Harmonica_header

Summer Girl

Key: Any

Genre: General

Harp Type: Any

Skill: Any

-4 -4 5 -4 4 -4
Well if you feel-ing me,
-4 -4 5 -4 4 3 -2
lets make a me-mo-r–y.
4 4 4 4 4
My heart is mel-ting
4 3 4 4 3 4 3 -2
cause you’re hot like a sum-mer heat.

-4 -4 5 -4 4 -4
To-night is all we got,
-4 -4 5 -4 4 3 -2
and there’s no time to st-op
4 4 4 4 4
and think a-bout the
3 4 4 3 4 3 -2
should we or should we n-ot.

4 6 -4 4
And I kn-ow
4 3 4 4 3
that you got a man.
3 5 4 -4
But I’m he-re,
-2 -2 -2 5 5 -4
so put me in your plans.
6 -4 4
I’ll b–e
4 3 4 4 3
what you need to-night.
-2 3 -4 5 -4 5 -4 4 3 -2
And I’m ne-ver gon-na see you a-gain.

-2 3 4
I wan-na
-6 6 -6 6
doo-op doo-op.
4 -4 5 -4 4 3 4
Let’s make it hap-pen short-ly,
-6 6 -6 6
doo-op doo-op.
4 -4 5 -4 4
It’s got to be now
-6 6 -6 6
doo-op doo-op.
3 4 -4 5 -4 4
E-ven though we should-n’t.
3 4 -4
Sum-mer girl,
5 -4 4 4
you’re right for me.

Lyrics


Girls Of Summer 2

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Girls Of Summer 2 gp5 Guitar Pro Tab is free to download. Tablature file Pedal Pointing 2 opens by means of the Guitar PRO program.

Lyrics


Girls Of Summer

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Girls Of Summer gp3 Guitar Pro Tab is free to download. Tablature file Pedal Pointing 2 opens by means of the Guitar PRO program.

Lyrics


Roll Out those Lazy hazy days of summer

Key: Any

Genre: General

Harp Type: Any

Skill: Any

6 -6 -7 -8 7 -8 7
Roll out those lazy, hazy,

-8 7 6 5 -4 -6
crazy days of summer–

-6 -7 7 -7-7
Those days of soda

6 -6 -6 -5 5
and pretzels and beer.

6 -6 -7 -8 7 -8 7
Roll out those lazy, hazy,

-8 7 6 5 -4 -6
crazy days of summer,

-6 -7 7 -7 6 -6
Dust off the sun and moon

-5 6 5 -5 -7 6
and sing a song of cheer.

chorus

5 5 5 7 -7 5
Just fill your basket full

5 7 -7 5 5 7 -7
of sandwiches and weenies;

5 5 5 5 7 -7
Then just lock the house up,

7 -7 -6
now you’re set.

-4 -4 -4 5 -4 -4 -4
And on the beaches you’ll see

-4 5 -4 -4 -4 -4 -7 -6
the girls in their bikinis

-6 -7 7 -8-6 -7 7 -8-6 -7 7 -8
As cute as ever but they never get ’em wet

Lyrics


Sunday Girl

Key: Any

Genre: General

Harp Type: Any

Skill: Any

6 6 6 -5 -5 -5 5 4 3
I know a girl, from a lonely street
2 3 5 -4 4 -4 -3 3
Cold as ice cream but still as sweet
3 -3 5 -4 -3 4
Dry your eyes Sunday girl
6 6 6 6 -5 -5 -5 5 4 3
Hey, I saw your guy, with a different girl
2 3 5 -4 4 -4 -3 3
Looks like he’s in another world
3 4 5 -4 -3 4
Run and hide Sunday girl

3 4 5 -4 4 3 4 5
Hurry up, hurry up and wait
-4 4 -3 3 4 5 4 3 4 5
I stay away all week, and still I wait
-4 -3 4 -4 -3 4 -4
I got the blues, please come see
5 5 5 5 3 3 3
What your loving means to me

6 6 6 6 -5 -5 -5 5 4 3
I, saw you again, in the summertime
2 3 5 -4 4 -4 -3 3
If your love was as sweet as mine
3 4 5 -4 -3 4
I could be Sunday’s girl

Lyrics


Summer Nights (chromatic)

Key: Any

Genre: General

Harp Type: Any

Skill: Any

By: Warren Casey & Jim Jacobs
From: “Grease”
Key: D, Eb, E, D

Key: D

-6* -5 7 6 -7 -6*-7 -7 7
Sum-mer lov-in’ had me a blast
-6* -5 7 6 -7 -6* -7 -7
Sum-mer lov-in’ hap-pened so fast
-6*-5 7 -7 -6* -7 -8
Met a girl cra-zy for me
7* 6 -7 7* 6 7* -7
Met a boy cute as can be
-9 -7 -8 -7 -8 -7 -6*
Sum-mer days drift-ing a-way
-8-7 7 6 -8 -7-8 -7 -5
to uh oh those sum-mer nights

-3 -3 -4 -4 5 5 -5
Well a well a well a huh
-7 -7 -8 -8 -8 -8
Tell me more, tell me more
-8 -8 -7 -8 -7 -6*
Did you get ver-y far?
-7 -7 -8 -8 -8 -8
Tell me more, tell me more
-8 -8 -7 -8 -7 -6*
Like does he have a car?

-6* -5 7 6 -7 -6*-7 -7
She swam by me, she got a cramp
-6* -5 7 6 -7 -6* -7 -7 7
He ran by me, got my suit damp
-6* -5 7 -7 -6* -7 -8
saved her life, she near-ly drowned
7* 6 -7 7* 6 7* -7
He showed off, splash-ing a-round
-9 -7 -8 -7 -8 -7 -6*
Sum-mer sun, some-thing’s be-gun,
-8-7 7 6 -8 -7-8-7 -9
but uh-oh those sum-mer nights

Key: Eb

-7* -7* 8 8 8 8
Tell me more, tell me more
8 8 -7* 8 -7* 7
But you don’t got to brag
-7* -7* 8 8 8 8
Tell me more, tell me more
8 8 -7* 8 -7* -9*
’Cause he sounds like a drag

7 7 7 7 7* 7* 7* 7*
Shu-da bop bop Shu-da bop bop
-7*-7* -7* -7* 7* 7* 7* 7*
Shu-da bop bop Shu-da bop bop

7 -5* 7* -6 -7* 7 -7* -7*7*
He got friend-ly hold-ing my hand
7 -5* 7* -6 -7* -7* -7* 7*7-5*
She got friend-ly down in the sand
7 -5* 7* -7* 7 -7* 8
He was sweet, just turned eight-een
-6 -6 -6 -6 -7 -6 -6 -6
She was good, you know what I mean

-9* -7* 8 -7* 8 -7* 7
Sum-mer heat, boy and girl meet.
8-7* 7* -6 8 -7*8-7* -9*
but uh-oh those sum-mer nights

Key: E

-8 -8 8* 8* 8* 8*
Tell me more, tell me more
8* 8* -8 8* -8 7*
How much dough did he spend?
-8 -8 8* 8* 8* 8*
Tell me more, tell me more
8* 8* -8 8*-8 -9*
Could she get me a friend?

Key: D

-6* -5 7 6 -7 -6* -7 -7 7
It turned cold-er, that’s where it ends
-6*-5 7 6 -7 -7 -7 7 6
So I told her we’d still be friends
-6* -5 7 -7 -6* -7 -8
Then we made our true love vow
7* 6 -7 7* 7* 7* -7
Won-der what, she’s do-in’ now
-9 -7 -8 -7 -8 -7 -6*
Sum-mer dreams, ripped at the seams
-8-7 7 -8 -7-8-7 7*-7
But oh, those sum-mer nights
-7 -7 -8 -8 -8 -9
Tell me more, tell me more

Lyrics


Summer Nights

Key: Any

Genre: General

Harp Type: Any

Skill: Any

5 4 -5 -4 6 5 6 6 -5
Summer lovin had me a blast
5 4 -5 -4 6 5 6 6 -5
Summer lovin happened so fast
5 4 -5 6 5 6 -6
Met a girl crazy for me
-5 -4 6 -5 -4 -5 6
Met a boy cute as can be
7 6 -6 6 -6 6 5
Summer days drifting away
-6 6 -5-4 -6 6 -6 6 4
to uh oh those summer nights

3 3 -3 -3 4 4 -4
Well a well a well a huh
4 4 -4 -4 -4 5
Tell me more, tell me more
5 5 -4 5 -4 -3
Did you get very far?
4 4 -4 -4 -4 5
Tell me more, tell me more
5 5 -4 5 -4 -3
Like does he have a car?
3 4 4 5 5 6 6 -5 6 -5 4
Uh-huh uh-huh uh-huh uh-huh

5 4 -5 -4 6 5 6 6 -5
She swam by me, she got a cramp
5 4 -5 -4 6 5 6 6 -5
He ran by me, got my suit damp
5 4 -5 6 5 6 -6
saved her life, she nearly drowned
-5 -4 6 -5 -4 -5 6
He showed off, splashing around
7 6 -6 6 -6 6 5
Summer sun, something’s begun,
-6 6-5-4 -6 6 -6 6 4
but uh-oh those summer nights

3 3 -3 -3 4 4
Well-a well-a well-a huh
4 4 -4 -4 -4 5
Tell me more, tell me more
5 5 -4 5 -4 -3
Was it love at first sight?
4 4 -4 -4 -4 5
Tell me more, tell me more
5 5 -4 5 -4 -3
Did she put up a fight?
3 4 4 5 5 6 6 -5 6 -5 4
Uh-huh-uh-huh-uh-huh-uh-huh

5 4 -5 -4 6 5 6 6 -5
Took her bowling in the arcade
5 4 -5 -4 6 5 6 6 -5
We went strolling, drank lemonade
5 4 -5 6 5 6 -6
We made out under the dock
-5 -4 6 -5 -4 -5 6
We stayed out ’till ten o’clock
7 6 -6 6 -6 6 5
Summer fling, don’t mean a thing,
-6 6-5-4 -6 6 -6 6 7
but uh-oh those summer nights

Lyrics


Summer in the City

Key: Any

Genre: General

Harp Type: Any

Skill: Any

<-5 4 <-3 4 4 <-3 4 3 Hot town, summer in the city 4 <-3 4 4 4 <-3 4 4 6 4 3 Back of my neck getting dirty and gritty <-5 4 <-3 4 4 <-3 4 3 Been down, isn't it a pity 4 <-3 4 <-3 4 4 <-5 4 4 <-3 4 3 Doesn't seem to be a shadow in the city 3 3 3 -4 -4 -4 -4 -5 -5 All around, people looking half dead 4 <-3 4 <-3 4 4 4 -4 4 -4 4 4 Walking on the sidewalk, hotter than a match head-2 -2 -2 -3 -3 <-3 <4 -2 But at night it's a different world -2 -2 -3 <-3 <4 -2 Go out and find a girl -2 -2 -2 -2 -3 <-3 <4 -2 Come on, come on and dance all night -2 -2 -2 -2 -3 -3 <-3 <4 -2 Despite the heat it'll be alright 3 -3 -3 -1 -1 -2 3 -3 3 -2 And babe, don't you know it's a pity 3 3 -3 -1 -2 3 -3 3 That the days can't be like the nights -2 3 -3 -2 -2 3 -3 -2 In the summer, in the city -2 3 -3 -2 -2 3 -3 -2 In the summer, in the city<-5 4 <-3 4 4 <-3 4 3 Cool town, evening in the city 4 <-3 4 4 4 <-3 4 4 6 4 3 Dressing so fine and a looking so pretty <-5 4 <-3 4 4 <-3 4 3 Cool cat, looking for a kitty 4 <-3 4 <-3 4 4 <-5 4 4 <-3 4 3 Gonna look in every corner of the city 3 3 -4 -4 -4 -4 -5 -5 Till I'm wheezing like a bus stop 4 <-3 4 <-3 4 4 4 4 -4 4 -4 4 4 Running up the stairs, gonna meet you on the rooftop-2 -2 -2 -3 -3 <-3 <4 -2 But at night it's a different world -2 -2 -3 <-3 <4 -2 Go out and find a girl -2 -2 -2 -2 -3 <-3 <4 -2 Come on, come on and dance all night -2 -2 -2 -2 -3 -3 <-3 <4 -2 Despite the heat it'll be alright 3 -3 -3 -1 -1 -2 3 -3 3 -2 And babe, don't you know it's a pity 3 3 -3 -1 -2 3 -3 3 That the days can't be like the nights -2 3 -3 -2 -2 3 -3 -2 In the summer, in the city -2 3 -3 -2 -2 3 -3 -2 In the summer, in the city(Solo here)<-5 4 <-3 4 4 <-3 4 3 Hot town, summer in the city 4 <-3 4 4 4 <-3 4 4 6 4 3 Back of my neck getting dirty and gritty <-5 4 <-3 4 4 <-3 4 3 Been down, isn't it a pity 4 <-3 4 <-3 4 4 <-5 4 4 <-3 4 3 Doesn't seem to be a shadow in the city 3 3 3 -4 -4 -4 -4 -5 -5 All around, people looking half dead 4 <-3 4 <-3 4 4 4 -4 4 -4 4 4 Walking on the sidewalk, hotter than a match head-2 -2 -2 -3 -3 <-3 <4 -2 But at night it's a different world -2 -2 -3 <-3 <4 -2 Go out and find a girl -2 -2 -2 -2 -3 <-3 <4 -2 Come on, come on and dance all night -2 -2 -2 -2 -3 -3 <-3 <4 -2 Despite the heat it'll be alright 3 -3 -3 -1 -1 -2 3 -3 3 -2 And babe, don't you know it's a pity 3 3 -3 -1 -2 3 -3 3 That the days can't be like the nights -2 3 -3 -2 -2 3 -3 -2 In the summer, in the city -2 3 -3 -2 -2 3 -3 -2 In the summer, in the city

Lyrics


The Trouble With Girls (tremolo)

Key: Any

Genre: General

Harp Type: Any

Skill: Any

This is tabbed for a 24 hole Echo Celeste tremolo

Verse 1:
4 5 7 6 7
The trouble with girls
6 7 6 -7 6 6 6
Is they’re a mystery
6 7 6 7 6 -7 6 6
Something about em puzzles me
6 7 7 7 6 7 7 7 7 5
Spent my whole life trying to figure out
4 6 4 7 6 6 6 6 -5
Just what them girls are all about
4 6 7 6 7
The trouble with girls
7 6 -7 7 6 -5 5
Is they’re so damn pretty
6 7 7 7 7 6 6
Everything about them
-7 7 7 6 -5 5
Does somethin’ to me
4 -6 -6 -6 6 6
But I guess that’s the way
7 -6 -7 7 7 7 -5 6 7 6 -5
It’s supposed to be

Chorus:
8 8 -9 9 -9 8 8
They smile that smile
5 8 8 -9 9 -9 8 8
They bat those eyes
5 -9 9 -9 8 8 -7
They steal you with hello
5 -9 9 -9 8 8
They kill you with goodbye
5 -7 8 8 -9 9 -9 8 8 -7
They hook you with one touch
8 8 8 -9 9 -9 8 8
And you can’t break free
9 9 9 -9 8 -9 8 -7
Yeah the trouble with girls
5 -7 -7 7 7 7 6 6 6 -5 5
Is nobody loves trouble much as me

Verse 2:
They’re sugar and spice and angel wings
Hell on wheels in tight blue jeans
A Summer night down by the lake
An old memory that you can’t shake
They’re hard to find yet
There’s so many of em
The way that you hate that you
Already love em
I guess that’s the way it’s supposed to be

(Chorus)

6 9 9 9 -9 -9
The way they hold you
-9 8 -7 8 -7 7
Out on the dance floor
6 9 9 9 -9 -9
The way they ride in
-9 -9 8 -7 8 -7 7
The middle of your truck
6 6 6 9 -9 8 -9
The way they give you a kiss
8 -7 8 -7 7
At the front door
9 9 9 -9 8 -9 8 9 8 -7
Leave you wishing you coulda gone up
6 9 -9 9 -9 8 8 8 -7
And just as you walk away
6 9 -9 -9 -9 9 -9 8 -7
You hear that sweet voice say
-8 8
Stay

(Chorus)

Lyrics


The Trouble With Girls

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Verse 1:
3 5 6 5 6
The trouble with girls
5 6 5 -6 5 5 5
Is they’re a mystery
5 6 5 6 5 -6 5 5
Something about em puzzles me
5 6 6 6 5 6 6 6 6 4
Spent my whole life trying to figure out
3 5 3 6 5 5 5 5 -4
Just what them girls are all about
3 5 6 5 6
The trouble with girls
6 5 -6 6 5 -4 4
Is they’re so damn pretty
5 6 6 6 6 5 5
Everything about them
-6 6 6 5 -4 4
Does somethin’ to me
3 -5 -5 -5 5 5
But I guess that’s the way
6 -5 -6 6 6 6 -4 5 6 5 -4
It’s supposed to be

Chorus:
7 7 -8 8 -8 7 7
They smile that smile
4 7 7 -8 8 -8 7 7
They bat those eyes
4 -8 8 -8 7 7 -6
They steal you with hello
4 -8 8 -8 7 7
They kill you with goodbye
4 -6 7 7 -8 8 -8 7 7 -6
They hook you with one touch
7 7 7 -8 8 -8 7 7
And you can’t break free
8 8 8 -8 7 -8 7 -6
Yeah the trouble with girls
4 -6 -6 6 6 6 5 5 5 -4 4
Is nobody loves trouble much as me

Verse 2:
They’re sugar and spice and angel wings
Hell on wheels in tight blue jeans
A Summer night down by the lake
An old memory that you can’t shake
They’re hard to find yet
There’s so many of em
The way that you hate that you
Already love em
I guess that’s the way it’s supposed to be

(Chorus)

5 8 8 8 -8 -8
The way they hold you
-8 7 -6 7 -6 6
Out on the dance floor
5 8 8 8 -8 -8
The way they ride in
-8 -8 7 -6 7 -6 6
The middle of your truck
5 5 5 8 -8 7 -8
The way they give you a kiss
7 -6 7 -6 6
At the front door
8 8 8 -8 7 -8 7 8 7 -6
Leave you wishing you coulda gone up
5 8 -8 8 -8 7 7 7 -6
And just as you walk away
5 8 -8 -8 -8 8 -8 7 -6
You hear that sweet voice say
-7 7
Stay

(Chorus)

Lyrics


The Green Leaves of Summer

Key: Any

Genre: General

Harp Type: Any

Skill: Any

-4 6 -6* 6 -5* -4
A time to be reap-ing

-4 6 -6* 7 -6* -5
A time to be sow-ing

-5 7 -6* 7 -7 6
The green leaves of sum-mer

-7 -7* -6* -7* -8
Are call-ing me home

-8 8 -9 8 -8 -7 6
It was good to be young then

-7 -8 8 -8 -7 7 -5
In the sea-son of plen-ty

7 -7 -8 -7 7 -6* -7
When the cat-fish were jump-ing

-6* -7 -6* 6 7
As high as the sky

A time to be planting
A time just for plowing
A time to be courting
A girl of your own

Was good so to be young then
To be close to the earth
And to stand by your wife
At the moment of birth

A time to be reaping
A time to be sowing
The green leaves of summer
Are calling me home

It was good to be young then
With the sweet smell of of apples
And the owl in the pine tree
A-winkin’ his eye

A time just for planting
A time just for plowing
A time just for living
A place for to die

Was so good to be young then
To be close to the earth
Now the green leaves of summer
Are calling me home

Now the green leaves of summer
Are calling me home

Lyrics


Girl of the North Country

Key: Any

Genre: General

Harp Type: Any

Skill: Any

7 7 7 8 8 8 8 9 8 8 7
Well, if you’re travelin’ in the north country fair,
8 8 8 8 9 9 9 8 -9 8 8
Where the winds hit heavy on the borderline,
8 9 7 8 8 -9 -9 8 7
Remember me to one who lives there.
7 8 9 8 7 8 7 -8 7
She once was a true love of mine.

Well, if you go when the snowflakes storm,
When the rivers freeze and summer ends,
Please see if she’s wearing a coat so warm,
To keep her from the howlin’ winds.

Please see for me if her hair hangs long,
If it rolls and flows all down her breast.
Please see for me if her hair hangs long,
That’s the way I remember her best.

I’m a-wonderin’ if she remembers me at all.
Many times I’ve often prayed
In the darkness of my night,
In the brightness of my day.

So if you’re travelin’ in the north country fair,
Where the winds hit heavy on the borderline,
Remember me to one who lives there.
She once was a true love of mine.

Lyrics


Girl from the North Country (Bb)

Key: Any

Genre: General

Harp Type: Any

Skill: Any

“Girl From The North Country” – Bob Dylan (Bb)

There is another tab of this song in the key of Ab. Enjoy this tab
with the harmonica solos as single notes in the key of Bb. You will
notice that this tab of the harmonica solos are not spaced to provide
the true length of each note. Also, when necessary loosen up to make
more of a chord sound. If you play it and find any errors or necessary
additions or deletions, let me know and I will make the necessary
changes. All in fun!!

4 5 6 -55 4 6 -5 5 4
If you’re traveling the north country fair
3 4 5 4 6 6 -5 5 -5 4 5
Where the winds hit heavy on the borderline
4 4 3 4 3 2 3 2 1
Remember me to one who lives there
1 1 2 3 2 3 2 2 1
For she once was a true love of mine.
-4 4 5 4 4 6 -5 4
If you go when the snowflakes storm
4 4 5 5 6 5 -5 4 5
When the rivers freeze and summer ends
4 4 3 4 4 3 3 2 1
Please see if she has a coat so warm
1 1 2 3 2 3 2 1
To keep her from the howlin’ winds.
4 5 -4 4 6 -4 4
Please see if her hair hangs long
4 4 5 4 6 -5 5 -4 5
If it rolls and flows all down her breast
4 4 3 4 3 2 3 2 2 1
Please see for me if her hair’s hanging long
1 1 2 3 2 2 3 2 2 1
For that’s the way I remember her best.
4 3 4 3 4 5 4 4 6 6 -5 5 4
I’m a-wonderin’ if she remembers me at all
5 5 6 5 -54 5
Many times I’ve often prayed
4 3 4 4 3 2 1
In the darkness of my night
1 2 3 2 3 2 1
In the brightness of my day.

Harmonica part:
8 -8 7 4 5 5 6 -5 5
-4 5 6 5 6 7 -5 5 4
4 -5 5 6 7 -5 5 -4 4

3 4 4 5 4 5 4 6 -5 5 4
So if you’re travelin’ the north country fair
5 4 5 5 6 6 -5 5 -5 4 5
Where the winds hit heavy on the borderline
4 4 3 4 3 2 3 2 1
Remember me to one who lives there
1 2 3 2 3 2 2 1
She once was the true love of mine.

Harmonica part:
7 5 -6 6 5 -6 6 5

Lyrics


This Is What Makes Us Girls

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Kiss me hard before you go
Summertime sadness
I just wanted you to know
That, baby, you’re the best

I got my red dress on tonight
Dancing in the dark in the pale moonlight
Done my hair up real big beauty queen style
High heels off, I’m feeling alive

Oh, my God, I feel it in the air
Telephone wires above are sizzling like a snare
Honey, I’m on fire, I feel it everywhere
Nothing scares me anymore

(1, 2, 3, 4)

Kiss me hard before you go
Summertime sadness
I just wanted you to know
That, baby, you’re the best

I got that summertime, summertime sadness
S-s-summertime, summertime sadness
Got that summertime, summertime sadness
Oh, oh, oh, oh, oh

I’m feelin’ electric tonight
Cruising down the coast goin’ ’bout 99
Got my bad baby by my heavenly side
I know if I go, I’ll die happy tonight

Oh, my God, I feel it in the air
Telephone wires above are sizzling like a snare
Honey, I’m on fire, I feel it everywhere
Nothing scares me anymore

(1, 2, 3, 4)

Kiss me hard before you go
Summertime sadness
I just wanted you to know
That, baby, you’re the best

I got that summertime, summertime sadness
S-s-summertime, summertime sadness
Got that summertime, summertime sadness
Oh, oh, oh, oh, oh

Think I’ll miss you forever
Like the stars miss the sun in the morning sky
Later’s better than never
Even if you’re gone I’m gonna drive (drive, drive)

I got that summertime, summertime sadness
S-s-summertime, summertime sadness
Got that summertime, summertime sadness
Oh, oh, oh, oh, oh

Kiss me hard before you go
Summertime sadness
I just wanted you to know
That, baby, you’re the best

I got that summertime, summertime sadness
S-s-summertime, summertime sadness
Got that summertime, summertime sadness
Oh, oh, oh, oh, oh

Lyrics


Jerry Goldstein

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Gerald Goldstein (born February 17, 1940) is an American producer, singer-songwriter, talent manager, music executive, musician and entrepreneur. He was one of the members of The Strangeloves, the co-writer of “My Boyfriend’s Back” (a hit song in 1963 for The Angels) and “Come on Down to My Boat”, the producer and songwriter of War, and the former manager of Sly Stone. Goldstein produced a single with teenage singer, Nancy Baron in 1963 (“where did my Jimmy go?”/”Ta la la, I love you”) for the Diamond Record label. Goldstein was part of a three-person production team which wrote and produced numerous records which are referred to as “FGG”-Feldman, Goldstein and Gottehrer. The numerous artists and their work in collaboration with FGG are listed in a Discography included in the references below.

He was born in Brooklyn, New York and lives in Pacific Palisades, California.

Music career

The Strangeloves

Goldstein was a member of the band The Strangeloves along with Bob Feldman and Richard Gottehrer, responsible for the hit song “I Want Candy.”

The band formed in 1964 under a fictionalized an origins story, pretending to be three musical brothers (named Giles, Miles and Niles) raised on an Australian sheep farm. “I Want Candy” reached as high as #11 on the US Hot 100 and #7 on the Canada RPM 100 lists.

The Strangeloves’ only LP, I Want Candy, was released in 1965 on Bert Berns’ songwriter label Bang Records, with several of the album songs having been released as singles. Other singles by The Strangeloves appeared on Swan Records and Sire Records.

In early 1966, the lineup was replaced by guitarist Jack Raczka (Giles Strange), drummer-vocalist Joe Piazza (Miles Strange), and keyboardist-vocalist Ken Jones (Niles Strange). In 1968, bass player Greg Roman became an integral part of the band.

The McCoys

While with The Strangeloves, Goldstein contributed to bringing The McCoys aboard Bang Records. The McCoys sang over the original recording for “I Want Candy” to record a brand new hit, “Hang On Sloopy”, which was originally earmarked for a Strangeloves album.  Both groups went on tour that summer, starting with The McCoys supporting The Strangeloves; by the end of the tour, “Sloopy” had reached #1 and The McCoys were the headliners.

Sly Stone

Goldstein signed Sly Stone to a management deal in 1989, hoping to revive the faded flame of his career.

The two, along with Goldstein’s colleague Glenn Stone (no relation to Sly), formed Even Street Productions. In 2002, they renegotiated his Sly and the Family Stone record deal with Sony which gave birth to a reissue of the catalog, a box set (The Collection) and Different Strokes by Different Folks, a remix and the all-star remix and cover album paying tribute to the music of Sly and the Family Stone.

While the collaboration did help Stone resurface in the public eye for a time, the deal ended sourly, with both Stone and Goldstein taking legal action against the other over millions of dollars in royalties.  In January 2015 Stone was awarded $5 million in damages, $2.45 million of that against Goldstein.

WAR (1969-Current)

Goldstein has produced every album in WAR’s catalog dating back to Eric Burdon Declares ‘WAR’ in 1970, which included the chart-topping hit “Spill The Wine”.[

In 1969, Goldstein saw musicians who would eventually become WAR playing at the Rag Doll in North Hollywood, backing Deacon Jones, and he was attracted to the band’s sound. Band member Leroy “Lonnie” Jordan” claimed that the band’s goal was to spread a message of brotherhood and harmony, using instruments and voices to speak out against racism, hunger, gangs, crimes, and turf lowrider, and promote hope and the spirit of brotherhood.

The group had an extensive run of hits from 1971 until 1977 with United Artists Records, including five million-sellers. “Low Rider” was a #1 R&B hit in 1975, while “The Cisco Kid” reached #2 on the Billboard Hot 100 in 1973.

The band WAR disbanded and four of the original members left the band WAR and formed the Lowrider Band. Jerry Goldstein took them to court and sued for rights to the name of the band and won so now there is the band WAR with only Lonnie as the original band member. All other original band members and songwriters are in the Lowrider Band.

Additional Credits

In the 90’s and 2000s, Goldstein along with Glenn Stone and Bruce Garfield managed Isaac Hayes and signed, managed, produced and promoted the successful three man pop/rap group LFO (best known for their hits “Summer Girls” and “Girl on TV”).

Film career

Goldstein is currently readying for release in 2015 the long-awaited Jimi Hendrix concert/documentary film The Last Experience, currently in post-production. The film is a behind-the-scenes style documentary about one of Hendrix’s final concerts, at Royal Albert Hall in 1969. While the original idea was to show live performances in theaters,  only the audio recordings were released previously.

Merchandising

Jimi Hendrix and The Visual Thing

In 1968, Goldstein together with longtime business partner Steve Gold and started The Visual Thing, a tour book and album artwork company that produced and owned photography, video and merchandise a*sociated with musical talents, most notably Jimi Hendrix.

Hendrix was the first artist to sign an exclusive merchandising agreement with The Visual Thing. According to Jimi’s sister Janie Hendrix, the agreement was to split merchandise revenue 50/50 with Goldstein.

According to the company’s website, other artists who signed deals with The Visual Thing include The Rolling Stones, Led Zeppelin, Blind Faith, Bee Gees, Sly and The Family Stone, Joe Cocker, Cream, The Beach Boys, Eric Burdon, The Doors, Iron Butterfly, Creedence Clearwater Revival, the Steve Miller Band, Donovan and Frank Zappa.

Legacy

Covers and samples

The WAR songs “Low Rider” and “Why Can’t We Be Friends” remain oft-licensed songs (as in the video game Grand Theft Auto V, the film The Internship and Pepsi commercials). A sample from WAR member Lee Oskar’s “San Francisco Bay” is featured in the single by Pitbull featuring Kesha, “Timber,” which has achieved #1 status in 30 countries.

The Strangeloves’ “I Want Candy” was first covered by the band Bow Wow Wow in 1982 to great success, particularly in the UK, and again in 2000 by teen sensation Aaron Carter. The Bow Wow Wow version has appeared in many popular films and commonly figures among listings of the iconic songs of the 1980s. The song also appears on Carter’s 2001 DVD release Aaron’s Party: Live in Concert. Candy Girls and Melanie C also covered the song to commercial success.

The version of Sly and the Family Stone’s “Family Affair” by John Legend, Joss Stone and Van Hunt won a 2007 Grammy for Best R&B Performance by a Duo or Group with Vocals.

Goldstein’s songwriting has been re-used in various hip-hop samples including songs by Pitbull, Rick Ross, Kendrick Lamar, Lil Wayne, Mac Miller, Wiz Khalifa, Shaggy, Cypress Hill, J Dilla, LL Cool J, Beastie Boys, Tupac, Method Man, Redman, Janet Jackson, and Geto Boys.

Popular culture

Goldstein’s songs have also been featured in many prominent movies, television shows, and video games such as Dazed and Confused, The Internship, Up In Smoke, RocknRolla, Mean Girls, The Simpsons, Entourage, Family Guy, The George Lopez Show, Ellen, The Wire, That ’70s Show, Grand Theft Auto V and Rock Band 3.

While at Uni Records, Goldstein helped sign Marcia Strassman (later known as an actress on Welcome Back Kotter), who recorded a song whose title defined an era: “The Flower Children.” Goldstein and his DJ friend Tim Hudson have been credited with coining the terms “Flower Power,” “Flower Children,” “Flower Music” and “The Flower Generation.”

Lyrics


Westlife

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Westlife is an Irish pop vocal group formed in Dublin, Ireland in 1998. The group currently consists of members Shane Filan, Mark Feehily, Kian Egan, and Nicky Byrne. Brian McFadden was a memer, until he left in 2004. The group temporarily disbanded in 2012 after 14 years of success and later reunited in 2018.

The group has released twelve studio albums: four as a five-piece and eight as a four-piece. They rose to fame with their debut international self-titled studio album, Westlife (1999). It was followed by Coast to Coast (2000), World of Our Own (2001), Unbreakable – The Greatest Hits Vol. 1 (2002), and Turnaround (2003), which continued the group’s success worldwide. The group released their cover albums Allow Us to Be Frank (2004) and The Love Album (2006) and the studio albums Face to Face (2005) and Back Home (2007). After a hiatus of studio recording for almost one year in 2008, they released the studio albums Where We Are (2009), and Gravity (2010), and the compilation album Greatest Hits (2011). After eight years, the quartet group released their eleventh studio album, Spectrum, in 2019, followed by their twelfth studio album, Wild Dreams, in 2021.

Westlife is the act with the most Number 1 debuts on the UK Singles Chart, with all 14 of their chart-toppers landing there in their first week.[1] They have the most singles certifications for a pop band on the UK number one singles artists chart since The Beatles. According to the British Phonographic Industry (BPI), Westlife has been certified for 13.2 million albums, 1.3 million video albums, and 10.6 million singles, with a total of more than 25 million combined sales in the UK.[2][3] They are also currently ranked 19th with the most number-one albums of all time and sixth-highest band in the list.[4] The group has accumulated 14 number-one singles as a lead artist as well as having eight number-one albums in the United Kingdom, making them Ireland’s and non-British act’s (since Elvis Presley) most prolific chart-toppers. In 2012, the Official Charts Company listed Westlife 34th among the biggest-selling singles artist, 16th amongst the biggest selling groups, and 14th with most top ten hits—all the highest for a boy band and a pop group in British music history.[5] They are also the biggest selling album group of the 2000s, and three of their studio albums were part of the 50 fastest-selling albums of all time in the UK.[6]

The group has the most consecutive number-one studio albums in a decade in the UK and Ireland for a band, since the Beatles, and for a pop band and act since ABBA. Also in Ireland, they have 11 number-one albums with a total of 13 top two albums, 16 number-one singles, as well as 34 top-fifty singles. They have sold over 55 million records.[7] and are holders of the following Guinness World Records: first to achieve seven consecutive number-one singles in the UK; most public appearances in 36 hours by a pop group; most singles to debut at number one on the UK chart; and top-selling album group in the United Kingdom in the 21st century.[8][9][10] Westlife is one of the most successful music groups of all time, among the highest-profile acts in 2000s popular culture in most territories worldwide, and one of the few boy bands to have continued success after their commercial peak. On the best-selling boy bands of all time list, they are currently tenth worldwide along with the biggest-selling boy band from Ireland in history globally. They have received numerous accolades including one World Music Award, two Brit Awards, four MTV Awards, and four Record of the Year Awards. As a live act, Westlife has sold 5.5 million concert tickets worldwide from their fourteen concert tours so far. They hold the record for the most shows played at The SSE Arena, Belfast and SSE Arena, Wembley; this makes them the biggest arena act of all-time in the United Kingdom. They sold out Croke Park Stadium in their home country in a record-breaking five minutes.[11] Their fourteenth, and latest concert tour is called The Wild Dreams Tour.

 

History

Origin: Byrne, Egan, Feehily, Filan and McFadden’s beginnings

Kian Egan, Mark Feehily and Shane Filan, all schoolmates in Summerhill College in Sligo, Ireland, participated in a school production of Grease with fellow Sligo men Derrick Lacey, Graham Keighron, and Michael Garrett. They considered it as the start of Westlife. The sextet formed a pop vocal group called Six as One in 1997, which they later renamed IOYOU. Before this, Egan was part of a punk-rock bands called Skrod, and Pyromania. The group, managed by choreographer Mary McDonagh and two other informal managers, released a single titled “Together Girl Forever” under Sound Records which was written by Feehily and Filan with fellow Irish Those Nervous Animals and The Strong are Lonely band members Padraig Meehan and Daragh Connolly. Another song “Everlasting Love” included in the single was written by Feehily, Keighron, Meehan, and Connolly. There is also an unreleased song called “Good Thing”.[13] McDonagh first encountered Egan as a six-year-old student at her weekly dance classes, and came to know Filan and Feehily in their early teens as they starred in shows such as Oliver! and Godspell for Sligo Fun Company.
Louis Walsh, the manager of fellow Irish boy band Boyzone, came to know the group after Filan’s mother Mae contacted him, but the group failed to secure a BMG record deal with Simon Cowell. Cowell told Walsh: “You are going to have to fire at least three of them. They have great voices, but they are the ugliest band I have ever seen in my life.”[14] Lacey, Keighron, and Garrett were told they would not be part of the new group, and auditions were held in Dublin where Nicky Byrne and Brian McFadden were recruited. McFadden was part of an R&B group called Cartel before this.

The new group, formed on 3 July 1998, was originally named Westside, but as another band was already using that name, the group was renamed Westlife. It was revealed that Walsh was already calling them Westlife before the Westside name came along.[15] In Westlife – Our Story, Byrne revealed that, unlike the others in the group, he was keen to change the name to West High. McFadden also changed the spelling of his name to Bryan to facilitate signing autographs. They managed to secure a major record deal the second time around under BMG with all other record labels competed. They signed a four million pound record deal with RCA Records. Westlife’s first big break came in 1998 when they opened for Boyzone and Backstreet Boys’ concerts in Dublin. Boyzone singer Ronan Keating was brought in to co-manage the group with Walsh. Later, they won a special Smash Hits Roadshow award at that year’s Smash Hits Poll Winners Party. Their first live television performance as a group in Ireland and worldwide was on the Irish TV series and the world’s second longest-running late-night talk show, The Late Late Show that had its broadcast on 13 November 1998. They performed “Flying Without Wings”.[16] The band then released an EP titled Swear It Again afterwards. Both recorded songs under Westside were produced by Steve Mac and written by Mac and Wayne Hector. Cowell chose the debut extended play and single with the guidance of his father, Eric Cowell, who stated then, “I think they will be big”.

International breakthrough, Debut album, Coast to Coast, World of Our Own and super stardom (1999–2002)

In April 1999, the group released their first single, “Swear It Again” which immediately topped the charts in Ireland and in the UK for two weeks. It became the biggest-selling single in a week one by a debut artist.[17][18] On the week of its release and its chart achievement announcement, Cowell’s father Eric died. Their second single, “If I Let You Go” was released in August 1999, which established them as the first boy band to hit the No. 1 with its first two singles.[19] They also performed for billions in 1999 at the Miss World telecast with this song. The third single was the highly acclaimed “Flying Without Wings” (their first ‘Record of the Year’ and their third No. 1 single), released in October the same year, also followed suit. It made them the only the second Irish act and fourth act to debut at No. 1 with their first three singles, B*Witched, Robson and Jerome, and Spice Girls being the other three. “Flying Without Wings” was also included on the soundtrack of the Warner Brothers film, Pokémon: The Movie 2000. Their first album, simply titled Westlife, was released in November 1999 and went to No. 2 in the UK and their first No. 1 in Ireland. The album was the biggest chart dropper on the top 40 in UK music history when, in its 58th week on the charts it leapt from No. 79 to No. 3 before falling to No. 37 the following week.[20] Despite the history, the album successfully managed to peak at No. 1 in Scotland in the year 2001 after premiering at No. 6 at the Scottish Albums Chart in 1999.[21]

In December 1999, a fourth and a double-side single was released, “I Have A Dream”/”Seasons in the Sun”. It knocked Cliff Richard’s “The Millennium Prayer” off the top spot and earned them the 1999 UK Christmas number-one single. It is also their fourth No. 1 single.[22][23] It was the first official No. 1 single music act in the 2000s of UK Singles Chart and also the last official No. 1 single music act in the 1990s decade of UK Singles Chart. They are one of only five acts to achieve four number ones in the UK Singles Chart in one calendar year, the others being Elvis Presley, The Shadows, The Beatles and Spice Girls.[24] The fifth and last single from the album, “Fool Again”, also peaked at No. 1.[25] With this, they broke records of being the only male band to have every singles released from an album to reach No. 1 in the UK and the only male group with most original songs in an album that went straight to No. 1 in the UK with multiple and/or with four original singles. Afterwards, Westlife signed to Arista Records for the North American territory after auditioning for the label’s founder, Clive Davis.[26] Then the group had a promotional tour in the United States for their “Swear It Again” single and peaked at No. 20 in the Billboard Hot 100.[27] An Asian tour followed in support of their debut album before releasing a second album. On 1 July 2000, they were honored as Freemen of the Borough of Sligo.[28]

Coast to Coast, their second album, was released a year later and was their first No. 1 UK album, beating the Spice Girls’ Forever album by a large margin, the said chart battle was widely reported by British media. It became the country’s 4th biggest selling album of 2000.[29][30] This is their second No. 1 album in Ireland. The album was preceded by a duet with Mariah Carey singing “Against All Odds (Take a Look at Me Now)” and the original song “My Love” (their second Record of the Year award). Both singles reached No. 1 on the UK charts, their sixth and seventh number ones respectively.[31][32] With this, Westlife broke an unexpected record of the most consecutive No. 1 singles in the UK, having their first seven consecutive singles debut at the top by a debuting act and group, and by an act, a group, a male group, a pop act and a pop group in UK and became the fastest number one music act beating Elvis Presley’s previous record of three years versus 23 months of Westlife getting each its first No. 1 singles and second music act to have the longest string of number ones in UK history.[33] However, in December 2000, their eighth and an Ireland and UK exclusive single “What Makes a Man”, only debuted at No. 2.[34] The single “My Love” was controversially used by Central Intelligence Agency as part of a torture program in Afghanistan. According to the American Civil Liberties Union, “the music pounded constantly as part of a scheme to assault prisoners’ senses”.[35] They survived the 2000 Mexico City major earthquake and lightning during this time.[36] As the 2000 had ended, Westlife achieved four number one singles in a year for two straight years (1999, 2000) since Elvis Presley (1961, 1962).

Outside the UK and Ireland, they gained chart success with “I Lay My Love on You” and “When You’re Looking Like That”. This time as well, they were included in the top ten earners list of all acts in UK and Ireland and sold over 2.5 million units in Asia Pacific region.[37][38] Also in this year, they launched their first world tour, “Where Dreams Come True Tour”.[18] A recording of a concert from the tour live from Dublin was released on 19 November 2001. Also in the same month and year, Westlife released their third album World of Our Own, their second No. 1 album in the UK and their third No. 1 album in Ireland.

“Uptown Girl” (their first single to be on the List of million-selling singles in the United Kingdom), “Queen of My Heart” and “World of Our Own” were released as singles, all of which peaked at No. 1 in the UK. Those singles are also their eighth, ninth, and tenth number ones respectively.[39][40][41] With their tenth No. 1, they made history by being the shortest music act or band to have ten or double-figures number ones in the UK Singles Chart (2 years and 10 months or 149 weeks) – more than 3 months quicker than The Beatles (165 weeks). “Bop Bop Baby” was also released as a single, but it peaked at No. 5 in the UK. In 2002, Westlife went on their second world tour, the World of Our Own Tour (In The Round). Overall in 2002, IRMA awarded the band plaque about their 1 million units sold in Ireland and ranked seventh as Irish’s millionaires under age 30 with 18 million euros for all of the five members.[42] For every performance each band member will get 228,000 euros, which means the 68 dates raked in 1.55 million euros for them by June 2002. The cash rolled in from sales of their merchandise, while a recent advertising deal with Adidas was worth 488,000 euros to each of them with a total of 3.33 million euros each at the end of the said tour.

UnbreakableTurnaround, and departure of McFadden (2002–2004)

The group sold more than 12 million records in a span of three years during this time.[44] They released their eleventh UK No. 1 single, “Unbreakable” in 2002.[45] Amidst rumours of a split, Westlife released their first greatest hits album in November that same year titled Unbreakable – The Greatest Hits Vol. 1, which zoomed all the way to No. 1 in the UK and Ireland. Their third No. 1 in the UK and the fourth one in Ireland. Also during that time, Westlife bagged another Guinness World Record for most public appearances by a pop group in a 36-hour period. The band made stop-offs in five different cities (Dublin, Belfast, Edinburgh, London and Manchester) to promote their then-new album. The release was followed by the double A-side single “Tonight”/”Miss You Nights”, which debuted at No. 3 in the UK and No. 1 in Ireland.[46] At this time, Because Films Inspire made a TV documentary titled “Wild Westlife”, directed by Iain MacDonald and starred the group, featuring their daily life as musicians and their tour experiences. It was aired on BBC Choice.[47] In 2003, Westlife went on their third world tour, The Greatest Hits Tour and was invited to play at the annual Edinburgh Military Tattoo, shrugging off rumours of a split which is what most of the pop bands do after a Greatest Hits album and tour.[48] A recording of a concert from the tour, live from Manchester, was released in November 2003.

Back in September 2003, Westlife released “Hey Whatever”, which peaked at No. 4 in the UK.[49] Their fourth studio album, Turnaround, was then released in November, earning the group another UK No. 1 album, the fourth one. The album is also their fifth No. 1 in Ireland. “Mandy”, was released a week before the album release. The band’s twelfth No. 1 single. Their version won them their third Record of the Year award, in under five years.[50] Their version of “Mandy” is also considered the single with the longest leap to the top (from No. 200 to No. 1) in UK music history.[51] “Obvious” was released as the final single from the album, charting at No. 3.

On 9 March 2004, just three weeks prior to embarking on their fourth world tour, McFadden left the group to spend more time with his family and six months later to release solo music projects.[52] On that day, a press conference was held where all the group’s members were present, each giving emotional individual speeches. McFadden’s final public performance as part of Westlife was at Newcastle upon Tyne’s Powerhouse nightclub on 27 February 2004.[53][54] McFadden attended the first day of the band’s tour date as an audience. The last time the five had reunited in public was when McFadden acted in an Irish reality television show Anonymous where he disguised as a fan in an album signing event of the group in November 2005 and had a broadcast in January 2006. He subsequently began a solo career, and reverted the spelling of his first name back to its original ‘Brian’. McFadden later released more albums and singles, but only with moderate success.

Less than a month after McFadden’s departure, the group kicked off their “Turnaround Tour”.[55] A live version of “Flying Without Wings” from the said tour was released as an official UK download, earning them the first official UK Downloads No. 1.[56] A recording of a concert from the Turnaround Tour, live from Stockholm, Sweden, was released in November 2003.

Face to FaceBack Home, and cover albums (2004–2008)

In September 2004, they performed on the World Music Awards, where they were recognised as the Best Irish Act of that year. They then released a Rat Pack-inspired album and fifth album …Allow Us to Be Frank, which peaked at No. 3. No singles from this album were released in the UK but “Ain’t That a Kick in the Head?”, accompanied with a music video, was released as a digital download in the UK and peaked at No. 4 and as a physical single in other European countries. “Smile” and “Fly Me to the Moon”, both with music videos as well, were released as digital downloads only.

Prior to the release of the …Allow Us to Be Frank album, Westlife scouted for “the perfect fan” to help promote their album.[57] After X Factor-style auditions, they found Joanne Hindley, who recorded “The Way You Look Tonight” with the group.[18] To mark this special collaboration, a special programme was televised, showing auditions and live performances, called She’s The One, presented by Kate Thornton.[58] It also featured a live performance by their fathers with their version of “That’s Life”. Westlife continued to tour Europe as part of their “The Number Ones Tour” which started in early 2005. The tour ranked at number 84 worldwide with top concert tour ticket sales with 191,361.[59] A recording of a concert from the tour, live from Sheffield, was released in November 2005.

By 2004, they sold over 30 million albums already, the biggest live act in UK, and making around £4m each as reported in 2005.[60] In October 2005, Westlife returned with their comeback single, “You Raise Me Up”, which was taken from their sixth album Face to Face, their thirteenth No. 1. On 5 November 2005, both the album and the single were at No. 1 in the UK, at the same time, during the second week of the single. It was the first time that Westlife had held both the top album and the top single position in the same week and the first Irish music act to have such feat.[61][62] This is their fifth No. 1 in the UK and sixth one in Ireland. “You Raise Me Up” was awarded as their fourth Record of the Year in the UK, for 2005. In December of that year, the group released “When You Tell Me That You Love Me”, a duet with Diana Ross, as the second single, and it debuted at its peak position of No. 2.[63] This single marked its fourteenth year since the original Diana Ross version was released and peaked at No. 2, the same chart position in the UK Singles Chart in 1991. Westlife then released a third single, “Amazing”, which debuted at No. 4.[64] After that, Westlife embarked on the “Face to Face Tour”, travelling extensively to the UK, Ireland, Australia and Asia. This tour marked the first time that Westlife travelled to mainland China for a concert.[65][66] The tour ranked the band sixth for the year with a number of performances with 32 shows and recorded 238,718 paid-for attendances.[55] A recording of a concert from the tour, live from Wembley Arena, was released in November 2006. The band was mentioned as part of the names of male groups that peaked in the United Kingdom album sales in 2005 with 45 percent of the market.[67] By this time, they already sold over 36 million records worldwide.

In late 2006, Westlife signed a brand new five-album deal with Sony BMG Music Entertainment. Their seventh album, The Love Album was a compilation concept album which consisted of popular love-song covers. The album outsold other compilation albums by Oasis, The Beatles, and U2 in its first week of release and went straight to No. 1 in both UK and Ireland. It was the top selling album of 2006 in Ireland and Westlife’s seventh and sixth No. 1 album in Ireland and the UK, respectively. Moreover, the only single from The Love Album, “The Rose”, became their 14th UK No. 1 single.

This made Westlife the third act (along with Cliff Richard) in the UK to have the most No. 1 singles, tailing behind Elvis Presley (21) and The Beatles (17). In Ireland, they made it to the second place (tied with The Beatles) to have most number one singles, tailing behind U2 (21). They also returned to the Miss World stage where billions saw the exclusive live performance of The Rose. Westlife then kicked off their eighth world tour, “The Love Tour”, in Perth, Australia.[69] The group then went on to other Australian cities before moving on to South Africa, the UK and Ireland. The tour had a total of £1,031,033 secondary gross sales.[70]

On 5 November 2007, Westlife released their eighth album, Back Home, which contained nine new original songs along with three cover songs. The album debuted at No. 1 on the UK, their seventh No. 1. It was also 2007’s fifth biggest selling album in the UK. This makes them as one of the only five band, with Coldplay, The Prodigy, Stereophonics, and Take That, in UK chart history to claim seven No. 1 albums. With seven of their albums reaching the number one spot from 2000-2007, they attained the fastest accumulation of UK number one albums record in recent history until Taylor Swift’s re-recording release of her album Fearless in 2021.[71] The album was their eighth No. 1 in Ireland. The first single released from the album was “Home”, which peaked at No. 3 in the UK.[72][73] “I’m Already There”, not released as a single, managed to chart in the UK based on downloads alone, following a performance on an episode of The X Factor UK.

On 15 December 2007, they had a two-hour show called The Westlife Show where they performed 10 of their songs, some of which were voted online by fans and some from Back Home. It was hosted by Holly Willoughby.[74] Months later, “Us Against the World” was announced and released as their second single in UK and Ireland. Before the release of the second single, they embarked on the Back Home Tour on 25 February 2008. This tour marked the first time that the group had travelled and performed in New Zealand, performing four sold-out shows in Auckland, Wellington, New Plymouth and Christchurch. Meanwhile, “Something Right” was released as the second single and “Us Against the World” became the third single in Europe and the Asia Pacific region. Both songs performed well on several music charts.

10th anniversary and hiatus (2008–2009)

From 2005 to 2008, Music Week revealed on their website that Westlife was the official third top touring act within the years while they were the seventh top touring act of 2008.[75] On 28 March 2008, after 27 sell-out shows, in the space of 10 years and have sold 250,000 tickets. All four members were presented with a plaque cast of their hands, which can also be seen in the Wembley Square of Fame similar to Hollywood Walk of Fame.[76] Then to mark their tenth year in music, Westlife staged a special 10 Years of Westlife, a sold-out concert at the world’s thirty-third biggest and Europe’s fourth biggest stadium,[77] Croke Park, on 1 June 2008.[78] which Egan described to be a “pop extravaganza”.[79] It was only the second time for an Irish act to headline the stadium after U2.[80] Filan confirmed that a corresponding live concert DVD would be released. The group announced that they would be on hiatus for a year after their Back Home Tour[81] and that there would not be an album release in 2008 as they would be spending more time on the production of their tenth album.[82] As promised, the group’s official website confirmed on 27 September 2008 the release of a DVD on 24 November 2008 entitled 10 Years of Westlife – Live at Croke Park Stadium which went straight to No. 1 on UK, Ireland, South African, Hong Kong and New Zealand Music DVD charts. As the group ended another successful tour, Walsh announced in the show Xpose that 1 July 2008 would be the official start of the longest hiatus of the group. He said that it will be a one-year break, from that day up to 1 July 2009. On 13 December 2008, while on a break, Westlife made an unexpected appearance during that year’s X Factor final where they performed “Flying Without Wings” with runners-up JLS. After the performance, Filan and Byrne were interviewed on The Xtra Factor with Boyzone’s Keating and Stephen Gately. As JLS also performed, “I’m Already There”, Westlife’s version of the song re-entered the UK Singles Chart at No. 63 while a new entry on Ireland Singles Chart at No. 47 due to extensive downloads only. In the last week of January 2009, a DVD entitled The Karaoke Collection was released. This is the first time Sony Music has released an official Karaoke disc for music videos in DVD format. On 27 February 2009 issue of Herald Ireland, Walsh revealed that Cowell had already picked three new songs which he believed would be instant hits. On 18 March 2009, Westlife won the Best Irish Pop Act on the 2009 Meteor Awards for the ninth consecutive time.

Where We Are and Gravity (2009–2010)

Their tenth album, Where We Are, was released on 30 November 2009 in the UK and peaked at No. 2 on both Irish and UK Albums Charts. The lead single, “What About Now”, was released a few weeks earlier on 23 October 2009, with digital downloads being available the day before. The said single peaked at No. 2 on both Irish and UK Singles Charts and ranked No. 85 in the year-end official sales chart.[83] Following that month was the announcement of the Guinness Book of World Records for Westlife as the top selling album group of the 21st century with 10.74 million albums sold in the UK alone.

They were also part of the Haiti charity single in early 2010 with “Everybody Hurts”, which was organised by Cowell.[84] The said single peaked at No. 1 on both Irish and UK Singles Chart. The tour in support of this album was called, “The Where We Are Tour”. The tour entered at number 50 of top concert tour for the third quarter of the year with 241,865 ticket sales.[85] A recording of a concert from the tour, live from London, was released in November 2010. The eleventh album was recorded and processed with songwriter and producer John Shanks in London and Los Angeles and was entirely produced by Shanks.[86] On 14 November 2010, the single “Safe” was released. It debuted on the UK Singles Chart on 21 November at No. 10, giving the group their 25th Top 10 single in the United Kingdom. The new album titled Gravity was released on 22 November 2010.[87] It went to No. 1 in Ireland and No. 3 in the UK. This is their ninth No. 1 in Ireland and this album made Westlife as one of the few musical acts and band and the only pop band to have number one albums in three consecutive decades (1990s, 2000s, 2010s) in their home country.

As the 2000s decade ends with 275 singles reached the No. 1 position on the chart in the UK. Over this period, Westlife were the most successful musical act and group at reaching the top spot with 11 No. 1 singles only from the said decade, top act with most total number of weeks at No. 1 with individual credits and second to most total number of weeks at No. 1 with 14 weeks. Ten out of their fourteen No. 1 singles were released and came from this decade. Westlife is also the second biggest selling music act in the UK of the 21st century. And second from the list of artist from the past decade, 1990s, in UK Albums and Singles Charts. While in 2005, half of the decade, they were the fifth.[88]

Westlife was named the fourth most hard-working music artist and third most hard-working band in the UK by PRS in 2010.[89] Also from the said year Billboard compiled the top international touring acts worldwide, the group ranked 14th with $5,104,109 estimated net take of tour grosses (assuming a typical 34% artist cut after commissions and expenses).[90] In March 2011, they started their eleventh major concert tour, the Gravity Tour. This tour marked the first time the group travelled to Oman, Namibia, Guangzhou and Vietnam for concerts.

