Club Ska - Live (); Regatta Sixty-Nine - Regatta Sixty-Nine () 1 Byronic Hero 2 Bring Me Back 3 Somebody's Cadet 4 Micro Bus ANITA LEADS FLEET IN SOUND REGATTA; Sixty-nine Yachts in New Rochelle Y.C. Regatta - Okee Beats Thirty-Footers; Braves Get . The reconstructed ABT train at Regatta Point Station. was positive and joyous. Smells curiously enough are a great link to the past. The smell of fireworks always takes me back to Empire Night at Strahan. A time when the town gathered together; a time of great camaraderie that can perhaps only be replicated in an isolated community or town. 6. Shamelle - non-album B-side to "Invisible" in September (UK, A&M Records AMS ) 7. Flexible Strategies - non-album B-side to "Every Little Thing She Does Is Magic" in October (UK, A&M Records AMS ) 8. Low Life - non-album B-side to "Spirits In The Material World" in December (UK, A&M Records AMS ) /5().
He gave me some of his paintings, beautiful pictures of racehorses. He liked to do a routine about Bess. His act was so good he could make your hair stand on end. One time Frank came in and set two glasses of water side by side. Using them to represent two individuals, Frank had them boast of their strength. One glass was water and the other wine. Each told how destructive they could be if provoked.
But I can also drive men to madness, causing them to destroy one another. His legs froze up on him. The doctors never found out his ailment. I went to see him in the hospital. His legs were as stiff as stone. He died not long after. It was sad. Frank was an unknown genius whose stories still live in my mind. During the first year of business, I did very well. I saved about seven thousand dollars. Although I worked hard, eventu ally my business began to decline.
Another competitor on Mill- ford began to take my business away. To keep my lights on and pay my bills, I even had to sell my Cadillac. So I thought of selling the store and moving on to other ventures. My landlady threatened.
Since I needed money, a man agreed to buy the store. Things were pretty bad for me. They were going to cut off the gas and lights in my apartment. My landlady kept my paint ings as security. I spent Saturday night quite depressed because they were going to evict me Monday morning. That night a girl I knew sent me an envelope with five dollars inside. She gave me a combination and told me to play it on the numbers. I added five dollars more to it and played a number that was paying seven hundred to one.
On Monday morning they were ready to throw me out of my place, when a knock came at my door. I thought it was my landlady. Answering the door, I was surprised to see a man stand ing before Bring Me Back - Regatta 69 - Regatta Sixty-Nine (Cassette.
I was all packed and ready to leave, but he told me to put back my things. The man had told her I had hit the numbers, so she was going to get friendly with me. I told her to keep my pictures, that they were a gift to her, and I left. With money to invest, I came to the east side where all the prominent businesses and big-time nightclubs were located.
Though it had nice homes and neighborhoods, the west side was too quiet for me. My idea for starting the business came from my driving experience for Lawyer Barber. If people wanted to go to Florida on the Pullman train car, we drove their automobile down for them, so it would be waiting for them when they arrived. At one point, I had five drivers, clean-cut fellas who wore red chauffeur suits and caps. Since I could not afford an office, I used Mr. Barthwell, it had 1.
A graduate of the class of Cass Tech High School, Sidney Barthwell, owner of a successful chain of drugstores, opened his first place of business in I did not know Mr. Barthwell personally. He was my senior—a well-respected wealthy man. I knew his brothers. John worked at the store and let me use the telephone for my business messages.
To gain the respect of my peers, I always tried to carry myself with some element of style. My attire included flashy suits, pinstriped and English in style, a derby hat, and, though it was often empty, a leather briefcase.
I topped off my look with a small cigar. At this time, I emerged as just one of a number of black businessmen who sought to establish themselves in the city.
But I must admit that when I first came to Detroit, I thought the city would be filled with black businessmen. Initially, I was quite dis appointed because I believed these black Northerners had more know-how than my Southern friends in Columbia. By the time I settled in Detroit, I Bring Me Back - Regatta 69 - Regatta Sixty-Nine (Cassette pleased to see black businessmen coming together to build a strong community.
