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Lincoln Center for the Performing Arts
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"Lincoln Center" redirects here. For other uses, see Lincoln Center (disambiguation).
Lincoln Center for the Performing Arts
The Metropolitan Opera House (left) and David Geffen Hall (right) and the Charles H. Revson Fountain at twilight
Lincoln Center for the Performing Arts
Lincoln Center for the Performing Arts
Lincoln Center for the Performing Arts
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Location
Manhattan, New York City, US
Coordinates
40°46′20″N 73°59′00″W / 40.772311°N 73.983403°W / 40.772311; -73.983403Coordinates: 40°46′20″N 73°59′00″W / 40.772311°N 73.983403°W / 40.772311; -73.983403
Public transit
Subway:
to 66th Street – Lincoln Center
Bus:
M7, M11, M66, M104
Type
Performing-arts center
Construction
Built
1955–1969
Opened
1962 (when the center's first venue, Philharmonic Hall, opened)
Website
lincolncenter.org
Lincoln Center for the Performing Arts is a 16.3-acre (6.6-hectare) complex of buildings in the Lincoln Square neighborhood of the borough of Manhattan in New York City. It hosts many notable performing arts organizations, which are nationally and internationally renowned, including the New York Philharmonic, the Metropolitan Opera, and the New York City Ballet.
Contents
[hide]
1 Planning
1.1 Architects
2 Facility history
2.1 Construction
2.2 Renovations
3 Timeline
4 Performance facilities
5 Resident organizations
5.1 Lincoln Center for the Performing Arts, Inc.
6 In popular culture
7 See also
8 References
9 External links
Planning[edit]
David Geffen Hall, home of the New York Philharmonic in Lincoln Center
The David H. Koch Theater at Lincoln Center, home of the New York City Ballet
A consortium of civic leaders and others led by, and under the initiative of, John D. Rockefeller III built Lincoln Center as part of the "Lincoln Square Renewal Project" during Robert Moses' program of urban renewal in the 1950s and 1960s.[1] Respected architects were contracted to design the major buildings on the site, and over the next thirty years the previously blighted area around Lincoln Center became a new cultural hub.[2]
Rockefeller was Lincoln Center's inaugural president from 1956 and became its chairman in 1961. He is credited with raising more than half of the $184.5 million in private funds needed to build the complex, including drawing on his own funds; the Rockefeller Brothers Fund also contributed to the project.[1] The center's three buildings, David Geffen Hall (formerly Avery Fisher Hall), David H. Koch Theater (formerly the New York State Theater) and the Metropolitan Opera House were opened in 1962, 1964 and 1966, respectively.
While the center may have been named because it was located in the Lincoln Square neighborhood, it is unclear whether the area was named as a tribute to U.S. President Abraham Lincoln. The name was bestowed on the area in 1906 by the New York City Board of Aldermen, but records give no reason for choosing that name.[3] There has long been speculation that the name came from a local landowner, because the square was previously named Lincoln Square. City records from the time show only the names Johannes van Bruch, Thomas Hall, Stephan de Lancey, James de Lancey, James de Lancey, Jr. and John Somerindyck as area property owners. One speculation is that references to President Lincoln were omitted from the records because the mayor in 1906 was George B. McClellan, Jr., son of General George B. McClellan, who was general-in-chief of the Union Army early in the American Civil War and a bitter rival of Lincoln's.[4]
Architects[edit]
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Main plaza at the Center
Architects who designed buildings at the center include:
Diller Scofidio + Renfro: Public spaces, Hypar Pavilion and Lincoln Ristorante, The Juilliard School, Alice Tully Hall, School of American Ballet, Josie Robertson Plaza, Revson Fountain, 65th Street Bridge and Infoscape
Max Abramovitz: David Geffen Hall
Pietro Belluschi: The Juilliard School (including Alice Tully Hall). Modified by Diller Scofidio + Renfro in association with FXFOWLE Architects
Gordon Bunshaft: The New York Public Library for the Performing Arts
Wallace Harrison: the center's master plan and the Metropolitan Opera House
Lee S Jablin: 3 Lincoln Center, the adjacent condominium built by a private developer
Philip Johnson: New York State Theater, now known as the David H. Koch Theater
Eero Saarinen: Vivian Beaumont Theater
Davis, Brody and Associates: The Samuel B. and David Rose Building.
Billie Tsien, Tod William: The David Rubenstein Atrium
Hugh Hardy/H3 Hardy Collaboration Architecture LLC: The Claire Tow Theater
Facility history[edit]
Construction[edit]
The first structure to be completed and occupied as part of this renewal was the Fordham Law School of Fordham University in 1962. Located between Columbus and Amsterdam Avenues, from West 60th to 66th Streets in Lincoln Square, on Manhattan's Upper West Side, the complex was the first gathering of major cultural institutions into a centralized location in an American city.[citation needed]
The development of the condominium at 3 Lincoln Center,[5] completed in 1991, designed by Lee Jablin, Harman Jablin Architects, made possible the expansion of The Juilliard School and the School of American Ballet.[5][6][7]
The center's cultural institutions also make use of facilities located away from the main campus. In 2004, the center was expanded through the addition of Jazz at Lincoln Center's newly built facilities, the Frederick P. Rose Hall, at the new Time Warner Center, located a few blocks to the south. In March 2006, the center launched construction on a major redevelopment plan that modernized, renovated, and opened up its campus. Redevelopment was completed in 2012 with the completion of the President's Bridge over West 65th Street.[8]
Renovations[edit]
When it was first announced in 1999, Lincoln Center's campuswide redevelopment was to cost $1.5 billion over 10 years and radically transform the campus.[9] There was an architectural competition, won by the British architect Norman Foster in 2005, but a full scale redesign was not approved until 2012, in part because of the need to raise $300 million in construction costs and the New York Philharmonic's fear that it might lose audiences and revenue while it was displaced.[10][11] Among the architects that have been involved were Frank Gehry; Cooper, Robertson & Partners; Skidmore, Owings & Merrill; Beyer Blinder Belle; Fox & Fowle; Olin Partnership; and Diller & Scofidio.[12]
In March 2006, the center launched the 65th Street Project – part of a major redevelopment plan continuing through the fall of 2012 – to create a new pedestrian promenade designed to improve accessibility and the aesthetics of that area of the campus. Additionally, Alice Tully Hall was modernized and reopened to critical and popular acclaim in 2009 and the Film Society of Lincoln Center expanded with the new Elinor Bunin Munroe Film Center. Topped by a sloping lawn roof, the film center is part of a new pavilion that also houses a destination restaurant named Lincoln, as well as offices. Subsequent projects were added which addressed improvements to the main plazas and Columbus Avenue Grand Stairs. Under the direction of the Lincoln Center Development Project, Diller Scofidio + Renfro in association with FXFOWLE Architects and Beyer Blinder Belle Architects provided the design services. Additionally, Turner Construction Company and RCDolner, LLC[13] were the construction managers for the projects.[14][15] Another component to redevelopment was the addition of the David Rubenstein Atrium designed by Tod Williams Billie Tsien Architects, a visitors' center and a gateway to the center that offers free performances, day-of-discount tickets, food, and free Wi-Fi.
Timeline[edit]
April 21, 1955: Lincoln Square designated for urban renewal.
June 22, 1956: Lincoln Center for the Performing Arts, Inc. incorporated.
May 14, 1959: Ground-breaking ceremony with U.S. President Dwight D. Eisenhower
September 23, 1962: Philharmonic Hall (now David Geffen Hall) opened. A two-hour live CBS special, Opening Night at Lincoln Center, preserved the event on videotape.
