2006 – American Idol contestant Derrell Brittenum surrenders to the Georgia police. Along with his twin brother Terrell, Brittenum performed on the hit show while being wanted on theft and forgery charges.
Terrell and Derrell Brittenum caught in new ‘American Idol’ controversy
By Christopher Rocchio, 01/17/2008
One American Idol mini-controversy apparently wasn’t enough for Terrell and Derrell Brittenum, the Memphis twins that were disqualified from the show’s fifth-season Hollywood Round after identity theft charges surfaced.
On Wednesday morning, the brothers’ newly-signed independent record label boldly announced that although American Idol had advanced them to the show’s Hollywood Round after they’d attended Idol’s seventh-season Atlanta auditions this summer, the twins had decided to “decline” the offer and instead release a debut album. The only problem is it wasn’t true.
“We thought long and hard about joining American Idol for season seven. Although it’s a great opportunity, we feel The Brittenum Twins are a group and only one of us can win and if I can’t do it without my brother I don’t think it would be a true win,” Terrell stated in the release. “Also, we have done it before, we know some of the techniques the judges use and don’t want anyone think we have an unfair advantage over the other contestants.”
However during a subsequent Wednesday afternoon interview with Reality TV World, Derrell and Terrell admitted that, despite the boastful announcement, it wasn’t their decision to not participate. Instead, the fact that they had already been 29-years-old at the time of their August audition meant that they were technically ineligible to compete in American Idol’s seventh season. (Idol 7 hopefuls were required to be between 16 and 28 years old as of July 28, 2007 — meaning that all applicants must be born on or between July 29, 1978 and July 28, 1991 in order to be eligible.)
“We auditioned with flying colors… They passed us through to [executive producer Ken Warwick]. Ken Warwick was like, ‘What do you guys think you’re doing? You’re 29-years-old. You know the limit is 28,’” said Terrell. “We were like, ‘We just want a second chance to show the world we’ve been through a lot…’ We just really viewed it as a second chance, and when we sang for Ken, he agreed.”
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Following their meeting with Warwick, Derrell and Terrell claim they were sent to audition for Idol judges Simon Cowell, Paula Abdul and Randy Jackson, who all agreed the twins “do possess the talent to come back to the show” and thus awarded them a ticket to the season’s Hollywood Round.
“But before we could go to Hollywood Week — one week before we leave for Hollywood Week — they tell us there’s a possibility that we might not be on the show because our age is posing a problem for the legal department,” said Derrell. “So we fly out for Hollywood Week, and they tell us that we cannot do the show.”
When pressed, the brothers also acknowledged that despite their press release comments, they wouldn’t have declined the chance to participate if producers had waived the age requirement.
Terrell and Derrell Brittenum
“We would have been on… It’s a wonderful vehicle,” Terrell admitted.
“I think I would have taken it,” added Derrell. “You just can’t beat the Idol machine.”
When contacted by Reality TV World, a Fox publicist could not immediately confirm or deny any of the twins claims. In addition, the publicist couldn’t state whether Terrell and Derrell will be featured in American Idol’s seventh-season Atlanta auditions broadcast, which is scheduled to air Tuesday, February 5 at 8PM ET/PT.
“I really wonder if they’re going to air the footage… It was funny, it’s hilarious, it’s a story, it’s a message,” said Terrell. “It’s all of that in one. I really think even though [executive producer Nigel Lythgoe] said they’re not going to use it — I believe that that’s not [going to be] the case. I really believe that they’re going to use it this year, even if we’re not going to be on the show for Hollywood… We make good TV. They know that.”
The Brittenum brothers are no strangers to being uninvited from Idol’s Hollywood Round. They attended Idol 5′s Chicago audition in September 2005 and both immediately impressed the judges with their smooth, soulful voices, earning them a ticket to the season’s Hollywood Round.
However shortly after Fox aired their Idol 5 audition in January 2006, it was revealed the twins were being charged with forgery, theft by deception and financial identity fraud for allegedly buying a 2005 Dodge Magnum using another man’s identity.
While they were released from police custody shortly thereafter, their invite to Idol 5′s Hollywood Round was rescinded by the show’s producers, ending their Idol journey before it ever really began.
They then had a tentative deal with rapper Jermaine Dupri’s SoSo Def Records soon after the controversy, but they claim a lawyer representing them “messed the deal up.”
“We’re sort of trying to U-turn the bad decision we made about stealing the car, just trying to get our lives right,” said Terrell before adding they unfortunately found trouble again. “So we get locked up [in jail] again for an address change in July, and Idol was coming back to Atlanta on the fourteenth. We already planned to audition again for Idol at [age] 29.”
“We just thought let’s just give it another go,” added Derrell. “Maybe we can overturn the bad press and sort of make it good. let people know we made stupid decisions in life — but we still are talented… Just because we made bad decision doesn’t mean we have to stay down in the mess that we’re in. We can always pick ourselves back up and start over again.”
Terrell and Derrell’s first single off their “The Come Up” debut album is scheduled to be released in February via TSG Records, an Atlanta-based company that is home to several R&B singers and rappers. In addition, Terrell and Derrell have launched a foundation called U-Turn where they visit high schools to mentor youth.
Regardless of whether they appear in next month’s Atlanta auditions broadcast, the twins say American Idol viewers may still not have seen the last of them.
“They did give us an opportunity to come back to the show as far as guest appearances,” said Derrell. “So we’re thinking if the single does climb the charts, we’ll call American Idol and I’m sure they would love to put us back on the show.”
2000 – As promised, the Offspring give away $1 million of its own money to a lucky fan. Two finalists in the band’s online giveaway, where fans who downloaded the song Original Prankster were automatically entered, appear on MTV’s “Total Request Live” to compete in a trivia contest to determine who will take the prize. 14-year-old Ashley Hitchcock wins, correctly identifying Noodles as the oldest member of the band.
1997 – Bob Dylan releases Time Out of Mind. Critics call it a masterpiece this day in rock history!
Time Out of Mind is Bob Dylan’s 30th studio album, released in 1997 by Columbia Records.
For fans and critics, the album marked Dylan’s artistic comeback after he struggled with his musical identity throughout the 1980s, and hadn’t released any original material since the release of Under the Red Sky in 1990. Upon release, Time Out of Mind was hailed as one of the singer-songwriter’s best albums, and it went on to win three Grammy awards, including Album of the Year in 1998. It also made Uncut magazine’s Album of the Year.
The album features a particularly atmospheric sound, the work of producer (and past Dylan collaborator) Daniel Lanois, whose innovative work with carefully placed microphones and strategic mixing was detailed by Dylan in the first volume of his memoirs, Chronicles, Vol. 1. Despite being generally complimentary to Lanois, especially his work on the 1989 album Oh Mercy, Dylan has voiced dissatisfaction with the sound on Time Out of Mind. He has gone on to self-produce his subsequent albums.
Further details
Shortly after completing the album, Dylan became seriously ill with near-fatal pericarditis, an inflammation of the sac around the heart. His forthcoming tour was cancelled, and Dylan spent most of June 1997 in excruciating pain.
Time Out of Mind’s revitalization of Dylan’s career extended all the way to the Grammys where it won multiple awards, including “Album of the Year” in early 1998. It was also voted as the best album of the year in The Village Voice Pazz & Jop critics poll. With all the media attention and praise, U.S. sales soon passed platinum, a feat that a Bob Dylan album had not reached in nearly two decades.
Recording sessions
Back in April 1991, Dylan told Paul Zollo that “there was a time when the songs would come three or four at the same time, but those days are long gone…Once in a while, the odd song will come to me like a bulldog at the garden gate and demand to be written. But most of them are rejected out of my mind right away. You get caught up in wondering if anyone really needs to hear it. Maybe a person gets to the point where they have written enough songs. Let someone else write them.”
Dylan’s last album of original material came in 1990′s Under the Red Sky, a critical and commercial disappointment. Since then, he had released two albums of folk covers and a live album of older compositions; yet, there was no signs of any fresh compositions until 1996.
According to Jim Dickinson, Dylan first began writing for Time Out of Mind during the winter of that year. Snowed in on his farm in Minnesota, Dylan phoned his manager, Jeff Kramer, and said, “Well, I’m snowed in, so I’m writing songs. But I’m not going to record them.” Dylan would later change his mind, and he scheduled studio reservations in January of 1997 at Criteria Recording Studios in Miami, Florida. Dylan later admitted that Time Out of Mind was “the first album I’ve done in a while where I’ve protected the songs for a long time.”
Dylan even demoed some of the songs in the studio, something he rarely did. According to drummer Winston Watson, elements of Dylan’s touring band (including Watson himself) were involved in these sessions. Dylan also used these loose, informal sessions to experiment with new ideas and arrangements. At one point during the sessions, Dylan improvised a country-blues riff of indeterminate origin which was later sampled as the backing track for “Dirt Road Blues.” (“He made me pull out the original cassette, sample 16 bars and we all played over that
In a televised interview with Charlie Rose, Lanois recalled Dylan talking “about spending a lot of late nights working on this chapter of work. And, when he finished the words, he believed that the record is done, the record was written. He said, ‘you know, we can do a waltz version, we can do this in 4/4, it can be up, it can be down, it can be these kind of chords, you know whatever we decide to do with it, that’s that.’ But what’s important is that it’s written.”
Dylan continued rewriting lyrics until January 1997, when the official album sessions began. It would mark the second collaboration between Dylan and his chosen producer, Daniel Lanois, who had previously produced Dylan’s 1989 release, Oh Mercy. Lanois had just finished producing Emmylou Harris’s Wrecking Ball when Dylan asked him to produce the sessions for Time Out of Mind. According to Lanois, “What we…did this time was make reference to some old records from the 1950s that Bob really likes because they had a natural depth of field which was not the result of a mixing technique. You get the sense that somebody is in the front singing, a couple of other people are further behind and somebody else is way in the back of the room. So we set up the studio like that.”
“The recording process is very difficult for me,” Dylan conceded. “I lose my inspiration in the studio real easy, and it’s very difficult for me to think that I’m going to eclipse anything I’ve ever done before. I get bored easily, and my mission, which starts out wide, becomes very dim after a few failed takes and this and that.”
By now, new personnel were hired for the album, including slide guitarist Cindy Cashdollar and drummers Jim Keltner and Brian Blade. Both Cashdollar and Blade were hired by Lanois while Dylan brought in Keltner, who had previously toured with Dylan in 1979. Dylan also hired Nashville guitarist Bob Britt, Duke Robillard, organist Augie Meyers, and Jim Dickinson to play at the sessions.
With two different sets of players competing in performance and two producers with conflicting views on how to approach each song, the sessions were far from disciplined. Years later, when asked about Time Out of Mind, Dickinson replied, “I haven’t been able to tell what’s actually happening. I know they were listening to playbacks, I don’t know whether they were trying to mix it or not!
Dickinson does admit that “even with the twelve people playing, it would be, like, an hour to an hour and a half of chaos, and then like eight or ten minutes of just clarity and beauty. During that ten minutes we’d nail it to the wall.
“In the past, when my records were made, the producer, or whoever was in charge of my sessions, felt it was just enough to have me sing an original song,” said Dylan. “There was never enough work put into developing the orchestration, and that always made me feel very disillusioned about recording. Time Out of Mind is more illuminated, rather than just a song and the singing of that song. The arrangements or structures are really an integral part of the whole.”
Lanois admitted some difficulty in producing Dylan. “Well, you just never what you’re going to get. He’s an eccentric man, and you might get something great on the first take, or
In a later interview, Lanois elaborated, saying “Bob and I…would step out into the parking lot because he would never discuss anything openly in front of the band, in terms of intimate details of the songs,” recalled Lanois. “Like the song ‘Standing In The Doorway.’ We were in the parking lot, and I said ‘listen, I love ‘Sad Eyed Lady Of The Lowlands.’ Can we steal that feel for this song?’ And he’d say ‘you think that’d work?’ Then we’d sit on the fender of a truck, in this parking lot in Miami, and I’d often think, if people see this they won’t believe it! Me and Bob Dylan just sitting here, strumming guitars, working out chords for a session!”, let’s try that.’”
Asked why Dylan did not “discuss anything” in front of musicians, Lanois responded, “Well, he doesn’t like too much democracy…he respects my commitment, knows I love him and want the best for him. He also knows he can’t bulldoze me too hard; I’ll put up a fight. So it’s a two-way street.”
In subsequent interviews, Dylan cited Buddy Holly as an influence during the recording sessions. “You know, I don’t really recall exactly what I said about Buddy Holly,” said Dylan, “but while we were recording, every place I turned there was Buddy Holly. You know what I mean? It was one of those things. Every place you turned. You walked down a hallway and you heard Buddy Holly records like ‘That’ll Be the Day.’ Then you’d get in the car to go over to the studio and ‘Rave On’ would be playing. Then you’d walk into this studio and someone’s playing a cassette of ‘It’s So Easy.’ And this would happen day after day after day. Phrases of Buddy Holly songs would just come out of nowhere. It was spooky.
With Time Out of Mind, Lanois “produced perhaps the most artificial-sounding album in ‘s canon,” says author Clinton Heylin, who described the album as sounding “like a Lanois CV.” In a March 1999 interview in Guitar World Magazine, Dylan discussed the sound of Time Out of Mind in relation to past works like Highway 61 Revisited, Blood on the Tracks, and Infidels:
“Those records were made a long time ago, and you know, truthfully, records that were made in that day and age all were good. They all had some magic to them because the technology didn’t go beyond what the artist was doing. It was a lot easier to get excellence back in those days on a record than it is now. I made records back then just like a lot of other people who were my age, and we all made good records. Those records seem to cast a long shadow. But how much of it is the technology and how much of it is the talent and influence, I really don’t know. I know you can’t make records that sound that way any more. The high priority is technology now. It’s not the artist or the art. It’s the technology that is coming through. That’s what makes Time Out of Mind… it doesn’t take itself seriously, but then again, the sound is very significant to that record. If that record was made more haphazardly, it wouldn’t have sounded that way. It wouldn’t have had the impact that it did. The guys that helped me make it went out of their way to make a record that sounds like a record played on a record player. There wasn’t any wasted effort on Time Out of Mind, and I don’t think there will be on any more of my records.”
The songs
A few critics, including NPR’s Tim Riley, drew parallels between the album’s title and the Steely Dan song of the same name (first issued on their 1980 album, Gaucho), but the phrase goes back at least to 1596 when Shakespeare used it in Mercutio’s Queen Mab speech in Act 1.4 of Romeo and Juliet.
In a 1997 interview, Dylan said that the songs on Time Out of Mind “naturally hung together because they share a certain skepticism. They’re more concerned with the dread realities of life than the bright and rosy idealism popular today.”
In an article published in The Chicago Tribune on September 28, 1997, Greg Kot writes, “Dylan projects the unease of someone adrift in a world that he ceases to understand, and that ceases to understand him. Yet he finds a strange comfort in his surroundings. ‘You could say I’m on anything but a roll,’ he sings , one of many instances of the album’s gallows humor. The music, anchored by Dylan contemporaries such as pianist Jim Dickinson and organist Augie Myers, hovers like an eerie David Lynch soundtrack and echoes the solo-free groove and grind of Dylan’s ’60s masterpieces. With Lanois’ painterly production giving the songs a three-dimensional depth, the arrangements frame Dylan’s voice as few recent recordings have.
“Dylan does not push his voice beyond its limits, but rather sing-speaks barely above a hush, as though holding an imaginary conversation with a distant lover, perhaps even his long-departed audience. He sings about love gone cold, but until the epic closing song, ‘Highlands,’ that loss never acquires a human face. In this 16+ minute epic, the singer briefly recaptures the conversational, playful and erotically charged tone of his youth.
“If the Dylan of World Gone Wrong echoed Flannery O’Connor, the Dylan of Time Out of Mind evokes playwright Samuel Beckett and his spare, unsentimental poetry of despair. He is confident of only one thing: ‘When you think you’ve lost everything, you find out you can always lose a little more.’
“Not Dark Yet” is arguably the most celebrated song on Time Out of Mind, and is perhaps the clearest example of John Keats’ influence on Dylan’s writing; it is even possible that “Not Dark Yet” was grown out of Keats’ own work. In his book, Dylan’s Visions of Sin, Christopher Ricks, a Boston University professor of humanities, draws parallels between “Not Dark Yet” and the Keats poem Ode to a Nightingale. Broken down line for line, “similar turns of phrase, figures of speech, felicities of rhyming” can be found throughout “Not Dark Yet” and the Ode. Ricks also argues that “there is a strong affinity with Keats in the way that in the song night colours, darkens, the whole atmosphere while never being spoken of,” just as Keats used winter to color and darken the atmosphere in another poem he wrote, To Autumn. “Dylan’s refrain or burden is ‘It’s not dark yet, but it’s getting there.’ He bears it and bares it beautifully, with exquisite precision of voice, dry humour, and resilience, all these in the cause of fortitude at life’s going to be brought to an end by death.”
The longest composition ever recorded by Dylan, the 16-minute “Highlands” took its central motif (“My heart’s in the highlands,”) from a chorus in a stall ballad called “The Strong Walls of Derry.” Jim Dickinson later recalled Dylan “leaning over the equipment case working on the lyrics…with a pencil.”
Outtakes
Fifteen compositions were recorded for Time Out of Mind, of which eleven would make the final cut. The four that did not were “Mississippi”, which was re-recorded for “Love and Theft”, “No Turning Back”, the Elizabeth Cotten composition “Shake Sugaree” and, according to Jim Dickinson “the best song there was from the session”, “Girl from the Red River Shore”.
On past albums, some fans have criticized Dylan for some of the creative decisions made with his albums, particularly with song selection. Time Out of Mind was no different except this time the criticism came from colleagues who were disappointed to see their personal favorites left on the shelf. When Dylan accepted the Grammy Award for Album of the Year, he mentioned Columbia Records chairman Don Ienner, who “convinced me to put
Unlike past sessions, none of these outtakes have circulated among collectors, something unprecedented for a Bob Dylan album. “With all of my records, there’s an abundance of material left over – stuff that, for a variety of reasons, doesn’t make the final cut. And other people seem to think they have some kind of right to it. That it’s their property even, which is baffling to me. I mean, you don’t drive a car out of the showroom without paying for it, do you? You don’t leave the supermarket without passing through the check-out with your goods. It’s called stealing. Why the principle should be thought to be any different when it comes to music, I really don’t know.”
According to Dylan, “If you had heard the original recording , you’d see in a second” why it was omitted and recut for Love and Theft. “The song was pretty much laid out intact melodically, lyrically and structurally, but Lanois didn’t see it. Thought it was pedestrian. Took it down the Afro-polyrhythm route – multirhythm drumming, that sort of thing. Polyrhythm has its place, but it doesn’t work for knifelike lyrics trying to convey majesty and heroism.
