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- 20th Century Records
- A 26M Records
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- Ally McBeal
- Apple Inc.
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- Aretha Franklin
- Arrangement
- Back on the Block
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- Best R 26B Album
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- Coonskin (film)
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California
California (pronounced ) is the most populous state in the United States and the third-largest by land area, after Alaska and Texas. California is also the most populous sub-national entity in North America. It's on the U.S. West Coast, bordered by the Pacific Ocean to the west and by the states of Oregon to the north, Nevada to the east, Arizona to the southeast, Baja California, Mexico, to the south. Its 5 largest cities are Los Angeles, San Diego, San Jose, San Francisco, and Long Beach, with Los Angeles, San Diego, and San Jose each having at least 1 million residents. Like many populous states, California's capital, Sacramento is smaller than the state's largest city, Los Angeles. The state is home to the nation's 2nd- and 6th-largest census statistical areas and 8 of the nation's 50 most populous cities. California has a varied climate and geography and a multi-cultural population.
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Galveston, Texas
Galveston () is a coastal city located on Galveston Island in the U.S. state of Texas. As of the 2005 U.S. Census estimate, the city had a total population of 57,466 within an area of . Located within the metropolitan area, the city is the seat and second-largest city of Galveston County in population.
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Los Angeles
Los Angeles ( ; , Spanish for "The Angels") is the second most populous city in the United States, the most populous city in the state of California and the western United States, with a population of 3.83 million within its administrative limits on a land area of . The urban area of Los Angeles extends beyond the administrative city limits with a population of over 14.8 million and it is the 14th largest urban area in the world, affording it megacity status. The metropolitan statistical area (MSA) is home to nearly 12.9 million residents while the broader Los Angeles-Long Beach-Riverside combined statistical area (CSA) contains nearly 17.8 million people. Los Angeles is also the seat of Los Angeles County, the most populated and one of the most multicultural counties in the United States. The city's inhabitants are referred to as "Angelenos" ().
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New York
New York (; locally or ) is a state in the Northeastern region of the United States. It is the nation's third most populous state. New York is bordered by New Jersey and Pennsylvania to the south, and by Connecticut, Massachusetts and Vermont to the east. The state has a maritime border with Rhode Island east of Long Island, as well as an international border with the Canadian provinces of Ontario to the north and west, and Quebec to the north. New York is often referred to as New York State to distinguish it from New York City.
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United Kingdom
The United Kingdom of Great Britain and Northern Ireland (commonly known as the United Kingdom, the UK, or Britain) is a country and sovereign state located off the northwestern coast of continental Europe. It is an island nation, spanning an archipelago including Great Britain, the northeastern part of the island of Ireland, and many smaller islands. Northern Ireland is the only part of the UK with a land border with another sovereign state, sharing it with the Republic of Ireland. Apart from this land border, the UK is surrounded by the Atlantic Ocean, the North Sea, the English Channel and the Irish Sea. Great Britain is linked to continental Europe by the Channel Tunnel.
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United States
The United States of America (also referred to as the United States, the U.S., the USA, or America) is a federal constitutional republic comprising fifty states and a federal district. The country is situated mostly in central North America, where its forty-eight contiguous states and Washington, D.C., the capital district, lie between the Pacific and Atlantic Oceans, bordered by Canada to the north and Mexico to the south. The state of Alaska is in the northwest of the continent, with Canada to the east and Russia to the west across the Bering Strait. The state of Hawaii is an archipelago in the mid-Pacific. The country also possesses several territories in the Caribbean and Pacific.
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Al B. Sure!
Albert Jason Brown III (born June 4, 1968, Boston, Massachusetts) is an American singer, songwriter, and record producer. He grew up in Mount Vernon, New York. During the late 1980s under the stage name Al B. Sure!, he enjoyed a brief run as one of New Jack Swing's most popular romantic singers and producers.
http://wn.com/Al_B_Sure! -
Aretha Franklin
Aretha Louise Franklin (born March 25, 1942) is an American singer, songwriter and pianist commonly referred to as The Queen of Soul. Although renowned for her soul recordings, Franklin is also adept at jazz, blues, R&B; and gospel music. Rolling Stone magazine ranked Franklin No. 1 on its list of The Greatest Singers of All Time.
http://wn.com/Aretha_Franklin -
Barry B. White
Barry B. White is the current United States Ambassador to Norway. He was confirmed by the United States Senate on September 22, 2009 and was sworn in as Ambassador on October 21, 2009. In a confirmation hearing before the Senate Foreign Relations Committee on September 15, 2009, Ambassador White emphasized the commitment shared by Norway and the U.S. to promoting human rights, democracy, and freedom throughout the world. He said that he looked forward to working to preserve and build upon this invaluable relationship, and to increase economic development opportunities both for U.S. companies in Norway and Norwegian firms in the United States.
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Barry White
Barry Eugene White ( – ) was an American record producer and singer-songwriter.
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Basketball Jones
"Basketball Jones" is a 1974 animated short film based on the Cheech and Chong song "Basketball Jones featuring Tyrone Shoelaces", from their album Los Cochinos. The cartoon was created to promote the song's release in the United States. It is about a black teenager called Tyrone Shoelaces and his love of basketball. It was rumoured for many years that famed animator Ralph Bakshi created the short. In fact, it was designed by Paul Gruwell.
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Bob Keane
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Clarence Carter
Clarence Carter (born January 14, 1936) is a blind American soul singer and musician.
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El DeBarge
Eldra Patrick "El" DeBarge (born June 4, 1961) is an American R&B; and pop music falsetto singer and was the focal point and lead singer of the family group DeBarge throughout the early to mid-1980s. As a solo artist, he is best known for the hits "Who's Johnny" and "Love Always" and for his collaborations with Tone Loc, Quincy Jones, Fourplay and DJ Quik.
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Elvis Presley
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Gerald LeVert
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Glodean White
Glodean White (born c. 1947) is an R&B; singer who was married to performer Barry White. In the 1980s, White made numerous appearances on Soul Train and the Soul Train Music Awards. She was also part of the band Love Unlimited.
http://wn.com/Glodean_White -
James Ingram
James Ingram (born February 16, 1956, Akron, Ohio) is an American soul musician. He is best-known as a vocalist. He is also a self-taught musician who plays piano, guitar, bass, drums and keyboards. Additionally, he is a producer and songwriter.
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Jesse Belvin
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Marvin Gaye
Marvin Pentz Gaye, Jr. (April 2, 1939April 1, 1984), better known by his stage name Marvin Gaye, was an American singer-songwriter and instrumentalist with a three-octave vocal range. Starting as a member of the doo-wop group The Moonglows in the late fifties, he ventured into a solo career after the group disbanded in 1960 signing with the Tamla subsidiary of Motown Records. After starting off as a session drummer, Gaye ranked as the label's top-selling solo artist during the sixties.
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Michael Jackson
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Quincy Jones
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Ray Charles
Ray Charles Robinson (September 23, 1930June 10, 2004), better known by his shortened stage name Ray Charles, was an American musician. Ray was a pioneer in the genre of soul music during the 1950s by fusing rhythm & blues, gospel, and blues styles into his early recordings with Atlantic Records. He also helped racially integrate country and pop music during the 1960s with his crossover success on ABC Records, most notably with his Modern Sounds albums. While with ABC, Charles became one of the first African-American musicians to be given artistic control by a mainstream record company.
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Ritchie Valens
Ritchie Valens (born Ricardo Esteban Valenzuela Reyes; May 13, 1941 – February 3, 1959) was a Mexican-American singer, songwriter and guitarist.
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Russ Regan
Russ Regan (born Harold Rustigian) is a long-time record executive who was President of both UNI Records, and 20th Century Records Regan also worked at Motown among other companies. He started with Berry Gordy at Motown and promoted many artists including Marvin Gaye, Stevie Wonder, The Supremes and Smokey Robinson. Struck a deal with Jimmy Miller Productions when Miller left The Rolling Stones which resulted in albums from B.B.King, Henry Gross, Bobby Whitlock, and others. Signed Ambrosia and Harriet Schock to 20th Century Records. Regan has been described as the "Man with the Golden Ear".
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Tina Turner
Tina Turner (born Anna Mae Bullock; November 26, 1939) is an American singer and actress whose career has spanned more than 50 years. She has won numerous awards and her achievements in the rock music genre have earned her the title '''The Queen of Rock 'n' Roll'''.
http://wn.com/Tina_Turner -
Viola Wills
Viola Wills (December 30, 1939—May 6, 2009) was an American pop singer, best known for the 1979 UK Singles Chart #8 and U.S. Hot Dance Club Play #52 hit, "Gonna Get Along Without You Now". Other hits included further covers of the songs, "Both Sides Now" (#35 UK) (1986), and "If You Could Read My Mind" (#2 U.S. Hot Dance Club Play) (1980).
http://wn.com/Viola_Wills
White, Barry Filmography
- The Best of the World Music Awards (2010)
- The Oracle of Del-Fi (2008)
- Let the Music Play: The Barry White Story (2007)
- Kings of 70s Romance (2007)
- Pavarotti & Friends for Afghanistan (2001)
- 100 Greatest Dance Songs of Rock & Roll (2000)
- The 67th Annual Academy Awards (1995)
- Late Show with David Letterman: Video Special (1995)
- Soul Train's 25th Anniversary (1995)
- The 8th Annual Soul Train Music Awards (1994)
- Comic Relief: The Invasion of the Comic Tomatoes (1993)
- Why Colors? (1992)
- The 4th Annual Soul Train Music Awards (1990)
- 21st NAACP Image Awards (1989)
- The 2nd Annual Soul Train Music Awards (1988)
- The 1st Annual Soul Train Music Awards (1987)
- The 5th Annual American Music Awards (1978)
- Coonskin (1975)
- Coonskin (1975)
- Together Brothers (1974)
Barry White first made his mark in the music business in the 1960s as a session musician, even serving for a spell as an A&R; man for a small, independent Los Angeles record label. He first hit it big in 1973 with a series of albums and singles emphasizing lush orchestrations and elaborate production values, over which he laid down his big bass voice. In 1973 and 1974 alone, he sold US$16 million worth of records--not only on his own but also as the conductor and composer of instrumental records (as the Love Unlimited Orchestra) and as the primary producer and songwriter of the female vocal trio Love Unlimited (one of whom, 'Glodean White' (qv), became his second wife). 1974 was a prolific year for White, during which he composed the score of _Together Brothers (1974)_ (qv) and acted in _Coonskin (1975)_ (qv). After a particularly pronounced fallow period in the 1980s, he rebounded in the 1990s with a series of critically and commercially acclaimed records and he beefed up his presence on TV somewhat with a famous guest appearance on _"The Simpsons" (1989)_ (qv), a recurring role on _"Ally McBeal" (1997)_ (qv), and a series of commercials in which he parodied his image and persona.
White, Barrie Filmography
- True Stories: The Trials of Amanda Knox (2010)
- Point of View (2004)
- Point of View (2004)
- The Outlet (2000)
- The Outlet (2000)
- Fork in the Road (1996)
- Limbo (1993)
- Limbo (1993)
- Limbo (1993)
White, Barry Filmography
RELEASE
ALBUMS
Barry White Unlimited
(Released 2010)
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- I'm Gonna Love You Just a Little More, Baby (alternate version)
- Never Never Gonna Give Ya Up (alternate version)
- Honey Please, Can't Ya See (alternate version)
- Can't Get Enough of Your Love, Babe (alternate version)
- You're the First, the Last, My Everything (alternate version)
- I'll Do for You Anything You Want Me To (alternate version)
- What Am I Gonna Do With You (alternate version)
- Let Me Live My Life Lovin' You Babe
- You See the Trouble With Me
- Let the Music Play (alternate version)
- Don't Make Me Wait Too Long (alternate version)
- So Good I Can Taste It
- I'm Qualified to Satisfy You (alternate version)
- I've Got So Much to Give
- Love's Theme
- Can't Get Enough of Your Love, Babe
- Your the First, the Last, My Everything
- Honey Please, Can't Ya See
- Never, Never Gonna Give Ya Up
- I'n Gonna Love You Just a Little More, Baby
- It's Ecstasy When You Lay Down Next to Me
- I'm Qualified to Satisfay You
- Sha La La Means I Love You
- Let the Music Play
- Sho' You Right
- Practice What You Preach
- Can't Get Enough of Your Love, Babe
- I'll Do For You Anything You Want Me To
- What Am I Gonna Do with You
- I'm Gonna Love You Just a Little More, Baby
- It's Ecstasy When You Lay Down Next to Me
- Let the Music Play
- Never, Never Gonna Give You Up
- I've Got So Much to Give
- You See the Trouble with Me
- Just the Way You Are
- Love's Theme
- Baby, We Better Try to Get It Together
- You're the First, the Last, My Everything
- I'm Qualified to Satisfy You
- Honey Please, Can't Ya See
- Your Sweetness Is My Weakness
- Playing Your Game, Baby
- Don't Make Me Wait Too Long
- Oh, What a Night for Dancing
- Love's Theme
- I'm Gonna Love You Just a Little More, Baby
- Never, Never Gonna Give Ya Up
- Can't Get Enough of Your Love, Babe
- You're the First, the Last, My Everything
- What Am I Gonna Do With You
- It's Ecstasy When You Lay Down Next to Me
- I Belong to You
- The Secret Garden (Sweet Seduction Suite) (feat. Al B. Sure!, James Ingram, El DeBarge & Barry White)
- Practice What You Preach
- My Sweet Summer Suite
- Brazilian Love Song
- Let the Music Play
- Your Sweetness Is My Weakness
- Sho' You Right
- Put Me in Your Mix
- Playing Your Game, Baby
- I'm Gonna Love You Just a Little More Baby
- I've Got So Much to Give
- Never, Never Gonna Give You Up
- Honey Please, Can't Ya See
- Can't Get Enough of Your Love, Babe
- Baby Blues
- You're the First, the Last, My Everything
- What Am I Gonna Do With You
- I'll Do for You Anything You Want Me To
- Let the Music Play
- You See the Trouble With Me
- My Sweet Summer Suite
- Don't Make Me Wait Too Long
- I'm Qualified to Satisfy You
- Midnight and You
- Can't Get Enough
- You're the First, the Last, My Everything
- Let the Music Play
- Never Never Gonna Give You Up
- I'm Gonna Love You Just a Little More Baby
- You See the Trouble With Me
- Honey Please Can't Ya See
- Don't Make Me Wait Too Long
- Midnight & You
- Baby Blues
- Your Sweetness Is My Weakness
- It May Be Winter Outside (But in My Heart It's Spring)
- I Belong to You
Gold: The Very Best
(Released 2006)
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- My Sweet Summer Suite
- Don't Make Me Wait Too Long
- I'm Qualified to Satisfy You
- It's Ecstacy When You Lay Down Next to Me
- Oh, What a Night for Dancing
- Playing Your Game, Baby
- Just the Way You Are
- It's Only Love Doing It's Thing
- Sha La La Means I Love You
- Beware
- Change
- Sho' You Right
- Practice What You Preach
- I Only Want to Be With You
White Gold: The Very Best of Barry White
(Released 2005)
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- I'm Gonna Love You Just a Little Bit More Baby
- I've Got So Much to Give
- Never Never Gonna Give Ya Up
- Honey Please, Can't Ya See
- Can't Get Enough of Your Love Babe
- You're the First, The Last, My Everything
- Satin Soul
- What Am I Gonna Do With You
- I'll Do for You Anything You Want Me To
- Let the Music Play
- You See the Trouble With Me
- Baby We Better Try to Get It Together
- Walking in the Rain (With the One I Love)
- It May Be Winter Outside (But in My Heart It's Spring)
- Love's Theme
- Love Ain't Easy
- Don't Forget... Remember
- America
- Relax to the Max
- It Ain't Love Babe
- Let Me in and Let's Begin With Love
- Your Love, Your Love
- Life
- Lady Sweet Lady
- Love Makin' Music
- I've Got the Whole World to Hold Me Up
- Your Heart and Soul
- You're the First, the Last, My Everything
- America
- Love Making Music
- Let Me in and Let's Begin With Love
- My Buddy
- We Can't Get Let of Love
- Didn't We Make It Happy Babby
- You
- This Love
- Under the Influence of Love
- All in the Run of a Day
- Our Theme, Part 1
- Love Ain't Easy
- You're the First, the Last, My Everything
- Never Gonna Give You Up
- Can't Get Enough of Your Love Baby
- Come on in Love
- Love Theme
- Honey Please Can't You See
- I'm Gonna Love You Just A Little
- I Found Someone
- I've Got So Much to Give
- Let the Music Play
- What Am I Gonna Do with You
- Love Serenade
The Universal Masters Collection: Classic Barry White
(Released 2003)
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- Walkin' in the Rain With the One I Love
- I'm Gonna Love You Just a Little More Babe
- Honey Please, Can't Ya See
- Mellow Mood, Part 1
- You're the First, the Last, My Everything
- Love Serenade
- Let the Music Play
- You See the Trouble With Me
- I'm Qualified to Satisfy You
- Playing Your Game, Baby
- Oh What a Night for Dancing
- Sho' You Right
- Practice What You Preach
- Love's Theme
- Can't Get Enough of Your Love, Babe
- I'm Gonna Love You Just a Little More, Baby
- You're the First, the Last, My Everything
- Never Never Gonna Give You Up
- Just the Way You Are
- It's Ecstasy When You Lay Down Next to Me
- Practice What You Preach
- Walking in the Rain (With the One I Love)
- Dark and Lovely (You Over There)
- It May Be Winter Outside (But in My Heart It's Spring)
- Don't Make Me Wait Too Long
- I'll Do for You Anything You Want Me To
- Love Serenade
- Midnight and You
20th Century Masters: The Millennium Collection: The Best of Barry White
(Released 2003)
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- I'm Gonna Love You Just a Little More Baby
- Never, Never Gonna Give You Up
- Can't Get Enough of Your Love, Babe
- What Am I Gonna Do With You
- Let the Music Play
- It's Ecstasy When You Lay Down Next to Me
- Playing Your Game, Baby
- Oh What a Night for Dancing
- Love Makin' Music
- Sho' You Right
- Practice What You Preach
- Staying Power
- Never Gonna Give Ya Up
- Standing in the Shadows of Love
- What Am I Going to Do With You
- Honey Please Can't You See
- Your Sweetness Is My Weakness
- I Love to Sing the Songs I Sing
- It's Only Love Doing It's Thing
- Bring Back My Yesterday
- I've Got So Much to Give
- You See the Trouble With Me
- Playing Your Game Baby
- You're So Good, You're So Bad
- Oh Me, Oh My (I'm Such a Lucky Guy)
The Ultimate Collection
(Released 2000)
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- Love's Theme
- It's Ecstacy When You Lay Down Next to Me
- Oh What a Night for Dancing
- Playing Your Game, Baby
- Your Sweetness Is My Weakness
- Just the Way You Are
- Love Serenade, Parts 1 & 2
- Satin Soul
- It Ain't Love Babe (Until You Give It)
- Love Makin' Music
- Sho' You Right
- Put Me in Your Mix
- Practice What You Preach
- Come On
- Staying Power
- I'm Gonna Love You Just a Little More, Baby
- Never, Never Gonna Give You Up
- Can't Get Enough of Your Love, Babe
- You're the First, the Last, My Everything
- I'll Do for You Anything You Want Me To
- Don't Make Me Wait Too Long
- I'm Qualfied to Satisfy You
- It's Ecstasy When You Lay Down Next to Me
- Bring Back My Yesterday
- I've Found Someone
- Walking in the Rain With the One I Love
- Love's Theme
- Staying Power
- Don't Play Games
- The Longer We Make Love (feat. Chaka Khan)
- I Get Off on You
- Which Way Is Up
- Get Up
- Sometimes
- Low Rider
- Thank You
- Slow Your Roll
- The Longer We Make Love (feat. Lisa Stansfield)
- You're the First, the Last, My Everything
- You See the Trouble With Me
- Can't Get Enough of Your Love Babe
- I'll do for You Anything You Want Me To
- Just the Way You Are
- Walking in the Rain (With the One I Love)
- It May Be Winter Outside (But in My Heart It's Spring)
- Sho' You Right
- What Am I Gonna do With You?
