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https://www.ebony.com/navy-commissioned-destroyer-ship-named-in-honor-of-the-first-black-marine-aviator/
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en
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Navy Commissioned Destroyer Ship Named in Honor of the First Black Marine Aviator
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2022-05-17T08:06:28-04:00
|
Frank E. Peterson Jr., became the first Black aviator and first Black general in the history of the Marines.
|
en
|
EBONY
|
https://www.ebony.com/navy-commissioned-destroyer-ship-named-in-honor-of-the-first-black-marine-aviator/
|
On Saturday, a destroyer ship was named in honor of a Black Marine, Frank E. Petersen Jr., WIBW reports. The USS Frank E. Petersen Jr. is on its way to Pearl Harbor in Oahu, Hawaii, after its commissioning at the Columbus Street Terminal in Charleston, SC.
The ceremony was led by Commander Daniel Hancock along with 32 officers and 297 enlisted personnel who are assigned to the ship.
The ship’s sponsors are D’Arcy Ann Neller, wife of retired Gen. Robert Neller, former Marine Corps Commandant, as well as Petersen’s wife, Dr. Alicia J. Petersen, who passed away in September 2021, according to the Defense Department.
The motto of the ship is said to be “Into the Tiger’s Jaw,” a phrase often used by Petersen to display courage despite all the social injustices and dangers that he encountered.
“When the time comes, hell, stick out your can,” Petersen's quote read on the ship’s wall. “Let’s go. Let’s see what the old tiger’s got. Let’s jump right into his big, old jaw.”
Born in Topeka, Kansas, Petersen became the first Black aviator and first Black general in the history of the Marines. He served combat tours in Korea in 1953 and in Vietnam in 1968. During those conflicts, Petersen is estimated to have flown more than 350 combat missions and logged over 4,000 military aircraft hours.
In 1988, Petersen retired from the Marines as a three-star general.
Into the Tiger’s Jaw is also the name of Petersen’s autobiography, where he details his life from his start as a Navy seaman in 1950 up through his retirement as Marine lieutenant general in 1988.
In 2010, President Barack Obama appointed Petersen to the Board of Visitors to the United States Naval Academy.
Petersen passed away in August 2015 at the age of 83.
Navy Secretary Carlos Del Toro lauded Peterson for being a trailblazer in an official statement.
“This ship honors the life and legacy of Lt. Gen. Frank E. Petersen, Jr., a pioneer not just for Marine Corps aviation but for our entire naval force,” his statement read. “I have no doubt the crew will be a cornerstone of the Surface Force carrying his legacy forward and strengthening the bond between our Navy and Marine Corps team.”
|
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5027
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dbpedia
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1
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https://www.ebony.com/navy-commissioned-destroyer-ship-named-in-honor-of-the-first-black-marine-aviator/
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en
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Navy Commissioned Destroyer Ship Named in Honor of the First Black Marine Aviator
|
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[
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2022-05-17T08:06:28-04:00
|
Frank E. Peterson Jr., became the first Black aviator and first Black general in the history of the Marines.
|
en
|
EBONY
|
https://www.ebony.com/navy-commissioned-destroyer-ship-named-in-honor-of-the-first-black-marine-aviator/
|
On Saturday, a destroyer ship was named in honor of a Black Marine, Frank E. Petersen Jr., WIBW reports. The USS Frank E. Petersen Jr. is on its way to Pearl Harbor in Oahu, Hawaii, after its commissioning at the Columbus Street Terminal in Charleston, SC.
The ceremony was led by Commander Daniel Hancock along with 32 officers and 297 enlisted personnel who are assigned to the ship.
The ship’s sponsors are D’Arcy Ann Neller, wife of retired Gen. Robert Neller, former Marine Corps Commandant, as well as Petersen’s wife, Dr. Alicia J. Petersen, who passed away in September 2021, according to the Defense Department.
The motto of the ship is said to be “Into the Tiger’s Jaw,” a phrase often used by Petersen to display courage despite all the social injustices and dangers that he encountered.
“When the time comes, hell, stick out your can,” Petersen's quote read on the ship’s wall. “Let’s go. Let’s see what the old tiger’s got. Let’s jump right into his big, old jaw.”
Born in Topeka, Kansas, Petersen became the first Black aviator and first Black general in the history of the Marines. He served combat tours in Korea in 1953 and in Vietnam in 1968. During those conflicts, Petersen is estimated to have flown more than 350 combat missions and logged over 4,000 military aircraft hours.
In 1988, Petersen retired from the Marines as a three-star general.
Into the Tiger’s Jaw is also the name of Petersen’s autobiography, where he details his life from his start as a Navy seaman in 1950 up through his retirement as Marine lieutenant general in 1988.
In 2010, President Barack Obama appointed Petersen to the Board of Visitors to the United States Naval Academy.
Petersen passed away in August 2015 at the age of 83.
Navy Secretary Carlos Del Toro lauded Peterson for being a trailblazer in an official statement.
“This ship honors the life and legacy of Lt. Gen. Frank E. Petersen, Jr., a pioneer not just for Marine Corps aviation but for our entire naval force,” his statement read. “I have no doubt the crew will be a cornerstone of the Surface Force carrying his legacy forward and strengthening the bond between our Navy and Marine Corps team.”
|
|||||
5027
|
dbpedia
|
0
| 46
|
https://popularpatch.com/uss-frank-e-petersen-jr-ddg-121-patch/
|
en
|
USS Frank E Petersen Jr DDG-121 Patch
|
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Explore a vast collection of embroidered patches at PopularPatch.com. Discover licensed logos, military emblems, custom designs, and more. Fast shipping, secure checkout, and excellent customer support. Create unique statements with our premium-quality patches today!
|
en
|
https://cdn11.bigcommerce.com/s-b3eudul5m7/product_images/favicon.ico?t=1547595107
|
Popular Patch
|
https://popularpatch.com/uss-frank-e-petersen-jr-ddg-121-patch/
|
DDG-108 USS Wayne E Meyer Patch
Sale Price: $17.44
Normally:
The DDG-108 USS Wayne E Meyer is an Arleigh Burke-class guided missile destroyer of the United States Navy. The ship was named after Admiral Wayne E. Meyer, the "father" of the Aegis Weapon System...
DDG-23 USS Richard E Byrd Patch
Sale Price: $13.97
Normally:
DDG-23 USS RICHARD E BYRD Navy Guided Missile Destroyer Military Patch INTER UTROSQUE POLOS TRIDENS
DDG-95 USS James E Williams Patch
Sale Price: $14.36
Normally:
DDG-95 USS JAMES E WILLIAMS Navy Guided Missile Destroyer Military Patch LEAD FROM THE FRONT
DDG-84 USS Bulkeley Patch
Sale Price: $14.47
Normally:
DDG-84 USS Bulkeley Guided Missile Destroyer Military Patch SECOND TO NONE
|
||||
5027
|
dbpedia
|
3
| 52
|
https://defbrief.com/2022/05/16/us-navy-commissions-destroyer-named-after-first-black-marine-3-star-general/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] |
2022-05-16T00:00:00
| null | ||||||||||
5027
|
dbpedia
|
1
| 30
|
https://www.aferm.org/speakers/frank-petersen/
|
en
|
Association for Federal Enterprise Risk Management
|
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[
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[] |
2017-10-20T21:06:23+00:00
|
Mr. Petersen is the Director of Quality Assurance for the National Aeronautics and Space (NASA). Mr. Petersen is responsible for the Agency’s Enterprise Risk Management execution and is responsible for ensuring that sound financial management practices are being followed and that internal controls over financial and management activities are in place and operating effectively.
|
en
|
AFERM - Association for Federal Enterprise Risk Management
|
https://www.aferm.org/speakers/frank-petersen/
|
Mr. Petersen is the Director of Quality Assurance for the National Aeronautics and Space (NASA). Mr. Petersen is responsible for the Agency’s Enterprise Risk Management execution and is responsible for ensuring that sound financial management practices are being followed and that internal controls over financial and management activities are in place and operating effectively. Mr. Petersen was instrumental in NASA earning an unmodified opinion in each of the last seven years.
Prior to Joining NASA, Mr. Petersen was the Director of the A-123 Appendix-A implementation at the U.S. Department of Education. Mr. Petersen was responsible for developing and implementing internal controls, maintaining fiscal integrity, ensuring adherence to sound financial management practices and validating internal controls over financial reporting. Mr. Petersen’s effort led to the Department of Education issuing an unqualified Statement of Assurance for FY 2006. As Financial Statement Committee Chair, Mr. Petersen was instrumental in the Department receiving four consecutive unqualified (clean) audit opinions (FY 2002, FY 2003, FY 2004 & FY 2005). In addition, he made a significant contribution to the Department becoming the first Cabinet level Agency to receive a Green on the President’s Score Card for Financial Management.
Prior to joining the Department of Education in 2001, Mr. Petersen worked in the private sector for over twenty years at several Certified Public Accounting and Management Consulting firms. Mr. Petersen specialized in financial management consulting with the Federal Government that led to significant experience in many facets of the accounting and management-consulting arena. This includes significant experience performing compliance reviews, leading special projects and conducting evaluations focused on program structure and underlying internal controls.
Mr. Petersen is a Certified Government Financial Manager and holds a Master’s Certificate in Project Management from The George Washington University. He also holds a Bachelor’s of Science Degree in Accounting.
|
|||||
5027
|
dbpedia
|
3
| 29
|
https://www.msnbc.com/msnbc/frank-petersen-marines-first-black-aviator-and-general-dies-83-msna670781
|
en
|
Frank Petersen, Marines' first black aviator and general, dies at 83
|
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"M. Johnson"
] |
2015-08-28T02:59:12+00:00
|
Petersen, who flew more than 350 combat missions in Korea and Vietnam, died Tuesday at his home in Stevensville, Maryland, of complications from lung cancer.
|
en
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https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/msnbc/all-other-sizes-PNG.ico/favicon.ico
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MSNBC.com
|
https://www.msnbc.com/msnbc/frank-petersen-marines-first-black-aviator-and-general-dies-83-msna670781
|
Retired Lt. Gen. Frank E. Petersen, who made history twice as the first African-American aviator in the Marine Corps and then as the Corps' first African-American general, has died at 83, the Marines' announced.
Petersen, who flew more than 350 combat missions in Korea and Vietnam, died Tuesday at his home in Stevensville, Maryland, of complications from lung cancer.
When he retired as a lieutenant general in 1988, Petersen was the senior ranking aviator in both the Marines and the Navy — with which he served before joining the Marine Corps — and held the honorary titles of Silver Hawk and Grey Eagle.
Petersen served two years in the Navy before he was commissioned as a second lieutenant in the Marine Corps in 1952, becoming the first African-American aviator in the service's history. He went on to command his own fighter squadron, then an aircraft group, an amphibious brigade and an aircraft wing.
Petersen was promoted to brigadier general in 1979, becoming the first African-American to hold the rank in the Marine Corps. After serving as special assistant to the Marines' chief of staff, he retired as commanding general of Marine Corps Combat Development Command at Quantico, Virginia.
Gen. John M. Paxton, assistant commandant of the Marine Corps, called Petersen "a pioneer and role model in many ways, a stellar leader, Marine officer and aviator."
In his 1998 autobiography, "Into the Tiger's Jaw: America's First Black Marine Aviator," Petersen wrote at length about the opposition he encountered along his way up the ranks.
"The hate mail was even more revealing, some of it coming, I am sure, from certain officers wearing stars," he wrote.
He finally felt "I was a winner" upon his promotion to brigadier general, "even though "not everybody in the Corps was overjoyed at my selection," he wrote.
"The aide presented my brigadier's flag with its one glaring star to the commandant, who immediately handed it to me. I kissed my wife, left the flag with her, then seemingly floated to the lectern to give the crowd my good wishes and thanks," Petersen wrote.
"'He took that flag,' Alicia [Petersen's wife] likes to remember, 'and he wrapped it around himself and he sat upon his chair like he was on a throne,'" Petersen wrote.
Among his many honors, Petersen received the Distinguished Service Medal, the Defense Superior Service Medal, the Legion of Merit with valor device, the Distinguished Flying Cross and the Meritorious Service Medal, the corps said.
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https://www.facebook.com/USNavy/posts/10153957729642823/%3Fcomment_id%3D10153957977472823
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Facebook
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5027
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1
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https://www.ancestry.com/genealogy/records/henry-frank-petersen-24-1z9xgz
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Henry Frank PETERSEN, b.1864 d.1938
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Henry Frank PETERSEN born 1864 in Kiel, Kiel, Schleswig-Holstein, Germany genealogy record - Ancestry®.
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https://www.ancestry.com/genealogy/records/results?firstName=henry&lastName=petersen
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Public Member Trees
This database contains family trees submitted to Ancestry by users who have indicated that their tree can be viewed by all Ancestry subscribers.These trees can change over time as users edit, remove, or otherwise modify the data in their trees. You can contact the owner of the tree to get more information.
Private Member Trees
This database contains family trees submitted to Ancestry by users who have indicated that their tree can only be viewed by Ancestry members to whom they have granted permission to see their tree.These trees can change over time as users edit, remove, or otherwise modify the data in their trees. If you would like to view one of these trees in its entirety, you can contact the owner of the tree to request permission to see the tree.
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Frank E. Peterson Obituary 2023
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2024-08-07T17:14:26
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Bloomfield-November 7, 2023 at the age of 94. Predeceased by his son, Craig. Survived by his children, Steven (Martha Jo) & Laura; sister Marion Miller; & brother Edwin. Frank s...
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https://cdn.filestackcontent.com/VkazSk0nTr6GO91yZsNF
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https://en.wikipedia.org/wiki/Louis_Gossett_Jr.
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Louis Gossett Jr.
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American actor (1936–2024)
Louis Cameron Gossett Jr. (May 27, 1936 – March 29, 2024) was an American actor. He made his stage debut at the age of 17. Shortly thereafter, he successfully auditioned for the Broadway play Take a Giant Step. Gossett continued acting onstage in critically acclaimed plays including A Raisin in the Sun (1959), The Blacks (1961), Tambourines to Glory (1963), and The Zulu and the Zayda (1965). In 1977, Gossett appeared in the popular miniseries Roots, for which he won Outstanding Lead Actor for a Single Appearance in a Drama or Comedy Series at the Emmy Awards.
Gossett continued acting in high-profile films, television, plays, and video games. In 1982, for his role as Gunnery Sergeant Emil Foley in An Officer and a Gentleman, he won the Academy Award for Best Supporting Actor and became the first African-American actor to win in this category. At the Emmy Awards, Gossett continued to receive recognition, with nominations for The Sentry Collection Presents Ben Vereen: His Roots (1978), Backstairs at the White House (1979), Palmerstown, U.S.A. (1981), Sadat (1983), A Gathering of Old Men (1987), Touched by an Angel (1997), and Watchmen (2019). He won and was nominated at other ceremonies including the Golden Globe Awards, Black Reel Awards, and NAACP Image Awards. Gossett was also well known for his role as Colonel Chappy Sinclair in the Iron Eagle film series (1986–1995).
Gossett's other film appearances include Hal Ashby's The Landlord (1970), Paul Bogart's Skin Game (1971), George Cukor's Travels with My Aunt (1972), Stuart Rosenberg's The Laughing Policeman (1974), Philip Kaufman's The White Dawn (1974), Peter Yates's The Deep (1977), Wolfgang Petersen's Enemy Mine (1985), Christopher Cain's The Principal (1987), Mark Goldblatt's The Punisher (1989), and Daniel Petrie's Toy Soldiers (1991), and his television appearances include Bonanza (1971), The Jeffersons (1975), American Playhouse (1990), Stargate SG-1 (2005), Boardwalk Empire (2013), and The Book of Negroes (2015).
Biography
[edit]
1936-1954: Early life, education, and stage breakthrough
[edit]
Gossett was born in Coney Island, Brooklyn, New York City, to Hellen, a nurse, and Louis Cameron Gossett, a porter.[1] He was an alumnus of Mark Twain Intermediate School 239 and Abraham Lincoln High School.[2][3][4] He contracted polio during his youth.[5] His stage debut came at age 17, in a school production of You Can't Take It with You when a sports injury resulted in the decision to take an acting class.[1]
Gossett's high school teacher had encouraged him to audition for a Broadway part, resulting in his selection at the age of 17 for his first role on Broadway in the version of Take a Giant Step in 1953. He replaced Bill Gunn as Spencer Scott.[6] The play ran from late September to late November and had 76 performances.[7] The show was selected as one of the 10 best Broadway shows of 1953 by The New York Times.[8][additional citation(s) needed] His performance was well received, and he won the Donaldson Award for best newcomer of the year.[9][10][11]
After graduating from Abraham Lincoln High School in 1954, he attended New York University, declining an athletic scholarship.[12]
1955–1977: Continued success to television breakthrough
[edit]
On October 24, 1955, the Broadway play The Desk Set started its run, with Gossett acting in it. The show had 297 performances and closed on July 7, 1956.[13] Its a comedy about office workers. On its 200th performance, Jack Y. Kohl's The Morning Call review praised the entire cast.[14]
At the end of the 1950s, standing 6 feet 1 inch (1.85 m) tall, he was offered the opportunity to play for the New York Knicks; he turned down the offer to instead accept a role in A Raisin in the Sun.[15]
In 1959, continuing his Broadway career, Gossett played the role of George Murchison in A Raisin in the Sun. The story tells of a black family's experiences in south Chicago, as they attempt to improve their financial circumstances.[16] The character of Murchison represents the "fully assimilated black man" who denies his African heritage with a "smarter than thou" attitude.[17] The play received rave reviews.[18] In Boyd Martin's review in The Courier Journal he said that the play is "magnificently played by the entire cast."[19] It won best play at the New York Drama Critics' Circle.[20]
During the early 1960s, Gossett was considered to be a talented folk musician, for which he was well known.[21] His singing career was helped along with appearing at Gerde's Folk City in New York.[22] In 1961, Gossett had his cinematic debut with the film adaptation of A Raisin in the Sun.[23] Due to the critical acclaim of the play, Columbia Pictures bought the film rights. Most of the original cast, including Gossett, returned to their roles. The film, just like the play, received excellent reviews.[24] In the same year, Gossett appeared in the original cast of Jean Genet's The Blacks, the longest running off-Broadway play of the decade, running for 1,408 performances. The original cast also featured James Earl Jones, Roscoe Lee Browne, Cicely Tyson, Godfrey Cambridge, Maya Angelou and Charles Gordone.[25] — so "their collective star power" rubbed off on on Mr. Gossett.[26]
In 1963, Gossett acted in the Broadway play Tambourines to Glory.[27] William Glover in his review published in The Bee, describes it as the first Broadway play with a gospel score, and praised the entirety of the cast for their energy and vocals.[28] In 1964, Gossett acted in the Broadway play Golden Boy.[29] Also that year, he signed to Powertree Records. Gossett's single, "Hooka' Dooka', Green Green" / "Goodmornin' Captain" was released in early 1964.[30] Later in May, "Red Rosy Bush" / "See See Rider" was released.[31] The following year, Gossett appeared in the musical play The Zulu and the Zayda on Broadway as Paulus with music and lyrics by Harold J. Rome.[32] A December 1965 review of The Zulu, original cast recording that was released on Columbia Records noted Menasha Skulnik and Gossett's vocal performance of "It's Good to Be Alive.[33]
In 1966, Gossett acted in the Broadway play My Sweet Charlie.[34] Gossett wrote the antiwar folk song "Handsome Johnny" with Richie Havens; Havens recorded the song in 1966.[35] "Handsome Johnny" was released in 1967, appearing on Richie Havens's album Mixed Bag,. Havens performed it on The Tonight Show Starring Johnny Carson which resulted in a standing ovation that lasted through two commercial breaks.[36] By September 1967, his single "Where Have All the Flowers Gone" / "Just a Girl" was released on Warner Brothers 7078. It was a Cash Box Newcomer Pick and received a good review with the reviewer calling it "easy-paced blues working and a mighty fine smooth vocal join forces in putting across a tempting r&b reading of the folk standard."[37]
In 1968, Gossett acted in the play Carry Me Back to Morningside Heights.[38] In the spring of 1969, Gossett was listed among the actors who could not be determined or uncredited in Stuart Rosenberg's WUSA.[39]
In 1970, his album From Me to You was released on B.T. Puppy Records BTPS-1013. It contained some of his own compositions.[40][41]
In 1971, Gossett acted in Paul Bogart's western comedy Skin Game starring James Garner. In it they play a pair scammers who repeatedly pretend that the character played by Gossett is Garner's slave named Jason O'Rourke, to resell him repeatedly in every town they pass by.[42] MIchael Bate of The Ottawa Citizen said "Gossett larks his way through the film's early portions and develops a complex characterization with appealing good humor and restraint. He rarely overplays an easily overdone role and for this he deserves full credit."[43]
That year Gossett was cast in a film adaptation of the novel Finding Maubee, however the project went dormant, and was released as The Mighty Quinn in 1989 with another cast.[44] On February 7, Gossett acted in "The Desperado", a Bonanza episode.[45] Also that year he acted in the .play Murderous Angels,[46] which is about an investigation regarding Congolese leader Patrice Lumumba. In his Daily News review Douglas Watt said that Gossett's performance as Lumumba was "extremely convincing."[47]
In 1972, Gossett acted in George Cukor's Travels with My Aunt.[48] He was announced to act in a starring role in Brian De Palma's Sisters, but had to withdraw due to scheduling conflict,[49] and to play a gang leader in Barry Shear's Across 110th Street, but he is not in the finished product.[50]
In 1973, Gossett acted in Stuart Rosenberg's The Laughing Policeman.[51] In 1974, Gossett acted in Philip Kaufman's The White Dawn.[52]
In 1974, Gossett returned to his role from Skin Games in the made for television sequel Sidekicks.[53]
In 1975, Gossett acted in George's Best Friend, an episode of The Jeffersons,[54] Clark Templeton O'Flaherty an episode of The Six Million Dollar Man.[55]
On April 4 of that year, the western comedy Black Bart premiered on television. It was a spinoff of Blazing Saddles (1974). Gossett played the lead as the first black sheriff in the old west.[56] Also that year, Gossett acted in Delancey Street: The Crisis Within a television film about a halfway house in San Francisco for junkies and ex-convicts.[57]
In 1976, films Gossett acted in were Arthur Marks's horror film J. D.'s Revenge,[58] and Krishna Shah's dramaThe River Niger.[59] Both film were noted to have good performances by its cast.[60][61][62]
That year on television, Gossett acted in Foul on the First Plan an episode of The Rockford Files,[63] and The Long Road Home an episode of Little House on the Prairie.[64]
In 1977, Gossett played the role of Fiddler in the television miniseries Roots based on Alex Haley's book Roots: The Saga of an American Family. Gossett stated that he was initially "insulted when they decided to give me the part of Fiddler. He resembled Stepin Fetchit, the Uncle Tom part. But I said, OK, I will take it. I'll do something. Then doing the research I realized there's no such thing as an Uncle Tom. If it wasn't for Fiddler, we wouldn't be in America. He was a survivor. He understood both cultures and knew how to maneuver to stay alive and be solvent. We needed that lesson in order to survive here today. Having done Fiddler is a stripe on my uniform now". The program which ran for eight nights in a row was success with an record-breaking audience of 140 million.[65] The role was his screen breakthrough, earning him an Emmy Award for outstanding lead actor in a single appearance in a drama or comedy series.[66][67]
Other television appearances for Gossett that include one episode of The Rockford Files,[68]and Freeman an episode part of the anthology television series Visions.[69]
Premiering on January 16 of that year, Gossett acted the television film Little Ladies of the Night about prostitution.[70] It was the highest-rated program of its night, with a 36.9 rating and 53 share,[71] seen by 26,270,000 households. ABC claimed this made it the highest-rated TV movie of all time as it surpassed the 36.5 average rating for Helter Skelter (although the second part of Helter Skelter had a higher rating of 37.5).[72][71] The rating for a made-for-TV movie was only bettered by 1983.[71]At the time of its broadcast, it was the twelfth-highest-rated movie to air on network television.[71]
In the same year, Gossett acted in Robert Aldrich's The Choirboys,[73] and Peter Yates's The Deep.[74] The Choirboys was a critical panned and viewed as one of Aldrich's weakest films.[75] In Yates's film, an underwater thriller, Gossett played the lead villain.[76] For his role he had to learn how to dive and said "to become an efficient diver I was trained in the largest swimming pool I'd ever been in every day for a whole month. Then the instructor said, 'I think you are ready now for the Atlantic Ocean. Once we got into the heavy stuff, those lessons saved my life quite a few times." On playing the lead villain he explained "there are villainous traits and there are heroic traits in all of us, and as an actor you are taught to dip into all those sections of your personality. I guess, in a non artistic profession, you have to keep certain doors locked. I like to play anything that is significant, and of a quality that I would call a stretch. Anything that is really quite different from what I have done before."[77] On his performance, he thought "he did one of his finest jobs of acting during the filming".[78] While the film got mixed to negative reviews,[79] critic Bernard Drew, in his review published in The Courier-News, explained he liked it, enjoyed all performances and wrote that Gossett is "unctuous and evil as the arch-fiend".[80] The films was a success and was the eighth-highest-grossing film of 1977 in the United States and Canada with a gross of $47.3 million.[81] Overseas, the film was Columbia's highest-grossing film and grossed over $100 million worldwide.[82][83]
1978–1997: Motion picture breakthrough and continued acclaim
[edit]
On March 2, 1978, the television special The Sentry Collection Presents Ben Vereen: His Roots premiered. Actor Ben Vereen showcases key elements of his life through dance and music. Gossett was among the guest stars.[84] At the Emmy Awards, Gossett was nominated for "Outstanding continuing or single performance by a supporting actor in variety or music".[85]
On April 10, the two part television film To Kill a Cop premiered.[86] The film is about a cop who goes after a revolutionary, played by Gossett, who is murdering policemen.[87] On his role, he said "I see the character I'm portraying as a combination of those militant black leaders of 10 or 12 years ago: Eldridge Cleaver, Huey Newton, Stokely Carmichael, Bobby Seale. He was a guy who was in a shootout in Detroit. He lost his family and close friends. He escaped to Algeria where he was given asylum for 10 years. When he was asked to leave, he returned to the United States with one aim in mind: revenge."[88] Donna Rabel in her Morning News review liked the film and said "Lou Gossett, Jr., is properly menacing as the intellectual revolutionary."[89]
On September 11, the two part miniseries The Critical Hit premiered. It is drama set in a hospital, in a supporting role Gossett plays a black militant who provides evidence of health care fraud to the first secretary of national health.[90]
On January 28, 1979, the mini-series Backstairs at the White House premiered.[91] It is about White House servants who work during several presidencies. Gossett plays a servant who is 37 years of age when the series starts and 88 when it ends. He said ''I took the role because of the chance to age. No one will know who I am in the beginning. They'll have to put a sign on me with my name on it. The role appealed to me. I'll do anything I can to keep from being typecast. Even a small part if it offers something different. I had my choice of playing Mays, the doorman, or Mercer. Mays has a death scene, but Mercer gets to age".[92] At the Emmy Awards, Gossett was nominated for "Outstanding lead actor in a limited series or a special".[93]
On September 4, the series The Lazarus Syndrome started, where Gossett plays a hospital chief of staff.[94] The initial episode gathered one of the biggest Nielsen audience of that week,[95] however the ratings dwindled and the show was pulled by October.[96]
On April 23, the television film Lawman Without a Gun premiered. Gossett plays about a civil rights activist who becomes the Sheriff of a Southern town, it is inspired by the true story of Thomas Gilmore.[97]
In 1981, Gossett was a guest star in an episode of the television series Palmerstown, U.S.A..[98] The episode is about a black soldier, played by Gossett, who lost his land after serving in the Spanish-American War and his attempt to regain it. At the time of its release, in his review published in The Start Press, Steven H. Scheuer wrote that that the episode was "emotionally, the most effective story so far."[99] For his performance Gossett was nominated at the Emmy Awards for Outstanding Lead Actor in a Drama Series.[100]
Also that year, in Richard A. Colla's television film biography Don't Look Back: The Story of Leroy 'Satchel' Paige, Gossett played the role of baseball star Satchel Paige. On playing Paige, Gossett said "from the time I was three Satch was almost a God-like figure to me Yet when I got in front of the camera I had to be careful not to overdo it I tried to portray him as an incredibly gifted man rather than a legend, which he truly is."[101] Mike Duffy of the Detroit Free Press thought the film was outstanding, on Gossett he wrote that "he was perfectly cast as Paige. He captures Paige's overflowing exuberance for life, but also the man's innate intelligence, and his proud determination to gain acceptance for the genuine physical genius he possessed."[102]
On May 31, 1982, Michael Schultz's television film Benny's Place premiered. The story is based on play that was also directed on stage by Schultz. In it Gossett plays an older man pushing retirement who is asked to trained a replacement for his position at the steel mill where he works. Gossett accepted the role to work with Schultz. Of his role Gossett said "they think he's getting too old. He figures if he trains a young man, they'll put a broom in his hand and take away his ace. To me, he represents old people quote-unquote and he shares their rage and predicament. He's still a vital man, he represents all those people faced with that predicament. I think it's a crime to send people that age off to pasture. They're in the prime of life and they have a lot to offer. I think it puts people in a psychological fear of reaching 70."[103] In his review published in News-Press Bill Hayden wrote that "Louis Gossett Jr. gives a fiery and moving performance in this powerful production as a proud black man who believes he is committing the ultimate crime by growing old."[104]
On July 28 of that year, Taylor Hackford's motion picture An Officer and a Gentleman premiered. In it Gossett plays drill instructor Gunnery Sergeant Emil Foley. The role was originally conceived for a white actor.[105] Hackford said "when I visited the Navy Officers Flight Training Center in Pensacola, FLA, I discovered that many of the Drill Instructors there were men of color. I found it interesting that Black & Brown enlisted men had 'make-or-break' control over whether white college graduates would become officers and fighter pilots. At that moment I changed the casting profile for Sergeant Foley and started meeting actors of color. Lou Gossett came to see me – I knew and admired his stage work. He told me that he'd served in the US Army as a Ranger, so in addition to being an accomplished actor, he knew military life. I hired him on the spot."[106] Hackford also pointed out that they were impressed because he "played the role as it was written'" and none of the script was modified "'to make the character black."[105] Gossett explained that his mindset guided him toward the part as he blamed both "white unconscious racism" and "black acceptance of that, so a black doesn't go out for a part Blacks need to change their mentality to knock down the walls of racism, and this includes trying out for parts like a district attorney or a lawyer or Judge traditional white roles. How do you know they won't hire you? I had to reeducate myself Gossett said. There are parts I'm sure I could have played before I came to this realization." To prepare for the role Gossett spent 10 days with a drill instructor and lifted weights to improve his upper body.[107] During shooting Gossett's accommodation were in different location from the rest of the cast, to keep him emotionally distant from the other actors.[105] The role won him an Academy Award for Best Supporting Actor. He was the first African-American actor to win an Oscar in a supporting role and[5][1][108] the second African-American to win for acting after Sidney Poitier.[109][4] Additionally, Gossett won the Golden Globe Award for Best Supporting Actor at the Golden Globe Awards,[110] and NAACP Image Award for Outstanding Actor in a Motion Picture at the NAACP Image Awards.[citation needed]
On September 17 of that year, the science fiction series The Powers of Matthew Star premiered. It is about a prince (Peter Barton) and his guardian played by Gossett who escaped their planet after the royal was assassinated. Now living on earth, the prince, who has telekinetic and mind reading abilities, passes for regular high school student who goes on various adventures.[111] Gossett explained that "it's another role he says he got because neither he nor those casting the film thought of race."[107] Of his role he said "people have been complaining a lot lately about the image of the black actor on television. Well, if there was ever a redeeming character, it's Walter Sheppard. He teaches goodness, character-building, values and morals to young Matthew. He's sort of like Obi-Wan was on Star Wars."[103] The shooting was delayed due to a on set accident that injured both Gossett and more severely Barton.[112] The show lasted until 1983.[113]
In 1983, he played the title role in Sadat, a two-part miniseries which chronicled the life and assassination of Egypt president Anwar Sadat.[114] The producers of the show offered the role to Gossett due to his resemblance to Sadat.[115] However, in Egypt, the casting of a black actor as Sadat was controversial, as the Egyptian Ministry of Culture pointed out that the real Sadat was sensitive about his dark complexion for which he was often ridiculed and that "the portrayal of Sadat by a black has revived the issue of race in Egypt, which is usually deeply submerged." It was among the reasons that a ban on all films and television programs distributed by Columbia Pictures.[116] On playing the role Gossett said "I was becoming over-prepared and stilted. Sadat is so recent in people's memory that I wanted to capture him exactly but what I was doing was becoming an imitation and not a living breathing human. I felt Sadat. I felt from the first day on the set that the spirit of Sadat was part of me I began to move more like him talk like him and even think like him. This is the first time in my career that I have not totally memorized all my lines."[114] For his performance, Gossett was nominated at the Emmy Awards for Outstanding Lead Actor in a Drama Series,[117] and was nominated for the Golden Globe Award for Best Actor – Miniseries or Television Film.[110]
That same year, Gossett acted in Joe Alves's third instalment of the shark attack thriller film series Jaws 3-D.[118] On accepeting the role, Gossett said "I turned down Jaws 3-D three or four times," he admits. "It was just a little part. Finally they said they'd expand the role." He also added that he accepted "because there was nothing else. There have not been a lot of offers since Officer." On developing his character he said "I made my character a Creole, it gives him a more interesting flavor. He starts off as a shrewd entrepreneur, but he makes one mistake and everything falls through. He's almost like Captain Ahab."[119] The film grossed $13,422,500 on its opening weekend,[120] which was 1983's second highest-grossing opening weekend of the year,[121] playing to 1,311 theaters at its widest release and accounting for 29.5% of its final gross. It has achieved total lifetime worldwide gross of $87,987,055.[122] Reception for the movie was generally negative, it has an 11% 'rotten' rating at Rotten Tomatoes based on 36 reviews, with an average rating of 3.5/10. Its critical consensus reads, "A cheese-soaked ocean thriller with no evident reason to exist, Jaws 3 bellows forth with a plaintive yet ultimately unheeded cry to put this franchise out of viewers' misery."[123] Gossett said he was the "only cast member to survive the generally negative reviews".[120] At the 4th Golden Raspberry Awards, Gossett was nominated for Worst Supporting Actor.[124]
In 1984, Gossett acted in Richard Lester's ensemble comedy Finders Keepers.[125] The film generally received good reviews.[126][127][128][129][130] [131] James Monaco reviewed the film in his book, The Movie Guide, and said of the acting "Finders Keepers benefits from the well-judged performances of its energetic cast."[132]
Also that year Gossett and Martin Sheen co-starred in David Greene's television film The Guardian.[133] The inhabitants of a New York City apartment building are plagued by burglaries and murder, and they have finally had enough. So they employ ex-military man (Gossett ) to protect their building as a security guard. His techniques are precise and intense, and soon his overbearing and power-mad nature begins to chafe resident (Sheen).[134] Gossett's role was originally written for a white actor but since he had just won an Oscar for a role that aimed at same demographic he was chosen. Writer Richard Levinson said "Lou had a lot of heat going for him. We didn't have to change anything in the script when he was cast." Gossett appreciated the duality of his role. On the project he said the "script said something about a modern social problem. When I was growing up in Brooklyn, there was a real feeling of community in our neighborhood. That kind of neighborhood is gone, and that's one of the reasons for the increase in crime. I think of the character I play as a necessary evil in today's society."[135]
In 1985, Gossett co-starred with Dennis Quaid in Wolfgang Petersen's Enemy Mine. The film is about a human (Quaid) and alien soldier (Gossett), respectively, who become stranded together on an inhospitable planet and must overcome their mutual distrust in order to cooperate and survive.[136] About accepting the project, Gossett explained "everybody turned [the role] down because you couldn't see your face or your eyes. 'How can you do a performance?' So, there's a little Lon Chaney Sr. in me, you gotta try it. That's why I took it, because it was a challenge."[137] The production was troubled as the original director and the producer had creative difference. Petersen was asked to take over the directorial duties, however when he joined he found the original location, and footage unusable. Hence the production moved and new set were built. Quaid and Gossett received a salary to wait throughout the transition so they wouldn't start working on other projects. Also, Gossett's original alien costume was scrapped and it took five months to create the one used in final product.[138] On his preparation Gossett said "I went to the zoo with a mime, a dancer, an athlete and a linguist. There we studied lizards, snakes, wildcats, giraffes and the kangaroos, especially the females with the pouch. I also used a little ordinary cat and dog, and in the scenes where the Drac is in his religious ecstasy, a little bit of Stevie Wonder." On the scene where the alien gives birth he said "I don't think I'm gonna try and bear a child. But I wanted to do it. It was a cinematic first for an actor to give birth to a child. It's the hardest thing I've ever had to do, physically, but I took it because I would rather fail doing something difficult than succeed doing something too easy."[139] Petersen said "It took Lou several hours to get into makeup and the sand was always getting under his contact lenses and, yet, he never complained. He also gives a great performance, even though you can only see his lips. He gave us a lot so that the message of friendship and love could come through."[140] Gossett had to wear two sets of contact lenses, one for protection, the other to give him a lizard-look. However, the protection didn't work. After four weeks of shooting, he couldn't open his eyes, which were bloodshot-red. It took two weeks for him to get better and it was estimated it would take a year or two to heal entirely. Also, his costume was glued to his body and he had to be treated for severe abrasion and rashes. Upon the release of the film, Gossett explained that "barely a day went by during the filming of Enemy Mine that he didn't think about going home, wondering if he was giving too much for art. However, it led him to be more than satisfied with both his own performance and the film."[141] The film was a flop at the box office,[142] and the critics were divided on whether the it was great or bad.[138] Over the years, the film developed a cult and started to receive positive re-assessments.[143][144] Michael Wilmington of The Los Angeles Times loved the film and said "Gossett always in perfect control. What he does here seems nearly the stripped down, boiled-off essence of the actor's art. It's amazing that he can communicate so much subtlety, emotion and strangeness beneath all those layers of latex and paint, those fishy scales, greenish limbs and faceted contact lenses. He's credibly extraterrestrial and touchingly human."[145]
In 1986, in Sidney J. Furie's military aviation thriller Iron Eagle, Gossett played a retired Air Force colonel, Charles 'Chappy' Sinclair, who helps young man (Jason Gedrick) save his father who's held prisoner in the middle East.[146] Gossett accepted the part "because it offered a positive relationship between blacks and whites with race not being an issue or even mentioned."[147] The review were mostly negative,[148][149][150][151][152] however Janet Maslin of the New York Times gave the film a favorable review, and said that "both leading actors are quite effective."[153] The film made $24,159,872 at the U.S. box office.[154] Although the movie was not a major success at the cinema, it generated $11 million in home video sales, enough to justify a sequel.[155]
Also that year, Gossett co-lead with Chuck Norris in J. Lee Thompson's action-adventure comedy film Firewalker. Gossett and Norris play two seasoned treasure hunters whose adventures rarely result in any notable success.[156] At the time Norris was known for successful action films where he portrayed stoic heroes, he explained that he wanted to show a lighter side of himself.[157] Gossett appreciated Norris efforts and said "I have great respect for what actors call stretch. Chuck had to open up first to allow this atmosphere. It has to do with his desire to stretch. Someone else could have been quite insecure. He chose to open up. He's studying hard and he's serious."[158] The review were mostly negative, while some thought it was a fine for a light action film.[159][160][161][162][163][164][165] Kevin Thomas of the Los Angeles Times, enjoyed it of the cast he said they "really get into the light-hearted spirit of the occasion."[166] The film made $11,834,302 at the box-office.[167]
In 1987, Gossett acted in Volker Schlöndorff's A Gathering of Old Men.[168] Gossett was very enthusiastic of the project and said "it's a strange, pleasant twist. The viewer thinks the story will go one way, and it doesn't. It's a beautiful and touching story". He explained that his character "is always there. You look at him, and there's the eyes and face. He doesn't have all that much dialogue. That makes him very hard to do as an actor. "What you have to do is use more concentration. When there are no lines, you write lines in your mind and those moments have to be clean. A director can't really help you. The satisfaction is that, after you see it, it's all there. The director didn't cut anything I did."[169] While it was screened in the Un Certain Regard section at the 1987 Cannes Film Festival,[170] it was released as television film in the United States.[171] For his performance, Gossett was nominated at the Emmy Awards for Outstanding Lead Actor in a Miniseries or a Special.[172]
Also that year he acted in Christopher Cain's action thriller The Principal. Gossett plays the head of security in an inner city school that just employed a new principal.[173] The film made $19,214,194 at the domestic box office.[174]
On December 13 of that year, Edwin Sherin's television film The Father Clements Story premiered. It's about the life of Father George Clements (Gossett), an African-American Roman Catholic priest who became famous for being the first United States priest to legally adopt a child.[175] Mike Hill of The Evening Sun said that Gossett to "displays his usual impeccable command of his character in playing Clements, depicted as an unorthodox priest whose methods had gained his church a wide following in its community, but also drawn the disapproval of the Chicago's Cardinal."[176]
In 1988, Gossett reunited with director Sidney J. Furie for Iron Eagle II.[177] The reviews were negatives, however some found it to be fun mindless entertainment.[178][179][180][181][182][183][184] The film grossed $10,497,324 million theatrically domestically,[185] the film's 1989 US video release generated $12 million.[186]
On November 5 of that year, the three part mini series Straight Up premiered, where he co-starred with Chad Allen. In it Allen plays a teen tempted by drugs, while Gossett plays a magical character who operates the "fate elevator", so that each time Allen is tempted by a substance Gossett takes him on an elevator ride which shows the consequence of that substance.[187]
That year he appeared in three television movies Sam Found Out: A Triple Play,[188] Goodbye, Miss 4th of July,[189] and returned to the role of Findler in Roots: The Gift.[190] He also hosted the documentary Crimes of Violence.[191]
In 1989, Gossett co-starred in Mark Goldblatt's Marvel Comics adaptation The Punisher, with Dolph Lundgren in the title role. Also initial reviews found it to be a trashy comic book film. However over the years the film developed a cult with some who think it's the best adaptation of the comic. The film was re-evaluated with a much more positive outlook who find a lot of qualities within the it, with a first rate cast.[192]
On February 20th of that year the first episode of Gideon Oliver played on television, in it Gossett played a crime solving anthropologist. Part of The ABC Monday Mystery Movie its last and fifth episode played on May 22, 1989.[193]
On February 14, 1990, Gossett acted in Zora Is My Name!, an episode of American Playhouse.[194] On July 22nd, Peter Markle's made for television western comedy film El Diablo premiered with Gossett playing the secondary protagonist. Gossett said "for me it's a chance to be funny It's not like Officer and a Gentleman or Iron Eagle. I got a chance to put tobacco in my mouth and get cantankerous and have fun."[195]
On September 9 of that year, Gossett co-starred with Sara Gilbert in Joan Tewkesbury's made for television drams Sudie and Simpson. The film is set in the 1940s in a Southern town, where Gossett play Simpson a black recluse who befriend a white teen named Sudie (Gilbert). Eventually Simpson becomes a suspect in an attack against a young girl, while Sudie is speaking up against a school teacher who's a molester.[196] Ray Loynd of The Los Angeles Times liked it and of Gossett he said he "is memorable as a survivor hiding in a shack outside of town and tending his secret vegetable garden."[197]
On March 16, 1991, HBO premiered the television film The Josephine Baker Story.[198] For his role, Gossett was booked for five days in Budapest.[199] He appears briefly as an American officer who books Books baker for a performance with American soldiers.[200] For his acting, Gossett won the Golden Globe Award for Best Supporting Actor.[110]
On September 30 of that year, John Erman's television film Carolina Skeleton premiered. Based on David Stout's book by the same name, it gets inspiration from true events. It tell the story of a Green Beret (Gossett) who goes back to his home town in South Carolina to clear his brother's name who received the death penalty for a crime he didn't commit. Gossett explained "it's real special to me, not just because it's personal, but because of what it shows about our country and what it shows about how a man can conquer racism. There were a lot of young people who died unjustifiably in this way. It was the nature of our country at the time. It shows how we have evolved."[201] Jon Burlingame of The Morning Call said "Gossett is, as always, a commanding presence, and the story is convincingly told."[202]
Also in 1991, Gossett acted in Manny Coto's Cover Up[203] and Daniel Petrie's Toy Soldiers.[204]
On January 25, 1992, Gossett played the lead in Keeper of the City, based on a novel by the same name by Gerald Di Pego, made its American television premiere on Showtime while receiving a theatrical release abroad.[205] Gossett initially turned it down because his character was Italian in the screenplay and thought that director Bobby Roth wanted him for a smaller role.[206] Kevin Thomas of The Los Angeles Times said "performances are sharp, especially Gossett 's multidimensional cop."[207]
On June 12, John Glen's Aces: Iron Eagle III premiered, Gossett returned to the role of Chappy.[208] The film had a domestic gross of $2,517,600,[209] and received poor reviews.[210][211][212][213][214]
On August 14, Michael Ritchie's Diggstown premiered. In it Gossett plays a boxer who comes back from retirement after a con-man (James Woods) convinces him to take a challenge of beating ten men in a day. To prepare for the role, Gossett trained for eight weeks and shed 35 pounds.[215] Gossett also recommended Woods for the role of the con-man, afterwards reading the script together they convinced Ritchie to trim various subplots.[216]
Also in 1992, Gossett worked on documentaries, he provided additional narration for Bill Miles and Nina Rosenblum's documentary film The Liberators: Fighting on Two Fronts in World War II,[217] he hosted Gridiron Gang about teenagers learning football in a juvenile detention camp for their reabilitation.[218][additional citation(s) needed]
On February 7, 1993, the National Audubon Society's documentary Caribbean Cool premiered on television, which Gossett hosted. In it he observed the work to preserve and protect the parrots of the Windward Islands.[219] Gossett was proud of the conversationist of Saint Lucia he met and said "the example being set here is really wonderful, It's an example that Brazil must follow, that the United States must follow. Everyone in the world must be sensitive to the preservation of the planet."[220]
On April 16, the television film Father & Son: Dangerous Relations premiered.[221] Directed by Georg Stanford Brown, Gossett plays a man is paroled from prison early in order to keep tabs on another parolee, the man's estranged son.[222] On November 14, the Western mini series Return to Lonesome Dove premiered. In it Gossett plays a horse trainer.[223] That year he also acted in the Science fiction film Monolith.[224]
On May 13, 1994, Gossett starred and executive produced the made for television detective thriller Ray Alexander: A Taste For Justice. Gossett explained that pitching process to NBC was simple and quick, as his partner was previously part of their team. Writer Dean Hargrove explained that he wanted a character that everyone "could relate to that has the same problem that everybody has." Hargrove also said that Gossett "really created a character as he got into it. He gave toe guy a lot of humor and a style. In terms of humor. the way the guy operates and the kind of moves he gives him in his performance."[225]
Also in 1994, Gossett played supporting roles in Bruce Beresford's A Good Man in Africa,[226] William Friedkin's Blue Chips,[227] and Curse of the Starving Class.[228] He also acted in Terms of Estrangement, an episode of the television series Picket Fences.[229] He also acted in Elliot Silverstein's crime film Flashfire which premiered on HBO that year.[230][231]
On the 1st of January 1995, the made for television drama A Father for Charlie premiered. Set in the 1930s, Gossett, also an executive producer, plays a farmer who ends up up taking care of the child a racist sharecropper.[232] It earned a 14.8 national Nielsen rating, equalling 14.1 million households, making it the eighth highest-rated prime time program for the week of December 26, 1994 to January 1, 1995.[233] In terms of total viewers, the film was the sixth most-watched prime time program with an audience of 22.9 million.[234]
In 1995, Gossett returned to the role of Chappy for Sidney J. Furie's Iron Eagle IV,[235] and Ray Alexander for Ray Alexander: A Menu for Murder.[236] He also acted in the made for television urban drama Zooman about a child who dies from a strait bullet.[237]
On April 14, 1996, the period television film Captive Heart: The James Mink Story premiered. In it Gossett portrayed James Mink.[238] The story is about Mink, an affluent black businessman from Canada, pretending to be his wife's slave to traveled to the American South to rescue their daughter. who's been enslaved.[239] On the project Gossett explained that initially he "wasn't available but they came back and I'm glad they did It's a great script plus I'm a history fan so this was a most fortunate experience. What a joy to work with Kate Nelligan too It's like playing tennis to work with somebody who constantly makes you better. We just bounced off each other and it was wonderful."[240] Gossett was fascisnated by the evolution of his character and explained it "was the reason I grabbed at the part. It was an actor's journey, to go through the underground railway the wrong way Mink went from being a gentleman of stature to being one of the affluent men of the town and then to becoming his wife's slave."[241]
That year he played the lead in Arthur Penn's film Inside which was screened at Cannes before being released as a television film,[242] where he also served as an executive producer.[243] For his effort Gossett received a CableACE Award nomination for "Best actor in a movie or mini-series".[244]
Also in 1996, Gossett acted in the Broadway play Chicago,[245] acted in the made-for-television film Run for the Dream: The Gail Devers Story,[246] and the documentary series The Great War and the Shaping of the 20th Century.[citation needed]
On March 7, 1997, To Dance with Olivia premiere, a television film in which Gossett plays the lead and produce.[247] Robin Hall Domeier of The Tennessean said "Gossett gives a solid performance."[248]
On June 14, the made for television drama In His Father's Shoes premiered on Showtime. In it Gossett plays duals roles of a father and a grandfather. He explained the project came about when "the father of Showtime's programming chief, Jerry Offsay, passed away last year, and that prompted him to grab onto this when it came across his desk. It became very personal to him, and the film is dedicated to his father. The thing I like about the story is that much of the older generation was not taught to demonstrate affection. I knew my father cared about me, but I never knew how much until after he died."[249]
Additional project for 1997 include acting in the film Managua,[250] G.I. Ellen an episode of Ellen,[251] and The Medal an episode of Early Edition.[252] He provided narration of Disney's Candlelight Processional cd named Candlelight Processional and Massed Choir Program, telling the nativity story, was recorded and released by Walt Disney Records.[253] Gossett presented When Animals Attack! 4, a one-hour special on Fox.[254]
Also that year, Gossett had a guest role in the Touched by an Angel episode Amazing Grace: Part 1.[255] It was part of a crossover with another series named Promised Land, where the follow up took place.[256] For his performance, accredited to Touched by an Angel, he was nominated for an Emmy Award for "Outstanding guest actor in a drama series",[257] and won "Outstanding Supporting actor in a drama series" at the NAACP Image Awards.[258]
1998–2024: Later works
[edit]
In 1998, Gossett acted in the film Bram Stoker's Legend of the Mummy.[259] On September 20, the television film thrillerThe Inspectors premiered.[260] Gossett is an executive producer and co-lead with Jonathan Silverman as postal inspectors who track down a bomb. Kay Gardella liked it, in her review in the Daily News said "Gossett's efficient, low-key portrayal and Silverman's wide-eyed naivete make for an interesting combination, and suggest they're ideal for a spinoff."[261]
In 1999, he worked on the made-for-television film Love Songs. The movie consists of three interwoven stories, the directorial duties are shared between Gossett, Robert Townsend, and Andre Braugher who also act in it. On directing Gossett said "now I realize I can direct" he said "Everything fell into place I felt very comfortable doing it If I can organize my acting career I want to do more of it I think I got a deeper performance by Robert Townsend than he has ever given."[262] For his efforts, at The Black Reels Award in 2000, he was nominated for outstanding direction in a television movie or limited series.[citation needed]
Also that year, he played Vernon Jordan in Ernest Dickerson's political drama television film Strange Justice based on events regarding the sexual harassment accusation brought by Anita Hill during the Senate confirmation hearings of Clarence Thomas.[263] Finally in 1999, Gossett acted in the action film Y2K.[264]
In 2000, Gossett reunited with Jonathan Silverman in The Inspectors 2: A Shred of Evidence,[265] and acted in The Highwayman.[266]
That year, he also acted in the Canadian television film Dr Lucille: The Lucille Teasdale Story, it is about Canadian Surgeon Lucille Teasdale-Corti efforts to develop medicine in Uganda. Gossett plays a composite character of an Ugandan friend. To cast Gossett producer Francine Allaire explained "we didn't have the money to pay an L.A. salary, he did it for the film and the story. I'm quite stubborn. I just kept phoning and phoning and sent him a 27-page fax. He said, 'My God. I want to read the script. Who are these people who are so relentless?' He read it and loved it."[267]
Also in 2000, Gossett produced and starred in the drama television film The Color of Love: Jacey's Story. The film is about a white grandmother and a black grandfather (Gossett) who are not married to each other, must overcome their differences to raise their suddenly orphaned granddaughter. The project was personal to Gossett who said "in order to save this planet, we need to put our hands together and take care of our children and be a little more human. The messages in the stories have to carry that."[268] At the Satellite Awards, Gossett was nominated in the category of Best Performance by an Actor in a Miniseries or a Motion Picture Made for Television.[269]
In 2001, Gossett executive-produced and played the lead in Douglas Barr's For Love of Olivia. It is a sequel of his 1997 effort To Dance with Olivia, where he played a lawyer from the 1960s. Of the project Gossett said "I think it would make a terrific series, because it would take place at a great time in the history of America. All the real people who figured into it could come through, and we could deal with the civil-rights movement and the assassinations. It would be a rich tapestry. In my mind, I can see this town getting ready for Dr. Martin Luther King Jr. to come through. Of course, he is killed before he can get there, so the residents have to take the bunting down. I'd like to see that tackled, and I wont give up."[270]
In 2002, Gossett acted in Deceived,[271] What About Your Friends: Weekend Get-Away,[272] and Resurrection Blvd.[273]
In 2003, Gossett co-lead with Jon Voight in Jeffrey W. Byrd's Jasper, Texas.[274] The film is about Jasper's first black mayor R.C. Horn (Gossett) and sheriff Billy Rowles (Voight) handling the tensions between the white and black communities after the murder of James Byrd Jr. in 1998. Of the project Gossett said "what I saw in the story is a growth. The whole world was watching them and it made the mayor grow up so he was not just a figurehead mayor. It made the sheriff look into his past. It brought the whole town into the 21st century, in a sense to consider issues nobody had spoken about."[275]
That year he also acted in the science fiction suspense film Momentum.[276]
In 2004, the video-game Half-Life 2 was released,[277] in it Gossett voiced an alien species called Vortigaunts.[278] That year he also acted in the sitcom Half & Half, these episodes were The Big My Lover, My Brother,[279] and The Big Thanks for Nothing.[280]
In 2005, Gossett acted in the Christian film Left Behind: World at War,[281] and the drama Lackawanna Blues.[282] That year on television, he played Free Jaffa Leader Gerak in several episodes of Season 9 of the sci-fi television series Stargate SG-1.[283]
In 2006, the video-game Half-Life 2: Episode One was released,[284] Gossett reprised his voice role as the Vortigaunts.[278] He contributed to another voice role in Saving Private Brian an episode of Family Guy.[285] That year he also acted in the films Solar Attack,[286] and All In.[287]
In 2007, he acted in Tyler Perry's Daddy's Little Girls,[288] and Bill Duke's Cover.[289] and That year, he provided voice work in the documentary Rwanda Rising,[290] and played Lucius Fox in The Batman animated series.[291]
In 2008, he flew to Africa to film a series of commercials for the Namibian beer Windhoek Lager.[292] He voice acted in the animated film Delgo.[293]
In 2009, Gossett provided voice talents in the Thomas Nelson audio Bible production known as The Word of Promise. In this dramatized audio, Gossett played the character of John the Apostle. The project also featured a large ensemble of well known Hollywood actors including Jim Caviezel, Jason Alexander,Marisa Tomei, and more.[294][295] He acted in the films Shannon's Rainbow,[296] and The Least Among You.[297]
In 2010, Gossett acted in the film Dog Jack,[298] and Tyler Perry's Why Did I Get Married Too?.[299]
In 2011, Gossett acted in the film The Grace Card.[300]
In 2012, Gossett acted in The Undershepherd,[301] and Smitty.[302]
In 2013, Gossett narrated an audiobook based on Twelve Years a Slave.[303] He also acted in Havre de Grace, an episode of the drama series Boardwalk Empire.[304] Michael Noble of Den of Geek wrote the quality of the episode is "done so largely through demonstrating its embarrassment of riches. The single-episode appearance of Louis Gossett Jr. is a case in point. In what was essentially a cameo, he offered a richly characterised performance, full of tiny gestures and behavioural tics, held together by a brilliantly earthy vocal delivery that perfectly captured the weary" character.[305]
From 2014 to 2015 he acted in a recurring role in Extant. He also appeared in Madam Secretary and The Book of Negroes.[306][307]
In 2015, Gossett acted in the drama Boiling Pot.[308] For his role, at the Moscow Indie Film Festival, he won 'best actor in supporting actor'.[309]
On July 18, 2016, Gossett cohosted as a guest programmer on Turner Classic Movies' primetime lineup. Allowed to choose four movies to air, he selected Blackboard Jungle, Lifeboat, Touch of Evil, and The Night of the Hunter.[citation needed] Alsa that year he acted in King of the Dancehall.[310]
In 2017, Gossett acted in the eight episode of the first season of The Good Fight named Reddick v Boseman.[311][312]
In 2018, Gossett acted in Breaking Brooklyn.[313]
In 2019, Gossett acted in the series Watchmen.[314] For his performance he was nominated for the Primetime Emmy Award for Outstanding Supporting Actor in a Limited or Anthology Series or Movie,[315] and at the Black Reel Awards he received a nomination for "Outstanding Supporting Actor, TV Movie/Limited Series".[316]
In 2021, Gossett acted in the film Not to Forget.[317]
In 2022, Gossett was cast in a supporting role for the upcoming American horror film, Awaken the Reaper.[318] The film is to be released in 2024.[319]
In 2023, he acted in Blitz Bazawule's musical adaption of The Color Purple.[320] The film received many positive reviews,[321][322][323][324][325][326][327][328] [329][330] and received many accolades.[331][332][333][334][335][336][337][338][339][340][341][342][343][344][345][346][347][348] Pete Hammond of Deadline praised the film and said that "Louis Gossett Jr., who has some choice moments as Ol' Mister in a hilarious dinner scene that stands out later in the film."[349]
2024 to present: Posthumous release
[edit]
In 2024, the live-action/animation film IF was released where he voiced Lewis the imaginary bear. The film is dedicated to his memory.[350]
Personal life
[edit]
Marriages
[edit]
Gossett was married three times and fathered one son and adopted another. His first marriage was to Hattie Glascoe; it was annulled. His second, to Christina Mangosing, took place on August 21, 1973. Their son Satie was born in 1974. Gossett and Mangosing divorced in 1975. His third marriage, to Star Search champion Cyndi James-Reese, took place on December 25, 1987. They adopted a son, Sharron (born 1977). Gossett and James-Reese divorced in 1992.[351]
Gossett was the first cousin of actor Robert Gossett.[352]
Gossett stated that in 1966 he was handcuffed to a tree for three hours by the police in Beverly Hills.[353]
Illness and death
[edit]
Gossett struggled with a debilitating illness during the 1990s and early 2000s, having been given a prognosis of six months to live from a doctor at one stage. In 2001, he learned much of his illness was due to toxic mold in his Malibu home.[354]
On February 9, 2010, Gossett announced that he had prostate cancer. He added the disease was caught in its early stages, and he expected to make a full recovery.[355][356]
In late December 2020, Gossett was hospitalized in Georgia with COVID-19.[66][357]
Gossett died at a rehabilitation center in Santa Monica, California, on March 29, 2024, at the age of 87.[358] The cause of death was attributed to chronic obstructive pulmonary disease; other contributing factors were heart failure and atrial fibrillation.[359]
Acting credits
[edit]
Awards and nominations
[edit]
Philanthropy and causes
[edit]
Take Pride In America
[edit]
In 1987, Gossett alongside Clint Eastwood and Charles Bronson made a series of ads to discourage vandalism in public parks. The campaign, launched by President Ronald Reagan, was named 'Take Pride In America'.[360]
Eracism Foundation
[edit]
Gossett was recognized for humanitarian activities. His Eracism Foundation is a 501(c)(3) nonprofit entity.[361] It created and distributes a 'toolbox' and skill set for young adults in the hope that they can live "a racially diverse and culturally inclusive life." Features include cultural diversity, historical education and perspective, as well as anti-violence training.[8][362][363][364]
Books
[edit]
Gossett, Louis Jr.; Karas, Phyllis (2010). An Actor and a Gentleman. Hoboken, N.J.: John Wiley & Sons. ISBN 9780470620946. OCLC 680048905.
Further reading
[edit]
Gossett, Louis, Jr.; Karas, Phyllis (2010). An Actor and a Gentleman. John Wiley & Sons. ISBN 9780470620946.
References
[edit]
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USS Frank E. Petersen Jr. (DDG-121)
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USS Frank E. Petersen Jr. (DDG-121) is an Arleigh Burke-class Flight IIA guided missile destroyer in the United States Navy, the 71st overall for the class. The ship was named for United States Marine Corps Lieutenant General Frank E. Petersen Jr. the first African-American Marine Corps aviator and the first African-American Marine Corps general. The contract for the ship, along with the name, was first announced in a press release from Huntington Ingalls Industries on 30 March 2016.
The first cutting of steel took place in April 2016 and her keel was laid on 21 February 2017. She was launched on 13 July 2018.[12] and christened on 6 October 2018. The ship was commissioned on 14 May 2022 at Charleston, South Carolina.
This coin is struck in a shiny frosted finish and features special transparent enamel combined with a 3D UV-printed representation of the ship that gives an impression that can be both seen and felt. The reverse proudly displays the ship’s crest in colorful enameled detail.
Each coin measures 1.75 inch (44mm) in diameter.
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Ranger Coin Store
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https://store.rangercoin.com/product/uss-frank-e-petersen-jr-ddg-121/
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Description
USS Frank E. Petersen Jr. (DDG-121) is an Arleigh Burke-class Flight IIA guided missile destroyer in the United States Navy, the 71st overall for the class. The ship was named for United States Marine Corps Lieutenant General Frank E. Petersen Jr. the first African-American Marine Corps aviator and the first African-American Marine Corps general. The contract for the ship, along with the name, was first announced in a press release from Huntington Ingalls Industries on 30 March 2016.
The first “cutting of steel” took place in April 2016 and her keel was laid on 21 February 2017. She was launched on 13 July 2018.[12] and christened on 6 October 2018. The ship was commissioned on 14 May 2022 at Charleston, South Carolina.
This coin is struck in a shiny frosted finish and features special transparent enamel combined with a 3D UV-printed representation of the ship that gives an impression that can be both seen and felt. The reverse proudly displays the ship’s crest in colorful enameled detail.
Each coin measures 1.75 inch (44mm) in diameter.
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http://descendantsofkoreanwar.org/christening-of-the-uss-frank-e-petersen-jr-in-honor-of-the-late-frank-e-petersen-jr-a-korean-war-veteran/
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Christening of the USS Frank E. Petersen, Jr. in honor of the late Frank E. Petersen, Jr., a Korean War veteran
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http://descendantsofkoreanwar.org/wp-content/uploads/2018/10/FrankPetersenJr.jpg
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Descendantsofkoreanwar
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http://descendantsofkoreanwar.org/christening-of-the-uss-frank-e-petersen-jr-in-honor-of-the-late-frank-e-petersen-jr-a-korean-war-veteran/
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FOR IMMEDIATE RELEASE
October 1, 2018
Christening of USS Frank Emmanuel Petersen, Jr. (DDG 121)
The Descendants of the Korean War Foundation (DKWF) is proud to announce the christening of the USS Frank E. Petersen, Jr. (DDG 121) in honor of the late Frank E. Petersen, Jr., a Korean War veteran. The christening will be held October 6, 2018, in Pascagoula, Mississippi, at the Huntington Ingalls Industries Shipyard.
Frank E. Petersen, Jr. (March 2, 1932 – August 25, 2015) was the first African American USMC; aviator, Brigadier General, Major General and Lieutenant General. Petersen retired from the Marine Corps in 1988 after 38 years of service. At the time of his retirement he was by date of aviator designation the senior ranking aviator in the U.S. Marine Corps and the U.S. Navy with respective titles of ‘Silver Hawk’ and Gray Eagle. His date of designation as an aviator also precedes all other aviators in the U.S. Air Force and Army. The Frank E Petersen, Jr. (DDG 121) is configured as a Flight IIA destroyer, which enables power projection, forward presence, and escort operations at sea in support of Low Intensity Conflict/Coastal and Littoral Offshore Warfare as well as open ocean conflict.
“The late General Petersen, Jr., was highly decorated for his bravery and leadership throughout his uniformed service. DDG121 will continue the lifelong mission of the General, to protect and safeguard this nation and the world. DKWF applauds the christening in honor of the General, a Korean War veteran. I look forward to joining the Petersen family, the Commandant for the U.S. Marine Corp and the U.S. Navy to witness and celebrate this historic day in Pascagoula, Mississippi,” said Justin Rhee, DKWF President.
DKWF, a 501(c)3 non-profit and fully volunteer-run organization, is dedicated to recognizing, remembering and honoring the U.S. men and women who fought for freedom and democracy during the Korean War, often referred to as the Forgotten War. More information about DKWF projects can be obtained via our website, www.DescendantsOfKoreanWar.org.
Contact: Dr. Ruth Starr, VP for Communications 202-297-3011
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://www.nbcnews.com/news/us-news/frank-petersen-marines-first-black-aviator-general-dies-83-n417466
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Frank Petersen, Marines' First Black Aviator and General, Dies at 83
|
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2015-08-28T02:43:41+00:00
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Frank E. Petersen made history twice as the first African-American aviator in the Marine Corps and then as its first African-American general.
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https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/nbcnews/all-other-sizes-PNG.ico/favicon.ico
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NBC News
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https://www.nbcnews.com/news/us-news/frank-petersen-marines-first-black-aviator-general-dies-83-n417466
|
Retired Lt. Gen. Frank E. Petersen, who made history twice as the first African-American aviator in the Marine Corps and then as the Corps' first African-American general, has died at 83, the Marines' announced.
Petersen, who flew more than 350 combat missions in Korea and Vietnam, died Tuesday at his home in Stevensville, Maryland, of complications from lung cancer.
When he retired as a lieutenant general in 1988, Petersen was the senior ranking aviator in both the Marines and the Navy — with which he served before joining the Marine Corps — and simultaneously held the honorary titles of Silver Hawk and Grey Eagle.
Petersen served two years in the Navy before he was commissioned as a second lieutenant in the Marine Corps in 1952, becoming the first African-American aviator in the service's history. He went on to command his own fighter squadron, then an aircraft group, an amphibious brigade and an aircraft wing.
Petersen was promoted to brigadier general in 1979, becoming the first African-American to hold the rank in the Marine Corps. After serving as special assistant to the Marines' chief of staff, he retired as commanding general of Marine Corps Combat Development Command at Quantico, Virginia.
Gen. John M. Paxton, assistant commandant of the Marine Corps, called Petersen "a pioneer and role model in many ways, a stellar leader, Marine officer and aviator."
In his 1998 autobiography, "Into the Tiger's Jaw: America's First Black Marine Aviator," Petersen wrote at length about the racism and opposition he encountered along his way up the ranks.
Immediately upon entering the military in 1950, he wrote, "I knew I had a problem as soon as I assessed the racial situation."
"I had fled my hometown to escape racism, only to find myself caught in a deeper kind of prejudice than Topeka ever knew," he wrote: "Separate water fountains in the gym. Designated latrines. The back-of-the-bus routine."
Even more revealing, he wrote, was "the hate mail ... some of it coming, I am sure, from certain officers wearing stars."
He finally felt "I was a winner" upon his promotion to brigadier general, "even though "not everybody in the Corps was overjoyed at my selection," he wrote.
"The aide presented my brigadier's flag with its one glaring star to the commandant, who immediately handed it to me. I kissed my wife, left the flag with her, then seemingly floated to the lectern to give the crowd my good wishes and thanks," Petersen wrote.
"'He took that flag,' Alicia [Petersen's wife] likes to remember, 'and he wrapped it around himself and he sat upon his chair like he was on a throne,'" Petersen wrote.
Among his many honors, Petersen received the Distinguished Service Medal, the Defense Superior Service Medal, the Legion of Merit with valor device, the Distinguished Flying Cross and the Meritorious Service Medal, the corps said.
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https://www.wikidata.org/wiki/Q5486398
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Frank E. Petersen
|
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U.S. Marine Corps general; First African-American Marine Corps general; First African-American Marine Corps aviator
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https://www.callutheran.edu/offices/marketing/brand/voice/glossary.html
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Glossary of Terms
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Cal Lutheran
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https://www.callutheran.edu/offices/marketing/brand/voice/glossary.html
|
Abbreviations On second reference to academic units and organizations, avoid acronyms and initials where possible. Write the center, the institute or a shortened version of the organization's name. See academic degrees and cities and states. Academic Degrees Consider whether an academic degree is needed to identify a person. Naming an occupation or describing expertise may suffice: cardiac surgeon, historian of science.
Use descriptions for most academic degrees: bachelor's degree in environmental science, Bachelor of Science in criminal justice, bachelor's in music production, doctorate in international relations, etc. Degree abbreviations are generally used after full names in lists and on first reference to alumni in publications principally for alumni.
A few widely known degree abbreviations are rarely spelled out: MBA, MD, PhD. Other abbreviations that are acceptable on all references include BA, BS, MA, MFA and MS.
Degree abbreviations are written without periods: DMA, EdD, PsyD (exception to AP style). When noting degrees of alumni on a first reference, include only the graduating year for bachelor's degrees, omitting BA and BS. Use a slash for joint degrees. See doctor, graduation years, and honorary alumni.
Caroline Cottom '64
Sara Wilson, MDiv '13
Steve Nguyen, MA '08, EdD '12, serves as director. (Note the commas.)
Sofia Alvaro, MA/MDiv '09
BA – Bachelor of Arts
BS – Bachelor of Science
MA – Master of Arts
MBA – Master of Business Administration (rarely spelled out)
MDiv – Master of Divinity
MFA – Master of Fine Arts (not usually spelled out)
MFT – master's in marriage and family therapy (Formally, the Cal Lutheran degree is a Master of Science in Counseling Psychology, but this is rarely used.)
MPPA – Master of Public Policy and Administration
MS – Master of Science
MSIT – Master of Science in Information Technology
DMA – Doctor of Musical Arts
EdD – Doctor of Education
JD – Juris Doctor
MD – Doctor of Medicine
PharmD – Doctor of Pharmacy
PhD – Doctor of Philosophy
PsyD – Doctor of Psychology
Academic Services Building
Houses the Center for Student Success, Disability Support Services, Registrar’s Office and Student Support Services. Formerly known as Kallas House in honor of founding faculty member James Kallas, a religion professor from 1961 to 1974 who once owned and lived in the house. (3259 Pioneer Ave.)
Adviser
Not "advisor"
Afton Hall
Part of the Old West residence complex, named in honor of estate gift of Frank and Elna Afton. Ten suites provide housing to upperclass students. Built in 1976 and renovated in 2003. (3259 Pioneer Ave.)
Ahmanson Science Center
Dedicated in October 1988 and named for major donor The Ahmanson Foundation. Houses classrooms, faculty offices and laboratories for biology, chemistry and geology departments as well as Richter Lecture Hall, named in recognition of Roy Richter for gift from his wife, Colleen Richter, and their three children, Cal Lutheran alumni. (3260 Pioneer Ave.)
All Nations Plaza Located between the Hansen Administration Building and the Campus Store. Alumni (Alumnus, Alumna, Alumnae)
The plural word for any group of male and female, or only male, graduates is alumni. The singular forms are alumnus for a man and alumna for a woman. Two or more female graduates are alumnae. Do not place these frequently used Latin loan words in italics; see italics.
The nongendered, colloquial forms alum and alums are acceptable unless a formal tone is desired.
Alumni Hall Built in 1962 as one of the original Centrum buildings designed by Los Angeles architect Jefferson Elmendorf and financed by Lutheran Brotherhood Fraternal Insurance Agency. The original library was remodeled and rededicated in 1985, and named in recognition of the Alumni Board of Directors’ fundraising efforts. The adult education center houses Graduate and Professionals Admissions and Telecommunications. (3439 Mountclef Blvd.) Annual
Generally lowercase when used to modify a proper noun; annual meeting is always lowercase.
second annual Lustgarten Pancreatic Cancer Research Run/Walk
Report that sponsors plan to hold an event annually, but do not write “first annual.”
