think about them anyway, yay
And I wonder if I’m really with you now
Or just chasin’ after some finer day

Anticipation, anticipation
Is makin’ me late
Is keepin’ me waitin’

And I tell you how easy it feels to be with you
And how right your arms feel around me
But I, I rehearsed those lines just late last night
When I was thinkin’ about how right tonight might be

Anticipation, anticipation
Is makin’ me late
Is keepin’ me waitin’

And tomorrow we might not be together
I’m no prophet and I don’t know nature’s ways
So I’ll try and see into your eyes right now
And stay right here ’cause these are the good old days

And stay right here ’cause these are the good old days
(These are the good old days)
(These are the good old days)
(These are the good old days)
(These are…..the good old days)

Paul McCartney, Joe Cocker, Eric Clapton & Rod Stewart – All You Need Is Love (LIVE) HD

“All You Need Is Love”

Love, love, love
Love, love, love
Love, love, love

There’s nothing you can do that can’t be done
Nothing you can sing that can’t be sung
Nothing you can say but you can learn how to play the game
It’s easy

Nothing you can make that can’t be made
No one you can save that can’t be saved
Nothing you can do but you can learn how to be you in time
It’s easy

All you need is love
All you need is love
All you need is love, love
Love is all you need

Love, love, love
Love, love, love
Love, love, love

All you need is love
All you need is love
All you need is love, love
Love is all you need

Nothing you can know that isn’t known
Nothing you can see that isn’t shown
Nowhere you can be that isn’t where you’re meant to be
It’s easy

All you need is love
All you need is love
All you need is love, love
Love is all you need

All you need is love (All together, now!)
All you need is love (Everybody!)
All you need is love, love
Love is all you need
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Yee-hai! (Love is all you need)
Love is all you need (Love is all you need)

Yesterday (Love is all you need)
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Love is all you need (Love is all you need)
Oh yeah! (Love is all you need)
She loves you, yeah yeah yeah (Love is all you need)
She loves you, yeah yeah yeah (Love is all you need)

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Tom Wolfe — The Right Stuff — Videos

Posted on December 10, 2016. Filed under: American History, Art, Articles, Blogroll, Book, Books, College, Comedy, Communications, Culture, Education, Entertainment, Fiction, Heroes, history, Language, Law, liberty, Life, Links, Literacy, media, Money, Movies, Movies, Music, People, Philosophy, Photos, Press, Rants, Raves, Raymond Thomas Pronk, Video, War, Wisdom, World War II, Writing | Tags: , , , , , , , , , |

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The Right Stuff – The Bell X-1 (with Levon Helm as CPT Jack Ridley)

The Right Stuff (Part 2)

The Right Stuff (Part 3)

The Right Stuff (Part 4)

The Right Stuff (Part 5)

The Right Stuff (Part 6)

The Right Stuff (Part 7)

The Right Stuff (book)

From Wikipedia, the free encyclopedia
The Right Stuff
The Right Stuff (book).jpg

First edition
Author Tom Wolfe
Country United States
Language English
Genre New Journalism
Non-fiction
Publisher Farrar, Straus and Giroux
Publication date
1979
Media type Print (hardcover & paperback)
Pages 436 pages
ISBN 0-374-25032-4
OCLC 5007334
629.4/0973 19
LC Class TL789.8.U5 W64 1979

The Right Stuff is a 1979 book by Tom Wolfe about the pilots engaged in U.S. postwar research with experimental rocket-powered, high-speed aircraft as well as documenting the stories of the first Project Mercury astronauts selected for the NASA space program. The Right Stuff is based on extensive research by Wolfe, who interviewed test pilots, the astronauts and their wives, among others. The story contrasts the “Mercury Seven[1] and their families with test pilots such as Chuck Yeager, who was considered by many contemporaries as the best of them all, but who was never selected as an astronaut.

Wolfe wrote that the book was inspired by the desire to find out why the astronauts accepted the danger of space flight. He recounts the enormous risks that test pilots were already taking, and the mental and physical characteristics—the titular “right stuff”—required for and reinforced by their jobs. Wolfe likens the astronauts to “single combat warriors” from an earlier era who received the honor and adoration of their people before going forth to fight on their behalf.

The 1983 film The Right Stuff is adapted from the book.

Writing and publication

First-state dust jacket, showing initial design never released in a public edition[2]

In 1972 Jann Wenner, the editor of Rolling Stone assigned Wolfe to cover the launch of NASA’s last moon mission, Apollo 17. Wolfe became fascinated with the astronauts, and his competitive spirit compelled him to try to outdo Norman Mailer‘s nonfiction book about the first moon mission, Of a Fire on the Moon. He published a four-part series for Rolling Stone in 1973 titled “Post-Orbital Remorse”, about the depression that some astronauts experienced after having been in space. After the series, Wolfe began researching the whole of the space program, in what became a seven-year project from which he took time to write The Painted Word, a book on art, and to complete Mauve Gloves & Madmen, Clutter & Vine, a collection of shorter pieces.[3]

In 1977 he returned to his astronaut book full-time. Wolfe originally planned to write a complete history of the space program, though after writing through the Mercury program, he felt that his work was complete and that it captured the astronauts’ ethos — the “right stuff” that astronauts and test pilots of the 1940s and 1950s shared — the unspoken code of bravery and machismo that compelled these men to ride on top of dangerous rockets. While conducting research, he consulted with General Chuck Yeager and, after receiving a comprehensive review of his manuscript, was convinced that test pilots like Yeager should form the backdrop of the period. In the end, Yeager becomes a personification of the many postwar test pilots and their “right stuff.”[4] The phrase itself may have originated in the Joseph Conrad story “Youth”, where it was used.

The Right Stuff was published in 1979 by Farrar, Straus and Giroux and became Wolfe’s best selling book yet.[citation needed] It was praised by most critics, was a finalist for the National Book Critics Circle Award, and won the National Book Award for Nonfiction.[5][6]

In the foreword to a new edition, published in 1983 when the film adaptation was released, Wolfe wrote that his “book grew out of some ordinary curiosity” about what “makes a man willing to sit up on top of an enormous Roman candle… and wait for someone to light the fuse.”[7]

Book

The story is more about the space race than space exploration in general. The Soviet Union‘s early space efforts are mentioned only as background, focusing entirely on an early portion of the U.S. space program. Only Project Mercury, the first operational manned space-flight program, is covered. The Mercury Seven were Scott Carpenter, Gordon Cooper, John Glenn, Gus Grissom, Wally Schirra, Alan Shepard, and Deke Slayton. Emphasis is given to the personal stories of the astronauts and their wives rather than the technical aspects of space travel and the flights themselves.

The storyline also involves the political reasons for putting people into space, asserting that the Mercury astronauts were actually a burden to the program and were only sent up for promotional reasons. Reasons for including living beings in spacecraft are barely touched upon, but the first option considered was to use a chimpanzee (and, indeed, chimpanzees were sent up first).