- Baby We Better Try and Get It Together
- Let the Music Play
- Don't Make Me Wait Too Long
- I'm Gonna Love You Just a Little More Babe
- The Right Night
- Never Never Gonna Give You Up (12" remix)
- Love's Theme
Can't Get Enough of Your Love
(Released 1996)
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- Practice What You Preach
- Your'e the First, the Last, My Everything
- Can't Get Enough of Your Love, Babe
- Never Never Gonna Give You Up (12" remix)
- I'll Do for You Anything You Want Me To
- I'm Gonna Love You a Little Bit More Babe
- What Am I Gonna Do With You
- It's Ecstacy When You Lay Down Next to Me
- Love's Theme
- Let the Music Play
- Oh, What a Night for Dancing
- I've Got So Much to Give
- I'm Qualified to Satisfy You
- Baby We Better Try and Get It Together
- I Found Someone
Sings for Someone You Love
(Released 1996)
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- Playing Your Game, Baby
- It's Ecstasy When You Lay Down Next to Me
- You're So Good You're Bad
- I Never Thought I'd Fall in Love With You
- You Turned My Whole World Around
- Oh What a Night for Dancing
- Of All the Guys in the World
Is This Whatcha Wont?
(Released 1996)
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- Don't Make Me Wait Too Long
- Your Love — So Good I Can Taste It
- I'm Qualified to Satisfy You
- I Wanna Lay Down With You Baby
- Now I'm Gonna Make Love to You
- Mellow Mood, Part I
- You're the First, the Last, My Everything
- I Can't Believe You Love Me
- Can't Get Enough of Your Love, Babe
- Oh Love, Well We Finally Made It
- I Love You More Than Anything (In This World Girl)
- Mellow Mood, Part II
Your Heart and Soul
(Released 1995)
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- I've Got the World to Hold Me Up
- Under the Influence of Love
- Your Heart and Soul
- Long Black Veil
- All in the Run of Love
- Fragile, Handle With Care
- Come on in Love
- When Can I Turn To
- Out of the Shadows of Love
- I Owe It All to You
- Big Man
- My Buddy
Endless Love: A Collection of Great Love Songs & Ballads
(Released 1995)
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- I Found Love
- Didn't We Make It Happen Baby
- Love Makin' Music
- I'm on Fire
- Relax to the Max
- Tell Me Who Do You Love
- I Won't Settle for Less Than the Best (For You Baby)
- Don't Tell Me About Heartaches
- The Better Love Is (The Worse It Is When It's Over)
- Easin'
- She's Everything to Me
- Let Me in and Let's Begin With Love
- Let the Music Play
- Can't Get Enough of Your Love, Babe
- I Love You More Than Anything (In This World Girl)
- Love Serenade (part 1)
- Hard to Believe That I Found You
- September When I First Met You
- Don't Make Me Wait Too Long
- Look at Her
- I'm Gonna Love You Just a Little Bit More, Baby
- Oh Love, Well We Finally Made It
- Let Me Live My Life Lovin' You Babe
- Love Serenade (part 2)
- I'm Gonna Love You Just a Little More Baby
- Never Never Gonna Give Ya Up
- D'Ont Make Me Wait Too Long
- I'm Qualified to Satisfy You
- Oh What a Night for Dancing
- Sho' 'You Right
- Your Sweetness Is My Weakness
- I've Found Someone
- Satin Soul
- Love's Theme
- Walkin' In the Rain With the One I Love
- Practice What You Preach
- There It Is
- I Only Want to Be With You
- The Time Is Right
- Baby's Home
- Come On
- Love Is the Icon
- Sexy Undercover
- Don't You Want to Know
- Whatever We Had, We Had
All-Time Greatest Hits
(Released 1994)
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- Love's Theme
- I'm Gonna Love You Just a Little More, Baby
- I've Got So Much to Give
- Never, Never Gonna Give You Up
- Honey Please, Can't Ya See
- Can't Get Enough of Your Love, Babe
- You're the First, the Last, My Everything
- What Am I Gonna Do With You
- I'll Do for You Anything You Want Me To
- Let the Music Play
- You See the Trouble With Me
- Baby, We Better Try to Get It Together
- Don't Make Me Wait Too Long
- I'm Qualified to Satisfy You
- It's Ecstasy When You Lay Down Next to Me
- Playing Your Game, Baby
- Oh, What a Night for Dancing
- Your Sweetness Is My Weakness
- Just the Way You Are
- Satin Soul
- You're the First, the Last, My Everything
- Your Sweetness Is My Weakness
- I Feel Love Coming On
- Midnight and You
- Barry's Theme
- Oh Love, Well We Finally Made It
- I'm Qualified to Satisfy You
- You See the Trouble With Me
- Oh What a Night for Dancing
- Sha La La Means I Love You
- It's Ecstasy When You Lay Down Next to Me
- Standing in the Shadows of Love
- What a Groove
- Honey Please Can't Ya See
- Rhapsody in White
- Let the Music Play
- Prologue
- Love's Theme
- I'm Gonna Love You Just a Little More Baby
- Never Never Gonna Give You Up
- Can't Get Enough of Your Love, Babe
- You're the First, the Last, My Everything
- What Am I Gonna Do With You
- Let the Music Play
- You See the Trouble With Me
- Honey Please Can't Ya See
- Don't Make Me Wait Too Long
- It's Ecstasy When You Lay Down Next to Me
- Your Sweetness Is My Weakness
- L.A. My Kinda Place
- Let's Get Busy
- Love Is Good With You
- For Real Chill
- Break It Down With You
- Volare
- Put Me in Your Mix
- Who You Giving Your Love To
- Love Will Find Us
- We're Gonna Have It All
- Dark and Lovely
Greatest Hits, Volume 2
(Released 1991)
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- How Did You Know It Was Me?
- It's Ecstasy When You Lay Down Next to Me
- I'm Qualified to Satisfy You
- You Turned My Whole World Around
- Your Sweetness Is My Weakness
- Sha La La Means I Love You
- Let the Music Play
- Oh What a Night for Dancing
Barry White's Greatest Hits
(Released 1988)
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- What Am I Gonna Do With You
- You're the First, the Last, My Everything
- Can't Get Enough of Your Love, Babe
- Honey Please, Can't Ya See
- Love Serenade
- Never, Never Gonna Give You Up
- I'm Gonna Love You Just a Little More, Baby
- I've Found Someone
- I've Got So Much to Give
- Standing in the Shadows of Love
The Right Night & Barry White
(Released 1987)
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- Good Dancin' Music
- As Time Goes By
- Sho You Right
- For Your Love (I'll Do Most Anything)
- There's a Place (Where Love Never Ends)
- Love Is in Your Eyes
- I'm Ready for Love
- Share
- Who's the Fool
- The Right Night
- America
- Free
- Don't Forget... Remember
- Life
- Love Song
- All in the Run of a Day
- Don't Let 'em Blow Your Mind
- Dreams
- Change
- Turnin' On, Turnin' In (To Your Love)
- Let's Make Tonight (An Evening to Remember)
- Don't Tell Me About Heartaches
- Passion
- I've Got That Love Fever
- I Like You, You Like Me
- It's All About Love
- Beware
- Relax to the Max
- Let Me in and Let's Begin With Love
- Your Love, Your Love
- Tell Me Who Do You Love
- Rio De Janeiro
- You're My High
- Oooo....Ahhh....
- I Won't Settle for Less Than the Best (For You Baby)
- Louie Louie
- Our Theme, Part 1
- I Want You
- You're the Only One for Me
- This Love
- Better Love Is (The Worse It Is When It's Over)
- You
- We Can't Let Go of Love
- You Make My Life Easy Livin'
- Didn't We Make It Happen Baby
- Our Theme, Part 2
- Sheet Music
- Lady, Sweet Lady
- I Believe in Love
- Ghetto Letto
- Rum and Coke
- She's Everything to Me
- Love Makin' Music
I Love to Sing the Songs I Sing
(Released 1979)
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- I Love to Sing the Songs I Sing
- Girl, What's Your Name
- Once Upon a Time (You Were a Friend of Mine)
- Oh Me, Oh My (I'm Such a Lucky Guy)
- I Can't Leave You Alone
- Call Me, Baby
- How Did You Know It Was Me?
- Look at Her
- Your Sweetness Is My Weakness
- Sha La La Means I Love You
- September When I First Met You
- It's Only Love Doing Its Thing
- Just the Way You Are
- Early Years
- I Don't Know Where Love Has Gone
- If You Know, Won't You Tell Me
- I'm So Blue and You Are Too
- Baby, We Better Try to Get It Together
- You See the Trouble With Me
- Let the Music Play
Just Another Way to Say I Love You
(Released 1975)
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- Heavenly, Thats What You Are to Me
- I'll Do for You Anything You Want Me To
- All Because of You
- Love Serenade
- What Am I Gonna Do With You
- Let Me Live My Life Lovin' You Babe
- Love Serenade, Part II
- Girl It's True, Yes I'll Always Love You
- Honey Please, Can't Ya See
- You're My Baby
- Hard to Believe That I Found You
- Never Never Gonna Give Ya Up
- Never Never Gonna Give You Up
- Staying Power
- Don't Play Games
- The Longer We Make Love
- In Your Wildest Dreams
- Which Way Is Up
- Love Serenade
- I've Found Someone
- Oooo... Ahhh...
- I Get Off on You
- Get Up
- Love Will Find Us
- Come On
- Sometimes
- Let the Music Play
Boss Soul: The Genius of Barry White
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- I Don't Need It
- A Man Ain't Nothin'
- I Got Love
- Lost Without the Love of My Guy
- This Thing Called Love
- To Whom It May Concern
- Together Forever
- Don't Kiss Me Hello
- It May Be Winter Outside (But in My Heart It's Spring)
- Everybody's Going Mod
- I Feel Love Coming On
- You're Out of My Mind
- Under the Influence of Love
- Don't Take Your Love from Me
- All in the Run of a Day
- Love Theme [Instrumental]
- Out of the Shadows of Love
- Under the Influence of Love
- Come on in Love
- Your Heart and Soul
- All in the Run of One Day
- Long Black Veil
- I Owe It All to You
- I've Got the World to Hold Me Up
- Where Can I Turn To
- Fragile Handle With Care
- My Buddy
- Long Black Veil
- Where Can I Turn To
- I've Got the Whole World to Hold Me Up
- Your Heart and Soul
- Out of Shadows of Love
- Under the Influence of Love
- I'm Fragile Handle With Care
- All in the Run of a Day
- Come on in Love
- I Owe It All to You
- All in a Run of a Day
- Come on In, Love
- Fragile, Handle With Care
- I Owe It All to You
- I've Got the World to Hold Me Up
- Long Black Veil
- Out of the Shadows of Love
- Under the Influence of Love
- Where Can I Turn To
- Your Heart and Soul
- I've Got the Whole World to Hold Me Up
- Your Heart and Soul
- Under the Influence of Love
- All in the Run of Love
- Out of the Shadows of Love.
- Long Black Veil
- Come on in Love
- Where Can I Turn To
- I Owe It All to You
- Fragile, Handle With Car
- My Buddy
- I've Got the Whole World to Hold Me Up (Big Man remix)
- Let the Music Play
- I'm Gonna Love You Just a Little More, Baby
- You're the First, the Last, My Everything
- Can't Get Enough of Your Love, Baby
- Never, Never Gonna Give Ya Up
- What Am I Gonna do With You
- I've Got So Much to Give
- Standing in the Shadows of Love
- Oh? What Night for Dancing
- Love Makin' Music
- Tell Me Who do You Love
- Volare
- You're My High
- Put Me in Your Mix
- I'm Ready for Love
- Practice What You Preach
- Our Theme, Part I
- You're the One I Need
- Beware
- Love Ain't Easy
- You're My High
- She's Everything to Me
- Relax to the Max
- Don't Tell Me About Heartaches
- It's All About Love
- Love Song
- Love Makin' Music
- High Steppin, Hip Dressing Fella
- I Won't Settle for Less Than the Best
- I'm So Glad That I'm a Woman
- Didn't We Make It Happen Baby
- You're the First, the Last, My Everything
- Let the Music Play
- Never Gonna Give You Up
- I'll do for You Anything You Want Me To
- What Am I Gonna do With You
- I'm Gonna Love You Just a Little More, Baby
- Dark and Lovely (You Over There)
- Practice What You Preach
- Super Lover
- Love Theme
- Welcome Aboard (Reprise)
- Lady, Sweet Lady
- Your Love, Your Love
- High Steppin', Hip Dressin' Fella
- Jamaican Girl
- We Can't Let Go of Love
- He's Mine
- The Better Love Is
- I Did It for Love
- Under the Influence of Love
- It Ain't Love Babe
- Long Black Veil
- I've Got the Whole World to Hold Me Up
- Our Theme (Part 1) Instrumental
- It Ain't Love, Babe (Until You Give It)
- Hung Up in Your Love
- You're the One I Need
- Any Fool Could See (You Were Meant for Me)
- Love Ain't Easy
- I'm on Fire
- I Found Love
- America
- Let Me in and Let's Begin With Love
- Lady, Sweet Lady
- Your Love, Your Love
- We Can't Let Go of Love
- Love Makin' Music
- Our Theme
- Free
- Don't Forget... Remember
- You
- Hung Up in Your Love
- It Ain't Love Babe
- Relax to the Max
- Life
- Sheet Music
- In the Ghetto
- You're the First, the Last, My Everything
- Responsible
- Super Lover
- L.A. My Kinda Place
- Follow That and See (Where It Leads Y'all)
- When Will I See You Again
- I Wanna Do It Good to Ya
- It's Getting Harder All the Time
- Don't Let Go
- Loves Interlude / Goodnight My Love
- Somebody Is Gonna Tear Off the Man
- So Nice to Hear
- Alive and Well
- Find the Man Bros
- You Gotta Case
- Killer's Lullaby
- Theme From Together Brothers
- Getaway
- People of Tomorrow (instrumental)
- Somebody Is Gonna Off (instrumental)
- The Rip
- Stick Up
- Dreamin'
- Killer's Back
- Do Drop In
- Killer Don't Do It
- Here Comes the Man
- Dream On
- Honey Please Can't You See
- Can't Seem to Find Him
- People of Tomorrow Are the Children
- Standing in the Shadows of Love
- Bring Back My Yesterday
- I've Found Someone
- I've Got So Much to Give
- I'm Gonna Love You Just a Little More, Baby
- Just a Little More, Baby (instrumental)
- I've Got So Much to Give (instrumental)
- Practice What You Preach
- Love Makin'
- Love Serenade
- I've Got So Much To Give
- The Right Night
- We're Gonna Have It All
- You Turned My Whole World Around
- Relax To The Max
- Tell Me Who Do You Love?
- Oh, What Night For Dancing
- Love Will Find Us
- Didn't We Make It Happen Baby
- You're My High
- Ohh... Ahhh...
- Just The Way You Are
- Can't Get Enough of Your Love, Babe
- Dark & Lovely
- Honey Please, Can't Ya See
- I Want To Read Your Mind
- Just the Way You Are
- In Your Wildest Dreams
- You're My First, My Last, My Everything
- Let the Music Play
- Midnight and You
- Never, Never Gonna Give You Up
- The Secret Garden
- The Better Love Is
- Superlover
- Shaft Theme
- It Ain't Love Babe
- Hung Up in Your Love
- You're the One I Need
- Any Fool Could See
- Love Ain't Easy
- Love Song
- Change
- Sheet Music
- Lady Sweet Lady
- She's Everything to Me
- Beware
- Relax to the Max
- Let Me in and Let's Begin With Love
- You're My High
- The Better Love Is
- Baby, We Better Try to Get It Together
- Can't Get Enough of Your Love Babe
- Don't Make Me Wait Too Long
- Honey Please, Can't Ya See
- I'll Do for You Anything You Want Me To
- I'm Gonna Love Just a Little More Baby
- Let the Music Play
- Never, Never Gonna Give You Up
- Oh What a Night for Dancing
- Playing Your Game Baby
- What Am I Gonna Do With You
- You See the Trouble With Me
- You're the First, the Last, My Everything
- Your Sweetness Is My Weakness
- Love's Theme
- I'm Gonna Love You Just a Little More, Baby
- I've Got So Much to Give
- Never, Never Gonna Give You Up
- Honey Please, Can't Ya See
- Can't Get Enough of Your Love, Babe
- You're the First, the Last, My Everything
- What Am I Gonna Do With You
- I'll Do for You Anything You Want Me To
- Let the Music Play
- You See the Trouble With Me
- Baby, We Better Try to Get It Together
- Don't Make Me Wait Too Long
- I'm Qualified to Satisfy You
- It's Ecstacy When You Lay Down Next to Me
- Playing Your Game, Baby
- Oh! What a Night for Dancing
- Your Sweetness Is My Weakness
- Just the Way You Are
- Can't Get Enough of Your Love, Babe
- Oh What a Night for Dancing
- I've Got So Much to Give
- Standing in the Shadows of Love
- Don't Make Me Wait Too Long
- Just the Way You Are
- Love's Theme
- Midnight Groove
- Rhapsody in White
- Forever in Love
- Power of Love
- Barry's Theme
- You're the First, the Last, My Everything
- Under the Influence of Love
- Let the Music Play
- Never, Never Gonna Give Ya Up
- You See the Trouble With Me
- I'll Do for You Anything You Want
- Love' Theme
- Can't Get Enough of Your Love
- Standing in the Shadows of Love
- I'm Gonna Love You Just a Little Bit More
- What Am I Gonna Do With You
- Spanish Lie
- Bring Back My Yesterday
- It May Be Winter Outside (But in My Heart It's Spring)
- You're the First, the Last, My Everything
- Never Never Gonna Give You Up
- You See the Trouble With Me
- Can't Get Enough of Your Love Babe
- I'll Do for You Anything You Want Me To
- Just the Way You Are
- Walking in the Rain (With the One I Love)
- It May Be Winter Outside (but in My Heart It's Spring)
- Love's Theme
- Sho' You Right
- What Am I Gonna Do With You?