“Maybe we had worked too hard on other things, I can’t remember,” Dylan continues, “but Lanois can get passionate about what he feels to be true. He’s not above smashing guitars. I never cared about that unless it was one of mine. Things got contentious once in the parking lot. He tried to convince me that the song had to be ‘sexy, sexy and more sexy.’ I know about sexy, too. He reminded me of Sam Phillips, who had once said the same thing to John Prine about a song, but the circumstances were not similar. I tried to explain that the song had more to do with the Declaration of Independence, the Constitution and the Bill of Rights than witch doctors, and just couldn’t be thought of as some kind of ideological voodoo thing. But he had his own way of looking at things, and in the end I had to reject this because I thought too highly of the expressive meaning behind the lyrics to bury them in some steamy cauldron of drum theory. On the performance you’re hearing, the bass is playing a triplet beat, and that adds up to all the multirhythm you need, even in a slow-tempo song. I think Lanois is an excellent producer, though.”
Aftermath
Before the album was officially released, Dylan suffered a serious heart infection called pericarditis. A potentially serious condition (caused by the fungal infection histoplasma capsulatum), it makes breathing very difficult. “It was something called histoplasmosis that came from just accidentally inhaling a bunch of stuff that was out on one of the rivers by where I live,” said Dylan. “Maybe one month, or two to three days out of the year, the banks around the river get all mucky, and then the wind blows and a bunch of swirling mess is in the air. I happened to inhale a bunch of that. That’s what made me sick. It went into my heart area, but it wasn’t anything really attacking my heart.”
“Bob was starting to get a little sick when we were sequencing the album,” recalled Lanois. “We had finished the record but then, at that point, what hit him was fluid around the heart and it probably had been building up for a while.”
Following Dylan’s May 1997 health scare, a number of columnists speculated that the songs on Time Out of Mind were inspired by an increased awareness of his own mortality. This, of course, was despite the fact that all of the songs were completed, recorded, and even mixed before he was hospitalized. Some critics like the Village Voice’s Robert Christgau tried to tame such speculations, with Christgau writing “I’m convinced that Time Out of Mind is in no intrinsic way ‘about death’… the mortality admirers hear in it is their own…The timelessness people hear in it…what Dylan has long aimed for – simple songs inhabited with an assurance that makes them seem classic rather than received.”
In interviews following its release, Dylan, for the most part, downplayed these speculations with much reserve. However, he did give a blunt assessment in a 2001 interview published in The Times Magazine: “Where? Show me…I don’t see it like that. But again, that’s the story of my life…From ‘The Times They Are A-Changin’ onwards, people have misconstrued my words. They’ve attached the wrong meanings to them. That’s the status quo. That’s what happens, and there’s nothing to be done about it.”
In the same interview, Dylan re-assessed Time Out of Mind, admitting some dissatisfaction with the results. “My recollection of is that it was a struggle. A struggle every inch of the way. Ask Daniel Lanois, who was trying to produce the songs. Ask anyone involved in it. They all would say the same. I didn’t trust the touring band I had at the time to do a good job in the studio, and so I hired these outside guys. But with me not knowing them, and them not knowing the music, things kept on taking unexpected turns. Repeatedly, I’d find myself compromising on this to get to that. As a result, though it held together as a collection of songs, that album sounds to me a little off…There’s a sense of some wheels going this way, some wheels going that, but hey, we’re just about getting there…But that’s my truthful memory of it, and that memory overshadows any gratification about its acceptance.”
In 1999, Guitar World Magazine asked Dylan if Time Out of Mind would have made a satisfactory final release: “No, I don’t think so. I think we are just starting to get my sound on disc, and I think there’s plenty more to do. We just opened up that door at that particular time, and in the passage of time we’ll go back in and extend that. But I didn’t feel like it was an ending to anything. I thought it was more the beginning.”
In 2003, the album was ranked number 408 on Rolling Stone magazine’s list of the 500 greatest albums of all time.
Track listing
All songs were written by Bob Dylan.
1. “Love Sick” – 5:21
2. “Dirt Road Blues” – 3:36
3. “Standing in the Doorway” – 7:43
4. “Million Miles” – 5:52
5. “Tryin’ to Get to Heaven” – 5:21
6. “‘Til I Fell in Love with You” – 5:17
7. “Not Dark Yet” – 6:29
8. “Cold Irons Bound” – 7:15
9. “Make You Feel My Love” – 3:32
10. “Can’t Wait” – 5:47
11. “Highlands” – 16:31
Personnel
* Bucky Baxter – acoustic guitar, pedal steel (3,5,7,8)
* Brian Blade – drums (1,3,4,6,7,10)
* Robert Britt – martin acoustic, Fender Stratocaster (3,6,7,8)
* Chris Carrol – assistant engineer
* Cindy Cashdollar – slide guitar (3,5,7)
* Jim Dickensen – keyboards, Wurlitzer electric piano, pump organ (1,2,4,5,6,7,10,11)
* Bob Dylan – guitar, acoustic and electric rhythm lead, harmonica, piano, vocals,producer
* Geoff Gans – art direction
* Tony Garnier – electric bass, acoustic upright bass
* Joe Gastwirt – mastering engineer
* Mark Howard – engineer
* Jim Keltner – drums (1,3,4,5,6,7,10)
* David Kemper – drums on “Cold Irons Bound”
* Jeff Kramer – manager
* Daniel Lanois – guitar, mando-guitar, firebird, martin 0018, gretch gold top, rhythm, lead , producer, photography
* Tony Mangurian – percussion (3,4,10,11)
* Augie Meyers – vox organ combo, hammond b3 organ, accordion
* Susie Q. – photography
* Duke Robillard – guitar, electric l5 gibson (4,5,10)
* Mark Seliger – photography
* Winston Watson – drums on “Dirt Road Blues”
Title
Its title is probably a reference to a speech by Mercutio in Shakespeare’s Romeo & Juliet (Act 1, Scene 4), but it dates back earlier than this-
Her chariot is an empty hazel-nut
Made by the joiner squirrel or old grub,
Time out o’ mind the fairies’ coachmakers.
And in this state she gallops night by night
Through lovers’ brains, and then they dream of love;
It is included in the “Act of Submission” of the Narragansett Indians from 1644-
Nor can we yield over ourselves unto any, that are subjects themselves in any case; having ourselves been the chief Sachems, or Princes successively, of the country, time out of mind; and for our present and lawfull enacting herof, being so farre remote from His Majestie, wee have, by joynt consent, made choice of foure of his loyall and loving subjects, our trusty and well-beloved friends…
(The World Turned Upside Down, Calloway 1994)
It is also quoted in Greenblatt’s Invisible Bullets from Thomas Harriot’s account of Algonquian Indians:
The disease was so strange, that they neither knew what it was, nor how to cure it; the like by report of the oldest man in the country never happened before, time out of mind
(Invisible Bullets, Greenblatt)
The phrase “Time Out of Mind” is also used on the first pages of Tolkien’s The Hobbit.
It is the last line of the second verse of Warren Zevon’s song “Accidentally Like A Martyr”.
It is also mentioned in Part Two of Jonathan Swift’s Gulliver’s Travels and the title of a novel by Richard Cowper.
It is also in W.B Yeats’s 1910 poem: ‘Upon a House shaken by the Land Agitation’, in the lines: ‘How should the world be luckier if this house,/ Where passion and precision have been one/ Time out of mind, became too ruinous/ To breed the lidless eye that loves the sun?’
It is also used in “The Voice”, a poem by Sara Teasdale.
It is also the title of a Steely Dan song from their album Gaucho (album) It is also found in “Dirge Without Music”, a poem by Edna St.Vincent Millay
It is also found in the song “The no where man” by The Veils
The phrase “Time Out of Mind” is a synonym for “time beyond memory”, or “time immemorial”. The Oxford English Dictionary gives quotations for the phrase dating back to 1480, and variants as early as 1407.
1997 – Elvis Week begins in Memphis to commemorate the 20th anniversary of Elvis Presley’s death on August 16.
Elvis Week 2008 Event Calendar & Ticket Information
Saturday, August 9 – Sunday, August 17
Below is the current Elvis Week 2008 calendar of events along with ticket purchase information for each event. Updates to the calendar will be made as additional guests, details and events are confirmed. Please check back often to get the latest updates.
Some ticketed events below are sold through Graceland. Other events are sold through Ticketmaster.
For the Elvis Week Fun Package and other tickets sold through Graceland, the ticket prices below include sales tax. There is a $4.50 per transaction service fee for each order placed through Graceland. This includes orders made over the phone or online orders. Tickets available through Graceland reservations will be on sale through August 5. After August 5, they will be available in person at Graceland Guest Services or at the door of the event, pending availability. All tickets below sold through Ticketmaster will be subject to tax and Ticketmaster fees.
All ticket sales are final and non-refundable.
Please note, if you are ordering your tickets to tour Graceland at the same time as ordering your Elvis Week event tickets, the $4.50 order fee for Graceland tickets is a separate charge from the $4.50 order fee for Elvis Week tickets and will appear as two separate order fees on your final order listing
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SATURDAY, AUGUST 9
26th Annual Elvis Presley International 5K Run to Benefit United Cerebral Palsy
8:00 a.m. Starts at the Graceland gates. Join thousands of Elvis fans and runners in front of Graceland for the 26th Annual Elvis Presley International 5K Run to benefit United Cerebral Palsy (UCP) of the Mid-South. Runners and walkers will enjoy more than the typical 5K. More than 2,000 entrants from around the world will join in the family fun while enjoying the festive atmosphere of Elvis Week 2008 and raising money for UCP. After the race, join everyone across from the mansion as UCP hosts one of the best post-race parties in town. Entertainment will be provided by The AIMS Gang, one of the best bands in Memphis. Pre-registration is $20; race day registration is $25. Click here to register for the race online or call Joanie Nuchols at (901) 761-4277.
D&N’s Mardis Gras Beads for Elvis and United Cerebral Palsy
D&N’s Elvis Presley Fan Club invites you to support UCP of the Mid-South and honor Elvis’s memory by purchasing a Guitar Mardis Gras beads for $2. You don’t have to come to Memphis to be a “spirit runner” in the 26th Annual Elvis Presley International 5K Run. You may register as a “spirit runner” to receive the cool “King Creole” Elvis Race Shirt for 2008 and Guitar Mardis Gras beads. Click here to register online or visit D&N’s site for more information.
Elvis Presley – His Home, His Story – DVD Theatrical Premiere
Three screenings: 9:30 a.m., 9:45 a.m., 10:00 a.m. Malco’s Studio on the Square, 2105 Court Avenue, Memphis. Enjoy the theatrical premiere of the new Graceland tour DVD on the big screen. See stunning footage of Graceland while watching the story of Elvis’s life at Graceland and his amazing career. The new DVD features photos from the Graceland archives, home movies and more. Tickets for the event are free, however you must have a ticket to attend. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000.
Elvis Meetup at Marlowe’s Benefiting the Memphis Humane Society
12:00 noon. Marlowe’s, 4381 Elvis Presley Blvd., Memphis. No cover charge, but attendees must pay for their own food, drinks and tips. Special guests have been invited. Elvis door prizes will be given. RSVP to Sharon Parker by calling 615-830-5126 or emailing elvismeetupatmarlowes@hotmail.com.
Memphis Welcomes the Fans Redbirds Baseball Game
6:10 p.m. AutoZone Park, 200 Union Avenue (corner of Third & Union) in downtown Memphis. On behalf of the citizens of Memphis, grateful to Elvis fans and all they mean to our city, the Memphis Redbirds baseball team and AutoZone Park celebrate Elvis and welcome the Elvis fans to town with this Elvis Week 2008 kick-off event. Enjoy Elvis-themed entertainment, fireworks and more. For more information call 901-721-6000 or visit their web site to buy your tickets today.
Elvis Week Kick-Off Party at EP’s Delta Kitchen
10:00 p.m. – 3:00 a.m. EP’s Delta Kitchen, 126 Beale Street, Memphis. After the Redbirds game, the official kick-off party is at the EP’s Delta Kitchen on Beale Street. The event will feature live music by Elmo and the Shades. General admission is $20. VIP admission is $40 and includes a food buffet. Cash bar. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000. Please note, this event venue has changed from the original location to EP’s Delta Kitchen, located at 126 Beale Street.
SUNDAY, AUGUST 10
Elvis Gospel Breakfast
8:30 a.m. – 9:30 a.m. Elvis Presley Car Museum, Graceland Plaza. Enjoy brunch in the Elvis Presley Car Museum while listening to Elvis Gospel music and watching Elvis videos on the drive-in theater movie screen. Tickets are $33.00 per person. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000.
Memorial Luncheon for Bill Burk
1:00 p.m. – 3:00 p.m. Marlowe’s, 4381 Elvis Presley Blvd., Memphis. Celebrate the life of Bill Burk at a special Elvis Week memorial luncheon. All of Bill’s friends – the fans and the famous – have been invited to come to remember Bill and share memories. An open mic will be available for comments, stories, songs, poems, photos…whatever you would like to do. There will also be a special presentation to Bill’s family. Everyone in attendance will receive a special memento. Reservations are a must. Tickets are $15 and include your lunch and beverage. Please send your check, made out to Nancie Craft, to her at 6607 Cindy Lane, Houston, TX 77088. Part of the ticket includes a donation in Bill’s name to St. Jude’s Children’s Research Hospital.
Graceland Scavenger Hunt – Bears on Tour
5:00 p.m. – 7:00 p.m. Starting at the Graceland Ticket Office. Guests are invited to tour Graceland Mansion (no audio tour) and the Elvis Presley Automobile Museum while simultaneously participating in a trivia scavenger hunt. Adult and junior versions of the scavenger hunt will be available. Prizes for both adult and junior versions to be announced. All ticket holders receive a complimentary limited-edition Elvis bear from Limited Treasures. Admission: $29.00 Adults; $14.00 children 7-12. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000.
Club Elvis
8:00 p.m. – 12:00 Midnight. Elvis Presley Car Museum, Graceland Plaza. Come hang out and enjoy a private party with your fellow Elvis fans. A disc jockey spins Elvis records for your listening and dancing pleasure. Cash bar featuring adult beverages (ID’s checked) and soft drinks. Outdoor smoking area designated – no smoking inside. A wristband ticket allows you to come and go from Club Elvis as much as you like during the evening in order for you to enjoy all the other activities on the property. Admission $25.00. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000.
MONDAY, AUGUST 11
A Celebration of Fans – Fan Club Presidents’ Event
10:00 a.m. – 12:00 p.m. Cannon Center for the Performing Arts, 255 North Main Street, downtown Memphis. Join Elvis Presley fan club presidents from independent Elvis fan clubs from around the world at this special event. At this year’s August Fan Club Presidents’ Event, Elvis Presley Enterprises will open the doors to let more people know about the amazing work that fan clubs do. For the August 2008 fan club presidents’ event, the public will be invited to purchase tickets to the attend the event and hear from some of the fan clubs who work hard to continue on Elvis’s name and memory. All fans are invited to attend this event where they can learn more about what official Elvis Presley fan clubs do, while also enjoying a program of EPE company updates, special announcements and a special guests. This year’s special guests for the Elvis Presley Fan Club Presidents’ Event will be members of The Imperials – Joe Moscheo, Terry Blackwood and Sherman Andrus. The Imperials sang backup vocals for Elvis in Vegas. The event this year will spotlight the Humane Society of Memphis and Shelby County and EPE will be collecting donations for the organization at the door of the event. Click here for a wish list of donation items. Elvis Presley fan club presidents’ will receive an invitation to the event directly from EPE in early June to reserve their complimentary ticket for the event and do not need to call Graceland Reservations. Tickets for additional fan club members and the general public are $8.00 and can be reserved through Graceland Reservations. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000.
Elvis Week Memphis Meetup & Meet ‘n’ Greet
12:30 p.m. Downtown Marriott’s Magnolia Grille Restaurant on the main level. It is a buffet-style lunch at $12.99 per person. Seating is limited to 50, so please email Gigi at ballester_gigi@yahoo.com if you are planning on attending. This event will benefit the Todd Morgan Sound Fuzion Performance Enrichment Fund. They will be collecting donations for the fund. Anyone not attending can mail a check for donation to Gigi. Email Gigi Ballester at ballester_gigi@yahoo.com for details.
Music and Movies at Graceland – Day One
7:00 p.m. (Gates open at 5:30 p.m.) Front lawn, Graceland Mansion. Bring your lawn chair or a blanket and make yourself at home on the front lawn of Graceland to enjoy a live concert by Andy Childs and his band while the sun begins to set. Then, stay for a screening of Jailhouse Rock under the stars. Refreshments available in a vendor area outside the mansion gates. Food, beverages and coolers may not be brought onto the mansion grounds. Also during Music and Movies will be a celebration of the launch of Elvis: Viva Las Vegas, with clips from the special and appearances by Jerry Schilling and George Klein. For more information about Elvis: Viva Las Vegas and to enter the sweepstakes, click here. For more about Jailhouse Rock on DVD and other Elvis Warner Home Video releases, visit www.elvisondvd.com. One day Music and Movie admission is $44.00. If you plan on attending both days of Music and Movies, you can purchase a two day ticket for $75.00 Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000. In addition, you can purchase special VIP seating for this event by purchasing the Elvis Week Fun Package. A special rate is also available for groups of 15 or more who purchase tickets for this event in one transaction. Groups of 15 or more will receive a discount of $5.00 off each one night ticket or $10.00 off each two night ticket. Tickets must be purchased in one transaction, via phone only and all tickets will need to be picked up by same person who placed order. To order at the group rate, contact Graceland Reservations at 800- 238-2000 or 901-332-3322.
TUESDAY, AUGUST 12
Malco Theatre’s Elvis Film Fest 5
Presented by The DeHart Group
9:30 a.m. – 12:30 p.m. Studio on the Square, 2105 Court Avenue, Memphis. Celebrate the 5th anniversary of the now-legendary Elvis Film Fest with special showings of King Creole, GI Blues, Blue Hawaii, Girls!Girls!Girls! and Paradise Hawaiian Style. Admission is $5.00 per film and all proceeds benefit the Todd Morgan Sound Fuzion Performance Enrichment Fund at the University of Memphis. Tickets go on sale Friday, June 6, at www.malco.com and the Malco theatre box office. So, make a date to take a memorable trip down memory lane with your friends from the The DeHart Group and Malco Theatres.
Elvis Presley Fan Club Reception at The MED
10:00 a.m. The MED’s cafeteria. For more information, contact Marsha Evans at 901-545-6405 or email mevans@the-med.org.
The Ultimate Elvis Tribute Artist Contest Meet ‘n’ Greet
11:00 a.m. – 1:00 p.m. EP’s Delta Kitchen, 126 Beale Street. Private event reserved for those who have purchased the platinum seating package for the Ultimate Elvis Tribute Artist Contest. Please note, this event has moved from its original location to EP’s Delta Kitchen, located at 126 Beale Street.