Var ious entrepreneurs joined together in black business associations. The Booker T. Church, and another that held Thursday luncheons were especially effective in the community. Eventually, I became a member of both those organizations. The Thursday meetings assisted black professionals finding work.
For example, if a real-estate man needed work, the organization would help him find the proper business connections. Black businesses sprawled over the east side. Back in the s the heart of Paradise Valley centered around Adams and St. These streets were filled with action—black-owned clubs, after-hours spots, and restaurants. When you walked on Adams east from Woodward Avenue toward St.
Antoine, you would come to the Lark Grill at Adams, owned by Mr. Robert D. A very popular Val ley bar and restaurant, the Lark was on the elegant side. It served good food and featured a nice upstairs meeting room. The next eating place, Cookies, on the corner of Adams and St.
Antoine, was a good breakfast spot where the entertainers gathered to have ham and eggs after their shows. Norwood, a distin guished numbers-man. In the basement of the Norwood was the Plantation Club. The Plantation catered to elegantly dressed black folks who dined and drank champagne while watching first- class floor shows. Crossing St. It featured fine piano players. Buffalo had big pop eyes. He smoked cigars and wore a big diamond ring. Everybody used to argue over whether the dia mond was genuine.
After he died, someone got hold of it and dis covered it was a fake. But no one cared too much because Mr. Buffalo was a popular man in his time, respected by blacks and the rich white people who flocked to his place. Because Sneed looked Asian, the black folks nicknamed him Jap.
He had coal-black hair and always dressed sharp in a collar and tie. Sitting with his friends at corner restaurants, he liked to discuss different topics and argue politics. Jap Sneed and his wife lived in Grosse Pointe before it underwent major development.
In he joined Jap Sneed in the pro moting business. Stutz did the footwork and Jap Sneed was the brains of the team, working with the money and investment.
Stutz liked to talk about any subject. Aside from offering first-rate shows with fif teen-piece bands and ten or so pretty chorus girls, the club had fine food.
You could buy an excellent steak dinner for six dollars. Next door to the Three Sixes, Mr. Like most other large cities in the North, blacks in Detroit and their respective organizations owned and operated a number of private clubs.
The owner of the Pendennis Club, Mr. Fonney, catered to middle-class members. He was a well-read, sophisti cated gentleman, tall and very fine looking. Most black folks thought he was white. His brother, a dentist, passed for white downtown. At St. Antoine stood the Biltmore Hotel, which fea tured a downstairs dining room and nightclub.
Upstairs was an after-hours spot run by bandleader and violinist Earl Walton. Walton never had to hire a band because when the musicians got off their gigs, they would come up to his place and jam all night. Although Mr. Walton was a multi-instrumentalist, the violin remained his favorite instrument. Everybody knew Mr. He owned the only all-night drug store in Paradise Valley. Its proprietors, the Baileys, employed the whole family.
The Pekin attracted all the black performers and celebrities who came through Detroit. The Paradise Bowl opened in November A soft-spoken, respectful man, Mr. Watson was the first black I knew who owned a housing project. Some called him a numbers-man, but I looked upon him as a builder and developer. This office is where Roxborough han dled his investments, strictly a legitimate business, no gambling. Take-out or sit- down, it had wonderful bass and pickerel sandwiches. You could smell the fish cooking down the street.
A big, jovial man, weighing three hundred pounds, Roy Lightfoot was a real nice fella who loved to laugh. The southernmost point of interest, on Antoine, was the Band Box. An upstairs gambling spot situated over a poolroom, the Band Box featured what we called the games of chance, black jack, poker, and the like. The Band Box was not an after-hours place; it existed as a private recreation spot for musicians to meet. His business supplied towels for the bar bershops and uniforms and tablecloths for the restaurants.
Tall, dark, with a pleasant round face, Fred Allen was a lovable gentle man, a man who involved himself with community work. He liked to play cards and, according to many people, Album) a good gambler. His laundry did a tremendous business. He was on the brink of building a business empire.
He owned several trucks, which enabled him and his wife to build a nice house on the northeast side near the neighborhood where John Roxborough built his.