Another option considered were athletes already accustomed to physical stress, such as circus trapeze artists. Wolfe states that President Dwight D. Eisenhower, however, insisted on pilots, even though the first crew members would not actually fly the spacecraft. When Gus Grissom lands at sea and exits his space capsule, saving the capsule seems more important to the recovery team than saving the pilot because of the value of the data.

Wolfe contrasts the Seven with the Edwards AFB test pilots, among whom was Chuck Yeager, who was shut out of the astronaut program after NASA officials decided to use college-degreed pilots, not ones who gained their commissions as enlisted men, such as participants in the USAAF Flying Sergeants Program in World War II. Chuck Yeager spent time with Tom Wolfe explaining accident reports “that Wolfe kept getting all wrong.” Publishing insiders say these sessions between Wolfe and Yeager led Wolfe to highlight Yeager’s character, presence, thoughts, and anecdotes throughout the book. As an example, Yeager prides his speech to the Society of Test Pilots that the first rider in the Mercury development program would be a monkey, not a real test pilot, and Wolfe plays this drama out on the angst felt by the Mercury Astronauts over those remarks. Yeager himself downplayed the theory of “the right stuff,” attributing his survival of potential catastrophes to simply knowing his airplane thoroughly, along with some good luck.

Another test pilot highlighted in the book is Scott Crossfield. Crossfield and Yeager were fierce but friendly rivals for speed and altitude records.

Film adaptation

A 3-hour, 13-minute film stars Sam Shepard, Scott Glenn, Ed Harris, Dennis Quaid, Fred Ward, Barbara Hershey, Kim Stanley, Levon Helm, Veronica Cartwright, Pamela Reed, Lance Henriksen, and the real Chuck Yeager in a cameo appearance. NFL Hall of Famer Anthony Muñoz also has a small role, playing “Gonzalez”. It features a score by composer Bill Conti.

The screenplay was adapted by Philip Kaufman from the book, with some contributions from screenwriter William Goldman (Goldman dissociated himself with the film after quarrelling with Kaufman about the story). The film was also directed by Kaufman.

While the movie took liberties with certain historical facts as part of “dramatic license”, criticism focused on one: the portrayal of Gus Grissom panicking when his Liberty Bell 7 spacecraft sank following splashdown. Most historians, as well as engineers working for or with NASA and many of the related contractor agencies within the aerospace industry, are now convinced that the premature detonation of the spacecraft hatch’s explosive bolts was caused by failure not associated with direct human error or deliberate detonation at the hands of Grissom.[citation needed]

This determination had, in fact, been made long before the movie was filmed, and even Tom Wolfe‘s book only states that this possibility was considered, not that it was actually judged as being the cause of the accident. In fact, Grissom was assigned to command the first flights of both Gemini and Apollo. Ironically, Grissom died in the Apollo 1 fire because there was no quick-opening hatch on the Block 1 Apollo Command Module – a design choice made because NASA had determined that the explosion in the hatch on Grissom’s Liberty Bell 7 had been most likely self-initiated.[citation needed]

Another fact that had been altered in the film was the statement by Trudy Cooper, who commented that she “wondered how they would’ve felt if every time their husband went in to make a deal, there was a one-in-four chance he wouldn’t come out of that meeting.” According to the book, this actually reflected the 23% chance of dying during a 20-year career as a normal pilot. For a test pilot, these odds were higher, at 53%, but were still considerably less than the movie implied. In addition, the movie merely used the fictional Mrs. Cooper as a vehicle for the statement; the real Mrs. Cooper is not known to have said this.[8]

Wolfe made no secret that he disliked the film, especially because of changes from his original book. William Goldman, involved in early drafts of the script, also disliked the choices made by Kaufman, saying in his book Adventures in the Screen Trade that “Phil [Kaufman]’s heart was with Yeager. And not only that, he felt the astronauts, rather than being heroic, were really minor leaguers, mechanical men of no particular quality, not great pilots at all, simply the product of hype.”[9] Critics, however, generally were favorable toward the film.

References

Citations

  1. Jump up^ Wolfe 2001, p. 143. Note: Wolfe uses this term exactly once.
  2. Jump up^ The Right Stuff.” ABE books. Retrieved: 3 November 2009.
  3. Jump up^ Ragen 2001, pp. 22–26.
  4. Jump up^ Wolfe 1979, p. 368.
  5. Jump up^ Ragen 2001, p. 26–28.
  6. Jump up^ “National Book Awards – 1980”. National Book Foundation. Retrieved 2012-02-21.
    This was the award for General Nonfiction (hardcover) during a period in National Book Awards history when there were many nonfiction subcategories.
  7. Jump up^ Wolfe 2001, Foreword.
  8. Jump up^ Wolfe 1979, p. 22.
  9. Jump up^ Goldman 1983

Bibliography

  • Bryan, C.D.B. “The Right Stuff (review).” New York Times, 23 September 1979.
  • Charity, Tom. The Right Stuff (BFI Modern Classics). London: British Film Institute, 1991. ISBN 0-85170-624-X.
  • Goldman, William (1989). Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting (reissue ed.). Grand Central Publishing. ISBN 0-446-39117-4.
  • Ragen, Brian Abel, ed. Tom Wolfe: A Critical Companion. West Port, Connecticut: Greenwood Press, 2001. ISBN 0-313-31383-0.
  • Wolfe, Tom. The Right Stuff. New York: Farrar, Straus and Giroux, 1979, ISBN 0-374-25032-4.
  • Wolfe, Tom. The Right Stuff. New York: Bantam, 1979, ISBN 0-553-24063-3.
  • Wolfe, Tom. The Right Stuff. New York: Bantam, 2001, 1979, ISBN 0-553-38135-0.

External links

Tom Wolfe

From Wikipedia, the free encyclopedia
Not to be confused with Thomas Wolfe or Tom Wolf (politician).
Tom Wolfe
Wolfe at White House.jpg

Wolfe at the White House on March 22, 2004
Born Thomas Kennerly Wolfe, Jr.
March 2, 1931 (age 85)
Richmond, Virginia, U.S.
Occupation Journalist, author
Language English
Nationality American
Period 1959–present
Literary movement New Journalism
Notable works The Painted Word, The Electric Kool-Aid Acid Test, The Right Stuff, A Man in Full, Radical Chic & Mau-Mauing the Flak Catchers, The Bonfire of the Vanities, I Am Charlotte Simmons, Back to Blood
Spouse Sheila Wolfe
Children 2

Thomas KennerlyTomWolfe, Jr. (born March 2, 1931)[1] is an American author and journalist, best known for his association with and influence over the New Journalism literary movement, in which literary techniques are used extensively and traditional values of journalistic objectivity and evenhandedness are rejected. He began his career as a regional newspaper reporter in the 1950s, but achieved national prominence in the 1960s following the publication of such best-selling books as The Electric Kool-Aid Acid Test (a highly experimental account of Ken Kesey and the Merry Pranksters), and two collections of articles and essays, Radical Chic & Mau-Mauing the Flak Catchers and The Kandy-Kolored Tangerine-Flake Streamline Baby. His first novel, The Bonfire of the Vanities, published in 1987, was met with critical acclaim, became a commercial success, and was adapted as a major motion picture (directed by Brian De Palma).