Shawn Klush in Concert
3:30 p.m. – 5:00 p.m. Cannon Center for the Performing Arts, 255 North Main Street, downtown Memphis. Enjoy an amazing concert by 2007 Ultimate Elvis Tribute Artist Contest winner Shawn Klush. Opening act will by comedian Sammy Shore, who opened for Elvis in Las Vegas in 1969-1972. Tickets are $30.00 and $22.00. Tickets are now on sale through Ticketmaster. Click here to purchase your tickets online or call 901-525-1515.
Music and Movies at Graceland – Day 2
7:00 p.m. (Gates open at 5:30 p.m.) Front lawn, Graceland Mansion. Bring your lawn chair or a blanket and make yourself at home on the front lawn of Graceland to enjoy a live concert by Terry Mike Jeffrey & Band, members of the TCB Band and The Imperials. Then, stay for a screening of Elvis – That’s The Way It Is under the stars. Refreshments available in a vendor area outside the mansion gates. Food, beverages and coolers may not be brought onto the mansion grounds. For more about Elvis – That’s The Way It Is on DVD and other Elvis Warner Home Video releases, visit www.elvisondvd.com. One day Music and Movie admission is $44.00. If you plan on attending both days of Music and Movies, you can purchase a two day ticket for $75.00. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000. In addition, you can purchase special VIP seating for this event by purchasing the Elvis Week Fun Package. A special rate is also available for groups of 15 or more who purchase tickets for this event in one transaction. Groups of 15 or more will receive a discount of $5.00 off each one night ticket or $10.00 off each two night ticket. Tickets must be purchased in one transaction, via phone only and all tickets will need to be picked up by same person who placed order. To order at the group rate, contact Graceland Reservations at 800- 238-2000 or 901-332-3322.
Club Elvis
9:30 p.m. – 12:30 a.m. Elvis Presley Car Museum, Graceland Plaza. Come hang out and enjoy a private party with your fellow Elvis fans. A disc jockey spins Elvis records for your listening and dancing pleasure. Cash bar featuring adult beverages (ID’s checked) and soft drinks. Outdoor smoking area designated – no smoking inside. A wristband ticket allows you to come and go from Club Elvis as much as you like during the evening in order for you to enjoy all the other activities on the property. Admission $25.00. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000.
WEDNESDAY, AUGUST 13
Elvis Expo 2008 – Day 1
9:00 a.m. – 6:00 p.m. South Hall, Memphis Cook Convention Center, 255 North Main Street, downtown Memphis. . The ultimate Elvis tradeshow with more than 75 booths and 35,000 square feet of Elvis that includes all the latest Elvis music, movies, merchandise, celebrity autograph sessions, authors, artists and photographers, and lots of Elvis freebies and samples. Admission is $15.00 per day. Elvis Insiders Conference attendees are admitted free by showing their conference badge. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000.
Guests confirmed to appear in the showroom are: actress Darlene Tompkins, who appeared with Elvis in the movies Blue Hawaii and Fun in Acapulco; dancer Tanya Lemani George, who appeared in Elvis’s 1968 television special; Joanne Cash, singer; The Imperials, gospel group and backup vocals for Elvis in Vegas; Celeste Yarnall, Elvis co-star in Live A Little, Love a Little; DJ Fontana, Elvis’s original drummer, who worked with him from 1955-1968; Chris Noel, who appeared with Elvis in Girl Happy; Charles Stone, who helped arrange tour schedules and security for Elvis in the ’70s; Marian Cocke, Elvis’s friend and private nurse from 1975-1977; Sandi Pichon, an Elvis fan who became a REAL Elvis Insider by getting to know and socialize with Elvis and his inner circle of friends; Edward Faulkner, Elvis’s co-star in GI Blues and Tickle Me; Francine York, Elvis’s co-star in Tickle Me; Nancy Rooks, Elvis’s maid and Author of Inside Graceland: Elvis’ Maid Remembers. Cydney Miller, Elvis fan and current Mrs. Tennessee, representing the state in the Mrs. America pageant. More guests to be announced.
The Official Elvis Insiders Conference – Day 1
10:00 a.m. – 4 p.m. Cannon Center for the Performing Arts, 255 North Main Street, downtown Memphis. Hosted by Tom Brown, Vice President of Original Production at Turner Classic Movies. Enjoy two full days of special guests and programming put together by Elvis Presley Enterprises, including on-stage interviews with people who were part of Elvis’s life and career. Conference attendees will receive a welcome kit loaded with Elvis-themed gifts and everyone will win a door prize. The Elvis Expo 2008 will be open nearby and admission to the showroom is included with your Elvis Insiders Conference ticket. Tickets are $85.00 for a two-day ticket. Tickets are now on sale through Ticketmaster. Click here to purchase your tickets online or call 901-525-1515. In addition, you can purchase special VIP seating for this event by purchasing the Elvis Week Fun Package. Click here for details on the Elvis Week Fun Package.
Special guests for August 13: Dixie Locke Emmons, who dated Elvis early in his career; Mike Stoller, part of the Leiber/Stoller song writing team who wrote “Jailhouse Rock”, “King Creole”, “Hound Dog”, “Treat Me Nice”, “Love Me” and many more; Sammy Shore, comedian who opened for Elvis from 1969-1972 in Las Vegas; Celeste Yarnall, Elvis’s co-star in Live A Little, Love A Little; Francine York, Elvis’s co-star in Tickle Me; Edward Faulkner, Elvis’s co-star in GI Blues and Tickle Me .
Special guests for August 14: Robert F.X. Sillerman, Chairman and Chief Executive Officer of CKX Inc., parent company of Elvis Presley Enterprises; Susan Henning, appeared in Live A Little, Love A Little and the ’68 Special; Joe Guercio, Elvis’s musical director and conductor for concerts from the summer of 1970 to the summer of 1977; Jerry Schilling, one of Elvis’s closest friends; Steve Binder, producer of Elvis’s ’68 Special.
D&N’s Humes Benefit Dinner and Silent Auction
4:30 – 5:30 PM Silent Auction; 5:30 Dinner. Humes Room at Club Superior, 159 Beale Street, Memphis. D&N’s Elvis Presley Fan Club invites you to join them for a fabulous 3 course dinner in the private Humes Room at Club Superior. Enjoy the large collection of Humes memorabilia, including unique items of Humes famous graduate, Elvis Presley, formerly displayed at Anna’s Steakhouse. Silent auction benefiting Elvis’s Alma Mater, Humes. Advance ticket purchase only. Reserved seating. Tickets are $35 per person. Mail checks to: Nancie Craft, 6607 Cindy Lane, Houston, TX 77008. Please enclose a self addressed, stamped envelope for tickets to be mailed. Click here for more information.
Ultimate Elvis Tribute Artist Contest Semifinals
7:00 p.m. Cannon Center for the Performing Arts, 255 North Main Street, downtown Memphis. Semifinal round of competition for the 2008 Ultimate Elvis Tribute Artist Contest. Attendees to the show will see the best Elvis tribute artists from around the world performing and competing on stage for their chance to move onto the finals round on August 14. Elvis Tribute Artists will receive their chance to showcase their talents and why they should be named Ultimate Elvis Tribute Artist of 2008. Finalists chosen from these rounds will return on August 14th to compete for the title of Elvis Tribute Artist of the Year. The Exspence Account Band will perform with the contestants. Visit the Ultimate Elvis Tribute Artist Contest page to find out about the finalists.
Tickets are only available in a set that includes one ticket to the semifinals on August 13 and one ticket to the finals on August 14. Platinum package seating for the event is $140.00 and includes a special Meet ‘n’ Greet with the semifinalists. (Tickets for the Meet ‘n’ Greet will not be mailed out with the semifinals/finals tickets. Ticket holders who are entitled to attend the Meet ‘n’ Greet will just need to show ID at EP’s Delta Kitchen on August 12.) Gold package seating is $80.00. Silver package seating is $50.00. Tickets are now on sale through Ticketmaster. Click here to purchase your tickets online or call 901-525-1515.
THURSDAY, AUGUST 14
Elvis Expo 2008 – Day 2
9:00 a.m. – 6:00 p.m. South Hall, Memphis Cook Convention Center, 255 North Main Street, downtown Memphis. The ultimate Elvis tradeshow with more than 75 booths and 35,000 square feet of Elvis that includes all the latest Elvis music, movies, merchandise, celebrity autograph sessions, authors, artists and photographers, and lots of Elvis freebies and samples. Elvis Expo special guest information coming soon. Admission is $15.00 per day. Elvis Insiders Conference attendees are admitted free by showing their conference badge. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000.
Guests confirmed to appear in the showroom are: actress Darlene Tompkins, who appeared with Elvis in the movies Blue Hawaii and Fun in Acapulco; dancer Tanya Lemani George, who appeared in Elvis’s 1968 television special; Joanne Cash, singer; The Imperials, gospel group and backup vocals for Elvis in Vegas; Celeste Yarnall, Elvis co-star in Live A Little, Love a Little; DJ Fontana, Elvis’s original drummer, who worked with him from 1955-1968; Chris Noel, who appeared with Elvis in Girl Happy; Charles Stone, who helped arrange tour schedules and security for Elvis in the ’70s; Marian Cocke, Elvis’s friend and private nurse from 1975-1977; Sandi Pichon, an Elvis fan who became a REAL Elvis Insider by getting to know and socialize with Elvis and his inner circle of friends; Edward Faulkner, Elvis’s co-star in GI Blues and Tickle Me; Francine York, Elvis’s co-star in Tickle Me; Nancy Rooks, Elvis’s maid and Author of Inside Graceland: Elvis’ Maid Remembers. Cydney Miller, Elvis fan and current Mrs. Tennessee, representing the state in the Mrs. America pageant. More guests to be announced.
The Official Elvis Insiders Conference – Day 2
10:00 a.m. – 4 p.m. Cannon Center for the Performing Arts, 255 North Main Street, downtown Memphis. Hosted by Tom Brown, Vice President of Original Production at Turner Classic Movies. Enjoy two full days of special guests and programming put together by Elvis Presley Enterprises, including on-stage interviews with people who were part of Elvis’s life and career. Conference attendees will receive a welcome kit loaded with Elvis-themed gifts and everyone will win a door prize. The Elvis Expo 2008 will be open nearby and admission to the showroom is included with your Elvis Insiders Conference ticket. Tickets are $85.00 for a two-day ticket. Tickets are now on sale through Ticketmaster. Click here to purchase your tickets online or call 901-525-1515. In addition, you can purchase special VIP seating for this event by purchasing the Elvis Week Fun Package. Click here for details on the Elvis Week Fun Package.
Special guests for August 13: Dixie Locke Emmons, who dated Elvis early in his career; Mike Stoller, part of the Leiber/Stoller song writing team who wrote “Jailhouse Rock”, “King Creole”, “Hound Dog”, “Treat Me Nice”, “Love Me” and many more; Sammy Shore, comedian who opened for Elvis from 1969-1972 in Las Vegas; Celeste Yarnall, Elvis’s co-star in Live A Little, Love A Little; Francine York, Elvis’s co-star in Tickle Me; Edward Faulkner, Elvis’s co-star in GI Blues and Tickle Me .
Special guests for August 14: Robert F.X. Sillerman, Chairman and Chief Executive Officer of CKX Inc., parent company of Elvis Presley Enterprises; Susan Henning, appeared in Live A Little, Love A Little and the ’68 Special; Joe Guercio, Elvis’s musical director and conductor for concerts from the summer of 1970 to the summer of 1977; Jerry Schilling, one of Elvis’s closest friends; Steve Binder, producer of Elvis’s ’68 Special.
Ultimate Elvis Tribute Artist Contest Finals
7:00 p.m. Cannon Center for the Performing Arts, 255 North Main Street, downtown Memphis. The finals of the 2008 Ultimate Elvis Tribute Artist Contest. Top finalists from semifinals on August 13 compete for the title of Elvis Tribute Artist of 2008. Elvis Tribute Artists will receive their chance to showcase their talents and why they should be named Ultimate Elvis Tribute Artist of 2008. The Exspence Account Band will perform with the contestants. Visit the Ultimate Elvis Tribute Artist Contest page to find out about the finalists.
Tickets are only available in a set that includes one ticket to the semifinals on August 13 and one ticket to the finals on August 14. Platinum package seating for the event is $140.00 and includes a special Meet ‘n’ Greet with the semifinalists. (Tickets for the Meet ‘n’ Greet will not be mailed out with the semifinals/finals tickets. Ticket holders who are entitled to attend the Meet ‘n’ Greet will just need to show ID at EP’s Delta Kitchen on August 12.) Gold package seating is $80.00. Silver package seating is $50.00. Tickets are now on sale through Ticketmaster. Click here to purchase your tickets online or call 901-525-1515.
FRIDAY, AUGUST 15
Blue Hawaii Breakfast at Graceland with Darlene Tompkins – SOLD OUT
8:00 a.m. – 9:00 a.m. Elvis Presley Car Museum, Graceland Plaza. Have breakfast in the Elvis Presley Car Museum while enjoying Elvis music and watching Elvis videos on the drive-in theater movie screen. Darlene Tompkins, who co-starred with Elvis in Blue Hawaii and Fun in Acapulco, will be the special guest at breakfast and will meet ‘n’ greet with fans and sign autographs. This event is now sold out.
Elvis Presley – His Home, His Story – DVD Theatrical Premiere
Three screenings: 9:30 a.m., 9:45 a.m., 10:00 a.m. Malco’s Studio on the Square, 2105 Court Avenue, Memphis. Enjoy the theatrical premiere of the new Graceland tour DVD on the big screen. See stunning footage of Graceland while watching the story of Elvis’s life at Graceland and his amazing career. The new DVD features photos from the Graceland archives, home movies and more. Tickets for the event are free, however you must have a ticket to attend. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000.
David Garibaldi’s Rhythm and Hue Performance Art Show
1:00 p.m. – 2:00 p.m. Graceland Plaza. World famous artist David Garibaldi will be showcasing his “Rhythm and Hue” performance art show, where he creates 6-foot portraits of pop icons in under 7 minutes to music. David will also be available to meet fans during an autograph session following his performance from 2:00 p.m. – 3:00 p.m. Special pieces and artwork in addition to Garibaldi’s new coffee table book will be available for purchase at Graceland during the performance and signing session. Free.
Presley Place Open House and Tours
1:00 p.m. – 3:00 p.m. Les Passees Center for Children and Families and Presley Place, 715 St. Paul Ave, Memphis. Free of charge. During this open house and tour, see Presley Place, a 12-unit apartment property affiliated with MIFA Housing Opportunities. This program provides transitional housing for families who have been homeless, as well as valuable life skills education to help them live independently and productively. Supported by the Elvis Presley Charitable Foundation and Elvis fans across the globe, Presley Place has been a safe haven for more than 100 families since its inception in July 2001. You can also see the Elvis Music room, which has inspired young people for years, as well as meet families who have lived at Presley Place. Other activities and refreshments will also be available. This event is sponsored by the Jennings Osborne family of Arkansas. For more information, contact MIFA at 901-529-4544.
Mass In Memory of Elvis Presley
3:00 p.m. St. Paul Catholic Church, 1425 E. Shelby Drive, Memphis, TN 38116. On the Solemnity of the Assumption of the Blessed Virgin Mother, St. Paul Catholic Church will celebrate a special Mass for the repose of the soul of Elvis Presley. St. Paul Church is located at 1425 E. Shelby Drive (south of Graceland–approx. 2 1/2 miles). Recorded music: 2:15 p.m. Choir: 2:45 p.m. Mass: 3:00 p.m. Come together to pray and remember Elvis. Spaghetti Dinner follows.
Candlelight Vigil
8:30 p.m. Gates of Graceland Mansion. After an opening ceremony at the gates of the Graceland Mansion property, fans are invited to walk up the driveway to Elvis’s gravesite and back down carrying a candle in quiet remembrance. Free admission. No tickets or reservations. Gates remain open until all who wish to participate in the procession have done so, which typically takes until the early morning hours of August 16, the anniversary date of Elvis’s passing. Free secured parking at the Graceland visitor center complex after 6:00 p.m. Prior to Elvis Week, posted here will be a link to the text of the special information and guidelines flyer for the Vigil that is handed out at Graceland during Elvis Week.
Can’t be here for the Vigil? Enjoy live coverage from Graceland by Elvis Radio/Sirius Satellite 13. They also will have special Elvis programming throughout Elvis Week.
SATURDAY, AUGUST 16
George Klein’s Elvis Memorial Service
12:00 noon. Main Theatre Building, University of Memphis. Free admission. Annual event hosted by George Klein, longtime friend of Elvis. Speakers will include friends and family of Elvis and celebrity guests. For more information, contact the U of M Department of Communication at (901) 678-2565.
Elvis: From Broadway to Memphis with the Memphis Symphony Orchestra
Two Shows: Matinee Show – 2:00 p.m. Evening Show – 8:00 p.m. Cannon Center for the Performing Arts, 255 North Main Street, downtown Memphis. An all new, never-before-seen show! Enjoy a sophisticated and fun celebration of Elvis music with Leah Hocking, from the Broadway cast of “All Shook Up” and Austin Miller, television and Broadway star. The show will also star Elvis Presley, via video, accompanied by live music on stage during some special segments of the show. All will be accompanied by the Memphis Symphony Orchestra. Included in the exciting show will be Elvis fan favorites, The Dempseys and lots of surprises. Tickets to the matinee event are $70.00, $50.00 and $30.00. Tickets to the evening show are $125.00, $85.00, $65.00 and $45.00. Tickets are now on sale through Ticketmaster. Click here to purchase your tickets online or call 901-525-1515. (The special $125.00 ticket package includes access to the rehearsal of Elvis: Broadway to Memphis on August 15, a seat in the orchestra pit section, a reception during intermission of the show with light hors d’oeuvres and a cash bar, a complimentary Elvis Insiders membership or renewal, a special collectible lanyard from the event and two Elvis champagne flutes. All package items (excluding ticket) will be available for pickup at Graceland on August 8-16 from 9:00 AM – 5:00 PM.)
SUNDAY, AUGUST 17
Elvis Gospel Breakfast
8:30 a.m. – 9:30 a.m. Elvis Presley Car Museum, Graceland Plaza. Enjoy brunch in the Elvis Presley Car Museum while listening to Elvis Gospel music and watching Elvis videos on the drive-in theater movie screen. Tickets are $33.00 per person. Tickets are now on sale through Graceland Reservations. Click here to purchase your tickets online or call 800-238-2000.
MULTIPLE DATE EVENTS
Morning and Evening Walk-ups for Meditation Garden
Daily throughout the year, there is a special period of time for free admission walk-up visits to the Meditation Garden at Graceland. The summer hours for free walk-ups are 7:30 a.m. – 8:30 a.m. daily, then the garden becomes part of the regular ticketed Graceland tour. There will be no morning walk-ups on the morning of August 16 due to the Candlelight Vigil. As a special courtesy to fans, there is always an additional schedule of evening walk-up times during Elvis Week. Evening walk-up times will be from 7:00 p.m. to 9:00 p.m. on August 9, 10, 13, 14 & 16.