Greatest Hits and split (2011–2018)

As of 2011, the group were the longest reigning band and second longest reigning number one music act in the 21st century in UK. On 14 March 2011, Westlife confirmed that they had left Cowell after 13 years and his record label Syco Music after nine years. The group cited Syco’s decision not to release a second single from Gravity as the reason Byrne felt it as another reason of being unloved,

We signed to Simon back in 1998 and he was brilliant, but then came the development of The X Factor and American Idol. Simon became famous himself and his interests went that way rather than on Westlife. We almost felt a little bit unloved with Simon Cowell, if I was to be honest. We had it (full time support) with Simon but he got so busy and would do it at the very last minute and we needed someone who was on it all the time.[91]

On 23 April 2011, Egan’s Twitter account posted a series of tweets saying he was to walk away from the group. He later said his account was hacked and debunked the announcement.[92] After going back to RCA Records full-time for a one-year album contract, they announced their Greatest Hits album to be released on 21 November 2011. It debuted at No. 1 in Ireland and No. 4 in the UK. This is their tenth No. 1 album in Ireland. The first and lead single, “Lighthouse” was released in November 2011. And a follow-up promotional single “Beautiful World” released later. In October 2011, Egan ruled out speculation that McFadden would reunite with them for the new compilation album and its promotion for a television show. Egan said: “All the rumours about Brian re-joining Westlife are untrue. We have been a 4 piece for too long now. We love Brian but it’s not going to be. That includes any TV performances.”[93] With a new compilation album coming out, it was speculated Westlife would be doing a new greatest hits tour. They were scheduled to headline the ChildLine Concert in Dublin on 12 November 2011 and to have another exclusive concert on O2 Blueroom, also in Dublin on 24 November.[94][95]

A UK tour was first officially announced on 18 October 2011, with dates confirmed for May 2012 and it was titled, The Greatest Hits Tour or The Farewell Tour. Stereoboard reported that the tour sold out within minutes.[96] On 19 October 2011, Westlife officially announced they were splitting after an album and a tour.[97]

After 14 years, 26 top ten hits including 14 number one singles, 11 top 5 albums, 7 of which hit the top spot and have collectively sold over 44 million copies around the world, 10 sell out tours and countless memories that we will forever cherish, we today announce our plan to go our separate ways after a Greatest Hits collection this Christmas and a farewell tour next year. The decision is entirely amicable and after spending all of our adult life together so far, we want to have a well-earned break and look at new ventures. We see the Greatest Hits collection and the farewell tour as the perfect way to celebrate our incredible career along with our fans. We are really looking forward to getting out on the tour and seeing our fans one last time.

Over the years, Westlife has become so much more to us than just a band. Westlife are a family. We would like to thank our fans who have been with us on this amazing journey and are part of our family too. We never imagined when we started out in 1998 that 14 years later we would still be recording, touring and having hits together. It has been a dream come true for all of us.

Kian, Mark, Nicky and Shane[98]

During this time, the Official Charts Company compiled the band’s chart history which states that other than their number-ones they had, 25 UK Top 10s, 26 UK Top 40s, 27 UK Top 75s, 20 Weeks at No. 1, 76 Weeks in Top 10, 189 Weeks in Top 40 and 282 Weeks in Top 75 in the UK Singles Chart. While 7 No. 1s, 12 UK Top 10s, Top 40s, Top 75s, 7 Weeks at No. 1, 92 Weeks in Top 10, 189 Weeks in Top 40, and 299 Weeks in Top 75 in the UK Albums Chart.[99] They also had seven number-one albums in eight years, the most number-ones with different albums by a music album act, group, pop group, and male group in the UK Albums Chart in the 2000s and the second most number ones, tied with Rod Stewart, with different albums by a music album act, group, pop group, and male group in the UK clustered per decade since The Beatles in the 1960s and of all time. In Ireland, they have fourteen No. 1 singles and ten No. 1 albums, the most for a pop band and act and male band and act, and Irish band next to U2.

A second statement was issued through their official site, saying the fans were continuing to be the best support system.[100][101] Some fans on social networks described themselves as feeling “devastated” following news of the split.[102][103] People left their messages on Twitter by using #WestlifeForever and #Westlife, it trended on Ireland, Indonesia, New Zealand, Philippines, Singapore, Sweden, and the UK. A live stream Q&A happened on 28 October 2011 as a “thank you” to their fans. As part of it, ITV commissioned a one-off music event as they took to the stage to sing some of their greatest hits, it was entitled Westlife: For the Last Time.[104] Another show entitled, The Westlife Show: Live, was broadcast from Studio One of London Studios on the same channel on 1 November 2011.[105] They then had a live guesting on The Late Late Show.[106] They were honored at that time by Scottish Exhibition and Conference Centre (SECC) with four specially commissioned bar stools to mark 49 performances at the venue for over 380,000 fans, selling more tickets than any other act.[107] The band had their final concert on 23 June 2012 at Croke Park Stadium in Ireland. The 82,300 capacity show was sold out in 4 minutes. Due to this popular demand, an extra date was added at Croke Park on 22 June 2012, which also sold out. Combined, there was a total of 187,808 spectators on both nights, exceeding the capacity of the stadium.[108] Their last concert was also screened live in more than 300 cinemas in the United Kingdom,[109] and 200 cinemas worldwide.[110][111] They also released a DVD, which went to number 1 in both UK and Irish chart. In that year they were also declared the 34th top-grossing tour act of the year with earnings of $35.2 million (€27 million). The farewell tour consisted of eight dates in China and 33 in the UK and Ireland; in total, the band sold 489,694 tickets from the tour.[112]

Cowell and some media predicted a possible reunion in the future,[113] but Westlife put an end to that speculation by vowing they would never reunite.[114] Later reports from the Daily Record said there was an “irreparable rift” in the band,[115] but was later denied by a source close to the band saying: “There’s no bad blood in the band, they’re still great pals. But all good things come to an end and they are all keen to do their own thing.”[116] Later, the band also denied it and called the split a “united decision”.[117] However he confessed three months after the split, Byrne said that members of the group fought with one another more and more often in the latter years leading up to the split and he felt that it was the right time to end their time together. A year after Westlife ended, they agreed to all voluntarily wind up Bluenet Ltd, their main entertainment firm, after going their own ways and split €2.3million to €595,500 each except for Filan who missed out any of it as he declared bankruptcy at that time due to property crash problems.[118]

Since the split, the four lads have released albums and singles individually. Filan, with three studio albums and with singles and tours (with support act dates for Lionel Richie) released and a Top 5 hit album in UK. Feehily associated with an independent record label (which he is the co-director) and released albums and singles. He also made it as a supporting act to Mariah Carey and Wet Wet Wet. Egan was voted King of the Jungle on the 2013 series of ITV’s I’m a Celebrity series, released one studio album with singles, was a coach judge on The Voice of Ireland, and was a support act for Boyzone. Byrne released one studio album, joined Strictly Come Dancing, hosted several major Irish television and radio shows, and represented Ireland in Eurovision, which was also his debut solo single.[119]

In 2014, Syco Music said to The Sun: “All the guys are up for it in principle. It’s now just a matter of sorting out all the details, Syco would love Brian to be part of the band again. It’d create the same sort of buzz as when Robbie Williams returned to Take That. But the other lads will need to be convinced because they were always very clear that when Brian left it was for good.”[120] but Egan later tweeted, “Guys I’m sorry to say but I don’t know where these rumours are coming from about a Westlife reunion but it’s untrue. Sorry #westlifeforever.”[121] In 2015,[122] 2016 (On this year, Walsh posted on the band’s social accounts that they will not regroup as of the moment),[123] 2017,[124] Walsh expressed that the four-piece band would reunite. He had been in contact with Ed Sheeran and James Arthur to create songs for the band.[125]

However, on 2016–2017, four years following the split, Filan told Lorraine and other media outlets that while there are currently no plans for a Westlife reunion, he would not rule it out for the future.[126] Byrne expressed in 2017, “Shame this Westlife news is not true. They were always my guilty pleasures.” He also talked about touring with the group: “Who wouldn’t want to do that again? The laugh with the boys and travelling around and seeing all the fans again. It’s nearly six years next summer since we’ve done it so who knows? Maybe in ten years. I’ve spoken to all the lads individually but we’ve never brought up a Westlife reunion, the thing about it is the four of us haven’t been in a room together since Jodi’s [Kian’s wife] mum’s funeral,’ That was the last time we spoke properly as a band, if you want to call it that., I’m sure it will happen but I don’t know when and I don’t know if even we know when the right time will be.”[127] Feehily added, “People have offered us blank cheques to get back together but it’s not about money. There are no plans to reform. The time isn’t now. We all have a lot more that we want to achieve first. It feels way too soon to be honest, a 20th anniversary tour could still happen one day as 2019 is 20 years since we released our first single, while 2021 is 20 years since our first world tour. So you never know”.[128]

On 31 March 2018, it was reported on Allkpop that all of them might guest on a popular Korean musical show Immortal Songs 2 but Filan was the only one who appeared on the show as a judge and a guest performer afterwards.[129] Egan answered that this and other reports were untrue and the rest of the group members sided with Egan’s response after as well.[130] Later they revealed they had been phoned up by Walsh and Cowell every six months since their split. On 23 September 2018, several Irish news outlets started reporting that the group has been signed to Universal Music Group for a new five-year album and tour deal with Virgin EMI Records.

Reunion, Spectrum album, and tour (2018–2021)

On 3 October 2018, the group formally announced that there’ll be new music and a tour coming soon on their official social media accounts like on their newly created Instagram.[133][non-primary source needed] Their reunion story caused huge fan reaction worldwide. According to the reports, they had been preparing for their comeback for the past year of 2017 as Feehily had said on the same year that he hoped to get them all together for a proper catch-up.[134] It was later revealed that Egan and Filan first talked about their reunion when Adele released “Hello” in late 2015.[135] While Byrne raised his concerns about “…where Westlife’s music fits into the current market” and not wanting to be simply a “nostalgia” act.[136] He went on to say, “While we were away, we realised what Westlife really meant to the fans – and to us.”[137] McFadden was not involved in the reformation as he said on an interview with Closer Magazine, “…there’s no reason for me and the boys to stay buddies.” and “For me, it was just a job. I only met the guys when I joined the band and have no regrets about leaving.”[138] Their first live interviews and press conferences as a four-piece in six years were made 20 days later held in Dublin and Belfast where they revealed their plans to stick around longer.[139][140] Days later, it was followed by several radio interviews in Manchester, Ulster, Dublin and Glasgow. Walsh also said in separate interviews that the most important things now are the songs, it will be featured as an introduction to their new sound and added, “I was just waiting for them to decide when. There were record deals on the table, but the icing on the cake was Ed Sheeran writing these amazing songs for them, as well as having Steve Mac, who produced their early songs, on track too.” […] “Sheeran’s input adds a contemporary edge”, “I’ve heard the first two songs and they are just incredible.”[141] Mac and Sheeran have come up with four new tracks for them. One will be a single co-written by Sheeran. Some had been composed since 2016. The duo have co-written recent hits like the most streamed song on Spotify, “Shape of You”, and also “Woman Like Me” by Little Mix, and “Thursday” by Jess Glynne. Mac revealed the band’s signature sound will be back.[142][non-primary source needed] Feehily and Filan added, “We’re not trying to change Westlife’s sound, we’re trying to evolve”, “We need to be a Westlife 2.0, a better version of ourselves. We wanted to come back and recreate Westlife’s sound, but better, and be a better band, and the most important thing about any band is music.”[143] In November 2018, Byrne expressed 2019 will be “one hell of a year”[144][non-primary source needed] On 19 December 2018, Egan and Feehily posted a picture of the group’s first rehearsals together in six years and Egan added that “2019 will be nothing but epic”.[145][non-primary source needed][146][non-primary source needed] A musical and a documentary film about them and their reunion were also reported.

“Hello My Love”,[141] their first single since 2011 was released on 10 January 2019.[147][non-primary source needed] It reached No. 1 in iTunes Store Top Songs in more than fifteen countries that include the United Kingdom and Ireland, reached top 10 in 23 countries, and charted in more than 50 countries only minutes after its release. It was released in four official versions: Original, instrumental, acoustic, and a remix. Their first UK, worldwide television and recorded professional appearance, performance in seven years and of the single was on The Graham Norton Show on 11 January 2019 where it was tagged as “one of the most highly-anticipated TV comebacks of the decade”.[148][149] They also performed the single on the 24th National Television Awards on 22 January 2019 and it was their first live television performance, first The O2 Arena and arena performance together in seven years. Their first Irish performance and television appearance together was in the finals night of Dancing With the Stars Ireland on 24 March 2019. Their first tour and first promotional tour in general and for a single release together outside UK and Ireland in seven years was on Singapore on 29 January 2019 to 1 February 2019.[150][non-primary source needed] It reached number-two in Ireland and Scotland. It was their highest charting on their official singles charts since the band’s “What About Now” single in 2009, ten years ago. The single got its Silver certification four months after its release and its Gold certification seven months after its premiere in the UK. In Ireland, it has a 2× Platinum certification.

The full-length album is released on 15 November 2019. It is in different formats like the CD, digital download, vinyl, and a limited box set edition. Some of the album formats are bundled with their official tour merchandise. It is their eleventh studio album, their first major album to be released in eight years and first studio album in nine years.[151][non-primary source needed] In November 2018, the pre-order links for the upcoming album were released on Amazon Australia,[152] Japan,[153] UK,[154] and HMV.[155] The album is titled Spectrum. The album peaked at number one in Ireland, Scotland, and the UK and was certified as Gold in the UK and as Platinum in Ireland. This is their first number one album in twelve years in the UK and in eight years in Ireland. This is also the fastest selling album in 2019 in Ireland. This is their eighth UK number-one album making them the fifth band (fourth until Coldplay got their eight number-one album week after) to have eight UK number-one albums with the likes of Led Zeppelin, and R.E.M. Overall, they are one of the only ten bands that has had eight number-one albums.[4] It marks their eleventh number-one album in Ireland.

To promote the album before its release, more singles were released like the second one, also by Mac and Sheeran with Fred Again (George Ezra, Prettymuch, Rita Ora), which was called “Better Man”. It was their second number one on the UK Singles Physical Chart and reached number two on the UK Singles Sales Chart and Scottish Singles Chart in 2019. It was also released in orchestral and acoustic versions. The third single, “Dynamite”, was released on 5 July 2019 and was released in three different mixes. The single was their 27th Top 10 hit in Scotland and 29th Top 40 hit in Ireland. The fourth single from the album, “My Blood”, was released on 25 October 2019. “My Blood” ended up peaking at number ninety-six on the UK Singles Chart and at number-six on the Scottish Singles Chart. It also peaked at number forty-six in the Irish Singles Chart.

Since their comeback in 2018, their previous singles “What About Now”, “Queen of My Heart”, “If I Let You Go”, and “My Love” reached the higher Gold certifications in the United Kingdom after ten, seventeen, eighteen, and twenty years of their releases respectively. “Flying Without Wings”, and “World of Our Own” were certified Platinum twenty years after its release. While “When You’re Looking Like That” after twenty years and “The Rose” after thirteen years achieved their Silver certifications since their releases respectively in the same country. Six were certified in 2019, one in 2018, and two in 2020.

On the evening of 17 October 2018, the UK and Ireland dates of their latest tour were announced through Westlife’s social networks and was called The Twenty Tour. A pre-order site of the forthcoming new Westlife album, for both unsigned and limited signed (which was taken down minutes later), from their official store was cited where fans will receive an exclusive pre-sale code for early access tickets to the 2019 tour.[156] Pre-sale tickets were all sold out before the general sale and the event had been described as a “big one”[157] making the original tour dates sold out at the very time of its general sales opening. The tour had twelve original dates and fourteen more dates added on places like Liverpool, Leeds, and Sheffield in less than seven hours due to high demand.[158][159][160][161][162] In their first full print interview as a band in six years, they said: “We will get to everyone eventually.” Egan added, “Every country that wants to see Westlife will see us at some point. We won’t step away from this until we’ve managed to tour the world.”[135] Seventeen additional Asian dates were announced from 21 March 2019 onwards; the tour has a total of fifty-one dates and took place at some of Asia’s and Europe’s largest indoor arenas and stadium. It was their fastest selling tour to date.

The second day of the tour in Croke Park had a live film broadcast in selected cinemas in at least fourteen European countries on 6 July 2019, and in more than 600 cinemas live via satellite in UK and Ireland alone. A delayed broadcast in at least nine Asian countries that include Hong Kong, India, UAE, Bahrain, Qatar, and in Australia and New Zealand were done from August 2019 as well. They hired the Cirque du Soleil team for the production, stage design, and routines of the tour. A follow-up cinema screenings of the filmed tour date was produced from August 2019 onwards as well in a sing-along version that kick-started in Denmark, Ireland, and UK. This was released in a video album in different formats on 13 March 2020. It reached the number one in UK and Ireland and stayed at the top spot for more than thirty weeks on their official charts.

On 13 September 2019, they announced that they are scheduled to play at Wembley Stadium in London, England and at Páirc Uí Chaoimh in Cork, Ireland, both for the first time, as part of their Stadiums in the Summer Tour, which was later renamed. The tour play dates were moved from 2020, 2021 to 2022 due to the COVID-19 pandemic with most of the original scheduled tour dates were also cancelled.

On 8 February 2021, the band revealed the mutual parting of ways with Virgin EMI Records and details of a new and groundbreaking partnership are imminent.

Wild Dreams (2021–present)

On 17 March 2021, they formally announced through different medias that they signed a new album deal through Warner Music UK and East West Records.

After 514 days since their last get together, they played eight of their songs live together for a BBC Radio 2 event on Ulster Hall, Belfast on 25 August 2021 and was broadcast from 10 September 2021. An estimate of sixty-eight thousand people have applied to be part of the audience that night but an approximate number of only 160 people has been picked due to COVID-19 restrictions.

“Starlight”, the lead single from their twelfth studio album, was released on 14 October 2021. The album, Wild Dreams, was released on 19 November 2021 but was pushed back to 26 November 2021 on 13 October 2021.[163][non-primary source needed] It is in different formats like the CD, digital download, streaming. Some of the album formats are bundled with their official tour merchandise.

On 29 October 2021, new schedule for their renamed fourteenth concert tour, The Wild Dreams Tour, were released. It is comprised of fourteen new dates and venues and eight dates added later. They also announced that their Wembley Stadium date will be streamed live in different cinemas in Europe.

On 17 December 2021, a Westlife concert filmed at London’s Bush Hall Venue and broadcast by Tencent’s WeChat (Weixin) across China’s most popular social media platform had an audience of almost 28 million. It received 160 million likes during the 100 minute stream. It was the first ever livestream concert by the band, and by an international artist in China. This was followed by being the special guest on Backstreet Boys livestream concert on the same said platform on 24 June 2022. The two band’s collaboration of Westlife’s song “My Love” had trended to number-one on the country’s top social media Weibo.[164][165] As of 7 April 2022, according to Official Charts Company, they are currently the fifth biggest-selling albums artist of the 21st century alone in the UK with 12,907,183.

Lyrics


Don Henley

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Donald Hugh Henley (born July 22, 1947) is an American musician, singer, songwriter, record producer, and a founding member of the rock band Eagles. He was the drummer and co-lead vocalist for the Eagles from 1971 until the band broke up in 1980, and has reprised those duties for the group’s reunions since 1994. Henley sang the lead vocals on Eagles hits such as “Witchy Woman”, “Desperado”, “Best of My Love”, “One of These Nights”, “Hotel California”, “Life in the Fast Lane”, “The Long Run” and “Get Over It”.

After the Eagles broke up in 1980, Henley pursued a solo career and released his debut album I Can’t Stand Still, in 1982. He has released five studio albums, two compilation albums, and one live DVD. His solo hits include “Dirty Laundry”, “The Boys of Summer”, “All She Wants to Do Is Dance”, “The Heart of the Matter”, “The Last Worthless Evening”, “Sunset Grill”, “Not Enough Love in the World”, and “The End of the Innocence”.

The Eagles have sold over 150 million albums worldwide, won six Grammy Awards, had five number one singles, 17 top 40 singles, and six number one albums. They were inducted into the Rock and Roll Hall of Fame in 1998 and are the highest selling American band in history. As a solo artist, Henley has sold over 10 million albums worldwide, had eight top 40 singles, won two Grammy Awards and five MTV Video Music Awards. Combined with the Eagles and as a solo artist, Henley has released 25 top 40 singles on the Billboard Hot 100. He has also released seven studio albums with the Eagles and five as a solo artist. In 2008, he was ranked as the 87th greatest singer of all time by Rolling Stone magazine.[2]

Henley has also played a founding role in several environmental and political causes, most notably the Walden Woods Project.[3] From 1994 to 2016, he divided his musical activities between the Eagles and his solo career.

Early life

Donald Hugh Henley was born in Gilmer, Texas, and grew up in the small northeast Texas town of Linden.[4][5] He is the son of Hughlene (McWhorter) and C. J. Henley.[6] He has Irish, English and Scottish ancestry. Henley attended Linden-Kildare High School where he initially played football, but due to his relatively small build his coach suggested that he quit, and he joined the high school band instead. He first played the trombone, then in the percussion section.[7] After leaving high school in 1965, he initially attended college at Stephen F. Austin State University in Nacogdoches, Texas. He then attended North Texas State University (renamed in 1988 the University of North Texas) in Denton, Texas, from 1967 to 1969. Henley left school to spend time with his father, who was dying of heart and arterial disease.

Career beginnings

While still at high school, Henley was asked to join a Dixieland band formed by his childhood friend Richard Bowden’s father Elmer, together with another school friend Jerry Surratt. They then formed a band called the Four Speeds.[7][9] In 1964 the band was renamed Felicity, then finally Shiloh, and went through a number of changes in band personnel.[10][11] As Felicity they were signed to a local producer and released a Henley-penned song called “Hurtin’”.[12] In 1969, they met by chance fellow Texan Kenny Rogers who took an interest in their band. They changed their name to Shiloh and recorded a few songs for Rogers, and “Jennifer (O’ My Lady)” was released as their first single.[13] Surratt, however, died in a dirt bike accident just before their single was released, and the band members then became Henley, Richard Bowden and his cousin Michael Bowden, Al Perkins, and Jim Ed Norman. Rogers helped sign the band to Amos Records, and brought the band to Los Angeles in June 1970. They recorded a self-titled album produced by Rogers at Larrabee Studios while living at the home of Rogers for a few months.[14] Shiloh disbanded in 1971 over the band’s leadership and creative differences between Henley and Bowden.[15]

In Los Angeles, Henley met Glenn Frey as they were both signed to the same label (Frey was signed to Amos Records, together with J. D. Souther, as the duo Longbranch Pennywhistle), and they were recruited by John Boylan to be members of Linda Ronstadt’s backup band for her tour in 1971. Touring with her was the catalyst for forming a group, as Henley and Frey decided to form their own band.[16] They were joined by Randy Meisner and Bernie Leadon who also played in Ronstadt’s backing band (the four had, however, played together only once previously, as the band personnel changed) and became the Eagles.

Eagles

Eagles were formed in 1971,[18] and signed to David Geffen’s label Asylum Records.[19] They released their first studio album in 1972, which contained the hit song “Take It Easy”, co-written by Jackson Browne. During the band’s run, Henley co-wrote (usually with Frey) most of the band’s best-known songs.[17] “Witchy Woman”, which was co-written with Leadon, was his first commercially successful song,[20] while “Desperado” marks the beginning of his songwriting partnership with Frey.[21]

Henley sang lead vocals on many of the band’s popular songs, including “Desperado”, “Witchy Woman”, “Best of My Love”, “One of These Nights”, “Hotel California”, “The Long Run”, “Life in the Fast Lane” and “Wasted Time”. Eagles won numerous Grammy Awards during the 1970s and became one of the world’s most successful rock bands of all time.[22] They are also among the top five overall best-selling bands of all time in America, and the highest-selling American band in U.S. history.[23] Henley and Frey have been called the American version of McCartney and Lennon.[24]

The band broke up in 1980, following a difficult tour and personal tensions that arose during the recording of The Long Run. Eagles reunited 14 years later in 1994. Henley continues to tour and record with the Eagles. Their most recent album, Long Road Out of Eden, was released in 2007.[25] The band had a number of highly successful tours, such as the Hell Freezes Over Tour (1994-1996), and Long Road Out of Eden Tour. On April 1, 2013, during a concert at the Casino Rama in Rama, Ontario, Henley announced the History of the Eagles Tour, which began in July 2013[26] and ended in July 2015, six months before Frey’s death. At the 2016 Grammy Awards, the Eagles and Jackson Browne performed “Take It Easy” as a tribute to Frey.[27]

On his songwriting in the band, Henley stated in a March 2001 interview on Charlie Rose that “rock bands work best as a benevolent dictatorship”, with the principal songwriters in a band (in the case of Eagles, “me and Glenn Frey”) being the ones that will likely hold the power.

Solo career

Following the breakup of the Eagles, Henley embarked on a solo career. He and Stevie Nicks (his girlfriend at the time) had duetted on her Top 10 Pop and Adult Contemporary hit “Leather and Lace”,[29] written by Nicks for Waylon Jennings and his wife Jessi Colter, in late 1981. Henley’s first solo album, I Can’t Stand Still, was a moderate seller. The single “Dirty Laundry” reached No. 3 on the Billboard Hot 100 at the beginning of 1983 and earned a Gold-certified single for sales of over a million copies in the US.[30] It was Henley’s all-time biggest solo hit single, and also was nominated for a Grammy Award. Henley also contributed “Love Rules” to the 1982 Fast Times at Ridgemont High movie soundtrack.[31]

This was followed in 1984 by the album, Building the Perfect Beast. A single release, “The Boys of Summer”, reached No. 5 on the Billboard Hot 100.[32] The music video for the song was directed by Jean-Baptiste Mondino and won several MTV Video Music Awards including Best Video of the Year. Henley also won the Grammy Award for Best Male Rock Vocal Performance for the song.[33] Several other songs on the album, “All She Wants to Do Is Dance” (No. 9 on Hot 100), “Not Enough Love in the World” (No. 34) and “Sunset Grill” (No. 22) also received considerable airplay. He then had a No. 3 album rock chart hit with “Who Owns This Place?” from 1986’s The Color of Money soundtrack.

Henley’s next album, 1989’s The End of the Innocence, was even more successful. The album’s title track, a collaboration with Bruce Hornsby, reached No. 8 as a single. “The Heart of the Matter”, “The Last Worthless Evening” and “New York Minute” were among other songs that gained radio airplay.[35][36] Henley again won the Best Male Rock Vocal Performance Grammy Award in 1990 for “The End of the Innocence”.[37] Also in 1990, Henley made a brief appearance on MTV’s Unplugged series.[38]

In 1995, Henley released the single “The Garden of Allah” to promote his greatest hits solo album Actual Miles: Henley’s Greatest Hits.[39]

MusicRadar called Henley one of the greatest singing drummers of all time.[40]

In live shows, Henley plays drums and sings simultaneously on some Eagles songs.[40] On his solo songs and other Eagles songs, he plays electric guitar and simultaneously sings or just sings solo. Occasionally Eagles songs would get drastic rearrangements, such as “Hotel California” with four trombones.

Lawsuits with Geffen Records

Henley spent many years in legal entanglements with Geffen Records. In January 1993, following prolonged tensions between Henley and the label, the dispute went public and the record company filed a $30 million breach-of-contract suit in California Superior Court after receiving a notice from Henley saying that he was terminating his contract even though he reportedly owed the company two more studio albums and a greatest-hits collection.[43] Henley wanted to sign a publishing deal with EMI that would have been worth a few million dollars. Geffen Records stopped this from happening, which in turn upset Henley.[43]

Geffen Records claimed that Henley was in breach of contract and Henley attempted to get out of his contract in 1993 based on an old statute. Under the statute, a California law enacted over 50 years ago to free actors from long-term studio deals, entertainers cannot be forced to work for any company for more than seven years. Geffen Records did not want Henley signing with any other label, and had an agreement with Sony and EMI that they would not sign Henley. He counter-sued Geffen Records, claiming that he was “blackballed” by David Geffen, who had made agreements with other record labels to not sign him.[43] Henley eventually became an outspoken advocate for musicians’ rights, taking a stand against music labels who he believes refuse to pay bands their due royalties. Henley came to terms with Geffen Records when the Eagles’ reunion took off and the company eventually took a large chunk of the profit from the reunion album. Glenn Frey was also in legal entanglements with his label, MCA Records (whose parent company had also acquired Geffen).[44] Before the Eagles reunion tour could begin, the band had to file a suit against Elektra Records, which had planned to release a new Eagles Greatest Hits album. The band won that battle.[45]

A long period without a new recording followed as Henley waited out a dispute with his record company while also participating in a 1994 Eagles reunion tour and live album. During the hiatus, Henley recorded a cover of “Sit Down, You’re Rockin’ the Boat” for the film Leap of Faith, and provided the background vocals for country star Trisha Yearwood’s hit single “Walkaway Joe”,[citation needed] and duetted with Patty Smyth on “Sometimes Love Just Ain’t Enough”,[46] and Roger Waters on “Watching TV” on Waters’ Amused to Death album, in 1992.[47] Henley provided the voice of Henry Faust in Randy Newman’s Faust, a 1993 musical which was released on compact disc that year.[48]

Henley and Courtney Love testified at a California Senate hearing on that state’s contractual laws in Sacramento on September 5, 2001. In 2002 Henley became the head of the Recording Artists’ Coalition. The coalition’s primary aim was to raise money to mount a legal and political battle against the major record labels.[49] Henley says the group seeks to change the fundamental rules that govern most recording contracts, including copyright ownership, long-term control of intellectual property and unfair accounting practices. This group filed a friend-of-the-court brief in the Napster case,[50] urging District Judge Marilyn Hall Patel not to accept the industry’s broad claims of works made for hire authorship.

Inside Job and recent solo work

In 2000, after 11 years, Henley released another solo album titled Inside Job, which peaked at number 7 on the Billboard 200 and contained the new singles “Taking You Home”, “Everything Is Different Now”, “Workin’ It” and “For My Wedding”.[52] He performed songs from the album in a VH1 Storytellers episode during 2000. In 2002 a live DVD entitled Don Henley: Live Inside Job was released. In 2005, Henley opened 10 of Stevie Nicks’ concerts on her Two Voices Tour.[53]

Henley performed duets with Kenny Rogers on Rogers’ 2006 release Water & Bridges, titled “Calling Me”[54][55] and on Reba McEntire’s 2007 album, Reba: Duets, performing “Break Each Other’s Hearts Again”.[56]

In a 2007 interview with CNN, while discussing the future of the Eagles, Henley indicated he still has plans for more records: “But we all have some solo plans still. I still have a contract with a major label [Warner] for a couple of solo albums.”[57] In January 2011, Henley commenced work on a solo album of country covers featuring special guests. Ronnie Dunn from Brooks & Dunn and Alison Krauss have recorded a song with Henley for the album.[58]

On July 18, 2015, Henley started pre-orders of his album, Cass County. The album was released on September 25.

Henley was honored with the “Lifetime Achievement” award during the East Texas Music Awards event in 2015.

Political and other causes

In 1990, Henley founded the Walden Woods Project to help protect “Walden Woods” from development. The Thoreau Institute at Walden Woods was started in 1998 to provide for research and education regarding Henry David Thoreau. In 1993, a compilation album titled Common Thread: The Songs of the Eagles was released, with a portion of the royalties from the sales going to the Walden Woods Project. In 2005, he had a fundraiser concert with Elton John and others to buy Brister’s Hill,[59] part of Walden Woods, and turn it into a hiking trail.[citation needed]

Henley co-founded the non-profit Caddo Lake Institute in 1993 with Dwight K. Shellman to underwrite ecological education and research. As part of the Caddo Lake Coalition, CLI helps protect the Texas wetland where Henley spent much of his childhood. As a result of the Caddo Lake Institute’s success in restoring and protecting Caddo Lake’s wetlands, Caddo Lake was included as the 13th site in the United States on the Ramsar Convention’s list of significant wetlands. The Ramsar Convention is an intergovernmental treaty that provides a framework for national action and international cooperation for the conservation and wise use of wetlands and their resources.[60]

In 2000, Henley co-founded the Recording Artists’ Coalition, a group founded to protect musicians’ rights against common music industry business practices. In this role he testified before the U.S. Senate Committee on the Judiciary in 2001[61] and the U.S. Senate Committee on Commerce, Science and Transportation in 2003.[62]

Henley in a 2008 interview revealed that he contributes to many other charitable causes such as The Race to Erase MS, and the Rhythm and Blues Foundation.[63][64] He is also a member of the CuriosityStream Advisory Board.[65]

A lifelong supporter of the Democratic Party, Henley has also been a generous donor to political campaigns of Democrats. In 2008, The Washington Post reported Henley had donated over $680,000 to political candidates since 1978.[66] Several tracks on the 2007 Eagles album Long Road Out of Eden (including the title track, which Henley co-wrote) are sharply critical of the Iraq War and other policies of the Bush administration.[67]

Henley’s liberal political leanings led to tension with guitarist Bernie Leadon when he submitted the song “I Wish You Peace” for inclusion on One of These Nights. Henley was not thrilled that the song was co-written by Patti Davis, who was the daughter of Ronald Reagan, the Republican Governor of California at that time.[68]

Henley endorsed Joe Biden in the 2020 presidential election.[69]

In a fundraiser hosted by Matthew McConaughey to raise money for Texans affected by the snowstorms in February 2021, Henley performed “Snow”, which was written by Jesse Winchester. The show premiered on March 21, 2021. Henley remarked “On that bitter cold Tuesday of February 16th, we had a busted pipe at the attic at my house, and me and my family were shoveling and bailing for 8 or 9 hours there. Nothing, of course, compared to the shoveling and bailing that’s been going on down in the state capitol the past 3 weeks.”[70][71]

In a Discover Concord magazine in the summer of 2021, Henley spoke of the Walden Woods Foundation as well as his life during the COVID-19 pandemic. Henley noted that “I think that each and every one of us has a duty to help care for our natural environment, even if it’s something as simple as not throwing your fast-food wrapper out the car window.”

Personal life

In 1974, Henley became involved with Loree Rodkin, and the breakup of their relationship was the inspiration for the song “Wasted Time” and parts of the lyrics for “Hotel California”.[73][74] Late in 1975, Henley started dating Fleetwood Mac singer Stevie Nicks as her relationship with Lindsey Buckingham came to an end.[75] The relationship lasted on and off for around two years. Nicks later wrote a song “Sara” that Henley claimed was about their unborn child, for which Nicks had an abortion.[76] Henley then began a three-year-long relationship with actress/model and Bond girl Lois Chiles.[77]

Henley called paramedics to his home on November 21, 1980, where a 16-year-old girl was found naked and claiming she had overdosed on quaaludes and cocaine. She was arrested for prostitution, while a 15-year-old girl found in the house was arrested for being under the influence of drugs. Henley was arrested and subsequently charged for contributing to the delinquency of a minor. He pled no contest, was fined $2,500 and put on two years’ probation. Chiles, who was no longer in a relationship with Henley at the time of the incident, later said, “I was shocked to hear about it. He didn’t have drugs around the house. It was an accident, I’m sure.” The media attention from this incident was primary among the inspirations for the solo hit, “Dirty Laundry”.[77]

In the early 1980s, Henley was engaged to Battlestar Galactica actress Maren Jensen. His first solo album I Can’t Stand Still was dedicated to Jensen, who also sang harmony vocals on the song “Johnny Can’t Read”. He and Jensen separated in 1986.[78]

In 1995, Henley married Sharon Summerall.[79] Performers at the wedding included Bruce Springsteen, Sting, Billy Joel, John Fogerty, Jackson Browne, Sheryl Crow, Glenn Frey, and Tony Bennett. Henley later wrote the song “Everything Is Different Now” from the album Inside Job for Sharon. Summerall has been diagnosed with multiple sclerosis.[80] They have three children together, two girls and a boy.

In 2012, Henley was estimated to be the fourth-wealthiest drummer in the world, behind Ringo Starr, Phil Collins and Dave Grohl, with a $200 million fortune.[81]

As of 2019, he resides in Dallas, Texas, with his wife and three children. Henley also maintains a home in Hollywood, California.

Discography

Main articles: Don Henley discography and Eagles discography

  • I Can’t Stand Still (1982)
  • Building the Perfect Beast (1984)
  • The End of the Innocence (1989)
  • Inside Job (2000)
  • Cass County (2015)

 

Lyrics


Robert Johnson

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American blues musician and songwriter. His landmark recordings in 1936 and 1937 display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. He is now recognized as a master of the blues, particularly the Delta blues style.

As a traveling performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. He participated in only two recording sessions, one in San Antonio in 1936, and one in Dallas in 1937, that produced 29 distinct songs (with 13 surviving alternate takes) recorded by famed Country Music Hall of Fame producer Don Law. These songs, recorded at low fidelity in improvised studios, were the totality of his recorded output. Most were released as 10-inch,  rpm singles from 1937–1938, with a few released after his death. Other than these recordings, very little was known of him during his life outside of the small musical circuit in the Mississippi Delta where he spent most of his life; much of his story has been reconstructed after his death by researchers. Johnson’s poorly documented life and death have given rise to much legend. The one most closely a*sociated with his life is that he sold his soul to the devil at a local crossroads to achieve musical success.

His music had a small, but influential, following during his life and in the two decades after his death. In late 1938 John Hammond sought him out for a concert at Carnegie Hall, From Spirituals to Swing, only to discover that Johnson had died. Brunswick Records, which owned the original recordings, was bought by Columbia Records, where Hammond was employed. Musicologist Alan Lomax went to Mississippi in 1941 to record Johnson, also not knowing of his death. Law, who by then worked for Columbia Records, a*sembled a collection of Johnson’s recordings titled King of the Delta Blues Singers that was released by Columbia in 1961. It is widely credited with finally bringing Johnson’s work to a wider audience. The album would become influential, especially on the nascent British blues movement; Eric Clapton has called Johnson “the most important blues singer that ever lived.” Musicians such as Bob Dylan, Keith Richards, and Robert Plant have cited both Johnson’s lyrics and musicianship as key influences on their own work. Many of Johnson’s songs have been covered over the years, becoming hits for other artists, and his guitar licks and lyrics have been borrowed by many later musicians.

Renewed interest in Johnson’s work and life led to a burst of scholarship starting in the 1960s. Much of what is known about him was reconstructed by researchers such as Gayle Dean Wardlow and Bruce Conforth, especially in their 2019 award-winning biography of Johnson: Up Jumped the Devil: The Real Life of Robert Johnson (Chicago Review Press). Two films, the 1991 documentary The Search for Robert Johnson by John Hammond Jr., and a 1997 documentary, Can’t You Hear the Wind Howl, the Life and Music of Robert Johnson, which included reconstructed scenes with Keb’ Mo’ as Johnson, were attempts to document his life, and demonstrated the difficulties arising from the scant historical record and conflicting oral accounts. Over the years, the significance of Johnson and his music has been recognized by numerous organizations and publications, including the Rock and Roll, Grammy, and Blues Halls of Fame; and the National Recording Preservation Board.

Life and career

Early life

Johnson was born in Hazlehurst, Mississippi, possibly on May 8, 1911,[3] to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884). Julia was married to Charles Dodds (born February 1865), a relatively prosperous landowner and furniture maker, with whom she had ten children. Charles Dodds had been forced by a lynch mob to leave Hazlehurst following a dispute with white landowners. Julia left Hazlehurst with baby Robert, but in less than two years she brought the boy to Memphis to live with her husband, who had changed his name to Charles Spencer.[4] Robert spent the next 8–9 years growing up in Memphis and attending the Carnes Avenue Colored School where he received lessons in arithmetic, reading, language, music, geography, and physical exercise.[5] It was in Memphis that he acquired his love for, and knowledge of, the blues and popular music. His education and urban context placed him apart from most of his contemporary blues musicians.

Robert rejoined his mother around 1919–1920 after she married an illiterate sharecropper named Will “Dusty” Willis. They originally settled on a plantation in Lucas Township in Crittenden County, Arkansas, but soon moved across the Mississippi River to Commerce in the Mississippi Delta, near Tunica and Robinsonville. They lived on the Abbay & Leatherman Plantation.[6] Julia’s new husband was 24 years her junior. Robert was remembered by some residents as “Little Robert Dusty”,[7] but he was registered at Tunica’s Indian Creek School as Robert Spencer. In the 1920 census, he is listed as Robert Spencer, living in Lucas, Arkansas, with Will and Julia Willis. Robert was at school in 1924 and 1927.[8] The quality of his signature on his marriage certificate[9] suggests that he was relatively well educated for a boy of his background. A school friend, Willie Coffee, who was interviewed and filmed in later life, recalled that as a youth Robert was already noted for playing the harmonica and jaw harp.[10] Coffee recalled that Robert was absent for long periods, which suggests that he may have been living and studying in Memphis.[11]

Once Julia informed Robert about his biological father, Robert adopted the surname Johnson, using it on the certificate of his marriage to sixteen-year-old Virginia Travis in February 1929. She died in childbirth shortly after.[12] Surviving relatives of Virginia told the blues researcher Robert “Mack” McCormick that this was a divine punishment for Robert’s decision to sing secular songs, known as “selling your soul to the Devil”. McCormick believed that Johnson himself accepted the phrase as a description of his resolve to abandon the settled life of a husband and farmer to become a full-time blues musician.[13]

Around this time, the blues musician Son House moved to Robinsonville, where his musical partner Willie Brown lived. Late in life, House remembered Johnson as a “little boy” who was a competent harmonica player but an embarrassingly bad guitarist. Soon after, Johnson left Robinsonville for the area around Martinsville, close to his birthplace, possibly searching for his natural father. Here he perfected the guitar style of House and learned other styles from Isaiah “Ike” Zimmerman.[14] Zimmerman was rumored to have learned supernaturally to play guitar by visiting graveyards at midnight.[15] When Johnson next appeared in Robinsonville, he seemed to have miraculously acquired a guitar technique.[16] House was interviewed at a time when the legend of Johnson’s pact with the devil was well known among blues researchers. He was asked whether he attributed Johnson’s technique to this pact, and his equivocal answers have been taken as confirmation.[17]

While living in Martinsville, Johnson fathered a child with Vergie Mae Smith. He married Caletta Craft in May 1931. In 1932, the couple settled for a while in Clarksdale, Mississippi, in the Delta, but Johnson soon left for a career as a “walking” or itinerant musician, and Caletta died in early 1933.

 

Itinerant musician

From 1932 until his death in 1938, Johnson moved frequently between the cities of Memphis and Helena, and the smaller towns of the Mississippi Delta and neighboring regions of Mississippi and Arkansas.[19][20] On occasion, he traveled much further. The blues musician Johnny Shines accompanied him to Chicago, Texas, New York, Canada, Kentucky, and Indiana.[21] Henry Townsend shared a musical engagement with him in St. Louis.[22] In many places he stayed with members of his large extended family or with female friends.[23] He did not marry again but formed some long-term relationships with women to whom he would return periodically. In other places he stayed with whatever woman he was able to seduce at his performance.[24][25] In each location, Johnson’s hosts were largely ignorant of his life elsewhere. He used different names in different places, employing at least eight distinct surnames.[26]

Biographers have looked for consistency from musicians who knew Johnson in different contexts: Shines, who traveled extensively with him; Robert Lockwood, Jr., who knew him as his mother’s partner; David “Honeyboy” Edwards, whose cousin Willie Mae Powell had a relationship with Johnson.[27] From a mass of partial, conflicting, and inconsistent eyewitness accounts,[28] biographers have attempted to summarize Johnson’s character. “He was well mannered, he was soft spoken, he was indecipherable”.[29] “As for his character, everyone seems to agree that, while he was pleasant and outgoing in public, in private he was reserved and liked to go his own way”.[30] “Musicians who knew Johnson testified that he was a nice guy and fairly average—except, of course, for his musical talent, his weakness for whiskey and women, and his commitment to the road.”[31]

When Johnson arrived in a new town, he would play for tips on street corners or in front of the local barbershop or a restaurant. Musical a*sociates have said that in live performances Johnson often did not focus on his dark and complex original compositions, but instead pleased audiences by performing more well-known pop standards of the day[32] – and not necessarily blues. With an ability to pick up tunes at first hearing, he had no trouble giving his audiences what they wanted, and certain of his contemporaries later remarked on his interest in jazz and country music. He also had an uncanny ability to establish a rapport with his audience; in every town in which he stopped, he would establish ties to the local community that would serve him well when he passed through again a month or a year later.

Shines was 20 when he met Johnson in 1936. He estimated Johnson was maybe a year older than himself (Johnson was actually four years older). Shines is quoted describing Johnson in Samuel Charters’s Robert Johnson:

Robert was a very friendly person, even though he was sulky at times, you know. And I hung around Robert for quite a while. One evening he disappeared. He was kind of a peculiar fellow. Robert’d be standing up playing some place, playing like nobody’s business. At about that time it was a hustle with him as well as a pleasure. And money’d be coming from all directions. But Robert’d just pick up and walk off and leave you standing there playing. And you wouldn’t see Robert no more maybe in two or three weeks. … So Robert and I, we began journeying off. I was just, matter of fact, tagging along.

During this time Johnson established what would be a relatively long-term relationship with Estella Coleman, a woman about 15 years his senior and the mother of the blues musician Robert Lockwood, Jr. Johnson reportedly cultivated a woman to look after him in each town he played in. He reputedly asked homely young women living in the country with their families whether he could go home with them, and in most cases, he was accepted, until a boyfriend arrived or Johnson was ready to move on.

In 1941, Alan Lomax learned from Muddy Waters that Johnson had performed in the area around Clarksdale, Mississippi.[34] By 1959, the historian Samuel Charters could add only that Will Shade, of the Memphis Jug Band, remembered Johnson had once briefly played with him in West Memphis, Arkansas.[35] In the last year of his life, Johnson is believed to have traveled to St. Louis, Chicago, Detroit, and New York City.[36] In 1938, Columbia Records producer John H. Hammond, who owned some of Johnson’s records, directed record producer Don Law to seek out Johnson to book him for the first “From Spirituals to Swing” concert at Carnegie Hall in New York. On learning of Johnson’s death, Hammond replaced him with Big Bill Broonzy, but he played two of Johnson’s records from the stage.

Recording sessions

In Jackson, Mississippi, around 1936, Johnson sought out H. C. Speir, who ran a general store and also acted as a talent scout. Speir put Johnson in touch with Ernie Oertle, who, as a salesman for the ARC group of labels, introduced Johnson to Don Law to record his first sessions in San Antonio, Texas. The recording session was held on November 23–25, 1936, in room 414 of the Gunter Hotel in San Antonio.[37] In the ensuing three-day session, Johnson played 16 selections and recorded alternate takes for most of them. Among the songs Johnson recorded in San Antonio were “I Believe I’ll Dust My Broom”, “Sweet Home Chicago”, and “Cross Road Blues”, which later became blues standards. The first to be released was “Terraplane Blues”, backed with “Last Fair Deal Gone Down”, which sold as many as 10,000 copies.[38]

Johnson traveled to Dallas, Texas, for another recording session with Don Law in a makeshift studio at the Vitagraph (Warner Bros.) Building,[39] on June 19–20, 1937.[40] Johnson recorded almost half of the 29 songs that make up his entire discography in Dallas and eleven records from this session were released within the following year. Most of Johnson’s “somber and introspective” songs and performances come from his second recording session.[41] Johnson did two takes of most of these songs, and recordings of those takes survived. Because of this, there is more opportunity to compare different performances of a single song by Johnson than for any other blues performer of his era.[42] In contrast to most Delta players, Johnson had absorbed the idea of fitting a composed song into the three minutes of a 78-rpm side.[43]

Death

Johnson died on August 16, 1938, at the age of 27, near Greenwood, Mississippi, of unknown causes. His death was not reported publicly; he merely disappeared from the historical record and it was not until almost 30 years later, when Gayle Dean Wardlow, a Mississippi-based musicologist researching Johnson’s life, found his death certificate, which listed only the date and location, with no official cause of death. No formal autopsy was done; instead, a pro forma examination was done to file the death certificate, and no immediate cause of death was determined. It is likely he had congenital syphilis and it was suspected later by medical professionals that this may have been a contributing factor in his death. However, 30 years of local oral tradition had, like the rest of his life story, built a legend which has filled in gaps in the scant historical record.[44]

Several differing accounts have described the events preceding his death. Johnson had been playing for a few weeks at a country dance in a town about 15 miles (24 km) from Greenwood. According to one theory, Johnson was murdered by the jealous husband of a woman with whom he had flirted. In an account by the blues musician Sonny Boy Williamson, Johnson had been flirting with a married woman at a dance, and she gave him a bottle of whiskey poisoned by her husband. When Johnson took the bottle, Williamson knocked it out of his hand, admonishing him to never drink from a bottle that he had not personally seen opened. Johnson replied, “Don’t ever knock a bottle out of my hand.” Soon after, he was offered another (poisoned) bottle and accepted it. Johnson is reported to have begun feeling ill the evening after and had to be helped back to his room in the early morning hours. Over the next three days his condition steadily worsened. Witnesses reported that he died in a convulsive state of severe pain. The musicologist Robert “Mack” McCormick claimed to have tracked down the man who murdered Johnson and to have obtained a confession from him in a personal interview, but he declined to reveal the man’s name.[13]

While strychnine has been suggested as the poison that killed Johnson, at least one scholar has disputed the notion. Tom Graves, in his book Crossroads: The Life and Afterlife of Blues Legend Robert Johnson, relies on expert testimony from toxicologists to argue that strychnine has such a distinctive odor and taste that it cannot be disguised, even in strong liquor. Graves also claims that a significant amount of strychnine would have to be consumed in one sitting to be fatal, and that death from the poison would occur within hours, not days.[45]

In their 2019 book Up Jumped the Devil, Bruce Conforth and Gayle Dean Wardlow suggest that the poison was naphthalene, from dissolved mothballs. This was “a common way of poisoning people in the rural South”, but was rarely fatal. However, Johnson had been diagnosed with an ulcer and with esophageal varices, and the poison was sufficient to cause them to hemorrhage. He died after two days of severe abdominal pain, vomiting, and bleeding from the mouth.[46]

The LeFlore County registrar, Cornelia Jordan, years later and after conducting an investigation into Johnson’s death for the state director of vital statistics, R. N. Whitfield, wrote a clarifying note on the back of Johnson’s death certificate:

I talked with the white man on whose place this negro died and I also talked with a negro woman on the place. The plantation owner said the negro man, seemingly about 26 years old, came from Tunica two or three weeks before he died to play banjo at a negro dance given there on the plantation. He stayed in the house with some of the negroes saying he wanted to pick cotton. The white man did not have a doctor for this negro as he had not worked for him. He was buried in a homemade coffin furnished by the county. The plantation owner said it was his opinion that the man died of syphilis.

In 2006, a medical practitioner, David Connell, suggested, on the basis of photographs showing Johnson’s “unnaturally long fingers” and “one bad eye”, that Johnson may have had Marfan syndrome, which could have both affected his guitar playing and contributed to his death due to aortic dissection.

Gravesite

The exact location of Johnson’s grave is officially unknown; three different markers have been erected at possible sites in church cemeteries outside Greenwood.

  • Research in the 1980s and 1990s strongly suggests Johnson was buried in the graveyard of the Mount Zion Missionary Baptist Church near Morgan City, Mississippi, not far from Greenwood, in an unmarked grave. A one-ton cenotaph in the shape of an obelisk, listing all of Johnson’s song titles, with a central inscription by Peter Guralnick, was placed at this location in 1990, paid for by Columbia Records and numerous smaller contributions made through the Mt. Zion Memorial Fund.
  • In 1990, a small marker with the epitaph “Resting in the Blues” was placed in the cemetery of Payne Chapel, near Quito, Mississippi, by an Atlanta rock group named the Tombstones, after they saw a photograph in Living Blues magazine of an unmarked spot alleged by one of Johnson’s ex-girlfriends to be Johnson’s burial site.
  • More recent research by Stephen LaVere (including statements from Rosie Eskridge, the wife of the supposed gravedigger, in 2000) indicates that the actual grave site is under a big pecan tree in the cemetery of the Little Zion Church, north of Greenwood along Money Road. Through LaVere, Sony Music placed a marker at this site, which bears LaVere’s name as well as Johnson’s. Researchers Bruce Conforth and Gayle Dean Wardlow also concluded this was Johnson’s resting place in their 2019 biography.

John Hammond, Jr., in the documentary The Search for Robert Johnson (1991), suggests that owing to poverty and lack of transportation Johnson is most likely to have been buried in a pauper’s grave (or “potter’s field”) very near where he died.

Devil legend

According to legend, as a young man living on a plantation in rural Mississippi, Johnson had a tremendous desire to become a great blues musician. One of the legends often told says that Johnson was instructed to take his guitar to a crossroad near Dockery Plantation at midnight. (There are claims for at least a dozen other sites as the location of the crossroads.)[citation needed] There he was met by a large black man (the Devil) who took the guitar and tuned it. The Devil played a few songs and then returned the guitar to Johnson, giving him mastery of the instrument. This story of a deal with the Devil at the crossroads mirrors the legend of Faust. In exchange for his soul, Johnson was able to create the blues for which he became famous.

Various accounts

This legend was developed over time and has been chronicled by Gayle Dean Wardlow,[51] Edward Komara[52] and Elijah Wald, who sees the legend as largely dating from Johnson’s rediscovery by white fans more than two decades after his death.[53] Son House once told the story to Pete Welding as an explanation of Johnson’s astonishingly rapid mastery of the guitar. Welding reported it as a serious belief in a widely read article in Down Beat in 1966.[citation needed] Other interviewers failed to elicit any confirmation from House and there were fully two years between House’s observation of Johnson as first a novice and then a master.

Further details were absorbed from the imaginative retellings by Greil Marcus[54] and Robert Palmer.[55] Most significantly, the detail was added that Johnson received his gift from a large black man at a crossroads. There is dispute as to how and when the crossroads detail was attached to the Robert Johnson story. All the published evidence, including a full chapter on the subject in the biography Crossroads, by Tom Graves, suggests an origin in the story of the blues musician Tommy Johnson.[56] This story was collected from his musical a*sociate Ishman Bracey and his elder brother Ledell in the 1960s.[17] One version of Ledell Johnson’s account was published in David Evans’s 1971 biography of Tommy Johnson,[57] and was repeated in print in 1982 alongside House’s story in the widely read Searching for Robert Johnson, by Peter Guralnick.[58]

In another version, Ledell placed the meeting not at a crossroads but in a graveyard. This resembles the story told to Steve LaVere that Ike Zimmerman of Hazlehurst, Mississippi, learned to play the guitar at midnight while sitting on tombstones. Zimmerman is believed to have influenced the playing of the young Johnson.

Recent research by the blues scholar Bruce Conforth, in Living Blues magazine, makes the story clearer. Johnson and Ike Zimmerman did practice in a graveyard at night, because it was quiet and no one would disturb them, but it was not the Hazlehurst cemetery as had been believed: Zimmerman was not from Hazlehurst but nearby Beauregard, and he did not practice in one graveyard, but in several in the area.[60] Johnson spent about a year living with and learning from Zimmerman, who ultimately accompanied Johnson back to the Delta to look after him.

While Dockery, Hazlehurst and Beauregard have each been claimed as the locations of the mythical crossroads, there are also tourist attractions claiming to be “The Crossroads” in both Clarksdale and Memphis.[61] Residents of Rosedale, Mississippi, claim Johnson sold his soul to the devil at the intersection of Highways 1 and 8 in their town, while the 1986 movie Crossroads was filmed in Beulah, Mississippi. The blues historian Steve Cheseborough wrote that it may be impossible to discover the exact location of the mythical crossroads, because “Robert Johnson was a rambling guy”.

Interpretations

Some scholars have argued that the devil in these songs may refer not only to the Christian figure of Satan but also to the trickster god of African origin, Legba, himself a*sociated with crossroads. Folklorist Harry M. Hyatt wrote that, during his research in the South from 1935 to 1939, when African-Americans born in the 19th or early 20th century said they or anyone else had “sold their soul to the devil at the crossroads”, they had a different meaning in mind. Hyatt claimed there was evidence indicating African religious retentions surrounding Legba and the making of a “deal” (not selling the soul in the same sense as in the Faustian tradition cited by Graves) with the so-called devil at the crossroads.