April 6, 1964: Lincoln Center Fountain, named for Charles Revson, opens
April 23, 1964: New York State Theater opens
October 14, 1965: Vivian Beaumont Theater and the Forum (now Mitzi E. Newhouse Theater) opens
November 30, 1965: The Library & Museum of the Performing Arts opens
September 16, 1966: The Metropolitan Opera House opens
May 22, 1969: Damrosch Park and the Guggenheim Band Shell opens
September 11, 1969: Alice Tully Hall opens
October 26, 1969: Juilliard School opens
October 19, 1976: Avery Fisher Hall re-opens after renovation to improve acoustics.
December 4, 1981: The Big Apple Circus marks its first performances at its winter home in Damrosch Park. The circus has performed every winter at Lincoln Center since.
September 7, 1982: New York State Theater re-opens after renovation to improve acoustics.
September 2, 1986: Former Jewish Defense League National Chairman Victor Vancier throws a tear gas grenade during a performance of Soviet ballet in the Metropolitan Opera House as a protest against the Soviet practice of not letting its Jews emigrate to Israel.
November 19, 1990: The Samuel B. and David Rose Building opens housing the Walter Reade Theater, the Stanley H. Kaplan Penthouse, the Daniel and Joanna S. Rose Rehearsal Studio, the Clark Studio Theater, the School of American Ballet, Juilliard School student residences, and office space for a number of the member organizations.
December 3, 1991: The Walter Reade Theater opens within the previously completed Samuel B. and David Rose Building
July 12, 1997: The Paul Milstein Plaza is dedicated.
October 18, 2004: Jazz at Lincoln Center opens.
March 2006: Preliminary construction on the West 65th Street Project begins
June 8, 2006: Lincoln Center announces plans to transform the nearby Harmony Atrium into a public space for the arts open to the public, neighbors, students, and center patrons.
June 12, 2006: The Lincoln Center unveils the promenade initiative to revitalize the center's Columbus Avenue frontage and the iconic Josie Robertson Plaza.
August 20, 2006: Paul Milstein Plaza is dismantled as part of 65th Street Redevelopment project.
February 22, 2009: Alice Tully Hall reopens after redevelopment.[16]
September 30, 2009: Opening of the redesigned Charles H. Revson Fountain
May 21, 2010: Renovation plans of central and north plazas unveiled[17]
June 4, 2012: Claire Tow Theater opens
October 1, 2012: The President's Bridge opens over West 65th Street.[8]
May 15, 2013: Jed Bernstein begins tenure as president[18]
September 24, 2015: Avery Fisher Hall renamed David Geffen Hall[19]
November 16, 2016: Debora Spar becomes Lincoln Center's first woman president after the sudden departure of Jed Bernstein[20][21]

Performance facilities[edit]
Auditorium of the Metropolitan Opera House at Lincoln Center for the Performing Arts
Interior of the David Geffen Hall before a concert by the New York Philharmonic
Interior of the David H. Koch Theater
The center has 30 indoor and outdoor performance facilities that include:
Metropolitan Opera House: a 3,900-seat opera house; the home stage of the Metropolitan Opera; as well as List Hall
David Geffen Hall (formerly Philharmonic Hall and Avery Fisher Hall): a 2,738-seat symphony hall; the home stage of the New York Philharmonic
David H. Koch Theater (formerly New York State Theater): a 2,586-seat theater; constructed as the home of the New York City Ballet, it is also the former home of the New York City Opera and the Music Theater of Lincoln Center companies
Alice Tully Hall: a 1,095-seat concert hall located within the Juilliard School building; the home stage of The Chamber Music Society of Lincoln Center
Vivian Beaumont Theater: a 1,080-seat Broadway theater; operated since 1985 as the main stage of Lincoln Center Theater; previously occupied by The Repertory Theater of Lincoln Center (1965–1973) and The New York Shakespeare Festival (1973–1977)
Mitzi E. Newhouse Theater (originally known as the Forum): a 299-seat theater; operated by Lincoln Center Theater for its Off-Broadway-style productions[22]
The Walter Reade Theater: a 268-seat movie theater; used by the Film Society of Lincoln Center; features a raised dais used for post-screening filmmaker discussions
Claire Tow Theater: a 131-seat theater operated by Lincoln Center Theater to house more experimental productions
Elinor Bunin Munroe Film Center: home to the Francesca Beale Theater, Howard Gilman Theater, and the Amphitheater
Bruno Walter Auditorium at the New York Public Library for the Performing Arts
The David Rubenstein Atrium: a facility on Broadway between 62nd and 63rd Streets; includes a public visitors' and discount-ticketing facility with amenities that include free performances and a café
The Clark Studio Theater: a 120-seat dance theater; a part of the facilities of Lincoln Center Education[23]
Damrosch Park: an outdoor amphitheater with a bowl-style stage known as the Guggenheim Band Shell; used for free Lincoln Center Out of Doors presentations and with a special dance floor for Midsummer Night Swing.
Daniel and Joanna S. Rose Rehearsal Studio
Josie Robertson Plaza: the center's central plaza, featuring its iconic fountain; the three main buildings (Metropolitan Opera House, David Geffen Hall, and David H. Koch Theater) face onto this plaza; used as an outdoor venue during Lincoln Center Out of Doors presentations
Juilliard School: a facility housing the school of the same name: building also incorporates Morse Recital Hall, Paul Recital Hall, the Juilliard Drama Theater and the Peter Jay Sharp Theater
Stanley H. Kaplan Penthouse: a nightclub-style venue; used for intimate concerts, "Meet the Artist" and Great Performers events, lectures, and other events where a small, intimate space is preferred; was also used for jazz performances prior to the construction of the new Jazz at Lincoln Center facilities
Jazz at Lincoln Center: while a part of the center, it is located separately in the Frederick P. Rose Hall complex within the Time Warner Center at Columbus Circle. It consists of the following performance and related facilities:
The Appel Room: a 508-seat amphitheater with 50-foot (15-metre) glass wall overlooking Central Park; from 2011 to 2013, it was used as the studio for Anderson Live, a daytime-television talk show hosted by Anderson Cooper
Dizzy's Club Coca-Cola: a nightclub-style venue that allows jazz to be performed in its traditional venue
Rose Theater: a 1,094-seat concert hall designed for jazz performances
Irene Diamond Education Center: a rehearsal, recording and classroom facility
Other outdoor venues include Hearst Plaza, Barclay's Capital Grove, and Broadway Plaza.[24]
Resident organizations[edit]
The center serves as home for eleven resident arts organizations:[25]
The Chamber Music Society of Lincoln Center
Film Society of Lincoln Center (sponsor of the New York Film Festival)
Jazz at Lincoln Center
Juilliard School
Lincoln Center for the Performing Arts, Inc.