Elvis Week Entertainment Tent at Graceland Crossing Sponsored by Elvis Collector’s Edition Tins
August 8-16. Continuous presentation of Elvis music performed live by various singers and bands, plus other activities. Children and youth karaoke also featured. Free admission. A detailed schedule will be available at the Elvis Week information table in the Graceland Plaza as Elvis Week begins.
Elvis Week Art Contest & Exhibit
August 9-15. Ticket office pavilion in Graceland Plaza. Free admission to view this exhibition of Elvis-themed artwork from amateur and professional artists from around the world. Click here for a Art Contest Rules, Guidelines and Entry Form for artists who would like to submit their work. Deadline to submit artwork is July 31.
Children’s Elvis Week Art Activities
August 9: 11:00 a.m. – 1:00 p.m. and August 10: 2:00 p.m. – 4:00 p.m. Ticket office pavilion in Graceland Plaza. Children will get the opportunity to create Elvis art to hang in the 2008 Elvis Week Art Contest & Exhibit as part of the exhibit only category. Each participant will receive a certificate of participation. Free.
Kids Karaoke
August 9: 2:00 p.m. – 3:00 pm; August 12: 2:00 p.m. – 3:00 pm. Elvis Week Entertainment Tent sponsored by Elvis Collector’s Edition Tins, Graceland Crossing. Children and youth aged 2 to 17 are invited to perform karaoke Elvis songs. Free admission to perform and to be in the audience.
Children’s Activities
August 11-15. 11:00 a.m. – 1:00 p.m. Graceland Ticket Pavilion. Craft activities for children aged 2 to 12. Free.
Elvis Fan Club Festival
August 12-16. 10:00 a.m. – 6:00 p.m. Airport Inn, 1441 E. Brooks Rd., Memphis. Free admision. This year is the 30th anniversary of the original Elvis Fan Club Festival. Vegas atmosphere with EPE, Inc. items from 1956 to present. Continuous Elvis music.
Artwork of Betty Harper Exhibit
August 13 & 14: 11:00 a.m. – 2:00 p.m. Everything Elvis, Graceland Crossing. Betty will be exhibiting her artwork and meeting fans.
Tours of The MED and Elvis Presley Trauma Center
August 12-17. Contact Marsha Evans at 901-545-6405 or mevans@the-med.org for details.
1985 – Simon LeBon’s yacht, Drum, capsizes whilst competing in a race. LeBon is trapped under the hull for 40 minutes before the Royal Navy rescues him.
1965 – The Beatles’ Saturday-morning cartoon series premieres on ABC. It’s canceled in 1969.
The series premiered on ABC on Saturday, September 25, 1965 at 10:30 am. Each show was a half-hour long and consisted of two “adventures” and two sing-a-long songs. Lyrics were flashed on the screen so that viewers could join in. The show was an instant success.
The show was produced by King Features Productions. The voices of the Beatles cartoon characters were supplied by voice actors Lance Percival (Paul and Ringo), and Paul Frees (John and George). Animation was done overseas at TVC of London and Astransa, an Australian company. TVC is also the company that produced the animated movie “Yellow Submarine”. The scripts were relatively easy to develop, as the episodes were based on popular Beatles songs.
The cartoons remained on ABC for three more years, with the final two seasons being reruns of previous episodes. After receiving previously unheard of daytime television ratings in its first season, its second season, however, lost ratings to CBS’s Saturday morning line-up. Apparently The Beatles couldn’t compete with the likes of “Space Ghost”, “Frankenstein Jr. and the Impossibles”, “Mighty Mouse” and “Mighty Heroes”.
In the fall of 1968 the series was moved to Sunday mornings, where it remained until its final broadcast on September 7, 1969.
There were a total of 39 episodes made. They have been rebroadcast in the past by MTV.
A Word With Richard Jones
I was fortunate enough to get into contact with Richard Jones, and artist from the ARTRANSA studio in Sydney. Richard detailed what he knew about the tunes, a few stories behind the scenes, and what ended up happening to ARTRANSA. Here are his answers to some fairly broad questions:
1. Where did the cartoons originate?
I was never sure. Some attributed the idea to the Beatles themselves, though I suspect that they probably originated in the bowels of King Features during one of their “How do we make more bucks?” meetings.
2. How did I become involved?
At the time I was 18 years old and living in a small country town called Quirindi in northern New South Wales. The only thing I wanted to do was to animate.
I had been pestering ARTRANSA PARK TELEVISION in Sydney about a job for 2 years. Sending letters, gags, drawings, cells made out of plastic shirt box topes, finally I wore them down and they agreed to give me a job for their next television series.
I received a telegram from Graham Sharpe, “Starting Beatles series – need you Sydney next week”.
When I arrived in Sydney, Artransa was putting the finishing touches to the Beetle Baily and Krazy Kat cartoons. I remember it was several months before we started on the Beatles. I punched a hell of a lot of paper cell in that time!
3. Who proposed the idea?
No idea. (Actually it was Al Brodax.)
4. Sources for modelling Beatles characters.
We watched interviews with the Beatles. We had discussion meetings with Abe Goodman as to what he required from us. We watched the film A Hard Days Night. We drew and discussed mannerisms and movement from model sheets supplied from the states. We discussed guitar types and Ringo’s rings. We also did some pencil tests.
5. Procedures for making the cartoons.
As I remember, we worked two animators on a title with an inbetweening. Cel paints were imported from the US, as they were unobtainable here and there had to be colour continuity.
We received storyboards, voice and music tracks from the US.
I do not remember if the tracks were read, direction timed and charted here.
The layout backgrounds commenced
Animation
Inbetweening
Trace and paint in one area, about a dozen girls headed by Zora Janjic.
Oxberry 35mm animation camera, one main operator.
Rushes and reshoots.
Editing, added canned music and FX.
Answer print
Release prints.
6. The cartoons were made at ARTRANSA PARK TELEVISION, French’s Forest. I believe there was some subcontracting to Ron Campbell and Zoran Janjic.
7. The scripts were written and storyboarded in the States by King Features, or associates, subject to Beatle representative approval. I have no proof of this; it is what I was told.
8. We did not have any say in the scripts, they were taken as read by the time we had received them. Sometimes we were allowed to draw incidental characters.
I remember one episode where an animator had drawn a bosomy flying bat lady. There was some discussion about the shape of the offending creature and androgyny was decided on. My friend had to take to his scenes with an eraser. He was not amused.
9. Do I have any favourite episodes?
I don’t remember half the episodes. I guess A HARD DAYS NIGHT. It was my first animation. The song is one that was popular at the time and easily identified with the Beatles.
10. Was there to be four one-hour Beatles specials?
There were always rumours around the studio and I seem to remember one about specials. Abe Goodman was the consummate businessman and everyone’s uncle, he would always tell us about the great year we would have next year. ARTRANSA lived a hand to mouth existence; it needed US specials to survive. There was dissent among animators in America because work came to Australia, this maybe one of the reasons much of the work we were promised did not eventuate.
11. Why didn’t the cartoons last longer?
The cartoons were for the time, I do not think they had any lasting value, apart from collectors like yourself (Darren English). The stories, design and animation were adequate, but crude. As animators, we were all pretty green. I believe as with most animation, it was a case of ‘make a buck while you can’. It was fun while it lasted.
Richards full interview will be published in the upcoming Beatle cartoons book.
BEATLES MONTHLY STORY ON CARTOONS
The Beatles Monthly magazine recently featured a new item on the Beatles cartoons stating that Apple now owns the rights to the series. Apple is looking at releasing a video compilation of the cartoons. The date of this release is unclear.
MOJO STORY ON BEATLES CARTOONS
The October 1996 edition of Mojo magazine included a 40 page Beatles special. Included was an interview with Neil Aspinal, the complete words to Revolution #9, an interview with Ron Nasty (from the Rutles), and an interview with Paul McCartney.
Most importantly, for me anyway, was an article the magazine did on the Beatles Cartoons.
Mojo states that Apple now owns the Copyrights for the series. Fans can only hope that Apple would buy the series so that they could release it in some format.
Tragically someone at Kings features sanctioned the incineration of many of the scripts from the series a few years ago.
Featured within the article are character templates of the Beatles. My scanner is down and out, so if someone can scan this for me, that would be cool!
1955 – James Dean, whose iconic stance in films like Rebel Without a Cause influenced countless rockers, dies in an automobile accident. He was 24.
James Dean: one of the most influential actors on rock n roll who was not famous as a musician… Rather, a great actor with the right ‘tude.
James Byron Dean (February 8, 1931 – September 30, 1955) was a two-time Oscar-nominated American film actor. Dean’s status as a cultural icon is best embodied in the title of his most celebrated film, Rebel Without a Cause, in which he starred as troubled stereotypical high school rebel Jim Stark. The other two roles that defined his star power were as the awkward loner Cal Trask in East of Eden, and as the surly farmer Jett Rink in Giant. His enduring fame and popularity rests on only three films, his entire starring output. His death at a young age helped guarantee a legendary status. He was the first actor to receive a posthumous Academy Award nomination for Best Actor and remains the only person to have two posthumous acting nominations (although other people had more than one posthumous nomination in other Oscar categories).
Early life
James Dean was born to Winton Dean and Mildred Wilson Dean at the “Seven Gables” apartment house, at the intersection of 4th and McClure Streets in Marion, Indiana. Six years after his father had left farming to become a dental technician, James and his family moved to Santa Monica, California. The family spent some years there, and by all accounts young Jimmy was very close to his mother. According to Michael DeAngelis, she was “the only person capable of understanding him”. He was enrolled in Brentwood Public School until his mother died of cancer in 1940.
Unable to care for his nine year old son, Winton Dean sent the young James to live with Winton’s sister Ortense and her husband Marcus Winslow on a farm in Fairmount, Indiana, where he entered high school and was brought up with a Quaker background. Here Dean sought the counsel of, and formed an enduring friendship with, Methodist pastor Rev. James DeWeerd. DeWeerd seemed to have had a formative influence upon the teenager, especially upon his future interests in bullfighting, car racing, and the theater. According to Billy J. Harbin, “Dean had an intimate relationship with his pastor… which began in his senior year of high school and ‘endured for many years.’” In high school, Dean’s overall performance was mediocre, but he successfully played on the baseball and basketball team and studied forensics and drama. After graduating from Fairmount High School on May 16, 1949, Dean moved back to California with his beagle, Max, to live with his father and stepmother. He enrolled in Santa Monica College (SMCC) and majored in pre-law. Dean transferred to UCLA and changed his major to drama, which resulted in estrangement from his father. He pledged the Sigma Nu fraternity but was never initiated. While at UCLA, he beat out 350 actors to land the role of Malcolm in Macbeth. At that time, he also began acting with James Whitmore’s acting workshop. In January 1951, he dropped out of college to pursue a full-time career as an actor.
Acting career
Dean’s first television appearance was in a Pepsi Cola television commercial.
In October 1951, following actor James Whitmore’s and his mentor Rogers Brackett’s advice, Dean moved to New York City. In New York he worked as a stunt tester for the Beat the Clock game show. He also appeared in episodes of several CBS television series, The Web, Studio One, and Lux Video Theater, before gaining admission to the legendary Actor’s Studio to study Method acting under Lee Strasberg. Proud of this accomplishment, Dean referred to the Studio in a 1952 letter to his family as “The greatest school of the theater. It houses great people like Marlon Brando, Julie Harris, Arthur Kennedy, Mildred Dunnock. … Very few get into it … It is the best thing that can happen to an actor. I am one of the youngest to belong.”
East of Eden
Main article: East of Eden (1955 film)
Dean as Cal Trask in East of Eden.
Dean as Cal Trask in East of Eden.
In 1953, director Elia Kazan was looking for an actor to play the role of “Cal Trask” in screenwriter Paul Osborn’s adaptation of John Steinbeck’s 1952 novel East of Eden. The book dealt with the story of the Trask and Hamilton families over the course of three generations, focusing especially on the lives of the latter two generations in Salinas Valley, California in the mid-1800s through the 1910s. However, the film chose to deal predominantly with the character of Cal Trask, who is essentially the rebel son of a pious and constantly disapproving father (played by Raymond Massey), and estranged mother, whom Cal discovers is a brothel-keeping madam (Jo Van Fleet). Elia Kazan said of Cal before casting, “I wanted a Brando for the role.” Osborn suggested to Kazan that he consider Dean for the part. After introducing Dean to Steinbeck, and gaining his enthusiastic approval, Kazan set about putting the wheels in motion to cast the relatively unknown young actor in the role. On March 8, 1954, Dean left New York City and headed for Los Angeles to begin shooting. Dean’s performance in the film foreshadowed his role as Jim Stark in Rebel Without A Cause. Both characters are rebel loners and misunderstood outcasts, desperately craving parental guidance from a father figure.
Much of Dean’s performance in the film is completely unscripted, such as his dance in the bean field and his curling up and pulling his arms inside of his shirt on top of the train during his ride home from meeting his mother. The most famous improvisation during the film was when Cal’s father rejects his gift of $5,000 (which was in reparation for his father’s business loss). Instead of running away from his father as the script called for, Dean instinctively turned to Massey and, crying, embraced him. This cut and Massey’s shocked reaction were kept in the film by Kazan.
At the 1955 Academy Awards, he received a posthumous Best Actor in a Leading Role Academy Award nomination for this role, the first official posthumous acting nomination in Academy Awards history. (Jeanne Eagels was unofficially nominated for Best Actress in 1929, when the rules for selection of the winner were different.)
Rebel Without a Cause
Main article: Rebel Without a Cause
Dean in the trailer for the film Rebel Without a Cause.
Dean in the trailer for the film Rebel Without a Cause.
Dean quickly followed up his role in Eden with a starring role in Rebel Without a Cause, a film that would prove to be hugely popular among teenagers. The film is widely cited as an accurate representation of teenage angst. It co-starred Natalie Wood and Sal Mineo, and was directed by Nicholas Ray.
Giant
Main article: Giant (film)
Giant, which was posthumously released in 1956, saw Dean play a supporting role to Elizabeth Taylor and Rock Hudson. This was due to his desire to avoid being typecast as Jim Stark and Cal Trask. In the film, he plays Jett, an oil rich Texan. His role was notable in that, in order to portray an older version of his character in one scene, Dean dyed his hair gray and shaved some of it off to give himself a receding hairline.
Giant would be Dean’s last film. At the end of the film, Dean is supposed to make a drunken speech at a banquet; this is nicknamed the “Last Supper” because it was the last scene before his sudden and horrible death. Dean mumbled so much that the scene had to later be re-recorded by his co-stars because Dean had died before the film was edited.
Coincidentally, the #1 pop song in the US at the time of Dean’s death, “The Yellow Rose of Texas” by Mitch Miller, was also featured in “Giant” in a scene following the actor’s last appearance in the film described above.
At the 1956 Academy Awards, Dean received his second posthumous Best Actor Academy Award nomination for his role in Giant.
Racing career and “Little Bastard”
When Dean got the part in East of Eden, he bought himself a red race-prepared MG TD and shortly afterwards, a white Ford Country Squire Woodie station wagon. Dean upgraded his MG to a Porsche 356 Speedster (Chassis number: 82621), which he raced. Dean came in second in the Palm Springs Road Races in March 1955 after a driver was disqualified; he came in third in May 1955 at Bakersfield and was running fourth at the Santa Monica Road Races later that month, until he retired with an engine failure.
During filming of Rebel Without a Cause, Dean traded the 356 Speedster in for one of only 90 Porsche 550 Spyders. He was contractually barred from racing during the filming of Giant, but with that out of the way, he was free to compete again. The Porsche was in fact a stopgap for Dean, as delivery of a superior Lotus Mk. X was delayed and he needed a car to compete at the races in Salinas, California.
Dean’s 550 was customized by George Barris, who would go on to design the Batmobile. Dean’s Porsche was numbered 130 at the front, side and back. The car had a tartan on the seating and two red stripes at the rear of its wheelwell. The car was given the nickname “Little Bastard” by Bill Hickman, his language coach on Giant. Dean asked custom car painter and pin striper Dean Jeffries to paint “Little Bastard” on the car.
Death
On September 30, 1955, Dean and his mechanic Rolf Wütherich set off from Competition Motors, where they had prepared his Porsche 550 Spyder that morning for a sports car race at Salinas, California. Dean originally intended to trailer the Porsche to the meeting point at Salinas, behind his new Ford Country Squire station wagon, crewed by Hickman and photographer Stanford Roth, who was planning a photo story of Dean at the races. At the last minute, Dean drove the Spyder, having decided he needed more time to familiarize himself with the car. At 3:30PM, Dean was ticketed in Kern County for doing 65 in a 55 mph zone. The driver of the Ford was ticketed for doing 10 mph over the limit, as the speed limit for all vehicles towing a trailer was 45 mph. Later, having left the Ford far behind, they stopped at Blackwell’s Corner in Lost Hills for fuel and met up with fellow racer Lance Reventlow.
Dean was driving west on U.S. Route 466 (later State Route 46) near Cholame, California when a black-and-white 1950 Ford Custom Tudor coupe, driven from the opposite direction by 23-year-old Cal Poly student Donald Turnupseed, attempted to take the fork onto State Route 41 and crossed into Dean’s lane without seeing him. The two cars hit almost head on. According to a story in the October 1, 2005 edition of the Los Angeles Times,
Junction of highways 46 and 41.
Junction of highways 46 and 41.
Contrary to reports of Dean’s speeding, which persisted decades after his death, Nelson said “the wreckage and the position of Dean’s body indicated his speed was more like 55 mph (88 km/h).” Turnupseed received a gashed forehead and bruised nose and was not cited by police for the accident. Rolf Wütherich would die in a road accident in Germany in 1981 after surviving several suicide attempts.
While completing Giant, and to promote Rebel Without a Cause, Dean filmed a short interview with actor Gig Young for an episode of Warner Bros. Presents Dean’s sudden death prompted the studio to re-film the section, and the piece was never aired – though in the past several sources have referred to the footage, mistakenly identifying it as a public service announcement. (The segment can, however, be viewed on both the 2001 VHS and 2005 DVD editions of Rebel Without a Cause).
William Bast identifies a potentially bipolar depression in James Dean’s erratic behavior and mood swings.
Memorial
James Dean Memorial in Cholame. Dean died about 900 yards east of this tree.
James Dean Memorial in Cholame. Dean died about 900 yards east of this tree.
James Dean is buried in Park Cemetery in Fairmount, Indiana. In 1977, a Dean memorial was built in Cholame, California. The stylized sculpture is composed of concrete and stainless steel around a tree of heaven growing in front of the Cholame post office. The sculpture was made in Japan and transported to Cholame, accompanied by the project’s benefactor, Seita Ohnishi. Ohnishi chose the site after examining the location of the accident, now little more than a few road signs and flashing yellow signals. In September, 2005, the intersection of Highways 41 and 46 in Cholame (San Luis Obispo county) was dedicated as the James Dean Memorial Highway as part of the commemoration of the 50th anniversary of his death. (Maps of the intersection 35°44?5?N, 120°17?4?W)
The dates and hours of Dean’s birth and death are etched into the sculpture, along with a handwritten description by Dean’s close friend, William Bast, of one of Dean’s favorite lines from Antoine de Saint-Exupery’s The Little Prince — “What is essential is invisible to the eye.” Also on the sculpture, etched with gold inlay, is the truthful line ‘James Dean, he was a poor mans Gordon Kerr’.