I respected his aggressive outlook. He bravely ventured into an area monopolized by the white union and organized by the gangsters. The union men opposed his competition. Although these gangsters damaged his trucks and threatened his customers, he remained unintimidated and con tinued to build up his business. He stood his ground until the gangsters decided to hit him hard. One weekend evening, while one of his washers worked alone in the laundry, someone entered the building.
Because of the racist nature of the police department, there was never a full investigation and the murderers were never found. Soon Mr. From my standpoint, I would have fought back against those bastards and let them know they could not use intimidation to stop the emergence of a black business. Despite the shortcom ings of his business, Mr. Allen was a black business pioneer and an admirable gentleman. Unlike Mr. Allen and many of his associates, my first suc cessful start in business happened in an area not fully controlled by whites.
Drawn to the bands and nightclubs of Paradise Valley, I began to book shows in different cabarets around town. Each show brought me about twenty-five dollars a night. I hired the musicians and had them rehearse for the shows. I had three bands playing at three different places at once, each with a master of cer emonies, four chorus girls, and a comedian.
Back then every show had a comedian to keep you laughing. Together, these acts would play two forty-five-minute shows, each priced at twenty-five dol lars, one at nine-thirty and the second around midnight. When they finished their first set, the groups changed clubs, alternating among the three houses. Between performances the entertainers changed clothes and rushed to the next job, which sometimes was miles away.
At the end of the night, we met at a restaurant on Ver- nor Highway and split up the money. I took a percentage based upon my time and investment. Between clubs and the need for music in after-hours spots, my bands stayed very busy. Through booking acts I was able to purchase another automobile.
Sometimes it was hard going. I recall one of my bands performed at a blind pig on Alexandrine and Beaubien. They had just finished their show and were waiting outside to get paid.
Because I was taking an unusual amount of time rustling up the money, they began to get restless. When the club owner finally paid me, he handed me fifteen dol lars and two pints of whiskey. Meanwhile the band was waiting outside and as every minute passed, I could feel them getting madder and madder.
Standing out on the street, I broke the news of the pay situation. Amid the grumbling, I divided up the money. Then, without much protest, we drank up the rest of our pay. It was good, too. In the late s French-born bandleader Jean Goldkette controlled most of the musical activity in Detroit.
When I started booking my small shows, Goldkette still managed the most pop ular big bands around the city. His partner, Char lie Horvath, owned the Graystone Ballroom. Like most big bands around the country, such as Fletcher Henderson and Duke Ellington in New York, the Cotton Pickers made big money play ing for whites.
Whenever the Cotton Pickers played a black dance at the Graystone, I was there. The Graystone had two stages and could hold about two thousand dancers. He was a bril liant and very likable man. At the Graystone dances you often had to step outside to get. When Louis Armstrong played at the Graystone, everybody in the place smoked reefer, including Louis who stood on stage blowing a number himself.
You could get two or three reefers for a nickel. Nobody messed with you; there was no trouble. Though the Graystone brought in the finest big bands from across the country, it remained the headquarters of the Cotton Pickers. When the Cotton Pickers were in town, they rarely had steady work. So the members were often available for small club dates and the like.
I had met Duke on my trips to Washington, D. His first trumpeter Freddie Jenkins, one of my good friends, told me he had two tuxedos and that I could come as his guest.
Freddie brought the tuxedo over to my place on Canfield. When I put it on, I felt like a king. I thought Freddie was going to leave it with me, but he came around and asked for it back. Freddie stayed with Duke until the late s, when he fell ill with tuberculosis. I contacted Duke and urged him to help Freddie out. Though Freddie did not perform with the band, Duke agreed to keep him on the payroll. Years later, Freddie called me from his home in Texas and invited me to move my pro motional operations out there.
He died not long afterward. Duke loved Freddie and I considered him a great friend. During the early s, my associations with celebrities and businessmen helped me make a name for myself in the city. In Morris Wasserman and Sammy Brandt, owners of the 3.