Lincoln Center Theater
Metropolitan Opera
New York City Ballet
New York Philharmonic
New York Public Library for the Performing Arts
School of American Ballet
Lincoln Center for the Performing Arts, Inc.[edit]
Lincoln Center for the Performing Arts, Inc. (LCPA) is one of the eleven resident organizations, and serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the center's campus. As the world's largest presenter of performing arts offering some 5,000 programs, initiatives and events annually, its programs include American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, Target Free Thursdays, the White Light Festival and the Emmy Award–winning Live from Lincoln Center.[25][26]
In July 2006, the LCPA announced it would join with publishing company John Wiley & Sons to publish at least 15 books on performing arts, and would draw on the Lincoln Center Institute's educational background and archives.[27]
In popular culture[edit]
Lincoln Center is featured in multiple works of art and media. Examples include:
Films
No Way to Treat a Lady (1968), in which Kate Palmer (Lee Remick) works there as a tour guide
The Producers (1968), in which the theatrical producers Max Bialystock (Zero Mostel) and Leo Bloom (Gene Wilder) meet at the Revson Fountain to discuss their scheme to defraud their investors; the climax of the scene is provided by the eruption of the plaza's fountain while Bloom dances around
"Ghostbusters" (1984), Peter meets Dana by the fountain after her rehearsal with a guest conductor
Pitch Perfect (2012), in which the final competition takes place at Lincoln Center
John Wick: Chapter 2 (2017), in which a shootout takes place in the plaza before moving into the Subway
See also[edit]
Architecture portal
New York City portal
Essentially Ellington High School Jazz Band Competition and Festival
List of museums and cultural institutions in New York City
References[edit]
Notes
^ Jump up to: a b "Rockefeller Philanthropy: Lincoln Center" (PDF format).
Jump up ^ Roth, Leland M. (2001). American Architecture: A History. Boulder, Colo.: Westview Press. ISBN 9780813336619, ISBN 9780813336626. OCLC 47867623.
Jump up ^ Gray, Christopher (October 2, 2005). "Streetscapes: Readers' Questions; The Story of a Name, the Tale of a Co-op". The New York Times. Retrieved May 18, 2012.
Jump up ^ Collins, Glenn (May 11, 2009). "50 Years In, Center's Name Is Still a Mystery". The New York Times. Retrieved November 15, 2010.
^ Jump up to: a b Goldberger, Paul (July 28, 1991). "Architecture View". The New York Times.
Jump up ^ Gill, Brendan (August 19, 1991). "The Skyline". The New Yorker. pp. 57–60.
Jump up ^ Bosco, Pearl (November 1989). "Three Lincoln Center". Institute for Urban Design. Project Monograph. Vol. 2, No. 4.
^ Jump up to: a b Pogrebin, Robin. (October 1, 2012) "New Bridge at Lincoln Center to Open Monday". The New York Times Retrieved May 23, 2014.
Jump up ^ Robin Pogrebin (May 8, 2003), "Lincoln Center Proceeds, Modestly". The New York Times.
Jump up ^ Pogrebin, Robin (November 28, 2012), "Avery Fisher Hall to Be Renovated". The New York Times.
Jump up ^ Polsky, Sarah. (November 29, 2012) "Avery Fisher Hall Will Finally Get Its Long-Delayed Makeover" Curbed NY
Jump up ^ Pogrebin, Robin. (June 19, 2003), "Costs and Approach Disputed in Lincoln Center Redevelopment". The New York Times.
Jump up ^ "RCDolner Construction". Rcdolner.com. 2012-05-11. Retrieved 2017-05-31.
Jump up ^ Pogrebin, Robin (August 17, 2006). "On 65th Street, Glimpsing Lincoln Center's Future". The New York Times. Retrieved July 31, 2010.
Jump up ^ "Transforming Lincoln Center" on Lincoln Center website Archived May 28, 2013, at the Wayback Machine.
Jump up ^ Sisario, Ben. (May 6, 2008) "Tully Hall to Reopen in 2009 With Eclectic Music Festival" The New York Times Retrieved May 23, 2014.
Jump up ^ Ouroussoff, Nicolai (May 20, 2010). "The Greening of Lincoln Center". The New York Times. Retrieved July 31, 2010.
Jump up ^ Pogrebin, Robin. "Lincoln Center Turns to Broadway for Its Next Chief". The New York Times. Retrieved May 12, 2014.
Jump up ^ Smith Jennifer (September 24, 2015) "Lincoln Center Concert Hall Renamed for David Geffen". The Wall Street Journal Retrieved September 27, 2015.
Jump up ^ "Lincoln Center for the Performing Arts Appoints Debora L. Spar as President and CEO" (Press release). Lincoln Center. November 16, 2016. Retrieved 2017-08-07.
Jump up ^ Morgan, Richard (May 5, 2016). "The bosses who got screwed for boning in the corner office". New York Post. Retrieved 2017-08-07.
Jump up ^ See Mitzi E. Newhouse Theater at the Internet off-Broadway Database for a list of productions in the venue.
Jump up ^ Pogrebin, Robin. (October 8, 2013) "$4 Million Grant to Help Rebrand Lincoln Center Institute" The New York Times Retrieved May 23, 2014.
Jump up ^ "Map of Lincoln Center" Archived July 2, 2014, at the Wayback Machine.. Retrieved May 23, 2014.
^ Jump up to: a b "What Is Lincoln Center, and What Is a Resident Organization?". Lincoln Center for the Performing Arts. Retrieved 2017-08-07.
Jump up ^ "About Lincoln Center for the Performing Arts, Inc. (LCPA)". About Lincoln Center and Lincoln Center for the Performing Arts, Inc. (LCPA). Retrieved May 23, 2014.
Jump up ^ [dead link] Maul, Kimberly (July 27, 2006). "Wiley and Lincoln Center Dance Together"[permanent dead link]. The Book Standard.
Bibliography
Young, Edgar B. (1980). Lincoln Center: The Building of an Institution. New York: New York University Press. ISBN 9780814796566. OCLC 6446862.
External links[edit]
Wikimedia Commons has media related to Lincoln Center for the Performing Arts.
lincolncenter.org, the center's official website
Lincoln Center with Patti LuPone—Documentary produced by Treasures of New York
Lincoln Center for the Performing Arts at Google Cultural Institute
[hide]
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Lincoln Center for the Performing Arts
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Proud Mary
From Wikipedia, the free encyclopedia
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This article is about the song by Creedence Clearwater Revival. For the band, see Proud Mary (band). For the film, see Proud Mary (film).