Apostrophes The plural forms of figures, such as years, and of proper nouns, including family names, do not take apostrophes in AP style: Since the 1980s, the Landrys have kept up with the Joneses. (Names ending in s and z add es to form the plural.) Seegraduation years andpossessives. Area Codes Seetelephone numbers. Artwork Titles Write titles of exhibitions in roman with quotation marks. Italicize titles of art. Associations and Organizations Capitalize the full title of associations. Lowercase partial references unless capitalization is required to avoid confusion.
Federal Bureau of Investigation; the bureau Attribution
The name of a speaker usually precedes the verb, but may follow it, especially if additional identification is required.
“That trip changed my life,” Garland said.
“That trip changed my life,” said Garland, a fourth-year student in biology.
Awards
Capitalize proper nouns. Lowercase words that are not part of an award's name.
Rhodes Scholar
Nobel laureate
Pulitzer Prize-winning author
Bachelor's Degree for Professionals Cal Lutheran's undergraduate program for part-time returning students and other post-traditional students. Bell House Built in 1968 by A. Weir Bell, a biology professor who was one of the original faculty members, and his wife, Josephine, who left the house to Cal Lutheran in her estate. Houses the Graduate Psychology program. (3263 Pioneer Ave.) Benson House An estate gift from Naomi Benson, the first campus nurse, houses Bachelor’s Degree for Professionals, Center for Nonprofit Leadership, and Continuing and Professional Education. (132 Faculty St.) Blackbox Theatre The Blackbox Theatre is located in the Theatre Arts Building, which previously served as a gym/auditorium. Board of Regents, Regents Capitalize the names of Cal Lutheran governing bodies. Lowercaseboard andregent as common nouns. Seetitles. Boilerplate Approved text for all audiences used to describe a university program, school or division, often found in news releases. Allowing that the enrollment figure and other details may change, boilerplate for the university is as follows:Cal Lutheran is a selective university based in Thousand Oaks, California, with additional locations in Woodland Hills, Westlake Village, Oxnard, Santa Maria and Berkeley. With an enrollment of about 4,000 students, Cal Lutheran offers undergraduate and graduate programs through its College of Arts and Sciences, School of Management, Graduate School of Education, Graduate School of Psychology, School for Professional and Continuing Studies, and Pacific Lutheran Theological Seminary. For more information, visit CalLutheran.edu. SeeCalifornia Lutheran University. Brackets and Parentheses
Within direct quotations, use brackets to insert a word or phrase that aids the reader. Words in brackets may replace something omitted from the quotation. Elsewhere, use parentheses.
“I don’t see [the Rams] winning the Super Bowl this year,” he said.
At the time, she chose not to apply for Deferred Action for Childhood Arrivals (DACA), a federal program.
Buildings and Campus Locations For names of locations on the main campus, consult the campus map. Buth Park Buth Park, named for former history professor Dr. Wilfred Buth, hosts campus picnics and events. California Lutheran College Cal Lutheran orCLC on second reference. Cal Lutheran’s full name from its incorporation in 1959 until Jan. 1, 1986. SeeCalifornia Lutheran University. California Lutheran University Cal Lutheran is preferred on second reference.CLU is acceptable on second reference in writing for familiar audiences and may be necessary where space is limited, as in headlines. For some well-acquainted groups such as alumni,Cal Lu is acceptable. However, do not use“the Lu,” and do not write “Cal Lutheran University.” Lowercaseuniversity when used in place of the full name. Seeboilerplate. Seeemail (@CalLutheran.edu) andweb addresses. (CalLutheran.edu). Cal Lutheran Identity Statement California Lutheran University is a diverse scholarly community dedicated to excellence in the liberal arts and professional studies. Rooted in the Lutheran tradition of Christian faith, the University encourages critical inquiry into matters of both faith and reason. Cal Lutheran Mission The mission of the University is to educate leaders for a global society who are strong in character and judgment, confident in their identity and vocation, and committed to service and justice. Cal Lutheran Vision California Lutheran University strives to be the best liberal arts university in the West. Campus Lowercase. In references to Cal Lutheran locations, reserve campus for the main campus in Thousand Oaks; north campus and south campus are also lowercase. Seecenter,north campus andPacific Lutheran Theological Seminary. Campus Store Built in 1962 as one of the original Centrum buildings designed by Los Angeles architect Jefferson Elmendorf and financed by Lutheran Brotherhood Fraternal Insurance Agency. Refurbished in 209, the bookstore is operated by Follett Corp. (3445 Mountclef Blvd.) Capitalization
Lowercase common nouns such as university, board and department.
Academic majors and subject areas are lowercase except for proper nouns.
Titles of individuals are lowercase except for proper nouns, some abbreviations and some formal titles given immediately before a name. See titles.
a third-year psychology major
master's degree in economics
the history faculty
the English department
the Department of Chemistry
head coach Isabel Manukian
center director Gwen Richards
associate professor Mark Tanselle
Of special note:
the Class of 2020
the classes of 2019 and 2020
Undergraduate Commencement
Graduate Commencement
commencement
Los Angeles and Ventura counties
Center Lowercase as a common noun. May refer to 1) a Cal Lutheran satellite location where classes are held, as distinct from the main campus in Thousand Oaks, or 2) an academic unit that typically coordinates interdisciplinary or themed research, teaching and community outreach.
Centers of the first kind include the Woodland Hills Center, the Westlake Center (in Westlake Village), and the Oxnard Center. Pacific Lutheran Theological Seminary in Berkeley, California, which houses comprehensive services for students, is not a “center.”
Centers of the second kind include the Center for Economic Research and Forecasting, Center for Equality and Justice, etc.
Note: Buildings and venues such as Soiland Humanities Center and the Soiland Recreation Center (inside Gilbert Sports and Fitness Center) are not referred to as “the center” on second reference. Centuries
Follow AP style by spelling out the numbers one to nine. Use hyphens in compoud modifiers. See dates and years.
throughout the fourth century
12th century
16th- and 17th-century ballads
CEO, Chief Executive Officer
CEO is acceptable on all references to a chief executive officer. Spell out chief financial officer and chief operating officer on first reference. CFO, COO and similar titles are acceptable on second reference.
Cities and States
Follow AP style by spelling out names of states:
Albuquerque, New Mexico
Cook County, Illinois
Names of U.S. and international cities that stand alone in AP news release datelines may also stand alone in stories. Consult the AP entry on datelines.
CLUnet Do not hyphenate. Co- Retain the hyphen after the prefix when forming words that indicate occupation or status:coauthor,co-founded.
No hyphen in other combinations:coed,coexist. College of Arts and Sciences Visit CalLutheran.edu/college-arts-sciences Colons and Semicolons Following a colon, capitalize the first word of a complete sentence.
One use of semicolons is to separate elements in a series if some elements contain commas and cannot be re-ordered for clarity; in such cases, always include a semicolon before the final element in the series. Commas
Use commas to separate elements in a series, but do not put a comma before the conjunction preceding the final element unless required for clarity.
a series of paintings in green, blue and red
three abstract paintings in green, blue and green, and red and white
Use commas after state and country names that are preceded by commas, and after years preceded by commas, in the absence of stronger punctuation such as a period. When an organization’s name includes a comma, follow the name with a comma.
The former roommates living in Ojai, California, and Siuna, Nicaragua, met by chance last year in Hong Kong.
Sept. 11, 1973, is etched in the memories of older Chileans.
He transferred from the University of Nevada, Las Vegas, after one year of study.
A comma follows Washington, D.C., if it does not end a sentence. Use the added abbreviation only if the city might be confused with the state.
the Alabama senator’s Washington office
the West Coast politician’s Washington, D.C., staff
No comma before Jr.
Martin Luther King Jr.’s birthday
No comma before Inc., Co., Ltd., LLC, PC or PLLC in company names.
Commencement
Lowercase unless the full names of events are given:
Graduate Commencement
Undergraduate Commencement
Conejo Hall Part of the Old West residence complex, the hall contains nine suites housing upperclass students. Built in 1976 and renovated in 2004. Named for the Conejo Valley. (3270 Campus Drive) Conferences and Events Services Cal Lutheran is an ideal location for camps, conferences, workshops and seminars. Conferences and Events Services is responsible for the scheduling and setting up of special events on campus as well as contracts and services for conferences and camps. Contractions There is no prohibition on standard contractions, such asthey’re andwouldn’t, but use them sparingly where a formal tone is desired. Convocation, Convocators Capitalize this governing body (exception to AP style); lowercase individual members.
The Convocators will meet on Founders Day.
Monty Clef is a convocator.
Counseling Services Center The Counseling Services Center is home to the Marriage, Family, Child Center and offers counseling to students, low-cost counseling to members of the community, and a counseling training program. Course Names
Capitalize formal course titles. Use Arabic numerals and capitalize the subject when used with a numeral. Otherwise, lowercase academic subjects. See capitalization.
Current Issues in Marine Biology
Biology 101
biology
Cultural Movements and Styles Words referring to movements, styles and schools of thought are capitalized when they are derived from proper nouns or are used as specific historical designations. Such words are lowercased when used in a general descriptive sense.
Dali was one of the original Surrealists.
The fabric design contains few instances of surrealism.
D Building Houses computer laboratories, classrooms and faculty offices for the Mathematics, Physics and Computer Science departments. (3240 Pioneer Ave.) Dashes
Use em dashes or shorter en dashes to set off or separate phrases and clauses, with a space on either side of the dashes. For numerical ranges, use either en dashes or hyphens, without spaces. A rule of thumb followed in the Cultural Events semiannual calendar and elsewhere: In numerical ranges, hyphens connect “like” elements, while en dashes connect “unlike” elements. See hyphens.
He drove to Westfield Mall — he disliked the mall closer to home — to shop for a phone.
April 12-24
April 12, 12:30–2 p.m.
Dates and Years
Where the three elements appear together, month, day and year are written with a comma: Jan. 1, 2020.
The months from August to February are abbreviated with a numerical date.
If a comma precedes the year, another comma follows: He was born March 7, 1981, in Minneapolis.
Month and year are written without a comma, and the month is spelled out: January 2020. Decades do not have an apostrophe before the s: the 1980s, the '90s.
See time of day and centuries.
Dining Commons The Dining Commons and other campus dining services are managed by Sodexo. Doctor On first reference,Dr. is used before the name of an individual who holds a doctor of dental surgery, doctor of medicine, doctor of optometry, doctor of osteopathic medicine or doctor of pediatric medicine degree.
Do not useDr. before the names of individuals with other doctoral degrees. Instead, indicate this specialty in the text: John Jones,who holds a doctorate in psychology, will speak at the university. When appropriate, use initials after the name to indicate an earned degree:John Jones, PhD.
Do not useDr. before names of individuals who hold honorary doctorates. Seeacademic degrees,honorary alumni. Early Childhood Center See Fredrickson Family Early Childhood Center. Ellipses
Use an ellipsis to indicate the omission of one or more words from direct quotes and texts. Leave one regular space on either side of an ellipsis in the middle of a sentence.
"This is a brand new day for the company my aunt founded," she said, "and we wouldn't be here ... without her wisdom and work ethic."
She began the speech, "This is a brand new day for the company ...."
ELS Classrooms & Learning Center The learning center with classrooms is located at 3214 Luther Ave. Additional classrooms and offices are located at 203 Faculty St., formerly known as Mattson House, which for a time served as home to the counseling center. Email Use a hyphen with other e- terms: e-book, e-business, e-commerce. Cal Lutheran email addresses are given with uppercase C andL:cej@CalLutheran.edu. Enormous Luther Enormous Luther was created by Sir Bernardus Weber, Cal Lutheran professor emeritus of art, with help from his students. This modern art sculpture was unveiled in 1985 in Falde Plaza near the Pearson Library and Preus-Brandt Forum. Entitled, Titled Useentitled to mean “having a right to something,” not with titles. Esmay House Purchased by the university from James L. Esmay, the first dean of the School of Management who once owned and lived in the house. It currently houses the Upward Bound/TRIO programs offices. (3256 Luther Ave.) Facility Operations and Planning Built in 2009. Also houses Campus and Auxiliary services. (3550 Campus Drive) Faculty In references to individuals,faculty generally modifies another word:faculty members, faculty mentor, faculty adviser. Afaculty comprises all the teachers of a school, college, university, department or division:the linguistics faculty, the religion and theology faculties. Falde Plaza Falde Plaza was dedicated in 1983 in honor of Gaylerd Falde, a member of Cal Lutheran's first Board of Regents. This courtyard area in front of the Preus-Brandt Forum and Pearson Library complex is home to the Enormous Luther statue. Fredrickson Family Early Childhood Center Dedicated in March 2011 replacing the House on the Hill preschool, which opened in 1975. The center was primarily funded by the Fredrickson and Overton families.(3450 Campus Drive) Geeting Hall See K Building/Geeting Hall. Geographic Terms In general, capitalize words designating regions of a continent or country when the designations imply a meaning larger than simple geographic descriptions.
Midwest; East Coast
Use lowercase for topographic terms that are used in the plural.
the Colorado and Nile rivers
Capitalize the fanciful names of cities and states.
the Windy City; the Golden State George "Sparky" Anderson Baseball Field and Ullman Stadium The field is named in honor of the legendary major league manager who threw out the opening pitch on Jan. 28, 2006. The stadium surrounding the field was dedicated in March 2007 and named for major donors the Ullman family. (115 Overton Court) Gilbert Sports and Fitness Center Dedicated in October 2006 and named in honor of Jack Gilbert, donor/regent/longtime friend. Major named venues in the center include Gilbert Arena; Soiland Recreation Center named in honor of regent/benefactor Marv Soiland; Forrest Fitness Center honoring a major gift received from estate of Arvis Forrest; Lundring Events Center named for alumnus/regent/major donor Karsten Lundring; and Hayashi Athletic Training Room honoring “Doc” Mel Hayashi, an orthopedic physician who served as team physician for many years. (130 Overton Court) Grace Hall Constructed in 2005, the three-story 180-bed apartment-style residence hall includes suites with kitchens and one-person bedrooms. (3255 Luther Ave.) Graduate School of Education Visit CalLutheran.edu/education Graduate School of Psychology Visit CalLutheran.edu/graduate-psychology Graduation Years
When noting graduation years of alumni, use an apostrophe, or closing single quote, before the year where this special character is supported. See academic degrees.
Ahmed Haddad, EdD ’15
Hansen Administration Center Built in 1962 as one of the original Centrum buildings designed by Los Angeles architect Jefferson Elmendorf and financed by Lutheran Brotherhood Fraternal Insurance Agency. Originally occupied by the Bank of A. Levy, now houses Administration and Finance. Dedicated in August 1983 and named in honor of gifts received from Clarence and Del Hansen. (3485 Mountclef Blvd.) Hanson House Former residence built in 1978 now home to School of Management. (3203 Pioneer Ave.) Head Coach, Coach Lowercase. Health Care Two words in all uses. Hispanic-Serving, Hispanic-Serving Institution CapitalizeHispanic-Serving Institution (HSI) only in references to the U.S. Department of Education designation. The capitalS is an exception to the usual practice of lowercasing words that immediately follow a hyphen. Homecoming Acceptable on all references to the annual Cal Lutheran event. Also: Homecoming and Family Weekend. Honorary Alumni versus Honorary Degrees
Honorary alumnus/alumna is a designation created by the Alumni Board of Directors to recognize individuals who have not received a degree, actual or honorary, from Cal Lutheran, but who deserve special recognition for contributions to the university or alumni community. Not to be confused with an honorary degree, the designation is noted by an H and the year of the recognition by the alumni board.
Todd Martin, H’10, moderated the panel discussion.
Honorary degrees are approved by the faculty and awarded with the full endorsement of the university. All references to honorary degrees should specify that the degree was honorary. Never use “Dr.” before the name of an individual whose only doctorate is honorary. See doctor.
L.H.D. is the abbreviation for Doctor of Humane Letters, one of the honorary degrees historically awarded by Cal Lutheran.
LL.D. is the abbreviation for Doctor of Laws, another degree the university has awarded.
In an exception to the guidance in academic degrees, use the periods. For clarity, the abbreviation and year are followed by the Latin phrase honoris causa.
Wendy Rodriguez, LL.D. ’07 honoris causa
Wendy Rodriguez, who received an honorary Doctor of Laws from Cal Lutheran in 2007, moderated the panel discussion.
Hutton Softball Field Dedicated in March 2008 and named in honor of major contributor The Hutton Foundation. (149 Overton Court) Hyphen
Use hyphens in compound modifiers when necessary to prevent confusion.
stem cell research
small-business conference
Use a hyphen where its omission would result in ambiguity.
He recovered his health.
He re-covered the leaky roof.
No hyphen in African American (all uses), Asian Americans (noun), etc.
Use hyphens or en dashes for numerical ranges, without spaces.
32-35 inches
32.5–35 inches
See co-, email and -wide. Consult AP style on hyphens with prefixes and suffixes.
Internet Lowercase. The web is a subset of the internet. They are not synonymous and should not be used interchangeably in stories. Italics
In news releases and media alerts, follow AP style by using only plain text and no italics. Quotation marks serve where necessary to indicate foreign words and composition titles in releases.
Elsewhere, italicize titles of stand-alone works such as books, feature films, plays, albums, radio and television series, and art exhibitions. Short films, chapters, one-act plays, songs and works in a series take quotation marks instead. See quotation marks.
Italicize foreign words and, where appropriate, include the English translations in parentheses.
l’Ordre national du Mérite (National Order of Merit)
Do not italicize commonly used foreign words that have been adopted into English usage.
summa cum laude
pro bono
alma mater
faux pas
Italics may also be used to emphasize a word or phrase. They may distinguish a supplementary block of copy from the main body of an article, as with a brief note on a writer or interview subject, a block quotation, or directions to a venue.
In a block of copy already in italics, use plain text for words that would appear in italics elsewhere.
Gill is the author of Drinking From Love's Cup: Surrender and Sacrifice in the Vārs of Bhai Gurdas Bhalla (2016).
Set conference names and festival names in plain text with no quotation marks.
Musical compositions identified by sequence are not italicized.
Mozart’s Symphony No. 32 in G major
Janss Hall Part of the Old West residence complex named in honor of the Janss family, early landholders in Thousand Oaks and the Conejo Valley and generous supporters of CLC. Built in 1976 and renovated in 2002, the co-ed hall houses upperclass students. (3257 Campus Drive) K Building/Geeting Hall Built in 1962 and renovated in 2010 to house the Geeting Hall music rehearsal room. (145 Memorial Parkway) Kallas House See Academic Services Building. KCLU Broadcast Center Built in 2010, home of KCLU-FM Radio includes the Paulucci Studios named for Joe and Pat Paulucci, the Martin V. and Martha K. Smith Education Suite and a community room/performance space. (3500 Campus Drive) Kingsmen Park and Regals Way Kingsmen Park is the heart of the Cal Lutheran campus. Each summer, the park becomes an amphitheatre for Kingsmen Shakespeare Festival performances. Regals Way bordering Kingsmen Park is the main north/south walkway through the campus known as the academic corridor. Kramer Court Apartment-style units completed in fall 1961 and named for donors J. Henry Kramer and his wife. (3239 Regent Ave.) Kwan Fong Gallery of Art and Culture Donated by the Kwan Fong Charitable Foundation founded by former regent and artist Maria Lee and Cantonese opera singer Katie Yang. Located in the Soiland Humanities Center, the gallery hosts exhibitions by nationally recognized artists as well as CLU faculty and students. Leland House Leland House is one of several residential homes adjacent to campus that provide housing for Cal Lutheran students. Los Angeles L.A. is acceptable on second reference and in headlines. Use the periods without spaces (exception to AP style). Luedtke Bridge Paid for by an anonymous donor, the pedestrian bridge over Olsen Road was renovated in 2006 and dedicated in honor of President Luther S. Luedtke and Carol Luedtke in recognition of their 14 years of dedicated service to the University. Luther Statue Cal Lutheran's landmark statue of Martin Luther was a gift to the University by the first graduating class of 1964. Designed by art professor emeritus Sir Bernardus Weber, the modern art sculpture was unveiled in Falde Plaza in 1985. Magazine Titles Italicize the titles of magazines. Italicize and capitalize the words the and magazine (before and after the name, respectively) only when they are part of the official title. Mattson House See ELF Classrooms & Offices. Ministers and Priests Follow AP Style by using the Rev. on first reference; do not omit the articlethe. Do not usecurate,father,pastor and similar words before an individual's name, but identify a Catholic priest as such in the context. Mogen Hall Known as the University Apartments when its doors opened in 2000 and later renamed in honor of Mary Mogen’s trust and annuity program. (3265 Luther Ave.) Mount Clef Stadium Mount Clef Stadium is the former home to the Kingsmen football team. The last game in the stadium was played on Nov. 13, 2010, with a 24-0 shutout win over Occidental College. (See William Rolland Stadium and Gallery of Fine Art) Mount Clef, Mountclef Write Mount Clef as two words in the following: Mount Clef Ridge, Mount Clef Stadium, Mount Clef Hall. Write Mountclef as one word in Mountclef Boulevard, in accordance with Thousand Oaks street signage. Music Titles Italicize the titles of long musical works (operas, tone poems, oratorios, concertos, symphonies, sonatas, etc.). Compositions identified by sequence are not italicized: Mozart's Symphony No. 32 in G major. Write titles of songs and short musical compositions in roman within quotation marks. Names Provide the full, official names of people, organizations, brands and buildings on first reference. Passing references to some organizations, brands and buildings that are not integral to the story may allow for the use of a recognizable shortened form, nickname or abbreviation such as the Valley or the Reagan Library. See additional entries on names. Names of Buildings
For names of locations on the main campus, consult the campus map.
Names of Organizations
Use the full names of most organizations on first reference, as preferred by the organization. Exceptions to AP style adopted here include many of the colleges and universities in California’s public systems:
CSU Northridge
UCLA
UC Riverside
Lowercase the article the before a proper name unless it is included in the formal name.
The Grammy Museum
Whitney Museum of American Art
AARP
The Wall Street Journal
the Los Angeles Times
Do not use all caps in a name unless it’s an acronym.
Best Buy
PETA
Do not use TM or ® symbols in the name of a company or brand.
Names of People
On first reference: Generally, an individual’s preference supersedes other sources. Avoid using middle initials unless the individual has a preference or the omission could cause confusion. The use of initials has been more common in the full names of board members and senior administrators. Use periods with no spaces between initials in names: E.F. Hutton. Do not use commas before Jr. and Sr. The abbreviations for junior and senior appear only with full names: Martin Luther King Jr.
On second reference: Omit titles before names: Chaudhury, not “professor Chaudhury.” On second reference to adults, use last names or family names, or follow a relevant cultural practice. On second reference to children, use first names or given names, or follow a relevant practice.
New West Complex Built in 1979, the coed complex includes North, South, Potenberg and West halls. (Campus Drive) North Campus The designation for the portion of the Thousand Oaks main campus north of Olsen Road is lowercase. Avoid references to "south campus." See campus. North Hall One of the original New West residence halls constructed in 1979. The coed facility has 17 suites. (3289 Campus Drive) Numerals
Generally, write out the numbers one to nine and use figures for 10 and up.
Use figures for ages.
at age 5
the 3-year-old
Use figures for dollar amounts and measurements.
$3 million grant
3-inch plywood
See percentages.
Nygreen Hall Academic building, dedicated in April 1973, with lecture hall, classrooms and faculty offices. Honors the Nygreen family and gifts from Maria Nygreen of Los Angeles and her sister Anne E. Johnson. (130 Memorial Parkway) Old West Complex The first major expansion of dorm facilities was designed to serve as condos for senior citizens due to concern about future student population.The complex includes Conejo, Janss, Afton and Rasmussen halls. (Campus Drive) Olson Gazebo Olson Gazebo, located in Kingsmen Park, was dedicated in 1981 in honor of the parents of former Cal Lutheran President Raymond Olson. Orville Dahl Centrum The name honoring the founder of the California Lutheran Educational Foundation and the university’s first president refers to the original complex of buildings located on a 12-acre site between Memorial Parkway and Olsen Road. Pacific Lutheran Theological Seminary Acceptable on all references to Pacific Lutheran Theological Seminary of California Lutheran University, the rarely used full name. On second reference,the seminary,the theological seminary andPLTS are acceptable. Avoid referring to the seminary’s downtown Berkeley location as a “campus.” PLTS is not a “center.” Seecenter. Parentheses Seebrackets and parentheses. Pederson Hall Completed in 1961 and originally named Alpha Hall. Renamed in 1975 in honor of pioneer donors Richard and Ruth Pederson. (3253 Mountclef Blvd.) Pederson Ranch House (Alumni House) Built in 1913 by the Pederson family, the house and water tower were designated a Ventura County Historical Landmark in 1978. Renovated and moved to its current location in 1986, it now houses the Music Department. (3201 Regent Ave.) Percentages
Use numerals with the symbol % for percentages, except in casual usage. Do not use % for percentage points.
5% less than last year
22% less than last year
a decline of seven percentage points
a decline of 10 percentage points
Watch your terms and your math. The change from 60% to 45% is a drop of 15 percentage points. It also a drop of 25%. It is absolutely not a “15% decrease.”
For values above 100%, avoid expressions that employ percentages, which often lead to confusion. For example, an increase in the amount of 300% is better expressed as a four-fold increase. See numerals.
Peters Hall Dedicated in October 1981 in honor of an estate gift of Magda Peters. Houses School of Management classrooms and faculty offices. (140 Memorial Parkway) Pioneer House Former residence now occupied by School of Management offices. (3275 Pioneer Ave,) Plurals of Letters and Numbers Form the plural of numbers, decades and multiple letters by adding s: the 1980s, ABCs, IOUs
Form the plural of single letters by adding 's: the three R's, mind your p's and q's Poem Titles Italicize the titles of collections of poetry and long poems. Use roman within quotation marks for titles of short poems. Possessives
The possessive form of it is its; it’s is a contraction of “it is.”
Possessives generally take apostrophes. Forming them can be confusing, however, particularly when nouns end in s. For plural nouns ending in s, add only an apostrophe: visitors’ entrance. For proper names ending in s, whether singular or plural, add only an apostrophe: Weiss’ memoir. For singular common nouns ending in s, add ’s: the campus’s new sculpture garden, the witness’s story.
Potenberg Hall
Built in 1989 as part of the New West complex and originally called East Hall. The coed hall with 17 suites was renamed in 1993 to honor Esther and Florence Potenberg. (3285 Campus Drive)
Poulson Tennis Center Dedicated in February 2009 in recognition of longtim regent Ron Poulson and his wife, Sue. (75 Overton Court) Preus-Brandt Forum Dedicated in April 1985 and made possible by Linka Preus Johnson, an early registrar of the college. Seats 200 for drama productions, campus meetings and special events. (135 Chapel Lane) Quad Avoid this unofficial name for the area near the flagpoles between Soiland Humanities Center and Nygreen Hall. Quotation Marks
Place quotation marks around direct quotations; the titles of components of stand-alone works, such as book chapters; and titles of articles in academic journals or magazines, individual episodes of television series, songs, poems, lectures and speeches. In news releases and media alerts, where only plain text is used, quotation marks are also used for stand-alone works and unfamiliar foreign terms. Seeitalics.
The period and the comma always go within quotation marks. The dash, the semicolon, the question mark and the exclamation point go within the quotation marks when they apply to the quoted matter only. They go outside when they apply to the whole sentence.
Race and Ethnicity
African American, black, white, Latino, Latina/o and Hispanic are acceptable designations, among many others. After carefully considering whether identification by a category such as race is helpful in context, respect an individual’s preferred term if a preference is expressed. Be specific when possible about heritage, especially when writing about individuals. Consult multiple sources on the precise meanings of labels, which in practice are frequently ignored. Do not include a hyphen in Asian American, Mexican American, etc.
African American studies
oral histories of Vietnamese Americans
See Hispanic-serving.
Rasmussen Hall Opened in 1976 as part of Old West complex and renovated in 2001. The 10-suite coed hall for upperclass students was named to honor Marian Rasmussen and her sister Doris (Rasmussen) Brummett for their charitable gifts. (3265 Campus Drive) Samuelson Aquatics Center Dedicated in April 1991 and named in honor of Raphael Adolphus Samuelson, an original CLU fellow and a strong supporter of the church and the university. Stained glass windows designed and installed by 1972 alumnus Mark Gulsrud. Borg Petersen Memorial Organ dedicated in October 1991, donated by Paul Petersen in his wife’s memory. (165 Chapel Lane) Samuelson Chapel Dedicated in April 1991 and named in honor of Raphael Adolphus Samuelson, an original CLU fellow and a strong supporter of the church and the university. Stained glass windows designed and installed by 1972 alumnus Mark Gulsrud. Borg Petersen Memorial Organ dedicated in October 1991, donated by Paul Petersen in his wife’s memory. (165 Chapel Lane) Scandinavian Cultural Center The former residence contains an extensive collection of historical and cultural documents and artifacts available for viewing by the public during designated hours. Center also houses Educational Effectiveness and Institutional Research offices. (26 Faculty Drive) Scholar, Scholarship Capitalize in named titles and awards such asFulbright Scholar,Fulbright Scholarship,Presidential Scholar andPresidential Scholarship. School for Professional and Continuing Studies Note: for, not "of"
Visit CalLutheran.edu/professional-continuing-studies
School of Management Visit CalLutheran.edu/management SEEd Project Garden In September 2010, Cal Lutheran established a SEEd Project Garden on campus. The garden provides opportunities for students to directly engage in the University's sustainability efforts and supports the nationwide movement that encourages people to purchase local produce. The garden also contains the Fry Family Outdoor Classroom. Semester Lowercasefall semester andspring semester. CapitalizeFall 2018, etc. Semesters divide the year in two, and there is no “summer semester.” Soiland Humanities Center Dedicated in February 1998 and named in recognition of Marvin Soiland’s 30 plus years of service as a regent and benefactor. In addition to classrooms, faculty offices and conference rooms, the complex encompasses Overton Hall, a recital and multipurpose room named in tribute to Paul and Naomi Overton; the Kwan Fong Gallery of Art and Culture donated by the Kwan Fong Charitable Foundation founded by former regent and artist Maria Lee and Cantonese opera singer Katie Yang; and Uyeno Amphitheatre, an outdoor space named for Japanese educator/businessman Yutaka Uyeno. (120 Memorial Parkway) South Hall Constructed in 1979 as one of the original residence halls in the New West complex, the 17-suite coed hall was renovated in 2005. (3281 Campus Drive) Spies-Bornemann Center for Education and Technology Spies-Bornemann Center for Education and Technology incorporates a distance learning classroom, television studio, model laboratory and offices for the Graduate School of Education faculty. The $6.2 million, 23,000-square-foot facility, designed to afford maximum interaction between students and faculty, houses undergraduate, professional and graduate programs. States See cities and states. Student Union Built in 1962 as one of the original Centrum buildings designed by Los Angeles architect Jefferson Elmendorf and financed by Lutheran Brotherhood Fraternal Insurance Agency. The original cafeteria served as the dining commons until the Ullman Commons opened in 2014 on the previous student union site. The renovated building reopened in November 2015. In addition to being a central gathering place, it houses Student Affairs, Student Life, Student Employement, student government, Ahmanson Veteran Resource Office, Career Services, Experiential Learning, Center for Cultural Engagement and Inclusion, Roth Nelson Conference Room, and Wellness Resources and Recreational Sports. (3391 Mountclef Blvd.) Suffix -wide No hyphen before the suffix: campuswide, statewide, universitywide Swenson Center for the Social and Behavioral Sciences The first LEED-certified (silver level) building on campus houses faculty offices, classrooms, the Sarah W. Heath Center for Equality and Justice, and The Echo student newspaper. Dedicated in 2010 and named in honor of major donors Jim and Sue Swenson. (141 Faculty St.) Telephone Numbers
Use hyphens in seven- and 10-digit phone numbers. It is also acceptable to enclose area codes in parentheses instead of using a hyphen (exception to AP style); this style is preferred by Cal Lutheran's marketing division. For internal Cal Lutheran audiences, four-digit extensions may be given alone preceded by x.
805-493-2411
805-493-2411
x2411
The Habit Burger Grill at the Centrum Built in 1962 as one of the original Centrum buildings designed by Los Angeles architect Jefferson Elmendorf and financed by Lutheran Brotherhood Fraternal Insurance Agency. The original bookstore has seen several renovations and multiple uses including, most recently, housing the Centrum Cafe with patio seating and a fire pit. In 2019 it was renovated and reopened by the popular fast-food chain The Habit Burger Grill. (3427 Mountclef Blvd.) Theater
Not "theatre" except in proper names so spelled.
Black Box Studio Theatre
Department of Theatre Arts and Dance
bachelor's in theater arts and dance
Theatre Arts Building The Butler building brought to campus from the Camarillo Airport in 1962 served as gym/auditorium until construction of Gilbert Sports and Fitness Center in 2006. Now houses the Theatre Arts and Dance Department, Black Box Theatre and the mail room. (141 Memorial Parkway) Thompson Hall Completed in 1961 to house female students. Originally called Beta Hall, it was renamed in 1975 to honor Clarence and Dagny Thompson. (3203 Mountclef Blvd.) Time of Day
Use figures: 1 p.m., 12:15 a.m.; noon and midnight are exceptions.
Do not repeat a.m. and p.m. in ranges unless needed for clarity: 9-11 a.m., from 8 a.m. to 2 p.m.
Avoid such redundancies as "10 a.m. this morning."
Titles
For titles of individuals, capitalize proper nouns, honorifics and abbreviations such as the Rev., Sen., Lt. Gen. and CEO, and a few formal titles given immediately before a name. When in doubt about the formality of a title, lowercase it. After a name, most titles are spelled out and lowercase. For clarity, place long titles after names. The full name of an endowed chair is a proper noun, and so is the full name of a school, department or center.
Gerhard Apfelthaler, dean of the School of Management
Gerhard Apfelthaler, the dean of the school
Dean Gerhard Apfelthaler
associate professor Rachel Casas
Casas, an associate professor of psychology
Wanda Jackson, founder, president and CEO
Sen. Kamala Harris
Kamala Harris, the U.S. senator from California
Omit titles before names on second reference: Chaudhury, not “professor Chaudhury.” See capitalization and entitled, titled.
Trinity Hall Dedicated in fall 2009, the 220-bed residence hall features classrooms, six- and four-bedroom suites, and studio apartment. (3275 Campus Drive) Ullman Commons/Conference Center Dedicated in October 2014 and named for major contributor the Ullman family foundation. Houses Starbucks and Jack's Corner, named to honor donor/regent Jack Gilbert. (101 Memorial Parkway) Undergraduate Admission and Financial Aid Built in 2009. (3273 S. Campus Drive) Undocumented Immigrant Not “illegal immigrant,” which is imprecise and insulting.Illegal immigration is acceptable where the context warrants. University Lowercase except in proper names. University Plaza University Plaza is located between Gilbert Sports and Fitness Center and William Rolland Stadium and Gallery of Fine Art. Web Addresses In most web addresses, do not includehttp://,https:// orwww. The final forward slash is not needed in web addresses. Addresses in Cal Lutheran’s domain are given with uppercaseC andL:CalLutheran.edu/music. Welcome Center Built in 1962 as one of the original Centrum buildings designed by Los Angeles architect Jefferson Elmendorf and financed by Lutheran Brotherhood Fraternal Insurance Agency. Originally a post office and communication services center, the building now houses Campus Safety and HumanResources in addition to serving as a welcome and information center. (3471 Mountclef Blvd.) West Hall The 17-suite coed facility constructed in 1979 was one of the original residence halls in the New West complex. (3297 Campus Drive) William Rolland Art Center Home to the Multimedia and Art departments with computer labs, video and audio editing suites, virtual reality and video production studio, and gallery space for student work. Opened in fall 2017 next to William Rolland Stadium and Gallery of Fine Art and named for the same benefactor. (3350 Campus Drive) William Rolland Stadium and Gallery of Fine Art Dedicated in October 2011 and named for real estate developer/retired firefighter and major contributor William Rolland. (160 Overton Court) Woken Walk Woken Walk, a gift of Milt and Mary Woken, is a trail along the riparian corridor behind the athletics complex. Dedicated in October 2009, the walk begins at Mountclef Boulevard and ends near the Riparian Building.
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Frank E. Petersen Jr., first black Marine aviator, dies
|
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[
"Matthew L. Schehl"
] |
2015-08-28T00:00:00
|
Retired Lt. Gen. Frank E. Petersen, the Marine Corps’ first black aviator and brigadier general, died Aug. 25.
|
en
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/pf/resources/img/favicons/mar/apple-touch-icon.png?d=130
|
Marine Corps Times
|
https://www.marinecorpstimes.com/news/your-marine-corps/2015/08/28/frank-e-petersen-jr-first-black-marine-aviator-dies/
|
Retired Lt. Gen. Frank E. Petersen, the Marine Corps' first black aviator and brigadier general, died Aug. 25.
Petersen, who retired from his groundbreaking 38-year military career in 1988, died at his home in Stevensville, Maryland, at the age of 83 following complications from lung cancer.
"The impact he had on the Marine Corps is more than can be put into words," Lt. Gen. Ronald Coleman (ret.) told Marine Corps Times. "Monumental, if you can think ... about where he came from and what he had to go through."
"What he's done for the Corps, for the nation, for not only black America but white America, is something for the ages, and I don't think we could ever pay him enough for what he's done."
Petersen received his promotion to brigadier general in 1979, making him the first black general in the Marine Corps. He received his third star in 1986.
Coleman was promoted to lieutenant general 20 years later, becoming the second black Marine to achieve that rank.
"He had two fights, so he fought one fight and put the other one behind him," Coleman said "He wanted to be a Marine, so he focused on that and just when forward."
"He pulled, he pushed a lot of people just to make it; maybe not to be a captain, major, colonel or general, but just to persevere."
Petersen was an inspiration to all those who followed in his footsteps," said retired Lt. Gen. Willie Williams, another groundbreaking black Marine who served as the top adviser to two commandants and worked alongside some of the military's most senior leaders.
"You could always look up with great pride just to be associated with a man of such great character. The impact he had was extraordinary — beyond words.
"When you look at the history of the Marine Corps, once the services opened the door to desegregation, he was one of the first to step forward," Williams said. "His performance was truly top of the line. True performance is colorblind: if you perform at the highest level, you're recognized for that, not as black or white, but as someone worthy to wear the stars."
Petersen, who received his Marine Corps commission in 1952 following a two-year enlistment in the Navy, was the first black Marine to command at all levels of Marine Corps aviation, from an aircraft squadron to an aircraft wing.
He completed a 1953 tour during the Korean War and a 1968 tour in Vietnam, flying more than 350 combat missions and 4,000 flying hours. Petersen received the Purple Heart in 1968 after his F-4 Phantom was shot down over the demilitarized zone in Vietnam.
Petersen retired in 1988 after serving as special assistant to the chief of staff.
Petersen's other military awards include the Navy Distinguished Service Medal, Defense Superior Service Medal, Legion of Merit with valor device, Distinguished Flying Cross and the Meritorious Service Medal.
"He was as peaceful and gentle as you could ask a dad to be and was always there for us," his son Frank E. Petersen III said. "You couldn't ask for a better father."
The Associated Press contributed to this report.
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https://www.navalcovermuseum.org/wiki/FRANK_E_PETERSEN_JR_DDG_121
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FRANK E PETERSEN JR DDG 121
|
https://www.navalcovermuseum.org/favicon.ico
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https://www.navalcovermuseum.org/favicon.ico
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Ship Name and Designation History
This section lists the names and designations that the ship had during its lifetime. The list is in chronological order.
Arleigh Burke (Flight IIA) Class Guided Missile Destroyer
Naming Ceremony 30 March 2016 - Construction began 27 April 2016
Keel Laid 21 February 2017 - Launched 13 July 2018
Christened 6 October 2018 - Delivered to USN 30 November 2021
USS FRANK E. PETERSEN JR. DDG-121
Commissioned 14 May 2022
Naval Covers
This section lists active links to the pages displaying covers associated with the ship. There should be a separate set of pages for each incarnation of the ship (ie, for each entry in the "Ship Name and Designation History" section). Covers should be presented in chronological order (or as best as can be determined).
Since a ship may have many covers, they may be split among many pages so it doesn't take forever for the pages to load. Each page link should be accompanied by a date range for covers on that page.
USS Frank E. Petersen Jr. Covers Page 1 (2017-2022)
Postmarks
This section lists examples of the postmarks used by the ship. There should be a separate set of postmarks for each incarnation of the ship (ie, for each entry in the "Ship Name and Designation History" section). Within each set, the postmarks should be listed in order of their classification type. If more than one postmark has the same classification, then they should be further sorted by date of earliest known usage.
A postmark should not be included unless accompanied by a close-up image and/or an image of a cover showing that postmark. Date ranges MUST be based ONLY ON COVERS IN THE MUSEUM and are expected to change as more covers are added.
>>> If you have a better example for any of the postmarks, please feel free to replace the existing example.
Postmark Type
---
Killer Bar Text
Postmark
Date Thumbnail Link To
Postmark or
Cover Image Thumbnail Link
To
Cover Image
USPS Type 11
"Shipbuilding City Br."
Pascagoula MS
2017-02-21
N/A
Keel Laying, cachet by Richard D. Jones
Locy Type FDC F
2022-05-14
N/A
PROPOSED Commissioning postmark, created by Wolfgang Hechler
USPS
Pictorial Postmark
"Commissioning Sta."
Charleston SC
2022-05-14
N/A
PROPOSED Commissioning postmark, created by Wolfgang Hechler
Other Information
NAMESAKE - Lieutenant General Frank Emmanuel Petersen Jr., USMC. - 2 March 1932 – 25 August 2015
Petersen was the first colored Marine Corps aviator and the first colored Marine Corps General. Petersen retired from the Marine Corps in 1988 after 38 years of service. "At the time of his retirement he was by date of aviator designation the senior ranking aviator in the U.S. Marine Corps and the U.S. Navy with respective titles of 'Silver Hawk' and 'Gray Eagle'. His date of designation as an aviator also precedes all other aviators in the U.S. Air Force and U.S. Army."
In 2010, President Obama appointed Petersen to the Board of Visitors to the United States Naval Academy.
LtGen Petersen was authorized to wear the Naval Aviator Badge and earned the Navy Distinguished Service Medal, the Defense Superior Service Medal, the Legion of Merit w/ Valor device, the Distinguished Flying Cross, the Purple Heart Medal, the Meritorious Service Medal, the Air Medal w/ 1 award star & Strike/Flight numeral "10", the Navy and Marine Corps Commendation Medal w/ Valor device, the Air Force Commendation Medal, the Combat Action Ribbon, the Navy Presidential Unit Citation Ribbon, the Navy Unit Commendation Ribbon, the Navy Meritorious Unit Commendation Ribbon, the National Defense Service Medal w/ 1 service star, the Korean Service Medal w/ 2 service stars, the Vietnam Service Medal w/ 4 service stars, the Navy Sea Service Deployment Ribbon, the Korean Presidential Unit Citation Ribbon, the Vietnam Gallantry Cross Unit Citation Ribbon, the Vietnam Civil Actions Unit Citation Ribbon, the United Nations Korea Medal and the Vietnam Campaign Medal during his distinguished Marine Corps career.
The ships sponsor is D'Arcy Neller, wife of General Robert Neller, Commandant of the Marine Corps.
If you have images or information to add to this page, then either contact the Curator or edit this page yourself and add it. See Editing Ship Pages for detailed information on editing this page.
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https://www.cjonline.com/story/news/local/2016/11/22/navy-destroyer-named-after-native-topekan-frank-e-petersen-jr/16566473007/
|
en
|
Navy destroyer named after native Topekan Frank E. Petersen Jr.
|
[
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[
"Tim Hrenchir, The Topeka Capital-Journal"
] |
2016-11-22T00:00:00
|
A Navy destroyer that is under construction will bear the name of native Topekan and military trailblazer Frank E. Petersen Jr., who died last year at age 83. \n Secretary of the Navy Ray Mabus announ…
|
en
|
Topeka Capital-Journal
|
https://www.cjonline.com/story/news/local/2016/11/22/navy-destroyer-named-after-native-topekan-frank-e-petersen-jr/16566473007/
|
A Navy destroyer that is under construction will bear the name of native Topekan and military trailblazer Frank E. Petersen Jr., who died last year at age 83.
Secretary of the Navy Ray Mabus announced Nov. 9 that Arleigh Burke-class destroyer DDG 121 would be named in honor of Petersen, a three-star general who became the first black aviator, first black general and first black base commander in the Marine Corps.
“The courage and perseverance of Lt. Gen. Petersen throughout his distinguished and groundbreaking career make him especially deserving of this honor,” Mabus said. “Those who serve aboard DDG 121 will, for decades, carry on the storied legacy of this Marine Corps hero.”
Construction of the USS Frank E. Petersen Jr. began April 27 at the Huntington Ingalls Industries shipyard in Pascagoula, Miss., the Navy reported on its website at http://cjon.co/2gi43pi.
The vessel is expected to enter the Navy fleet in 2020. The ship will be 509 feet long, have a beam length of 59 feet and be capable of operating at speeds of more than 30 knots.
Petersen is thought to be the first Topeka native to become the namesake of a U.S. Navy ship.
He graduated in 1949 from Topeka High School, where Topeka Capital-Journal archives show his brother — Bill Petersen — was the first black player on the Trojan basketball squad.
Frank Petersen’s father initially refused to sign papers to enable him to join the Navy, so he spent two semesters at Washburn University, he told The Capital-Journal.
Petersen enlisted in the Navy in 1950. He left in 1952 to accept a commission as a second lieutenant and become the first black pilot in the Marine Corps.
Petersen flew more than 350 combat missions and more than 4,000 military aircraft hours during the Korean and Vietnam Wars. He also became the first African-American in the Marines to command a fighter squadron, an air group and a major base.
Petersen earned a master’s degree in 1973 from the National War College in Washington, D.C. He was promoted to brigadier general in 1979, major general in 1983 and lieutenant general in 1986. He retired in 1988 as the senior aviator on active duty in the U.S. military.
Awards Petersen received for his service included the Purple Heart, the Distinguished Flying Cross, the Meritorious Service Medal, the Navy Distinguished Service Medal, the Defense Superior Service Medal and the Legion of Merit with Valor Device.
Petersen told The Capital-Journal his Purple Heart resulted from a mission into North Vietnamese airspace, where a 37 mm cannon shell hit his plane and set its left engine on fire. As Petersen flew home, his other engine caught fire, the blaze burned through his plane’s hydraulic system, and he lost control.
Petersen bailed out just past the South Vietnamese border, “five minutes on the good side, so to speak,” he told the newspaper.
He said he suffered a broken nose, a compression fracture of a lower vertebra and a hairline fracture of his left hip while ejecting from his plane — then flew about 240 more missions with those injuries while not learning how badly he had been hurt until he returned to the U.S. on leave.
The Topeka High School Historical Society inducted Frank Petersen into its Hall of Fame in 1986-87.
President Barack Obama appointed him in 2010 to the Board of Visitors to the U.S. Naval Academy, which monitors morale, instruction and other matters.
Petersen died last year at his home in Maryland.
Contact reporter Tim Hrenchir at (785) 295-1184 or @timhrenchir on Twitter.
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The commissioning ceremony for the U.S. Navy's Arleigh Burke-class destroyer USS Frank E. Petersen Jr. (DDG 121) is scheduled for tomorrow, May 14, in...
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The commissioning ceremony for the U.S. Navy's Arleigh Burke-class destroyer USS Frank E. Petersen Jr. (DDG 121) is scheduled for tomorrow, May 14, in...
|
de
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/marines/videos/uss-frank-e-petersen-jr/4916248915167580/
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https://www.findagrave.com/memorial/151274162
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LTG Frank Emmanuel Petersen Jr. (1932-2015) – Find...
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United States Marine Corps General. A pioneering figure of American Military History, he held the distinction of being the first African-Amerian to attain the rank of General in the United States Marine Corps. Additionally, he became the first African-American to serve as an aviator with the Marine Corps. A veteran of...
|
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|
/assets/images/fg-icon.svg
|
https://de.findagrave.com/memorial/151274162/frank_emmanuel-petersen
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| 92
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https://www.loc.gov/item/afc2001001.23886/
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|
Frank A. Petersen Collection
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Captain, Air Force, World War, 1939-1945 - Fort Sill, Oklahoma; European Theater; Philippines.
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en
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The Library of Congress
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https://www.loc.gov/item/afc2001001.23886/
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Using VHP Material in Publication or Exhibition
The Veterans History Project (VHP) at the Library of Congress collects, preserves and makes accessible the firsthand recollections of U.S. military veterans who served from World War I through more recent conflicts and peacekeeping missions, so that future generations may hear directly from veterans and better understand what they saw, did and felt during their service. The Veterans History Project Collection includes oral histories along with documentary materials such as original letters, diaries, photographs, and memoirs.
Veterans and interviewers contribute these materials to the Library for scholarly and educational purposes, retaining any copyright they may hold. Therefore, permission must be obtained before using the interview or other materials in exhibition or publication. Researchers or others who would like to make further use of these materials should contact the Veterans History Project for assistance.
As a publicly supported institution, the Library generally does not own rights to material in its collections. Therefore, it does not charge permission fees for use of such material and cannot give or deny permission to publish or otherwise distribute material in its collections. Responsibility for making an independent legal assessment of an item from the Library’s collections and for securing any necessary permissions rests with persons desiring to use the item.
Please contact us with questions.
Obtaining Copies of VHP Materials
In order for VHP materials to be duplicated, we must receive written permission from the interviewee for you to obtain a copy of the recording unless the proposed use is limited to personal use, research, or other uses permissible by copyright law. If the interviewee is deceased, their next-of-kin may grant written permission.
Please contact VHP for assistance if you need to contact a veteran for permission to use their materials in exhibition or publication, or if you have received permission from the veteran and need access to high-resolution copies of VHP collection materials.
Citing VHP Materials
Please use the following formats when citing Veterans History Project materials (substituting the appropriate name and collection ID number).
Materials as a whole:
John P. Snodgrass (AFC 2001/001/[VHP collection]), Veterans History Project Collection, American Folklife Center, Library of Congress.
Manuscript material:
John P. Snodgrass (AFC 2001/001/[VHP collection]), Memoirs (MS02), Veterans History Project Collection, American Folklife Center, Library of Congress.
John P. Snodgrass (AFC 2001/001/[VHP collection]), Transcript (MS04), Veterans History Project Collection, American Folklife Center, Library of Congress.
John P. Snodgrass (AFC 2001/001/[VHP collection]), Correspondence (MS01), Veterans History Project Collection, American Folklife Center, Library of Congress.
Recording:
John P. Snodgrass (AFC 2001/001/[VHP collection]), Audio recording (SR01), Veterans History Project Collection, American Folklife Center, Library of Congress.
John P. Snodgrass (AFC 2001/001/[VHP collection]), Video recording (MV01), Veterans History Project Collection, American Folklife Center, Library of Congress.
Photograph:
John P. Snodgrass (AFC 2001/001/[VHP collection]), Photographs (PH01), photographer unknown, Veterans History Project Collection, American Folklife Center, Library of Congress.
John P. Snodgrass (AFC 2001/001/[VHP collection]), Photographs (PH03-PH14), Ralph Williams photographer, Veterans History Project Collection, American Folklife Center, Library of Congress.
Computer file:
John P. Snodgrass (AFC 2001/001/[VHP collection]), Computer file (CF01), Veterans History Project Collection, American Folklife Center, Library of Congress.
Artifact:
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https://www.navaltoday.com/2022/04/14/us-navys-destroyer-frank-e-petersen-jr-sails-away-from-shipyard/
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en
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US Navy's destroyer Frank E. Petersen Jr. sails away from shipyard
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"Fatima Bahtić"
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2022-04-14T00:00:00
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US Navy's Arleigh Burke-class guided-missile destroyer Frank E. Petersen Jr. (DDG 121) has departed from Huntington Ingalls Industries’ (HII) Ingalls Shipbuilding division before commissioning next month.
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en
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Naval Today
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https://www.navaltoday.com/2022/04/14/us-navys-destroyer-frank-e-petersen-jr-sails-away-from-shipyard/
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https://www.dvidshub.net/video/493214/lt-gen-frank-e-petersen-jr-honored-during-ship-naming-ceremony
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en
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Lt. Gen. Frank E. Petersen Jr. honored during ship-naming ceremony
|
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The late Lt. Gen. Frank E. Petersen Jr. is honored during a ship-naming ceremony aboard Marine Corps Air Station Cherry Point, N.C., Nov. 9, 2016. Secretary of the Navy Ray Mabus announced that the Arleigh Burke-class destroyer, DDG 121, will be named the USS Frank E. Petersen Jr., in honor of the Marine Corps lieutenant general who was the first African-American Marine Corps aviator and Marine Corps general officer. He retired from the Marine Corps in 1988 after 38 years of service. (U.S. Marine Corps video by Cpl. Jason Jimenez/ Released)
|
/favicon.ico
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DVIDS
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https://www.dvidshub.net/video/493214/lt-gen-frank-e-petersen-jr-honored-during-ship-naming-ceremony
|
The late Lt. Gen. Frank E. Petersen Jr. is honored during a ship-naming ceremony aboard Marine Corps Air Station Cherry Point, N.C., Nov. 9, 2016. Secretary of the Navy Ray Mabus announced that the Arleigh Burke-class destroyer, DDG 121, will be named the USS Frank E. Petersen Jr., in honor of the Marine Corps lieutenant general who was the first African-American Marine Corps aviator and Marine Corps general officer. He retired from the Marine Corps in 1988 after 38 years of service. (U.S. Marine Corps video by Cpl. Jason Jimenez/ Released)
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https://dcps.duvalschools.org/domain/5245
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en
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Who is Frank H. Peterson
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https://dcps.duvalschools.org/http%3A%2F%2Fdcps.duvalschools.org%2Fsite%2Fdefault.aspx%3FDomainID%3D5245
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Frank H. Peterson
Frank H. Peterson was the founder of Gator Trailers, the only pleasure boat trailer manufacturing company in the southeast United States. He managed the company until 1963, but continued in the Jacksonville business community through a new creation, Diversified Products Manufacturing Company.
Mr. Peterson maintained an active position amongst Jacksonville’s business leaders. He was a noted member of the Jacksonville Chamber of Commerce. During his tenure he sat on almost every standing committee. He was a member of the Board of Directors for the Jacksonville Port Authority, served on the Northeast Florida Marine Counsel, and was a guest lecturer at Jacksonville University.
Mr. Peterson’s business activities led him to the realization that the, then, present school system needed to focus on the employability skills required within the community. Like today’s academies, Mr. Peterson gathered support of Jacksonville businesses and introduced the first Marine Mechanics course in northeast Florida, utilizing the Duval County Public School System. His action caught the attention of the Evinrude Outboard Motor Company in Milwaukee, Wisconsin and they pledged corporate support in the form of dollars, materials, and in-kind services.
This successful venture led Mr. Peterson to pursue the introduction of more industry focused vocational programs within the schools. He was considered to be the vocational education liaison between the School Board and industry. He was recognized by the Governor of Florida and was appointed to the “Governor’s Cabinet of 100,” providing advice on the need for, and direction of, vocational education in the State of Florida. The Jacksonville Chamber of commerce declared Mr. Peterson “Mr. Vocational Education.”
The Westside Skills Center was established in 1979 and was formerly renamed in Mr. Peterson’s honor in 1997. He would love to see today’s Frank H. Peterson with its seven National Model Academies: Automotive, Communications, Cosmetology, Early Childhood Education, Culinary, Agri-Science, Biotechnology & Vet Assisting, and Aviation, and its youngest academy Robotics & Advanced Manufacturing. These programs coupled with a strong academic program make Frank H. Peterson Academies of Technology the epitome of Mr. Peterson’s passionate work.
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https://defbrief.com/2022/05/16/us-navy-commissions-destroyer-named-after-first-black-marine-3-star-general/
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https://www.diversemilitary.net/veterans/article/15292359/navys-newest-commissioned-vessel-named-in-honor-of-black-veteran
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en
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Navy’s Newest Commissioned Vessel Named in Honor of Black Veteran
|
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[
"Walter Hudson"
] |
2022-05-22T13:26:35+00:00
|
The USS Frank E. Petersen Jr. (DDG-121), is named in honor of Lt. Gen. Frank Petersen, the first Black Marine aviator and three-star general and will be based at Joint Base Pearl Harbor-Hickam.
|
en
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/apple-touch-icon.png
|
Diverse: Military
|
https://www.diversemilitary.net/veterans/article/15292359/navys-newest-commissioned-vessel-named-in-honor-of-black-veteran
|
The Navy has commissioned its 71st Arleigh Burke-class destroyer in Charleston, S.C., on last Saturday.
The USS Frank E. Petersen Jr. (DDG-121), is named in honor of Lt. Gen. Frank Petersen, the first Black Marine aviator and three-star general and will be based at Joint Base Pearl Harbor-Hickam.
The nearly 9,500-ton ship was commissioned in front of an audience that included both Navy Secretary Carlos Del Toro and Chief of Naval Operations Adm. Mike Gilday.
“It’s fitting that a name synonymous with service and sacrifice be emblazoned on the steel of this American warship,” Gilday said at the ceremony. “Sailors aboard this mighty warship will deploy wherever, whenever needed, with General Petersen’s fighting spirit and tenacity, for generations to come.”
Frank E. Petersen Jr. left Ingalls Shipbuilding in April to head to Charleston for the commissioning. It is the 33rd destroyer Ingalls built for the Navy. The shipbuilder is currently contracted to build five more as well, according to an HII news release.
The ship was sponsored by D’Arcy Neller, wife of Gen. Robert Neller, the former commandant of the Marine Corps, and Alicia Petersen, the wife of Frank Petersen.
Alicia Petersen died in September 2021 and was represented at the commissioning by her daughters, who gave the “Man our ship and bring her to life” order with Neller.
The crew of Frank E. Petersen Jr., led by Cmdr. Daniel Hancock, will give the ship its life, Neller said in her remarks.
“The namesake of this ship was a warrior,” she said. “He always went to the sound of the guns; he was always prepared and smart about the risks he took. You all need to be the same. Always be prepared. Work hard and when the time comes, you will be ready to go into the jaw of the tiger.”
Petersen served 38 years in the Marine Corps before retiring in 1988. Among his accolades are the Defense Superior Service Medal, the Purple Heart, the Distinguished Flying Cross and the Meritorious Service Medal.
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https://www.houstonisd.org/Page/32481
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en
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General Information / Elementary Schools (K
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https://www.houstonisd.org/http%3A%2F%2Fwww.houstonisd.org%2Fsite%2Fdefault.aspx%3FPageID%3D32481
|
MANDARIN IMMERSION MAGNET SCHOOL
6300 Avenue B, Bellaire, TX
Located in what was formerly Gordon Elementary School, this campus was created in the fall of 2012 to give HISD students another valuable dual language option. At the time it was opened, Mandarin Chinese was the most-spoken language in the world.
MARSHALL ELEMENTARY SCHOOL
6200 Winfield
Marshall was named for Thurgood Marshall (1908-1993), the first African-American justice on the Supreme Court who fought for desegregation of public schools. He successfully argued Brown v. Board of Education, a 1954 decision that ruled segregated public schools unconstitutional. Marshall began serving elementary students in the fall of 2013.
Clemente Martínez Elementary was named for one of the first Hispanic principals in HISD. He also served as an assistant principal and district superintendent during the 1970s. The school named in his honor opened in 1994.
MARTÍNEZ, R. ELEMENTARY SCHOOL
7211 Market
Raul C. Martínez Elementary opened in 1994 as a relief school for Leeona Pugh Elementary and others in the area. In 1950, Martínez was inducted into the Houston Police Department, and in 1973, he became the first Hispanic constable elected in Harris County. He died in 1990.
MCDADE ELEMENTARY SCHOOL—CLOSED MAY 2011
5815 Hirsch
Jesse Caesar (“J. C.”) McDade was a noted teacher of chemistry at Phillis Wheatley High School and later principal of Frederick Douglass Elementary School. He was also a prominent public speaker as well as a founder and early board member of the first YMCA for black Houstonians. The school named in his honor was built in 1962.
MCGOWEN ELEMENTARY SCHOOL
6820 Homestead
The school was renamed in 2013 in honor of the late Houston City Councilman Ernest McGowen Sr. (1925-2012), who served as a trustee on the HISD Board of Education He was a lifelong champion of public education whose efforts helped establish the first vocational technical high school in HISD. He also secured the observance of Martin Luther King Jr.’s birthday as a paid holiday and helped establish Houston’s minority- and women-owned business program, which is still active today. Formerly known as Houston Gardens Elementary, the school opened in 1935.
MCNAMARA ELEMENTARY SCHOOL
8714 McAvoy
Opened in 1958 as Richmond Elementary School, this campus was renamed in honor of Ila E. McNamara, the school’s first principal (1958–1979).
MEMORIAL ELEMENTARY SCHOOL
6401 Arnot
Memorial Elementary School was constructed in 1926 and named for nearby Memorial Park. The City of Houston acquired the park the year before from a prominent Houston family, the Hoggs, who had leased it to the United States Army for use as a training base called Camp Logan during World War I.
MILAM ELEMENTARY SCHOOL—CLOSED MAY 2004
1100 Roy
Brunner High School, built in 1912, subsequently became part of HISD and in 1926 was renamed in honor of Benjamin Rush Milam (1788–1835). After distinguished service in the War of 1812, Milam fought for the independence of Texas. He lost his life at the battle in which the Texas army captured San Antonio.
MILLER ELEMENTARY SCHOOL—CLOSED 1977
5216 Feagan
This facility was named for Doris Miller (1919–1944), a naval hero who survived the bombing of Pearl Harbor and continued to serve his country in the Pacific Theatre. He was the first African-American soldier to receive the Naval Cross award for his bravery in battle. The school named for Miller closed in January 1977, and since then has served the district as the Library Services Center.
MILNE ELEMENTARY SCHOOL
7800 Portal
Alan Alexander (“A. A.”) Milne was the twentieth-century author of a beloved series of children’s books about a bear named Winnie-the-Pooh. He died in 1956. The school named in his honor opened in 1991.
MITCHELL ELEMENTARY SCHOOL
10900 Gulfdale
This school in far southeast Houston was built in 1967 in memory of James Chesley (“J. C.”) Mitchell, long time principal of Judd Lewis Elementary School.
MONTGOMERY ELEMENTARY SCHOOL
4000 Simsbrook
James Arlie Montgomery was the custodian at Edgar Allan Poe Elementary School in 1959 when a deranged intruder detonated a bomb. Montgomery, who risked his own life to protect the schoolchildren, was killed. Jennie Kolter Elementary School is named for a teacher who also died in that tragedy.
MORENO ELEMENTARY SCHOOL
620 East Canino
This school was named for Joe E. Moreno, a Texas state legislator who died in a tragic auto accident on May 6, 2005. The school named for him opened in August of that same year. It was built from Rebuild HISD bond funds, and relieved overcrowding at John Durkee and Northline Elementary Schools.
NEFF ELEMENTARY SCHOOL
8301 Neff St.
Opened in 1964, this campus was named for Pat Morris Neff (1871–1952), a lawyer and educator who served as governor of Texas (1920–1924) and president of Baylor University (1932–1948). Previously located at 8200 Carvel, this school began the 2012–2013 school year in a brand new facility at a new location. It was built with funds from the 2007 bond.
Located originally on the same campus as James Berry Elementary School (now at Robert C. Chatham Elementary), this facility served students who had difficulty adjusting to a traditional classroom setting. The school allowed students to continue their academic instruction while beginning to develop effective and appropriate self-management skills and coping strategies. It opened in 1996 and closed in 2011.
NORTHLINE ELEMENTARY SCHOOL
821 Witcher
Like a number of other HISD campuses, Northline Elementary School takes its name from the community in which it is located. The school opened in 1962 on Houston’s north side.
OAK FOREST ELEMENTARY SCHOOL
1401 West 43rd
This campus is named for the residential community that it serves just outside of Loop 610 in northwest Houston. The school opened in 1949.
OATES ELEMENTARY SCHOOL
10044 Wallisville
James Wyatt Oates, son of one of the early settlers of Texas, engaged teachers and established one of the state’s first schools in his home. The campus named for him originally opened in 1929 as a junior-high school and became an elementary school in 1957.
OSBORNE ELEMENTARY SCHOOL
800 Ringold
Built in 1960, this school is named for John G. Osborne, a Houston physician who contributed a great deal to the education of young people. Dr. Osborne taught at Booker T. Washington School and later at Prairie View State Normal and Industrial College (now Prairie View A&M University), where he established the School of Nursing.
PAIGE ELEMENTARY SCHOOL
7501 Curry
Formerly known as both Woodland and James Bowie elementary schools, this school was erected in 1951 and replaced with a new facility at the same site in 2006. The following year it was renamed for Roderick Raynor Paige (1933–), who first served on the HISD Board of Education from 1989 to 1994, at which time he became the district's superintendent of schools. He left the district in 2001 to become the first African-American to serve as U.S. Secretary of Education. Paige resigned in 2004.
PARK PLACE ELEMENTARY SCHOOL
8235 Park Place
Opened in 1914, this campus is named for the neighborhood in which it is situated. The school moved to new facilities located just north of the old building over the summer of 2002, but it kept the same address. One of 10 schools built with funds from Rebuild 2002, the new building opened its doors to students in the fall of 2002.
PARKER ELEMENTARY SCHOOL
10626 Atwell
Cynthia Ann Parker Elementary School opened in January 1959. It is named for one of the early Texas settlers. She was captured by Comanches at age nine and raised as a member of their tribe.
PATTERSON ELEMENTARY SCHOOL
5302 Allendale
Robert C. Patterson was a Tennessee born attorney who practiced in Houston until his death in 1952. The school named in his memory opened in 1957, and a brand-new facility was completed in the fall of 2011.
PECK ELEMENTARY SCHOOL
5130 Arvilla
Lora B. Peck was a long time HISD teacher and administrator as well as the author of children’s books. The school named for her opened in 1951 and was replaced with a brand-new facility in 2011.
PETERSEN ELEMENTARY SCHOOL
14404 Waterloo
Massachusetts born Henry A. Petersen was an outstanding surgeon and professor at Baylor College of Medicine. He also served for 23 years on the HISD Board of Education, which named a school in his honor in 1968.
PINEY POINT ELEMENTARY SCHOOL
8921 Pagewood
Piney Point Elementary School is named for the community in which it is located, which dates back to 1865. The original school was built in 1917 and was replaced with a new facility twice: once in 1962 again in January 2011.
PLEASANTS ELEMENTARY SCHOOL—CLOSED JUNE 1991
1305 Benson
Sanderson Alexander Pleasants was a noted educator and statesman as well as pastor of St. John’s Baptist Church on Dowling Street. He served there from 1925 until his death in 1953. The school that bears his name opened in 1967 and was located at 1305 Benson. It is now the Pleasant Hill Academy, a charter school.
PLEASANTVILLE ELEMENTARY SCHOOL
1431 Gellhorn
This school bears the name of the neighborhood that it serves. The campus opened in December 1955.
POE ELEMENTARY SCHOOL
5100 Hazard
Edgar Allan Poe Elementary School was named for one of the first great figures in American literature, renowned equally for his lyric poetry, detective and horror stories, and incisive criticism. The school was built in 1928.
PORT HOUSTON ELEMENTARY SCHOOL
1800 McCarty
This campus was named for the community in which it is situated, near the Port of Houston. The school was constructed in 1909, five years before the official opening of the Houston Ship Channel.
PUGH ELEMENTARY SCHOOL
1147 Kress
Leeona Leroy Pugh was a leading figure in education in Harris County for more than 40 years. He served successively as principal of the Harrisburg School, a superintendent of schools, an assistant state superintendent, and a principal in HISD. The district named a school for Pugh in 1952, the year after his death.
RED ELEMENTARY SCHOOL
4520 Tonawanda
Samuel Clark Red received the first diploma issued by the University of Texas in 1885. He went on to become a noted physician, established the first hospital in Houston, and organized the Harris County Medical Society. Dr. Red also served on the HISD Board of Education, which named this school in his memory in 1957.
REYNOLDS ELEMENTARY SCHOOL
9601 Rosehaven
In 1900, James R. Reynolds began a distinguished teaching career, which led eventually to his becoming a trainer of teachers throughout the state of Mississippi. A man of many talents, Reynolds also won recognition in botany and electrical engineering, for his work with the Boy Scouts in Houston, and as the author of Wolf Brother, a collection of poems and essays dedicated to his many students. An HISD school was named in his honor in 1959.
RHOADS ELEMENTARY SCHOOL—CLOSED MAY 2011
4103 Brisbane
Built in 1957, the school is named for Joseph James Rhoads, a noted educator who held administrative posts throughout Texas and at the national level (National Vocational Guidance Association, American Academy of Political and Social Science, Office of Civilian Defense, and many other organizations). Dr. Rhoads was the first African-American president of Bishop College and the author of Democracy’s Debt of Honor, Democracy in Education, Charting the New Year, and Advancing the Cause of Democracy in Education.
RICHMOND ELEMENTARY SCHOOL—RENAMED. See McNamara ES
RIVER OAKS ELEMENTARY SCHOOL
2008 Kirby
This campus was named for the nearby residential neighborhood that it serves. The school opened in 1929, just six years after the community south of Buffalo Bayou started being developed.
ROBERTS ELEMENTARY SCHOOL
6000 Greenbriar
Oran Milo Roberts (1815–1898) made many contributions to Texas’ early statehood. After serving two terms as governor, he became the first administrator of the University of Texas in 1883 and taught law there for 10 years. The school that bears his name was built in 1936 and was enlarged in 1948.
ROBINSON ELEMENTARY SCHOOL
12425 Woodforest
This school honors the first African-American City Councilman in Houston. Judson Robinson Jr. was elected 10 times to the council and served twice as mayor pro tempore. He worked toward better working conditions for employees in Solid Waste Management, and fought for minority hiring by the Houston Police Dept. and the Houston Fire Dept.
RODRÍGUEZ ELEMENTARY SCHOOL
5858 Chimney Rock
One of 10 schools built with Rebuild 2002 funds, this facility was named after Sylvan Rodríguez, the late KHOU-TV newsman who served as a city and community role model for more than 25 years. The school, located on almost 10 acres in southwest Houston, relieved overcrowded conditions at neighboring Roy Benavídez, Braeburn, Leroy Cunningham, and Samuel Red Elementary Schools. It opened during the first week of 2002.
T. H. ROGERS SCHOOL
5840 San Felipe
Thomas Horace Rogers was the principal of San Jacinto High School. He was killed in 1952 when a stray bullet from a police officer’s gun, intended for a fleeing burglar, struck him. The campus was a junior high from 1962 to 1979 and is now a mixture of Vanguard programs and programs for students with severe disabilities.
ROGERS, W. ELEMENTARY SCHOOL—CLOSED MAY 2006
3101 Weslayan
Will Rogers Elementary School, built in 1950, was named after the popular “cowboy philosopher” from Oklahoma, who was famous for his homespun humor and shrewd commentary about current events. It was sold in 2005 along with the district’s former headquarters, Human Resources building, and Weslayan complex (located at 3830 Richmond Avenue) for development as commercial property.
ROOSEVELT ELEMENTARY SCHOOL
6700 Fulton
Theodore Roosevelt Elementary School was built in 1929 in memory of the twenty sixth President of the United States. A brand-new facility was built with funds from the 2007 bond. It was completed in the fall of 2011.
ROSS ELEMENTARY SCHOOL
2819 Bay
Betsy Ross Elementary School, built in 1924, is named for the famous seamstress who sewed the first official flag of the United States for George Washington in 1777.
RUCKER ELEMENTARY SCHOOL
5201 Vinett
Pearl Rucker served HISD as an art teacher and supervisor for more than 30 years and was recognized throughout the state for her creative talent. A school was named for her in 1953.
RYAN ELEMENTARY SCHOOL—CLOSED MAY 2005
4001 Hardy
James D. Ryan Elementary School, built in 1954, was named for a noted African-American educator, civic leader, and philanthropist who began teaching in Houston in 1890. During his 45 year career, Ryan served as president of the Colored State Teachers of Texas, on the Board of Trustees of Wiley College, and as a member of the boards of Emancipation Park, Houston Negro Hospital, and many other institutions.