- Baby We Better Try and Get It Together
- Let the Music Play
- Don't Make Me Wait Too Long
- I'm Gonna Love You Just a Little More Babe
- The Right Night
Born: 1944-09-12
Died: 2003-07-04
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You Are The First, My Last, My Everything (Barry White)
- Order: Reorder
- Duration: 3:52
- Published: 10 Jan 2009
- Updated: 19 Jun 2012
"YouAre Music" youare.com Music with "you are" in the title or lyrics. YouAre Playlist on Spotify open.spotify.com We got it together, didn't we? Nobody but you and me. We got it together, baby. My first, my last, my everything, And the answer to all my dreams. You're my sun, my moon, my guiding star. My kind of wonderful, that's what you are. I know there's only, only one like you There's no way they could have made two. You're, you're all I'm living for Your love I'll keep for evermore. You're the first, my last, my everything. In you I've found so many things, A love so new, only you could bring. Can't you see if you, You'll make me feel this way, You're like a first morning dew on a brand new day. I see so many ways that I can love you, 'Till the day I die.... You're my reality, yet I'm lost in a dream. You're my first, my last, my everything. I know there's only one, only one like you There's no way they could have made two. Girl, you're my reality. But I'm lost in a dream, You're the first, you're the last, my everything.
http://wn.com/You_Are_The_First,_My_Last,_My_Everything_Barry_White
Barry White - Practice What You Preach
- Order: Reorder
- Duration: 4:08
- Published: 23 Nov 2009
- Updated: 19 Jun 2012
Music video by Barry White performing Practice What You Preach. (C) 1994 A&M Records
http://wn.com/Barry_White_Practice_What_You_Preach
Barry White - My First My Last My Everything - Lyrics
- Order: Reorder
- Duration: 4:35
- Published: 27 Aug 2010
- Updated: 19 Jun 2012
Barry White - My First My Last My Everything :) With some photos that i took over the years.... Beautiful Israel & me and friends :-)
http://wn.com/Barry_White_My_First_My_Last_My_Everything_Lyrics
Barry White - Can't Get Enough Of Your Love Baby.
- Order: Reorder
- Duration: 4:36
- Published: 25 Nov 2008
- Updated: 19 Jun 2012
Lyrics (: (Spoken) I've heard people say that Too much of anything is not good for you, baby Oh no But I don't know about that There's many times that we've loved We've shared love and made love It doesn't seem to me like it's enough There's just not enough of it There's just...
http://wn.com/Barry_White_Can't_Get_Enough_Of_Your_Love_Baby
Barry White - Never Gonna Give You Up
- Order: Reorder
- Duration: 4:51
- Published: 20 Oct 2007
- Updated: 19 Jun 2012
just a picture and the song
http://wn.com/Barry_White_Never_Gonna_Give_You_Up
Barry White - Can't get enough of your Love, Babe
- Order: Reorder
- Duration: 3:25
- Published: 19 Nov 2009
- Updated: 18 Jun 2012
Barry White at the Midnight Special program
http://wn.com/Barry_White_Can't_get_enough_of_your_Love,_Babe
Barry White Just the way you are
- Order: Reorder
- Duration: 5:38
- Published: 21 Mar 2007
- Updated: 19 Jun 2012
Barry Eugene White (Galveston, 12 settembre 1944 -- Hollywood, 4 luglio 2003) è stato un cantante e produttore discografico statunitense.. Nella sua lunga carriera ha ricevuto 20 dischi d'oro e 10 dischi di platino per i singoli, 106 dischi d'oro e 41 di platino per gli albums, vendendo complessivamente oltre 100 milioni di dischi. en.wikipedia.org
http://wn.com/Barry_White_Just_the_way_you_are
Barry White - Never never gonna give you up
- Order: Reorder
- Duration: 3:58
- Published: 01 Jul 2009
- Updated: 19 Jun 2012
Never, Never Gonna Give You Up" is a song written and recorded by Barry White.Released as a single from his 1973 album Stone Gon',
http://wn.com/Barry_White_Never_never_gonna_give_you_up
Barry White - I'm Gonna Love You Just A Little Bit More...
- Order: Reorder
- Duration: 4:13
- Published: 20 Oct 2007
- Updated: 18 Jun 2012
... baby
http://wn.com/Barry_White_I'm_Gonna_Love_You_Just_A_Little_Bit_More
Barry White - Your Sweetness Is My Weakness
- Order: Reorder
- Duration: 3:31
- Published: 24 May 2008
- Updated: 18 Jun 2012
Barry White
http://wn.com/Barry_White_Your_Sweetness_Is_My_Weakness
Barry White - You're the first, my last, my everything
- Order: Reorder
- Duration: 3:24
- Published: 17 Jan 2009
- Updated: 18 Jun 2012
Von Herzen
http://wn.com/Barry_White_You're_the_first,_my_last,_my_everything
Barry White - Let The Music Play
- Order: Reorder
- Duration: 5:02
- Published: 05 Sep 2007
- Updated: 18 Jun 2012
Extraordinario video en vivo del Maestro Barry White
http://wn.com/Barry_White_Let_The_Music_Play
Love serenade - Barry white
- Order: Reorder
- Duration: 4:41
- Published: 09 Oct 2009
- Updated: 18 Jun 2012
eeeeeeeeeeeeeeee
http://wn.com/Love_serenade_Barry_white
The first, my last, my everything
- Order: Reorder
- Duration: 4:08
- Published: 18 Aug 2008
- Updated: 19 Jun 2012
Un temazo del inolvidable Barry White, traducido y preparado en homenaje a esa gran voz.
http://wn.com/The_first,_my_last,_my_everything
Ally Mcbeal - John Cage Birthday Present Barry White
- Order: Reorder
- Duration: 3:07
- Published: 28 Jan 2011
- Updated: 18 Jun 2012
Ally Mcbeal - John Cage Birthday Present Barry White
http://wn.com/Ally_Mcbeal_John_Cage_Birthday_Present_Barry_White
Barry White Love´s Theme
- Order: Reorder
- Duration: 3:29
- Published: 03 Jun 2007
- Updated: 18 Jun 2012
In Mexico City; Barry White and Love´s theme; 1976 México City. Barry White y Amor ilimitado en la Ciudad de México.
http://wn.com/Barry_White_Love´s_Theme
Pavarotti & Barry White - My first, my last, my everything
- Order: Reorder
- Duration: 4:55
- Published: 12 May 2008
- Updated: 19 Jun 2012
My first, my last, my everything.
http://wn.com/Pavarotti_Barry_White_My_first,_my_last,_my_everything
Tina Turner & Barry White - In Your Wildest Dreams
- Order: Reorder
- Duration: 3:50
- Published: 30 Jul 2007
- Updated: 19 Jun 2012
An excellent duet recorded by two soul legends, Tina Turner and Barry White. Released in 1996 from the Wildest Dreams album. (Pictorial)
http://wn.com/Tina_Turner_Barry_White_In_Your_Wildest_Dreams
Ally McBeal Barry White
- Order: Reorder
- Duration: 3:31
- Published: 18 Dec 2011
- Updated: 19 Jun 2012
John Cage: Nicknamed "The Biscuit" is co-founder and senior partner second. Excellent lawyer employing methods particularly unexpected (shoe squeaks, whistles of the nose, stomach gurgling, non-examination of witnesses ...). He suffers from a serious lack of confidence in him that he compensates by identifying with Barry White. For all its eccentricities, it will maintain a deep friendship with Ally, and attract many beautiful women, Nelle Porter. My first, my last, my everything And the answer to all my dreams You're my sun, my moon, my guiding star My kind of wonderful, that's what you are
http://wn.com/Ally_McBeal_Barry_White
Barry White - Put Me In Your Mix
- Order: Reorder
- Duration: 7:38
- Published: 18 Mar 2007
- Updated: 19 Jun 2012
wow If im sincere I can´t hold my tears of emotion when I hear that song,it makes me chill enjoy it! Buy the barry whites albums!!!all songs I poste is to give an example of what amazing music he did
http://wn.com/Barry_White_Put_Me_In_Your_Mix
Love's Theme - Barry White
- Order: Reorder
- Duration: 4:07
- Published: 19 Jun 2008
- Updated: 19 Jun 2012
■stereo(URL last "&fmt=18")■ Love Unlimited & Love Unlimited Orchestra
http://wn.com/Love's_Theme_Barry_White
Barry White "I'm Gonna Love You Just A Little More Baby" (1973)
- Order: Reorder
- Duration: 3:51
- Published: 06 Oct 2008
- Updated: 18 Jun 2012
From his 1973 album "I've Got So Much To Give"
http://wn.com/Barry_White_I'm_Gonna_Love_You_Just_A_Little_More_Baby_1973
Barry White - 'The Longer We Make Love' - Lisa Stansfield
- Order: Reorder
- Duration: 6:50
- Published: 08 May 2008
- Updated: 19 Jun 2012
This is the Bonus track from Barry's 1999 album 'Staying Power'...and what a bonus... The big man from Galveston, Texas & South Los Angeles - is joined by the girl from Rochdale, Greater Manchester, England. to light a fire of intense simmering passion that scorches the cd player. Barry White Release Date: 7/27/1999 Recording Date: 7/1999 Tracks: 11 Length: 00:07:56 Hrs Label: Private Music Type: CD,CS Genre/Styles Soul, Urban, Smooth Soul
http://wn.com/Barry_White_'The_Longer_We_Make_Love'_Lisa_Stansfield
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This article is about the American record producer and singer-songwriter. For the US Ambassador to Norway, see Barry B. White.
| Barry White | |
|---|---|
| Barry White in 1991. Barry White in 1991. |
|
| Background information | |
| Birth name | Barry Eugene Carter |
| Born | (1944-09-12)September 12, 1944 Galveston, Texas, U.S. |
| Died | July 4, 2003(2003-07-04) (aged 58) Los Angeles, California, U.S. |
| Genres | Soul Disco Funk R&B |
| Occupations | Singer-songwriter Record producer Arranger Musician |
| Instruments | Piano Keyboards Vocals Drums/>recorder |
| Years active | 1960–2003 |
| Labels | 20th Century Records Unlimited Gold Records Casablanca Mercury Private Music/BMG A&M Eagle Records |
| Associated acts | Love Unlimited The Love Unlimited Orchestra Isaac Hayes Gerald LeVert, Marvin Gaye, Michael Jackson, The Banana Splits |
| Website | barrywhite.com |
Barry White, born Barry Eugene Carter ((1944-09-12)September 12, 1944 – July 4, 2003(2003-07-04)), was an American composer and singer-songwriter.
A two-time Grammy Award-winner known for his distinctive bass voice and romantic image, White's greatest success came in the 1970s as a solo singer and with the Love Unlimited Orchestra, crafting many enduring soul, funk, and disco songs such as his two biggest hits, "You're the First, the Last, My Everything" and "Can't Get Enough of Your Love, Babe."
Worldwide, White had many gold and platinum albums and singles, with combined sales of over 100 million, according to critics Ed Hogan and Wade Kergan.[1] His influences include southern soul artists like Isaac Hayes, Clarence Carter, Ray Charles, Aretha Franklin plus Motown artists The Supremes, The Four Tops and Marvin Gaye. Along with Isaac Hayes, White is considered by Allmusic.com as the first singer who played disco music before the actual period of the late 1970s.
Contents |
Early life[link]
Barry White was born Barry Eugene Carter in Galveston, Texas,[2] and grew up in the high-crime areas of South Central Los Angeles. White was the elder of two brothers; his brother Darryl is 13 months younger. He grew up listening to his mother's classical music collection, and first took to the piano emulating what he heard on the records. His introduction to music later led to him playing piano on Jesse Belvin's hit single, "Goodnight My Love."[3]
White recalled that, "[As a child] I had a normal squeaky kid voice. Then as a teenager, that completely changed. My mother cried because she knew her baby boy had become a man."
Gang life and jail sentence[link]
During his teenage years, White and his brother got involved with crime and gang activity. At age 17, he was jailed for four months for stealing $30,000 worth of Cadillac tires.[4]
While in jail, White listened to Elvis Presley singing "It's Now or Never" on the radio,[5] an experience he later credited with changing the course of his life.[6]
Music career[link]
After his release from jail, he left gang life and began a musical career at the dawn of the 1960s in singing groups. He first released "Too Far to Turn Around" in 1960 as part of The Upfronts[7] before going out on his own in the middle of the decade.
The marginal success he had to that point was as a songwriter. His songs were recorded by rock singer Bobby Fuller and TV bubblegum act The Banana Splits. He was also responsible in 1963 for arranging "Harlem Shuffle" for Bob & Earl, which became a hit in the UK in 1969. He discovered disco/soul artists, Viola Wills and Felice Taylor in 1965 and signed them to Mustang/Bronco Records, for which he was working as A&R manager for Bob Keane, the man who discovered Ritchie Valens.
The 1970s as producer[link]
In 1972, he got his big break producing a girl group he had discovered called Love Unlimited. Formed in imitative style of the Motown girl group The Supremes, the group members had gradually honed their talents with White for two years previously until they signed contracts with Uni Records. His best friend, music industry businessman Larry Nunes, helped to finance their album. After it was recorded, Nunes took the recording to Russ Regan, who was the head of the Uni label owned by MCA. The album, 1972's From A Girl's Point of View We Give to You... Love Unlimited became a million album seller.
White produced, wrote and arranged their classic soul ballad, "Walking In The Rain With The One I Love", which climbed to #14 in the Billboard Hot 100 Pop chart and #6 on the Billboard R&B chart in late 1972. This single also reached #12 in the UK chart. White's voice can clearly be heard debuting in this piece as he plays the lover who answers the phone call of the female lead.
Soon after, Regan left Uni for 20th Century Records. Without Regan, White's relationship with Uni soured. With his relationship with Uni over and Love Unlimited contract-bound with the label, White was able to switch both his production deal and the group to 20th Century Records. (They recorded several other hits throughout the 1970s, including "I Belong To You," which spent over five months on the Billboard R&B chart in 1974 including a week at #1. White also married the lead singer of the group, Glodean James, on July 4, 1974.)
The 1970s as solo artist[link]
White wanted to work with another act but decided to work with a solo male artist. While working on a few demos for a male singer, he made three song demos of himself singing and playing, but Nunes heard them and insisted that he re-record and release them himself as a solo recording artist. After arguing for days about it, White was finally persuaded to release the songs himself although he was initially reluctant to step out in front of the microphone.
He then wrote several other songs and recorded them for what eventually became an entire album of music. He was going to use the name "White Heat," but decided on using his given name instead. White was still hesitating up to the time the label copy was made. It eventually became the first solo White album, 1973's "I've Got So Much to Give". It included the title track and his first solo chart hit, "I'm Gonna Love You Just a Little More Baby", which also rose to #1 on the Billboard R&B charts as well as #3 on the Billboard Pop charts in 1973 and stayed in the top 40 for many weeks.
Other chart hits by White included "Never, Never Gonna Give Ya Up" (#2 R&B, #7 Pop in 1973), "Can't Get Enough of Your Love, Babe" (# 1 Pop and R&B in 1974), "You're the First, the Last, My Everything" (#1 R&B, #2 Pop in 1974), "What Am I Gonna Do with You" (#1 R&B, #8 Pop in 1975), "Let the Music Play" (#4 R&B in 1976), "It's Ecstasy When You Lay Down Next to Me" (#1 R&B, #4 Pop in 1977) and "Your Sweetness is My Weakness" (#2 R&B in 1978). White also had a strong following in the United Kingdom where he scored five Top 10 hits and one number 1 for "You're The First." His popularity as a singer of love songs, coupled with his large size, led to him acquiring the affectionate nickname "The Walrus of Love".[4]
The Love Unlimited Orchestra[link]
In 1972 White created The Love Unlimited Orchestra, a 40-piece orchestral group to be used originally as a backing band for the girl-group Love Unlimited. However, White had other plans, and in 1974 he released an album of their music titled Rhapsody in White, yielding the composition "Love's Theme", reaching #1 on the Billboard Pop charts. It was one of only a handful of instrumental recordings ever to do so.
White is sometimes credited with ushering in the "disco" sound, seamlessly combining R&B music with classical music. Some also regard "Love's Theme" as the first hit in the actual "disco era", but Nino Tempo and 5th Ave. Sax's song "Sister James" had already reached the Billboard Hot 100 a few months before and had a disco sound in its own right.
He would continue to make albums with the Orchestra, but never achieved the same kind of success with his debut album. The Orchestra ceased to make albums in 1983, but continued to support White as a backing band.
The 1980s[link]
After six years White left 20th Century in 1979 to launch his own label, Unlimited Gold, with CBS/Columbia Records. Although White's success on the pop charts slowed down as the disco era came to an end, he maintained a loyal following throughout his career. Despite several albums over the next three years he failed to repeat his earlier successes, with no singles managing to reach the Billboard Hot 100 except for 1982's "Change," climbing into the Billboard R&B Top 20 (#12). His label venture was exacting a heavy financial cost on White, so he concentrated on mostly touring and finally folded his label in 1983.
After four years he signed with A&M Records, and with the release of 1987's The Right Night & Barry White, the single titled "Sho' You Right" made it to the Billboard R&B charts, peaking at #17.
In 1989 he released The Man Is Back! and with it had three top 40 singles on the Billboard R&B charts: "Super Lover", which made it to #34, "I Wanna Do It Good to Ya", which made it to #26, and "When Will I See You Again", which made it to #32.
The 1990s[link]
A 1970s nostalgia fad allowed Barry White to enjoy a renewed wave of popularity in the 1990s. After White took part in a Quincy Jones record titled Back on the Block, on the song titled "The Secret Garden (Sweet Seduction Suite)", which topped the R&B chart in 1990, he mounted an effective comeback with several albums, each one more successful than the last. He returned to the top of the charts in 1991 with the album Put Me in Your Mix, which reached #8 on the Billboard R&B Albums chart and the song by the same name reached #2 on the Billboard R&B singles chart.