"Proud Mary"
Single by Creedence Clearwater Revival
from the album Bayou Country
B-side
"Born on the Bayou"
Released
January 1969 (1969-01)[1][2]
Format
7" 45 RPM
Recorded
1968
Studio
RCA Studios in Hollywood, California[3]
Genre
Roots rock
swamp rock[4]
Length
3:07
Label
Fantasy
Songwriter(s)
John Fogerty
Producer(s)
John Fogerty[1]
Creedence Clearwater Revival singles chronology
"I Put a Spell on You"
(1968) "Proud Mary"
(1969) "Bad Moon Rising"
(1969)
"I Put a Spell on You"
(June 1968) "Proud Mary"
(January 1969) "Bad Moon Rising"
(April 1969)
Music video
"Proud Mary" (lyric video) on YouTube
"Proud Mary" is a rock song written by John Fogerty and first recorded by his band Creedence Clearwater Revival. The song was released by Fantasy Records as a single from the band's second studio album, Bayou Country, which was released by the same record company in January 1969. The single is generally considered to have been released in early January 1969,[1][2] although at least one source[3] states that it came out just before Christmas 1968. The song became a major hit in the United States, peaking at #2 on the Billboard Hot 100 in March 1969, the first of five non-consecutive singles to peak at #2 for the group.[5]
Contents
[hide]
1 Background and recording
2 Chart performance
2.1 Weekly charts
2.2 Year-end charts
3 Solomon Burke version
4 Tina Turner versions
4.1 Formats and track listings
4.2 Chart performance
4.2.1 Weekly charts
4.2.2 Year-end charts
4.3 Certifications and sales
5 Accolades
6 Other versions
7 References
8 External links
Background and recording[edit]
In a 1969 interview, Fogerty said that he wrote it in the two days after he was discharged from the National Guard.[6] In the liner notes for the 2008 expanded reissue of Bayou Country, Joel Selvin explained that the songs for the album started when John Fogerty was in the National Guard, that the riffs for "Proud Mary", "Born on the Bayou", and "Keep on Chooglin'" were conceived by Fogerty at a concert in the Avalon Ballroom, and "Proud Mary" was arranged from parts of different songs, one of which was about a washerwoman named Mary.[3] The line "Left a good job in the city" was written following Fogerty's discharge from the National Guard, and the line "rollin' on the river" was from a movie by Will Rogers.[7]
In the Macintosh program "Garage Band", Fogerty explained that he liked Beethoven's Fifth Symphony and wanted to open a song with a similar intro, implying the way "Proud Mary" opens with the repeated C chord to A chord. The basic track for "Proud Mary", as with the other songs on the album, was recorded by John Fogerty (lead guitar), Tom Fogerty (rhythm guitar), Stu Cook (bass), and Doug Clifford (drums) at RCA Studios in Hollywood, California, with John overdubbing instruments and all the vocals later.[3]
Chart performance[edit]
Weekly charts[edit]
Chart (1969–70)
Peak
position
Australia (Go-Set) 5
Austria (Ö3 Austria Top 40)[8] 1
Belgium 7
Canada (RPM)[9] 2
Germany (Official German Charts)[10] 4
Netherlands (Dutch Top 40)[11] 8
New Zealand (Listener)[12] 3
Norway (VG-lista)[13] 6
Sweden 13
UK Singles (Official Charts Company)[14] 8
US Billboard Hot 100[5] 2
US Record World 1
Yugoslavia 1
Year-end charts[edit]
Chart (1969)
Rank
Australia [15] 25
Canada [16] 56
US Billboard Hot 100[17] 19
Solomon Burke version[edit]
"Proud Mary"
Single by Solomon Burke
from the album Proud Mary
B-side
"What Am I Living For"
Released
1969
Recorded
1969
Genre
Country soul
Length
3:26
Label
Bell Records
783
Songwriter(s)
John Fogerty
In 1969 Solomon Burke had a small hit with his cover of the song, which was his second release for Bell and was co-produced by singer Tamiko Jones,[18] who was being rehabilitated after a bout of polio,[19] and was at the time Burke's fiancé and manager. Burke recalls: “We went to Muscle Shoals and recorded Proud Mary, which they didn’t like at all. They thought it was stupid to record a song Proud Mary, which was already on the charts. I was explaining to them that it was a very big record, but it’s a very white record, a pop record. We will redo the record, open up the doors for it to get on the r&b charts and make the black stations to play the record... It was a Solomon Burke record made in Muscle Shoals. We proved that we can make a hit record without Jerry Wexler eating sandwiches with us. This record was a hit without anybody’s help. Proud Mary was only promoted by Tamiko Jones and myself.” According to Mark Denning, "While that may have seemed like a bald-faced bid for pop radio play, in Burke's hands the song became a bracing tale of life in the Deep South as African-Americans searched for liberation aboard the ship that carried them as slaves and put them to undignified labor serving wealthy whites."[20]
John Fogerty, the song's composer, was impressed by Burke's version of his song: "Two thousand miles away this man had crawled right up inside my head to learn what Proud Mary was all about. Sure, it's great when someone sings your song, but when he understands it, you listen like it was the first time." "Reworked as a celebration of black consciousness, his potent mix of gospel and country – the kind that defined his earlier sides for Atlantic – and driven by a Southern funk-like strut, .... it returned Burke to the US R&B Top 20",[21] with the single reaching #15 on the R&B charts and #45 on the pop charts. According to Burke in a 2002 interview: "I was in Vegas for sixteen weeks at the Sands Hotel. I missed this record being a hit, because we weren’t there to promote the record, we had no backing. The greatest thing I ever did was tell Ike Turner, “Hey man, you should get on this record… I think you and Tina could tear this thing up.”[22] On 24 May 1969 Burke sang his version of "Proud Mary" on American Bandstand.[23][24][25]
Tina Turner versions[edit]
"Proud Mary"
Single by Ike & Tina Turner
from the album Workin' Together
B-side
"Funkier Than a Mosquita's Tweeter" (U.S.)
"Honky Tonk Women" (Intl.)
Released
January 30, 1971
Format
45 single
Recorded
1970, Los Angeles, California
Genre
Funk rock
soul
roots rock
progressive rock
Length
5:00
3:15 (7" version)
Label
Liberty Records
Songwriter(s)
John Fogerty
Producer(s)
Ike Turner
Ike & Tina Turner singles chronology
"Workin' Together"
(1970) "Proud Mary"
(1971) "Ooh Poo Pah Doo"
(1971)
"Workin' Together"
(1970) "Proud Mary"
(1971) "Ooh Poo Pah Doo"
(1971)
"Proud Mary"
Single by Tina Turner
from the album
What's Love Got to Do with It
B-side
"Disco Inferno"
Released
November 19, 1993
Format
Promotional recording
Recorded
1993
Genre
Rock
soul
Length
5:27
Label
Parlophone
Songwriter(s)
John Fogerty
Producer(s)
Chris Lord-Alge
Tina Turner
Roger Davies
Tina Turner singles chronology
"Why Must We Wait Until Tonight"
(1993) "Proud Mary"
(1993) "GoldenEye"
(1995)
"Why Must We Wait Until Tonight"
(1993) "Proud Mary"
(1993) "GoldenEye"
(1995)
Ike & Tina Turner first covered "Proud Mary" in 1970. This version was released as a single from their Workin' Together album and the song differed greatly from the structure of the original, but is also well known and has become one of Tina Turner's most recognizable signature songs. The Turners' version was substantially rearranged by Soko Richardson[26][27] and Ike Turner. The song started off with a slow, sultry soulful tone in which Tina introduced the song and warned the audience that she and the band were gonna start it off "nice and easy" as "we never do nothing nice and easy" but said they would finish it "nice and rough". After the lyrics are first sung softly by the Turners, the song is then turned into a funk rock vamp with Tina and the Ikettes delivering gospel-influenced vocals. It reached #4 on the pop charts on March 27, 1971, two years to the week after Creedence Clearwater Revival's version was at its peak, and won the Grammy Award for Best R&B Vocal Performance by a Group in 1972.
In the Tina Turner biopic, What's Love Got to Do with It, the song is performed in a timeline of events in Ike and Tina's career in which the couple are transformed from an opening act to The Rolling Stones to a major headlining act by the mid-1970s. However, the film took significant liberties with that timeline; for instance, the film has the group performing the song in 1968 when they reportedly opened for The Stones in the UK, the Turners first opened for them in the UK in 1966. When they opened for the Stones in 1969 the song was in their set list. Following the original version's release and its success, Ike and Tina included the song in their live act and first performed a version of the song on The Ed Sullivan Show. It was also performed in 1971 (the year of the Turners' version's release) and 1974. The Turners performed the song on Soul Train on April 22, 1972.[28]
In 1988, a live solo version was included on the album Tina Live in Europe. Tina Turner later re-recorded the song in the studio for the biopic's 1993 soundtrack album of the same name. This version was released as a promotional single issued to radio stations and DJs. Tina's solo version was later included on her 2004 greatest hits album All the Best. After a contestant's performance of the song on The X Factor in 2010, this version entered the UK Singles Chart at #62 and fell to #121 the next week, it also entered the Scottish Singles Chart at #40.