The Blues and the Blues singer has really special powers over women, especially. It is said that the Blues singer could possess women and have any woman they wanted. And so when Robert Johnson came back, having left his community as an apparently mediocre musician, with a clear genius in his guitar style and lyrics, people said he must have sold his soul to the devil. And that fits in with this old African a*sociation with the crossroads where you find wisdom: you go down to the crossroads to learn, and in his case to learn in a Faustian pact, with the devil. You sell your soul to become the greatest musician in history.

This view that the devil in Johnson’s songs is derived from an African deity was disputed by the blues scholar David Evans in an essay published in 1999, “Demythologizing the Blues”:

There are … several serious problems with this crossroads myth. The devil imagery found in the blues is thoroughly familiar from western folklore, and nowhere do blues singers ever mention Legba or any other African deity in their songs or other lore. The actual African music connected with cults of Legba and similar trickster deities sounds nothing like the blues, but rather features polyrhythmic percussion and choral call-and-response singing.

The musicologist Alan Lomax dismissed the myth, stating, “In fact, every blues fiddler, banjo picker, harp blower, piano strummer and guitar framer was, in the opinion of both himself and his peers, a child of the Devil, a consequence of the black view of the European dance embrace as sinful in the extreme”.

Musical style

Johnson is considered a master of the blues, particularly of the Delta blues style. Keith Richards, of the Rolling Stones, said in 1990, “You want to know how good the blues can get? Well, this is it”.[67] But according to Elijah Wald, in his book Escaping the Delta, Johnson in his own time was most respected for his ability to play in a wide range of styles, from raw country slide guitar to jazz and pop licks, and for his ability to pick up guitar parts almost instantly upon hearing a song.[68] His first recorded song, “Kind Hearted Woman Blues”, in contrast to the prevailing Delta style of the time, more resembled the style of Chicago or St. Louis, with “a full-fledged, abundantly varied musical arrangement”.[69] The song was part of a cycle of spin-offs and response songs that began with Leroy Carr’s “Mean Mistreater Mama” (1934). According to Wald, it was “the most musically complex in the cycle”[70] and stood apart from most rural blues as a thoroughly composed lyric, rather than an arbitrary collection of more or less unrelated verses.[71] Unusual for a Delta player of the time, a recording exhibits what Johnson could do entirely outside of a blues style. “They’re Red Hot”, from his first recording session, shows that he was also comfortable with an “uptown” swing or ragtime sound similar to that of the Harlem Hamfats, but as Wald remarked, “no record company was heading to Mississippi in search of a down-home Ink Spots … [H]e could undoubtedly have come up with a lot more songs in this style if the producers had wanted them.”

Voice

An important aspect of Johnson’s singing was his use of microtonality. These subtle inflections of pitch help explain why his singing conveys such powerful emotion. Eric Clapton described Johnson’s music as “the most powerful cry that I think you can find in the human voice”. In two takes of “Me and the Devil Blues” he shows a high degree of precision in the complex vocal delivery of the last verse: “The range of tone he can pack into a few lines is astonishing.”[74] The song’s “hip humor and sophistication” is often overlooked. “[G]enerations of blues writers in search of wild Delta primitivism”, wrote Wald, have been inclined to overlook or undervalue aspects that show Johnson as a polished professional performer.[75]

Johnson is also known for using the guitar as “the other vocalist in the song”, a technique later perfected by B.B. King and his personified guitar named Lucille: “In Africa and in Afro-American tradition, there is the tradition of the talking instrument, beginning with the drums … the one-strand and then the six-strings with bottleneck-style performance; it becomes a competing voice … or a complementary voice … in the performance.”

Instrument

Johnson mastered the guitar, being considered today one of the all-time greats on the instrument. His approach was complex and musically advanced. When Keith Richards was first introduced to Johnson’s music by his bandmate Brian Jones, he asked, “Who is the other guy playing with him?”, not realizing it was Johnson playing one guitar. “I was hearing two guitars, and it took a long time to actually realise he was doing it all by himself”,[77] said Richards, who later stated that “Robert Johnson was like an orchestra all by himself”.[73] “As for his guitar technique, it’s politely reedy but ambitiously eclectic—moving effortlessly from hen-picking and bottleneck slides to a full deck of chucka-chucka rhythm figures.”

Lyrics

In The Story with Dick Gordon, Bill Ferris, of American Public Media, said, “Robert Johnson I think of in the same way I think of the British Romantic poets, Keats and Shelley, who burned out early, who were geniuses at wordsmithing poetry … The Blues, if anything, are deeply sexual. You know, ‘my car doesn’t run, I’m gonna check my oil … ‘if you don’t like my apples, don’t shake my tree’. Every verse has sexuality a*sociated with it.”

Influences

Johnson fused approaches specific to Delta blues to those from the broader music world. The slide guitar work on “Ramblin’ on My Mind” is pure Delta and Johnson’s vocal there has “a touch of … Son House rawness”, but the train imitation on the bridge is not at all typical of Delta blues—it is more like something out of minstrel show music or vaudeville.[78] Johnson did record versions of “Preaching the Blues” and “Walking Blues” in the older bluesman’s vocal and guitar style (House’s chronology has been questioned by Guralnick). As with the first take of “Come On in My Kitchen”, the influence of Skip James is evident in James’s “Devil Got My Woman”, but the lyrics rise to the level of first-rate poetry, and Johnson sings with a strained voice found nowhere else in his recorded output.[79]

The sad, romantic “Love in Vain” successfully blends several of Johnson’s disparate influences. The form, including the wordless last verse, follows Leroy Carr’s last hit “When the Sun Goes Down”; the words of the last sung verse come directly from a song Blind Lemon Jefferson recorded in 1926.[80] Johnson’s last recording, “Milkcow’s Calf Blues” is his most direct tribute to Kokomo Arnold, who wrote “Milkcow Blues” and influenced Johnson’s vocal style.[81]

“From Four Until Late” shows Johnson’s mastery of a blues style not usually a*sociated with the Delta. He croons the lyrics in a manner reminiscent of Lonnie Johnson, and his guitar style is more that of a ragtime-influenced player like Blind Blake.[82] Lonnie Johnson’s influence is even clearer in two other departures from the usual Delta style: “Malted Milk” and “Drunken Hearted Man”. Both copy the arrangement of Lonnie Johnson’s “Life Saver Blues”.[83] The two takes of “Me and the Devil Blues” show the influence of Peetie Wheatstraw, calling into question the interpretation of this piece as “the spontaneous heart-cry of a demon-driven folk artist”.

Legacy

Early recognition and reviews

Famed producer John Hammond was an early advocate of Johnson’s music.[84] Using the pen-name Henry Johnson, he wrote his first article on Robert Johnson for the New Masses magazine in March 1937, around the time of the release of Johnson’s first record. In it, he described Johnson as “the greatest Negro blues singer who has cropped up in recent years … Johnson makes Leadbelly sound like an accomplished poseur.”[85] The following year, Hammond hoped to get Johnson to perform at a December 1938 From Spirituals to Swing concert in New York City, as he was unaware that Johnson had died in August.[86] Instead, Hammond played two of his recordings, “Walkin’ Blues” and “Preachin’ Blues (Up Jumped the Devil)”, for the audience and “praised Johnson lavishly from the stage”.[86] Music historian Ted Gioia noted “Here, if only through the medium of recordings, Hammond used his considerable influence at this historic event to advocate a position of preeminence for the late Delta bluesman”.[86] Music educator James Perone also saw that the event “underscored Robert Johnson’s specific importance as a recording artist”.[84] In 1939, Columbia issued a final single, pairing “Preachin’ Blues” with “Love in Vain”.[87]

In 1942, commentary on Johnson’s “Terraplane Blues” and “Last Fair Deal Gone Down” was included in The Jazz Record Book, edited by Charles Edward Smith.[88] The authors described Johnson’s vocals as “imaginative” and “thrilling” and his guitar playing as “exciting as almost anything in the folk blues field”.[88] Music writer Rudi Blesh included a review of Johnson’s “Hellhound on My Trail” in his 1946 book Shining Trumpets: a History of Jazz. He noted the “personal and creative way” Johnson approached the song’s harmony.[89] Jim Wilson, then a writer for the Detroit Free Press, also mentioned his unconventional use of harmony. In a 1949 review, he compared elements of John Lee Hooker’s recent debut “Boogie Chillen”: “His [Hooker’s] dynamic rhythms and subtle nuances on the guitar and his startling disregard for familiar scale and harmony patterns show similarity to the work of Robert Johnson, who made many fine records in this vein.”[90]

Samuel Charters drew further attention to Johnson in a five-page section in his 1959 book, The Country Blues. He focused on the two Johnson recordings that referred to images of the devil or hell – “Hellhound on My Trail” and “Me and the Devil Blues” – to suggest that Johnson was a deeply troubled individual. Charters also included Johnson’s “Preachin’ Blues” on the album published alongside his book.[91] Columbia Records’ first album of Johnson’s recordings, King of the Delta Blues Singers, was issued two years later.

Musicianship

Johnson is mentioned as one of the Delta artists who was a strong influence on blues singers in post-war styles.[92] However, it is Johnson’s guitar technique that is often identified as his greatest contribution.[93] Blues historian Edward Komara wrote:

The execution of a driving bass beat on a plectrum instrument like the guitar (instead of the piano) is Johnson’s most influential accomplishment … This is the aspect of his music that most changed the Delta blues practice and is most retained in the blues guitar tradition.

This technique has been called a “boogie bass pattern” or “boogie shuffle” and is described as a “fifth–sixth [degrees of a major scale] oscillation above the root chord”.[94] Sometimes, it has been attributed to Johnnie Temple, because he was the first to record a song in 1935 using it.[95] However, Temple confirmed that he had learned the technique from Johnson: “He was the first one I ever heard use it … It was similar to a piano boogie bass [which] I learned from R. L. [Johnson] in ’32 or ’33.”[95] Johnny Shines added: “Some of the things that Robert did with the guitar affected the way everybody played. In the early thirties, boogie was rare on the guitar, something to be heard.”[96] Conforth and Wardlow call it “one of the most important riffs in blues music”[95] and music historian Peter Guralnick believes Johnson “popularized a mode [walking bass style on guitar] which would rapidly become the accepted pattern”.[96] Although author Elijah Wald recognizes Johnson’s contribution in popularizing the innovation, he discounts its importance[97] and adds, “As far as the evolution of black music goes, Robert Johnson was an extremely minor figure, and very little that happened in the decades following his death would have been affected if he had never played a note”.

Contemporaries

Johnson’s contemporaries, including Johnny Shines, Johnnie Temple, Henry Townsend, Robert Lockwood, Jr., Calvin Frazier, and David “Honeyboy” Edwards were among those who kept his music alive through performing his songs and using his guitar techniques.[99] Fellow Mississippi native Elmore James is the best known and is responsible for popularizing Johnson’s “Dust My Broom”.[100] In 1951, he recast the song as a Chicago-style blues, with electric slide guitar and a backing band.[101] According to blues historian Gerard Herhaft:

Johnson’s influence upon Elmore James’s music always remained powerful: his falsetto voice, almost shrill, and the intensive use of the “walking” bass notes of the boogie-woogie, several pieces of James’ repertoire were borrowed from Johnson (e.g, “Dust My Broom”, “Rambling on My Mind”, and “Crossroads”).

James’ version is identified as “one of the first recorded examples of what was to become the classic Chicago shuffle beat”.The style often a*sociated with Chicago blues was used extensively by Jimmy Reed beginning with his first record “High and Lonesome” in 1953.[104] Sometimes called “the trademark Reed shuffle” (although also a*sociated his second guitarist, Eddie Taylor),[105] it is the figure Johnson used updated for electric guitar.

Blues standards

Several of Johnson’s songs became blues standards, which is used to describe blues songs that have been widely performed and recorded over a period of time and are seen as having a lasting quality.[107][108] Perone notes “That such a relatively high percentage of the songs attributed to him became blues standards also keeps the legacy of Robert Johnson alive.”[94] Those most often identified are “Sweet Home Chicago” and “Dust My Broom”, but also include “Crossroads” and “Stop Breaking Down”.[96][109][110][111][112][113] As with many blues songs, there are melodic and lyrical precedents.[111] While “Sweet Home Chicago” borrows from Kokomo Arnold’s 1933 “Old Original Kokomo Blues”, “Johnson’s lyrics made the song a natural for Chicago bluesmen, and it’s his version that survived in the repertoires of performers like Magic Sam, Robert Lockwood, and Junior Parker”.[114]

In the first decades after Johnsons’ death, these songs, with some variations in the titles and lyrics, were recorded by Tommy McClennan (1939),[115] Walter Davis (1941),[115] Sonny Boy Williamson I (1945),[116] Arthur Crudup (1949),[117] Elmore James (1951–1959), Baby Boy Warren (1954),[118] Roosevelt Sykes (1955),[119] Junior Parker (1958), and Forest City Joe (1959).[120] Pearson and McCulloch believe that “Sweet Home Chicago” and “Dust My Broom” in particular connect Johnson to “the rightful inheritors of his musical ideas—big-city African American artists whose high-powered, electrically amplified blues remain solidly in touch with Johnson’s musical legacy” at the time of Columbia’s first release of a full album of his songs in 1961.[121]

In Jim O’Neal’s statement when Johnson was inducted into the Blues Foundation Blues Hall of Fame, he identified “Hell Hound on My Trail”, “Sweet Home Chicago”, “Dust My Broom”, “Love in Vain”, and “Crossroads” as Johnson’s classic recordings.[122] Over the years, these songs have been individually inducted into the Blues Hall’s “Classic of Blues Recording – Single or Album Track” category.

Rock music

In the mid-1950s, rock and roll pioneer Chuck Berry adapted the boogie pattern on guitar for his songs “Roll Over Beethoven” and “Johnny B. Goode”.[100] Author Dave Rubin commented:

his [Berry’s] utilization of the bass-string cut-boogie patterns popularized by Robert Johnson on songs like “Sweet Home Chicago” … subtly altered the swing feel of the boogie blues into a more driving, straight 4/4 meter while still maintaining a limber lilt that is often missing in the countless imitations that followed.

The pattern “became one of the signature figures in early electric guitar-based rock and roll,

such as that of Chuck Berry and the numerous rock musicians of the 1960s who were influenced by Berry”, according to Perone.[124] Although music historian Larry Birnbaum also sees the connection, he wrote that Johnson’s “contributions to the origins of rock ‘n’ roll are negligible”.[125] The Rock and Roll Hall of Fame inducted Johnson as an early influence in its first induction ceremony, in 1986, almost a half century after his death. It also included four of his songs it deemed to have shaped the genre: “Sweet Home Chicago”, “Cross Road Blues”, “Hellhound on My Trail”, and “Love in Vain”.[126] Marc Meyers, of the Wall Street Journal, commented, “His ‘Stop Breakin’ Down Blues’ from 1937 is so far ahead of its time that the song could easily have been a rock demo cut in 1954.”[73]

Several rock artists describe Johnson as an influence:

  • Eric Clapton – “Robert Johnson to me is the most important blues musician who ever lived”.He recorded several of Johnson’s songs as well as an entire tribute album, Me and Mr. Johnson (2004).Clapton feels that rather than trying to recreate Johnson’s originals, “I was trying to extract as much emotional content from it as I could, while respecting the form at the same time.”
  • Bob Dylan – “In about 1964 and ’65, I probably used about five or six of Robert Johnson’s blues song forms, too, unconsciously, but more on the lyrical imagery side of things. If I hadn’t heard the Robert Johnson record when I did, there probably would have been hundreds of lines of mine that would have been shut down—that I wouldn’t have felt free enough or upraised enough to write. [His] code of language was like nothing I’d heard before or since.”
  • Robert Plant – “A lot of English musicians were very fired up by Robert Johnson [to] whom we all owe more or less our existence, I guess, in some way”.[130] Led Zeppelin recorded “Traveling Riverside Blues” and quoted some of Johnson’s lyrics in “The Lemon Song“.
  • Keith Richards – “I’ve never heard anybody before or since use the [blues] form and bend it so much to make it work for himself … he came out with such compelling themes [and] just the way they were treated, apart from the music and the performance, [was appealing].”The Rolling Stones recorded “Love in Vain” and “Stop Breaking Down”.
  • Johnny Winter – “Robert Johnson knocked me out—he was a genius. [He and Son House] both were big influences on my acoustic slide playing.”He recorded “Dust My Broom” with additional guitar by Derek Trucks.

Problems of biography

Until the 2019 publication of Bruce Conforth and Gayle Dean Wardlow’s biography, Up Jumped the Devil: The Real Life of Robert Johnson, little of Johnson’s early life was known. Two marriage licenses for Johnson have been located in county records offices. The ages given in these certificates point to different birth dates, but Conforth and Wardlow suggest that Johnson lied about his age in order to obtain a marriage license.[136] Carrie Thompson claimed that her mother, who was also Robert’s mother, remembered his birth date as May 8, 1911. He was not listed among his mother’s children in the 1910 census giving further credence to a 1911 birthdate. Although the 1920 census gives his age as 7, suggesting he was born in 1912 or 1913, the entry showing his attendance at Indian Creek School, in Tunica, Mississippi[when?] listed him as being 14 years old.[citation needed]

Five significant dates from his career are documented: Monday, Thursday and Friday, November 23, 26, and 27, 1936, at a recording session in San Antonio, Texas; and Saturday and Sunday, June 19 and 20, 1937, at a recording session in Dallas. His death certificate, discovered in 1968, lists the date and location of his death.[137]

Johnson’s records were admired by record collectors from the time of their first release, and efforts were made to discover his biography, with virtually no success. A relatively full account of Johnson’s brief musical career emerged in the 1960s, largely from accounts by Son House, Johnny Shines, David Honeyboy Edwards and Robert Lockwood. In 1961, the sleeve notes to the album King of the Delta Blues Singers included reminiscences of Don Law who had recorded Johnson in 1936. Law added to the mystique surrounding Johnson, representing him as very young and extraordinarily shy.

The blues researcher Mack McCormick began researching his family background in 1972, but died in 2015 without ever publishing his findings. McCormick’s research eventually became as much a legend as Johnson himself. In 1982, McCormick permitted Peter Guralnick to publish a summary in Living Blues (1982), later reprinted in book form as Searching for Robert Johnson.[58] Later research has sought to confirm this account or to add minor details. A revised summary acknowledging major informants was written by Stephen LaVere for the booklet accompanying Robert Johnson, The Complete Recordings box set (1990). The documentary film The Search for Robert Johnson contains accounts by McCormick and Wardlow of what informants have told them: long interviews of David “Honeyboy” Edwards and Johnny Shines and short interviews of surviving friends and family. Another film, Can’t You Hear the Wind Howl: The Life and Music of Robert Johnson,[138] combines documentary segments with recreated scenes featuring Keb’ Mo’ as Johnson with narration by Danny Glover. Shines, Edwards and Robert Lockwood contribute interviews. These published biographical sketches achieve coherent narratives, partly by ignoring reminiscences and hearsay accounts which contradict or conflict with other accounts.

Photographs

Until the 1980s, it was believed that no images of Johnson had survived. However, three images of Johnson were located in 1972 and 1973, in the possession of his half-sister Carrie Thompson. Two of these, known as the “dime-store photo” (December 1937 or January 1938) and the “studio portrait” (summer 1936), were copyrighted by Stephen LaVere (who had obtained them from the Thompson family) in 1986 and 1989, respectively, with an agreement to share any ensuing royalties 50% with the Johnson estate, at that time administered by Thompson. The “dime-store photo” was first published, almost in passing, in an issue of Rolling Stone magazine in 1986, and the studio portrait in a 1989 article by Stephen Calt and Gayle Dean Wardlow in 78 Quarterly.[139] Both were subsequently featured prominently in the printed materials a*sociated with the 1990 CBS box set of the “complete” Johnson recordings, as well as being widely republished since that time. Because Mississippi courts in 1998 determined that Robert Johnson’s heir was Claud Johnson, a son born out of wedlock, the “estate share” of all monies paid to LaVere by CBS and others ended up going to Claud Johnson, and attempts by the heirs of Carrie Thompson to obtain a ruling that the photographs were her personal property and not part of the estate were dismissed.[140][141] In his book Searching for Robert Johnson, Peter Guralnick stated that the blues archivist Mack McCormick showed him a photograph of Johnson with his nephew Louis, taken at the same time as the famous “pinstripe suit” photograph, showing Louis dressed in his United States Navy uniform; this picture, along with the “studio portrait”, were both lent by Carrie Thompson to McCormick in 1972.[140] This photograph has never been made public.

Another photograph, purporting to show Johnson posing with the blues musician Johnny Shines, was published in the November 2008 issue of Vanity Fair magazine.[142] Its authenticity was claimed by the forensic artist Lois Gibson and by Johnson’s estate in 2013,[143] but has been disputed by some music historians, including Elijah Wald, Bruce Conforth and Gayle Dean Wardlow, who considered that the clothing suggests a date after Johnson’s death and that the photograph may have been reversed and retouched. Further, both David “Honeyboy” Edwards and Robert Lockwood failed to identify either man in the photo. Facial recognition software concluded that neither man was Johnson or Shines. Finally, Gibson claimed the photo was from 1933 to 1934 while it is now known that Johnson did not meet Shines until early 1937.[144] In December 2015, a fourth photograph was published, purportedly showing Johnson, his wife Calletta Craft, Estella Coleman, and Robert Lockwood Jr.[145] This photograph was also declared authentic by Lois Gibson, but her identification of Johnson has been dismissed by other facial recognition experts and blues historians. There are a number of glaring errors in this photo: it has been proven that Craft died before Johnson met Coleman, the clothing could not be prior to the late 1940s, the furniture is from the 1950s, the Coca-Cola bottle cannot be from prior to 1950, etc.[146]

A third photograph of Johnson, this time smiling, was published in 2020. It is believed to have been taken in Memphis on the same occasion as the verified photograph of him with a guitar and cigarette (part of the “dime-store” set), and is in the possession of Annye Anderson, Johnson’s step-sister (Anderson is the daughter of Charles Dodds, later Spencer, who was married to Robert’s mother but was not his father). As a child, Anderson grew up in the same family as Johnson and has claimed to have been present, aged 10 or 11, on the occasion the photograph was taken. This photograph was published in Vanity Fair in May 2020, as the cover image for a book, Brother Robert: Growing Up with Robert Johnson, written by Anderson in collaboration with author Preston Lauterbach,[147] and is considered to be authentic by Johnson scholar Elijah Wald.

Descendants

Johnson left no will. In 1998, the Mississippi Supreme Court ruled that Claud Johnson, a retired truck driver living in Crystal Springs, Mississippi, was the son of Robert Johnson and his only heir. The court heard that he had been born to Virgie Jane Smith (later Virgie Jane Cain), who had a relationship with Robert Johnson in 1931. The relationship was attested to by a friend, Eula Mae Williams, but other relatives descended from Robert Johnson’s half-sister, Carrie Harris Thompson, contested Claud Johnson’s claim. The effect of the judgment was to allow Claud Johnson to receive over $1 million in royalties.[148] Claud Johnson died, aged 83, on June 30, 2015, leaving six children.

Discography

Eleven 78-rpm records by Johnson were released by Vocalion Records in 1937 and 1938, with additional pressings by ARC budget labels. In 1939, a twelfth was issued posthumously.[150] Johnson’s estate holds the copyrights to his songs.[151] In 1961, Columbia Records released King of the Delta Blues Singers, an album representing the first modern-era release of Johnson’s performances, which started the “re-discovery” of Johnson as blues artist. In 1970, Columbia issued a second volume, King of the Delta Blues Singers, Vol. II.

The Complete Recordings, a two-disc set, released on August 28, 1990, contains almost everything Johnson recorded, with all 29 recordings, and 12 alternate takes. Another alternate take of “Traveling Riverside Blues” was released by Sony on the CD reissue of King of the Delta Blues Singers. To celebrate the 100th anniversary of Johnson’s birth, May 8, 2011, Sony Legacy released Robert Johnson: The Centennial Collection, a re-mastered 2-CD set of all 42 of his recordings[152] and two brief fragments, one of Johnson practicing a guitar figure and the other of Johnson saying, presumably to engineer Don Law, “I wanna go on with our next one myself.”[152] Reviewers commented that the sound quality of the 2011 release was a substantial improvement on the 1990 release.

Awards and recognition

Lyrics


Susan Watson

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Susan Watson (born December 17, 1938) is an American actress and singer best known for her roles in musical theatre.

Watson’s first professional role was Velma in the original West End production of West Side Story in 1958. She created the role of Luisa in The Fantasticks and then played Kim on Broadway in Bye Bye Birdie, beginning in 1960. Among many other roles in musicals, she was nominated for a Tony Award for the role of Jenny in A Joyful Noise (1966). She starred in the title role of the Broadway revival of No, No Nanette in 1971. Watson also appeared in several television series and specials.

Biography

Born in Tulsa, Oklahoma, Watson was one of five children of a geologist/geophysicist and a dance instructor. From an early age her life was filled with the music of Gilbert and Sullivan and Rodgers and Hammerstein. As a teenager she performed in summer stock before being accepted at the Juilliard School in Manhattan. Her studies there were interrupted when she accepted a role as Velma and understudy for Maria in the original West End production of West Side Story in 1958.

Stopping in Paris after the show’s run, Watson met her future sister-in-law, who was dating Tom Jones and urged Watson to contact him when she arrived in New York City. Jones and partner Harvey Schmidt cast her in the lead role of Louisa, “The Girl”, in their one-act musical The Fantasticks, which ran for one week in 1959, at Barnard College’s Minor Latham Playhouse, while the creative team tried to raise financing for an off-Broadway production. While biding her time, Watson appeared in a revue entitled Follies of 1910. Gower Champion, who was in the process of casting Bye Bye Birdie, noticed Watson in Follies and offered her a role. She played the role of Kim throughout the entire Broadway run (April 1960 – October 1961). She finally returned to The Fantasticks when it was televised by the Hallmark Hall of Fame in 1964.

Following a national tour of Carnival, Watson returned to New York to play opposite Robert Preston in Ben Franklin in Paris (1964), a Lincoln Center revival of Carousel (1965) as Carrie with John Raitt and Jerry Orbach, a New York City Center staging of Where’s Charley?, and Jenny in the short-lived musical A Joyful Noise (1966) (again with Raitt), for which she was nominated for a Tony Award for Best Performance by a Featured Actress in a Musical.

Watson reunited with Jones and Schmidt for their musical Celebration, which opened on Broadway in January 1969 at the Ambassador Theatre and played in Beggar on Horseback (1970) in repertory at the Vivian Beaumont Theater at Lincoln Center before taking on the title role in the Broadway revival of No, No Nanette (1971) with Ruby Keeler. She appeared at the William Inge Theatre Festival in Independence, Kansas, in a tribute to Jones and Schmidt on April 25, 2009.

Later years

Watson’s television credits include several episodes of the Bell Telephone Hour (1964–1966) and guest appearances on the television series Newhart (1982), St. Elsewhere (1984), Wings (1993), and the soap opera General Hospital (1987). She is one of dozens of Broadway musical performers in the documentary Broadway: Beyond the Golden Age, scheduled for broadcast on PBS in 2010. Watson is a founding member of the Musical Theatre Guild, a group of professionals who perform musicals at the Pasadena Playhouse, California.

She was back on Broadway for the first time in many years in 2011. Watson performed the featured role of Emily Whitman in the revival of Follies, which ran from August 2011 to January 2012 at the Marquis Theatre. She sang “Rain on the Roof” with Don Correia. Watson also performed in the run at the Kennedy Center in May 2011 to June 2011.

In 2016, she released an album of 14 Broadway and jazz standards, titled The Music Never Ends.

Family

Watson and her husband, producer Norton Wright, live in Sherman Oaks, California. They are the parents of two adult sons.

Lyrics


Cole Porter

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Cole Albert Porter (June 9, 1891 – October 15, 1964) was an American composer and songwriter. Many of his songs became standards noted for their witty, urbane lyrics, and many of his scores found success on Broadway and in film.

Born to a wealthy family in Indiana, Porter defied his grandfather’s wishes and took up music as a profession. Classically trained, he was drawn to musical theatre. After a slow start, he began to achieve success in the 1920s, and by the 1930s he was one of the major songwriters for the Broadway musical stage. Unlike many successful Broadway composers, Porter wrote the lyrics as well as the music for his songs. After a serious horseback riding accident in 1937, Porter was left disabled and in constant pain, but he continued to work. His shows of the early 1940s did not contain the lasting hits of his best work of the 1920s and 1930s, but in 1948 he made a triumphant comeback with his most successful musical, Kiss Me, Kate. It won the first Tony Award for Best Musical.

Porter’s other musicals include Fifty Million Frenchmen, DuBarry Was a Lady, Anything Goes, Can-Can and Silk Stockings. His numerous hit songs include “Night and Day”, “Begin the Beguine”, “I Get a Kick Out of You”, “Well, Did You Evah!”, “I’ve Got You Under My Skin”, “My Heart Belongs to Daddy” and “You’re the Top”. He also composed scores for films from the 1930s to the 1950s, including Born to Dance (1936), which featured the song “You’d Be So Easy to Love”; Rosalie (1937), which featured “In the Still of the Night”; High Society (1956), which included “True Love”; and Les Girls (1957).

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Life and career

Early years

Porter was born in Peru, Indiana, the only surviving child of a wealthy family. His father, Samuel Fenwick Porter, was a druggist by trade. His mother, Kate, was the indulged daughter of James Omar “J. O.” Cole, “the richest man in Indiana”, a coal and timber speculator who dominated the family.   J. O. Cole built the couple a house on his Peru-area property, known as Westleigh Farms. After high school, Porter returned to his childhood home only for occasional visits.

Porter’s strong-willed mother doted on him and began his musical training at an early age. He learned the violin at age six, the piano at eight, and wrote his first operetta (with help from his mother) at ten. She falsified his recorded birth year, changing it from 1891 to 1893 to make him appear more precocious. His father, a shy and unassertive man, played a lesser role in Porter’s upbringing, although as an amateur poet, he may have influenced his son’s gifts for rhyme and meter. Porter’s father was also a talented singer and pianist, but the father-son relationship was not close.

J. O. Cole wanted his grandson to become a lawyer, and with that in mind, sent him to Worcester Academy in Massachusetts in 1905. Porter brought an upright piano with him to school and found that music, and his ability to entertain, made it easy for him to make friends. Porter did well in school and rarely came home to visit. He became class valedictorian and was rewarded by his grandfather with a tour of France, Switzerland and Germany. Entering Yale College in 1909, Porter majored in English, minored in music, and also studied French. He was a member of Scroll and Key and Delta Kappa Epsilon fraternity, and contributed to campus humor magazine The Yale Record. He was an early member of the Whiffenpoofs a cappella singing group and participated in several other music clubs; in his senior year, he was elected president of the Yale Glee Club and was its principal soloist.

Porter wrote 300 songs while at Yale,[ including student songs such as the football fight songs “Bulldog”  and “Bingo Eli Yale” (aka “Bingo, That’s The Lingo!”) that are still played at Yale. During college, Porter became acquainted with New York City’s vibrant nightlife, taking the train there for dinner, theater, and nights on the town with his classmates, before returning to New Haven, Connecticut, early in the morning. He also wrote musical comedy scores for his fraternity, the Yale Dramatic Association, and as a student at Harvard – Cora (1911), And the Villain Still Pursued Her (1912), The Pot of Gold (1912), The Kaleidoscope (1913) and Paranoia (1914) – which helped prepare him for a career as a Broadway and Hollywood composer and lyricist. After graduating from Yale, Porter enrolled in Harvard Law School in 1913. He soon felt that he was not destined to be a lawyer, and, at the suggestion of the dean of the law school, switched to Harvard’s music department, where he studied harmony and counterpoint with Pietro Yon. His mother did not object to this move, but it was kept secret from J. O. Cole.

In 1915, Porter’s first song on Broadway, “Esmeralda”, appeared in the revue Hands Up. The quick success was immediately followed by failure: his first Broadway production, in 1916, See America First, a “patriotic comic opera” modeled on Gilbert and Sullivan, with a book by T. Lawrason Riggs, was a flop, closing after two weeks. Porter spent the next year in New York City before going overseas during World War I.

Paris and marriage

In 1917, when the United States entered World War I, Porter moved to Paris to work with the Duryea Relief organization. Some writers have been skeptical about Porter’s claim to have served in the French Foreign Legion, but the Legion lists Porter as one of its soldiers and displays his portrait at its museum in Aubagne. By some accounts, he served in North Africa and was transferred to the French Officers School at Fontainebleau, teaching gunnery to American soldiers. An obituary notice in The New York Times stated that, while in the Legion, “he had a specially constructed portable piano made for him so that he could carry it on his back and entertain the troops in their bivouacs.” Another account, given by Porter, is that he joined the recruiting department of the American Aviation Headquarters, but, according to his biographer Stephen Citron, there is no record of his joining this or any other branch of the forces.

Porter maintained a luxury apartment in Paris, where he entertained lavishly. His parties were extravagant and scandalous, with “much gay and bisexual activity, Italian nobility, cross-dressing, international musicians and a large surplus of recreational drugs”. In 1918, he met Linda Lee Thomas, a rich, Louisville, Kentucky-born divorcée eight years his senior. She was beautiful and well-connected socially; the couple shared mutual interests, including a love of travel, and she became Porter’s confidante and companion. The couple married the following year. She was in no doubt about Porter’s homosexuality, but it was mutually advantageous for them to marry. For Linda, it offered continued social status and a partner who was the antithesis of her abusive first husband. For Porter, it brought a respectable heterosexual front in an era when homosexuality was not publicly acknowledged. They were, moreover, genuinely devoted to each other and remained married from December 19, 1919, until her death in 1954. Linda remained protective of her social position and, believing that classical music might be a more prestigious outlet than Broadway for her husband’s talents, tried to use her connections to find him suitable teachers, including Igor Stravinsky, but was unsuccessful. Finally, Porter enrolled at the Schola Cantorum in Paris, where he studied orchestration and counterpoint with Vincent d’Indy. Meanwhile, Porter’s first big hit was the song “Old-Fashioned Garden” from the revue Hitchy-Koo in 1919. In 1920, he contributed the music of several songs to the musical A Night Out.

Marriage did not diminish Porter’s taste for extravagant luxury. The Porter home on the rue Monsieur near Les Invalides was a palatial house with platinum wallpaper and chairs upholstered in zebra skin. In 1923, Porter came into an inheritance from his grandfather, and the Porters began living in rented palaces in Venice. He once hired the entire Ballets Russes to entertain his guests, and for a party at Ca’ Rezzonico, which he rented for $4,000 a month ($60,000 in current value), he hired 50 gondoliers to act as footmen and had a troupe of tightrope walkers perform in a blaze of lights. In the midst of this extravagant lifestyle, Porter continued to write songs with his wife’s encouragement.

Porter received few commissions for songs in the years immediately after his marriage. He had the occasional number interpolated into other writers’ revues in Britain and the U.S. For a C. B. Cochran show in 1921, he had two successes with the comedy numbers “The Blue Boy Blues” and “Olga, Come Back to the Volga”. In 1923, in collaboration with Gerald Murphy, he composed a short ballet, originally titled Landed and then Within the Quota, satirically depicting the adventures of an immigrant to America who becomes a film star. The work, written for the Ballets suédois, lasts about 16 minutes. It was orchestrated by Charles Koechlin and shared the same opening night as Milhaud’s La création du monde. Porter’s work was one of the earliest symphonic jazz-based compositions, predating George Gershwin’s Rhapsody in Blue by four months, and was well received by both French and American reviewers after its premiere at the Théâtre des Champs-Élysées in October 1923.

After a successful New York performance the following month, the Ballets suédois toured the work in the U.S., performing it 69 times. A year later the company disbanded, and the score was lost until it was reconstructed from Porter’s and Koechlin’s manuscripts between 1966 and 1990, with help from Milhaud and others. Porter had less success with his work on The Greenwich Village Follies (1924). He wrote most of the original score, but his songs were gradually dropped during the Broadway run, and by the time of the post-Broadway tour in 1925, all his numbers had been deleted. Frustrated by the public response to most of his work, Porter nearly gave up songwriting as a career, although he continued to compose songs for friends and perform at private parties.

Broadway and West End success

At the age of 36, Porter reintroduced himself to Broadway in 1928 with the musical Paris, his first hit. It was commissioned by E. Ray Goetz at the instigation of Goetz’s wife and the show’s star, Irène Bordoni. She had wanted Rodgers and Hart to write the songs, but they were unavailable, and Porter’s agent persuaded Goetz to hire Porter instead. In August 1928, Porter’s work on the show was interrupted by the death of his father. He hurried back to Indiana to comfort his mother before returning to work. The songs for the show included “Let’s Misbehave” and one of his best-known list songs, “Let’s Do It”, which was introduced by Bordoni and Arthur Margetson. The show opened on Broadway on October 8, 1928. The Porters did not attend the first night because Porter was in Paris supervising another show for which he had been commissioned, La Revue, at a nightclub. This was also a success, and, in Citron’s phrase, Porter was finally “accepted into the upper echelon of Broadway songwriters”. Cochran now wanted more from Porter than isolated extra songs; he planned a West End extravaganza similar to Ziegfeld’s shows, with a Porter score and a large international cast led by Jessie Matthews, Sonnie Hale and Tilly Losch. The revue, Wake Up and Dream, ran for 263 performances in London, after which Cochran transferred it to New York in 1929. On Broadway, business was badly affected by the 1929 Wall Street crash, and the production ran for only 136 performances. From Porter’s point of view, it was nonetheless a success, as his song “What Is This Thing Called Love?” became immensely popular.

Porter’s new fame brought him offers from Hollywood, but because his score for Paramount’s The Battle of Paris was undistinguished, and its star, Gertrude Lawrence, was miscast, the film was not a success. Citron expresses the view that Porter was not interested in cinema and “noticeably wrote down for the movies.” Still on a Gallic theme, Porter’s last Broadway show of the 1920s was Fifty Million Frenchmen (1929), for which he wrote 28 numbers, including “You Do Something to Me”, “You’ve Got That Thing” and “The Tale of the Oyster”. The show received mixed notices. One critic wrote, “the lyrics alone are enough to drive anyone but P. G. Wodehouse into retirement”, but others dismissed the songs as “pleasant” and “not an outstanding hit song in the show”. As it was a lavish and expensive production, nothing less than full houses would suffice, and after only three weeks, the producers announced that they would close it. Irving Berlin, who admired and championed Porter, took out a paid press advertisement calling the show “The best musical comedy I’ve heard in years. … One of the best collections of song numbers I have ever listened to”. This saved the show, which ran for 254 performances, considered a successful run at the time.

1930s

Ray Goetz, producer of Paris and Fifty Million Frenchmen, the success of which had kept him solvent when other producers were bankrupted by the post-crash slump in Broadway business, invited Porter to write a musical show about the other city that he knew and loved: New York. Goetz offered the team with whom Porter had last worked: Herbert Fields writing the book and Porter’s old friend Monty Woolley directing. The New Yorkers (1930) acquired instant notoriety for including a song about a streetwalker, “Love for Sale”. Originally performed by Kathryn Crawford in a street setting, critical disapproval led Goetz to reassign the number to Elisabeth Welch in a nightclub scene. The lyric was considered too explicit for radio at the time, though it was recorded and aired as an instrumental and rapidly became a standard. Porter often referred to it as his favorite of his songs. The New Yorkers also included the hit “I Happen to Like New York”.

Next came Fred Astaire’s last stage show, Gay Divorce (1932). It featured a hit that became Porter’s best-known song, “Night and Day”. Despite mixed press (some critics were reluctant to accept Astaire without his previous partner, his sister Adele), the show ran for a profitable 248 performances, and the rights to the film, retitled The Gay Divorcee, were sold to RKO Pictures.[n 10] Porter followed this with a West End show for Gertrude Lawrence, Nymph Errant (1933), presented by Cochran at the Adelphi Theatre, where it ran for 154 performances. Among the hit songs Porter composed for the show were “Experiment” and “The Physician” for Lawrence, and “Solomon” for Elisabeth Welch.

In 1934, producer Vinton Freedley came up with a new approach to producing musicals. Instead of commissioning book, music and lyrics and then casting the show, Freedley sought to create an ideal musical with stars and writers all engaged from the outset. The stars he wanted were Ethel Merman, William Gaxton and comedian Victor Moore. He planned a story about a shipwreck and a desert island, and for the book he turned to P. G. Wodehouse and Guy Bolton. For the songs, he decided on Porter. By telling each of these that he had already signed the others, Freedley gathered his ideal team together.[n 11] A drastic last-minute rewrite was necessitated by a major shipping accident that dominated the news and made Bolton and Wodehouse’s book seem tasteless. Nevertheless, the show, Anything Goes, was an immediate hit. Porter wrote what many consider his greatest score of this period. The New Yorker magazine’s review said, “Mr. Porter is in class by himself”, and Porter subsequently called it one of his two perfect shows, along with the later Kiss Me, Kate. Its songs include “I Get a Kick Out of You”, “All Through the Night”, “You’re the Top” (one of his best-known list songs), and “Blow, Gabriel, Blow”, as well as the title number. The show ran for 420 performances in New York (a particularly long run in the 1930s) and 261 in London. Porter, despite his lessons in orchestration from d’Indy, did not orchestrate his musicals. Anything Goes was orchestrated by Robert Russell Bennett and Hans Spialek. Now at the height of his success, Porter was able to enjoy the opening night of his musicals; he made grand entrances and sat in front, apparently relishing the show as much as any audience member. Russel Crouse commented “Cole’s opening-night behaviour is as indecent as that of a bridegroom who has a good time at his own wedding.”

Anything Goes was the first of five Porter shows featuring Merman. He loved her loud, brassy voice and wrote many numbers that displayed her strengths. Jubilee (1935), written with Moss Hart while on a cruise around the world, was not a major hit, running for only 169 performances, but it featured two songs that have since become standards, “Begin the Beguine” and “Just One of Those Things”. Red, Hot and Blue (1936), featuring Merman, Jimmy Durante and Bob Hope, ran for 183 performances and introduced “It’s De-Lovely”, “Down in the Depths (on the Ninetieth Floor)”, and “Ridin’ High”. The relative failure of these shows convinced Porter that his songs did not appeal to a broad enough audience. In an interview, he said “Sophisticated allusions are good for about six weeks … more fun, but only for myself and about eighteen other people, all of whom are first-nighters anyway. Polished, urbane and adult playwriting in the musical field is strictly a creative luxury.”

Porter also wrote for Hollywood in the mid-1930s. His scores include those for the Metro-Goldwyn-Mayer films Born to Dance (1936), with James Stewart, featuring “You’d Be So Easy to Love” and “I’ve Got You Under My Skin”, and Rosalie (1937), featuring “In the Still of the Night”. He wrote the score of the short film Paree, Paree, in 1935, using some of the songs from Fifty Million Frenchmen. Porter also composed the cowboy song “Don’t Fence Me In” for Adios, Argentina, an unproduced movie, in 1934, but it did not become a hit until Roy Rogers sang it in the 1944 film Hollywood Canteen. Bing Crosby, The Andrews Sisters, and other artists also popularized it in the 1940s. The Porters moved to Hollywood in December 1935, but Porter’s wife did not like the movie environment, and Porter’s homosexual peccadillos, formerly very discreet, became less so; she retreated to their Paris house. When his film a*signment on Rosalie was finished in 1937, Porter hastened to Paris to make peace with Linda, but she remained cool. After a walking tour of Europe with his friends, Porter returned to New York in October 1937 without her. They were soon reunited by an accident Porter suffered.

On October 24, 1937, Porter was riding with Countess Edith di Zoppola and Duke Fulco di Verdura at Piping Rock Club in Locust Valley, New York, when his horse rolled on him and crushed his legs, leaving him substantially crippled and in constant pain for the rest of his life. Though doctors told Porter’s wife and mother that his right leg would have to be amputated, and possibly the left one as well, he refused to have the procedure. Linda rushed from Paris to be with him, and supported him in his refusal of amputation. He remained in the hospital for seven months before being allowed to go home to his apartment at the Waldorf Towers. He resumed work as soon as he could, finding it took his mind off his perpetual pain.

Porter’s first show after his accident was not a success. You Never Know (1938), starring Clifton Webb, Lupe Vélez and Libby Holman, ran for only 78 performances. The score included the songs “From Alpha to Omega” and “At Long Last Love”.[78] He returned to success with Leave It to Me! (1938); the show introduced Mary Martin, singing “My Heart Belongs to Daddy”, and other numbers included “Most Gentlemen Don’t Like Love” and “From Now On”. Porter’s last show of the 1930s was DuBarry Was a Lady (1939), a particularly risqué show starring Merman and Bert Lahr. After a pre-Broadway tour, during which it ran into trouble with Boston censors, it achieved 408 performances, beginning at the 46th Street Theatre. The score included “But in the Morning, No” (which was banned from the airwaves), “Do I Love You?”, “Well, Did You Evah!”, “Katie Went to Haiti” and another of Porter’s up-tempo list songs, “Friendship”. At the end of 1939, Porter contributed six songs to the film Broadway Melody of 1940 for Fred Astaire, George Murphy and Eleanor Powell.

Meanwhile, as political unrest increased in Europe, Porter’s wife closed their Paris house in 1939, and the next year bought a country home in the Berkshire mountains, near Williamstown, Massachusetts, which she decorated with elegant furnishings from their Paris home. Porter spent time in Hollywood, New York and Williamstown.

1940s and postwar

Panama Hattie (1940) was Porter’s longest-running hit so far, running in New York for 501 performances despite the absence of any enduring Porter songs. It starred Merman, Arthur Treacher and Betty Hutton. Let’s Face It! (1941), starring Danny Kaye, had an even better run, with 547 performances in New York.[87] This, too, lacked any numbers that became standards, and Porter always counted it among his lesser efforts.[88] Something for the Boys (1943), starring Merman, ran for 422 performances, and Mexican Hayride (1944), starring Bobby Clark, with June Havoc, ran for 481 performances. These shows, too, are short of Porter standards. The critics did not pull their punches, complaining about the lack of hit tunes and the generally low standard of the scores. After two flops, Seven Lively Arts (1944) (which featured the standard “Ev’ry Time We Say Goodbye”) and Around the World (1946), many thought that Porter’s best period was over.

Between Broadway musicals, Porter continued to write for Hollywood. His film scores of this period were You’ll Never Get Rich (1941) with Astaire and Rita Hayworth, Something to Shout About (1943) with Don Ameche, Janet Blair and William Gaxton, and Mississippi Belle (1943–44), which was abandoned before filming began. He also cooperated in the making of the film Night and Day (1946), a largely fictional biography of Porter, with Cary Grant implausibly cast in the lead. The critics scoffed, but the film was a huge success, chiefly because of the wealth of vintage Porter numbers in it. The biopic’s success contrasted starkly with the failure of Vincente Minnelli’s film The Pirate (1948), with Judy Garland and Gene Kelly, in which five new Porter songs received little attention.

From this low spot, Porter made a conspicuous comeback in 1948 with Kiss Me, Kate. It was by far his most successful show, running for 1,077 performances in New York and 400 in London. The production won the Tony Award for Best Musical (the first Tony awarded in that category), and Porter won for best composer and lyricist. The score includes “Another Op’nin’, Another Show”, “Wunderbar”, “So In Love”, “We Open in Venice”, “Tom, Dick or Harry”, “I’ve Come to Wive It Wealthily in Padua”, “Too Darn Hot”, “Always True to You (in My Fashion)”, and “Brush Up Your Shakespeare”.

Porter began the 1950s with Out of This World (1950), which had some good numbers but too much camp and vulgarity, and was not greatly successful. His next show, Can-Can (1952), featuring “C’est Magnifique” and “It’s All Right with Me”, was another hit, running for 892 performances. Porter’s last original Broadway production, Silk Stockings (1955), featuring “All of You”, was also successful, with a run of 477 performances. Porter wrote two more film scores and music for a television special before ending his Hollywood career. The film High Society (1956), starring Bing Crosby, Frank Sinatra and Grace Kelly, included Porter’s last major hit song “True Love”. It was adapted as a stage musical of the same name. Porter also wrote numbers for the film Les Girls (1957), which starred Gene Kelly. His final score was for the CBS television special Aladdin (1958).

Last years

Porter’s mother died in 1952, and his wife died of emphysema in 1954. By 1958, Porter’s injuries caused a series of ulcers on his right leg. After 34 operations, it had to be amputated and replaced with an artificial limb. His friend Noël Coward visited him in the hospital and wrote in his diary, “The lines of ceaseless pain have been wiped from his face…I am convinced that his whole life will cheer up and that his work will profit accordingly.” In fact, Porter never wrote another song after the amputation and spent the remaining six years of his life in relative seclusion, seeing only intimate friends. He continued to live in the Waldorf Towers in New York in his memorabilia-filled apartment. On weekends, he often visited an estate in the Berkshires, and he stayed in California during the summers.

Porter died of kidney failure on October 15, 1964, in Santa Monica, California, at the age of 73. He is interred in Mount Hope Cemetery in his native Peru, Indiana, between his wife and father.

Tributes and legacy

Many artists have recorded Porter songs, and dozens have released entire albums of his songs. In 1956, jazz singer Ella Fitzgerald released Ella Fitzgerald Sings the Cole Porter Songbook. In 1972, she released another collection, Ella Loves Cole. Among the many album collections of Porter songs are the following: Oscar Peterson Plays the Cole Porter Songbook (1959); Anita O’Day Swings Cole Porter with Billy May (1959); All Through the Night: Julie London Sings the Choicest of Cole Porter (1965); Rosemary Clooney Sings the Music of Cole Porter (1982); and Anything Goes: Stephane Grappelli & Yo-Yo Ma Play (Mostly) Cole Porter (1989). In 1990 Dionne Warwick released Dionne Sings Cole Porter. In that same year, Red Hot + Blue was released as a benefit CD for AIDS research and featured 20 Cole Porter songs recorded by artists such as U2 and Annie Lennox.

Additional recording collections include Frank Sinatra Sings the Select Cole Porter (1996) and John Barrowman Swings Cole Porter (2004); Barrowman played “Jack” in the 2004 film De-Lovely. Other singers who have paid tribute to Porter include the Swedish pop music group Gyllene Tider, which recorded a song called “Flickan i en Cole Porter-sång” (“That Girl from the Cole Porter Song”) in 1982. He is referenced in the merengue song “The Call of the Wild” by David Byrne on his 1989 album Rei Momo. He also is mentioned in the song “Tonite It Shows” by Mercury Rev on their 1998 album Deserter’s Songs.

In 1965, Judy Garland performed a medley of Porter’s songs at the 37th Academy Awards shortly after Porter’s death. In 1980, Porter’s music was used for the score of Happy New Year, based on the Philip Barry play Holiday. The cast of The Carol Burnett Show paid a tribute to Porter in a humorous sketch in their CBS television series. You’re the Top: The Cole Porter Story, a video of archival material and interviews, and Red, Hot and Blue, a video of artists performing Porter’s music, were released in 1990 to celebrate the one hundredth anniversary of Porter’s birth. In contrast to the highly embellished 1946 screen biography Night and Day, Porter’s life was chronicled more realistically in De-Lovely, a 2004 Irwin Winkler film starring Kevin Kline as Porter and Ashley Judd as Linda. The soundtrack to De-Lovely includes Porter songs sung by Alanis Morissette, Sheryl Crow, Elvis Costello, Diana Krall and Natalie Cole, among others. Porter also appears as a character in Woody Allen’s 2011 film Midnight in Paris.

Many events commemorated the centenary of Porter’s birth, including the halftime show of the 1991 Orange Bowl. Joel Grey and a large cast of singers, dancers and marching bands, performed a tribute to Porter in Miami, Florida during the 57th King Orange Jamboree parade, whose theme was “Anything Goes”. The Indianapolis Symphony Orchestra performed a program of Cole Porter music at the Circle Theatre in Indianapolis, which also featured clips of Porter’s Hollywood films. “A Gala Birthday Concert” was held at New York City’s Carnegie Hall, with more than 40 entertainers and friends paying tribute to Porter’s long career in theater and film. In addition, the U.S. Postal Service issued a commemorative postage stamp honoring Porter’s birth. The Indiana University Opera performed Porter’s musical, Jubilee, in Bloomington, Indiana.

In May 2007, a star on the Hollywood Walk of Fame was dedicated to Cole Porter. In December 2010, his portrait was added to the Hoosier Heritage Gallery in the office of the Governor of Indiana. Numerous symphony orchestras have paid tribute to Porter in the years since his death including Seattle Symphony Orchestra, with Marvin Hamlisch as conductor and the Boston Pops, both in 2011. In 2012, Marvin Hamlisch, Michael Feinstein, and the Dallas Symphony Orchestra honored Porter with a concert that included his familiar classics. The Cole Porter Festival is held every year in June in his hometown of Peru, Indiana, to foster music and art appreciation. Costumed singers in the cabaret-style Cole Porter Room at the Indiana Historical Society’s Eugene and Marilyn Glick Indiana History Center in Indianapolis take requests from visitors and perform Porter’s hit songs. After Porter’s death, his 1908 Steinway grand piano, which he had used when composing since the mid-1930s, was displayed and played in the lobby of the Waldorf-Astoria Hotel until 2017. As of late 2018, it was being rebuilt, after which it will reside, temporarily, at the New-York Historical Society. Porter is a member of the American Theater Hall of Fame  and Great American Songbook Hall of Fame, which recognized his “musically complex [songs] with witty, urbane lyrics”. In 2014, Porter was honored with a plaque on the Legacy Walk in Chicago, which celebrates LGBT achievers.

Lyrics


Wes Farrell

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Wes Farrell (December 21, 1939 – February 29, 1996) was an American musician, songwriter and record producer, who was most active in the 1960s and 1970s.

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Career

Farrell’s catalogue includes close to 500 songs that he wrote, produced, or published. One of his earliest successes, “Boys” (co-written with Luther Dixon), appeared on the B-side of the Shirelles’ number-one 1960 hit “Will You Love Me Tomorrow”, and in 1963 was covered by the Beatles for their debut album Please Please Me. Farrell’s biggest chart hit as a composer – the McCoys’ 1965 US #1 single “Hang On Sloopy” (a reworking of “My Girl Sloopy”, co-written with Bert Russell) – remains one of the most performed songs in the history of popular music, according to the RIAA.

Other Farrell pop hits include the Animals’ UK debut single “Baby Let Me Take You Home” (co-written with Bert Russell, #21, 1964) and two 1964 releases for Jay and the Americans: “Come a Little Bit Closer” (co-written with songwriters Tommy Boyce and Bobby Hart, US #3) and “Let’s Lock the Door (And Throw Away the Key)” (with Roy Alfred, US #11 in early 1965). Farrell also co-wrote “Come and Take a Ride in My Boat” (with Jerry Goldstein), slightly reworked in 1967 to provide Every Mother’s Son with their signature hit “Come on Down to My Boat” (US #6). He also co-wrote (with Larry Kusik and Ritchie Adams) the song Happy Summer Days, a hit for Ronnie Dove in 1966.

Farrell’s Top 40 hit “Look What You’ve Done” — first recorded in 1966 by the Pozo Seco Singers — appears on Carla Olson’s 2013 album Have Harmony, Will Travel as a duet with Rob Waller (of I See Hawks in LA).

In 1966, Farrell wrote the theme song for Gammera the Invincible (aka Gamera), the American cut of the first Gamera film .

Success as a producer came in 1968 when Farrell produced “Indian Lake” for the Cowsills. The recording of that song written by Tony Romeo was a top ten hit. He produced three other tracks for that family band, including “Poor Baby” and “The Path of Love”, also written by Romeo. His a*sociation with them continued, to some extent, when he was hired to produce the music for the recordings a*sociated with the television show that was loosely based on their life and career. That show, which aired from 1970-1974, “The Partridge Family”, featured the theme song, “C’mon Get Happy” which was written by Farrell (with Danny Janssen). Seven studio albums connected with the show were produced by Farrell.  They included 30 songs which Farrell also co-wrote. Among those songs were “Doesn’t Somebody Want to Be Wanted” (with Jim Cretecos and Mike Appel), and “I’ll Meet You Halfway” (with Gerry Goffin), which were both top ten U.S. hits. Unlike the Cowsills, who were actually featured on their own records, the albums produced under the name of the Partridge Family mostly featured session musicians now known as the Wrecking Crew with backing vocals by the Ron Hicklin Singers. The only cast members who contributed to the recordings were David Cassidy and to a much lesser extent, Shirley Jones.