In 1994 he released the album The Icon Is Love which went to #1 on the Billboard R&B album charts, and the single "Practice What You Preach" gave him his first #1 on the Billboard R&B singles chart in almost 20 years, and was nominated for a Grammy in the Best R&B Album category (it lost to TLC's CrazySexyCool).
In 1996, White recorded the duet "In Your Wildest Dreams" with Tina Turner. 1996 also saw the release of Space Jam and its soundtrack, on which White had a duet with Chris Rock, called "Basketball Jones," a remake of Cheech & Chong's "Basketball Jones" from 1974.
His final album, 1999's Staying Power, resulted in his last hit song "Staying Power," which placed #45 on the Billboard R&B charts. The single won him his only two Grammy Awards in the categories Best Male R&B Vocal Performance and Best Traditional R&B Vocal Performance.
Acting career[link]
Over the course of his career, White sometimes did voice-over work for TV and movies. He voiced the character Bear in the 1975 film Coonskin and also played the character Sampson in the movie's live-action segments.
He appeared as himself in a couple episodes of The Simpsons, and most importantly the episode "Whacking Day" in which Bart and Lisa used his famously deep bass singing voice, played through loudspeakers placed on the ground, to lull and attract snakes. White was a fan of the show, and had reportedly contacted the staff about wanting to make a guest appearance.
He played the role of a bus driver for a Prodigy commercial in 1995, and he also portrayed the voice of a rabbit in a Good Seasons salad dressing mix commercial, singing a song called "You Can't Bottle Love."[citation needed]
In addition, he did some work for car commercials, most famously for Oldsmobile, and later on, Jeep.
He also provided voice over for Arby's Restaurant commercials on TV and Radio to promote their 'Market Fresh' menu.
His voice can also be heard in Apple's first iBook commercial.
He made two guest appearances on the comedy-drama TV series Ally McBeal, as his music was often featured on the show in dream sequences.
Illness and death[link]
Overweight for much of his adult life, White suffered kidney failure in the fall of 2002 as a result of chronic high blood pressure. He suffered a stroke in May 2003, after which he was forced to retire from public life. On July 4, 2003, he died at Cedars-Sinai Medical Center in Los Angeles after suffering from total renal failure.[8] His remains were cremated, and the ashes were scattered by his family off the California coast.[9]
On September 20, 2004, he was posthumously inducted into the Dance Music Hall of Fame at a ceremony held in New York.[10]
Discography[link]
Main article: Barry White discography
References[link]
- ^ allmusic ((( Barry White > Biography )))
- ^ Barry White
- ^ The ultimate soul music trivia book: 501 questions and answers about Motown, Rhythm & Blues, and More / Bobby Bennett and Sarah Smith. Secaucus, NJ: Carol Pub. Group, c1998.
- ^ a b "Obituary: Barry White". BBC News. 4 July 2003. http://news.bbc.co.uk/2/hi/entertainment/2386227.stm. Retrieved 1 August 2009.
- ^ Ivor Casey Blog
- ^ Page 22Love Unlimited, Barry White with Marc Eliot, Broadway Books, New York, 1999
- ^ Old, Pete. "Barry White Discography". Barry White Unlimited FanClub. http://members.chello.nl/p.klein6/Html/barry_white_discography.htm.. Retrieved March 16, 2012.
- ^ "Singer Barry White dies", BBC, 5 July 2003.
- ^ "Barry White (1944 - 2003) - Find A Grave Memorial". Findagrave.com. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=7654675. Retrieved 2012-03-26.
- ^ Name * . "2004 Dance Music Hall of Fame Nominee List | The official nominees for the 2004 Dance Music Hall of Fame are". Discomusic.com. http://www.discomusic.com/101-more/2197_0_7_0_C/. Retrieved 2012-03-26.
External links[link]
- Barry White at Allmusic
- Barry White at the Internet Movie Database
- Knol about Barry White written by Gabriel Gianello
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For the character, see Johnny Cage.
File:John Cage Laugh.png
John Cage
John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, writer, and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century.[1][2][3][4] He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.[5][6]
Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is sometimes assumed, but rather the sounds of the environment heard by the audience during performance.[7][8] The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48).[9]
His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951.[clarification needed] The I Ching, an ancient Chinese classic text on changing events, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living".[10]
Contents |
Life[link]
1912–31: Early years[link]
Cage was born in Los Angeles. His father John Milton Cage, Sr. (1886–1964) was an inventor, and his mother Lucretia ("Crete") Harvey (1885–1969) worked intermittently as a journalist for the Los Angeles Times.[11] The family's roots were deeply American: in a 1976 interview, Cage mentioned "[George] Washington in the surveying of Virginia".[12] Cage described his mother as a woman with "a sense of society" who was "never happy",[13] while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine,[11] others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe.[n 1] John Milton Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work.[14]
Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition.[15] By 1928 Cage was convinced that he wanted to be a writer. That year he graduated from Los Angeles High School as a valedictorian[16] and enrolled at Pomona College, Claremont. In 1930 he dropped out, having come to believe that "college was of no use to a writer"[17] after an incident described in the 1991 autobiographical statement:
I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left.[13]
Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies.[18] He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris.[19] Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it.[17] He then took up painting, poetry and music. It was in Europe that he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and finally got to know the music of Johann Sebastian Bach, which he had not experienced before.
After several months in Paris, Cage's enthusiasm for America was revived after he read Walt Whitman's Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent.[20] Cage started travelling, visited various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing.[21] His first compositions were created using dense mathematical formulae, but Cage was displeased with the results and left the finished pieces behind when he left.[22] Cage's association with theatre also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment."[23]
1931–36: Apprenticeship[link]
Cage returned to the United States in 1931.[22] He went to Santa Monica, California, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as pianist Richard Buhlig (who became his first teacher[24]) and arts patron Galka Scheyer.[17] By 1933 Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained.[17] In 1933 he sent some of his compositions to Henry Cowell; the reply was a "rather vague letter",[25] in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique.[26] Cowell mentioned, that before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil.[27]
Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School.[24] He supported himself financially by taking up a job washing walls at a Brooklyn YWCA.[28] Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am.[28][29] Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg.[n 2] He could not afford Schoenberg's price, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge.[30]
Cage studied with Schoenberg in California: first at USC and then at UCLA, as well as privately.[24] The older composer became one of the biggest influences on Cage, who "literally worshipped him",[31] particularly as an example of how to live one's life being a composer.[29] The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it [i.e. writing music]", he continued composing partly because of the promise he gave.[32] Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture Indeterminacy:
After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, "In that case I will devote my life to beating my head against that wall."[33]
Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "[...] When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music."[31] Although Schoenberg never complimented Cage on his compositions during these two years, in a later interview he said that none of his American pupils were interesting, except Cage: "Of course he's not a composer, but he's an inventor—of genius."[31]
At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in a relationship with Don Sample when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona, on June 7, 1935.[34]
1937–49: Modern dance and Eastern influences[link]
See also: Works for prepared piano by John Cage
The newly married couple first lived with Cage's parents in Pacific Palisades, then moved to Hollywood.[35] During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at UCLA. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe.[36] It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects.[36][37]
In 1938, with help from a fellow Cowell student Lou Harrison, Cage became a faculty member at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage's interest in modern dance grew further.[36] After several months he left and moved to Seattle, Washington, where he found work as composer and accompanist for choreographer Bonnie Bird at the Cornish College of the Arts. The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met a number of people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham. The latter was to become Cage's lifelong partner and collaborator.
Cage left Seattle in the summer of 1941 after the painter László Moholy-Nagy invited him to teach at the Chicago School of Design. The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the University of Chicago. At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen. The result, The City Wears a Slouch Hat, was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942.
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Performed in 1958 by Arline Carmen (voice) and John Cage (closed piano). This is one of the rare recordings of Cage performing his own instrumental music.
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In New York, the Cages first stayed with painter Max Ernst and Peggy Guggenheim. Through them, Cage met numerous important artists such as Piet Mondrian, André Breton, Jackson Pollock, Marcel Duchamp, and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage's music at the opening of her gallery, which included paying for transportation of Cage's percussion instruments from Chicago. After she learned that Cage secured another concert, at the Museum of Modern Art, Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer Jean Erdman and her husband. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, The Wonderful Widow of Eighteen Springs (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio.[38]
Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy.[39] Cage also attended, in late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism,[40] and read the works of Ananda K. Coomaraswamy.[24] The first fruits of these studies were works inspired by Indian concepts: Sonatas and Interludes for prepared piano, String Quartet in Four Parts, and others. Cage accepted the goal of music as explained to him by Sarabhai: "to sober and quiet the mind, thus rendering it susceptible to divine influences".[41]
Early in 1946, his former teacher Richard Buhlig arranged for Cage to meet Berlin-born pianist Grete Sultan, who had escaped from Nazi persecution to New York in 1941.[42] They became close, lifelong friends, and Cage later dedicated part of his Music for Piano (Cage) and his monumental piano cycle Etudes Australes to her.
1950s: Discovering chance[link]
Sonatas and Interludes were received well by the public. After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic Orchestra concert, where the orchestra performed Anton Webern's Symphony, op. 21, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason.[43] The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage's pupil Christian Wolff came to be referred to as "the New York school."[44][45]
In early 1951, Wolff presented Cage with a copy of the I Ching[46]—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the I Ching was the first complete English translation and had been published by Wolff's father, Kurt Wolff of Pantheon Books in 1950. The I Ching is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation":[47][48] his lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will:
When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound [...] I don't need sound to talk to me.[49]
Although Cage had used chance on a few earlier occasions, most notably in the third movement of Concerto for Prepared Piano and Chamber Orchestra (1950–51),[50] the I Ching opened new possibilities in this field for him. The first results of the new approach were Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. The latter work was written for David Tudor,[51] whom Cage met through Feldman—another friendship that lasted until Cage's death.[n 3] Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on electronic music. The I Ching became Cage's standard tool for composition: he used it in practically every work composed after 1951.
Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment, at 326 Monroe Street (which he occupied since around 1946) his financial situation in 1951 worsened so much that, while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death.[52] Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures, performances, etc. In 1952–53 he completed another mammoth project—the Williams Mix, a piece of tape music, which Earle Brown helped to put together.[53] Also in 1952, Cage wrote down the piece that became his most well-known and most controversial creation: 4′33″. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience.[54] The reaction to 4′33″ was just a part of the larger picture: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, i.e. Karlheinz Stockhausen and Iannis Xenakis.[55]
From 1953 onwards, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as The Ten Thousand Things. In Summer 1954 he moved out from New York and settled in a cooperative community in Stony Point, New York. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and during 1956–58 he also worked as an art director of a typography.[56] Among the works completed during the last years of the decade were Concert for Piano and Orchestra (1957–58), a seminal work in the history of graphic notation, and Variations I (1958).
1960s: Fame[link]
Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both.[citation needed] In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan,[57] where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published Silence, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage's music. Silence was Cage's first book.[n 4] He went on to publish five more. Silence remained his most widely read and influential book.[24] In the early 1960s Cage began his lifelong association with C.F. Peters Corporation. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalogue of Cage's works, which appeared in 1962.[56]
Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death.[58] But by mid-1960s Cage was receiving so many commissions and requests for appearances, that he was not able to fulfill them. This was accompanied by a busy touring schedule; Subsequently Cage's compositional output from that decade was scant.[24] After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts, which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 0′00″, completed in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence. The score of Variations III (1962) abounds in instructions to the performers, but makes no references to music, musical instruments or sounds.
Many of the Variations and other 1960s pieces were in fact "happenings", an art form established by Cage and his students in late 1950s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of Fluxus, an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included Jackson Mac Low, Allan Kaprow, Al Hansen, George Brecht, and Dick Higgins, as well as many others Cage invited unofficially. Famous pieces that resulted from the classes include George Brecht's Time Table Music and Al Hansen's Alice Denham in 48 Seconds.[59] As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his Etude for Piano cut off Cage's tie and then washed his co-performer’s hair with shampoo.[citation needed]
In 1967, Cage's A Year from Monday was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964,[60] and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death.[61]
1969–87: New departures[link]
Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with fifty-two tapes of computer-generated sounds, 6,400 slides of designs many supplied by NASA, and shown from sixty-four slide projectors, with forty motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there.[citation needed]
Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it."[62] Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975).
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Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by early 1970s his hands were painfully swollen and rendered him unable to perform.[63] Nevertheless, he still played Cheap Imitation during the 1970s,[64] before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press.
1987–92: Final years and death[link]
See also: Number Pieces
In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such pieces, one of the last being Eighty (1992, premiered in Munich on 28 October 2011), usually employing a variant of the same technique; together, these works are known as Number Pieces. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures;[24] the music has been linked to Cage's anarchic leanings.[65] One11 (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film.
Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title Europera, in 1987–91. Europeras I and II require greater forces than III, IV and V, which are on a chamber scale.
Already in the course of the eighties, Cage's health worsened progressively: he suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet.[66] Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to the nearest hospital, where he died on the morning of August 12.[67]
According to his wishes, Cage's body was cremated, and the ashes scattered in the Ramapo Mountains, near Stony Point, New York,[68] the same place where Cage scattered the ashes of his parents, years before.[61] The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by the composer Walter Zimmermann and the musicologist Stefan Schaedler was due to take place. The event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern.[2] Merce Cunningham lived another 17 years, dying of natural causes in July 2009.[69]
Music[link]
See also: List of compositions by John Cage
Early works, rhythmic structure, and new approaches to harmony[link]
Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power."[70] Cage then started producing pieces by improvising and writing down the results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as Sonata for Clarinet (1933) and Composition for 3 Voices (1934), are highly chromatic and betray Cage's interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows.[71] After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in Two Pieces for Piano (c. 1935), and then, with modifications, in larger works such as Metamorphosis and Five Songs (both 1938).
Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In Imaginary Landscape No. 1 (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. First Construction (in Metal) (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives.[72] Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example),[73] or A Flower, a song for voice and closed piano, in which two sets of proportions are used simultaneously.[74]
In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in String Quartet in Four Parts (1950) Cage first composed a number of gamuts: chords with fixed instrumentation. The piece progresses from one gamut to another. In each instance the gamut was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony.[24] Concerto for prepared piano (1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns.[24] The last movement of the concerto was a step towards using chance procedures, which Cage adopted soon afterwards.[75]
Chance[link]
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Chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage's music since 1951 was composed using chance procedures, most commonly using the I Ching. For example, works from Music for Piano were based on paper imperfections: the imperfections themselves provided pitches, and the I Ching was used to determine the methods of sound production, or the rhythms, etc.[76] A whole series of works was created by applying chance operations, i.e. the I Ching, to star charts: Atlas Eclipticalis (1961–62), and a series of etudes: Etudes Australes (1974–75), Freeman Etudes (1977–90), and Etudes Boreales (1978).[77] Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"[78]—this being Cage's answer to the notion that solving the world's political and social problems is impossible.[79] Cage described himself as an anarchist, and was influenced by Henry David Thoreau.[n 5]
Another series of works applied chance procedures to pre-existing music by other composers: Cheap Imitation (1969; based on Erik Satie), Some of "The Harmony of Maine" (1978; based on Belcher), and Hymns and Variations (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches.[80] Yet another series of works, the so-called Number Pieces, all completed during the last five years of the composer's life, make use of time brackets: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″).[81]
Cage's method of using the I Ching was far from simple randomization. The procedures varied from composition to composition, and were usually complex. For example, in the case of Cheap Imitation, the exact questions asked to the I Ching were these:
- Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using?
- Which of the twelve possible chromatic transpositions am I using?
- For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote?[82]
In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand.[77][83]
Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of Variations I (1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc.[84] Some of Cage's graphic scores (e.g. Concert for Piano and Orchestra, Fontana Mix (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of 0'00" (1962; also known as 4'33" No. 2) consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence.[85]
Musicircus (1967) simply invites the performers to assemble and play together. The first Musicircus featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. The English National Opera became the first opera company to hold a Cage Musicircus on 3 March 2012 at the London Colliseum.[86]. The ENO's Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO Music Director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House.[87]
This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio, an Irish circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, Finnegans Wake, which was one of Cage's favorite books, and one from which he derived texts for several more of his works.
Improvisation[link]
Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. In a number of works beginning in the 1970s, he found ways to incorporate improvisation. In Child of Tree (1975) and Branches (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In Inlets (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance.[88]
Visual art, writings, and other activities[link]
File:Cage-variations-iii-14-small.jpg
Variations III, No. 14, a 1992 print by Cage from a series of 57.
Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, Not Wanting to Say Anything About Marcel, dates from 1969. The work comprises two lithographs and a group of what Cage called plexigrams: silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations.[89]
From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by Seven Day Diary, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, Signals.[90]
Between 1979 and 1982 Cage produced a number of large series of prints: Changes and Disappearances (1979–80), On the Surface (1980–82), and Déreau (1982). These were the last works in which he used engraving.[91] In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (Eninka, Variations, Ryoanji, etc.) to create his visual works.[92] In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number Pieces, One11, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. One11 consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece 103.
Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was Silence: Lectures and Writings (1961). Silence included not only simple lectures, but also texts executed in experimental layouts, and works such as Lecture on Nothing (1959), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics.
Cage was also an avid amateur mycologist: he co-founded the New York Mycological Society with four friends,[56] and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz.
Reception and influence[link]
Cage's pre-chance works, particularly pieces from the late 1940s such as Sonatas and Interludes, earned critical acclaim: the Sonatas were performed at Carnegie Hall in 1949. Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique."[93] Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and [...] an abrogation of a composer's function."[94]
An article by teacher and critic Michael Steinberg, Tradition and Responsibility, criticized avant-garde music in general:
The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his Landscapes for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power.[95]
Cage's aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book Noise, Water, Meat: A History of Sound in the Arts, Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social."[96]
While much of Cage's work remains controversial,[citation needed] his influence on countless composers, artists, and writers is notable.[citation needed] After Cage introduced chance,[clarification needed] Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's Music of Changes and David Tudor.[97] Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others.[citation needed] Music in which some of the composition and/or performance is left to chance was labelled aleatoric music—a term popularized by Pierre Boulez.[citation needed] Helmut Lachenmann's work was influenced by Cage's work with extended techniques.[98]
Cage's rhythmic structure experiments and his interest in sound influenced a number of composers, starting at first with his close American associates Morton Feldman and Christian Wolff (and other American composers, such as La Monte Young), and then spreading to Europe.[citation needed] For example, almost all composers of the English experimental school acknowledge his influence[citation needed]: Michael Parsons, Christopher Hobbs, John White,[99] Gavin Bryars, who studied under Cage briefly,[100] and Howard Skempton. [101] The Japanese composer Tōru Takemitsu has also cited Cage's influence.[102]
Cage's influence was also acknowledged by rock acts such as Sonic Youth (who performed some of the Number Pieces[103]) and Stereolab (who named a song after Cage[104]), composer and rock and jazz guitarist Frank Zappa,[105] and various noise music artists and bands: indeed, one writer traced the origin of noise music to 4′33″.[106] The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage.[107] Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album Drukqs.[108] Cage's work as musicologist helped popularize Erik Satie's music,[109][110] and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence.[111]
Archives[link]
- The archive of the John Cage Trust is held at Bard College in upstate New York.[1].