Another live version was released in 2009 on the Tina Live album. It was recorded on March 21, 2009 in Arnhem, Netherlands as part of Turner's 50th Anniversary Tour. The song has now become a staple in all of Tina's live shows, including live duet versions with Beyoncé and Cher.
Formats and track listings[edit]
1993 US 7" and cassette single
"Proud Mary (Edit Live Version) – 4:32
"The Best" (Live) – 5:22
1993 US CD single
"Proud Mary (Edit Live Version) – 4:32
"Proud Mary (Edit) – 4:10
"We Don't Need Another Hero (Thunderdome)" (Live) – 4:55
"The Best" (Live) – 5:22
Chart performance[edit]
Ike & Tina Turner version
Weekly charts[edit]
Chart (1971)
Peak
position
Belgium (Ultratop 50 Flanders)[29]
16
Canada Top Singles (RPM)[30]
11
Germany (Official German Charts)[31]
21
Italy (Hit Parade Italia)[32]
57
Netherlands (Single Top 100)[33]
5
US Billboard Hot 100[34]
4
US Billboard Hot R&B/Hip-Hop Songs[34]
5
Year-end charts[edit]
Chart (1971)
Rank
Belgium (Ultratop 50 Flanders)[35]
96
Netherlands (Single Top 100)[36]
7
US Billboard Hot 100[37]
55
Tina Turner version
Chart (2010)
Rank
Scotland (Official Charts Company)[38]
40
UK Singles (Official Charts Company)[39]
62
Certifications and sales[edit]
Ike & Tina Turner version
Region
Certification
Certified units/Sales
United States (RIAA)[40]
Gold 1,000,000^
^shipments figures based on certification alone
Accolades[edit]
"Proud Mary" placed at #155 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time.[41] Both CCR and Ike & Tina Turner's versions of the song received Grammy Hall of Fame Awards, in 1998 and 2003, respectively.[42]
Other versions[edit]
"Proud Mary" has, over the years, been covered by a number of artists. Anthony Armstrong Jones' 1969 version reached number 22 on the U.S. country charts. Also in 1969, a version recorded by the Checkmates, Ltd. and produced by Phil Spector reached number 30 on the U.K. Singles Chart and number 69 on the Billboard Hot 100.[43]
References[edit]
^ Jump up to: a b c Chronicle: The 20 Greatest Hits (CD booklet). Creedence Clearwater Revival. U.S.A.: Fantasy Records. 1991. FCD-CCR2-2.
^ Jump up to: a b Bordowitz, Hank. Bad moon rising: the unauthorized history of Creedence Clearwater Revival. Schirmer Books, 1998, p. 58
^ Jump up to: a b c d Selvin, Joel (2008). Bayou Country [Expanded Reissue] (PDF) (CD booklet). Creedence Clearwater Revival. U.S.A.: Concord Music Group. FAN-30877-02 https://web.archive.org/web/20110921072253/http://www.concordmusicgroup.com/assets/documents01/Artists/Creedence-Clearwater-Revival/FAN-30877-02/Bayou-Country-40th-Anniversary-Liner-Notes.pdf |archiveurl= missing title (help). Archived from the original (PDF) on 2011-09-21.
Jump up ^ Hardeep Phull (2008). Story Behind the Protest Song: A Reference Guide to the 50 Songs that Changed the 20th Century. Greenwood Press. p. 92. ISBN 978-0-313-34141-0.
^ Jump up to: a b "Creedence Clearwater Revival – Billboard Singles". Allmusic. Rovi Corporation. Retrieved November 21, 2010.
Jump up ^ John Fogerty interviewed on the Pop Chronicles (1970)
Jump up ^ Michael Goldberg (1993). Jann S. Wenner, ed. "Fortunate Son: John Fogerty – The 1993 Rolling Stone Interview". Rolling Stone. United States: Jann S. Wenner. Retrieved December 29, 2010.
Jump up ^ "Austriancharts.at – Creedence Clearwater Revival – Proud Mary" (in German). Ö3 Austria Top 40.
Jump up ^ "RPM – Item Display: Top Singles – Volume 11, No. 3, March 17, 1969" (.Php). Library and Archives Canada. March 31, 2004.
Jump up ^ "Musicline.de – Creedence Clearwater Revival Single-Chartverfolgung" (in German). Media Control Charts. PhonoNet GmbH.
Jump up ^ "Top40: Creedence Clearwater Revival – Proud Mary". Dutch Top 40. November 10, 2004.
Jump up ^ http://www.flavourofnz.co.nz/index.php?qpageID=search%20listener&qartistid=742#n_view_location Flavour of New Zealand, 13 June 1969
Jump up ^ "Norwegiancharts.com – Creedence Clearwater Revival – Proud Mary". VG-lista.
Jump up ^ "Official Singles Chart Top 100". Official Charts Company.
Jump up ^ "Go-Set Australian charts – Top Records for the Year of 1969". www.poparchives.com.au.
Jump up ^ "Item Display – RPM – Library and Archives Canada". www.collectionscanada.gc.ca.
Jump up ^ "Top 100 Hits of 1969/Top 100 Songs of 1969". www.musicoutfitters.com.
Jump up ^ John S. Wilson, "CAREER RESUMED BY TAMIKO JONES; Recent Polio Victim Presents Songs at Rainbow Grill", The New York Times (January 14, 1971):43; "Solomon Burke – Proud Mary"; "Tamiko Jones: The Collection (1963–1986)" (18 November 2009); "Original Soul Man Cared for Spiritual and Temporal Needs Right to the Grave", The Age (October 13, 2010). For more regarding Tamiko Jones, see "Tamiko Jones" Archived 2013-05-05 at Archive.is
Jump up ^ Cordell S. Thompson, "New York Beat", Jet (8 October 1970):63.
Jump up ^ The Soul Clan Album & Song Chart History. Billboard.com (1968-07-27). Retrieved on 2011-04-07.
Jump up ^ Mojo, Issues 158–161 (EMAP Performance Ltd., 2007).
Jump up ^ Solomon Burke, in James Porter, "Songs of Solomon: Solomon Burke Interview", Roctober 33 (2002)
Jump up ^ "Saturday on Eight", Lewiston Evening Journal (May 23, 1969):22
Jump up ^ American Bandstand: The Guess Who / Solomon Burke Episode Summary on. Tv.com. Retrieved on 2011-04-07.
Jump up ^ Watch American Bandstand Season 12 Episode 39|The Guess Who / Solomon Burke. SideReel. Retrieved on 2011-04-07.
Jump up ^ Soko Richardson Archived 2007-10-06 at the Wayback Machine. press release from pressnetwork.com January 30, 2004
Jump up ^ Noted Soul Drummer Soko Richardson Dies[permanent dead link] Paiste Cymbals, February 2004
Jump up ^ The Best of Soul Train Live (booklet). Time Life. 2011.
Jump up ^ "Ultratop.be – Ike & Tina Turner – Proud Mary" (in Dutch). Ultratop 50. Retrieved October 6, 2015.
Jump up ^ "Top RPM Singles: Issue 5223." RPM. Library and Archives Canada. Retrieved October 6, 2015.
Jump up ^ "Ike & Tina Turner – Top Titel" (in German). GfK Entertainment. Retrieved October 6, 2015.
Jump up ^ "Indice per Interprete: T". Hit Parade Italia. Retrieved October 6, 2015.
Jump up ^ "Dutchcharts.nl – Ike & Tina Turner – Proud Mary" (in Dutch). Single Top 100. Retrieved October 6, 2015.