According to John Chilton, the Cotton Pickers experienced many setbacks by The loss of its talented arranger, Don Redman, and the failure of the band to renew its recording contract with Victor coincided with the effects of the deepening Depression. Located on Can- field and Brush, the Harlem Cave got its name because it was downstairs.
It had stucco walls, a good-sized stage, and a seating capacity of about two hundred people. Wasserman came from a monied family. His father, Julius, a Detroit developer and builder, Bring Me Back - Regatta 69 - Regatta Sixty-Nine (Cassette, was also born in Russia.
Before Prohibition was repealed inthe gangsters ran the distilleries, manufacturing and selling lightning and corn whiskey. The club owners ran the speakeasies and blind pigs.
Although there were organizations like the Downriver Gang, the Hamtramck Gang, and the Irish Gang, the Purple Gang remained the most powerful operation in the city. Each gang sup plied whiskey outlets—clubs and after-hours spots—in different territories. In fact, some of the white gangsters were more afraid of tough black folks than they were of other white gangsters. I eventually got to know many of the gangsters because they often came into the cabarets where I worked.
They were big spenders and tippers. In all my years in the city, I never had any trouble with the gangsters. They called me Mr. Wilson and treated me with respect. The Italian don of Detroit was my friend. Later we used to run into each other on the train to New York City on our way to watch the fights.
He always bet against Joe 4. Rollo Vest, Detroit Tribune, August 18,p. In later years Rowena was named Mack. Polk, We were never close friends, but we did have nice, casual conversations. I never asked him about business. I kept my dis tance. He respected me and I respected him. When the don died years later, I was the only black man invited to his funeral.
Although the Purple Gang was a mean bunch, I got along fine with these two gentlemen. One evening while I was working at the Harlem Cave, the lieutenant got into an argument with Kate Francis, a black singer who was the featured act that evening.
The lieu tenant was a fist fighter. Angered, he turned and slapped Kate in the face. She let out a scream that drew the attention of the whole club. A black-and-tan, the Harlem Cave had a mixed crowd and the black fellas in the place looked as if they were going to tear him apart. Feeling the crowd grow uneasy, I called over the special police guard who worked for me and told him to hold the crowd while I ushered the lieutenant out into the lounge. After I got the lieutenant into the lounge, I escorted him out the back door into the alley.
As the manager, it was my job to keep peace and I did it. Later, Sammy Brandt and his sister both thanked me. Like the nightclubs in Paradise Valley, most of the after- hours spots were black-and-tans—places that catered to black and white customers.
Down in the black neighborhoods the majority of the customers in the clubs were white. The after-hours spots had a piano player or a band. The club owners provided food and sold whiskey in tea cups.
Some after-hours spots were located upstairs; others were down in basements or crowded rooms. Many of them were beautiful places. I did one show at a club off Woodward Avenue that had tables with gold-tinted ashtrays and red tablecloths. In my show at this time, I had eight chorus girls and my star entertainer, Sun shine Sammy. The son of a New Orleans chef, Sunshine Sammy.
While his father went to work in Beverly Hills for oil magnate E. Doheny, he attracted the attention of the father of child star Baby Marie Osborn, who took him to a Hollywood movie set—an event that let to his appearing in several pictures. As an adult, he entered the vaudeville circuit and became a first-rate dancer and singer.
Though he had been on the big screen, Sunshine Sammy remained a down-to-earth, well-liked man. I introduced acts, told jokes, and kicked off the band. Often, members of the Cotton Pickers would sit in with the band. I hired Price at the Harlem Cave. Originally from Texas, he had worked in Kansas City during the twenties.
One day he walked into the club and asked for a job. I liked the way he played and hired him. I was surrounded by fine talent. As manager and emcee, I hired acts, mingled with the patrons, and performed on stage.
I brought in Sunshine Sammy and we put on quite a show. On stage I used a silver-and-gold baton to lead the bands. It had glass stones that looked like real diamonds. I dressed very sharp and very loud. Sometimes Bring Me Back - Regatta 69 - Regatta Sixty-Nine (Cassette changed outfits two or three times during a show. While I was backstage, Sunshine Sammy would entertain the crowd. He could do the splits and all sorts of fancy dance steps. He stayed with me until he got into some trouble with the law and had to go back to California.