- The John Cage Music Manuscript Collection held by the Music Division of The New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works.
- The John Cage Papers are held in Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material, including clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations
- The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the Notations collection.
Footnotes[link]
- ^ Cage quoted in Kostelanetz 2003, 1–2. Cage mentions a working model of the universe that his father had built, and that the scientists who saw it could not explain how it worked and refused to believe it.
- ^ Different sources give different details of their first meeting. Pritchett, in Grove, implies that Cage met Schoenberg in New York City: "Cage followed Schoenberg to Los Angeles in 1934". In a 1976 interview quoted in Kostelanetz 2003, 5, Cage mentions that he "went to see him [Schoenberg] in Los Angeles."
- ^ Recent research has shown that Cage may have met Tudor almost a decade earlier, in 1942, through Jean Erdman: Gann, Kyle (2008). "Cleaning Up a Life". an ARTSJOURNAL weblog. http://www.artsjournal.com/postclassic/2008/09/cleaning_up_a_life.html. Retrieved August 4, 2009.
- ^ Technically, it was his second, for Cage previously collaborated with Kathleen Hoover on a biographical volume on Virgil Thomson, which was published in 1959.
- ^ Cage self-identified as an anarchist in a 1985 interview: "I'm an anarchist. I don't know whether the adjective is pure and simple, or philosophical, or what, but I don't like government! And I don't like institutions! And I don't have any confidence in even good institutions." John Cage at Seventy: An Interview by Stephen Montague. American Music, Summer 1985. Ubu.com. Accessed May 24, 2007.
Notes[link]
- ^ Pritchett, Grove: "He has had a greater impact on music in the 20th century than any other American composer."
- ^ a b "John Cage, 79, a Minimalist Enchanted With Sound, Dies". New York Times. August 13, 1992. http://www.nytimes.com/learning/general/onthisday/bday/0905.html. Retrieved July 21, 2007. "John Cage, the prolific and influential composer whose Minimalist works have long been a driving force in the world of music, dance and art, died yesterday at St. Vincent's Hospital in Manhattan. He was 79 years old and lived in Manhattan."
- ^ Leonard, George J. (1995). Into the Light of Things: The Art of the Commonplace from Wordsworth to John Cage. University of Chicago Press. p. 120 ("...when Harvard University Press called him, in a 1990 book advertisement, "without a doubt the most influential composer of the last half-century," amazingly, that was too modest."). ISBN 978-0-226-47253-9.
- ^ Greene, David Mason (2007). Greene's Biographical Encyclopedia of Composers. Reproducing Piano Roll Fnd.. p. 1407 ("[...] John Cage is probably the most influential ... of all American composers to date."). ISBN 978-0-385-14278-6.
- ^ Perloff, Junkerman, 1994, 93.
- ^ Bernstein, Hatch, 2001, 43–45.
- ^ Kostelanetz 2003, 69–70
- ^ Reviews cited in Fetterman 1996, 69
- ^ Nicholls 2002, 80: "Most critics agree that Sonatas and Interludes (1946–48) is the finest composition of Cage's early period."
- ^ Cage 1973, 12.
- ^ a b Nicholls 2002, 4.
- ^ Cage quoted in Kostelanetz 2003, 1. For details on Cage's ancestry, see, for example, Nicholls 2002, 4–6.
- ^ a b Cage, John (1991). "An Autobiographical Statement". Southwest Review. http://www.newalbion.com/artists/cagej/autobiog.html. Retrieved March 14, 2007.
- ^ Recording and notes: John Cage – Complete Piano Music Vol.7: Pieces 1933–1950. Steffen Schleiermacher (piano). MDG 613 0789-2.
- ^ Kostelanetz 2003, 2.
- ^ Nicholls 2002, 21.
- ^ a b c d Kostelanetz 2003, 4.
- ^ Nicholls 2002, 8.
- ^ Perloff, Junkerman, 1994, 79.
- ^ Perloff, Junkerman 1994, 80.
- ^ Nicholls 2002, 22.
- ^ a b Perloff, Junkerman, 1994, 81.
- ^ Cage quoted in Perloff, Junkerman, 1994, 81.
- ^ a b c d e f g h i Pritchett, Grove.
- ^ Cage quoted in Nicholls 2002, 24.
- ^ Kostelanetz 2003, 61.
- ^ Nicholls 2002, 24.
- ^ a b Kostelanetz 2003, 7.
- ^ a b Pritchett 2003, 9.
- ^ This conversation was recounted many times by Cage himself: see Silence, p. 261; A Year from Monday, p. 44; interviews quoted in Kostelanetz 2003, pp. 5, 105; etc.
- ^ a b c Kostelanetz 2003, 6.
- ^ Cage interview quoted in Kostelanetz 2003, 105.
- ^ Cage 1973, 260.
- ^ For details on Cage's first meeting with Xenia, see Kostelanetz 2003, 7–8; for details on Cage's homosexual relationship with Don Sample, an American he met in Europe, as well as details on the Cage-Kashevaroff marriage, see Perloff, Junkerman 1994, 81, 86.
- ^ Perloff, Junkerman, 86
- ^ a b c Revill 1993, 55.
- ^ Kostelanetz 2003, 43.
- ^ Reinhardt, Lauriejean. John Cage's "The Wonderful Widow of Eighteen Springs", 7. Available online.
- ^ Cage 1973, 127.
- ^ Revill 1993, 108.
- ^ Cage 1973, 158.
- ^ Bredow 2012.
- ^ Revill 1993, 101.
- ^ Pritchett 1993, 105.
- ^ Nicholls 2002, 101.
- ^ Kostelanetz 2003, 68.
- ^ Pritchett 1993, 97.
- ^ Revill 1993, 91.
- ^ John Cage, in an interview with Miroslav Sebestik, 1991. From: Listen, documentary by Miroslav Sebestik. ARTE France Développement, 2003.
- ^ Pritchett 1993, 71.
- ^ Pritchett 1993, 78.
- ^ Revill 1993, 142.
- ^ Revill 1993, 143–149.
- ^ Revill 1993, 166.
- ^ Revill 1993, 174
- ^ a b c Emmerik, Paul van (2009). "A John Cage Compendium". Paul van Emmerik. http://www.xs4all.nl/~cagecomp/. Retrieved August 6, 2009.
- ^ "Guide to the Center for Advanced Studies Records, 1958 – 1969". Wesleyan University. http://www.wesleyan.edu/libr/schome/FAs/ce1000-137.html. Retrieved September 4, 2010.
- ^ "The Many Views of Betty Freeman: Betty Freeman's Commissions". NewMusicBox. 2000. http://www.newmusicbox.org/article.nmbx?id=846. Retrieved August 8, 2009.
- ^ Alex Ross (December 4, 1992). "S.E.M. Evokes John Cage as Teacher". The New York Times. http://www.nytimes.com/1992/12/24/arts/review-music-sem-evokes-john-cage-as-teacher.html. Retrieved October 6, 2010.
- ^ Revill 1993, 208.
- ^ a b Revill 1993, 228.
- ^ Pritchett, James. 2004. "John Cage: Imitations/Transformations". In James Pritchett, Writings on John Cage (and others). (Online resource, accessed June 5, 2008)
- ^ Revill 1993, 247.
- ^ Fetterman 1996, 191.
- ^ Haskins 2004.
- ^ Revill 1993, 295.
- ^ Kostelanetz, Richard. 2000. John Cage: Writer: Selected Texts, xvii. Cooper Square Press, 2nd edition. ISBN 978-0-8154-1034-8
- ^ "John Cage (1912–1992) – Find A Grave Memorial". January 1, 2000. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=1461. Retrieved August 3, 2009.
- ^ "Dance great Cunningham dies at 90". BBC News. July 28, 2009. http://news.bbc.co.uk/2/hi/entertainment/arts_and_culture/8171036.stm. Retrieved September 3, 2009.
- ^ Pritchett 1993, 6.
- ^ Pritchett 1993, 7.
- ^ Nicholls 2002, 71–74.
- ^ Pritchett 1993, 29–33.
- ^ Notes in the score: A Flower. Edition Peters 6711. Copyright 1960 by Henmar Press.
- ^ Pritchett, James. 1988. "From Choice to Chance: John Cage's Concerto for Prepared Piano." Perspectives of New Music 26, no. 1 (Fall): 50–81.
- ^ Pritchett 1993, 94.
- ^ a b Nicholls 2002, 139.
- ^ Perloff, Junkerman 1994, 140.
- ^ Pritchett, James. 1994a. "John Cage: Freeman Etudes", CD liner notes to: John Cage, Freeman Etudes (Books 1 and 2) (Irvine Arditti, violin), Mode 32. (Accessed August 14, 2008)
- ^ Pritchett 1993, 197.
- ^ Pritchett 1993, 200.
- ^ Kostelanetz 2003, 84.
- ^ Kostelanetz 2003, 92.
- ^ Pritchett 1993, 136.
- ^ Pritchett 1993, 144–146.
- ^ http://classical-iconoclast.blogspot.com/2012/01/eno-presents-john-cage-musicircus.html
- ^ http://www.eno.org/see-whats-on/productions/production-page.php?&itemid=2007
- ^ Kostelanetz 2004, 92–96.
- ^ Nicholls 2002, 112–113.
- ^ Nicholls 2002, 113–115.
- ^ Nicholls 2002, 115–118.
- ^ Nicholls 2002, 118–122.
- ^ Boulez, Pierre. 1964. Alea. Perspectives of New Music, Vol. 3, No. 1 (Autumn – Winter, 1964), 42–53
- ^ Bois, Mario, and Xenakis, Iannis. 1980. The Man and his Music: A Conversation with the Composer and a Description of his Works, 12. Greenwood Press Reprint.
- ^ Steinberg, Michael. 1962. Tradition and Responsibility. Perspectives of New Music 1, 1962, 154–159.
- ^ Kahn, Douglas. 1999. Noise, Water, Meat: A History of Sound in the Arts, 165. Cambridge, MA: The MIT Press.
- ^ Maconie, Robin. 1976. The Works of Karlheinz Stockhausen, with a foreword by Karlheinz Stockhausen, 141–144. London and New York: Oxford University Press. ISBN 0-19-315429-3
- ^ Ryan, David. 1999. Interview with Helmut Lachenmann, p. 21. Tempo, New Ser., No. 210. (Oct., 1999), pp. 20–24.
- ^ Michael Parsons. 1976. Systems in Art and Music. The Musical Times, Vol. 17, No. 1604. (Oct., 1976), 815–818.
- ^ "Gavin Bryars biography etc". Gavin Bryars' Official Web-site. http://www.gavinbryars.com/Pages/bio_fr.html. Retrieved September 12, 2009.
- ^ Potter, Keith. "Skempton, Howard", Grove Music Online, ed. L. Macy (accessed March 12 2006), grovemusic.com (subscription access).
- ^ Burt, Peter. 2001. The Music of Toru Takemitsu, 94. Cambridge University Press. ISBN 0-521-78220-1.
- ^ Lopez, Antonio (December 1999 / January 2000). "Sonic Youth's Thurston Moore: On punk music, staying fresh, amd the strange bridge between art and rock". Thirsty Ear Magazine. http://www.thirstyearfestival.com/interviews/sonic.html. Retrieved August 26, 2010.
- ^ Morris, Chris (August 17, 1997). "Hold The Ketchup On That Stereolab". Yahoo! Music. http://www.music.yahoo.ca/read/interview/12052849. Retrieved August 26, 2010.
- ^ Lowe, Kelly Fisher (2006). The Words and Music of Frank Zappa. Praeger Publishers. p. 57. ISBN 0-275-98779-5.
- ^ Paul Hegarty, Full With Noise: Theory and Japanese Noise Music, pp. 86–98 in Life in the Wires (2004) eds. Arthur Kroker & Marilouise Kroker, NWP Ctheory Books, Victoria, Canada
- ^ Jack, Adrian (1975). ""I Want to be a Magnet for Tapes" (interview with Brian Eno)". Time Out. http://music.hyperreal.org/artists/brian_eno/interviews/timeo75a.html. Retrieved August 26, 2010.
- ^ Worby, Robert (October 23, 2002). "Richard Aphex, John Cage and the Prepared Piano". Warp Records. http://warp.net/records/aphex-twin/richard-aphex-john-cage-and-the-prepared-piano. Retrieved August 26, 2010.
- ^ Orledge, Robert (1990). Satie the Composer. Cambridge University Press. p. 259. ISBN 978-0-521-35037-2.
- ^ Shlomowitz, Matthew. 1999. Cage's Place In the Reception of Satie. Part of the PhD at the University of California at San Diego, USA. Available online.
- ^ LoBrutto, Vincent (1994). Sound-on-Film: Interviews With Creators of Film Sound. Greenwood Publishing Group. pp. 241–42. ISBN 978-0-275-94443-8.
References[link]
- Bernstein, David W., and Hatch, Christopher, eds. 2001. Writings through John Cage's Music, Poetry, and Art. University of Chicago Press. ISBN 0-226-04407-6
- Boulez, Pierre, and Cage, John. 1995. The Boulez-Cage Correspondence. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. ISBN 0-521-48558-4
- Bredow, Moritz von. 2012. "Rebellische Pianistin. Das Leben der Grete Sultan zwischen Berlin und New York." (Biography). Schott Music, Mainz, Germany. ISBN 978-3-7957-0800-9
- Brown, Kathan. 2001. John Cage Visual Art: To Sober and Quiet the Mind. Crown Point Press. ISBN 1-891300-16-4, ISBN 978-1-891300-16-5
- Cage, John. 1973. Silence: Lectures and Writings, Wesleyan University Press Paperback (first edition 1961). ISBN 0-8195-6028-6
- Eldred, Michael 1995/2006 Heidegger's Hölderlin and John Cage www.arte-fact.org
- Eldred, Michael 2010 The Quivering of Propriation: A Parallel Way to Music, Section II.3 New Music is the Other Music (Cage) www.arte-fact.org
- Fetterman, William. 1996. John Cage's Theatre Pieces: Notations and Performances. Routledge. ISBN 3-7186-5643-4
- Haskins, Rob. 2004. "An Anarchic Society of Sounds": The Number Pieces of John Cage. PhD dissertation, Musicology, Eastman School of Music, University of Rochester.
- Kostelanetz, Richard. 2003. Conversing with John Cage, Routledge. ISBN 0-415-93792-2
- Nicholls, David (ed.). 2002. The Cambridge Companion to John Cage. Cambridge University Press, 2002. ISBN 0-521-78968-0
- Nicholls, David. 2007. John Cage. University of Illinois Press. ISBN 0-252-03215-2
- Patterson, David W. (ed.). John Cage: Music, Philosophy, and Intention, 1933–1950. Routledge, 2002. ISBN 0-8153-2995-4
- Perloff, Marjorie, and Junkerman, Charles. 1994. John Cage: Composed in America. University of Chicago Press, 1994. ISBN 0-226-66057-5
- Pritchett, James. 1993. The Music of John Cage. Cambridge University Press. ISBN 0-521-56544-8
- Pritchett, James, and Kuhn, Laura. "John Cage", Grove Music Online, ed. L. Macy (accessed December 15 2006), grovemusic.com (subscription access).
- Revill, David. 1993. The Roaring Silence: John Cage – a Life. Arcade Publishing. ISBN 1-55970-220-6, ISBN 978-1-55970-220-1
- Taruskin, Richard. 2005. Oxford History of Western Music, The. Vol. 5. Oxford: Oxford UP, Inc. Indeterminacy pp. 55–101.
External links[link]
 |
Book: John Cage |
| Wikipedia books are collections of articles that can be downloaded or ordered in print. | |
 |
Wikiquote has a collection of quotations related to: John Cage |
General information and catalogues[link]
- Official Website
- John Cage Database, includes a complete catalogue of Cage's music with details on individual compositions, as well as a discography, a bibliography and a list of forthcoming performances of Cage's work.
- A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc.
- Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials.
- James Pritchett: Writings, articles on Cage's music in HTML and PDF form by Cage scholar James Pritchett.
- Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961.
- Guide to the John Cage Mycology Collection
- Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting
- A Project by John Cage called ORGAN2/ASLSP is the longest concert ever created.
- Works by or about John Cage in libraries (WorldCat catalog)
- (French) A biography of John Cage, from IRCAM's website.
- Artist Biography and a list of video works by and about John Cage at Electronic Arts Intermix eai.org.
Link collections[link]
Specific topics[link]
- Kasper, Ulrike. "Sounds Visions, The Work of Jacques Pourcher, Perspectives on John Cage", essay on the exhibition "John Cage and Jacques Pourcher, Works on Paper", Virginia Tech, Blacksburg, USA.
- The Music of Chance, article from the UK Guardian newspaper, quotes from various people who knew Cage.
- ORGAN2/ASLSP: As Slow as Possible – John-Cage-Orgelprojekt Halberstadt, Web site about a current ongoing performance of As Slow As Possible, which began in 2001 and is scheduled to have a duration of 639 years
- 'Silence and Change / Five Hanau Silence': Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squated culture center in Hanau (Germany) in 1991, (English / German).
Listening[link]
- In Conversation with Morton Feldman, 1966, Part 1
- In Conversation with Morton Feldman, 1966, Part 2
- In Conversation with Morton Feldman, 1966, Part 3
- In Conversation with Morton Feldman, 1966, Part 4
- In Conversation with Morton Feldman, 1966, Part 5
- Excerpts from sound archives of Cage's works.
Media[link]
- John Cage at UbuWeb: historical, sound, film.
- John Cage's etchings at the Crown Point Press website
- Art of the States: John Cage, six works by the composer
- Indeterminacy, Cage's short stories taken from various publications and accessed in random order.
- FontanaMixer: computer program by Karlheinz Essl which generates a realtime version of John Cage's "Fontana Mix" (1958)
- Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio
- Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio
- 27, 2002 Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco.
- 1982 performance of Speech for 5 radios and reel (1955) on YouTube
- Water Walk on YouTube from Cage's appearance on the game show I've Got a Secret in January 1960.
- The Anarchy of Silence. John Cage and Experimental Art (2009) a lecture by Julia E. Robinson on occasion of Cage's exhibition at the MACBA, Barcelona
- Notes towards a re-reading of the “Roaratorio” the work of John Cage and his special relationship to radio at Ràdio Web MACBA
- The Rest isn't Silence... it doesn't exist! Analytical material and recordings going back to the first rehearsal and performance of Imaginary Landscape No 4 in 1951.