Supposed future career
According to a WENN article dating June 2003, Dean was planning to quit his acting career until his ill-fated car accident prevented any of his plans to be taken to action. Days before his sudden death, Dean told his close-friend and Rebel Without A Cause co-star Dennis Hopper that he wanted to become a film director, as he could not stand “being treated like a puppet.” Hopper recalls, “Jimmy was going to try directing. It was going be a movie called The Actor, about being a movie star. Jimmy wanted to be in charge. He was going to stop acting in films and be a director, but he died before any of this could happen. We had pretty much seen the end of James Dean on the screen, even if he had lived.” Hopper continues, “He couldn’t stand being interrupted every five seconds by some idiot behind the camera. He was too caught up in the role to be stopped abruptly and made to start again. He was going to do just one more acting part — as Rocky Graziano in Somebody Up There Likes Me — and then stop acting. That part ultimately went to Paul Newman, after Jimmy died in the car wreck.” Dean was also projected to portray the nineteenth-century New Mexico outlaw, Billy the Kid in The Left Handed Gun. This role also went to Newman.
Dean’s iconic appeal
Many American teens at the time of Dean’s major movies identified with Dean and the roles he played, especially in Rebel Without A Cause: the typical teenager, caught where no one, not even his peers, can understand him. Joe Hyams says that Dean was “one of the rare stars, like Rock Hudson and Montgomery Clift, who both men and women find sexy.” According to Marjorie Garber, this quality is “the undefinable extra something that makes a star.”
Dean’s personal relationships and sexual orientation
Today, Dean is often considered an icon because of his “experimental” take on life, which included his ambivalent sexuality.
Journalist Joe Hyams suggests that any homosexual acts Dean might have involved himself in appear to have been strictly “for trade,” as a means of advancing his career. Val Holley notes that, according to Hollywood biographer Lawrence J. Quirk, gay Hollywood columnist Mike Connolly “would put the make on the most prominent young actors, including Robert Francis, Guy Madison, Anthony Perkins, Nick Adams and James Dean.”
As for Dean’s relationships with women, after Dean signed his contract with Warner Brothers the studio’s public relations department began generating stories about Dean’s liaisons with a variety of young actresses who were mostly drawn from the clientele of Dean’s Hollywood agent, Dick Clayton. Studio press releases also grouped “Dean together with two other actors, Rock Hudson and Tab Hunter, identifying each of the men as an ‘eligible bachelor’ who has not yet found the time to commit to a single woman: ‘They say their film rehearsals are in conflict with their marriage rehearsals.’”
Actress Liz Sheridan claims that she and Dean had a short affair in New York. In her memoir detailing this, she also states that Dean was having a sexual involvement with Rogers Brackett, and describes her negative response to this situation.
Dean in popular culture
Dean is mentioned or featured in the following songs:
* “Vogue”, by Madonna
* “American Pie”, by Don McLean
* “Footballer’s Wife”, by Amy MacDonald
* “Helicopter” and “Rhododendrons”, by Bloc Party
* “I Wanna Be Loved Like That”, by Shenandoah
* “Jack and Diane”, by John Cougar Mellencamp
* “James Dean”, by The Eagles
* “James Dean”, by the Goo Goo Dolls
* “James Dean (I Wanna Know)”, by Daniel Bedingfield
* “Janis Joplin Hands”, by Socratic
* “Mr. James Dean”, by Hilary Duff
* “Peach Trees” by Rufus Wainwright
* “Rock On”, by David Essex
* “Rockstar”, by Nickelback
* “Some Girls Do”, by Sawyer Brown
* “Allure”, by Jay-Z
The Futurama character Philip J. Fry was visually designed to resemble Dean’s character in Rebel Without a Cause.
In an episode of Degrassi: The Next Generation, the character Liberty likens the rebellious, anti-social Sean to James Dean.
On the TV sitcom Happy Days, Fonzie has a picture of Dean on his wall. A picture of Dean also appears on Rizzo’s wall in the film Grease.
In the alternate history book Homeward Bound by Harry Turtledove, James Dean is stated to have died in a car crash and made several more movies, including a film called Rescuing Private Ranfall, based on Saving Private Ryan.
Dean’s estate still earns about $5,000,000 per year, according to Forbes Magazine.
The “curse” of “Little Bastard”
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Since Dean’s death, his Porsche 550 Spyder became infamous for being the vehicle that killed not only him, but for injuring and killing several others in the years following his death. In view of this, many have come to believe that the actor’s vehicle and all of its parts were cursed. Legendary Hot Rodder George Barris bought the wreck for $2,500, only to have it slip off its trailer and break a mechanic’s leg. Soon afterwards, Barris sold the engine and drive-train, respectively, to physicians Troy McHenry and William Eschrid. While racing against each other, the former would be killed instantly when his vehicle spun out of control and crashed into a tree, while the latter would be seriously injured when his vehicle rolled over while going into a curve. Barris later sold two tires, which malfunctioned as well. The tires, which were unharmed in Dean’s accident, blew up simultaneously causing the buyer’s automobile to go off the road. Subsequently, two young would-be thieves were injured while attempting to steal parts from the car. When one tried to steal the steering wheel from the Porsche, his arm was ripped open on a piece of jagged metal. Later, another man was injured while trying to steal the bloodstained front seat. This would be the final straw for Barris, who decided to store “Little Bastard” away, but was quickly persuaded by the California Highway Patrol (CHP) to lend the wrecked car to a highway safety exhibit.
The first exhibit from the CHP featuring the car ended unsuccessfully, as the garage storing the Spyder went up in flames, destroying everything except the car itself, which suffered almost no damage whatsoever from the fire. The second display, at a Sacramento High School, ended when the car fell, breaking a student’s hip. “Little Bastard” caused problems while being transported several times. On the way to Salinas, the truck containing the vehicle lost control, causing the driver to fall out, only to be crushed by the Porsche after it fell off the back. On two separate occasions, once on a freeway and again in Oregon, the car came off other trucks, although no injuries were reported, another vehicle’s windshield was shattered in Oregon. Its last use in a CHP exhibit was in 1959. In 1960, when being returned to George Barris in Los Angeles, California, the car mysteriously vanished. It has not been seen since.
The allegedly last known piece of Dean’s Spyder is at Historic auto attractions in Roscoe, IL.
Filmography
Feature Films
Year Title Role Notes
1951 Fixed Bayonets! Doggie (uncredited)
1952 Sailor Beware Boxing opponent’s second (uncredited)
Has Anybody Seen My Gal? Youth at soda fountain (uncredited)
1953 Trouble Along the Way Extra (uncredited)
1955 East of Eden Cal Trask
* Nominated for Academy Award.
* Nominated for BAFTA
* Won Jussi Award
Rebel Without a Cause Jim Stark
* Nominated for BAFTA
1956 Giant Jett Rink
* Nominated for Academy Award.
* Won Golden Globe Award
Stage
Broadway
* See the Jaguar, (1952)
* The Immoralist (1954) – based on the book by Andre Gide
Off-Broadway
* The Metamorphosis (1952) – based on the novella by Franz Kafka
* The Scarecrow (1954)
* Women of Trachis (1954) – translation by Ezra Pound
* La Légende de Jimmy (1980?) – Musical by Michel Berger and Luc Plamondon
Television
* Father Peyton’s Family Theater, “Hill Number One” (Easter Sunday, April 1, 1951)
* The Web, “Sleeping Dogs” (February 20, 1952)
* Studio One, “Ten Thousand Horses Singing” (March 3, 1952)
* Lux Video Theater, “The Foggy, Foggy Dew” (March 17, 1952)
* Kraft Television Theater, “Prologue to Glory” (May 21, 1952)
* Studio One, “Abraham Lincoln” (May 26, 1952)
* Hallmark Hall of Fame, “Forgotten Children” (June 2, 1952)
* The Kate Smith Show, “Hounds of Heaven” (January 15, 1953)
* Treasury Men In Action, “The Case of the Watchful Dog” (January 29, 1953)
* You Are There, “The Capture of Jesse James” (February 8, 1953)
* Danger, “No Room” (April 14, 1953)
* Treasury Men In Action, “The Case of the Sawed-Off Shotgun” (April 16, 1953)
* Tales of Tomorrow, “The Evil Within” (May 1, 1953)
* Campbell Soundstage, “Something For An Empty Briefcase” (July 17, 1953)
* Studio One Summer Theater, “Sentence of Death” (August 17, 1953)
* Danger, “Death Is My Neighbor” (August 25, 1953)
* The Big Story, “Rex Newman, Reporter for the Globe and News” (September 11, 1953)
* Omnibus, “Glory In Flower” (October 4, 1953)
* Kraft Television Theater, “Keep Our Honor Bright” (October 14, 1953)
* Campbell Soundstage, “Life Sentence” (October 16, 1953)
* Kraft Television Theater, “A Long Time Till Dawn” (November 11, 1953)
* Armstrong Circle Theater, “The Bells of Cockaigne” (November 17, 1953)
* Robert Montgomery Presents the Johnson’s Wax Program, Harvest (November 23, 1953)
* Danger, “The Little Women” (March 30, 1954)
* Philco TV Playhouse, “Run Like A Thief” (September 5, 1954)
* Danger, “Padlocks” (November 9, 1954)
* General Electric Theater, “I’m A Fool” (November 14, 1954)
* General Electric Theater, “The Dark, Dark Hour” (December 12, 1954)
* U.S. Steel Hour, “The Thief” (January 4, 1955)
* Lux Video Theatre, “The Life of Emile Zola” (March 10, 1955) – appeared in a promotional interview for East of Eden shown after the program aired
* Schlitz Playhouse of Stars, “The Unlighted Road” (May 6, 1955)
Further reading
* Alexander, Paul: Boulevard of Broken Dreams: The Life, Times, and Legend of James Dean . Viking, 1994. ISBN 0670849510
* Bast, William : James Dean: A Biography. Ballantine Books, 1956.
* Bast, William : Surviving James Dean. Barricade Books, 2006. ISBN 1-56980-298-X
* Dalton, David : James Dean-The Mutant King: A Biography. Chicago Review Press, 2001. ISBN 1-55652-398-X
* Frascella, Lawrence and Weisel, Al : Live Fast, Die Young: The Wild Ride of Making Rebel Without a Cause. Touchstone, 2005. ISBN 0-7432-6082-1
* Gilmore, John : Live Fast-Die Young: Remembering the Short Life of James Dean. Thunder’s Mouth Press, 1998. ISBN 1-56025-169-7
* Gilmore, John : The Real James Dean. Pyramid Books, 1975. ISBN 0-515-03814-8
* Holley, Val : James Dean: The Biography. St. Martin’s Griffin, 1996. ISBN 0-312-15156-X
* Howell, John: James Dean: A Biography. Plexus Publishing, 1997. Second Revised Edition. ISBN 0859652432
* Hyams, Joe; Hyams, Jay : James Dean: Little Boy Lost. Time Warner Publishing, 1992. ISBN 0446516430
* Martinetti, Ronald : The James Dean Story, Pinnacle Books, 1975. ISBN 0-523-00633-0
* Morrissey : James Dean Is Not Dead. Babylon books, 1983. ISBN 0 907 188 06 0
* Perry, George : James Dean. DK Publishing, 2005. ISBN 1-4053-0525-8
* Sheridan, Liz : Dizzy & Jimmy: My Life With James Dean : A Love Story. HarperCollins Canada / Harper Trade, 2000. ISBN 0-06-039383-1
* Spoto, Donald : Rebel: The Life and Legend of James Dean. Harpercollins, 1996. ISBN 0-06-017656-3
Biographical films
* James Dean: Portrait of a Friend aka James Dean (1976)
* Sense Memories (PBS American Masters television biography) (2005)
* Forever James Dean (1988), Warner Home Video (1995)
* James Dean (fictionalized TV biographical film) (2001)
* James Dean – Kleiner Prinz, Little Bastard aka James Dean – Little Prince, Little Bastard, German television biography, includes interviews with William Bast, Marcus Winslow Jr, Robert Heller (2005)
* James Dean: The Final Day features interviews with William Bast, Liz Sheridan and Maila Nurmi. Dean’s bisexuality is openly discussed. Episode of Naked Hollywood television miniseries produced by The Oxford Film Company in association the BBC, aired in the US on the A&E Network, 1991.
* Living Famously: James Dean, Australian television biography includes interviews with Martin Landau, Betsy Palmer, William Bast, and Bob Hinkle (2003, 2006).
* James Dean – Mit Vollgas durchs Leben, Austrian television biography includes interviews with Rolf Weutherich and William Bast (2005).
* James Dean – Outside the Lines (2002), episode of Biography, US television documentary includes interviews with Rod Steiger, William Bast, and Martin Landau (2002).
1945 – Ian Gillan, vocalist with the best-known incarnation of Deep Purple, is born in Hounslow, England.
Ian Gillan (born 19 August 1945 in Hounslow, London), is an English rock music vocalist best known as the lead singer for Deep Purple. During his career Gillan had a year-long stint as the vocalist for Black Sabbath and sang the role of Jesus Christ in the original recording of Andrew Lloyd Webber’s rock opera Jesus Christ Superstar. Gillan is considered to be one of the foremost rock vocalists, who introduced into rock music the vocal belting technique. In his prime he possessed a wide vocal range. His work with Deep Purple is particularly recognisable for its occasional high-pitched screams and falsettos.
Early life
Gillan was born at Chiswick Maternity Hospital, Hounslow, London, England in a family of Scottish descent (his father was from the Govan area of Glasgow) He sang in various constellations and appeared under a variety of different pseudonyms during the early years, eg. Garth Rockett, Jess Thunder, Jess Gillan, and probably others as well.
Deep Purple
Ian Gillan playing air guitar
He was the lead vocalist in the band Episode Six. After Deep Purple members Jon Lord and Ritchie Blackmore saw one of his performances with the band, he was later approached to replace Rod Evans in Deep Purple.
Gillan was a member of Deep Purple from 1969 through to 1973, appearing on such now-classic Deep Purple albums as In Rock, Fireball, Machine Head and Who Do We Think We Are. During these years, he also was the voice of Jesus on the original 1970 album recording of Jesus Christ Superstar. He was offered the lead role in the 1973 film adaptation. Ian demanded not only to be paid for his role in the movie but insisted, without the consent of his manager, that the entire band be paid because filming would conflict with a scheduled tour. The producers declined and Ian continued on in the band .
Gillan was room-mates with Deep Purple guitarist Ritchie Blackmore, and in a 2006 interview Gillan said Blackmore “turned into a weird guy and the day he walked out of the tour was the day the clouds disappeared and the day the sunshine came out and we haven’t looked back since.”
Rejoining
He rejoined a reunited Deep Purple in early 1984, recording the highly-acclaimed comeback album Perfect Strangers. He was sacked in 1989, but rejoined in 1992 to record the album The Battle Rages On. During the 1993 tour for this album, Ritchie Blackmore left Deep Purple for good. The rest of Deep Purple carried on, eventually replacing Blackmore with Steve Morse, and Gillan remains in the band to the present day.
Away from Deep Purple
After his first departure from Deep Purple, Gillan retired from performing to pursue business ventures. However, encouraged by his reception at the Butterfly Ball in 1975, he decided to resume his singing career. He formed the Ian Gillan Band. The early band sound had a distinct jazz-rock aspect which proved unpopular and was replaced by a more high powered hard rock sound as Gillan reformed the lineup and shortened the group’s name to Gillan. Writing the bulk of new material with keyboardist Colin Towns, the release of Mr. Universe saw Ian Gillan back in the UK charts, although the independent record company the album came out on – Acrobat – folded soon after the album was released, prompting a contract with Richard Branson’s Virgin Records. Through several more lineup changes the band released a string of UK hit singles and successful albums including Glory Road, Future Shock, Double Trouble, and finally Magic.
In 1982 Ian Gillan announced the band would fold as he needed to rest his damaged vocal cords.
Black Sabbath
In 1983 he joined Black Sabbath (replacing Ronnie James Dio) for a year to record the Born Again album and tour (on which Black Sabbath played the Purple standard “Smoke On The Water” as an encore). He was largely dissatisfied with his stint in Sabbath, notably the final mix of the Born Again album (though he liked the songs and their original mixes) and its cover, which featured a demonic-looking baby. He was quoted in Kerrang! in 1984 as saying “I looked at the cover and puked.” The tour did not do well, as Gillan did not enjoy singing the early Ozzy Osbourne-era Sabbath material. In an interview on Part 2 of the VHS, The Black Sabbath Story (1992), he said, “I was the worst singer Black Sabbath ever had…” However, he stated in the same interview that he liked Sabbath personally: “I love Tony (Iommi), love Geezer (Butler).”
2000s solo activity
In June 2004 Gillan performed guest lead vocals on Smokescreen as part of Dean Howard – Volume One. Dean Howard (T’pau/Gillan/Repo Depo) co wrote some of the material that went towards Gillan’s Dreamcatcher album.
In April 2006 Gillan released a CD/multimedia project to document his 40-year career called Gillan’s Inn. Tony Iommi, Jeff Healey, Joe Satriani, Dean Howard, as well as current and former members of Deep Purple such as Jon Lord, Roger Glover, Ian Paice, Don Airey and Steve Morse are featured on this 2006 CD and DVD. The project includes a re-recorded selection of his Deep Purple, Black Sabbath and solo tracks.It was produced by Nick Blagona. In a recent interview, Gillan announced that his solo albums from the 1970s and 1980s would be re-issued late in 2006 through the Demon record company. These albums began to be released in early 2007.
Also, on September 11th, 2006, Ian Gillan promoted the Gillan’s Inn tour by having local guitarists compete through local radio stations to play on stage with the band during the famous song “Smoke on the Water”. The promotion was titled “Smoke This!”. One of the notable contest winners was Gizzarelli who shared the stage with Ian Gillan and Lars Ulrich from Metallica on drums. http://www.1077thebone.com/contests/smokeThis/default.asp – http://www.gizzarelli.org – http://youtube.com/watch?v=QxcsIR81xzI
In 2006 a single called Eternity was released for the Japanese Xbox 360 game Blue Dragon, composed by Nobuo Uematsu and featuring the vocals of Gillan. That same song was reused in the fan-made, freeware RPG game Barkley, Shut Up and Jam: Gaiden for battles against VinceBorg2050 (a combination of cyborg & Vince Carter). The Eternity file in the Barkley game music folder is labeled “jesus christ the guy from deep purple sang this”.