Early life and education

Wolfe was born in Richmond, Virginia, the son of Louise (née Agnew), a landscape designer, and Thomas Kennerly Wolfe, Sr., an agronomist.[2][3]

Wolfe grew up on Gloucester Road in the historic Richmond North Side neighborhood of Sherwood Park. He recounts some of his childhood memories of growing up there in a foreword to a book about the nearby historic Ginter Park neighborhood.

Wolfe was student council president, editor of the school newspaper and a star baseball player at St. Christopher’s School, an Episcopalian all-boys school in Richmond, Virginia.

Upon graduation in 1947, he turned down admission to Princeton University to attend Washington and Lee University, both all-male schools at the time; at Washington and Lee, Wolfe was a member of the Phi Kappa Sigma fraternity. Wolfe majored in English and practiced his writing outside the classroom as well. He was the sports editor of the college newspaper and helped found a literary magazine, Shenandoah. Of particular influence was his professor Marshall Fishwick, a teacher of American studies educated at Yale. More in the tradition of anthropology than literary scholarship, Fishwick taught his classes to look at the whole of a culture, including those elements considered profane. The very title of Wolfe’s undergraduate thesis, “A Zoo Full of Zebras: Anti-Intellectualism in America,” evinced his fondness for words and aspirations toward cultural criticism. Wolfe graduated cum laude in 1951.

Wolfe had continued playing baseball as a pitcher and had begun to play semi-professionally while still in college. In 1952 he earned a tryout with the New York Giants but was cut after three days, which Wolfe blamed on his inability to throw good fastballs. Wolfe abandoned baseball and instead followed his professor Fishwick’s example, enrolling in Yale University‘s American studies doctoral program. His PhD thesis was titled The League of American Writers: Communist Organizational Activity Among American Writers, 1929–1942.[4] In the course of his research, Wolfe interviewed many writers, including Malcolm Cowley, Archibald MacLeish, and James T. Farrell.[5] A biographer remarked on the thesis: “Reading it, one sees what has been the most baleful influence of graduate education on many who have suffered through it: it deadens all sense of style.”[6] His thesis was originally rejected but he finally passed by rewriting it being objective instead of subjective. Upon leaving Yale he wrote a friend explaining through expletives his personal opinions about his thesis.

Journalism and New Journalism

Though Wolfe was offered teaching jobs in academia, he opted to work as a reporter. In 1956, while still preparing his thesis, Wolfe became a reporter for the Springfield Union in Springfield, Massachusetts. Wolfe finished his thesis in 1957 and in 1959 was hired by The Washington Post. Wolfe has said that part of the reason he was hired by the Post was his lack of interest in politics. The Post’s city editor was “amazed that Wolfe preferred cityside to Capitol Hill, the beat every reporter wanted.” He won an award from The Newspaper Guild for foreign reporting in Cuba in 1961 and also won the Guild’s award for humor. While there, he experimented with fiction-writing techniques in feature stories.[7]

In 1962, Wolfe left Washington for New York City, taking a position with the New York Herald Tribune as a general assignment reporter and feature writer. The editors of the Herald Tribune, including Clay Felker of the Sunday section supplement New York magazine, encouraged their writers to break the conventions of newspaper writing.[8] During the 1962 New York City newspaper strike, Wolfe approached Esquire magazine about an article on the hot rod and custom car culture of Southern California. He struggled with the article until finally a desperate editor, Byron Dobell, suggested that Wolfe send him his notes so they could piece the story together.

Wolfe procrastinated until, on the evening before the article was due, he typed a letter to Dobell explaining what he wanted to say on the subject, ignoring all journalistic conventions. Dobell’s response was to remove the salutation “Dear Byron” from the top of the letter and publish it intact as reportage. The result, published in 1963, was “There Goes (Varoom! Varoom!) That Kandy-Kolored Tangerine-Flake Streamline Baby.” The article was widely discussed—loved by some, hated by others—and helped Wolfe publish his first book, The Kandy-Kolored Tangerine-Flake Streamline Baby, a collection of his writings in the Herald-Tribune, Esquire, and other publications.[9]

This was what Wolfe called New Journalism, in which some journalists and essayists experimented with a variety of literary techniques, mixing them with the traditional ideal of dispassionate, even-handed reporting. More specifically, Wolfe experimented with four literary devices not normally associated with feature writing—scene-by-scene construction, extensive dialogue, multiple points of view, and detailed description of one’s status-life symbols (the materialistic choices one makes)—to produce this stylized form of journalism, which would later be commonly referred to as literary journalism.[10] Of status symbols, Wolfe has said, “I think every living moment of a human being’s life, unless the person is starving or in immediate danger of death in some other way, is controlled by a concern for status.”[11]

Wolfe also championed what he called “saturation reporting,” a reportorial approach where the journalist “shadows” and observes the subject over an extended period of time. “To pull it off,” says Wolfe, “you casually have to stay with the people you are writing about for long stretches . . . long enough so that you are actually there when revealing scenes take place in their lives.”[12] Saturation reporting differs from “in-depth” and “investigative” reporting, which involve the direct interviewing of numerous sources and/or the extensive analyzing of external documents relating to the story. Saturation reporting, according to communication professor Richard Kallan, “entails a more complex set of relationships wherein the journalist becomes an involved, more fully reactive witness, no longer distanced and detached from the people and events reported.”[13]

One of the most striking examples of New Journalism is Wolfe’s The Electric Kool-Aid Acid Test. The book, an account of the adventures of the Merry Pranksters, a famous sixties counter-culture group, was highly experimental in its use of onomatopoeia, free association, and eccentric punctuation—such as multiple exclamation marks and italics—to convey the manic ideas and personalities of Ken Kesey and his followers.

In addition to his own forays into this new style of journalism, Wolfe edited a collection of New Journalism with E.W. Johnson, published in 1973 and titled The New Journalism. This book brought together pieces from Truman Capote, Hunter S. Thompson, Norman Mailer, Gay Talese, Joan Didion, and several other well-known writers with the common theme of journalism that incorporated literary techniques and that could be considered literature.[14]

Non-fiction books

In 1965, a collection of his articles in this style was published under the title The Kandy-Kolored Tangerine-Flake Streamline Baby, and Wolfe’s fame grew. A second volume of articles, The Pump House Gang, followed in 1968. Wolfe wrote on popular culture, architecture, politics, and other topics that underscored, among other things, how American life in the 1960s had been transformed by post-WWII economic prosperity. His defining work from this era is The Electric Kool-Aid Acid Test (published the same day as The Pump House Gang in 1968), which for many epitomized the 1960s. Although a conservative in many ways and certainly not a hippie (in 2008, he claimed never to have used LSD and to have tried marijuana only once[15]) Wolfe became one of the notable figures of the decade.