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||||||||||||||
| Persondata | |
|---|---|
| Name | Cage, John |
| Alternative names | Cage, John Milton, Jr. |
| Short description | Composer, philosopher, printmaker, writer |
| Date of birth | September 5, 1912 |
| Place of birth | Los Angeles, United States |
| Date of death | August 12, 1992 |
| Place of death | New York City, United States |
http://wn.com/John_Cage
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/John_Cage
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Tina Turner | |
|---|---|
 Tina Turner performing in the GelreDome, 1985 |
|
| Background information | |
| Birth name | Anna Mae Bullock |
| Also known as | Tina Turner, Ann Bullock, Little Ann |
| Born | (1939-11-26) November 26, 1939 (age 72) Nutbush, Tennessee, U.S.A. |
| Origin | Brownsville, Tennessee, U.S.A. |
| Genres | Rock, soul, R&B, pop |
| Occupations | Singer, dancer, author, actress |
| Instruments | Vocals |
| Years active | 1958–present |
| Labels | EMI, United Artists, Capitol, Parlophone, Virgin |
| Associated acts | The Ike & Tina Turner Revue |
Tina Turner (born Anna Mae Bullock; November 26, 1939) is an American singer and actress whose career has spanned more than 50 years. She has won numerous awards.[1][2] Turner started out her music career with husband Ike Turner as a member of the Ike & Tina Turner Revue.[3] Success followed with a string of hits including "River Deep, Mountain High" and the 1971 hit "Proud Mary". With the publication of her autobiography I, Tina (1986), Turner revealed severe instances of spousal abuse against her by Ike Turner prior to their 1976 split and subsequent 1978 divorce. After virtually disappearing from the music scene for several years following her divorce from Ike Turner, she rebuilt her career, launching a string of hits beginning in 1983 with the single "Let's Stay Together" and the 1984 release of her fifth solo album Private Dancer.
Her musical career led to film roles, beginning with a prominent role as The Acid Queen in the 1975 film Tommy, and an appearance in Sgt. Pepper's Lonely Hearts Club Band. She starred opposite Mel Gibson as Aunty Entity in Mad Max Beyond Thunderdome for which she received the NAACP Image Award for Outstanding Actress in a Motion Picture, and her version of the film's theme, "We Don't Need Another Hero", was a hit single. She appeared in the 1993 film Last Action Hero.
One of the world's most popular entertainers, Turner has been called the most successful female rock artist[4] and was named "one of the greatest singers of all time" by Rolling Stone.[5] Her combined album and single sales total approximately 180 million copies worldwide.[6][7][8][9] She is known for her energetic stage presence,[2] powerful vocals, career longevity,[8] and widespread appeal.[10] In 2008, Turner left semi-retirement to embark on her Tina!: 50th Anniversary Tour.[11][12] Turner's tour became one of the highest selling ticketed shows of 2008–2009.[7] Turner was raised a Baptist, but converted to Buddhism and credits the spiritual chants with giving her the strength that she needed to get through the rough times.[13] Rolling Stone ranked her at 63 on their 100 greatest artists of all time and considers her the "Queen of Rock and Roll".[14]
Contents |
Early life[link]
Anna Mae Bullock was born in Nutbush, an unincorporated area in Haywood County, Tennessee, on November 26, 1939, the daughter of Zelma Bullock (née Currie), a factory worker, and Floyd Richard Bullock, a Baptist deacon, farm overseer, and factory worker.[15][16] She long believed her mother had significant Native American ancestry,[17] specifically Navajo and Cherokee; however, a DNA test showed her to be 66% African American, 33% European and 1% Native American.[18][19][20][21] She attended Flag Grove School in Haywood County, Tennessee (the land for the school was sold below market value to the school trustees by her great great-uncle in 1889).[21] Ann's older sister was named (Ruby) Aillene. For a time during World War II, their parents relocated to Knoxville, Tennessee to do factory work. By the time of their return to Nutbush, they separated and later divorced following an abusive marriage. Zelma Bullock later relocated to St. Louis, Missouri. Floyd Bullock moved to Detroit and later settled in California.
Ann and her sister relocated to Brownsville where they were raised by their grandmother. She recalled in her early years working with her parents at a farm as sharecroppers. She performed on several talent shows as a child and sang at her church choir. She was raised Baptist and lived most of her childhood as a tomboy participating in her high school's basketball team. When she was 14, she began work as a domestic for a family in Ripley. This continued until she was sixteen when her half-sister Evelyn was killed in a car crash followed by the death of her grandmother around the same time. After her mother returned from St. Louis to attend her funeral, she invited her daughter to move with her in St. Louis, where Anna and her sister reunited. In St. Louis, she attended Sumner High School.[22] She eventually graduated from the school in 1958 and, following graduation, took work as a nurse aide at Barnes-Jewish Hospital.
Ike & Tina Turner[link]
Origins[link]
Ann became enthralled by St. Louis's thriving nightlife, and her sister often took her out to clubs, much to their mother's chagrin. Anna was introduced to Ike Turner and his Kings of Rhythm band at Club Manhattan in East St. Louis, where Aillene served as a barmaid and was then dating a Kings of Rhythm member. It was there that Ann also began dating one of the Kings of Rhythm band mates. Ann pursued Ike Turner for months asking him to let her sing with his band but Turner was reluctant to have her in his band. When she was seventeen, she sang during an intermission in the Kings of Rhythm show at Club Manhattan after she was giving a microphone by the band's drummer. Impressed by her vocals, Ike allowed her to join the band as an occasional lead and background vocalist.[23] Ike gave Ann her first stage name, Little Ann, during this time and included her in his record, "Box Top", which was a local hit in St. Louis after its 1958 release on a St. Louis label titled Tune Town, Ann sung with a male vocalist named Carlson Oliver, that was a member of the Kings of Rhythm. In November 1959, when vocalist Art Lassiter failed to show up for a recording session for Ike's composition, "A Fool in Love", Anna was told to lay down a guide vocal. Ike intended to eventually have Lassiter record over Anna's take, for the final production.
Ike Turner met with Sue Records president Juggy Murray in New York, and played the demo for him. Upon hearing it, Murray insisted Turner keep Ann's vocals, and gave Ike a $25,000 advance, convinced the song would become a hit single.[24] In response to this, Ike Turner decided to form a duo around him and Ann. In the process, he changed her name from Little Ann to Tina Turner, stating he got the name because he felt it "sounded good". Despite the early romanticized version of their story in the biopic, What's Love Got to Do with It, Ike Turner and Ann Bullock were not romantically involved until around the release of "A Fool in Love", which by then had been released under the billing Ike & Tina Turner,[25] effectively starting the duo and launching Ann into show business. Ike Turner claimed later that he helped mold and shape Tina Turner's style and image.[26]
Early success[link]
"A Fool in Love" was released in the spring of 1960 and by late summer the song had reached number two on the R&B chart and crossed over to number twenty-seven on the Billboard Hot 100 later going on to sell a million copies. After Ike and Tina Turner made their national television debut performing the song on American Bandstand in October 1960, she gave birth to Ike's child, Ronald Renelle. Ike and Tina's relationship started around 1959 shortly after Raymond Hill, a member of Ike's Kings of Rhythm, childhood friend of Ike's, and father of Tina's first-born son, left the band due to monetary complaints. Tina had moved into Ike's home after she had been kicked out of her mother's house following news of her pregnancy. The relationship started while Ike was still married to his wife, Lorraine, who was mother of two of his children. Both Ike and Tina felt strange about the relationship with Tina later saying she felt forced into a sexual relationship. Ike had felt the affair was incestuous, later telling an interviewer that "it felt like I was strewing (sic) my sister."[27] Neither Ike nor Tina felt a strong attraction: Tina didn't think Ike was physically handsome while Ike felt Tina was "too skinny" to be his girlfriend since, according to Tina, he favored curvaceous women. Lorraine Taylor eventually left Ike with his children after a confrontation with Tina.
Sue Records followed the success of "A Fool in Love" with "I'm Jealous" but the record bombed. The couple quickly recovered with the release of the top 5 R&B single, "I Idolize You". Their second top 40 pop hit, "It's Gonna Work Out Fine", surpassed "A Fool in Love" on the pop charts reaching #14 and winning a Grammy Award nomination for Best Rock & Roll Performance. In 1962, this was followed by "Tra La La" and "Poor Fool" while "You Shoulda Treated Me Right" had milder success. With the arrival of Tina Turner, Ike Turner changed his band's name from The Kings of Rhythm to the Ike & Tina Turner Revue and featured a backing girl group he named The Ikettes. A strenuous touring schedule built up the band's reputation as one of the hottest R&B acts in the chitlin' circuit. By 1963, Ike Turner had upgraded their shows to include raunchy choreography for Tina and the Ikettes, with their energized shows only matched by James Brown and The Famous Flames. Ike Turner himself hated to be in front of the spotlight and chose to perform with his back mainly turned to the crowd though he occasionally would come out in front during skits with Tina. The success of their revue led to numerous other revue-led package shows from crossover R&B labels such as Motown and Stax. At a time when racially mixed audiences were still a controversy, Ike and Tina Turner were one of the few acts to perform openly for mixed audiences due to the money that they could bring to its venues, especially in the American South.[28]
In 1962, Ann Bullock married Turner in Tijuana, Mexico.[29] Following this, she began raising Turner's previous sons, Ike Turner, Jr. and Michael, while her eldest son Craig Bullock (born from her earlier relationship with Raymond Hill, a saxophone player in Ike's band), adopted Turner's last name after Ike adopted him as his own. Tina raised them and her only child with Ike, Ronald.[30] The Turners' relationship with Sue Records ended in 1964. Between that year and 1969, Ike and Tina Turner recorded for a various number of labels, in part due to Ike Turner's demands for money and lucrative deals. They recorded over a dozen albums including several live recordings during that period and kept themselves in the public eye during the mid-1960s by appearing on shows such as American Bandstand, Hollywood A Go-Go, Shindig!, The Smothers Brothers Comedy Hour and The Andy Williams Show where their brand of entertainment was given both critical and artistic raves. Their performing success kept the Turners in the public eye while their records plummeted.
Mainstream success[link]
After several years touring the chitlin' circuit and other major rock and roll venues, Ike and Tina Turner began reaching the pinnacle of their success after the release of the pop-oriented ballad, "River Deep - Mountain High". While the song's initial release flopped at the time of its release in 1966, it led to modest international success in Europe. Upon hearing the track and another UK hit the group recorded, which was a cover of the Motown ballad, "A Love Like Yours (Don't Come Knocking Everyday)"; Mick Jagger of The Rolling Stones asked the couple to open for them on their 1966 UK tour, which they obliged. The single became a bigger success in the UK, reaching #3 there. After their successful opening spot on the Stones' tour, Ike Turner renegotiated contracts for Tina and The Ikettes and Ike & Tina on several successive labels. In 1968, Ike produced the number, "You Got What You Wanted (Now You Don't Want What You Got)" under the billing "Tina Turner with Ike Turner and the Kings of Rhythm", while recording the album, So Fine. That year, Ike and Tina signed with Blue Thumb where much of the musical focus was mainly on blues and blues rock material. The albums, Outta Season and The Hunter produced their best charted success in years with the releases of the songs, "I've Been Loving You Too Long", "The Hunter" and "Bold Soul Sister" respectively, with "Bold Soul Sister" later winning Tina Turner a solo Grammy nomination.
During performances of "I've Been Loving You Too Long", Ike choreographed Tina to perform suggestively to the microphone, a practice Tina later said she hated doing but did it because she felt she had no say in it as it was Ike Turner's band. Due to this success, the Turners were invited to perform in Las Vegas and their shows would be attended by the likes of David Bowie, Sly Stone, Janis Joplin, Cher, James Brown, Ray Charles, Elton John and Elvis Presley.[31] This exposure also led to Tina Turner and Ike Turner being on the cover of the rock magazine, Rolling Stone three times between 1967 and 1971. In 1970, the group signed with Liberty Records and scored their first top 40 US hit in years with their cover of Sly & The Family Stone's "I Want to Take You Higher" and appeared on the Ed Sullivan Show, the Dick Cavett Show and the Mike Douglas Show. This success led to an extended run in Vegas and also more opportunities to perform for bigger venues though the couple still frequented predominantly black venues including The Apollo Theater. In 1971, they released the Workin' Together album, which led to their biggest successes with the former album producing a hit version of "I Want to Take You Higher" and the latter producing their biggest hit single, a frenzied cover of "Proud Mary", which peaked at number four on the Billboard Hot 100 in March 1971, two months after it was released.[32] The song later won the duo a Grammy for Best R&B Performance by a Duo or Group.[33]
By 1972, the group had even made headlines by performing at Carnegie Hall, which was documented for a double live album. That year, they switched to United Artists Records and released ten albums between 1971 and 1978 (two albums were released posthumously following the duo's infamous 1976 split). In 1973, the group released their final hit with "Nutbush City Limits", culminating in the duo's full embrace of funk rock rhythms. Though the song was musically composed by Ike, Tina was solely credited to the song as its lyricist. The song peaked at number twenty-two on the Hot 100 and number four in the UK.[34] In 1974, the Turners released several albums including The Gospel According to Ike & Tina, which later won the duo another Grammy Award nomination for Best Soul Gospel Performance, and Tina's first solo album, Tina Turns the Country On, which won Tina Turner another Grammy nod for Best R&B Female Vocal Performance.
Decline in popularity[link]
By the mid-1970s, Tina's personal life and marriage had fallen apart. Ike's growing cocaine use led to increasingly erratic and physically abusive behavior. Ike Turner also played a hand in their professional career hitting the doldrums for refusing to accept any outside management and using all the money he earned to maintain his cocaine habit. This led to low ticket sales and lower record sales. By 1975, Ike Turner was so addicted to cocaine that he couldn't make it to rehearsals for scheduled TV appearances leading Tina Turner to be onstage without her partner. That year, Tina accepted an offer to appear in The Who's rock opera, Tommy. Tina's role in the film as the Acid Queen proved to be successful as critics raved of her appearance on the film.
Ike Turner responded by releasing Tina's second solo album, Acid Queen, which in turn became the last Ike & Tina associated album to be released and featured the duo's last charted single, "Baby Get It On". A non-album single, "Delilah's Power", was also released during the same time. Tina's increasing independence led to increasing fights between the couple. In July 1976, Tina and Ike had a violent fight before an appearance at the Dallas Statler Hilton, where Tina alleged that this is when she hit Ike back "for the first time". After arriving at the hotel, Tina left Ike, fleeing with nothing more than thirty-six cents and a Mobil gas station credit card in her possession. She spent the next few months hiding from Ike while staying with various friends.[35][36] Following this, Tina filed for divorce on July 27 after fourteen years of marriage, ending the Ike & Tina Turner Revue for good.
Tina would later credit her new-found Nichiren Buddhist[37] faith with giving her the courage to strike out on her own. By walking out on Ike in the middle of a tour, she learned she was legally responsible to tour promoters for the canceled tour. Needing to earn a living, she became a solo performer, supplementing her income with TV appearances on shows such as The Hollywood Squares, Donny and Marie, The Sonny & Cher Show and The Brady Bunch Hour.[38] After a year in court, their divorce was made final on March 29, 1978. In the divorce, she completely parted ways with him retaining only her stage name and assuming responsibility for the debts incurred by the canceled tour as well as a significant IRS lien.[39]
Life after the Revue[link]
After lying low for a year following her separation from Ike Turner, Tina Turner went back on the road in 1977 supporting herself with a cabaret act in Las Vegas. In 1978, Tina released her third solo album (and her first album since her separation from Ike) entitled Rough on EMI Records. The album was considered a departure from the blues rock sound of Ike & Tina. Choosing to focus on "happier music" and strong readings of hard rock songs, the album would yield four singles, none of which charted. In 1979, Turner released the disco-infused Love Explosion album, but it also failed to chart.[40]
Due to the albums' performances, United Artists and EMI Records dropped Turner from her contract after her obligations ended with the companies. Turner supported herself by touring constantly, starting her first solo tour with The Wild Lady of Rock 'n' Roll in 1978. Following the end of the tour in 1979, she was invited to perform on Olivia Newton-John's musical variety show in Australia, where she met Newton-John's manager Roger Davies and pursued him to manage her career. Davies accepted Turner's offer after seeing her perform in San Francisco in 1980 and advised Turner to revamp her stage act. Despite her career downturn, Turner remained popular as a stage performer.[41]
Return to prominence[link]
In 1981, Turner made headlines when she performed at the Ritz Theater in New York, leading to Turner performing with Rod Stewart, first on Saturday Night Live and then on his televised Los Angeles concert tour. That same year, Turner appeared onstage with her old 1960s acquaintances The Rolling Stones. In 1982, Turner teamed up with B.E.F. for a remake of the Temptations' "Ball of Confusion".[42] The song became a hit in European dance clubs. Following this success, the producers asked her to incorporate a cover of Al Green's classic, "Let's Stay Together". Released in November 1983, just days before Turner's 44th birthday, the song became a hit single in the UK reaching number six on their charts and also became a hit in several other European countries.[43][44] The success of "Let's Stay Together" in Europe convinced Turner's new company Capitol Records to release the song in the US in early 1984, with the song reaching number twenty six on the Billboard Hot 100[45] while also peaking at the top five of the R&B and dance charts.[46][47]
Following its success, Capitol quickly gave Turner a new three-album contract and had them do an album, with Turner later staging what Ebony magazine called an "amazing comeback".[48] Done in two months, the album Private Dancer, was released in June 1984. That same month, Turner issued the album's second single, "What's Love Got to Do with It". It quickly reached the top ten within a month and in September had reached number one on the Hot 100 in the US, making it the first time in Turner's career that she had reached that position. Private Dancer peaked at the top five of the Billboard album charts later selling five million copies in the US and a total of eleven million copies worldwide,[49][50][51] though some sources stated the album has sold over twenty million[4] making it her most successful album. Private Dancer also featured two more top ten singles, the rock-oriented "Better Be Good to Me" and the seductive title track while another US single, "Show Some Respect", became a modest top forty hit. Turner's comeback was culminated in early 1985 when she won four Grammy Awards including Record of the Year for "What's Love Got to Do with It". In February of that year, she embarked on her second world tour supporting the Private Dancer album, where she toured to huge crowds. One show, filmed at Birmingham, England's NEC Arena, was later released on home video. During this time she also contributed on vocals to the USA for Africa benefit song, "We Are the World".