Other recording artists Farrell produced were Elephant’s Memory (whose songs “Jungle Gym at the Zoo” and “Old Man Willow” appeared in the movie Midnight Cowboy) and singer Lulu (two 1970s albums).

Farrell founded Chelsea Records in 1972.

Personal life

Farrell was born in 1939 in New York City, New York. In 1965 he married Joan Arthurs, and they had a daughter, named Dawn. Farrell and Arthurs divorced in 1972. He was married to actress/singer Tina Sinatra (daughter of Frank) in 1974, and to actress Pamela Hensley in 1979; both marriages ended in divorce. Farrell was later married to real estate mogul Jean Inman and had two children, named Wesley and Sky. (Sky, a collage artist, died 29 Apr 2014 at age 28.) Farrell died of cancer aged 56 in 1996 in Coconut Grove, Florida.

Lyrics


Hank Williams

Key: Any

Genre: General

Harp Type: Any

Skill: Any

HiramHankWilliams (September 17, 1923 – January 1, 1953) was an American singer-songwriter and musician. Regarded as one of the most significant and influential American singers and songwriters of the 20th century, Williams recorded 35 singles (five released posthumously) that reached the Top 10 of the Billboard Country & Western Best Sellers chart, including 11 that ranked number one (three posthumously).

Born in Mount Olive, Butler County, Alabama, Williams relocated to Georgiana with his family, where he met Rufus Payne, an African American blues musician, who gave him guitar lessons in exchange for meals or money. Payne had a major influence on Williams’ later musical style, along with Roy Acuff and Ernest Tubb. Williams would later relocate to Montgomery, where he began his music career in 1937, when producers at radio station WSFA hired him to perform and host a 15-minute program. He formed the Drifting Cowboys backup band, which was managed by his mother, and dropped out of school to devote his time to his career.

When several of his band members were conscripted into military service during World War II, Williams had trouble with their replacements, and WSFA terminated his contract because of his alcohol abuse. Williams eventually married Audrey Sheppard, who was his manager for nearly a decade. After recording “Never Again” and “Honky Tonkin’” with Sterling Records, he signed a contract with MGM Records. In 1947, he released “Move It on Over”, which became a hit, and also joined the Louisiana Hayride radio program.

One year later, he released a cover of “Lovesick Blues” recorded at Herzog Studio in Cincinnati, which carried him into the mainstream of music. After an initial rejection, Williams joined the Grand Ole Opry. He was unable to read or notate music to any significant degree. Among the hits he wrote were “Your Cheatin’ Heart”, “Hey, Good Lookin’”, and “I’m So Lonesome I Could Cry”.

Years of back pain, alcoholism and prescription drug abuse severely compromised his health. In 1952 he divorced Sheppard and was dismissed by the Grand Ole Opry because of his unreliability and alcohol abuse. On New Year’s Day 1953, he died suddenly while traveling to a concert in Canton, Ohio, at the age of 29. Despite his brief life, Williams is one of the most celebrated and influential popular musicians of the 20th century, especially in country music.

Many artists covered songs Williams wrote and recorded. He influenced Elvis Presley, Johnny Cash, Chuck Berry, Jerry Lee Lewis, George Jones, Charley Pride and The Rolling Stones, among others. Williams was inducted into the Country Music Hall of Fame (1961), the Songwriters Hall of Fame (1970), and the Rock and Roll Hall of Fame (1987). The Pulitzer Prize jury in 2010 awarded him a posthumous special citation “for his craftsmanship as a songwriter who expressed universal feelings with poignant simplicity and played a pivotal role in transforming country music into a major musical and cultural force in American life.”

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Early life

Williams was born in Butler County, Alabama. His parents were Jessie Lillybelle “Lillie” (née Skipper) (1898 – 1955) and Elonzo Huble “Lon” Williams (1891 – 1970), who was of Welsh, Irish, Scottish, English, French, Swiss and German ancestry. Elonzo Williams worked as an engineer for the railroads of the W. T. Smith lumber company. He was drafted during World War I, serving from July 1918 until June 1919. He was severely injured after falling from a truck, breaking his collarbone and suffering a severe blow to the head.

After his return, the family’s first child, Ernest Huble Williams (July 5, 1921 – July 7, 1921), died shortly after birth. Their daughter Irene was born on August 8, 1922 (died 1995). Their third child, Hiram, was born on September 17, 1923, in Mount Olive.[ Since Elonzo Williams was a Mason, and his wife was a member of the Order of the Eastern Star, the child was named after Hiram I of Tyre (one of the three founders of the Masons, according to Masonic legend). His name was misspelled as “Hiriam” on his birth certificate, which was prepared and signed when Hank was about 10 years old.

As a child, he was nicknamed “Harm” by his family and “Herky” or “Poots” by his friends.  He was born with spina bifida occulta, a birth defect, centered on the spinal column, which gave him lifelong pain – a factor in his later abuse of alcohol and drugs. Williams’ father was frequently relocated by the lumber company railway for which he worked, and the family lived in many southern Alabama towns. In 1930, when Williams was seven years old, his father began suffering from facial paralysis. At a Veterans Affairs (VA) clinic in Pensacola, Florida, doctors determined that the cause was a brain aneurysm, and Elonzo was sent to the VA Medical Center in Alexandria, Louisiana. He remained hospitalized for eight years, rendering him mostly absent throughout Williams’ childhood. From that time on, Lillie Williams a*sumed responsibility for the family.

In the fall of 1934, the Williams family moved to Greenville, Alabama, where Lillie opened a boarding house next to the Butler County courthouse. In 1935, the family settled in Garland, Alabama and Lillie opened a new boarding house; after a while they moved with his cousin Opal McNeil to Georgiana, Alabama, where Lillie managed to find several side jobs to support her children despite the bleak economic climate of the Great Depression. She worked in a cannery and served as a night-shift nurse in the local hospital.

Their first house burned, and the family lost their possessions. They moved to a new house on the other side of town on Rose Street, which Williams’ mother soon turned into a boarding house. The house had a small garden, on which they grew diverse crops that Williams and his sister Irene sold around Georgiana. At a chance meeting in Georgiana, Hank Williams met U.S. Representative J. Lister Hill while he was campaigning across Alabama. Williams told Hill that his mother was interested to talk with him about his problems and her need to collect Elonzo Williams’s disability pension. With Hill’s help, the family began collecting the money. Despite his medical condition, the family managed fairly well financially throughout the Great Depression.

There are several versions of how Williams got his first guitar. His mother stated that she bought it with money from selling peanuts, but many other prominent residents of the town claimed to have been the one who purchased the guitar for him. While living in Georgiana, Williams met Rufus “Tee-Tot” Payne, a street performer. Payne gave Williams guitar lessons in exchange for meals prepared by Lillie Williams or money. Payne’s base musical style was blues.

He taught Williams chords, chord progressions, bass turns, and the musical style of accompaniment that he would use in most of his future songwriting. Later on, Williams recorded one of the songs that Payne taught him, “My Bucket’s Got a Hole in It”. Williams’ musical style contained influences from Payne along with several other country influences, among them “the Singing Brakeman” Jimmie Rodgers, Moon Mullican, and Roy Acuff. In 1937, Williams got into a physical altercation with his physical education coach about exercises the coach wanted him to do. His mother subsequently demanded that the school board terminate the coach; when they refused, the family moved to Montgomery, Alabama. Payne and Williams lost touch, though Payne also moved to Montgomery eventually, where he died in poverty in 1939. Williams later credited him as his only teacher.

Career

Early career

In July 1937, the Williams and McNeil families opened a boarding house on South Perry Street in downtown Montgomery. It was at this time that Williams decided to change his name informally from Hiram to Hank. As Williams told the story about it in his later concerts, the name change was supposedly all because of a cat’s yowling, though, as the authors of Hank Williams: The Biography point out, “Hank” simply sounds more like a hillbilly and western star than “Hiram”. During the same year, he participated in a talent show at the Empire Theater. He won the first prize of $15, singing his first original song “WPA Blues”. Williams wrote the lyrics and used the tune of Riley Puckett’s “Dissatisfied”.

He never learned to read music and, for the rest of his career, based his compositions in storytelling and personal experience. After school and on weekends, Williams sang and played his Silvertone guitar on the sidewalk in front of the WSFA radio studio.[ His recent win at the Empire Theater and the street performances caught the attention of WSFA producers who occasionally invited him to perform on air. So many listeners contacted the radio station asking for more of “the singing kid”, possibly influenced by his mother, that the producers hired him to host his own 15-minute show twice a week for a weekly salary of US$15 (equivalent to US$266.8 in 2020).

In August 1938, Elonzo Williams was temporarily released from the hospital. He showed up unannounced at the family’s home in Montgomery. Lillie was unwilling to let him reclaim his position as the head of the household, so he stayed only long enough to celebrate Hank’s birthday in September before he returned to the medical center in Louisiana. Hank’s mother had claimed that he was dead.

Williams’ successful radio show fueled his entry into a music career. His salary was enough for him to start his own band, which he dubbed the Drifting Cowboys. The original members were guitarist Braxton Schuffert, fiddler Freddie Beach, and comedian Smith “Hezzy” Adair. James E. (Jimmy) Porter was the youngest, being only 13 when he started playing steel guitar for Williams. Arthur Whiting was also a guitarist for the Drifting Cowboys. The band traveled throughout central and southern Alabama performing in clubs and at private gatherings. James Ellis Garner later played fiddle for him. Lillie Williams became the Drifting Cowboys’ manager. Williams dropped out of school in October 1939 so that he and the Drifting Cowboys could work full-time.[ Lillie Williams began booking show dates, negotiating prices and driving them to some of their shows. Now free to travel without Williams’ schooling taking precedence, the band could tour as far away as western Georgia and the Florida Panhandle. The band started playing in theaters before the start of the movies and later in honky-tonks. Williams’ alcohol use started to become a problem during the tours; on occasion he spent a large part of the show revenues on alcohol. Meanwhile, between tour schedules, Williams returned to Montgomery to host his radio show.

1940s

The American entry into World War II in 1941 marked the beginning of hard times for Williams. While he received a 4-F deferment from the military for his back after falling from a bull during a rodeo in Texas, his band members were all drafted to serve. Many of their replacements refused to play in the band due to Williams’ worsening alcoholism. He continued to show up for his radio show intoxicated, so in August 1942 the WSFA radio station fired him for “habitual drunkenness”. During one of his concerts, Williams met his idol, Grand Ole Opry star Roy Acuff backstage, who later warned him of the dangers of alcohol, saying, “You’ve got a million-dollar talent, son, but a ten-cent brain.”

He worked for the rest of the war for a shipbuilding company in Mobile, Alabama, as well as singing in bars for soldiers. In 1943, Williams met Audrey Sheppard at a medicine show in Banks, Alabama. Williams and Sheppard lived and worked together in Mobile. Sheppard later told Williams that she wanted to move to Montgomery with him and start a band together and help him regain his radio show. The couple were married in 1944 at a Texaco Station in Andalusia, Alabama, by a justice of the peace. The marriage was declared illegal, since Sheppard’s divorce from her previous husband did not comply with the legally required 60-day trial reconciliation.

In 1945, when he was back in Montgomery, Williams started to perform again for the WSFA radio station. He wrote songs weekly to perform during the shows. As a result of the new variety of his repertoire, Williams published his first songbook, Original Songs of Hank Williams. The book only listed lyrics, since its main purpose was to attract more audiences, though it is also possible that he did not want to pay for transcribing the notes. It included 10 songs: “Mother Is Gone”, “Won’t You Please Come Back”, “My Darling Baby Girl” (with Audrey Sheppard), “Grandad’s Musket”, “I Just Wish I Could Forget”, “Let’s Turn Back the Years”, “Honkey-Tonkey”, “I Loved No One But You”, “A Tramp on the Street”, and “You’ll Love Me Again”. With Williams beginning to be recognized as a songwriter, Sheppard became his manager and occasionally accompanied him on duets in some of his live concerts.

On September 14, 1946, Williams auditioned for Nashville’s Grand Ole Opry, but was rejected. After the failure of his audition, Williams and Audrey Sheppard attempted to interest the recently formed music publishing firm Acuff-Rose Music. Williams and his wife approached Fred Rose, the president of the company, during one of his habitual ping-pong games at WSM radio studios. Audrey Williams asked Rose if her husband could sing a song for him on that moment, Rose agreed, and he liked Williams’ musical style. Rose signed Williams to a six-song contract, and leveraged this deal to sign Williams with Sterling Records. On December 11, 1946, in his first recording session, he recorded “Wealth Won’t Save Your Soul”, “Calling You”, “Never Again (Will I Knock on Your Door)”, and “When God Comes and Gathers His Jewels”, which was misprinted as “When God Comes and Fathers His Jewels”. The recordings “Never Again” and “Honky Tonkin’” became successful, and earned Williams the attention of MGM Records.

Williams signed with MGM Records in 1947 and released “Move It on Over”; considered an early example of rock and roll music, the song became a massive country hit. In 1948, he moved to Shreveport, Louisiana, and he joined the Louisiana Hayride, a radio show broadcast that propelled him into living rooms all over the Southeast appearing on weekend shows. Williams eventually started to host a show on KWKH and started touring across western Louisiana and eastern Texas, always returning on Saturdays for the weekly broadcast of the Hayride. After a few more moderate hits, in 1949 he released his version of the 1922 Cliff Friend and Irving Mills song “Lovesick Blues”,[48] made popular by Rex Griffin. Williams’ version became a huge country hit; the song stayed at number one on the Billboard charts for four consecutive months, crossing over to mainstream audiences and gaining Williams a place in the Grand Ole Opry. On June 11, 1949, Williams made his debut at the Grand Ole Opry, where he became the first performer to receive six encores. He brought together Bob McNett (guitar), Hillous Butrum (bass), Jerry Rivers (fiddle) and Don Helms (steel guitar) to form the most famous version of the Drifting Cowboys, earning an estimated US$1,000 per show (equivalent to US$10,745.5 in 2020). That year Audrey Williams gave birth to Randall Hank Williams (Hank Williams Jr.). During 1949, he joined the first European tour of the Grand Ole Opry, performing in military bases in England, Germany and the Azores. Williams released seven hit songs after “Lovesick Blues”, including “Wedding Bells”, “Mind Your Own Business”, “You’re Gonna Change (Or I’m Gonna Leave)”, and “My Bucket’s Got a Hole in It”.

1950s

In 1950, Williams began recording as “Luke the Drifter” for his religious-themed recordings, many of which are recitations rather than singing. Fearful that disc jockeys and jukebox operators would hesitate to accept these unusual recordings, Williams used this alias to avoid hurting the marketability of his name. Although the real identity of Luke the Drifter was supposed to be anonymous, Williams often performed part of the material of the recordings on stage. Most of the material was written by Williams himself, in some cases with the help of Fred Rose and his son Wesley. The songs depicted Luke the Drifter traveling around from place to place, narrating stories of different characters and philosophizing about life. Some of the compositions were accompanied by a pipe organ.

Around this time Williams released more hit songs, such as “My Son Calls Another Man Daddy”, “They’ll Never Take Her Love from Me”, “Why Should We Try Anymore”, “Nobody’s Lonesome for Me”, “Long Gone Lonesome Blues”, “Why Don’t You Love Me”, “Moanin’ the Blues”, and “I Just Don’t Like This Kind of Living”.  In 1951, “Dear John” became a hit, but it was the flip side, “Cold, Cold Heart”, that became one of his most recognized songs. A pop cover version by Tony Bennett released the same year stayed on the charts for 27 weeks, peaking at number one.

Williams’ career reached a peak in the late summer of 1951 with his Hadacol tour of the U.S. with actor Bob Hope and other luminaries. On the weekend after the tour ended, Williams was photographed backstage at the Grand Ole Opry signing a motion picture deal with MGM. In October, Williams recorded a demo, “There’s a Tear in My Beer” for a friend, “Big Bill Lister”, who recorded it in the studio. The demo was later overdubbed by his son, Hank Williams Jr. On November 14, 1951, Williams flew to New York with his steel guitar player Don Helms where he appeared on television for the first time on The Perry Como Show. There he and Perry Como sang “Hey Good Lookin’”. Photos but no existing footage remain of this appearance.

“Ramblin’ Man” was written in 1951 by Williams. It was released as the B-side to the 1953 #1 hit “Take These Chains from My Heart”, as well as to the 1976 re-release of “Why Don’t You Love Me”. It is also included on 40 Greatest Hits, a staple of his CD re-released material.

In November 1951, Williams suffered a fall during a hunting trip with his fiddler Jerry Rivers in Franklin, Tennessee. The fall reactivated his old back pains. He later started to consume painkillers, including morphine, and alcohol to help ease the pain. On May 21, he had been admitted to North Louisiana Sanitarium for the treatment of his alcoholism, leaving on May 24. On December 13, 1951, he had a spinal fusion at the Vanderbilt University Hospital, being released on December 24. During his recovery, he lived with his mother in Montgomery, and later moved to Nashville with Ray Price.

During the spring of 1952, Williams flew to New York with steel guitarist Don Helms, where he made two appearances with other Grand Ole Opry members on The Kate Smith Show. He sang “Cold, Cold Heart”, “Hey Good Lookin””, “Glory Bound Train” and “I Saw the Light” with other cast members, and a duet, “I Can’t Help It (If I’m Still in Love with You)” with Anita Carter. Footage remains of these appearances. That same year, had a brief extramarital affair with dancer Bobbie Jett, with whom he fathered a daughter, Jett Williams (born January 6, 1953, two days after his burial).

In June 1952, he recorded “Jambalaya (On the Bayou)”, “Window Shopping”, “Settin’ the Woods on Fire”, and “I’ll Never Get out of this World Alive”. Audrey Williams divorced him that year; the next day he recorded “You Win Again” and “I Won’t be Home No More”. Around this time, he met Billie Jean Jones, a girlfriend of country singer Faron Young, at the Grand Ole Opry. As a girl, Jones had lived down the street from Williams when he was with the Louisiana Hayride, and now Williams began to visit her frequently in Shreveport, causing him to miss many Grand Ole Opry appearances.

On August 11, 1952, Williams was dismissed from the Grand Ole Opry for habitual drunkenness and missing shows. He returned to Shreveport, Louisiana to perform on KWKH and WBAM shows and in the Louisiana Hayride, for which he toured again. His performances were acclaimed when he was sober, but despite the efforts of his work a*sociates to get him to shows sober, his abuse of alcohol resulted in occasions when he did not appear or his performances were poor. In October 1952 he married Billie Jean Jones.

During his last recording session on September 23, 1952, Williams recorded “Kaw-Liga”, along with “Your Cheatin’ Heart”, “Take These Chains from My Heart”, and “I Could Never be Ashamed of You”. Due to Williams’ excesses, Fred Rose stopped working with him. By the end of 1952, Williams had started to suffer heart problems. He met Horace “Toby” Marshall in Oklahoma City, who said that he was a doctor. Marshall had been previously convicted for forgery, and had been paroled and released from the Oklahoma State Penitentiary in 1951. Among other fake titles, he said that he was a Doctor of Science. He purchased the DSC title for $25 from the Chicago School of Applied Science; in the diploma, he requested that the DSC be spelled out as “Doctor of Science and Psychology”. Under the name of Dr. C. W. Lemon he prescribed Williams with amphetamines, Seconal, chloral hydrate, and morphine, which made his heart problems worse. His final concert was held in Austin, Texas at the Skyline Club on December 19.

Personal life

On December 15, 1944, Williams married Audrey Sheppard. It was her second marriage and his first. Their son, Randall Hank Williams, who would achieve fame in his own right as Hank Williams Jr., was born on May 26, 1949. The marriage, always turbulent, rapidly disintegrated, and Williams developed serious problems with alcohol, morphine, and other painkillers prescribed for him to ease the severe back pain caused by his spina bifida. The couple divorced on May 29, 1952.

In June 1952, Williams moved in with his mother, even as he released numerous hit songs, such as “Half as Much” in April, “Jambalaya (On the Bayou)” in July, “Settin’ the Woods on Fire”/”You Win Again” in September, and “I’ll Never Get Out of This World Alive” in November. His substance abuse problems continued to spiral out of control as he moved to Nashville and officially divorced his wife. A relationship with a woman named Bobbie Jett during this period resulted in a daughter, Jett Williams, who was born five days after Williams’ death. His mother adopted Jett, who was made a ward of the state and then adopted by another couple after her grandmother died. Jett Williams did not learn that she was Hank Williams’ daughter until the early 1980s.

On October 18, 1952, Williams and Billie Jean Jones Eshlimar were married in Minden, Louisiana  by a justice of the peace. It was the second marriage for both (each being divorced with children). The next day, two public ceremonies were also held at the New Orleans Civic Auditorium, where 14,000 seats were sold for each. After Williams’ death, a judge ruled that the wedding was not legal because Jones Eshlimar’s divorce had not become final until 11 days after she married Williams. Williams’ first wife, Audrey, and his mother, Lillie Williams, were the driving forces behind having the marriage declared invalid and pursued the matter for years. Williams had also married Audrey Sheppard before her divorce was final, on the 10th day of a required 60-day reconciliation period.

In the 1952 presidential election campaign, Williams was a vocal supporter of General Dwight D. Eisenhower, the Republican party nominee. According to singer and recording artist Jo Stafford, Williams sent Eisenhower a birthday telegram on October 14 informing him that he considered it a personal honor to endorse a military figure to lead the nation in its coming future. Eisenhower was sworn in as the 34th president 19 days after Williams’ death.

Death

Williams was scheduled to perform at the Municipal Auditorium in Charleston, West Virginia, on Wednesday December 31, 1952. Advance ticket sales totaled US$3,500. That day, because of an ice storm in the Nashville area, Williams could not fly, so he hired a college student, Charles Carr, to drive him to the concerts. Carr called the Charleston auditorium from Knoxville to say that Williams would not arrive on time owing to the ice storm and was ordered to drive Williams to Canton, Ohio, for the New Year’s Day concert there.

They arrived at the Andrew Johnson Hotel in Knoxville, Tennessee, where Carr requested a doctor for Williams, as he was feeling the combination of the chloral hydrate and alcohol he had drunk on the way from Montgomery to Knoxville.[ Dr. P. H. Cardwell injected Williams with two shots of vitamin B12 that also contained a quarter-grain of morphine. Carr and Williams checked out of the hotel; the porters had to carry Williams to the car, as he was coughing and hiccuping.

At around midnight on Thursday, January 1, 1953, when they crossed the Tennessee state line and arrived in Bristol, Virginia, Carr stopped at a small all-night restaurant and asked Williams if he wanted to eat. Williams said he did not, and those are believed to be his last words. Carr later drove on until he stopped for fuel at a gas station in Oak Hill, West Virginia, where he realized that Williams was dead, and rigor mortis had already set in. The filling station’s owner called the chief of the local police. In Williams’ Cadillac, the police found some empty beer cans and unfinished handwritten lyrics.

Dr. Ivan Malinin performed the autopsy at the Tyree Funeral House. Malinin found hemorrhages in the heart and neck and pronounced the cause of death as “insufficiency of the right ventricle of the heart”. That evening, when the announcer at Canton announced Williams’ death to the gathered crowd, they started laughing, thinking that it was just another excuse. After Hawkshaw Hawkins and other performers started singing “I Saw the Light” as a tribute to Williams, the crowd, now realizing that he was indeed dead, sang along. Malinin also wrote that Williams had been severely beaten and kicked in the groin recently. Also, local magistrate Virgil F. Lyons ordered an inquest into Williams’ death concerning the welt that was visible on his head.

His body was transported to Montgomery, Alabama on Friday, January 2, and placed in a silver coffin that was first shown at his mother’s boarding house for two days. His funeral took place on Sunday, January 4, at the Montgomery Auditorium, with his coffin placed on the flower-covered stage.  An estimated 15,000 to 25,000 people passed by the silver coffin, and the auditorium was filled with 2,750 mourners. His funeral was said to have been far larger than any ever held for any other citizen of Alabama and the largest event ever held in Montgomery. Williams’ remains are interred at the Oakwood Annex in Montgomery. The president of MGM told Billboard magazine that the company got only about five requests for pictures of Williams during the weeks before his death, but over three hundred afterwards. The local record shops reportedly sold all their Williams records, and customers were asking for all records ever released by Williams.

His final single, released in November 1952 while he was still alive, was titled “I’ll Never Get Out of This World Alive”. “Your Cheatin’ Heart” was written and recorded in September 1952 but released in late January 1953 after Williams’ death. The song, backed by “Kaw-Liga”, was number one on the country charts for six weeks. It provided the title for the 1964 biographical film of the same name, which starred George Hamilton. “Take These Chains From My Heart” was released in April 1953 and went to number 1 on the country charts. “I Won’t Be Home No More”, released in July, went to number 3, and an overdubbed demo, “Weary Blues From Waitin’”, written with Ray Price, went to number 7.

Legacy

Williams is widely recognized as “the King of Country Music”,[ a title he shares with fellow artists Roy Acuff, Johnny Cash, and George Strait.

Alabama governor Gordon Persons officially proclaimed September 21 “Hank Williams Day”. The first celebration, in 1954, featured the unveiling of a monument at the Cramton Bowl that was later placed at the gravesite of Williams. The ceremony featured Ferlin Husky interpreting “I Saw the Light”.

Williams had 11 number one country hits in his career (“Lovesick Blues”, “Long Gone Lonesome Blues”, “Why Don’t You Love Me”, “Moanin’ the Blues”, “Cold, Cold Heart”, “Hey, Good Lookin’”, “Jambalaya (On the Bayou)”, “I’ll Never Get Out of This World Alive”, “Kaw-Liga”, “Your Cheatin’ Heart”, and “Take These Chains from My Heart”), as well as many other top 10 hits.

On February 8, 1960, Williams’ star was placed at 6400 Hollywood Boulevard on the Hollywood Walk of Fame. He was inducted into the Country Music Hall of Fame[94] in 1961 and into the Alabama Music Hall of Fame in 1985. When Downbeat magazine took a poll the year after Williams’ death, he was voted the most popular country and Western performer of all time—ahead of such giants as Jimmie Rodgers, Roy Acuff, Red Foley, and Ernest Tubb.

In 1964, Hank Williams was portrayed by George Hamilton in the film Your Cheatin’ Heart.

In 1977, a national organization of CB truck drivers voted “Your Cheatin’ Heart” as their favorite record of all time. In 1987, he was inducted in the Rock and Roll Hall of Fame under the category “Early Influence”. He was ranked second in CMT’s 40 Greatest Men of Country Music in 2003, behind only Johnny Cash who wrote the song “The Night Hank Williams Came To Town”. His son, Hank Jr., was ranked on the same list.

In 2004, Rolling Stone ranked him number 74 on its list of the 100 Greatest Artists of All Time. Many artists of the 1950s and 1960s, including Elvis Presley,[102] Bob Dylan, Tammy Wynette, David Houston, Jerry Lee Lewis, Merle Haggard,[103] Gene Vincent, Carl Perkins, Ricky Nelson, and Conway Twitty recorded Williams’ songs during their careers.

In 2011, Williams’ 1949 MGM number one hit, “Lovesick Blues”, was inducted into the Recording Academy Grammy Hall of Fame. The same year, Hank Williams: The Complete Mother’s Best Recordings …Plus! was honored with a Grammy nomination for Best Historical Album.[108] In 1999, Williams was inducted into the Native American Music Hall of Fame. On April 12, 2010, the Pulitzer Prize Board awarded Williams a posthumous special citation that paid tribute to his “craftsmanship as a songwriter who expressed universal feelings with poignant simplicity and played a pivotal role in transforming country music into a major musical and cultural force in American life”. Keeping his legacy alive, Williams’ son, Hank Williams Jr., daughter Jett Williams, grandson Hank Williams III, and granddaughters Hilary Williams[citation needed] and Holly Williams are also country musicians.

In 2006, a janitor of Sony/ATV Music Publishing found in a dumpster the unfinished lyrics written by Williams that had been found in his car the night he died. The worker claimed that she sold Williams’ notes to a representative of the Honky-Tonk Hall of Fame and the Rock-N-Roll Roadshow. The janitor was accused of theft, but the charges were later dropped when a judge determined that her version of events was true. The unfinished lyrics were later returned to Sony/ATV, which handed them to Bob Dylan in 2008 to complete the songs for a new album. Ultimately, the completion of the album included recordings by Alan Jackson, Norah Jones, Jack White, Lucinda Williams, Vince Gill, Rodney Crowell, Patty Loveless, Levon Helm, Jakob Dylan, Sheryl Crow, and Merle Haggard. The album, named The Lost Notebooks of Hank Williams, was released on October 4, 2011.

Material recorded by Williams, originally intended for radio broadcasts to be played when he was on tour or for its distribution to radio stations nationwide, resurfaced throughout time.  In 1993, a double-disc set of recordings of Williams for the Health & Happiness Show was released. Broadcast in 1949, the shows were recorded for the promotion of Hadacol. The set was re-released on Hank Williams: The Legend Begins in 2011. The album included unreleased songs. “Fan It” and “Alexander’s Ragtime Band”, recorded by Williams at age 15; the homemade recordings of him singing “Freight Train Blues”, “New San Antonio Rose”, “St. Louis Blues” and “Greenback Dollar” at age 18; and a recording for the 1951 March of Dimes.[ In May 2014, further radio recordings by Williams were released. The Garden Spot Programs, 1950, a series of publicity segments for plant nursery Naughton Farms originally aired in 1950. The recordings were found by collector George Gimarc at radio station KSIB in Creston, Iowa.[ Gimarc contacted Williams’ daughter Jett, and Colin Escott, writer of a biography book on Williams. The material was restored and remastered by Michael Graves and released by Omnivore Recordings. The release won a Grammy Award for Best Historical Album.

British actor Tom Hiddleston portrayed Williams in the biopic I Saw the Light, based on Colin Escott’s 1994 book Hank Williams: The Biography. Marc Abraham directed the film. The film was released in June 2016.

Lawsuits over the estate

After Williams’ death, Audrey Williams filed a suit in Nashville against MGM Records and Acuff-Rose. The suit demanded that both of the publishing companies continue to pay her half of the royalties from Hank Williams’ records. Williams had an agreement giving his first wife half of the royalties, but allegedly there was no clarification that the deal was valid after his death. Because Williams may have left no will, the disposition of the remaining 50 percent was considered uncertain; those involved included Williams’ second wife, Billie Jean Horton and her daughter, and Hank Williams’ mother and sister. On October 22, 1975, a federal judge in Atlanta, Georgia, ruled Horton’s marriage to Williams was valid and that half of Williams’ future royalties belonged to her.

WSM’s Mother’s Best Flour

In 1951, Williams hosted a 15-minute show for Mother’s Best Flour on WSM radio. Due to Williams’ tour schedules, some of the shows were previously recorded to be played in his absence. The original acetates made their way to the possession of Jett Williams. Prior to that, duplicates were made and intended to be published by a third party. In February 2005, the Tennessee Court of Appeals upheld a lower court ruling stating that Williams’ heirs—son, Hank Williams Jr, and daughter, Jett Williams—have the sole rights to sell his recordings made for a Nashville radio station in 1951.

The court rejected claims made by Polygram Records and Legacy Entertainment in releasing recordings Williams made for the Mother’s Best Flour Show. The recordings, which Legacy Entertainment acquired in 1997, include live versions of Williams’ hits and his cover version of other songs. Polygram contended that Williams’ contract with MGM Records, which Polygram now owns, gave them rights to release the radio recordings. A 3-CD selection of the tracks, restored by Joe Palmaccio, was released by Time-Life in October 2008 titled The Unreleased Recordings.

Lyrics


Judy Kuhn

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Judy Kuhn (born May 20, 1958) is an American actress and singer, known for her work in musical theatre. A four-time Tony Award nominee, she has released four studio albums and sang the title role in the 1995 film Pocahontas, including her rendition of the song “Colors of the Wind“, which won its composers the Academy Award for Best Original Song.

Kuhn made her professional stage debut in 1981 and her Broadway debut in the 1985 original production of the musical The Mystery of Edwin Drood. Subsequent Broadway roles include Cosette in Les Misérables (1987), Florence Vassy in Chess (1988) and Amalia Balash in She Loves Me (1993). For all three, she received Tony Award nominations. She also received an Olivier Award nomination for her 1989 West End debut playing Maria/Futura in Metropolis. Other musical roles include Betty Schaeffer in the 1993 US premiere production of Sunset Boulevard in Los Angeles, and her Obie Award winning role as Emmie in the 2001 Off-Broadway production of Eli’s Comin. She received a fourth Tony nomination in 2015 for her role as Helen Bechdel in the original Broadway production of Fun Home, and a second Olivier nomination in 2020 for her role as Golde in a London revival of Fiddler on the Roof.

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Early life

Kuhn (pronounced kyoon) was born in New York City to Jewish parents and grew up in Bethesda, Maryland. She attended Georgetown Day School in Washington, D.C. She entered Oberlin College.  After taking voice lessons with Frank Farina, Kuhn transferred into the Oberlin Conservatory of Music.  Kuhn was also interested in musical theater and other types of music, in addition to classical music for which the Conservatory is best known. She trained as an “operatic soprano” at Oberlin, and graduated in 1981.

After college, she moved to Boston, where she waited tables and studied acting. After appearing in summer stock, Kuhn moved back to New York.

Stage career

1985–1989

Her Broadway debut was in Drood, a Rupert Holmes musical based on the unfinished Charles Dickens novel, in 1985. She played the roles of “Alice / Miss Isabel Yearsley/ Succubae” and understudied the title role played by Betty Buckley. Her next appearance on Broadway was in the ill-fated Rags, which opened on August 21, 1986 and closed after four performances.

Her next role of Cosette in the 1987 multiple award-winning Broadway production of Les Misérables brought her the first Tony Award nomination, as Best Featured Actress in a Musical (1987),[ and the Drama Desk Award (1987) nomination as Outstanding Featured Actress in A Musical.

Kuhn appeared in the Trevor Nunn-directed Chess, with music by Benny Andersson and Björn Ulvaeus and lyrics by Tim Rice in the 1988 Broadway transfer from the West End, playing one of the main roles (Florence Vassy). Despite the show’s success in London, Trevor Nunn decided to rework it for Broadway from a pop/rock opera as staged in London into a more conventional musical theater piece with a new book by Richard Nelson. As a result, the new show was greeted with mostly negative reviews and closed after less than a two-month run, on June 25, 1988.[10] Kuhn’s performance in the musical received praise from the critics. “Her beautiful pop-soprano voice is the show’s chief pleasure. She acts the sympathetic, gutsy role with spirit and heart”, wrote Variety. The Village Voice noted that “she pours a river of feeling and lush vocal tone into…the role”. She garnered her second Tony Award nomination, this time as Best Actress in a Musical (1988), and a 1988 Drama Desk Award nomination as Outstanding Actress in a Musical. In addition, The Original Broadway Cast recording of the musical was nominated for a Grammy Award.

She reprised her role of Florence Vassy later in January 1989 in a Carnegie Hall concert performance with the rest of the Broadway cast, which was a benefit for the Emergency Shelter Inc. She also performed in a Chess concert versionin 1989 in Skellefteå, Sweden, during a chess World Cup final tournament, where she joined with Tommy Körberg and Murray Head, two principal actors from 1986 West End production of the musical.

Kuhn made her London debut in 1989, when she starred in the West End production of Metropolis, with Jeremy Kingston, reviewing for The Times (London) writing “I greatly enjoyed Kuhn’s edgy, angular performance.” She received an Olivier Award nomination as Best Actress in a Musical.

1990–1996

Kuhn’s next major Broadway project, Two Shakespearean Actors (1992), despite a cast that included Brian Bedford, Frances Conroy, Hope Davis, Victor Garber, Laura Innes and Eric Stoltz,[16] was commercially unsuccessful, closing after 29 regular performances.

In 1993, Kuhn played in the Roundabout Theater Company revival of She Loves Me, portraying Amalia Balash, a young Budapest shopgirl who is unaware that the co-worker she despises is the young man with whom she’s been sharing an anonymous correspondence. Her performance earned her a Tony Award nomination as Best Actress in a Musical. The 1993 Broadway recording of this revival does not feature Kuhn, who left the production before the album was produced.

In December 1993, Kuhn played the role of Betty Schaefer in the U.S premiere production of Sunset Boulevard at the Shubert Theatre in Los Angeles. The L.A production recorded a cast album, which is the only unabridged cast recording of the show with the original London recording being cut by thirty minutes.

Regional theatre credits in the early 1990s include The Glass Menagerie at the McCarter Theatre, Princeton, New Jersey, in 1991 as “Laura” and Martin Guerre, at the Hartford Stage Company, Hartford, Connecticut in 1993. Kuhn reprised her role as Cosette in 1995, for the 10th anniversary concert performance at the Royal Albert Hall in London, which was released on DVD as Les Miserables: The Dream Cast in Concert.

1997–2006

Kuhn appeared in the Broadway concert King David which was a 1997 Disney project with a book and lyrics by Tim Rice and music by Alan Menken and directed by Mike Ockrent. It played for a nine-performance limited run at the New Amsterdam Theatre.

Kuhn sang in the second annual benefit concert for The Actors’ Fund of Funny Girl in September 2002 at the New Amsterdam theatre, with different actresses taking on the role of Fanny Brice. She sang “Who Are You Now?” and “People” of which Andrew Gans of Playbill wrote: she “provided an intense, moving, full-voiced ‘People,’ sensationally belting ‘are the luckiest peeeeeeople (wow!) in the wooorld’.”

Kuhn’s Off-Broadway and regional theater credits in this period include: As Thousands Cheer (1998) Off-Broadway at the Drama Dept., Greenwich House Theater;[25]Strike up the Band (1998) Off-Broadway Encores! Concerts at New York City Center; the title role in The Ballad of Little Jo (2000) at the Steppenwolf Theatre Company in Chicago; Eli’s Comin (2001) Off-Broadway at the Vineyard Theatre Company (for which she won an Obie Award); The Highest Yellow (2004) at the Signature Theater in Virginia; and Three Sisters (2005) In a new adaption by Craig Lucas at the Intiman Theater in Seattle, Washington.

2007–present

On October 23, 2007, Kuhn returned to the Broadway production of Les Misérables after 20 years, this time a*suming the role of Fantine. She succeeded Lea Salonga and remained with the show until the revival ended on January 6, 2008.

Kuhn portrayed Fosca in the Off-Broadway Classic Stage Company revival of the Stephen Sondheim-James Lapine musical Passion from its opening in February 2013 through its scheduled closing in April 2013. Kuhn has previously played Fosca, in the Stephen Sondheim celebration production in 2002 at the Kennedy Center.

In 2013, Kuhn originated the role of Helen Bechdel in the off-Broadway Public Theater production of the musical Fun Home, which began its run September 30, 2013 and opened officially on October 22, 2013. The run was extended multiple times and closed on January 12, 2014. She played the same role in the Broadway production, which ran from April 2015 to September 10, 2016 at the Circle in the Square.

Kuhn played the role of “Golde” in the Broadway revival of Fiddler on the Roof, starting on November 22, 2016. She plays Golde in the Menier Chocolate Factory (London) production of Fiddler on the Roof which began on November 23, 2018 and ran to March 9, 2019.

Career outside theatre

Her television credits include Law & Order and Law & Order: SVU, All My Children and two PBS shows: My Favorite Broadway: The Leading Ladies (recorded 1998, released 1999) and In Performance at the White House: A Tribute to Broadway – The Shows in March 1988.

Kuhn sang the title role in the 1995 Disney animated film Pocahontas. The film’s score won an Academy Award, and the soundtrack reached #1 on the Billboard 200, selling over 2.5 million copies. The film included Kuhn’s rendition of the song “Colors of the Wind”, which won the Academy Award for Best Original Song and a Grammy Award.

Kuhn also sang as Pocahontas in the straight-to-video sequel Pocahontas II: Journey to a New World and in “If You Can Dream”, a Disney Princess song. Kuhn briefly appeared in the film Long Time Since (1998) and supplied the vocals for the movie’s soundtrack, which includes a rendition of Auld Lang Syne.

She has performed in concert at Carnegie Hall, Alice Tully Hall, and Avery Fisher Hall in Manhattan, and at the Royal Albert Hall in London. She has performed in a solo cabaret/nightclub act at, for example, Joe’s Pub at the Public Theater in October 2007 and the Iridium in New York in January 2008. She performed her solo concert at Feinstein’s at Loews Regency in March 2012.

Her first solo album Just in Time: Judy Kuhn Sings Jule Styne was released on January 31, 1995. Kuhn’s second solo album Serious Playground: The Songs of Laura Nyro was released on October 2, 2007. In 2013, she released her third album All This Happiness, which contains pop, jazz, cabaret, and blues songs, along with the title song of the album, from the Stephen Sondheim musical Passion.

Kuhn also teaches a song interpretation class at Michael Howard Studios in New York City, where she studied earlier in her career. Andrew Gans of Playbill wrote that Kuhn “possesses one of the richest and most exciting instruments around; it is also an extremely versatile and rangy voice” and that Kuhn has “remarkable interpretive skills”.

Personal life

Kuhn lives with her husband, David Schwab, and daughter Anna in New York City.

 

Lyrics


Beyonce Knowles

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Beyoncé Giselle Knowles-Carter (/bˈjɒns/ bee-YON-say; born September 4, 1981) is an American singer, actress and record producer. Born and raised in Houston, Texas, Beyoncé performed in various singing and dancing competitions as a child. She rose to fame in the late 1990s as the lead singer of Destiny’s Child, one of the best-selling girl groups of all time. Beyoncé is often cited as an influence by other artists.

During Destiny’s Child’s hiatus, Beyoncé made her theatrical film debut with a role in the US box-office number-one Austin Powers in Goldmember (2002) and began her solo music career. She became the first music act to debut at number one with their first six solo studio albums on the Billboard 200. Her debut album Dangerously in Love (2003) featured four Billboard Hot 100 top five songs, including the number-one singles “Crazy in Love” featuring rapper Jay-Z and “Baby Boy” featuring singer-rapper Sean Paul. Following the disbandment of Destiny’s Child in 2006, she released her second solo album, B’Day, which contained her first US number-one solo single “Irreplaceable”, and “Beautiful Liar”, which topped the charts in most countries. Beyoncé continued her acting career with starring roles in The Pink Panther (2006), Dreamgirls (2006), and Obsessed (2009). Her marriage to Jay-Z and her portrayal of Etta James in Cadillac Records (2008) influenced her third album, I Am… Sasha Fierce (2008), which earned a record-setting six Grammy Awards in 2010. It spawned the UK number-one single “If I Were a Boy”, the US number-one single “Single Ladies (Put a Ring on It)” and the top five single “Halo”.

After splitting from her manager and father Mathew Knowles in 2010, Beyoncé released the album 4 (2011); it was influenced by 1970s funk, 1980s pop, and 1990s soul. She achieved back-to-back widespread critical acclaim for her sonically experimental visual albums, Beyoncé (2013) and Lemonade (2016); the latter was the world’s best-selling album of 2016 and the most acclaimed album of her career, exploring themes of infidelity and womanism. In 2018, she released Everything Is Love, a collaborative album with her husband, Jay-Z, as the Carters. As a featured artist, Beyoncé topped the Billboard Hot 100 with the remixes of “Perfect” by Ed Sheeran in 2017 and “Savage” by Megan Thee Stallion in 2020. The same year, she made her directorial and screenwriting debut with the musical film and visual album Black Is King, which received widespread critical acclaim after premiering on Disney+.

Beyoncé is one of the world’s best-selling recording artists, having sold 118 million records worldwide. Her success during the 2000s was recognized with the Recording Industry Association of America’s Top Certified Artist of the Decade, as well as Billboard magazine’s Top Radio Songs Artist and the Top Female Artist of the Decade. Beyoncé is the most nominated woman in the Grammy Award’s history and has the second most wins for a woman with a total of 24. She is also the most awarded artist at the MTV Video Music Awards, with 24 wins, including the Michael Jackson Video Vanguard Award. In 2014, she became the highest-earning Black musician in history and was listed among Time’s 100 most influential people in the world for a second year in a row. Forbes ranked her as the most powerful female in entertainment on their 2015 and 2017 lists. She occupied the sixth place for Time’s Person of the Year in 2016, and in 2020, was named one of the 100 women who defined the last century by the same publication. Beyoncé was also included on Encyclopædia Britannica’s 100 Women list in 2019, for her contributions to the entertainment industry.

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Life and career

1981–1996: Early life

Beyonce Giselle Knowles was born in Houston, Texas, to Celestine “Tina” Knowles (née Beyonce), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Her younger sister Solange Knowles is also a singer and a former backup dancer for Destiny’s Child. Solange and Beyoncé are the first sisters to have both had No. 1 albums. Mathew is African American, and Tina is of Louisiana Creole descent (French, Native American, and African), and distant Jewish, Spanish, Chinese and Indonesian ancestry. Through her mother, Beyoncé is a descendant of Acadian leader Joseph Broussard,[20] as well as a descendant of Jean-Vincent d’Abbadie de Saint-Castin. In 2018, Beyoncé researched her ancestry and found out that she is descended from a slaveowner.

Beyoncé attended St. Mary’s Montessori School in Houston, where she enrolled in dance classes. Her singing talent was discovered when dance instructor Darlette Johnson began humming a song and she finished it, able to hit the high-pitched notes. Beyoncé’s interest in music and performing continued after winning a school talent show at age seven, singing John Lennon’s “Imagine” to beat 15/16-year-olds. In the fall of 1990, Beyoncé enrolled in Parker Elementary School, a music magnet school in Houston, where she would perform with the school’s choir.  She also attended the High School for the Performing and Visual Arts[31] and later Alief Elsik High School. Beyoncé was also a member of the choir at St. John’s United Methodist Church as a soloist for two years.

When Beyoncé was eight, she and childhood friend Kelly Rowland met LaTavia Roberson while at an audition for an all-girl entertainment group. They were placed into a group called Girl’s Tyme with three other girls, and rapped and danced on the talent show circuit in Houston. After seeing the group, R&B producer Arne Frager brought them to his Northern California studio and placed them in Star Search, the largest talent show on national TV at the time. Girl’s Tyme failed to win, and Beyoncé later said the song they performed was not good. In 1995 Beyoncé’s father resigned from his job to manage the group. The move reduced Beyoncé’s family’s income by half, and her parents were forced to move into separated apartments. Mathew cut the original line-up to four and the group continued performing as an opening act for other established R&B girl groups. The girls auditioned before record labels and were finally signed to Elektra Records, moving to Atlanta Records briefly to work on their first recording, only to be cut by the company. This put further strain on the family, and Beyoncé’s parents separated. On October 5, 1995, Dwayne Wiggins’s Grass Roots Entertainment signed the group. In 1996, the girls began recording their debut album under an agreement with Sony Music, the Knowles family reunited, and shortly after, the group got a contract with Columbia Records.

1997–2002: Destiny’s Child

The group changed their name to Destiny’s Child in 1996, based upon a passage in the Book of Isaiah. In 1997, Destiny’s Child released their major label debut song “Killing Time” on the soundtrack to the 1997 film Men in Black. In November, the group released their debut single and first major hit, “No, No, No”. They released their self-titled debut album in February 1998, which established the group as a viable act in the music industry, with moderate sales and winning the group three Soul Train Lady of Soul Awards for Best R&B/Soul Album of the Year, Best R&B/Soul or Rap New Artist, and Best R&B/Soul Single for “No, No, No”. The group released their Multi-Platinum second album The Writing’s on the Wall in 1999. The record features some of the group’s most widely known songs such as “Bills, Bills, Bills”, the group’s first number-one single, “Jumpin’ Jumpin’” and “Say My Name”, which became their most successful song at the time, and would remain one of their signature songs. “Say My Name” won the Best R&B Performance by a Duo or Group with Vocals and the Best R&B Song at the 43rd Annual Grammy Awards. The Writing’s on the Wall sold more than eight million copies worldwide. During this time, Beyoncé recorded a duet with Marc Nelson, an original member of Boyz II Men, on the song “After All Is Said and Done” for the soundtrack to the 1999 film, The Best Man.

LeToya Luckett and Roberson became unhappy with Mathew’s managing of the band and eventually were replaced by Farrah Franklin and Michelle Williams. Beyoncé experienced depression following the split with Luckett and Roberson after being publicly blamed by the media, critics, and blogs for its cause. Her long-standing boyfriend left her at this time. The depression was so severe it lasted for a couple of years, during which she occasionally kept herself in her bedroom for days and refused to eat anything. Beyoncé stated that she struggled to speak about her depression because Destiny’s Child had just won their first Grammy Award, and she feared no one would take her seriously. Beyoncé would later speak of her mother as the person who helped her fight it. Franklin was then dismissed, leaving just Beyoncé, Rowland, and Williams.

The remaining band members recorded “Independent Women Part I”, which appeared on the soundtrack to the 2000 film Charlie’s Angels. It became their best-charting single, topping the U.S. Billboard Hot 100 chart for eleven consecutive weeks. In early 2001, while Destiny’s Child was completing their third album, Beyoncé landed a major role in the MTV made-for-television film, Carmen: A Hip Hopera, starring alongside American actor Mekhi Phifer. Set in Philadelphia, the film is a modern interpretation of the 19th-century opera Carmen by French composer Georges Bizet. When the third album Survivor was released in May 2001, Luckett and Roberson filed a lawsuit claiming that the songs were aimed at them. The album debuted at number one on the U.S. Billboard 200, with first-week sales of 663,000 copies sold. The album spawned other number-one hits, “Bootylicious” and the title track, “Survivor”, the latter of which earned the group a Grammy Award for Best R&B Performance by a Duo or Group with Vocals. After releasing their holiday album 8 Days of Christmas in October 2001, the group announced a hiatus to further pursue solo careers.

In July 2002, Beyoncé made her theatrical film debut, playing Foxxy Cleopatra alongside Mike Myers in the comedy film Austin Powers in Goldmember, which spent its first weekend atop the US box office and grossed $73 million. Beyoncé released “Work It Out” as the lead single from its soundtrack album which entered the top ten in the UK, Norway, and Belgium. In 2003, Beyoncé starred opposite Cuba Gooding, Jr., in the musical comedy The Fighting Temptations as Lilly, a single mother with whom Gooding’s character falls in love. The film received mixed reviews from critics but grossed $30 million in the U.S. Beyoncé released “Fighting Temptation” as the lead single from the film’s soundtrack album, with Missy Elliott, MC Lyte, and Free which was also used to promote the film. Another of Beyoncé’s contributions to the soundtrack, “Summertime”, fared better on the US charts.

2003–2005: Dangerously in Love and Destiny Fulfilled

Beyoncé’s first solo recording was a feature on Jay-Z’s song “’03 Bonnie & Clyde” that was released in October 2002, peaking at number four on the U.S. Billboard Hot 100 chart.[58] On June 14, 2003, Beyoncé premiered songs from her first solo album Dangerously in Love during her first solo concert and the pay-per-view television special, “Ford Presents Beyoncé Knowles, Friends & Family, Live From Ford’s 100th Anniversary Celebration in Dearborn, Michigan.”[59] The album was released on June 24, 2003, after Michelle Williams and Kelly Rowland had released their solo efforts. The album sold 317,000 copies in its first week, debuted atop the Billboard 200,[61] and has since sold 11 million copies worldwide. The album’s lead single, “Crazy in Love”, featuring Jay-Z, became Beyoncé’s first number-one single as a solo artist in the US. The single “Baby Boy” also reached number one,  and singles, “Me, Myself and I” and “Naughty Girl”, both reached the top-five. The album earned Beyoncé a then record-tying five awards at the 46th Annual Grammy Awards; Best Contemporary R&B Album, Best Female R&B Vocal Performance for “Dangerously in Love 2”, Best R&B Song and Best Rap/Sung Collaboration for “Crazy in Love”, and Best R&B Performance by a Duo or Group with Vocals for “The Closer I Get to You” with Luther Vandross. During the ceremony, she performed with Prince.

In November 2003, she embarked on the Dangerously in Love Tour in Europe and later toured alongside Missy Elliott and Alicia Keys for the Verizon Ladies First Tour in North America. On February 1, 2004, Beyoncé performed the American national anthem at Super Bowl XXXVIII, at the Reliant Stadium in Houston, Texas. After the release of Dangerously in Love, Beyoncé had planned to produce a follow-up album using several of the left-over tracks. However, this was put on hold so she could concentrate on recording Destiny Fulfilled, the final studio album by Destiny’s Child.[68] Released on November 15, 2004, in the US and peaking at number two on the Billboard 200, Destiny Fulfilled included the singles “Lose My Breath” and “Soldier”, which reached the top five on the Billboard Hot 100 chart.[ Destiny’s Child embarked on a worldwide concert tour, Destiny Fulfilled… and Lovin’ It sponsored by McDonald’s Corporation, and performed hits such as “No, No, No”, “Survivor”, “Say My Name”, “Independent Women” and “Lose My Breath”. In addition to renditions of the group’s recorded material, they also performed songs from each singer’s solo careers, most notably numbers from Dangerously in Love. and during the last stop of their European tour, in Barcelona on June 11, 2005, Rowland announced that Destiny’s Child would disband following the North American leg of the tour. The group released their first compilation album Number 1’s on October 25, 2005, in the US and accepted a star on the Hollywood Walk of Fame in March 2006. The group has sold 60 million records worldwide.

2006–2007: B’Day and Dreamgirls

Beyoncé’s second solo album B’Day was released on September 4, 2006, in the US, to coincide with her twenty-fifth birthday. It sold 541,000 copies in its first week and debuted atop the Billboard 200, becoming Beyoncé’s second consecutive number-one album in the United States.[80] The album’s lead single “Déjà Vu”, featuring Jay-Z, reached the top five on the Billboard Hot 100 chart. The second international single “Irreplaceable” was a commercial success worldwide, reaching number one in Australia, Hungary, Ireland, New Zealand and the United States. B’Day also produced three other singles; “Ring the Alarm”, “Get Me Bodied”, and “Green Light” (released in the United Kingdom only).

At the 49th Annual Grammy Awards (2007), B’Day was nominated for five Grammy Awards, including Best Contemporary R&B Album, Best Female R&B Vocal Performance for “Ring the Alarm” and Best R&B Song and Best Rap/Sung Collaboration”for “Déjà Vu”; the Freemasons club mix of “Déjà Vu” without the rap was put forward in the Best Remixed Recording, Non-Classical category. B’Day won the award for Best Contemporary R&B Album. The following year, B’Day received two nominations – for Record of the Year for “Irreplaceable” and Best Pop Collaboration with Vocals for “Beautiful Liar” (with Shakira), also receiving a nomination for Best Compilation Soundtrack Album for Motion Pictures, Television or Other Visual Media for her appearance on Dreamgirls: Music from the Motion Picture (2006).

Her first acting role of 2006 was in the comedy film The Pink Panther starring opposite Steve Martin, grossing $158.8 million at the box office worldwide.[88] Her second film Dreamgirls, the film version of the 1981 Broadway musical loosely based on The Supremes, received acclaim from critics and grossed $154 million internationally. In it, she starred opposite Jennifer Hudson, Jamie Foxx, and Eddie Murphy playing a pop singer based on Diana Ross. To promote the film, Beyoncé released “Listen” as the lead single from the soundtrack album. In April 2007, Beyoncé embarked on The Beyoncé Experience, her first worldwide concert tour, visiting 97 venues  and grossed over $24 million.[note 1] Beyoncé conducted pre-concert food donation drives during six major stops in conjunction with her pastor at St. John’s and America’s Second Harvest. At the same time, B’Day was re-released with five additional songs, including her duet with Shakira “Beautiful Liar”.