^ Jump up to: a b "Ike & Tina Turner – Billboard Singles". Allmusic. Rovi Corporation. Retrieved November 21, 2010.
Jump up ^ "Jaaroverzichten 1971" (in Dutch). Ultratop. Retrieved October 6, 2015.
Jump up ^ "Jaaroverzichten – Single 1971" (in Dutch). Hung Medien. Retrieved October 6, 2015.
Jump up ^ "The Year in Music: 1971" (PDF). Billboard. December 25, 1971. Retrieved October 6, 2015.
Jump up ^ "Official Scottish Singles Sales Chart Top 100". Official Charts Company. Retrieved October 6, 2015.
Jump up ^ "Tina Turner: Artist Chart History". Official Charts Company. Retrieved October 6, 2015.
Jump up ^ "American single certifications – ike & Tina Turner – Proud Mary". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
Jump up ^ "The RS 500 Greatest Songs of All Time". Rolling Stone. 2004-12-09. Archived from the original on 2008-06-22. Retrieved 2008-04-10.
Jump up ^ "Grammy Hall of Fame". Grammy Awards. United States: National Academy of Recording Arts and Sciences. Retrieved January 10, 2011.
Jump up ^ Checkmates, Ltd., "Proud Mary" U.S. chart position Retrieved January 26, 2016.
External links[edit]
Lyrics of this song at MetroLyrics
[show]
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"Porterville"/"Call It Pretending"
"Suzie Q. (Part 1)"/"Suzie Q. (Part 2)"
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"Proud Mary"/"Born on the Bayou"
"Bad Moon Rising"/"Lodi"
"Green River"/"Commotion"
"Down on the Corner"/"Fortunate Son"
"Travelin' Band"/"Who'll Stop the Rain"
"Run Through the Jungle"/"Up Around the Bend"
"Lookin' Out My Back Door"/"Long As I Can See the Light"
"Have You Ever Seen the Rain?"/"Hey Tonight"
"Sweet Hitch-Hiker"/"Door to Door"
"Someday Never Comes"/"Tearin' up the Country"
"I Heard It Through the Grapevine"/"Good Golly Miss Molly"
Related articles
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[show]
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"I Can't Stand the Rain"
"Show Some Respect"
Mad Max Beyond Thunderdome
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"One of the Living"
Break Every Rule
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Tina Live in Europe
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"Way of the World"
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"(Simply) The Best"
What's Love Got to Do with It
"I Don't Wanna Fight"
"Disco Inferno"
"Why Must We Wait Until Tonight"
"Proud Mary"
Wildest Dreams
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"On Silent Wings"
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Twenty Four Seven
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All the Best
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Book:Tina Turner
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Docket (court)
From Wikipedia, the free encyclopedia
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The examples and perspective in this article deal primarily with the United States and do not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (October 2009) (Learn how and when to remove this template message)
A docket in the United States is the official summary of proceedings in a court of law.[1][2] In the United Kingdom in modern times it is an official document relating to delivery of something,[2] with similar meanings to these two elsewhere. In the late nineteenth century the term referred to a large folio book in which clerks recorded all filings and court proceedings for each case,[3] although use has been documented since 1485.[4][5]
Contents
[hide]
1 Historical usage
2 United States
2.1 Supreme Court
2.2 Court docket links
2.2.1 Official
2.2.2 Unofficial
3 See also
4 References
Historical usage[edit]
The term originated in England; it was recorded in the form "doggette" in 1485, and later also as doket, dogget(t), docquett, docquet, and docket.[4] The derivation and original sense are obscure, although it has been suggested that it derives from the verb "to dock", in the sense of cutting short (e.g. the tail of a dog or horse);[4] a long document summarised has been docked, or docket using old spelling. It was long used in England for legal purposes (there was an official called the Clerk of the Dockets in the early nineteenth century), although discontinued in modern English legal usage.
Docket was described in The American and English Encyclopedia of Law as a courts summary, digest, or register. A usage note in this 1893 text warns that term docket and calendar are not synonymous.[6]
A 1910 law dictionary states the terms trial docket and calendar are synonymous.[7]
United States[edit]
In the United States, court dockets are considered to be public records, and many public records databases and directories include references to court dockets. Rules of civil procedure often state that the court clerk shall record certain information "on the docket" when a specific event occurs.[citation needed] The Federal Courts use the PACER (Public Access Court Electronic Records) system to house dockets and documents on all federal civil, criminal and bankruptcy cases, available to the public for a fee.[8]
The term is also sometimes used informally to refer to a court calendar, the schedule of the appearances, arguments and/or hearings scheduled for a court. It may also be used as a metonym to refer to a court's caseload as a whole. Thus, either sense may be intended (depending upon the context) in the frequent use of the phrase "crowded dockets" by legal journalists and commentators.[citation needed]
Supreme Court[edit]
In its meaning as calendar, the docket of the United States Supreme Court is different both in its composition and significance. The justices of the Supreme Court have almost complete discretion over the cases they choose to hear. From the large number of cases which it receives, only 70 to 100 will be placed on the docket. The Solicitor General decides which cases to present on behalf of the federal government.[9]
Court docket links[edit]
Official[edit]
Supreme Court
United States Supreme Court Calendar
Court of Appeals
Public Access to Court Electronic Records (PACER) is a system for public access to court records, subject to payment.
Federal Circuit
First Circuit Court of Appeals, Court Calendar
Second Circuit Court of Appeals, Court Calendar
Third Circuit Court of Appeals PACER
Fourth Circuit Court of Appeals PACER
Fifth Circuit Court of Appeals, Appeals Calendar
Sixth Circuit Court of Appeals, Oral Argument Calendar
Seventh Circuit Court of Appeals Oral Arguments
Seventh Circuit Court of Appeals Court Calendar
Eighth Circuit Court of Appeals, Court Calendar
Ninth Circuit Court of Appeals Court Calendar, and dockets via PACER
Tenth Circuit Court of Appeals; Argument Calendar
Eleventh Circuit Court of Appeals "Voluntary filing to begin on 1 January 2012"
Federal District Courts
Iowa
Northern District of Iowa Has Decisions/Verdicts page. Links to PACER
Northern District of Iowa Bankruptcy
Southern District of Iowa
Southern District of Iowa Bankruptcy, Calendars[permanent dead link]
Unofficial[edit]
Docket Alarm, Inc. provides a search engine and alerts for Federal Court dockets and bankruptcies, as well as providing programmatic access via an API.[10]
Inforuptcy.com is a PACER alternative website that provides all queries including dockets for U.S. bankruptcy courts.[11]
LegalDockets.com is the oldest and most reliable docket portal on the internet. In addition to linking to all PACER courts, it also links to all state court dockets, which can be very difficult to find.
See also[edit]
Calendar
Minutes
Schedule
Transcript (law)
References[edit]
Jump up ^ Sutton, John R. (1985). "The Juvenile Court and Social Welfare: Dynamics of Progressive Reform". Law & Society Review. 19 (1): 107–146. JSTOR 3053396.
^ Jump up to: a b "docket Meaning, definition in Cambridge English Dictionary". cambridge.org.
Jump up ^ Cockcroft, James; Garland, David Shephard; McGehee, Lucius Polk; et al., eds. (1896–1905). The American and English encyclopedia of law. 9 (2nd ed.). Edward Thompson company. OCLC 21556933.
^ Jump up to: a b c Oxford English Dictionary 2nd ed. Definition of "... brief, summarized statement ... abstract, abridgement, digest, minute" described as obsolete and historical. "A memorandum or register of legal judgements". "A list of causes for trial" given as U.S. usage
Jump up ^ 1641 Les Termes de la Ley; or certaine difficult and obscure words and termes of the common lawes of this realme expounded: Docket is a little peece of paper or parchment written, that conteineth in it the effect of a greater writing.