Turner's success continued in 1985 when she appeared in her first acting role in ten years in the film, Mad Max Beyond Thunderdome, playing Aunty Entity, the ruler of Bartertown.[52] Upon its release, the film grossed $36 million.[53] Turner later received the NAACP Image Award for Outstanding Actress for her role in the film and also contributed songs to the film's soundtrack, two of which, "We Don't Need Another Hero" and "One of the Living", became hits, with "One of the Living" later winning Turner a Grammy for Grammy Award for Best Female Rock Vocal Performance. In July, Turner performed at Live Aid alongside Mick Jagger.[54] Encouraged by a performance together during Tina's filmed solo concert in England, singer Bryan Adams released their duet single together, "It's Only Love", later resulting in a Grammy nod for Best Rock Performance by a Duo or Group with Vocal.
Subsequent releases[link]
Turner returned with her next solo album, Break Every Rule, in 1986. The album quickly became platinum launching several hit singles including "Typical Male", "Two People" and "What You Get Is What You See" going on to sell two million copies in the United States and four million together worldwide. That same year, Turner published her autobiography, I, Tina, which she talked about her early life and volatile marriage to Ike Turner. She later received a star on the Hollywood Walk of Fame that summer. Turner's European Break Every Rule Tour, which culminated in March 1987 in Munich, contributed to record breaking sales and concert attendances. In January 1988, Turner made history alongside Paul McCartney when she performed in front of the largest paying audience (approximately 184,000) to see a solo performer in Maracanã Stadium in Rio de Janeiro, Brazil earning her a Guinness World Record.[55] The success of Turner's two live tours led to the recording of Tina Live in Europe, which was released that April. Turner lay low following the end of her Break Every Rule Tour emerging once again with Foreign Affair, which included one of Turner's signature singles, "The Best". She later embarked on an European-only tour to promote the album. While Foreign Affair would go gold in the United States, with its singles "The Best" and "Steamy Windows" becoming top forty hits there, it wasn't as successful as Turner's previous offerings, though it was hugely successful in Europe, where Turner had personally relocated.
In 1991, Ike and Tina Turner were inducted to the Rock & Roll Hall of Fame. Phil Spector later accepted on their behalf. That same year, the ex-couple signed away their rights to have their lives dramatized in the semi-autobiographical film, What's Love Got to Do with It, later released in 1993 and starring Angela Bassett as Tina and Laurence Fishburne as Ike, with the actors later winning Best Actress and Best Actor Academy Award nominations for their portrayals of the former husband-and-wife team. Turner contributed to the soundtrack for What's Love Got to Do with It, re-recording songs from her Ike and Tina days and recording several newer songs including what turned out to be her last top ten US hit, "I Don't Wanna Fight". Other than helping Bassett with her wardrobe and teaching her dance steps as well as providing songs for the soundtrack, she refused to be involved fully in the film, telling an interviewer "Why would I want to see Ike Turner beat me up again? I haven't dwelled on it; it's all in the past where it belongs." Following the film's and soundtrack's release, Turner embarked on her first US tour in seven years. Following the tour's end, Turner moved to Switzerland and took a year off from the road at the end of the tour.
File:Tina Turner Rotterdam Walk of Fame handprints.jpg
Turner's handprints at the Rotterdam Walk of Fame
Turner returned in 1995 with the U2 composition, "GoldenEye" for the James Bond film of the same name. Its huge success in Europe and modest success in her formerly native United States led Turner to record a new album, releasing the Wildest Dreams album in 1996. Though the album itself was not as hugely successful in the United States, thanks to a world tour and a much played Hanes hosiery commercial, the album went gold in the United States. The album reached platinum success in Europe where Turner had hits with "Whatever You Want", "Missing You", which briefly charted in the US, "Something Beautiful Remains", and the sensual Barry White duet "In Your Wildest Dreams". Following the tour's end in 1997, Turner took another break before re-emerging again in 1999 appearing on the VH-1 special Divas Live '99. In 1998 the duet with Italian superstar Eros Ramazzotti in "Cose della Vita" that became a European hit. Before celebrating her 60th birthday, Turner released the dance-infused song, "When the Heartache Is Over" and its parent album, Twenty Four Seven the following month in Europe, releasing both the song and the album in North America in early 2000. The success of "When the Heartache is Over" and Turner's tour supporting the album once again helped in the album going gold in the U.S. The Twenty Four Seven Tour became her most successful concert tour to date and became the highest-grossing tour of 2000 according to Pollstar grossing over $100 million. Later, Guinness World Records announced that Turner had sold more concert tickets than any other solo concert performer in music history.[8][56] Afterwards Turner announced a semi-retirement.
Recent years[link]
In 2002, Tennessee State Route 19 between Brownsville and Nutbush was named "Tina Turner Highway".[57][58][59] In 2003, she teamed up with Phil Collins to record the song "Great Spirits" for the Disney film Brother Bear.
In 2004, Turner released a new compilation, All the Best, and released the single "Open Arms". The song became a modestly successful European hit and a modest R&B hit in America. In 2005, Turner briefly performed on shows such as The Oprah Winfrey Show and The View. All the Best became Turner's first album to go platinum in the U.S. in over eleven years.
At the end of the year, Turner was recognized by the Kennedy Center Honors at the John F. Kennedy Center for the Performing Arts in Washington, D.C. and was elected to join an elite group of entertainers.[60] President Bush commented on Turner's "natural skill, the energy and sensuality",[61] and referred to her legs as "the most famous in show business".[62] Several artists paid tribute to her that night including Oprah Winfrey, Melissa Etheridge (who performed "River Deep - Mountain High", Queen Latifah (who performed "What's Love Got to Do with It"), Beyoncé (who performed "Proud Mary"), and the Reverend Al Green (who performed "Let's Stay Together"). Winfrey stated, "We don't need another hero. We need more heroines like you, Tina. You make me proud to spell my name w-o-m-a-n,"[63] and "Tina Turner didn't just survive, she triumphed." In November, Turner released All the Best - Live Collection and it was certified platinum by the RIAA.
In early 2006, the All the Invisible Children soundtrack was released. Turner sang "Teach Me Again" from the All the Invisible Children soundtrack with Elisa charted at No. 1 in Italy. In May 2007, Turner returned to the stage to headline a benefit concert for the Cauldwell Children's Charity at London's Natural History Museum. This was her first full show in seven years. Jazz pianist Herbie Hancock released an album paying tribute to singer-songwriter Joni Mitchell, entitled River: The Joni Letters on September 25, 2007, on which Turner contributed her vocals to a version of "Edith and The Kingpin". On October 16, 2007, Carlos Santana released an album entitled Ultimate Santana which featured Turner singing "The Game of Love", a song originally intended for her to sing, but which was instead released by Santana with Michelle Branch due to demands from the recording label.
On December 12, 2007, Turner issued a brief statement through a spokesperson regarding the death of her former husband Ike Turner:[64] "Tina hasn't had any contact with Ike in more than 30 years. No further comment will be made."[65]
Turner performed with Beyoncé at the 50th Annual Grammy Awards in February 2008. It was Turner's first major public performance since her record-breaking Twenty-Four Seven Tour.[66][67] In addition, she picked up a Grammy as a featured artist on River: The Joni Letters. On May 5, 2008, she performed in a televised concert and interview for the Oprah show at Caesar's Place in Las Vegas with long time friend Cher.
Turner embarked on her Tina!: 50th Anniversary Tour on October 1, 2008,[68] which began on in Kansas City, Missouri at the Sprint Center. The album, Tina!: Her Greatest Hits, was released in support of the tour.
In 2009, Turner participated in the Beyond singing project with fellow musicians Regula Curti, Seda Bagcan and Dechen Shak Dagsay. This CD combined Buddhist chants and Christian choral music along with a spiritual message read by Turner.[69] The album was released only in Germany and a handful of other countries. It peaked at No. 7 in Switzerland. In 2011, Children Beyond followed and charted again in Switzerland.
A new live album was released by Parlophone in September 2009 entitled Tina Live. The double disc set included the full concert recorded in the Netherlands as part of her 50th Anniversary Tour on DVD and selected tracks on CD. It is only Turner's second live album with the first, Tina Live in Europe, being released twenty years previously in 1988.
In April 2010, Turner once again had a hit with her 1989 single The Best. It peaked at No.9 in the UK Singles Chart after an internet campaign by supporters of Glasgow Rangers Football Club.[70]
Personal life[link]
Born in a farm in Nutbush, a town in Haywood County, Tennessee, Tina's parents subsequently abandoned her at a young age before reaching her teen years. She moved to Brownsville to stay with her close grandmother. After her grandmother died when she was sixteen, her mother moved her to St. Louis. Tina Turner had two sisters, Alline Selico and Evelyn Currie, both of whom are deceased. She was close to both sisters growing up and later credited Alline with introducing her to Ike Turner after taking her to Club Manhattan which Turner frequented. After Tina graduated from St. Louis' Sumner High School at 18, she became pregnant with musician Raymond Hill's child. Hill was a childhood friend of Ike Turner's and an original member of Ike's Kings of Rhythm band. After her mother kicked her out of her house after finding out about the pregnancy, Tina moved in Ike Turner's home in East St. Louis, where she remained until she and Ike relocated to Los Angeles in 1964.
Tina's accounts of her life with Ike Turner differ from his accounts: whereas Turner alleged in her memoirs, I, Tina that Ike Turner was verbally, emotionally and physically abusive towards her, Ike Turner alleged that he never beat her but did admit to "slapping her a few times" and "punching her to the ground without thinking" in his own memoirs, Taking Back My Name. In 1976, after years of alleged abuse, Tina left him after suffering a beating by Ike's hands while in Dallas.[26] Ike Turner pursued her for half a year stopping his pursuits in 1977. Tina filed for divorce and left most of the monetary assets in Ike Turner's care while retaining the use of her stage name as a means to perform.[39] Ike Turner later alleged that their marriage was illegal,[26] and that Tina took his last name to discourage a former lover's attempt to reconcile with her, resulting in her full stage name of Tina Turner.[71]
Turner was introduced to Buddhism by a friend of hers and Ike's in 1972. Turner wrote in her autobiography that she first used Buddhist chants (mainly nam myoho renge kyo) before performing at a recording session at Ike's Bolic Sounds studio and it resulted in Ike sending her money to go shopping, showing Buddhism as both a source of strength and a means of getting what she wanted. Two years later, she converted to Nichiren Buddhism and later credited the religion for getting her through the rough times especially during her post-Ike/Revue life and career.[72] In 1985, she met her current companion, German-based music executive Erwin Bach, while at a record label party in London. They began dating a year later and have remained together since. Turner has been living in a lakehouse called Chateau Algonquin in Zurich[73] since moving there in 1994.[74][75] She also has had residences in London, Cologne and on the French Riviera.[76]
Tina is a mother to four sons. His first son, Raymond Craig, was from her brief affair with Kings of Rhythm band mate Raymond Hill, born weeks before Tina's 19th birthday, in 1958. She had one more biological child, Ronald Renelle, with Ike Turner, born in October 1960. Following Tina's subsequent marriage to Ike, she raised two of Ike's eldest sons, Ike Turner, Jr. and Michael, from Ike Turner's marriage to Lorraine Taylor.
Awards and accolades[link]
Main article: List of awards received by Tina Turner
Turner was listed on Rolling Stone's list "The Immortals — The Greatest Artists of All Time".[5] Turner is a Rock and Roll Hall of Fame inductee,[77] and three of her recordings, "River Deep - Mountain High" (1999), "Proud Mary" (2003) and "What's Love Got To Do With It" (2012) are in the Grammy Hall of Fame.[78] Turner has won 8 Grammy Awards.[8]
Bryan Adams, who toured with her on the Private Dancer Tour, praised Turner's live performances, saying, "I never saw Tina walk through a performance, she always put on a great show, and was gracious and grateful to her audience."
Her legs were noted specifically as she was honored by President George W. Bush.[79]
Discography[link]
Main article: Tina Turner discography
Studio albums[link]
|
Other albums[link]Soundtracks
Live albums
Compilation albums
|
Tours[link]
|
Book: Tina Turner |
| Wikipedia books are collections of articles that can be downloaded or ordered in print. | |
- 1978–1979: Wild Lady of Rock Tour
- 1982–1984: Nice 'n' Rough Tour
- 1985: Private Dancer Tour
- 1987–1988: Break Every Rule Tour
- 1990: Foreign Affair Tour
- 1993: What's Love? Tour
- 1996–1997: Wildest Dreams Tour
- 2000: Twenty Four Seven Tour
- 2008–2009: Tina!: 50th Anniversary Tour
Filmography[link]
| Film | |||
|---|---|---|---|
| Year | Film | Role | Notes |
| 1970 | Gimme Shelter | Herself | Documentary |
| 1971 | Taking Off | Herself | |
| 1975 | Tommy | The Acid Queen | |
| 1976 | All This and World War II | Herself | Documentary |
| 1978 | Sgt. Pepper's Lonely Hearts Club Band | Our Guests at Heartland | |
| 1979 | John Denver and the Ladies | Herself | Variety Show |
| 1985 | Mad Max Beyond Thunderdome | Auntie Entity | Won (1986) - NAACP Image Award for Outstanding Actress in a Motion Picture |
| 1993 | What's Love Got to Do with it | Herself | Singing voice for Angela Bassett, also archive footage |
| Last Action Hero | The Mayor | ||
| Television | |||
| Year | Title | Role | Notes |
| 1966 | The Big T.N.T. Show | Herself | Documentary |
| 1970 | It's Your Thing | Herself | Documentary |
| 1971 | Soul to Soul | Herself | Documentary |
| 2000 | Ally McBeal | Herself | cameo appearance one episode: "The Oddball Parade" |
References[link]
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- ^ a b Wolman, Baron. "Tina Turner on Stage". Gallery of The Popular Image. San Francisco Art Exchange. Archived from the original on 2007-09-28. http://web.archive.org/web/20070928063358/http://www.sfae.com/index.php?action=gallery&status=show_product&ID=549&PHPSESSID=e167966844d1d18c37. Retrieved 2011-01-19.
- ^ Bego, Mark (2005-09-23) [2003]. Tina Turner: Break Every Rule. Taylor Trade Publishing. ISBN 1-58979-253-X.
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- ^ "Tina Turner heads for Brum city limits". Express & Star. 2008-09-23. http://www.expressandstar.com/2008/09/23/tina-turner-heads-for-brum-city-limits/. Retrieved 2008-10-27.
- ^ a b Terry, Al (2008-09-21). "Tina Turner Live Tickets – One Of The Biggest Selling Concert Tickets Ever". Pressemeldungen.at. http://www.pressemeldungen.at/45469/tina-turner-live-tickets-%E2%80%93-one-of-the-biggest-selling-concert-tickets-ever/. Retrieved 2008-10-27.
- ^ a b c d "Amway Global to be Presenting Sponsor of 'Tina Turner Live in Concert' 2008". Reuters.com. 2008-07-10. http://www.reuters.com/article/pressRelease/idUS169798+10-Jul-2008+PRN20080710. Retrieved 2008-10-31.
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- ^ Bullock, Zelma (1993). Tina Turner: Girl from Nutbush (video). Strand Video Entertainment.
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- ^ "African American Lives". http://www.youtube.com/watch?v=wWzsSg4TUMw&feature=iv&annotation_id=annotation_352527.
- ^ a b Henry Louis Gates, Jr. (2008-02-13). "The Past Is Another Country". African American Lives 2. episode 4. PBS. http://www.pbs.org/previews/aalives2/.
- ^ "Black History in St. Louis". The New York Times. 1992-05-10"accessdate=2007-12-11. http://query.nytimes.com/gst/fullpage.html?res=9E0CE2DC1331F933A25756C0A964958260. ""Sumner High School, the first school west of the Mississippi for blacks established in 1875 (among graduates are Grace Bumbry, Arthur Ashe and Tina Turner)...""
- ^ Hasday, Judy L. (June 1999). Tina Turner: Black Americans of Achievement. Chelsea House Publications. p. 10. ISBN 0-7910-4967-1.
- ^ Collis, John (2003). Ike Turner- King of Rhythm. London: The Do Not Press. pp. 70–76. ISBN 978-1-904316-24-4. http://www.amazon.co.uk/Ike-Turner-Rhythm-John-Collis/dp/1904316247.
- ^ Warner, Jay; Jones, Quincy (2006). On This Day in Black Music History. Hal Leonard Corporation. p. 114. ISBN 0-634-09926-4.
- ^ a b c Kiersh, Ed (August 1985). "Ike's Story". Spin 1 (4): 36–43. http://books.google.com/?id=TZaFMCee5HQC&pg=PA43&lpg=PA43&dq=ike+shoots+paperboy#v=onepage&q=ike%20shoots%20paperboy&f=false. Retrieved 5 October 2011.
- ^ "The Howard Stern Show - Ike Turner (6/30/1993)". http://www.youtube.com/watch?v=AFspacipJBY. Retrieved May 11, 2012.
- ^ "The musical legacy of Ike Turner". BBC News entertainment, 13 December 2007 (BBC). 13 December 2007. http://news.bbc.co.uk/1/hi/entertainment/7142242.stm. Retrieved 1 October 2011.
- ^ Lyman, Darryl (2005). Great African-American Women. Jonathan David Company, Inc.. p. 226. ISBN 0-8246-0459-8.
- ^ "Profile on Tina Turner: What's age got to do with it?". Scotland On Sunday. http://news.scotsman.com/opinion/Profile-on-Tina-Turner-What39s.5049970.jp. Retrieved 2009-09-13.
- ^ Bogdanov, Vladimir; Chris Woodstra and Stephen Thomas Erlewine (2003). All Music Guide to the Blues: The Definitive Guide to the Blues (3rd ed.). Hal Leonard Corporation. ISBN 0-87930-736-6. http://books.google.com/?id=nS2l6Z_J99kC. Retrieved 2009-04-08.
- ^ Whitburn, Joel (2004). The Billboard Book of Top 40 Hits: Complete Chart Information About America's Most Popular Songs and Artists, 1955-2003. Billboard Books. p. 645. ISBN 0-8230-7499-4.
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- ^ McCue, Margi Laird (2000-03-01) [1995]. Domestic Violence: A Reference Handbook. ABC-Clio Inc. ISBN 0-87436-762-X.
- ^ Turner, Tina; Loder, Kurt (1987). I, Tina: My Life Story. HarperCollins. pp. 187–190. ISBN 0-380-70097-2.
- ^ Bronson, Fred (2003). The Billboard Book of Number 1 Hits: The Inside Story Behind Every Number One Single on Billboard's Hot 100 from 1955 to the Present. Billboard Books. p. 593. ISBN 0-8230-7677-6.
- ^ "Nichiren Buddhism", BBC, retrieved June 12, 2011
- ^ Mabery, D. L. (1986). Tina Turner. Lerner Publishing Group. ISBN 0-8225-1609-8.
- ^ a b Turner, Tina; Kurt Loder (1986). I, Tina (Hardback ed.). HarperCollins Publishers. ISBN 0-688-05949-X.