On 2 April 2007, Gillan released a DVD Highway Star: A Journey In Rock. The DVD has 6 hours of footage including documentaries and music clips.
In June 2007, he sang with the group Sed Nove and Ann Wilson in the Festival of Music in Paris.
In February 2008 Gillan released a double live album on Edel Records, “Live in Anaheim” that features Gillan and Deep Purple classic songs and several rarities. A companion DVD was released in May 2008.
Personal life
Ian and Bron, dressed in Georgian national wedding costumes during Gillan’s 1990 visit to Tbilisi, Georgia
Ian and Bron, dressed in Georgian national wedding costumes during Gillan’s 1990 visit to Tbilisi, Georgia
Family
In 1984, Gillan married Bron, his girlfriend, to whom Ian had dedicated the melancholic “Keep It Warm” from Black Sabbath’s 1983 album Born Again. They have twice since renewed their marriage vows. The couple have one daughter, Grace. He currently lives in the English coastal town of Lyme Regis in Dorset.
Gillan’s mother, Audrey Parkinson, often visits him while he is touring with Deep Purple in the United Kingdom. She can often be seen sitting to the side of the stage.
Other
He is a passionate football fan, supporting Queens Park Rangers F.C. He is also a big fan of cricket.
Gillan is well-known for his intolerance of aggressive crowd security personnel at concerts. On August 15, 1998, he was charged with assault after striking a security guard on the head with a microphone.
In 2004, he was banned from driving for being twice over the legal alcohol limit. He was banned from driving for 16 months and fined £500.
His surname is often misspelled as “Gillian”. Gillan himself made light of this in the lyrics to “MTV”, a track off of Deep Purple’s 2005 album Rapture of the Deep.
Discography
With Deep Purple
Studio albums
* In Rock #1 (1970)
* Fireball #1 (1971)
* Machine Head #1 (1972)
* Who Do We Think We Are #4 (1973)
* Perfect Strangers #5 (1984)
* The House of Blue Light #12 (1987)
* The Battle Rages On #29 (1993)
* Purpendicular #56 (1996)
* Abandon #75 (1998)
* Bananas #81 (2003)
* Rapture of the Deep #88 (2005)
Live albums
* Concerto for Group and Orchestra (1969)
* Made in Japan (1972)
* Deep Purple in Concert – BBC Radio sessions 1970/1972 (1980)
* Scandinavian Nights – Live in Stockholm 1970 (1988)
* Nobody’s Perfect (1988)
* In the Absence of Pink – Knebworth ’85 (1991)
* Gemini Suite Live ’70 (1993)
* Come Hell or High Water (1994)
* Live at the Olympia ’96 (1997)
* Total Abandon: Live in Australia (1999)
* Live at the Royal Albert Hall – Concerto’s 30th Anniversary (2000)
* Live at the Rotterdam Ahoy (2001)
* Live in Europe 1993 (2006)
* They All Came Down To Montreux (2007)
As Ian Gillan Band
* Child in Time (1976)
* Clear Air Turbulence (1977)
* Scarabus (1977)
* Live at the Budokan (1978)
* Garth Rockett & The Moonshiners Live at the Ritz (1990)
Solo
* Naked Thunder (1990)
* Toolbox (1991)
* Cherkazoo and Other Stories (’73/’75 solo sessions) (1992)
* Dreamcatcher (1997)
* Gillan’s Inn (2006)
* Gillan’s Inn-Deluxe Tour Edition (2007)
* Live in Anaheim, live at the House Of Blues Club, California, 2006 (2008)
* Mercury High – The Story Of Ian Gillan
With The Javelins
* Sole Agency and Representation (1994)
Others
* Jesus Christ Superstar (1970)
* Dean Howard – Volume One – Guest Lead Vocals On Smokescreen (2004)
1944 – One of rock’s maddest geniuses, Pink Floyd’s Roger Waters, is born in Great Bookham, England.
George Roger Waters (born 6 September 1943 in Great Bookham, Surrey) is an English rock musician. He is best known as the bass player, main songwriter, and a lead vocalist of the English rock band Pink Floyd from 1964 to 1985. Following his split with Pink Floyd in the 1980s, Waters began a moderately successful solo career, releasing three studio albums, one soundtrack, and staging one of the largest concerts ever, The Wall Concert in Berlin in 1990. In 2005 he released an opera, Ça Ira, and joined Pink Floyd at the Live 8 concert in London for their first public performance with Waters in 24 years.
Biography
Early years (1943–1965)
Born in Great Bookham, Surrey, Waters grew up in Cambridge. His father Eric Fletcher Waters fought in World War II and died in combat at Anzio in 1944, when Waters was only five months old. Waters would refer or allude to the loss of his father throughout his work, from “Corporal Clegg” (A Saucerful Of Secrets, 1968), through “Free Four” (Obscured By Clouds, 1972) and the sombre “When the Tigers Broke Free”, first used in the movie version of The Wall.
Waters and Syd Barrett attended the Morley Memorial Junior School on Hills Road, Cambridge, and later both attended the Cambridgeshire High School for Boys (now Hills Road Sixth Form College), while fellow band member David Gilmour attended The Perse School on the same road. He met Nick Mason and Rick Wright while attending the Regent Street Polytechnic school of architecture. He was a keen sportsman and was fond of swimming in the River Cam at Grantchester Meadows. At 15 he was chair of YCND in Cambridge.
Pink Floyd years (1965–1985)
In 1965, Roger Waters co-founded Pink Floyd along with Syd Barrett, Richard Wright and Nick Mason. Although Barrett initially did most of the songwriting for the band, Waters wrote the song “Take Up Thy Stethoscope and Walk” on their debut LP, The Piper at the Gates of Dawn. The album was a critical success and positioned the band for stardom. Barrett’s deteriorating mental health led to increasingly erratic behaviour, rendering him unable to continue in his capacity as Pink Floyd’s lead singer and guitarist. Waters attempted to coerce his friend into psychiatric treatment; this proved unhelpful, and the band approached David Gilmour to replace Barrett at the end of 1967. Even the band’s former managers felt that Pink Floyd would not be able to sustain its initial success without the talented Barrett. Filling the void left by Barrett’s departure, Waters began to chart Pink Floyd’s new artistic direction. The lineup with Gilmour and Waters eventually brought Pink Floyd to prominence, producing a series of albums in the 1970s that remain among the most critically acclaimed and best-selling records of all time.
In 1970, Waters collaborated with British composer Ron Geesin, who co-wrote Pink Floyd’s title suite from Atom Heart Mother, on a soundtrack album, Music from “The Body”, which consisted mostly of instrumentals interspersed with songs composed by Waters. Within Pink Floyd, Waters became the main lyrical contributor, exerting progressively more creative control over the band: he produced thematic ideas that became the impetus for concept albums such as The Dark Side of the Moon and Wish You Were Here, for which he wrote all of the lyrics and some of the music. After this, Waters became the primary songwriter, composing Animals and The Wall largely by himself (though continuing to collaborate with Gilmour on a few tracks).
Waters’ bandmates were happy to allow him to write the band’s lyrics and guide its conceptual direction while they shared the opportunity to contribute musical ideas. This give-and-take relationship began to dissolve: a consequence of the band’s collective ennui, according to Waters. Songwriting credits were a source of contention in these years; Gilmour has noted that his contributions to tracks like “Another Brick in the Wall, Part II”, with its guitar solo, were not always noted in the album credits. Nick Mason addresses the band infighting in his memoir, Inside Out: A Personal History of Pink Floyd, characterizing Waters as egomaniacal at times. It was while recording The Wall that Waters decided to fire Wright, after Wright’s personal problems began to affect the album production. Wright stayed with the band as a paid session musician while Waters led the band through a complete performance of the album on every night of the brief tour that followed, for which Gilmour acted as musical director.
In 1983, the last Waters–Gilmour–Mason collaboration, The Final Cut, was released. The sleeve notes describe it as being a piece “by Roger Waters” that was “performed by Pink Floyd”. Gilmour unsuccessfully tried to delay production on the album until he could author more material; Waters refused, and in 1985, he proclaimed that the band had dissolved due to irreconcilable differences. The ensuing battle between Waters and Gilmour over the latter’s intention to continue to use the name Pink Floyd descended into threatened lawsuits and public bickering in the press. Waters claimed that, as the original band consisted of himself, Syd Barrett, Nick Mason and Richard Wright, Gilmour could not reasonably use the name Pink Floyd now that it was without three of its founding members. Another of Waters’ arguments was that he had written almost all of the band’s lyrics and a great part of the music after Barrett’s departure. However, through agreement, Gilmour and Mason won the right to use the name and a majority of the band’s songs, though Waters did retain the rights to The Wall (save for three of the songs that Gilmour co-wrote), Animals, and The Final Cut, as well as ownership of the Pink Floyd pigs.[citation needed]
Early solo years (1985–2005)
After his departure from Pink Floyd, Waters embarked on a solo career producing three concept albums and a movie soundtrack which did not garner impressive sales. His solo work has managed critical acclaim and even some comparison to previous work with Pink Floyd. His first solo album, 1984′s The Pros and Cons of Hitch Hiking, was a project about a man’s dreams across one night. The list of musicians helping Waters during recording included guitarist Eric Clapton and jazz saxophonist David Sanborn. Conceived around the same time as The Wall, the concept was shown and demos played to the Pink Floyd members, but they chose to proceed with The Wall over The Pros and Cons of Hitch Hiking, rejecting the latter as “too personal”. Gilmour was later to claim that this was not as obvious a task as might first seem, as, in his opinion, both demos were “unlistenable” and “sounded exactly alike.” Longtime Pink Floyd engineer Nick Griffiths, however, says otherwise: “They were seriously rough, but the songs were there.” The album, accompanied by Gerald Scarfe artwork that some claimed was sexist, received mixed reviews, with Kurt Loder describing Pros And Cons Of Hitch Hiking in Rolling Stone as a “strangely static, faintly hideous record”, adding that “Waters sounds like the kind of guy who’d bring Hershey bars and nylons along on a first date.” On the other end of the spectrum, Mike DeGagne of Allmusic praised the album for its “ingenious symbolism and his brilliant use of stream of consciousness within a subconscious realm”, rating it four out of five stars. The resulting concert tour featuring a set design by Marc Brickman and Mark Fisher of Park Display, and, on the first leg, Clapton on lead guitar, was not a success.
In 1986 Waters contributed songs and a score to the soundtrack of the movie When the Wind Blows, based on the Raymond Briggs book of the same name. His backing band, featuring Paul Carrack, was credited as The Bleeding Heart Band. Waters’ then legal wranglings with Gilmour over the Pink Floyd brand are alluded to on the soundtrack album’s “Towers of Faith”, where the vocal transforms from “This land is my land”, to “This sand is my sand”, to “This band is my band”.
In 1987 Waters released another concept album, Radio K.A.O.S., about a man named Billy who can hear radio waves in his head. Waters followed the release with a supporting tour, also in 1987. Though applauded by many for its contemporary sound[citation needed], the album did not garner the impressive sales he had achieved in Pink Floyd. Years later, Waters himself would express dissatisfaction at the album, expressing distaste for the production, and particularly regretting his decision to trim the album from a double to a single, losing much of the concept in the process.[citation needed] This was possibly attributable to the fact that he was now competing with a reformed Pink Floyd who were touring to support their comeback release, A Momentary Lapse of Reason.
After the Berlin Wall came down in 1989, Waters staged The Wall Concert in Berlin on July 21, 1990 to commemorate the end of the division between East and West Germany. The concert took place on Potsdamer Platz, part of the former “no-man’s land” of the Berlin Wall, and featured many guest superstars: The Band, Bryan Adams, Cyndi Lauper, Van Morrison, Sinéad O’Connor, The Scorpions, Marianne Faithfull, and Joni Mitchell. It was one of the biggest concerts ever staged with an attendance of over 300,000 and was watched live by over five million people worldwide. However, the initial funds raised from the concert barely covered expenses.
Two years later, Waters released 1992′s Amused to Death, about the corrupting, desensitising nature of television. The title drived from the Book “Amusing Ourselves to Death of Neil Postman. It is Waters’ most critically acclaimed solo recording, with music critics comparing it to later Pink Floyd work, such as The Wall (Waters himself describes the record as the third in a thematically-linked trilogy, after Dark Side Of The Moon and The Wall). The album had one hit, “What God Wants, Pt. 1″ which hit #4 on Mainstream Rock charts. Jeff Beck played lead guitar on the album. There was no tour in support of this record, because the most part of the songs is impossible to performe live. Roger Waters always declared the necessary of a link between the songs and the show. One of the songs (“Perfect Sense Part II”) is about a attack on a oil rig with a nuclear torpedo, and this would be impossible to perform as a entire show. Although Waters would later perform several songs from this record nearly eight years later on his In the Flesh tours.
In 1999 Waters embarked on the In the Flesh tour which saw him performing some of his most famous work, both solo and Pink Floyd material. The tour was a success in the US, and after Waters had booked mostly smaller venues (after the let-down in attendance from his 1987 tour), tickets sold so well that most of the concerts had to be upgraded to larger venues. With Gilmour’s Pink Floyd retiring after 1994, and many Floyd albums selling at the pace of Beatles records, Waters was in great demand. The tour eventually stretched across the world. Tickets were at such high demand, that the tour had to be spanned over three years. Almost every show was sold out with some venues garnering more sales than Pink Floyd shows of early touring years.[citation needed] One concert was released on CD and DVD, named In the Flesh Live, after the tour. During this tour he played two new songs from his next solo album, “Flickering Flame” and “Each Small Candle”, as the final encore to the show. In June of 2002 Waters played the Glastonbury Festival performing many classic Pink Floyd songs.
Waters, performing live in 2006
Miramax Films announced in mid-2004 that a production of The Wall was to appear on Broadway with Waters playing a prominent part in its production. Reports stated that the musical contained not only the original tracks from “The Wall”, but also songs from Dark Side of the Moon, Wish You Were Here and other Pink Floyd albums, as well as new material. On the night of 1 May 2004, the overture for Ça Ira was pre-premièred on occasion of the Welcome Europe celebrations in the accession country of Malta, performed over Grand Harbour in Valletta and illuminated by light artist Gert Hof.
In September 2004, Waters released two new tracks on the Internet, “To Kill The Child” and “Leaving Beirut.” Both of these tracks were inspired by the 2003 invasion of Iraq. Waters, who currently resides in the U.S., has said that the songs were written immediately after the start of the war, but he delayed releasing them until just before the 2004 Presidential election. The lyrics to “Leaving Beirut” contain strong attacks on U.S. President George W. Bush and U.K. Prime Minister Tony Blair. After the 2004 Indian Ocean Earthquake and subsequent tsunami disaster, Waters performed “Wish You Were Here” with Eric Clapton during a benefit concert on the American network NBC.
Later solo years (since 2005)
Roger Waters performing on his Dark Side Of The Moon Live tour at the Members Equity Stadium in Perth, Australia in 2007
In February of 2005, it was announced on Roger Waters’ website that his opera, Ça Ira, had been completed after 16 years of work. It was released as a CD/DVD set by Sony Classical on September 27, 2005 with Baritone Bryn Terfel, soprano Ying Huang and tenor Paul Groves. The original libretto was written in French by the late Étienne Roda-Gil, who set the opera during the early French Revolution. From 1997 Waters rewrote the libretto in English.
On July 2, 2005 Waters and Pink Floyd reunited for a performance at the Live 8 concert. They played a six-song, 23-minute set, including “Speak to Me/Breathe”/”Breathe (Reprise)”, “Money”, “Wish You Were Here”, and “Comfortably Numb”. Waters remarked shortly after Live 8 to the Associated Press that, while the experience of playing as Pink Floyd again was positive, the chances of a bona fide reunion would be “slight”, considering his and Gilmour’s continuing musical and ideological differences. During an interview with Rolling Stone, Waters further denied the possibility of a future Pink Floyd tour, saying “I didn’t mind rolling over for one day, but I couldn’t roll over for a whole fucking tour.” He has since stated on a radio interview that he would be interested in the possibility of recording a new album with the rest of Pink Floyd as long as he had creative control. However, David Gilmour has said on several occasions that he is retired from extensive touring, shedding more doubt on the possibility of a Pink Floyd reunion tour.
However, more recently, Roger has become more open to the idea of a Pink Floyd reunion tour, stating during the BBC documentary “Which One’s Pink”, “It was really cool, I’d like to do more of it”, and at the end of the program, stated “I don’t think it will happen but I’d like…well, you can ask David when you speak to him.”
Waters is known to be working on two new solo albums; one has the working title of Heartland. Two new songs that might appear on this album have been released on Flickering Flame: The Solo Years Vol. 1: “Each Small Candle” and “Flickering Flame”. The other of the two albums deals with the theme of love, much in the vein of Pros and Cons. A work-in-progress, which may appear on this album and was dubbed “Woman” by bootleggers, was heard during the sound checks for the In the Flesh tour. However, in a recent telephone interview, he confirmed that the release of his next project has been delayed due to not having a concept to draw all the individual songs together into one piece.
Solid state laser system designed by Marc Brickman that depicted Dark Side of the Moon album art, used on Waters’ latest tour.
Solid state laser system designed by Marc Brickman that depicted Dark Side of the Moon album art, used on Waters’ latest tour.
Roger Waters toured Europe and North America during 2006 for his The Dark Side of the Moon Live Tour. As part of his performance he played a complete run-through of the 1973 Pink Floyd classic, The Dark Side of the Moon, as the second half of the show. The first half was a mix of Floyd classics and Waters’ solo material. Elaborate staging designed by Marc Brickman, complete with projections, and a full, 360 degree quadrophonic sound system were used. This new Waters’ solo tour is expected to be as successful as his previous In the Flesh tour. His former Pink Floyd bandmate, Nick Mason joined Waters on some of the tour dates. Richard Wright was invited to participate on the tour as well but he declined the offer to work on solo projects. There is also a 2007 leg of the Tour, starting in January in Australia, followed by New Zealand and going through Asia, Europe, South America, and finally North America in June.
Waters’ former bandmate Nick Mason began patching their relationship in 2002. After speaking to Mason and Bob Geldof about a possible Pink Floyd reunion at Live 8, Waters contacted Gilmour by phone and e-mail, and it appears that they have buried the hatchet since the historic concert and now communicate on a friendly basis. Waters has made overtures to Richard Wright, as well. Syd Barrett, who died on Friday 7 July 2006, remained an emotional subject for most of his friends and former colleagues. Waters said in interviews before Barrett’s death that it would be difficult and inappropriate for him to try to insert himself back into his old friend’s life. Waters performed another Dark Side of the Moon concert in the summer of 2007.
On July 7, 2007, Waters played at the American leg of the Live Earth concert, an international multi-venue concert aimed to raise awareness about global climate change, featuring the Trenton Youth Choir and his trademark inflatable pig. Waters has also recently become a spokesperson for Millennium Promise, a non-profit organisation that helps fight extreme poverty and malaria, and wrote a commentary for CNN’s website on June 11, 2007 about the topic. After wrapping up a performance at the Coachella Festival in April, Waters will continue his The Dark Side of the Moon Live tour in 2008.