Jump up ^ Williams, Charles (1893). The American and English encyclopedia of law. Edward Thompson Company.
Jump up ^ Black, Henry Campbell (1910). A LAW DICTIONARY CONTAINING DEFINITIONS OF THE TERMS AND PHRASES OF AMERICAN AND ENGLISH JURISPRUDENCE ANCIENT AND MODERN. West Publishing. The name of docket or trial docket sometimes given to the list or calendar causes set to be tried at a specified term prepared by the clerks for the use of the and bar
Jump up ^ Administrative Office of the U.S. Courts (2013-04-01). "Electronic Public Access Fee Schedule". USCourts.gov. Retrieved 2013-08-11.
Jump up ^ Scardino, Franco (2009). The Complete Idiot's Guide to U.S. Government and Politics. Alpha. ISBN 978-1-59257-853-5.
Jump up ^ "Checking The Court Docket Manually Is So Outdated: Docket Alarm API". ProgrammableWeb.
Jump up ^ Stephanie Gleason. "New Website Launches Bankruptcy-Focused PACER Alternative". WSJ.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Docket_(court)&oldid=815650188"
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Do Your Ears Hang Low?
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"Do Your Ears Hang Low?" (Roud 15472) is a children's song that is often sung in schools, at camps and at birthday parties. The melody of this song is usually a shorter version of "Turkey in the Straw", but it can also be sung to the "Sailor's Hornpipe".[1] Various theories exist concerning the origin of the lyrics, but no conclusive evidence seems to exist. A common belief is that the lyrics refer to the ears of a hound dog. It is most likely that this was a crude wartime soldiers' song that, in sanitized form, has made its way into other circles.
Contents
[hide]
1 History
2 Lyrics
2.1 Soldiers' version
3 Recorded versions
4 References
5 External links
History[edit]
The origins of the song are obscure. Variant versions with obscene lyrics exist, notably "Do Your Balls Hang Low?"[2][3] and "Do Your Boobs Hang Low?". These have sometimes been regarded as parody versions of the campfire song,[4] but it is more likely that the obscene versions came first, and that "Do Your Ears Hang Low?" is a sanitized version.[citation needed]
Certainly "Do Your Balls Hang Low?" is known to have been sung by British soldiers on the Western Front during the First World War.[5] Lyn MacDonald reports that, on one occasion in 1916, General Douglas Haig heard the song being sung by a column of soldiers as they marched past on their way to the Somme. He immediately called for his horse and rode to the head of the column to remonstrate with the battalion commander, only to find the Colonel singing as heartily as his men. Haig congratulated him on his fine voice, but added: "I like the tune, but you must know that in any circumstances those words are inexcusable!"[6]
Lyrics[edit]
The following lyrics are from one particular variant of the song:
Do your ears hang low?
Do they wobble to and fro?
Can you tie 'em in a knot?
Can you tie 'em in a bow?
Can you throw 'em o'er your shoulder
Like a continental soldier?
Do your ears hang low?

Do your ears stand high?
Do they reach up to the sky?
Do they droop when they are wet?
Do they stiffen when they're dry?
Can you wave them at your neighbor
With an element of flavor?
Do your ears stand high?

Do your ears flip-flop?
Can you use them as a mop?
Are they stringy at the bottom?
Are they curly at the top?
Can you use them for a swatter?
Can you use them for a blotter?
Do your ears flip-flop?

Do your ears stick out?
Can you waggle them about?
Can you flap them up and down
As you fly around the town?
Can you shut them up for sure
When you hear an awful bore?
Do your ears stick out?

Do your ears give snacks?
Are they all filled up with wax?
Do you eat it in the morning
Do you eat it in the bath?
Do you eat it with a scone
Or do you eat it on its own?
Do your ears give snacks?
In the United Kingdom, a shorter version with differences in the lyrics is heard, commonly sung in Cubs and Brownies events:
Do your ears hang low?
Can you swing them to and fro?
Can you tie them in a knot?
Can you tie them in a bow?
Can you swing them over your shoulder like a regimental soldier
Do your ears hang low?
(With a humorous glissando at a perfect fourth down, and back up again on the final "low".)
Soldiers' version[edit]
The lyrics of the World War I version of "Do Your Balls Hang Low?" are recorded as:[5]
Do your balls hang low?
Do they dangle to and fro?
Can you tie them in a knot?
Can you tie them in a bow?

Do they itch when it's hot?
Do you rest them in a pot?

Do you get them in a tangle?
Do you catch them in a mangle?
Do they swing in stormy weather?
Do they tickle with a feather?

Do they rattle when you walk?
Do they jingle when you talk?

Can you sling them on your shoulder
Like a lousy fucking soldier?
Do your balls hang low?
Recorded versions[edit]
Sharon, Lois & Bram on Stay Tuned 1987
Barney on Barney's Favorites 1993, Barney's Greatest Hits 2000
Prairie Dawn, Telly and Big Bird on Kids' Favorite Songs, 1999
Kinky Friedman on Live From Uranus 2003
Øystein Sunde in a Norwegian variant called Hvis dine ører henger ned (If your ears hang down) on Det året det var så bratt 1971
A Swedish version was recorded by Mora Träsk, called Hänger öronen på dig ner (Do your ears hang down?), in 1980
A version of the song was recorded for the Kidsongs video "A Day with the Animals" in 1986, and is often thought to be referring to a basset hound (as the music video featured such). The song was later released for the home video market and in music CD format.
A version was used on the Play School album There's A Bear In There.
A Hip Hop version of the melody is used in the Jibbs' song "Chain Hang Low".
A parody of the song was used on the Finding Dory sound button book called "Swim Along with Me" in 2016, titled "Do Your Fins Move Fast?" that does not use "can you" phrases and it all has to do with swimming. It is not being sung by but it plays instrumental to the song. It was made from the sound book company Play-a-Sound.
The vocal melody of this song is used in verses of "みんながみんな英雄" by JPop artist AI.
References[edit]
Jump up ^ Wikiquote:Bottom (TV series)
Jump up ^ Roud number 10259.
Jump up ^ Drinking songs
Jump up ^ Dundes, Alan (1997). From Game to War and Other Psychoanalytic Essays on Folklore. University Press of Kentucky.
^ Jump up to: a b Arthur, Max (2001). When this Bloody War is Over: soldiers' songs of the First World War. London: Judy Piatkus. p. 89. ISBN 0-7499-2252-4.
Jump up ^ MacDonald, Lyn (1983). Somme. London: Michael Joseph. pp. 200–203. ISBN 0718122542.