SÁNCHEZ ELEMENTARY SCHOOL
2700 Berkley
George Isidoro Sánchez (1906–1972) was a national authority on bilingual education and the social problems of Hispanics in this country. He taught the history and philosophy of education at the University of Texas, where he also served as chairman of the History Department in the 1950s. The school named for him opened in 1985.
SANDERSON ELEMENTARY SCHOOL—CLOSED MAY 2006
8110 Bertwood
James Charles Sanderson Elementary School was built in 1950 as a tribute to an educator who devoted many years of outstanding service to HISD.
SANDS POINT ELEMENTARY SCHOOL—CLOSED SUMMER 2009
10550 West Office
Opened in 1998 as a relief school for Ralph Waldo Emerson, Piney Point, and Walnut Bend Elementary Schools, this school is actually located in Alief ISD—just outside HISD’s western boundary. It is housed in the Chinese Consulate Building, where HISD rents space. The school is named for a nearby street in the neighborhood.
SCARBOROUGH ELEMENTARY SCHOOL
3021 Little York
Walter Welborn Scarborough, who served as a principal of James Berry and Ethel Coop Elementary Schools, worked diligently to improve educational opportunities for students in north Houston. The school named for him was built in 1952, a year after his death, and enlarged in 1959. Scarborough was married to Florine Davis Scarborough, who was superintendent of elementary schools and a principal of Coop Elementary School. A high school was also named for his brother.
SCHOOL AT POST OAK, THE—CLOSED IN MAY 2007
1331 Augusta
This school was established in May 2001, in cooperation with the Young Men’s Christian Association (YMCA) of Greater Houston. It was housed in the Post Oak YMCA branch building on Augusta Street. In 2007, the school moved to a new facility called The School at St. George Place, on which construction was completed the previous year.
SCHOOL AT ST. GEORGE PLACE, THE
5430 Hidalgo
Opened in 2006, this school was named for the community it serves. It is located near the Galleria shopping center at 5430 Hidalgo.
SCOTT ELEMENTARY SCHOOL—CLOSED MAY 2011
3300 Russell
Emmett J. Scott had a long and fulfilling career, in which he served as secretary to Booker T. Washington, held important posts with the U.S. Department of War and Howard University, and edited the Texas Freeman, which later merged with the Houston Informer. In 1959, HISD named a school for this prominent figure in black history.
SCROGGINS ELEMENTARY SCHOOL
400 Boyles
Mary E. Scroggins (1916–1964) was a popular teacher at Charles Eliot Elementary School and an influential member of the Denver Harbor community. The school that bears her name was built in 1968.
SEGUlN ELEMENTARY SCHOOL
5905 Waltrip
Seguín Elementary School was named for Juan N. Seguín, a San Antonio resident who fought against Santa Anna in 1835 during the Texas Revolution. Seguín also served as that city’s provisional mayor and survived the first part of the Alamo siege. The school named for him opened in the fall of 2002. It is one of 10 schools built with funds from Rebuild 2002.
SHADOWBRIAR ELEMENTARY SCHOOL
2650 Shadowbriar
This school, like several others, is named for a nearby subdivision in the area it serves in west Houston. It opened in the fall of 1992.
SHADYDALE ELEMENTARY SCHOOL
5905 Tidwell
Shadydale Elementary School is one of seven campuses annexed by HISD in the summer of 2013, after North Forest ISD was dissolved by the Texas Education Agency. It was built in 2000.
SHARPVIEW ELEMENTARY SCHOOL—CLOSED MAY 2004
7734 Mary Bates Blvd.
Opened in August of 2000 as a relief school for the Sharpstown area, this school rented space from a Buddhist temple in southwest Houston and served grades prekindergarten–3.
SHEARN ELEMENTARY SCHOOL
9802 Stella Link
Charles P. Shearn was the scion of a prominent Houston family and a teacher of history and military science at San Jacinto High School. He was captured by the Japanese during World War II at Corregidor and lost his life in December 1944 when the ship carrying him to a prison camp was sunk. The school named in memory of him was built in 1954.
SHERMAN ELEMENTARY SCHOOL
1909 McKee
The Cascara School opened in 1893 and was renamed in 1906 for Sidney Sherman, a Kentuckian who headed an army of volunteers in the battle against Santa Anna. The original structure, the second-oldest school in the city, was demolished and rebuilt in 1967.
SINCLAIR ELEMENTARY SCHOOL
6410 Grovewood
Thomas Albert Sinclair was a noted physician, one of the founders of Heights Hospital, and a prominent civic leader. The school that bears his name opened in 1959.
SMITH EDUCATION CENTER—CLOSED MAY 2011
1701 Bringhurst
Ernest Ollington Smith was the first principal of Phillis Wheatley High School. The school was built in 1913.
SMITH ELEMENTARY SCHOOL
4802 Chrystell
Opened in 1954, this campus is named for educator Katherine Hoyt Smith (1896–1970). For 40 years, she taught at the White Oak Community School, near where Smith Elementary School stands today.
E.O. SMITH ELEMENTARY SCHOOL -- CLOSED MAY 2011
1701 Bringhurst
Ernest Ollington Smith was the first principal of Phillis Wheatley High School. The school was built in 1913.
SOUTHLAND ELEMENTARY SCHOOL—RENAMED 1980. See Thompson ES
SOUTHMAYD ELEMENTARY SCHOOL
1800 Coral
In 1835, Joanna Kent Southmayd left her native Vermont to accompany her missionary husband to Texas, where she became the first teacher in the Harrisburg area. In 1936, HISD commemorated this pioneer by building a school near the site where her one-room schoolhouse once stood.
ST. GEORGE PLACE ELEMENTARY SCHOOL—See School at St. George Place
STEVENS ELEMENTARY SCHOOL
1910 LaMonte
Lulu M. Stevens (1881–1943) was HISD’s director of music for many years. The school built in memory of her opened in 1952.
STEVENSON ELEMENTARY SCHOOL—CLOSED MAY 2011
5410 Cornish
Cottage Grove High School first opened its doors in 1915. In 1927, the building was remodeled and renamed for the famous poet and author Robert Louis Stevenson (1850–1894).
SUNNYSIDE ELEMENTARY SCHOOL—RENAMED 1999. See Young ES
SUNSET HEIGHTS ELEMENTARY SCHOOL—RENAMED. See Alamo ES
SUTTON ELEMENTARY SCHOOL
7402 Albacore
William S. Sutton Elementary School, built in 1958, was named for a distinguished educator. A professor and dean at the University of Texas and later president of the University of Houston, Sutton was superintendent of Houston schools from 1887 to 1897.
THOMPSON ELEMENTARY SCHOOL
6121 Tierwester
In 1980, the HISD Board of Education renamed Southland Elementary to honor Ruby Lockhart Thompson, who retired after 46 years of service to the district as a teacher and administrator. Thompson taught at Bruce Elementary School, served as principal of George Turner and Twenty-Third Street elementary schools, and became the district’s first black female supervisor. She is the daughter of Lucian Lockhart, for whom Lockhart Elementary is named.
TIJERINA ELEMENTARY SCHOOL
6501 Shannon
Felix Tijerina (1905–1965) was a leading figure in Houston’s Hispanic community. He founded a chain of popular restaurants and held important positions with such organizations as the League of United Latin-American Citizens (LULAC), the Variety Boys’ Club, the Rotary Club, Boys’ Harbor, and the Houston Symphony Society. The school named for him was built in 1980.
TINSLEY ELEMENTARY SCHOOL
11035 Bob White
Tinsley Elementary School is one of 10 schools built with funds from Rebuild 2002. Tinsley opened in autumn of 2001 and relieved overcrowded conditions at Ralph Anderson and Horace Elrod Elementary Schools. It was named for former City Council member Eleanor Tinsley, who also served on the HISD Board of Education and played a pivotal role in the campus-beautification SPARK (school park) program.
TRAVIS ELEMENTARY SCHOOL
3311 Beauchamp
William Barrett Travis, a former teacher, was the leader of the 180 Texans who lost their lives in the cause of independence at the Alamo in 1836. The Beauchamp Springs School, built in 1903, was renamed in his memory and enlarged in 1908, 1926, and 1980. The original structure has since been razed.
TURNER ELEMENTARY SCHOOL—CLOSED MAY 2009
3200 Rosedale
Built in 1929 as William Sutton Elementary School, this campus was renamed in honor of the Reverend George B. M. Turner, who came to Houston in 1899 and began a 35 year career as educator and civic leader. He taught at Frederick Douglass Elementary School and served as principal of Frances Harper Alternative and Richard Brock Elementary Schools.
TWAIN ELEMENTARY SCHOOL
7500 Braes
In 1950, HISD named this campus after Mark Twain, the famous pseudonym of author Samuel Clemens (1835–1910), who wrote the classic novels The Adventures of Tom Sawyer and Huckleberry Finn. A brand-new replacement facility opened at the same address in 2006.
TWENTY-THIRD STREET ELEMENTARY SCHOOL—CLOSED MAY 1959. Renamed. See Holden ES
VALLEY WEST ELEMENTARY SCHOOL
10707 South Gessner
Valley West opened as a new school in August 1996 in 10 classrooms on the campus of Sugar Grove Elementary. HISD subsequently purchased a building that had been a Food Lion grocery store and started remodeling the building. Valley West moved into this location on South Gessner in July 1997. The school takes its name from the adjacent Braeburn Valley West subdivision it serves.
WAINWRIGHT ELEMENTARY SCHOOL
5330 Milwee
Jonathan Mayhew Wainwright (1883–1953) served in both World Wars. After his release from a Japanese prison camp in 1945, he was awarded the Congressional Medal of Honor and promoted to general. The school that bears his name was built in 1962.
WALNUT BEND ELEMENTARY SCHOOL
10620 Briar Forest
Like several other HISD campuses, this one is named for the community that it serves. The school opened in 1964 and was replaced with a brand-new facility in 2007.
WESLEY ELEMENTARY SCHOOL
800 Dillard
Mabel B. Wesley was Houston’s first African-American female principal and mother of Carter Wesley, the publisher of the Houston newspaper “Forward Times.” The firstborn child born to slaves on a plantation in Montgomery County, she earned her bachelor’s degree from Prairie View A&M in 1930.
WEST UNIVERSITY ELEMENTARY SCHOOL
3726 University
Opened in 1925, this school was named for the small residential township that it serves.
WHIDBY ELEMENTARY SCHOOL
7625 Springhill
Tina E. Whidby (1892–1945) was a prominent civic leader, teacher, and principal for 25 years. The school named for her was built in 1960.
WHITE ELEMENTARY SCHOOL
9001 Triola
Edward H. White Elementary School, opened in 1966, was named for the first astronaut to “walk” in space during the Gemini IV Mission. Lieutenant Colonel White and two other astronauts lost their lives in a fire aboard the Apollo I the following January.
WHITTIER ELEMENTARY SCHOOL
10511 La Crosse
John Greenleaf Whittier Elementary School is named for the famous New England poet (1807–1892). The campus on the east side of town opened in 1948.
WINDSOR VILLAGE ELEMENTARY SCHOOL
14440 Polo
The main building of this school opened in 1960, and a second wing was added four years later. Both the name of the surrounding housing development and the school that serves it reflect a British motif popular in the late 1950s and early 60s.
WOODLAND ELEMENTARY SCHOOL—See Bowie ES
YOUNG ELEMENTARY SCHOOL
3555 Bellfort
Originally known as Sunny Side, this school was renamed in June 1999 to honor Ethel Mosley Young, an HISD educator who began teaching there when it was just a two-room schoolhouse without electricity, heat, or indoor plumbing. Under Young’s leadership as principal, the school became a thriving facility serving close to 1,400 children. Young retired after 38 years of service, and the Sunny Side community petitioned the HISD Board of Education to rename the school in her honor.
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https://www.stripes.com/branches/navy/2022-06-14/destroyer-hawaii-petersen-6334387.html
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USS Frank E. Petersen Jr. becomes ninth destroyer to homeport in Hawaii
|
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[
"destroyer hawaii petersen",
"joint base pearl harbor hickam new destroyer",
"uss frank e petersen jr arleigh burke class destroyer"
] | null |
[
"Wyatt Olson"
] |
2022-06-14T00:00:00
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The ship’s namesake is Marine Corps Lt. Gen. Frank E. Petersen Jr., who was the Corps’ first African American aviator and three-star general.
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en
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/favicon.ico
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Stars and Stripes
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https://www.stripes.com/branches/navy/2022-06-14/destroyer-hawaii-petersen-6334387.html
|
FORT SHAFTER, Hawaii — The Navy’s newest guided-missile destroyer, the USS Frank E. Petersen Jr., arrived Monday in Pearl Harbor, making it the ninth ship of its class to homeport in Hawaii.
The 509-foot Arleigh Burke-class destroyer steamed into Joint Base Pearl Harbor-Hickam from Charleston, S.C., where it was commissioned last month, the Navy said in a news release Monday.
It joins the USS Daniel Inouye, whicharrived in November at the joint base that is headquarters to U.S. Pacific Fleet.
The ship’s namesake is Marine Corps Lt. Gen. Frank E. Petersen Jr., who was the Corps’ first African American aviator and three-star general, the Navy said in a news release Monday.
Former Secretary of the Navy Ray Mabus announced in 2016 that an Arleigh Burke-class destroyer would be named to honor Petersen, a year after the veteran died at age 83.
Petersen flew combat tours in the Korean War in 1953 and the Vietnam War in 1968.
He flew more than 350 combat missions and logged over 4,000 hours in various fighter and attack aircraft, the Navy said.
“My crew and I share a deep sense of pride and honor to represent our namesake, the late Lt. Gen. Frank E. Petersen, Jr., USMC,” Cmdr. Daniel Hancock, the destroyer’s commanding officer, said in the news release.
“This ship is fast, formidable, and built to fight and win in the Pacific Theater,” Hancock said. “This is a great ship, with a proud name, and a wonderful crew; we are thrilled to be here in Hawaii, ready for fleet service.”
The ship was built at Huntington Ingalls Industries shipyard in Mississippi. At nearly 9,500 tons and a draft of 31 feet, the Petersen has four gas turbine engines to power it to speeds greater than 30 knots, according to the Navy.
Arleigh Burke-class destroyers are built around the Aegis Combat System, which is capable of meeting simultaneous threats coming from the air, the sea surface and from underwater, according to the Navy. An advanced radar system at its heart can search, track more than 100 targets and simultaneously guide defensive missiles. The Petersen’s weaponry includes Tomahawk and Harpoon missiles and a mounted, 5-inch Mark 45 gun.
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https://www.santacruzsentinel.com/2015/08/27/frank-e-petersen-jr-first-black-marine-aviator-dies/
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Frank E. Petersen Jr., first black Marine aviator, dies
|
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[
"Associated Press",
"Kasey Jones"
] |
2015-08-27T00:00:00
|
BALTIMORE (AP) Frank E. Petersen Jr., the first black aviator and brigadier general in the Marine Corps, has died.Frank E. Petersen III said his father died Tuesday at his home in Stevensville, on Maryland”s Kent Island, of complications from lung cancer. He was 83.The New York Times reported that Petersen enlisted in the Navy […]
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Santa Cruz Sentinel
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https://www.unknown.com/general-news/20150827/frank-e-petersen-jr-first-black-marine-aviator-dies/
|
BALTIMORE (AP) Frank E. Petersen Jr., the first black aviator and brigadier general in the Marine Corps, has died.
Frank E. Petersen III said his father died Tuesday at his home in Stevensville, on Maryland”s Kent Island, of complications from lung cancer. He was 83.
The New York Times reported that Petersen enlisted in the Navy in 1950, two years after President Truman desegregated the armed forces.
The next year, Petersen entered the Naval Aviation Cadet Program, according to The Washington Post.
According to a news release on the Marine Corps website, Petersen was commissioned in the corps in 1952. The Marines say Petersen served in the Korean War in 1953 and Vietnam in 1968. He received the Purple Heart for wounds suffered when he ejected over the demilitarized zone in Vietnam, The Post reported.
During his career, Petersen flew more than 350 combat missions and more than 4,000 hours.
“As he moved us kids from base to base, he really enjoyed getting us out on adventures. Any time you went on a journey with Dad, you were in for a hell of a ride,” his son said.
Petersen was promoted to brigadier general in 1979. He retired in 1988.
His son said Petersen loved living on the Chesapeake Bay and loved being on the water.
As tough as he had to be as a Marine, his son said, “He was as peaceful and gentle as you could ask a dad to be and was always there for us.”
Petersen said his father never complained, “even to his last day. You couldn”t ask for a better father.”
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https://www.autoevolution.com/news/uss-frank-e-petersen-jr-becomes-newest-arleigh-burke-class-destroyer-to-be-commissioned-188832.html
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USS Frank E. Petersen Jr. Becomes Newest Arleigh Burke-Class Destroyer to Be Commissioned
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2022-05-16T07:20:05+00:00
|
The U.S. Navy now has 70 Arleigh Burke-class guided-missile destroyers after the USS Frank E. Petersen Jr. was commissioned this weekend
|
en
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autoevolution
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https://www.autoevolution.com/news/uss-frank-e-petersen-jr-becomes-newest-arleigh-burke-class-destroyer-to-be-commissioned-188832.html
|
8 photos
Photo: U.S. Navy
Back in 1991, the U.S Navy started rolling out a new class of guided-missile destroyers. Code-named DDG 51, they were here to replace the Charles F. Adams class (DDG 2) vessels, and since then they have become some of the most successful floating war machines ever made.
We all know them by their stage name, Arleigh Burke, and at the time of writing, 70 of them are in service with the navy, fulfilling their roles either independently or as part of Carrier Strike Groups, Surface Action Groups, and Expeditionary Strike Groups.
The latest to join the ranks (read it was officially commissioned) is the USS Frank E. Petersen Jr. (DDG 121). Christened in 2018, it is the first to wear the name of Marine Corps Lt. Gen. Frank E. Petersen. Petersen was, according to the Navy, “the first Black Marine Corps aviator and the first Black Marine Corps officer promoted to brigadier general.”
"This ship honors the life and legacy of Lt. Gen. Frank E. Petersen, Jr., a pioneer not just for Marine Corps aviation but for our entire naval force,” said Secretary of the Navy Carlos Del Toro at the end of last week, before the ship was commissioned.
“I have no doubt the crew will be a cornerstone of the Surface Force carrying his legacy forward and strengthening the bond between our Navy and Marine Corps team.”
The USS Frank E. Petersen Jr. will be based at Joint Base Pearl Harbor-Hickam. Like all others of its class, it is almost 510 feet long (155 meters), and weighs 9,500 tons.
The ship is powered by four General Electric gas turbines that give out a combined 100,000 shaft horsepower. It is loaded with weapons, mostly missiles, from standard ones to Tomahawks. Arleigh Burkes also pack torpedoes, a CIWS, and guns.
If you liked the article, please follow us: Google News Youtube Instagram
Editor's note: Gallery shows various Arleigh Burke destroyers.
About the author: Daniel Patrascu
Daniel loves writing (or so he claims), and he uses this skill to offer readers a "behind the scenes" look at the automotive industry. He also enjoys talking about space exploration and robots, because in his view the only way forward for humanity is away from this planet, in metal bodies.
Full profile
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The late Lt. Gen. Frank E. Petersen Jr. is honored during a ship-naming ceremony aboard Marine Corps Air Station Cherry Point, N.C., Nov. 9, 2016. Secretary of the Navy Ray Mabus announced that the Arleigh Burke-class destroyer, DDG 121, will be named the USS Frank E. Petersen Jr., in honor of the Marine Corps lieutenant general who was the first African-American Marine Corps aviator and Marine Corps general officer. He retired from the Marine Corps in 1988 after 38 years of service. (U.S. Marine Corps video by Cpl. Jason Jimenez/ Released)
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The late Lt. Gen. Frank E. Petersen Jr. is honored during a ship-naming ceremony aboard Marine Corps Air Station Cherry Point, N.C., Nov. 9, 2016. Secretary of the Navy Ray Mabus announced that the Arleigh Burke-class destroyer, DDG 121, will be named the USS Frank E. Petersen Jr., in honor of the Marine Corps lieutenant general who was the first African-American Marine Corps aviator and Marine Corps general officer. He retired from the Marine Corps in 1988 after 38 years of service. (U.S. Marine Corps video by Cpl. Jason Jimenez/ Released)
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https://en.wikipedia.org/wiki/Frank_E._Petersen
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Frank E. Petersen
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https://en.wikipedia.org/wiki/Frank_E._Petersen
|
United States Marine Corps general
Frank Emmanuel Petersen Jr. (March 2, 1932 – August 25, 2015) was a United States Marine Corps lieutenant general. He was the first African-American Marine Corps aviator and the first African-American Marine Corps general.[3]
Petersen retired from the Marine Corps in 1988 after 38 years of service. "At the time of his retirement he was by date of aviator designation the senior ranking aviator in the U.S. Marine Corps and the United States Navy with respective titles of 'Silver Hawk' and 'Gray Eagle'. His date of designation as an aviator also precedes all other aviators in the U.S. Air Force and Army."[4]
In 2010, President Obama appointed Petersen to the Board of Visitors to the United States Naval Academy.[5]
U.S. military career
[edit]
Petersen enlisted in the U.S. Navy in June 1950 as a seaman apprentice and served as an electronics technician. When Petersen aced the Navy's entrance exam, the recruiter told him he would make a "great steward."[6] However, being motivated by the recent Korean War combat death of the Navy's first black aviator Jesse L. Brown in December, Petersen vowed to be a combat pilot.
In 1951, he entered the Naval Aviation Cadet Program. In October 1952, he completed flight training and accepted a commission as a second lieutenant in the Marine Corps. Petersen served a combat tour in the Korean War (1953) and in the Vietnam War (1968). His first tactical assignment was with VMFA-212 during the Korean War. He would fly over 350 combat missions, and had over 4,000 hours in various fighter/attack aircraft. He held command positions at all levels of Marine Corps aviation, commanding a Marine Fighter Squadron, a Marine Aircraft Group and a Marine Aircraft Wing. He was also the first African-American to command a fighter squadron (VMFA-314), a fighter air group, an air wing and a major base.[1] Petersen attended George Washington University, from which he received his Bachelor of Arts degree in social science in 1967 and a Master of Arts degree in international relations in 1973.[7][8][9] In 1973, he also graduated from the National War College.[9]
On February 23, 1979, he was promoted to brigadier general, becoming the first African-American general in the Marine Corps.[10] In May 1983, he advanced to the rank of major general and on 12 June 1986, he was promoted to lieutenant general. Petersen relinquished duties as the Commanding General, Marine Corps Combat Development Command, Quantico, Virginia on July 8, 1988. He served as the Special Assistant to the Chief of Staff from July 8–31 and retired from the Marine Corps on August 1, 1988. Upon his retirement, he was presented the Distinguished Service Medal for exceptionally meritorious service as the Commanding General, Marine Corps Combat Development Command, Quantico, Virginia, from June 1986 to July 1988.
On November 9, 2016, Secretary of the Navy Ray Mabus officially announced that an Arleigh Burke-class destroyer would be named in honor of Petersen.[11] On February 21, 2017, the keel was laid for the guided-missile destroyer USS Frank E. Petersen Jr. at Huntington Ingalls Industries shipyard, Pascagoula, Mississippi.
The Navy said that the ship "will be built in the Flight IIA configuration with the Aegis Baseline 9 Combat System which includes integrated air and missile defense capability. This system delivers quick reaction time, high firepower, and increased electronic countermeasures capability for anti-air warfare".[12] The ship was commissioned on 14 May 2022 at Charleston, South Carolina.[13]
Later life
[edit]
Frank Petersen died at his home in Stevensville, Maryland, on August 25, 2015, from lung cancer.[14][15] Petersen left behind his wife Alicia Petersen and children Gayle, Frank, Dana Moore, Lyndsay Pulliam and Monique. In 1998, Petersen wrote an autobiography with J Alfred Phelps, Into the Tigers Jaw.[14]
Military awards
[edit]
Petersen's military decorations and awards include:[16][4]
Badge Naval Aviator Badge 1st Row Navy Distinguished Service Medal 2nd Row Defense Superior Service Medal Legion of Merit
w/ Combat "V" Distinguished Flying Cross Purple Heart Medal 3rd Row Meritorious Service Medal Air Medal
w/ one golden award numeral 1, 5⁄16" Silver Star
and Strike/Flight numeral 10 Air Force Commendation Medal Combat Action Ribbon 4th Row Navy Presidential Unit Citation Navy Unit Commendation Navy Meritorious Unit Commendation National Defense Service Medal
w/ one 3⁄16" bronze star 5th Row Korean Service Medal
w/ two 3⁄16" bronze stars Vietnam Service Medal
w/ four 3⁄16" bronze stars Navy Sea Service Deployment Ribbon Republic of Korea Presidential Unit Citation 6th Row Republic of Vietnam Gallantry Cross Unit Citation w/ palm and frame Republic of Vietnam Civil Actions Unit Citation w/ palm and frame United Nations Korea Medal Republic of Vietnam Campaign Medal w/ 1960- device
See also
[edit]
Biography portal
List of African-American firsts
Jesse L. Brown, first African-American U.S. Navy aviator
Notes
[edit]
References
[edit]
This article incorporates public domain material from websites or documents of the United States Army Center of Military History.
This article incorporates public domain material from websites or documents of the United States Marine Corps.
^ "Lieutenant General Frank E. Petersen, USMC (Retired)". Who's Who in Marine Corps History. History Division, United States Marine Corps. Archived from the original on 2011-06-15 .
"Lieutenant General Frank Petersen – Retired". General Officer biographies. United States Marine Corps. Archived from the original on 2012-02-20 .
"News Release: Marine Corps Gen. Frank Petersen to Speak at Embry–Riddle Commencement". Embry-Riddle Aeronautical University. April 23, 1999. Archived from the original on September 4, 2003 .
Publications
[edit]
Petersen, Frank E. (1998). Into the Tiger's Jaw : America's First Black Marine Aviator — The Autobiography of Lt. Gen. Frank E. Petersen. Presidio Press. ISBN 0-89141-675-7.
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[] |
[] |
[
""
] | null |
[] | null |
Find out all the information, statistics and news about Frank Petersen as a coach: teams he has coached, his track record, outstanding players, his most repeated eleven and more.
|
en
|
/media/img/favicon/favicon-152.png
|
https://www.besoccer.com/coach/frank-petersen-42479
|
Puedes ver la versión Española de BeSoccer.com.
You can see the English version of BeSoccer.com.
Vous pouvez voir la version French de BeSoccer.com.
Puoi vedere la versione Italian su BeSoccer.com.
Você pode ver a versão Brasileira de BeSoccer.com.
|
|||||
5027
|
dbpedia
|
1
| 40
|
https://ppihc.org/behind-the-wheel-frank-and-kaye-peterson/
|
en
|
Pikes Peak International Hill Climb
|
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[
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2024-02-29T22:56:43+00:00
|
HALL OF FAME EDITION LAKEWOOD MANUFACTURING’S FRANK AND KAYE PETERSON 68 YEARS AT PPIHC Colorado Springs, CO – Drivers have traveled to Colorado to challenge the 14,115′ summit of Pikes Peak since 1916, as they will again this summer for The Broadmoor Pikes Peak International Hill Climb, brought to you by Gran Turismo. Many have made […]
|
en
|
/wp-content/uploads/Website-Identity-icon-150x150.png
|
Pikes Peak International Hill Climb
|
https://ppihc.org/behind-the-wheel-frank-and-kaye-peterson/
|
HALL OF FAME EDITION
LAKEWOOD MANUFACTURING’S FRANK AND KAYE PETERSON
68 YEARS AT PPIHC
Colorado Springs, CO – Drivers have traveled to Colorado to challenge the 14,115′ summit of Pikes Peak since 1916, as they will again this summer for The Broadmoor Pikes Peak International Hill Climb, brought to you by Gran Turismo. Many have made one attempt, others, maybe a dozen. Finding a competitor who, along with his wife, have spent more than 65 years together on Pikes Peak is rare. Meet Frank and Kaye Peterson, Hall of Famers and part of the PPIHC family.
The Early Years
Frank and Kaye Peterson began dating while attending Alameda High School in Lakewood, Colorado where Frank ran track and played basketball, and Kaye was a cheerleader. One of those dates was to watch the Pikes Peak Hill Climb in 1955 at 16 Mile where, due to her enthusiasm for the event, Kaye fainted in the thin air. Despite the rough beginning, they were hooked on Pikes Peak and have been a part of almost every race since.
In 1956, Frank raced his Ford on local drag strips, and in 1958 built their first sports car, which ran in Sports Car Club of America (SCCA) races at Denver’s Lowry Field. From the mid-1950s on, they fielded cars that Frank drove over road courses, raced in hill climbs and blazed down drag strips.
In 1959, the couple decided to enter the Pikes Peak Hill Climb, and they never looked back. Kaye was expecting their first child and, in her ninth month of pregnancy, attended the race in early July. Their son was born on July 24. It was a family affair from the beginning.
The Sports Car division was in its second year of competition on the mountain and Frank entered a Bocar, (pictured above). He finished in 8th place in the Group 1 class behind the wheel of his family-sponsored Peterson Turkey Farms entry. He continued to compete in the division for the next five years, transitioning from the Bocar to a Corvette. He would notch his best finish in the division in 1962 when he claimed second place with a time of 14:57.00. Ak Miller would take the win.
Asked about her roles on Pikes Peak, Kaye recalled, “We always went up together. I stocked the truck and repacked it so I knew where stuff was and could hand it to them in a hurry. There were times when I’d tow him i
f we didn’t have a trailer, or drive the truck with parts. Sometimes he’d be in the race car and I’d tow him all the way back to Denver.”
Taking Stock
When the Sports Car division was discontinued, Frank transitioned to the Stock Car division. He would compete for the next 20 years in his eye-catching Oldsmobile racecars.
After a 1-2-3 finish for the Oldsmobile Toronados in 1968, with Nick Sanborn, Frank Peterson and Bob Fling topping the division, Frank continued to race Oldsmobile. His Lakewood Manufacturing precision-crafted cars from the Toronado, to the Olds Omega and Cutlass were always popular with the fans.
In 1970 he won the Stock Car division in his red, white and blue, #62 Toronado with a time of 14:46.80, and by the early 1970s, the Stock Cars were what everyone came to see. A whopping 42 division entries were listed in 1973.
By the mid-1980s the Rally division was a sensation, drawing top European champions to compete in the Race to the Clouds. Frank entered the Rally division, but didn’t enjoy the same success he did in stock cars.
Frank would clock his best time on America’s Mountain in 1985, the final year he raced in the Stock Car division, when he recorded a 13:09.54, finishing in 8th place. It was a remarkable year. Roger Mears set a Stock Car division record of 12:21.54, and France’s Michele Mouton was crowned overall winner for her remarkable performance on the mountain – 11:25.39, behind the wheel of her Audi Sport Quattro.
Three Drivers – Three Cars
In 1987, there were two more Petersons on the entry list, sons Rob and Brett. It is believed to be the first time a father and two sons all raced cars in the PPIHC in the same year. That continued for two more years and then Frank and Kaye focused on supporting and building race vehicles for their sons.
Asked if she worried during those years when she had three men on the mountain in race cars, Kaye explained, “I thought about it, but Frank builds a good, safe car. All three of them had crashes up there, and I was on the mountain for those. But you know, none of them were ever badly hurt. They were always in cars that Frank built.”
Honors Bestowed
Frank and Kaye Peterson have been inducted as a racing duo both in the Colorado Motorsports Hall of Fame in 2008, and in the Pikes Peak Hill Climb Hall of Fame in 2014. Unless Frank was in a race car on the course, you rarely saw one without the other, including at Tech Inspection, on early practice mornings, or on race day. Their relationship speaks of total support and total commitment, both to each other, and to the PPIHC where they continue to volunteer at Tech Inspection. The Petersons and their family are pictured below with their 1970 Oldsmobile Toronado at their 2014 PPIHC Hall of Fame induction during the grand opening of Penrose Heritage Museum.
Restoring The Broadmoor Special “Yellow Devil”
During the Hall of Fame celebration, a momentous conversation would further the Peterson’s legacy on Pikes Peak. “The Yellow Devil story, with us, started in 2014, when Kaye and I were inducted into the Pikes Peak Hill Climb Hall of Fame,” shared Frank. “Tom Osborne, Chairman of the PPIHC Board of Directors, wanted to have my 1970 Oldsmobile Toronado, winner of the Stock Car Division in 1970, at the museum, and have me start it just as the curtain went down for the opening. He liked it because it had a very loud Olds 455 engine, especially inside the building!”
Peterson explained, “Later in the day, Tom and I were standing by the Yellow Devil on the ramp. Just joking I said, “You should let me take the Devil home and I will rebuild it and drive it up the road for the 100th Anniversary.” He said, “That’s a great idea, let me see what I can do.” A couple of weeks later he called and said, “Bring your trailer, you can have it as long as it takes just so we have it, for sure, for the 100th Anniversary celebration.”
Peterson remarked, “There were some pretty strong limitations as to what we could do with the car. They didn’t want the engine taken apart or the car painted. We kept the car as true to the original as possible and it was ready for the 100th Anniversary in 2016.”
“During Race Week we also took it to the Half Mile runs at the Airstrip Attack at the Colorado Springs Airport and raced a Nissan NSX down the runway. Colorado Springs Mayor, Steve Back was riding with me. They gave me a huge head start and I almost won! The Yellow Devil reached 62mph which I thought was a safe speed on 100-year-old wooden wheels!”
On Race Day, 2016, to celebrate the 100th Anniversary of the Race to the Clouds, Bill Hybl, president of the El Pomar Foundation, rode along with Frank from the Start Line to Halfway Picnic Grounds and back to the Start Line in an exhibition run. Frank recalled, “We wore mechanic’s coveralls that looked vintage with old helmets and goggles, courtesy of El Pomar Foundation.”
Frank reflected on the Yellow Devil’s restoration, “To have Spencer Penrose’s personal car in our shop was a great experience. To restore it, bring it back to life and then drive it up the road that Penrose built was something special. We will love that car forever.”
The Yellow Devil is traveling to Florida this week for the 29th annual Amelia Concours d’Elegance as the star of the Pikes Peak Hill Climb Class and one of 275 historically significant vehicles on display for the 4-day event.
Those attending will also see Pikes Peak race cars driven by Michele Mouton, Ray Evernham, Peter Cunningham, Layne Schranz, Bobby and Robby Unser, and more.
For race fans and history buffs the #16 Broadmoor Special will be back on display at Penrose Heritage Museum after the Amelia Concours.
Photos by: PPIHC Archives, John Davis, Mitch Snow, Frank and Kaye Peterson
ABOUT THE COLORADO SPRINGS AIRPORT
|
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2
| 15
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https://www.taftschool.org/giving/endowed-funds
|
en
|
Endowed Funds
|
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[
"Endowed Funds",
"Taft School"
] | null |
[] | null |
Endowed Funds - Taft School
|
en
|
/uploaded/favicon/apple-icon-57x57.png
|
https://www.taftschool.org/giving/endowed-funds
|
Taft is grateful to the many benefactors who have generously established funds honoring faculty, family, and alumni, and funds dedicated to supporting specific educational programs, objectives, or interests. Endowed funds are investments, designed to grow and generate income for years to come; they are investments in our school, our community, and our future.
Endowed gifts represent a significant investment in Taft. Please contact the Advancement Office at 860-945-7741 for information about making a gift.
|
|||||
5027
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dbpedia
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1
| 17
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https://www.pacom.mil/Media/News/News-Article-View/Article/3063231/uss-frank-e-petersen-jr-arrives-at-pearl-harbor-homeport/
|
en
|
USS Frank E. Petersen, Jr. Arrives at Pearl Harbor Homeport
|
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2022-06-14T00:00:00
|
JOINT BASE PEARL HARBOR-HICKAM, Hawaii – The Navy’s newest Arleigh Burke-class guided-missile destroyer, USS Frank E. Petersen, Jr. (DDG 121), arrived at its homeport at Joint Base Pearl Harbor-Hickam
|
en
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/Portals/55/favicon1.ico?ver=y9TH5maOImmYrt172aC5ag%3d%3d
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U.S. Indo-Pacific Command
|
https://www.pacom.mil/https%3A%2F%2Fwww.pacom.mil%2FMedia%2FNews%2FNews-Article-View%2FArticle%2F3063231%2Fuss-frank-e-petersen-jr-arrives-at-pearl-harbor-homeport%2F
|
JOINT BASE PEARL HARBOR-HICKAM, Hawaii – The Navy’s newest Arleigh Burke-class guided-missile destroyer, USS Frank E. Petersen, Jr. (DDG 121), arrived at its homeport at Joint Base Pearl Harbor-Hickam June 13, after completing its maiden voyage from Charleston, South Carolina where the ship was commissioned.
"This warship honors the legacy of a great American, symbolized in US steel and manifested in the proud Sailors before you. My crew and I share a deep sense of pride and honor to represent our namesake, the late Lt. Gen. Frank E. Petersen, Jr., USMC," said Cmdr. Daniel Hancock, Frank E. Petersen, Jr.'s commanding officer. "We are excited to call Hawaii home, a place that holds fond memories for the Petersen family who served here. We look forward to being good neighbors in the community. In Pearl Harbor, history is not only studied but lived every day. We know that war can come at any time but we know that we will not be alone; we are enthusiastic about joining our fellow greyhounds in Destroyer Squadron 31 - Ke Koa O Ke Kai - The Warriors of the Sea. This ship is fast, formidable, and built to fight and win in the Pacific Theater. This is a great ship, with a proud name, and a wonderful crew; we are thrilled to be here in Hawaii, ready for fleet service."
The ship honors Lt. Gen. Frank E. Petersen, Jr. (USMC Ret.). Petersen was the first black USMC aviator and the first black Marine to become a three-star general. General Petersen served two combat tours, Korea in 1953 and Vietnam in 1968. He flew more than 350 combat missions and had over 4,000 hours in various fighter and attack aircraft. Lt. Gen. Petersen passed away in August 2015 at the age of 83.
Arleigh Burke-class destroyers are the backbone of the U.S. Navy’s surface fleet. These highly capable, multi-mission ships conduct a variety of operations, from peacetime presence to national security providing a wide range of warfighting capabilities in multi-threat air, surface and subsurface.
|
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5027
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dbpedia
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1
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https://goefoundation.org/eagles/petersen-frank-e-jr/
|
en
|
Petersen, Frank E. Jr
|
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https://goefoundation.org/eagles/petersen-frank-e-jr/
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Frank E. Petersen, Jr., made history in the United States Marines, initially when he became the first black pilot and later as the first black general in the Corps. Petersen was born in 1932 in Topeka, Kansas, and grew up just 10 miles from an army airfield used for World War II bombers. Although aircraft fascinated him, his mother, a graduate of the University of Kansas, pushed him and his siblings toward more intellectual paths. Petersen was identified as a gifted student in junior high and went to a special school for talented white and black students.
After high school, he wanted to join the military, but his parents encouraged him to attend Washburn University. After a year, in June 1950, he enlisted in the Navy as a seaman apprentice and later served as an electronics technician. Petersen got a chance to enter the Naval Aviation Cadet Program and, in October 1952, he completed flight training and accepted a commission in the Marine Corps. In choosing a career in aviation, Petersen was particularly inspired by the example of Ensign Jessie L. Brown, the first black aviator in the Navy. Brown had died in the snows of North Korea, after crash landing during a close air support mission.
Petersen’s first tactical assignment was with Marine Fighter Squadron, VMA-212, in Korea. He flew Chance Vought F4U Corsairs from K-6, an airfield at Pyong-Taek, 30 miles south of Seoul. He completed 64 combat missions, earning a Distinguished Flying Cross and six Air Medals before the armistice. Returning home in June 1964, he had a variety of assignments, including duty as an instrument instructor pilot at MCAS El Toro, California, where he flew the Lockheed TV-2 (later T-33B) Seastar, the Grumman F9F Cougar, and the Douglas F3D Skynight. Petersen flew the Vought F-8 Crusader from MCAS Kaneohe, Hawaii, and he later became the first black officer to command a tactical squadron in either the Navy or the Marines.
After an assignment to NAS Willow Grove, Pennsylvania, he went to Chu Lai AB, Vietnam, where he commanded VMFA-314, a fighter attack squadron equipped with the McDonnell F4B Phantom II. On 10 September 1968, while flying his 75th mission, Petersen was shot down, but quickly rescued. Under his command, VMFA-314 received the 1968 Hanson Award as the best squadron in the Marine Corps. In Vietnam, he added 280 combat missions to those from Korea. The senior black officer in the USMC, he served as the senior advisor on minority affairs to the Commandant. Petersen managed to continue his education, receiving both a bachelors and a masters degree from George Washington University. He attended numerous professional schools, including the National War College.
In 1975, he took command of Marine Air Group 32 and flew the McDonnell Douglas AV8B Harrier out of MCAS Cherry Point, North Carolina. He was promoted to flag rank in 1979, to major general in 1983, and finally to lieutenant general in 1986. Petersen later served as Commanding General, Marine Corps Combat Development Command, Quantico, Virginia. He served as Special Assistant to the Chief of Staff, until his retirement in 1988. At that time, with over 4000 flying hours, he was the senior ranking aviator in both the Navy and the Marines, with the respective titles “Silver Hawk” and “Gray Eagle.”
|
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dbpedia
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3
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https://store.rangercoin.com/product/uss-frank-e-petersen-jr-ddg-121/
|
en
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USS Frank E. Petersen Jr. (DDG-121)
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2023-01-24T19:39:00+00:00
|
USS Frank E. Petersen Jr. (DDG-121) is an Arleigh Burke-class Flight IIA guided missile destroyer in the United States Navy, the 71st overall for the class. The ship was named for United States Marine Corps Lieutenant General Frank E. Petersen Jr. the first African-American Marine Corps aviator and the first African-American Marine Corps general. The contract for the ship, along with the name, was first announced in a press release from Huntington Ingalls Industries on 30 March 2016.
The first cutting of steel took place in April 2016 and her keel was laid on 21 February 2017. She was launched on 13 July 2018.[12] and christened on 6 October 2018. The ship was commissioned on 14 May 2022 at Charleston, South Carolina.
This coin is struck in a shiny frosted finish and features special transparent enamel combined with a 3D UV-printed representation of the ship that gives an impression that can be both seen and felt. The reverse proudly displays the ship’s crest in colorful enameled detail.
Each coin measures 1.75 inch (44mm) in diameter.
|
en
|
Ranger Coin Store
|
https://store.rangercoin.com/product/uss-frank-e-petersen-jr-ddg-121/
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Description
USS Frank E. Petersen Jr. (DDG-121) is an Arleigh Burke-class Flight IIA guided missile destroyer in the United States Navy, the 71st overall for the class. The ship was named for United States Marine Corps Lieutenant General Frank E. Petersen Jr. the first African-American Marine Corps aviator and the first African-American Marine Corps general. The contract for the ship, along with the name, was first announced in a press release from Huntington Ingalls Industries on 30 March 2016.
The first “cutting of steel” took place in April 2016 and her keel was laid on 21 February 2017. She was launched on 13 July 2018.[12] and christened on 6 October 2018. The ship was commissioned on 14 May 2022 at Charleston, South Carolina.
This coin is struck in a shiny frosted finish and features special transparent enamel combined with a 3D UV-printed representation of the ship that gives an impression that can be both seen and felt. The reverse proudly displays the ship’s crest in colorful enameled detail.
Each coin measures 1.75 inch (44mm) in diameter.
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5027
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dbpedia
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https://www.blackenterprise.com/navy-names-vessel-after-barrier-breaking-black-aviator-frank-e-petersen-jr/
|
en
|
Navy Vessel Named After First Black Marine Aviator Frank E. Petersen Jr. Will Be Commissioned in May
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[
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2022-04-25T16:30:42+00:00
|
A ship that has been named after the first Black aviator and general officer in the Marine Corps, Frank E. Petersen Jr. will be commissioned May 14, 2022
|
en
|
https://blackenterprise-prod.b-cdn.net/wp-content/themes/bigdrop-theme/dist/images/favicon/favicon.ico
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Black Enterprise
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https://www.blackenterprise.com/navy-names-vessel-after-barrier-breaking-black-aviator-frank-e-petersen-jr/
|
A ship named after the first Black aviator and general officer in the Marine Corps will be commissioned on Saturday, May 14, 2022.
According to a press release from the Navy, an Arleigh Burke-class guided-missile destroyer, the future USS Frank E. Petersen Jr. (DDG 121), will be commissioned, honoring Petersen Jr., the first African American Marine Corps aviator and the first African American Marine Corps officer to be promoted to brigadier general. He died on Aug. 25, 2015.
Following the vessel’s commissioning, Frank E. Petersen Jr. will be homeported at Hawaii’s Joint Base Pearl Harbor-Hickam.
A 2002 graduate of the United States Naval Academy, Cmdr. Daniel Hancock is the vessel’s commanding officer and guides the core crew of 32 officers and 297 enlisted personnel. The ship, which is nearly 510 feet long and has a beam of 59 feet and a navigational draft of 33 feet, was constructed by Ingalls Shipbuilding in a shipyard located in Pascagoula, Mississippi. The ship is capable of speeds in excess of 30 knots due to having four General Electric LM 2500-30 gas turbines and two shafts.
On March 2, 1932, Peterson was born in Topeka, Kansas, and was commissioned in the Marine Corps in 1952. He had previously served two years in the U.S. Navy. Petersen also served during the Korean War in 1953 and 15 years later in Vietnam in 1968. The aviator flew more than 350 combat missions and had more than 4,000 hours in various military aircraft.
On Feb. 23, 1979, Petersen was promoted to brigadier general, making him the first African American to hold that rank in the Marine Corps.
Petersen retired as a lieutenant general on Aug. 1, 1988, after serving as the Special Assistant to the Chief of Staff. His commands include Marine Fighter Attack Squadron 212, which was deactivated on March 11, 2008, and Marine Fighter Attack Squadron 314. He also served as the commanding general of the Marine Corps Combat Development Command.
During his military career, Petersen’s awards include the Navy Distinguished Service Medal, Defense Superior Service Medal, Legion of Merit with valor device, Distinguished Flying Cross, Purple Heart, and the Meritorious Service Medal.
His actions were recorded in the Congressional Record as part of the archives of the House of Representatives on July 28, 2014.
|
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https://www.navysite.de/dd/ddg121.htm
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en
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USS Frank E. Petersen Jr. (DDG 121)
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Search the Site with
General Characteristics Crew List Memorabilia About the Ship's Name Image Gallery to end of page
USS Frank E. Petersen Jr. (DDG 121)
USS FRANK E. PETERSEN JR. is one of the ARLEIGH BURKE Flight IIA guided missile destroyers and the first ship in the Navy named after US Marine Corps Lt. Gen. Frank E. Petersen, Jr., who was the first Black US Marine Corps aviator and the first Black Marine to become a three-star general.
General Characteristics:Awarded: June 3, 2013 Keel laid: February 21, 2017 Launched: July 13, 2018 Commissioned: May 14, 2022 Builder: Northrop Grumman Ship Systems' Ingalls Operations, Pascagoula, Miss. Propulsion system: four General Electric LM 2500 gas turbine engines Propellers: two Length: 508,5 feet (155 meters) Beam: 67 feet (20.4 meters) Draft: 30.5 feet (9.3 meters) Displacement: approx. 9,200 tons full load Speed: 32 knots Aircraft: two SH-60 (LAMPS 3) helicopters Armament: one Mk-45 5"/62 caliber lightweight gun, two Mk-41 VLS for Standard missiles and Tomahawk ASM/LAM, one 20mm Phalanx CIWS, two Mk-32 triple torpedo tubes for Mk-50 and Mk-46 torpedoes, two Mk 38 Mod 2 25mm machine gun systems Homeport: Pearl Harbor, Hi. Crew: approx. 320
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Crew List:
This section contains the names of sailors who served aboard USS FRANK E. PETERSEN JR. It is no official listing but contains the names of sailors who submitted their information.
Click here to view the list.
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Click here to see which USS FRANK E. PETERSEN JR. memorabilia are currently for sale on ebay.
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About the Ship's Name:
Frank E. Petersen, Jr. was born 2 March 1932, in Topeka, Kansas. He joined the US Navy as a seaman apprentice in June 1950. He served as an electronics technician and in 1951 entered the Naval Aviation Cadet Program. In October 1952, he completed flight training and accepted a commission as a second lieutenant in the Marine Corps.
His first tactical assignment was with Marine Fighter Squadron 212 during the Korean conflict. He commanded a Marine Fighter Squadron, a Marine Aircraft Group, a Marine Amphibious Brigade and a Marine Aircraft Wing. General Petersen served two combat tours, Korea in 1953 and Vietnam in 1968. He flew in excess of 350 combat missions, and had over 4,000 hours in various fighter/attack aircraft.
He received his bachelor's degree in 1967 and his master's degree in 1973, both from George Washington University, Washington, D.C. In 1987 he was the recipient of an honorary Doctor of Law degree granted by Virginia Union University. In addition he also attended the following service schools: the Amphibious Warfare School, Quantico, Virginia; the Aviation Safety Officers Course at the University of Southern California; and the National War College, Washington, D.C., class of 1973.
In February 1979 he was selected for promotion to brigadier general, and in May 1983 was advanced to the rank of major general. He was promoted to lieutenant general on 12 June 1986.
His numerous decorations include: the Defense Superior Service Medal; Legion of Merit with Combat "V", Distinguished Flying Cross; Purple Heart; Meritorious Service Medal; Air Medal; Navy Commendation Medal with Combat "V" and the Air Force Commendation Medal.
At the time of his retirement he was by date of aviator designation the senior ranking aviator in the US Marine Corps and the US Navy with respective titles of "Silver Hawk" and "Grey Eagle". His date of designation as an aviator also precedes all other aviators in the US Air Force and Army.
Lieutenant General Petersen relinquished duties as the Commanding General, Marine Corps Combat Development Command, Quantico, Virginia, on 8 July 1988. He served as the Special Assistant to the Chief of Staff from 8 July 1988 until 31 July, and retired from the Marine Corps on 1 August 1988. LtGen Petersen passed away on 25 August 2015 at the age of 83.
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USS FRANK E. PETERSEN JR. Image Gallery:
The photo below was taken by Michael Jenning and shows the FRANK E. PETERSEN JR. under construction at Northrop Grumman Ship Systems' Ingalls Operations, Pascagoula, Miss., on October 17, 2019.
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https://www.navaltoday.com/2016/04/28/hii-begins-fabrication-of-destroyer-frank-e-petersen-jr/
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HII begins fabrication of destroyer Frank E. Petersen Jr.
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2016-04-28T00:00:00
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Huntington Ingalls Industries’ Ingalls Shipbuilding division on April 27th marked the start of fabrication for the Arleigh Burke-class (DDG 51) destroyer Frank E. Petersen Jr. (DDG 121) for the U.S. Navy. The start of fabrication signifies that 100 tons of steel have been cut. “This is a significant day for our shipbuilders and for the […]
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Naval Today
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https://www.navaltoday.com/2016/04/28/hii-begins-fabrication-of-destroyer-frank-e-petersen-jr/
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https://www.naval-technology.com/news/us-navy-christen-frank-e-petersen-jr/
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en
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US Navy to name new Arleigh Burke-class destroyer Frank E Petersen Jr
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2018-10-04T23:00:59+00:00
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The US Navy is set to christen its newest Arleigh Burke-class Flight IIA guided missile destroyer, naming it the USS Frank E Petersen Jr (DDG 121).
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en
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Naval Technology
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https://www.naval-technology.com/news/us-navy-christen-frank-e-petersen-jr/
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The US Navy is set to christen its newest Arleigh Burke-class Flight IIA guided missile destroyer at Pascagoula shipyard in Mississippi, naming it the USS Frank E Petersen Jr (DDG 121).
DDG 121 has been named after the US Marine Corps’ (USMC) first African-American aviator and officer, lieutenant general Frank E Petersen Jr.
The ship will be the 71st Arleigh Burke-class destroyer and the fifth of a total fleet of 21 DDG-51 vessels currently under contract with the US Navy.
US Navy secretary Richard V Spencer said: “The future USS Frank E Petersen Jr will serve for decades as a reminder of Lt Gen Petersen’s service to our nation and navy and Marine Corps team.
“This ceremony honours not only Petersen’s service but also the service of our nation’s industrial partners, who, for centuries, have helped make our navy the greatest in the world.”
The future USS Frank E Petersen Jr has been specifically designed to be configured as a Flight IIA destroyer. It supports power projection, forward presence and escort operations at sea to address low-intensity conflict / coastal and littoral offshore warfare, and open ocean conflict.
“The USS Frank E Petersen Jr will serve for decades as a reminder of Lt Gen Petersen’s service to our nation, navy and Marine Corps.”
Armed with the US Navy’s Aegis combat system, the 509.5ft-long vessel will feature a cooperative engagement capability, which will enable a number of ships and aircraft to connect their radars when integrated with the weapon system.
This will provide the navy with a composite picture of the battlespace and help effectively increase the theatre of operations.
Built by Huntington Ingalls Industries’ (HII) Ingalls Shipbuilding division, the nearly 9,500t DDG 121 destroyer features a waterline beam of 59ft and a navigational draft of 31ft.
In July, the US Navy launched the future USS Frank E Petersen Jr at HII shipyard in Pascagoula.
Designed to replace the Charles F Adams-class (DDG 2) ships, the Arleigh Burke-class guided-missile destroyers are multi-mission surface combatants capable of carrying out missions such as warfare (AAW), anti-submarine warfare (ASW), and anti-surface warfare (ASuW).
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https://www.wikidata.org/wiki/Q5486398
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Frank E. Petersen
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U.S. Marine Corps general; First African-American Marine Corps general; First African-American Marine Corps aviator
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https://www.wikidata.org/wiki/Q5486398
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USS Frank E. Petersen Jr. Commissions
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2022-05-14T00:00:00
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The Navy commissioned its newest Arleigh Burke-class destroyer USS Frank E. Petersen, Jr. (DDG 121), May 14 in Charleston, South Carolina.
Secretary of the N
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https://www.asdnews.com/news/defense/2022/05/14/uss-frank-e-petersen-jr-commissions
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The Navy commissioned its newest Arleigh Burke-class destroyer USS Frank E. Petersen, Jr. (DDG 121), May 14 in Charleston, South Carolina.
Secretary of the Navy Carlos Del Toro attended the ceremony. He began by thanking the Petersen family for their lifetime of service to the nation. “All of us join you in honoring Lt. Gen. Frank E. Petersen, Jr.” Del Toro also recognized the plankowners bringing the ship to life. “As Secretary of the Navy I contribute all that I can to make sure that you and your families are equipped for the many challenges that lie ahead. That starts with making sure that you have the very best ship that our nation has to offer.”
The principal speaker was The Honorable Carlos Campbell, Naval aviator and former Assistant Secretary of Commerce for Economic Development, who served alongside Petersen and relayed stories exemplifying the general’s strength and dedication. Recalling Petersen’s ethic, Campbell said “He received a frag wound, he was treated in the field, and returned to combat.”
Chief of Naval Operations Adm. Mike Gilday also attended the ceremony. “It’s fitting that a name synonymous with service and sacrifice be emblazoned on the steel of this American warship,” said Gilday. “Sailors aboard this mighty warship will deploy wherever, whenever needed, with General Petersen’s fighting spirit and tenacity, for generations to come.”
Gen. David Berger, Commandant of the Marine Corps, also attended the ceremony. “General Petersen was a man of many firsts," said Berger. “There’s a saying that ships take on the characteristics of their namesakes, and if that’s true, then God help any adversary to ever confronts the Frank E. Petersen, Jr.”
Ms. Gayle Petersen, Lt. Gen. Petersen’s daughter, expressed thanks on behalf of her family and made a special recognition. “We would not be having this ceremony today if not for a gentleman named Robert Adams. When my dad was shot down in Vietnam he was rescued by Robert Adams.” Gayle continued, “I would like to thank all who had a hand in building this ship, from stem to stern.”
Guest speakers for the event included The Honorable Nancy Mace, U.S Rep. from South Carolina’s 1st District; The Honorable John Tecklenberg, Mayor of Charleston, South Carolina; Mr. George Nungesser, Vice President of Program Management, Ingalls Shipbuilding.
The ship’s sponsors are Mrs. D’Arcy Ann Neller, wife of former Commandant of the Marine Corps, Gen. Robert “Bob” Neller, USMC (Ret.), and the late Dr. Alicia J. Petersen, Lt. Gen. Petersen’s wife at the time of his passing in 2015. Dr. Petersen passed away in September 2021. Both sponsors participated in the keel laying, mast stepping, and christening ceremonies.
Mrs. Neller thanked the families. “Our service members can’t do what they do without you and your love and support. To the officers and crew. A ship without a crew is like a body without blood. You will all make this ship come alive.” She continued. “The namesake of this ship was a warrior. He always went to the sound of the guns; he was always prepared and smart about the risks he took. You all need to be the same. Always be prepared. Work hard and when the time comes, you will be ready to go into the jaw of the tiger.”
During the ceremony, USS Frank E. Petersen’s commanding officer Cmdr. Daniel Hancock, reported the ship ready. Assisted by Lt. Gen. Petersen’s daughters, Gayle Petersen, Dana Petersen Moore, Lindsay Pulliam, and Monique Petersen, Mrs. Neller gave the traditional order to “Man our ship and bring her to life!”?
“Our incredible crew takes a great deal of pride in their work. I can find no better warrior namesake than General Frank E. Petersen Jr. None of us who know his story have ever forgotten that we are the heirs of that powerful legacy, and like the General, we have committed ourselves to owning the fight and carrying his torch proudly forward,” said Hancock. “I wish to express gratitude and pride. It is my greatest professional honor to serve with each of my crew. I am proud beyond measure. "
Lt. Gen. Petersen continues a family legacy of service begun by his great grandfather. Private Archibald (Archie) Charles McKinney enlisted in 1863 and served in the Mass 55th Company E during the Civil War. McKinney’s trip home included traveling aboard a steamship, disembarking at the Port of Charleston.?
The future USS Frank E. Petersen, Jr. honors Lt. Gen. Frank E. Petersen, Jr. (USMC Ret.). Petersen was the first black USMC aviator and the first black Marine to become a three-star general. Petersen served two combat tours, Korea in 1953 and Vietnam in 1968. He flew more than 350 combat missions and had over 4,000 hours in various fighter and attack aircraft. Petersen passed away in Aug. 2015 at the age of 83.
Retiring in 1988 after 38 years of service, Petersen’s awards included the Defense Superior Service Medal; Legion of Merit with Combat "V”; Distinguished Flying Cross; Purple Heart; Meritorious Service Medal; Air Medal; Navy Commendation Medal with Combat "V;" and the Air Force Commendation Medal.
Arleigh Burke-class destroyers are the backbone of the U.S. Navy’s surface fleet. These highly capable, multi-mission ships conduct a variety of operations, from peacetime presence to national security providing a wide range of warfighting capabilities in multi-threat air, surface and subsurface.
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https://www.diversemilitary.net/veterans/article/15292359/navys-newest-commissioned-vessel-named-in-honor-of-black-veteran
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Navy’s Newest Commissioned Vessel Named in Honor of Black Veteran
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2022-05-22T13:26:35+00:00
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The USS Frank E. Petersen Jr. (DDG-121), is named in honor of Lt. Gen. Frank Petersen, the first Black Marine aviator and three-star general and will be based at Joint Base Pearl Harbor-Hickam.
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en
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/apple-touch-icon.png
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Diverse: Military
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https://www.diversemilitary.net/veterans/article/15292359/navys-newest-commissioned-vessel-named-in-honor-of-black-veteran
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The Navy has commissioned its 71st Arleigh Burke-class destroyer in Charleston, S.C., on last Saturday.
The USS Frank E. Petersen Jr. (DDG-121), is named in honor of Lt. Gen. Frank Petersen, the first Black Marine aviator and three-star general and will be based at Joint Base Pearl Harbor-Hickam.
The nearly 9,500-ton ship was commissioned in front of an audience that included both Navy Secretary Carlos Del Toro and Chief of Naval Operations Adm. Mike Gilday.
“It’s fitting that a name synonymous with service and sacrifice be emblazoned on the steel of this American warship,” Gilday said at the ceremony. “Sailors aboard this mighty warship will deploy wherever, whenever needed, with General Petersen’s fighting spirit and tenacity, for generations to come.”
Frank E. Petersen Jr. left Ingalls Shipbuilding in April to head to Charleston for the commissioning. It is the 33rd destroyer Ingalls built for the Navy. The shipbuilder is currently contracted to build five more as well, according to an HII news release.
The ship was sponsored by D’Arcy Neller, wife of Gen. Robert Neller, the former commandant of the Marine Corps, and Alicia Petersen, the wife of Frank Petersen.
Alicia Petersen died in September 2021 and was represented at the commissioning by her daughters, who gave the “Man our ship and bring her to life” order with Neller.
The crew of Frank E. Petersen Jr., led by Cmdr. Daniel Hancock, will give the ship its life, Neller said in her remarks.
“The namesake of this ship was a warrior,” she said. “He always went to the sound of the guns; he was always prepared and smart about the risks he took. You all need to be the same. Always be prepared. Work hard and when the time comes, you will be ready to go into the jaw of the tiger.”
Petersen served 38 years in the Marine Corps before retiring in 1988. Among his accolades are the Defense Superior Service Medal, the Purple Heart, the Distinguished Flying Cross and the Meritorious Service Medal.
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https://www.stripes.com/branches/navy/2022-06-14/destroyer-hawaii-petersen-6334387.html
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USS Frank E. Petersen Jr. becomes ninth destroyer to homeport in Hawaii
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"Wyatt Olson"
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2022-06-14T00:00:00
|
The ship’s namesake is Marine Corps Lt. Gen. Frank E. Petersen Jr., who was the Corps’ first African American aviator and three-star general.
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Stars and Stripes
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https://www.stripes.com/branches/navy/2022-06-14/destroyer-hawaii-petersen-6334387.html
|
FORT SHAFTER, Hawaii — The Navy’s newest guided-missile destroyer, the USS Frank E. Petersen Jr., arrived Monday in Pearl Harbor, making it the ninth ship of its class to homeport in Hawaii.
The 509-foot Arleigh Burke-class destroyer steamed into Joint Base Pearl Harbor-Hickam from Charleston, S.C., where it was commissioned last month, the Navy said in a news release Monday.
It joins the USS Daniel Inouye, whicharrived in November at the joint base that is headquarters to U.S. Pacific Fleet.
The ship’s namesake is Marine Corps Lt. Gen. Frank E. Petersen Jr., who was the Corps’ first African American aviator and three-star general, the Navy said in a news release Monday.
Former Secretary of the Navy Ray Mabus announced in 2016 that an Arleigh Burke-class destroyer would be named to honor Petersen, a year after the veteran died at age 83.
Petersen flew combat tours in the Korean War in 1953 and the Vietnam War in 1968.
He flew more than 350 combat missions and logged over 4,000 hours in various fighter and attack aircraft, the Navy said.
“My crew and I share a deep sense of pride and honor to represent our namesake, the late Lt. Gen. Frank E. Petersen, Jr., USMC,” Cmdr. Daniel Hancock, the destroyer’s commanding officer, said in the news release.
“This ship is fast, formidable, and built to fight and win in the Pacific Theater,” Hancock said. “This is a great ship, with a proud name, and a wonderful crew; we are thrilled to be here in Hawaii, ready for fleet service.”
The ship was built at Huntington Ingalls Industries shipyard in Mississippi. At nearly 9,500 tons and a draft of 31 feet, the Petersen has four gas turbine engines to power it to speeds greater than 30 knots, according to the Navy.
Arleigh Burke-class destroyers are built around the Aegis Combat System, which is capable of meeting simultaneous threats coming from the air, the sea surface and from underwater, according to the Navy. An advanced radar system at its heart can search, track more than 100 targets and simultaneously guide defensive missiles. The Petersen’s weaponry includes Tomahawk and Harpoon missiles and a mounted, 5-inch Mark 45 gun.
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https://goefoundation.org/eagles/petersen-frank-e-jr/
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en
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Petersen, Frank E. Jr
|
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https://goefoundation.org/eagles/petersen-frank-e-jr/
|
Frank E. Petersen, Jr., made history in the United States Marines, initially when he became the first black pilot and later as the first black general in the Corps. Petersen was born in 1932 in Topeka, Kansas, and grew up just 10 miles from an army airfield used for World War II bombers. Although aircraft fascinated him, his mother, a graduate of the University of Kansas, pushed him and his siblings toward more intellectual paths. Petersen was identified as a gifted student in junior high and went to a special school for talented white and black students.
After high school, he wanted to join the military, but his parents encouraged him to attend Washburn University. After a year, in June 1950, he enlisted in the Navy as a seaman apprentice and later served as an electronics technician. Petersen got a chance to enter the Naval Aviation Cadet Program and, in October 1952, he completed flight training and accepted a commission in the Marine Corps. In choosing a career in aviation, Petersen was particularly inspired by the example of Ensign Jessie L. Brown, the first black aviator in the Navy. Brown had died in the snows of North Korea, after crash landing during a close air support mission.
Petersen’s first tactical assignment was with Marine Fighter Squadron, VMA-212, in Korea. He flew Chance Vought F4U Corsairs from K-6, an airfield at Pyong-Taek, 30 miles south of Seoul. He completed 64 combat missions, earning a Distinguished Flying Cross and six Air Medals before the armistice. Returning home in June 1964, he had a variety of assignments, including duty as an instrument instructor pilot at MCAS El Toro, California, where he flew the Lockheed TV-2 (later T-33B) Seastar, the Grumman F9F Cougar, and the Douglas F3D Skynight. Petersen flew the Vought F-8 Crusader from MCAS Kaneohe, Hawaii, and he later became the first black officer to command a tactical squadron in either the Navy or the Marines.
After an assignment to NAS Willow Grove, Pennsylvania, he went to Chu Lai AB, Vietnam, where he commanded VMFA-314, a fighter attack squadron equipped with the McDonnell F4B Phantom II. On 10 September 1968, while flying his 75th mission, Petersen was shot down, but quickly rescued. Under his command, VMFA-314 received the 1968 Hanson Award as the best squadron in the Marine Corps. In Vietnam, he added 280 combat missions to those from Korea. The senior black officer in the USMC, he served as the senior advisor on minority affairs to the Commandant. Petersen managed to continue his education, receiving both a bachelors and a masters degree from George Washington University. He attended numerous professional schools, including the National War College.
In 1975, he took command of Marine Air Group 32 and flew the McDonnell Douglas AV8B Harrier out of MCAS Cherry Point, North Carolina. He was promoted to flag rank in 1979, to major general in 1983, and finally to lieutenant general in 1986. Petersen later served as Commanding General, Marine Corps Combat Development Command, Quantico, Virginia. He served as Special Assistant to the Chief of Staff, until his retirement in 1988. At that time, with over 4000 flying hours, he was the senior ranking aviator in both the Navy and the Marines, with the respective titles “Silver Hawk” and “Gray Eagle.”
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https://www.cjonline.com/story/news/2022/05/11/topeka-trailblazing-black-marine-uss-frank-e-petersen-jr-navy-ship/9708227002/
|
en
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Navy commissioning USS Frank E. Petersen Jr. for trailblazing Black Marine from Topeka
|
[
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[
"Tim Hrenchir, The Topeka Capital-Journal",
"Tim Hrenchir"
] |
2022-05-11T00:00:00
|
The U.S. Navy Saturday will commission a ship named after Topeka native Frank E. Petersen Jr.., the Marines' first Black aviator and Black general.
|
en
|
Topeka Capital-Journal
|
https://www.cjonline.com/story/news/2022/05/11/topeka-trailblazing-black-marine-uss-frank-e-petersen-jr-navy-ship/9708227002/
|
Topeka native and military trailblazer Frank E. Petersen Jr. often used the phrase "Into the Tiger's Jaw" to convey courage and spirit in confronting danger and social injustice.
That was the title of Petersen's autobiography, published in 1998.
Now "Into the Tiger's Jaw" is the motto of the guided missile cruiser that bears his name.
Commissioning ceremonies will be at 9 a.m. Saturday in Charleston, S.C., for the USS Frank E. Petersen Jr., a guided missile destroyer that will be part of the Pacific Fleet.
A free live stream broadcast of the commissioning will be available for viewing at bit.ly/TopPetersen.
The ship's 32 officers and 297 enlisted personnel are led by Commander Daniel Hancock.
Frank E. Petersen Jr. was first Black aviator, Black general in Marines
The vessel is named after Petersen, who rose to the rank of lieutenant general and became the first Black aviator and the first Black general in Marine Corps history.
Petersen also served combat tours in 1953 in Korea and in 1968 in Vietnam. He flew more than 350 combat missions and 4,000 military aircraft hours during those wars.
Peterson was born in 1932 in Topeka. He graduated in 1949 from Topeka High School, enlisted in 1950 in the Navy, then left in 1952 to accept a commission as a second lieutenant and become a pilot in the Marine Corps.
While training in Florida, Petersen was ejected from a public bus for refusing to sit in the back, according to an obituary published in the New York Times.
More: U.S. Navy accepts new destroyer. It's named for native Topekan Frank E. Petersen Jr.
In Hawaii, the obituary said, a landlord refused to rent a house to Petersen and his wife, then admitted to a subsequent prospect that he did so because they were Black.
Peterson retired in 1988 from the Marines as a three-star general and the senior aviator on active duty in the U.S. military.
President Obama put native Topekan Frank E. Petersen on Naval Academy board in 2010
President Barack Obama appointed him in 2010 to the Board of Visitors to the U.S. Naval Academy, which monitors morale, instruction and other matters.
Petersen died at age 83 in 2015 at his home in Maryland.
The Navy announced in 2016 that Petersen would be the namesake of an Arleigh-Burke Class destroyer, for which construction had begun that year at Pascagoula, Miss.
More: Trailblazing Black Topeka airman’s name misspelled on his honorary street
The ship's keel was laid in 2017. It was launched in 2018 and christened later that year.
The U.S. government last November accepted delivery of the ship.
Tim Hrenchir can be reached at threnchir@gannett.com or 785-213-5934.
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https://www.cbsnews.com/baltimore/news/frank-e-petersen-jr-first-black-marine-aviator-dies-2/
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en
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Frank E. Petersen Jr., First Black Marine Aviator, Dies
|
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2015-08-28T08:13:07-04:00
|
Frank E. Petersen Jr., the first black aviator and brigadier general in the Marine Corps, has died.
|
en
|
https://www.cbsnews.com/baltimore/news/frank-e-petersen-jr-first-black-marine-aviator-dies-2/
|
BALTIMORE (AP) -- Frank E. Petersen Jr., the first black aviator and brigadier general in the Marine Corps, has died.
Frank E. Petersen III said his father died Tuesday at his home in Stevensville, on Maryland's Kent Island, of complications from lung cancer. He was 83.
The New York Times reported that Petersen enlisted in the Navy in 1950, two years after President Truman desegregated the armed forces.
The next year, Petersen entered the Naval Aviation Cadet Program, according to The Washington Post.
According to a news release on the Marine Corps website, Petersen was commissioned in the corps in 1952. The Marines say Petersen served in the Korean War in 1953 and Vietnam in 1968. He received the Purple Heart for wounds suffered when he ejected over the demilitarized zone in Vietnam, The Post reported.
During his career, Petersen flew more than 350 combat missions and more than 4,000 hours.
"As he moved us kids from base to base, he really enjoyed getting us out on adventures. Any time you went on a journey with Dad, you were in for a hell of a ride," his son said.
Petersen was promoted to brigadier general in 1979. He retired in 1988.
His son said Petersen loved living on the Chesapeake Bay and loved being on the water.
As tough as he had to be as a Marine, his son said, "He was as peaceful and gentle as you could ask a dad to be and was always there for us."
Petersen said his father never complained, "even to his last day. You couldn't ask for a better father."
(Copyright 2015 by The Associated Press. All Rights Reserved.)