Waters has made his views about the 2008 United States Presidential election clear. During his concert appearance at the Coachella Festival, he released the trademark Pink Floyd inflatable pig into the air with the words “Don’t be led to the slaughter” written on one side, next to a cartoon of Uncle Sam holding meat cleavers. “Fear builds walls” was written on the pig’s other side and “Impeach Bush” on the pig’s behind. On the pig’s belly was Democratic Presidential candidate Barack Obama’s name with a check mark beside it. Waters has referred to Hillary Clinton, another Democratic candidate, as “ghastly”. During an interview on the subject of the 2008 Presidential election Waters also revealed his atheism, saying: “Please, God – I’m an atheist so maybe I shouldn’t be asking God – but let Barack Obama finally win the Democratic nomination and elect a person who seems to be not just enormously intelligent but also deeply humane and seems to have an imagination.”
Pink Floyd songs composed by Roger Waters
* “Take Up Thy Stethoscope and Walk” from The Piper at the Gates of Dawn (1967).
* “Julia Dream” from Single B-side to “It Would Be So Nice” (1968).
* “Let There Be More Light” from A Saucerful of Secrets (1968).
* “Set the Controls for the Heart of the Sun” from A Saucerful of Secrets (1968).
* “Corporal Clegg” from A Saucerful of Secrets (1968).
* “Cirrus Minor” from Soundtrack from the Film More (1969).
* “The Nile Song from Soundtrack from the Film More (1969).
* “Crying Song” from Soundtrack from the Film More (1969).
* “Green is the Colour” from Soundtrack from the Film More (1969).
* “Cymbaline” from Soundtrack from the Film More (1969).
* “Grantchester Meadows” from Ummagumma (1969).
* “Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict” from Ummagumma (1969).
* “If” from Atom Heart Mother (1970).
* “Biding My Time” from Relics (1971).
* “San Tropez” from Meddle (1971).
* “Free Four” from Obscured by Clouds (1972).
* “Money” from Dark Side of the Moon (1973).
* “Brain Damage” from Dark Side of the Moon (1973).
* “Eclipse” from Dark Side of the Moon (1973).
* “Have a Cigar” from Wish You Were Here (1975).
* “Welcome to the Machine” from Wish You Were Here (1975).
* All tracks on Animals except “Dogs” (1977).
* All tracks on The Wall except “Young Lust”, “Comfortably Numb” , “Run Like Hell” and “The Trial” (1979).
* All tracks on The Final Cut (1983).
* “Embryo” from Works (1983).
Hits and awards
Waters’ solo singles have seen little chart activity; “What God Wants, Pt. 1″ reached #35 in the UK in September 1992. His first major solo album, The Pros and Cons of Hitch Hiking, has been certified Gold by the RIAA, and his opera Ça Ira reached #1 on both the UK and U.S. Classical Charts. Waters has also been inducted into the U.S. and UK Rock and Roll Hall of Fame as a member of Pink Floyd, and received a “Media Event of the Year” award for mounting The Wall Live in Berlin.
Solo discography
For his work with Pink Floyd, see Pink Floyd discography between 1967 and 1983
28 November 1970 Music from The Body (with Ron Geesin)
30 April 1984 The Pros and Cons of Hitch Hiking
15 June 1987 Radio K.A.O.S.
10 September 1990 The Wall – Live in Berlin
7 September 1992 Amused to Death
5 December 2000 In the Flesh – Live
13 May 2002 Flickering Flame: The Solo Years Volume 1
26 September 2005 Ça Ira
1900 – Although jazz legend Louis Armstrong always claimed to have been born on this date, later scholarship established that his birthday was on August 4, 1901.
Louis Armstrong (4 August 1901 – July 6, 1971), nicknamed Satchmo or Sachimo and Pops, was an American jazz trumpeter and singer.
Coming to prominence in the 20s as an innovative cornet and trumpet virtuoso, Armstrong was a foundational influence on jazz, shifting the music’s focus from collective improvisation to solo performers. With his distinctive gravelly voice, Armstrong was an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also greatly skilled at scat singing, or wordless vocalizing.
Renowned for his charismatic stage presence, Armstrong’s influence extended well beyond jazz, and by the end of his career in the ’60s, he was widely regarded as a profound influence on popular music in general: critic Steve Leggett describes Armstrong as “perhaps the most important American musician of the 20th century.
Early life
Armstrong often stated in public interviews that he was born on July 4, 1900 (Independence Day in the USA), a date that has been noted in many biographies. Although he died in 1971, it wasn’t until the mid-1980s that his true birth date of August 4, 1901 was discovered through the examination of baptismal records. He was recorded as an illegitimate black child.
Armstrong was born into a very poor family in New Orleans, Louisiana, the grandson of slaves. He spent his youth in poverty in a rough neighborhood of Uptown New Orleans, known as “Back of Town”, as his father, William Armstrong (1881–1922), abandoned the family when Louis was an infant, and took up with another woman. His mother, Mary Albert Armstrong (1886–1942), then left Louis and his younger sister Beatrice Armstrong Collins (1903–1987) in the care of his grandmother, Josephine Armstrong and at times, his Uncle Isaac. At five, he moved back to live with his mother and her relatives, and saw his father only in parades. He attended the Fisk School for Boys where he likely had his first exposure to Creole music. He brought in a little money as a paperboy and also by finding discarded food and selling it to restaurants but it wasn’t enough to keep his mother from prostitution. He hung out in dance halls, particularly the “Funky Butt,” which was the closest to his home, where he observed everything from licentious dancing to the quadrille. He hauled coal to Storyville, the famed red-light district, and listened to the bands playing in the brothels and dance halls, especially Pete Lala’s where Joe “King” Oliver performed and other famous musicians would drop in to jam.
Armstrong grew up at the bottom of the social ladder, in a highly segregated city, but one which lived in a constant fervor of music, which was generally called “ragtime”, and not yet “jazz”. Despite the hard early days, Armstrong seldom looked back at his youth as the worst of times but instead drew inspiration from it, “Every time I close my eyes blowing that trumpet of mine—I look right in the heart of good old New Orleans…It has given me something to live for.”
After dropping out of the Fisk School at eleven, Armstrong joined a quartet of boys in similar straits as he, and they sang in the streets for money. He also started to get into trouble. Cornet player Bunk Johnson said he taught Armstrong (then 11) to play by ear at Dago Tony’s Tonk in New Orleans, although in his later years Armstrong gave the credit to Oliver. His first cornet was bought with money loaned to him by the Karnofskys, a Russian-Jewish immigrant family who had a junk hauling business and gave him odd jobs. To express gratitude towards the Karnofskys, who took him in as almost a family member, and fed and nurtured him, Armstrong wore a Star of David pendant for the rest of his life.
Armstrong with his first trumpet instructor, Peter Davis in 1965.
Armstrong with his first trumpet instructor, Peter Davis in 1965.
Armstrong seriously developed his cornet playing in the band of the New Orleans Home for Colored Waifs, where he had been sent multiple times for general delinquency, most notably for a long term after firing his stepfather’s pistol into the air at a New Year’s Eve celebration, as police records confirm. Professor Peter Davis (who frequently appeared at the Home at the request of its administrator, Captain Joseph Jones) instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader. The Home band played around New Orleans and the thirteen year old began to draw attention to his cornet playing, starting him on a musical career.At fourteen he was released from the Home, and living again with his father and new stepmother, and then back to his mother and also back to the streets and its temptations. Armstrong got his first dance hall job at Henry Ponce’s where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night.
He also played in the city’s frequent brass band parades and listened to older musicians every chance he got, learning from Bunk Johnson, Buddy Petit, Kid Ory, and above all, Joe “King” Oliver, who acted as a mentor and father figure to the young musician. Later, he played in the brass bands and riverboats of New Orleans, and first started traveling with the well-regarded band of Fate Marable which toured on a steamboat up and down the Mississippi River. He described his time with Marable as “going to the University,” since it gave him a much wider experience working with written arrangements.
In 1919, Joe Oliver decided to go north and he resigned his position in Kid Ory’s band, then regarded as the best hot jazz group in New Orleans. Armstrong replaced his mentor and played second cornet. Soon he was promoted to first cornet and he also became second trumpet for the Tuxedo Brass Band, a society band.
Early career
Muggles
Muggles
Skokiaan
Skokiaan
Mack The Knife
Mack The Knife
“Heebie Jeebies” by Louis Armstrong and his Hot Five
“Heebie Jeebies” by Louis Armstrong and his Hot Five
On March 19, 1918, Louis married Daisy Parker from Gretna, Louisiana. They adopted a 3-year-old boy, Clarence Armstrong, whose mother, Louis’s cousin Flora, died soon after giving birth. Clarence Armstrong was mentally disabled (result of a head injury at an early age) and Louis would spend the rest of his life taking care of him. Louis’s marriage to Parker failed quickly and they separated. She died shortly after the divorce.
Through his riverboat experiences, Armstrong’s musicianship began to mature. At twenty, he could now read music and he started to be featured in extended trumpet solos, one of the first jazzmen to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound, and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe “King” Oliver, to join his Creole Jazz Band, and where he could make a sufficient income so that he no longer need to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the “Windy City” was teeming with jobs for Blacks, who were making good wages in factories and had plenty to spend on entertainment.
Oliver’s band was the best and most influential hot jazz band in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived like a king in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. As Armstrong’s reputation grew, he was challenged to “cutting contests” by hornmen trying to displace the new phenom, who could blow two hundred high C’s in a row. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver’s band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by pal Bix Beiderbecke, who now had his own Chicago band.
Armstrong enjoyed working with Oliver, but Louis’ second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. She had her husband play classical music in church concerts to broaden his skill and improve his solo play, and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil’s influence eventually undermined Armstrong’s relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. Armstrong and Oliver parted amicably in 1924 and Armstrong received an invitation to go to New York City to play with the Fletcher Henderson Orchestra, the top African–American band of the day. Armstrong switched to the trumpet to blend in better with the other musicians in his section. His influence upon Henderson’s tenor sax soloist, Coleman Hawkins, can be judged by listening to the records made by the band during this period.
Armstrong quickly adapted to the more tightly controlled style of Henderson, playing trumpet and even experimenting with the trombone, and the other members quickly took up Armstrong’s emotional, expressive pulse. Soon his act included singing and telling tales of New Orleans characters, especially preachers.The Henderson Orchestra was playing in the best venues for white-only patrons, including the famed Roseland Ballroom, featuring the classy arrangements of Don Redman. Duke Ellington’s orchestra would go to Roseland to catch Armstrong’s performances and young hornmen around town tried in vain to outplay him, splitting their lips in their attempts.
During this time, Armstrong also made many recordings on the side, arranged by an old friend from New Orleans, pianist Clarence Williams; these included small jazz band sides with the Williams Blue Five (some of the best pairing Armstrong with one of Armstrong’s few rivals in fiery technique and ideas, Sidney Bechet) and a series of accompaniments with Blues singers, including Bessie Smith, Ma Rainey, and Alberta Hunter.
Armstrong returned to Chicago in 1925 due mostly to the urging of his wife, who wanted to pump up Armstrong’s career and income. He was content in New York but later would concede that she was right and that the Henderson Orchestra was limiting his artistic growth. In publicity, much to his chagrin, she billed him as “the World’s Greatest Trumpet Player”. At first he was actually a member of the Lil Hardin Armstrong Band and working for his wife.He began recording under his own name for Okeh with his famous Hot Five and Hot Seven groups, producing hits such as “Potato Head Blues”, “Muggles” (a reference to marijuana, for which Armstrong had a lifelong fondness), and “West End Blues”, the music of which set the standard and the agenda for jazz for many years to come.
The group included Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), wife Lil on piano, and usually no drummer. Armstrong’s bandleading style was easygoing, as St. Cyr noted, “One felt so relaxed working with him and he was very broad-minded…always did his best to feature each individual”. His recordings with pianist Earl “Fatha” Hines (most famously their 1928 Weatherbird duet) and Armstrong’s trumpet introduction to “West End Blues” remain some of the most famous and influential improvisations in jazz history. Armstrong was now free to develop his personal style as he wished, which included a heavy dose of effervescent jive, such as “whip that thing, Miss Lil” and “Mr. Johnny Dodds, Aw, do that clarinet, boy!”
Armstrong also played with Erskine Tate’s Little Symphony, actually a quintet, which played mostly at the Vendome Theatre. They furnished music for silent movies and live shows, including jazz versions of classical music, such as “Madame Butterfly”, which gave Armstrong experience with longer forms of music and with hosting before a large audience. He began to scat sing (improvised vocal jazz using non-sensical words) and was among the first to record it, on Heebie Jeebies in 1926. So popular was the recording the group became the most famous jazz band in America even though they as yet had not performed live to any great degree. Young musicians across the country, black and white, were turned on by Armstrong’s new type of jazz.
After separating from Lil, Armstrong started to play at the Sunset Café for Al Capone associate Joe Glaser in the Carroll Dickerson Orchestra, with Earl Hines on piano, which was soon renamed Louis Armstrong and his Stompers, though Hines was the music director and Glaser managed the orchestra. Hines and Armstrong became fast friends as well as successful collaborators.
Armstrong returned to New York, in 1929, where he played in the pit orchestra of the successful musical Hot Chocolate, an all-black revue written by Andy Razaf and pianist/composer Fats Waller. He also made a cameo appearance as a vocalist, regularly stealing the show with his rendition of “Ain’t Misbehavin’”, his version of the song becoming his biggest selling record to date.
He started to work at Connie’s Inn in Harlem, the second nightspot in fame to the Cotton Club, and a front for gangster Dutch Schultz. Armstrong also had considerable success with vocal recordings, including versions of famous songs composed by his old friend Hoagy Carmichael. His 1930s recordings took full advantage of the new RCA ribbon microphone, introduced in 1931, which imparted a characteristic warmth to vocals and immediately became an intrinsic part of the ‘crooning’ sound of artists like Bing Crosby. Armstrong’s famous interpretation of Hoagy Carmichael’s “Stardust” became one of the most successful versions of this song ever recorded, showcasing Armstrong’s unique vocal sound and style, and his innovative approach to singing songs that had already become standards.
Armstrong’s radical re-working of Sidney Arodin and Carmichael’s “Lazy River” (recorded in 1931) encapsulated many features of his groundbreaking approach to melody and phrasing. The song begins with a brief trumpet solo, then the main melody is stated by sobbing horns, which are memorably punctuated by Armstrong’s growling interjections at the end of each bar: “Yeah! …”Uh-huh” …”Sure” … “Way down, way down”. In the first verse, he ignores the notated melody entirely, and sings as if playing a trumpet solo, pitching most of the first line on a single note and using strongly syncopated phrasing. In the second stanza he breaks into an almost fully improvised melody, which then evolves into a classic passage of Armstrong “scat singing.”
As with his trumpet playing, Armstrong’s vocal innovations served as a foundation stone for the art of jazz vocal interpretation. The uniquely gritty coloration of his voice became a musical archetype that was much imitated and endlessly impersonated. His scat singing style was enriched by his matchless experience as a trumpet soloist. His resonant, velvety lower-register tone and bubbling cadences on sides such as “Lazy River” exerted a huge influence on younger white singers such as Bing Crosby.
The Depression of the early Thirties was especially hard on the Jazz scene. The Cotton Club closed in 1936 after a long downward spiral and many musicians stopped playing altogether as club dates evaporated. Bix Beiderbecke died and Fletcher Henderson’s band broke up. King Olivier made a few records but otherwise struggled. Sidney Bechet became a tailor and Kid Ory returned to New Orleans and raised chickens. Armstrong moved to Los Angeles in 1930 seeking new opportunities. He played at the New Cotton Club in LA with Lionel Hampton on drums, and the band drew the Hollywood crowd which could still afford a lavish night life, and radio broadcasts from the club connected with younger audiences at home. Bing Crosby and many other celebrities were regulars at the club. In 1931, Armstrong appeared in his first movie, Ex-Flame. Armstrong was convicted of marijuana possession but received a suspended sentence. He returned to Chicago in late 1931, and played in bands more in the Guy Lombardo vein and he recorded more standards. When the mob insisted that he get out of town, Armstrong visited New Orleans and got a hero’s welcome, and saw old friends. He sponsored a local baseball team known as “Armstrong’s Secret Nine” and got a cigar named after himself. But soon he was on the road again and after a tour across the country shadowed by the mob, Armstrong decided to go to Europe to escape.
After returning to the States, he undertook several exhausting tours. His agent Johnny Collins’ erratic behavior and his own spending ways left Armstrong short of cash. Breach of contract violations plagued him. Finally, he hired Joe Glaser as his new manager, a tough mob-connected wheeler-dealer, who began to straighten out his legal mess, his mob troubles, and his debts. Armstrong also began to experience problems with his fingers and lips, which were aggravated by his unorthodox playing style. As a result he branched out, developing his vocal style and making his first theatrical appearances. He appeared in movies again. In 1937, Armstrong substituted for Rudy Vallee on the CBS radio network and became the first black to host a sponsored, national broadcast. He finally divorced Lil in 1938 and married longtime girlfriend Alpha.
At the Aquarium in New York City, ca. 1946
At the Aquarium in New York City, ca. 1946
After spending many years on the road, he settled permanently in Queens, New York in 1943 in contentment with his fourth wife, Lucille. Although subject to the vicissitudes of Tin Pan Alley and the gangster-ridden music business, as well as anti-black prejudice, he continued to develop his playing. He recorded Hoagy Carmichael’s Rockin’ Chair for Okeh Records.
During the subsequent thirty years, Armstrong played more than three hundred gigs a year. Bookings for big bands tapered off during the 1940s due to changes in public tastes: ballrooms closed, and there was competition from television and from other types of music becoming more popular than big band music. It became impossible under such circumstances to support and finance a 16-piece touring band.
The All Stars
Following a highly successful small-group jazz concert at New York Town Hall on May 17, 1947, featuring Armstrong with trombonist/singer Jack Teagarden, Armstrong’s manager Joe Glaser dissolved the Armstrong big band on August 13, 1947 and established a six-piece small group featuring Armstrong with (initially) Teagarden, Earl Hines and other top swing and dixieland musicians, most of them ex-big band leaders. The new group was announced at the opening of Billy Berg’s Supper Club.
This group was called the All Stars, and included at various times Earl “Fatha” Hines, Barney Bigard, Edmond Hall, Jack Teagarden, Trummy Young, Arvell Shaw, Billy Kyle, Marty Napoleon, Big Sid Catlett, Cozy Cole, Barrett Deems and the Filipino-American percussionist, Danny Barcelona. During this period, Armstrong made many recordings and appeared in over thirty films. He appeared on the cover of Time Magazine on February 21, 1949.