In 1970, he published two essays in book form as Radical Chic & Mau-Mauing the Flak Catchers: “Radical Chic,” a biting account of a party given by Leonard Bernstein to raise money for the Black Panther Party, and “Mau-Mauing The Flak Catchers,” about the practice of using racial intimidation (“mau-mauing”) to extract funds from government welfare bureaucrats (“flak catchers”). The phrase “radical chic” soon became a popular derogatory term for upper-class leftism. Published in 1977, Mauve Gloves & Madmen, Clutter & Vine included one of Wolfe’s more famous essays, “The Me Decade and the Third Great Awakening.”

Back row – Shepard, Grissom, Cooper; Front row – Schirra, Slayton, Glenn, Carpenter.
The astronauts of the Mercury Seven were the subject of The Right Stuff.

In 1979, Wolfe published The Right Stuff, an account of the pilots who became America’s first astronauts. Famously following their training and unofficial, even foolhardy, exploits, he likened these heroes to “single combat champions” of a bygone era, going forth to battle in the space race on behalf of their country. In 1983, the book was adapted as a successful feature film.

In 2016 Wolfe published The Kingdom of Speech, which is a controversial[16] critique of Charles Darwin and Noam Chomsky.[17]

Art critiques

Wolfe also wrote two highly skeptical social histories of modern art and modern architecture, The Painted Word and From Bauhaus to Our House, in 1975 and 1981, respectively. The Painted Word mocked the excessive insularity of the art world and its dependence on what he saw as faddish critical theory, while From Bauhaus to Our House explored the negative effects of the Bauhaus style on the evolution of modern architecture.[18]

Made for TV movie

A fictional television movie appeared on PBS in 1977, “Tom Wolfe’s Los Angeles”, a suitably satirical story set in Los Angeles. Wolfe appears in the movie himself.[19][20]

Novels

Throughout his early career, Wolfe had planned to write a novel that would capture the wide spectrum of American society. Among his models was William Makepeace Thackeray‘s Vanity Fair, which described the society of 19th century England. Wolfe remained occupied writing nonfiction books and contributing to Harper’s until 1981, when he ceased his other work to concentrate on the novel.

Wolfe began researching the novel by observing cases at the Manhattan Criminal Court and shadowing members of the Bronx homicide squad. While the research came easily, the writing did not immediately follow. To overcome his writer’s block, Wolfe wrote to Jann Wenner, editor of Rolling Stone, to propose an idea drawn from Charles Dickens and Thackeray. The Victorian novelists that Wolfe viewed as his models had often written their novels in serial installments. Wenner offered Wolfe around $200,000 to serialize his work.[21] The deadline pressure gave him the motivation he had hoped for, and from July 1984 to August 1985 each biweekly issue of Rolling Stone contained a new installment. Wolfe was later not happy with his “very public first draft”[22] and thoroughly revised his work. Even Sherman McCoy, the novel’s central character, changed: originally a writer, the book version cast McCoy as a bond salesman. Wolfe researched and revised for two years, and his The Bonfire of the Vanities was published in 1987. The book was a commercial and critical success, spending weeks on bestseller lists and earning praise from much of the literary establishment on which Wolfe had long heaped scorn.[23]

Because of the success of Wolfe’s first novel, there was widespread interest in his second. This novel took him more than 11 years to complete; A Man in Full was published in 1998. The book’s reception was not universally favorable, though it received glowing reviews in Time, Newsweek, The Wall Street Journal and elsewhere. An enormous initial printing of 1.2 million copies was announced and the book stayed at number one on the New York Times bestseller list for ten weeks. John Updike wrote a critical review for The New Yorker complaining that the novel “amounts to entertainment, not literature, even literature in a modest aspirant form.” This touched off an intense war of words in the print and broadcast media between Wolfe and Updike, John Irving, and Norman Mailer. In 2001, Wolfe published an essay referring to these three authors as “My Three Stooges.”

After publishing Hooking Up (a collection of short pieces, including the 1997 novella Ambush at Fort Bragg) in 2001, he followed up with his third novel, I Am Charlotte Simmons (2004), which chronicles the decline of a poor, bright scholarship student from Alleghany County, North Carolina, in the context of snobbery, materialism, institutionalised anti-intellectualism and sexual promiscuity she finds at a prestigious contemporary American university. The novel met with a mostly tepid response by critics but won praise from many social conservatives, who saw the book’s account of college sexuality as revealing of a disturbing moral decline. The novel won a Bad Sex in Fiction Award from the London-based Literary Review, a prize established “to draw attention to the crude, tasteless, often perfunctory use of redundant passages of sexual description in the modern novel”. Wolfe later explained that such sexual references were deliberately clinical.

Wolfe has written that his goal in writing fiction is to document contemporary society in the tradition of John Steinbeck, Charles Dickens, and Émile Zola.

In early 2008, it was announced that Wolfe was leaving his longtime publisher, Farrar, Straus and Giroux. His fourth novel, Back to Blood, was published in October 2012 by Little, Brown. According to The New York Times, Wolfe was paid close to US$7 million for the book.[24] According to the publisher, Back to Blood is about “class, family, wealth, race, crime, sex, corruption and ambition in Miami, the city where America’s future has arrived first.”[25]

Recurring themes

Several themes are present in much of Wolfe’s writing, including his novels. One such theme is male power-jockeying, which is a major part of The Bonfire of the Vanities, A Man in Full, and I Am Charlotte Simmons as well as several of his journalistic pieces. Male characters in his fiction often suffer from feelings of extreme inadequacy or hugely inflated egos, sometimes alternating between both. He satirizes racial politics, most commonly between whites and blacks; he also highlights class divisions between characters. Men’s fashions often play a large part in his stories, being used to indicate economic status. Much of his recent work also addresses neuroscience, a subject which he admitted a fascination with in “Sorry, Your Soul Just Died,” one of the essays in Hooking Up, and which played a large role in I Am Charlotte Simmons—the title character being a student of neuroscience, and characters’ thought processes, such as fear, humiliation and lust, frequently being described in the terminology of brain chemistry. Wolfe also frequently gives detailed descriptions of various aspects of his characters’ anatomies.[26]

Two of his novels (A Man in Full and I Am Charlotte Simmons) feature major characters (Conrad Hensley and Jojo Johanssen, respectively) who are set on paths to self-discovery by reading classical Roman and Greek philosophy.

Law and banking firms in Wolfe’s writing often have satirical names formed by the surnames of the partners. “Dunning, Sponget and Leach” and “Curry, Goad and Pesterall” appear in The Bonfire of the Vanities, and “Wringer, Fleasom and Tick” in A Man in Full. Ambush at Fort Bragg contains a law firm called “Crotalus, Adder, Cobran and Krate” (all names or homophones of venomous snakes).