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https://www.naval-technology.com/news/us-navy-christen-frank-e-petersen-jr/
|
en
|
US Navy to name new Arleigh Burke-class destroyer Frank E Petersen Jr
|
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"lroy"
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2018-10-04T23:00:59+00:00
|
The US Navy is set to christen its newest Arleigh Burke-class Flight IIA guided missile destroyer, naming it the USS Frank E Petersen Jr (DDG 121).
|
en
|
Naval Technology
|
https://www.naval-technology.com/news/us-navy-christen-frank-e-petersen-jr/
|
The US Navy is set to christen its newest Arleigh Burke-class Flight IIA guided missile destroyer at Pascagoula shipyard in Mississippi, naming it the USS Frank E Petersen Jr (DDG 121).
DDG 121 has been named after the US Marine Corps’ (USMC) first African-American aviator and officer, lieutenant general Frank E Petersen Jr.
The ship will be the 71st Arleigh Burke-class destroyer and the fifth of a total fleet of 21 DDG-51 vessels currently under contract with the US Navy.
US Navy secretary Richard V Spencer said: “The future USS Frank E Petersen Jr will serve for decades as a reminder of Lt Gen Petersen’s service to our nation and navy and Marine Corps team.
“This ceremony honours not only Petersen’s service but also the service of our nation’s industrial partners, who, for centuries, have helped make our navy the greatest in the world.”
The future USS Frank E Petersen Jr has been specifically designed to be configured as a Flight IIA destroyer. It supports power projection, forward presence and escort operations at sea to address low-intensity conflict / coastal and littoral offshore warfare, and open ocean conflict.
“The USS Frank E Petersen Jr will serve for decades as a reminder of Lt Gen Petersen’s service to our nation, navy and Marine Corps.”
Armed with the US Navy’s Aegis combat system, the 509.5ft-long vessel will feature a cooperative engagement capability, which will enable a number of ships and aircraft to connect their radars when integrated with the weapon system.
This will provide the navy with a composite picture of the battlespace and help effectively increase the theatre of operations.
Built by Huntington Ingalls Industries’ (HII) Ingalls Shipbuilding division, the nearly 9,500t DDG 121 destroyer features a waterline beam of 59ft and a navigational draft of 31ft.
In July, the US Navy launched the future USS Frank E Petersen Jr at HII shipyard in Pascagoula.
Designed to replace the Charles F Adams-class (DDG 2) ships, the Arleigh Burke-class guided-missile destroyers are multi-mission surface combatants capable of carrying out missions such as warfare (AAW), anti-submarine warfare (ASW), and anti-surface warfare (ASuW).
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https://www.lcembroidery.com/custom-frv-patches/p/uss-frank-e-petersen-jr
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en
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USS Frank E Petersen Jr. FRV Coverall Patch — LC EMBROIDERY & CLEANERS
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Custom 2 x 4 FRV Coverall Patch with Velcro Backing
|
en
|
https://images.squarespace-cdn.com/content/v1/6307f7ac6b841f6c50843cec/3b02bba0-9d77-47d3-86b4-3884f004d77f/favicon.ico?format=100w
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LC EMBROIDERY & CLEANERS
|
https://www.lcembroidery.com/custom-frv-patches/p/uss-frank-e-petersen-jr
|
Sale Price:$12.00 Original Price:$15.00
sale
FRV cloth name patch, 2" x 4" inches with velcro included.
This item includes:
Primary Warfare Device
Line 1 - FIRST NAME, LAST NAME
We offer delivery anywhere in the US and to any FPO/AP address. Explore our online offerings or visit one of our storefront locations for all your Navy uniform needs.
Quantity:
Add To Cart
FRV cloth name patch, 2" x 4" inches with velcro included.
This item includes:
Primary Warfare Device
Line 1 - FIRST NAME, LAST NAME
We offer delivery anywhere in the US and to any FPO/AP address. Explore our online offerings or visit one of our storefront locations for all your Navy uniform needs.
FRV cloth name patch, 2" x 4" inches with velcro included.
This item includes:
Primary Warfare Device
Line 1 - FIRST NAME, LAST NAME
We offer delivery anywhere in the US and to any FPO/AP address. Explore our online offerings or visit one of our storefront locations for all your Navy uniform needs.
|
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https://ancestors.familysearch.org/en/LTPZ-M67/frank-m-petersen-1892-1942
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|
FamilySearch.org
|
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Discover your family history. Explore the world’s largest collection of free family trees, genealogy records and resources.
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https://shelleyskylinejourney.com/2022/08/30/frank-e-petersen-by-lynnette-laplace/
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en
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Frank E. Petersen by Lynnette LaPlace – My Genealogical Journey:
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2022-08-30T00:00:00
|
Lynette LaPlace is a young dedicated genealogist who is consumed with her family history (my kind of gene-buddy). She is from the Virgin Islands and traces her maternal and paternal roots to the Danish West Indies and Dominica. It is a pleasure to have connected with her while researching my Danish West Indian family. As…
|
en
|
https://secure.gravatar.com/blavatar/2f905ff9fa596bf7d85eaf61117f1a427b3fb4198d461471864d5ba8e0872828?s=32
|
My Genealogical Journey:
|
https://shelleyskylinejourney.com/2022/08/30/frank-e-petersen-by-lynnette-laplace/
|
Lynette LaPlace is a young dedicated genealogist who is consumed with her family history (my kind of gene-buddy). She is from the Virgin Islands and traces her maternal and paternal roots to the Danish West Indies and Dominica.
It is a pleasure to have connected with her while researching my Danish West Indian family. As such, I invited her to be a guest blogger on “my genealogical journey.” Please note how she explains how common-named ancestors can be complex to identify during the Danish period.
Her comprehensive research of the Petersen /Boldt family connections of Estate Hermitage led her to find America’s first Black Marine Aviator, Lt General Frank E. Petersen, her 2nd Great-Grand uncle.
Lynnette posts below about her 2nd Great Grand Uncle
If there is one surname that is very common in the US Virgin Islands, then it’s Petersen. You can find this name in St. Croix, St. Thomas, and St. John, but they are not all related.
Those found in Frederiksted are related in some way, and today I will focus on a specific Petersen family found on Estate Hermitage and how they relate to another surname that has disappeared from the Island completely.
Let me introduce you to Martha, we meet her in the 1841 census. Martha was born about 1807 or 1810 on Estate Hermitage. She was described as being of good moral character. We find Martha living with her son, Francis, in the 1857 census. Francis is of interest to us because he had three sons born about 1864, 1867, and 1870 all bearing the last name Petersen. Francis, or Frank as he sometimes goes by, does not appear with the Petersen surname until the 1870 census.
On May 16, 1874, Francis married the mother of his children, Sarah Jane Elizabeth Franklin.
Francis and Sarah’s second son, Augustus Poulis Petersen, would go on to marry and have children with Anne Elizabeth Dorothea Boldt. They had four children together, while Ann had a daughter and possibly a son from previous relationships.
Another of their sons, Frank Emmanuel Petersen born on July 4, 1905, moved to the United States in 1924. Frank ended up in Kansas where he worked as a radio repairman. He met Edith Constance Southard at the University of Kansas.
Frank and Edith had four children and of their children was Frank Emmanuel Petersen Jr. who was born on March 2, 1932, in Topeka, Kansas. Frank Jr. was a United States Marine Corps lieutenant general, the first African American Marine Corps aviator, and the first African American General in the Marines.
In 1998, Frank Jr. wrote a book titled Into the Tiger’s Jaw: America’s First Black Marine Aviator – The Autobiography of Lt. Gen. Frank E. Petersen which is available on Amazon.
I wonder sometimes if Martha ever imagined what life would be like for her children or even her great-great-grandchildren.
Thank you very much for sharing, Lynette.
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5027
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dbpedia
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3
| 39
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https://dcps.duvalschools.org/domain/5245
|
en
|
Who is Frank H. Peterson
|
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https://dcps.duvalschools.org/http%3A%2F%2Fdcps.duvalschools.org%2Fsite%2Fdefault.aspx%3FDomainID%3D5245
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Frank H. Peterson
Frank H. Peterson was the founder of Gator Trailers, the only pleasure boat trailer manufacturing company in the southeast United States. He managed the company until 1963, but continued in the Jacksonville business community through a new creation, Diversified Products Manufacturing Company.
Mr. Peterson maintained an active position amongst Jacksonville’s business leaders. He was a noted member of the Jacksonville Chamber of Commerce. During his tenure he sat on almost every standing committee. He was a member of the Board of Directors for the Jacksonville Port Authority, served on the Northeast Florida Marine Counsel, and was a guest lecturer at Jacksonville University.
Mr. Peterson’s business activities led him to the realization that the, then, present school system needed to focus on the employability skills required within the community. Like today’s academies, Mr. Peterson gathered support of Jacksonville businesses and introduced the first Marine Mechanics course in northeast Florida, utilizing the Duval County Public School System. His action caught the attention of the Evinrude Outboard Motor Company in Milwaukee, Wisconsin and they pledged corporate support in the form of dollars, materials, and in-kind services.
This successful venture led Mr. Peterson to pursue the introduction of more industry focused vocational programs within the schools. He was considered to be the vocational education liaison between the School Board and industry. He was recognized by the Governor of Florida and was appointed to the “Governor’s Cabinet of 100,” providing advice on the need for, and direction of, vocational education in the State of Florida. The Jacksonville Chamber of commerce declared Mr. Peterson “Mr. Vocational Education.”
The Westside Skills Center was established in 1979 and was formerly renamed in Mr. Peterson’s honor in 1997. He would love to see today’s Frank H. Peterson with its seven National Model Academies: Automotive, Communications, Cosmetology, Early Childhood Education, Culinary, Agri-Science, Biotechnology & Vet Assisting, and Aviation, and its youngest academy Robotics & Advanced Manufacturing. These programs coupled with a strong academic program make Frank H. Peterson Academies of Technology the epitome of Mr. Peterson’s passionate work.
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1487
|
dbpedia
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2
| 7
|
https://www.rollingstone.com/music/music-lists/bob-marley-greatest-songs-937701/
|
en
|
The 50 Greatest Bob Marley Songs
|
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[
"https://open.spotify.com/embed/playlist/7GKEOAYsKCKKVyUfIIxYVg?utm_source=oembed"
] |
[] |
[
""
] | null |
[
"David Browne",
"Jon Dolan",
"Patrick Doyle",
"Kory Grow",
"Will Hermes",
"David Marchese",
"Christopher Weingarten",
"Douglas Wolk"
] |
2020-02-05T16:00:45+00:00
|
Bob Marley's 50 greatest songs, from "Trench Town Rock" to "Jamming" and beyond
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-lists/bob-marley-greatest-songs-937701/
|
This list was originally published March 28th, 2014. It’s being republished in honor of what would have been Bob Marley’s 75th birthday, February 6th, 2020.
In the 1981 Rolling Stone obituary, Bob Marley biographer Timothy White wrote, “The pervasive image of Bob Marley is that of a gleeful Rasta with a croissant-sized spliff clenched in his teeth, stoned silly and without a care in the world. But, in fact, he was a man with deep religious and political sentiments who rose from destitution to become one of the most influential music figures in the last 20 years.”
Make that 50. Marley’s stature and influence as a singer, songwriter, and international pop-culture prophet have only grown since those words were written. He is a cornerstone of 21st-century music, covered by countless singers, sampled and quoted by just as many hip-hop acts whose artistic DNA is shaped profoundly by the Jamaican music Marley defined. His artistic fearlessness and social commitment remain an inspiration to activists, musical and otherwise. His songs of freedom have become universal hymns.
“Marley sang about tyranny and anger, about brutality and apocalypse, in enticing tones, not dissonant ones,” Mikal Gilmore wrote in 2005. “His melodies take up a resonance in our minds, in our lives, and that can provide admission to the songs’ meanings… He was the master of mellifluent insurgency.”
Those melodies sing on. Here are their stories.
|
|||||
1487
|
dbpedia
|
1
| 58
|
https://www.milesdavis.com/music/releases/
|
en
|
Miles Davis Official Site
|
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] |
[] |
[] |
[
""
] | null |
[] |
2021-08-18T09:43:22+00:00
|
en
|
https://www.milesdavis.com/wp-content/themes/milesdavis/favicon.ico
|
Miles Davis Official Site
|
https://www.milesdavis.com/music/releases/
| ||||||
1487
|
dbpedia
|
0
| 14
|
https://www.rockmusictimeline.com/1981
|
en
|
1981 Rock Music History
|
[] |
[] |
[] |
[
"1981",
"eighties",
"80s",
"timeline",
"rock music",
"pop music",
"rock and roll",
"rock n roll",
"rock & roll",
"US hot 100 chart",
"hit songs",
"hits",
"singles",
"best sellers",
"albums",
"rap",
"new wave",
"heavy metal",
"John Lennon",
"Adam Ant",
"Blondie",
"Phil Collins",
"Stray Cats",
"Dolly Parton",
"Styx",
"Grover Washington",
"Sheena Easton",
"Bob Marley",
"Smokey Robinson",
"Kim Carnes",
"Billy Squier",
"Kim Wilde",
"The Specials",
"George Harrison",
"MTV",
"Rick Springfield",
"Stevie Nicks",
"Rick James",
"Soft Cell",
"Go Go's",
"Billy Idol",
"Motley Crue",
""
] | null |
[] | null |
Synthpop emerges with success for UK acts including Soft Cell, Human League and others. Rockabilly and ska enjoy brief revivals. Simon and Garfunkel reunite for a performance to a crowd of over 550,000 in New York City's Central Park. Reggae star Bob Marley dies of cancer. Diana Ross leaves Motown for RCA making her the highest paid artist of the time. Country artists enjoy crossover success on the US Top 100.
| null | ||||||||
1487
|
dbpedia
|
3
| 16
|
https://pitchfork.com/features/lists-and-guides/6405-the-200-greatest-songs-of-the-1960s/
|
en
|
The 200 Best Songs of the 1960s
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2006-08-17T21:00:00-04:00
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From James Brown to Etta James, Jimi Hendrix to Patsy Cline, here are the tracks that lit up the decade
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en
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https://pitchfork.com/verso/static/pitchfork/assets/favicon.ico
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Pitchfork
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https://pitchfork.com/features/lists-and-guides/6405-the-200-greatest-songs-of-the-1960s/
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Listen: Harry Nilsson: “One”
107.
Bob Dylan: “Visions of Johanna” (1966)
A song that never really ends, about a girl he’s never really gonna find, in a place that he’ll never really leave. Joins fellow Dylan track “Stuck Inside of Mobile With the Memphis Blues Again” as one of the most immaculate songs about being eternally, existentially, stuck in the same place. “He’s sure got a lot of gall, being so useless and all…” –Zach Baron
Listen: Bob Dylan: “Visions of Johanna”
106.
Desmond Dekker & the Aces: “007 (Shanty Town)” (1967)
The King of Ska brought this loping anthem, about rudeboys that “bomb up de town,” to hordes of tenderfoots. But with a voice as compact and emotive as his, Dekker was capable of enrapturing even the biggest xenophobe. The only reason people can get away with loving ska is still Dekker. –Sean Fennessey
Listen: Desmond Dekker & the Aces: “007 (Shanty Town)”
105.
Simon & Garfunkel: “America” (1968)
A short, wistful trip, Bookends’ soft-focus acoustic highlight “America” wasn’t actually a single until it appeared on 1972’s Greatest Hits. Whenever. Dewily harmonious Paul Simon and Art Garfunkel do the she’s-leaving-home myth maybe half as good as Nabokov, but it’s priceless for the gabardine spy alone. –Marc Hogan
Listen: Simon & Garfunkel: “America”
104.
King Crimson: “21st Century Schizoid Man” (1969)
King Crimson announced itself to the world with this seven-minute hellstorm of gonzo guitar, shifting meters, and nasty sax. Greg Lake sounds like he’s being eaten by robots, and there’s hardly anything more fantastically filthy than Robert Fripp and Ian McDonald’s opening guitar/sax riff. –Joe Tangari
Listen: King Crimson: “21st Century Schizoid Man”
103.
Merle Haggard: “Mama Tried” (1968)
Why Steve Goodman felt the need to pen the perfect country song (his attempt was the 1975 hit “You Never Even Called Me by My Name”) is baffling, as Haggard had done it seven years previous. It’s all here: trains, prison, mama, and the outlaw thread that ran through the country movement for most of the ’70s. –Cory D. Byrom
Listen: Merle Haggard: “Mama Tried”
102.
Sly & the Family Stone: “Everyday People” (1968)
Family Stone member Larry Graham claims that the first chart-topping single from one of the first racially integrated mainstream bands also includes the first instance of slap bass. Sly smoothed out his incendiary funk into a couple minutes of gently buoyant pop leavened with nursery-rhyme bridges and soaring choruses, bringing his message of tolerance to less adventurous ears. –Brian Howe
Listen: Sly and the Family Stone: “Everyday People”
101.
Pink Floyd: “See Emily Play” (1967)
The highest-charting Syd Barrett–era Floyd single, and the recently deceased star's most accessible song, “See Emily Play” evokes lost childhood as bluntly as anything in his repertoire— it gets wistful right on the second line—but the stabs of steel guitar and the sped-up piano solo transcend cliché. –Chris Dahlen
Listen: Pink Floyd: “See Emily Play”
100.
The Isley Brothers: “It’s Your Thing” (1969)
A molten guitar-and-piano strut bleeds over some serious locked-groove drums and a few perfectly placed horn-stabs, Ronald Isley growls some second-wave feminism, and then the whole vicious lope explodes in a euphoric storm of woozy, joyous psych-funk. The Isleys already had more than a decade of hits behind them in 1969, but they still managed to completely internalize both James Brown’s rigorously amorphous stomp and former sideman Jimi Hendrix’s tumultuous squall, squishing it all into a triumphant marvel of precision-engineering, every musician involved hitting his notes hard at exactly the right moment. –Tom Breihan
Listen: The Isley Brothers: “It's Your Thing”
99.
Jimi Hendrix: “All Along the Watchtower” (1968)
This belongs to the most exclusive class of cover versions: One that not only improves on the original, but makes you forget who wrote it in the first place. The words—a comment on class disparity as represented by jokers, thieves, and princes—belong to Bob Dylan, but it’s Hendrix’s despairing performance that lend them continuing relevance, that aching first line ringing truer with each coffin that comes back from Baghdad. And the guitar solos are arguably the most dramatic that Hendrix ever laid down, sounding less like displays of technical virtuosity than pleas for sanity in a world gone to hell. –Stuart Berman
Listen: Jimi Hendrix: “All Along the Watchtower”
98.
The Zombies: “Care of Cell 44” (1968)
Fact: “Care of Cell 44,” which opens the Zombies’ psych-pop masterpiece Odessey and Oracle, is the sunniest song ever written about the impending release of a prison inmate. At the end of the first ineffably sing-song verse, Colin Blunstone tells his sweetie, “You can tell me about your prison stay”—and sounds positively tickled. To be fair, describing the song’s lush arrangement and ecstatic melodies as “sunny” is a vast understatement. Every time Blunstone belts out, “Feels! So! Good! You're coming home soon!” after the lull of a Beach Boys–style multi-part harmony, it sounds like his heart’s burst with joy. –John Motley
Listen: The Zombies: “Care of Cell 44”
97.
The Maytals: “Pressure Drop” (1969)
“Pressure Drop” was covered by the Clash and the Specials, but the definitive version is still the original, performed by the Maytals (later to become Toots and the Maytals after their lead singer, Frederick “Toots” Maytal, gained some post-incarceration notoriety). Toots’ opening melody alone is almost too sweet and desperate to bear—always faster than you remember it, far stronger than you thought possible. He less sings than rips through the rest of it. It’s a revenge song—“when it drops, oh you gonna feel it, know that you were doing wrong”—but when Toots cries, “It is you,” it sounds like love. –Zach Baron
Listen: The Maytals: “Pressure Drop”
96.
The Shangri-Las: “Give Him a Great Big Kiss” (1965)
“When I say I'm in love, you best believe I'm in love—l-u-v!” Sadly bereft of the ambient effects that feature so distinctively on Shangri-Las’ singles, “Give Him a Great Big Kiss” nevertheless features one of the foursome’s most striking spoken-word sections. One girl asks her friend how her man dances; she replies: “Close... very, very close.” The fear and excitement in those four words could make anybody want to kiss him—and enough handclap ra-ra in the chorus (plus a kiss sound-effect!) to make everybody else jealous. –Zach Baron
Listen: The Shangri-Las: “Give Him a Great Big Kiss”
95.
Sam Cooke: “Cupid” (1961)
It’s not the dumbest lyrical conceit ever, but it’s up there: Sam Cooke is worried that the girl he loves doesn’t know he exists, so he asks the Roman god of erotic love to smooth things out for him. But in the hands of Sam Cooke, it sounds as natural as breathing. The gently rippling drums, the soft and plaintive trumpet, and the frosty hum of the strings mesh together into a luxuriant bed for Cooke’s gorgeously airy falsetto. Cooke had the preternatural ability to turn any cliché into gospel truth, and that searching, wounded coo just melts over everything. –Tom Breihan
Listen: Sam Cooke: “Cupid”
94.
Simon & Garfunkel: “Mrs. Robinson” (1968)
The disparity between “Mrs. Robinson”’s jaunty music and elegiac lyrics might stem from the circumstances of its creation—asked for music for The Graduate, Paul Simon dusted off an unfinished instrumental, dropped in the jailbait-seducing lead's name, and built a requiem for America's lost idealism around it. Slinky acoustic rhythm guitars, bluesy licks, and pattering congas give out to an infectious 4/4 stomp slicked with the folkies’ seamless harmonies. An odd but true-ringing amalgamation of religious piety, stern pedantry, and suburban circumspection fills out the twilit corners of this shrine to our nation’s mythological age of innocence. –Brian Howe
Listen: Simon & Garfunkel: “Mrs. Robinson”
93.
Can: “Yoo Doo Right” (1969)
Can were digging out beats from the mud with the muscle of Community and Industry behind their electro-acoustics and MANIA ROCK POWER. Forget “krautrock”—this was actual, in-the-resonance acid-truth music; stuff that might send your buttoned-downs into the next room, but made much easier any ideas you wanted to entertain regarding quantum mechanics. Liebezeit is of course bigger than Jesus. Tape loops are the self-contained shit. “Yoo Doo Right” is the kind of thing that should keep people at shows way too late, filling the street with freak drug youths night after night. And Malcolm Mooney was a bad man. Malcolm Mooney was a bad man. –Dominique Leone
Listen: Can: “Yoo Doo Right”
92.
Nick Drake: “River Man” (1969)
Two albums before his solemn swan song Pink Moon, Nick Drake was already meditating on some oppressively heavy topics. With its fixation on the relentless passing of time, “River Man” is the loveliest and most delicate of those from his debut, Five Leaves Left. Over plaintive strums, Drake’s mournful voice paints images of fallen leaves, passing seasons, and the flowing river. What Drake does with his voice and an acoustic guitar is haunting enough, but it’s Harry Robinson’s string arrangement that makes it absolutely chilling. Singing the “Prufrock”-inspired refrain of “How they come and go,” Drake’s voice is swallowed up by the strings, which swell like a rising tide. –John Motley
Listen: Nick Drake: “River Man”
91.
The Who: “Substitute” (1966)
While rumors have long been snuffed that “Substitute” stems from Pete Townshend’s Rolling Stones–fueled inferiority complex, this self-righteous power-pop lament never took America by storm like similar rockers “Satisfaction” or “Day Tripper,” and it’s difficult to understand why. Maybe we weren't ready for the cunning lyrics, Keith Moon’s whopping fills, or, my lord, John Entwhistle’s anachronistic, shredding bassline. Even more salient with today’s listeners, Roger Daltrey turns the sunny 60s frontman persona on its head, howling about superficiality, duplicity, and social class. Ultimately the song taps just the right amount of angst, hitting that sweet spot between libertine classic rock and the austere, self-important grunge movement it no doubt helped inspire. –Adam Moerder
Listen: The Who: “Substitute”
90.
The Angels: “My Boyfriend’s Back” (1963)
Not so much about a boyfriend than about one boy coming home to beat the living hell out of another boy, this 1963 single, originally meant for the Shirelles, is one of the most flat-out mean girl-group tracks ever. College coeds will forever sing it when their high school beaus come to visit, but unless said beau is punching a few suitors in the face on arrival, he’s missing the spirit of the whole thing. –Zach Baron
Listen: The Angels: “My Boyfriend’s Back”
89.
The Stooges: “1969” (1969)
The first thing you hear is the groove: tribal drums falling down stairs, guitar and bass flaring into an eternal Link Wray jungle-stomp, before the guitar flares up into a gooey, miasmic haze. If “1969” was an instrumental, it’d be a psychedelic-funk classic. But of course all anyone talks about is Iggy Pop’s bored, detached sneer, the way he dismisses what looks in retrospect like a season of upheaval as “another year with nothing to do.” When you’ve got a groove like that behind you, anything you say starts to take on a blasphemous weight. –Tom Breihan
Listen: The Stooges: “1969”
88.
The Kinks: “You Really Got Me” (1964)
Van Halen’s equally popular 1977 cover added an orgasmic breakdown chorus of “oohs” and “aahs,” but that was just DLR being redundant. Because the original’s caustic riff says it all: These guys are packing the biggest set of blue balls known to man. But what makes “You Really Got Me” so fearsome and ferocious after 41 years isn’t its everlasting theme of unrequited teenage lust. It’s that within Ray Davies’ sneering, leering delivery, we hear the threat of violence that will result if he doesn’t get what he wants. –Stuart Berman
Listen: The Kinks: “You Really Got Me”
87.
The Miracles: “The Tracks of My Tears” (1965)
The hit factory at Motown built songs to last and this Miracles tune is one of its most enduring. “The Tracks of My Tears” is so meticulously constructed that it rolls over the competition. And it’s so deceptively simple that its genius actually isn’t easy to trace. But from the moment the drums drop over the gentle, twanging guitar intro to Smokey Robinson’s vocal improvisations over blasting horns as it fades out, every piece fits together perfectly. –John Motley
Listen: The Miracles: “The Tracks of My Tears”
86.
The Left Banke: “Walk Away Renée” (1967)
Double-edged sword: If the pseudo-classical pop-rock band the Left Banke’s keyboardist, Michael Brown, hadn’t been obsessed with guitarist Tom Finn’s girlfriend, the band might’ve lasted longer, but never would’ve written the fey weeper about secret longing and unrequited love upon which the Left Banke made their name. The saturated strings and mincing harpsichord are moving in and of themselves, but Steve Martin’s aching rendition of Brown’s teary-eyed proto-emo lyrics are more essential to the song’s longevity—most everyone can identify with the gloomy romance of rain on empty sidewalks, and pining away for your buddy’s girl never goes out of style. –Brian Howe
Listen: The Left Banke: “Walk Away Renée”
85.
Roy Orbison: “Crying” (1962)
Roy Orbison never shied from rockabilly swagger, but it was his ballads of unrequited love that made him a legend. In this pocket-sized soap opera, Orbison discovers he’s far from over an ex when the touch of her hand sends him over the edge, wringing his eyes out in agony. He’s not just “crying,” either. He's “cry-i-i-ing” in an angelic falsetto—with a cooing chorus of voices backing up his sob story. You’d never guess melodrama could be so wrenching until Orbison moves a couple octaves deeper for his show-stopping finale. –John Motley
Listen: Roy Orbison: “Crying”
84.
The Rolling Stones: “You Can’t Always Get What You Want” (1969)
Color me raised by a boomer, but this song contains one of the most important pieces of information to come out of the 1960s: Despite all the shit you go through to get what and who you want, and despite any good you might have accidentally done on the side, sometimes you just don’t have it. This was a surprising thing to hear from the Stones, but it could have been a Zen koan—“Try, and do not try. Nothing is achieved.” And let’s be real: This band never sounded better than in 1969-71. Listen to the girls singing backup. Really, anytime you have the Stones using maracas and bongos, something good is going to happen. –Dominique Leone
Listen: The Rolling Stones: “You Can’t Always Get What You Want”
83.
Neil Young & Crazy Horse: “Down by the River” (1969)
Written in the throes of an illness, “Down by the River” grew into an epic fever-nightmare tortured enough to state more clearly than any other song why Young was so out of step with his idealistic peers. The silly hippie dreams of redemption—“she could take me over the rainbow”—are immediately quashed by murder imagery, sung in pained, off-key Crazy Horse harmonies. Then the rest of the song is a blank two-chord page for Neil to scrawl his jagged guitar tone all over, two marathon solos played with zero technical flash and every note taking another awful stab into that failed hope’s body. –Rob Mitchum
Listen: Neil Young & Crazy Horse: “Down by the River”
82.
Elvis Presley: “Suspicious Minds” (1969)
Perhaps controversially, I find late-period Vegas showman Elvis more thrilling than Elvis in his historic Sun Records days; it’s an image that better lives up to the massive mythology he inspired. Fortunately, “Suspicious Minds” offers the best of both worlds: It’s gritty and funky enough to recall those Memphis days, but laden with enough garish audio glitter—the backup singers, the false ending, the swooping strings—to befit a legend. –Rob Mitchum
Listen: Elvis Presley: “Suspicious Minds”
81.
Sam & Dave: “Hold On, I’m Comin’” (1966)
Look, it’s not brain surgery. You come up with an absolutely undeniable monster of a six-note horn riff. You put it over a wound-tight funk vamp that breathes and lunges and builds to a fiery climax. You find a couple of guys to bray and scream and plead and rage over it with a sort of churchy zeal. That’s it. You are now Isaac Hayes and Dave Porter, and you’ve written maybe the greatest Southern soul song of all time. You’ll start getting burger-commercial royalties in about 30 years. –Tom Breihan
80.
Bob Dylan: “Subterranean Homesick Blues” (1965)
This flurry feels like a how-to farmer’s almanac for the 1960s counterculture—a speed-freak call from the streets and the Invisible Man’s basement, offering tricks, warnings, puns, paranoia, LSD concoctions, protest, and fire hose–toting cops. It’s famous for the cue card–toting video from Don’t Look Back (complete with Allan Ginsberg cameo). I’d venture to say Dylan was ultimately the more interesting poet and this spazzed Beat stuffing breeds the blues with Jack Kerouac and Pete Seeger. Even the seemingly tossed-off notions—writing in Braille or watching parking meters— bloom into great thought lines. Everyone’s trying to blend in one way or another—the plain clothes cops, the hippies not wearing sandals. –Brandon Stosuy
Listen: Bob Dylan: “Subterranean Homesick Blues”
79.
Gal Costa: “Baby” (1969)
Knowing no Portuguese, I imagine Costa’s singing not to a lover but to an actual baby—a six-monther, cradled in her lap and listening to a voice that’s loving and cool. And while she and the slow bossa nova are entrancing, the fantastic strings are the wild card: dipping and flittering, they collide mid-air like two matched flocks of tropical birds. If it’s sexy, it’s laughing during the act, and the baby in the crib nearby doesn’t mind. –Chris Dahlen
Listen: Gal Costa: “Baby”
78.
Sly & the Family Stone: “I Want to Take You Higher” (1969)
Sly Stone’s ode to letting music take hold is not about marching on Washington. And it’s not about spitting in The Man’s face. But it’s definitely about freedom at any cost. The baton-pass of Rose, Freddie, and Sly Stone and the basso profundo of Larry Graham elevate what is in some ways Sly’s most lyrically toothless number into a rapturous call-and-response jam that rocked thousands at Woodstock (or so Mom told us), and even more than that at supermarkets near you every day. But Sly knew what he was doing, slotting the amorphous and joyful “Higher” as the B-side to the more righteous “Stand!” It predicted everything about the next few years from Sly: joy and pain, fun and fire, truth and fucking, darkness and drugs. The perfect antithesis in a career marked by duality. –Sean Fennessey
Listen: Sly & the Family Stone: “I Want to Take You Higher”
77.
The Velvet Underground: “Heroin” (1967)
Another of Lou Reed’s inner monologues detailing the poetry of negation, this depicts the solitary sacredness of a high, the ritual of shooting up/zoning: “I have made the big decision/I'm gonna try to nullify my life.” I could retitle it “I’ll Be Your Shattered Mirror”—the protagonist feels like a fucked-up everyman, despite the first person. Sonically, it builds like it could arc forever: Drink coffee, press play, feel the noisy viola inject a frenzy. All the sounds are intensely perfect, but Moe Tucker’s drums are the manic pulse: If she stops, the high’s kaput. –Brandon Stosuy
Listen: The Velvet Underground: “Heroin”
76.
BBC Radiophonic Workshop: “Doctor Who (Original Theme)” (1963)
Where the U.S.’s “Star Trek” sent a sleek vessel into “the final frontier,” Britain’s “Dr. Who” began with a cranky old alien hurtling around in a phone booth—and the theme song couldn’t be a better fit. While Ron Grainer’s swooping melody and throbbing beat have seen slicker arrangements over the decades, this first version is an incredible piece of primitive electronic music. Delia Derbyshire constructed it in 1963 by manipulating sounds from test tone generators and mixing them together almost note by note, yet the cobbled-together, almost mismatched timbres come together in a lumpy, throbbing—and definitely futuristic—whole. –Chris Dahlen
Listen: BBC Radiophonic Workshop: “Doctor Who (Original Theme)”
75.
Simon & Garfunkel: “The Boxer” (1969)
Two reasons this is the best of many good S&G songs. First, Paul Simon never wrote a better melody. It bends and turns—and yes, drifts—like it’s going to lose its way until he tugs it back in for a chorus that every kid in the 1970s memorized before grade school. And then the lyrics, from a guy given to saying too much, are terrifically restrained and open-ended, with only the barest hints of the story fleshed out. It’s an impressionistic, painterly approach not far from where Bob Dylan would be a few years later on Blood on the Tracks. –Mark Richardson
Listen: Simon & Garfunkel: “The Boxer”
74.
James Brown & the Famous Flames: “Papa’s Got a Brand New Bag” (1965)
Almost everyone with even a passing interest in JB knows the story of how, while stopping off on tour to record a new single, the raggedy, exhausted band inched as if waist-deep in swamp water through a slower, more grinding version of “Papa’s” than the one everyone knows. Someone got the bright idea to get nice with the razor blades and the knob marked “speed everything up,” and funk got one step closer to becoming its own genre. Like a lot of music on this list, “Papa’s” can seem overfamiliar, but Brown’s shift from one of the best ballad singers and soulmen of the early 1960s to the Godfather is still one of the most remarkable transformations in pop history, and this is one of its key moments. –Jess Harvell
Listen: James Brown & the Famous Flames: “Papa’s Got a Brand New Bag”
73.
Bob Dylan: “Don’t Think Twice, It’s All Right” (1963)
With the millions of words written on the political and cultural significance of Bob Dylan’s career, it’s easy to forget that dude could write a pretty damn fierce breakup song, when he wanted to. “Don’t Think Twice, It’s All Right” may be the most venomous of Dylan’s “so long, honeybabe” tracks, in part due to the laid-back, icy delivery of its original version. When he gets to the cruel punch line of “you just kinda wasted my... precious time,” it’s shrugged off like a business transaction, a relationship diss track he can hardly be bothered to sing. –Rob Mitchum
Listen: Bob Dylan: “Don’t Think Twice, It’s All Right”
72.
Van Morrison: “Sweet Thing” (1968)
Surely, scores of grass-kissing, mass Romantics have tried to hole away with a couple of their jazzbo buds for a couple deep nights in search of the next Astral Weeks. Such is the seduction of the quick muse. Of course, it’s going to sound like shit because, however hard your scatman broheim tries to grimace and spasm like he’s feeling the force, he’s not channeling his past with folky pathos set to stun—he’s not Van Morrison. “Sweet Thing” is that one thing; sprightly bows sloping down streets, flutes searching through the mist, and elated bass leading to a fountain of youth. “It feels right, but I can’t say for sure what it means,” Lester Bangs said of it. Of course he can’t. –Ryan Dombal
Listen: Van Morrison: “Sweet Thing”
71.
Jimi Hendrix: “Manic Depression” (1967)
A showcase for Hendrix’s wholly original guitar techniques, “Manic Depression” is dizzying with its odd time signature and winding, cyclical melody. And while Hendrix will always be the focal point of his songs, the Experience shouldn’t be entirely written off. Drummer Mitch Mitchell is a beast here, pounding every drum in the kit, often leaving bassist Noel Redding to keep things grounded. Lyrically, the song is typical Hendrix—women, drugs, music, and just getting along, man. But that’s neither here nor there: When you’re watching the World Series, what the announcers are saying is beside the point. –Cory D. Byrom
Listen: Jimi Hendrix: “Manic Depression”
70.
Patsy Cline: “Crazy” (1961)
With Top 10 performances on both the country and pop charts, “Crazy” was the first indication that Patsy Cline’s appeal is pretty damn universal. On this Willie Nelson–penned heartbreaker, the music—all loping bass and twinkling piano runs—plays it cool, but Cline’s voice is so cuttingly clear and emotive it’s like she's right there in the room with you. As she sings, “I knew you’d love me as long as you wanted/And then some day, you’d leave me for somebody new,” there’s palpable sorrow and self-loathing in her delivery that makes misery sound exquisite. –John Motley
Listen: Patsy Cline: “Crazy”
69.
Dick Dale & the Del-Tones: “Misirlou” (1962)
According to headshop t-shirts, Charlie don’t surf, but if he did, this is what would’ve been blasting out of his Victrola. Dick Dale made surf music for bikers: “Misirlou” isn’t an occasion to catch a wave, it’s an invitation to a knife fight, and that bee-swarm guitar line takes on all comers—a cha-cha rhythm, a trumpet chorus, even a piano solo—and slays them all. “Misirlou” wasn’t just punk rock before punk existed—it was punk rock even before rock’n’roll became boring enough to make punk necessary. –Stuart Berman
Listen: Dick Dale & the Del-Tones: “Misirlou”
68.
The Shirelles: “Will You Still Love Me Tomorrow” (1960)
Carole King was a better songwriter than singer/songwriter, though Tapestry is probably about due for a too-ironic revival. On this 1960 release, the Shirelles take the Brill Building doo-wop and enchantment-under-the-sea strings of King’s “Will You Love Me Tomorrow” and sanctify it with modest, youthful wisdom. Other 60s girl-group ballads would be huger, or more dramatic, but the understated pathos of “Will You Love Me Tomorrow” is singularly combustible. I feel the earth move. –Marc Hogan
Listen: The Shirelles: “Will You Love Me Tomorrow”
67.
Neil Young & Crazy Horse: “Cinnamon Girl” (1969)
The “riff” in this one is a sludge of lumbering power chords and the solo is a single note; even at the beginning of his Crazy Horse era in 1969, Young’s guitar playing had already started to crystallize into something shambolic and occasionally counterintuitive. The sweetness in the burr is all the melodic things happening: the conversations between the vocal harmonies, the guitars and bass, the high and low ends. So what if it’s one of Young’s most superficial songs—in so many other ways, its ragged musculature perfectly encapsulates everything he ever did best. –Mark Pytlik
Listen: Neil Young & Crazy Horse: “Cinnamon Girl”
66.
The Paragons: “The Tide Is High” (1967)
Violin isn’t common in reggae, but damn it sounds good on this gem from the rocksteady era. I’m amazed you can fit this much melody in one song—John Holt’s lead vocal swoops and dives, his phrases expanding and contracting like the very tide itself, while the doo-wop interjections of his mates weave around him like chips of glass in a kaleidoscope. Duke Reid’s band lays down a classic track stuffed with details—a muted guitar hook, a ridiculously sublime violin solo, the way the chorus sounds great no matter what order its halves are sung in—and the result is one of the best Jamaican tracks in pop history. –Joe Tangari
Listen: The Paragons: “The Tide Is High”
65.
The Mamas & the Papas: “California Dreamin’” (1966)
Apparently it’s so dreadful not to live in California, it drove the Mamas & Papas to create one of the most beautifully eerie harmony-pop songs in rock history. Thanks to the limitations of 1966 production, John and Michelle Phillips’ reverb-waterlogged four-part arrangement sounds apocalyptically choral, making the experience of actually suffering through four seasons sound positively ghastly. –Rob Mitchum
Listen: The Mamas & the Papas: “California Dreamin’”
64.
Del Shannon: “Runaway” (1961)
So spare it’s almost not there at all, Shannon’s masterpiece is teen heartbreak in haiku, winnowed down from a 15-minute vamp into a perfect 2:20. A No. 1 smash in 1961, rock’n’roll through and through, “Runaway” is also a proto-synth pop hit, introducing the electric musitron with a wicked solo. Shannon’s hiccuping, froggy falsetto details the most basic of breakup stories, and yet it resonates like cosmic truth. Despite lacking the “yeah, well, fuck you too” vitriol of garage groups like the Seeds, hundreds of punks and proto-punks heard, for better or worse, a whole aesthetic universe in “Runaway.” It’s one of the most coverable songs of all time. –Jess Harvell
Listen: Del Shannon: “Runaway”
63.
Stan Getz & João Gilberto: “The Girl From Ipanema” [ft. Antônio Carlos Jobim] (1964)
While the titular object of desire is described as walking “like a samba,” the breezy wisp of a song she saunters through has become synonymous with bossa nova, which emphasizes subtle melodic phrasing over dance-oriented cadence. Bossa nova pioneer Tom Jobim’s bittersweet ode to the unattainable allure of youthful beauty turned the still-young Brazilian genre into a household name in the United States. Astrud Gilberto’s dreamy lilt and João Gilberto’s succinct flecks of guitar describe the mesmerizing syncopation of rolling hips, while Getz blows his sax as sweetly as any drug-crazed wife-beater ever did. –Brian Howe
Listen: Stan Getz & João Gilberto: “The Girl From Ipanema” [ft. Antônio Carlos Jobim]
62.
The Rolling Stones: “Street Fighting Man” (1968)
On this searing call-to-arms the Stones set the impending revolution under an appropriately intense summer sun, and heat rolls off of it in waves. Brightly jagged guitars glitter like blacktop mirages; thunderous percussion cracks asphalt; Jagger’s voice is a wowing police siren. The music is emphatic; the prognosis is dire but vague; and the upshot, ambivalent: “What can a poor boy do except sing for a rock’n’roll band?” Thankfully so: If they cared too much, they wouldn’t be the Stones. –Brian Howe
Listen: The Rolling Stones: “Street Fighting Man”
61.
The Supremes: “You Keep Me Hangin’ On” (1966)
This Motown masterpiece has been rerecorded as rock, country, and new wave pop. No wonder: Its unceasing beat, bright guitar chirping, horn blasts, and bubbling bass line make it arguably the most rock-influenced hit of the group’s career, and suited for any setting. Nobody has sold it better, however, than Diana Ross, who somehow manages to sound heartbroken and sassy at the same time. –Cory D. Byrom
Listen: The Supremes: “You Keep Me Hangin’ On”
60.
Sly & the Family Stone: “Hot Fun in the Summertime” (1969)
Sly Stewart’s band could play anything, and here they lay out plush vibes over words that seem a bit realist (moral: things come and go?). No surprise, however, that it’s the sweet and psychedelic soul sounds that win out. Or do they? Sometimes, this song becomes an actual source of nostalgia for me, making me think about someone's old summers when both the sun and fun were hot. But then the bridge happens, and the bass drops out, and even though I know that summer ends soon, and that I’m constantly running out of time, and that life is just a meaningless exchange of particles—well, fuck it, things come and go. –Dominique Leone
Listen: Sly & the Family Stone: “Hot Fun in the Summertime”
59.
The Velvet Underground: “Sunday Morning” (1967)
The Velvets rap is always about “influence,” but how many artists influenced both the Strokes and Belle and Sebastian? The opener to 1967’s The Velvet Underground & Nico has more in common with the latter, as John Cale’s celeste tinkles beside the feedback wash of Sterling Morrison’s bass-guitar plod, and Lou Reed’s gentle melody explains what an early-morning comedown felt like before Crate & Barrel invented downtempo. It’s a walk of no shame, solitary and serene despite submerged bursts of paranoia. Like their non-evil twins the Modern Lovers, the Velvet Underground introduced not so much a sound as an aesthetic, and that’s pretty hard to bite. –Marc Hogan
Listen: The Velvet Underground: “Sunday Morning”
58.
The Beatles: “I Want to Hold Your Hand” (1964)
Something about a Kennedy dying, and an airplane arriving in New York. And though the Beatles got more consistently great—or at least more self-consciously artistic after their initial impact—they never really got much better than 1964 and “I Want to Hold Your Hand.” People still won’t shut up about Kurt Cobain mish-mashing the Beatles and Black Sabbath, but here are the Fabs themselves shaking up both twee and punk before either was invented. –Marc Hogan
Listen: The Beatles: “I Want to Hold Your Hand”
57.
Tommy James & the Shondells: “Crimson and Clover” (1969)
Not gonna front: I loved Joan Jett’s version first. But her cover rocks too hard. This song—quite possibly the closest white pop musicians have ever come to approximating how making love actually feels—is meant to be an afternoon roll in the hay, not an alleyway screw. Even though the climaxes are certainly there, “Crimson and Clover” isn’t about the payoff, it’s about the journey: those three chords descending like pieces of clothing hitting the floor, the sweaty droplets of reverb, the backbeat thrusts. Over and over, over and over. –Amy Phillips
Listen: Tommy James & the Shondells: “Crimson and Clover”
56.
Serge Gainsbourg and Brigitte Bardot: “Bonnie and Clyde” (1968)
During his collaborations with then-lover Brigitte Bardot, Gainsbourg nurtured a near-Warholian obsession with American iconography: Ford Mustangs (bang!), Coca-Cola, comic strips, and, of course, gangsters. Portraying himself as a cultural outlaw (which, in his most transgressive work, he undoubtedly was), Gainsbourg narrates the lives and deaths of the infamous bank robbers. For listeners who don't parlez français, it’s one of Gainsbourg’s most fascinating songs in that, from start to finish, it never really changes. Its acoustic foundation is miraculously filled out by a fat, creeping bassline, dizzy strings, and a bizarre hiccupping backing vocal, all of which turn simple strums into something hypnotizing. –John Motley
Listen: Serge Gainsbourg and Brigitte Bardot: “Bonnie and Clyde”
55.
Jackie Wilson: “(Your Love Keeps Lifting Me) Higher and Higher” (1967)
It’s no shock that the finest four-stringer to ever lay in the cut, James Jamerson, provided the base for Wilson’s late-1960s resurrection. With the can’t-miss arrangement, the then-33-year-old Detroit deity emotes with enough searing intensity to even explode through today’s layers of post-pop cynicism. Truth is, there’s not much depth. But Wilson’s idyllic, soulmate destination is so inviting that, by the time the horns sweep in, you may stop snickering at Brangelina and start to appreciate their forever bond. The thing can move mile-high peaks—or at least the Statue of Liberty. –Ryan Dombal
Listen: Jackie Wilson: “(Your Love Keeps Lifting Me) Higher and Higher”
54.
The Monkees: “Daydream Believer” (1967)
There’s something extra-touching about a band that’s ostensibly “for the kids” singing a song about the end of childhood. The lolling piano line and the big, bright chorus—“Cheer up sleepy Jean”—are irresistible to people of all ages, but there’s something moving about the way the narrator’s daydreams are ever-so-slightly punctured in the verses: Even a young kid glued to the Monkees’ TV show knows that the sweet comes with the bitter, so why try to hide it? –Chris Dahlen
Listen: The Monkees: “Daydream Believer”
53.
Led Zeppelin: “Whole Lotta Love” (1969)
According to Joy Press and Simon Reynolds’ The Sex Revolts, American soldiers in Vietnam would ride into battle blasting “Whole Lotta Love,” the part where it roars out of its fuzzed-out miasmic free-jazz middle section and back into its titanic brontosaurus riff. It’s a terrifying image, bloodthirsty heavily armed children fueling themselves with the heaviest, most violent music available. But it’s oddly exhilarating, too, and that’s the genius of the song. Zeppelin turned teenage sex-drive into apocalyptic precision-tooled violence. Even in that experimental stretch, the peals of feedback sound like bombs falling. –Tom Breihan
Listen: Led Zeppelin: “Whole Lotta Love”
52.
Ray Charles: “Georgia on My Mind” (1960)
In its conception, “Georgia on My Mind” was about songwriter Hoagy Carmichael’s sister, not the Peach State. But when native Georgian Ray Charles wrapped his sultry pipes around it, it became an obvious choice for official state song, despite the weird image of a landmass competing with “other arms” and “other eyes” for the singer’s affections. (Come to think of it, that’s a rather odd thing to write about one’s sister as well.) The string section hovers just this side of schmaltz, and Charles’ twinkling piano and supple inflections imbue the song with an elegiac sway, peaceful as those moonlit pines. –Brian Howe
Listen: Ray Charles: “Georgia on My Mind”
51.
Ike & Tina Turner: “River Deep - Mountain High” (1966)
The lyrics are a string of weak, almost corny analogies, like something someone who’s not much with words would write in a one-year anniversary card—and so Tina Turner has no choice but to belt them from every inch of her lungs to get her point across. She holds her own against one of the biggest of Phil Spector’s “wall of sound” productions, while the orchestra and chorus boom and clamor like a dictator’s rally. As hair-tearingly overpowering as the love she describes, “River Deep - Mountain High” has nothing left to hold back. –Chris Dahlen
Listen: Ike & Tina Turner: “River Deep, Mountain High”
50.
Love: “Alone Again Or” (1967)
Written by Love guitarist Bryan MacLean, “Alone Again Or” was in its original conception a simple, flamenco-tinged folk song. But as the opening and greatest track on Love’s 1967 magnum opus Forever Changes, it became a perfect reflection of the L.A. group’s unique and conflicted dynamic. Producer Bruce Botnick enlisted David Angel to supply the distinctive mariachi horn section and Nelson Riddle–like string arrangements that provide the song its strange, out-of-time luster. Meanwhile, bandleader Arthur Lee infamously mixed his own harmony vocals louder than MacLean’s lead vocal to give the track an asymmetric wobble to match its elliptical title, and lending MacLean’s heart-stirring, alone-in-a-crowd lyricism an added degree of poignancy. –Matthew Murphy
Listen: Love: “Alone Again Or”
49.
Lee Hazlewood & Nancy Sinatra: “Some Velvet Morning” (1968)
Even after thousands of listens, I still don’t know quite what to make of this bizarre, creepy song. A country-outlaw singer drowning in a pool of reverb, constantly interrupted by dazed-hippie interludes, and haunted by a storm cloud orchestra. Sure, Phaedra is part of a Greek myth and all, but I prefer to think of “Some Velvet Morning” as a love song to drug rehab, Hazlewood longing for a time when he’ll be sober enough to reminisce about his addiction (ephedra = amphetamine, natch) and Sinatra in the role of the drug-personified siren calling him back to her clutches. –Rob Mitchum
Listen: Lee Hazlewood & Nancy Sinatra: “Some Velvet Morning”
48.
David Bowie: “Space Oddity” (1969)
Bowie’s first bona fide hit, “Space Oddity” was rush-released to coincide with the Apollo 11 moon landing. The lyrics, with their strong ties to 2001: A Space Odyssey, tell the sad and paranoid story of poor Major Tom, lost in the void of space. They’ve alternately been interpreted to be about drug abuse, and the psychedelic folk backdrop certainly supports the position that Tom’s experiencing the bad trip to end all bad trips. But while the themes foreshadow the symbolic sci-fi narratives in Bowie’s first true taste of superstardom—the Ziggy Stardust era—the song stands on its own, showcasing Bowie’s gifts for building atmosphere through arrangements and thematic elements. –Cory D. Byrom
Listen: David Bowie: “Space Oddity”
47.
The Beatles: “Eleanor Rigby” (1966)
Big ups to George Martin, who wrote the score for the eight-piece string section (four violins, two cellos, and two violas) floating behind Paul McCartney’s libretto (with assistance from John Lennon and George Harrison on the harmonizing and background vocals). The meditation on loneliness is just over two minutes long, but the characters are fleshed out so strongly that each individual feels packed with a novel’s worth of details. When the stars come together—“Eleanor Rigby died in the church and was buried along with her name/Nobody came/Father McKenzie wiping the dirt from his hands as he walks from the grave/No one was saved”—think back to Rigby cleaning up the post-wedding rice. She and McKenzie partake in these solitary rituals constantly—never finding a conscious overlap. Seems bizarre that it was released as a single with “Yellow Submarine”: Let's paint the Revolver black. –Brandon Stosuy
Listen: The Beatles: “Eleanor Rigby”
46.
The Creation: “Making Time” (1967)
That riff’s an instant mod flashpoint on par with “I Can’t Explain” or “You Really Got Me,” but only in the parallel universe ruled by Max Fischer did this song achieve the same legendary status. What differentiates “Making Time” from its peers is that it trades in teen angst for ennui: Kenny Pickett sings, “Why do we have to carry on/Always singing the same old song,” so after the second chorus guitarist Eddie Phillips obliges him and changes the tune, slashing a violin bow across his fret board—years before Jimmy Page stole the shtick—and inverting the song’s riff into something far nastier. They may have been called the Creation, but they excelled at the art of destruction. –Stuart Berman
Listen: The Creation: “Making Time”
45.
Dusty Springfield: “Son of a Preacher Man” (1968)
Aretha Franklin famously rejected this song, only deciding to record it once she heard Springfield’s version. Lyrically, it's clichéd, trite even. Good girl and equally good boy meet, sneak off, give in to each other: It’s a Danielle Steel novel waiting to happen. But Springfield’s quavering tenor is clear and warm enough to turn an underwritten character into an archetype, and it dissolves into the glistening guitars and hard-rolling horn riffs just perfectly. –Tom Breihan
Listen: Dusty Springfield: “Son of a Preacher Man”
44.
The Supremes: “Where Did Our Love Go” (1964)
This No. 1—the Supremes’ first—marked the beginning of an astonishing 1960s chart reign that included 12 pop toppers. Whereas many of their sister groups barreled with boldness, this trio veered away, mastering the seductive coo led by whispery glass goddess Diana Ross. As claptrap percussion gallops away, Ross sidles up to the typical teen heartbreak sentiments and instantly matures them with breathless pathos and sensuality. Punctuated by 15 seconds of blustery sax that hints at a full recovery, “Where Did Our Love Go” is a come down that comes on strong. –Ryan Dombal
Listen: The Supremes: “Where Did Our Love Go”
43.
Vince Guaraldi Trio: “Linus and Lucy” (1965)
Perhaps inseparable from images of pathetic little Christmas trees and ice-skating puppy dogs, “Linus and Lucy” is, for many kids, still the first “jazz” they ever hear. (It was certainly the only “jazz” record in my household; my mom held jazz in disregard as weird dialectic beatnik music without a beat.) That 12-note main theme (with Guaraldi’s left hand answering with five low notes) is possibly the most memorable melody on this list. Guaraldi’s crates run deeper than his Peanuts work, obviously, but there are certainly worse things to leave as your legacy. –Jess Harvell
Listen: Vince Guaraldi Trio: “Linus and Lucy”
42.
The Band: “The Night They Drove Old Dixie Down” (1969)
Nothing like a group that’s 80% Canadian singing about The War of Northern Aggression. Fortunately, the other 20% is Levon Helm, whose dramatic performance here turns a period piece that could have been a “Schoolhouse Rock” episode into a mournful piece of folk-rock. Helm’s vocals alone are perfectly evocative of the song’s character, but subtler and more crucial is his simultaneous drumming, skipping like a heartbeat whenever he gets to the really sad parts. With the rest of the Band bobbing and weaving within that perfect John Simon production, they get closer than ever to achieving their goal of escaping to a sepia-toned past. –Rob Mitchum
Listen: The Band: “The Night They Drove Old Dixie Down”
41.
Leonard Cohen: “Suzanne” (1968)
Cohen wrote this perfect ballad about a night with Suzanne Verdal, who was married at the time to the Montreal sculptor Armand Vaillancourt. It was initially a poem, “Suzanne Takes You Down,” collected in Parasites of Heaven, and the drenched dreamscape language situates the listener via all senses: “And she shows you where to look/Among the garbage and the flowers/There are heroes in the seaweed/There are children in the morning.” Suzanne, holding a mirror, supposedly really did give Cohen tea and they had some sort of slinky walking tour of Montreal and the St. Lawrence River, but, also supposedly, they didn't sleep together—didn’t want to ruin the wavelength. Still, even without the nookie, Cohen recasts the night as worthy of the Bible—turning the simplest moment into something extraordinary. –Brandon Stosuy
Listen: Leonard Cohen: “Suzanne”
40.
The Zombies: “This Will Be Our Year” (1968)
Like the rose-colored finale of a feel-good musical, this proto-twee anthem has always felt over (the top) before it begins—an incandescent, elegiac bit of closure. “Time of the Season”’s the more generally beloved track from Odessey and Oracle and has received the most Hollywood hippie lip-service, but this track’s baroque pop brevity uplifts more grandly: Like “Happy Together” lined with rays of psychedelic sunshine (vocal-harmony mouthing piano, trumpets, ornate choral harmonies, and warm drums that link it in my head to Pet Sounds and Forever Changes). When singer Colin Blunstone says, “And I won’t forget the way you said/‘Darling I love you’/You gave me faith to go on,” he creates a smeared palimpsest that tugs my heart every time. It’s ironic that the group who penned this eternally optimistic song had disbanded by the time the album hit the shelves. –Brandon Stosuy
Listen: The Zombies: “This Will Be Our Year”
39.
The Rolling Stones: “Sympathy for the Devil” (1968)
It was a ballsy move for Mick Jagger to sing about Satan in the first person, and it was even ballsier to make him so damn likable, a charming rake with a sense of decorum and a way with words. “Sympathy” may be Jagger’s finest lyrical moment; in a few quick strokes, he weaves the Crucifiction, the Hundred Years’ War, the October Revolution, World War II, and the assassinations of the Kennedys into an interlocking tapestry of human cruelty, and then he takes credit for all of it. Even ballsier may be the Stones’ use of the sort of rippling African grooves that pale-faced rockstars usually deploy when they’re trying to sound warm and life affirming. It’s an exhilarating piece of work, especially as the song builds and Keith Richards starts using his guitar the same way the Bomb Squad used sirens, a trebly fuzzbomb exploding into the sinuous mess. –Tom Breihan
Listen: The Rolling Stones: “Sympathy for the Devil”
38.
The Meters: “Cissy Strut” (1969)
When the first moments of the first song of your first album are as crisp and chilling as the “Aaaaaa-yah!” and fat chords that open “Cissy Strut,” hyperbole tends to abound. New Orleans demigods and house band for Allen freakin’ Toussaint before they were out of their infancy, the Meters were the peak of precise, slashing through each other’s instruments and whipping up funk like it was chicken salad—thoroughly, deliciously, and fast.
Art Neville ran shit from on high behind that keyboard, but the interplay between guitarist Leo Nocentelli and drummer Zigaboo Modeliste is near impossible to compute. Which explains why the track has been flipped more than 20 times on hip-hop records ranging from Onyx’s “Bacdafucup” to Raheem’s “5th Ward.” There are few songs that pop with the kind of instrumental arrogance “Cissy Strut” carries. In doing so, and basically laying the concrete for funk music, they set the standard for talking loud and saying nothing. In a good way. –Sean Fennessey
Listen: The Meters: “Cissy Strut”
37.
Simon & Garfunkel: “The Sound of Silence” (1965)
“Hello darkness, my old friend.” Few songs sink their hooks into a listener as instantly as this classic ode to alienation. Paul Simon’s tautly crafted lyrics unfold effortlessly as his harmonies with Art Garfunkel grow in emotional intensity. Those elements were already in place when the duo recorded “The Sound of Silence” for its folk-damaged debut, Wednesday Morning, 3 A.M. But after that album flopped and Simon & Garfunkel called it quits (for the first time), producer Tom Wilson took the folk frame of the original and added a rock edge. Inspired by the Byrds and Dylan’s evolution to electric, Wilson overdubbed electric guitars, bass, and drums. Not only did the new version reach No. 1, those additions also helped shed the original’s choirboy wimpiness. –John Motley
Listen: Simon & Garfunkel: “The Sound of Silence”
36.
13th Floor Elevators: “You’re Gonna Miss Me” (1966)
I need to do the research, but I doubt the electric jug was ever put to such good use. For this convulsive harmonica-singed garage-psychedelia blast, Tommy Hall pilots it as a twittering army of sopping-wet percussive mini-moogs. Then, of course, come Roky Erickson’s vocalizations, threats, and promises (“oh, you’re gonna miss me”) with patterns that feel less like rock lyricism and more like looped jazz frenetics (or, hey, Astral Weeks). This was the Austin band’s first single and only real hit, and its history seems endless: Erickson recorded it once before with his earlier band, the Spades; forty-something years later, it’s the title of Keven McAlester’s documentary about the man’s life/work. It even greets you on Erickson’s website. He’s unfortunately become one of those figures, like Daniel Johnston or Syd Barrett, fetishized by some for his mental illness. Fuck that. Listen to this track, recorded before he spent time in an institution and allegedly received shock therapy: Erickson was already possessed with rock’n’roll genius. –Brandon Stosuy
Listen: 13th Floor Elevators: “You’re Gonna Miss Me”
35.
Johnny Cash: “Ring of Fire” (1963)
That Cash could adopt a goofy conceit like this (not just any ring of fire, a burning one), drape it in mariachi music, and still come out looking twice as big a man as your favorite uncle, father, and grandfather combined says more than any glorified MOTW ever could. If composure in the face of death is proof of character, composure in the face of love is downright molecular; here’s a man singing about “wild desire” and “falling like a child” straight from the ashes at the bottom of his stomach. That “Ring of Fire” was one of his biggest hits is no easily explainable trick of the chorus either—there’s a booming posture to this that, 50 years removed, still extends out across his many decades. It’s why people loved seeing him sing even more than they loved hearing him. –Mark Pytlik
Listen: Johnny Cash: “Ring of Fire”
34.
The Who: “The Kids Are Alright” (1965)
That big opening chord sounds like a challenge to the Beatles of a “A Hard Day’s Night.” Sure enough, the Who turn in a gorgeous, sophisticated pop song that focuses the band’s sick instrumental prowess into three minutes of kinetic melancholy. Those vocal harmonies positively soar on Pete Townshend’s guitar jangle, and the modulation at the end is brilliant, preceded by just a tiny snatch of raucous Sturm und Drang. Roger Daltrey’s vocal has just the right tinge of sadness as he heaves the inner conflict stoked by his relationship on the table for all to see. –Joe Tangari
Listen: The Who: “The Kids Are Alright”
33.
James Brown & the Famous Flames: “It’s a Man’s Man’s Man’s World” (1966)
For all of its sweat-soaked machismo and fist-pump funk, Brown’s most potent 1960s statement was a relatively quiet, distinctly feminine testament to intrinsic dependence. “A man who don’t have a woman,” squeals the conflicted soul man, “he’s lost in the wilderness.” It’s as if he could foresee his post-70s wasteland, when allegations of domestic abuse outnumbered hit singles, but was utterly helpless to stop the spiral. The ballad’s titular emphasis and man-made roll call only serve to underline its loneliness and desperation. Against arch string plucks, lagging piano, and snap rimshots, the man works his demons hard. And this direct feed into his struggle is as stunning as the ensuing wreckage is stunningly pitiful. –Ryan Dombal
Listen: James Brown & the Famous Flames: “It’s a Man’s Man’s Man’s World”
32.
Ennio Morricone: “The Good, the Bad, and the Ugly (Main Theme)” (1966)
Film was the most important medium of the 20th century, and Ennio Morricone was among its chief architects. “The Good, the Bad, and the Ugly” didn’t simply reinvent soundtracks; it reinvented movies. For even the most uncouth audiences, the titular theme—hell, just the opening “wah-wah-wah”—is synonymous with stoicism, murder, and pop-art delirium. Despite the Wagnerian crescendos and theatrical irony, every effect is critical and unforgettable: pacing boots, tribal flutes, flaring surf guitar, Indian warwhoops, field-recording flotsam, meth-mangled trumpet solos. In just under three minutes, Morricone condenses all the greatest elements of music—from opera, garage, musique concrète, peyote songs, whatever—and layers them over stampeding horses and shotgun blasts. It’s kaleidoscopic, exhilarating, and incontrovertibly badass. –Alex Linhardt
Listen: Ennio Morricone: “The Good, the Bad, and the Ugly (Main Theme)”
31.
Nico: “These Days” (1967)
It’s not hard to imagine hearing Nico’s low register and ineffable sadness over a less extravagant combination of instruments on “These Days.” This could well have been another coffeehouse folk song about day-to-day drudgery and the disappearance of passion—especially because those damn strings, skipping around and over the delicate guitar, weren’t supposed to be there in the first place. Producer Tom Wilson added them after the recording, much to the chagrin of Nico, who later called its parent album, Chelsea Girl, “unlistenable.” Psssht. The grandeur of her melancholy is less restrained when there’s a viola chipping away at the melody, but there’s no gussying up or glossing over the punishing closing sentiment, perhaps an acknowledgement of the chanteuse’s already intense heroin addiction: “Please don’t confront me with my failures/I had not forgotten them.” –Sean Fennessey
Listen: Nico: “These Days”
30.
The Shangri-Las: “Leader of the Pack” (1964)
Teen melodrama was a valuable commodity in the 1960s, but few girl groups did it as darkly or as well as the death-obsessed Shangri-Las. “Leader of the Pack”—on which the Weiss and Genser twins spun spoken-word and saccharine singing into the tale of a local tough who’s killed in a motorcycle crash on the night the narrator breaks up with him, per her father’s orders—is part concise musical theater, part novelty song, and all avant-garde, thanks in no small part to George “Shadow” Morton’s inventive production. Every element of the song mimetically refers to its tacit catastrophe—the cardiac percussion limns heart-pumping urgency; stately piano chords suddenly tumble as if they’ve hit wet asphalt; and while the crisis is never explicitly named, the throaty motorcycle revs, horrible crashing sounds, and cries of “Look out look out look out!” leave little room for ambiguity. –Brian Howe
Listen: The Shangri-Las: “Leader of the Pack”
29.
The Kinks: “Waterloo Sunset” (1967)
The protagonist’s ritualistic observations have always reminded me of Death in Venice minus the overt dissipation: The “dirty old” Thames, Waterloo Station, and a 1960s orange-red nighttime London sky reimagined as a private paradise by the window pane’s light. Ray Davies’ airy harmonies compliment the rarefied aestheticism: “Busy-busy” causes vertigo, taxi lights scald eyes, it’s too cold to venture outside. This was supposedly the first track he produced on his own and every detail works to reconfirm a sensibility: The sporty intro sidesteps into the unmistakable vocal melody played first on guitar, then sung by Davies. Throughout, a scrappy rhythm guitar abuts an angelic harmonic web, balancing vicarious experience with the gorgeous hands-on pageantry of the city. –Brandon Stosuy
Listen: The Kinks: “Waterloo Sunset”
28.
Otis Redding: “(Sittin’ on) The Dock of the Bay” (1968)
Released at the beginning of 1968, Redding’s posthumous hit was a lamenting—and prescient—cry of resignation after the Summer of Love. It’s as immortal a song as R&B ever produced, renouncing all references to the transitory pleasures of love, rage, or infatuation. There’s merely Redding’s piteous hum, balanced by buoying guitar and slumberous horns. He sounds like a disappointed god, bored by infinity and captivated by his own constancy. The voice is soft and sleek, and traces of anger still disturb the serenity. The lyrics pass from calmness to sorrow, pleasure to damage, bemusement to barrenness. It’s a repudiation of empty promises: Nothing’s blowin’ in the wind, no changes are gonna come, there’s “nothing to live for, and looks like nothing’s gonna come my way.” He drives all the way to San Francisco just to remind himself that his life will never change. And then there’s that final nonchalant whistle, the most haunting and elegiac sound you could ever hear from a dead man’s No. 1 record. –Alex Linhardt
Listen: Otis Redding: “(Sittin’ on) The Dock of the Bay”
27.
The Velvet Underground: “I’m Waiting for the Man” (1967)
“The Man is never on time,” William Burroughs typed in 1959’s Naked Lunch. “First thing you learn is that you always got to wait,” Lou Reed complained eight years later on The Velvet Underground & Nico. Buffeted by krautrockist guitar blocks and insatiable jackhammer drums, Reed’s deadpan vocals makes a delinquent of early rock’n’roll piano and urban-twang lead licks. Dude takes the present-day 4/5/6 to East Harlem (that’s “SpaHa” for the noobs), $26 in hand not adjusted for inflation, then oh look at the time splits cause hey I’m running late. To think in Jamaica they’ll just plop heaping bags in your palm for a mere Andrew Jackson (I’m told)—though context suggests it’s probably the junk Reed’s really on about. Whatever, he’s feeling good, he’s gonna work it on out, and that brownstoned walk home is easy to imagine even if most of us have never experienced it. Oh, also many people heard this and then formed bands. –Marc Hogan
Listen: The Velvet Underground: “I’m Waiting for the Man”
26.
The Beatles: “I Am the Walrus” (1967)
“I Am the Walrus” wasn’t the first psychedelic song the Beatles recorded, but where the others were about the trip, this was about the destination: A tour of a surreal, strikingly vulgar place far out there (or far inside Lennon’s head), following a march beat that doesn’t quite fit your feet. Although the production is dense and full of disruptive voices and found sounds, your ear always knows where to go, thanks to that wobbly back-and-forth theme on the electric piano. And while Lennon barks the words, he also reminds us why the Beatles were the least scary available tour guide to this strange new place. After all, John (or was it Paul?) was The Walrus, a post-human growth on the collective subconscious—but he still looked silly with those giant flippers. –Chris Dahlen
Listen: The Beatles: “I Am the Walrus”
25.
The Rolling Stones: “Paint It Black” (1966)
Mick conjures his charm school squall and Brian Jones makes that sitar chirp like a newborn blue jay, but it’s Charlie Watts’ crashing kit that slugs most every other Stones tune out of the way of this depression-incarnate. Perhaps overplaying his hand too soon (subtlety has never been Mick’s fastball), Jagger’s lyrics bellyache from start, “No colors anymore, I want them to turn black,” to finish, “I wanna see the sun blotted out from the sky.” But it’s the persistent snare thumping and cymbal shattering that has led so many people to believe there’s some sort of demonic undertone to the song. There really isn’t. Seems Jags got dumped (or perhaps saw an emotional emptiness inside himself) and wants the whole world to look black. Kind of childish if you break it down to the literal, but to think about that swaggering cocksman now and imagine him crumpled and crying, scrawling, “Maybe then I’ll fade away and not have to face the facts” in 1966 is kind of heartening. –Sean Fennessey
Listen: The Rolling Stones: “Paint It Black”
24.
The Supremes: “You Can’t Hurry Love” (1966)
“If you’re not with someone, then they’re not meant for you,” Art Brut’s Eddie Argos declared in the middle of “Emily Kane” at this summer’s Pitchfork Fest. So here we are, mustache-deep in love songs and hate songs and Rolling Stones songs, and “You Can’t Hurry Love”—a little Holland-Dozier-Holland bouncer about the pointlessness (and frustrating inevitability) of getting all broke up over heartbreak—is still one of the few that tells us what we really need to hear. The ostinato bass, tingling tambourine chirp, shy Herman’s Hermits guitar, and especially Diana Ross’ suavely teenybop vocals (plus the hear-a-symphony backing oohs) stand in uneasy harmony. While the Beatles, Beach Boys, and Stones got all the white straight rock geek worship, the Supremes shimmied their way to pop perfection in 1966. Neither “Lust for Life” nor “Someday” nor any other beat-ganker does it better. Phil Collins can eat poop. –Marc Hogan
Listen: The Supremes: “You Can’t Hurry Love”
23.
Etta James: “At Last” (1961)
When love finally comes, Etta James meets it with the unhurried cool of someone shuffling to catch an early bus. Maybe she’s too wounded, or maybe she's an ascetic, but probably she's just savoring—too used to going without to remember how to be excitable. Instead she’s content to stretch the moment out like taffy, itself a new kind of wait. But where her measured delivery suggests she’s entering into this thing one limb at a time, as if slipping into an icy pool, the orchestration tells a different story. With “life is like a song,” she even confesses as much. While she stands solid and resolute, dispensing her release in controlled bursts, the strings’ backflips, twirls, and knots do the rest of her work. They’re the butterflies, the relief and the joy, and they’ve never been more beautifully expressed than they are here. –Mark Pytlik
Listen: Etta James: “At Last”
22.