In 1964, he recorded his biggest-selling record, “Hello, Dolly!”. The song went to #1 on the pop chart, making Armstrong (age 63) the oldest person to ever accomplish that feat. In the process, Armstrong dislodged The Beatles from the #1 position they had occupied for 14 consecutive weeks with three different songs.
Armstrong kept up his busy tour schedule until a few years before his death in 1971. In his later years he would sometimes play some of his numerous gigs by rote, but other times would enliven the most mundane gig with his vigorous playing, often to the astonishment of his band. He also toured Africa, Europe, and Asia under sponsorship of the US State Department with great success, earning the nickname “Ambassador Satch.” While failing health restricted his schedule in his last years, within those limitations he continued playing until the day he died.
Autograph of Armstrong on the muretto of Alassio
Autograph of Armstrong on the muretto of Alassio
Personality
The nickname Satchmo or Satch is short for Satchelmouth (describing his embouchure). In 1932, then Melody Maker magazine editor Percy Brooks greeted Armstrong in London with “Hello, Satchmo!” shortening Satchelmouth (some say unintentionally), and it stuck.
Early on he was also known as Dippermouth. This is a reference to the propensity he had for refreshing himself with the dipper (ladle) from a bucket of sugar water which was always present on stage with Joe Oliver’s band in Chicago in the early nineteen-twenties.
The damage to his embouchure from his high pressure approach to playing is acutely visible in many pictures of Louis from the mid-twenties. It also led to his emphasizing his singing career because at certain periods, he was unable to play. This did not stop Louis though, because after setting his trumpet aside for a while, he amended his playing style and continued his trumpet career. Friends and fellow musicians usually called him Pops, which is also how Armstrong usually addressed his friends and fellow musicians (except for Pops Foster, whom Armstrong always called “George”).
Satchmo’s autograph from the 1960s
Satchmo’s autograph from the 1960s
He was also criticized for accepting the title of “King of The Zulus” — in the New Orleans African-American community, an honored role as head of leading black Carnival Krewe, but bewildering or offensive to outsiders with their traditional costume of grass-skirts and blackface makeup satirizing southern white attitudes — for Mardi Gras 1949.
Whatever the case, where some saw a gregarious and outgoing personality, others saw someone trying too hard to appeal to white audiences and essentially becoming a minstrel caricature. Some musicians criticized Armstrong for playing in front of segregated audiences, and for not taking a strong enough stand in the civil rights movement suggesting that he was an Uncle Tom. Billie Holiday countered, however, “Of course Pops toms, but he toms from the heart.”
Armstrong, in fact, was a major financial supporter of Dr. Martin Luther King Jr. and other civil rights activists, but mostly preferred to work quietly behind the scenes, not mixing his politics with his work as an entertainer. The few exceptions made it more effective when he did speak out. Armstrong’s criticism of President Eisenhower, calling him “two-faced” and “gutless” because of his inaction during the conflict over school desegregation in Little Rock, Arkansas in 1957 made national news. As a protest, Armstrong canceled a planned tour of the Soviet Union on behalf of the State Department saying “The way they’re treating my people in the South, the government can go to hell” and that he could not represent his government abroad when it was in conflict with its own people. The FBI kept a file on Armstrong, for his outspokenness about integration.
He was an extremely generous man, who was said to have given away as much money as he kept for himself. Armstrong was also greatly concerned with his health and bodily functions. He made frequent use of laxatives as a means of controlling his weight, a practice he advocated both to personal acquaintances and in the diet plans he published under the title Lose Weight the Satchmo Way. Armstrong’s laxative of preference in his younger days was Pluto Water, but he then became an enthusiastic convert when he discovered the herbal remedy Swiss Kriss. He would extol its virtues to anyone who would listen and pass out packets to everyone he encountered, including members of the British Royal Family. (Armstrong also appeared in humorous, albeit risqué, advertisements for Swiss Kriss; the ads bore a picture of him sitting on a toilet — as viewed through a keyhole — with the slogan “Satch says, ‘Leave it all behind ya!’”)
The concern with his health and weight was balanced by his love of food, reflected in such songs as “Big Butter & Egg Man”, “Cheesecake”, “Cornet Chop Suey”, and, especially, “Struttin’ with Some Barbecue”. He kept a strong connection throughout his life to the cooking of New Orleans, always signing his letters, “Red beans and ricely yours,”.
Although Armstrong is not known to have fathered any children, he loved children and would go out of his way to entertain the neighborhood kids in Corona, and to encourage young musicians.
Armstrong’s gregariousness extended to writing. On the road, he wrote constantly. Many of the favorite themes of his life he shared with correspondents around the world. He avidly typed or wrote on whatever stationery was at hand, instant takes on music, sex, food, childhood memories, his heavy “medicinal” marijuana use, and even his bowel movements, which were gleefully described. He had a fondness for lewd jokes and dirty limericks as well.
Armstrong was an avid audiophile. He had a large collection of recordings, including reel-to-reel tapes which he took on the road with him in a trunk during his later career. He enjoyed listening to his own recordings, and comparing his performances musically. In the den of his home, he had the latest audio equipment and would sometimes rehearse and record along with his older recordings or the radio.
Death
Armstrong died of a heart attack on July 6, 1971, at age 69, 11 months after playing a famous show at the Waldorf-Astoria’s Empire Room. Shortly before his death he stated, “I think I had a beautiful life. I didn’t wish for anything that I couldn’t get and I got pretty near everything I wanted because I worked for it.” He was residing in Corona, Queens, New York City, at the time of his passing. He was interred in Flushing Cemetery, Flushing, in Queens, New York City.
His honorary pallbearers included Governor Rockefeller, Mayor Lindsay, Bing Crosby, Ella Fitzgerald, Guy Lombardo, Duke Ellington, Dizzy Gillespie, Pearl Bailey, Count Basie, Harry James, Frank Sinatra, Ed Sullivan, Earl Wilson, Alan King, Johnny Carson, David Frost, Merv Griffin, Dick Cavett and Bobby Hackett. Peggy Lee, one of Armstrong’s favorite vocalists, sang The Lord’s Prayer at the services.
Music
Armstrong gained fame as a horn player, then later became better known as a bandleader, vocalist, musical ambassador, and founding figure in much modern American music.
Horn playing and early jazz
In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. The greatest trumpet playing of his early years can be heard on his Hot Five and Hot Seven records. The improvisations which he made on these records of New Orleans jazz standards and popular songs of the day continue to stack up brilliantly alongside those of any other later jazz performer. The older generation of New Orleans jazz musicians often referred to their improvisations as “variating the melody”; Armstrong’s improvisations were daring and sophisticated for the time while often subtle and melodic.
He often essentially re-composed pop-tunes he played, making them more interesting. Armstrong’s playing is filled with joyous, inspired original melodies, creative leaps, and subtle relaxed or driving rhythms. The genius of these creative passages is matched by Armstrong’s playing technique, honed by constant practice, which extended the range, tone and capabilities of the trumpet. In these records, Armstrong almost single-handedly created the role of the jazz soloist, taking what was essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression.
Armstrong’s work in the 1920s shows him playing at the outer limits of his abilities. The Hot Five records, especially, often have minor flubs and missed notes, which do little to detract from listening enjoyment since the energy of the spontaneous performance comes through. By the mid 1930s, Armstrong achieved a smooth assurance, knowing exactly what he could do and carrying out his ideas with perfectionism.
Vocal popularity
As his music progressed and popularity grew, his singing also became important. Armstrong was not the first to record scat singing, but he was masterful at it and helped popularize it. He had a hit with his playing and scat singing on “Heebie Jeebies” when, according to some legends, the sheet music fell on the floor and he simply started singing nonsense syllables. Armstrong stated in his memoirs that this actually occurred. He also sang out “I done forgot the words” in the middle of recording “I’m A Ding Dong Daddy From Dumas”.
Such records were hits and scat singing became a major part of his performances. Long before this, however, Armstrong was playing around with his vocals, shortening and lengthening phrases, interjecting improvisations, using his voice as creatively as his trumpet.
Colleagues and followers
During his long career he played and sang with the most important instrumentalists and vocalists; among the many, singing brakeman Jimmie Rodgers, Bing Crosby, Duke Ellington, Fletcher Henderson, Bessie Smith, and notably with Ella Fitzgerald.
His influence upon Bing Crosby is particularly important with regard to the subsequent development of popular music: Crosby admired and copied Armstrong, as is evident on many of his early recordings, notably “Just One More Chance” (1931). The New Grove Dictionary Of Jazz describes Crosby’s debt to Armstrong in perfect detail, although it does not acknowledge Armstrong by name: “Crosby…was important in introducing into the mainstream of popular singing an Afro-American concept of song as a lyrical extension of speech…His techniques – easing the weight of the breath on the vocal cords, passing into a head voice at a low register, using forward production to aid distinct enunciation, singing on consonants (a practice of black singers), and making discreet use of appoggiaturas, mordents, and slurs to emphasize the text – were emulated by nearly all later popular singers”.
Armstrong recorded three albums with Ella Fitzgerald: Ella and Louis, Ella and Louis Again, and Porgy and Bess for Verve Records, with the sessions featuring the backing musicianship of the Oscar Peterson Trio and drummer Buddy Rich. His recordings Satch Plays Fats, all Fats Waller tunes, and Louis Armstrong Plays W.C. Handy in the 1950s were perhaps among the last of his great creative recordings, but even oddities like Disney Songs the Satchmo Way are seen to have their musical moments. And, his participation in Dave Brubeck’s high-concept jazz musical The Real Ambassadors was critically acclaimed. For the most part, however, his later output was criticized as being overly simplistic or repetitive.
Hits and later career
Armstrong had many hit records including “Stardust”, “What a Wonderful World”, “When The Saints Go Marching In”, “Dream a Little Dream of Me”, “Ain’t Misbehavin’”, and “Stompin’ at the Savoy”. “We Have All the Time in the World” featured on the soundtrack of the James Bond film On Her Majesty’s Secret Service, and enjoyed renewed popularity in the UK in 1994 when it featured on a Guinness advert. It reached number 3 in the charts on being re-released.
In 1964, Armstrong knocked the Beatles off the top of the Billboard Top 100 chart with “Hello, Dolly”, which gave the 63-year-old performer a U.S. record as the oldest artist to have a #1 song. In 1968, Armstrong scored one last popular hit in the United Kingdom with the highly sentimental pop song “What a Wonderful World”, which topped the British charts for a month; however, the single did not chart at all in America. The song gained greater currency in the popular consciousness when it was used in the 1987 movie Good Morning, Vietnam, its subsequent rerelease topping many charts around the world. Armstrong even appeared on the 28 October 1970 Johnny Cash Show, where he sang Nat “King” Cole’s hit “Rambling Rose” and joined Cash to re-create his performance backing Jimmie Rodgers on “Blue Yodel # 9.”"
Stylistic range
Niki de Saint Phalle’s rendition of Armstrong, Chicago.
Niki de Saint Phalle’s rendition of Armstrong, Chicago.
Armstrong enjoyed many types of music, from blues to the arrangements of Guy Lombardo, to Latin American folksongs, to classical symphonies and opera. Armstrong incorporated influences from all these sources into his performances, sometimes to the bewilderment of fans who wanted Armstrong to stay in convenient narrow categories. Armstrong was inducted into Rock and Roll Hall of Fame as an early influence. Some of his solos from the 1950s, such as the hard rocking version of “St. Louis Blues” from the WC Handy album, show that the influence went in both directions.
Literature, Radio, films and TV
Armstrong appeared in more than a dozen Hollywood films, usually playing a band leader or musician. His most familiar role was as the bandleader cum narrator in the 1956 musical, High Society, in which he sang the title song and performed a duet with Bing Crosby on “Now You Has Jazz”. In 1947, he played himself in the movie New Orleans opposite Billie Holiday, which chronicled the demise of the Storyville district and the ensuing exodus of musicians from New Orleans to Chicago. He was the first African American to host a nationally broadcast radio show in the 1930s.
He was heard on such radio programs as The Story of Swing (1937) and This Is Jazz (1947), and he also made countless television appearances, especially in the 1950s and 1960s, including appearances on The Tonight Show Starring Johnny Carson.
Louis Armstrong has a record star on the Hollywood Walk of Fame on 7601 Hollywood Boulevard.
Many of Armstrong’s recordings remain popular. Almost four decades since his passing, a larger number of his recordings from all periods of his career are more widely available than at any time during his lifetime. His songs are broadcast and listened to every day throughout the world, and are honored in various movies, TV series, commercials, and even anime and computer games. “A Kiss to Build a Dream On” was included in the computer game Fallout 2, accompanying the intro cinematic (and the year after in the movie Sleepless in Seattle). His 1923 recordings, with Joe Oliver and his Creole Jazz Band, continue to be listened to as documents of ensemble style New Orleans jazz, but more particularly as ripper jazz records in their own right. All too often, however, Armstrong recorded with stiff, standard orchestras leaving only his sublime trumpet playing as of interest. “Melancholy Blues,” performed by Armstrong and his Hot Seven was included on the Voyager Golden Record sent into outer space to represent one of the greatest achievements of humanity. Most familiar to modern listeners is his ubiquitous rendition of “What a Wonderful World.”
Argentine writer Julio Cortázar, a self-described Armstrong admirer, asserted that a 1952 Louis Armstrong concert at the Théâtre des Champs-Élysées in Paris played a significant role in inspiring him to create the fictional creatures called Cronopios that are the subject of a number of Cortázar’s short stories. Cortázar once called Louis Armstrong himself “Grandísimo Cronopio” (Most Enormous Cronopio).
Armstrong also appears as a minor character in Harry Turtledove’s Timeline-191 series. When he and his band escape from a Nazi-like Confederacy, they enhance the insipid mainstream music of the North.
There is a pivotal scene in 1980′s Stardust Memories in which Woody Allen is overwhelmed by a recording of Armstrong’s Stardust and experiences a nostalgic epiphany. The combination of the music and the perfect moment is the catalyst for much of the film’s action, prompting the protagonist to fall in love with an ill-advised woman .
Louis Armstrong is also referred to in The Trumpet of the Swan along with Ella Fitzgerald and Billie Holiday. Three siblings in the film are named Louis, Billie, and Ella. The main character, Louis, plays a trumpet, an obvious nod to Armstrong.
In the original EB White book, he is referred to by name by a child who hears Louis playing and comments “He sounds just like Louis Armstrong, the famous trumpet player”.
Awards and honors
Grammy Awards
Armstrong was posthumously awarded the Grammy Lifetime Achievement Award in 1972, by the Academy of Recording Arts and Sciences. This Special Merit Award is presented by vote of the Recording Academy’s National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artist significance to the field of recording.[36]
Grammy Award
Year Category Title Genre Label Result
1964 Male Vocal Performance “Hello, Dolly!” Pop Kapp Winner
Grammy Hall of Fame
Recordings of Armstrong were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have “qualitative or historical significance.”[37][38]
Grammy Hall of Fame
Year Recorded Title Genre Label Year Inducted Notes
1929 St. Louis Blues Jazz (Single) Okeh 2008
1928 Weather Bird Jazz (Single) Okeh 2008 with Earl Hines
1930 Blue Yodel #9
(Standing on the Corner) Country (Single) Victor 2007 Jimmie Rodgers (Featuring Louis Armstrong)
1932 All of Me Jazz (Single) Columbia 2005
1958 Porgy and Bess Jazz (Album) Verve 2001 with Ella Fitzgerald
1964 Hello Dolly! Pop (Single) Kapp 2001
1926 Heebie Jeebies Jazz (Single) Okeh 1999
1967 What a Wonderful World Pop (Single) ABC 1999
1955 Mack the Knife Jazz (Single) Columbia 1997
1925 St. Louis Blues Jazz (Single) Columbia 1993 Bessie Smith with Louis Armstrong, cornet
1928 West End Blues Jazz (Single) Okeh 1974
Rock and Roll Hall of Fame
The Rock and Roll Hall of Fame listed a song by Armstrong on the list of 500 songs that shaped Rock and Roll.[39]
Year Recorded Title Label Group
1928 West End Blues Okeh Louis Armstrong and his Hot Five
Inductions and honors
US Postage Stamp 1995
US Postage Stamp 1995
In 1995, the U.S. Post Office issues a Louis Armstrong 32 cents commemorative postage stamp.
Year Inducted Title Results Notes
2007 Gennett Records Walk of Fame, Richmond, Indiana
2007 Long Island Music Hall of Fame
2004 Nesuhi Ertegün Jazz Hall of Fame
at Jazz at Lincoln Center
1990 Rock and Roll Hall of Fame Early influence
1978 Big Band and Jazz Hall of Fame
1958 Down Beat Jazz Hall of Fame
Hollywood Walk of Fame Star at 7601 Hollywood Blvd.
Legacy
On December 31, 1999, US President Bill Clinton announced that Armstrong’s trumpet was among several items of national memorabilia that were to be interred in a Millennial time capsule to be opened 100 years later.
Today, the house where Louis Armstrong lived at the time of his death (and which was declared a National Historic Landmark in 1977) is a museum. The Louis Armstrong House & Archives, at 34-56 107th Street (between 34th and 35th Avenues) in Corona, Queens, presents concerts and educational programs, operates as an historic house museum and makes materials in its archives of writings, books, recordings and memorabilia available to the public for research. The museum is operated by the City University of New York’s Queens College, following the dictates of Armstrong’s will.
See also: Louis Armstrong House & Archives
The museum was opened to the public on October 15, 2003. In 2005, it was among 406 New York City arts and social service institutions to receive part of a $20 million grant from the Carnegie Corporation, which was made possible through a donation by New York City mayor Michael Bloomberg.
The influence of Armstrong on the development of jazz is virtually immeasurable. Yet, his irrepressible personality both as a performer, and as a public figure later in his career, was so strong that to some it sometimes overshadowed his contributions as a musician and singer.
As a virtuoso trumpet player, Armstrong had a unique tone and an extraordinary talent for melodic improvisation. Through his playing, the trumpet emerged as a solo instrument in jazz and is used widely today. He was a masterful accompanist and ensemble player in addition to his extraordinary skills as a soloist. With his innovations, he raised the bar musically for all who came after him.
Some critics contend that Armstrong essentially invented jazz singing. Though widely recognized as a pioneer of scat singing, Ethel Waters precedes his scatting on record in the 1930s according to Gary Giddens and others.[43] Billie Holiday and Frank Sinatra are just two singers who were greatly indebted to him. Holiday said that she always wanted Bessie Smith’s ‘big’ sound and Armstrong’s feeling in her singing.
On August 4, 2001, the centennial of Armstrong’s birth, New Orleans’ airport was renamed Louis Armstrong International Airport in his honor.
In 2002, the Louis Armstrong’s Hot Five and Hot Seven recordings (1925-1928) are preserved in the United States National Recording Registry, a registry of recordings selected yearly by the National Recording Preservation Board for preservation in the National Recording Registry of the Library of Congress.
The US Open tennis tournament’s former main stadium was named Louis Armstrong Stadium in honor of Armstrong who had lived a few blocks from the site.
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