2008–2010: I Am… Sasha Fierce

I Am… Sasha Fierce was released on November 18, 2008, in the United States. The album formally introduces Beyoncé’s alter ego Sasha Fierce, conceived during the making of her 2003 single “Crazy in Love”. It was met with generally mediocre reviews from critics, but sold 482,000 copies in its first week, debuting atop the Billboard 200, and giving Beyoncé her third consecutive number-one album in the US. The album featured the number-one song “Single Ladies (Put a Ring on It)”  and the top-five songs “If I Were a Boy” and “Halo”. Achieving the accomplishment of becoming her longest-running Hot 100 single in her career, “Halo”‘s success in the US helped Beyoncé attain more top-ten singles on the list than any other woman during the 2000s. It also included the successful “Sweet Dreams”, and singles “Diva”, “Ego”, “Broken-Hearted Girl” and “Video Phone”. The music video for “Single Ladies” has been parodied and imitated around the world, spawning the “first major dance craze” of the Internet age according to the Toronto Star. The video has won several awards, including Best Video at the 2009 MTV Europe Music Awards, the 2009 Scottish MOBO Awards, and the 2009 BET Awards. At the 2009 MTV Video Music Awards, the video was nominated for nine awards, ultimately winning three including Video of the Year. Its failure to win the Best Female Video category, which went to American singer-songwriter Taylor Swift’s “You Belong with Me”, led to Kanye West interrupting the ceremony and Beyoncé improvising a re-presentation of Swift’s award during her own acceptance speech. In March 2009, Beyoncé embarked on the I Am… World Tour, her second headlining worldwide concert tour, consisting of 108 shows, grossing $119.5 million.

Beyoncé further expanded her acting career, starring as blues singer Etta James in the 2008 musical biopic Cadillac Records. Her performance in the film received praise from critics, and she garnered several nominations for her portrayal of James, including a Satellite Award nomination for Best Supporting Actress, and a NAACP Image Award nomination for Outstanding Supporting Actress. Beyoncé donated her entire salary from the film to Phoenix House, an organization of rehabilitation centers for heroin addicts around the country. On January 20, 2009, Beyoncé performed James’ “At Last” at First Couple Barack and Michelle Obama’s first inaugural ball. Beyoncé starred opposite Ali Larter and Idris Elba in the thriller, Obsessed. She played Sharon Charles, a mother and wife whose family is threatened by her husband’s stalker. Although the film received negative reviews from critics,  the movie did well at the US box office, grossing $68 million—$60 million more than Cadillac Records —on a budget of $20 million. The fight scene finale between Sharon and the character played by Ali Larter also won the 2010 MTV Movie Award for Best Fight.

At the 52nd Annual Grammy Awards, Beyoncé received ten nominations, including Album of the Year for I Am… Sasha Fierce, Record of the Year for “Halo”, and Song of the Year for “Single Ladies (Put a Ring on It)”, among others.  She tied with Lauryn Hill for most Grammy nominations in a single year by a female artist. Beyoncé went on to win six of those nominations, breaking a record she previously tied in 2004 for the most Grammy awards won in a single night by a female artist with six. In 2010, Beyoncé was featured on Lady Gaga’s single “Telephone” and appeared in its music video. The song topped the US Pop Songs chart, becoming the sixth number-one for both Beyoncé and Gaga, tying them with Mariah Carey for most number-ones since the Nielsen Top 40 airplay chart launched in 1992. “Telephone” received a Grammy Award nomination for Best Pop Collaboration with Vocals.

Beyoncé announced a hiatus from her music career in January 2010, heeding her mother’s advice, “to live life, to be inspired by things again”. During the break she and her father parted ways as business partners.[ Beyoncé’s musical break lasted nine months and saw her visit multiple European cities, the Great Wall of China, the Egyptian pyramids, Australia, English music festivals and various museums and ballet performances.

2011–2013: 4 and documentary film

On June 26, 2011, she became the first solo female artist to headline the main Pyramid stage at the 2011 Glastonbury Festival in over twenty years. Her fourth studio album 4 was released two days later in the US. 4 sold 310,000 copies in its first week and debuted atop the Billboard 200 chart, giving Beyoncé her fourth consecutive number-one album in the US. The album was preceded by two of its singles “Run the World (Girls)” and “Best Thing I Never Had”. The fourth single “Love on Top” spent seven consecutive weeks at number one on the Hot R&B/Hip-Hop Songs chart, while peaking at number 20 on the Billboard Hot 100, the highest peak from the album. 4 also produced four other singles; “Party”, “Countdown”, “I Care” and “End of Time”. “Eat, Play, Love”, a cover story written by Beyoncé for Essence that detailed her 2010 career break, won her a writing award from the New York Association of Black Journalists. In late 2011, she took the stage at New York’s Roseland Ballroom for four nights of special performances: the 4 Intimate Nights with Beyoncé concerts saw the performance of her 4 album to a standing room only. On August 1, 2011, the album was certified platinum by the Recording Industry Association of America (RIAA), having shipped 1 million copies to retail stores. By December 2015, it reached sales of 1.5 million copies in the US. The album reached one billion Spotify streams on February 5, 2018, making Beyoncé the first female artist to have three of their albums surpass one billion streams on the platform.

In June 2012, she performed for four nights at Revel Atlantic City’s Ovation Hall to celebrate the resort’s opening, her first performances since giving birth to her daughter.

In January 2013, Destiny’s Child released Love Songs, a compilation album of the romance-themed songs from their previous albums and a newly recorded track, “Nuclear”. Beyoncé performed the American national anthem singing along with a pre-recorded track at President Obama’s second inauguration in Washington, D.C. The following month, Beyoncé performed at the Super Bowl XLVII halftime show, held at the Mercedes-Benz Superdome in New Orleans. The performance stands as the second most tweeted about moment in history at 268,000 tweets per minute. At the 55th Annual Grammy Awards, Beyoncé won for Best Traditional R&B Performance for “Love on Top”. Her feature-length documentary film, Life Is But a Dream, first aired on HBO on February 16, 2013.  The film was co-directed by Beyoncé herself.

2013–2015: Beyoncé

Beyoncé embarked on The Mrs. Carter Show World Tour on April 15 in Belgrade, Serbia; the tour included 132 dates that ran through to March 2014. It became the most successful tour of her career and one of the most successful tours of all time. In May, Beyoncé’s cover of Amy Winehouse’s “Back to Black” with André 3000 on The Great Gatsby soundtrack was released. Beyoncé voiced Queen Tara in the 3D CGI animated film, Epic, released by 20th Century Fox on May 24,  and recorded an original song for the film, “Rise Up”, co-written with Sia.

On December 13, 2013, Beyoncé unexpectedly released her eponymous fifth studio album on the iTunes Store without any prior announcement or promotion. The album debuted atop the Billboard 200 chart, giving Beyoncé her fifth consecutive number-one album in the US. This made her the first woman in the chart’s history to have her first five studio albums debut at number one. Beyoncé received critical acclaim and commercial success, selling one million digital copies worldwide in six days; Musically an electro-R&B album, it concerns darker themes previously unexplored in her work, such as “bulimia, postnatal depression [and] the fears and insecurities of marriage and motherhood”. The single “Drunk in Love”, featuring Jay-Z, peaked at number two on the Billboard Hot 100 chart.

In April 2014, after much speculation,[162] Beyoncé and Jay-Z officially announced their On the Run Tour. It served as the couple’s first co-headlining stadium tour together. On August 24, 2014, she received the Michael Jackson Video Vanguard Award at the 2014 MTV Video Music Awards. Beyoncé also won home three competitive awards: Best Video with a Social Message and Best Cinematography for “Pretty Hurts”, as well as best collaboration for “Drunk in Love”. In November, Forbes reported that Beyoncé was the top-earning woman in music for the second year in a row—earning $115 million in the year, more than double her earnings in 2013. Beyoncé was reissued with new material in three forms: as an extended play, a box set, as well as a full platinum edition. According to the International Federation of the Phonographic Industry (IFPI), in the last 19 days of 2013, the album sold 2.3 million units worldwide, becoming the tenth best-selling album of 2013. The album also went on to become the twentieth best-selling album of 2014. As of November 2014, Beyoncé has sold over 5 million copies worldwide and has generated over 1 billion streams, as of March 2015.

At the 57th Annual Grammy Awards in February 2015, Beyoncé was nominated for six awards, ultimately winning three: Best R&B Performance and Best R&B Song for “Drunk in Love”, and Best Surround Sound Album for Beyoncé. She was nominated for Album of the Year, but the award went to Beck for his album Morning Phase.

2016–2018: Lemonade and Everything Is Love

On February 6, 2016, Beyoncé released “Formation” and its accompanying music video exclusively on the music streaming platform Tidal; the song was made available to download for free. She performed “Formation” live for the first time during the NFL Super Bowl 50 halftime show. The appearance was considered controversial as it appeared to reference the 50th anniversary of the Black Panther Party and the NFL forbids political statements in its performances. Immediately following the performance, Beyoncé announced The Formation World Tour, which highlighted stops in both North America, and Europe. It ended on October 7, with Beyoncé bringing out her husband Jay-Z, Kendrick Lamar, and Serena Williams for the last show. The tour went on to win Tour of the Year at the 44th American Music Awards.

On April 16, 2016, Beyoncé released a teaser clip for a project called Lemonade. It turned out to be a one-hour film which aired on HBO exactly a week later; a corresponding album with the same title was released on the same day exclusively on Tidal. Lemonade debuted at number one on the US Billboard 200, making Beyoncé the first act in Billboard history to have their first six studio albums debut atop the chart; she broke a record previously tied with DMX in 2013. With all 12 tracks of Lemonade debuting on the Billboard Hot 100 chart, Beyoncé also became the first female act to chart 12 or more songs at the same time. Additionally, Lemonade was streamed 115 million times through Tidal, setting a record for the most-streamed album in a single week by a female artist in history. It was 2016’s third highest-selling album in the US with 1.554 million copies sold in that time period within the country as well as the best-selling album worldwide with global sales of 2.5 million throughout the year. In June 2019, Lemonade was certified 3× Platinum, having sold up to 3 million album-equivalent units in the United States alone.

Lemonade became her most critically acclaimed work to date, receiving universal acclaim according to Metacritic, a website collecting reviews from professional music critics. Several music publications included the album among the best of 2016, including Rolling Stone, which listed Lemonade at number one. The album’s visuals were nominated in 11 categories at the 2016 MTV Video Music Awards, the most ever received by Beyoncé in a single year, and went on to win 8 awards, including Video of the Year for “Formation”.  The eight wins made Beyoncé the most awarded artist in the history of the VMAs (24), surpassing Madonna (20). Beyoncé occupied the sixth place for Time magazine’s 2016 Person of the Year.

In January 2017, it was announced that Beyoncé would headline the Coachella Music and Arts Festival. This would make Beyoncé only the second female headliner of the festival since it was founded in 1999. It was later announced on February 23, 2017 that Beyoncé would no longer be able to perform at the festival due to doctor’s concerns regarding her pregnancy. The festival owners announced that she will instead headline the 2018 festival. Upon the announcement of Beyoncé’s departure from the festival lineup, ticket prices dropped by 12%.

At the 59th Grammy Awards in February 2017, Lemonade led the nominations with nine, including Album, Record, and Song of the Year for Lemonade and “Formation” respectively. and ultimately won two, Best Urban Contemporary Album for Lemonade and Best Music Video for “Formation”.[196] Adele, upon winning her Grammy for Album of the Year, stated Lemonade was monumental and more deserving.

In September 2017, Beyoncé collaborated with J Balvin and Willy William, to release a remix of the song “Mi Gente”. Beyoncé donated all proceeds from the song to hurricane charities for those affected by Hurricane Harvey and Hurricane Irma in Texas, Mexico, Puerto Rico, and other Caribbean Islands.

On November 10, Eminem released “Walk on Water” featuring Beyoncé as the lead single from his album Revival. On November 30, Ed Sheeran announced that Beyoncé would feature on the remix to his song “Perfect”. “Perfect Duet” was released on December 1, 2017. The song reached number-one in the United States, becoming Beyoncé’s sixth song of her solo career to do so.

On January 4, 2018, the music video of Beyoncé and Jay-Z’s 4:44 collaboration, “Family Feud” was released. It was directed by Ava DuVernay. On March 1, 2018, DJ Khaled released “Top Off” as the first single from his forthcoming album Father of Asahd featuring Beyoncé, husband Jay-Z, and Future. On March 5, 2018, a joint tour with Knowles’ husband Jay-Z, was leaked on Facebook. Information about the tour was later taken down. The couple announced the joint tour officially as On the Run II Tour on March 12 and simultaneously released a trailer for the tour on YouTube. On March 20, 2018, the couple traveled to Jamaica to film a music video directed by Melina Matsoukas.

On April 14, 2018, Beyoncé played the first of two weekends as the headlining act of the Coachella Music Festival. Her performance of April 14, attended by 125,000 festival-goers, was immediately praised, with multiple media outlets describing it as historic. The performance became the most-tweeted-about performance of weekend one, as well as the most-watched live Coachella performance and the most-watched live performance on YouTube of all time. The show paid tribute to black culture, specifically historically black colleges and universities and featured a live band with over 100 dancers. Destiny’s Child also reunited during the show.

On June 6, 2018, Beyoncé and husband Jay-Z kicked-off the On the Run II Tour in Cardiff, United Kingdom. Ten days later, at their final London performance, the pair unveiled Everything Is Love, their joint studio album, credited under the name The Carters, and initially available exclusively on Tidal. The pair also released the video for the album’s lead single, “Apeshit”, on Beyoncé’s official YouTube channel. Everything Is Love received generally positive reviews, and debuted at number two on the US Billboard 200, with 123,000 album-equivalent units, of which 70,000 were pure album sales. On December 2, 2018, Beyoncé alongside Jay-Z headlined the Global Citizen Festival: Mandela 100 which was held at FNB Stadium in Johannesburg, South Africa. Their 2-hour performance had concepts similar to the On the Run II Tour and Beyoncé was praised for her outfits, which paid tribute to Africa’s diversity.

2019–present: Homecoming, The Lion King and Black Is King

 

Homecoming, a documentary and concert film focusing on Beyoncé’s historic 2018 Coachella performances, was released by Netflix on April 17, 2019. The film was accompanied by the surprise live album Homecoming: The Live Album. It was later reported that Beyoncé and Netflix had signed a $60 million deal to produce three different projects, one of which is Homecoming. Homecoming received six nominations at the 71st Primetime Creative Arts Emmy Awards.

Beyoncé starred as the voice of Nala in the remake The Lion King, which was released on July 19, 2019. Beyoncé is featured on the film’s soundtrack, released on July 11, 2019, with a remake of the song “Can You Feel the Love Tonight” alongside Donald Glover, Billy Eichner and Seth Rogen, which was originally composed by Elton John. Additionally, an original song from the film by Beyoncé, “Spirit”, was released as the lead single from both the soundtrack and The Lion King: The Gift – a companion album released alongside the film, produced and curated by Beyoncé. Beyoncé called The Lion King: The Gift a “sonic cinema.” She also stated that the album is influenced by everything from R&B, pop, hip hop and Afro Beat. The songs were additionally produced by African producers, which Beyoncé said was because “authenticity and heart were important to [her],” since the film is set in Africa. In September of the same year, a documentary chronicling the development, production and early music video filming of The Lion King: The Gift entitled “Beyoncé Presents: Making The Gift” was aired on ABC.

During an interview for The Wall Street Journal, published in February 2020, Beyoncé’s mother, Tina Knowles, revealed that the singer had borrowed some of her art pieces for a new project already in development. On April 29, 2020, Beyoncé was featured on the remix of Megan Thee Stallion’s song “Savage”, marking her first material of music for the year, the song peaked at number one on the Billboard Hot 100, marking Beyoncé’s eleventh song to do so across all acts.  On June 19, 2020, Beyoncé released the nonprofit charity single “Black Parade”. On June 23, she followed up the release of its studio version with an a capella version exclusively on Tidal.  Black Is King, a visual album based on the music of The Lion King: The Gift, premiered globally on Disney+ on July 31, 2020. Produced by Disney and Parkwood Entertainment, the film was written, directed and executive produced by Beyoncé. The film was described by Disney as “a celebratory memoir for the world on the Black experience”.

Artistry

Voice and musical style

Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as “one of the most compelling instruments in popular music”. Her vocal abilities mean she is identified as the centerpiece of Destiny’s Child. Jon Pareles of The New York Times commented that her voice is “velvety yet tart, with an insistent flutter and reserves of soul belting”. Rosen notes that the hip hop era highly influenced Beyoncé’s unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was “capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars.”

Beyoncé’s music is generally R&B,[ and hip hop but she also incorporates soul and funk into her songs. 4 demonstrated Beyoncé’s exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyoncé recorded several Spanish songs for Irreemplazable (re-recordings of songs from B’Day for a Spanish-language audience), and the re-release of B’Day. To record these, Beyoncé was coached phonetically by American record producer Rudy Perez.

Songwriting credits

Beyoncé has received co-writing credits for most of the songs recorded with Destiny’s Child and nearly all the original songs she has recorded solo, but no sole writing credit. Her early songs were personally driven and female-empowerment themed compositions like “Independent Women” and “Survivor”, but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as “Cater 2 U”. Beyoncé also received co-producing credits for Dangerously in Love, although she did not formulate beats herself and instead came up with melodies and ideas during production, sharing them with producers.

In 2001, she became the first Black woman and second female lyricist to win the Pop Songwriter of the Year award at the ASCAP Pop Music Awards. Beyoncé was the third woman to have writing credits on three number-one songs (“Irreplaceable”, “Grillz” and “Check on It”) in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine songwriting credits on number-one singles. (The latter wrote her 9/11-motivated song “I Was Here” for 4. ) In May 2011, Billboard magazine listed Beyoncé at number 17 on their list of the Top 20 Hot 100 Songwriters for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.

Beyoncé has long received criticism, including from journalists and musicians, for the extensive writing credits on her songs. The controversy surrounding her songwriting credits began with interviews in which she attributed herself as the songwriter for songs in which she was a co-writer or for which her contributions were marginal. In a cover story for Vanity Fair in 2005, she claimed to have “written” several number-one songs for Destiny’s Child, contrary to the credits, which list her as a co-writer among others. In a 2007 interview with Barbara Walters, she claimed to have conceived the musical idea for the Destiny’s Child hit “Bootylicious”, which provoked the song’s producer Rob Fusari to call her father and then-manager Mathew Knowles in protest over the claim. As Fusari tells Billboard, “[Knowles] explained to me, in a nice way, he said, ‘People don’t want to hear about Rob Fusari, producer from Livingston, N.J. No offense, but that’s not what sells records. What sells records is people believing that the artist is everything.’” However, in an interview for Entertainment Weekly in 2016, Fusari said Beyoncé “had the ‘Bootylicious’ concept in her head. That was totally her. She knew what she wanted to say. It was very urban pop angle that they were taking on the record.”

In 2007, the Academy of Motion Picture Arts and Sciences ruled out Beyoncé as a songwriter on “Listen” (from Dreamgirls) for its Oscar nomination in the Best Original Song category. Responding to a then-new three-writer limit, the Academy deemed her contribution the least significant for inclusion. In 2009, Ryan Tedder’s original demo for “Halo” leaked on the Internet, revealing an identical resemblance to Beyoncé’s recording, for which she received a writing credit. When interviewed by The Guardian, Tedder explained that Beyoncé had edited the bridge of the song vocally and thus earned the credit, although he vaguely questioned the ethics of her possible “demand” for a writing credit in other instances. Tedder elaborated when speaking to Gigwise that “She does stuff on any given song that, when you go from the demo to the final version, takes it to another level that you never would have thought of as the writer. For instance, on ‘Halo,’ that bridge on her version is completely different to my original one. Basically, she came in, ditched that, edited it, did her vocal thing on it, and now it’s become one of my favorite parts of the song. The whole melody, she wrote it spontaneously in the studio. So her credit on that song stems from that.”  In 2014, the popular industry songwriter Linda Perry responded to a question about Beyoncé receiving a co-writing credit for changing one lyric to a song: “Well haha um that’s not songwriting but some of these artists believe if it wasn’t for them your song would never get out there so they take a cut just because they are who they are. But everyone knows the real truth about Beyoncé. She is talented but in a completely different way.” Perry’s remarks were echoed by Frank Ocean, who acknowledged the trend of recording artists forcing writing credits while jokingly suggesting Beyoncé had an exceptional status.

Reflecting on the controversy, Sunday Independent columnist Alexis Kritselis wrote in 2014, “It seems as though our love for all things Beyoncé has blinded us to the very real claims of theft and plagiarism that have plagued her career for years”, and that, “because of her power and influence in the music industry, it may be hard for some songwriters to ‘just say no’ to Beyoncé.” While reporting on her controversial writing record, pop culture critics such as Roger Friedman and The Daily Beast’s Kevin Fallon said the trend has redefined popular conceptions of songwriting, with Fallon saying, “the village of authors and composers that populate Lemonade, [Kanye West’]s Life of Pablo, [Rihanna’s] Anti, or [Drake’s] Views—all of which are still reflective of an artist’s voice and vision … speaks to the truth of the way the industry’s top artists create their music today: by committee.” James S. Murphy of Vanity Fair suggests Beyoncé is among the major artists like Frank Sinatra and Billie Holiday who are “celebrated [not] because [they] write such good parts, but because [they] create them out of the words that are given”.

Meanwhile, Everything Is Love producers Cool & Dre stated that Beyoncé is “100 percent involved” in writing her own songs, with Dre saying that “She put her mind to the music and did her thing. If she had a melody idea, she came up with the words. If we had the words, she came up with the melody. She’s a beast,” when speaking on the writing process of Everything Is Love. Ne-Yo, when asked about his collaborative writing experience with Beyoncé on “Irreplaceable,” said that they both wrote “two damn totally different songs […] So, yeah, I gave her writer’s credit. Because that counts. That’s writing…. She put her spin on it.”

Influences

Beyoncé names Michael Jackson as her major musical influence.  Aged five, Beyoncé attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyoncé said, “if it wasn’t for Michael Jackson, I would never ever have performed.” She admires Diana Ross as an “all-around entertainer”. Beyoncé was heavily influenced by Tina Turner, who she said “Tina Turner is someone that I admire, because she made her strength feminine and sexy”. and Whitney Houston, who she said “inspired me to get up there and do what she did.” She credits Mariah Carey’s singing and her song “Vision of Love” as influencing her to begin practicing vocal runs as a child. Her other musical influences include Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Anita Baker, and Rachelle Ferrell.

The feminism and female empowerment themes on Beyoncé’s second solo album B’Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyoncé paid homage to Baker by performing “Déjà Vu” at the 2006 Fashion Rocks concert wearing Baker’s trademark mini-hula skirt embellished with fake bananas. Beyoncé’s third solo album, I Am… Sasha Fierce, was inspired by Jay-Z and especially by Etta James, whose “boldness” inspired Beyoncé to explore other musical genres and styles.  Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince.

Beyoncé has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying “she proves you can do it all,” and has described Oprah Winfrey as “the definition of inspiration and a strong woman.” She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyoncé has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter “what I find in the work of Jean-Michel Basquiat, I search for in every day in music … he is lyrical and raw”. In February 2013, Beyoncé said that Madonna inspired her to take control of her own career. She commented, “I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.” Beyoncé also cited Cher as a fashion inspiration.

Music videos and stage

In 2006, Beyoncé introduced her all-female tour band Suga Mama (also the name of a song on B’Day) which includes bassists, drummers, guitarists, horn players, keyboardists and percussionists. Her background singers, The Mamas, consist of Montina Cooper-Donnell, Crystal Collins and Tiffany Moniqué Riddick. They made their debut appearance at the 2006 BET Awards and re-appeared in the music videos for “Irreplaceable” and “Green Light”. The band have supported Beyoncé in most subsequent live performances, including her 2007 concert tour The Beyoncé Experience, I Am… World Tour (2009–2010), The Mrs. Carter Show World Tour (2013–2014) and The Formation World Tour (2016).

Beyoncé has received praise for her stage presence and voice during live performances. Jarett Wieselman of the New York Post placed her at number one on her list of the Five Best Singer/Dancers. According to Barbara Ellen of The Guardian Beyoncé is the most in-charge female artist she’s seen onstage,  while Alice Jones of The Independent wrote she “takes her role as entertainer so seriously she’s almost too good.” The ex-President of Def Jam L.A. Reid has described Beyoncé as the greatest entertainer alive. Jim Farber of the Daily News and Stephanie Classen of The StarPhoenix both praised her strong voice and her stage presence. Beyoncé’s stage outfits have been met with criticism from many countries, such as Malaysia, where she has postponed or cancelled performances due to the country’s strict laws banning revealing costumes.

Beyoncé has worked with numerous directors for her music videos throughout her career, including Melina Matsoukas, Jonas Åkerlund, and Jake Nava. Bill Condon, director of Beauty and the Beast, stated that the Lemonade visuals in particular served as inspiration for his film, commenting, “You look at Beyoncé’s brilliant movie Lemonade, this genre is taking on so many different forms … I do think that this very old-school break-out-into-song traditional musical is something that people understand again and really want.”

Alter ego

Described as being “sexy, seductive and provocative” when performing on stage, Beyoncé has said that she originally created the alter ego “Sasha Fierce” to keep that stage persona separate from who she really is. She described Sasha as being “too aggressive, too strong, too sassy [and] too sexy”, stating, “I’m not like her in real life at all.” Sasha was conceived during the making of “Crazy in Love”, and Beyoncé introduced her with the release of her 2008 album, I Am… Sasha Fierce. In February 2010, she announced in an interview with Allure magazine that she was comfortable enough with herself to no longer need Sasha Fierce. However, Beyoncé announced in May 2012 that she would bring her back for her Revel Presents: Beyoncé Live shows later that month.

Public image

Beyoncé has been described as having a wide-ranging sex appeal, with music journalist Touré writing that since the release of Dangerously in Love, she has “become a crossover sex symbol”. Offstage Beyoncé says that while she likes to dress sexily, her onstage dress “is absolutely for the stage.” Due to her curves and the term’s catchiness, in the 2000s (decade), the media often used the term “Bootylicious” (a portmanteau of the words booty and delicious) to describe Beyoncé,  the term popularized by Destiny’s Child’s single of the same name. In 2006, it was added to the Oxford English Dictionary.

In September 2010, Beyoncé made her runway modelling debut at Tom Ford’s Spring/Summer 2011 fashion show. She was named the “World’s Most Beautiful Woman” by People[ and the “Hottest Female Singer of All Time” by Complex in 2012.  In January 2013, GQ placed her on its cover, featuring her atop its “100 Sexiest Women of the 21st Century” list. VH1 listed her at number 1 on its 100 Sexiest Artists list. Several wax figures of Beyoncé are found at Madame Tussauds Wax Museums in major cities around the world, including New York, Washington, D.C., Amsterdam, Bangkok, Hollywood and Sydney.

According to Italian fashion designer Roberto Cavalli, Beyoncé uses different fashion styles to work with her music while performing.[304] Her mother co-wrote a book, published in 2002, titled Destiny’s Style[305] an account of how fashion affected the trio’s success. The B’Day Anthology Video Album showed many instances of fashion-oriented footage, depicting classic to contemporary wardrobe styles. In 2007, Beyoncé was featured on the cover of the Sports Illustrated Swimsuit Issue, becoming the second African American woman after Tyra Banks, and People magazine recognized Beyoncé as the best-dressed celebrity.

The Beyhive is the name given to Beyoncé’s fan base. Fans were previously titled “The Beyontourage”, (a portmanteau of Beyoncé and entourage). The name Bey Hive derives from the word beehive, purposely misspelled to resemble her first name, and was penned by fans after petitions on the online social networking service Twitter and online news reports during competitions.

In 2006, the animal rights organization People for the Ethical Treatment of Animals (PETA), criticized Beyoncé for wearing and using fur in her clothing line House of Deréon. In 2011, she appeared on the cover of French fashion magazine L’Officiel, in blackface and tribal makeup that drew criticism from the media. A statement released from a spokesperson for the magazine said that Beyoncé’s look was “far from the glamorous Sasha Fierce” and that it was “a return to her African roots”.

Beyoncé’s lighter skin color and costuming has drawn criticism from some in the African-American community.  Emmett Price, a professor of music at Northeastern University, wrote in 2007 that he thinks race plays a role in many of these criticisms, saying white celebrities who dress similarly do not attract as many comments. In 2008, L’Oréal was accused of whitening her skin in their Feria hair color advertisements, responding that “it is categorically untrue”, and in 2013, Beyoncé herself criticized H&M for their proposed “retouching” of promotional images of her, and according to Vogue requested that only “natural pictures be used”.

Beyoncé has been very vocal for the Black Lives Matter movement. Her song “Formation”, which she sang at the 2016 Super Bowl halftime show, gained criticism from some politicians and police. Some police tried to get The Formation World Tour boycotted by other members. Beyoncé has said that she is against police brutality but is not anti-police.

Personal life

Marriage and children

Beyoncé started a relationship with Jay-Z after their collaboration on “’03 Bonnie & Clyde”, which appeared on his seventh album The Blueprint 2: The Gift & The Curse (2002).  Beyoncé appeared as Jay-Z’s girlfriend in the music video for the song, fuelling speculation about their relationship. On April 4, 2008, Beyoncé and Jay-Z married without publicity. As of April 2014, the couple had sold a combined 300 million records together. They are known for their private relationship, although they have appeared to become more relaxed in recent years. Both have acknowledged difficulty that arose in their marriage after Jay-Z had an affair.

Beyoncé miscarried around 2010 or 2011, describing it as “the saddest thing” she had ever endured She returned to the studio and wrote music to cope with the loss. In April 2011, Beyoncé and Jay-Z traveled to Paris to shoot the album cover for 4, and she unexpectedly became pregnant in Paris.  In August, the couple attended the 2011 MTV Video Music Awards, at which Beyoncé performed “Love on Top” and ended the performance by revealing she was pregnant. Her appearance helped that year’s MTV Video Music Awards become the most-watched broadcast in MTV history, pulling in 12.4 million viewers; the announcement was listed in Guinness World Records for “most tweets per second recorded for a single event” on Twitter, receiving 8,868 tweets per second and “Beyonce pregnant” was the most Googled phrase the week of August 29, 2011. On January 7, 2012, Beyoncé gave birth to a daughter, Blue Ivy, at Lenox Hill Hospital in New York City.

Following the release of Lemonade, which included the single “Sorry”, in 2016, speculations arose about Jay-Z’s alleged infidelity with a mistress referred to as “Becky.” Jon Pareles in The New York Times pointed out that many of the accusations were “aimed specifically and recognizably” at him. Similarly, Rob Sheffield of Rolling Stone magazine noted the lines “Suck on my balls, I’ve had enough” were an “unmistakable hint” that the lyrics revolve around Jay-Z.

On February 1, 2017, she revealed on her Instagram account that she was expecting twins. Her announcement gained over 6.3 million “likes” within eight hours, breaking the world record for the most liked image on the website at the time. On July 13, 2017, Beyoncé uploaded the first image of herself and the twins onto her Instagram account, confirming their birth date as a month prior, on June 13, 2017, with the post becoming the second most liked on Instagram, behind her own pregnancy announcement. The twins were born at Ronald Reagan UCLA Medical Center in California. She wrote of her pregnancy and its aftermath in the September 2018 issue of Vogue, in which she had full control of the cover, shot at Hammerwood Park by photographer Tyler Mitchell.

Activism

Beyoncé performed “America the Beautiful” at President Obama’s 2009 presidential inauguration, as well as “At Last” during the first inaugural dance at the Neighborhood Ball two days later. The couple held a fundraiser at Jay-Z’s 40/40 Club in Manhattan for President Obama’s 2012 presidential campaign which raised $4 million. In the 2012 presidential election, the singer voted for President Obama. She performed the American national anthem at his second inauguration in January 2013.

The Washington Post reported in May 2015, that Beyoncé attended a major celebrity fundraiser for 2016 presidential nominee Hillary Clinton.  She also headlined for Clinton in a concert held the weekend before Election Day the next year. In this performance, Beyoncé and her entourage of backup dancers wore pantsuits; a clear allusion to Clinton’s frequent dress-of-choice. The backup dancers also wore “I’m with her” tee shirts, the campaign slogan for Clinton. In a brief speech at this performance Beyoncé said, “I want my daughter to grow up seeing a woman lead our country and knowing that her possibilities are limitless.” She endorsed the bid of Beto O’Rourke during the 2018 United States Senate election in Texas.

In 2013, Beyoncé stated in an interview in Vogue that she considered herself to be “a modern-day feminist”.  She would later align herself more publicly with the movement, sampling “We should all be feminists”, a speech delivered by Nigerian author Chimamanda Ngozi Adichie at a TEDx talk in April 2013, in her song “Flawless”, released later that year. The next year she performed live at the MTV Video Awards in front a giant backdrop reading “Feminist.” Her self-identification incited a circulation of opinions and debate about whether her feminism is aligned with older, more established feminist ideals. Annie Lennox, celebrated artist and feminist advocate, referred to Beyoncé’s use of her word feminist as ‘feminist lite’. bell hooks critiqued Beyoncé, referring to her as a “terrorist” towards feminism, harmfully impacting her audience of young girls.  Adichie responded with “…her type of feminism is not mine, as it is the kind that, at the same time, gives quite a lot of space to the necessity of men. Adichie expands upon what ‘feminist lite’ means to her, referring that “more troubling is the idea, in Feminism Lite, that men are naturally superior but should be expected to “treat women well” and “we judge powerful women more harshly than we judge powerful men. And Feminism Lite enables this.” Beyoncé responded about her intent by utilizing the definition of feminist with her platform was to “give clarity to the true meaning” behind it. She says to understand what being a feminist is, “…it’s very simple. It’s someone who believes in equal rights for men and women.” She advocated to provide equal opportunities for young boys and girls, men and women must begin to understand the double standards that remain persistent in our societies and the issue must be illuminated in effort to start making changes.

She has also contributed to the Ban Bossy campaign, which uses TV and social media to encourage leadership in girls.[356] Following Beyoncé’s public identification as a feminist, the sexualized nature of her performances and the fact that she championed her marriage was questioned.

In December 2012, Beyoncé along with a variety of other celebrities teamed up and produced a video campaign for “Demand A Plan”, a bipartisan effort by a group of 950 US mayors and others designed to influence the federal government into rethinking its gun control laws, following the Sandy Hook Elementary School shooting. Beyoncé publicly endorsed same-sex marriage on March 26, 2013, after the Supreme Court debate on California’s Proposition 8.  She spoke against North Carolina’s Public Facilities Privacy & Security Act, a bill passed (and later repealed) that discriminated against the LGBT community in public places in a statement during her concert in Raleigh as part of the Formation World Tour in 2016 She has also condemned police brutality against black Americans. She and Jay-Z attended a rally in 2013 in response to the acquittal of George Zimmerman for the shooting of Trayvon Martin. The film for her sixth album Lemonade included the mothers of Trayvon Martin, Michael Brown and Eric Garner, holding pictures of their sons in the video for “Freedom” In a 2016 interview with Elle, Beyoncé responded to the controversy surrounding her song “Formation” which was perceived to be critical of the police. She clarified, “I am against police brutality and injustice. Those are two separate things. If celebrating my roots and culture during Black History Month made anyone uncomfortable, those feelings were there long before a video and long before me”.

In February 2017, Beyoncé spoke out against the withdrawal of protections for transgender students in public schools by Donald Trump’s presidential administration. Posting a link to the 100 Days of Kindness campaign on her Facebook page, Beyoncé voiced her support for transgender youth and joined a roster of celebrities who spoke out against Trump’s decision.

In November 2017, Beyoncé presented Colin Kaepernick with the 2017 Sports Illustrated Muhammad Ali Legacy Award, stating, “Thank you for your selfless heart and your conviction, thank you for your personal sacrifice,” and that “Colin took action with no fear of consequence … To change perception, to change the way we treat each other, especially people of color. We’re still waiting for the world to catch up.” Muhammad Ali was heavily penalized in his career for protesting the status quo of US civil rights through opposition to the Vietnam War, by refusing to serve in the military. 40 years later, Kaepernick had already lost one professional year due to taking a much quieter and legal stand “for people that are oppressed.”

Wealth

Forbes magazine began reporting on Beyoncé’s earnings in 2008, calculating that the $80 million earned between June 2007 to June 2008, for her music, tour, films and clothing line made her the world’s best-paid music personality at the time, above Madonna and Celine Dion. It placed her fourth on the Celebrity 100 list in 2009 and ninth on the “Most Powerful Women in the World” list in 2010. The following year, the magazine placed her eighth on the “Best-Paid Celebrities Under 30” list, having earned $35 million in the past year for her clothing line and endorsement deals. In 2012, Forbes placed Beyoncé at number 16 on the Celebrity 100 list, twelve places lower than three years ago yet still having earned $40 million in the past year for her album 4, clothing line and endorsement deals. In the same year, Beyoncé and Jay-Z placed at number one on the “World’s Highest-Paid Celebrity Couples”, for collectively earning $78 million. The couple made it into the previous year’s Guinness World Records as the “highest-earning power couple” for collectively earning $122 million in 2009. For the years 2009 to 2011, Beyoncé earned an average of $70 million per year, and earned $40 million in 2012. In 2013, Beyoncé’s endorsements of Pepsi and H&M made her and Jay-Z the world’s first billion dollar couple in the music industry. That year, Beyoncé was published as the fourth most-powerful celebrity in the Forbes rankings.

MTV estimated that by the end of 2014, Beyoncé would become the highest-paid Black musician in history;  this became the case in April 2014. In June 2014, Beyoncé ranked at number one on the Forbes Celebrity 100 list, earning an estimated $115 million throughout June 2013 – June 2014. This in turn was the first time she had topped the Celebrity 100 list as well as being her highest yearly earnings to date.[380] In 2016, Beyoncé ranked at number 34 on the Celebrity 100 list with earnings of $54 million. Herself and Jay-Z also topped the highest paid celebrity couple list, with combined earnings of $107.5 million. As of 2018, Forbes calculated her net worth to be $355 million, and in June of the same year, ranked her as the 35th highest earning celebrity with annual earnings of $60 million. This tied Beyoncé with Madonna as the only two female artists to earn more than $100 million within a single year twice. As a couple with Jay-Z, they have a combined net worth of $1.16 billion. In July 2017, Billboard announced that Beyoncé was the highest paid musician of 2016, with an estimated total of $62.1 million.

Legacy

Beyoncé’s success has led to her becoming a cultural icon and earning her the nickname “Queen Bey”. In The New Yorker, music critic Jody Rosen described Beyoncé as “the most important and compelling popular musician of the twenty-first century … the result, the logical end point, of a century-plus of pop.” Author James Clear, in his book Atomic Habits (2018), draws a parallel between the singer’s success and the dramatic transformations in modern society: “In the last one hundred years, we have seen the rise of the car, the airplane, the television, the personal computer, the internet, the smartphone, and Beyoncé.” When The Observer named her Artist of the Decade in 2009, Llewyn-Smith wrote:

Why Beyoncé? … Because she made not one but two of the decade’s greatest singles, with ‘Crazy in Love’ and ‘Single Ladies (Put a Ring on It)’, not to mention her hits with Destiny’s Child; and this was the decade when singles – particularly R&B singles – regained their status as pop’s favourite medium. … [She] and not any superannuated rock star was arguably the greatest live performer of the past 10 years.”

Writing for Entertainment Weekly, Alex Suskind noticed how Beyoncé was the decade’s (2010s) defining pop star, stating that “no one dominated music in the 2010s like Queen Bey”, explaining that her “songs, album rollouts, stage presence, social justice initiatives, and disruptive public relations strategy have influenced the way we’ve viewed music since 2010.” British publication NME also shared similar thoughts on her impact in the 2010s, including Beyoncé on their list of the “10 Artists Who Defined The Decade”, explaining: “So much more than a popstar, Beyonce has become an outspoken advocate for civil rights, feminism and self-expression, proving that it’s possible to be politically engaged and still hold down an extremely successful career in mainstream entertainment.”

In 2013, Beyoncé made the Time 100 list, with Baz Luhrmann writing:

“No one has that voice, no one moves the way she moves, no one can hold an audience the way she does … When Beyoncé does an album, when Beyoncé sings a song, when Beyoncé does anything, it’s an event, and it’s broadly influential. Right now, she is the heir-apparent diva of the USA – the reigning national voice.”

In 2014, Beyoncé was listed again on the Time 100 and also featured on the cover of the issue. In 2018, Rolling Stone included her on its Millennial 100 list and Brittany Spanos wrote: “For 20 years, she’s been a stately pop and R&B presence: Destiny’s Child countered the glaringly white bubblegum of the time with unmatchable vocals and choreography, and their success made her solo career fail-proof. It’s one reason Beyoncé may be the most universally beloved artist of the Gen Y. A figure of talent, beauty and grace, Queen Bey has developed into the most exciting artist of the millennium as well as a political figure, setting the tone for how other major stars speak about feminism and the Black Lives Matter movement with the release of her landmark Lemonade album in 2016.”

She is often credited for the cultural shift towards female pop singers rapping and for creating the staccato style of ‘rap-singing’ she used in songs like “Bug a Boo” and “Say My Name”. Uproxx stated that Beyoncé is the primary pioneer of the singsong style that dominates Hip-Hop currently, while Sheldon Pearce of Pitchfork noticed her contribution in changing the sound of pop music radio with her hip-hop a*sisted style, writing:

Her hip-hop fluency gave her an advantage in the pop-star arms race, helping her to become the presiding voice in an increasingly rap-dominated musical landscape. Her evolution, from rap-adjacent R&B star (appearing as early as 1998 in a Geto Boys video) to reluctant hip-hop shareholder to full-blown rapper, played a role in slowly shifting the sound of pop radio.”

Beyoncé’s releases of Beyoncé in 2013 and Lemonade in 2016, which are both concept albums and visual albums, have been credited with revolutionizing the music industry, reinventing the album and transforming how people consume music. In 2020, Billboard named her with Destiny’s Child the third Greatest Music Video artists of all time, behind Madonna and Michael Jackson

Beyoncé’s work has influenced numerous artists including Adele, Alexis Jordan, Ariana Grande,  Azealia Banks. Paul McCartney, Bebe Rexha, Bridgit Mendler, Camila Cabello, Lizzo, Cheryl,  Demi Lovato, Dua Lipa, Ellie Goulding, Ed Sheeran, Fifth Harmony, Florence Welch, Grimes, Hwasa, Iggy Azalea, Jessica Sanchez, Jessie J, JoJo, Kelly Rowland, Kendrick Lamar, Lady Gaga, Little Mix, Meghan Trainor, Nicole Scherzinger, Normani, Millie Bobby Brown, Rihanna, Rita Ora,  Ryan Destiny SZA, Sam Smith, Tinashe, and Zendaya.

American indie rock band White Rabbits also cited her an inspiration for their third album Milk Famous (2012), and Irish singer Sinéad O’Connor cited her as the inspiration for the title of her tenth album I’m Not Bossy, I’m the Boss. Friend Gwyneth Paltrow studied Beyoncé at her live concerts while learning to become a musical performer for the 2010 film Country Strong.

Beyoncé is known for coining popular phrases such as ‘put a ring on it,’ a euphemism for marriage proposal, ‘I woke up like this, which started a trend of posting morning selfies with the hashtag #iwokeuplikethis, and ‘boy, bye,’ which was used as part of the Democratic National Committee’s campaign for the 2020 election. Similarly, she also came up with the phrase “visual album” following the release of her fifth studio album, which had a video for every song. This has been recreated by many other artists since, such as Frank Ocean and Melanie Martinez. The album also popularized surprise releases, with many artists releasing songs, videos or albums with no prior announcement, such as Nicki Minaj, Eminem, Frank Ocean, Jay-Z and Drake.

The lead single of her debut album, “Crazy in Love” was named VH1’s “Greatest Song of the 2000s”, NME’s “Best Track of the 00s” and “Pop Song of the Century”,  considered by Rolling Stone to be one of the 500 greatest songs of all time, earned two Grammy Awards and is one of the best-selling singles of all time at around 8 million copies. The music video for “Single Ladies (Put a Ring on It)”, which achieved fame for its intricate choreography  and its deployment of jazz hands, was credited by the Toronto Star as having started the “first major dance craze of both the new millennium and the Internet”,[106] triggering a number of parodies of the dance choreography  and a legion of amateur imitators on YouTube. In 2013, Drake released a single titled “Girls Love Beyoncé”, which featured an interpolation from Destiny Child’s “Say My Name” and discussed his relationship with women. In January 2012, research scientist Bryan Lessard named Scaptia beyonceae, a species of horse fly found in Northern Queensland, Australia after Beyoncé due to the fly’s unique golden hairs on its abdomen. In July 2014, a Beyoncé exhibit was introduced into the “Legends of Rock” section of the Rock and Roll Hall of Fame. The black leotard from the “Single Ladies” video and her outfit from the Super Bowl half time performance are among several pieces housed at the museum. Architects credit Beyoncé’s look in her “Ghost” music video as the inspiration of the design of the Premier Tower under construction in Australia.

The City of Minneapolis, Minnesota declared May 23 Beyoncé Day in the city in 2016.  In 2018, the City of Columbia, South Carolina declared August 21 Beyoncé Knowles-Carter Day in the city after presenting her with the keys to Columbia.

Beyoncé inspired the character of Catherine of Aragon in the British musical Six, a modern retelling of the lives of the six wives of Henry VIII presented as a pop concert, with the character’s outfit bearing resemblance to Beyoncé’s from her performance at the 59th Annual Grammy Awards Additionally, Beyoncé is featured alongside other R&B and pop divas as a primary character on the popular web parody Got 2B Real.

For their first match of March 2019, the players of the United States women’s national soccer team each wore a jersey with the name of a woman they were honoring on the back; Mallory Pugh chose the name of Beyoncé.

Achievements

Beyoncé has received numerous awards. As a solo artist she has sold over 17 million albums in the US, and over 75 million worldwide (as of February 2013). Having sold over 100 million records worldwide (a further 60 million additionally with Destiny’s Child), Beyoncé is one of the best-selling music artists of all time. The Recording Industry Association of America (RIAA) listed Beyoncé as the top certified artist of the 2000s decade, with a total of 64 certifications. Her songs “Single Ladies (Put a Ring on It)”, “Halo”, and “Irreplaceable” are some of the best-selling singles of all time worldwide. In 2009, The Observer named her the Artist of the Decade and Billboard named her the Top Female Artist and Top Radio Songs Artist of the Decade. In 2010, Billboard named her in their Top 50 R&B/Hip-Hop Artists of the Past 25 Years list at number 15. In 2012 VH1 ranked her third on their list of the “100 Greatest Women in Music”, behind Mariah Carey and Madonna. In 2002, she received Songwriter of the Year from American Society of Composers, Authors and Publishers becoming the First African American woman to win the award. In 2004 and 2019, she received NAACP Image Award for Entertainer of the Year and the Soul Train Music Award for Sammy Davis Jr. – Entertainer of the Year. In 2005, she also received APEX Award at the Trumpet Award honoring achievements of Black African Americans. In 2007, Beyoncé received the International Artist of Excellence award by the American Music Awards. She also received Honorary Otto at the Bravo Otto. The following year, she received the Legend Award for Outstanding Contribution to the Arts at the World Music Awards and Career Achievement Award at the LOS40 Music Awards. In 2010, she received Award of Honor for Artist of the Decade at the NRJ Music Award and at the 2011 Billboard Music Awards, Beyoncé received the inaugural Billboard Millennium Award. Beyoncé received the Michael Jackson Video Vanguard Award at the 2014 MTV Video Music Awards and was honored as Honorary Mother of the Year at the Australian Mother of the Year Award in Barnardo’s Australia for her Humanitarian Effort in the region and the Council of Fashion Designers of America Fashion Icon Award in 2016. In 2019, alongside Jay Z, they received GLAAD Vanguard Award that is presented to a member of the entertainment community who does not identify as LGBT but who has made a significant difference in promoting equal rights for LGBT people. In 2020, she was awarded the BET Humanitarian Award.

Beyoncé has won 24 Grammy Awards, both as a solo artist and member of Destiny’s Child and The Carters, making her the second most honored female artist by the Grammys, behind Alison Krauss She is also the most nominated artist in Grammy Award history with a total of 79 nominations. “Single Ladies (Put a Ring on It)” won Song of the Year in 2010 while “Say My Name”, “Crazy in Love” and “Drunk in Love” have each won Best R&B Song. Dangerously in Love, B’Day and I Am … Sasha Fierce have all won Best Contemporary R&B Album, while Lemonade has won Best Urban Contemporary Album. Beyoncé set the record for the most Grammy awards won by a female artist in one night in 2010 when she won six awards, breaking the tie she previously held with Alicia Keys, Norah Jones, Alison Krauss, and Amy Winehouse, with Adele equaling this in 2012.

Beyoncé has also won 24 MTV Video Music Awards, making her the most-awarded artist in Video Music Award history. She won two awards each with The Carters and Destiny’s Child making her lifetime total of 28 VMAs. “Single Ladies (Put a Ring on It)” and “Formation” won Video of the Year in 2009 and 2016 respectively. Beyoncé tied the record set by Lady Gaga in 2010 for the most VMAs won in one night for a female artist with eight in 2016. She is also the most awarded and nominated artist in BET Award history, winning 29 awards from a total of 60 nominations. and most awarded person in Soul Train Music Awards with over fifteen awards as a solo artist.

Following her role in Dreamgirls, Beyoncé was nominated for Best Original Song for “Listen” and Best Actress at the Golden Globe Awards, and Outstanding Actress in a Motion Picture at the NAACP Image Awards. Beyoncé won two awards at the Broadcast Film Critics Association Awards 2006; Best Song for “Listen” and Best Original Soundtrack for Dreamgirls: Music from the Motion Picture. According to Fuse in 2014, Beyoncé is the second most award-winning artist of all time, after Michael Jackson. Lemonade won a Peabody Award stating “Lemonade draws from the prolific literary, musical, cinematic, and aesthetic sensibilities of black cultural producers to create a rich tapestry of poetic innovation. Defying genre and convention, Lemonade immerses viewers in the sublime worlds of black women, family, and community where we experience poignant and compelling stories about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.”

She was named on the 2016 BBC Radio 4 Woman’s Hour Power List as one of seven women judged to have had the biggest impact on women’s lives over the past 70 years, alongside Margaret Thatcher, Barbara Castle, Helen Brook, Germaine Greer, Jayaben Desai and Bridget Jones, She was named the Most Powerful Woman in Music on the same list in 2020.

Business and ventures

In 2010, Beyoncé founded her own entertainment company Parkwood Entertainment which formed as an imprint based from Columbia Records, the company began as a production unit for videos and films in 2008. Parkwood Entertainment is named after a street in Houston, Texas where Beyoncé once lived. With headquarters in New York City, the company serves as an umbrella for the entertainer’s various brands in music, movies, videos, and fashion. The staff of Parkwood Entertainment have experiences in arts and entertainment, from filmmaking and video production to web and fashion design. In addition to departments in marketing, digital, creative, publicity, fashion design and merchandising, the company houses a state-of-the-art editing suite, where Beyoncé works on content for her worldwide tours, music videos, and television specials. Parkwood Entertainment’s first production was the musical biopic Cadillac Records (2008), in which Beyoncé starred and co-produced. The company has also distributed Beyoncé’s albums such as her self-titled fifth studio album (2013), Lemonade (2016) and The Carters, Everything is Love (2018). Beyoncé has also signed other artists to Parkwood such as Chloe x Halle, who performed at Super Bowl LIII in February 2019.

Endorsements

Beyoncé has worked with Pepsi since 2002, and in 2004 appeared in a Gladiator-themed commercial with Britney Spears, Pink, and Enrique Iglesias. In 2012, Beyoncé signed a $50 million deal to endorse Pepsi. The Center for Science in the Public Interest (CSPINET) wrote Beyoncé an open letter asking her to reconsider the deal because of the unhealthiness of the product and to donate the proceeds to a medical organisation. Nevertheless, NetBase found that Beyoncé’s campaign was the most talked about endorsement in April 2013, with a 70 percent positive audience response to the commercial and print ads.

Beyoncé has worked with Tommy Hilfiger for the fragrances True Star (singing a cover version of “Wishing on a Star”) and True Star Gold; she also promoted Emporio Armani’s Diamonds fragrance in 2007. Beyoncé launched her first official fragrance, Heat, in 2010. The commercial, which featured the 1956 song “Fever”, was shown after the water shed in the United Kingdom as it begins with an image of Beyoncé appearing to lie naked in a room. In February 2011, Beyoncé launched her second fragrance, Heat Rush. Beyoncé’s third fragrance, Pulse, was launched in September 2011. In 2013, The Mrs. Carter Show Limited Edition version of Heat was released. The six editions of Heat are the world’s best-selling celebrity fragrance line,  with sales of over $400 million.

The release of a video-game Starpower: Beyoncé was cancelled after Beyoncé pulled out of a $100 million with GateFive who alleged the cancellation meant the sacking of 70 staff and millions of pounds lost in development. It was settled out of court by her lawyers in June 2013 who said that they had cancelled because GateFive had lost its financial backers. Beyoncé also has had deals with American Express, Nintendo DS and L’Oréal since the age of 18.

In March 2015, Beyoncé became a co-owner, with other artists, of the music streaming service Tidal. The service specializes in lossless audio and high definition music videos. Beyoncé’s husband Jay-Z acquired the parent company of Tidal, Aspiro, in the first quarter of 2015. Including Beyoncé and Jay-Z, sixteen artist stakeholders (such as Kanye West, Rihanna, Madonna, Chris Martin, Nicki Minaj and more) co-own Tidal, with the majority owning a 3% equity stake The idea of having an all artist owned streaming service was created by those involved to adapt to the increased demand for streaming within the current music industry.

Fashion lines

Beyoncé and her mother introduced House of Deréon, a contemporary women’s fashion line, in 2005. The concept is inspired by three generations of women in their family, with the name paying tribute to Beyoncé’s grandmother, Agnèz Deréon, a respected seamstress. According to Tina, the overall style of the line best reflects her and Beyoncé’s taste and style. Beyoncé and her mother founded their family’s company Beyond Productions, which provides the licensing and brand management for House of Deréon, and its junior collection, Deréon. House of Deréon pieces were exhibited in Destiny’s Child’s shows and tours, during their Destiny Fulfilled era. The collection features sportswear, denim offerings with fur, outerwear and accessories that include handbags and footwear, and are available at department and specialty stores across the US and Canada.

In 2005, Beyoncé teamed up with House of Brands, a shoe company, to produce a range of footwear for House of Deréon. In January 2008, Starwave Mobile launched Beyoncé Fashion Diva, a “high-style” mobile game with a social networking component, featuring the House of Deréon collection. In July 2009, Beyoncé and her mother launched a new junior apparel label, Sasha Fierce for Deréon, for back-to-school selling. The collection included sportswear, outerwear, handbags, footwear, eyewear, lingerie and jewelry. It was available at department stores including Macy’s and Dillard’s, and specialty stores Jimmy Jazz and Against All Odds. On May 27, 2010, Beyoncé teamed up with clothing store C&A to launch Deréon by Beyoncé at their stores in Brazil. The collection included tailored blazers with padded shoulders, little black dresses, embroidered tops and shirts and bandage dresses.

In October 2014, Beyoncé signed a deal to launch an activewear line of clothing with British fashion retailer Topshop. The 50–50 venture is called Ivy Park and was launched in April 2016. The brand’s name is a nod to Beyoncé’s daughter and her favourite number four (IV in roman numerals), and also references the park where she used to run in Texas. She has since bought out Topshop owner Philip Green from his 50% share after he was alleged to have sexually harassed, bullied and racially abused employees. She now owns the brand herself. On April 4, 2019, it was announced that Beyoncé would become a creative partner with Adidas and further develop her athletic brand Ivy Park with the company. Knowles will also develop new clothes and footwear for Adidas. Shares for the company rose 1.3% upon the news release. In December, 9, 2019, they announced a launch date which will be on January 18, 2020. Beyoncé uploaded a teaser on her website and Instagram. The collection was also previewed on the upcoming Elle Magazine: January 2020 issue, where Beyoncé is seen wearing several garments, accessories and footwear from the first collection.