Marvin Gaye: “I Heard It Through the Grapevine” (1968)
Not even the California Raisins could fuck this one up. Gladys Knight and the Pips took “Grapevine” to No. 2 in 1967, a full year before Gaye’s was released, but when was the last time you heard Knight’s version? Gaye’s take on the song remains perhaps the darkest, fuzziest, most unglued moment in Motown history. Gaye’s voice was usually an ecstatic lilt, but here it’s a frozen paranoid sneer, the sound of a man collapsing inward into doubt and regret and hate. Gaye clamps down on the “you mean that much to me” line with so much venom that we know it isn’t really true, not anymore. The murky Funk Brothers arrangement offers no respite: the organ bubbles, the Bernard Herrmann strings screech, the guitars echo and moan, and you know just as well as Gaye does that his life is about to end. There’s no hope anywhere in the song. It’s terrifying. –Tom Breihan
Listen: Marvin Gaye: “I Heard It Through the Grapevine”
21.
The Beach Boys: “Good Vibrations” (1966)
The pressure to surpass Pet Sounds and keep apace with the ante-upping Beatles set the stage for this obsessive-compulsive, career-derailing masterpiece. Wilson amassed hours upon hours of tape at multiple studios to cobble together his intricately segmented, cut’n’paste “pocket symphony,” reportedly spending anywhere between $16-50,000 to produce three-and-a-half minutes of weird yet accessible pop. Besides its haunting organs, shapeshifting riffs, and cubist harmonies, “Good Vibrations” introduced the electro-Theremin (now often known as the Tannerin, its interface involves shifting the pitch of a sine wave by sliding a knob across a dummy keyboard) to the world at large, its bright eeriness audibly echoing Wilson’s knack for blending the mundane with the extraterrestrial. –Brian Howe
Listen: The Beach Boys: “Good Vibrations”
20.
The Shangri-Las: “Out in the Streets” (1965)
The Shangri-Las perfected pop melodrama, and their best songs feel like a synthesis of Douglas Sirk, Beatlemania, Hells Angels, and a support group for middle-aged manic depressives. Yes, the group addressed the most lurid elements of 1960s suburbia, from rape and death to skull-smashing bikers and abused dropouts. But “Out in the Streets” accomplishes the tremendous feat of transforming teen-beat puppy love and leather-laced fetishism into the foundations of adulthood: nostalgia, boredom, and guilt.
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https://www.radiolondon.co.uk/rl/scrap60/fabforty/65fabs/aug65/fab080865/fab080865.html
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Big L Fab Forty 8th August 1965
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The former Leonard Hirons was an ex-window cleaner and scaffolder from Bournemouth, shown left, with his bucket and ladder when he was the subject of a 1962 British Pathe cinema feature, called Folks Get With it. As Rey Anton, he released eleven UK and several continental singles between 1962 and 1966, backed by the Batons, then the Peppermint Men and finally Pro Form. (The latter name is also listed by various sources as 'Proform'', 'Pro Forma' and 'Proformula'!) Rey wrote Nothing Comes Easy, which was published by the Big L-associated Pall Mall Music. A second Anton/Pall Mall collaboration Premeditation was released in November '65 by 'Rey Anton and Pro Forma' and a third, Newsboy, in July '66 by 'Rey Anton and The Pro Form'.
Some years back, we asked Len if he could fill in some of the missing information about the Peppermint Men. He not only did that, (see letter, left) but kindly sent two photos of himself with the band. Len tells us that the Peppermint Men were Ted Dry (lead), Martin Dry (bass), Chubby (rhythm) and Malcolm (drums). (He could not recall Chubby and Malcolm's surnames.)
The correct title of the later Rey Anton backing group, as confrimed by the man himself,was Pro Form, and was a collective name for various musicians who were available for recording and gigs when required. It may well have been two different sets of musicians who appeared in the two films backing Rey.
In more recent years, Len Hirons worked with The Mulberries r & b band, as support for Status Quo and also performed with them at a charity concert, with Dire Straits' keyboard player, Guy Fletcher. He told us, "I do hope this information is helpful to you. I was amazed at the amount of information you already had on myself and the Peppermint Men. After over forty years, I am still enjoying making music."
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South Dakota Legislature
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South Dakota Legislature
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https://www.ratherrarerecords.com/pop-charts-1965/
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the #1 hit records on the pop charts 1965
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2019-10-02T15:49:50-07:00
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THIS IS THE SIXTH in a series of ten articles addressing the #1 records of the year on Cash Box magazine's pop chart from 1960 through 1969. It was originally
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en
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rather rare records
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https://www.ratherrarerecords.com/pop-charts-1965/
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Estimated reading time is 52 minutes.
THIS IS THE SIXTH in a series of ten articles addressing the #1 records of the year on Cash Box magazine’s pop chart from 1960 through 1969. It was originally published as “Let’s Hang On To Our Ticket To Ride” in my publication Tell It Like It Was on Medium back on June 2, 2019.
Please read “Introduction To The #1 Records On The Cash Box Pop Chart Of The 1960s” before reading this article. It will explain the nature of this project, introduce you to the writers whose opinions follow, and will make everything easier to understand.
The opinions expressed below are those of John Ross, Lew Shiner, and me. John is the talent behind the Round Place In The Middle website where he opines about rock & roll, western movies, and detective novels. John is my favorite writer writing about rock & roll. He is currently working on his first novel.
I have removed the links between song titles and their corresponding YouTube pages that were originally included in this article as many of the pages have been deleted.
Lew is one of the finest novelists in America. Since you’re reading his name here, start with his novel Glimpses, which combines time travel with fantasy and the milieu of ’60s rock music. Follow that with Deserted Cities Of The Heart (time-travel and psychedelic mushrooms!) and then his latest, Outside The Gates Of Heaven, which also takes place in the ’60s.
If you want to skim through this article and skip around from record to record or comment to comment, that works and you’ll have fun. But this article will make more sense if you read it from beginning to end.
One of the first things you will notice is that each of the articles opens with a calendar of events that reflect the zeitgeist of the era. Hopefully, these will give you some background and some context in which the #1 records of that were made.
FEATURED ARTIST: When Downtown topped the charts in the US in January, Petula Clark was already 32 years old. This mattered because in the ’60s anyone over 30 was suspect (and ancient). Clark had been a recording artist since 1949 (!) with notable success in the UK and France. With Downtown, Pet became one of the hottest singers on the planet. It was a major hit in most markets and received several sales awards, such as the unidentified award she is displaying in the photo above.
In the UK, Downtown received the Ivor Novello Award for Outstanding Song of the Year of 1964. In the US, it won the Grammy Award for Best Rock and Roll Song of 1965. Pet would place another fourteen sides in the Cash Box Top 40 but by 1969 her career as a major hitmaker was over.
For a detailed account of the making of Downtown, refer to the Sound on Sound article, “Classic Tracks” on the Sound on Sound website.
1965
January
President Johnson proclaimed his Great Society during his State of the Union address.
February
Malcolm X was assassinated.
March
Alabama State Troopers attacked civil rights demonstrators in Selma, Alabama, on their otherwise peaceful march to the state capital of Montgomery. In response to these events, President Johnson sent a bill to Congress that formed the basis for the Voting Rights Act of 1965.
April
The first Students for a Democratic Society marched against the Vietnam War drew 25,000 protestors to Washington, DC.
May
The first psychedelic concert poster was printed from a drawing by Michael Ferguson and George Hunter. It announced the opening of the Charlatans at the Red Dog Saloon in Virginia City on June 1, 1965.
June
Vietnamese Buddhist monk Thích Nhất Hạnh wrote a letter to Martin Luther King Jr explaining that the monks in Vietnam immolated themselves out of love and compassion to raise awareness of their cause.
July
Bob Dylan performed with an electric rock & roll band backing him at the Newport Folk Festival.
August
Chilton Books published Frank Herbert’s Dune.
September
The US Marine Corps cut training of new recruits from twelve weeks of boot camp to eight in response to the increase in combat troops assigned to Vietnam.
October
Ballantine Books published the first authorized edition of J.R.R. Tolkien’s The Fellowship of the Ring, the first part of three novels that would comprise The Lord of the Rings trilogy.
November
The Pillsbury Doughboy made his début in the United States.
December
The first animated Peanuts television special, A Charlie Brown Christmas, débuted on CBS-TV.
1965
January 2–January 16
The Beatles
I Feel Fine
Capitol 5327
(4 weeks)
This record spent one week at #1 on December 19, 1964, for a total of five weeks at the top. Refer to that date for more information.
January 23–January 30
Petula Clark
Downtown
Warner Brothers 5494
(2 weeks)
By the time Petula Clark topped the US charts in early 1965 with Downtown, she was 32 years old and had been a star for twenty of those years! She had half a dozen Top 10 hits in the UK and even more in France, but not a single side in her fifteen years as a recording artist had graced the Top 100 in the US.
That all changed with Downtown, a remarkable song written by Clark’s producer and collaborator Tony Hatch as a response to seeing New York City for the first time in early 1964.
I could argue that regardless of such extraordinary singles as You’ve Lost That Lovin’ Feelin’, Mr. Tambourine Man, Satisfaction, and Like A Rolling Stone, it was Downtown that was the biggest hit of the year:
• In the UK, Downtown received the Ivor Novello Award for Outstanding Song of the Year of 1964.
• In the US, Downtown won the Grammy Award for Best Rock and Roll Song of 1965 (and only the Grammy people would consider Downtown to be rock & roll).
John: My definition of rock & roll is any record that could not have been conceived, let alone made, before 1955. Downtown, as it exists, in all its sweep and grandeur, could not have been conceived, let alone made, before 1955. I can come up with plenty of reasons to be mad at the Grammies, but—especially if by “song” they really meant “record”—I’ll give them a pass on that one.
It probably doesn’t hurt that hearing Downtown over a shopping mall speaker system when I was about 5 years old is my earliest musical memory—and a deliriously happy one. I ran around like a chicken with my head cut off while my sister tried to catch me and my mother (who was past running) looked on in wonder.
I was chasing the sound.
Still at it, it seems.
Neal: That’s an interesting argument—I’m not certain that I agree with it, but I am certain that I like it! We should consider an article addressing some kind of feasible definition of rock & roll and we can use your definition as a starting point.
• Billboard Hot 100 #1: Yes (2 weeks)
• Million-seller: Yes
• RIAA Gold Record: Yes (March 1, 1965)
• Accumulated sales: 3,000,000
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: No
• Grammy Award: Best Rock & Roll Recording 1964
But do you like it?
John: ✯ ✯ ✯Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
February 6–February 20
The Righteous Brothers
You’ve Lost That Lovin’ Feelin’
Philles 124
(2 weeks)
With You’ve Lost that Lovin’ Feelin’, Phil Spector made it back to the top of the charts for the first time since Be My Baby almost two years (see October 12, 1963). But this record had a completely different sound and direction than his previous hits with several girl groups, a sound that was already considered dated in ’65. With the Righteous Brothers, he made one of the most artistic pop records ever.
Phil Spector put a tremendous amount of effort into this production, but the production was so unusual that he began to wonder if he had a hit record. He played the record for the following people and asked for feedback:
• The song’s co-writer Barry Mann was convinced the song was recorded at the wrong speed. Spector called his engineer Larry Levine to confirm that it was supposed to sound that way.
• Spector’s publisher Don Kirshner thought it was great but suggested changing the title to Bring Back that Lovin’ Feelin’.
• New York disc jockey Murray the K thought the song was fantastic but suggested moving the bass line in the middle to the beginning.
Spector heard these opinions as criticism and got very nervous: “The co-writer, the co-publisher and the number-one disc jockey in America all killed me,” Spector said. “I didn’t sleep for a week when that record came out.” (SongFacts)
In 1999, the performing rights organization Broadcast Music Inc. (BMI) claimed that You’ve Lost that Lovin’ Feelin’ had more radio and television play in the United States than any other song during the 20th century. Counting every version of the song ever recorded, it had racked up 8,000,000 plays between 1965 and 2000.
John: Here’s where our generational differences start to tell. I first heard Soul And Inspiration in the late ’70s when I bought it on the flip side of one of those double-golden oldies 45s with You’ve Lost That Lovin’ Feelin’. I still have it. The label is MGM and the Lovin’ Feelin’ side lists Bill Medley as the producer.
I would have just dismissed that as somebody’s bonehead mistake . . . except I have the song on at least a dozen other comps and nowhere else does it sound as good. Without that MGM single, I’m sure I would still love it.
But I doubt it would be among my two or three favorites of all time. I still wonder if Medley dared a remix somewhere along the way. And since he really did produce Soul And Inspiration, he proved he had the know-how.
Neal: In 1967, I bought THE RIGHTEOUS BROTHERS GREATEST HITS album to get all those great singles in stereo. Half of the tracks were credited to Spector as producer and half were credited to Medley. You’ve Lost That Lovin’ Feelin’ was credited to Medley, which was confusing as I had the 45 and it was credited to Spector.
Exactly how such an error got past everybody at Verve and especially Medley is intriguing, yes?
• Billboard Hot 100 #1: Yes (2 weeks)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: Yes
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
February 27
Gary Lewis & the Playboys
This Diamond Ring
Liberty 55756
(1 week)
I really liked Gary Lewis & the Playboys’ records back in the day. I knew he wasn’t much of a singer but producer Snuff Garrett made sure he had exceptional songs and exceptional session musicians so the finished product was almost always an exceptional record.
How do you not like this one and Count Me In, Everybody Loves A Clown, Green Grass, and my fave, the Beach Boys-ish Just My Style? All you have to do is pretend that Gary really can sing.
Lew: Gary Lewis used his father (Jerry)‘s fame as a stepping stone, and this record was a studio creation that the band couldn’t duplicate live, but nonetheless, it remains a wonderful pop confection, shimmering and sweet, with more than a hint of real sadness at its core.
John: Gary’s records were probably the purest studio product of the entire rock & roll era, which I consider to be 1950 to 1994—Fat’s Domino’s first record to Kurt Cobain’s suicide. (There’s nothing a black man can invent that a whiny white kid with a shotgun can’t destroy.)
Gary’s vocals were doubled by Ron Hicklin, a session singer mixed high enough to be considered a “guide vocal.” The process portended evil. It’s a forerunner of how every record is made now.
That said, I share Neal’s love for the records made then—especially this one and Just My Style and my fave of them all, Little Miss Go-Go, which was the flip side to Count Me In.
Neal: Wow! I forgot about Little Miss Go-Go. Had Jan & Dean cut that record in 1963, it might have been another #1 record for them.
• Billboard Hot 100 #1: Yes (2 weeks)
• Million-seller: Yes
• RIAA Gold Record: Yes (April 28, 1967)
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: No
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
March 6–March 2
The Beatles
Eight Days A Week
Capitol 5371
(3 weeks)
Even back in 1965, when I had to “hate” the Beatles because my brother loved them (it’s a sibling rivalry thing), I loved “Eight Days A Week! I kept reading about the influence of Motown on its sound and feel but I didn’t hear it. At least for the first few decades, I didn’t hear it. Then, one day, I heard it—just like that!
How wonderful that they got that past me all those years.
John: I get where Neal is coming from on this one. In case anyone had been resisting the idea, this is just about where it became impossible to think the Beatles were anything less than genius.
• Billboard Hot 100 #1: Yes (2 weeks)
• Million-seller: Yes
• RIAA Gold Record: Yes (September 16, 1965)
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
March 27
The Supremes
Stop! In The Name Of Love
Motown M-1074
(1 week)
Supposedly, songwriter-producer Lamont Dozier’s girlfriend caught him cheating on her. This led to a fight where she said she was leaving him. Dozier pleaded, “Baby, please stop in the name of love before you break my heart.”
It didn’t work—she was still going to break up with him.
So he asked her to think it over—she broke up with him anyway
So he turned his pleas into the song Stop! In The Name Of Love.
When it became a hit, she came back to him. (SongFacts)
Factual or apocryphal? Who knows—it’s a good story. What I want to know is did she come back to him because she was moved by the sensitive guy who turned their fight into a song, or did she come back because the song meant a big paycheck for the sensitive songwriter?
John: I have a great memory from 2000 of watching two 12-year-old white girls sashay up the inclined hallway at the Rock & Roll Hall of Fame, where the inducted artists’ signatures are imprinted on a glass wall. Stop! In The Name Of Love was blasting on the speakers. The two girls had every one of Diana, Flo, and Mary’s hand motions down pat. In the last thirty-five years, that’s the best I’ve ever felt about America.
Neal: Motown did not seek immediate RIAA certification for an official Gold Record Award for Stop! In The Name Of Love. This was rectified on September 8, 1997, when it received a Gold Record Award for 500,000 sales.
• Billboard Hot 100 #1: Yes (2 weeks)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: Yes
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
April 3
Herman’s Hermits
Can’t You Hear My Heartbeat
MGM K-13310
(1 week)
Because of I’m Henry VIII, I Am and Mrs. Brown You’ve Got A Lovely Daughter and other crimes against humanity, it was easy for serious rock fans to look down (way down) on Herman’s Hermits. Thankfully, the passing of time has softened some of our hardness and we can appreciate how good the group was at making pop records like Can’t You Hear My Heartbeat.
Perhaps if we live another 30-40 years we won’t hold our noses at the thought of ol’ Henry and Mrs. Brown’s daughter.
But I doubt it.
John: Reputations are funny things: I am convinced that if Must To Avoid and No Milk Today had joined this one as the Hermits’ string of #1 hits, they would be in the Rock & Roll Hall of Fame. Alas, we got Henry VIII and Mrs. Brown instead.
Neal: Interesting argument: Herman’s Hermits played an important part in the British Invasion of 1964-1965, placing sides in the US Top 40 and selling Grommett only knows how many millions of singles and albums—and yes, they were major movers of LP product. We know that the likelihood of their induction into the Hall of Fame with Henry VIII and Mrs. Brown as two-thirds of their Big Three is slim.
But if the Big Three had been Can’t You Hear My Heart Beat, A Must To Avoid, and No Milk Today, the rancidity of the other two would go away. These three fine hits would be backed up by such equally fine records as I’m Into Something Good, Listen People, Dandy (which they found on the Kinks’ bloody marvelous FACE TO FACE album), and my favorite, There’s A Kind Of Hush (which should be made an honorary #1 record retroactively).
And there are several fine singles that were big hits in the UK that didn’t even make the Top 100 in the US, such as Sunshine Girl, Something’s Happening, and Lady Barbara.
Would the present Hall of Fame voters consider them for induction? I dunno, but if I was a voter they’d at least get a good sounding.
Lew: We can’t overlook the influence of producer/Svengali Mickie Most (Animals, Donovan, late Yardbirds). Mickey seemed fixated on playing to the teenybopper audience, whether that was appropriate for the artist (Lulu) or not (Jeff Beck).
Apparently, the Hermits were originally into R&B, as most English beat groups were, but Most cleaned them up and dumbed them down for stardom.
I agree with my mates above on the merits of such songs as I’m Into Something Good and A Kind Of Hush. And I actually like Mrs. Brown for its subtle, self-effacing sorrow (“Tell her that I’m well and feeling fine”).
John: I’m glad Lew got in a word for Mickey Most, who also produced Hot Chocolate in the ’70s. He should definitely be in the Hall of Fame.
• Billboard Hot 100 #1: No
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: No
But do you like it?
John: ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
April 10–April 17
Freddie & the Dreamers I’m Telling You Now
Tower 125
(2 weeks)
In 1964-1965, our parents couldn’t tell the difference between one British band and another. To them, Freddie and his Dreamers weren’t that different from the Beatles: They were making mindless fun for teenagers.
This is the only record released on Capitol Records’ weird Tower Records subsidiary (home to such groups as the Chocolate Watch Band, the Standells, and Pink Floyd) to reach #1 on any chart anywhere.
John: At least it wasn’t Do The Freddie that went to the top. We retained at least a shred of our national dignity.
Neal: I have been walking around for decades with the lyrics “Lift your left leg high then your right one, too, do the Freddie.” And then you mentioned the damn song and I went to find a video on YouTube of Freddie doing the Freddie and, lo and behold, my remembered lyrics aren’t anywhere to be found in the song! So, where’d my lyrics come from? (And, no, they aren’t caused by too much acid in the ’70s.)
John: I imagine some part of your teenage brain was rejecting whatever you were really hearing and replacing it with some kind of defense mechanism.
Neal: But maybe the false memory was created post-teendom. Holy Moscoso, maybe it was created while I was tripping!
• Billboard Hot 100 #1: Yes (2 weeks)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: No
But do you like it?
John: ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯
April 24
Wayne Fontana & the Mindbenders Game Of Love
Fontana F-1503
(1 week)
A guilty pleasure that still sounds good all these years later: “The purpose of a man is to love a woman and the purpose of a woman is to love a man, so let’s play the game of love.”
John: I’ve never been able to reconcile guilt with pleasure. If one is real, the other is not. In any case, no need to call this anything but a great record.
Neal: That’s because you weren’t raised Catholic or Jewish. For us, guilt is a requisite for a full life (and it actually adds a touch of spice to some aspects of living).
Lew: A footnote here to mention that one of the founding members of the Mindbenders was Eric Stewart, later of the group 10cc. Fontana ditched the group later in the year, and the Mindbenders went on to put A Groovy Kind Of Love in the charts with Stewart on lead vocals (see June 4, 1966, entry).
• Billboard Hot 100 #1: Yes (1 week)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: No
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
May 1–May 22
Herman’s Hermits
Mrs. Brown You’ve Got A Lovely Daughter
MGM K-13341
(4 weeks)
Initially, my entire comment for this record was, “Oy vey!”
But then I thought, “No, it needs more.”
So I added this:
Mrs. Brown You’ve Got A Lovely Daughter was not released as a single in the UK.
Lucky them.
John: I think we said all that needed to be said about this one in the previous Hermits’ entry.
• Billboard Hot 100 #1: Yes (3 weeks)
• Million-seller: Yes
• RIAA Gold Record: Yes (June 16, 1965)
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: No
But do you like it?
John: ✯
Lew : ✯ ✯ ✯
Neal: ✯
May 29
The Beatles
Ticket To Ride
Capitol 5407
(1 week)
Ticket To Ride was unlike any Beatles single that had come before it and gave them a harder sound than that of all of their earlier singles. And the lyrics are a bit edgier. This was important in 1965 and would get even more important as the decade went on.
Lew: In many ways, 1965 is about drummers: Get Off Of My Cloud, Over And Over, and this splendid, perfect, weird, tom-and-snare-flams part by Ringo.
John: Ah, yes, the drums. The steady rolls and then the perfect pause-and-snap near the end. I broke many a plastic ruler to this one. She’s got a ticket to ri-hi-hide . . . Whap!
Also, my pick for John’s greatest vocal.
Neal: For some inexplicable reason, Ticket To Ride appears to be the only Beatles Capitol single of the ’60s not to have been awarded an RIAA Gold Record. If someone can make this explicable, I’d love to hear from you.
• Billboard Hot 100 #1: Yes (1 week)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
June 5
The Supremes
Back In My Arms Again
Motown MT-1075
(1 week)
This was the Supremes’ fifth consecutive chart-topper, but the super Supremes didn’t receive a single solitary RIAA Gold Record Award in the ’60s. Why? Berry Gordy wasn’t opening his books to anyone—not to his artists and not to an independent auditor.
By this time, Gordy’s increased focus on Diana Ross as the leader of the group had severely strained the relationship of the three members, each of whom was capable of taking the lead vocal on any track.
John: Some years back, I heard all three members of Brian and Eddie Holland and Lamont Dozier (aka Holland-Dozier-Holland, the production and songwriting team behind the Supremes’ early hits, among many others) being interviewed on Terry Gross’s NPR talk show. One of them talked about a time in 1964 right after the Supremes had just had their first #1 hit with a Holland-Dozier-Holland song and production
The speaker had taken a break and gone out on the stoop for a smoke after a long day’s work with his partners at Motown’s Hitsville studio. There he overheard Berry Gordy saying that the company really needed to put its weight behind the Supremes now that they had broken through.
He slipped back inside, went to the office where his partners were getting ready to pack up for the day. He hooked a chair under the doorknob, told them what he had heard, and said: “We’re not leaving here until we write the next three number one hits for the Supremes.” Those three hits have already been covered in our little series here.
One thing that wasn’t discussed was whether Diana Ross would continue to be the lead singer. She ended up being the lead voice on more #1 records than any other Motown vocalist and it wasn’t close. Whatever part of his anatomy Berry Gordy was thinking with at the time, he knew what he was doing.
• Billboard Hot 100 #1: Yes (1 week)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
June 12
The Beach Boys
Help Me, Rhonda
Capitol 5395
(1 week)
This song was originally titled Help Me, Ronda and was recorded in early January 1965. It was released in March as part of THE BEACH BOYS TODAY! album. When Brian Wilson learned that the Rip Chords were planning on recording it as a single, he decided it would be the Beach Boys’ next single instead.
Wilson changed the spelling to Rhonda and began working on it on February 24, completing it on March 22. It was released on April 8 and two months later was the best-selling record in the country. This version was included on the SUMMER DAYS (AND SUMMER NIGHTS!!) album, released in July 1965.
John: For me, the great difference in the single is from “But she let another guy come between us and it ruined our plans” to “But she let another guy come between us and it shattered our plans.” It changes the feel from a bummer to the singer’s whole world falling apart. I previously mentioned that Brian Wilson stated in a late ’70s interview that I Get Around was the recording session where he fired his tyrannical father. (See July 4, 1964, entry.)
He may have been misremembering, as there’s a tape extant of an epic meltdown between the two on this one a year later. I’m probably in the minority, and I wouldn’t necessarily want to live on the difference, but I think Brian made greater music getting back at Dad than taking drugs.
Neal: The single version of the song is a souped-up production of the earlier album track and is much more powerful. The arrangement is pretty much the same and except for adding an “h” to Rhonda’s name, the only difference is Brian changed “ruined” to “shattered.”
And you’re right, John, it changes everything. Thanks for pointing out what should have been obvious for the past five decades.
Finally, the fight with Murry took place on February 24, the first day the group recorded vocals for Help Me, Rhonda. It’s really not that big of a fight as family fights go—not one person said, “Don’t fuck with the formula.”
• Billboard Hot 100 #1: Yes (2 weeks)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
June 19–June 26
The Four Tops
I Can’t Help Myself
Motown M-1076
(2 weeks)
When Berry Gordy signed the Four Tops in 1964, they became the old men of Motown. The Tops had formed as a quartet in high school in 1953 and had cut their first sides for Chess in 1956. But as good as they were, success on the charts eluded them until they signed with Motown.
When their first single for their new company, Baby, I Need Your Lovin’, reached the top 20, they became the old men of Top 40 radio. The next two singles didn’t fare as well and then the writing and production team of Holland–Dozier–Holland gave them I Can’t Help Myself.
The Tops consistently made good records but after this only one would reach #1 again: the anthemic Reach Out I’ll Be There in 1966. They would rack up more than a dozen Top 20 hits for Motown before moving to ABC-Paramount in 1972, where they scored several more Top 20 hits.
John: There are people who think this is lightweight Motown or just plain lightweight. I count these people among the many whom I do not understand.
Neal: With the Supremes’ Stop! In The Name of Love (1074) and Back In My Arms Again (1075) and the Four Tops’ I Can’t Help Myself (1076), Motown had three consecutive singles in their catalog numbering system reach #1. That can’t happen often for a record company, can it?
• Billboard Hot 100 #1: Yes (2 weeks)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
July 3
The Byrds
Mr. Tambourine Man
Columbia 4-43271
(1 week)
Historically and artistically, the year’s most important event was the introduction of relatively smart, meaningful lyrics through the advent of folk-rock music. This would have an immediate and long-standing impact on popular music. While Bob Dylan justly receives the lion’s share of credit for turning everything around with his lyrics, it was the Byrds arrangement and performance of his Mr. Tambourine Man that inspired the term folk-rock.
And 1965 was the year of folk-rock: Mr. Tambourine Man was followed to the toppermost of the poppermost by Dylan’s Like A Rolling Stone and Barry McGuire’s Eve Of Destruction in September. The Byrds returned with a second #1 hit with Turn! Turn! Turn! in December. Folk-rock would continue to top the charts in 1966 but would be effectively gone as an important genre on Top 40 radio by ’67.
Lew: Another really smart thing the Byrds did was cut the song down from five-and-a-half minutes to two-and-a-half. (I love early Dylan as much as almost anybody, but his version of Mr. Tambourine Man does go on and on.) And add those gorgeous harmonies.
John: I just saw Roger McGuinn (lead singer and guitarist) in concert with bass player Chris Hillman. One of the highlights of the show was McGuinn telling the story of how Mr. Tambourine Man came to be: “This is what we heard,” he said before launching into a dead-on imitation of Dylan singing the original. “And then I thought, what if we did this instead.” This was the anthemic chord progression that opens their version and has never left the radio since 1965.
Until you’ve heard the difference put that starkly, you can’t really appreciate how far the Byrds went toward making Bob Dylan a rock & roll star. Peter, Paul & Mary had put him into the mainstream two years earlier, but this was a whole other thing and the implications are with us still.
Neal: Had Sonny & Cher not released All I Really Want To Do (credited to Cher as her first solo record) at the same as the Byrds released their version, the Byrds might have had three #1 records in 1965. (Although that probably wouldn’t have had the teensiest effect quieting on the internal bickering and retarding the too-quick dissolution of the original group.)
Finally, in their entire illustrious career, the Byrds received only one RIAA Gold Record Award and that was for their greatest hits album of 1967.
• Billboard Hot 100 #1: Yes (1 week)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: Yes
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
July 10–July 31
The Rolling Stones
(I Can’t Get No) Satisfaction
London 45-9766
(4 weeks)
In the UK, the Rolling Stones were the Beatles’ biggest rivals on the charts and in sales. But in the US, the Stones got off to a modest start on Top 40 radio, scoring a lone Top 10 hit in 1964. Their place as the Fab Four’s competition was taken up by the Dave Clark Five (especially in 1964) and Herman’s Hermits (especially in 1965). That changed with Satisfaction—almost no one uses the complete title—which many of us older farts still consider the definitive rock & roll single of the ’60s.
Lew: According to legend, Keith Richards heard the guitar lick to Satisfaction in a dream while the band was on tour in the US. He staggered out of bed, recorded it on whatever primitive recording device he had with him, and went back to sleep. When he got up the next morning he was surprised to discover it.
It’s interesting to think how music history might have been different had Richards thought, “Nah, I’m too tired to get up, I’m sure I’ll remember it in the morning.”
I generally keep pen and paper on my nightstand, but most of the time the ideas that seemed so clever in the middle of the night are silly or obvious in the morning. But you never know when one of them might be Satisfaction.
John: The first of several Stones’ entries in the Greatest Rock & Roll Record Sweepstakes. This constituted the second of Mick Jagger’s deals with Beelzebub. The first had put him in front of England’s sharpest R&B band. This time, he had it put in the contract that he would be granted a voice to match. More consequences that are with us still.
• Billboard Hot 100 #1: Yes (4 weeks)
• Million-seller: Yes
• RIAA Gold Record: Yes (July 19, 1965)
• Accumulated sales: 4,500,000
• 500 Songs That Shaped Rock: Yes
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
August 7
Herman’s Hermits
I’m Henry VIII, I Am
MGM K-13367
(1 week)
Herman’s Hermits had yet another hit with yet another silly song that further alienated them from “serious” rock fans while further endearing them to 12-year-old (white) girls. At the time they recorded this song, it was more than fifty years old!
While Henry VIII is popularly known for his six marriages, he was, in fact, a pivotal figure in British history. He was the King of England from 1509-1547 and famously fought with the Pope about his desire to have his first marriage annulled. The Vatican’s refusal led to Henry’s pulling the Church of England out from under from Papal authority, which effectively began the English Reformation, which bestowed upon England the divine right of kings.
I’m Henry VIII, I Am was not released as a single in the group’s native UK. Again, lucky them.
John: My friend Jeff made himself the arbiter of all things cool by teaching us the lyrics to this in first grade. I’ll have more to say about Jeff’s burgeoning credentials when we get to the Monkees and 1967.
(And if you’re wondering why it was such a big deal to know the lyrics to this song in first grade, don’t ask me. I wasn’t culturally cognizant in those days, even to the level of my fellow first-graders. All I know is these things get established early. Jeff still held his position when I moved away after the eighth grade. I imagine wherever he is now, he holds it still.)
Neal: While it seems like the world is an endless extension of high school, such is not the case. Pretty girls and handsome boys somehow become homely while cheerleaders and all-star athletes get fat. On the other hand, wallflowers become late-bloomers and the ones with the early onset zits clear up and become models. A few things do remain the same after graduation: the smart ones keep their intelligence, the dumb ones rarely gain intelligence, and bullies keep on bullying.
I know this is so because I’ve been a puppet, a pauper, a pirate, a poet, a pawn, and a king. I’ve been up and down and over and out and I know one thing: Each time I find myself flat on my face, I pick myself up and get back in the race. That’s life, I tell ya, and I can’t deny it.
That said, readers might recognize the tune from the 1990 movie Ghost, where Sam (Patrick Swayze) sings it to annoy and goad Oda Mae Brown (Whoopi Goldberg) into helping him. Fortunately, the exposure this movie gave to the song did not catapult the Hermits’ record back to the top of the charts as it did the Righteous Brothers’ Unchained Melody.
• Billboard Hot 100 #1: Yes (1 week)
• Million-seller: Yes
• RIAA Gold Record: Yes (August 31, 1965)
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: No
But do you like it?
John: ✯ ✯
Lew : ✯ ✯
Neal: ✯
August 14–August 21
Sonny & Cher
I Got You Babe
Atco 45-6359
(2 weeks)
I like Sonny & Cher’s I Got You Babe and Baby Don’t Go so much and I like Cher’s acting so much—especially Moonstruck (“Aw, ma, I love him awful”)—I can almost forgive her her career as a solo singer.
Almost.
John: I Got You Babe is a fun record. It ain’t Gypsies, Tramps And Thieves or Half Breed, two of the angriest records ever made, neither of which required Cher to make a deal with Beelzebub.
Or even Sonny.
Neal: Sonny was Beelzebub.
Lew: Sonny learned the production trade under Phil Spector, and you can really hear it on this song. Of course, the first lesson he learned was to use the Wrecking Crew for his backing group.
• Billboard Hot 100 #1: Yes (3 weeks)
• Million-seller: Yes
• RIAA Gold Record: Yes (September 17, 1965)
• Accumulated sales: 3,000,000
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: No
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
August 28–September 11
The Beatles
Help!
Capitol 5476
(3 weeks)
Help! was the title tune to the Beatles’ second movie, Help!, also released in 1965. Everyone was so still enamored of the lads from Liverpool at the time that they failed to notice it only took them two movies to make a dumb movie, whereas it had taken Elvis five movies to do the same thing.
John: More deeply felt than I think anyone assumed at the time. Lennon later opined that he should have done it slower. I can hear that working, but not to the level of this. The incongruent tempo renders it more urgent—and desperate—by a factor of infinity.
I’ve never been able to watch the movie Help! all the way through without nodding off, but the UK soundtrack is my favorite Beatles’ LP, and I think 1965 was their peak year.
Lew: I’m going to go against all arbiters of hip and say that Help! is one of my favorite movies of all time. To me it’s the direct descendant of the Goon Shows that Lennon (and I) dearly loved (a 1950’s surrealist BBC radio show featuring, most famously, Peter Sellers).
It’s a parody of the James Bond movies, it’s the showcase for a raft of great Beatles tunes, and it features great performances from the likes of Eleanor Bron, Leo McKern (an arguably racist portrayal, but also arguably not), the incomparable Victor Spinetti, Roy Kinnear, and many more.
The on-screen chemistry between the four Beatles was even stronger than in A Hard Day’s Night, and while that chemistry was to some extent a fantasy, it was also very real, and irresistible. At his best, as he is here, director Richard Lester has unequaled comic timing (see also The Three Musketeers), and co-screenwriter Marc Behm brought a literary novelist’s credentials to the party. The climactic beach scene is a master class in resolving multiple storylines simultaneously.
Neal: Great Balls of Fire, I think Lew just called me an arbiter of hip! Does that make me . . . cool? I also enjoy the movie, just as I enjoy Follow That Dream and Viva Las Vegas, but they’re still dumb.
And as smart and hip as Magical Mystery Tour may have seemed as a hip concept (Paul said, “Hey, I’ve got an idea! Let’s make a movie based on Ken Kesey and the Pranksters and their magic bus and we’ll add lots of music and costumes and special effects and have us a merry old psychedelic time,” to which George replied, “Fab,” and Ringo said, “Groovy,” and John said, “It’s all yellow matter custard”) in the end it was just another dumb movie.
• Billboard Hot 100 #1: Yes (3 weeks)
• Million-seller: Yes
• RIAA Gold Record: Yes (September 2, 1965)
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: Yes
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
September 18
Bob Dylan
Like A Rolling Stone
Columbia 4-43346
(1 week)
First time I heard Like A Rolling Stone it was coming out of the speakers on the wall of Square Records on Public Square, the center of Wilkes-Barre, Pennsylvania. Stopped me in my tracks. I knew it was Dylan but it sure didn’t sound like, you know, Dylan.
Hell, it didn’t sound like anything I had ever heard before. And as idiosyncratic as the singing style appeared, it influenced a lot of people and generated other hits records, to the point where Motown had Levi Stubbs emulate Bob in their biggest hit Reach Out I’ll Be There (see the October 15, 1966, entry).
A book could be written about this record and I don’t doubt that John and Lew and I wouldn’t seriously consider it if one of us proposed it.
John: Actually, at least one person has written a book about this record: Greil Marcus’s Like A Rolling Stone: Bob Dylan At The Crossroads. It’s pretty good, too. But it hardly covered the whole subject. If other books have been written, I doubt they have either.
Neal: The Marcus book is twelve years old and out of print. We’re almost done with this #1 Hits of the ’60s stuff and Lew’s finished with his latest novel and you always rise to the occasion.
Lew: Any contribution I made to such a book would have to include memories of hearing this song, back to back with You Were On My Mind by We Five and Liar, Liar by the Castaways, in the fall of my sophomore year in high school. Each in its own way was a coded message to me that said, “Your parents don’t understand you. Your teachers don’t understand you. The government doesn’t understand you. But I do. And this world will someday be ours.”
In the novel Neal refers to above, my protagonist, listening to HIGHWAY 61 REVISITED for the first time, talks about Dylan’s voice, “like something he used to know and had forgotten. The voice of somebody too clever for his own good, hurt and lonely and rejecting before he was rejected. Like looking in a mirror and seeing somebody far more mysterious than he’d ever seen there before.”
Neal: I knew I could sway (“sucker”?) you guys into at least thinking about such a project. If we should do such a book, I will prove that the Mystery Tramp is actually a manifestation of Mr.Tambourine Man.
John: I should just add that my response to hearing this for the first time (in the late ’70s, as usual) was So that’s what all the fuss is about. And then I played it again and again until I learned the lyrics. And, yeah, I knew what they meant long before I memorized them, but I’ve since forgotten.
• Billboard Hot 100 #1: No
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: Yes
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
September 25
Barry McGuire
Eve Of Destruction
Dunhill D-4009
(1 week)
“The eastern world, it is exploding, violence flaring, bullets loading. You’re old enough to kill but not for voting, you don’t believe in war but what’s that gun you’re toting? And even the Jordan River has bodies floating. But you tell me over and over and over again, my friend, you don’t believe we’re on the eve of destruction.”
If these opening lines failed to attract any Top 40 radio listener’s attention, the singer’s rasping voice, horrified and outraged, got them to pay attention. While it’s easy to assume that “the eastern world” refers to Vietnam, that war was hardly talked about in 1965 and when it was, the overwhelming majority of Americans believed it was a “just cause” as it would keep the gooks out of San Francisco and the Commies from polluting our precious bodily fluids. (We were saving that for the Capitalists.)
This record may actually have caused a few of them—at least the younger ones—to rethink that position.
Lew: It seems almost laughable now that the world really is ending—Trump’s war on blacks, Latinos, women, and immigrants; climate change; ISIS; economic collapse—to look back on a cri de coeur like Eve Of Destruction. But, as Dave Mason said, “at the time I really felt that way.”
My generation grew up under what seemed a very real threat of nuclear war—nobody had had arsenals of atomic weapons before, so nobody knew if we were going to survive. The Cuban Missile Crisis, the assassination of JFK, and the Vietnam War made all of us feel like our lives were at risk.
Neal: Lew, I think our generation lived through the eve of destruction and now we’re living in the dawn of the dead. When this record was #1, there were people suggesting Governor Reagan of California for President. Hard to believe that the leaders of the Rep*blican Party of the ’60s considered him a rightwing extremist and therefore, ahem, unelectable.
But then that was before the escalation of the war, the protests, and demonstrations, the GOP adopting the so-called Southern Strategy and white supremacists, Watergate, the Evangelicals adopting the GOP, et al.
Back to the record: Eve Of Destruction was originally written by Sloane for the Turtles as a follow-up to their first big hit, It Ain’t Me Babe. The group didn’t see Eve Of Destruction as a single but included it on their first album earlier in ’65.
John: The Turtles’ response to Eve Of Destruction, at least as they told the story later, was on the order of “Okay, it will be a monster hit. But then what?” They couldn’t imagine a follow-up. It may have been a case of hindsight being 20/20, but, if that was their thought process, they were right.
They had hits straight through the ’60s. Barry McGuire was the definition of a one-hit-wonder. What a hit, though. I named it my favorite one-hit wonder of all time on my blog a while back.
Lew: As Neal said earlier, the one-two punch of Like A Rolling Stone and Eve Of Destruction, following Mr. Tambourine Man in July and the Lovin’ Spoonful’s Do You Believe In Magic in August, ushered in a new genre of music, folk-rock, which (if memory serves) John Sebastian once called “a sort of American armed response to the British Invasion.”
Let us also not overlook the pummeling power of the 12-string guitar on this song, or McGuire’s virtuoso singing, or the great melody and brainy lyrics of the P. F. Sloane source material.
• Billboard Hot 100 #1: Yes (1 week)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: 2,000,000
• 500 Songs That Shaped Rock: Yes
• Rock & Roll Hall of Fame: No
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯
October 2
The McCoys
Hang On Sloopy
Bang B-506
(1 week)
The backing track to Hang On Sloopy was recorded by Bob Feldman, Jerry Goldstein, and Richard Gottehrer, who recorded as the Strangeloves, It was meant for the follow-up single to their big hit, the irrepressible I Want Candy. But they gave the track to the McCoys who added the vocals and took it to the top of the charts!
Feldman, Goldstein, and Gottehrer had written and produced a previous #1 record, the Angels’ My Boyfriend’s Back (see the September 7, 1963, entry).
Later in the year, the Ramsey Lewis Trio had a Top 20 hit with a jazzy piano version of Hang On Sloopy while Little Caesar & the Consuls reached the Top 60 with their uncategorizable reading of (My Girl) Sloopy.
The McCoys’ second record was a rocking version of Little Willie John’s 1956 hit Fever. This was actually a medley of Fever and Turn On Your Lovelight done in a style very reminiscent of their first single and it reached the Top 10 later in ’65. But by the end of ’66, the McCoys had trouble getting their records played on AM radio.
Lew: It was decades later before I learned that Hang On Sloopy was actually a cover song, originally performed by the Vibrations as My Girl Sloopy. I have the highest regard for the McCoys (whose lead guitarist and singer Rick Zehringer would change his last name to Derringer and have huge success both as a solo artist and with the Winter brothers), but Hang On Sloopy is a textbook case of the contrast between R&B (loose, swinging, soulful, a little dangerous) and pop (tight, clean, safe).
John: A swinging monument of-and-to White Boy Stomp, a concept that was tied up with Europe’s 500-year winning streak, just then reaching a crisis of conscience. It won’t surprise me if Rick’s scream in the bridge turns out to be the exact turning point—after which Western Civilization was forced to start playing prevent defense. It’s that exciting, that addictive, and that vacuous. If it didn’t happen here, it was on a Tommy James record.
• Billboard Hot 100 #1: Yes (1 week)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: No
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
October 9–October 16
The Beatles
Yesterday
Capitol 5498
(3 weeks)
Yesterday was first issued in early August 1965 in the UK as just another track on the Beatles’ fifth album HELP! But the albums that Capitol issued in the US with the same title as their British counterparts often had very different track line-ups. In the US version of HELP!, Yesterday was one of seven Beatles recordings replaced by instrumental music from the movie by soundtrack composer Ken Thorne.
In early September, Capitol issued Yesterday backed with Act Naturally, another track removed from the British album. It leaped to the top of the charts! After two weeks at #1, Yesterday was bumped out of the top spot but returned on October 30, 1965. It spent one more week as the nation’s best-selling record for a total of three weeks at #1.
Lew: A Paul McCartney solo record under the Beatles’ name. Less than two years into their worldwide success, the band was already starting to come apart.
Neal: Yesterday went on to become one of the most recorded songs in history. My second favorite version (other than the Fab Four’s) was Elvis Presley’s live version from his 1969 engagement in Las Vegas.
John: Speaking of vacuous (as I did in my comment about the McCoys’ Hang On Sloopy above): I always thought McCartney could have stuck with his original title “Scrambled Eggs” until I heard Smokey Robinson render it profound on The Ed Sullivan Show in 1968.
Neal: While I loved Smokey gritty R&B singer of the ’50s and early ’60s and Smokey the soul and pop singer of the later ’60s, I cringe whenever I hear Smokey the overwrought Vegas singer. But if you like this Smokey, check out the 2006 movie Last Holiday with Queen Latifah; Smokey does a reading of Tears Of A Clown that owes more to Whitney Houston and Celine Dion than to any of the R&B sources that inspired the song fifty years ago.
• Billboard Hot 100 #1: Yes (4 weeks)
• Million-seller: Yes
• RIAA Gold Record: Yes (October 20, 1965)
• Accumulated sales: 2,000,000
• 500 Songs That Shaped Rock: Yes
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯
Lew : ✯ ✯
Neal: ✯ ✯ ✯
October 23
The Toys
A Lover’s Concerto
DynoVoice 209
(1 week)
The groovy sound of this record was the work of producer Charles Calello working out of Olmstead Recording Studio in New York City. Calello also recorded the Four Seasons’ Let’s Hang On and Lou Christie’s Lightnin’ Strikes at the same place. As the former was a #1 record later in ’65 and the latter a #1 record in ’66, it has me wondering why the studio doesn’t have a better historical reputation.
Lew: The great melody here is swiped from the Minuet In G major, originally attributed to J. S. Bach, now believed to have been written by Christian Petzold. It was schlocky big-band leader Freddy Martin who first turned the minuet into a pop song in the 1940s, though Martin’s version does not seem to be available anymore.
The fact that Martin’s version was also called A Lover’s Concerto suggests that songwriters Sandy Linzer and Denny Randell got their “inspiration” from Martin rather than a Bach exercise book as has been claimed. Compare with another classical swipe, Allan Sherman’s Hello Mudduh, Hello Fadduh! which topped the chart in August of 1963.
Here, lead singer Barbara Harris really takes the vocal into the stratosphere, staying just this side of shrill.
Neal: Sandy Linzer and Denny Randell also had a hand in writing another chart-topping hit this year, the aforementioned Let’s Hang On!
John: A great example of a record that matters for how it sounds. I’ve probably heard it several hundred times and the only words I know are “How gentle is the rain?” After that, I just make noises in the key-of-Barbara-Harris and smile along.
Lew: My great friend Paul Williams (of Crawdaddy fame) once said something to the effect of: “It isn’t even that important what the words say. The real meaning is in the guitars and drums, the way a record sounds. It’s a feeling that’s bigger than words could ever be.”
John: Here, as elsewhere, Paul Williams knew what he was about!
• Billboard Hot 100 #1: No
• Million-seller: Yes
• RIAA Gold Record: Yes (December 7, 1965)
• Accumulated sales: 2,000,000
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: No
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯
October 30
The Beatles
Yesterday
Capitol 5498
(1 week)
This record spent two weeks at #1 on October 9–October 16, 1965, for a total of three weeks at the top. Refer to that date for more information.
November 6–November 13
The Rolling Stones
Get Off Of My Cloud
London 45-9792
(2 weeks)
According to Mick Jagger, this song was a “stop-bugging-me, post-teenage-alienation song. The grown-up world was a very ordered society in the ’60s, and I was coming out of it. America was even more ordered than anywhere else. I found it was a very restrictive society in thought and behavior and dress.”
But according to Keith Richards, it was a “knee-jerk reaction” and the Stones’ response to people asking for a follow-up to Satisfaction. Instead of saying, “Go away!” they said, “Get off of my cloud!” (SongFacts)
Both make sense.
Lew: I was never that much of a Charlie Watts fan, but his over-the-top drumming completely sells this song, probably my favorite Stones single.
Neal: In the disappointing 2009 movie The Boat That Rocked (released as Pirate Radio in the US), there is a scene where legendary British disc-jockey Kevin Kavanagh (Rhys Ifans) relates an anecdote about how he once tried to seduce a beautiful woman by emulating Mick Jagger and dancing to Get Off Of My Cloud playing on a jukebox in a Third World bar. Three things you should know about this scene:
• It’s the best scene in the movie.
• It was cut from the final version of the movie.
• The movie should have been about Kevin Kavanagh.
John: After this one, Beelzebub sent a note: “We’ll talk again in ’68. After you give me Brian Jones.”
• Billboard Hot 100 #1: Yes (2 weeks)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
November 20
The Supremes
I Hear A Symphony
Motown M-1083
(1 week)
This was the sixth chart-topping single in eighteen months for the Supremes. According to songwriter-producer Lamont Dozier: “I used to go to the movies and I would see that the main stars had their own theme songs. When they appeared on the screen, you would hear this melody behind them.
So the lyrics, ‘Whenever you are near, I hear a symphony,’ it was about this guy. Whenever he came around, in her mind she got this feeling and she heard this melody. He brought out the music in her.” (SongFacts)
Some songwriters hear a concerto, others a symphony. When we’re lucky, they turn that into a hit record and we all share in the joy of the new music.
• Billboard Hot 100 #1: Yes (2 weeks)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
November 27
Len Barry
1-2-3
Decca 31827
(1 week)
Len Barry is the former lead singer for the Dovells who were best known for the dance hits Bristol Stomp and You Can’t Sit Down. As a solo artist, Barry reached the top with the old-fashioned 1-2-3, which featured a title we would come to associate with bubblegum records in 1968 but sounded like a black soul record in 1965.
Lew: Neal and I had our first bonding moment, as we were just getting to know each other, over Len Barry. This is a great song and really holds up over the years. The record has a unique sound—a combination of Barry’s voice (getting into Frankie Valli territory), the echo on it, and the Spectorish orchestration—that immediately draws you in.
Neal: And that bonding for the two of us old farts was as easy as, well, 1-2-3. (Although I am amazed you can remember that—it was, like, months ago!) Lew and I are in accord on so many issues and tastes that each was thinking the other was putting him on with all the agreements and similarities. Now we look for things on which to disagree, like Mrs. Brown You’ve Got A Lovely Daughter and the Beatles’ second movie.
John: This is such a fine and convincing “blue-eyed soul” record it often shows up on ’60s soul comps that ignore even the Righteous Brothers and the Rascals!
Neal: According to one of the song’s writers, John Madara: “We were sued by Motown when Berry Gordy was suing anyone whose records sounded like a Motown record. [They were] saying that 1-2-3 was taken from a B-side of a Supremes record called Ask Any Girl. The only similarity between the two songs are the first three notes where the Supremes sang ‘Ask any girl’ and Lenny sang ‘1-2-3.’
“Their lawsuit said that our goal was to copy the Motown sound [and they] kept us in court, tying up all of our writers’ royalties, production royalties, and publishing royalties. So after battling with them for two years and having a ton of legal bills, we made a settlement with Motown, giving them 15% of the writers’ and publishers’ share.” (SongFacts)
According to the Murrells book, 1-2-3 sold 1,500,000 copies in the US. This is more than I would have guessed since Decca didn’t submit it for an RIAA Gold Record Award, which would have been a big deal for Barry’s career at that time. But I can see how the lawsuit might have restrained Decca from wanting Motown to know actual sales figures and income from the record.
• Billboard Hot 100 #1: No
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: No
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
December 4
The Byrds
Turn! Turn! Turn! (To Everything There Is A Season)
Columbia 4-43424
(1 week)
According to Pete Seeger, his publisher informed him that he could no longer sell the protest songs that Seeger wrote. Pete replied, “I can’t write the kind of songs you want. You gotta go to somebody else. This is the only kind of song I know how to write.” Seeger had been reading the Bible and was taken by a passage in the book of Ecclesiastes (3:1-8) and wrote it down.
He took this passage, tweaked it to his needs, improvised a melody, and called it Turn! Turn! Turn! He sent it off to the publisher, who replied, “Wonderful! Just what I’m looking for.” Within two months, the publisher had sold the song to the Limeliters. (SongFacts)
The song was recorded by the Limeliters in 1962 and appeared on their Folk Matinée. Jim McGuinn liked the song and gave it a new arrangement for inclusion on Judy Collins’ third album in 1963, upon which he played acoustic 12-string guitar.
As a member of the Byrds, McGuinn suggested it as a single that wasn’t written by Dylan. He wrote another arrangement for the group and the Byrds had their second chart-topper in less than twelve months.
John: You could quibble about whether Eve Of Destruction was an anti-war record. There’s no doubt about “A time for peace, I swear it’s not too late.” Knowing he would have to depend for shock troops on the very demographic that put this record on top, LBJ should have listened. He didn’t.
The arrangement was and is unearthly. More poignant by the year because you can hear a better world being summoned and know that world never arrived.
Neal: By the time this record was on its last legs on the Top 100, Gene Clark had written and the Byrds had recorded Eight Miles High. As the group’s first new single of 1966, many people thought it was a surefire #1 record. It didn’t get close, but that’s another story.
By the way, whenever I am listening to the Byrds’ recording of Turn! Turn! Turn! I think it’s the most perfect record ever made.
• Billboard Hot 100 #1: Yes (3 weeks)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
December 11
The Four Seasons
Let’s Hang On
Philips 40317
(1 week)
Let’s Hang On! was written by producer Bob Crewe with Sandy Linzer and Denny Randell, the latter two having written another #1 record this year, the Toys’ A Lover’s Concerto (see the October 23, 1965, entry).
The groovy sound of this record was the work of producer Charles Calello working out of Olmstead Recording Studio in New York City. Calello also recorded the Toys’ hit and Lou Christie’s Lightnin’ Strikes at the same place. As the former was a #1 record earlier in ’65 and the latter a #1 record in ’66, it has me wondering why the studio doesn’t have a greater historical reputation.
Let’s Hang On! was the Four Seasons’ fifth chart-topper. It was also their last, although Frankie Valli would hit #1 as a solo artist with Can’t Take My Eyes Off You in 1967.
John: I find it interesting that, in the year when “political consciousness” broke out, the Four Seasons were the only act to put working-class realism on top of the charts. It isn’t as overt as Dawn (Go Away) or even Rag Doll, but it’s still clear that a working stiff is having a hard time hanging on to his significant other because he doesn’t have the dough . . . or at least thinks he doesn’t, which amounts to the same thing.
Lew: Bravo, John! Well put.
Neal: Believe it or not, in 1966 the Four Seasons lent this song and their talents and did a television commercial for Beechnut Peppermint Gum!
John: The peppermint gum of the working man!
• Billboard Hot 100 #1: No
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
December 18
Herb Alpert & the Tijuana Brass
Taste Of Honey
A&M 775
(1 week)
Herb Alpert had been around for years as a trumpet player and singer but only enjoyed any success as a songwriter, having a hand in the hits Baby Talk for Jan & Dean and Wonderful World for Sam Cooke. Then he came upon the idea of recording Mariachi-flavored pop music with local studio musicians, whom he dubbed the Tijuana Brass.
John: Now this is a record that could have been a big hit before 1955.
Lew: Yet I don’t think it would have been a hit—certainly not as big a one—without the Wrecking Crew playing backup.
John: True, but I think that just proves the Wrecking Crew really could do anything!
Neal: While Alpert was only modestly successful as a Top 40 singles artist, he was probably second only to the Beatles in albums sold in the ’60s! WHIPPED CREAM & OTHER DELIGHTS was the biggest-selling album of 1965, selling on par with 1964’s MEET THE BEATLES! Both albums were among the very biggest-selling albums of all time—prior to the explosion of record sales in the 1970s.
• Billboard Hot 100 #1: No
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: Yes (Lifetime Achievement in Non-Performer Category)
• Grammy Award: Record of the Year 1965
• Grammy Award: Best Instrumental Performance – Non-Jazz 1965
• Grammy Award: Best Instrumental Arrangement 1965
• Grammy Award: Best Engineered Recording – Non-Classical 1965
But do you like it?
John: ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯
December 25
The Dave Clark Five
Over And Over
Epic 5-9863
(1 week)
The Dave Clark Five were relatively successful in their native UK with four Top 10 hits in 1963-1965. But in the US it was a different story: As part of the British Invasion of 1964, they were second only to the Beatles. On Cash Box, the DC5 had six sides make the Top 10 in 1964, with three more in ’65.
Over And Over was the group’s only US chart-topper and it marked the beginning of the end of their singles automatically being hits on this side of the Atlantic. After this one, they would see one more Top 10 hit before being all but forgotten by Top 40 radio.
Lew: Not a lot of bands took their name from the drummer, but in this case, Clark was also the producer, songwriter, and very much the leader. However, even at the time, rumors circulated that he was not playing drums on the records.
Session drummer Bobby Graham, who claims to have played on 15,000 records, including You Really Got Me by the Kinks and Gloria by Them, says, “I was on a lot of the hits but Dave did play on album tracks.”
Certainly, the drumming on Over And Over—like on their previous top-ten hit, Catch Us If You Can from August (and which should have been the #1 record instead of Over And Over)—was a major part of the appeal of the song.
Neal: The original version of Over And Over was the flip side of Bobby Day’s big hit of 1958, Rockin’ Robin. Bobby Day was the stage name for Robert James Byrd, who was all over the R&B map in the ’50s. Byrd wrote and cut the original version of Little Bitty Pretty One as Bobby Day. It went nowhere, but when it was recorded by Thurston Harris, he took it to the Top 10 in late 1957.
As one of two known fans of Zal Yanovsky’s possibly bloody brilliant first and only 1968 solo album, ALIVE AND WELL IN ARGENTINA, I would be truly remiss if I failed to mention his demented version of Little Bitty Pretty One. (Next time you have friends over and you’re all high, play this one loud and watch the consternation as your friends try to figure out if this record really sounds like this or they’re so stoned they’re just hearing it wrong.)
John: This is the only one of the DC5’s many big hits I don’t much care for. Naturally, it’s their only American #1. It’s unredeemed for me even by their usual mighty strengths: the drumming (whoever did it) and Mike Smith’s powerhouse vocals. It’s not terrible, but, to quote Elvis: “It just don’t move me.”
• Billboard Hot 100 #1: Yes (1 week)
• Million-seller: Yes
• RIAA Gold Record: No
• Accumulated sales: Unknown
• 500 Songs That Shaped Rock: No
• Rock & Roll Hall of Fame: Yes
But do you like it?
John: ✯ ✯
Lew : ✯ ✯ ✯
Neal: ✯ ✯ ✯
FEATURED ARTIST: After making Bob Dylan a household name by taking Mr. Tambourine Man to the toppermost of the poppermost. The five original members made what was arguably the most glorious music of 1965, notably their two chart-topping singles, Mr. Tambourine Man and Turn! Turn! Turn! Most of the sides they recorded that year can be found on their first two albums, both named after the hit singles.
Then they settled into figuring out numerous ways to undermine their success and the ensuing internal dissension ranked with that of the Beach Boys. The article “The Byrds: Surviving TV Appearance 1965–1991” on the Alan’s Album Archives website lists all known extant videos of the Byrds with commentary. Much of the commentary on the group 1965–1968 mentions the friction among the members.
By early 1966, the Byrds were a quartet and while they continued to make great records, they never approached the success of their first year. By 1968, McGuinn and Hillman were the only remaining members and they were effectively functioning as Gram Parsons’ sidemen on the SWEETHEART OF THE RODEO project.
Year-end observations
Thirty-one records reached #1 on the Cash Box Top 100 chart in 1965. Here is the breakdown of #1 records based on how many weeks they spent at the top of the chart:
8 weeks: 0
7 weeks: 0 6 weeks: 0 5 weeks: 0
4 weeks: 3
3 weeks: 2
2 weeks: 7
1 week: 19
Million-sellers: 31
RIAA Gold Records: 10
If 1964 was the year of the British Invasion, then 1965 was the year of the British Beachhead. Groups and solo artists from across the pond established themselves as something much more than a fad. (I know: I should write an article about the so-called British Invasion and explain the difference between invasion and beachhead and occupation. Someday I just might.)
Top 40 radio continued, if in not quite as dramatic and overwhelming a manner. Whereas the Beatles had taken six sides to the top spot of the Cash Box Top 100 for twenty-one weeks, this year it was only five records at #1 for a mere thirteen weeks.
Other English artists continued to do well: Petula Clark, Herman’s Hermits, Freddie & the Dreamers, Wayne Fontana & The Mindbenders, the Stones, and the Dave Clark Five.
Motown got even bigger: the Supremes reached #1 three times, and the Four Tops’ years of gigging and recording finally paid off with their first chart-topper.
American chart-toppers were Gary Lewis & the Playboys, the Beach Boys, Sonny & Cher, the McCoys, the Toys, and the Four Seasons.
Gold Record Awards
Of the thirty-one records that reached #1, Joseph Murrells lists thirty-one of them as million-sellers. Record companies sought certification from the RIAA for official Gold Record Awards for ten singles.
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10 Most Valuable Beatles Albums and Records Worth Looking For
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2022-10-05T11:04:47
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Discover the most valuable Beatles albums and records out there. Find out which records you should be on the lookout for and what makes them worth so much.
|
en
|
LoveToKnow
|
https://www.lovetoknow.com/home/antiques-collectibles/most-valuable-beatles-albums
|
The Beatles sit among the ranks of icons like Mother Mary and iPhones for how universally well-known they are. Fly to the far corners of the globe and chances are high that if you hold up a jaunty four-framed photo of Paul, John, George, and Ringo, someone will recognize them. It goes without saying how significant The Beatles were for the music industry, but what isn't said nearly enough is how important they can be for your wallet. The Beatles merchandise is some of the only pop culture collectibles that don't suffer from low-values because of the sheer amount of it that was sold. After all, 'tis the season for making a good decision while vinyl's still hot; hunt down some of the most valuable Beatles albums and records to sell for college tuition level amounts of money.
The Most Valuable Beatles Albums From Your Collection
Most Valuable Beatles Albums Estimate Value Beatles for Sale 1965 Misprint ~$300 Rubber Soul 1965 Misprint ~$600 Golden Discs Test Pressings ~$2,550 Abbey Road 1969 Contract Pressing ~$1,700 Our First Four 1968 Promo Album ~$4,000 "Love Me Do"/"P.S. I Love You" 1962 Demo Single ~$7,000 "Til There Was You" 1963 10" Record ~$100,000 Yesterday and Today 1966 "Butcher" Cover ~$125,000 "That'll Be the Day"/"In Spit of All the Danger" 1958 Record ~$170,000 The White Album First Pressing ~$800,000
They say that everything sounds better on vinyl, and while playing your favorite double-sided LP over and over again may be great for your ears, it's terrible for your wallet. Some well-preserved albums from top talent can sell for hundreds of thousands of dollars to interested collectors and fans around the world. And, of course, The Beatles vinyl collection that stretches the 1960s and beyond tops the list of valuable albums you can sell. From little known compilation records to number one albums, all of these Beatles albums and records are worth looking for at the record store and in your grandparent's dusty collection.
Beatles for Sale 1965 Misprint
Beatles for Sale was released in 1964 as the band's 4th studio album, but some pressings made in 1965 have a few spelling errors that make it more desirable. For example, the track "I'm a Loser" is listed as "I'm a Losser" and the song "Eight Days a Week" is mislabeled as "Northern Ssongs." According to Goldmine, a music collectors' magazine, the album averages about $300 in revenue.
Rubber Soul 1965 Misprint
Another valuable misprint is the 1965 Rubber Soul vinyl from Parlophone. Some unfortunate employee at Parlophone's distribution office misspelled the famous song "Norwegian Wood" as "Norweigian Wood", unintentionally leaving a valuable legacy behind. People sell this album on average for about $600, according to Goldmine.
Golden Discs Test Pressings
Golden Discs was supposed to be a compilation EP that included all of the band's singles that had gone gold by 1964. While the EP never came to fruition, four test pressings were made, making these super limited edition albums worth about $2,550 each, according to Goldmine.
Abbey Road 1969 Contract Pressing
While streaming lets you have an artist's new song the instant it's released, back in the day, record labels had to physically make all of the albums they planned to sell. For really popular artists, this meant that sometimes one company couldn't make enough vinyls to match demand, as no one was in more demand than The Beatles. Their second to last studio album, Abbey Road, was contracted out to Decca processing plants, and these export vinyls have a circular impression 15mm from the vinyl's outer edge, and they don't have a G or D printed near the matrix number. Albums with these features can sell for around $1,700, according to Goldmine.
Our First Four 1968 Promo Album
Besides the twelve studio albums we all know and love, Apple (The Beatles label - not to be confused with the iPhone giant) would send promotional kits to famous journalists, and one of these compilations - consisting of the band's first four singles released on their label - can sell for a little over $4,000 thanks to their limited numbers and still in-box condition.
"Love Me Do"/"P.S. I Love You" 1962 Demo Single
The very first songs that started it all, the demo of what would become a major hit single "Love Me Do" (with "P.S. I Love You" on the B side) was sent to journalists and radio stations around Europe and the US to try to drum up interest in the newly minted band, The Beatles. Only 250 of these promo copies were sent out in 1962, and this limited run coupled with a misprinting of the "Lennon-McCartney" duo to "Lennon and McArtney" have been known to sell as high as $7,000, according to Goldmine.
"Till There Was You" 1963 10" Record
Brian Epstein, the band's famed manager, owned a rare early 10" acetate record of various Beatles recordings. Epstein's handwriting can be found on the label, where he misspells the title "Hullo Little Girl" and credits the album to "Paul McCartney & the Beatles." It sold for a whopping $107,600 in 2016, and while you won't find another like it, any albums with connections to Epstein will fetch a ton of money from die-hard fans.
Yesterday and Today 1966's "Butcher" Cover
An American studio album released in 1966, Yesterday and Today, was less known for the mishmash of various songs from their British label's albums Help!, Rubber Soul, and Revolver, than it was for its controversial cover art. Publically known as the 'Butcher' cover, you won't find the Fab Four sitting down for meat and potatoes in this photograph, but meat and babies instead. The band wears white lab coats, and members are draped in plastic doll parts and slabs of meat. Let's just say the 1960s lived up to its reputation as being one 'high' decade. One sealed stereo copy of this infamous album (that was quickly pulled from shelves) sold for $125,000 in 2016. Even used copies of this album are still super valuable to hardcore collectors because of the sensation that surrounded them.
"That'll Be the Day"/"In Spite of All the Danger" 1958 Record
Before there was The Beatles, there was the Quarrymen, consisting of a different line-up sans the lovable drummer with a fabulous name. Recorded in 1958, this was the band's first commercially created record, but it's never actually been heard by the public at large. If you want a taste of these early Quarryman days, you'd have to go to Paul McCartney's personal stash of memorabilia. Yet, experts estimate the original copy is worth about $170,000.
The White Album First Pressing
The first few pressings of any hit album are bound to be worth a lot to collectors, and none more so than ones owned by the band members themselves. Such is the case for The Beatles' 1968 self-titled album that you probably know as The White Album. The four band members were each given one of the first four pressings of the album, and Ringo Starr's copy recently came to auction and dispelled rumors that John Lennon was given the very first copy; instead, it sold for an astronomical and record-breaking $790,000.
What Makes Beatles Albums Valuable?
With a legendary success like the Beatles, you're dealing with severe levels of scrutiny when it comes to slapping a price tag on any of their products. While two LPs might look exactly the same to your eye, they can have wildly different values because of a few specific characteristics:
Autographs - Autographs can up the value of any collectible, particularly those of people who've passed. While they do need to be authenticated, autographed material from George Harrison and John Lennon is particularly valuable because there's a finite number of them.
Mistakes/Misprints - There's nothing a collector loves more than a limited-quantity misprint. One you can frequently find on early Beatles records is various misspellings of the credited duo's name "Lennon and McCartney."
Release Date - The Beatles dominated the 1960s, and their records that were printed in this decade are worth a lot because of the authenticity and connection they have to the era.
Catalog Number - Catalog numbers are printed on vinyls for record labels to keep track of the number of copies they've sold. The lower the number (00000001, for example), the rarer the copy in the case for Beatles records, and thus the more valuable.
Provenance - Basically, provenance means an object's ownership history. If you can prove that someone famous (say one of the band members themselves) owned a record, it's worth a lot more than one owned by a local hair stylist or family friend.
These Albums Can Buy You Love
You might not've been able to buy The Beatles' love, but you sure can buy your own with the loads of cash that you make off of any of the most valuable Beatles albums. While finding the right buyer and hitting the market at the right time does have a huge impact on the final number, this is one band that's so popular, it'll never be hard for you to find someone willing to take an original copy of their work off of your hands.
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50 years ago, the Rolling Stones’ first US hit evinced the band’s eclectic style
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2015-03-13T10:04:50+00:00
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The band’s first US hit wasn’t ‘Satisfaction.’ Released in March 1965, ‘The Last Time’ possessed stylistic flairs that would predict the band’s future success.
|
en
|
The Conversation
|
https://theconversation.com/50-years-ago-the-rolling-stones-first-us-hit-evinced-the-bands-eclectic-style-37687
|
In the first weeks of 1964, the Beatles’ “I Want To Hold Your Hand” raced up the US charts, giving the Liverpool band its first American hit single and helping to launch the British invasion. At around the same time, the Rolling Stones were enjoying a number-three hit in the UK with “Not Fade Away,” as well as a number-one British EP. The Stones tried – but couldn’t immediately replicate – the Beatles’ stateside success, lagging behind by more than a year.
The decisive breakthrough for Mick, Keith and company came with the release of “(I Can’t Get No) Satisfaction” in June of 1965. The song rocketed to the top of the US charts, partly fueled by claims that the lyrics referred to sexual frustration.
But “Satisfaction” was not the Stones’ first top ten single in the US. In March 1965 the band released “The Last Time,” which rose to the number-nine spot stateside, while topping the charts in the UK. Unlike “Satisfaction,” the story of this song is not one of scandal and rebellion, but rather one of admiration and imitation. It possessed stylistic flairs and influences that would ultimately foretell the band’s future stardom.
The roots of this Jagger-Richards original can be traced back to “This May Be The Last Time,” a gospel track recorded by the Staple Singers in 1955. A quick listen to the Staple Singers’ record will dispel any doubt over the source of the chorus in the Stones song. The gospel influence would become a central element in the Stones’ original music for years to come, especially in tracks such as “Shine a Light.”
But “The Last Time” is more than a rocked-up gospel reworking. It’s driven by an opening guitar riff that percolates throughout the song, creating a hook that rivals the chorus’s infectiousness. The idea of opening with a guitar riff wouldn’t have been new to fans of Chuck Berry’s music (as the Stones were) or the Shadows (not so much). It’s also worth noting that the Beatles’ “I Feel Fine” commenced with a catchy guitar lick; released in late 1964, it’s a track that could have inspired the Stones, along with the Staple Singers’ record.
The Stones would employ catchy opening riffs in future hits. In fact, the famous opener to “Satisfaction” may well have been an attempt to repeat the distinctive arranging element of “The Last Time.” And a catchy guitar lick is also used in the band’s next single after “Satisfaction,” “Get Off Of My Cloud.” (Meanwhile, the Beatles led off both “Ticket to Ride” and “Day Tripper” with a guitar hook, making 1965 into an unofficial “Year of the Guitar-Riff Intro.”)
Listeners may also detect a hint of country music in “The Last Time.” Country would play an important role in the band’s developing career (perhaps best captured in “Dead Flowers”). The Stones covered Hank Snow’s “I’m Moving On” during live shows in early 1965, and even included it on the EP Got LIVE If You Want It in the UK, and the album December’s Children in the US.