- ^ Wynn, Ron (1985-08-01). Tina: The Tina Turner Story. Collier Books. ISBN 0-02-007780-7.
- ^ Koenig, Teresa; Howard Schroeder. Tina Turner. Crestwood House. pp. g. 20–30. ISBN 0-89686-305-0.
- ^ Fissinger, Laura (1985-07-12). Tina Turner. Ballantine Books. ISBN 0-345-32642-3.
- ^ "Chart Stats: Tina Turner (Let's Stay Together)". Chart Stats. http://www.chartstats.com/songinfo.php?id=11177. Retrieved 2010-12-26.
- ^ "Tina Turner: Let's Stay Together (song)". Hung Medien. http://www.dutchcharts.nl/showitem.asp?interpret=Tina+Turner&titel=Let%27s+Stay+Together&cat=s. Retrieved 2010-12-26.
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- ^ "Billboard: Tina Turner (R&B/Hip-Hop Songs)". Billboard. http://www.billboard.com/charts/hot-100#/artist/tina-turner/chart-history/5921?f=367&g=Singles. Retrieved 2010-12-26.
- ^ "Billboard: Tina Turner (Dance/Club Play Songs)". Billboard. http://www.billboard.com/charts/hot-100#/artist/tina-turner/chart-history/5921?f=359&g=Singles. Retrieved 2010-12-26.
- ^ Norment, Lynn (1985-05). Tina Turner: Sizzling at 45. http://books.google.com/?id=-NgDAAAAMBAJ&pg=PA77#v=onepage&q=. Retrieved 2009-12-06.
- ^ "Tina Turner Biography". Rolling Stones Online. Archived from the original on 2008-06-18. http://web.archive.org/web/20080618073142/http://www.rollingstone.com/artists/tinaturner/biography. Retrieved 2008-09-03.
- ^ "Tina Turner". Tennessee Encyclopedia of History and Culture. Archived from the original on 2008-06-21. http://web.archive.org/web/20080621000232/http://tennesseeencyclopedia.net/imagegallery.php?EntryID=T121. Retrieved 2008-09-03.
- ^ "Roger Miles Producer Autobiography". Milesago. http://www.milesago.com/industry/davies-roger.htm.
- ^ Lichtenfeld, Eric (2007). Action Speaks Louder: Violence, Spectacle, and the American Action Movie. Wesleyan University Press. p. 153. ISBN 0-8195-6801-5.
- ^ Allen, Robert Clyde (1995). To be Continued--: Soap Operas Around the World. Routledge. p. 115. ISBN 0-415-11006-8.
- ^ Denisoff, R. Serge (1988). Inside MTV. Transaction Publishers. pp. 274, 278. ISBN 0-88738-864-7.
- ^ Jet February 8, 1988 - Vol. 73, n. 19, p.60. ISSN 0021-5996
- ^ Terry, Al. "Tina Turner Live Tickets – One Of The Biggest Selling Concert Tickets Ever!". Pressemeldungen.at. http://www.pressemeldungen.at/45469/tina-turner-live-tickets-%E2%80%93-one-of-the-biggest-selling-concert-tickets-ever/. Retrieved 2008-10-31.
- ^ Wilder, John S. (January 17, 2002). "SB 2798: Highway Signs - "Tina Turner Highway"" (PDF). Legislation Archives - Bills and Resolutions: 102nd General Assembly. Nashville, TN: Tennessee Senate. http://www.capitol.tn.gov/Bills/102/Bill/SB2798.pdf. Retrieved June 26, 2010.
- ^ Fitzhugh, Craig (January 22, 2002). "HB 2535: Highway Signs - "Tina Turner Highway"" (PDF). Legislation Archives - Bills and Resolutions: 102nd General Assembly. Nashville, TN: Tennessee House of Representatives. http://www.capitol.tn.gov/Bills/102/Bill/SB2798.pdf. Retrieved June 26, 2010.
- ^ "Highway to Be Named for Tina Turner". Associated Press. AP Online News Wire. September 25, 2002. http://www.highbeam.com/doc/1P1-67731655.html. Retrieved June 26, 2010.
- ^ Files, John (2005-12-05). "At Kennedy Center Honors, 5 More Join an Elite Circle". The New York Times. http://www.nytimes.com/2005/12/05/arts/05honors.html. Retrieved 2008-10-27.
- ^ December 5, 2005, Long Beach Press-Telegram (CA)
- ^ December 6, 2005 Kansas City Star
- ^ Thomas, Karen (2005-12-04). "Kennedy Center honors five performing greats". USA Today. http://www.usatoday.com/life/people/2005-12-04-kennedy-center_x.htm. Retrieved 2008-10-27.
- ^ Spagat, Elliot (2007-12-13). "Rock pioneer Ike Turner dies at age 76". Associated Press. http://www.npr.org/templates/story/story.php?storyId=17182622. Retrieved 2007-12-14. [dead link]
- ^ "Tina Turner: 'No Comment' on Ike Turner's Death.". People. 2007-12-12. http://www.people.com/people/article/0,,20165923,00.html. Retrieved 2009-02-16.
- ^ "Tina Turner wows Grammy crowd with comeback". Reuters. 2008-02-11. http://www.reuters.com/article/musicNews/idUSN0955003720080211. Retrieved 2008-02-17.
- ^ "Grammy Awards: Tina Turner, Kanye West sizzle onstage". The Dallas Morning News. 2008-02-11. http://replay.waybackmachine.org/20090617200034/http://www.dallasnews.com/sharedcontent/dws/ent/stories/DN-grammyreview_0211gl.ART.State.Edition1.3b2e6d2.html. Retrieved 2008-10-27.
- ^ "Tina Turner says she's hitting the road again". USA Today. 2008-04-30. http://www.usatoday.com/life/television/2008-04-30-2451038577_x.htm. Retrieved 2008-05-21.
- ^ "Beyond Singing: The Journey". Beyond Singing. http://www.beyondsinging.com/english/home/detail/article/76366/0/beyond---the-journy/. Retrieved 2009-09-20. [dead link]
- ^ "Rangers fans prove Simply the Best, taking Tina Turner hit back into the Top Ten". Scotsman. http://sport.scotsman.com/celticfc/Rangers-fans-prove-Simply-the.6252275.jp. Retrieved 2010-12-14.
- ^ Fresh Air from WHYY : NPR
- ^ "Religions - Buddhism: Nichiren Buddhism". BBC. http://www.bbc.co.uk/religion/religions/buddhism/subdivisions/nichiren_1.shtml. Retrieved 2012-03-31.
- ^ Dreams Come True, The Oprah Winfrey Show, February 24, 2005.
- ^ Biography, International Tina Turner Fan Club, 2007
- ^ Ike and Tina Turner Marriage Profile , About.com
- ^ The Oprah Winfrey Show, 1996. (Video on Youtube)
- ^ "Ike and Tina Turner". Rockhall.com. http://www.rockhall.com/inductee/ike-and-tina-turner. Retrieved 2008-11-01.
- ^ "Grammy Hall of Fame Award: Past Recipients". The Recording Academy. Archived from the original on 2008-07-27. http://web.archive.org/web/20080727131658/http://www.grammy.com/Recording_Academy/Awards/Hall_Of_Fame/. Retrieved 2008-09-03.
- ^ "President Welcomes Kennedy Center Honorees to the White House". Whitehouse.gov. 2005-12-04. http://georgewbush-whitehouse.archives.gov/news/releases/2005/12/20051204.html. Retrieved 2008-10-27.
External links[link]
 |
Wikimedia Commons has media related to: Tina Turner |
- Tina Turner at the Internet Movie Database
- Tina Turner at AllRovi
- Tina Turner at Allmusic
- Tina Turner's Entry on the St. Louis Walk of Fame
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| Persondata | |
|---|---|
| Name | Turner, Tina |
| Alternative names | Bullock, Anna Mae |
| Short description | Singer, actress |
| Date of birth | 1939-11-26 |
| Place of birth | Nutbush, Tennessee, U.S.A |
| Date of death | |
| Place of death | |
http://wn.com/Tina_Turner
Related pages:
http://ru.wn.com/Тина Тёрнер
http://es.wn.com/Tina Turner
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Tina_Turner
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Lisa Stansfield | |
|---|---|
| Birth name | Lisa Jane Stansfield |
| Born | (1966-04-11) 11 April 1966 (age 46) |
| Origin | Heywood, Lancashire, England |
| Genres | R&B, soul |
| Occupations | singer-songwriter |
| Instruments | vocals |
| Years active | 1981–present |
| Labels | BMG/Arista, RCA, ZTT/Edel |
| Associated acts | Blue Zone |
| Website | lisa-stansfield.com |
Lisa Stansfield (born 11 April 1966) is an English singer and songwriter.[1]
Contents |
Biography[link]
Early years[link]
Stansfield was born to Marion and Keith Stansfield in Heywood, Lancashire, in England, where she attended Redbrook School, Rochdale. Her first television appearance was on a talent programme in the Granada TV area in 1982. She won it singing The Human League track "The Things That Dreams Are Made Of". The series was produced by the then Head of Light Entertainment at Granada TV, Johnny Hamp.
After releasing several unsuccessful singles in her mid-teens, she co-hosted a children's TV pop show, Razzamatazz with Alistair Pirrie; additionally, Stansfield could be seen in 1983 children's television series The Krankies Klub, alongside comedian Jimmy Cricket and rock band Rocky Sharpe and the Replays. She also sung radio jingles for Manchester companies LBS and Alfasound - her voice being heard on packages for the short lived ILR station Sunset 102 and BBC GMR (Greater Manchester Radio).
After being signed by Arista, she became an international celebrity in the early 1990s.
Her R&B vocal features and texture are similar to [2] that of her American contemporary and Arista label-mate, Taylor Dayne.
Career[link]
Her British band Blue Zone saw modest success with the single "Jackie". She then crossed over into the UK Top 40 singles chart as guest vocalist on Coldcut's record "People Hold On". She is probably best known internationally for her first UK number-one single, "All Around the World" (1989), which peaked at number three in the United States Billboard Hot 100 the following year. Other worldwide hits from her solo debut album Affection include "This Is the Right Time" (featuring a house music influence production by Coldcut with Mark Saunders), "Live Together", "What Did I Do to You" and "You Can't Deny It". "All Around the World" and "You Can't Deny It" both hit number one on the Billboard R&B chart. Affection went platinum in the United States and triple platinum in the UK selling over five million copies worldwide.
In 1990, Stansfield was among the high profile artists who participated in the Red Hot + Blue charity disc produced by the Red Hot Organization, which honoured Cole Porter's songwriting and benefitted AIDS research. She demonstrated her swing and jazz abilities on the song "Down in the Depths", which was one of few traditional renditions to appear on the album. Thus began an illustrious and respected tradition of Stansfield offering jazz and torch songs to outside projects (most recently she sang "I've Got the World on a String" for the Mona Lisa Smile soundtrack). This is likely what got her noticed for consideration as the female lead in the independent film Swing (1999), in which she also sang the majority of the film's songs.
In 1991 and 1992, Stansfield won the BRIT Award for best British female solo artist. Her second album Real Love spawned four Top 40 singles on the European charts: "Change", "All Woman", "Time to Make You Mine" and "Set Your Loving Free". "All Woman" became Stansfield's third number one single on the Billboard R&B chart and the album has since gone platinum in the US and went double platinum in her homeland.
She performed Queen songs alongside George Michael and what was left of Queen at the tribute concert on 20 April 1992 for their late frontman Freddie Mercury. The performance was later released by Queen. The concert was recognised by the music community as an important event in the work around the AIDS issue.
Also in 1992, Stansfield appeared on the Red Hot Organization's compilation album, Red Hot + Dance, contributing an exclusive remix of her hit single "Change," "Change (Metamorphisis Mix)." The album donated all proceeds to AIDS charities and worked to raise awareness of the AIDS epidemic. She also contributed to the soundtrack of the major motion picture The Bodyguard. "Someday (I'm Coming Back)" reached Number 10 in the UK.
She continued recording disco-influenced soul throughout the 1990s. Her third album So Natural (1993) spawned three Top 40 European singles including the title track (UK number 15), "In All the Right Places" (UK number 8), and "Little Bit of Heaven" (UK number 32).
Her self-titled fourth album Lisa Stansfield (1997) was a hit in Europe with three Top Ten singles: "People Hold On" (re-released as a dance mix by the Dirty Rotten Scoundrels) UK number 4 (7 places higher than the original release), "The Real Thing" UK number 9 and "Never Never Gonna Give You Up" (a remake of Barry White's 1973 hit) UK number 25; upon being released in North America, the album received some mainstream attention. Its peak charting positions were number 30 on the Top R&B/Hip-Hop Albums and number 55 on the Billboard 200. Also in the U.S., "Never Never Gonna Give You Up" also became Stansfield's last Top 40 R&B hit, and the remix by Frankie Knuckles hit number 1 in October on the Billboard Hot Dance Club Play chart. It is her final Hot 100 hit to date. Subsequently, the remix album was released due to Stansfield's reinterest from the dance community. The music video for the song featured a nude Stansfield strolling a city street, acquiring a few items of clothing along the way. VH1 featured the clip and even gave it the Pop-Up Video treatment.
Her 2001 album Face Up charted but with less publicity and featured the singles "Let's Just Call It Love" UK number 46 and "8-3-1". It found her experimenting with newer styles of urban music such as UK Garage while continuing with her established sound. Stansfield's husband, Ian Devaney, delivered an arrangement for the ballad "How Could You", which displayed his love of Burt Bacharach.
Following the release of Face Up, a greatest hits collection called Biography was released. A television campaign and a tour propelled the album to Number 3 in the UK and it has since gone platinum. Stansfield's six album deal with Arista/BMG records had now been obliged, ending an eighteen year association with the label. She then signed with ZTT Records for the United Kingdom, and her first album for them was the 2004 release The Moment produced by Trevor Horn, who has worked with Seal, Grace Jones and Frankie Goes to Hollywood, among others. The album was distributed in Europe by Edel. Featuring the singles "Treat Me Like a Woman" (released as a "double A side" with "Easier") and "If I Hadn't Got You" a song written by Chris Braide with ex-Squeeze songwriter Chris Difford. The album found her exploring more pop oriented sounds rather than just focusing on ballads.
Lisa has sold an estimated 20 million records worldwide.
Stansfield also has a career in acting; she starred in the 1999 film Swing with actor Hugo Speer, and recorded cover versions of swing songs and a few original songs written in the style for the soundtrack. She later appeared on a London stage in The Vagina Monologues. In 2006, she guest-starred in the series Goldplated. In 2007, she starred in a Marple episode ("Ordeal by Innocence") and later joined the cast of The Edge of Love.
In 1998 Stansfield was named in a list of the biggest private financial donors to the Labour Party (UK).[3]
Personal life[link]
Stansfield is married to English musician Ian Devaney and from 1993 until 2008 they lived in Dublin, Ireland.[4][5] In 2008, Stansfield sold her six-bedroom Victorian house Mount Henry on Torca Road in Dalkey for € 6 million (originally asking for € 8 million in May 2007), and moved out of Ireland.[6][7]
Discography[link]
Main article: Lisa Stansfield discography
- Studio albums
- 1989: Affection
- 1991: Real Love
- 1993: So Natural
- 1997: Lisa Stansfield
- 1998: The remix album
- 1999: Swing
- 2001: Face Up
- 2003: Biography: The Greatest Hits
- 2004: The Moment
Filmography[link]
| Filmography | ||||
|---|---|---|---|---|
| Year | Title | Role | Notes | |
| 1999 | Swing | Joan Woodcock | ||
| 2006 | Goldplated | Trinny | ||
| 2007 | Marple: Ordeal by Innocence | Mary Durrant | ||
| Rölli Sydän | Milli |
|
||
| 2008 | The Edge of Love | Ruth Williams | ||
Awards[link]
References[link]
- ^ "Lisa Stansfield: Affection". Allmusic.com. http://www.allmusic.com/album/r588192.
- ^ "Sing The Hits Of Taylor Dayne & Lisa Stansfield (Karaoke): Various: Music". Amazon.com. http://www.amazon.com/Sing-Taylor-Dayne-Stansfield-Karaoke/dp/B000051OHU. Retrieved 2011-12-31.
- ^ "'Luvvies' for Labour". BBC News. 30 August 1998. http://news.bbc.co.uk/1/hi/uk_politics/161057.stm. Retrieved 30 August 1998.
- ^ "Lisa Stansfield". musicOMH. http://www.musicomh.com/music/features/lisa-stansfield.htm. Retrieved 2011-12-31.
- ^ http://www.highbeam.com/doc/1P2-24887698.html
- ^ GrabOne daily deals. "Lisa tunes into a lower price - Property Plus, Lifestyle". Independent.ie. http://www.independent.ie/lifestyle/property-plus/lisa-tunes-into-a-lower-price-1273285.html. Retrieved 2011-12-31.
- ^ "Vincent Browne puts beloved house for sale as Village proves too costly for him - News". Evri. http://www.evri.com/media/article;jsessionid=1hpda29ytb35q?title=Vincent+Browne+puts+beloved+house+for+sale+as+Village+proves+too+costly+for+him&page=http://www.independent.ie/national-news/vincent-browne-puts-beloved-house-for-sale-as-village-proves-too-costly-for-him-2334682.html&referring_uri=/location/mount-henry-0x536318%3Bjsessionid%3D1hpda29ytb35q&referring_title=Evri. Retrieved 2011-12-31.
External links[link]
- Lisa-Stansfield.com
- Lisa Stansfield Experience: Unofficial fans website
- Lisa Stansfield Discography
- Lisa Stansfield Music Videos
|
||||||||||||||||||||||||||||||||
| Persondata | |
|---|---|
| Name | Stansfield, Lisa |
| Alternative names | |
| Short description | |
| Date of birth | 11 April 1966 |
| Place of birth | |
| Date of death | |
| Place of death | |
http://wn.com/Lisa_Stansfield
Related pages:
http://ru.wn.com/Стэнсфилд, Лиза
http://es.wn.com/Lisa Stansfield
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Lisa_Stansfield
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
3:31
Ally McBeal Barry White
andtvshow2
Ally McBeal Barry White
John Cage: Nicknamed "The Biscuit" is co-founder and senior partner second. Excellent lawyer employing methods particularly unexpected (shoe squeaks, whistles of the nose, stomach gurgling, non-examination of witnesses ...). He suffers from a serious lack of confidence in him that he compensates by identifying with Barry White. For all its eccentricities, it will maintain a deep friendship with Ally, and attract many beautiful women, Nelle Porter. My first, my last, my everything And the answer to all my dreams You're my sun, my moon, my guiding star My kind of wonderful, that's what you are
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