Some characters appear in multiple novels, creating a sense of a “universe” that is continuous throughout Wolfe’s fiction. The character of Freddy Button, a lawyer from Bonfire of the Vanities, is mentioned briefly in I Am Charlotte Simmons. A character named Ronald Vine, an interior decorator who is mentioned in The Bonfire of the Vanities, reappears in A Man in Full as the designer of Charlie Croker’s home.

A fictional sexual practice called “that thing with the cup” appears in several of his writings, including The Bonfire of the Vanities, A Man in Full and a (non-fiction) essay in Hooking Up.

The surname “Bolka” appears in three Wolfe novels—as the name of a rendering plant in A Man in Full, as a partner in an accounting firm in Bonfire of the Vanities, and as a college lacrosse player from the Balkans in I Am Charlotte Simmons.

The white suit

Wolfe adopted the white suit as a trademark in 1962. He bought his first white suit planning to wear it in the summer in the style of Southern gentlemen. However, he found that the suit he purchased was too heavy for summer use, so he wore it in winter, which created a sensation.[27] Wolfe has maintained this uniform ever since, sometimes worn with a matching white tie, white homburg hat, and two-tone shoes. Wolfe has said that the outfit disarms the people he observes, making him, in their eyes, “a man from Mars, the man who didn’t know anything and was eager to know.”[28]

Views

In 1989, Wolfe wrote an essay for Harper’s Magazine titled “Stalking the Billion-Footed Beast“, which criticized modern American novelists for failing to engage fully with their subjects, and suggested that modern literature could be saved by a greater reliance on journalistic technique. This attack on the mainstream literary establishment was interpreted as a boast that Wolfe’s work was superior to more highly regarded authors.[29]

Wolfe was a supporter of George W. Bush and said he voted for him for president in 2004 because of what he called Bush’s “great decisiveness and willingness to fight.” (Bush apparently reciprocates the admiration, having read all of Wolfe’s books, according to friends in 2005.[30]) After this fact emerged in a New York Times interview, Wolfe said that the reaction in the literary world was as if he had said, “I forgot to tell you—I’m a child molester.” Because of this incident, he sometimes wears an American flag pin on his suit, which he compared to “holding up a cross to werewolves.”[31]

Wolfe’s views and choice of subject material, such as mocking left-wing intellectuals in Radical Chic and glorifying astronauts in The Right Stuff, have sometimes led to his being labeled conservative,[32] and his depiction of the Black Panther Party in Radical Chic led to a member of the party calling him a racist.[33] Wolfe rejects such labels; in a 2004 interview, he said that his “idol” in writing about society and culture is Émile Zola, who, in Wolfe’s words, was “a man of the left” but “went out, and found a lot of ambitious, drunk, slothful and mean people out there. Zola simply could not—and was not interested in—telling a lie.”[32]

Asked to comment by the Wall Street Journal on blogs in 2007 to mark the tenth anniversary of their advent, Wolfe wrote that “the universe of blogs is a universe of rumors” and that “blogs are an advance guard to the rear.” He also took the opportunity to criticize Wikipedia, saying that “only a primitive would believe a word of” it. He noted a story about him in his Wikipedia entry at the time, which he said had never happened.[34]

Personal life

Wolfe lives in New York City with his wife Sheila, who designs covers for Harper’s magazine. They have two children, a daughter, Alexandra, and a son, Tommy.[35]

A writer for Examiner Magazine who interviewed Wolfe in 1998 said, “He has no computer and does not surf, or even know how to use, the Internet”, adding, however, that Wolfe’s novel A Man in Full does have a subplot involving “a muckraking cyber-gossip site, à la the Drudge Report or Salon.”[35]

Influence

Wolfe is credited with introducing the terms “statusphere,” “the right stuff,” “radical chic,” “the Me Decade,” “social x-ray,” and “pushing the envelope” into the English lexicon.[36][dubious ] He is sometimes credited with inventing the term “trophy wife” as well, but this is incorrect: he described emaciated wives as “X-rays” in his novel The Bonfire of the Vanities but did not use the term “trophy wife”.[37] According to journalism professor Ben Yagoda, Wolfe is also responsible for the use of the present tense in magazine profile pieces; before he began doing so in the early 1960s, profile articles had always been written in the past tense.[38]

Terms coined by Wolfe

List of awards and nominations

Television appearances

  • Wolfe was featured as an interview subject in the 1987 PBS documentary series Space Flight.
  • In July 1975 Wolfe was interviewed on Firing Line by William F. Buckley, Jr., discussing “The Painted Word”.[44]
  • Wolfe was featured on the February 2006 episode “The White Stuff” of Speed Channel‘s Unique Whips, where his Cadillac‘s interior was customized to match his trademark white suit.[45]
  • Wolfe guest-starred alongside Jonathan Franzen, Gore Vidal and Michael Chabon in The Simpsons episode “Moe’N’a Lisa“, which aired November 19, 2006. He was originally slated to be killed by a giant boulder, but that ending was edited out.[46] Wolfe was also used as a sight gag on The Simpsons episode “Insane Clown Poppy“, which aired on November 12, 2000. Homer spills chocolate on Wolfe’s trademark white suit, and Wolfe rips it off in one swift motion, revealing an identical suit underneath.

Bibliograph

Non-fiction

Novels

Featured in

Notable articles

  • “The Last American Hero Is Junior Johnson. Yes!” Esquire, March 1965.
  • “Tiny Mummies! The True Story of the Ruler of 43rd Street’s Land of the Walking Dead!” New York Herald-Tribune supplement (April 11, 1965).
  • “Lost in the Whichy Thicket,” New York Herald-Tribune supplement (April 18, 1965).
  • “The Birth of the New Journalism: Eyewitness Report by Tom Wolfe.” New York, February 14, 1972.
  • “The New Journalism: A la Recherche des Whichy Thickets.” New York Magazine, February 21, 1972.
  • “Why They Aren’t Writing the Great American Novel Anymore.” Esquire, December 1972.
  • “The Me Decade and the Third Great Awakening” New York, August 23, 1976.
  • Stalking the Billion-Footed Beast“, Harper’s. November 1989.
  • “Sorry, but Your Soul Just Died.” Forbes 1996.
  • “Pell Mell.” The Atlantic Monthly (November 2007).
  • “The Rich Have Feelings, Too.” Vanity Fair (September 2009).