But we needn’t look further than the single that preceded “The Last Time” to hear a classic country twang. “Heart of Stone,” released in late 1964, rose to a respectable number 19 in the US charts – while unabashedly tipping its hat to country influences. In fact, a demo of this song contains a prominent pedal steel guitar – a staple of the country sound (though apparently someone deemed it too country for the final version). The demo also contains guitar work by a young session guitarist named Jimmy Page, whose solo Keith Richards copied note for note on the single.
The Stones originally emerged out of the London blues revival scene in 1962, at first playing only cover versions of the blues, soul and 1950s rock music they revered. So it’s only natural that their first original songs would be rooted in the dozens of cover songs the band played and recorded in its nascent years. “The Last Time” is simply a logical extension of the group’s development and range of influences – the sort of compositional modeling has been occurring in music for generations.
But the Rolling Stones’ eclectic range of influences did create a uniquely broad stylistic palette, one that the band drew on as their music expanded and developed throughout the years – and as they went on to enjoy greater success and longevity than most of their contemporaries.
So despite its title, there would ultimately be very little about the band’s first US hit that would happen for the last time.
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https://www.ultimate-guitar.com/articles/features/top_15_musicians_that_released_3_or_more_albums_in_one_year-151295
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en
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Top 15 Musicians That Released 3 or More Albums in One Year
|
[
"https://mc.yandex.ru/watch/18746557"
] |
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[
"3 albums in one year",
"more albums in one year",
"buckethead"
] | null |
[
"StefanRR9"
] |
2023-05-01T08:31:59
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Good work ethic or quantity over quality?
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en
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https://www.ultimate-guitar.com/static/public/ug/img/product_icons/ug/favicon_v2.ico
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https://www.ultimate-guitar.com/articles/features/top_15_musicians_that_released_3_or_more_albums_in_one_year-151295
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https://en.wikipedia.org/wiki/Billboard_Year-End_Hot_100_singles_of_1965
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en
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End Hot 100 singles of 1965
|
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2011-01-07T19:33:40+00:00
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en
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https://en.wikipedia.org/wiki/Billboard_Year-End_Hot_100_singles_of_1965
|
This is a list of Billboard magazine's Top Hot 100 songs of 1965.[1] The Top 100, as revealed in the year-end edition of Billboard dated December 25, 1965, is based on Hot 100 charts from the issue dates of January 2 through October 30, 1965.
No. Title Artist(s) 1 "Wooly Bully" Sam the Sham and the Pharaohs 2 "I Can't Help Myself (Sugar Pie Honey Bunch)" Four Tops 3 "(I Can't Get No) Satisfaction" The Rolling Stones 4 "You Were on My Mind" We Five 5 "You've Lost That Lovin' Feelin'" The Righteous Brothers 6 "Downtown" Petula Clark 7 "Help!" The Beatles 8 "Can't You Hear My Heartbeat" Herman's Hermits 9 "Crying in the Chapel" Elvis Presley 10 "My Girl" The Temptations 11 "Help Me, Rhonda" The Beach Boys 12 "King of the Road" Roger Miller 13 "The Birds and the Bees" Jewel Akens 14 "Hold Me, Thrill Me, Kiss Me" Mel Carter 15 "Shotgun" Junior Walker & the All Stars 16 "I Got You Babe" Sonny & Cher 17 "This Diamond Ring" Gary Lewis & the Playboys 18 "The 'In' Crowd" Ramsey Lewis Trio 19 "Mrs. Brown, You've Got a Lovely Daughter" Herman's Hermits 20 "Stop! In the Name of Love" The Supremes 21 "Unchained Melody" The Righteous Brothers 22 "Silhouettes" Herman's Hermits 23 "I'll Never Find Another You" The Seekers 24 "Cara Mia" Jay and the Americans 25 "Mr. Tambourine Man" The Byrds 26 "Cast Your Fate to the Wind" Sounds Orchestral 27 "Yes, I'm Ready" Barbara Mason 28 "What's New Pussycat?" Tom Jones 29 "Eve of Destruction" Barry McGuire 30 "Hang On Sloopy" The McCoys 31 "Ticket to Ride" The Beatles 32 "Red Roses for a Blue Lady" Bert Kaempfert 33 "Papa's Got a Brand New Bag" James Brown 34 "Game of Love" Wayne Fontana & The Mindbenders 35 "The Name Game" Shirley Ellis 36 "I Know a Place" Petula Clark 37 "Back in My Arms Again" The Supremes 38 "Baby I'm Yours" Barbara Lewis 39 "The Jolly Green Giant" The Kingsmen 40 "Hush, Hush, Sweet Charlotte" Patti Page 41 "Like a Rolling Stone" Bob Dylan 42 "I'm Telling You Now" Freddie and the Dreamers 43 "Ferry Cross the Mersey" Gerry and the Pacemakers 44 "Just Once in My Life" The Righteous Brothers 45 "The Seventh Son" Johnny Rivers 46 "I'm Henry the Eighth, I Am" Herman's Hermits 47 "A Walk in the Black Forest" Horst Jankowski 48 "For Your Love" The Yardbirds 49 "California Girls" The Beach Boys 50 "Go Now" The Moody Blues 51 "Goldfinger" Shirley Bassey 52 "Down in the Boondocks" Billy Joe Royal 53 "Baby the Rain Must Fall" Glenn Yarbrough 54 "Catch Us If You Can" The Dave Clark Five 55 "Eight Days a Week" The Beatles 56 "Just a Little" The Beau Brummels 57 "You Turn Me On" Ian Whitcomb 58 "I'll Be Doggone" Marvin Gaye 59 "Save Your Heart for Me" Gary Lewis & the Playboys 60 "Tired of Waiting for You" The Kinks 61 "Count Me In" Gary Lewis & the Playboys 62 "All Day and All of the Night" The Kinks 63 "What the World Needs Now Is Love" Jackie DeShannon 64 "It's Not Unusual" Tom Jones 65 "She's About a Mover" Sir Douglas Quintet 66 "Shake" Sam Cooke 67 "Wonderful World" Herman's Hermits 68 "Nowhere to Run" Martha and the Vandellas 69 "Heart Full of Soul" The Yardbirds 70 "Love Potion No. 9" The Searchers 71 "Laurie (Strange Things Happen)" Dickey Lee 72 "Baby Don't Go" Sonny & Cher 73 "It Ain't Me Babe" The Turtles 74 "Tell Her No" The Zombies 75 "I Go to Pieces" Peter and Gordon 76 "Red Roses for a Blue Lady" Vic Dana 77 "Don't Just Stand There" Patty Duke 78 "The Tracks of My Tears" The Miracles 79 "Too Many Rivers" Brenda Lee 80 "I Like It Like That" The Dave Clark Five 81 "Little Things" Bobby Goldsboro 82 "True Love Ways" Peter and Gordon 83 "It's the Same Old Song" Four Tops 84 "You've Got Your Troubles" The Fortunes 85 "Hold What You've Got" Joe Tex 86 "We Gotta Get Out of This Place" The Animals 87 "Laugh, Laugh" The Beau Brummels 88 "The Last Time" The Rolling Stones 89 "Do You Believe in Magic" The Lovin' Spoonful 90 "All I Really Want to Do" Cher 91 "Take Me Back" Little Anthony and the Imperials 92 "I Want Candy" The Strangeloves 93 "Ooo Baby Baby" The Miracles 94 "Laugh at Me" Sonny 95 "Treat Her Right" Roy Head 96 "The Race Is On" Jack Jones 97 "I'm a Fool" Dino, Desi & Billy 98 "The Boy from New York City" The Ad Libs 99 "Keep Searchin' (We'll Follow the Sun)" Del Shannon 100 "How Sweet It Is (To Be Loved by You)" Marvin Gaye
See also
[edit]
1965 in music
List of Billboard Hot 100 number-one singles of 1965
List of Billboard Hot 100 top-ten singles in 1965
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| 42
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https://www.siriusxm.com/blog/8-songs-a-week-vote-for-your-favorite-beatles-songs-released-in-the-us-in-1965-poll-closes-9-2-2021
|
en
|
Vote for your favorite Beatles songs released in the US in 1965 (POLL CLOSES 9/10/2021)
|
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] | null |
[
"Nicole Piendel"
] |
2021-08-19T14:24:26+00:00
|
Tune in 9/17/21, at 2pm ET on The Beatles Channel to hear the results of this poll.
|
en
|
/favicon.ico
|
SiriusXM
|
https://www.siriusxm.com/blog/8-songs-a-week-vote-for-your-favorite-beatles-songs-released-in-the-us-in-1965-poll-closes-9-2-2021
|
Here on The Beatles Channel (Ch. 18), we ain’t got nothing but love for our listeners. That’s why we’ve created a show where your votes determine the playlist.
Each week, listeners can vote for their favorites from a list of songs by John, Paul, George, and Ringo — sometimes by the band, sometimes it’s their solo work. Every Friday, after the votes are tallied, we’ll air the top eight vote-getters from that list.
This week we count down your favorite Beatles songs released in the US in 1965.
Directions: Select 5 songs from the list below. You may vote once between 8/18/2021 at 2pm ET and 9/10/2021 at 2pm ET.
Can’t see the poll? Click here to vote!
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| 9
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https://www.facebook.com/restoringthepast1/videos/the-mccoys-hang-on-sloopy/1204232533913651/
|
en
|
On this date in 1965, THE McCOYS released the single, HANG ON SLOOPY (Jul 3, 1965) On July 3, 1965, a group of fresh-faced teenagers from Indiana known...
|
[] |
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[
""
] | null |
[] | null |
On this date in 1965, THE McCOYS released the single, HANG ON SLOOPY (Jul 3, 1965)
On July 3, 1965, a group of fresh-faced teenagers from Indiana known...
|
de
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/restoringthepast1/videos/the-mccoys-hang-on-sloopy/1204232533913651/
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| 39
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https://www.thecurrent.org/feature/2023/12/05/december-5-in-music-history-paul-mccartney-releases-band-on-the-run
|
en
|
December 5 in Music History: Paul McCartney releases "Band On The Run"
|
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2023-12-05T00:00:00
|
Fleetwood Mac hit Gold, NME panned the Sex Pistols, The Jesus and Mary Chain were banned, and Paul McCartney released Band On The Run, Today in Music History.
|
en
| null |
History Highlight:
Today in 1973, Paul McCartney released Band On The Run marking its 50th Anniversary this year. This release was his fifth album since his departure from The Beatles and two hit singles from the album - 'Jet' and 'Band on the Run' – boosted its commercial performance making it the top-selling studio album of 1974 in the United Kingdom and Australia- establishing it as McCartney's most successful album to date and the most celebrated of this post-Beatles discography.
Also, Today In:
1960 - Elvis Presley started a ten-week run at No. 1 on the U.S. album chart with G.I. Blues. His fifth US No.1 album. Music on this album comprised songs that had appeared in the film of the same name.
1960 - Paul McCartney and Pete Best were arrested for pinning a condom to a brick wall and then igniting it. The two were told to leave Germany and The Beatles returned home, discouraged.
1965 - The Beatles played their last ever show in their hometown of Liverpool when they appeared at The Liverpool Empire during the group's final UK tour. Only 5,100 tickets were available, but there were 40,000 applications for tickets.
1973 - Paul McCartney released Band On The Run, his fifth album since his departure from The Beatles. Two hit singles from the album - 'Jet' and 'Band on the Run' - made it McCartney's most successful album.
1975 - Fleetwood Mac received their first Gold record for their second self-titled album, which was their first album with Stevie Nicks and Lindsey Buckingham.
1976 - Music weekly NME reviewed the Sex Pistols debut single 'Anarchy In The UK' saying "Johnny Rotten sings flat, the song is laughably naive, and the overall feeling is of a third-rate Who imitation."
1981 - Damaged, Black Flag's debut album, is released. It will go on to become one of the most influential albums in the hardcore punk genre.
1987 - The Jesus And Mary Chain were banned from appearing on a US music TV show after complaints of blasphemy when the group's name was flashed across the screen.
1987 - Belinda Carlisle went to No. 1 on the U.S. singles chart with "Heaven Is a Place on Earth", the ex Go-Go's member first solo No. 1, also a No. 1 hit in the U.K. Fun fact: The promotional video was directed by Diane Keaton and features an appearance of Carlisle's husband Morgan Mason.
1992 - Whitney Houston started a ten-week run at No. 1 on the U.K. singles chart with "I Will Always Love You".
2003 - David Bowie announced that he had to postpone the first five concerts of his first North American tour in eight years due to the flu.
2004 - U2 went to No. 1 on the U.S. album chart giving them their sixth U.S. No. 1 album, with How To Dismantle An Atomic Bomb.
2006 - Beatles lyrics handwritten by Sir Paul McCartney to an early version of Maxwell's Silver Hammer sold for $192,000 at an auction in New York. A guitar owned by Jimi Hendrix fetched $168,000, a notebook containing lyrics written by Bob Marley, sold for $72,000 and a poem penned by Doors frontman Jim Morrison made $49,000 at the Christie's sale.
2011 - After spending 45 weeks at the top end of the UK charts, singer Adele's second album 21 become the biggest selling LP in Britain this century, surpassing the late Amy Winehouse's 2006 LP Back to Black.
2017 - French music star Johnny Hallyday dies of lung cancer at 74.
Birthdays:
Harmonica player Sonny Boy Williamson II was born today in 1912.
Little Richard was born today in 1932. He passed away in 2020.
Johnny Rzeznik of the Goo Goo Dolls is 58.
Glen Graham of Blind Melon is 55.
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| 2
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https://en.wikipedia.org/wiki/Folk_rock
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en
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Folk rock
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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2003-01-12T21:53:08+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Folk_rock
|
Fusion genre of American folk and rock music
This article is about folk rock in general, especially American folk rock. For British folk rock in particular, see British folk rock.
Folk rock is a fusion genre of rock music with heavy influences from pop, English and American folk music.[1] It typically combines elements of folk and rock music together, it arose in the United States, Canada, and the United Kingdom in the mid-1960s.[2][3] In the U.S., folk rock emerged from the folk music revival. Performers such as Bob Dylan and the Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their pre-existing folk repertoire, adopting the use of electric instrumentation and drums in a way previously discouraged in the U.S. folk community. The term "folk rock" was initially used in the U.S. music press in June 1965 to describe the Byrds' music.
The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home (1965), Highway 61 Revisited (1965), and Blonde on Blonde (1966)—encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form. Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965, where he was backed by an electric band, was also a pivotal moment in the development of the genre.
During the late 1960s in Britain and Europe, a distinct, eclectic British folk rock style was created by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, British folk rock bands began to incorporate elements of traditional British folk music into their repertoire, leading to other variants, including the overtly English folk rock of the Albion Band and Celtic rock.
Definition and etymology
[edit]
"Folk rock" refers to the blending of elements of folk and rock music, which arose in the U.S. and UK in the mid-1960s.[2] The genre was pioneered by the Byrds, who began playing traditional folk music and songs by Bob Dylan with rock instrumentation, in a style heavily influenced by the Beatles and other British Invasion bands.[4][5]
The term folk rock was coined in the June 12, 1965, issue of the American music magazine Billboard by the journalist Eliot Siegel. Siegel used the term principally to describe the music of the Byrds, who had issued their debut album in the U.S. that month.[7][8] In the same article, he wrote that Billy J. Kramer, Jackie DeShannon and Sonny & Cher had all started incorporating "folk-oriented material on singles", and he listed Rising Sons, Joe and Eddie and the Lovin' Spoonful as new folk-rock acts.[9] Dylan also contributed to the creation of the genre, with his recordings utilizing rock instrumentation on the albums Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde.[10]
In a broader sense, folk rock encompasses similarly inspired musical genres and movements in different regions of the world. Folk rock may lean more towards either folk or rock in instrumentation, playing and vocal style, and choice of material. While the original genre draws on music of Europe and North America, there is no clear delineation of which other culture's music might be included as influences.
Antecedents
[edit]
Folk revival
[edit]
Main article: American folk music revival
The American folk-music revival began during the 1940s; building on the interest in protest folk singers such as Woody Guthrie and Pete Seeger, it reached a peak in popularity in the mid-1960s with artists such as Bob Dylan and Joan Baez.[12][13] In 1948, Seeger formed the Weavers, whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and also served to bridge the gap between folk, popular music, and topical song.[14] The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired the Kingston Trio, a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley".[14][15] The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962.[16][17]
At roughly the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and guitar picking styles of folk and blues artist such as Woody Guthrie, Lead Belly, Brownie McGhee, and Josh White, also came to the fore.[18] Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, which had been reissued by Folkways Records; Harry Smith's Anthology of American Folk Music was particularly influential.[18][19] While this urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was widely regarded as the centre of the movement.[18][20] Out of this fertile environment came such folk-protest luminaries as Bob Dylan, Tom Paxton, Phil Ochs, and Peter, Paul and Mary, many of whom would transition into folk rock performers as the 1960s progressed.[18]
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture[23] and led many folk singers to begin composing their own "protest" material.[24][25] The influence of this folk-protest movement would later manifest itself in the sociopolitical lyrics and mildly anti-establishment sentiments of many folk rock songs, including hit singles such as "Eve of Destruction", "Like a Rolling Stone", "For What It's Worth", and "Let's Live for Today".
During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd.[26] Both viewed British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time.[26][27] However, it was not until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture.[26][28] Skiffle renewed popularity of folk music forms in Britain and led directly to the progressive folk movement and the attendant British folk club scene.[26] Among the leading lights of the progressive folk movement were Bert Jansch and John Renbourn, who would later form the folk rock band Pentangle in the late 1960s.[29] Other notable folk rock artists with roots in the progressive folk scene were Donovan, Al Stewart, John Martyn and Paul Simon.[30][31][self-published source?]
The Beatles and the British Invasion
[edit]
See also: British Invasion
Beginning in 1964 and lasting until roughly 1966, a wave of British beat groups, including the Beatles, the Rolling Stones, the Dave Clark Five, Gerry & the Pacemakers, the Kinks, and Herman's Hermits amongst others, dominated the U.S. music charts.[33][34] These groups were all heavily influenced by American rock 'n' roll, blues, and R&B—musical genres they had been introduced to via homegrown British rock 'n' roll singers, imported American records, and the music of the skiffle craze.[33][35] These UK groups, known collectively as the British Invasion, reintroduced American youth culture to the broad potential of rock and pop music as a creative medium and to the wealth of musical culture to be found within the United States.
Of particular importance to the development of folk rock by the British Invasion were the subtle folk influences evident in such Beatles' compositions as "I'll Be Back", "Things We Said Today", and "I'm a Loser",[36] with the latter song being directly inspired by folk singer-songwriter Bob Dylan.[37] In the opinion of Roger McGuinn of the Byrds, writers who attempt to define the origins of folk rock "don't realise that the Beatles were responsible as far back as 1963". He cites "She Loves You" as one of the first examples where the Beatles introduced folk chord changes into rock music and so initiated the new genre.[38] These songs were all influential in providing a template for successfully assimilating folk-based chord progressions and melodies into pop music. This melding of folk and rock 'n' roll in the Beatles' music became even more explicit during 1965, with the release of "You've Got to Hide Your Love Away", a folk-derived song with introspective lyrics, again influenced by Dylan.[39][40] Although the Beatles themselves utilized folk as just one of many styles evident in their music, the underlying folk influences in a number of their songs would prove to be important to folk rock musicians attempting to blend their own folk influences with beat music.
The effect that the music of these British bands, and the Beatles in particular, had on young Americans was immediate; almost overnight, folk—along with many other forms of homegrown music—became passé for a large proportion of America's youth, who instead turned their attention to the influx of British acts.[35][41] The influence of these acts also impacted on the collegiate folk and urban folk communities, with many young musicians quickly losing interest in folk music and instead embracing the rock 'n' roll derived repertoire of the British Invasion.[41] Future members of many folk rock acts, including the Byrds, Jefferson Airplane, the Lovin' Spoonful, the Mamas & the Papas, and Buffalo Springfield, all turned their backs on traditional folk music during 1964 and 1965 as a direct result of the influence of the Beatles and the other British Invasion bands. Author and music historian Richie Unterberger has noted that the Beatles' impact on American popular culture effectively sounded the death knell for the American folk music revival.[41]
In addition to The Beatles, the two British groups that were arguably the most influential on the development of folk rock were the Animals and the Searchers. The Animals released a rock interpretation of the traditional folk song "The House of the Rising Sun" in the U.S. in August 1964. The song reached number 1 on the Billboard Hot 100 singles chart and stayed there for three weeks, selling over a million copies in just five weeks in the U.S.[42] The band's arrangement of "The House of the Rising Sun", which transmuted the song from an acoustic folk lament to a full-bore electric rock song, would go on to influence many folk rock acts but none more so than Dylan himself, who cited it as a key factor in his decision to record and perform with an electric rock band in 1965.[43]
Electric Twelve-String Guitar in Folk Music
[edit]
The Searchers were influential in popularizing the jangly sound of the electric twelve-string guitar.[44][45] Many musicians in the collegiate and urban folk movements were already familiar with acoustic twelve-string guitars via the music of folk and blues singer Lead Belly. However, the Searchers' use of amplified twelve-strings provided another example of how conventional folk elements could be incorporated into rock music to produce new and exciting sounds. The Beatles' lead guitarist, George Harrison, also influenced this trend towards jangly guitars in folk rock with his use of a Rickenbacker twelve-string guitar on the Beatles' mid-1960s recordings. This relatively clean, jangly sound—without distortion or other guitar effects—became a cornerstone of folk rock instrumentation and was used in many American folk rock records made during 1965 and 1966.[citation needed]
Other precursors
[edit]
See also: Jangle pop
We were a group, but not professional musicians. I had to de-complicate my music and get it simpler and simpler, so that we could play it and make it sound like a popular thing. Whenever you have a format like that, it sounds folky, because it's not glitzed over with anything. We only had acoustic and electric guitars, so every chance we got, we'd try to add some variety. The only way you could get variety was to go to a harmonica during this song, or get an acoustic in this space; get different moods that way.
—Ron Elliott of The Beau Brummels on the origins of the band's folk-flavored sound
Although folk rock mainly grew out of a mix of American folk revival and British Invasion influences,[12] there were also a few examples of proto-folk rock that were important in the development of the genre. Of these secondary influences, Unterberger has cited the self-penned, folk-influenced material of San Francisco's the Beau Brummels as arguably the most important. Despite their Beatlesque image, the band's use of minor chords, haunting harmonies, and folky acoustic guitar playing—as heard on their debut single "Laugh, Laugh"—was stylistically very similar to the later folk rock of the Byrds.[46][nb 1] Released in December 1964, "Laugh, Laugh" peaked at number 15 on the Billboard Hot 100 in early 1965, while its similarly folk-flavored follow-up, "Just a Little", did even better, reaching number 8 on the U.S. singles chart.[46][47][48] The high-profile success of the Beau Brummels' music was important in demonstrating that a hybrid of folk and rock could potentially be translated into mainstream commercial success.[46]
Pre-dating the Beau Brummels' commercial breakthrough by almost two years, singer-songwriter Jackie DeShannon's April 1963 single "Needles and Pins" marked, according to Unterberger, the earliest appearance of the ringing guitar sound that would become a mainstay of early folk rock.[36] This use of cyclical, chiming guitar riffs was repeated on DeShannon's late 1963 recording of her own composition "When You Walk in the Room".[36] The following year, both songs would become hits for the Liverpudlian band the Searchers, who chose to place even greater emphasis on the jangly guitar playing in the songs.[36] In addition, a number of DeShannon's songs from the period, including "When You Walk in the Room", displayed a greater degree of lyrical maturity and sensuality than was usual for pop songs of the time.[36] This heightened degree of emotional introspection was inspired by her love of Bob Dylan's folk songwriting and represents one of the first attempts by an American artist to absorb folk sensibilities into rock music.[36]
In the UK, the folk group the Springfields (featuring Dusty Springfield) had been releasing folk-oriented material featuring full band arrangements since the early 1960s, including renditions of "Lonesome Traveler", "Allentown Jail", and "Silver Threads and Golden Needles".[49] Although these records owed more to orchestral pop than rock, they were nonetheless influential on up-and-coming folk rock musicians on both sides of the Atlantic.[49] In mid-1965, folk singer-songwriter Donovan was also experimenting with adding electrified instrumentation to some of his folk and blues-styled material, as evidenced by songs such as "You're Gonna Need Somebody on Your Bond" and "Sunny Goodge Street".[50] In spite of his folky persona and repertoire, Donovan himself had always considered himself a pop star, rather than a folk singer.[51] As a result, he had been thinking of a way in which to introduce folk styled acoustic guitars and socially conscious lyrics into pop music for several years prior to his 1965 breakthrough as a recording artist.[51] By January 1966, he had recorded the self-penned hit "Sunshine Superman" with a full electric backing band.[52][53]
Other bands and solo artists who were blurring the boundaries between folk and rock in the early 1960s include Judy Henske,[54] Richard and Mimi Fariña,[55] and the Mugwumps, the latter of which were a New York band featuring future members of the Lovin' Spoonful and the Mamas & the Papas.[56] Also of note are the Australian band the Seekers, who had relocated to England in 1964 and reached number 1 on the UK Singles Chart with "I'll Never Find Another You" in February 1965.[57][58] Unterberger has noted that, although it was not strictly a folk song, "I'll Never Find Another You" was heavily influenced by Peter, Paul and Mary and featured a cyclical, twelve-string guitar part that sounded similar to the guitar style that Jim McGuinn of the Byrds would popularize later that same year.[51][59]
There are also a few antecedents to folk rock present in pre-British Invasion American rock 'n' roll, including Elvis Presley's 1954 cover of the Bill Monroe bluegrass standard "Blue Moon of Kentucky";[60] Buddy Holly's self-penned material, which strongly influenced both Dylan and the Byrds;[60][61] Ritchie Valens' recording of the Mexican folk song "La Bamba";[60] Lloyd Price's rock 'n' roll adaptation of the African-American folk song "Stagger Lee" (originally recorded by Mississippi John Hurt in 1928);[60][62] Jimmie Rodgers' rock 'n' roll flavored renditions of traditional folk songs;[63] and the folk and country-influenced recordings featured on the Everly Brothers' 1959 album Songs Our Daddy Taught Us.[60]
1960s
[edit]
The Byrds
[edit]
Main article: The Byrds
The moment when all of the separate influences that served to make up folk rock finally coalesced into an identifiable whole was with the release of the Byrds' recording of Bob Dylan's "Mr. Tambourine Man".[10][64][65][66] The term "folk rock" was coined by the U.S. music press to describe the band's sound in June 1965, at roughly the same time as "Mr. Tambourine Man" peaked at number 1 on the Billboard chart.[7][8] Within three months it had become the first folk rock smash hit,[68] reaching number 1 on both the Billboard Hot 100 and the UK Singles Chart.[69][70] The single's success initiated the folk rock boom of 1965 and 1966, during which a profusion of Byrds-influenced acts flooded the American and British charts.[10][64][nb 2] In particular, the Byrds' influence can be discerned in mid-1960s recordings by acts such as the Lovin' Spoonful, Barry McGuire, the Mamas & the Papas, Simon & Garfunkel, Jefferson Airplane, the Turtles, We Five, Love, and Sonny & Cher.[10][64][80][81][82][text–source integrity?]
It was during the rehearsals at World Pacific that the band began to develop the blend of folk music and Beatles-style pop that would characterize their sound.[83] However, this hybrid was not deliberately created; it evolved organically out of some of the band members' own folk music roots and their desire to emulate the Beatles.[76] The band's folk influences, lack of experience with rock music forms, and Beatleseque instrumentation all combined to color both their self-penned material and their folk derived repertoire.[10][76][84] The band themselves soon realized that there was something unique about their music and, with Dickson's encouragement, they began to actively attempt to bridge the gap between folk and rock.[76][85]
Mr. Tambourine Man's blend of abstract lyrics, folk-influenced melody, complex harmonies, jangly 12-string Rickenbacker guitar playing, and Beatles-influenced beat, resulted in a synthesis that effectively created the subgenre of folk rock.[72][86] The song's lyrics alone took rock and pop songwriting to new heights; never before had such intellectual and literary lyrics been combined with rock instrumentation by a popular music group.[87]
Dylan's material would provide much of the original grist for the folk rock mill, not only in the U.S. but in the UK as well, with many pop and rock acts covering his material in a style reminiscent of the Byrds.[64] Their reworking of "Mr. Tambourine Man", along with the Animals' rock interpretation of "The House of the Rising Sun" (itself based on Dylan's earlier cover), helped to give Dylan the impetus to start recording with an electric backing band.[88]
As the 1970s dawned, folk rock evolved away from the jangly template pioneered by the Byrds, but their influence could still be heard in the music of bands like Fairport Convention and Pentangle.[4][10][89] The Byrds themselves continued to enjoy commercial success with their brand of folk rock throughout 1965, most notably with their number 1 single "Turn! Turn! Turn!". By the start of 1966, however, the group had begun to move away from folk rock and into the new musical frontier of psychedelic rock. The folk rock sound of the Byrds has continued to influence many bands over the years, including Big Star, Tom Petty and the Heartbreakers, R.E.M., the Long Ryders, the Smiths, the Bangles, the Stone Roses, and Teenage Fanclub, among others.[90]
Bob Dylan
[edit]
Main article: Bob Dylan
Five days before the Byrds entered Columbia Studios in Hollywood to record his song "Mr. Tambourine Man", Bob Dylan completed the recording sessions for his fifth album, Bringing It All Back Home.[91] Of the eleven tracks on the album, seven featured Dylan backed by a full electric rock band, in stark contrast to his earlier acoustic folk albums.[91] Dylan's decision to record with an electric backing band had been influenced by a number of factors, including the Beatles' coupling of folk derived chord progressions and beat music, the Byrds' rock adaptation of "Mr. Tambourine Man" (which Dylan had heard at a Byrds' rehearsal in late 1964), and the Animals hit cover of "The House of the Rising Sun".[43][92][93]
Bringing It All Back Home was released on 22 March 1965,[94] peaking at number 6 on the Billboard Top LPs chart and #1 on the UK Album Chart.[95][96] The album's blend of rhythm and blues-derived rock and abstract, poetic lyrics was immediately influential in demonstrating that intelligent lyrical content could be wedded with rock 'n' roll.[97] The songs on the album saw Dylan leaving folk music far behind.[98] Even with this folkier, acoustic material, Dylan's biting, apocalyptical, and often humorous lyrics went far beyond those of contemporary folk music,[98] particularly the folk-protest music with which he had been previously associated.
On 20 July 1965, Dylan released the groundbreaking "Like a Rolling Stone", a six-minute-long scathing put-down, directed at a down-and-out society girl, which again featured Dylan backed by an electric rock band.[99][100] Released just as the Byrds' cover of "Mr. Tambourine Man" topped the charts in the United States, the song was instrumental in defining the burgeoning folk rock scene and in establishing Dylan as a bona fide rock star, rather than a folksinger.[99] "Like a Rolling Stone" managed to reach the Top 5 on both sides of the Atlantic.[96][101] Five days after the release of "Like a Rolling Stone", on 25 July 1965, Dylan made a controversial appearance at the Newport Folk Festival, performing three songs with a full band.[99] He was met with derisive booing and jeering from the festival's purist folk music crowd, but in the years since the incident, Dylan's 1965 Newport Folk Festival appearance has become widely regarded as a pivotal moment in the synthesis of folk and rock.[99][103][104]
Dylan followed "Like a Rolling Stone" with the wholly electric album Highway 61 Revisited and the non-album single "Positively 4th Street", which itself has been widely interpreted as a rebuke to the folk purists who had rejected his new electric music. Throughout 1965 and 1966, hit singles like "Subterranean Homesick Blues", "Like a Rolling Stone", "Positively 4th Street", and "I Want You" among others, along with the Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde albums, proved to be hugely influential on the development and popularity of folk rock.[105] Although Dylan's move away from acoustic folk music served to outrage and alienate much of his original fanbase, his new folk rock sound gained him legions of new fans during the mid-1960s. The popularity and commercial success of the Byrds and Bob Dylan's blend of folk and rock music influenced a wave of imitators and emulators that retroactively became known as the folk rock boom.[10]
Tom Wilson
[edit]
Main article: Tom Wilson (record producer)
Although he started out as a jazz musician, the young, African-American Columbia Records producer Tom Wilson became known as the "mid-wife of folk-rock" for his seminal work behind the scenes. As Bob Dylan's producer during the key transitional albums The Times They Are A-Changin, Another Side of Bob Dylan, and Bringing It All Back Home, he was a key architect of Dylan's electric sound. He is perhaps even better known, however, for first discovering Simon & Garfunkel at the tail end of the folk movement and then transforming them into folk-rock superstars with the unauthorized rock remix that made a number one hit out of their previously underappreciated song, "The Sound of Silence".[106][107]
Other musicians
[edit]
Music critic Richie Unterberger has noted that the commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man", along with Dylan's own contributions to the genre on the albums Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde, initiated an explosion of emulators and imitators.[10][64] Their success led record producer Tom Wilson to add electric guitar, bass, and drums overdubs to "The Sounds of Silence", a song which had been recorded by the folk duo Simon & Garfunkel in 1964 and first released on their album Wednesday Morning, 3 A.M.. The reissued single rose to number 1 on the Billboard pop chart in late 1965, became a hit around the world, and set the duo on one of the most successful careers in pop and rock music. Simon and Garfunkel have been described as "folk-rock's greatest duo, and one whose fame and influence would persist well beyond folk-rock's heyday."[108]
One of the first bands to craft a distinctly American sound in response to the British Invasion was the Beach Boys; while not a folk rock band themselves, they directly influenced the genre and at the height of the folk rock boom in 1966 had a hit with a cover of the 1920s West Indian folk song "Sloop John B", which they had learned from the Kingston Trio, who had learned it from the Weavers.[109]
Much of the early folk-rock music emerged during a time of general global upheaval, the Vietnam War, and new concerns for the world by young people. In the United States, the heyday of folk rock was arguably between the mid-sixties and the mid-seventies, when it aligned itself with the hippie movement and became an important medium for expressing radical ideas. Cities such as San Francisco, Denver, New York City and Phoenix became centers for the folk rock culture, playing on their central locations among the original folk circuits. The "unplugged" and simplified sound of the music reflected the genre's connection to a critical view of a technological and consumerist society. Unlike pop music's escapist lyrics, arguably a fantasy distraction from the problems in life, folk artists attempted to communicate concerns for peace, global awareness, and other touchstones of the era. Bands whose music was significantly folk rock in sound during the mid-to-late 1960s included Donovan, the Lovin' Spoonful, the Mamas & the Papas, the Youngbloods, Love, and, in their early years, Jefferson Airplane.
In the mid-1960s, singer-songwriter Gordon Lightfoot began moving his folk songs into a folk-rock direction with recordings such as the percussion-driven "Black Day in July" about the 1967 Detroit riot. He would rise to top the charts in the 1970s with a number of his folk-rock recordings such as "Sundown" and "Carefree Highway" and eventually become known as a folk-rock legend.[111] Some artists who originally produced with a harder edged rock sound found the ability to communicate more easily and felt more genuine in this method of delivery. In this category was Cat Stevens, who began in London much like the Byrds did in the United States but toned down the sound more frequently with acoustic instruments. He performed songs that contained concern for the environment, war, and the future of the world in general. The Canadian singer-songwriter Joni Mitchell won many Grammy Awards with her folk rock/pop songs.
Related movements
[edit]
British folk rock
[edit]
Main article: British folk rock
British folk rock developed in Britain during the mid to late 1960s by the bands Fairport Convention, and Pentangle.[112][113] It uses traditional British music and self-penned compositions in a traditional style, and is played on a combination of traditional and rock instruments.[114] This incorporation of traditional British folk music influences gives British folk rock its distinctly British character and flavour.[112] It evolved out of the psychedelia-influenced folk rock of British acts such as Donovan, the Incredible String Band, and Tyrannosaurus Rex, but was also heavily influenced by such American folk rock bands as the Byrds, Love, and Buffalo Springfield.[113] British folk rock was at its most significant and popular during the late 1960s and 1970s, when, in addition to Fairport and Pentangle, it was taken up by groups such as Steeleye Span and the Albion Band.[29][115]
Steeleye Span, founded by Fairport Convention bass player Ashley Hutchings, was made up of traditionalist folk musicians who wished to incorporate electrical amplification, and later overt rock elements, into their music.[116] This, in turn, spawned the conspicuously English folk rock music of the Albion Band, a group that also included Hutchings.[117] In Brittany folk rock was developed by Alan Stivell (who began to mix his Breton, Irish, and Scottish roots with rock music) and later by French bands like Malicorne.[118][119] During this same period, folk rock was adopted and developed in the surrounding Celtic cultures of Ireland, Scotland, Wales, Brittany, and Cornwall, to produce Celtic rock and its derivatives.[120][119]
Country folk
[edit]
Main article: Country folk
A subgenre originally arising from the early 1960s folk and country-influenced music of singer-songwriter artists such as Bob Dylan and Bobby Bare, as well as from folk revivalist vocal groups like the Kingston Trio.[121][122][123] During the late 1960s, many folk rock artists including Dylan, Ian and Sylvia, and the Byrds began to incorporate a strong country influence into their music, drawing heavily on Hank Williams, Merle Haggard, and Buck Owens amongst others, resulting in the concurrent offshoot of country rock.[124][125] This successful blending of country, folk and rock styles led to pioneering country folk records by folk-influenced singer-songwriters such as John Denver and Neil Young during the 1970s.[126] Country folk music usually displays a softer, more "laid-back" feel than the majority of country music and is often complemented by introspective lyrics, thus preserving its folk singer-songwriter roots.[121] Since the 1970s, the country folk subgenre has been perpetuated by artists including John Prine, Nanci Griffith, Kathy Mattea, Mary Chapin Carpenter, and Iris DeMent.[127][128]
Celtic rock
[edit]
Main article: Celtic rock
A subgenre of folk rock that combines traditional Celtic instrumentation with rock rhythms, often influenced by a wide variety of pop and rock music styles.[129] It emerged from the electric folk music of the late 1960s and was pioneered by bands such as Horslips, who blended Gaelic mythology, traditional Irish music and rock.[120] The British singer-songwriter Donovan was also influential in developing Celtic rock during the late 1960s, with his albums The Hurdy Gurdy Man, Barabajagal, and Open Road, the latter of which actually featured a song entitled "Celtic Rock".[130][131]
The subgenre was further popularised in 1973 by Thin Lizzy, who had a hit with "Whiskey in the Jar", a traditional Irish song performed entirely in the rock idiom.[120][132] Throughout the 1970s, Celtic rock held close to its folk roots, drawing heavily on traditional Celtic fiddle, pipe, and harp tunes, as well as traditional vocal styles, but making use of rock band levels of amplification and percussion.[120][133] In the 1980s and beyond, Celtic rock was perpetuated by bands such as the Pogues, the Waterboys, Runrig, Black 47, and the Prodigals. A more recent folk rock band based in England is the BibleCode Sundays.[129][134] Celtic rock is also popular in Spain where bands such as Celtas Cortos have had a large following since the early 1990s.
Medieval folk rock
[edit]
Main article: Medieval folk rock
Medieval folk rock developed as a subgenre of electric folk from about 1970 as performers, particularly in England, Germany and Brittany, adopted medieval and renaissance music as a basis for their music, in contrast to the early modern and nineteenth century ballads that dominated the output of Fairport Convention. This followed the trend explored by Steeleye Span, and exemplified by their 1972 album Below the Salt. Acts in this area included Gryphon, Gentle Giant and Third Ear Band.[135] In Germany Ougenweide, originally formed in 1970 as an acoustic folk group, opted to draw exclusively on High German medieval music when they electrified, setting the agenda for future German electric folk.[136] In Brittany, as part of the Celtic rock movement, medieval music was focused on by bands like Ripaille from 1977 and Saga de Ragnar Lodbrock from 1979.[137] However, by the end of the 1970s almost all of these performers had either disbanded or moved, like Gentle Giant and Gryphon, into the developing area of progressive rock.[138][self-published source?] In the 1990s, as part of the wider resurgence of folk music in general, new medieval folk rock acts began to appear, including the Ritchie Blackmore project Blackmore's Night, German bands such as In Extremo, Subway to Sally or Schandmaul and English bands like Circulus.[139]
Progressive folk rock
[edit]
See also: Progressive folk
In Britain the tendency to electrify brought several progressive folk acts into rock.[140] This includes the acoustic duo Tyrannosaurus Rex, who became the electric combo T. Rex.[141] Others, probably influenced by the electric folk pioneered by Fairport Convention from 1969, moved towards more traditional material, a category including Dando Shaft, Amazing Blondel, and Jack the Lad, an offshoot of northern progressive folk group Lindisfarne, who were one of the most successful UK bands of the early 1970s.[142] Examples of bands that remained firmly on the border between progressive folk and progressive rock were the short lived (but later reunited) Comus and, more successfully, Renaissance, who combined folk and rock with elements of classical music.[143]
Folk metal
[edit]
Main article: Folk metal
Folk metal is a fusion genre of heavy metal music and traditional folk music that developed in Europe during the 1990s. It is characterised by the widespread use of folk instruments and, to a lesser extent, traditional singing styles (for example, Dutch Heidevolk, Danish Sylvatica and Spanish Stone of Erech). It also sometimes features soft instrumentation influenced by folk rock.
The earliest folk metal bands were Skyclad from England, Cruachan from Ireland and Mago de Oz from Spain. Skyclad's debut album The Wayward Sons of Mother Earth was released in 1991 and would be considered a thrash metal album with some folk influences, unlike Cruachan's early work which embraced the folk element as a defining part of their sound. It was not until 1994 and 1995 that other early contributors in the genre began to emerge from different regions of Europe and beyond. Among these early groups, the German band Subway to Sally spearheaded a different regional variation that over time became known as medieval metal. Despite their contributions, folk metal remained little known with few representatives during the 1990s. It was not until the early 2000s when the genre exploded into prominence, particularly in Finland with the efforts of such groups as Finntroll, Ensiferum, Korpiklaani, Turisas, and Moonsorrow.
The music of folk metal is characterised by its diversity with bands known to perform different styles of both heavy metal music and folk music. A large variety of folk instruments are used in the genre with many bands consequently featuring six or more members in their regular line-ups. A few bands are also known to rely on keyboards to simulate the sound of folk instruments. Lyrics in the genre commonly deal with fantasy, mythology, paganism, history and nature.
See also
[edit]
List of folk rock artists
Rockabilly
Bluegrass music
Folk metal
Pagan rock
Notes
[edit]
References
[edit]
Sources
Brocken, Michael, (2003) The British Folk Revival, 1944–2002. Ashgate
Einarson, John, (2005) Mr. Tambourine Man. Backbeat Books
Gilliland, John (1969). "Blowin' in the Wind: Pop discovers folk music" (audio). Pop Chronicles. University of North Texas Libraries.
Jackson, Andrew Grant (2015). 1965: The Most Revolutionary Year in Music. New York City: Macmillan Publishers. ISBN 978-1-4668-6497-9.
Sweers, Britta (2004) Electric Folk: The Changing Face of English Traditional Music. Oxford University Press
Unterberger, Richie (2003) Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock. Backbeat Books
Unterberger, Richie (2002) Turn! Turn! Turn!: the '60s Folk-Rock revolution. Backbeat Books
Walker, Michael (2006) Laurel Canyon. Macmillan
Further reading
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TAX CODE CHAPTER 151. LIMITED SALES, EXCISE, AND USE TAX
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TAX CODE
TITLE 2. STATE TAXATION
SUBTITLE E. SALES, EXCISE, AND USE TAXES
CHAPTER 151. LIMITED SALES, EXCISE, AND USE TAX
SUBCHAPTER A. GENERAL PROVISIONS
Sec. 151.001. SHORT TITLE. This chapter may be cited as the Limited Sales, Excise, and Use Tax Act.
Acts 1981, 67th Leg., p. 1545, ch. 389, Sec. 1, eff. Jan. 1, 1982.
Sec. 151.002. APPLICABILITY OF DEFINITIONS, ETC. The definitions and other provisions of this chapter relating to the collection, administration, and enforcement of the taxes imposed by this chapter, including the requirements for sales tax permits, apply to the parties to a sale of a taxable item that is exempted from the taxes imposed by this chapter but that is subject to the taxes imposed by a city under Chapter 321 of this code.
Acts 1981, 67th Leg., p. 1545, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1989, 71st Leg., ch. 2, Sec. 14.27(b)(1), eff. Aug. 28, 1989.
Sec. 151.0028. "AMUSEMENT SERVICES". (a) "Amusement services" means the provision of amusement, entertainment, or recreation, but does not include the provision of educational or health services if prescribed by a licensed practitioner of the healing arts for the primary purpose of education or health maintenance or improvement.
(b) "Amusement services" includes membership in a private club or organization that provides entertainment, recreational, sports, dining, or social facilities to its members.
(c) "Amusement services" does not include services provided through coin-operated machines that are operated by the consumer.
Added by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 7, Sec. 3, eff. Oct. 2, 1984. Amended by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 1.
Amended by:
Acts 2019, 86th Leg., R.S., Ch. 638 (S.B. 1525), Sec. 1, eff. June 10, 2019.
Sec. 151.003. "BUSINESS". "Business" means an activity of or caused by a person for the purpose of a direct or indirect gain, benefit, or advantage.
Acts 1981, 67th Leg., p. 1545, ch. 389, Sec. 1, eff. Jan. 1, 1982.
Sec. 151.0031. "COMPUTER PROGRAM". "Computer program" means a series of instructions that are coded for acceptance or use by a computer system and that are designed to permit the computer system to process data and provide results and information. The series of instructions may be contained in or on magnetic tapes, punched cards, printed instructions, or other tangible or electronic media.
Added by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 6, Sec. 1, eff. Oct. 2, 1984.
Sec. 151.0033. "CABLE TELEVISION SERVICE". "Cable television service" means the distribution of video programming with or without use of wires to subscribing or paying customers.
Added by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 7, Sec. 4, eff. Oct. 2, 1984.
Sec. 151.0034. "CREDIT REPORTING SERVICE". "Credit reporting service" means assembling or furnishing credit history or credit information relating to any person.
Added by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 2.
Sec. 151.0035. "DATA PROCESSING SERVICE". (a) "Data processing service" includes:
(1) word processing, data entry, data retrieval, data search, information compilation, payroll and business accounting data production, and other computerized data and information storage or manipulation;
(2) the performance of a totalisator service with the use of computational equipment required by Subtitle A-1, Title 13, Occupations Code (Texas Racing Act); and
(3) the use of a computer or computer time for data processing whether the processing is performed by the provider of the computer or computer time or by the purchaser or other beneficiary of the service.
(b) "Data processing service" does not include:
(1) the transcription of medical dictation by a medical transcriptionist;
(2) services exclusively to encrypt electronic payment information for acceptance onto a payment card network described by Subdivision (3)(E) to comply with standards set by the Payment Card Industry Security Standards Council; or
(3) settling of an electronic payment transaction by:
(A) a downstream payment processor or point of sale payment processor that routes electronic payment information to an entity described by Paragraph (C) or (E);
(B) a person who is engaged in the business of money transmission and required to obtain a license under Section 152.101, Finance Code;
(C) a federally insured financial institution, as defined by Section 201.101, Finance Code, that is organized under the laws of this state, another state, or the United States, or an affiliate of the institution;
(D) a person who has entered into a sponsorship agreement with an entity described by Paragraph (C) for the purpose of settling that entity's electronic payment transactions through a payment card network; or
(E) a payment card network that allows a person to accept a specific brand of debit or credit card by routing information and data to settle an electronic payment transaction.
(c) For purposes of Subsection (b)(3):
(1) "Downstream payment processor" means a person described by 7 T.A.C. Section 33.4(c), as that provision existed on January 1, 2021.
(2) "Point of sale payment processor" means a person described by 7 T.A.C. Section 33.4(d), as that provision existed on January 1, 2021.
(3) "Settling of an electronic payment transaction" means the authorization, clearing, or funding of a payment made by credit card, debit card, gift card, stored value card, electronic check, virtual currency, loyalty program currency such as points or miles, or a similar method. The term does not include charges by a marketplace provider, as that term is defined by Section 151.0242.
(d) "Data storage," as used in this section, does not include a classified advertisement, banner advertisement, vertical advertisement, or link when the item is displayed on an Internet website owned by another person.
Added by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 3. Amended by Acts 1997, 75th Leg., ch. 1275, Sec. 53, eff. Sept. 1, 1997; Acts 1997, 75th Leg., ch. 1040, Sec. 11, eff. Sept. 1, 1997; Acts 2003, 78th Leg., ch. 209, Sec. 16, eff. Oct. 1, 2003.
Amended by:
Acts 2017, 85th Leg., R.S., Ch. 963 (S.B. 1969), Sec. 2.12, eff. April 1, 2019.
Acts 2021, 87th Leg., R.S., Ch. 539 (S.B. 153), Sec. 1, eff. October 1, 2021.
Acts 2023, 88th Leg., R.S., Ch. 277 (S.B. 895), Sec. 2.06, eff. September 1, 2023.
Sec. 151.0036. "DEBT COLLECTION SERVICE". (a) "Debt collection service" means activity to collect or adjust a delinquent debt, to collect or adjust a claim, or to repossess property subject to a claim.
(b) "Debt collection service" does not include:
(1) the collection of:
(A) a judgment by an attorney or by a partnership or professional corporation of attorneys if the attorney, partnership, or corporation represented the person in the suit from which the judgment arose; or
(B) court-ordered child support or medical child support; or
(2) a service provided by a person acting as a trustee in connection with the foreclosure sale of real property under a lien created by a mortgage, deed of trust, or security instrument.
(c) "Debt collection service" includes the service performed for which a fee is collected under Section 3.506, Business & Commerce Code. The person collecting the check shall add the amount of the tax to the fee in accordance with Section 151.052 and shall collect the fee from the drawer or endorser of the check.
Added by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 4. Amended by Acts 1991, 72nd Leg., ch. 705, Sec. 9, eff. Sept. 1, 1991; Acts 1995, 74th Leg., ch. 341, Sec. 3.06, eff. Sept. 1, 1995; Acts 1995, 74th Leg., ch. 1000, Sec. 5, eff. Oct. 1, 1995; Acts 2001, 77th Leg., ch. 1151, Sec. 1, 2(b), eff. July 1, 2001; Acts 2001, 77th Leg., ch. 1420, Sec. 2.001(d), eff. Sept. 1, 2001.
Sec. 151.0038. "INFORMATION SERVICE". (a) "Information service" means:
(1) furnishing general or specialized news or other current information, including financial information, unless furnished to:
(A) a newspaper or to a radio or television station licensed by the Federal Communications Commission; or
(B) a member of a homeowners association of a residential subdivision or condominium development, and is furnished by the association or on behalf of the association; or
(2) electronic data retrieval or research.
(b) In this section, "newspaper" has the meaning assigned by Section 151.319(f).
(c) "Information service" does not include the furnishing of an academic transcript.
Added by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 5. Amended by Acts 1991, 72nd Leg., ch. 705, Sec. 10, eff. Sept. 1, 1991; Acts 1995, 74th Leg., ch. 1000, Sec. 6, eff. Oct. 1, 1995.
Amended by:
Acts 2023, 88th Leg., R.S., Ch. 140 (S.B. 65), Sec. 1, eff. October 1, 2023.
Sec. 151.0039. "INSURANCE SERVICE". (a) Except as provided in Subsection (b), "insurance service" means insurance loss or damage appraisal, insurance inspection, insurance investigation, insurance actuarial analysis or research, insurance claims adjustment or claims processing, or insurance loss prevention service.
(b) "Insurance service" does not include:
(1) insurance coverage for which a premium is paid or commissions paid to insurance agents for the sale of insurance or annuities;
(2) a service performed on behalf of an insured by a person licensed under Chapter 4102, Insurance Code;
(3) a service performed by a certified public accountancy firm, if less than one percent of the firm's total revenue in the prior calendar year is from services in this state that would otherwise constitute insurance service under Subsection (a);
(4) a service performed on behalf of a certified public accountancy firm by an owner of the firm or a member of the firm's affiliated group, if less than one percent of the owner's or member's total revenue in the prior calendar year is from services in this state that would otherwise constitute insurance service under Subsection (a);
(5) a medical or dental billing service performed before the original submission of:
(A) a medical or dental insurance claim related to health or dental coverage; or
(B) a claim related to health or dental coverage made to a medical assistance program funded by the federal government, a state government, or both; or
(6) a medical service, examination, or test required or authorized under Chapter 408, Labor Code, for the purpose of determining the appropriate level of benefits under that chapter.
(c) In this section:
(1) "Affiliated group" has the meaning assigned by Section 171.0001.
(2) "Certified public accountancy firm" has the meaning assigned by Section 901.002, Occupations Code.
(3) "Medical or dental billing service" means assigning codes for the preparation of a medical or dental claim, verifying medical or dental insurance eligibility, preparing a medical or dental claim form for filing, and filing a medical or dental claim.
Added by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 6.
Amended by:
Acts 2015, 84th Leg., R.S., Ch. 748 (H.B. 1841), Sec. 1, eff. October 1, 2015.
Acts 2017, 85th Leg., R.S., Ch. 68 (S.B. 1083), Sec. 1, eff. January 1, 2018.
Acts 2021, 87th Leg., R.S., Ch. 1 (H.B. 1445), Sec. 1, eff. January 1, 2022.
Acts 2021, 87th Leg., R.S., Ch. 1 (H.B. 1445), Sec. 2, eff. January 1, 2022.
Acts 2023, 88th Leg., R.S., Ch. 1159 (S.B. 1122), Sec. 1, eff. June 18, 2023.
Sec. 151.00393. INTERNET. "Internet" means collectively the myriad of computer and telecommunications facilities, including equipment and operating software, that comprise the interconnected worldwide network of networks that employ the Transmission Control Protocol/Internet Protocol, or any predecessor or successor protocols to the protocol, to communicate information of all kinds by wire or radio.
Added by Acts 1999, 76th Leg., ch. 394, Sec. 1, eff. Oct. 1, 1999.
Sec. 151.00394. INTERNET ACCESS SERVICE. (a) "Internet access service" means a service that enables users to access content, information, electronic mail, or other services offered over the Internet and may also include access to proprietary content, information, and other services as part of a package of services offered to consumers. The term does not include telecommunications services.
(b) "Internet access service" does not include and the exemption under Section 151.325 does not apply to any other taxable service listed in Section 151.0101(a), unless the taxable service is provided in conjunction with and is merely incidental to the provision of Internet access service.
(c) On and after October 1, 1999, "Internet access service" is not included in the definitions of "data processing service" and "information service."
Added by Acts 1999, 76th Leg., ch. 394, Sec. 1, eff. Oct. 1, 1999.
Sec. 151.004. "IN THIS STATE". "In this state" means within the exterior limits of Texas and includes all territory within these limits ceded to or owned by the United States.
Acts 1981, 67th Leg., p. 1545, ch. 389, Sec. 1, eff. Jan. 1, 1982.
Sec. 151.0045. "PERSONAL SERVICES". "Personal services" means those personal services listed as personal services under Group 721, Major Group 72 of the Standard Industrial Classification Manual, 1972, and includes massage parlors, escort services, and Turkish baths under Group 729 of said manual but does not include any other services listed under Group 729 unless otherwise covered under this chapter, prepared by the statistical policy division of the office on management and budget, office of the president of the United States. The term does not include services provided through coin-operated machines that are operated by the consumer.
Added by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 7, Sec. 5, eff. Oct. 2, 1984.
Amended by:
Acts 2019, 86th Leg., R.S., Ch. 638 (S.B. 1525), Sec. 2, eff. June 10, 2019.
Sec. 151.0047. "REAL PROPERTY REPAIR AND REMODELING". (a) "Real property repair and remodeling" means the repair, restoration, remodeling, or modification of an improvement to real property other than:
(1) a structure or separate part of a structure used as a residence;
(2) an improvement immediately adjacent to a structure described by Subdivision (1) of this section and used in the residential occupancy of the structure or separate part of the structure by the person using the structure or part as a residence; or
(3) an improvement to a manufacturing or processing production unit in a petrochemical refinery or chemical plant that provides increased capacity in the production unit.
(b) In this section:
(1) "Increased capacity" means the capability to produce:
(A) additional products or services as measured by units per hour or units per year; or
(B) a new product or service.
(2) "Production unit" means a group of manufacturing and processing machines and ancillary equipment that together are necessary to create or produce a physical or chemical change beginning with the first processing of the raw material and ending with the finished product.
(3) "New product" means a product that:
(A) has different product properties and a different commercial application than the product previously manufactured or processed by the production unit that produced the previous product; and
(B) is not created by straining or purifying an existing product or by making cosmetic changes, such as adding or removing color or odor, to or from an existing product.
Added by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 7. Amended by Acts 1991, 72nd Leg., ch. 705, Sec. 11, eff. Sept. 1, 1991; Acts 1995, 74th Leg., ch. 1000, Sec. 7, eff. Oct. 1, 1995; Acts 1997, 75th Leg., ch. 1040, Sec. 12, eff. Sept. 1, 1997.
Sec. 151.0048. REAL PROPERTY SERVICE. (a) Except as provided by Subsection (b), "real property service" means:
(1) landscaping;
(2) the care and maintenance of lawns, yards, or ornamental trees or other plants;
(3) the removal or collection of garbage, rubbish, or other solid waste other than:
(A) hazardous waste;
(B) industrial solid waste;
(C) waste material that results from an activity associated with the exploration, development, or production of oil, gas, geothermal resources, or any other substance or material regulated by the Railroad Commission of Texas under Section 91.101, Natural Resources Code;
(D) domestic sewage or an irrigation return flow, to the extent the sewage or return flow does not constitute garbage or rubbish; and
(E) industrial discharges subject to regulation by permit issued pursuant to Chapter 26, Water Code;
(4) building or grounds cleaning, janitorial, or custodial services;
(5) a structural pest control service covered by Section 1951.003, Occupations Code; or
(6) the surveying of real property.
(b) "Real property service" does not include a service listed under Subsection (a) if the service is purchased by a contractor as part of the improvement of real property with a new structure to be used as a residence or other improvement immediately adjacent to the new structure and used in the residential occupancy of the structure.
(b-1) "Real property service" does not include a service listed under Subsection (a) if the service is performed by a landman and is necessary to negotiate or secure land or mineral rights for acquisition or trade, including:
(1) determining ownership;
(2) negotiating a trade or agreement regarding land or mineral rights;
(3) drafting and administering contractual agreements;
(4) ensuring that all governmental regulations are complied with; and
(5) any other action necessary to complete the transaction related to a service described by this subsection, other than an information service described by Section 151.0038.
(c) In this section, "contractor" means a person who makes an improvement on real estate and who, as a necessary or incidental part of the service, incorporates tangible personal property into the property improved. The term includes a builder, developer, speculative builder, or other person acting as a builder to improve residential real property.
Added by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 8. Amended by Acts 1991, 72nd Leg., ch. 705, Sec. 12, eff. Sept. 1, 1991; Acts 1993, 73rd Leg., ch. 1031, Sec. 19, eff. Sept. 1, 1993; Acts 1995, 74th Leg., ch. 1000, Sec. 7, eff. Oct. 1, 1995; Acts 1997, 75th Leg., ch. 1040, Sec. 13, eff. Sept. 1, 1997; Acts 1999, 76th Leg., ch. 1114, Sec. 1.01, eff. Oct. 1, 1999; Acts 1999, 76th Leg., ch. 1114, Sec. 2.01, eff. Oct. 1, 2001; Acts 2003, 78th Leg., ch. 1276, Sec. 14A.815, eff. Sept. 1, 2003.
Amended by:
Acts 2007, 80th Leg., R.S., Ch. 1266 (H.B. 3319), Sec. 1, eff. September 1, 2007.
Sec. 151.005. "SALE" OR "PURCHASE". "Sale" or "purchase" means any of the following when done or performed for consideration:
(1) a transfer of title or possession of tangible personal property;
(2) the exchange, barter, lease, or rental of tangible personal property;
(3) the performance of a taxable service, the charge for an extended warranty or service contract for the performance of a taxable service, or, in the case of an amusement service, a transfer of title to or possession of a ticket or other admission document, the collection of an admission fee, whether by individual performance, subscription series, or membership privilege, the collection of dues or a fee, charge, or assessment, including an initiation fee, by a club or organization for membership or a special privilege, status, or membership classification in the club or organization, or the use of a coin-operated machine;
(4) the production, fabrication, processing, printing, or imprinting of tangible personal property for consumers who directly or indirectly furnish the materials used in the production, fabrication, processing, printing, or imprinting;
(5) the furnishing and distribution of tangible personal property by a social club or fraternal organization to anyone;
(6) the furnishing, preparation, or service of food, meals, or drinks;
(7) a transfer of the possession of tangible personal property if the title to the property is retained by the seller as security for the payment of the price; or
(8) a transfer of the title or possession of tangible personal property that has been produced, fabricated, or printed to the special order of the customer.
Acts 1981, 67th Leg., p. 1545, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 7, Sec. 6, eff. Oct. 2, 1984; Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 15; Acts 2003, 78th Leg., ch. 209, Sec. 17, eff. Oct. 1, 2003.
Sec. 151.006. "SALE FOR RESALE." (a) "Sale for resale" means a sale of:
(1) tangible personal property or a taxable service to a purchaser who acquires the property or service for the purpose of reselling it as a taxable item as defined by Section 151.010 in the United States of America or a possession or territory of the United States of America or in the United Mexican States in the normal course of business in the form or condition in which it is acquired or as an attachment to or integral part of other tangible personal property or taxable service;
(2) tangible personal property to a purchaser for the sole purpose of the purchaser's leasing or renting it in the United States of America or a possession or territory of the United States of America or in the United Mexican States in the normal course of business to another person, but not if incidental to the leasing or renting of real estate;
(3) tangible personal property to a purchaser who acquires the property for the purpose of transferring it in the United States of America or a possession or territory of the United States of America or in the United Mexican States as an integral part of a taxable service;
(4) a taxable service performed on tangible personal property that is held for sale by the purchaser of the taxable service; or
(5) tangible personal property or a taxable service to a purchaser who acquires the property or service for the purpose of transferring it as an integral part of performing a contract, or a subcontract of a contract, for the sale, other than the lease or rental, of tangible personal property with an entity or organization exempted from the taxes imposed by this chapter under Section 151.309 or 151.310 only if the purchaser:
(A) allocates and bills to the contract the cost of the property or service as a direct or indirect cost; and
(B) transfers title to the property to the exempt entity or organization under the contract and any applicable acquisition regulations.
(b) Subsection (a)(3) applies to a transfer of a wireless voice communication device as an integral part of a taxable service, regardless of whether there is a separate charge for the wireless voice communication device or whether the purchaser is the provider of the taxable service, if payment for the service is a condition for receiving the wireless voice communication device.
(c) A sale for resale does not include the sale of tangible personal property or a taxable service to a purchaser who acquires the property or service for the purpose of performing a service not listed as a taxable service under Section 151.0101, regardless of whether title transfers to the service provider's customer, unless the tangible personal property or taxable service is purchased for the purpose of performing a contract, or a subcontract of a contract, for a service, including a taxable service under Section 151.0101, with any branch of the Department of Defense, Department of Homeland Security, Department of Energy, National Aeronautics and Space Administration, Central Intelligence Agency, National Security Agency, National Oceanic and Atmospheric Administration, or National Reconnaissance Office to the extent allocated and billed to the contract with the federal government.
(d) A sale for resale includes the sale of a computer program to a provider of Internet hosting who acquires the computer program from an unrelated vendor for the purpose of selling the right to use the computer program to an unrelated user of the provider's Internet hosting services in the normal course of business and in the form or condition in which the provider acquired the computer program. For purposes of this subsection, the purchase of the computer program by the provider qualifies as a sale for resale only if the provider offers the unrelated user a selection of computer programs that are available to the public for purchase directly from an unrelated vendor and executes a written contract with the unrelated user that specifies the name of the computer program sold to the unrelated user and includes a charge to the unrelated user for computing hardware. This subsection applies, notwithstanding Section 151.302(b), if the unrelated user purchases the right to use the computer program from the provider through the acquisition of a license and the provider does not retain the right to use the computer program under that license. The performance by the provider of routine maintenance of the computer program that is recommended or required by the unrelated vendor of the computer program does not affect the application of this subsection. In this subsection, "Internet hosting" has the meaning assigned by Section 151.108(a).
(e) A sale for resale does not include the sale of tangible personal property to a purchaser who acquires the property for the purpose of using, consuming, or expending it in, or incorporating it into, an oil or gas well in the performance of an oil well service taxable under Chapter 191.
Acts 1981, 67th Leg., p. 1546, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 7, Sec. 7, eff. Oct. 2, 1984; Acts 1995, 74th Leg., ch. 351, Sec. 1, eff. Sept. 1, 1995.
Amended by:
Acts 2007, 80th Leg., R.S., Ch. 1266 (H.B. 3319), Sec. 2, eff. September 1, 2007.
Acts 2011, 82nd Leg., 1st C.S., Ch. 4 (S.B. 1), Sec. 12.01, eff. October 1, 2011.
Acts 2015, 84th Leg., R.S., Ch. 426 (S.B. 755), Sec. 1, eff. June 10, 2015.
Acts 2019, 86th Leg., R.S., Ch. 638 (S.B. 1525), Sec. 3, eff. June 10, 2019.
Sec. 151.007. "SALES PRICE" OR "RECEIPTS". (a) Except as provided by Subsections (c) and (d), "sales price" or "receipts" means the total amount for which a taxable item is sold, leased, or rented, valued in money, without a deduction for the cost of:
(1) the taxable item sold, leased, or rented;
(2) the materials used, labor or service employed, interest, losses, or other expenses;
(3) the transportation or installation of tangible personal property; or
(4) transportation incident to the performance of a taxable service.
(b) The total amount for which a taxable item is sold, leased, or rented includes a service that is a part of the sale and the amount of credit given to the purchaser by the seller.
(c) "Sales price" or "receipts" does not include any of the following if separately identified to the customer by such means as an invoice, billing, sales slip or ticket, or contract:
(1) a cash discount allowed on the sale;
(2) the amount charged for tangible personal property returned by a customer if the total amount charged is refunded by cash or credit;
(3) a refund of the charges for the performance of a taxable service;
(4) finance, carrying and service charges, or interest from credit extended on sales of taxable items under a conditional sales contract or other contract providing for the deferred payment of the purchase price;
(5) the value of tangible personal property that:
(A) is taken by a seller in trade as all or part of the consideration for a sale of a taxable item; and
(B) is of a type of property sold by the seller in the regular course of business;
(6) the face value of United States coin or currency in a sale of that coin or currency in which the total consideration given by the purchaser exceeds the face value of the coin or currency; or
(7) a voluntary gratuity or a reasonable mandatory charge for the service of a meal or food products, including soft drinks and candy, for immediate human consumption when the service charge is separated from the sales price of the meal or food product and identified as a gratuity or tip and when the total amount of the service charge is disbursed by the employer to employees who customarily and regularly provide the service.
(d) "Sales price" or "receipts" of items sold as edible products for human consumption through the use or operation of a money-operated vending machine is 50 percent of the total gross receipts of the vendor from sales of those items, except for sales of soft drinks and candy, for which the "sales price" or "receipts" are the total gross receipts from those sales.
(e) The sales price of membership in a private club or organization consists of the dues, fees, and other charges and assessments, including initiation fees, required for membership or a special privilege, status, or membership classification in the club or organization.
Acts 1981, 67th Leg., p. 1546, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 7, Sec. 8, eff. Oct. 2, 1984; Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 9; Acts 1997, 75th Leg., ch. 1040, Sec. 14, eff. Oct. 1, 1997; Acts 2001, 77th Leg., ch. 1263, Sec. 12, eff. Oct. 1, 2001.
Sec. 151.0075. "SECURITY SERVICE". "Security service" means service for which a license is required under Section 1702.101 or 1702.102, Occupations Code.
Added by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 10. Amended by Acts 2001, 77th Leg., ch. 1420, Sec. 14.837, eff. Sept. 1, 2001.
Sec. 151.008. "SELLER" OR "RETAILER". (a) "Seller" or "retailer" means a person engaged in the business of making sales of taxable items of a kind the receipts from the sale of which are included in the measure of the sales or use tax imposed by this chapter.
(b) "Seller" and "retailer" include:
(1) a person in the business of making sales at auction of tangible personal property owned by the person or by another;
(2) a person who makes more than two sales of taxable items during a 12-month period, including sales made in the capacity of an assignee for the benefit of creditors or receiver or trustee in bankruptcy;
(3) a person regarded by the comptroller as a seller or retailer under Section 151.024;
(4) a hotel, motel, or owner or lessor of an office or residential building or development that contracts and pays for telecommunications services for resale to guests or tenants;
(5) a person who engages in regular or systematic solicitation of sales of taxable items in this state by the distribution of catalogs, periodicals, advertising flyers, or other advertising, by means of print, radio, or television media, or by mail, telegraphy, telephone, computer data base, cable, optic, microwave, or other communication system for the purpose of effecting sales of taxable items;
(6) a person who, under an agreement with another person, is:
(A) entrusted with possession of tangible personal property with respect to which the other person has title or another ownership interest; and
(B) authorized to sell, lease, or rent the property without additional action by the person having title to or another ownership interest in the property; and
(7) a person who is a marketplace provider under Section 151.0242.
Acts 1981, 67th Leg., p. 1547, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1985, 69th Leg., ch. 206, Sec. 2, eff. Oct. 1, 1985; Acts 1991, 72nd Leg., 1st C.S., ch. 5, Sec. 14.13.
Amended by:
Acts 2011, 82nd Leg., 1st C.S., Ch. 4 (S.B. 1), Sec. 30.01, eff. January 1, 2012.
Acts 2019, 86th Leg., R.S., Ch. 182 (H.B. 1525), Sec. 1, eff. October 1, 2019.
Sec. 151.009. "TANGIBLE PERSONAL PROPERTY". "Tangible personal property" means personal property that can be seen, weighed, measured, felt, or touched or that is perceptible to the senses in any other manner, and, for the purposes of this chapter, the term includes a computer program and a telephone prepaid calling card.
Acts 1981, 67th Leg., p. 1547, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 6, Sec. 2, eff. Oct. 2, 1984; Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 11; Acts 1997, 75th Leg., ch. 1040, Sec. 16, eff. Sept. 1, 1997.
Sec. 151.010. TAXABLE ITEM. "Taxable item" means tangible personal property and taxable services. Except as otherwise provided by this chapter, the sale or use of a taxable item in electronic form instead of on physical media does not alter the item's tax status.
Acts 1981, 67th Leg., p. 1547, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 7, Sec. 1, eff. Oct. 2, 1984; Acts 2001, 77th Leg., ch. 1263, Sec. 13, eff. Oct. 1, 2001.
Sec. 151.0101. "TAXABLE SERVICES". (a) "Taxable services" means:
(1) amusement services;
(2) cable television services;
(3) personal services;
(4) motor vehicle parking and storage services;
(5) the repair, remodeling, maintenance, and restoration of tangible personal property, except:
(A) aircraft;
(B) a ship, boat, or other vessel, other than:
(i) a taxable boat or motor as defined by Section 160.001;
(ii) a sports fishing boat; or
(iii) any other vessel used for pleasure;
(C) the repair, maintenance, and restoration of a motor vehicle; and
(D) the repair, maintenance, creation, and restoration of a computer program, including its development and modification, not sold by the person performing the repair, maintenance, creation, or restoration service;
(6) telecommunications services;
(7) credit reporting services;
(8) debt collection services;
(9) insurance services;
(10) information services;
(11) real property services;
(12) data processing services;
(13) real property repair and remodeling;
(14) security services;
(15) telephone answering services;
(16) Internet access service; and
(17) a sale by a transmission and distribution utility, as defined in Section 31.002, Utilities Code, of transmission or delivery of service directly to an electricity end-use customer whose consumption of electricity is subject to taxation under this chapter.
(b) The comptroller shall have exclusive jurisdiction to interpret Subsection (a) of this section.
Added by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 7, Sec. 2, eff. Oct. 2, 1984. Amended by Acts 1985, 69th Leg., ch. 206, Sec. 3, eff. Oct. 1, 1985; Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 12; Acts 1989, 71st Leg., ch. 1249, Sec. 1, eff. Oct. 1, 1989; Acts 1991, 72nd Leg., 1st C.S., ch. 5, Sec. 14.021(a); Acts 1999, 76th Leg., ch. 394, Sec. 2, eff. Oct. 1, 1999; Acts 1999, 76th Leg., ch. 405, Sec. 54, eff. Sept. 1, 1999; Acts 2001, 77th Leg., ch. 1420, Sec. 18.008, eff. Sept. 1, 2001.