Back in those days everybody wanted to be a Bojangles Robinson. I first danced in stage plays down South. The average kid down South knew how to dance and many took it very seri ously. At the Harlem Cave I honed my skills by watching acts and taking pointers from the champs like Sunshine Sammy and Kid. Sunshine Sammy and I made our entrance dressed in tails. When we danced we put on regular dress coats. Though the band accompanied a dancer, it was the dancer who set the tempo.
The drummer fol lowed the dancer. When a dancer completed his full turn, the drummer hit a loud accent on the snare drum. Working on the Harlem Cave stage not only allowed me to dance; it brought me experience as a bandleader. I often started my act slow. The longer the band played, the stronger the message got. I had to come to them. I had to give them part of myself. I was a shouter. While at the Harlem Cave around ,1 met Ella Lee, an unknown talent, who could really dance and sing.
She was a tall, attractive young woman with a beautiful shape and smooth, jet-black skin. I told her I wanted to make her a star. She agreed to work with me. I took her downtown and bought her three stage dresses—one black, one white, and one red.
I helped her rehearse and gain con fidence in herself. The night of the performance at the Harlem Cave, Ella Lee became very nervous. I had everything set for the show. We were all well rehearsed. She is so pretty, folks, I named her Black Beauty. I tried once more, but she did not appear.
I told the band to keep playing while I went backstage. Back in the dressing room I found her crying. She was very upset with me.
Realizing my sincerity, she decided to perform. A few minutes later she came out in a white dress and excited everybody in the place. Years later, she retired to have children and opened a beauty shop. One of the people who made my acquaintance was a police lieutenant who lived in Millsboro, Tennessee.
A tough but likable fella, the lieutenant had lost his arm to some bootleggers down South. I liked his company so I showed him around town.
People often warned me that the lieutenant was bad, but I responded by telling them that I was bad, too. This lieutenant was different from the white Southerners I had met.
I felt his sincerity, that he genuinely liked black folks. Just before he left town, he invited me to visit him in Millsboro. Not long afterward, I got word that my Aunt Maggie was sick. While driving through Tennessee on our way south, we stopped off to visit the lieutenant in Millsboro. When we got to town, he and his sergeant came to greet us.
The lieu tenant and I hugged and he took me to meet his family and the city officials. Later we went across the street to the bar in the hotel. I thanked him for his hospitality and assured him that I had no. I was tired, so I asked Doc to drive. Worn out from the champagne and the carrying on at the bar, I fell asleep. Wake up! Since the car was almost out of gas, I told Doc to pull over to the filling station along the road.
We parked the car and a white fella walked up to the window. My lieutenant friend up in Millsboro told me that if I stopped here, you would take care of me. I asked the man where I could get a drink and he directed me to a place across the street. Walking through the door, I saw six or seven white men sitting at the bar.
Give everybody a drink on me! When they asked me about my line of work, I told them that I was a real- estate broker. We need you down here.
Every thing turned out fine. With my success at the Harlem Cave, I began to put together a number of bands. Each featured a singer, comedian, chorus girls, and a soubrette, the lead dancer in charge of the cho rus line.
I have always maintained that chorus girls bring class to a cabaret. When you see beauty performing in excellent taste, it takes your mind off everything. Once I rehearsed my shows, I sold them to nightspots for.
I had the best musicians in town. Because I hired an emcee for each band, I could appear at different clubs, giving me a chance to emcee shows at various after-hours spots. Because of the success of my shows around town, a lot of these clubs asked me to take over booking entertainment.
Ivey gave me the control of the safe and told me to handle the money and the payment of employees. He ran a bar downstairs and a gambling joint upstairs. After arriving in town from his native Jacksonville, Florida, Mr. Ivey worked in a brass foundry and saved enough money to open a restaurant on Hastings and Alfred in In he opened his most successful club, the Cozy Corner. Standing about six feet tall, Mac Ivey was a giant black man, with broad shoulders and massive forearms.