See also

Notes

  1. Jump up^ This was the award for hardcover “General Nonfiction”. From 1980 to 1983 in National Book Award history there were dual awards for hardcover and paperback books in many categories, including several nonfiction subcategories. Most of the paperback award-winners were reprints, including the 1980 General Nonfiction.

https://en.wikipedia.org/wiki/Tom_Wolfe

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Robert Ludlum — The Bourne Identity — Videos

Posted on August 24, 2016. Filed under: Art, Blogroll, Books, Corruption, Crime, Crisis, Culture, Entertainment, Fiction, Literature, media, Movies, Music, People, Photos, Politics, Programming, Psychology, Raves, Video, Writing | Tags: , , , , , , , , , |

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Mark Helprin — Memoirs From The Antproof Case — Winter’s Tale — Videos

Posted on July 28, 2016. Filed under: American History, Articles, Blogroll, Book, Books, Culture, Entertainment, Fiction, Heroes, history, Law, liberty, Life, Links, Literacy, Literature, media, Money, Movies, Music, People, Philosophy, Photos, Police, Politics, Press, Psychology, Rants, Raves, Raymond Thomas Pronk, Religion, Reviews, Spying, Strategy, Technology, Terrorism, Video, Water, Wealth | Tags: , , , , , , , |

quote winter talememoirs from antproof casewinters tale 2winters talemark-helprin-1-sizedmark-helprin-author-photo-credit-lisa-kennedymark-helprin

This is a photo of Mark Helprin, a novelist, children's book author and editorial writer for the Wall Street Journal. Handout photo. ..OUTSIDE TRIBUNE CO.- NO MAGS, NO SALES, NO INTERNET, NO TV, CHICAGO OUT, NO DIGITAL MANIPULATION...

quote-the-human-race-is-intoxicated-with-narrow-victories-for-life-is-a-string-of-them-like-pearls-that-mark-helprin-82765

The Human Parade: Mark Helprin

Mark Helprin – Five Questions About Iran

Mark Helprin: In Sunlight and In Shadow

Mark Helprin: 2013 National Book Festival

Mark Helprin – A Soldier of the Great War – Part 1

Mark Helprin – A Soldier of the Great War – Part 2

159th Hillsdale College Commencement – Mark Helprin

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Johnny Horton — Videos

Posted on July 7, 2016. Filed under: American History, Art, Art, Blogroll, Communications, Culture, Entertainment, history, media, Movies, Music, Music, Radio, Television, Television, Video, Work, Writing | Tags: , , , , , , , , , , , |

Johnny Horton In Concert ~ The Incredibly Rare Live Performances

21 songs, 55 minutes of rare, live Johnny Horton performances from the 1950s and 1960s. All the hits are here, North To Alaska, Battle Of New Orleans, Sink The Bismarck, Johnny Reb, Springtime In Alaska and early classics as well. Enjoy

Johnny Horton Battle Of New Orleans

Johnny Horton – Battle of New Orleans Lyrics

Johnny Horton- Battle of Bull Run

John Paul Jones – Johnny Horton

Johnny Horton – Whispering Pines

Johnny Horton — Cherokee Boogie

Johnny Horton – Honky Tonk Man

JOHNNY HORTON Honky Tonk Man LIVE at the louisiana hayride

Johnny Horton – Johnny Reb

Johnny Horton – All For The Love of A Girl

Jim Bridger ~ Johnny Horton

North To Alaska ~ Johnny Horton

Johnny Horton – When It’s Springtime In Alaska

SINK THE BISMARCK ~ sung by Johnny Horton

Johnny Horton “Sink the Bismark”a

Sink The Bismarck – Johnny Horton

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Alan Bennet — The History Boys — Videos

Posted on April 20, 2016. Filed under: Art, Art, Blogroll, Books, College, Comedy, Communications, Education, Entertainment, Faith, Family, Fiction, Films, High School, history, Language, liberty, Life, Links, Literature, media, Movies, Music, Music, People, Photos, Plays, Poetry, Raves, Video, Wisdom, Writing | Tags: , , , , , , , , |

alan bennet reading momentsthe history Boysfilm the history boys

THE HISTORY BOYS FROM STAGE TO SCREEN

The History Boys – Trailer

2006 The History Boys

Theater Talk: Alan Bennett on “The History Boys”

Theater Talk: Actor Richard Griffiths of “The History Boys”; Bob Martin of “The Drowsy Chaperone”

Alan Bennett in conversation: part one

Alan Bennett in conversation: part two

Alan Bennett The Lady in The Van Interview

A Chip in the Sugar – Alan Bennett – Talking Heads

Alan Bennett – Sunset Across the Bay (TV Play 1975)

Alan Bennett – Telegram

Alan Bennett & John Fortune: “Men’s Talk”

Peter Cook, Dudley Moore, Alan Bennett and Jonathan Miller

Oxbridge Philosophy – Alan Bennett & Jonathan Miller

The Lady In The Van – Alan Bennett Featurette – Starring Maggie Smith – At Cinemas Now

The Lady In The Van Trailer #2 – Starring Maggie Smith – At Cinemas November 13

Maggie Smith

Dame Margaret Natalie Smith, CH DBE (born 28th December 1934) is an English actress. She made her stage debut in 1952 and has had an extensive, varied career in stage, film and television spanning over sixty years. Smith has appeared in over 50 films and is one of Britain’s most recognisable actresses. She was appointed Dame Commander of the Order of the British Empire (DBE) in the 1990 New Year Honours for services to the performing arts, and Member of the Order of the Companions of Honour (CH) in the 2014 Birthday Honours for services to drama.

Dame Maggie Smith’s brilliant career

Beyond the Fringe (Complete)

Beyond the Fringe was a British comedy stage revue written and performed by Peter Cook, Dudley Moore, Alan Bennett, and Jonathan Miller. It played in London’s West End and then on New York’s Broadway in the early 1960s, and is widely regarded as seminal to the rise of satire in 1960s Britain.

Take A Pew – Alan Bennett

Richard Griffiths (1947-2013)

The History Boys – Broadway

Almost complete recording of the original production during its run on Broadway. Not mine but thanks for sharing whoever it was 🙂

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The Results Are In: Cruz and Clinton Win Most Delegates In A Very Close Race — Videos

Posted on February 13, 2016. Filed under: American History, Art, Articles, Blogroll, Business, Communications, Corruption, Culture, Economics, Elections, Employment, Entertainment, Federal Government Budget, Fiscal Policy, Foreign Policy, Freedom, Friends, history, Illegal, Immigration, IRS, Law, Legal, liberty, Life, Links, media, Music, Music, Newspapers, People, Philosophy, Photos, Politics, Presidential Candidates, Radio, Radio, Rants, Raves, Regulations, Religion, Religious, Speech, Strategy, Talk Radio, Tax Policy, Taxation, Taxes, Television, Terrorism, Unemployment, Video, Wealth, Welfare, Wisdom, Work, Writing | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , |

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The Pronk Pops Show Podcasts