Philanthropy

In 2002, Beyoncé, Kelly Rowland and Tina Knowles built the Knowles-Rowland Center for Youth, a community center in Downtown Houston. After Hurricane Katrina in 2005, Beyoncé and Rowland founded the Survivor Foundation to provide transitional housing to displaced families and provide means for new building construction, to which Beyoncé contributed an initial $250,000. The foundation has since expanded to work with other charities in the city, and also provided relief following Hurricane Ike three years later. Beyoncé also donated $100,000 to the Gulf Coast Ike Relief Fund. In 2007, Beyoncé founded the Knowles-Temenos Place Apartments, a housing complex offering living space for 43 displaced individuals. As of 2016, Beyoncé had donated $7 million for the maintenance of the complex.

After starring in Cadillac Records in 2009 and learning about Phoenix House, a non-profit drug and alcohol rehabilitation organization, Beyoncé donated her full $4 million salary from the film to the organization. Beyoncé and her mother subsequently established the Beyoncé Cosmetology Center, which offers a seven-month cosmetology training course helping Phoenix House’s clients gain career skills during their recovery.

In January 2010, Beyoncé participated in George Clooney and Wyclef Jean’s Hope for Haiti Now: A Global Benefit for Earthquake Relief telethon donated a large sum to the organization, and was named the official face of the limited edition CFDA “Fashion For Haiti” T-shirt, made by Theory which raised a total of $1 million. In April 2011, Beyoncé joined forces with US First Lady Michelle Obama and the National Association of Broadcasters Education Foundation, to help boost the latter’s campaign against child obesity by reworking her single “Get Me Bodied”.  Following the death of Osama bin Laden, Beyoncé released her cover of the Lee Greenwood song “God Bless the USA”, as a charity single to help raise funds for the New York Police and Fire Widows’ and Children’s Benefit Fund.

Beyoncé became an ambassador for the 2012 World Humanitarian Day campaign donating her song “I Was Here” and its music video, shot in the UN, to the campaign. In 2013, it was announced that Beyoncé would work with Salma Hayek and Frida Giannini on a Gucci “Chime for Change” campaign that aims to spread female empowerment. The campaign, which aired on February 28, was set to her new music. A concert for the cause took place on June 1, 2013 in London  and included other acts like Ellie Goulding, Florence and the Machine, and Rita Ora.  In advance of the concert, she appeared in a campaign video released on May 15, 2013, where she, along with Cameron Diaz, John Legend and Kylie Minogue, described inspiration from their mothers, while a number of other artists celebrated personal inspiration from other women, leading to a call for submission of photos of women of viewers’ inspiration from which a selection was shown at the concert. Beyoncé said about her mother Tina Knowles that her gift was “finding the best qualities in every human being.” With help of the crowdfunding platform Catapult, visitors of the concert could choose between several projects promoting education of women and girls. Beyoncé also took part in “Miss a Meal”, a food-donation campaign, and supported Goodwill Industries through online charity auctions at Charitybuzz that support job creation throughout Europe and the U.S.

Beyoncé and Jay-Z secretly donated tens of thousands of dollars to bail out Black Lives Matter protesters in Baltimore and Ferguson, as well as funded infrastructure for the establishment of Black Lives Matter chapters across the US. Before Beyoncé’s Formation World Tour show in Tampa, her team held a private luncheon for more than 20 community leaders to discuss how Beyoncé could support local charitable initiatives, including pledging on the spot to fund 10 scholarships to provide students with financial aid. Tampa Sports Authority board member Thomas Scott said: “I don’t know of a prior artist meeting with the community, seeing what their needs are, seeing how they can invest in the community. It says a lot to me about Beyoncé. She not only goes into a community and walks away with (money), but she also gives money back to that community.” In June 2016, Beyoncé donated over $82,000 to the United Way of Genesee County to support victims of the Flint water crisis. Beyoncé additionally donated money to support 14 students in Michigan with their college expenses. In August 2016, Beyoncé and Jay-Z donated $1.5 million to civil rights groups including Black Lives Matter, Hands Up United and Dream Defenders. After Hurricane Matthew, Beyoncé and Jay-Z donated $15 million to the Usain Bolt Foundation to support its efforts in rebuilding homes in Haiti. In December 2016, Beyoncé was named the Most Charitable Celebrity of the year.

During Hurricane Harvey in August 2017, Beyoncé launched BeyGOOD Houston to support those affected by the hurricane in Houston. The organization donated necessities such as cots, blankets, pillows, baby products, feminine products and wheelchairs, and funded long-term revitalization projects. On September 8, Beyoncé visited Houston, where she sponsored a lunch for 400 survivors at her local church, visited the George R Brown Convention Center to discuss with people displaced by the flooding about their needs, served meals to those who lost their homes, and made a significant donation to local causes. Beyoncé additionally donated $75,000 worth of new mattresses to survivors of the hurricane. Later that month, Beyoncé released a remix of J Balvin and Willy William’s “Mi Gente”, with all of her proceeds being donated to disaster relief charities in Puerto Rico, Mexico, the US and the Caribbean after hurricanes Harvey, Irma and Maria, and the Chiapas and Puebla earthquakes.

In April 2020, Beyoncé donated $6 million to the National Alliance in Mental Health, UCLA and local community-based organizations in order to provide mental health and personal wellness services to essential workers during the COVID-19 pandemic. BeyGOOD also teamed up with local organizations to help provide resources to communities of color, including food, water, cleaning supplies, medicines and face masks. The same month Beyoncé released a remix of Megan Thee Stallion’s “Savage”, with all proceeds benefiting Bread of Life Houston’s COVID-19 relief efforts, which includes providing over 14 tons of food and supplies to 500 families and 100 senior citizens in Houston weekly. In May 2020, Beyoncé provided 1,000 free COVID-19 tests in Houston as part of her and her mother’s #IDidMyPart initiative, which was established due to the disproportionate deaths in African-American communities. Additionally, 1,000 gloves, masks, hot meals, essential vitamins, grocery vouchers and household items were provided. In July 2020, Beyoncé established the Black-Owned Small Business Impact Fund in partnership with the NAACP, which offers $10,000 grants to black-owned small businesses in need following the George Floyd protests. All proceeds from Beyoncé’s single “Black Parade” were donated to the fund. In September 2020, Beyoncé announced that she had donated an additional $1 million to the fund. In October 2020, Beyoncé released a statement that she has been working with the Feminist Coalition to a*sist supporters of the End Sars movement in Nigeria, including covering medical costs for injured protestors, covering legal fees for arrested protestors, and providing food, emergency shelter, transportation and telecommunication means to those in need. Beyoncé also showed support for those fighting against other issues in Africa, such as the Anglophone Crisis in Cameroon, ShutItAllDown in Namibia, Zimbabwean Lives Matter in Zimbabwe and the Rape National Emergency in Liberia.

Lyrics


Willie Nelson

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Willie Hugh Nelson (born April 29, 1933) is an American musician, actor, and activist. The critical success of the album Shotgun Willie (1973), combined with the critical and commercial success of Red Headed Stranger (1975) and Stardust (1978), made Nelson one of the most recognized artists in country music. He was one of the main figures of outlaw country, a subgenre of country music that developed in the late 1960s as a reaction to the conservative restrictions of the Nashville sound. Nelson has acted in over 30 films, co-authored several books, and has been involved in activism for the use of biofuels and the legalization of marijuana.

Born during the Great Depression and raised by his grandparents, Nelson wrote his first song at age seven and joined his first band at ten. During high school, he toured locally with the Bohemian Polka as their lead singer and guitar player. After graduating from high school in 1950, he joined the U.S. Air Force but was later discharged due to back problems. After his return, Nelson attended Baylor University for two years but dropped out because he was succeeding in music. During this time, he worked as a disc jockey in Texas radio stations and a singer in honky-tonks. Nelson moved to Vancouver, Washington, where he wrote “Family Bible” and recorded the song “Lumberjack” in 1956. He also worked as a disc jockey at various radio stations in Vancouver and nearby Portland, Oregon. In 1958, he moved to Houston, Texas, after signing a contract with D Records. He sang at the Esquire Ballroom weekly and he worked as a disk jockey. During that time, he wrote songs that would become country standards, including “Funny How Time Slips Away”, “Hello Walls”, “Pretty Paper”, and “Crazy”. In 1960 he moved to Nashville, Tennessee, and later signed a publishing contract with Pamper Music which allowed him to join Ray Price’s band as a bassist. In 1962, he recorded his first album, …And Then I Wrote. Due to this success, Nelson signed in 1964 with RCA Victor and joined the Grand Ole Opry the following year. After mid-chart hits in the late 1960s and the early 1970s, Nelson retired in 1972 and moved to Austin, Texas. The ongoing music scene of Austin motivated Nelson to return from retirement, performing frequently at the Armadillo World Headquarters.

In 1973, after signing with Atlantic Records, Nelson turned to outlaw country, including albums such as Shotgun Willie and Phases and Stages. In 1975, he switched to Columbia Records, where he recorded the critically acclaimed album Red Headed Stranger. The same year, he recorded another outlaw country album, Wanted! The Outlaws, along with Waylon Jennings, Jessi Colter, and Tompall Glaser. During the mid-1980s, while creating hit albums like Honeysuckle Rose and recording hit songs like “On the Road Again”, “To All the Girls I’ve Loved Before”, and “Pancho and Lefty”, he joined the country supergroup The Highwaymen, along with fellow singers Johnny Cash, Waylon Jennings, and Kris Kristofferson.

In 1990, Nelson’s a*sets were seized by the Internal Revenue Service, which claimed that he owed $32 million. The difficulty of paying his outstanding debt was aggravated by weak investments he had made during the 1980s. In 1992, Nelson released The IRS Tapes: Who’ll Buy My Memories?; the profits of the double album—destined to the IRS—and the auction of Nelson’s a*sets cleared his debt. During the 1990s and 2000s, Nelson continued touring extensively, and released albums every year. Reviews ranged from positive to mixed. He explored genres such as reggae, blues, jazz, and folk.

Nelson made his first movie appearance in the 1979 film The Electric Horseman, followed by other appearances in movies and on television. Nelson is a major liberal activist and the co-chair of the advisory board of the National Organization for the Reform of Marijuana Laws (NORML), which is in favor of marijuana legalization. On the environmental front, Nelson owns the bio-diesel brand Willie Nelson Biodiesel, which is made from vegetable oil. Nelson is also the honorary chairman of the advisory board of the Texas Music Project, the official music charity of the state of Texas.

Early life

Nelson was born in Abbott, Texas, on April 29, 1933,[1] the son of Myrle Marie (née Greenhaw) and Ira Doyle Nelson. His birth was incorrectly recorded by Dr. F. D. Sims as April 30.  He was named Willie by his cousin Mildred, who also chose Hugh as his middle name, in honor of her recently deceased younger brother.[1] Nelson traces his genealogy to the American Revolutionary War, in which his ancestor John Nelson served as a major. His parents moved to Texas from Arkansas in 1929 to look for work. His grandfather, William, worked as a blacksmith, while his father worked as a mechanic. His mother left soon after he was born, and his father remarried and also moved away, leaving Nelson and his sister Bobbie to be raised by their grandparents, who taught singing back in Arkansas and started their grandchildren in music. Nelson’s grandfather bought him a guitar when he was six, and taught him a few chords, and Nelson sang gospel songs in the local church alongside Bobbie. He wrote his first song at age seven, and when he was nine, he played guitar for local band Bohemian Polka. During the summer, the family picked cotton alongside other Abbott residents. Nelson disliked picking cotton, so he earned money by singing in dance halls, taverns, and honky tonks from age 13, which he continued through high school. His musical influences were Hank Williams, Bob Wills, Lefty Frizzell, Ray Price, Ernest Tubb, Hank Snow, Django Reinhardt, Frank Sinatra, and Louis Armstrong.

Nelson attended Abbott High School, where he was a halfback on the football team, guard on the basketball team, and shortstop in baseball. He also raised pigs with the Future Farmers of America. While still at school, he sang and played guitar in The Texans, a band formed by his sister’s husband, Bud Fletcher. The band played in honky tonks, and also had a Sunday morning spot at KHBR in Hillsboro, Texas. Meanwhile, Nelson had a short stint as a relief phone operator in Abbott, followed by a job as a tree trimmer for the local electric company, as well as a pawn shop employee. After leaving school in 1950, he joined the U.S. Air Force for eight to nine months. Upon his return in 1952, he married Martha Matthews, and from 1954 to 1956 studied agriculture at Baylor University, where he joined the Tau Kappa Epsilon fraternity, until dropping out to pursue a career in music. He worked as a nightclub bouncer, autohouse partsman, saddle maker, and tree trimmer again. He later joined Johnny Bush’s band.

Nelson moved with his family to Pleasanton, Texas, where he auditioned for a job as a DJ at KBOP. The owner of the station, Dr. Ben Parker, gave Nelson the job despite his lack of experience working on radio. With the equipment of the station, Nelson made his first two recordings in 1955: “The Storm Has Just Begun” and “When I’ve Sung My Last Hillbilly Song”. He recorded the tracks on used tapes, and sent the demos to the local label SARG Records, which rejected them.  He then had stints working for KDNT in Denton, KCUL, and KCNC in Fort Worth, where he hosted The Western Express, taught Sunday school, and played in nightclubs. He then decided to move to San Diego but, when he was unable to find a job there, he hitchhiked to Portland, Oregon, where his mother lived.[15] When nobody picked him up, he ended up sleeping in a ditch[19] before hopping a freight train bound for Eugene. A truck driver drove him to a bus station and loaned him $10 for a ticket to reach Portland.

Music career

Beginnings (1956–1971)

Nelson was hired by KVAN in Vancouver, Washington and appeared frequently on a television show. He made his first record in 1956, “No Place for Me”, that included Leon Payne’s “Lumberjack” on the B-side. The recording failed. Nelson continued working as a radio announcer and singing in Vancouver clubs. He made several appearances in a Colorado nightclub, later moving to Springfield, Missouri. After failing to land a spot on the Ozark Jubilee, he started to work as a dishwasher. Unhappy with his job, he moved back to Texas. After a short time in Waco, he settled in Fort Worth, and quit the music business for a year. He sold bibles and vacuum cleaners door-to-door,[ and eventually became a sales manager for the Encyclopedia Americana.

After his son Billy was born in 1958, the family moved to Houston, Texas. On the way, Nelson stopped by the Esquire Ballroom to sell his original songs to house band singer Larry Butler. Butler refused to purchase the song “Mr. Record Man” for $10, instead giving Nelson a $50 loan to rent an apartment and a six-night job singing in the club. Nelson rented the apartment near Houston in Pasadena, Texas, where he also worked at the radio station as the sign-on disc jockey. During this time, he recorded two singles for Pappy Daily on D Records “Man With the Blues”/”The Storm Has Just Begun” and “What a Way to Live”/”Misery Mansion”. Nelson then was hired by guitar instructor Paul Buskirk to work as an instructor in his school. He sold “Family Bible” to Buskirk for $50 and “Night Life” for $150. “Family Bible” turned into a hit for Claude Gray in 1960.

Nelson moved to Nashville, Tennessee in 1960, but was unable to find a label to sign him. During this period he often spent time at Tootsie’s Orchid Lounge, a bar near the Grand Ole Opry frequented by the show’s stars and other singers and songwriters. There Nelson met Hank Cochran, a songwriter who worked for the publishing company Pamper Music, owned by Ray Price and Hal Smith. Cochran heard Nelson during a jam session with Buddy Emmons and Jimmy Day. Cochran had just earned a raise of $50 a week, but convinced Smith to pay Nelson the money instead to sign him to Pamper Music. On hearing Nelson sing “Hello Walls” at Tootsie’s, Faron Young decided to record it.  After Ray Price recorded Nelson’s “Night Life”, and his previous bassist Johnny Paycheck quit, Nelson joined Price’s touring band as a bass player. While playing with Price and the Cherokee Cowboys, his songs became hits for other artists, including “Funny How Time Slips Away” (Billy Walker), “Pretty Paper” (Roy Orbison), and, most famously, “Crazy” by Patsy Cline. Nelson and Cochran also met Cline’s husband, Charlie Dick at Tootsie’s. Dick liked a song of Nelson’s he heard on the bar’s jukebox. Nelson played him a demo tape of “Crazy.” Later that night Dick played the tape for Cline, who decided to record it. “Crazy” became the biggest jukebox hit of all time.

Nelson signed with Liberty Records and was recording by August 1961 at Quonset Hut Studio. His first two successful singles as an artist were released by the next year, including “Willingly” (a duet with his soon-to-be second wife, Shirley Collie, which became his first charting single and first Top Ten at No. 10) and “Touch Me” (his second Top Ten, stalling at No. 7).  Nelson’s tenure at Liberty yielded his first album entitled …And Then I Wrote, released in September 1962. In 1963 Collie and Nelson were married in Las Vegas. He then worked on the west coast offices of Pamper Records, in Pico Rivera, California. Since the job did not allow him the time to play music of his own, he left it and bought a ranch in Ridgetop, Tennessee, outside of Nashville. Fred Foster of Monument Records signed Nelson in early 1964, but only one single was released: “I Never Cared For You”.

By the fall of 1964, Nelson had moved to RCA Victor at the behest of Chet Atkins, signing a contract for $10,000 per year.[38] Country Willie – His Own Songs became Nelson’s first RCA Victor album, recorded in April 1965. That same year he joined the Grand Ole Opry,  and he met and became friends with Waylon Jennings after watching one of his shows in Phoenix, Arizona.  In 1967, he formed his backing band “The Record Men”, featuring Johnny Bush, Jimmy Day, Paul English and David Zettner. During his first few years on RCA Victor, Nelson had no significant hits, but from November 1966 through March 1969, his singles reached the Top 25 in a consistent manner. “One in a Row” (#19, 1966), “The Party’s Over” (#24 during a 16-week chart run in 1967), and his cover of Morecambe & Wise’s “Bring Me Sunshine” (#13, March 1969) were Nelson’s best-selling records during his time with RCA.[23]

By 1970, most of Nelson’s songwriting royalties were invested in tours that did not produce significant profits. In addition to the problems in his career, Nelson divorced Shirley Collie in 1970. In December, his ranch in Ridgetop, Tennessee, burned down. He interpreted the incident as a signal for a change. He moved to a ranch near Bandera, Texas, and married Connie Koepke. In early 1971 his single “I’m a Memory” reached the top 30. After he recorded his final RCA single, “Mountain Dew” (backed with “Phases, Stages, Circles, Cycles and Scenes”), in late April 1972, RCA requested that Nelson renew his contract ahead of schedule, with the implication that RCA would not release his latest recordings if he did not. Due to the failure of his albums, and particularly frustrated by the reception of Yesterday’s Wine, although his contract was not over, Nelson decided to retire from music.

Outlaw country and success (1972–1989)

Nelson moved to Austin, Texas, where the burgeoning hippie music scene (see Armadillo World Headquarters) rejuvenated the singer. His popularity in Austin soared as he played his own brand of country music marked by country, folk and jazz influences. In March, he performed on the final day of the Dripping Springs Reunion, a three-day country music festival aimed by its producers to be an annual event. Despite the failure to reach the expected attendance, the concept of the festival inspired Nelson to create the Fourth of July Picnic, his own annual event, starting the following year.

Nelson decided to return to the recording business, he signed Neil Reshen as his manager to negotiate with RCA, who got the label to agree to end his contract upon repayment of $14,000. Reshen eventually signed Nelson to Atlantic Records for $25,000 per year, where he became the label’s first country artist. He formed his backing band, The Family, and by February 1973, he was recording his acclaimed Shotgun Willie at Atlantic Studios in New York City.

Shotgun Willie, released in May 1973, earned excellent reviews but did not sell well. The album led Nelson to a new style, later stating that Shotgun Willie had “cleared his throat”. His next release, Phases and Stages, released in 1974, was a concept album about a couple’s divorce, inspired by his own experience. Side one of the record is from the viewpoint of the woman, and side two is from the viewpoint of the man. The album included the hit single “Bloody Mary Morning.” The same year, he produced and starred in the pilot episode of PBS’ Austin City Limits.

Nelson then moved to Columbia Records, where he signed a contract that gave him complete creative control, made possible by the critical and commercial success of his previous albums. The result was the critically acclaimed and massively popular 1975 concept album Red Headed Stranger. Although Columbia was reluctant to release an album with primarily a guitar and piano for accompaniment, Nelson and Waylon Jennings insisted. The album included a cover of Fred Rose’s 1945 song “Blue Eyes Crying in the Rain”, that had been released as a single previous to the album, and became Nelson’s first number one hit as a singer. Throughout his 1975 tour, Nelson raised funds for PBS-affiliated stations across the south promoting Austin City Limits. The pilot was aired first on those stations, later being released nationwide. The positive reception of the show prompted PBS to order ten episodes for 1976, formally launching the show.

As Jennings was also achieving success in country music in the early 1970s, the pair were combined into a genre called outlaw country, since it did not conform to Nashville standards. The album Wanted! The Outlaws in 1976 with Jessi Colter and Tompall Glaser cemented the pair’s outlaw image and became country music’s first platinum album. Later that year Nelson released The Sound in Your Mind (certified gold in 1978 and platinum in 2001) and his first gospel album Troublemaker (certified gold in 1986).

In the summer of 1977, Nelson discovered that Reshen had been filing tax extensions and not paying the Internal Revenue Service (IRS) since he took over as his manager. In June, a package containing cocaine was sent from Reshen’s office in New York to Jennings in Nashville.  The package was followed by the DEA, and Jennings was arrested. The charges were later dropped, since Reshen’s a*sistant, Mark Rothbaum stepped in and took the charges. Rothbaum was sentenced to serve time in jail. Impressed by his attitude, Nelson fired Reshen and hired Rothbaum as his manager. In 1978, Nelson released two more platinum albums. One, Waylon & Willie, was a collaboration with Jennings that included “Mammas Don’t Let Your Babies Grow Up to Be Cowboys”, a hit single written and performed by Ed Bruce. Though observers predicted that Stardust would ruin his career, it went platinum the same year. Nelson continued to top the charts with hit songs during the late 1970s, including “Good Hearted Woman”, “Remember Me”, “If You’ve Got the Money I’ve Got the Time”, and “Uncloudy Day”.

During the 1980s, Nelson recorded a series of hit singles including “Midnight Rider”, a 1980 cover of the Allman Brothers song which Nelson recorded for The Electric Horseman,[68] the soundtrack “On the Road Again” from the movie Honeysuckle Rose, and a duet with Julio Iglesias titled “To All the Girls I’ve Loved Before”.[69]

In 1982, Pancho & Lefty, a duet album with Merle Haggard produced by Chips Moman was released.[70] During the recording sessions of Pancho and Lefty, session guitarist Johnny Christopher and co-writer of “Always on My Mind”, tried to pitch the song to an uninterested Haggard. Nelson, who was unaware of Elvis Presley’s version of the song asked him to record it. Produced by Moman, the single of the song was released, as well as the album of the same name. The single topped Billboard’s Hot Country Singles, while it reached number five on the Billboard Hot 100. The release won three awards during the 25th Annual Grammy Awards: Song of the Year, Best Country Song and Best Male Country Vocal Performance. The single was certified platinum; while the album was certified quadruple-platinum, and later inducted into the Grammy Hall of Fame in 2008.

Meanwhile, two collaborations with Waylon Jennings were released;WWII in 1982, and Take it to the Limit, another collaboration with Waylon Jennings was released in 1983. In the mid-1980s, Nelson, Jennings, Kristofferson, and Johnny Cash formed The Highwaymen, who achieved platinum record sales and toured the world. Meanwhile, he became more involved with charity work, such as singing on We are the World in 1984. In 1985, Nelson had another success with Half Nelson, a compilation album of duets with a range of artists such as Ray Charles and Neil Young. In 1980, Nelson performed on the south lawn of the White House. The concert of September 13 featured First Lady Rosalynn Carter and Nelson in a duet of Ray Wylie Hubbard’s “Up Against the Wall Redneck Mother”. Nelson frequently visited the White House, where according to the biography by Joe Nick Patoski, Willie Nelson: An Epic Life, he smoked marijuana on the White House roof.

Later career (1990–present)

In 1996, Nelson re-recorded the tracks “Hello Walls” with the band The Reverend Horton Heat, and “Bloody Mary Morning” with the Supersuckers for Twisted Willie, a tribute album featuring rock versions of Nelson’s songs performed by artists such as Johnny Cash, Kris Kristofferson, Jerry Cantrell, Mark Lanegan, L7, The Presidents of the United States of America, and Jello Biafra, among others. Proceeds from the sale of the record benefit Nelson’s Farm Aid.

During the 1990s and 2000s, Nelson toured continuously, recording several albums including 1998’s critically acclaimed Teatro,  and performed and recorded with other acts including Phish, Johnny Cash, and Toby Keith. His duet with Keith, “Beer for My Horses”, was released as a single and topped the Billboard Hot Country Songs charts for six consecutive weeks in 2003, while the accompanying video won an award for “Best Video” at the 2004 Academy of Country Music Awards. A USA Network television special celebrated Nelson’s 70th birthday, and Nelson released The Essential Willie Nelson as part of the celebration. Nelson also appeared on Ringo Starr’s 2003 album, Ringo Rama, as a guest vocal on “Write One for Me”.

Nelson was featured on the album True Love by Toots and the Maytals, which won the Grammy Award in 2004 for Best Reggae Album, and showcased many notable musicians including Eric Clapton, Jeff Beck, Trey Anastasio, Gwen Stefani, and Keith Richards. In the following year of 2005, Nelson released a reggae album entitled Countryman which featured Toots Hibbert of Toots and the Maytals on the song “I’m a Worried Man”.

Nelson headlined the 2005 Tsunami Relief Austin to Asia concert to benefit the victims of the 2004 Indian Ocean earthquake, which raised an estimated $75 thousand for UNICEF. Also in 2005, a live performance of the Johnny Cash song “Busted” with Ray Charles was released on Charles’ duets album Genius & Friends. Nelson’s 2007 performance with jazz trumpeter Wynton Marsalis at the Lincoln Center, was released as the live album Two Men with the Blues in 2008; reaching number one in Billboard’s Top Jazz Albums and number twenty on the Billboard 200. The same year, Nelson recorded his first album with Buddy Cannon as the producer, Moment of Forever. Cannon acquainted Nelson earlier, during the production of his collaboration with Kenny Chesney on the duet “That Lucky Old Sun”, for Chesney’s album of the same name. In 2009 Nelson and Marsalis joined with Norah Jones in a tribute concert to Ray Charles, which resulted in the Here We Go Again: Celebrating the Genius of Ray Charles album, released in 2011.

In 2010, Nelson released Country Music, a compilation of standards produced by T-Bone Burnett. The album peaked number four in Billboard’s Top Country Albums, and twenty on the Billboard 200. It was nominated for Best Americana Album at the 2011 Grammy Awards. In 2011 Nelson participated in the concert Kokua For Japan, a fund raising event for the victims of the 2011 Tōhoku earthquake and tsunami in Japan which raised $1.6 million.

In February 2012, Legacy Recordings signed a deal with Nelson that included the release of new material, as well as past releases that would be selected and complemented with outtakes and other material selected by him. With the new deal, Buddy Cannon returned to produce the recordings of Nelson. After selecting the material and the sound of the tunes with the singer, Cannon’s work method consisted in the recording of the tracks with studio musicians, with the takes later completed on a separate session by Nelson with his guitar. Cannon’s a*sociation to Nelson also extended to songwriting, with singer and producer composing the lyrics by exchanging text messages.

Nelson’s first release for the Legacy Recordings was Heroes, that included guest appearances by his sons Lukas and Micah of the band Insects vs Robots, Ray Price, Merle Haggard, Snoop Dogg, Kris Kristofferson, Jamey Johnson, Billy Joe Shaver and Sheryl Crow. The album reached number four on Billboard’s Top Country Albums.  His 2013 release To All the Girls…, a collection of duets with all female partners, featured among others Dolly Parton, Loretta Lynn, Rosanne Cash, Sheryl Crow, Mavis Staples, Norah Jones, Emmylou Harris, Carrie Underwood and Miranda Lambert. The album entered Billboard’s Top Country Albums at number two, marking his highest position on the chart since the release of his 1989 A Horse Called Music, and extending his record to a total of forty-six top ten albums on the country charts. Nelson scored as well his second top ten album on the Billboard 200, with the release entering at number nine.

His following release was Band of Brothers, in 2014, the first Nelson album to feature the most newly self-penned songs since 1996’s Spirit. Upon its release, it topped Billboard’s Top Country albums chart, the first time since 1986’s The Promiseland, the last Nelson album to top it. The release reached number five on the Billboard 200, Nelson’s highest position on the chart since 1982’s Always on My Mind. In December 2014, a duet with Rhonda Vincent, “Only Me”, topped Bluegrass Unlimited’s National Airplay chart. In June 2015, his collaboration with Haggard Django and Jimmie topped Billboard’s Top Country albums chart and reached number seven on the Billboard 200.

In 2017, Nelson released God’s Problem Child. The release, consisting mostly of Nelson originals co-written with Cannon, entered the Top country albums at number one, while it reached number ten on the Billboard 200.

In 2018, Nelson sang a song written by Daniel Lanois called “Cruel World” for the soundtrack of Rockstar Games’s action-adventure video game Red Dead Redemption 2. Lanois wrote the song especially for Nelson. When a hurricane prevented Nelson from recording the song, the production team sent the track to Josh Homme in the hopes that he could record it in time for the game’s release. Nelson was ultimately able to record the song in time in Los Angeles; the team considered combining the two versions into a duet, but ultimately included both versions in the game. Also in 2018, Nelson was one of several artists on Restoration, a cover album containing various country renditions of songs originally by Elton John, on which he performed “Border Song”.

Following the U.S. coronavirus pandemic lockdowns that began in March 2020, Nelson livestreamed a series of benefit concerts. The first two raised $700,000 for people who had suffered financial loss due to effects on the U.S. economy.  The third, which was held on April 20, 2020, was a variety show titled Come and Toke It.  Some of the content was cannabis-themed, and some of the proceeds will be used to support The Last Prisoner Project, a restorative justice program relating to persons convicted of cannabis related crimes.

In 2020, Nelson was approached by Karen O of The Yeah Yeah Yeahs to collaborate. They chose to do a cover of David Bowie and Queen’s Under Pressure.

IRS troubles

In 1990, the IRS seized most of Nelson’s a*sets, claiming that he owed $32 million. In addition to the unpaid taxes, Nelson’s situation was worsened by the weak investments he had made during the early 1980s.  In 1978, after he fired Reshen, Nelson was introduced by Dallas lawyer Terry Bray to the accounting firm Price Waterhouse. To repay the debt Reshen had created with the IRS, Nelson was recommended to invest in tax shelters that ultimately flopped.  While the IRS disallowed his deductions for 1980, 1981 and 1982 (at a time that Nelson’s income multiplied), due to penalties and interests, the debt increased by the end of the decade.

His lawyer, Jay Goldberg, negotiated the sum to be lowered to $16 million. Later, Nelson’s attorney renegotiated a settlement with the IRS in which he paid $6 million, although Nelson did not comply with the agreement. Nelson released The IRS Tapes: Who’ll Buy My Memories? as a double album, with all profits destined for the IRS. Many of his a*sets were auctioned and purchased by friends, who donated or rented his possessions to him for a nominal fee. He sued Price Waterhouse, contending that they put his money in illegal tax shelters. The lawsuit was settled for an undisclosed amount and Nelson cleared his debts by 1993.

Other ventures

Nelson’s acting debut was in the 1979 film The Electric Horseman, followed by appearances in Honeysuckle Rose, Thief, and Barbarosa. He played the role of Red Loon in Coming Out of the Ice in 1982 and starred in Songwriter two years later. He portrayed the lead role in the 1986 film version of his album Red Headed Stranger. Other movies that Nelson acted in include Wag the Dog, Gone Fishin’ (as Billy ‘Catch’ Pooler), the 1986 television movie Stagecoach (with Johnny Cash), Half Baked, Beerfest, The Dukes of Hazzard, Surfer, Dude and Swing Vote. He has also made guest appearances on Miami Vice (1986’s “El Viejo” episode); Delta; Nash Bridges; The Simpsons; Monk; Adventures in Wonderland; Dr. Quinn, Medicine Woman; King of the Hill; The Colbert Report; Swing Vote; and Space Ghost Coast to Coast.

In 1988 his first book, Willie: An Autobiography, was published. The Facts of Life: And Other Dirty Jokes, a personal recollection of tour and musical stories from his career, combined with song lyrics, followed in 2002. In 2005 he co-authored Farm Aid: A Song for America, a commemorative book about the twentieth anniversary of the foundation of Farm Aid. His third book, co-authored with long-time friend Turk Pipkin, The Tao of Willie: A Guide to the Happiness in Your Heart, was published in 2006. In 2007 a book advocating the use of bio-diesel and the reduction of gas emissions, On The Clean Road Again: Biodiesel and The Future of the Family Farm, was published. His next book, A Tale Out of Luck, published in 2008 and co-authored by Mike Blakely, was Nelson’s first fictional book. In 2012, it was announced the release of a new autobiography by Nelson, Roll Me Up and Smoke Me When I Die: Musings from the Road. Released on November 13, it was named after the song from his album Heroes. The book contained further biographical details, as well as family pictures and stories about Nelson’s political views, as well as his advocation for marijuana. The artwork of the book was designed by Nelson’s son, Micah, and the foreword written by Kinky Friedman. In 2015, the publication of a second Nelson autobiography entitled It’s a Long Story: My Life co-authored with David Ritz, the book was published on May 5, 2015. Pretty Paper, another collaboration with Ritz was published the following year.

In 2002, Nelson became the official spokesman of the Texas Roadhouse, a chain of steakhouses. Nelson heavily promoted the chain and appeared on a special on Food Network. The chain installed Willie’s Corner, a section dedicated to him and decked out with Willie memorabilia, at several locations.

In 2008, Nelson reopened Willie’s Place, a truck stop in Carl’s Corner, Texas. The U.S. Bankruptcy Court allowed Nelson to invest in it. The establishment had about 80 employees and was used as a concert hall with a bar and a 1,000 square feet (93 m2) dance floor. It closed in 2011 after defaulting on a loan, leading to foreclosure and bankruptcy. In 2010, Nelson founded with the collaboration of producers and filmmakers Luck Films, a company dedicated to produce feature films, documentaries and concerts. The next year, he created the Willie’s Roadhouse show which aired on channel 56 of SiriusXM radio. The channel was a result of the merger of his two other channels The Roadhouse and Willie’s Place.

In November 2014, it was announced that Nelson would be the host of the television series Inside Arlyn, shot at Arlyn Studio in Austin, Texas. The thirteen-episode first season would feature artists being interviewed by Nelson and Dan Rather, followed by a performance. The series concept received attention from cable channels that requested to see the pilot episode. Following the legalization of marijuana in different states, Nelson announced in 2015 through spokesman Michael Bowman the establishment of his own marijuana brand, Willie’s Reserve. Plans to open chain stores in the states where marijuana was legalized were announced, to be expanded state-to-state if marijuana legalization is further expanded. Bowman called the brand “a culmination of (Nelson’s) vision, and his whole life”.

In 2017, Nelson appeared as himself in Woody Harrelson’s live film, Lost in London. In June 2017, he appeared alongside Merle Haggard in the documentary The American Epic Sessions directed by Bernard MacMahon. They performed a song Haggard had composed for the film, “The Only Man Wilder Than Me”, and Bob Wills’s classic “Old Fashioned Love”,  which they recorded live direct to disc on the first electrical sound recording system from the 1920s. It was the last filmed performance of the pair. Rolling Stone commented that “in the final performance of Sessions, Willie Nelson and Merle Haggard perform the duet ‘The Only Man Wilder Than Me.’ Haggard has a look of complete joy on his face throughout the session in the old-timey recording set-up once used by his musical heroes.”

Music style

Nelson uses a variety of music styles to create his own distinctive blend of country music, a hybrid of jazz, pop, blues, rock and folk. His “unique sound”, which uses a “relaxed, behind-the-beat singing style and gut-string guitar” and his “nasal voice and jazzy, off-center phrasing”, has been responsible for his wide appeal, and has made him a “vital icon in country music”, influencing the “new country, new traditionalist, and alternative country movements of the 1980s and 1990s”.

Guitars

In 1969, the Baldwin company gave Nelson an amplifier and guitar with their “Prismatone” pickup. During a show in Helotes, Texas, Nelson left the guitar on the floor of the stage, and it was later stepped on by a drunk man. He sent it to be repaired in Nashville by Shot Jackson, who told Nelson that the damage was too great. Jackson offered him a Martin N-20 Classical guitar, and, at Nelson’s request, moved the pickup to the Martin. Nelson purchased the guitar unseen for $750 and named it after Roy Rogers’ horse “Trigger”. The next year Nelson rescued the guitar from his burning ranch.

Constant strumming with a guitar pick over the decades has worn a large sweeping hole into the guitar’s body near the sound hole—the N-20 has no pick-guard since classical guitars are meant to be played fingerstyle instead of with picks. Its soundboard has been signed by over a hundred of Nelson’s friends and a*sociates, ranging from fellow musicians to lawyers and football coaches. The first signature on the guitar was Leon Russell’s, who asked Nelson initially to sign his guitar. When Nelson was about to sign it with a marker, Russell requested him to scratch it instead, explaining that the guitar would be more valuable in the future. Interested in the concept, Nelson requested Russell to also sign his guitar. In 1991, during his process with the IRS, Nelson was worried that Trigger could be auctioned off, stating: “When Trigger goes, I’ll quit”. He asked his daughter, Lana, to take the guitar from the studio before any IRS agent arrived there, and then deliver it to him in Maui. Nelson then concealed the guitar in his manager’s house until his debt was paid off in 1993.

Activism

Nelson is active in a number of issues. Along with Neil Young and John Mellencamp, he set up Farm Aid in 1985 to a*sist and increase awareness of the importance of family farms, after Bob Dylan’s comments during the Live Aid concert that he hoped some of the money would help American farmers in danger of losing their farms through mortgage debt. The first concert included Dylan, Billy Joel, B.B. King, Roy Orbison, and Neil Young among many others, and raised over $9 million for America’s family farmers. Besides organizing and performing in the annual concerts, Nelson is the president of the board of Farm Aid.

Nelson is a co-chair of the National Organization for the Reform of Marijuana Laws (NORML) advisory board. He has worked with NORML for years, promoting marijuana legalization. In 2005 Nelson and his family hosted the first annual “Willie Nelson & NORML Benefit Golf Tournament”, leading to a cover appearance and inside interview in the January 2008 issue of High Times magazine. After his arrest for possession of marijuana in 2010, Nelson created the TeaPot party under the motto “Tax it, regulate it and legalize it!”

In 2001, following the September 11 attacks, he participated in the benefit telethon America: A Tribute to Heroes, leading the rest of the celebrities singing the song “America the Beautiful”. In 2010, during an interview with Larry King, Nelson expressed his doubts with regards to the attacks and the official story. Nelson explained that he could not believe that the buildings could collapse due to the planes, attributing instead the result to an implosion.

Nelson supported Dennis Kucinich’s campaign in the 2004 Democratic presidential primaries. He raised money, appeared at events, and composed the song “Whatever Happened to Peace on Earth?”, criticizing the war in Iraq. He recorded a radio advertisement asking for support to put musician/author Kinky Friedman on the ballot as an independent candidate for the 2006 Texas gubernatorial election.  Friedman promised Nelson a job in Austin as the head of a new Texas Energy Commission due to his support of bio-fuels. In January 2008, Nelson filed a suit against the Texas Democratic Party, alleging that the party violated the First and Fourteenth Amendments of the United States Constitution by refusing to allow co-plaintiff Kucinich to appear on the primary ballot because he had scratched out part of the loyalty oath on his application.

In 2004, Nelson and his wife Annie became partners with Bob and Kelly King in the building of two Pacific Bio-diesel plants, one in Salem, Oregon, and the other at Carl’s Corner, Texas (the Texas plant was founded by Carl Cornelius, a longtime Nelson friend and the eponym for Carl’s Corner). In 2005, Nelson and several other business partners formed Willie Nelson Biodiesel (“Bio-Willie”), a company that is marketing bio-diesel bio-fuel to truck stops. The fuel is made from vegetable oil (mainly soybean oil), and can be burned without modification in diesel engines.

Nelson is an advocate for better treatment for horses and has been campaigning for the passage of the American Horse Slaughter Prevention Act (H.R. 503/S. 311) alongside the Animal Welfare Institute. He is on its board of directors and has adopted a number of horses from Habitat for Horses. In 2008, Nelson signed on to warn consumers about the cruel and illegal living conditions for calves raised to produce milk for dairy products. He wrote letters to Land O’Lakes and Challenge Dairy, two of the major corporations that use milk from calves raised at California’s Mendes Calf Ranch, which employs an intensive confinement practice that was the subject of a lawsuit and campaign brought by the Animal Legal Defense Fund. Nelson is seen in the film The Garden supporting the impoverished community South Central Farm in Southern Los Angeles.

A supporter of the LGBT movement, Nelson published in 2006 through iTunes a version of Ned Sublette’s “Cowboys Are Frequently, Secretly Fond of Each Other”, that met instant success. During an interview with Texas Monthly in 2013, regarding the Defense of Marriage Act and Same-sex marriage in the United States, Nelson responded to a comparison the interviewer made with the Civil Rights Movement, stating: “We’ll look back and say it was crazy that we ever even argued about this”. He also presented two logos with the pink equal sign, symbol of the LGBT movement. The first one, featured the sign represented with two long braids; while the second one, featured the sign represented with two marijuana cigarettes. The use of the logos became popular quickly in social networking sites such as Twitter and Facebook.

In June 2018, Nelson deplored the Trump administration family separation policy. During his Fourth of July Picnic, he performed a song with Beto O’Rourke, the Democratic candidate for the Senate election in Texas. Nelson endorsed O’Rourke, and received negative reactions from the conservative part of his followers. On September 29, 2018, Nelson offered a free concert in Austin supporting the candidate’s run. The last number he performed was “Vote ‘Em Out”, a new track that was subsequently released as a single.

Personal life

Nelson has been married four times and has seven children. His first marriage was to Martha Matthews from 1952 to 1962. The couple had three children: Lana, Susie, and Willie “Billy” Hugh, Jr. The latter killed himself in 1991. The marriage was marked by violence, with Matthews a*saulting Nelson several times, including one incident when she sewed him up in bedsheets and beat him with a broomstick. Nelson’s next marriage was to Shirley Collie in 1963. The couple divorced in 1971, after Collie found a bill from the maternity ward of a Houston hospital charged to Nelson and Connie Koepke for the birth of Paula Carlene Nelson. Nelson married Koepke the same year, and they had another daughter, Amy Lee Nelson. Following a divorce in 1988, he married his current wife, Annie D’Angelo, in 1991. They have two sons, Lukas Autry and Jacob Micah.

Nelson owns “Luck, Texas”, a ranch in Spicewood, and also lives in Maui, Hawaii with several celebrity neighbors. While swimming in Hawaii in 1981, Nelson’s lung collapsed. He was taken to the Maui Memorial Hospital and his scheduled concerts were canceled. Nelson temporarily stopped smoking cigarettes each time his lungs became congested, and resumed when the congestion ended. He was then smoking between two and three packs per day. After suffering from pneumonia several times, he decided to quit either marijuana or tobacco. He chose to quit tobacco.[181] In 2008, he started to smoke marijuana with a carbon-free system to avoid the effects of smoke. In 2004 Nelson underwent surgery for carpal tunnel syndrome, as he had damaged his wrists by continuously playing the guitar. On the recommendation of his doctor, he canceled his scheduled concerts and only wrote songs during his recovery. In 2012 he canceled a fund-raising appearance in the Denver area. He suffered from breathing problems due to high altitude and emphysema and was taken to a local hospital. His publicist Elaine Schock confirmed soon after that Nelson’s health was good and that he was heading to his next scheduled concert in Dallas, Texas. After repeated instances of pneumonia and emphysema through the years, Nelson underwent stem-cell therapy in 2015 to improve the state of his lungs.

During his childhood, Nelson grew interested in martial arts. He ordered self-defense manuals on jujitsu and judo that he saw advertised in Batman and Superman comic books. Nelson started to formally practice kung fu after he moved to Nashville, in the 1960s. During the 1980s, Nelson began training in taekwondo and now holds a second-degree black belt in that discipline. During the 1990s, Nelson started to practice the Korean martial art GongKwon Yusul. In 2014, after twenty years in the discipline, his Grand Master Sam Um presented him with a fifth-degree black belt in a ceremony held in Austin, Texas. A 2014 Tae Kwon Do Times magazine interview revealed that Nelson had developed an unorthodox manner of training during the lengthy periods of time he was on tour. Nelson would conduct his martial arts training on his tour bus “The Honeysuckle Rose” and send videos to his supervising Master for review and critique.

Legal issues

Nelson has been arrested several times for marijuana possession. The first occasion was in 1974 in Dallas, Texas. In 1977 after a tour with Hank Cochran, Nelson traveled to The Bahamas. Nelson and Cochran arrived late to the airport and boarded the flight without luggage. The bags were later sent to them. As Nelson and Cochran claimed their luggage in the Bahamas, a customs officer questioned Nelson after marijuana was found in a pair of his jeans. Nelson was arrested and jailed. As Cochran made arrangements to pay the bail, he took Nelson a six-pack of beer to his cell. Nelson was released a few hours later. Inebriated, he fell after he jumped celebrating and was taken to the emergency room. He then appeared before the judge, who dropped the charges but ordered Nelson to never return to the country.

In 1994, highway patrolmen found marijuana in his car near Waco, Texas. His requirement to appear in court prevented him attending the Grammy awards that year.  While traveling to Ann W. Richards’ funeral in 2006, Nelson, along with his manager and his sister, Bobbie, were arrested in St. Martin Parish, Louisiana and charged with possession of marijuana and hallucinogenic mushrooms.  Nelson received six months probation.

On November 26, 2010, Nelson was arrested in Sierra Blanca, Texas, for possession of six ounces of marijuana found in his tour bus while traveling from Los Angeles back to Texas. He was released after paying bail of $2,500. Prosecutor Kit Bramblett supported not sentencing Nelson to jail due to the small amount of marijuana involved, but suggested instead a $100 fine and told Nelson that he would have him sing “Blue Eyes Crying in the Rain” for the court. Judge Becky Dean-Walker said that Nelson would have to pay the fine but not to perform the song, explaining that the prosecutor was joking. Nelson’s lawyer Joe Turner reached an agreement with the prosecutor. Nelson was set to pay a $500 fine to avoid a two-year jail sentence with a 30-day review period, which in case of another incident would end the agreement. The judge later rejected the agreement, claiming that Nelson was receiving preferential treatment for his celebrity status; the offense normally carried a one-year jail sentence. Bramblett declared that the case would remain open until it was either dismissed or the judge changed her opinion.

Legacy

Nelson is widely recognized as an American icon. He was inducted into the Country Music Hall of Fame in 1993, and he received the Kennedy Center Honors in 1998.[ In 2011, Nelson was inducted to the National Agricultural Hall of Fame, for his labor in Farm Aid and other fund raisers to benefit farmers. In 2015 Nelson won the Gershwin Prize, the lifetime award of the Library of Congress. In 2018 The Texas Institute of Letters inducted him among its members for his songwriting. He was included by Rolling Stone on its 100 Greatest Singers and 100 Greatest Guitarists lists.

In 2003, Texas Governor Perry signed bill No. 2582, introduced by State Representative Elizabeth Ames Jones and Senator Jeff Wentworth, which funded the Texas Music Project, the state’s official music charity. Nelson was named honorary chairman of the advisory board of the project. In 2005, Democratic Texas Senator Gonzalo Barrientos introduced a bill to name 49 miles (79 km) of the Travis County section of State Highway 130 after Nelson, and at one point 23 of the 31 state senators were co-sponsors of the bill. The legislation was dropped after two Republican senators, Florence Shapiro and Wentworth, objected, citing Nelson’s lack of connection to the highway, his fund raisers for Democrats, his drinking, and his marijuana advocacy.

An important collection of Willie Nelson materials (1975–1994) became part of the Wittliff collections of Southwestern Writers, Texas State University, San Marcos, Texas. The collection contains lyrics, screenplays, letters, concert programs, tour itineraries, posters, articles, clippings, personal effects, promotional items, souvenirs, and documents. It documents Nelson’s IRS troubles and how Farm Aid contributions were used. Most of the material was collected by Nelson’s friend Bill Wittliff, who wrote or co-wrote Honeysuckle Rose, Barbarosa and Red Headed Stranger. In 2014, Nelson donated his personal collection to the Dolph Briscoe Center for American History. The items include photographs, correspondence, song manuscripts, posters, certificate records, awards, signed books, screenplays, personal items and gifts and tributes from Nelson’s fans.

In April 2010, Nelson received the “Feed the Peace” award from The Nobelity Project for his extensive work with Farm Aid and overall contributions to world peace. On June 23, 2010, he was inducted into the Library of Congress’s National Recording Registry. Nelson is an honorary trustee of the Dayton International Peace Museum. In 2010, Austin, Texas renamed Second Street to Willie Nelson Boulevard. The city also unveiled a life-size statue to honor him, placed at the entrance of Austin City Limits’ new studio. The non-profit organization Capital Area Statues commissioned sculptor Clete Shields to execute the project. The statue was unveiled on April 20, 2012. The date selected by the city of Austin unintentionally coincided with the number 4/20, a*sociated with cannabis culture. In spite of the coincidence and Nelson’s advocacy for the legalization of marijuana, the ceremony was scheduled also for 4:20 pm. During the ceremony, Nelson performed the song “Roll Me Up and Smoke Me When I Die”. The same year, Nelson was honored during the 46th Annual Country Music Association Awards as the first recipient of the Lifetime Achievement Award, which was also named after him.[ In 2013, he received an honorary doctorate from the Berklee College of Music. The following year, he was part of the inaugural class inducted into the Austin City Limits Hall of Fame. Also included among the first inductees was his friend Darrell Royal, whose jamming parties that Nelson participated in were the source of inspiration for the show.

For many years, Nelson’s image was marked by his red hair, often divided into two long braids partially concealed under a bandanna. In the April 2007 issue of Stuff Magazine Nelson was interviewed about his long locks. “I started braiding my hair when it started getting too long, and that was, I don’t know, probably in the 70’s.” On May 26, 2010, the Associated Press reported that Nelson had cut his hair, and Nashville music journalist Jimmy Carter published a photograph of the pigtail-free Nelson on his website. Nelson wanted a more maintainable hairstyle, as well helping him stay cool more easily at his Maui home. In October 2014, the braids of Nelson were sold for $37,000 at an auction of the Waylon Jennings estate. In 1983, Nelson cut his braids and gave them to Jennings as a gift during a party celebrating Jennings’ sobriety.

Nelson’s touring and recording group, the Family, is full of longstanding members. The original lineup included his sister Bobbie Nelson, drummer Paul English, harmonicist Mickey Raphael, bassist Bee Spears, Billy English (Paul’s younger brother), and Jody Payne. The current lineup includes all the members but Jody Payne, who retired, and Bee Spears, who died in 2011. Willie & Family tours North America in the bio-diesel bus Honeysuckle Rose, which is fueled by Bio-Willie. Nelson’s tour buses were customized by Florida Coach since 1979. The company built the Honeysuckle Rose I in 1983, which was replaced after a collision in Nova Scotia, Canada, in 1990. The interior was salvaged and reused for the second version of the bus the same year. Nelson changed his tour bus in 1996, 2005 and 2013, currently touring on the Honeysuckle Rose V.

 

 

Lyrics


Belcalis Almanzar

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Belcalis Marlenis Almánzar (born October 11, 1992), known professionally as Cardi B, is an American rapper, songwriter, and actress. Born in Manhattan and raised in the Bronx, New York City, she became an Internet celebrity after several of her posts and videos became popular on Vine and Instagram. From 2015 to 2017, she appeared as a regular cast member on the VH1 reality television series Love & Hip Hop: New York, which depicted her pursuit of her music aspirations. She released two mixtapes—Gangsta Bitch Music, Vol. 1 and Vol. 2, before signing with label Atlantic Records in early 2017.

Her debut studio album, Invasion of Privacy (2018), debuted at number one on the Billboard 200, broke several streaming records, was certified triple platinum by the RIAA and named by Billboard the top female rap album of the 2010s. Critically acclaimed, it won the Grammy Award for Best Rap Album, making Cardi B the only woman to win the award as a solo artist, as well as the first female rap artist in 15 years to be nominated for Album of the Year. It spawned two number-one singles on the Billboard Hot 100; “Bodak Yellow”, which made her the second female rapper to top the chart with a solo output—following Lauryn Hill in 1998—and “I Like It”, which made her the first female rapper to attain multiple number-one songs on the chart. Her Maroon 5 collaboration “Girls Like You” made her the only female rapper to top the Hot 100 three times. “WAP”, the lead single of her second album, expanded her record as the female rapper with the most Hot 100 number-one singles as her fourth leader, and made her the only female rap artist to achieve chart-topping singles in two decades (2010s and 2020s).

Recognized by Forbes as one of the most influential female rappers of all time, Cardi B is known for her aggressive flow and candid lyrics, which have received widespread media coverage. She is the highest-certified female rapper of all time on the RIAA’s Top Artists (Digital Singles) ranking, also appearing among the ten highest-certified female artists and having the top certified song by a female rap artist. She is the only female rapper with multiple billion-streamers on Spotify. Her accolades include a Grammy Award, eight Billboard Music Awards, five Guinness World Records, five American Music Awards, eleven BET Hip Hop Awards and two ASCAP Songwriter of the Year awards. In 2018 Time magazine included her on their annual list of the 100 most influential people in the world, and in 2020, Billboard honored her as Woman of the Year.

Early life

Belcalis Marlenis Almánzar was born on October 11, 1992, in Washington Heights, Manhattan. The daughter of a Dominican father and Trinidadian mother, she was raised in the Highbridge neighborhood of the South Bronx, and spent much time at her paternal grandmother’s home in Washington Heights, which she credits with giving her “such a thick accent.” Almánzar developed the stage name “Cardi B” as a derivation of Bacardi, a rum brand that was formerly her nickname. She has said she was a gang member with the Bloods in her youth, since the age of 16 However, she has stated ever since that she would not encourage joining a gang.[15] She went on to attend Renaissance High School for Musical Theater & Technology, a vocational high school on the Herbert H. Lehman High School campus.

During her teens, Cardi B was employed at a deli in Tribeca. She was fired, and her manager suggested she apply to be a stripper at the strip club across the street. Cardi B has said that becoming a stripper was positive for her life in many ways: “It really saved me from a lot of things. When I started stripping I went back to school.” She has stated that she became a stripper in order to escape poverty and domestic violence, having been in an abusive relationship at the time after being kicked out of her mother’s house, and that stripping was her only way to earn enough money to escape the situation and get an education. She attended Borough of Manhattan Community College before eventually dropping out. While stripping, Cardi B lied to her mother by telling her she was making money babysitting.

In 2013, she began to gain publicity due to several of her videos spreading on social media, on Vine and her Instagram page.

Career

2015–2016: Career beginnings

In 2015, Cardi B joined the cast of the VH1 reality television series Love & Hip Hop: New York, debuting in season six. Jezebel considered her the breakout star of the show’s sixth season. The sixth and seventh seasons chronicle her rise to stardom and her turbulent relationship with her incarcerated fiancé. On December 30, 2016, after two seasons, she announced that she would be leaving the show to further pursue a career in music.

In November 2015, Cardi B made her musical debut on Jamaican reggae fusion singer Shaggy’s remix to his single “Boom Boom”, alongside fellow Jamaican dancehall singer Popcaan. She made her music video debut on December 15, 2015, with the song “Cheap Ass Weave”, her rendition of British rapper Lady Leshurr’s “Queen’s Speech 4”. On March 7, 2016, Cardi B released her first full-length project, a mixtape titled Gangsta Bitch Music, Vol. 1. In November 2016, she was featured on the digital cover of Vibe magazine’s “Viva” issue. On September 12, 2016, KSR Group released the compilation Underestimated: The Album, which is a collaboration between KSR Group artists Cardi B, HoodCelebrityy, SwiftOnDemand, Cashflow Harlem, and Josh X. It was previously released only to attendees of their U.S. tour. KSR Group’s flagship artist Cardi B said “I wanted to make a song that would make girls dance, twerk and at the same time encourage them to go get that Shmoney,” in regard to the compilation’s single “What a Girl Likes”.