Sec. 151.0102. "TELEPHONE ANSWERING SERVICES". "Telephone answering services" means the receiving and relaying of telephone messages by a human operator. The term does not include the automated receiving and relaying of telephone messages included within the definition of "telecommunications services" under Section 151.0103.
Added by Acts 1991, 72nd Leg., 1st C.S., ch. 5, Sec. 14.031.
Sec. 151.0103. TELECOMMUNICATIONS SERVICES. (a) For the purposes of this title only, "telecommunications services" means the electronic or electrical transmission, conveyance, routing, or reception of sounds, signals, data, or information utilizing wires, cable, radio waves, microwaves, satellites, fiber optics, or any other method now in existence or that may be devised, including but not limited to long-distance telephone service. The term does not include:
(1) the storage of data or information for subsequent retrieval or the processing, or reception and processing, of data or information intended to change its form or content;
(2) the sale or use of a telephone prepaid calling card;
(3) Internet access service; or
(4) a pay telephone coin sent-paid telephone call.
(b) The exemption provided by Subsection (a)(4) applies only to the portion of the sales price of the telecommunications service that is paid by coin.
Added by Acts 1985, 69th Leg., ch. 206, Sec. 4, eff. Oct. 1, 1985. Amended by Acts 1997, 75th Leg., ch. 1040, Sec. 17, eff. Sept. 1, 1997; Acts 1999, 76th Leg., ch. 394, Sec. 3, eff. Oct. 1, 1999.
Amended by:
Acts 2007, 80th Leg., R.S., Ch. 1199 (H.B. 1459), Sec. 1, eff. September 1, 2007.
Sec. 151.01032. "TELEPHONE PREPAID CALLING CARD". "Telephone prepaid calling card" means a card or other item, including an access code, that represents the right to make one or more telephone calls for which payment is made in incremental amounts and before the call is initiated. The term "telephone prepaid calling card" does not include a card sold by mechanical means for consideration of one dollar or less.
Added by Acts 1997, 75th Leg., ch. 1040, Sec. 15, eff. Sept. 1, 1997.
Sec. 151.0104. TELEPHONE COMPANY. For the purposes of this chapter, "telephone company" means a person that owns or operates a telephone line or telephone in this state and charges for its use.
Added by Acts 1985, 69th Leg., ch. 206, Sec. 4, eff. Oct. 1, 1985. Amended by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 13.
Sec. 151.011. "USE" AND "STORAGE". (a) Except as provided by Subsection (c) of this section, "use" means the exercise of a right or power incidental to the ownership of tangible personal property over tangible personal property, including tangible personal property other than printed material that has been processed, fabricated, or manufactured into other property or attached to or incorporated into other property transported into this state, and, except as provided by Section 151.056(b) of this code, includes the incorporation of tangible personal property into real estate or into improvements of real estate whether or not the real estate is subsequently sold.
(b) With respect to a taxable service, "use" means the derivation in this state of direct or indirect benefit from the service.
(c) "Use" does not include the sale of tangible personal property or a taxable service in the regular course of business, the transfer of a taxable service as an integral part of the transfer of tangible personal property in the regular course of business, or the transfer of tangible personal property as an integral part of the transfer of a taxable service in the regular course of business.
(d) Except as provided by Subsection (e) of this section, "storage" means the keeping or retaining for any purpose in this state of tangible personal property sold by a retailer.
(e) "Storage" does not include the keeping or retaining of tangible personal property for sale in the regular course of business.
(f) Neither "use" nor "storage" includes the exercise of a right or power over or the keeping or retaining of tangible personal property for the purpose of:
(1) transporting the property outside the state for use solely outside the state; or
(2) processing, fabricating, or manufacturing the property into other property or attaching the property to or incorporating the property into other property to be transported outside the state for use solely outside the state.
Acts 1981, 67th Leg., p. 1547, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 14; Acts 1989, 71st Leg., ch. 323, Sec. 1, eff. Oct. 1, 1989; Acts 2003, 78th Leg., ch. 1310, Sec. 97, eff. Oct. 1, 2003.
Sec. 151.012. EFFECTIVE DATE OF TAX RATE CHANGES. (a) A change in the rate of the tax imposed under Sections 151.051 and 151.101 must take effect on the first day of a calendar quarter.
(b) If the performance of a taxable service begins before the effective date of a change in the tax rate and the performance will not be completed until after that effective date, the change in the tax rate applies to the first billing period for the service performed on or after that effective date.
Added by Acts 2003, 78th Leg., ch. 1310, Sec. 98, eff. Oct. 1, 2003.
SUBCHAPTER B. ADMINISTRATION AND RECORDS
Sec. 151.021. EMPLOYEES. The comptroller may employ accountants, auditors, investigators, assistants, and clerks for the administration of this chapter and may delegate to employees the authority to conduct hearings, prescribe rules, and perform other duties required by this chapter.
Acts 1981, 67th Leg., p. 1548, ch. 389, Sec. 1, eff. Jan. 1, 1982.
Sec. 151.022. RETROACTIVE EFFECT OF RULES. The comptroller may prescribe the extent to which a rule or ruling shall be applied without retroactive effect.
Acts 1981, 67th Leg., p. 1548, ch. 389, Sec. 1, eff. Jan. 1, 1982.
Sec. 151.023. INVESTIGATIONS AND AUDITS. (a) The comptroller, or another person authorized by the comptroller in writing, may examine, copy, and photograph the books, records, papers, and equipment of a person who sells taxable items or of a person liable for the use tax and may investigate the character of the business of the person to verify the accuracy of the person's report or to determine the amount of tax that may be required to be paid if no report has been filed.
(b) For the purpose of determining the amount of tax collected and payable to the state, the amount of tax accruing and due, and whether a tax liability has been incurred under this chapter, the comptroller or a person authorized by the comptroller may:
(1) inspect at any time during business hours any business premises where a taxable event has occurred and examine, copy, and photograph the books, returns, records, papers, and equipment relating to the conduct in question; and
(2) require by delivery of written notice to the taxpayer or to an employee, representative, or agent of the taxpayer that, not later than the 10th working day after the date the notice is delivered, the taxpayer produce to an agent or designated representative of the comptroller for inspection the books, records, papers, and returns relating to the taxable activity stated in the notice.
Acts 1981, 67th Leg., p. 1548, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 2001, 77th Leg., ch. 442, Sec. 9, eff. Sept. 1, 2001.
Sec. 151.0231. MANAGED AUDITS. (a) In this section, "managed audit" means a review and analysis of invoices, checks, accounting records, or other documents or information to determine a taxpayer's liability for tax under this chapter.
(b) A managed audit may be limited to certain categories of liability under this chapter, including tax on:
(1) sales of one or more types of taxable items;
(2) purchases of assets;
(3) purchases of expense items;
(4) purchases under a direct payment permit; or
(5) any other category specified in an agreement authorized by this section.
(c) The comptroller may, in a written agreement, authorize a taxpayer to conduct a managed audit under this section. The agreement must:
(1) be signed by an authorized representative of the comptroller and the taxpayer; and
(2) specify the period to be audited and the procedure to be followed.
(d) In determining whether to authorize a managed audit, the comptroller may consider, in addition to other factors the comptroller considers relevant:
(1) the taxpayer's history of tax compliance;
(2) the amount of time and resources the taxpayer has available to dedicate to the audit;
(3) the extent and availability of the taxpayer's records; and
(4) the taxpayer's ability to pay any expected liability.
(e) The decision to authorize or not authorize a managed audit rests solely with the comptroller.
(f) The comptroller may examine records and perform reviews that the comptroller determines are necessary before the audit is finalized to verify the results of the audit.
(g) Unless the audit or information reviewed by the comptroller under Subsection (f) discloses fraud or wilful evasion of the tax, the comptroller may not assess a penalty and may waive all or part of the interest that would otherwise accrue on any amount identified to be due in a managed audit. This subsection does not apply to any amount collected by the taxpayer that was a tax or represented to be a tax but that was not remitted to this state.
(h) Except as provided by Section 111.104(f), the taxpayer is entitled to a refund of any tax overpayment disclosed by a managed audit under this section.
Added by Acts 1999, 76th Leg., ch. 457, Sec. 1, eff. Oct. 1, 1999.
Sec. 151.024. PERSONS WHO MAY BE REGARDED AS RETAILERS. If the comptroller determines that it is necessary for the efficient administration of this chapter to regard a salesman, representative, peddler, or canvasser as the agent of a dealer, distributor, supervisor, or employer under whom he operates or from whom he obtains the tangible personal property that he sells, whether or not the sale is made in his own behalf or for the dealer, distributor, supervisor, or employer, the comptroller may so regard the salesman, representative, peddler, or canvasser, and may regard the dealer, distributor, supervisor, or employer as a retailer or seller for the purpose of this chapter.
Acts 1981, 67th Leg., p. 1548, ch. 389, Sec. 1, eff. Jan. 1, 1982.
Sec. 151.0241. PERSONS PERFORMING DISASTER- OR EMERGENCY-RELATED WORK. (a) In this section, "disaster- or emergency-related work," "disaster response period," and "out-of-state business entity" have the meanings assigned by Section 112.003, Business & Commerce Code.
(b) An out-of-state business entity is not engaged in business in this state for purposes of Sections 151.107 and 151.403 or any other provision of this chapter applicable to a person engaged in business in this state if the entity's physical presence in this state is solely from the entity's performance of disaster- or emergency-related work during a disaster response period.
Added by Acts 2015, 84th Leg., R.S., Ch. 559 (H.B. 2358), Sec. 2(a), eff. June 16, 2015.
Sec. 151.0242. MARKETPLACE PROVIDERS AND MARKETPLACE SELLERS. (a) In this section:
(1) "Marketplace" means a physical or electronic medium through which persons other than the owner or operator of the medium make sales of taxable items. The term includes a store, Internet website, software application, or catalog.
(2) "Marketplace provider" means a person who owns or operates a marketplace and directly or indirectly processes sales or payments for marketplace sellers.
(3) "Marketplace seller" means a seller, other than the marketplace provider, who makes a sale of a taxable item through a marketplace.
(b) Except as otherwise provided by this section, a marketplace provider has the rights and duties of a seller or retailer under this chapter with respect to sales made through the marketplace.
(c) A marketplace provider shall:
(1) certify to each marketplace seller that the marketplace provider assumes the rights and duties of a seller or retailer under this chapter with respect to sales made by the marketplace seller through the marketplace;
(2) collect in the manner provided by Subchapters C and D the taxes imposed by this chapter on sales of taxable items made through the marketplace; and
(3) report and remit under Subchapter I the taxes imposed by this chapter on all sales made through the marketplace.
(d) A marketplace seller who in good faith accepts a marketplace provider's certification under Subsection (c)(1) shall exclude sales made through the marketplace from the marketplace seller's report under Subchapter I, notwithstanding Section 151.406.
(e) A marketplace seller shall retain records for all marketplace sales as required by Section 151.025.
(f) A marketplace seller shall furnish to the marketplace provider information that is required to correctly collect and remit taxes imposed by this chapter. The information may include a certification of taxability that an item being sold is a taxable item, is not a taxable item, or is exempt from taxation.
(g) Except as provided by Subsection (h), a marketplace provider is not liable for failure to collect and remit the correct amount of taxes imposed by this chapter if the marketplace provider demonstrates that the failure resulted from the marketplace provider's good faith reliance on incorrect or insufficient information provided by the marketplace seller. The marketplace seller is liable for a deficiency resulting from incorrect or insufficient information provided by the marketplace seller.
(h) A marketplace provider and marketplace seller that are affiliates or associates, as defined by Section 1.002, Business Organizations Code, are jointly and severally liable for a deficiency resulting from a sale made by the marketplace seller through the marketplace.
(i) This section does not affect the tax liability of a purchaser under Section 151.052 or 151.102.
(j) A court may not certify an action brought against a marketplace provider concerning this section as a class action.
(k) The comptroller may adopt rules and forms to implement this section and by rule except certain marketplace providers from some or all of the requirements of this section.
(l) A marketplace seller who places a ticket or other admission document for sale through a marketplace must certify to the marketplace provider that the taxes imposed by this chapter on the original purchase of the ticket or admission document were paid. A marketplace provider who in good faith accepts a marketplace seller's certification under this subsection may take the deduction provided by Section 151.432 on behalf of the marketplace seller.
Added by Acts 2019, 86th Leg., R.S., Ch. 182 (H.B. 1525), Sec. 2, eff. October 1, 2019.
Amended by:
Acts 2021, 87th Leg., R.S., Ch. 569 (S.B. 477), Sec. 4, eff. October 1, 2021.
Sec. 151.025. RECORDS REQUIRED TO BE KEPT. (a) All sellers and all other persons storing, using, or consuming in this state a taxable item purchased from a retailer shall keep the following records in the form the comptroller requires:
(1) records of all gross receipts, including documentation in the form of receipts, shipping manifests, invoices, and other pertinent papers, from each sale, rental, lease, taxable service, and taxable labor transaction occurring during each reporting period;
(2) records in the form of receipts, shipping manifests, invoices, and other pertinent papers of all purchases of taxable items from every source made during each reporting period;
(3) records in the form of receipts, shipping manifests, invoices, and other pertinent papers that substantiate each claimed deduction or exclusion authorized by law; and
(4) records in the form of sales receipts, invoices, or other equivalent records showing all sales and use tax, and any money represented to be sales and use tax, received or collected on each sale, rental, lease, or service transaction during each reporting period.
(b) A record required by Subsection (a) shall be kept for not less than four years from the date that it is made unless:
(1) the comptroller authorizes in writing its destruction at an earlier date; or
(2) Section 111.0041 requires that the record be kept for a longer period.
(c) Repealed by Acts 2003, 78th Leg., ch. 1310, Sec. 121(26) and Acts 2003, 78th Leg., ch. 209, Sec. 86(b).
(d) If any nontaxable charges are combined with and not separately stated from taxable telecommunications service charges on the customer bill or invoice of a provider of telecommunications services, the combined charge is subject to tax unless the provider can identify the portion of the charges that are nontaxable through the provider's books and records kept in the regular course of business. If the nontaxable charges cannot reasonably be identified, the charges from the sale of both nontaxable services and taxable telecommunications services are attributable to taxable telecommunications services. The provider of telecommunications services has the burden of proving nontaxable charges.
Acts 1981, 67th Leg., p. 1548, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1985, 69th Leg., ch. 206, Sec. 5, eff. Oct. 1, 1985; Acts 2001, 77th Leg., ch. 442, Sec. 10, eff. Sept. 1, 2001; Acts 2003, 78th Leg., ch. 1310, Sec. 99, 121(26), eff. July 1, 2003; Acts 2003, 78th Leg., ch. 209, Sec. 86(a), (b), eff. Oct. 1, 2003.
Amended by:
Acts 2011, 82nd Leg., R.S., Ch. 68 (S.B. 934), Sec. 14, eff. September 1, 2011.
Acts 2011, 82nd Leg., 1st C.S., Ch. 4 (S.B. 1), Sec. 4.05, eff. October 1, 2011.
Sec. 151.026. OUT-OF-STATE RECORDS. A taxpayer is entitled to keep or store the taxpayer's records outside this state. If the comptroller requests to examine a record kept or stored outside this state, the taxpayer shall bring the record into this state for the examination or permit the comptroller to examine the record at the out-of-state location.
Acts 1981, 67th Leg., p. 1549, ch. 389, Sec. 1, eff. Jan. 1, 1982.
Sec. 151.027. CONFIDENTIALITY OF TAX INFORMATION. (a) Information in or derived from a record, report, or other instrument required to be furnished under this chapter is confidential and not open to public inspection, except for information set forth in a lien filed under this title or a permit issued under this chapter to a seller and except as provided by Subsection (c) of this section.
(b) Information secured, derived, or obtained during the course of an examination of a taxpayer's books, records, papers, officers, or employees, including the business affairs, operations, profits, losses, and expenditures of the taxpayer, is confidential and not open to public inspection except as provided by Subsection (c) of this section.
(c) This section does not prohibit:
(1) the examination of information, if authorized by the comptroller, by another state officer or law enforcement officer, by a tax official of another state, by a tax official of the United Mexican States, or by an official of the United States if a reciprocal agreement exists;
(2) the delivery to a taxpayer, or a taxpayer's authorized representative, of a copy of a report or other paper filed by the taxpayer under this chapter;
(3) the publication of statistics classified to prevent the identification of a particular report or items in a particular report;
(4) the use of records, reports, or information secured, derived, or obtained by the attorney general or the comptroller in an action under this chapter against the same taxpayer who furnished the information;
(5) the delivery to a successor, receiver, executor, administrator, assignee, or guarantor of a taxpayer of information about items included in the measure and amounts of any unpaid tax or amounts of tax, penalties, and interest required to be collected;
(6) the delivery of information to a municipality, county, or other local governmental entity in accordance with Section 321.3022, 322.2022, or 323.3022; or
(7) the release of information in or derived from a record, report, or other instrument required to be furnished under this chapter by a governmental body, as that term is defined in Section 552.003, Government Code.
Acts 1981, 67th Leg., p. 1549, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1995, 74th Leg., ch. 351, Sec. 3, eff. Sept. 1, 1995; Acts 1995, 74th Leg., ch. 1000, Sec. 69, eff. Oct. 1, 1995; Acts 1999, 76th Leg., ch. 1218, Sec. 3, eff. Sept. 1, 1999.
Amended by:
Acts 2009, 81st Leg., R.S., Ch. 1360 (S.B. 636), Sec. 1, eff. September 1, 2009.
Sec. 151.029. REMEDIES NOT EXCLUSIVE. An action taken by the comptroller or the attorney general under this chapter is not an election to pursue one remedy to the exclusion of any other remedy authorized by this chapter.
Acts 1981, 67th Leg., p. 1549, ch. 389, Sec. 1, eff. Jan. 1, 1982.
SUBCHAPTER C. IMPOSITION AND COLLECTION OF SALES TAX
Sec. 151.051. SALES TAX IMPOSED. (a) A tax is imposed on each sale of a taxable item in this state.
(b) The sales tax rate is 6-1/4 percent of the sales price of the taxable item sold.
Added by Acts 1981, 67th Leg., p. 1550, ch. 389, eff. Jan. 1, 1982. Amended by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 13, Sec. 1, eff. Oct. 2, 1984; Acts 1986, 69th Leg., 3rd C.S., ch. 10, art. 1, Sec. 1, eff. Jan. 1, 1987; Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 1, Sec. 1; Acts 1990, 71st Leg., 6th C.S., ch. 5, Sec. 1.01, eff. July 1, 1990.
For expiration of this section, see Subsection (d).
Sec. 151.0515. TEXAS EMISSIONS REDUCTION PLAN SURCHARGE. (a) In this section, "equipment" includes all off-road, heavy-duty diesel equipment, other than implements of husbandry used solely for agricultural purposes, including:
(1) pavers;
(2) tampers/rammers;
(3) plate compactors;
(4) concrete pavers;
(5) rollers;
(6) scrapers;
(7) paving equipment;
(8) surface equipment;
(9) signal boards/light plants;
(10) trenchers;
(11) bore/drill rigs;
(12) excavators;
(13) concrete/industrial saws;
(14) cement and mortar mixers;
(15) cranes;
(16) graders;
(17) off-highway trucks;
(18) crushing/processing equipment;
(19) rough terrain forklifts;
(20) rubber tire loaders;
(21) rubber tire tractors/dozers;
(22) tractors/loaders/backhoes;
(23) crawler tractors/dozers;
(24) skid steer loaders;
(25) off-highway tractors;
(26) Dumpsters/tenders; and
(27) mining equipment.
(b) In each county in this state, a surcharge is imposed on the retail sale, lease, or rental of new or used equipment in an amount equal to 1.5 percent of the sale price or the lease or rental amount.
(b-1) In each county in this state, a surcharge is imposed on the storage, use, or other consumption in this state of new or used equipment. The surcharge is at the same percentage rate as is provided by Subsection (b) on the sales price or the lease or rental amount of the equipment.
(c) The surcharge shall be collected at the same time and in the same manner and shall be administered and enforced in the same manner as the tax imposed under this chapter. The comptroller shall adopt any additional procedures needed for the collection, administration, and enforcement of the surcharge authorized by this section and shall deposit all remitted surcharges to the credit of the Texas emissions reduction plan fund.
(d) This section expires on the last day of the state fiscal biennium during which the Texas Commission on Environmental Quality publishes in the Texas Register the notice required by Section 382.037, Health and Safety Code.
Added by Acts 2001, 77th Leg., ch. 967, Sec. 2, eff. Sept. 1, 2001. Amended by Acts 2003, 78th Leg., ch. 1331, Sec. 21, eff. July 1, 2003.
Amended by:
Acts 2005, 79th Leg., Ch. 1125 (H.B. 2481), Sec. 17, eff. September 1, 2005.
Acts 2007, 80th Leg., R.S., Ch. 262 (S.B. 12), Sec. 2.13, eff. June 8, 2007.
Acts 2009, 81st Leg., R.S., Ch. 1125 (H.B. 1796), Sec. 18, eff. September 1, 2009.
Acts 2015, 84th Leg., R.S., Ch. 448 (H.B. 7), Sec. 35, eff. September 1, 2015.
Acts 2019, 86th Leg., R.S., Ch. 1301 (H.B. 3745), Sec. 2.01, eff. August 30, 2019.
Sec. 151.052. COLLECTION BY RETAILER. (a) Except as provided by Subsection (d), a seller who makes a sale subject to the sales tax imposed by this chapter shall add the amount of the tax to the sales price, and when the amount of the tax is added:
(1) it becomes a part of the sales price;
(2) it is a debt of the purchaser to the seller until paid; and
(3) if unpaid, it is recoverable at law in the same manner as the original sales price.
(b) The owner or former owner of tangible personal property, a factor of the owner or former owner, or an agent of the owner, former owner, or factor shall collect the sales tax and add the amount of the tax to the sales price of the tangible personal property if the person delivers the property to a consumer in this state or to another person for redelivery to a consumer in this state under a sale of the property that is not a sale for resale and that is made by a seller not engaged in business in this state.
(c) When several taxable items are sold together and at the same time, the sales tax is determined on the sum of the sales prices of the items sold exclusive of any item the sale of which is exempted by this chapter.
(d) For purposes of the printer's tax collection duty, it is presumed that printed materials that are distributed by the United States Postal Service singly or in sets addressed to individual recipients, other than the purchaser, and that are either produced at a printer's facility in this state or purchased in this state are for use in Texas and the printer must collect the tax imposed under this chapter. In order to overcome this presumption a purchaser of printed materials that are distributed by the United States Postal Service singly or in sets addressed to individual recipients, other than the purchaser, is required to issue an exemption certificate to the printer if the printed materials are for distribution to both in-state and out-of-state recipients. The certificate must contain the statement that the printed materials are for multistate use and that the purchaser agrees to pay to this state all taxes that are or may become due to the state on the taxable items purchased under the exemption certificate. In this subsection, "printed materials" is defined to be materials that are produced by web offset or rotogravure printing processes. A printer is relieved of the obligation of collecting the taxes imposed by this chapter on printed materials that are distributed by the United States Postal Service singly or in sets addressed to individual recipients, other than the purchaser, but is required to file a report as provided by Section 151.407.
Acts 1981, 67th Leg., p. 1550, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 2001, 77th Leg., ch. 397, Sec. 1, eff. Sept. 1, 2001.
Sec. 151.053. SALES TAX BRACKETS. (a) If the sales price involves a fraction of a dollar, the sales tax to be added to the sales price shall be computed by multiplying the percentage rate of the sales tax times the amount of the sale. A fraction of one cent that is less than one-half of one cent is not collected and a fraction of one cent that is equal to one-half of one cent or more is collected as one cent of tax.
(b) The comptroller may publish schedules and brackets of amounts of taxes based on the formula provided by Subsection (a) of this section for use in the collection of the taxes imposed by this chapter.
Acts 1981, 67th Leg., p. 1550, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 13, Sec. 2, eff. Oct. 2, 1984; Acts 1986, 69th Leg., 3rd C.S., ch. 10, art. 1, Sec. 2, eff. Jan. 1, 1987; Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 3, Sec. 1.
Sec. 151.054. GROSS RECEIPTS PRESUMED SUBJECT TO TAX. (a) Except as provided by Subsection (d) of this section, all gross receipts of a seller are presumed to have been subject to the sales tax unless a properly completed resale or exemption certificate is accepted by the seller.
(b) A sale is exempt if the seller receives in good faith from a purchaser, who is in the business of selling, leasing, or renting taxable items, a resale certificate stating that the tangible personal property or service is acquired for the purpose of selling, leasing, or renting it in the regular course of business or for the purpose of transferring it as an integral part of a taxable service performed in the regular course of business.
(c) A sale is exempt if the seller receives in good faith from a purchaser an exemption certificate stating qualifications for an exemption provided in Subchapter H of this chapter.
(d) A sale of liquor, wine, or malt beverages by the holder of a brewer's license, wholesaler's permit, general class B wholesaler's permit, local distributor's permit, or a general or branch distributor's license issued under the Alcoholic Beverage Code to the holder of a retail license or permit issued under the Alcoholic Beverage Code is presumed to be a sale for resale. In a sale to which this section applies, the seller is not required to receive a resale certificate from the purchaser.
(e) Properly completed resale or exemption certificates should be in the possession of the seller at the time the nontaxable transaction occurs. If the seller is not in possession of these certificates within 90 days from the date written notice requiring possession of them is given to the seller by the comptroller or a later date agreed to by the comptroller and the seller, deductions claimed by the seller that require delivery of the certificates shall be disallowed. A deduction may not be granted on the basis of certificates delivered to the comptroller after the 90-day period or, if applicable, the date agreed to by the comptroller and the seller.
(f) Before allowing a deduction, the comptroller may verify the reason or basis for exemption claimed in a resale or exemption certificate delivered to the comptroller during the period provided by Subsection (e).
Acts 1981, 67th Leg., p. 1550, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 15, Sec. 2, eff. Oct. 2, 1984; Acts 1985, 69th Leg., ch. 206, Sec. 6, eff. Oct. 1, 1985; Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 16.
Amended by:
Acts 2019, 86th Leg., R.S., Ch. 1359 (H.B. 1545), Sec. 397, eff. September 1, 2021.
Acts 2021, 87th Leg., R.S., Ch. 364 (S.B. 296), Sec. 1, eff. June 7, 2021.
Sec. 151.055. SALES OF ITEMS ACQUIRED FOR LEASE OR RENTAL. (a) If a person purchases tangible personal property by means of a sale for resale for the purpose of renting or leasing the property for use but subsequently sells the property in an occasional sale before the person has collected and paid to the state an amount of sales tax on rental or lease charges equal to the amount of sales tax that would have been due if the person had not acquired the property at a sale for resale, the person at the time of the occasional sale shall include in his receipts from taxable sales the amount by which the purchase price of the item at the occasional sale exceeds the amount received from renting or leasing the property.
(b) If tangible personal property is rented or leased under an agreement that provides that all or a portion of the rental or lease payments may be credited against the purchase price of the item, the lessor shall collect the sales tax on the sales price, including the sum of all lease or rental payments for the term of the lease or rental, at the time the purchaser takes possession of the property or when the first payment is due, whichever period is the earlier. If the purchaser-lessee returns the taxable item to the seller-lessor before the end of the lease or rental period without having acquired title to the property, the seller-lessor may take a credit against other taxes due under this chapter or claim a refund as provided by this code for an amount equal to the amount of the taxes paid on the unpaid portion of the sales price.
Acts 1981, 67th Leg., p. 1551, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 9, Sec. 2, eff. Oct. 2, 1984.
Sec. 151.056. PROPERTY CONSUMED IN CONTRACTS TO IMPROVE REAL PROPERTY. (a) A contractor is the consumer of tangible personal property furnished by him and incorporated into the property of his customer if the contract between the contractor and his customer contains a lump-sum price covering both the performance of the service and the furnishing of the necessary incidental material.
(b) A contractor is the seller of tangible personal property furnished by him and incorporated into the property of his customer, from whom he shall collect the tax, if the contract between the contractor and his customer contains separate amounts for the performance of the service and for the furnishing of the necessary incidental material. The tax rate is applied to the price of the materials as agreed in the contract or the price of the materials to the contractor, whichever is the greater.
(c) If a contractor has paid the sales tax to his supplier when the tangible personal property is purchased, the contractor may credit the amount of the tax paid to the supplier against the tax imposed as provided in Subsection (b) of this section with respect to a subsequent sale of the property.
(d) In this section, "contractor" means a person who makes an improvement on real estate and who, as a necessary or incidental part of the service, incorporates tangible personal property into the property improved.
(e) This section does not apply to the use or consumption of tangible personal property as a necessary or incidental part of a taxable service.
(f) A contractor is not eligible for the exemption provided by Section 151.318 on items used in the performance of a contract to improve real property.
(g) In this subsection, "ready mix concrete contractor" means a person who manufactures or produces ready mixed concrete for construction purposes and incorporates the ready mixed concrete in the property improved. A ready mix concrete contractor performing a contract must separate and individually invoice the customer for each yard of ready mixed concrete produced and consumed for the improvement of real property and collect and remit the tax imposed under this chapter on the ready mixed concrete produced and consumed. The tax rate is applied to the price of the materials determined by the greater of the invoice price or fair market value of ready mixed concrete incorporated into the project. This subsection does not apply to an invoice submitted by a ready mix concrete contractor for a public works project.
Acts 1981, 67th Leg., p. 1551, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 17; Acts 2003, 78th Leg., ch. 209, Sec. 18, eff. Oct. 1, 2003.
Amended by:
Acts 2007, 80th Leg., R.S., Ch. 1266 (H.B. 3319), Sec. 3, eff. September 1, 2007.
Sec. 151.0565. TAXABLE ITEMS SOLD OR PROVIDED UNDER DESTINATION MANAGEMENT SERVICES CONTRACTS. (a) In this section:
(1) "Destination management services" means the following services:
(A) transportation vehicle management;
(B) booking and managing entertainers;
(C) coordination of tours or recreational activities;
(D) meeting, conference, or event registration;
(E) meeting, conference, transportation, or event staffing;
(F) event management;
(G) meal coordination;
(H) shuttle system services, including vehicle staging, radio communications, signage, and routing services; and
(I) airport meet-and-greet services, including the provision of airport permits, manifest management services, porterage, and passenger greeting services.
(2) "Qualified destination management company" means a business entity that:
(A) is incorporated or is a limited liability company;
(B) receives at least 80 percent of the entity's annual total revenue from providing or arranging for the provision of a combination of at least six destination management services;
(C) maintains a permanent nonresidential office from which the destination management services are provided or arranged;
(D) has at least three full-time employees;
(E) maintains a general liability insurance policy with a limit of at least $1 million;
(F) during the preceding tax year, had at least 80 percent of the entity's client contracts for:
(i) clients from outside this state who were determined by a contracting entity outside this state; or
(ii) clients from outside this state who were program attendees staying in a hotel in this state;
(G) other than office equipment used in the conduct of the entity's business, does not own equipment used to directly provide destination management services, including motor coaches, limousines, sedans, dance floors, decorative props, lighting, podiums, sound or video equipment, or equipment for catered meals;
(H) does not prepare or serve beverages, meals, or other food products, but may procure catering services on behalf of the entity's clients;
(I) does not provide services for weddings;
(J) does not own or operate a venue at which events or activities for which destination management services are provided occur; and
(K) is not a member of an affiliated group, as that term is defined by Section 171.0001, another member of which:
(i) prepares or serves beverages, meals, or other food products; or
(ii) owns or operates a venue described by Paragraph (J).
(3) "Qualified destination management services contract" means a contract under which at least three of the destination management services listed in Subdivision (1) are provided:
(A) in this state to a client that is not an individual and that:
(i) is a corporation, partnership, limited liability company, trade association, or other business entity, other than a social club or fraternal organization;
(ii) has its principal place of business outside the county where the destination management services are to be provided; and
(iii) agrees to pay the qualified destination management company for all destination management services provided to the client under the terms of the contract; and
(B) by a qualified destination management company that pays or accrues liability for the payment of taxes imposed by this chapter on purchases of taxable items that will be consumed or used by the company in performing the contract.
(b) A qualified destination management company is the consumer of taxable items sold or otherwise provided under a qualified destination management services contract, and the destination management services provided under the contract are not considered taxable services, as that term is defined by Section 151.0101.
Added by Acts 2009, 81st Leg., R.S., Ch. 1360 (S.B. 636), Sec. 2, eff. September 1, 2009.
Amended by:
Acts 2013, 83rd Leg., R.S., Ch. 1061 (H.B. 3169), Sec. 1, eff. September 1, 2013.
Sec. 151.058. PROPERTY USED TO PROVIDE TAXABLE SERVICES AND SALE PRICE OF TAXABLE SERVICES. (a) A person performing services taxable under this chapter is the consumer of machinery and equipment used in performing the services.
(b) The total amount charged for a service taxable under this chapter is subject to tax, including charges for labor, materials, overhead, and profit, regardless of whether such charges are separately identified to the purchaser of the service.
Added by Acts 1987, 70th Leg., 2nd C.S., ch. 5, art. 1, pt. 4, Sec. 18. Amended by Acts 1993, 73rd Leg., ch. 1031, Sec. 20, eff. Sept. 1, 1993.
Sec. 151.0595. SINGLE LOCAL TAX RATE FOR REMOTE SELLERS. (a) In this section, "remote seller" means a seller whose only activities in this state are described by Section 151.107(a)(4) or (5).
(b) A remote seller required to collect and remit one or more local use taxes in connection with a sale of a taxable item made by the remote seller shall compute the amount to collect and remit using:
(1) the combined rate of all applicable local use taxes authorized or governed by Title 3; or
(2) at the remote seller's election, the single local use tax rate published in the Texas Register as required by Subsection (d).
(c) A remote seller who elects under Subsection (b)(2) to use the single local use tax rate shall notify the comptroller of the election before using that rate. The election applies to all sales of taxable items made by the remote seller unless the remote seller revokes the election by notifying the comptroller. Notice to the comptroller under this subsection must be in the form and manner provided by the comptroller.
(d) The single local use tax rate effective in a calendar year is equal to the estimated average rate of local sales and use taxes imposed in this state during the preceding state fiscal year, as determined under Subsection (e). Before the beginning of a calendar year, the comptroller shall publish in the Texas Register notice of the single local use tax rate that will be in effect for that calendar year.
(e) As soon as practicable after the end of a state fiscal year, the comptroller shall determine the estimated average rate of local sales and use taxes imposed in this state during the preceding state fiscal year by:
(1) dividing the total amount of net local sales and use taxes remitted to the comptroller under this section and Title 3 during that state fiscal year by the total amount of net state sales and use taxes remitted to the comptroller under this chapter during that state fiscal year;
(2) multiplying the amount computed under Subdivision (1) by the rate provided by Section 151.051; and
(3) rounding the amount computed under Subdivision (2) to the nearest .0025.
(f) Notwithstanding Section 111.104(b), a purchaser may annually apply for a refund of any amount by which the amount of use tax computed using the rate described by Subsection (b)(2) and paid by the purchaser exceeds the amount the purchaser would have paid if that tax had been computed using the rate described by Subsection (b)(1). The comptroller may adopt rules regarding the procedure and proof required for the refund.
(g) A person storing, using, or consuming in this state a taxable item purchased from a remote seller is not liable for any additional amount of local use tax authorized or governed by Title 3 if the remote seller elects under Subsection (b)(2) to use the single local use tax rate and the person pays to the remote seller the amount of local use tax computed on the purchase using the single local use tax rate.
(h) The comptroller shall administer, collect, and enforce local use taxes computed using the single local use tax rate.
(i) The comptroller shall apportion and distribute revenue from local use taxes computed using the single local use tax rate as provided by Section 403.107, Government Code.
(j) The comptroller may adopt rules to administer this section.
Added by Acts 2019, 86th Leg., R.S., Ch. 51 (H.B. 2153), Sec. 2, eff. October 1, 2019.
Sec. 151.060. PROPERTY CONSUMED IN REPAIR OF MOTOR VEHICLE. (a) Except as provided by Subsection (b), a person who repairs a motor vehicle is the seller of all tangible personal property consumed in providing that service except electricity and gas, and shall collect the tax due under this chapter from the customer.
(b) A person who repairs a motor vehicle is the consumer of all tangible personal property consumed in providing that service if the contract between the person and the customer contains a lump-sum price covering both the performance of the service and the furnishing of the consumed tangible personal property.
(c) In this section, tangible personal property is considered consumed if it can no longer be used for its intended purposes in the normal course of business or is not retained or reusable by the person providing the repair service.
Added by Acts 1991, 72nd Leg., ch. 378, Sec. 1, eff. Oct. 1, 1991.
Sec. 151.061. SOURCING OF CHARGES FOR MOBILE TELECOMMUNICATIONS SERVICES. (a) In this section:
(1) "Home service provider" means the facilities-based carrier or reseller with which the customer contracts for the provision of mobile telecommunications services.
(2) "Place of primary use" means the street address that is representative of where the customer's use of the mobile telecommunications service primarily occurs. That location must be the residential street address or the primary business street address of the customer that is within the licensed service area of the home service provider.
(3) "Electronic database" means a database provided by the state or by a designated database provider to home service providers. Such electronic database shall, allowing for de minimis deviations, designate for each street address in the state, including, to the extent practical, any multiple postal street addresses applicable to one street location, the appropriate taxing jurisdictions, and the appropriate code for each taxing jurisdiction, for each level of taxing jurisdiction, identified by one nationwide numeric code. The nationwide standard numeric codes shall contain the same number of numeric digits, with each digit or combination of digits referring to the same level of taxing jurisdiction throughout the United States using a format similar to FIPS 55-3 or other appropriate standard approved by the Federation of Tax Administrators and the Multistate Tax Commission or their successors. Each address shall be provided in standard postal format. Such electronic database shall also provide the appropriate code for each street address with respect to political subdivisions which are not taxing jurisdictions when reasonably needed to determine the proper taxing jurisdictions.
(b) This section applies to state and local sales and use taxes administered and computed under this title or Title 3 and to which this title or Title 3 applies, including this chapter.
(c) The federal Mobile Telecommunications Sourcing Act (4 U.S.C. Sections 116-126) governs the sourcing of charges for mobile telecommunications services. In accordance with that Act:
(1) mobile telecommunications services provided in a taxing jurisdiction to a customer, the charges for which are billed by or for the customer's home service provider, shall be deemed to be provided by the customer's home service provider; and
(2) all charges for mobile telecommunications services that are deemed to be provided by the customer's home service provider in accordance with this Act are authorized to be subjected to tax, charge, or fee by the taxing jurisdictions whose territorial limits encompass the customer's place of primary use, regardless of where the mobile telecommunications services originate, terminate, or pass through, and no other taxing jurisdiction may impose taxes, charges, or fees on charges for such mobile telecommunications services.
(d) If a customer believes that an amount of tax or an assignment of place of primary use or taxing jurisdiction included on a billing is erroneous, the customer shall notify the home service provider in writing. The customer shall include in the written notification:
(1) the customer's street address for the customer's place of primary use;
(2) the account name and number for which the customer requests the correction;
(3) a description of the error asserted by the customer; and
(4) any other information that the home service provider reasonably requires to process the request.
(e) Not later than the 60th day after the date the home service provider receives a request under Subsection (d), the home service provider shall review the provider's records and the electronic database or enhanced zip code to determine the correct amount of the tax imposed or the assignment of the customer's place of primary use or taxing jurisdiction, as appropriate. If the home service provider determines that the amount of tax imposed or the assignment of place of primary use or taxing jurisdiction is incorrect, the home service provider shall correct the error and refund or credit any amount of tax erroneously collected from the customer. The home service provider shall correct the error and refund or credit the amount of tax erroneously collected from the customer for a period of up to four years. If the home service provider determines that the amount of tax imposed or the assignment of place of primary use or taxing jurisdiction is correct, the home service provider shall provide a written explanation to the customer.
(f) The procedures prescribed by Subsections (d) and (e) are the first course of remedy available to a customer requesting a correction of assignment of place of primary use or of taxing jurisdiction or a refund of or other compensation for taxes erroneously collected by the home service provider.
(g) The state may provide an electronic database, described in Subsection (a)(3), to a home service provider or, if the state does not provide such an electronic database to home service providers, the designated database provider may provide an electronic database to a home service provider.
(h) The state or the designated database provider that provides or maintains an electronic database described in Subsection (a)(3) shall provide notice of the availability of the then current electronic database, and any subsequent revisions thereof, by publication in the manner normally employed by the state.
(i) A home service provider using the data contained in an electronic database described in Subsection (a)(3) shall be held harmless from any tax, charge, or fee liability that otherwise would be due solely as a result of any error or omission in such database provided by the state or designated database provider. The home service provider shall reflect changes made to such database during a calendar quarter not later than 30 days after the end of such calendar quarter.
(j) If neither the state nor the designated database provider provides an electronic database as described in Subsection (a)(3), a home service provider shall be held harmless from any tax, charge, or fee liability in the state that otherwise would be due solely as a result of an assignment of a street address to an incorrect taxing jurisdiction if, subject to Subsection (n), the home service provider employs an enhanced zip code to assign each street address to a specific taxing jurisdiction for each level of taxing jurisdiction and exercises due diligence at each level of taxing jurisdiction to ensure that each such street address is assigned to the correct taxing jurisdiction. If an enhanced zip code overlaps boundaries of taxing jurisdictions of the same level, the home service provider must designate one specific jurisdiction within such enhanced zip code for use in taxing the activity for such enhanced zip code for each level of taxing jurisdiction. Any enhanced zip code assignment changed in accordance with Subsection (n) is deemed to be in compliance with this section. For purposes of this section, there is a rebuttable presumption that a home service provider has exercised due diligence if such home service provider demonstrates that it has:
(1) expended reasonable resources to implement and maintain an appropriately detailed electronic database of street address assignments to taxing jurisdictions;
(2) implemented and maintained reasonable internal controls to promptly correct misassignments of street addresses to taxing jurisdictions; and
(3) used all reasonably obtainable and usable data pertaining to municipal annexations, incorporations, reorganizations, and any other changes in jurisdictional boundaries that materially affect the accuracy of such database.
(k) Subsection (j) applies to a home service provider that is in compliance with the requirements of Subsection (j), if an electronic database as defined in Subsection (a)(3) is not provided until the later of:
(1) 18 months after the nationwide standard numeric code described in Subsection (a)(3) has been approved by the Federation of Tax Administrators and the Multistate Tax Commission; or
(2) 6 months after the state or a designated database provider in the state provides such database as prescribed in Subsection (a)(3).
(l) A home service provider shall be responsible for obtaining and maintaining the customer's place of primary use as defined in Subsection (a)(2). Subject to Subsection (n), and if the home service provider's reliance on information provided by its customer is in good faith, a taxing jurisdiction shall:
(1) allow a home service provider to rely on the applicable residential or business street address supplied by the home service provider's customer; and
(2) not hold a home service provider liable for any additional taxes, charges, or fees based on a different determination of the place of primary use for taxes, charges, or fees that are customarily passed on to the customer as a separate itemized charge.
(m) Except as provided in Subsection (n), a taxing jurisdiction shall allow a home service provider to treat the address used by the home service provider for tax purposes for any customer under a service contract or agreement in effect two years after the date of the enactment of the Mobile Telecommunications Sourcing Act (4 U.S.C. Sections 116-126) as that customer's place of primary use for the remaining term of such service contract or agreement, excluding any extension or renewal of such service contract or agreement, for purposes of determining the taxing jurisdictions to which taxes, charges, or fees on charges for mobile telecommunications services are remitted.
(n) The state may:
(1) determine that the address used for purposes of determining the taxing jurisdictions to which taxes, charges, or fees for mobile telecommunications services are remitted does not meet the definition of place of primary use under Subsection (a)(2) and give binding notice to the home service provider to change the place of primary use on a prospective basis from the date of notice of determination. Before the state gives such notice of determination, the customer shall be given an opportunity to demonstrate in accordance with applicable state administrative procedures that the address is the customer's place of primary use; and
(2) determine that the assignment of a taxing jurisdiction by a home service provider under Subsection (j) does not reflect the correct taxing jurisdiction and give binding notice to the home service provider to change the assignment on a prospective basis from the date of notice of determination. The home service provider shall be given an opportunity to demonstrate in accordance with applicable state administrative procedures that the assignment reflects the correct taxing jurisdiction.
(o)(1) If a taxing jurisdiction does not otherwise subject charges for mobile telecommunications services to taxation and if these charges are aggregated with and not separately stated from charges that are subject to taxation, then the charges for nontaxable mobile telecommunications services may be subject to taxation unless the home service provider can reasonably identify charges not subject to such tax, charge, or fee from its books and records that are kept in the regular course of business.
(2) If a taxing jurisdiction does not subject charges for mobile telecommunications services to taxation, a customer may not rely upon the nontaxability of charges for mobile telecommunications services unless the customer's home service provider separately states the charges for nontaxable mobile telecommunications services from taxable charges or the home service provider elects, after receiving a written request from the customer in the form required by the provider, to provide verifiable data based upon the home service provider's books and records that are kept in the regular course of business that reasonably identifies the nontaxable charges.
Added by Acts 2001, 77th Leg., ch. 370, Sec. 1, eff. Aug. 1, 2002.
SUBCHAPTER D. IMPOSITION AND COLLECTION OF USE TAX
Sec. 151.101. USE TAX IMPOSED. (a) A tax is imposed on the storage, use, or other consumption in this state of a taxable item purchased from a retailer for storage, use, or other consumption in this state.
(b) The tax is at the same percentage rate as is provided by Section 151.051 of this code on the sales price of the taxable item.
Acts 1981, 67th Leg., p. 1552, ch. 389, Sec. 1, eff. Jan. 1, 1982.
Sec. 151.102. USER LIABLE FOR TAX. (a) The person storing, using, or consuming a taxable item in this state is liable for the tax imposed by Section 151.101 of this code, and except as provided by Subsection (b) of this section, the liability continues until the tax is paid to the state.
(b) A person storing, using, or consuming a taxable item in this state is not further liable for the tax imposed by Section 151.101 of this code if the person pays the tax to a retailer engaged in business in this state or other person authorized by the comptroller to collect the tax and receives from the retailer or other person a purchaser's receipt given as provided in Section 151.103 of this code.
Acts 1981, 67th Leg., p. 1552, ch. 389, Sec. 1, eff. Jan. 1, 1982.
Sec. 151.103. COLLECTION BY RETAILER; PURCHASER'S RECEIPT. (a) Except as provided by Section 151.052(d), a retailer engaged in business in this state who makes a sale of a taxable item for storage, use, or consumption in this state shall collect the use tax that is due from the purchaser and give the purchaser a receipt for the tax payment. When the amount of use tax is added:
(1) it becomes a part of the sales price;
(2) it is a debt of the purchaser to the seller until paid; and
(3) if unpaid, it is recoverable at law in the same manner as the original sales price.
(b) The purchaser's receipt must be issued in the form and manner prescribed by the comptroller.
(c) When several taxable items are sold together and at the same time, the use tax is determined on the sum of the sales prices of the items sold exclusive of any item the storage, use, or other consumption of which is exempted by this chapter.
(d) Repealed by Acts 2007, 80th Leg., R.S., Ch. 1266, Sec. 15(2), eff. September 1, 2007.
Acts 1981, 67th Leg., p. 1552, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1993, 73rd Leg., ch. 587, Sec. 12, eff. Oct. 1, 1993; Acts 2001, 77th Leg., ch. 397, Sec. 2, eff. Sept. 1, 2001; Acts 2003, 78th Leg., ch. 1310, Sec. 100, eff. July 1, 2004.
Amended by:
Acts 2007, 80th Leg., R.S., Ch. 1266 (H.B. 3319), Sec. 15(2), eff. September 1, 2007.
Sec. 151.104. SALE FOR STORAGE, USE, OR CONSUMPTION PRESUMED. (a) A sale of a taxable item by a person for delivery in this state is presumed to be a sale for storage, use, or consumption in this state unless a resale or exemption certificate is accepted by the seller.
(b) A sale is exempt if the seller receives in good faith from a purchaser, who is in the business of selling, leasing, or renting taxable items, a resale certificate stating that the property is acquired for the purpose of selling, leasing, or renting it in the regular course of business or for the purpose of transferring it as an integral part of a taxable service performed in the regular course of business.
(c) A sale is exempt if the seller receives in good faith from a purchaser an exemption certificate stating qualifications for an exemption provided in Subchapter H of this chapter.
(d) Properly executed resale or exemption certificates should be in possession of the seller at the time the nontaxable transaction occurs. If the seller is not in possession of these certificates within 90 days from the date written notice requiring possession of them is given to the seller by the comptroller or a later date agreed to by the comptroller and the seller, deductions claimed by the seller that require delivery of the certificates shall be disallowed. A deduction may not be granted on the basis of certificates obtained after the 90-day period or, if applicable, the date agreed to by the comptroller and the seller.
(e) Before allowing a deduction, the comptroller may verify the reason or basis for exemption claimed in a resale or exemption certificate acquired by the seller during the period provided by Subsection (d).
Acts 1981, 67th Leg., p. 1552, ch. 389, Sec. 1, eff. Jan. 1, 1982. Amended by Acts 1984, 68th Leg., 2nd C.S., ch. 31, art. 15, Sec. 3, eff. Oct. 2, 1984; Acts 1993, 73rd Leg., ch. 1031, Sec. 21, eff. Sept. 1, 1993.
Amended by:
Acts 2021, 87th Leg., R.S., Ch. 364 (S.B. 296), Sec. 2, eff. June 7, 2021.
Sec. 151.105. IMPORTATION FOR STORAGE, USE, OR CONSUMPTION PRESUMED. (a) Tangible personal property that is shipped or brought into this state by a purchaser is presumed, in the absence of evidence to the contrary, to have been purchased from a retailer for storage, use, or consumption in this state.
(b) A taxable service used in this state is presumed, in the absence of evidence to the contrary, to have been purchased from a retailer for use in this state.
Acts 1981, 67th Leg., p. 1552, ch. 389, Sec. 1, eff. Jan. 1, 1982.
Sec. 151.106. REGISTRATION OF RETAILERS. (a) A retailer who sells a taxable item for storage, use, or consumption in this state shall register with the comptroller.
(b) The registration must include:
(1) the name and address of each agent of the retailer operating in the state;
(2) the location of all distribution or sales houses or offices or other places of business in the state; and
(3) other information that the comptroller requires.
(c) A retailer required to register under this section must comply with Subchapter G of this chapter.
Acts 1981, 67th Leg., p. 1553, ch. 389, Sec. 1, eff. Jan. 1, 1982.
Sec. 151.107. RETAILER ENGAGED IN BUSINESS IN THIS STATE. (a) For the purpose of this subchapter and in relation to the use tax, a retailer is engaged in business in this state if the retailer:
(1) maintains, occupies, or uses in this state permanently, temporarily, directly, or indirectly or through a subsidiary or agent by whatever name, an office, distribution center, sales or sample room or place, warehouse, storage place, or any other physical location where business is conducted;
(2) has a representative, agent, salesman, canvasser, or solicitor operating in this state under the authority of the retailer or its subsidiary for the purpose of selling or delivering or the taking of orders for a taxable item;
(3) derives receipts from the sale, lease, or rental of tangible personal property situated in this state;
(4) engages in regular or systematic solicitation of sales of taxable items in this state by the distribution of catalogs, periodicals, advertising flyers, or other advertising, by means of print, radio, or television media, or by mail, telegraphy, telephone, computer data base, cable, optic, microwave, or other communication system for the purpose of effecting sales of taxable items;
(5) solicits orders for taxable items by mail or through other media and under federal law is subject to or permitted to be made subject to the jurisdiction of this state for purposes of collecting the taxes imposed by this chapter;
(6) has a franchisee or licensee operating under its trade name if the franchisee or licensee is required to collect the tax under this section;
(7) holds a substantial ownership interest in, or is owned in whole or substantial part by, a person who maintains a location in this state from which business is conducted and if:
(A) the retailer sells the same or a substantially similar line of products as the person with the location in this state and sells those products under a business name that is the same as or substantially similar to the business name of the person with the location in this state; or
(B) the facilities or employees of the person with the location in this state are used to:
(i) advertise, promote, or facilitate sales by the retailer to consumers; or
(ii) perform any other activity on behalf of the retailer that is intended to establish or maintain a marketplace for the retailer in this state, including receiving or exchanging returned merchandise;
(8) holds a substantial ownership interest in, or is owned in whole or substantial part by, a person that:
(A) maintains a distribution center, warehouse, or similar location in this state; and
(B) delivers property sold by the retailer to consumers; or
(9) otherwise does business in this state.
(b) Notwithstanding any other provision of law, a broadcaster, printer, outdoor advertising firm, advertising distributor, or publisher that broadcasts, publishes, displays, or distributes paid commercial advertising in this state that is intended to be disseminated primarily to consumers located in this state and is only secondarily disseminated to bordering jurisdictions, including advertising appearing exclusively in a Texas edition or secti
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Dance the Exotic Dance for Me!
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2024-08-07T00:00:00
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by Yoon Ha Lee When I was a kid in the 1980s and 1990s, I adored classical mythology, Arthurian mythology, the Cthulhu mythos. I was the weirdo who holed up in the library reading Tacitus, Plato, and Sylvia Plath for fun. I had ambitions of writing science fiction and fantasy. Yet the science fiction and […]
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SFWA
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https://www.sfwa.org/2024/08/07/dance-the-exotic-dance-for-me/
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by Yoon Ha Lee
When I was a kid in the 1980s and 1990s, I adored classical mythology, Arthurian mythology, the Cthulhu mythos. I was the weirdo who holed up in the library reading Tacitus, Plato, and Sylvia Plath for fun. I had ambitions of writing science fiction and fantasy.
Yet the science fiction and fantasy I’d grown up reading, the games I grew up playing, never featured people like me—Korean-American by way of Texas—or the Korean foods I grew up eating. I would have murdered to see one single consarned character eat space gimchi instead of space steak and space potatoes. Years later, when I walked into Gencon and saw an enormous wall banner with an Asian-inspired game character named Yoon (Pathfinder), I almost cried. It was the first time I’d seen a fantasy setting that had a character with my name.
My early stories reflected this constricted sense of possibility. My characters gallivanted around fantasy settings inspired by fake medieval Europe. They were white, and not just in the “needs to invent suntan lotion” sense. They had names that were fake French or fake German or, if I felt fancy, fake Latin. I would have been a shoo-in to write for Warhammer 40,000 if I had heard of it at that age and if Games Workshop hired twelve-year-olds with delusions of big space battles.
It wasn’t until later that I realized I could draw on the Korean folklore I had learned from my parents, incorporate the music, art, and landscapes from my childhood in Seoul, or write about characters like myself—and get published. From short stories that were wall-to-wall fake French/German names and implicitly white characters, I started broadening my range. My debut adult novel and first middle grade book, both featuring space Asians, drew to a lesser (Ninefox Gambit) or greater (Dragon Pearl) extent on those cultural experiences.
Novels like to present us with tidy resolutions and happy endings. (See also: every “we overthrew the evil empire” narrative where it’s implied that everything is fixed forever and the hard work is over, when historical evidence suggests strongly that the hard work is beginning.) Real life is rarely that obliging.
The happy ending we writers often get sold is, “Great! You get to write about Asians (or whoever) in space and have a writing career!” By SF/F writer standards, I am doing well with my stories of space Asians and big space battles. Ninefox Gambit was nominated for the Hugo, Nebula, and Clarke awards, and won the Locus Award for Best First Novel. Dragon Pearl was a New York Times bestseller. I paid off my student loans. I can afford a watercolor habit.
The happy ending is a fucking lie.
The happy ending is a cage. A white-ass writer can write retellings of classical mythology and it is unremarkable. How many people hassle Madeline Miller about Greek heritage? When I write a retelling of the “Judgment of Paris,” I get pushback because it’s not a Korean story; how dare I step outside “my” lane? At the same time, people assume personal background levels of authenticity from that Korean-religion-factoid I put in a story after reading it six months ago on Wikipedia. Certain readers want me to provide exciting cultural voyeurism, and educate them in a fun, exotic bingo-square experience for their Goodreads challenge, and make them feel good about how performatively progressive they are; how dare I step outside the cage and refuse to perform the way they require me to?
My education was English-language, USA/Western (Department of Defense schools, public schools, International Baccalaureate). My literary heritage comes from that. Works I have read/encountered and which are part of my internal dreamscape of myth and literature include “The Dream of the Rood,” the Iliad and Odyssey, The Faerie Queene, Chanson de Roland, Beowulf, The Book of the City of Ladies, Alice’s Adventures in Wonderland, various Child ballads; the list could go on.
I have read The Art of War, but I have never read the Samguk Yusa or the stories of Hong Gildong. I have never read Journey to the West, or The Dream of the Red Chamber, or any of the sutras. Yet if I write something “Asian,” it’s automatically assumed to be authentic.
Earlier in my career, editor Sean Wallace asked me to contribute to an anthology, and I was too cowardly to say no to the opportunity. The anthology was Japanese Dreams. I suppose East Asians are all interchangeable. For that matter, there are non-Asian writers who are fluent in Japanese and have studied the culture and history who would have been better qualified. My primary exposure to Japanese culture and history at that time was via AEG’s samurai fantasy-themed card game/roleplaying game, Legend of the Five Rings. I love L5R, but I do not know one single solitary person who could, with a straight face, argue that it was “authentic” in any sense of the word. This is like saying AD&D (Advanced Dungeons & Dragons) 2nd ed.’s Arms and Equipment Guide is a useful primary source on medieval European weapons and armor.
My novel Ninefox Gambit takes place in a despotic, expansionist government whose technomagic runs on human sacrifice and weaponized thought control. I’m cynically amused every time I see comments that it’s obviously referencing North Korea or China. No one ever seems to think that European imperialism or the USA’s McCarthyism could have been inspirations here. Why not both?
Likewise, people assume the antecedents for the science fantasy elements, in which the laws of physics can be warped by mass ritual and brainwashing, must be wuxia or anime. No one looks at USA superhero comics or role-playing game settings such as AD&D’s Planescape or White Wolf’s Mage: The Ascension, both of which feature realities created by consensus. People assume that General Shuos Jedao, the setting’s most brilliant tactician before he turned traitor and murdered two armies, one of his own, is a dark reflection of the Joseon Dynasty’s Admiral Yi Sun-Shin. I am still waiting for someone to pick up on the fact that the primary thematic inspiration for Jedao is the fallen angel Lucifer/Satan. (I used to be a Christian and attended a Christian international high school.)
I’m genuinely thrilled that a wider range of stories, with a wider range of characters, is available to my half-Korean daughter, and to readers generally, than what I had available as a kid. Kate Elliott’s Unconquerable Sun reimagines Alexander the Great not just in space, but as a queer woman. The heroine of A.D. Sui’s The Dragonfly Gambit plots against the fleet she belonged to before she sustained a disabling injury. Rivers Solomon’s An Unkindness of Stars examines a dark future aboard a generation ship through the eyes of a Black neurodiverse protagonist. The protagonist of Max Gladstone’s Full Fathom Five is a trans woman who builds gods to order. Becky Chambers’ A Psalm for the Wild-Built envisions a tranquil future through the eyes of a nonbinary tea monk. There’s been an explosion of stories drawing on non-European cultures and histories: Roshani Chokshi’s The Spirit Glass, Rebecca Roanhorse’s Black Sun, Tade Thompson’s Rosewater; the list could go on.
At the same time, I’m troubled by “authenticity” when it’s weaponized selectively as a cage, used to gatekeep “acceptable” stories and topics for some authors and not others. There’s a reason Jedao is space Asian, but he’s a space Asian with a Texas drawl, as opposed to whatever the hell people think men of Asian heritage “must” look like or sound like according to some K-drama. I’m troubled when certain experiences or stories aren’t considered “real,” or more relevantly from a career standpoint, marketable, because they don’t fit into the confused preconceptions of some fucking cultural voyeur or some demographic calculation.
I’ll close with one final anecdote. I was recently contracted for a work-for-hire story for an unspecified Asian market. (I had to bow out partway through when my health crashed.) When I onboarded with the editor who had pulled my name out of a hat, they remarked, quite candidly, that they had never read a single thing I had ever written, but (a) they were looking for a bestselling author (b) of Asian heritage. I wasn’t offended as such, given the staggeringly high pay rate, but “you’re a warm body of the right ethnicity” is not a shining encomium designed to gladden a writer’s heart, either.
I often wonder if that’s all that publishing has left to offer me: getting gigs as a walking bingo square. At a certain point, I’m going to get tired of whoring out for the money and find something else to do.
By all means, continue writing and publishing stories grounded in authors’ experiences—largely cultural in my case, but there are other inflections (disability, queerness, asexuality, neurodivergence, religion, socioeconomic status, the list goes on). But don’t make it a fucking cage.
Yoon Ha Lee’s first novel Ninefox Gambit won the Locus Award for best first novel, and was a finalist for the Hugo, Nebula, and Clarke awards. His middle grade novel Dragon Pearl won the Mythopoeic Award for Children’s Literature and the Locus Award for best YA novel. He lives in Louisiana with his husband and an extremely lazy catten.
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https://stacker.com/music/ranking-best-and-worst-years-music-history
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Ranking the best and worst years in music history
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#80. 1943
- Total rank score: 305
- Total albums: 19
- Top-ranked album: "The King Cole Trio: Volume 1" by Nat King Cole
Frank Sinatra reached new levels of popularity, and fans mobbed him during a residency at the Paramount in New York City. Duke Ellington introduced his most ambitious project, "Black, Brown and Beige" at Carnegie Hall. The 45-minute musical depicted the African American experience.
#79. 1942
- Total rank score: 342
- Total albums: 21
- Top-ranked album: "Her Second Album of Piano Solos With Drums" by Hazel Scott
Even during the height of World War II, musical artistry did not pause. In 1942, despite his city being continuously bombed by the Germans, Dmitri Shostakovich debuted his Symphony No. 7 in Leningrad, Russia.
#78. 1944
- Total rank score: 582
- Total albums: 22
- Top-ranked album: "An Album of Outstanding Arrangements" by Glenn Miller
Although his album ranked at the top of the charts, 1944 was a tragic year for fans of Glenn Miller. The famed big band leader went missing after his plane disappeared on Dec. 15. Mystery still surrounds the fate of the plane, which many presumed to have crashed, ending the life of Miller.
#77. 1941
- Total rank score: 612
- Total albums: 26
- Top-ranked album: "The Lonesome Road" by Sister Rosetta Tharpe
Queen's Hall, a famous site for live music, was bombed by the Germans in May 1941. Queen's Hall was effectively replaced by Royal Albert Hall, which remains one of the top theaters in London for concerts.
#76. 1945
- Total rank score: 754
- Total albums: 25
- Top-ranked album: "Merry Christmas" by Bing Crosby
Beethoven's "Fidelio" was the first opera performed in Germany after the end of World War II. The album "Glenn Miller" was released, a year after the namesake musician disappeared.
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#75. 1940
- Total rank score: 818
- Total albums: 35
- Top-ranked album: "Dust Bowl Ballads: Volume 1" by Woody Guthrie
Billboard magazine published its first music chart in 1940. The top-ranked album of the year, "Dust Bowl Ballads," was actually recorded in Camden, New Jersey.
#74. 1948
- Total rank score: 896
- Total albums: 44
- Top-ranked album: "Chansons Des Cafés De Paris" by Edith Piaf
The world's first jazz festival was held in Nice, France, and Louis Armstrong was among the notable names who performed. Nat King Cole's "Nature Boy" was one of the year's biggest hits.
#73. 1947
- Total rank score: 896
- Total albums: 51
- Top-ranked album: "Souvenir Album" by Ella Fitzgerald
Bing Crosby's "St. Patrick's Day" album was one of the biggest releases of the year. Posthumous Glenn Miller albums continued to be big sellers. "Glenn Miller Masterpieces, Vol. 2" was released to much fanfare.
#72. 1946
- Total rank score: 950
- Total albums: 43
- Top-ranked album: "The Voice of Frank Sinatra" by Frank Sinatra
"Annie Get Your Gun" was a Broadway hit, and an album recorded by the original cast became a bestseller. Perry Como's "Prisoner of Love" was one of the year's top hits.
#71. 1949
- Total rank score: 1,027
- Total albums: 58
- Top-ranked album: "Bird Blows the Blues" by Charlie Parker
"Miss Martha King" became B.B. King's debut single in 1949. His first recording effort was held at radio station WDIA in Memphis, Tennessee.
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#70. 1951
- Total rank score: 3,828
- Total albums: 119
- Top-ranked album: "Genius of Modern Music: Volume 1" by Thelonious Monk
Johnny Ray's "Cry" was one of the biggest songs of the year. Ray was born in Dallas, Oregon, but earned his stripes in the music business at the Flame Show Bar in Detroit.
#69. 1950
- Total rank score: 4,345
- Total albums: 106
- Top-ranked album: "The Famous 1938 Carnegie Hall Jazz Concert" by Benny Goodman
Sam Cooke joins The Soul Stirrers, replacing Rebert Harris. One of the biggest records of the year was Nat King Cole's "Mona Lisa."
#68. 1953
- Total rank score: 5,730
- Total albums: 177
- Top-ranked album: "Black Coffee" by Peggy Lee
Dean Martin released "That's Amore," a single that played on a loop in pizzerias across the country for the next 60-plus years. Hank Williams released "Your Cheatin' Heart," which was a staple in country bars and saloons for the next 60-plus years as well.
#67. 1952
- Total rank score: 6,391
- Total albums: 142
- Top-ranked album: "Anthology of American Folk Music" by Various Artists
The first songs were recorded at Sun Records in Memphis, Tennessee. Throughout the years, the label released albums by Elvis Presley, Jerry Lee Lewis, Johnny Cash, and Roy Orbison. Also, "I Saw Mommy Kissing Santa Claus" by Jimmy Boyd was released.
#66. 1954
- Total rank score: 9,740
- Total albums: 203
- Top-ranked album: "Chet Baker Sings" by Chet Baker
After recording "That's All Right" for Sun Records in Memphis, Tennessee, the success of Elvis Presley began a rock revolution. The first Newport Jazz Festival was held at the Newport Casino in Rhode Island.
#65. 1955
- Total rank score: 12,506
- Total albums: 275
- Top-ranked album: "In the Wee Small Hours" by Frank Sinatra
Raucous fans at Elvis shows became commonplace throughout the years, but the first "Elvis riot" took place in Jacksonville, Florida, in May. Bill Haley's "Rock Around the Clock" is considered the first rock anthem.
#64. 1962
- Total rank score: 16,904
- Total albums: 457
- Top-ranked album: "Modern Sounds in Country and Western Music" by Ray Charles
In March, Bob Dylan released his self-titled debut album. The mashed potato became a dance craze, and Ringo Starr joined The Beatles.
#63. 1961
- Total rank score: 19,858
- Total albums: 434
- Top-ranked album: "My Favorite Things" by John Coltrane
Ben E. King notched a hit with "Stand By Me," and Chubby Checker inspired the nation to twist again. The Beach Boys released "Surfin'," their first single.
#62. 1960
- Total rank score: 21,495
- Total albums: 429
- Top-ranked album: "Sketches of Spain" by Miles Davis
Before the 1961 sequel, Chubby Checker taught dance-crazed teens to do "The Twist." Elvis Presley left active duty in the U.S. military.
#61. 1956
- Total rank score: 28,878
- Total albums: 362
- Top-ranked album: "Elvis Presley" by Elvis Presley
"Heartbreak Hotel" became Elvis Presley's first #1 hit, and he closed out the year with "Hound Dog" and "Love Me Tender" also reaching the top of the charts. The first Eurovision Song Contest was held.
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#60. 1958
- Total rank score: 36,468
- Total albums: 471
- Top-ranked album: "Lady in Satin" by Billie Holiday
Billboard launched its Top 100 singles chart. Kenny Rogers makes his first appearance on "American Bandstand," and Elvis entered the U.S. Army.
#59. 1957
- Total rank score: 42,194
- Total albums: 463
- Top-ranked album: "Blue Train" by John Coltrane
Jerry Lee Lewis brought the heat with "Great Balls of Fire," and Elvis scored another hit with "Jailhouse Rock." "American Bandstand" hit TV airwaves.
#58. 1964
- Total rank score: 46,030
- Total albums: 583
- Top-ranked album: "A Hard Day's Night" by The Beatles
Beatlemania kicked off in the United States as The Beatles arrived in New York City. The Rolling Stones finalized their debut album, and Bob Dylan released "The Times They Are A-Changin'."
#57. 1963
- Total rank score: 51,582
- Total albums: 498
- Top-ranked album: "The Black Saint and the Sinner Lady" by Charles Mingus
Bob Dylan released "Blowin' in the Wind," and also performed at the March on Washington. "Bye Bye Birdie" was a musical film smash.
#56. 1959
- Total rank score: 81,289
- Total albums: 493
- Top-ranked album: "Kind of Blue" by Miles Davis
Rock fans across the country are shocked when the Big Bopper, Ritchie Valens, and Buddy Holly died in a plane crash. The first Grammy Awards were held in Los Angeles, and Bobby Darin's "Mack the Knife" topped the charts.
#55. 2019
- Total rank score: 87,022
- Total albums: 4,978
- Top-ranked album: "Igor" by Tyler, The Creator
BTS proved the power of K-pop, as the group was named to Time magazine's list of the 100 most influential people. Janet Jackson and Radiohead were among the inductees into the Rock & Roll Hall of Fame. A remix of the song "Old Town Road" catapults Lil Nas X and Billy Ray Cyrus to the top of the charts.
#54. 1981
- Total rank score: 120,742
- Total albums: 1,686
- Top-ranked album: "Moving Pictures" by Rush
MTV launched and aired "Video Killed the Radio Star" by The Buggles as their first music video 39 years ago. Phil Collins released his first solo album "Face Value," and U2 made its U.S. television debut.
#53. 2018
- Total rank score: 123,895
- Total albums: 5,330
- Top-ranked album: "Twin Fantasy (Face to Face)" by Car Seat Headrest
Lady Gaga had a critically-acclaimed performance in a remake of "A Star is Born." BTS became the first K-pop group to top the U.S. Billboard album chart with "Love Yourself: Tear." Drake dominated the charts with three #1 singles.
#52. 1990
- Total rank score: 135,448
- Total albums: 2,243
- Top-ranked album: "Violator" by Depeche Mode
Madonna broke box office records and revolutionized pop concerts with her Blonde Ambition tour. The Three Tenors—Jose Carreras, Placido Domingo, and Luciano Pavarotti—performed for the first time together in Rome. "Cry-Baby," a rock-inspired film starring Johnny Depp, hit theaters.
#51. 1983
- Total rank score: 136,150
- Total albums: 1,653
- Top-ranked album: "Murmur" by R.E.M.
Madonna and Metallica released their debut albums, beginning their journey to the Rock & Roll Hall of Fame, which was established early in the year. The single "Billie Jean" by Michael Jackson established residency at the top of the charts.
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#50. 1985
- Total rank score: 144,146
- Total albums: 1,677
- Top-ranked album: "Hounds of Love" by Kate Bush
Spin magazine and VH1 are born. The world's biggest artists joined together to sing "We Are the World" and raise money for humanitarian efforts in Africa. Live Aid, a concert at Wembley Stadium, raised additional funds for charitable purposes in Africa.
#49. 1974
- Total rank score: 147,322
- Total albums: 1,482
- Top-ranked album: "Red" by King Crimson
The first-ever American Music Awards ceremony was held in 1974. After success as a pop duo, Cher filed for divorce from Sonny Bono.
#48. 1982
- Total rank score: 148,598
- Total albums: 1,663
- Top-ranked album: "Thriller" by Michael Jackson
Sony released the CDP-101, which it billed as the first CD player. "Pink Floyd: The Wall" hit theaters. "Thriller," released on Nov. 30, eventually became one of the bestselling albums of all time.
#47. 1978
- Total rank score: 154,384
- Total albums: 1,612
- Top-ranked album: "Darkness On The Edge Of Town" by Bruce Springsteen
The musical film "Grease," starring John Travolta and Olivia Newton-John, was a box office smash. Van Halen released its debut album. Nancy Spungen, partner of Sex Pistols member Sid Vicious, was found dead.