Pronk Pops Show 616: February 3, 2016

Pronk Pops Show 615: February 1, 2016

Pronk Pops Show 614: January 29, 2016

Pronk Pops Show 613: January 28, 2016

Pronk Pops Show 612: January 27, 2016

Pronk Pops Show 611: January 26, 2016

Pronk Pops Show 610: January 25, 2016

Pronk Pops Show 609: January 22, 2016

Pronk Pops Show 608: January 21, 2016

Pronk Pops Show 607: January 20, 2016

Pronk Pops Show 606: January 19, 2016

Pronk Pops Show 605: January 15, 2015

Pronk Pops Show 604: January 14, 2016

Pronk Pops Show 603: January 13, 2016

Pronk Pops Show 602: January 12, 2016

Pronk Pops Show 601: January 11, 2015

Pronk Pops Show 600: January 8, 2016

Pronk Pops Show 599: January 6, 2016

Pronk Pops Show 598: January 5, 2016

Pronk Pops Show 597: December 21, 2015

Pronk Pops Show 596: December 18, 2015

Pronk Pops Show 595: December 17, 2015

Pronk Pops Show 594: December 16, 2015

Pronk Pops Show 593: December 15, 2015

Pronk Pops Show 592: December 14, 2015 

Pronk Pops Show 591: December 11, 2015 

Pronk Pops Show 590: December 10, 2015 

Pronk Pops Show 589: December 9, 2015 

Pronk Pops Show 588: December 7, 2015 

Pronk Pops Show 587: December 4, 2015 

Pronk Pops Show 586: December 3, 2015 

Pronk Pops Show 585: December 2, 2015 

Pronk Pops Show 584: December 1, 2015 

Pronk Pops Show 583: November 30, 2015 

Pronk Pops Show 582: November 25, 2015 

Pronk Pops Show 581: November 24, 2015 

Pronk Pops Show 580: November 23, 2015  

Pronk Pops Show 579: November 20, 2015 

Pronk Pops Show 578: November 19, 2015 

Pronk Pops Show 577: November 18, 2015 

Pronk Pops Show 576: November 17, 2015

Pronk Pops Show 575: November 16, 2015  (more…)

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The Pronk Pops Show 613, January 28, 2016, Story 1: The Trump Tease– Will Trump Be At Debate? If Not, Fox Is The Loser — What a Diff’rence a Day Makes — Videos

Posted on February 2, 2016. Filed under: American History, Articles, Blogroll, Business, Communications, Computers, Congress, Constitution, Corruption, Culture, Demographics, Documentary, Economics, Education, Employment, Faith, Family, Federal Government, Federal Government Budget, Fiscal Policy, Foreign Policy, Freedom, government, government spending, history, Illegal, Immigration, Law, Legal, liberty, Life, Links, media, Money, Music, Music, People, Philosophy, Photos, Political Correctness, Politics, Presidential Candidates, Press, Programming, Psychology, Radio, Radio, Rants, Raves, Strategy, Talk Radio, Television, Trade Policiy, Video, Water, Wealth, Welfare, Wisdom, Work, Writing | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , |

Project_1

The Pronk Pops Show Podcasts

Pronk Pops Show 613: January 28, 2016

Pronk Pops Show 612: January 27, 2016

Pronk Pops Show 611: January 26, 2016

Pronk Pops Show 610: January 25, 2016

Pronk Pops Show 609: January 22, 2016

Pronk Pops Show 608: January 21, 2016

Pronk Pops Show 607: January 20, 2016

Pronk Pops Show 606: January 19, 2016

Pronk Pops Show 605: January 15, 2015

Pronk Pops Show 604: January 14, 2016

Pronk Pops Show 603: January 13, 2016

Pronk Pops Show 602: January 12, 2016

Pronk Pops Show 601: January 11, 2015

Pronk Pops Show 600: January 8, 2016

Pronk Pops Show 599: January 6, 2016

Pronk Pops Show 598: January 5, 2016

Pronk Pops Show 597: December 21, 2015

Pronk Pops Show 596: December 18, 2015

Pronk Pops Show 595: December 17, 2015

Pronk Pops Show 594: December 16, 2015

Pronk Pops Show 593: December 15, 2015

Pronk Pops Show 592: December 14, 2015 

Pronk Pops Show 591: December 11, 2015 

Pronk Pops Show 590: December 10, 2015 

Pronk Pops Show 589: December 9, 2015 

Pronk Pops Show 588: December 7, 2015 

Pronk Pops Show 587: December 4, 2015 

Pronk Pops Show 586: December 3, 2015 

Pronk Pops Show 585: December 2, 2015 

Pronk Pops Show 584: December 1, 2015 

Pronk Pops Show 583: November 30, 2015 

Pronk Pops Show 582: November 25, 2015 

Pronk Pops Show 581: November 24, 2015 

Pronk Pops Show 580: November 23, 2015  

Pronk Pops Show 579: November 20, 2015 

Pronk Pops Show 578: November 19, 2015 

Pronk Pops Show 577: November 18, 2015 

Pronk Pops Show 576: November 17, 2015

Pronk Pops Show 575: November 16, 2015  (more…)

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4K Ultra HD TV — Videos

Posted on January 28, 2016. Filed under: American History, Blogroll, Business, Communications, Computers, Entertainment, Environment, history, Investments, liberty, Life, media, Movies, Music, People, Philosophy, Photos, Programming, Technology, Television, Television, Television, Video, Wisdom | Tags: , , , , , , , , , , , , |

new-car-2_678x452hdr-tv-ces-1500x10001-1024x683HDR-Cover-120_Century_Fox_SDR_vs_HDR1 HDR-explainedEG960V_Toucan_4KOLED-1-1024x913 firecackers SamsungSUHDTVOfficial samsung-un65hu8550-65-inch-4k-ultra-hd-tv-62 Samsung-UN65JU6500samsung-un65hu9000-65-inch-curved-4k-ultra-hd-tv-a2

CES 2016: Sony’s New 4K HDR TV – X930D (FIRST LOOK)

The Best HDR 4K UHD TVs of CES 2016

CES 2016: THX HDR & 4K UHD Blu-ray Technical Interview

Sony’s NEW 4K HDR TV | CES 2016 | GetConnected

8 Best 60 Inch Televisions 2016

Top 10 Best of CES 2016!

Best 4K Televisions of 2015

BEST 4K TVs 2015

2015 Top 5 4K TV

Top 10 Best TVs 2015

PROS AND CONS OF 4K TV’S

4K UHD TV vs. 1080p HDTV – Side by Side Comparison

4K UHD TVs – Are They Worth It?

Samsung vs LG 4K TVs – From CES 2015

Samsung UE65JU7000 4K UHD TV Review

Samsung 65 Inch Curved UHD 4K LED Smart TV Unboxing & Review!

CES 2015 | Samsung 4K TVs Booth Tour | SUHD Ultra HD TV Lineup | Best New UHD Technology

World’s Best TV? LG 65″ Curved OLED 4K Ultra HDTV: Unboxing & Review

65″ Sony 4K Ultra HD TV Unboxing & Overview (XBR65X900A)

Published on May 22, 2013

PRICING & AVAILABILITY
Sony 65-inch 4K Ultra HD (US) – http://bit.ly/10QeWSg
Sony 65-inch 4K Ultra HD (CA) – http://bit.ly/12N9PlU

Samsung UE55F9000 55 Inch 4K Ultra HD LED LCD TV Review

What Can You See On an Ultra HD 4K TV?