She appeared on the December 9, 2015 episode of Uncommon Sense with Charlamagne. On April 6, 2016, she was on the twelfth episode of Khloé Kardashian’s Kocktails with Khloé: In it, she revealed how she told her mother that she was a stripper. In November 2016, it was announced that she would be joining the cast of the BET series Being Mary Jane. TVLine describes her character, Mercedes, as a “round-the-way beauty with a big weave, big boobs and a big booty to match her oversize, ratchet personality.”

In 2016, Cardi B was featured in her first endorsement deal with Romantic Depot, a large New York chain of lingerie stores that sell sexual health and wellness products. The ad campaign was featured on radio and cable TV. This was noted by the NY Post in a feature article about “Cardi B’s meteoric rise from stripper to superstar” in April 2018.

2017–2018: Breakthrough with Invasion of Privacy

On January 20, 2017, Cardi B released her second mixtape, Gangsta Bitch Music, Vol. 2. In February 2017, Cardi B partnered with MAC Cosmetics and Rio Uribe’s Gypsy Sport for an event for New York Fashion Week. In late February, it was reported that Cardi B signed her first major record label recording contract with Atlantic Records. On February 25, 2017, Cardi B was the opening act for East Coast hip hop group The Lox’s Filthy America… It’s Beautiful Tour, alongside fellow New York City-based rappers Lil’ Kim and Remy Ma. In April 2017, she was featured in i-D’s “A-Z of Music” video sponsored by Marc Jacobs. Cardi also guest-starred on the celebrity panel show Hip Hop Squares, appearing on the March 13 and April 3, 2017 episodes. In May 2017, the nominees for the 2017 BET Awards were announced, revealing that Cardi B had been nominated for Best New Artist and Best Female Hip-Hop Artist, tying with DJ Khaled and Kendrick Lamar for the most nominations with nine. Although she failed to win any awards, losing to Chance the Rapper and Remy Ma, respectively, Cardi B performed at the BET Awards Afterparty show. On June 11, 2017, during Hot 97’s annual Summer Jam music festival, Remy Ma brought out Cardi B, along with The Lady of Rage, MC Lyte, Young M.A, Monie Love, Lil’ Kim and Queen Latifah, to celebrate female rappers and perform Latifah’s 1993 hit single “U.N.I.T.Y.” about female empowerment. In June 2017, it was revealed that Cardi B would be on the cover of The Fader’s Summer Music issue for July/August 2017. She performed at MoMA PS1 on August 19 to a crowd of 4,000.

On June 16, 2017, Atlantic Records released Cardi B’s commercial debut single, “Bodak Yellow”, via digital distribution. She performed the single on The Wendy Williams Show and Jimmy Kimmel Live! The song climbed the charts for several months, and, on the Billboard Hot 100 chart dated September 25, 2017, “Bodak Yellow” reached the number one spot, making Cardi B the first female rapper to do so with a solo single since Lauryn Hill’s “Doo Wop (That Thing)” debuted atop the chart in 1998.  The song stayed atop the charts for three consecutive weeks, tying with American pop singer Taylor Swift’s “Look What You Made Me Do” as the longest running female at the number one spot in 2017. Cardi B became the first person of Dominican descent to reach number one in the history of the Hot 100 since it was launched in 1958. An editor of The New York Times called it “the rap anthem of the summer”. Selected by The Washington Post and Pitchfork music critics as the best song of 2017,  “Bodak Yellow” was eventually certified nonuple platinum by the Recording Industry Association of America (RIAA). The song received nominations for Best Rap Performance and Best Rap Song at the 60th Grammy Awards.  It won Single of the Year at the 2017 BET Hip Hop Awards.

With her collaborations “No Limit” and “MotorSport”, she became the first female rapper to land her first three entries in the top 10 of the Hot 100,  and the first female artist to achieve the same on the Hot R&B/Hip-Hop Songs chart. In October 2017, Cardi B headlined Power 105.1’s annual Powerhouse music celebration, alongside The Weeknd, Migos, and Lil Uzi Vert, at the Barclays Center in Brooklyn, New York. In December, she released two songs: a collaboration with Puerto Rican singer Ozuna titled “La Modelo”, and “Bartier Cardi”, the second single from her debut album.

On January 3, 2018, Cardi B was featured on Bruno Mars’ remix version of “Finesse”, and also appeared in the 90s inspired video. It reached the top three on the Hot 100, Canada and New Zealand. On January 18, 2018, Cardi B became the first woman to have five top 10 singles simultaneously on the Billboard Hot R&B/Hip-Hop Songs chart. She released another single, “Be Careful”, on March 30, 2018, a week before her album’s release.

Her debut studio album, Invasion of Privacy, was released on April 6, 2018, to universal acclaim from music critics. Editors from Variety and The New York Times called it “one of the most powerful debuts of this millennium” and “a hip-hop album that doesn’t sound like any of its temporal peers,” respectively. The album entered at number one in the United States, while she became the first female artist to chart 13 entries simultaneously on the Billboard Hot 100, on the chart issue dated April 21. It also became the most streamed album by a female artist in a single week in Apple Music, and the largest on-demand audio streaming week ever for an album by a woman. Cardi held the latter record until 2019. The album’s title reflects Cardi B’s feeling that as she gained popularity her privacy was being invaded in a variety of ways. Following the album’s release, during a performance on Saturday Night Live, Cardi B officially announced her pregnancy, after much media speculation. She also co-hosted an episode of The Tonight Show Starring Jimmy Fallon.

Several months later, in July 2018, the album’s fourth single, “I Like It”, which features vocals from Bad Bunny and J Balvin, reached number one on the Hot 100; this marked her second number one on the chart and made her the first female rapper to achieve multiple chart-toppers. It received critical acclaim, with Rolling Stone naming it “the best summer song of all time” in 2020. Her collaboration with Maroon 5, “Girls Like You”, also reached number one the Hot 100 chart, extending her record among female rappers and also making her the sixth female artist to achieve three number-one singles on the chart during the 2010s. The song’s music video has received more than 2.7 billion views on YouTube and was the fifth-best selling song of the year globally. With “Girls Like You” following “I Like It” at the top of the Billboard Radio Songs chart, Cardi B became the first female rapper to ever replace herself at number one on that chart. The single spent seven weeks atop the Hot 100, making Cardi the female rapper with the most cumulative weeks atop the chart, with eleven weeks. It spent 33 weeks in the top 10, tying both Ed Sheeran’s “Shape of You” and Post Malone and Swae Lee’s “Sunflower” for the longest top 10 run in the chart’s archives at the time. In October 2018, Invasion of Privacy was certified double platinum by the RIAA, and the following year it was updated to triple platinum. With the thirteen tracks, she became the first female artist to have all songs from an album certified gold or higher in the US.

Cardi B received the most nominations for the 2018 MTV Video Music Awards with 12 mentions—including for Video of the Year, winning three awards. She also tied with Drake for the most nominations at the 2018 American Music Awards. She won three AMAs and performed at the ceremony. Her single “Money” earned her a fourth Video Music Award. Her collaboration with DJ Snake “Taki Taki” topped the charts in a number of Hispanic countries, made Cardi B the first female rapper to top the Spotify Global 50 chart, and has garnered more than 1.8 billion views. Both singles were certified multiple-platinum by the RIAA. People en Español named her Star of the Year,  and Entertainment Weekly deemed her “a pop culture phenomenon”, as she was named one of “2018 Entertainers of the Year.”

On November 30, 2018, Cardi B was honored at Ebony’s annual Power 100 Gala. Cardi ranked fifth on the 2018 Billboard Year-End Top Artists chart, while Invasion of Privacy ranked sixth. She achieved the most-streamed album of the year by a female artist globally in Apple Music, and ranked as the most streamed female artist of the year in the United States in Spotify. Editorial staff from Apple Music and Billboard named “I Like It” the best song of 2018,  while Time magazine and Rolling Stone named Invasion of Privacy the best album of the year. Also in 2018, Time included her on their annual list of the 100 most influential people in the world.[ In its decade-end review article, NME stated that the era secured “her crown as the new Queen of Rap.”

2019–present: Hustlers, Rhythm + Flow and upcoming second studio album

Cardi B received five nominations at the 61st Grammy Awards, including for Album of the Year, Best Rap Album and Record of the Year (“I Like It”). She became the third female rapper to be nominated for Album of the Year, following Lauryn Hill (1999) and Missy Elliott (2004). On February 10, 2019, she then performed at the award ceremony, where she wore three vintage Thierry Mugler couture looks during the telecast and became the first female rapper to win Best Rap Album as a solo artist. Cardi B also led the 2019 Billboard Music Awards nominations, with 21, the most nominations in a single year ever by a woman and the third most nominations in a year ever (behind Drake and The Chainsmokers, who both had 22 in a year). She ended up winning six awards, including for Top Hot 100 Song, bringing her career total wins to seven—the most of any female rapper in history. An article by Omaha World-Herald called her “the biggest rapper in the world.”

On February 15, 2019, Cardi B released “Please Me”, a collaboration with Bruno Mars, which became her seventh top-ten song on the Hot 100, reaching number three. The song marked Cardi and Bruno’s second collaboration, following “Finesse” in 2018. The official music video was released two weeks later. On March 1, Cardi set a new attendance record at the Houston Livestock Show and Rodeo, with 75,580 fans in the audience. With “Backin’ It Up”, “Twerk” and “Money”, Cardi became the first female artist to occupy the top three on the Billboard Mainstream R&B/Hip-Hop airplay chart. Her following single titled “Press” was released on May 31, 2019. The parental-advisory labeled music video marked her directorial debut—being credited as co-director, and was released on June 26, 2019. It had its debut performance at the 2019 BET Awards, where she won Album of the Year. During the summer of 2019 she embarked on an arena tour.

Cardi B made her film debut in Hustlers directed by Lorene Scafaria, opposite Jennifer Lopez, Constance Wu, and Lili Reinhart. The film was released on September 13, 2019 to critical acclaim. Cardi B, along with Chance the Rapper and T.I., were confirmed as judges for the Netflix series Rhythm + Flow, a ten-part hip-hop talent search that premiered on October 9, 2019, which she also executive produced. She will next appear in F9, which is set to be released on May 28, 2021, by Universal Pictures. In September 2019, Cardi B became the highest-certified female rapper of all time on the RIAA’s Top Artists (Digital Singles) ranking, with 31.5 million certified units, also being the ninth highest-certified female artist overall. Forbes has recognized her as one of the most influential female rappers of all time. In December 2019, Cardi B embarked on her first tour of Africa, performing in Nigeria and Ghana. Her collaboration “Clout” was nominated for a Grammy Award for Best Rap Performance. She was the most streamed female rapper of 2019 in the US, according to Spotify. Consequence of Sound deemed her “one of the most formidable hip-hop artists of the decade.”  In March 2020, Cardi B created a reaction video about the coronavirus pandemic. DJ iMarkkeyz, a Brooklyn DJ known for turning memes and online moments into full-length songs, created a track, based on her reaction titled “Coronavirus”, which became an internet meme and was released to music platforms. Netflix announced the return of Rhythm + Flow for 2021.

Cardi B released the single “WAP” featuring American rapper Megan Thee Stallion on August 7, 2020 as the lead single off her forthcoming second studio album. The song received critical acclaim and was praised for its sex positive messages. The Colin Tilley-directed music video accompanied the song itself, and broke the record for the biggest 24-hour debut for an all-female collaboration on YouTube. She became the only female rap artist to top the Global Spotify chart multiple times.[151] “WAP” debuted at number-one on the Billboard Hot 100 chart, garnering Cardi B her fourth chart-topper in the US, extending her record as the female rapper with the most number-one singles, and also making her the first female rapper to achieve Hot 100 number one singles in two different decades (2010s and 2020s). With 93 million streaming units, it became the largest first-week streams for a song, breaking the all-time record held by Ariana Grande’s “7 Rings”. It has spent four weeks atop the Hot 100. The single has also spent multiple weeks at number one in seven other countries, including Australia and the United Kingdom. Neil Shah of The Wall Street Journal deemed it “a big moment for female rappers” and “a historic sign that women artists are making their mark on hip-hop like never before”. “WAP” became the first number one single on the inaugural Billboard Global 200 chart. Cardi B won the Billboard Music Award for Top Rap Female Artist for the third time at the 2020 ceremony.  In December 2020, Cardi B became the first female rapper to be named Woman of the Year at the Billboard Women in Music Awards. With her win for “WAP” at the American Music Awards, she became the first artist to win the American Music Award for Favorite Rap/Hip-Hop Song multiple times, following her win for “Bodak Yellow” in 2018.

Artistry

Influences

In Billboard’s “You Should Know” series, Cardi B said the first albums she ever purchased were by American entertainers Missy Elliott and Tweet, respectively. She has credited Puerto Rican rapper Ivy Queen and Jamaican dancehall artist Spice as influences, as well as Lady Gaga, Lil’ Kim, Madonna,  and Selena.  When asked about the initial direction for her music, Cardi B said in an interview,

“When I first started rapping […] I liked certain songs from Khia and Trina, and they [were] fighting songs. I haven’t heard fighting songs for a very long time,” crediting the two female rappers for her aggressive rap style. She continued, saying “a lot of girls they cannot afford red bottoms, a lot of girls they cannot afford foreign cars […] but I know that every girl has beef with a girl […] I know that every bitch don’t like some bitch, and it’s like ‘that’s what I wanna rap about.’”

She also credits growing up in the South Bronx and real life experiences as influences for her songwriting; “I wouldn’t be able to rap about the things that I rap about now [if I hadn’t grown up there].

Musical style

Her first studio album, Invasion of Privacy, is primarily a hip hop record, which comprises elements of trap, Latin music, and R&B. Consequence of Sound described her flow as “acrobatic and nimble.” AllMusic editor David Jeffries called Cardi B “a raw and aggressive rapper”. Stereogum called her voice “a full-bodied New Yawk nasal bleat, the sort of thing that you’ve heard if someone has ever told you that you stupid for taking too long at swiping your MetroCard.” They continued to call her voice “an unabashedly loud and sexual f*ck-you New York honk—that translates perfectly to rap.” In a 2017 Complex article about her, the editor wrote “unapologetic does not begin to describe the totally unfiltered and sheer Cardi B-ness of Cardi B’s personality. She’s a hood chick who’s not afraid to be hood no matter the setting. Cardi B is Cardi B 24/7, 365, this is why she resonates with people, and that same energy comes out in her music.” Her flow has been described as aggressive. Cardi B has defended her musical content primarily comprising sexually-charged lyrics—like most contemporary female rappers; she stated that the content “seems like that’s what people want to hear”, since she faced negative reactions after releasing her more emotional song, “Be Careful.”

Other ventures

In February 2017, she partnered with M.A.C and Rio Uribe’s Gypsy Sport for an event for New York Fashion Week. During an April 2017 interview with HotNewHipHop, Cardi B spoke on being rejected by fashion designers. Her April appearance in i-D’s “A-Z of Music” video was sponsored by designer Marc Jacobs, and she made the cover of The Fader’s July/August 2017 Summer Music issue. Tom Ford’s Cardi B-inspired lipstick, and named after her, was released in September 2018. It sold out within 24 hours. In November, she partnered with Reebok, promoting the brand’s Aztrek sneaker. The same month she released a clothing line collection with Fashion Nova.

Cardi B teamed up with Pepsi for two television commercials, which aired during the Super Bowl LIII and the 61st Annual Grammy Awards. In early 2019, Cardi also joined other hip hop artists (including her husband Offset, as part of Migos) in releasing her flavors of snack food Rap Snacks: two flavors of chips, and two of popcorn. The bags’ artwork were inspired by the cover of Invasion of Privacy. In partnership with Reebok, she released a footwear and apparel collection, inspired by her personal style and paying homage to “classic 80s styling” and motifs.

Public image

Cardi B identifies as a feminist. The New York Times wrote “on Love & Hip Hop: New York some viewers saw her as a hero of female empowerment, as she made pronouncements such as ‘Ever since I started using guys, I feel so much better about myself. I feel so damn powerful.’”

Political statements

The star has been called “unabashedly, directly political” and often uses social media to advocate for causes she believes in, such as gun control. During the 2016 presidential primaries, she warned her fans of President Trump’s immigration policies and encouraged them to vote for Senator Bernie Sanders. At the Grammy Awards in 2018, she appeared in a video along with Hillary Clinton to narrate a portion of Fire and Fury, Michael Wolff’s insider’s account of Trump’s administration, and stated “Why am I even reading this shit? I can’t believe this. I can’t believe—this is how he really lives his life?” Cardi B endorsed Sanders once again in his second bid for the presidency in the 2020 United States presidential election, while also praising U.S. Representative Tim Ryan. She also stated that one of the reasons for her endorsement is Sanders’ long-time involvement in supporting underprivileged minorities and “people getting Medicare because he knows they can’t afford it,” while Politico website argued that she “might be one of Bernie’s most powerful 2020 allies.” She has also used her social pages to raise awareness for victims of police brutality, and has encouraged people to vote for mayors, judges and district attorneys in local elections. In a conversation with Democratic candidate Joe Biden for Elle, they discussed Medicare, free college tuition, and racial equality.[ According to a study published by The Hollywood Reporter, Cardi B ranked as the fifth most influential celebrity, and fourth among Generation Z, for the 2020 presidential election.

She has praised President Franklin D. Roosevelt for advocating for the Social Security program and the New Deal project in general and has noted her admiration for his wife Eleanor Roosevelt’s humanitarianism and advocacy for African-Americans. She said of President Roosevelt, “he helped us get over the Depression, all while he was in a wheelchair. Like, this man was suffering from polio at the time of his presidency, and yet all he was worried about was trying to make America great—make America great again for real. He’s the real ‘Make America Great Again,’ because if it wasn’t for him, old people wouldn’t even get Social Security.” Sanders himself has praised her for her “leading role” in calling attention to Social Security. During the 2018–19 United States federal government shutdown she released a video on Instagram, where she said “our country is a hellhole right now”.

On October 8, 2020, Cardi B posted a message on her Instagram condemning Azerbaijan for attacking Artsakh (Nagorno-Karabakh), a disputed territory, and asked her followers to donate to Armenia Fund, a humanitarian organization that supports Armenia’s development and the needy. The next day she removed the message and apologized to her followers for posting such a message and instead she said she is just in favor of ending the war.

Controversies

Cardi B caused controversy after throwing one of her high heel shoes at, and attempting to physically fight, fellow rapper Nicki Minaj at an after-party hosted by Harper’s Bazaar during New York Fashion Week 2018. She later stated that Minaj had previously “liked” comments made by other users on social media who spoke negatively about Cardi B’s abilities to take care of her newly born daughter. Minaj denied the accusations. Nevertheless, she covered the spring fashion issue of Harper’s Bazaar in early 2019, featuring her in a Cinderella-themed photo shoot wearing a red gown and leaving a shoe behind, which some writers found reflective of the incident.

After the release of “Girls” in May 2018, a collaboration where she had a featured verse, Cardi B responded to the accusations of the song trivializing and sexualizing LGBT relationships. She stated on Twitter, “We never try to cause harm or had bad intentions with the song.” Cardi B then went on to say, “I personally myself had experiences with other women.”

In March 2019, a livestream from Instagram resurfaced from 2016 where she can be heard claiming that in the past she “had drugged and robbed men” who willingly came with her to hotel rooms for sex. She stated that the men she referred to were conscious, willing and aware; they were getting “twisted in the club” before approaching her, and denied putting anything on a man’s drink. She added that she took some money from them because they wasted her time by falling asleep, and then “kept coming back.” She concluded by saying that at the time she had very limited options to survive, and feels a responsibility not to glorify it.

Fashion

Cardi has a noted affinity for Christian Louboutin heels, a running theme in her song “Bodak Yellow”. She has also mentioned her affinity for cheap, fast-fashion brands stating “I don’t care if it cost $20 or $15. If it looks good on me, it looks good on me”. In November 2018 she released a collection with Fashion Nova.  Cardi wore vintage Thierry Mugler to the 2018 Grammy Awards. An article from Vogue noted she “is famous for her statement getups—whether she’s rocking archival Mugler on the red carpet, or dripping in Chanel while sitting courtside at a basketball game.” Her over-the-top manicures, designed by nail artist Jenny Bui and studded with Swarovski crystals, has become a part of her signature look.

In 2018, she became the first female rapper in the US to appear on the cover of Vogue. Photographed by Annie Leibovitz, the cover, one of four for the January 2019 issue that included Stella McCartney, features her in a red and white Michael Kors dress and matching red Jimmy Choo shoes, while holding her daughter, Kulture.

In 2019, the Council of Fashion Designers of America included her on their list of “28 Black Fashion Forces”.

Cardi B became the face of Balenciaga’s ad campaign for the winter 2020 season. The campaign includes billboards in several international locations, including the Louvre museum. Vogue’s Brooke Bobb commented, “This is Cardi’s first campaign for a luxury fashion house, though she’s definitely no stranger to the Parisian style scene”, citing her floral printed Richard Quinn ensemble “that literally covered her from head to toe” and her being “a front row fixture” at high fashion shows, adding, “She and her stylist Kollin Carter have been wildly successful in carving out a much-needed space for Cardi within the fashion industry, and they’ve cultivated a personal style that is all her own while being inspiring to all”.

In 2020, Cardi B became the first female rapper to be awarded by the FN Achievement Awards when she won the Style Influencer of the Year award. In a press release for the awards show, she was called an “influence just about everything in pop culture—from music, fashion and style to social media, politics and even public service”.

Impact

Multiple publications, including Billboard, The Hollywood Reporter, and Entertainment Weekly, have called her “Hip Hop’s Reigning Queen” since the release of Invasion of Privacy. Spin staff credited her for opening “the table to a new generation of pop artists remaking American music in their own image and accents. [Cardi B] recognized that POC artists no longer need to pander or soften themselves in order to become household names.” An article from Uproxx noted Cardi B for promoting up-and-coming female rappers; “[she is] choosing to use her position at the height of stardom to open doors for other women to flourish in hip-hop at a greater level than any since the Golden Era and “Ladies First”. This is something of a departure from tradition; for the decade previous to Cardi’s precipitous come-up, it seemed hip-hop had an unspoken, Highlander-esque rule in place regarding women.” The New Yorker also credited her for “changing a genre that has rarely allowed for more than one female superstar at a time.” Billboard editors stated that with “Bodak Yellow”‘s commercial success, “she left an indelible mark on the summer of 2017, not only because she rewrote history, but she gave hope to the have nots…”. “I Like It” became the first Latin trap song to reach number one on the Hot 100, which reflected “the times, the moment and the new openness of the world” towards Spanish-infused music in streaming services according to the magazine. In 2020, The Wall Street Journal’s Neil Shah stated that “today’s female-rap renaissance was sparked partly by the success of Cardi B”, while Genius staff credited her for “helping jumpstart a new wave of female hip-hop signings and promotion at labels”.

NPR defined “Cardi B effect” as “a branding power rooted in specific authenticity, created and permeated by rapper Cardi B” and noticed that with her breakthrough, “brands finally started to become hip to [her] effect, noticing the cultural markers outside of the rap world that were proving it wasn’t limited to clubs, concerts and radio.” Business magazine Inc. stated that her success “shows how social media changed everything we knew about traditional marketing and media”, which no longer relies on a “well-thought marketing scheme or millions of dollars in advertising.” Articles by Vogue and The Telegraph have referred to her as a “fashion icon for our times.” In 2019, a life-sized sculpture of her was on display at the Brooklyn Museum, as part of Spotify’s RapCaviar “Pantheon”. Bloomberg reported that her data bill helped to boost Ghana’s GDP growth in 2019, after it was part of a concert tour. She inspired the creation of the sitcom Partners in Rhyme, executively produced by MC Lyte about a young woman in high school who “aspires to be the next Cardi B.” P-Valley creator Katori Hall credited her influence for “helping prepare the public” for the storyline depicted in the TV series. Singer-songwriter Rosalía has cited her among her influences. Cardi B has been credited for supporting and uniting female rappers in the industry.

Achievements

Cardi B is the recipient of numerous accolades, including a Grammy Award, eight Billboard Music Awards, five Guinness World Records, five American Music Awards, four MTV Video Music Awards, four BET Awards, and eleven BET Hip Hop Awards. Time included her on their annual list of the 100 most influential people in the world in 2018. She received the ASCAP award for Songwriter of the Year in 2019, becoming the first female rapper to win the award. She received the honor for the second time in 2020, making her the first female songwriter to win the award twice. In 2020, Cardi B became the first female rapper to be named Woman of the Year at the Billboard Women in Music Awards.

Cardi B is the female rapper with the most Billboard Hot 100 number one singles (4) and the one with the most total weeks on the top position (15). “Bodak Yellow”—certified nonuple platinum by the Recording Industry Association of America (RIAA)—became the highest-certified single by a female rapper. “I Like It” became the first song led by a female rapper to surpass a billion streams on Spotify, also making her the first woman in hip hop with multiple billion-streamers on the service, with a total of three so far. Invasion of Privacy was the top female rap album of the 2010s, according to the Billboard 200 decade-end chart. It also became the longest-charting album by a female rapper on the Billboard 200, and the most-streamed album by a female rapper on Spotify.  Invasion of Privacy—which made her the first female rapper to win the Grammy Award for Best Rap Album as a solo artist—became the first female rap album in fifteen years to be nominated for a Grammy Award for Album of the Year. Rolling Stone and Billboard ranked her debut album number 13 and 34 on their critics’ lists of best albums of the 2010s respectively, both the highest rank for a female rapper for the decade.

Personal life

Cardi B is Catholic;  she has mentioned her “strong relationship” with God in interviews, often saying that she directly communicates with God.

Cardi B’s younger sister, Hennessy Carolina, also has a strong following on social media and has accompanied her to award shows, such as the 2017 Grammy Awards.

In an interview in 2018, Cardi talked about being Afro-Latina and Afro-Caribbean:

We are Caribbean people […] Some people want to decide if you’re black or not, depending on your skin complexion, because they don’t understand Caribbean people or our culture. I feel like people need to understand or get a passport and travel. I don’t got to tell you that I’m black. I expect you to know about it. When my father taught me about Caribbean countries, he told me that these Europeans took over our lands. That’s why we all speak different languages […] Just like everybody else, we came over here the same way. I hate when people try to take my roots from me. Because we know that there’s African roots inside of us…

She has been a resident of Edgewater, New Jersey, renting an apartment for $3,000 a month that she says would be twice as much in Manhattan for an equivalently sized unit.

Cardi has opened up about the #MeToo movement and being sexually a*saulted.

Relationships

As of early 2017, Cardi B began publicly dating fellow American rapper Offset, of the southern hip hop group Migos. When speaking on her relationship with Offset, Cardi B told The Fader, “It’s been a blessing, me meeting him and meeting his friends. I see how hard they work. And that motivated me to work even harder. And I see how good things are going for them and how popping it is to be number one. And I’m like, I want that. A lot of people just see they jewelry and they money, but I don’t think a lot of people see how hard they work for that shit every single day.” Cardi B and Offset became engaged on October 27, 2017, after Offset proposed to her at the Wells Fargo Center in Philadelphia, during the Power 99 Powerhouse concert. On April 7, 2018, during her second performance on Saturday Night Live, Cardi B wore a stunning, white Christian Siriano evening gown which, along with several deliberate camera side shots, revealed her pregnancy. She was about 6 months (24 weeks) pregnant at the time. On June 25, 2018, TMZ found a marriage license revealing Cardi B and Offset had actually secretly married in September 2017, doing so one month before the public proposal. Cardi B later went on to confirm this revelation in a social media post. In July 2018, Cardi B gave birth to her first child, a daughter named Kulture Kiari Cephus  In December 2018 she announced on Instagram that she and Offset had broken up, though the pair later reunited. In February 2019, the couple made a public appearance for the Grammys.  He accompanied her on the stage during her acceptance speech for Best Rap Album. In September 2020, it was reported that Cardi B had filed for divorce, but the next month it was revealed they were back together.

Legal issues

On October 1, 2018, Cardi B agreed to meet with investigators at a Queens police station in connection with an alleged a*sault. She denied involvement through her attorney. She was charged with two misdemeanors: a*sault and reckless endangerment. Cardi B appeared in court for her arraignment on December 7, 2018, after she failed to show up for the originally scheduled date due to a scheduling conflict, according to her attorney. She was ordered by the judge to avoid having any contact with the two bartenders. She was released by the judge despite prosecutors requesting bail to be set at $2,500. On June 21, 2019, a grand jury indicted Cardi B on 14 charges, including two counts of felony a*sault with intent to cause serious physical injury, stemming from the incident. She was arraigned on June 25, 2019 and pleaded not guilty on all charges

 

Lyrics


Adam Levine

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Adam Noah Levine (/ləˈvn/; born March 18, 1979) is an American singer-songwriter, record producer, and the lead singer of the pop rock band Maroon 5. Levine began his musical career in 1994 with the band Kara’s Flowers, of which he was the lead vocalist and guitarist. Levine began his musical career in 1994 with the band Kara’s Flowers, of which he was the lead vocalist and guitarist. The band split up in 1997 after the commercial failure of their only album, The Fourth World. In 2001, the group was reformed as Maroon 5 – with James Valentine replacing Levine as guitarist- and released their first album, Songs About Jane, which went multi-platinum in the US. Since then, they have released five more albums: It Won’t Be Soon Before Long (2007), Hands All Over (2010), Overexposed (2012), V (pronounced: “five”) (2014), and Red Pill Blues (2017). As part of Maroon 5, Levine has received three Grammy Awards, three American Music Awards, an MTV Video Music Award, and a World Music Award.

From 2011 to 2019, Levine served as a coach on NBC’s reality talent show The Voice. The winners of seasons (1, 5, and 9) belonged to his team. In 2012, Levine made his acting debut as recurring character Leo Morrison in the second season of the television series American Horror Story. Levine also appeared in the films Begin Again (2013), Popstar: Never Stop Never Stopping (2016), Fun Mom Dinner and The Clapper (both 2017). Levine launched his eponymous fragrance line in 2013. The same year, he collaborated with Kmart and ShopYourWay.com to develop his menswear collection. He also owns a record label, 222 Records, and a production company, 222 Productions, which produced television shows Sugar and Songland. In 2013, The Hollywood Reporter reported that “sources familiar with his many business dealings” estimated Levine would earn more than $35 million that year.

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Early life

Adam Noah Levine  was born in Los Angeles to Fredric Levine, the founder of retail chain M. Fredric, and Patsy (née Noah) Levine, an admissions counselor.  They divorced when he was seven and Levine underwent therapy.[10] Growing up, he spent weekdays with his mother and weekends with his father. He has a brother Michael, two half-siblings—Sam and Liza Levine—and step-sister Julia Bartolf Milne.[citation needed] Levine’s father and maternal grandfather were Jewish, while his maternal grandmother was a Protestant. Levine considers himself Jewish; however, according to The Jewish Chronicle, he is spiritual but not religious. He chose not to have a Bar Mitzvah as a child because of the custom of receiving Bar Mitzvah gifts, explaining: “I felt as though a lot of kids were trying to cash in … I just don’t think it’s the most respectful way to deal with God and beliefs and years and years and years of cultural heritage.”  Levine is a nephew of journalist and author Timothy Noah, and television producer and writer Peter Noah.

Levine describes his family as “very musical” and credits his mother with “start[ing] me out on the path.” He also attributes his mother’s idols – Simon & Garfunkel, Fleetwood Mac, and The Beatles – to shaping his musical style, calling them “a huge part of my upbringing”. Levine attended Brentwood School, where he met Jesse Carmichael and Mickey Madden, his future bandmates. He carried his musical interests to high school, where he states he was “a little rebellious. I didn’t want to do the things they were teaching me … [music] consumed my every thought.”

Kara’s Flowers

In February 1994, Levine, along with friends Jesse Carmichael, Mickey Madden, and Ryan Dusick formed garage band Kara’s Flowers. In 1995, the group played their first gig at the Whisky a Go Go, a nightclub in West Hollywood, California, with Levine performing vocals and guitar. The band was discovered while they were performing in Malibu by independent producer Tommy Allen, who along with his partner John DeNicola, had them record an 11-track album. Owing to a string of industry showcases in Los Angeles, they were signed on to Reprise Records through producer Rob Cavallo. In August 1997, the band released their first album, titled The Fourth World[23] and also appeared on an episode of the drama series Beverly Hills, 90210. Despite high expectations, it had little success, selling about 5,000 copies. Reprise decided to drop the band after Cavallo’s exit from the label Disappointed with the results of their album, the band broke up. Later, Levine would say of the experience: “Kara’s Flowers was just floating up the wall beneath the sticks. Make a record quickly, put it out. No touring base, no nothing. Just try to make it happen right out of the gate and it just doesn’t work”

Maroon 5 and mainstream success

After the break up of Kara’s Flowers, Levine, along with Carmichael, left Los Angeles to pursue higher studies at Five Towns College in New York. On MTV News, in 2002, he said: “That’s when I started waking up to the whole hip-hop, R&B thing. We had friends named Chaos and Shit. It was not Brentwood High”. They dropped out after a semester, and reunited with Madden and Dusick to form a band once more. They experimented with several styles, including country and folk, before deciding groove-based music would become their genre. Levine explained the need for a makeover for the band: “We were just so sick of being a typical rock ’n’ roll band … I felt like I needed to look elsewhere for vocal inspiration.” The band put together a demo that was rejected by several labels, before it caught the attention of Octone Records executives James Diener, Ben Berkman, and David Boxenbaum. Following Berkman’s advice, the band added a fifth member, James Valentine, and was renamed Maroon 5. In an interview with HitQuarters, Berkman explained that Levine “seemed to be a very shy, shoe-gazing type … a fifth member could play the guitar to free up the singer [Levine], so he could be the star I perceived him to be”.

Around this time, Levine had been working as a writer’s a*sistant on the CBS television show Judging Amy; the progam’s producer Barbara Hall was his family friend. While on the show, he would spend time writing songs about his ex-girlfriend. These songs were put into Maroon 5’s debut album Songs About Jane, which was released in June 2002. The album slowly gained airplay, and eventually became a sleeper hit, selling an estimated 10 million copies and becoming the tenth best-selling album of 2004, two years after its release.  In 2005, Maroon 5 won their first Grammy Award, for Best New Artist. The next year, they won the Grammy Award for Best Pop Performance by a Duo or Group with Vocals for the second Songs About Jane single “This Love”.

By 2006, the band began recording again, and in May 2007, Maroon 5’s second album It Won’t Be Soon Before Long was released. Levine described the album as “a vast improvement”, explaining: “I think this record is a little more self-confident and powerful lyrically”. To support the album, the band performed on a “six-date club tour” in which they visited small venues in Boston, San Francisco, Los Angeles, Minneapolis, Miami, and New York City in early June 2007.  The album and its lead, third and penultimate singles (“Makes Me Wonder”, “Won’t Go Home Without You” and “If I Never See Your Face Again”, respectively) each received Grammy nominations, although only “Makes Me Wonder” secured a win.

After winding down from a world tour in support of It Won’t Be Soon Before Long, the band began recording in Switzerland in 2009, in collaboration with record producer and songwriter Robert John “Mutt” Lange. Levine said Lange “worked me harder than anyone ever has”. In 2010, Maroon 5 released their third studio album, Hands All Over. The album did not initially meet expectations. In an interview with Los Angeles Times, Levine explained that the album suffered from being “all these disparate ideas and songs that didn’t make any sense together”. After the moderate success of the album’s first three singles, the band released “Moves like Jagger” which Levine classified as “one of those songs that was definitely a risk; it’s a bold statement”. The single became a worldwide success; it was the ninth-best-selling digital single of 2011 with sales of 8.5 million copies and, as of 2012, the eighth-best-selling digital single of all time. Levine later credited the song with “totally reviving the band”.

Since “Moves Like Jagger” was the first time Maroon 5 had collaborated with an outside writer, the band decided to attempt it again on their next album, entitled Overexposed. Its title is supposedly an allusion to Levine’s public ubiquity. In an interview with Rolling Stone, he opined that is their most dance-driven album ever, commenting: “It’s very much an old-fashioned disco tune. I have a love/hate relationship with it – but mostly I love it”. The album and its lead single “Payphone” gave Maroon 5 their second Grammy Award for Best Pop Vocal Album and Best Pop Duo/Group Performance nominations. In support of Overexposed, the band conducted the Overexposed Tour from 2012 to 2013 (with the European leg extending to 2014 due to scheduling conflicts), and also headlined the 2013 Honda Civic Tour, which included The Voice contestant Tony Lucca.

In 2014, Maroon 5 continued their collaboration with Ryan Tedder, Max Martin and others to release their fifth studio album V (pronounced: “five”). Levine acknowledged that they followed the same song-writing process that they tried with Overexposed, saying: “We developed a really nice system on the last record — we found songs we were passionate about, developed them and put our stamp on them […] this time we kept it going but looked for different types of songs.” Five singles were released from it. In support of the album, the band undertook the Maroon V Tour, which kicked off with a show in Dallas in February 2015.

In 2007, Levine had stated that he believed Maroon 5 was reaching its peak and might make one more album before disbanding. He was quoted explaining: “Eventually I want to focus on being a completely different person because I don’t know if I want to do this into my 40s and 50s and beyond”. But in 2010, he dispelled any rumors of the band breaking up, saying:”I love what I do and think that, yes, it might be tiring and complicated at times [but] we don’t have any plans on disbanding any time soon”.  He has also turned down the idea of having a solo career, stating that “there will never be a solo record. I would sooner have another band”. On February 10, 2017, Levine received a star on the Hollywood Walk of Fame for his contributions to the recording industry.

Other work

Musical collaborations

Levine has collaborated with several musical artists. In 2005, he was featured on the song “Live Again” by hip-hop duo Ying Yang Twins. The same year, he appeared on Kanye West’s album Late Registration, on the third single “Heard ‘Em Say”, a collaboration Levine called “very pure and very easy”. The song was created during an airplane flight that he and West shared, and its refrain was later used for the Maroon 5 song “Nothing Lasts Forever” from It Won’t Be Soon Before Long. He also appeared on Alicia Keys’ third album Alicia Keys: MTV Unplugged, as part of the cover of The Rolling Stones song “Wild Horses”. Around the same time, he featured on fellow Octone Records singer K’naan’s single “Bang Bang”. In 2009, he recorded “Gotten”, a song for Slash’s first solo album Slash (2010). In February 2010, he was among approximately 80 musicians who sang on the charity-single remake of “We Are the World”, called “We Are the World 25 for Haiti”. In 2011, he appeared on the Gym Class Heroes song, “Stereo Hearts”. Levine also worked with hip-hop artist 50 Cent on his song “My Life”, recording the vocals almost two years before it was released as a single in 2012, which included rapper Eminem. In 2013, Levine wrote a song with Swedish composer Ludwig Göransson called “My Most Terrible Secret” by the cast of Community, in the episode from the television series “Intro to Felt Surrogacy”. In 2015, Levine was featured on the song “Painkiller” by Rozzi Crane and the duo, R. City’s single “Locked Away”. In 2016, Levine collaborated with The Lonely Island for the song “I’m So Humble”, on the soundtrack album Popstar: Never Stop Never Stopping, which they also appeared in the film of the same name. In April 2019, Levine and 29 other musical acts were featured on the charity single “Earth”, which raises climate change awareness. In late 2019, Levine collaborated with American actor and musician Joe Pesci, on his third album Pesci… Still Singing, with two songs “Baby Girl” and a cover of Stevie Wonder’s “My Cherie Amour”. In 2020, Levine was featured in the song “Trust Nobody”, with rapper Lil Wayne on his 13th studio album Funeral (2020).

Levine is also featured as a singer for his band’s song “She Will Be Loved” in the music rhythm game, Band Hero. Levine has contributed with two songs for the soundtracks of the John Carney films: “Lost Stars” in Begin Again and “Go Now” in Sing Street.

Television, film and media

Levine has made four notable comic appearances on television. During 2007, he appeared in the 33rd-season premiere of Saturday Night Live in an SNL Digital Short called Iran So Far, performing with Andy Samberg, Fred Armisen and Jake Gyllenhaal. Levine played himself while singing a humorous bridge to a “love song” for Mahmoud Ahmadinejad. In 2008, he performed on Comedy Central’s “Night of Too Many Stars”. He also had a cameo on Jimmy Kimmel Live! for the night of stars and endorsed Barack Obama in the 2008 Presidential Election. In 2013, he hosted Saturday Night Live and featured alongside Kendrick Lamar on Lonely Island’s digital short “YOLO”, which parodies the acronym for “You Only Live Once.” His hosting was generally disliked by reviewers, who called it “mediocre” and “subpar.”

In 2011, Levine has served as a contestant judge/coach on the reality talent television show, The Voice. The contestants of his team named Team Adam, who won in the series are Javier Colon (season 1), Tessanne Chin (season 5) and Jordan Smith (season 9). The Voice has been credited with reviving Maroon 5’s “faltering” career after the sub-par sales of Hands All Over as well as increasing Levine’s popularity. According to polling firm E-Poll Market Research, awareness of Levine has nearly tripled since he joined the show. He has also been described as the “breakout” star of the series, with #TeamAdam and @AdamLevine scoring a respective 203,000 and 2.14 million Twitter mentions in the show’s third season, higher than all the other coaches. In 2013, The Hollywood Reporter estimated that Levine was paid $10–12 million for each season of The Voice. In May 2019, Levine left the series after sixteen seasons and eight years since his debut in 2011.

In 2012, Levine appeared as a recurring character in American Horror Story: Asylum, the second season of the television series American Horror Story. He plays Leo Morrison, a newly-wed photographer visiting modern-day Briarcliff Manor, an insane asylum, on honeymoon with his wife, played by Jenna Dewan. The scenes were shot around his band’s summer touring schedule. In an interview with E!, he said of his role: “It sounded like so much fun and that’s why I wanted to do it … this sounds, like, hysterical, funny, dark and cool and right up my alley”. However, he admitted to not being a fan of the show nor horror genre in general, stating he didn’t watch the episodes because “it’s just so weird and disturbing”.

In June 2012, Levine was cast in the musical romance-drama film Begin Again (originally titled Can a Song Save Your Life?). The film was directed by John Carney and Keira Knightley and Mark Ruffalo acted in the lead roles. In it, he plays Dave Kohl, Knightley’s songwriting partner and former boyfriend of five years, who leaves her behind on finding success in the music industry. The film premiered at the 2013 Toronto International Film Festival to generally favorable reviews from critics.

In November 2013, Levine was named People magazine’s Sexiest Man Alive, becoming the first singer and the second non-actor (after John F. Kennedy, Jr.) to claim the title.  He was ranked No. 41 on Glamour’s “Sexiest Men of 2012” list.[83] In 2008, he appeared on People’s “Single and Sexy Men” list. He was elected TV’s Most Crushworthy Male Reality Host/Judge in a poll held by Zap2it. In April 2012, Shalom Life ranked him Number 7 on its list of “Top 50 Hottest Jewish men in the world”. Levine stripped naked for testicular cancer awareness for a centerfold in Cosmopolitan UK’s February 2011 issue.

222 Productions

In 2013, Levine started a production company 222 Productions and the first project was Sugar (2018), a YouTube Premium web television series which was inspired by the music video for the Maroon 5 song of the same name. It follows music artists to crash events for unsuspecting fans. The company produced a reality competition series Songland, which premiered on NBC on May 28, 2019, where Levine served as executive producer. The company signed a deal with Wheelhouse Entertainment.

Business ventures and endorsements

In October 2008, Levine collaborated with First Act to create the First Act 222 Guitar, which was fashioned to his specifications. The guitar was sold via Target stores. Two years later he launched his own fashion line, entitled “222”, at the Project Trade Show in Las Vegas. The collection features jeans, basic T-shirts and leather jackets. The venture was organized in partnership with his father, Fred Levine (who operates a chain of specialty boutiques), and his cousin, Sami Cooper.

In June 2011, Levine took part in an educational campaign to raise awareness of attention deficit hyperactivity disorder (ADHD). The project, titled “Own It”, was created by Shire and organized in collaboration with the Attention Deficit Disorder Association (ADDA), Children and Adults with attention deficit hyperactivity disorder (CHADHD). The project targets people who were previously diagnosed with the disorder, focusing on how it may continue into adulthood. Levine, who himself was diagnosed with ADHD as a teenager, said: “This campaign is important to me because it can help young adults and adults realize that there’s a chance they may still have ADHD if they had it as a kid”. In connection to this, he wrote an article in ADDitude Magazine about his personal experience with it.

Levine founded his own record label, 222 Records in February 2012. He stated that he was inspired to start the label to sign on Rozzi Crane, an USC music student he discovered through a mutual friend. She became the first singer signed on to the label, followed by Glee actor Matthew Morrison, Mexican artist Diego Boneta, and The Voice season 2 contestant and part of Team Adam, the singer Tony Lucca. It was reported that he was negotiating further with potential distributors, as well as organizing staff, to operate as a full-fledged record company with departments such as marketing, radio and publicity.

In September 2012, Levine was in the Philippines to collaborate with the clothing company Bench; they launched the menswear collection. In January 2013, Levine announced he would be enter a partnership with Sears Holdings to launch a multi-department lifestyle brand of apparel and accessories collections. The company owns Kmart and ShopYourWay, a shopping social platform; it also includes rapper Nicki Minaj in the same contract. The menswear collection was launched on October 1 that year and conducts business via 500 Kmart stores across the US, as well as online. In an official statement, Levine said: “Partnering with ShopYourWay to develop this line was an exciting opportunity for me and I am really looking forward to diving into the process of designing an apparel and accessory collection”. In an interview with People, he commented further, “it was cool that they really promoted creative control. I like to be involved with process rather than just phoning it in”. Later, Levine became a celebrity spokesperson for Proactiv. In the commercial, Levine shares details about his acne experiences in high school, and promotes Proactiv Plus.

Levine collaborated with ID Perfumes to create his debut eponymous scent. The line was launched at the Premiere Fragrance Installation in Los Angeles in February 2013. The fragrance range, consisting of scents for both for men and women, is sold through Macy’s department stores in microphone-shaped bottles. Speaking at its launch, Levine said: “The task was to make something that I would wear. So that was a process and we finally came to a great conclusion and it smells great” The fragrance garnered media attention for contradicting his tweet the previous year, in which he said that he wanted to “put an official ban on celebrity fragrances. Punishable by death from this point forward”. In January 2020, Levine announced that he is the new Ambassador of the brand Shure for the wireless earphones and headphones, the Aonic 215 and 50, is available on electronic stores on April 2, 2020.

Artistry

Levine’s interest in music started at around ten years of age, when he first started playing the guitar. He found music as an outlet for his feelings, stating: “I picked up a guitar and that was it. I fell so madly in love with it, it’s all I did”. He performed his first professional gig at The Troubadour when he was twelve, but he was so nervous that he played with his back to the audience. Throughout his childhood, he had a wide range of musical influences, including The Beatles, Fleetwood Mac, The Who, Pearl Jam, Soundgarden, Alice in Chains, and Nirvana, and, in high school, Bob Marley, Bill Withers, Al Green, Stevie Wonder, Marvin Gaye, Phish and Michael Jackson. He has also incorporated elements of The Police and Prince into his music. In an interview with Billboard, he explained the diversity of his influences: “I love every single kind of music … even the most saccharine, sugary pop song can be the greatest thing ever. But so can a 25-minute crazy avant-garde fusion gnarly Herbie Hancock jam from the ’70s”.

Levine remembers that listening to “Are You That Somebody?” by Aaliyah convinced him to pursue a more soulful sound than that of the band he was performing with at the time, Kara’s Flowers. His move to New York introduced him to a new music scene that involved hip-hop, R&B, gospel and soul music.  He took to changing his musical style, extensively emulating Stevie Wonder. Subsequently, Songs About Jane was released, deemed “bluesy funk”  and similar to the sound of English pop rock band Busted. Critics also drew comparisons between Levine and Jamiroquai singer Jay Kay.

While earlier work was deemed “vaguely funky white-soul”  and “rock”, recent ones have been judged to have a more reggae, anthemic pop sound,  evoking comparisons to Coldplay. Levine refuses to fit his music into a genre, saying: “There’s so much variety in music, it’s silly to belong to a specific club and try to sound a certain way”. He considers himself an orthodox lyricist sticking to conventional themes, acknowledging: “Romance, love, the lack thereof are still very big themes. I haven’t figured out a way to use everything yet. As a songwriter, I’m still limited to that one thing.” He also claims he does not like mincing words, stating in a Rolling Stone interview: “I was so sick of typical lyrics like ‘Ooh, baby’ and ‘I love you’ and all this vague shit. I thought the more explicit I got without being totally explicit was a nice approach”.

Levine is a tenor, with a 3-and-a-half-octave vocal range and has been noted for his falsettos. Salon wrote: “When he’s crooning come-ons, his voice lends the music a satisfying lewdness, a sense of sticky physicality that gives his snaky hooks a pheromonal urgency.” In a review of It Won’t Be Soon Before Long, Entertainment Weekly described his vocals as “smug, R&B-slick deadpan … there’s a twisted logic to his dispassionate delivery”. In another review, Allmusic wrote “he knows that he’s a pop guy, somewhat in the tradition of Hall & Oates, but he isn’t trying to be retro, he’s … making records that are melodic, stylish, and soulful”. In a review of the 2013 Honda Civic Tour, The Boston Globe also commented positively on his on-stage presence, which “exude[s] a sense of up-for-anything playfulness … combined with a rock solid work ethic and a clear love for their audiences and performing”.

Levine’s popularity outside of his musical work has seen him tagged as a “stand-alone star,” which critics say have pushed other members of Maroon 5 to the backseat, even in their music. Their guitarist Valentine noted that his vocals were a central aspect around which their music revolved Conversely, others opine that Levine’s fame has been a boost to the band, with Paper writing: “Maroon 5 has managed to ebb and flow with the times … thanks in no small part to their frontman’s uncanny ability to be extremely entertaining”. Delta Sky described him as “a natural, if slightly neurotic, leading man”. He claims that the image was consciously cultivated, explaining: “We talked about it a long time ago and decided I would step out, for us, not for me or my own ego … We wanted there to be a frontman.”

Personal life

n early 2010, while performing at the Sports Illustrated Swimsuit Issue release party in Las Vegas, Levine met Russian Sports Illustrated swimsuit cover-model Anne Vyalitsyna. They began a relationship. They ended the relationship in April 2012 in an “amicable and supportive manner”.

In May 2012, Levine began dating Behati Prinsloo, a Namibian Victoria’s Secret model. The couple married on July 19, 2014, with Jonah Hill officiating the wedding. Levine and Prinsloo have two daughters, Dusty Rose (born September 21, 2016) and Gio Grace (born February 15, 2018).

Levine, whose brother Michael is gay, is a supporter of same-sex marriage and LGBT rights. In 2011, he made a video on Maroon 5’s official YouTube account in support of the It Gets Better Project. In January 2012, he announced that Maroon 5 had changed the location of their post-Grammy Awards show because of the “unnamed Los Angeles restaurant’s backing of Proposition 8”.

In 2013, Levine was mentioned in a hostile work environment lawsuit filed in Los Angeles Superior Court by an unnamed security guard who claimed that Universal Music Publishing Group’s Santa Monica location was “infiltrated with pervasive drug use where you could smell marijuana seeping from various offices and openly used in common areas, and lounges”. The guard claimed that when she complained about the cannabis smoke coming from one of the studios, she was told that “it’s Adam Levine … if he wants to come to the lobby and do a line of cocaine on the floor, it’s OK”. In an official statement to The Hollywood Reporter, UMPG (Universal Music Publishing group) described the allegations as “absurd”.

In July 2020, Levine and Prinsloo collaborated with Ferrari and Save the Children to raise funds to support U.S. education programs during the COVID-19 pandemic.

 

Lyrics


George Gershwin

Key: Any

Genre: General

Harp Type: Any

Skill: Any

George Gershwin (/ˈɡɜːrʃ.wɪn/; born Jacob Bruskin Gershowitz; September 26, 1898 – July 11, 1937) was an American composer, pianist and painter whose compositions spanned both popular and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), the songs “Swanee” (1919) and “Fascinating Rhythm” (1924), the jazz standard “I Got Rhythm” (1930), and the opera Porgy and Bess (1935) which gave birth to the hit “Summertime”. 

Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, and Joseph Brody. He began his career as a song plugger but soon started composing Broadway theater works with his brother Ira Gershwin and with Buddy DeSylva. He moved to Paris intending to study with Nadia Boulanger, but she refused him. He subsequently composed An American in Paris, returned to New York City and wrote Porgy and Bess with Ira and DuBose Heyward. Initially a commercial failure, it came to be considered one of the most important American operas of the twentieth century and an American cultural classic.

Gershwin moved to Hollywood and composed numerous film scores. He died in 1937 of a malignant brain tumor.  His compositions have been adapted for use in film and television, with several becoming jazz standards recorded and covered in many variations.

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Biography

Ancestors

Gershwin was of Russian-Jewish ancestry. His grandfather, Jakov Gershowitz, was born in Odessa and had served for 25 years as a mechanic for the Imperial Russian Army to earn the right of free travel and residence as a Jew; finally retiring near Saint Petersburg. His teenage son, Moishe Gershowitz, worked as a leather cutter for women’s shoes. Moishe Gershowitz met and fell in love with Roza Bruskina, the teenage daughter of a furrier in Vilnius. She and her family moved to New York because of increasing anti-Jewish sentiment in Russia, changing her first name to Rose. Moishe, faced with compulsory military service if he remained in Russia, moved to America as soon as he could afford to. Once in New York, he changed his first name to Morris. Gershowitz lived with a maternal uncle in Brooklyn, working as a foreman in a women’s shoe factory. He married Rose on July 21, 1895, and Gershowitz soon Americanized his name to Gershwine. Their first child, Ira Gershwin, was born on December 6, 1896, after which the family moved into a second-floor apartment on Snediker Avenue in Brooklyn.

Early life

On September 26, 1898, George was born as second son to Morris and Rose Bruskin Gershwin in their second-floor apartment at 242 Snediker Avenue in Brooklyn. His birth certificate identifies him as Jacob Gershwin, with the surname pronounced ‘Gersh-vin’ in the Russian and Yiddish immigrant community. He had just one given name, contrary to the American practice of giving children both a first and a middle name. He was named after his grandfather, the army mechanic. He soon became known as George, and changed the spelling of his surname to ‘Gershwin’ around the time he became a professional musician; other family members followed suit.[8] After Ira and George, another boy, Arthur Gershwin (1900–1981), and a girl, Frances Gershwin (1906–1999), were born into the family.

The family lived in many different residences, as their father changed dwellings with each new enterprise in which he became involved. They grew up mostly in the Yiddish Theater District. George and Ira frequented the local Yiddish theaters, with George occasionally appearing onstage as an extra.

George lived a boyhood not unusual in New York tenements, which included running around with his friends, roller-skating and misbehaving in the streets. Until 1908, he cared nothing about music. Then as a ten-year-old, he was intrigued upon hearing his friend Maxie Rosenzweig’s violin recital. The sound, and the way his friend played, captivated him. At about the same time, George’s parents had bought a piano for his older brother Ira. To his parents’ surprise, though, and to Ira’s relief, it was George who spent more time playing it as he continued to enjoy it.

Although his younger sister Frances was the first in the family to make a living through her musical talents, she married young and devoted herself to being a mother and housewife, thus precluding spending any serious time on musical endeavors. Having given up her performing career, she settled upon painting as a creative outlet, which had also been a hobby George briefly pursued. Arthur Gershwin followed in the paths of George and Ira, also becoming a composer of songs, musicals, and short piano works.

With a degree of frustration, George tried various piano teachers for about two years (circa 1911) before finally being introduced to Charles Hambitzer by Jack Miller (circa 1913), the pianist in the Beethoven Symphony Orchestra. Until his death in 1918, Hambitzer remained Gershwin’s musical mentor, taught him conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestral concerts.

Tin Pan Alley and Broadway, 1913–1923

In 1913, Gershwin left school at the age of 15 and found his first job as a “song plugger”. His employer was Jerome H. Remick and Company, a Detroit-based publishing firm with a branch office on New York City’s Tin Pan Alley, and he earned $15 a week.

His first published song was “When You Want ‘Em, You Can’t Get ‘Em, When You’ve Got ‘Em, You Don’t Want ‘Em” in 1916 when Gershwin was only 17 years old. It earned him 50 cents.