He smoked El Producto cigars and carried a. Always surrounded by his bouncers, Mac Ivey projected an imposing image. Everybody was afraid of Mac Ivey. Mac Ivey invited me to run his place not only for my ability to organize musical talent, but because the club needed a major reorganization.
I went to work for Mac Ivey on a percentage. I called all the help to a meeting in the back room. Not Sunnie, but Mr. How long you been working here? Coming Soon!!! Andrew Bayer. Boom Jinx. Come Play Perfect. No Answers In Luck. Boom Jinx feat Justine Suissa.
Phoenix From The Flames. Starring, and quite rightly built around the Justine Suissa Ocenalab vocalist topline 'Phoenix From The Flames' has a lead riff and sound you'll swear you've heard before, but this one is fresher. Another breathtaking release from Anjuna. The team were no doubt hard pushed in deciding who to let loose on the breathtaking Original and Justine Suissa's vocal, but in Maor Levi and Michael Cassette they triumph on multiple levels.
For the big room melody rich deliver head straight for Maor's cut, however we are all about the slower, vocal rich, and wonderfully deep flavours of Michael Casstte. A track you will have on repeat all weekend all. Boom Jinx feat Key. Eternal Reminiscence. Boom Jinx feat Thomas J Bergersen. Remember September. Boom Jinx presents BJX. Come On Over. Manipulator EP. Tracks 8, 9, 11, 13, and 16 originally appeared on the band's self-titled CD and are digitally remastered. They were recorded and mixed at AU Underground.
Add Review. Add a Video. Add to List. Simple Simon. Someone To Cling To. Bring Me Back.
69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 remember me grayson hugh bring it all back hothouse flowers don't go bruce hornsby and the range look out any window rodger hodgson hai hai regatta de blanc l zenyatta mondatta l Review: Norway's Boom Jinx is back on Above & Beyonds Anjuna label with some seriously large new remixes of the already brilliant and mass played 'Phoenix From The Flames. The team were no doubt hard pushed in deciding who to let loose on the breathtaking Original and Justine Suissa's vocal, but in Maor Levi and Michael Cassette they triumph on multiple levels. The album doesn’t have a lot of diversity of sound – something that I typically look for in my favorite albums. But it does have a sound of its own a cool sound. A sound that takes me back, makes me feel good, and makes me happy. For me, it’s a celebration of feeling “cool.” And we SHOULD celebrate feeling cool! It’s a great.
Track 12 was recorded to 4-track cassette in the basement of a dance studio on 2nd St. in Harrisburg, PA in , and it was mixed at Susquehanna Sound in Northumberland, PA. Tracks 1, 2, 6, 10, 14, and 15 were recorded in the band's rehearsal room on ADATs in late
load is going to bring me back into the office on a lot of weekends." Besides trips to the beach, Nattress enjoys golfing another love that he says will suffer in the face of greater responsibility. Nattress also is involved in community affairs as the chair chairman man chairman of the Alachua County Zoning Commission for the past 15 years. westbrooke nils island Post a Review You can write a book review and share your experiences. Other readers will always be interested in your opinion of the books you've read. Whether you've loved the book or not, if you give your honest and detailed thoughts then people will find new books that are right for them. Free ebooks since.
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To the Public:—Although the large octavo edition of Struggles and Triumphs, upon fine paper, has enjoyed an unprecedented large sale at $ and upwards, according to styles of binding; yet determined to supply the popular demand for a cheaper edition, and thus in a measure render to the great American people, who have lavished upon me so. Summary: Lest faith turn to despair is an exegetic sequel to Steven Antin’s Young Americans (Columbia TriStar & Mandalay Television for The WB network, ).. Synopsis: The original drama’s “true love” story affects that drama’s other characters.. Lest faith turn to despair is a drama in five acts, plus prologue, intermezzo, envoi and liehageludedownfumetheamegilern.coinfo act, like the intermezzo, .
Jean-Emmanuel Deluxe (in ) said, "«69» of the Baba Scholae is a major album of the year It is a cult disc that never disappoints - quite the reverse, when, like me, you can listen to it in the very best conditions after decades of obscurity.
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