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Dueling Banjos — American People Vs. Congressional Power Blowers — Replace Them With Spending Suckers — To Blow or Suck That Is The Question! — Mendacity — Dueling Violins – Merry Christmas and A Happy New Year — Videos

Posted on December 24, 2015. Filed under: American History, Articles, Blogroll, Business, College, Constitution, Corruption, Crime, Economics, Education, Employment, Federal Government, Federal Government Budget, Fiscal Policy, Fraud, Freedom, government spending, history, Illegal, Immigration, Legal, Money, Music, People, Philosophy, Photos, Political Correctness, Press, Rants, Raves, Regulations, Speech, Talk Radio, Taxation, Taxes, Video, War, Wealth, Welfare, Wisdom, Writing | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , |

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The Pronk Pops Show Podcasts

Pronk Pops Show 597: December 21, 2015

Pronk Pops Show 596: December 18, 2015

Pronk Pops Show 595: December 17, 2015

Pronk Pops Show 594: December 16, 2015

Pronk Pops Show 593: December 15, 2015

Pronk Pops Show 592: December 14, 2015 

Pronk Pops Show 591: December 11, 2015 

Pronk Pops Show 590: December 10, 2015 

Pronk Pops Show 589: December 9, 2015 

Pronk Pops Show 588: December 7, 2015 

Pronk Pops Show 587: December 4, 2015 

Pronk Pops Show 586: December 3, 2015 

Pronk Pops Show 585: December 2, 2015 

Pronk Pops Show 584: December 1, 2015 

Pronk Pops Show 583: November 30, 2015 

Pronk Pops Show 582: November 25, 2015 

Pronk Pops Show 581: November 24, 2015 

Pronk Pops Show 580: November 23, 2015  

Pronk Pops Show 579: November 20, 2015 

Pronk Pops Show 578: November 19, 2015 

Pronk Pops Show 577: November 18, 2015 

Pronk Pops Show 576: November 17, 2015

Pronk Pops Show 575: November 16, 2015  (more…)

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The Tyranny of The Two Party System — The Big Government Democratic and Republican Parties — Is That All There Is? — Trump Best Odds — ‘We Are Led By Very, Very Stupid People’ — Corrupt Criminal Class — Bought and Paid For — Videos

Posted on December 23, 2015. Filed under: American History, Articles, Blogroll, Books, Business, Comedy, Communications, Congress, Constitution, Corruption, Crime, Crisis, Documentary, Economics, Employment, Family, Federal Government, Fiscal Policy, Foreign Policy, Fraud, Freedom, Friends, government, government spending, history, Illegal, Immigration, Inflation, Islam, Law, Legal, liberty, Life, Links, Literacy, media, Microeconomics, Money, Music, Music, Non-Fiction, People, Philosophy, Photos, Political Correctness, Politics, Presidential Candidates, Radio, Rants, Raves, Strategy, Talk Radio, Taxation, Taxes, Technology, Terrorism, Unemployment, Video, War, Wealth, Welfare, Wisdom, Work, Writing | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , |

Project_1

The Pronk Pops Show Podcasts

Pronk Pops Show 593: December 15, 2015

Pronk Pops Show 592: December 14, 2015 

Pronk Pops Show 591: December 11, 2015 

Pronk Pops Show 590: December 10, 2015 

Pronk Pops Show 589: December 9, 2015 

Pronk Pops Show 588: December 7, 2015 

Pronk Pops Show 587: December 4, 2015 

Pronk Pops Show 586: December 3, 2015 

Pronk Pops Show 585: December 2, 2015 

Pronk Pops Show 584: December 1, 2015 

Pronk Pops Show 583: November 30, 2015 

Pronk Pops Show 582: November 25, 2015 

Pronk Pops Show 581: November 24, 2015 

Pronk Pops Show 580: November 23, 2015  

Pronk Pops Show 579: November 20, 2015 

Pronk Pops Show 578: November 19, 2015 

Pronk Pops Show 577: November 18, 2015 

Pronk Pops Show 576: November 17, 2015

Pronk Pops Show 575: November 16, 2015  (more…)

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Desert Duel — The Outsider Leaders (Trump (41%) /Cruz (14%) Takeout The Insider Followers (Rubio (10%), Bush (3%), Kasich (3%), Christie( 2%) The Nowhere Men — Help — Trump/Cruz Ticket and Next President and Vice President of United States — Make America Great Again — Make America Safe Again! — Videos

Posted on December 23, 2015. Filed under: American History, Articles, Blogroll, Business, College, Constitution, Corruption, Crime, Economics, Education, Elections, Employment, Faith, Family, Federal Government, Fiscal Policy, Foreign Policy, Freedom, government, government spending, history, Illegal, Immigration, Islam, Law, Legal, liberty, Life, Macroeconomics, media, Monetary Policy, Money, Music, Music, Newspapers, People, Philosophy, Photos, Political Correctness, Politics, Presidential Candidates, Press, Psychology, Public Sector, Radio, Radio, Rants, Raves, Talk Radio, Taxation, Taxes, Television, Unemployment, Unions, Video, Wealth, Welfare, Wisdom, Work, Writing | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , |

Project_1

The Pronk Pops Show Podcasts

Pronk Pops Show 592: December 14, 2015 

Pronk Pops Show 591: December 11, 2015 

Pronk Pops Show 590: December 10, 2015 

Pronk Pops Show 589: December 9, 2015 

Pronk Pops Show 588: December 7, 2015 

Pronk Pops Show 587: December 4, 2015 

Pronk Pops Show 586: December 3, 2015 

Pronk Pops Show 585: December 2, 2015 

Pronk Pops Show 584: December 1, 2015 

Pronk Pops Show 583: November 30, 2015 

Pronk Pops Show 582: November 25, 2015 

Pronk Pops Show 581: November 24, 2015 

Pronk Pops Show 580: November 23, 2015  

Pronk Pops Show 579: November 20, 2015 

Pronk Pops Show 578: November 19, 2015 

Pronk Pops Show 577: November 18, 2015 

Pronk Pops Show 576: November 17, 2015

Pronk Pops Show 575: November 16, 2015  (more…)

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Donald J. Trump — Our Next President — Videos

Posted on October 6, 2015. Filed under: American History, Art, Articles, Banking, Blogroll, Business, College, Communications, Congress, Constitution, Corruption, Crime, Crisis, Culture, Economics, Education, Elections, Entertainment, Faith, Family, Federal Government, Federal Government Budget, Fiscal Policy, Foreign Policy, Freedom, government, government spending, Health Care, Heroes, history, Investments, Islam, Law, liberty, Life, Links, Literacy, Love, Macroeconomics, media, Microeconomics, Monetary Policy, Money, Music, Obamacare, People, Philosophy, Photos, Politics, Presidential Candidates, Press, Radio, Rants, Raves, Strategy, Talk Radio, Tax Policy, Taxation, Taxes, Television, Terrorism, Trade Policiy, Wealth, Welfare, Wisdom, Writing | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , |

<> on May 16, 2015 in Des Moines, Iowa.

 Dilbert Creator Scott Adams on Donald Trump’s “Linguistic Kill Shots”

Feud between Marco Rubio and Donald Trump heats up

Hannity D