In 1916, Gershwin started working for Aeolian Company and Standard Music Rolls in New York, recording and arranging. He produced dozens, if not hundreds, of rolls under his own and a*sumed names (pseudonyms attributed to Gershwin include Fred Murtha and Bert Wynn). He also recorded rolls of his own compositions for the Duo-Art and Welte-Mignon reproducing pianos. As well as recording piano rolls, Gershwin made a brief foray into vaudeville, accompanying both Nora Bayes and Louise Dresser on the piano. His 1917 novelty ragtime, “Rialto Ripples”, was a commercial success.

In 1919 he scored his first big national hit with his song “Swanee,” with words by Irving Caesar. Al Jolson, a famous Broadway singer of the day, heard Gershwin perform “Swanee” at a party and decided to sing it in one of his shows.

In the late 1910s, Gershwin met songwriter and music director William Daly. The two collaborated on the Broadway musicals Piccadilly to Broadway (1920) and For Goodness’ Sake (1922), and jointly composed the score for Our Nell (1923). This was the beginning of a long friendship. Daly was a frequent arranger, orchestrator and conductor of Gershwin’s music, and Gershwin periodically turned to him for musical advice.

Musical, Europe and classical music, 1924–1928

In 1924, Gershwin composed his first major classical work, Rhapsody in Blue, for orchestra and piano. It was orchestrated by Ferde Grofé and premiered by Paul Whiteman’s Concert Band, in New York. It subsequently went on to be his most popular work, and established Gershwin’s signature style and genius in blending vastly different musical styles in revolutionary ways.

Since the early 1920s Gershwin had frequently worked with the lyricist Buddy DeSylva. Together they created the experimental one-act jazz opera Blue Monday, set in Harlem. It is widely regarded as a forerunner to the groundbreaking Porgy and Bess. In 1924, George and Ira Gershwin collaborated on a stage musical comedy Lady Be Good, which included such future standards as “Fascinating Rhythm” and “Oh, Lady Be Good!”. They followed this with Oh, Kay! (1926),[19] Funny Face (1927) and Strike Up the Band (1927 and 1930). Gershwin allowed the song, with a modified title, to be used as a football fight song, “Strike Up The Band for UCLA”.

In the mid-1920s, Gershwin stayed in Paris for a short period of time, during which he applied to study composition with the noted Nadia Boulanger, who, along with several other prospective tutors such as Maurice Ravel, turned him down, afraid that rigorous classical study would ruin his jazz-influenced style. Maurice Ravel’s rejection letter to Gershwin told him, “Why become a second-rate Ravel when you’re already a first-rate Gershwin?” While there, Gershwin wrote An American in Paris. This work received mixed reviews upon its first performance at Carnegie Hall on December 13, 1928, but it quickly became part of the standard repertoire in Europe and the United States.

New York, 1929–1935

In 1929, the Gershwin brothers created Show Girl; The following year brought Girl Crazy, which introduced the standards “Embraceable You”, debuted by Ginger Rogers, and “I Got Rhythm”. 1931’s Of Thee I Sing became the first musical comedy to win the Pulitzer Prize for Drama; the winners were George S. Kaufman, Morrie Ryskind, and Ira Gershwin.

Gershwin spent the summer of 1934 on Folly Island in South Carolina after he was invited to visit by the author of the novel Porgy, DuBose Heyward. He was inspired to write the music to his opera Porgy and Bess while on this working vacation. Porgy and Bess was considered another American classic by the composer of Rhapsody in Blue — even if critics could not quite figure out how to evaluate it, or decide whether it was opera or simply an ambitious Broadway musical. “It crossed the barriers,” per theater historian Robert Kimball. “It wasn’t a musical work per se, and it wasn’t a drama per se – it elicited response from both music and drama critics. But the work has sort of always been outside category.”

Last years, 1936–37

After the commercial failure of Porgy and Bess, Gershwin moved to Hollywood, California. In 1936, he was commissioned by RKO Pictures to write the music for the film Shall We Dance, starring Fred Astaire and Ginger Rogers. Gershwin’s extended score, which would marry ballet with jazz in a new way, runs over an hour in length. It took Gershwin several months to compose and orchestrate.

Gershwin had a ten-year affair with composer Kay Swift, whom he frequently consulted about his music. The two never married, although she eventually divorced her husband James Warburg in order to commit to the relationship. Swift’s granddaughter, Katharine Weber, has suggested that the pair were not married because George’s mother Rose was “unhappy that Kay Swift wasn’t Jewish”. The Gershwins’ 1926 musical Oh, Kay was named for her. After Gershwin’s death, Swift arranged some of his music, transcribed several of his recordings, and collaborated with his brother Ira on several projects.

Illness and death

Early in 1937, Gershwin began to complain of blinding headaches and a recurring impression that he smelled burning rubber. On February 11, 1937, he performed his Piano Concerto in F in a special concert of his music with the San Francisco Symphony Orchestra under the direction of French maestro Pierre Monteux.[31] Gershwin, normally a superb pianist in his own compositions, suffered coordination problems and blackouts during the performance. He was at the time working on other Hollywood film projects while living with Ira and his wife Leonore in their rented house in Beverly Hills. Leonore Gershwin began to be disturbed by George’s mood swings and his seeming inability to eat without spilling food at the dinner table. She suspected mental illness and insisted he be moved out of their house to lyricist Yip Harburg’s empty quarters nearby, where he was placed in the care of his valet, Paul Mueller. The headaches and olfactory hallucinations continued.

On the night of July 9, 1937 Gershwin collapsed in Harburg’s house, where he had been working on the score of The Goldwyn Follies. He was rushed back to Cedars of Lebanon,  and fell into a coma. Only then did his doctors come to believe that he was suffering from a brain tumor. Leonore called George’s close friend Emil Mosbacher and explained the dire need to find a neurosurgeon. Mosbacher immediately called pioneering neurosurgeon Harvey Cushing in Boston, who, retired for several years by then, recommended Dr. Walter Dandy, who was on a boat fishing in Chesapeake Bay with the governor of Maryland. Mosbacher called the White House and had a Coast Guard cutter sent to find the governor’s yacht and bring Dandy quickly to shore. Mosbacher then chartered a plane and flew Dandy to Newark Airport, where he was to catch a plane to Los Angeles; however, by that time, Gershwin’s condition was critical and the need for surgery was immediate. In the early hours of July 11, doctors at Cedars removed a large brain tumor, believed to have been a glioblastoma, but Gershwin died on the morning of Sunday, July 11, 1937, at the age of 38.  The fact that he had suddenly collapsed and become comatose after he stood up on July 9, has been interpreted as brain herniation with Duret haemorrhages.

Gershwin’s friends and fans were shocked and devastated. John O’Hara remarked: “George Gershwin died on July 11, 1937, but I don’t have to believe it if I don’t want to.” He was interred at Westchester Hills Cemetery in Hastings-on-Hudson, New York. A memorial concert was held at the Hollywood Bowl on September 8, 1937, at which Otto Klemperer conducted his own orchestration of the second of Gershwin’s Three Preludes.

Musical style and influence

Gershwin was influenced by French composers of the early twentieth century. In turn Maurice Ravel was impressed with Gershwin’s abilities, commenting, “Personally I find jazz most interesting: the rhythms, the way the melodies are handled, the melodies themselves. I have heard of George Gershwin’s works and I find them intriguing.” The orchestrations in Gershwin’s symphonic works often seem similar to those of Ravel; likewise, Ravel’s two piano concertos evince an influence of Gershwin.

George Gershwin asked to study with Ravel. When Ravel heard how much Gershwin earned, Ravel replied with words to the effect of, “You should give me lessons.” (Some versions of this story feature Igor Stravinsky rather than Ravel as the composer; however Stravinsky confirmed that he originally heard the story from Ravel.)

Gershwin’s own Concerto in F was criticized for being related to the work of Claude Debussy, more so than to the expected jazz style. The comparison did not deter him from continuing to explore French styles. The title of An American in Paris reflects the very journey that he had consciously taken as a composer: “The opening part will be developed in typical French style, in the manner of Debussy and Les Six, though the tunes are original.”

Gershwin was intrigued by the works of Alban Berg, Dmitri Shostakovich, Igor Stravinsky, Darius Milhaud, and Arnold Schoenberg. He also asked Schoenberg for composition lessons. Schoenberg refused, saying “I would only make you a bad Schoenberg, and you’re such a good Gershwin already.” (This quote is similar to one credited to Maurice Ravel during Gershwin’s 1928 visit to France – “Why be a second-rate Ravel, when you are a first-rate Gershwin?”) Gershwin was particularly impressed by the music of Berg, who gave him a score of the Lyric Suite. He attended the American premiere of Wozzeck, conducted by Leopold Stokowski in 1931, and was “thrilled and deeply impressed”.

Russian Joseph Schillinger’s influence as Gershwin’s teacher of composition (1932–1936) was substantial in providing him with a method of composition. There has been some disagreement about the nature of Schillinger’s influence on Gershwin. After the posthumous success of Porgy and Bess, Schillinger claimed he had a large and direct influence in overseeing the creation of the opera; Ira completely denied that his brother had any such a*sistance for this work. A third account of Gershwin’s musical relationship with his teacher was written by Gershwin’s close friend Vernon Duke, also a Schillinger student, in an article for the Musical Quarterly in 1947.

What set Gershwin apart was his ability to manipulate forms of music into his own unique voice. He took the jazz he discovered on Tin Pan Alley into the mainstream by splicing its rhythms and tonality with that of the popular songs of his era. Although George Gershwin would seldom make grand statements about his music, he believed that “true music must reflect the thought and aspirations of the people and time. My people are Americans. My time is today.”

In 2007, the Library of Congress named its Prize for Popular Song after George and Ira Gershwin. Recognizing the profound and positive effect of popular music on culture, the prize is given annually to a composer or performer whose lifetime contributions exemplify the standard of excellence a*sociated with the Gershwins. On March 1, 2007, the first Gershwin Prize was awarded to Paul Simon.

Recordings and film

Early in his career, under both his own name and pseudonyms, Gershwin recorded more than one hundred and forty player piano rolls which were a main source of his income. The majority were popular music of the period and a smaller proportion were of his own works. Once his musical theatre-writing income became substantial, his regular roll-recording career became superfluous. He did record additional rolls throughout the 1920s of his main hits for the Aeolian Company’s reproducing piano, including a complete version of his Rhapsody in Blue.

Compared to the piano rolls, there are few accessible audio recordings of Gershwin’s playing. His first recording was his own “Swanee” with the Fred Van Eps Trio in 1919. The recorded balance highlights the banjo playing of Van Eps, and the piano is overshadowed. The recording took place before “Swanee” became famous as an Al Jolson specialty in early 1920.

Gershwin recorded an abridged version of Rhapsody in Blue with Paul Whiteman and his orchestra for the Victor Talking Machine Company in 1924, soon after the world premiere. Gershwin and the same orchestra made an electrical recording of the abridged version for Victor in 1927. However, a dispute in the studio over interpretation angered Whiteman and he left. The conductor’s baton was taken over by Victor’s staff conductor Nathaniel Shilkret.

Gershwin made a number of solo piano recordings of tunes from his musicals, some including the vocals of Fred and Adele Astaire, as well as his Three Preludes for piano. In 1929, Gershwin “supervised” the world premiere recording of An American in Paris with Nathaniel Shilkret and the Victor Symphony Orchestra. Gershwin’s role in the recording was rather limited, particularly because Shilkret was conducting and had his own ideas about the music. When it was realized that no one had been hired to play the brief celeste solo, Gershwin was asked if he could and would play the instrument, and he agreed. Gershwin can be heard, rather briefly, on the recording during the slow section.

Gershwin appeared on several radio programs, including Rudy Vallee’s, and played some of his compositions. This included the third movement of the Concerto in F with Vallee conducting the studio orchestra. Some of these performances were preserved on transcription discs and have been released on LP and CD.

In 1934, in an effort to earn money to finance his planned folk opera, Gershwin hosted his own radio program titled Music by Gershwin. The show was broadcast on the NBC Blue Network from February to May and again in September through the final show on December 23, 1934. He presented his own work as well as the work of other composers. Recordings from this and other radio broadcasts include his Variations on I Got Rhythm, portions of the Concerto in F, and numerous songs from his musical comedies. He also recorded a run-through of his Second Rhapsody, conducting the orchestra and playing the piano solos. Gershwin recorded excerpts from Porgy and Bess with members of the original cast, conducting the orchestra from the keyboard; he even announced the selections and the names of the performers. In 1935 RCA Victor asked him to supervise recordings of highlights from Porgy and Bess; these were his last recordings.

A 74-second newsreel film clip of Gershwin playing I Got Rhythm has survived, filmed at the opening of the Manhattan Theater (now The Ed Sullivan Theater) in August 1931.[  There are also silent home movies of Gershwin, some of them shot on Kodachrome color film stock, which have been featured in tributes to the composer. In addition, there is newsreel footage of Gershwin playing “Mademoiselle from New Rochelle” and “Strike Up the Band” on the piano during a Broadway rehearsal of the 1930 production of Strike Up the Band. In the mid-30s, “Strike Up The Band” was given to UCLA to be used as a football fight song, “Strike Up The Band for UCLA”. The comedy team of Clark and McCullough are seen conversing with Gershwin, then singing as he plays.

In 1945, the film biography Rhapsody in Blue was made, starring Robert Alda as George Gershwin. The film contains many factual errors about Gershwin’s life, but also features many examples of his music, including an almost complete performance of Rhapsody in Blue.

In 1965, Movietone Records released an album MTM 1009 featuring Gershwin’s piano rolls of the titled George Gershwin plays RHAPSODY IN BLUE and his other favorite compositions. The B-side of the LP featured nine other recordings.

In 1975, Columbia Records released an album featuring Gershwin’s piano rolls of Rhapsody In Blue, accompanied by the Columbia Jazz Band playing the original jazz band accompaniment, conducted by Michael Tilson Thomas. The B-side of the Columbia Masterworks release features Tilson Thomas leading the New York Philharmonic in An American In Paris.

In 1976, RCA Records, as part of its “Victrola Americana” line, released a collection of Gershwin recordings taken from 78s recorded in the 1920s and called the LP “Gershwin plays Gershwin, Historic First Recordings” (RCA Victrola AVM1-1740). Included were recordings of “Rhapsody in Blue” with the Paul Whiteman Orchestra and Gershwin on piano; “An American in Paris”, from 1927 with Gershwin on celesta; and “Three Preludes”, “Clap Yo’ Hands” and Someone to Watch Over Me”, among others. There are a total of ten recordings on the album. At the opening ceremony of the 1984 Olympic Games in Los Angeles, “Rhapsody in Blue” was performed in spectacular fashion by many pianists.

The soundtrack to Woody Allen’s 1979 film Manhattan is composed entirely of Gershwin’s compositions, including Rhapsody in Blue, “Love is Sweeping the Country”, and “But Not for Me”, performed by both the New York Philharmonic under Zubin Mehta and the Buffalo Philharmonic under Michael Tilson Thomas. The film begins with a monologue by Allen: “He adored New York City … To him, no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin.”

In 1993, two audio CDs featuring piano rolls recorded by Gershwin were issued by Nonesuch Records through the efforts of Artis Wodehouse, and entitled Gershwin Plays Gershwin: The Piano Rolls.

In October 2009, it was reported by Rolling Stone that Brian Wilson was completing two unfinished compositions by George Gershwin,[51] released as Brian Wilson Reimagines Gershwin on August 17, 2010, consisting of ten George and Ira Gershwin songs, bookended by passages from “Rhapsody in Blue”, with two new songs completed from unfinished Gershwin fragments by Wilson and band member Scott Bennett.

Compositions

Orchestral

Solo piano

  • Three Preludes (1926)
  • George Gershwin’s Song-book (1932), solo piano arrangements of 18 songs

Operas

London musicals

Broadway musicals

Films for which Gershwin wrote original scores

Legacy

Estate

Gershwin died intestate, and his estate passed to his mother. The estate continues to collect significant royalties from licensing the copyrights on his work. The estate supported the Sonny Bono Copyright Term Extension Act because its 1923 cutoff date was shortly before Gershwin had begun to create his most popular works. The copyrights on all Gershwin’s solo works expired at the end of 2007 in the European Union, based on its life-plus-70-years rule.

In 2005, The Guardian determined using “estimates of earnings accrued in a composer’s lifetime” that George Gershwin was the wealthiest composer of all time.

The George and Ira Gershwin Collection, much of which was donated by Ira and the Gershwin family estates, resides at the Library of Congress.

In September 2013, a partnership between the estates of Ira and George Gershwin and the University of Michigan was created and will provide the university’s School of Music, Theatre, and Dance access to Gershwin’s entire body of work, which includes all of Gershwin’s papers, compositional drafts, and scores.[ This direct access to all of his works will provide opportunities to musicians, composers, and scholars to analyze and reinterpret his work with the goal of accurately reflecting the composers’ vision in order to preserve his legacy. The first fascicles of The Gershwin Critical Edition, edited by Mark Clague, are expected in 2017; they will cover the 1924 jazz band version of Rhapsody in Blue, An American in Paris and Porgy and Bess.

Awards and honors

  • In 1937, Gershwin received his sole Academy Award nomination for Best Original Song at the 1937 Oscars for “They Can’t Take That Away from Me”, written with his brother Ira for the 1937 film Shall We Dance. The nomination was posthumous; Gershwin died two months after the film’s release.
  • In 1985, the Congressional Gold Medal was awarded to George and Ira Gershwin. Only three other songwriters, George M. Cohan, Harry Chapin and Irving Berlin, have had the honor of receiving this award.
  • In 1998 a special Pulitzer Prize was posthumously awarded to Gershwin “commemorating the centennial year of his birth, for his distinguished and enduring contributions to American music.”
  • The George and Ira Gershwin Lifetime Musical Achievement Award was established by UCLA to honor the brothers for their contribution to music and for their gift to UCLA of the fight song “Strike Up the Band for UCLA”.
  • In 2006, Gershwin was inducted into the Long Island Music Hall of Fame.

Namesakes

  • The Gershwin Theatre on Broadway is named after George and Ira.
  • The Gershwin Hotel in the Flatiron District of Manhattan in New York City was named after George and Ira.
  • In Brooklyn, George Gershwin Junior High School 166 is named after him.
  • One of Holland America Line’s ships, MS Koningsdam has a Gershwin Deck (Deck 5)
  • The Library of Congress Gershwin Prize for Popular Song

Biopics

  • The 1945 biographical film Rhapsody in Blue starred Robert Alda as George Gershwin.
  • Director Steven Spielberg planned a Biopic film in 2010 based of the life of Gershwin, casting Zachary Quinto as Gershwin.

Portrayals in other media

  • Since 1999, Hershey Felder has produced a one-man show with him portraying George Gershwin Alone, which has played over 3,000 performances and was winner of two 2007 Ovation Awards. In response to the COVID-19 pandemic, Felder launched a global live-streaming Hershey Felder Presents: Live from Florence featuring a performance of “Hershey Felder as George Gershwin Alone” in September 2020.
  • Paul Rudd portrays an imaginary friend based on George Gershwin, said to be his creator’s favorite composer, in the 2015 series finale of the Irish sitcom Moone Boy, “Gershwin’s Bucket List”.

Lyrics


Jerome Kern

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Jerome David Kern (January 27, 1885 – November 11, 1945) was an American composer of musical theatre and popular music. One of the most important American theatre composers of the early 20th century, he wrote more than 700 songs, used in over 100 stage works, including such classics as “Ol’ Man River”, “Can’t Help Lovin’ Dat Man”, “A Fine Romance”, “Smoke Gets in Your Eyes”, “The Song Is You”, “All the Things You Are”, “The Way You Look Tonight” and “Long Ago (and Far Away)”. He collaborated with many of the leading librettists and lyricists of his era, including George Grossmith Jr., Guy Bolton, P. G. Wodehouse, Otto Harbach, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer, Ira Gershwin and Yip Harburg.

A native New Yorker, Kern created dozens of Broadway musicals and Hollywood films in a career that lasted for more than four decades. His musical innovations, such as 4/4 dance rhythms and the employment of syncopation and jazz progressions, built on, rather than rejected, earlier musical theatre tradition. He and his collaborators also employed his melodies to further the action or develop characterization to a greater extent than in the other musicals of his day, creating the model for later musicals. Although dozens of Kern’s musicals and musical films were hits, only Show Boat is now regularly revived. Songs from his other shows, however, are still frequently performed and adapted. Many of Kern’s songs have been adapted by jazz musicians to become standard tunes.

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Biography

Early life

Kern was born in New York City, on Sutton Place, in what was then the city’s brewery district.[1] His parents were Henry Kern (1842–1908), a Jewish German immigrant, and Fannie Kern née Kakeles (1852–1907), who was an American Jew of Bohemian parentage.[2] At the time of Kern’s birth, his father ran a stable; later he became a successful merchant.[2] Kern grew up on East 56th Street in Manhattan, where he attended public schools. He showed an early aptitude for music and was taught to play the piano and organ by his mother, an accomplished player and teacher.

In 1897, the family moved to Newark, New Jersey, where Kern attended Newark High School (which became Barringer High School in 1907). He wrote songs for the school’s first musical, a minstrel show, in 1901, and for an amateur musical adaptation of Uncle Tom’s Cabin put on at the Newark Yacht Club in January 1902.  Kern left high school before graduation in the spring of his senior year in 1902. In response, Kern’s father insisted that his son work with him in business, instead of composing. Kern, however, failed miserably in one of his earliest tasks: he was supposed to purchase two pianos for the store, but instead he ordered 200. His father relented, and later in 1902, Kern became a student at the New York College of Music, studying the piano under Alexander Lambert and Paolo Gallico, and harmony under Dr. Austin Pierce. His first published composition, a piano piece, At the Casino, appeared in the same year. Between 1903 and 1905, he continued his musical training under private tutors in Heidelberg, Germany, returning to New York via London.

First compositions

For a time, Kern worked as a rehearsal pianist in Broadway theatres and as a song-plugger for Tin Pan Alley music publishers. While in London, he secured a contract from the American impresario Charles Frohman to provide songs for interpolation in Broadway versions of London shows. He began to provide these additions in 1904 to British scores for An English Daisy, by Seymour Hicks and Walter Slaughter, and Mr. Wix of Wickham, for which he wrote most of the songs.

In 1905, Kern contributed the song “How’d you like to spoon with me?” to Ivan Caryll’s hit musical The Earl and the Girl when the show transferred to Chicago and New York in 1905. He also contributed to the New York production of The Catch of the Season (1905), The Little Cherub (1906) and The Orchid (1907), among other shows. From 1905 on, he spent long periods of time in London, contributing songs to West End shows like The Beauty of Bath (1906; with lyricist P. G. Wodehouse) and making valuable contacts, including George Grossmith Jr. and Seymour Hicks, who were the first to introduce Kern’s songs to the London stage. In 1909 during one of his stays in England, Kern took a boat trip on the River Thames with some friends, and when the boat stopped at Walton-on-Thames, they went to an inn called the Swan for a drink. Kern was much taken with the proprietor’s daughter, Eva Leale (1891–1959), who was working behind the bar. He wooed her, and they were married at the Anglican church of St. Mary’s in Walton on October 25, 1910. The couple then lived at the Swan when Kern was in England.

Kern is believed to have composed music for silent films as early as 1912, but the earliest documented film music which he is known to have written was for a twenty-part serial, Gloria’s Romance in 1916.[9] This was one of the first starring vehicles for Billie Burke, for whom Kern had earlier written the song “Mind the Paint”, with lyrics by A. W. Pinero. The film is now considered lost, but Kern’s music survives. Another score for the silent movies, Jubilo, followed in 1919. Kern was one of the founding members of ASCAP.

Kern’s first complete score was Broadway’s The Red Petticoat (1912), one of the first musical-comedy Westerns. The libretto was by Rida Johnson Young. By World War I, more than a hundred of Kern’s songs had been used in about thirty productions, mostly Broadway adaptations of West End and European shows. Kern contributed two songs to To-Night’s the Night (1914), another Rubens musical. It opened in New York and went on to become a hit in London. The best known of Kern’s songs from this period is probably “They Didn’t Believe Me”, which was a hit in the New York version of the Paul Rubens and Sidney Jones musical, The Girl from Utah (1914), for which Kern wrote five songs.  Kern’s song, with four beats to a bar, departed from the customary waltz-rhythms of European influence and fitted the new American passion for modern dances such as the fox-trot. He was also able to use elements of American styles, such as ragtime, as well as syncopation, in his lively dance tunes. Theatre historian John Kenrick writes that the song put Kern in great demand on Broadway and established a pattern for musical comedy love songs that lasted through the 1960s.

In May 1915, Kern was due to sail with Charles Frohman from New York to London on board the RMS Lusitania, but Kern missed the boat, having overslept after staying up late playing poker. Frohman died in the sinking of the ship.

Princess Theatre musicals

Kern composed 16 Broadway scores between 1915 and 1920 and also contributed songs to the London hit Theodore & Co (1916; most of the songs are by the young Ivor Novello) and to revues like the Ziegfeld Follies. The most notable of his scores were those for a series of shows written for the Princess Theatre, a small (299-seat) house built by Ray Comstock. Theatrical agent Elisabeth Marbury asked Kern and librettist Guy Bolton to create a series of intimate and low-budget, yet smart, musicals.

The “Princess Theatre shows” were unique on Broadway not only for their small size, but their clever, coherent plots, integrated scores and naturalistic acting, which presented “a sharp contrast to the large-scale Ruritanian operettas then in vogue” or the star-studded revues and extravaganzas of producers like Florenz Ziegfeld. Earlier musical comedy had often been thinly plotted, gaudy pieces, marked by the insertion of songs into their scores with little regard to the plot. But Kern and Bolton followed the examples of Gilbert and Sullivan and French opéra bouffe in integrating song and story. “These shows built and polished the mold from which almost all later major musical comedies evolved. … The characters and situations were, within the limitations of musical comedy license, believable and the humor came from the situations or the nature of the characters. Kern’s exquisitely flowing melodies were employed to further the action or develop characterization.” The shows featured modern American settings and simple scene changes to suit the small theatre.

The team’s first Princess Theatre show was an adaptation of Paul Rubens’ 1905 London show, Mr. Popple (of Ippleton), called Nobody Home (1915). The piece ran for 135 performances and was a modest financial success. However, it did little to fulfill the new team’s mission to innovate, except that Kern’s song, “The Magic Melody”, was the first Broadway showtune with a basic jazz progression. Kern and Bolton next created an original piece, Very Good Eddie, which was a surprise hit, running for 341 performances, with additional touring productions that went on into the 1918-19 season. The British humorist, lyricist and librettist P. G. Wodehouse joined the Princess team in 1917, adding his skill as a lyricist to the succeeding shows. Oh, Boy! (1917) ran for an extraordinary 463 performances. Other shows written for the theatre were Have a Heart (1917), Leave It to Jane (1917) and Oh, Lady! Lady!! (1918). The first opened at another theatre before Very Good Eddie closed. The second played elsewhere during the long run of Oh Boy! An anonymous admirer wrote a verse in their praise that begins:

This is the trio of musical fame,
Bolton and Wodehouse and Kern.
Better than anyone else you can name
Bolton and Wodehouse and Kern.

In February 1918, Dorothy Parker wrote in Vanity Fair:

Well, Bolton and Wodehouse and Kern have done it again. Every time these three gather together, the Princess Theatre is sold out for months in advance. You can get a seat for Oh, Lady! Lady!! somewhere around the middle of August for just about the price of one on the stock exchange. If you ask me, I will look you fearlessly in the eye and tell you in low, throbbing tones that it has it over any other musical comedy in town. But then Bolton and Wodehouse and Kern are my favorite indoor sport. I like the way they go about a musical comedy. … I like the way the action slides casually into the songs. … I like the deft rhyming of the song that is always sung in the last act by two comedians and a comedienne. And oh, how I do like Jerome Kern’s music. And all these things are even more so in Oh, Lady! Lady!! than they were in Oh, Boy!

Oh, Lady! Lady!! was the last successful “Princess Theatre show”. Kern and Wodehouse disagreed over money, and the composer decided to move on to other projects. Kern’s importance to the partnership was illustrated by the fate of the last musical of the series, Oh, My Dear! (1918), to which he contributed only one song: “Go, Little Boat”. The rest of the show was composed by Louis Hirsch and ran for 189 performances: “Despite a respectable run, everyone realized there was little point in continuing the series without Kern.”

Early 1920s

The 1920s were an extremely productive period in American musical theatre, and Kern created at least one show every year for the entire decade. His first show of 1920 was The Night Boat, with book and lyrics by Anne Caldwell, which ran for more than 300 performances in New York and for three seasons on tour. Later in the same year, Kern wrote the score for Sally, with a book by Bolton and lyrics by Otto Harbach. This show, staged by Florenz Ziegfeld, ran for 570 performances, one of the longest runs of any Broadway show in the decade, and popularized the song “Look for the Silver Lining” (which had been written for an earlier show), performed by the rising star Marilyn Miller. It also had a long run in London in 1921, produced by George Grossmith Jr. Kern’s next shows were Good Morning, Dearie (1921, with Caldwell) which ran for 347 performances; followed in 1922 by a West End success, The Cabaret Girl in collaboration with Grossmith and Wodehouse; another modest success by the same team, The Beauty Prize (1923); and a Broadway flop, The Bunch and Judy, remembered, if at all, as the first time Kern and Fred Astaire worked together.

Stepping Stones (1923, with Caldwell) was a success, and in 1924 the Princess Theatre team of Bolton, Wodehouse and Kern reunited to write Sitting Pretty, but it did not recapture the popularity of the earlier collaborations. Its relative failure may have been partly due to Kern’s growing aversion to having individual songs from his shows performed out of context on radio, in cabaret, or on record, although his chief objection was to jazz interpretations of his songs.[citation needed] He called himself a “musical clothier – nothing more or less,” and said, “I write music to both the situations and the lyrics in plays.” When Sitting Pretty was produced, he forbade any broadcasting or recording of individual numbers from the show, which limited their chance to gain popularity.

1925 was a major turning point in Kern’s career when he met Oscar Hammerstein II, with whom he would entertain a lifelong friendship and collaboration. As a young man, Kern had been an easy companion with great charm and humor, but he became less outgoing in his middle years, sometimes difficult to work with: he once introduced himself to a producer by saying, “I hear you’re a son of a bitch. So am I.” He rarely collaborated with any one lyricist for long. With Hammerstein, however, he remained on close terms for the rest of his life. Their first show, written together with Harbach, was Sunny, which featured the song “Who (Stole My Heart Away)?” Marilyn Miller played the title role, as she had in Sally. The show ran for 517 performances on Broadway, and the following year ran for 363 performances in the West End, starring Binnie Hale and Jack Buchanan.

Show Boat

Because of the strong success of Sally and Sunny and consistent good results with his other shows, Ziegfeld was willing to gamble on Kern’s next project in 1927. Kern had been impressed by Edna Ferber’s novel Show Boat and wished to present a musical stage version. He persuaded Hammerstein to adapt it and Ziegfeld to produce it. The story, dealing with racism, marital strife and alcoholism, was unheard of in the escapist world of musical comedy. Despite his doubts, Ziegfeld spared no expense in staging the piece to give it its full epic grandeur. According to the theatre historian John Kenrick: “After the opening night audience filed out of the Ziegfeld Theatre in near silence, Ziegfeld thought his worst fears had been confirmed. He was pleasantly surprised when the next morning brought ecstatic reviews and long lines at the box office. In fact, Show Boat proved to be the most lasting accomplishment of Ziegfeld’s career – the only one of his shows that is regularly performed today.” The score is, arguably, Kern’s greatest and includes the well-known songs “Ol’ Man River” and “Can’t Help Lovin’ Dat Man” as well as “Make Believe”, “You Are Love”, “Life Upon the Wicked Stage”, “Why Do I Love You”, all with lyrics by Hammerstein, and “Bill”, originally written for Oh, Lady! Lady!, with lyrics by P. G. Wodehouse.[28] The show ran for 572 performances on Broadway and was also a success in London. Although Ferber’s novel was filmed unsuccessfully as a part-talkie in 1929 (using some songs from the Kern score), the musical itself was filmed twice, in 1936, and, with Technicolor, in 1951. In 1989, a stage version of the musical was presented on television for the first time, in a production from the Paper Mill Playhouse telecast by PBS on Great Performances.

While most Kern musicals have largely been forgotten, except for their songs, Show Boat remains well-remembered and frequently seen. It is a staple of stock productions and has been revived numerous times on Broadway and in London. A 1946 revival integrated choreography into the show, in the manner of a Rodgers and Hammerstein production, as did the 1994 Harold Prince–Susan Stroman revival, which was nominated for ten Tony Awards, winning five, including best revival. It was the first musical to enter a major opera company’s repertory (New York City Opera, 1954), and the rediscovery of the 1927 score with Robert Russell Bennett’s original orchestrations led to a large-scale EMI recording in 1987 and several opera-house productions.[ In 1941, the conductor Artur Rodziński wished to commission a symphonic suite from the score, but Kern considered himself a songwriter and not a symphonist. He never orchestrated his own scores, leaving that to musical a*sistants, principally Frank Saddler (until 1921) and Russell Bennett (from 1923).  In response to the commission, Kern oversaw an arrangement by Charles Miller and Emil Gerstenberger of numbers from the show into the orchestral work Scenario for Orchestra: Themes from Show Boat, premiered in 1941 by the Cleveland Orchestra conducted by Rodziński.

Kern’s last Broadway show in the 1920s was Sweet Adeline (1929), with a libretto by Hammerstein. It was a period piece, set in the Gay 90s, about a girl from Hoboken, New Jersey (near Kern’s childhood home), who becomes a Broadway star. Opening just before the stock market crash, it received rave reviews, but the elaborate, old-fashioned piece was a step back from the innovations in Show Boat, or even the Princess Theatre shows. In January 1929, at the height of the Jazz Age, and with Show Boat still playing on Broadway, Kern made news on both sides of the Atlantic for reasons wholly unconnected with music. He sold at auction, at New York’s Anderson Galleries, the collection of English and American literature that he had been building up for more than a decade. The collection, rich in inscribed first editions and manuscript material of eighteenth and nineteenth century authors, sold for a total of $1,729,462.50 – a record for a single-owner sale that stood for over fifty years. Among the books he sold were first or early editions of poems by Robert Burns and Percy Bysshe Shelley, and works by Jonathan Swift, Henry Fielding and Charles Dickens, as well as manuscripts by Alexander Pope, John Keats, Shelley, Lord Byron, Thomas Hardy and others.

First films and later shows

In 1929 Kern made his first trip to Hollywood to supervise the 1929 film version of Sally, one of the first “all-talking” Technicolor films. The following year, he was there a second time to work on Men of the Sky, released in 1931 without his songs, and a 1930 film version of Sunny. There was a public reaction against the early glut of film musicals after the advent of film sound; Hollywood released more than 100 musical films in 1930, but only 14 in 1931. Warner Bros. bought out Kern’s contract, and he returned to the stage. He collaborated with Harbach on the Broadway musical The Cat and the Fiddle (1931), about a composer and an opera singer, featuring the songs “She Didn’t Say Yes” and “The Night Was Made for Love”. It ran for 395 performances, a remarkable success for the Depression years, and transferred to London the following year. It was filmed in 1934 with Jeanette MacDonald.

Music in the Air (1932) was another Kern-Hammerstein collaboration and another show-biz plot, best remembered today for “The Song Is You” and “I’ve Told Ev’ry Little Star”. It was “undoubtedly an operetta”, set in the German countryside, but without the Ruritanian trimmings of the operettas of Kern’s youth. Roberta (1933) by Kern and Harbach included the songs “Smoke Gets in Your Eyes”, “Let’s Begin and “Yesterdays” and featured, among others, Bob Hope, Fred MacMurray, George Murphy and Sydney Greenstreet all in the early stages of their careers. Kern’s Three Sisters (1934), was his last West End show, with a libretto by Hammerstein. The musical, depicting horse-racing, the circus, and class distinctions, was a failure, running for only two months. Its song “I Won’t Dance” was used in the film Roberta. Some British critics objected to American writers essaying a British story; James Agate, doyen of London theatre critics of the day, dismissed it as “American inanity,” though both Kern and Hammerstein were strong and knowledgeable Anglophiles. Kern’s last Broadway show (other than revivals) was Very Warm for May (1939), another show-biz story and another disappointment, although the score included the Kern and Hammerstein classic “All The Things You Are”.

Kern in Hollywood

In 1935, when musical films had become popular once again, thanks to Busby Berkeley, Kern returned to Hollywood, where he composed the scores to a dozen more films, although he also continued working on Broadway productions. He settled permanently in Hollywood in 1937. After suffering a heart attack in 1939, he was told by his doctors to concentrate on film scores, a less stressful task, as Hollywood songwriters were not as deeply involved with the production of their works as Broadway songwriters. This second phase of Kern’s Hollywood career had considerably greater artistic and commercial success than the first. With Hammerstein, he wrote songs for the film versions of his recent Broadway shows Music in the Air (1934), which starred Gloria Swanson in a rare singing role, and Sweet Adeline (1935). With Dorothy Fields, he composed the new music for I Dream Too Much (1935), a musical melodrama about the opera world, starring the Metropolitan Opera diva Lily Pons. Kern and Fields interspersed the opera numbers with their songs, including “the swinging ‘I Got Love,’ the lullaby ‘The Jockey on the Carousel,’ and the entrancing title song.”[45] Also with Fields, he wrote two new songs, “I Won’t Dance” and “Lovely to Look At”, for the Fred Astaire and Ginger Rogers film version of Roberta (1935), which was a hit. The show also included the song “I’ll Be Hard to Handle”. This was given a 1952 remake called Lovely to Look At.

Their next film, Swing Time (1936) included the song “The Way You Look Tonight”, which won the Academy Award in 1936 for the best song. Other songs in Swing Time include “A Fine Romance”, “Pick Yourself Up” and “Never Gonna Dance”. The Oxford Companion to the American Musical calls Swing Time “a strong candidate for the best of the Fred Astaire and Ginger Rogers musicals” and says that, although the screenplay is contrived, it “left plenty of room for dance and all of it was superb. … Although the movie is remembered as one of the great dance musicals, it also boasts one of the best film scores of the 1930s.” For the 1936 film version of Show Boat, Kern and Hammerstein wrote three new songs, including “I Have The Room Above Her” and “Ah Still Suits Me”. High, Wide, and Handsome (1937) was intentionally similar in plot and style to Show Boat, but it was a box-office failure. Kern songs were also used in the Cary Grant film, When You’re in Love (1937), and the first Abbott and Costello feature, One Night in the Tropics (1940). In 1940, Hammerstein wrote the lyric “The Last Time I Saw Paris”, in homage to the French capital, recently occupied by the Germans. Kern set it, the only time he set a pre-written lyric, and his only hit song not written as part of a musical. Originally a hit for Tony Martin and later for Noël Coward, the song was used in the film Lady Be Good (1941) and won Kern another Oscar for best song. Kern’s second and last symphonic work was his ‘Mark Twain Suite (1942).

In his last Hollywood musicals, Kern worked with several new and distinguished partners. With Johnny Mercer for You Were Never Lovelier (1942), he contributed “a set of memorable songs to entertain audiences until the plot came to its inevitable conclusion”.[48] The film starred Astaire and Rita Hayworth and included the song “I’m Old Fashioned”. Kern’s next collaboration was with Ira Gershwin on Cover Girl starring Hayworth and Gene Kelly (1944) for which Kern composed “Sure Thing”,”Put Me to the Test,” “Make Way for Tomorrow” (lyric by E. Y. Harburg), and the hit ballad “Long Ago (and Far Away)”.[49] For the Deanna Durbin Western musical, Can’t Help Singing (1944), with lyrics by Harburg, Kern “provided the best original score of Durbin’s career, mixing operetta and Broadway sounds in such songs as ‘Any Moment Now,’ ‘Swing Your Partner,’ ‘More and More,’ and the lilting title number.” “More and More” was nominated for an Oscar.[50]

Kern composed his last film score, Centennial Summer (1946) in which “the songs were as resplendent as the story and characters were mediocre. … Oscar Hammerstein, Leo Robin, and E. Y. Harburg contributed lyrics for Kern’s lovely music, resulting in the soulful ballad ‘All Through the Day,’ the rustic ‘Cinderella Sue,’ the cheerful ‘Up With the Lark,’ and the torchy ‘In Love in Vain.’” “All Through the Day” was another Oscar nominee. The music of Kern’s last two films is notable in the way it developed from his earlier work. Some of it was too advanced for the film companies; Kern’s biographer, Stephen Banfield, refers to “tonal experimentation … outlandish enharmonics” that the studios insisted on cutting. At the same time, in some ways his music came full circle: having in his youth helped to end the reigns of the waltz and operetta, he now composed three of his finest waltzes (“Can’t Help Singing”, “Californ-i-ay” and “Up With the Lark”), the last having a distinctly operetta-like character.

Personal life and death

Kern and his wife, Eva, often vacationed on their yacht Show Boat. He collected rare books and enjoyed betting on horses. At the time of Kern’s death, Metro-Goldwyn-Mayer was filming a fictionalized version of his life, Till the Clouds Roll By, which was released in 1946 starring Robert Walker as Kern. In the film, Kern’s songs are sung by Judy Garland, Kathryn Grayson, June Allyson, Lena Horne, Dinah Shore, Frank Sinatra and Angela Lansbury, among others, and Gower Champion and Cyd Charisse appear as dancers. Many of the biographical facts are fictionalized.

In the fall of 1945, Kern returned to New York City to oversee auditions for a new revival of Show Boat, and began to work on the score for what would become the musical Annie Get Your Gun, to be produced by Rodgers and Hammerstein. On November 5, 1945, at 60 years of age, he suffered a cerebral hemorrhage while walking at the corner of Park Avenue and 57th Street. Identifiable only by his ASCAP card, Kern was initially taken to the indigent ward at City Hospital, later being transferred to Doctors Hospital in Manhattan. Hammerstein was at his side when Kern’s breathing stopped. Hammerstein hummed or sang the song “I’ve Told Ev’ry Little Star” from Music in the Air (a personal favorite of the composer’s) into Kern’s ear. Receiving no response, Hammerstein realized Kern had died. Rodgers and Hammerstein then a*signed the task of writing the score for Annie Get Your Gun to the veteran Broadway composer Irving Berlin.

Kern is interred at Ferncliff Cemetery in Westchester County, New York. His daughter, Betty Jane (1913–1996) married Artie Shaw in 1942 and later Jack Cummings. Kern’s wife eventually remarried, to a singer named George Byron.

Awards

Jerome Kern was nominated eight times for an Academy Award, and won twice. Seven nominations were for Best Original Song; these included a posthumous nomination in each of 1945 and 1946. One nomination was in 1945 for Best Original Music Score. Kern was not eligible for any Tony Awards, which were not created until 1947. In 1976, Very Good Eddie was nominated for a Drama Desk Award as Outstanding Revival, and the director and actors received various Tony, Drama Desk and other awards and nominations. Elisabeth Welsh was nominated for a Tony Award for her performance in Jerome Kern Goes to Hollywood in 1986, and Show Boat received Tony nominations in both 1983 and 1995, winning for best revival in 1995 (among numerous other awards and nominations), and won the Laurence Olivier Award for best revival in 2008. In 1986, Big Deal was nominated for the Tony for best musical, among other awards, and Bob Fosse won as best choreographer. In 2000, Swing!, featuring Kern’s “I Won’t Dance” was nominated for the Tony for Best Musical, among others. In 2002, Elaine Stritch at Liberty, featuring Kern’s “All in Fun”, won the Tony Award for Best Special Theatrical Event. In 2004, Never Gonna Dance received two Tony nominations.

Kern was inducted into the Songwriters Hall of Fame posthumously, in 1970. In 1985, the U.S. Post Office issued a postage stamp (Scott #2110, 22¢), with an illustration of Kern holding sheet music.

Academy Award for Best Original Song

  • 1935 – Nominated for “Lovely to Look At” (lyrics by Dorothy Fields and Jimmy McHugh) from Roberta
  • 1936 – Won for “The Way You Look Tonight” (lyrics by Dorothy Fields) from Swing Time
  • 1941 – Won for “The Last Time I Saw Paris” (lyrics by Oscar Hammerstein II) from Lady Be Good
  • 1942 – Nominated for “Dearly Beloved” (lyrics by Johnny Mercer) from You Were Never Lovelier.
  • 1944 – Nominated for “Long Ago (and Far Away)” (lyrics by Ira Gershwin) from Cover Girl
  • 1945 – Posthumously nominated for “More and More” (lyrics by E. Y. Harburg) from Can’t Help Singing
  • 1946 – Posthumously nominated for “All Through the Day” (lyrics by Oscar Hammerstein II) from Centennial Summer.

Academy Award for Best Original Music Score

  • 1945 – Posthumously nominated for Can’t Help Singing (with H. J. Salter).

Selected works

Note: All shows listed are musical comedies for which Kern was the sole composer unless otherwise specified.

During his first phase of work (1904–1911), Kern wrote songs for 22 Broadway productions, including songs interpolated into British musicals or featured in revues (sometimes writing lyrics as well as music), and he occasionally co-wrote musicals with one or two other composers. During visits to London beginning in 1905, he also composed songs that were first performed in several London shows. The following are some of the most notable such shows from this period:[3]

  • Mr. Wix of Wickham (1904) – contributed most of the songs for this musical’s New York production
  • The Catch of the Season (1905) – contributor to this Seymour Hicks musical’s New York production
  • The Earl and the Girl (1905) – contributor of music and lyrics to this Hicks and Ivan Caryll musical’s American productions
  • The Little Cherub (1906) – contributor to this Caryll and Owen Hall musical’s New York production
  • The Rich Mr. Hoggenheimer (1906) – contributor of eight songs
  • The Beauty of Bath (1906) – contributor to the original London production of this Hicks musical, with lyricist P. G. Wodehouse
  • The Orchid (1907) – contributor to this Caryll and Lionel Monckton musical’s New York production
  • The Girls of Gottenberg (1908) – contributor of “I Can’t Say That You’re The Only One” to this Caryll and Monckton musical’s New York production
  • Fluffy Ruffles (1908) – co-composer for eight out of ten songs
  • The Dollar Princess (1909) – contributor of songs for American production
  • Our Miss Gibbs (1910) – contributor of four songs and some lyrics to this Caryll and Monckton musical’s New York production
  • La Belle Paree (1911) – revue – co-composer for seven songs; the Broadway debut of Al Jolson

From 1912 to 1924, the more-experienced Kern began to work on dramatically concerned shows, including incidental music for plays, and, for the first time since his college show Uncle Tom’s Cabin, he wrote musicals as the sole composer. His regular lyricist collaborators for his more than 30 shows during this period were Bolton, Wodehouse, Caldwell, Harry B. Smith and Howard Dietz. Some of his most notable shows during this very productive period were as follows:

During the last phase of his theatrical composing career, Kern continued to work with his previous collaborators but also met Oscar Hammerstein II and Otto Harbach, with whom Kern wrote his most lasting, memorable, and well-known works. The most successful of these are as follows:

  • Sunny (1925) – a follow-up to Sally and almost as big a hit; first collaboration with Hammerstein and Harbach
  • Criss Cross (1926) – with Harbach
  • Show Boat (1927; revived frequently) – with Hammerstein
  • Blue Eyes (1928; London)
  • Sweet Adeline (1929) – with Hammerstein
  • The Cat and the Fiddle (1931) – Kern collaborated with Harbach the music, book and lyrics
  • Music in the Air (1932; revived in 1951) – composer and co-director with Hammerstein
  • Roberta (1933) – with Harbach (remade as Lovely to Look At (1952))[62]
  • Three Sisters (1934; London)
  • Mamba’s Daughters (1939; revived in 1940) – play – featured songwriter
  • Very Warm for May (1939) – with Hammerstein; Kern’s last stage musical, and a failure

In addition to revivals of his most popular shows, Kern’s music has been posthumously featured in a variety of revues, musicals and concerts on and off Broadway.

  • Jerome Kern Goes to Hollywood (1986) – Broadway revue consisting solely of Kern songs with lyrics by twelve different writers
  • Big Deal (1986) – a Bob Fosse dance revue; includes “Pick Yourself Up”
  • Something Wonderful (1995) – concert celebrating Oscar Hammerstein II‘s 100th birthday – featured composer
  • Dream (1997) – revue – includes “You Were Never Lovelier”, “I’m Old Fashioned”, and “Dearly Beloved”
  • Swing! (1999) – dance revue; includes “I Won’t Dance”
  • Elaine Stritch at Liberty (2002) – one-woman show; included “All In Fun”
  • Never Gonna Dance (2003) – musical consisting solely of songs composed by Kern, with lyrics by nine different writers
  • Jerome Kern: All the Things You Are (2008) – K T Sullivan’s revue biography of Kern featuring Kern’s songs
  • Come Fly Away – a Twyla Tharp dance revue; includes “Pick Yourself Up”

 

 

Lyrics


Antônio Carlos Jobim

Key: Any

Genre: General

Harp Type: Any

Skill: Any

Antônio Carlos Brasileiro de Almeida Jobim (January 25, 1927 – December 8, 1994), also known as Tom Jobim (Portuguese pronunciation: [tõ ʒoˈbĩ]), was a Brazilian composer, pianist, songwriter, arranger and singer. Widely considered as one of the great exponents of Brazilian music, Jobim internationalized bossa nova and, with the help of important American artists, merged it with jazz in the 1960s to create a new sound with remarkable popular success. As such he is sometimes known as the “father of bossa nova”.

Jobim was a primary force behind the creation of the bossa nova style, and his songs have been performed by many singers and instrumentalists internationally.

In 1965, the album Getz/Gilberto was the first jazz album to win the Grammy Award for Album of the Year. It also won for Best Jazz Instrumental Album – Individual or Group and for Best Engineered Album, Non-Classical. The album’s single “Garota de Ipanema” (“The Girl from Ipanema”), one of the most recorded songs of all time, won the Record of the Year. Jobim composed many songs that are now included in jazz and pop standard repertoires. The song “Garota de Ipanema” has been recorded over 240 times by other artists. His 1967 album with Frank Sinatra, Francis Albert Sinatra & Antônio Carlos Jobim, was nominated for Album of the Year in 1968.

Early life

Antônio Carlos Jobim was born in the middle-class district of Tijuca in Rio de Janeiro. His father, Jorge de Oliveira Jobim (São Gabriel, Rio Grande do Sul, April 23, 1889 – July 19, 1935), was a writer, diplomat, professor and journalist. He came from a prominent family, being the great nephew of José Martins da Cruz Jobim, senator, privy councillor and physician of Emperor Dom Pedro II. While studying medicine in Europe, José Martins added Jobim to his last name, paying homage to the village where his family came from in Portugal, the parish of Santa Cruz de Jovim, Porto.  His mother, Nilza Brasileiro de Almeida (c. 1910 – November 17, 1989), was of partly Indigenous descent from Northeastern Brazil.

When Antônio was still an infant, his parents separated and his mother moved with her children (Antônio Carlos and his sister Helena Isaura, born February 23, 1931) to Ipanema, the beachside neighborhood the composer would later celebrate in his songs. In 1935, when the elder Jobim died, Nilza married Celso da Frota Pessoa (died February 2, 1979), who would encourage his stepson’s career. He was the one who gave Jobim his first piano. As a young man of limited means, Jobim earned his living by playing in nightclubs and bars and later as an arranger for a recording label, before starting to achieve success as a composer.

Musical influences

Jobim’s musical roots were planted firmly in the work of Pixinguinha, the legendary musician and composer who began modern Brazilian music in the 1930s. Among his teachers were Lúcia Branco and, from 1941 on, Hans-Joachim Koellreutter, a German composer who lived in Brazil and introduced atonal and twelve-tone composition in the country. Jobim was also influenced by the French composers Claude Debussy and Maurice Ravel, and by the Brazilian composers Ary Barroso and Heitor Villa-Lobos, who has been described as Jobim’s “most important musical influence.”  Among many themes, his lyrics talked about love, self-discovery, betrayal, joy and especially about the birds and natural wonders of Brazil, like the “Mata Atlântica” forest, characters of Brazilian folklore and his home city of Rio de Janeiro.

Career

In the 1940s, Tom Jobim started to play piano in bars and nightclubs of Rio de Janeiro and in the first years of the 1950s he worked as an arranger in the Continental Studio, where he had his first composition recorded, in April 1953, when the Brazilian singer Mauricy Moura recorded Incerteza, a composition by Tom Jobim with lyrics by Newton Mendonça.

Jobim became prominent in Brazil when he teamed up with poet and diplomat Vinicius de Moraes to write the music for the play Orfeu da Conceição (1956). The most popular song from the show was “Se Todos Fossem Iguais A Você” (“If Everyone Were Like You”). Later, when the play was adapted into a film, producer Sacha Gordine did not want to use any of the existing music from the play. Gordine asked de Moraes and Jobim for a new score for the film Orfeu Negro, or Black Orpheus (1959). Moraes was at the time away in Montevideo, Uruguay, working for the Itamaraty (the Brazilian Ministry of Foreign Affairs) and so he and Jobim were only able to write three songs, primarily over the telephone (“A felicidade”, “Frevo” and “O nosso amor”). This collaboration proved successful, and de Moraes went on to pen the lyrics to some of Jobim’s most popular songs.

In 1958 the Brazilian singer and guitarist João Gilberto recorded his first album with two of the most famous songs of Tom Jobim: Desafinado and Chega de Saudade. This album inaugurates the Bossa Nova movement in Brazil. The sophisticated harmonies of his songs caught the attention of jazz musicians in the United States, principally after the first performance of Tom Jobim at Carnegie Hall, in 1962.

A key event in making Jobim’s music known in the English-speaking world was his collaboration with the American jazz saxophonist Stan Getz, the Brazilian singer João Gilberto, and Gilberto’s wife at the time, Astrud Gilberto, which resulted in two albums, Getz/Gilberto (1963) and Getz/Gilberto Vol. 2 (1964). The release of Getz/Gilberto created a bossa nova craze in the United States and subsequently internationally. Getz had previously recorded Jazz Samba with Charlie Byrd (1962), and Jazz Samba Encore! with Luiz Bonfá (1964). Jobim wrote many of the songs on Getz/Gilberto, which became one of the best-selling jazz albums of all time, and turned Astrud Gilberto, who sang on “Garota de Ipanema” (The Girl from Ipanema) and “Corcovado”, into an international sensation. At the Grammy Awards of 1965 Getz/Gilberto won the Grammy Award for Album of the Year, the Grammy Award for Best Jazz Instrumental Album, Individual or Group and the Grammy Award for Best Engineered Album, Non-Classical. “The Girl from Ipanema” won the Grammy Award for Record of the Year. Among his later hits is “Águas de Março” (Waters of March, 1972), for which he wrote both the Portuguese and English lyrics.

Personal life

Jobim was married to Thereza Otero Hermanny on October 15, 1949, and had two children with her: Paulo Jobim (born 1950), an architect and musician, married and father of Daniel Jobim (born 1973) and Dora Jobim (born 1976); and Elizabeth “Beth” Jobim (born 1957), a painter. Jobim and Thereza divorced in 1978. On April 30, 1986, he married 29-year-old photographer Ana Beatriz Lontra, with whom he had two more children: João Francisco Jobim (1979–1998) and Maria Luiza Helena Jobim (born 1987). Daniel, Paulo’s son, followed his grandfather to become a pianist and composer,[11] and performed “The Girl from Ipanema” during the opening ceremony of the 2016 Summer Olympics in Rio de Janeiro.

Death

In early 1994, after finishing his album Antonio Brasileiro, Jobim complained to his doctor, Roberto Hugo Costa Lima, of urinary problems. He underwent an operation at Mount Sinai Hospital in New York City on December 2, 1994. On December 8, while recovering from surgery, he had a cardiac arrest caused by a pulmonary embolism, and two hours later another cardiac arrest, from which he died. He was survived by his children and grandchildren. His last album, Antonio Brasileiro, was released posthumously three days after his death.

His body lay in state until given a proper burial on December 20, 1994. He is buried in the Cemitério São João Batista in Rio de Janeiro.

Lyrics