External links[edit]
National Institute of Environmental Health Sciences: "Do your ears hang low?" Lyrics and MIDI
Retrieved from "https://en.wikipedia.org/w/index.php?title=Do_Your_Ears_Hang_Low%3F&oldid=812942227"
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Mexican Radio
From Wikipedia, the free encyclopedia
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For the unregulated, high-wattage radio stations alluded to in the song, see Border blaster. For general information on radio in Mexico, see Radio in Mexico.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2014) (Learn how and when to remove this template message)
"Mexican Radio"
Single by Wall of Voodoo
from the album Call of the West
B-side
"Call of the West"
Released
1983
Recorded
1982
Genre
New wave, dark wave, post-punk, alternative rock
Length
4:08 (album version)
3:56 (radio and music video version)
Label
IRS Records
Songwriter(s)
Wall of Voodoo
Producer(s)
Richard Mazda
Audio sample
"Wall Of Voodoo - Mexican Radio"
file
help
"Mexican Radio" is a song written and performed by the band Wall of Voodoo, and produced by Richard Mazda. The track was initially made commercially available on their 1982 album Call of the West, and was released as a single in early 1983. In their native US, the song wasn't much of a success, peaking at no. 58 on the Billboard Hot 100 chart.[1] It did better in other parts of the world, peaking at no. 18 in Canada, no. 21 in New Zealand and no. 33 in Australia.[2] It also reached no. 64 in the UK.[3]
Contents
[hide]
1 Background
2 7" single
3 Two Songs by Wall of Voodoo 12" single
4 1989 mini CD reissue
5 Music video
6 Cover versions
7 See also
8 References
Background[edit]
Wall of Voodoo lead singer and player of organ, synthesizer and harmonica, Stan Ridgway and guitarist Marc Moreland traced the inspiration for the song to listening to high-wattage unregulated AM Mexican radio stations (among them XERF, XEG, and XERB).[citation needed]
Moreland was the first to begin writing the song, which in a recorded interview in the 1990s he stated, "It was basically just me singing 'I'm on a Mexican radio' over and over again". Moreland stated when he played it for his mother she hated it because of his repetitious lyrics. Ridgway co-wrote with Moreland to finish the song, and added all the verse's lyrics to Moreland's chorus and guitar lick as well as the "mariachi" harmonica melody in the song's middle breakdown. When performing live with Wall of Voodoo, Ridgway usually played the mariachi melody via an organ/synthesizer and Bill Noland used a synthesizer to play the melody when performing with Wall of Voodoo in the 1982–1983 years.
The 7" single mix differs in a few areas from the album cut:
Ridgway's vocals are mixed differently, with a more pronounced echo effect on certain lines.
The first few bars of the LP version has no overtalk while the single version does.
A loud Spanish-speaking DJ voice is present on both versions, but each version's voice is different and is saying different words.
A significantly louder snare drum part is noticeable in the song's chorus.
Ridgway chants "radio, radio, oleo, radio" at the song's end, rather than "radio, radio, radio, radio" as he does on the album version. Because of this, the single mix is sometimes called the "oleo" mix.
A pulsing, mangled synth noise is heard at the end of the song on the album version, but not in the 7" mix. Instead, this sound is heard at the beginning of the track, as well as during the song's instrumental break.
It was rumored that Wall of Voodoo drummer Joe Nanini was very difficult to work with at times in the studio when the band were recording their 1982 album, Call of the West, on which "Mexican Radio" appeared. On "Mexican Radio" in particular, it has been said that Nanini was a little upset when Richard Mazda suggested a snare drum hit on the chorus of the song. Nanini ultimately refused to cooperate, leaving Mazda to record the snare part himself, and with the band's acceptance the snare appeared in the final mix of the song.[citation needed]
7" single[edit]
Side A
"Mexican Radio" - 3:55
Side B
"Call of the West" - 6:00
In the USA, 2 different catalog numbers were shown on the 7" single. The first, SP-70963 on IRS label was for promotional use only. and issued without a picture sleeve.[4] The second, IR-9912 on IRS label released for both promotional and commercial use with a picture sleeve .[5]
Two Songs by Wall of Voodoo 12" single[edit]
Side A
"Mexican Radio" - 3:55
Side B
"There's Nothing on This Side" - 10:08
Side B is actually two separate tracks. The first is an instrumental piece, which leads directly into a "dub mix" of "Mexican Radio."
1989 mini CD reissue[edit]
"Mexican Radio" - 3:55
"Tomorrow" - 2:43
"Call of the West" - 5:35
Tracks 2 and 3 recorded live at Barstow Auditorium, Barstow, CA on August 18, 1982.
Music video[edit]
The music video for the song was produced and directed by Francis Delia at his studio on Hollywood Boulevard in Hollywood, CA as well as on location in Tijuana, Mexico. Wall of Voodoo rehearsed down the hall from Delia's commercial photography studio and named him to direct the video. The video's fast cutting, impressionistic dark images and faux documentary style in Mexico made it one of the most popular clips in MTV history to that point in time.[6] Iconic images include a morbidly obese woman (Ann Marie Bates), uncovering a large bowl of baked beans from which the face of Stan Ridgway emerges.[7] The Los Angeles studio photography which was done in one nearly 24 hour span left the production bereft of extras forcing the director to cameo as an anonymous Mexican turning an iguana on a spit over a campfire. The music video was in heavy rotation on MTV throughout 1983.
Cover versions[edit]
Arizona-based punk rock band Authority Zero featured a cover version on their 2004 album Andiamo with slightly modified lyrics; for instance, "They talk about the U.S. inflation" was replaced with "They talk about the Iraq invasion".
Kinky, a Mexican electronic/rock band from Monterrey Mexico has covered this song as well. They kept the upbeat rhythm of the song with their own electronic twist and added some lyrics in Spanish. This version is in their album Reina De Lujo, and their Sassy EP, and also is featured in Need for Speed Undercover.
Bruce Lash gave the song the bossa nova treatment on his 2004 album, "Prozak for Lovers II" which also includes easy-listening versions of Nirvana's "Lithium" and Joan Jett's "Bad Reputation" among others.
Mike Keneally has played the song in live concerts with his band, Beer for Dolphins.
The intro synthesizer was sampled by the hip-hop group Cannibal Ox in the song "Iron Galaxy".
Atlanta-based band doubleDrive covered the song as a hidden track in their 1000 Yard Stare album.
Swiss metal band Celtic Frost have also covered the song. They put it as the first song on their third album Into the Pandemonium.
South Park Mexican has a somewhat different version of the song, keeping the chorus more or less intact, but writing a completely new set of verses.
The math rock band Polvo contributed a cover of the song to Tannis Root Presents: Freedom of Choice, a 1992 sampler to benefit Planned Parenthood.
A first-person rendition ("I'm a Mexican / On the radio") appears on the album Graciasland by El Vez, known as the "Mexican Elvis" or the "Thin Brown Duke".
French band Nouvelle Vague, who specialise in bossa nova covers of New Wave tracks, performed this song live in London on November 25, 2006.
Dutch band Gruppo Sportivo covered the song on their 1987 album Back to 19 Mistakes.
Austin, Texas band Vallejo covered the song on their album Stereo in 2002.
See also[edit]
Alternative music portal
Border blaster
References[edit]
Jump up ^ Whitburn, Joel (2004). The Billboard Book of Top 40 Hits, 8th Edition (Billboard Publications)
Jump up ^ Steffen Hung. "New Zealand charts portal". charts.org.nz. Retrieved 2014-03-08.
Jump up ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 590. ISBN 1-904994-10-5.
Jump up ^ "SP-70963 Promo Only". 45cat.com. Retrieved 2017-03-24.
Jump up ^ "IR-9912". 45cat.com. Retrieved 2017-03-24.
Jump up ^ Delia, Francis; Patrick Goldstein (September 2, 1983). "DELIA FILMS DREAMS, NIGHTMARES". Los Angeles Times. RAD PICS. pp. two (2).
Jump up ^ http://goldenageofmusicvideo.com/80sonvevo-gamv-takeover-week-7-w-featured-video-wall-of-voodoos-mexican-radio/
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mexican_Radio&oldid=791946633"
Categories:
1983 singles
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Spanglish songs
Songs written by Stan Ridgway
1982 songs
I.R.S. Records singles
Songs about radio
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