#46. 1976
- Total rank score: 154,954
- Total albums: 1,553
- Top-ranked album: "Songs in the Key of Life" by Stevie Wonder
"Frampton Comes Alive!" by Peter Frampton was one of the most notable releases of the year. Boston released its debut album, while The Sex Pistols had a hit with their debut single "Anarchy in the U.K."
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#45. 2017
- Total rank score: 157,561
- Total albums: 5,577
- Top-ranked album: "Damn." by Kendrick Lamar
After years with One Direction, Harry Styles released his self-titled debut album. Chuck Berry, Chris Cornell, and Tom Petty died.
#44. 2008
- Total rank score: 166,453
- Total albums: 4,060
- Top-ranked album: "Fleet Foxes" by Fleet Foxes
Lil Wayne became one of hip-hop's top acts with "Tha Carter III." Beyonce had a smash hit with "Single Ladies." Spotify officially entered the industry of streaming music.
#43. 1988
- Total rank score: 166,691
- Total albums: 2,008
- Top-ranked album: "Daydream Nation" by Sonic Youth
Bobby McFerrin scored an unexpected hit with "Don't Worry Be Happy." The Source magazine, a hip-hop publication, launched. George Michael's "Faith" was the top-selling album of the year.
#42. 1965
- Total rank score: 169,643
- Total albums: 690
- Top-ranked album: "Highway 61 Revisited" by Bob Dylan
Petula Clark encouraged city-goers to venture "Downtown." Over in the New York borough of Queens, The Beatles rocked Shea Stadium. The Rolling Stones have arguably the year's biggest hit, though, with "(I Can't Get No) Satisfaction."
#41. 2009
- Total rank score: 170,747
- Total albums: 4,174
- Top-ranked album: "Merriweather Post Pavilion" by Animal Collective
On June 25, at 50, Michael Jackson died. Mariah Carey, Jay Z, and Sting were among the artists to play President Barack Obama's inaugural ball. British singer Susan Boyle became an internet phenomenon with her performance on "Britain's Got Talent."
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#40. 1987
- Total rank score: 176,708
- Total albums: 1,953
- Top-ranked album: "The Joshua Tree" by U2
What a year for seminal albums. Guns N' Roses released "Appetite for Destruction," U2 released "The Joshua Tree," and Michael Jackson released "Bad." Also, N.W.A. formed in Los Angeles and toured as the opening act for Salt-N-Pepa.
#39. 1984
- Total rank score: 177,606
- Total albums: 1,663
- Top-ranked album: "Purple Rain" by Prince and The Revolution
Some music critics say Prince ascended to "musical genius" status after the release of "Purple Rain." Notable singles released this year included Cyndi Lauper's "Girls Just Want to Have Fun" and Wham!'s "Wake Me Up Before You Go-Go." "Weird Al" Yankovic scored his first gold record with "'Weird Al' Yankovic in 3-D."
#38. 2014
- Total rank score: 184,535
- Total albums: 5,793
- Top-ranked album: "Lost in the Dream" by The War On Drugs
BTS released its debut album. Tom Petty and the Heartbreakers recorded their final album, "Hypnotic Eye." Pink Floyd also released its final album, "The Endless River."
#37. 1986
- Total rank score: 185,851
- Total albums: 1,763
- Top-ranked album: "The Queen is Dead" by The Smiths
The Beastie Boys partied onto the hip-hop scene with "Licensed to Ill." Def Jam labelmates Run-DMC notched a hit with "Walk This Way," a collaboration with Aerosmith, off its album "Raising Hell." The Smiths played their last show in London.
#36. 1992
- Total rank score: 186,107
- Total albums: 2,426
- Top-ranked album: "Automatic for the People" by R.E.M.
A slew of influential debut albums hit the shelves. Dr. Dre's "The Chronic" revolutionized West Coast hip-hop, and Rage Against the Machine brought a new level of political awareness to rock.
Music veterans Guns N' Roses had one of their biggest hits with "November Rain."
#35. 2016
- Total rank score: 193,245
- Total albums: 5,508
- Top-ranked album: "A Moon Shaped Pool" by Radiohead
Two icons of music, Prince and David Bowie, died. Guns N' Roses experienced a rebirth, as Axl Rose rejoined the band. Justin Bieber, Drake, and Rihanna all scored hit singles.
#34. 2006
- Total rank score: 201,597
- Total albums: 3,879
- Top-ranked album: "Whatever People Say I Am, That's What I'm Not" by Arctic Monkeys
Dr. Dre became a headphone influencer with his sleek Beats By Dre brand. Three 6 Mafia were the first hip-hop act to win an Academy Award with its song "It's Hard Out Here for a Pimp," from the film "Hustle and Flow." Amy Winehouse transformed into a pop sensation with "Back to Black."
#33. 1993
- Total rank score: 205,136
- Total albums: 2,543
- Top-ranked album: "Siamese Dream" by The Smashing Pumpkins
The Wu-Tang Clan reshaped the hip-hop industry with its unique group approach on "Enter the Wu-Tang (36 Chambers)." Meatloaf's power ballad "I'd Do Anything For Love (But I Won't Do That)," became a radio and music video smash. The Who's "Tommy" opened on Broadway.
#32. 1999
- Total rank score: 205,718
- Total albums: 3,181
- Top-ranked album: "Ágætis byrjun" by Sigur Rós
Britney Spears became a pop culture phenomenon with the release of "... Baby One More Time." The Backstreet Boys had a summer hit with "I Want It That Way." Napster was launched by two teenagers, forever changing the way music is shared.
#31. 2003
- Total rank score: 206,118
- Total albums: 3,551
- Top-ranked album: "Elephant" by The White Stripes
The Dixie Chicks were criticized for publicly bashing President George W. Bush. Queens, New York, rapper 50 Cent released "Get Rich or Die Tryin'," and Apple launched its iTunes Music Store.
#30. 1980
- Total rank score: 206,525
- Total albums: 1,688
- Top-ranked album: "Remain in Light" by Talking Heads
John Lennon is shot and killed outside his New York City apartment. Blondie got dancers grooving with its hit "Call Me." Moviegoers flocked to see "The Blues Brothers," starring Dan Aykroyd and John Belushi.
#29. 1996
- Total rank score: 210,056
- Total albums: 2,945
- Top-ranked album: "Pinkerton" by Weezer
Snoop Dogg was acquitted of murder in a case that captivated the music industry. Tupac Shakur was shot and killed in Las Vegas. Although the "Macarena" was recorded years before, it became a summer hit that swept the nation.
#28. 2005
- Total rank score: 217,294
- Total albums: 3,699
- Top-ranked album: "Illinois" by Sufjan Stevens
"Jersey Boys," the story of The Four Seasons, became a sellout smash on Broadway. Mariah Carey scored another hit record with "The Emancipation of Mimi." Destiny's Child broke up; some of the members were just 9 when the group formed.
#27. 1998
- Total rank score: 217,443
- Total albums: 2,963
- Top-ranked album: "In The Aeroplane Over The Sea" by Neutral Milk Hotel
DMX burst onto the hip-hop scene with "It's Dark and Hell Is Hot," while Lauryn Hill cemented her hip-hop legacy with "The Miseducation of Lauryn Hill." The Goo Goo Dolls penned one of the year's biggest songs with "Iris." Aerosmith got its first #1 single with "I Don't Want To Miss A Thing."
#26. 1989
- Total rank score: 224,660
- Total albums: 2,071
- Top-ranked album: "Doolittle" by Pixies
"MTV Unplugged" first aired and became a staple of acoustic sets over the ensuing decades. Madonna's video for "Like a Prayer" drew criticism for its religious imagery. Ice Cube left the rap group N.W.A.
#25. 2011
- Total rank score: 225,873
- Total albums: 4,595
- Top-ranked album: "Bon Iver" by Bon Iver
Lana Del Rey made a splash with her silky, noir sound, while Rebecca Black became a one-hit wonder with the autotuned hit "Friday." Jay Z and Kanye West collaborate for the "Watch the Throne" album. At the end of the year, R.E.M. called it quits.
#24. 2015
- Total rank score: 229,196
- Total albums: 5,714
- Top-ranked album: "To Pimp a Butterfly" by Kendrick Lamar
Apple Music launched, allowing iOS devotees to stream their favorite songs. Carly Rae Jepsen released one of the most critically acclaimed pop records of the year, "Emotion." Adele's single "Hello" recorded the biggest YouTube debut of any video.
#23. 1966
- Total rank score: 230,817
- Total albums: 745
- Top-ranked album: "Revolver" by The Beatles
Despite having the top-ranked album of the year, John Lennon was criticized after saying The Beatles were more popular than Jesus. That didn't prevent songs like "Yellow Submarine" from climbing to the top of the charts. Frank Sinatra released his bestselling single, "Strangers in the Night."
#22. 2013
- Total rank score: 232,526
- Total albums: 5,496
- Top-ranked album: "Modern Vampires of the City" by Vampire Weekend
Jay Z and Justin Timberlake embarked on a tour together. Bruno Mars, Katy Perry, and Miley Cyrus recorded some of pop's biggest singles. Drake, Jay Z, Kanye West, and Eminem dropped some of the bestselling hip-hop albums of the year.
#21. 1995
- Total rank score: 241,250
- Total albums: 2,853
- Top-ranked album: "The Bends" by Radiohead
Pitchfork launched its music website. Pearl Jam's legal battle against Ticketmaster ended with the ticket-selling giant still intact, but fans are more aware of the fees they pay when buying tickets. Eazy-E of N.W.A. died from complications from AIDS.
You may also like: One-hit wonders of the 2000s
#20. 2004
- Total rank score: 242,332
- Total albums: 3,465
- Top-ranked album: "Funeral" by Arcade Fire
Kanye West dropped "The College Dropout." At the Super Bowl, Janet Jackson was embroiled in controversy after a "wardrobe malfunction" with Justin Timberlake. Usher's "Confessions" sold 1.1 million albums in one week, the highest-ever total for an R&B artist.
#19. 2002
- Total rank score: 243,324
- Total albums: 3,224
- Top-ranked album: "Yankee Hotel Foxtrot" by Wilco
Hip-hop lost two icons in Left Eye of TLC and Jam Master Jay of Run-DMC. "American Idol" debuted and became a smash TV show. Eminem's "The Eminem Show" was one of the top-selling albums of the year.
#18. 2001
- Total rank score: 243,886
- Total albums: 3,133
- Top-ranked album: "Is This It" by The Strokes
Nas and Jay Z engaged in one of the biggest rap beefs ever. R&B singer Aaliyah died in a plane crash over the Bahamas. Apple released the iPod, altering how consumers listened to music.
#17. 1979
- Total rank score: 247,035
- Total albums: 1,599
- Top-ranked album: "London Calling" by The Clash
A baseball promotion advertised as "Disco Demolition Night" turned into a riot at Comiskey Park in Chicago. Michael Jackson released "Off The Wall." Charles Mingus died of a heart attack.
#16. 2012
- Total rank score: 250,667
- Total albums: 4,898
- Top-ranked album: "Good Kid, M.A.A.D City" by Kendrick Lamar
"Gangnam Style" by Korean rapper PSY became YouTube's most played video. Taylor Swift released "Red" to rave reviews. Whitney Houston and Beastie Boys member Adam Yauch, the latter of whom helped organize the Tibetan Freedom Concerts, died this year.
You may also like: 20 iconic rock songs written on the spot
#15. 1968
- Total rank score: 253,856
- Total albums: 1,252
- Top-ranked album: "The Beatles (The White Album)" by The Beatles
Johnny Cash performed a concert at Folsom State Prison. James Brown went on television to try and calm Americans after the death of Martin Luther King Jr. Although recorded in 1967, Louis Armstrong's "What A Wonderful World" became a chart sensation.
#14. 1975
- Total rank score: 264,050
- Total albums: 1,632
- Top-ranked album: "Wish You Were Here" by Pink Floyd
"Saturday Night Live" debuted with Billy Preston and Janis Ian as the musical acts. "The Wiz" opened on Broadway, and Queen released "Bohemian Rhapsody."
#13. 2000
- Total rank score: 271,456
- Total albums: 3,082
- Top-ranked album: "Kid A" by Radiohead
Pandora Radio debuted and became one of the first popular streaming music apps, while Metallica sued file-sharing company Napster. Carlos Santana took home eight Grammy awards. Tim Commerford of Rage Against The Machine climbed the set at the MTV Video Music Awards, interrupting an acceptance speech by Limp Bizkit.
#12. 2010
- Total rank score: 276,207
- Total albums: 4,451
- Top-ranked album: "My Beautiful Dark Twisted Fantasy" by Kanye West
Kesha's debut single "Tik Tok" was a hit. Jim Morrison was posthumously pardoned for indecency charges. Lady Gaga received a record number of MTV Video Music Award nominations.
#11. 1977
- Total rank score: 287,689
- Total albums: 1,604
- Top-ranked album: "Rumours" by Fleetwood Mac
Elvis Presley died at his Graceland home on Aug. 16. "Saturday Night Fever" and its Bee Gees-infused soundtrack were hits. The Eagles took a trip to, and scored a smash hit, with "Hotel California."
You may also like: Best albums by The Rolling Stones
#10. 1970
- Total rank score: 288,260
- Total albums: 1,562
- Top-ranked album: "Paranoid" by Black Sabbath
Paul McCartney announced that he was leaving The Beatles. Jimi Hendrix died at age 27. Simon & Garfunkel split up.
#9. 2007
- Total rank score: 294,538
- Total albums: 3,906
- Top-ranked album: "In Rainbows" by Radiohead
Live Earth, a concert to raise money to slow global warming, was held. The Spice Girls reunited and "High School Musical 2" became one of the most popular American television musical films.
#8. 1972
- Total rank score: 297,386
- Total albums: 1,648
- Top-ranked album: "The Rise and Fall of Ziggy Stardust and the Spiders From Mars" by David Bowie
After leaving The Beatles, Paul McCartney debuted his new band Wings. Creedence Clearwater Revival broke up. Released in 1971, Don McLean's "American Pie" reached #1 on the charts.
#7. 1991
- Total rank score: 301,721
- Total albums: 2,286
- Top-ranked album: "Nevermind" by Nirvana
Nirvana shook up the music world with "Nevermind," introducing grunge music to the masses. Whitney Houston sang a stirring rendition of the national anthem at the Super Bowl; and German band The Scorpions released "Wind of Change," an end of the Cold War anthem that recently has been speculated to be propaganda secretly written by the CIA.
#6. 1997
- Total rank score: 305,563
- Total albums: 2,928
- Top-ranked album: "OK Computer" by Radiohead
The Spice Girls became worldwide pop stars with their hit "Wannabe." The Notorious B.I.G. was shot and killed in Los Angeles. Teen pop trio, and brothers, Hanson graced magazine covers and flooded radio airwaves thanks to their song "MMMBop."
You may also like: #1 rock songs of the 1970s
#5. 1973
- Total rank score: 312,225
- Total albums: 1,596
- Top-ranked album: "The Dark Side of the Moon" by Pink Floyd
KISS played its first concert on Jan. 30, at the Popcorn Club in Queens, New York. Later in the summer in another borough, DJ Kool Herc was credited with birthing hip-hop. Over on the Jersey Shore, Bruce Springsteen released his first album, "Greetings From Asbury Park, N.J."
#4. 1994
- Total rank score: 325,511
- Total albums: 2,787
- Top-ranked album: "Grace" by Jeff Buckley
Nirvana front man Kurt Cobain died in April of 1994, sending the entire music community reeling. Already revered in the South, Outkast showed the rest of the country that hip-hop was more than just East Coast and West Coast talent, with "Southernplayalisticadillacmuzik." Nine Inch Nails' "The Downward Spiral" and The Offspring's "Smash" were two of the most notable rock albums released, while Nas dropped his debut, "Ilmmatic."
#3. 1967
- Total rank score: 369,747
- Total albums: 982
- Top-ranked album: "Sgt. Pepper's Lonely Hearts Club Band" by The Beatles
This year began with The Doors kicking down the doors of the music industry with their debut album, also called "The Doors". On Valentine's Day, Aretha Franklin recorded "Respect." The Beatles' "All You Need is Love" was among the year's biggest hits, and Rolling Stone magazine launched.
#2. 1971
- Total rank score: 378,555
- Total albums: 1,603
- Top-ranked album: "Untitled (Led Zeppelin IV)" by Led Zeppelin
Led Zeppelin's fourth studio album was released on Nov. 8, and became its biggest seller of all time, thanks to hits like "Stairway to Heaven." Contrary to popular belief, the song does not contain hidden lyrics when played backwards. John Lennon released "Imagine" in September of this year.
#1. 1969
- Total rank score: 401,170
- Total albums: 1,515
- Top-ranked album: "Abbey Road" by The Beatles
Woodstock, the groundbreaking music festival, saw an estimated 400,000 people crowd on a patch of farmland in upstate New York to watch some of the world's most renowned rock acts. Led Zeppelin released its debut album in January; a few days later, the Beatles held their last public performance on a rooftop in London.
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Laws, Regulations and Annotations
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BTLG Table of Contents > Sales and Use Tax Regulations > Article 8. Food Products > entire article
Sales And Use Tax Regulations
Title 18. Public Revenues
Division 2. California Department of Tax and Fee Administration — Business Taxes (State Board of Equalization — Business Taxes — See Chapters 6 and 9.9)
Chapter 4. Sales and Use Tax
Article 8. Food Products
1602 Food Products
1602.5 Reporting Methods for Grocers
1603 Taxable Sales of Food Products
Regulation 1602. Food Products.
Reference: Sections 6091, 6353, and 6359, Revenue and Taxation Code.
California Constitution, Article XIII, Section 34.
(a) In General. Tax does not apply to sales of food products for human consumption except as provided in Regulations 1503, 1574, and 1603. (Grocers, in particular, should note that tax applies to sales of "hot prepared food products" as provided in Regulation 1603(e).)
(1) "Food products" include cereal and cereal products, including malt and malt extracts, milk and milk products, including ice cream, ice milk and ice cream and ice milk novelties, sherbets, imitation ice cream and imitation ice milk, dried milk products, sugar of milk, milk shakes, malted milks, and any other similar type beverages composed at least in part of milk or a milk product and requiring the use of milk or a milk product in their preparation, oleomargarine, meat and meat products, fish and fish products, eggs and egg products, vegetables and vegetable products, including dehydrated vegetables, fruit and fruit products, spices and salt, coffee and coffee substitutes, tea, cocoa and cocoa products, sugar and sugar products, baby foods, bakery products, marshmallows, baking powder, baking soda, cream of tartar, coconut, flavoring extracts, flour, gelatin, jelly powders, mustard, nuts, peanut butter, sauces, soups, syrups (for use as an ingredient of, or upon, food products as defined herein), yeast cakes, olive oil, bouillon cubes, meat extracts, popcorn, honey, jams, jellies, certo, mayonnaise, and flavored ice products, including popsicles and snow cones. "Food products" include candy, confectionery, and chewing gum.
(2) "Food products" include all fruit juices, vegetable juices, and other beverages, whether liquid or frozen, including all beverages composed in part of fruit or vegetable juice and concentrates, powders, or other bases for such beverages, and noncarbonated and noneffervescent bottled water intended for human consumption regardless of the method of delivery. "Food products" does not include carbonated or effervescent bottled waters, spirituous, malt or vinous liquors, or carbonated beverages.
Sales of purified drinking water through vending machines or outlets in retail stores where the water enters the machine or outlet through local supply lines and is dispensed into the customer's own containers are exempt under Revenue and Taxation Code section 6353.
Tax does not apply to sales of water in bulk quantities of 50 gallons or more to an individual for use in a residence when that residence is not serviced by lines, mains or pipes.
(3) "Food products" do not include medicines, cough drops, mineral oils, cigarettes, cigars, tobacco, coloring extract, ice, and dog, cat, bird and other animal foods.
(4) "Food products" do not include any product for human consumption in liquid, powdered, granular, tablet, capsule, lozenge, or pill form (A) which is described on its package or label as a food supplement, food adjunct, dietary supplement, or dietary adjunct, and to any such product (B) which is prescribed or designed to remedy specific dietary deficiencies or to increase or decrease generally one or more of the following areas of human nutrition:
1. Vitamins
2. Proteins
3. Minerals
4. Caloric intake
In determining whether a product falls within category (B), it is important whether the manufacturer has specially mixed or compounded ingredients for the purpose of providing a high nutritional source. For example, protein supplements and vitamin pills are taxable as food supplements.
Other items, such as cod liver oil, halibut liver oil, and wheat germ oil, are considered dietary supplements and thus subject to tax even though not specially compounded. However, unusual foods such as brewer's yeast, wheat germ and seaweed are not subject to tax except when their label states they are a food supplement or the equivalent. Finally, the compounding of nutritional elements in items traditionally accepted as food does not make them taxable, e.g., vitamin-enriched milk and high protein flour.
Tax, however, does not apply to any such products which either are exempted by Revenue and Taxation Code Section 6369, respecting prescription medicines, or are complete dietary foods providing the user in the recommended daily dosage with substantial amounts of vitamins, proteins, minerals and foods providing adequate caloric intake. The latter is a food if it provides the user with the following daily minimums:
1. 70 grams of high quality protein
2. 900 calories
3. Minimum daily requirements as established by the regulations of the Federal Food and Drug Administration of the following vitamins: A, B1, C, D, Riboflavin, and Niacin or Niacinamide; and the following minerals: Calcium, Phosphorus, Iron and Iodine.
When supplement or adjunct products that do not meet the definition of food under this subdivision are furnished by a physician to his or her own patient as part of a medically supervised weight loss program to treat obesity, such products are regarded as "medicine." The sale and use of such products are exempt from tax pursuant to subdivision (e)(7) of Regulation 1591 which interprets and explains Revenue and Taxation Code section 6369.
(b) Sales of Combination Packages. When a package contains both food products (e.g., dried fruit) and nonfood products (e.g., wine, or toys), the application of tax depends upon the essential character of the complete package. If more than 10 percent of the retail value of the complete package, exclusive of the container, represents the value of the nonfood products, a segregation must be made if the retailer has documentation that would establish the cost of the individual component parts of the package, with the tax measured by the retail selling price of such nonfood products.
When the retailer does not have documentation that would establish the cost of the individual component parts of the package, and the package consists of nonfood products whose retail selling price would exceed 10 percent of the retail selling price for the entire package, exclusive of the container, the tax may be measured by the retail selling price of the entire package.
If the retail value of the nonfood products is 10 percent or less, exclusive of the container, and the retail value of the container is 50 percent or less of the retail value of the entire package, the selling price of the entire package is not subject to tax.
(c) Sales of Non-edible Decorations. When the sale of a cake or other bakery good for a single price includes non-edible decorations, the application of tax depends upon the value of the non-edible merchandise versus the value of the cake or bakery good. If more than 50 percent of the total retail value of the cake or bakery good represents the value of non-edible decorations, a segregation must be made and the tax measured by the retail selling price of such non-edible decorations. If the price of the non-edible decoration is separately stated, then tax applies to such charge.
(d) Food Products Processed by the Consumer. A commodity included in the term "food products" under Revenue and Taxation Code Section 6359 may be sold to a consumer to be processed and incorporated into a product which is for human consumption but which is excluded from the term "food products." For example, grapes may be sold to be used in making wine for consumption and not for resale. If the commodity sold to the consumer is included in the term "food products" and if the product into which it is incorporated is for human consumption, the sale of the commodity is within the exemption provided by this section.
History—Effective, except as above indicated, July 1, 1935.
Amended August 19, 1953.
Amended September 18, 1963.
Amended September 2, 1965, applicable as amended September 17, 1965.
Amended November 3, 1969, applicable on and after January 1, 1970.
Amended February 18, 1970, applicable on and after January 1, 1970.
Amended and renumbered November 3, 1971, effective December 3, 1971.
Amended December 15, 1971, applicable on and after December 15, 1971.
Amended February 16, 1972, effective March 25, 1972.
Amended May 10, 1973, effective June 23, 1973.
Amended September 18, 1973, effective October 27, 1973.
Amended June 25, 1981, effective November 1, 1981. Added Section 6359.6 to references; deleted amended effective dates in (a)(1) and (2) and (3). In (a)(2) added exemption for bottled water operative 1/1/81.
Amended March 6, 1985, effective May 31, 1985. Subdivision (a)(2) has been changed to provide that the exemption from tax for the sale of noncarbonated and noneffervescent bottled water shall be expanded to apply to water sold in individual containers of one-half gallon or more in size.
Amended August 1, 1991, effective August 30, 1991.
Amended pursuant to Chapter 85, Statutes of 1991, and Chapter 88, Statutes of 1991, to exclude from the definition of "food products" snack foods, as defined, candy, confectionery and nonmedicated gum and to repeal the exemption from tax for sales of noncarbonated and noneffervescent bottled water under certain conditions. Chapter 85, Stats. 1991, repealed the exemption effective July 1, 1991; Chapter 88, Stats. 1991, changed the effective date to July 15, 1991.
Amended September 29, 1994, effective October 29, 1994. Amended to provide that sales of snack foods are not subject to tax effective December 1, 1992; "food products" does not include carbonated or effervescent bottled water but does include noncarbonated and noneffervescent water intended for human consumption regardless of the method of delivery.
Amended March 17, 1999, effective June 12, 1999. New subdivision (c) added, old subdivision (c) renumbered to (d).
Amended August 29, 2006, effective April 7, 2007. Deleted obsolete language in subdivisions (a)(1), (a)(2), (a)(3), and (a)(4) related to the application of tax to snack foods for the period from July 15, 1991 through November 30, 1992. Amended subdivision (b) to provide a clear standard for taxing sales of combination packages that include food and nonfood products sold for a single price.
Amended September 17, 2008, effective December 14, 2008. In subdivision (a)(4), added language to clarify that when supplement or adjunct products that do not meet the definition of food are furnished by a physician to his or her own patient as part of a medically supervised weight loss program to treat obesity, such products are regarded as "medicine."
Regulation 1602.5. Reporting Methods for Grocers.
Reference: Sections 6359 and 6373, Revenue and Taxation Code.
(a) Food products exemption—in general. Tax does not apply to sales of food products for human consumption. Accurate and complete records of all purchases and sales of tangible personal property must be kept to verify all exemptions claimed as sales of exempt food products.
In preparing returns, grocers may use any method of determining the amount of their sales of exempt food products which does not result in an overstatement of the exemption. Grocers must be prepared to demonstrate by records which can be verified by audit that the method used properly reflects their sales of exempt food products.
(b) Reporting methods.
(1) Purchase-ratio method. One method which may be used is the purchase-ratio method sometimes referred to as the "grocer's formula". Under this method, grocers may claim as sales of exempt food products that proportion of their total gross receipts from the sale of "grocery items" that the amount of their purchases of exempt food products bears to their total purchases of grocery items.
If the grocer elects to use the purchase-ratio method of reporting, the following criteria should be followed:
(A) The purchase-ratio method may be used only by grocers and only with respect to sales of "grocery items".
(B) Grocers selling clothes, furniture, hardware, farm implements, distilled spirits, drug sundries, cosmetics, body deodorants, sporting goods, auto parts, cameras, electrical supplies, appliances, books, pottery, dishes, film, flower and garden seeds, nursery stock, fertilizers, flowers, fuel and lubricants, glassware, stationery supplies, pet supplies (other than pet food), school supplies, silverware, sun glasses, toys and other similar property should not include the purchases and sales of such items in the purchase-ratio method. These items are referred to as "nongrocery taxable" items.
When the purchase-ratio method is used for reporting purchases and sales of nongrocery taxable items are computed by the retail extension or markup method, the computation of nongrocery taxable sales should include adjustments for beginning and ending inventories of these items and may include adjustments for shrinkage as specified in (d) below.
(C) Grocers selling gasoline, feed for farm animals, farm fertilizers or who operate a snack bar or restaurant, or sell hot prepared food should not include the purchases and sales of such items or operations in the purchase-ratio method.
(D) The purchases and sales of meat, fruit, produce, delicatessen (except hot prepared food or food sold for immediate consumption at facilities provided by the grocer), beverage (except distilled spirits in the liquor department) and bakery departments must be included in the purchase-ratio method if these departments are operated by the grocer.
(E) The records should be complete and adequate and all sales and purchases should be properly accounted for in the records. All purchases of exempt food products, grocery taxable items and nongrocery taxable items should be segregated into their respective classifications.
(F) The following definitions apply to the purchase-ratio method:
1. "Exempt food products" means those items generally described as food products in Section 6359 and Regulation 1602. If grocers are uncertain as to the classification of any product, they should contact the nearest department office.
2. "Total gross receipts from the sale of grocery items" means the total amount of the sales price of all exempt food products and taxable grocery items, including sales tax reimbursement, amounts receivable from manufacturers, or others, for coupons (excluding any handling allowances) redeemed by customers, and the face value of CalFresh benefits. The term does not include receipts from sales of those items described in (b)(1)(B), above, which are commonly referred to as "nongrocery taxable items", or from those sales described in (b)(1)(C), above (gasoline, snack bar, etc.). It does not include amounts which represent "deposits", as defined in Regulation 1589, e.g., bottle deposits. When deposits are not segregated, it will be presumed, in the absence of evidence to the contrary, that the total deposits received are equal to the deposits refunded.
3. "Grocery items" means exempt food products and taxable items other than those generally classified under (b)(1)(B) and (b)(1)(C), above.
4. "Purchases" means the actual amount which a grocer is required to pay to the suppliers of merchandise, net of any cash discounts, volume rebates or quantity discounts and promotional allowances. The term does not include the cost of transportation, processing, manufacturing, warehousing, and other costs, if these operations are self-performed. It does not include the cost of operating supplies such as wrapping materials, paper bags, string, or similar items. It does not include amounts which represent "deposits", as defined in Regulation 1589, e.g., bottle deposits (see (b)(1)(F)2., above). If deposits are not segregated, it will be presumed, in the absence of evidence to the contrary, that the amount deposited with the supplier is equal to the credit received for bottles returned by the grocer.
a. As used herein, the term "cash discount" means a reduction from the invoice price which is allowed the grocer for prompt payment.
b. As used herein, the term "volume rebate or quantity discount" means an allowance or reduction of the price for volume purchases based on the number of units purchased or sold. Such rebates or discounts normally are obtained without any specific contractual obligation upon the part of the grocer to advertise or otherwise promote sales of the products purchased. The term does not include patronage dividends distributed to members by nonprofit cooperatives pursuant to Section 12805 of the Corporations Code, or rebates which constitute a distribution of profits to members or stockholders.
c. As used herein, the term "promotional allowance" means an allowance in the nature of a reduction of the price to the grocer, based on the number of units sold or purchased during a promotional period. The allowance is directly related to units sold or purchased although some additional promotional expense may be incurred by the grocer. Normally, grocers would feature the product in their advertising, although they may or may not be contractually obligated to do so. The retail price of the product may or may not be lowered during a promotional period.
The term does not include display or other merchandising plan allowances or payments which are based on agreements to provide shelf space for a price not related to volume of purchases, or cooperative advertising allowances which are based on a national line rate for advertising and are not directly related to volume of purchases and sales. Cooperative advertising allowances are intended to reimburse grocers for a portion of their advertising costs for a particular product or products.
(G) Sales tax reimbursement collected in accordance with Regulation 1700 which is included in total sales is an allowable deduction. An example of the computation of the purchase-ratio method which provides for an adjustment for sales tax included follows:
* Use applicable tax rate—tax rate of 8.25% used for illustration purposes.
** Adjust for shrinkage if applicable—see paragraph (d).
(2) Modified Purchase-Ratio Method. Any grocer who does not follow the procedure outlined in (b)(1), above, but reports on a purchase-ratio basis of some type is using a modified version of the purchase-ratio method. For example, grocers who include self-performed processing, manufacturing, warehousing or transportation costs in the purchase-ratio formula are using a modified version. Grocers using such a modified version must establish that their modified version does not result in an overstatement of their food products exemption. They may demonstrate the adequacy of their modified method by extending taxable purchases, adjusted for inventories, to retail for a representative period or computing taxable sales by marking up taxable purchases, adjusted for inventories, for a representative period. Grocers must retain adequate records which may be verified by audit, documenting the modified purchase-ratio method used.
(3) Retail Inventory Method and Markup Method. Grocers who engage in manufacturing, processing, warehousing or transporting their own products may prefer to use a retail or markup method of reporting. These methods are described below:
(A) Retail Inventory Method.
1. The opening inventory is extended to retail and segregated as to exempt food products and taxable merchandise.
2. As invoices for merchandise are received, they are extended to retail and segregated as to exempt food products and taxable merchandise.
3. The ending inventory at retail is segregated as to exempt food products and taxable merchandise.
4. The total of segregated amounts determined in 1 and 2 less 3 represent anticipated exempt and taxable sales.
5. The segregated amounts determined in 4 are adjusted for net markons, net markdowns, and shrinkage to determine realized exempt and taxable sales.
6. Physical inventories are taken periodically to adjust book inventories.
(B) Cost Plus Markup Method—Taxable Merchandise.
1. The cost of all taxable merchandise is marked up to anticipated selling prices at the time of purchase. Records are kept of net markons, net markdowns, and shrinkage for all taxable merchandise. Such records are used to adjust the anticipated selling price to the realized price. Inventory adjustments are required unless the inventory of taxable merchandise at the beginning and ending of reporting periods is substantially constant. Returns should reflect as taxable sales the realized selling price of all taxable merchandise during a reporting period (anticipated sales price on purchases adjusted for inventory changes and other adjustments of the types mentioned).
2. If the grocer elects to use the cost plus markup method of reporting, the following criteria should be followed:
a. Markup factor percentages*** applicable to taxable merchandise should be determined by a shelf test sample of representative purchases, covering a minimum purchasing cycle of one month within a three-year period, segregated by commodity groupings, i.e., beer, wine, carbonated beverages, tobacco and related products, paper products, pet food, soap, detergents, etc. The markup factor percentages determined for commodity groupings should be applied to the cost of sales of the respective commodities for the reporting period to determine taxable sales.
In order to ensure that markup factor percentages typical of the total business are determined, grocers who conduct multistore operations should include purchases from several representative stores in the shelf test sample of markup factor percentages.
*** Markup factor percentage is the markup + 100%. When applied to cost, it computes the selling price. For example, an item costing $1.00 and selling at a 25% markup will have a markup factor of 125%. The markup factor (125%) when applied to $1.00 cost results in a $1.25 selling price.
b. As an alternate procedure to A., above, the overall average markup factor percentage for all taxable commodity groupings may be used to determine taxable sales for the reporting period. This markup factor percentage is applied to the overall cost of taxable sales for the reporting period.
The overall average markup factor percentage should be determined as follows:
i. Determine markup factor percentages by commodity groupings based on shelf tests covering a minimum purchasing cycle of one month within a three-year period.
ii. Determine cost of sales, segregated by commodity groupings, for a representative one-year period.
iii. Apply markup factor percentages (Step a) to the cost of sales of the respective commodity groupings (Step b) to determine anticipated sales by commodity groupings and in total.
iv. Divide total anticipated sales (Step c) by the respective total cost of sales to determine the overall average markup factor percentage.
c. In calculating markup factor percentages, appropriate consideration should be given to markon and markdown price adjustments, quantity price adjustments such as on cigarettes sold by the carton, liquor sold by the case and other selling price adjustments. Quantity and other price adjustments may be determined by a limited test of sales of a representative period or by sales experience of a representative store within the operating entity.
d. The computation of taxable sales for the reporting period should be based on cost of sales for the period. If for any particular reporting period or periods, cost of sales is not determinable because actual physical inventories are unknown and inventories remain substantially constant, the computation of taxable sales may be based on purchases for the period. However, if inventories are not substantially constant, adjustments for physical inventories should be taken into consideration in one of the reporting periods occurring within the accounting year.
e. Shrinkage should be adjusted as specified in (d) below.
f. Taxable markup factor percentages based on shelf test samples will generally be considered valid for reporting purposes for a period of three years, provided business operations remain substantially the same. A substantial change in business operations will be considered as having occurred when there is a significant change in pricing practices, commodities handled, commodity mix, locations operated, sources of supply, or other circumstances affecting the nature of the business.
(4) Electronic Scanning Systems. The use of a scanning system is another acceptable reporting method for grocers. Electronic scanning systems utilize electronic scanners and central computers to automatically compile and record taxable and nontaxable sales, sales tax, and related data from scanning of products imprinted with the Universal Product Code. It is the grocer's responsibility to establish the propriety of reported amounts. Grocers must ensure that proper controls are maintained for monitoring and verifying the accuracy of the scanning results and tax returns. Adequate documentation must be retained which may be verified by audit, including all scanning programs relating to product identity, price, sales tax code, program changes and corrections to the programs. Records which clearly show a segregation of taxable and nontaxable merchandise purchases would provide an additional source from which the scanning accuracy may be monitored or verified.
(c) CalFresh Benefits (Formerly Food Stamps). Tangible personal property eligible to be purchased with CalFresh benefits and so purchased is exempt from the tax. Grocers who receive gross receipts in the form of CalFresh benefits coupons in payment for such tangible personal property which normally is subject to the tax, e.g., nonalcoholic carbonated beverages, may deduct on each sales tax return an amount equal to two percent (2%) of the total amount of CalFresh benefits redeemed during the period for which the return is filed. Grocers may claim amounts in excess of two percent whenever the following computation results in a greater percentage: total purchases of taxable items eligible to be purchased with federal food stamps divided by an amount equal to the total of the exempt food product purchases as defined in subdivision (b)(1)(F)1 plus the purchase of taxable items eligible to be purchased with CalFresh benefits. For example, for a reporting period, if the total purchases of carbonated beverages equals $5,000 and the total purchases of exempt food products equals $130,000, a percentage of 3.7% ($5,000 ÷ $135,000) may be used in computing the allowable CalFresh benefits deduction for that period. This deduction may be taken in lieu of accounting separately for such sales.
(d) Shrinkage. As used herein, the term "shrinkage" means unaccounted for losses due to spoilage, breakage, pilferage, etc. Grocers who incur such losses, may, for reporting purposes, adjust for such losses as follows:
(1) An adjustment of up to 1 percent of the cost of taxable merchandise may be taken into consideration when the retail inventory or markup method is used for reporting purposes.
(2) An adjustment of up to 3 percent of the cost of nongrocery taxable items may be taken into consideration when the purchase-ratio method is used for reporting purposes and sales of nongrocery taxable items are computed by the retail extension or markup method. The adjustment is limited to an overall 1 percent of taxable purchases when other than the purchase-ratio method is used for reporting purposes.
Losses in excess of the above are allowable when supported by records which show that a greater loss is sustained.
(e) List of Methods Not Exhaustive. The methods by which grocers may determine their sales of exempt food products are not limited to the methods described above. Grocers may use any method which they can support as properly reflecting their exempt food sales. As is the case for all exemptions, it is the grocer's responsibility to establish the propriety of the amount of the claimed exemption.
(f) Audits. Taxpayers using one of the approved methods of reporting described in this regulation will normally be audited by application of the same approved procedure in the audit to verify the accuracy of claimed deductions. However, determinations may be imposed or refunds granted if the department, upon audit of the retailer's accounts and records, determines that the returns did not accurately disclose the amount of tax due.
History—Adopted May 10, 1973, effective June 23, 1973. Amended August 24, 1988, effective, November 17, 1988. In subdivision (c) amended to provide that certain items purchased with food stamps coupons are exempt from sales and use taxes.
Amended July 28, 1993, effective October 21, 1993.
Amended subdivision (c) to provide an alternative method which grocers may use to compute the allowance deduction for the total amount of food stamp coupons redeemed during the return period.
Amended February 8, 1995, effective July 19, 1995. Added subparagraph (b)(4) to recognize electronic scanning systems as an acceptable means of reporting and to specify documentation to be retained for audit verification; amended subparagraphs (a), (b)(1)(F)1. and 4.C., (b)(2), and (e) to delete gender-based language.
Amended October 1, 2008, effective December 31, 2008. Deleted second paragraph in subdivision (b)(4) to eliminate the obsolete requirement that grocers get Board approval before using an electronic scanning method to determine the amount of their sales of exempt food products. Also deleted last two sentences in subdivision (b)(2) and deleted subdivision (b)(3)(B)2.G. to remove language urging grocers to seek Board approval prior to using the modified purchase-ratio and the cost plus markup methods for reporting tax.
Amended March 25, 2010, effective May 13, 2010. Amended subdivision (b)(1)(G) and corresponding footnote to utilize current tax rate of 8.25 percent in purchase ratio method calculation with tax included deduction.
Amended September 7, 2021, effective September 7, 2021. Changes without regulatory effect to replace "board" with "department" in subdivisions (b)(1)(F)1 and (f); replace "food stamps" and similar text with "CalFresh benefits" throughout the regulation; reformat subdivision (b)(1)(F)4A-C as subdivision (b)(1)(F)4a-c; reformat subdivision (b)(3)(B)2A-F as subdivision (b)(3)(B)2a-f; reformat subdivision (b)(3)(B)2Ba-d as subdivision (b)(3)(B)2bi-iv; filed September 7, 2021 pursuant to section 100, title 1, California Code of Regulations.
Regulation 1603. Taxable sales of food products.
Reference: Sections 6006, 6012, 6359, 6359.1, 6359.45, 6361, 6363, 6363.5, 6363.6, 6363.8, 6370, 6373, 6374, and 6376.5, Revenue and Taxation Code.
Food products generally, see Regulation 1602.
Sales tax reimbursement when served with, see Regulation 1700.
Meals served to residents or patients of an institution, see Regulation 1503.
Food products sold through vending machines, see Regulation 1574.
Meals at organized camps, see Regulation 1506.
Nonprofit organizations as consumers, see Regulation 1597.
(a) Restaurants, Hotels, Boarding Houses, Soda Fountains, and similar establishments.
(1) Definitions.
(A) Boarding house. The term "boarding house" as used in this regulation means any establishment regularly serving meals on the average to five or more paying guests. The term includes a "guest home," "residential care home," "halfway house," and any other establishment providing room and board or board only, which is not an institution as defined in Regulation 1503 and section 6363.6 of the Revenue and Taxation Code. The fact that guests may be recipients of welfare funds does not affect the application of tax. A person or establishment furnishing meals on the average to fewer than five paying guests during the calendar quarter is not considered to be engaged in the business of selling meals at retail.
(B) American plan hotel. The term "American Plan Hotel" as used in this regulation means a hotel which charges guests a fixed sum by the day, week, or other period for room and meals combined.
(C) Complimentary food and beverages. As used in this subdivision (a), the term "complimentary food and beverages" means food and beverages (including alcoholic and non-alcoholic beverages) which are provided to transient guests on a complimentary basis and:
1. There is no segregation between the charges for rooms and the charges for the food and beverages on the guests' bills, and
2. The guests are not given an option to refuse the food and beverages in return for a discounted room rental.
(D) Average retail value of complimentary food and beverages. The term "average retail value of complimentary food and beverages" (ARV) as used in this regulation means the total amount of the costs of the complimentary food and beverages for the preceding calendar year marked-up one hundred percent (100%) and divided by the number of rooms rented for that year. Costs of complimentary food and beverages include charges for delivery to the lodging establishment but exclude discounts taken and sales tax reimbursement paid to vendors. The 100% markup factor includes the cost of food preparation labor by hotel employees, the fair rental value of hotel facilities used to prepare or serve the food and beverages, and profit.
(E) Average daily rate. The term "average daily rate" (ADR) as used in this regulation means the gross room revenue for the preceding calendar year divided by the number of rooms rented for that year. "Gross room revenue" means and includes the full charge to the hotel customers but excludes separately stated occupancy taxes, revenue from contract and group rentals which do not qualify for complimentary food and beverages, and revenue from special packages (e.g., New Year's Eve packages which include food and beverages as well as guest room accommodations), unless it can be documented that the retail value of the food and beverages provided as a part of the special package is 10% or less of the total package charge as provided in subdivision (a)(2)(B). "Number of rooms rented for that year" means the total number of times all rooms have been rented on a nightly basis provided the revenue for those rooms is included in the "gross room revenue." For example, if a room is rented out for three consecutive nights by one guest, that room will be counted as rented three times when computing the ADR.
(2) Application of tax.
(A) In general. Tax applies to sales of meals or hot prepared food products (see (e) below) furnished by restaurants, concessionaires, hotels, boarding houses, soda fountains, and similar establishments whether served on or off the premises. In the case of American Plan Hotels, special packages offered by hotels, e.g., a New Year's Eve package as described in subdivision (a)(1)(E), and boarding houses, a reasonable segregation must be made between the charges for rooms and the charges for the meals, hot prepared food products, and beverages. Charges by hotels or boarding houses for delivering meals or hot prepared food products to, or serving them in, the rooms of guests are includable in the measure of tax on the sales of the meals or hot prepared food products whether or not the charges are separately stated. (Caterers, see (i) below.) Sales of meals or hot prepared food products by restaurants, concessionaires, hotels, boarding houses, soda fountains, and similar establishments to persons such as event planners, party coordinators, or fundraisers, which buy and sell on their own account, are sales for resale for which a resale certificate may be accepted. (See subdivision (i)(3)(C)2.)
Soufflé cups, straws, paper napkins, toothpicks and like items that are not of a reusable character which are furnished with meals or hot prepared food products are sold with the meals or hot prepared food products. Sales of such items for such purpose to persons engaged in the business of selling meals or hot prepared food products are, accordingly, sales for resale.
(B) Complimentary food and beverages. Lodging establishments which furnish, prepare, or serve complimentary food and beverages to guests in connection with the rental of rooms are consumers and not retailers of such food and beverages when the retail value of the complimentary food and beverages is "incidental" to the room rental service regardless of where within the hotel premises the complimentary food and beverages are served. For complimentary food and beverages to qualify as "incidental" for the current calendar year, the average retail value of the complimentary food and beverages (ARV) furnished for the preceding calendar year must be equal to or less than 10% of the average daily rate (ADR) for that year.
If a hotel provides guests with coupons or similar documents which may be exchanged for complimentary food and beverages in an area of the hotel where food and beverages are sold on a regular basis to the general public (e.g., a restaurant), the hotel will be considered the consumer and not the retailer of such food and beverages if the coupons or similar documents are non-transferable and the guest is specifically identified by name. If the coupons or similar documents are transferable or the guest is not specifically identified, food and beverages provided will be considered sold to the guest at the fair retail value of similar food and beverages sold to the general public. In the case of coupons redeemed by guests at restaurants not operated by the lodging establishment, the hotel will be considered the consumer of food and beverages provided to the hotel's guests and tax will apply to the charge by the restaurant to the hotel.
Lodging establishments are retailers of food and beverages which do not qualify as "incidental" and tax applies as provided in subdivision (a)(2)(A) above. Amounts paid by guests for food and beverages in excess of a complimentary allowance are gross receipts subject to the tax. Lodging establishments are retailers of otherwise complimentary food and beverages sold to non-guests.
In the case of hotels with concierge floor, club level or similar programs, the formula set forth above shall be applied separately with respect to the complimentary food and beverages furnished to guests who participate in the concierge, club or similar program. That is, the concierge, club or similar program will be deemed to be an independent hotel separate and apart from the hotel in which it is operated. The ADR and the retail value of complimentary food and beverages per occupied room will be computed separately with respect to the guest room accommodations entitled to the privileges and amenities involved in the concierge, club or similar program.
In the above example, the average retail value of the complimentary food and beverages per occupied room for the preceding calendar year is equal to or less than 10% of the average daily rate. Therefore, under the provisions of this subdivision (a)(2)(B), the complimentary food and beverages provided to guests for the current calendar year qualify as "incidental." The lodging establishment is the consumer and not the retailer of such food and beverages. This computation must be made annually.
When a lodging establishment consists of more than one location, the operations of each location will be considered separately in determining if that location's complimentary food and beverages qualify as incidental.
(C) "Free" meals. When a restaurant agrees to furnish a "free" meal to a customer who purchases another meal and presents a coupon or card, which the customer previously had purchased directly from the restaurant or through a sales promotional agency having a contract with the restaurant to redeem the coupons or cards, the restaurant is regarded as selling two meals for the price of one, plus any additional compensation from the agency or from its own sales of coupons. Any such additional compensation is a part of its taxable gross receipts for the period in which the meals are served.
Tax applies only to the price of the paid meal plus any such additional compensation.
(b) "Drive-Ins." Tax applies to sales of food products ordinarily sold for immediate consumption on or near a location at which parking facilities are provided primarily for the use of patrons in consuming the products purchased at the "drive-in" establishment, even though such products are sold on a "take out" or "to go" order and are actually packaged or wrapped and taken from the premises of the retailer. Food products when sold in bulk, i.e., in quantities or in a form not suitable for consumption on the retailer's premises, are not regarded as ordinarily sold for immediate consumption on or near the location at which parking facilities are provided by the retailer. Accordingly, with the exception of sales of hot prepared food products (see (e) below) and sales of cold food under the 80-80 rule (see (c) below), sales of ice cream, doughnuts, and other individual food items in quantities obviously not intended for consumption on the retailer's premises, without eating utensils, trays or dishes and not consumed on the retailer's premises, are exempt from tax. Any retailer claiming a deduction on account of food sales of this type must support the deduction by complete and detailed records.*
* The records acceptable in support of such a deduction are:
(a) A sales ticket prepared for each transaction claimed as being tax exempt showing:
(1) Date of the sale,
(2) The kind of merchandise sold,
(3) The quantity of each kind of merchandise sold,
(4) The price of each kind of merchandise sold,
(5) The total price of merchandise sold,
(6) A statement to the effect that the merchandise purchased is not to be consumed on or near the location at which parking facilities are provided by the retailer, and
(b) A daily sales record kept in sufficient detail to permit verification by audit that all gross receipts from sales have been accounted for and that all sales claimed as being tax exempt are included therein.
(c) Cold food sold on a "take-out" order.
(1) General.
(A) Seller meeting criteria of 80-80 rule. When a seller meets both criteria of the 80-80 rule as explained in subdivision (c)(3) below, tax applies to sales of cold food products (including sales for a separate price of hot bakery goods and hot beverages such as coffee) in a form suitable for consumption on the seller's premises even though such food products are sold on a "take-out" or "to go" order. Sales of cold food products which are suitable for consumption on the seller's premises are subject to the tax no matter how great the quantity purchased, e.g., 40 one-half pint containers of milk. Except as provided elsewhere in this regulation, tax does not apply to sales of food products which are furnished in a form not suitable for consumption on the seller's premises.
Operative April 1, 1996, although a seller may meet both criteria of the 80-80 rule, he or she may elect to separately account for the sale of "take-out" or "to go" orders of cold food products which are in a form suitable for consumption on the seller's premises. The gross receipts from the sale of those food products shall be exempt from the tax provided the seller keeps a separate accounting of these transactions in his or her records. Tax will remain applicable to the sale of food products as provided in subdivisions (a), (b), (e), or (f) of this regulation. Failure to maintain the required separate accounting and documentation claimed as exempt under this subdivision will revoke the seller's election under this subdivision.
(B) Seller not meeting criteria of 80-80 rule. When a seller does not meet both criteria of the 80-80 rule as explained in subdivision (c)(3) below, tax does not apply to sales of cold food products (including sales for a separate price of hot bakery goods and hot beverages such as coffee) when sold on a "take-out" or "to go" order.
(2) Definitions.
(A) For purposes of this subdivision (c), the term "suitable for consumption on the seller's premises" means food products furnished:
1. In a form which requires no further processing by the purchaser, including but not limited to cooking, heating, thawing, or slicing, and
2. In a size which ordinarily may be immediately consumed by one person such as a large milk shake, a pint of ice cream, a pint of milk, or a slice of pie. Cold food products (excluding milk shakes and similar milk products) furnished in containers larger in size than a pint are considered to be in a form not suitable for immediate consumption.
Pieces of candy sold in bulk quantities of one pound or greater are deemed to be sold in a form not suitable for consumption on the seller's premises.
The term does not include cold food products which obviously would not be consumed on the premises of the seller, e.g., a cold party tray or a whole cold chicken.
(B) For purposes of this subdivision (c), the term "seller's premises" means the individual location at which a sale takes place rather than the aggregate of all locations of the seller. For example, if a seller operates several drive-in and fast food restaurants, the operations of each location stand alone and are considered separately in determining if the sales of food products at each location meet the criteria of the 80-80 rule.
When two or more food-selling activities are conducted by the same person at the same location, the operations of all food related activities will be considered in determining if the sales of food products meet the criteria of the 80-80 rule. For example, if a seller operates a grocery store and a restaurant with no physical separation other than separate cash registers, the grocery store operations will be included in determining if the sales of food products meet the criteria of the 80-80 rule. When there is a physical separation where customers of one operation may not pass freely into the other operation, e.g., separate rooms with separate entrances but a common kitchen, each operation will be considered separately for purposes of this subdivision (c).
(3) 80-80 Rule. Tax applies under this subdivision (c) only if the seller meets both of the following criteria:
(A) More than 80 percent of the seller's gross receipts are from the sale of food products, and
(B) More than 80 percent of the seller's retail sales of food products are taxable as provided in subdivisions (a), (b), (e), and (f) of this regulation.
Sales of alcoholic beverages, carbonated beverages, or cold food to go not suitable for immediate consumption should not be included in this computation. Any seller meeting both of these criteria and claiming a deduction for the sale of cold food products in a form not suitable for consumption on the seller's premises must support the deduction by complete and detailed records of such sales made.
(d) Places where admission is charged.
(1) General. Tax applies to sales of food products when sold within, and for consumption within, a place the entrance to which is subject to an admission charge, during the period when the sales are made, except for national and state parks and monuments, and marinas, campgrounds, and recreational vehicle parks.
(2) Definitions.
(A) "Place" means an area the exterior boundaries of which are defined by walls, fences or otherwise in such a manner that the area readily can be recognized and distinguished from adjoining or surrounding property. Examples include buildings, fenced enclosures and areas delimited by posted signs.
(B) "Within a place" means inside the door, gate, turnstile, or other point at which the customer must pay an admission charge or present evidence, such as a ticket, that an admission charge has been paid. Adjacent to, or in close proximity to, a place is not within a place.
(C) "Admission charge" means any consideration required to be paid in money or otherwise for admittance to a place.
"Admission charge" does not include:
1. Membership dues in a club or other organization entitling the member to, among other things, entrance to a place maintained by the club or organization, such as a fenced area containing a club house, tennis courts, and a swimming pool. Where a guest is admitted to such a place only when accompanied by or vouched for by a member of the club or organization, any charge made to the guest for use of facilities in the place is not an admission charge.
2. A charge for a student body card entitling the student to, among other things, entrance to a place, such as entrance to a school auditorium at which a dance is held.
3. A charge for the use of facilities within a place to which no entrance charge is made to spectators. For example, green fees paid for the privilege of playing a golf course, a charge made to swimmers for the use of a pool within a place, or a charge made for the use of lanes in a public bowling place.
(D) "National and state parks and monuments" means those which are part of the National Park System or the State Park System. The phrase does not include parks and monuments not within either of those systems, such as city, county, regional, district or private parks.
(3) Presumption that food is sold for consumption within a place. When food products are sold within a place the entrance to which is subject to an admission charge, it will be presumed, in the absence of evidence to the contrary, that the food products are sold for consumption within the place. Obtaining and retaining evidence in support of the claimed tax exemption is the responsibility of the retailer. Such evidence may consist, for example, of proof that the sales were of canned jams, cake mixes, spices, cooking chocolate, or other items in a form in which it is unlikely that such items would be consumed within the place where sold.
(4) Food sold to students. The exemption otherwise granted by Section 6363 does not apply to sales of food products to students when sold within, and for consumption within, a place the entrance to which is subject to an admission charge, and such sales are subject to tax except as provided in (q) of this regulation. For example, when food products are sold by a student organization to students or to both students and nonstudents within a place the entrance to which is subject to an admission charge, such as a place where school athletic events are held, the sales to both students and nonstudents are taxable.
(e) Hot prepared food products.
(1) General. Tax applies to all sales of hot prepared food products unless otherwise exempt. "Hot prepared food products" means those products, items, or components which have been prepared for sale in a heated condition and which are sold at any temperature which is higher than the air temperature of the room or place where they are sold. The mere heating of a food product constitutes preparation of a hot prepared food product, e.g., grilling a sandwich, dipping a sandwich bun in hot gravy, using infra-red lights, steam tables, etc. If the sale is intended to be of a hot food product, such sale is of a hot food product regardless of cooling which incidentally occurs. For example, the sale of a toasted sandwich intended to be in a heated condition when sold, such as a fried ham sandwich on toast, is a sale of a hot prepared food product even though it may have cooled due to delay. On the other hand, the sale of a toasted sandwich which is not intended to be in a heated condition when sold, such as a cold tuna sandwich on toast, is not a sale of a hot prepared food product.
When a single price has been established for a combination of hot and cold food items, such as a meal or dinner which includes cold components or side items, tax applies to the entire established price regardless of itemization on the sales check. The inclusion of any hot food product in an otherwise cold combination of food products sold for a single established price, results in the tax applying to the entire established price, e.g., hot coffee served with a meal consisting of cold food products, when the coffee is included in the established price of the meal. If a single price for the combination of hot and cold food items is listed on a menu, wall sign or is otherwise advertised, a single price has been established. Except as otherwise provided in (b), (c), (d) or (f) of this regulation, or in Regulation 1574, tax does not apply to the sale for a separate price of bakery goods, beverages classed as food products, or cold or frozen food products. Hot bakery goods and hot beverages such as coffee are hot prepared food products but their sale for a separate price is exempt unless taxable as provided in (b), (c), (d) or (f) of this regulation, or in Regulation 1574. Tax does apply if a hot beverage and a bakery product or cold food product are sold as a combination for a single price. Hot soup, bouillon, or consommé is a hot prepared food product which is not a beverage.
(2) Air Carriers engaged in interstate or foreign commerce. Tax does not apply to the sale, storage, use, or other consumption of hot prepared food products sold by caterers or other vendors to air carriers engaged in interstate or foreign commerce for consumption by passengers on such air carriers, nor to the sale, storage, use, or other consumption of hot prepared food products sold or served to passengers by air carriers engaged in interstate or foreign commerce for consumption by passengers on such air carriers. "Air carriers" are persons or firms in the business of transporting persons or property for hire or compensation, and include both common and contract carriers. "Passengers" do not include crew members. Any caterer or other vendor claiming the exemption must support it with an exemption certificate from the air carrier substantially in the form prescribed in Appendix A of this regulation.
(f) Food for consumption at facilities provided by the retailer. Tax applies to sales of sandwiches, ice cream, and other foods sold in a form for consumption at tables, chairs, or counters or from trays, glasses, dishes, or other tableware provided by the retailer or by a person with whom the retailer contracts to furnish, prepare, or serve food products to others.
A passenger's seat aboard a train, or a spectator's seat at a game, show, or similar event is not a "chair" within the meaning of this regulation. Accordingly, except as otherwise provided in (c), (d), and (e) above, tax does not apply to the sale of cold sandwiches, ice cream, or other food products sold by vendors passing among the passengers or spectators where the food products are not "for consumption at tables, chairs, or counters or from trays, glasses, dishes, or other tableware provided by the retailer."
(g)Tips, Gratuities, and Service Charges. (Prior to January 1, 2015)
The provisions of subdivision (g) apply to transactions occurring prior to January 1, 2015. This subdivision applies to restaurants, hotels, caterers, boarding houses, soda fountains, drive-ins and similar establishments.
An optional payment designated as a tip, gratuity, or service charge is not subject to tax. A mandatory payment designated as a tip, gratuity, or service charge is included in taxable gross receipts, even if the amount is subsequently paid by the retailer to employees.
(1) Optional payment.
(A) A payment of a tip, gratuity, or service charge is optional if the customer adds the amount to the bill presented by the retailer, or otherwise leaves a separate amount in payment over and above the actual amount due the retailer for the sale of meals, food, and drinks that include services. The following examples illustrate transactions where a payment of a tip, gratuity or service charge is optional and not included in taxable gross receipts. This is true regardless of printed statements on menus, brochures, advertisements or other materials notifying customers that tips, gratuities, or service charges will or may be added by the retailer to the prices of meals, food, or drinks:
Example 1. The restaurant check is presented to the customer with the "tip" area blank so the customer may voluntarily write in an amount, or
Example 2. The restaurant check is presented to the customer with options computed by the retailer and presented to the customer as tip suggestions. The "tip" area is blank so the customer may voluntarily write in an amount:
If an employer misappropriates these payments for these charges, as discussed in subdivision (g)(1)(B) below, such payments are included in the retailer's taxable gross receipts.
(B) No employer shall collect, take, or receive any gratuity or a part thereof, paid, given to, or left for an employee by a patron, or deduct any amount from wages due an employee on account of such gratuity, or require an employee to credit the amount, or any part thereof, of such gratuity against and as a part of the wages due the employee from the employer. (Labor Code section 351.) If this prohibition is violated, any amount of such gratuities received by the employer will be considered a part of the gross receipts of the employer and subject to the tax.
(2) Mandatory payment.
(A) An amount negotiated between the retailer and the customer in advance of a meal, food, or drinks, or an event that includes a meal, food, or drinks is mandatory.
(B) When the menu, brochures, advertisements or other printed materials contain statements that notify customers that tips, gratuities, or service charges will or may be added, an amount automatically added by the retailer to the bill or invoice presented to and paid by the customer is a mandatory charge and subject to tax. These amounts are considered negotiated in advance as specified in subdivision (g)(2)(A). Examples of printed statements include:
"An 18% gratuity [or service charge] will be added to parties of 8 or more."
"Suggested gratuity 15%," itemized on the invoice or bill by the restaurant, hotel, caterer, boarding house, soda fountain, drive-in or similar establishment.
"A 15% voluntary gratuity will be added for parties of 8 or more."
An amount will be considered "automatically added" when the retailer adds the tip to the bill without first conferring with the customer after service of the meal and receiving approval to add the tip or without providing the customer with the option to write in the tip. Nonetheless, any amount added by the retailer is presumed to be mandatory. This presumption may be overcome as discussed in subdivision (g)(2)(C) below.
(C) It is presumed that an amount added as a tip by the retailer to the bill or invoice presented to the customer is mandatory. A statement on the bill or invoice that the amount added by the retailer is a "suggested tip," "optional gratuity," or that "the amount may be increased, decreased, or removed" by the customer does not change the mandatory nature of the charge.
This presumption may be controverted by documentary evidence showing that the customer specifically requested and authorized the gratuity be added to the amount billed.
Examples of documentary evidence that may be used to overcome the presumption include:
1. A guest check that is presented to the customer showing sales tax reimbursement and the amount upon which it was computed, without tip or with the "tip" area blank and a separate document, such as a credit card receipt, to which the retailer adds or prints the requested tip.
2. Guests receipts and payments showing that the percentage of tips paid by large groups varies from the percentage stated on the menu, brochure, advertisement or other printed materials.
3. A retailer's written policy stating that its employees shall receive confirmation from a customer before adding a tip together with additional verifiable evidence that the policy has been enforced. The policy is not in itself sufficient documentation to establish that the customer requested and authorized that a gratuity be added to the amount billed without such additional verifiable evidence.
The retailer must retain the guest checks and any additional separate documents to show that the payment is optional. The retailer is also required to maintain other records in accordance with the requirements of Regulation 1698, Records.
(h) Tips, gratuities, and service charges. (On and after January 1, 2015)
The provisions of subdivision (h) apply to transactions occurring on and after January 1, 2015. This subdivision applies to restaurants, hotels, caterers, boarding houses, soda fountains, drive-ins and similar establishments.
An optional payment designated as a tip, gratuity, or service charge is not subject to tax. A mandatory payment designated as a tip, gratuity, or service charge is included in taxable gross receipts, even if it is subsequently paid by the retailer to employees. For purposes of this subdivision, "amount" means a payment designated as a tip, gratuity, service charge, or any other separately stated payment for services associated with the purchase of meals, food, or drinks.
(1) Optional payment.
When a retailer keeps records consistent with reporting amounts as tip wages for Internal Revenue Service (IRS) purposes, such amounts are presumed to be optional and not subject to tax. When a retailer does not maintain such records, this presumption does not apply and the amounts may be mandatory and included in taxable gross receipts as discussed in subdivisions (h)(2) and (h)(3).
The following examples illustrate transactions where an amount is optional and not included in taxable gross receipts:
Example 1. The restaurant check is presented to the customer with the "tip" area blank so the customer may voluntarily write in the amount, or
Example 2. The restaurant check is presented to the customer with options computed by the retailer and presented to the customer as tip suggestions. The "tip" area is blank so the customer may voluntarily write in the amount:
Under these circumstances, the customer is free to enter the amount on the tip line or leave it blank; thus, the customer may enter an amount free from compulsion. The customer and restaurant did not negotiate the amount nor did the restaurant dictate the amount.
If an employer misappropriates these amounts, as discussed in subdivision (h)(4) below, such payments are included in the retailer's taxable gross receipts.
(2) Mandatory payment.
When a retailer's records reflect that amounts are required to be reported to the IRS as non-tip wages, the amount is deemed to be mandatory.
(3) When a retailer does not maintain records for purposes of reporting the amounts to the IRS:
(A) An amount negotiated between the retailer and the customer in advance of a meal, food, or drinks, or an event that includes a meal, food, or drinks is mandatory.
(B) When the menu, brochures, advertisements or other printed materials contain statements that notify customers that tips, gratuities, or service charges will or may be added, an amount automatically added by the retailer to the bill or invoice presented to and paid by the customer is a mandatory charge and subject to tax. These amounts are considered negotiated in advance as specified in subdivision (h)(3)(A). Examples of printed statements include:
"An 18% gratuity [or service charge] will be added to parties of 8 or more."
"Suggested gratuity 15%," itemized on the invoice or bill by the restaurant, hotel, caterer, boarding house, soda fountain, drive-in or similar establishment.
"A 15% voluntary gratuity will be added for parties of 8 or more."
An amount will be considered "automatically added" when the retailer adds the amount to the bill without first conferring with the customer after service of the meal. Nonetheless, any amount added by the retailer is presumed to be automatically added and mandatory. This presumption may be overcome as discussed in subdivision (h)(3)(C) below.
(C) It is presumed that an amount added as a tip by the retailer to the bill or invoice presented to the customer is automatically added and mandatory. A statement on the bill or invoice that the amount added by the retailer is a "suggested tip," "optional gratuity," or that the amount "may be increased, decreased, or removed" by the customer does not change the mandatory nature of the charge.
This presumption may be controverted by documentary evidence showing that the customer specifically requested and authorized the amount be added to the bill.
Examples of documentary evidence that may be used to overcome the presumption include:
1. A guest check that is presented to the customer showing sales tax reimbursement and the figure upon which it was computed, without "tip" or with the "tip" area blank and a separate document, such as a credit card receipt, to which the retailer adds or prints the requested amount.
2. Guest receipts and payments showing that the percentage of amounts paid by large parties varies from the percentage stated on the menu, brochure, advertisement or other printed materials.
3. A retailer's written policy stating that its employees shall receive confirmation from a customer before adding an amount together with additional verifiable evidence that the policy has been enforced. The policy is not in itself sufficient documentation to establish that the customer requested and authorized that the amount be added to the bill without such additional verifiable evidence.
The retailer must retain the guest checks and any additional separate documents to show that the payment is optional. The retailer is also required to maintain other records in accordance with the requirements of Regulation 1698, Records.
(4) No employer shall collect, take, or receive any gratuity or a part thereof, paid, given to, or left for an employee by a patron, or deduct any amount from wages due an employee on account of such gratuity, or require an employee to credit the amount, or any part thereof, of such gratuity against and as a part of the wages due the employee from the employer. (Labor Code section 351.) If this prohibition is violated, any amount received by the employer will be considered a part of the gross receipts of the employer and subject to the tax.
(i) Caterers.
(1) Definition. The term "caterer" as used in this regulation means a person engaged in the business of serving meals, food, or drinks on the premises of the customer, or on premises supplied by the customer, including premises leased by the customer from a person other than the caterer, but does not include employees hired by the customer by the hour or day.
(2) Sales to caterers. A caterer generally is considered to be the consumer of tangible personal property normally used in the furnishing and serving of meals, food or drinks, except for separately stated charges by the caterer for the lease of tangible personal property or tangible personal property regarded as being sold with meals, food or drinks such as disposable plates, napkins, utensils, glasses, cups, stemware, place mats, trays, covers and toothpicks.
(3) Sales by caterers.
(A) Caterer as retailer. Tax applies to the entire charge made by caterers for serving meals, food, and drinks, inclusive of charges for food, the use of dishes, silverware, glasses, chairs, tables, etc., used in connection with serving meals, and for the labor of serving the meals, whether performed by the caterer, the caterer's employees or subcontractors. Tax applies to charges made by caterers for preparing and serving meals and drinks even though the food is not provided by the caterers. Tax applies to charges made by caterers for hot prepared food products as in (e) above whether or not served by the caterers. A caterer who separately states or itemizes charges for the lease of tangible personal property regardless of the use of the property will be deemed to be the lessor of such property. Tax applies in accordance with Regulation 1660, Leases of Tangible Personal Property—In General. Tax does not apply to charges made by caterers for the rental of dishes, silverware, glasses, etc., purchased by the caterer with tax paid on the purchase price if no food is provided or served by the caterers in connection with such rental.
(B) Caterers as lessors of property unrelated to the serving or furnishing of meals, food, or drinks by a caterer.
1. When a caterer who is furnishing or serving meals, food, or drinks also rents or leases from a third party tangible personal property which the caterer does not use himself or herself and the property is not customarily provided or used within the catering industry in connection with the furnishing and serving of food or drinks, such as decorative props related solely to optional entertainment, special lighting for guest speakers, sound or video systems, dance floors, stages, etc., he or she is a lessor of such property. In such instances, tax applies to the lease in accordance with Regulation 1660.
2. When a person who in other instances is a caterer does not furnish or serve any meals, food, or drinks to a customer, but rents or leases from a third party tangible personal property such as dishes, linen, silverware and glasses, etc., for purposes of providing it to his or her customer, he or she is not acting as a caterer within the meaning of this regulation, but solely as a lessor of tangible personal property. In such instances, tax applies to the lease in accordance with Regulation 1660.
(C) Caterers planning, designing and coordinating events.
1. Tax applies to charges by a caterer for event planning, design, coordination, and/or supervision if they are made in connection with the furnishing of meals, food, or drinks for the event. Tax does not apply to separately stated charges for services unrelated to the furnishing and serving of meals, food, or drinks, such as optional entertainment or any staff who do not directly participate in the preparation, furnishing, or serving of meals, food, or drinks, e.g., coat-check clerks, parking attendants, security guards, etc.
2. When a caterer sells meals, food, or drinks, and the serving of them, to other persons such as event planners, party coordinators, or fundraisers, who buy and sell the same on their own account or for their own sake, it is a sale for resale for which the caterer may accept a resale certificate. However, a caterer may only claim the sale as a resale if the caterer obtains a resale certificate in compliance with Regulation 1668. A person is buying or selling for his or her own account, or own sake, when such person has his or her own contract with a customer to sell the meals, food, or drinks to the customer, and is not merely acting on behalf of the caterer.
3. When a caterer sells meals, food or drinks and the serving of them to other persons who charge a fee for their service unrelated to the taxable sale, the separately stated fee is not subject to tax.
(D) Sales of meals by caterers to social clubs, fraternal organizations. Sales of meals to social clubs and fraternal organizations, as those terms are defined in subdivision (j) below, by caterers are sales for resale if such social clubs and fraternal organizations are the retailers of the meals subject to tax under subdivision (j) and give valid resale certificates therefor.
(E) Tips, gratuities, or service charges. Tips, gratuities, and service charges are discussed in subdivisions (g) and (h).
(4) Premises. General. Separately stated charges for the lease of premises on which meals, food, or drinks are served, are nontaxable leases of real property. Where a charge for leased premises is a guarantee against a minimum purchase of meals, food or drinks, the charge for the guarantee is gross receipts subject to tax. Where a person contracts to provide both premises and meals, food or drinks, the charge for the meals, food or drinks must be reasonable in order for the charge for the premises to be nontaxable.
(5) Private chefs. A private chef is generally not an employee of the customer, but an independent contractor who pays his or her own social security, and federal and state income taxes. Such a private chef, who prepares and serves meals, food and drinks in the home of his or her customer is a caterer under this regulation.
(j) Social clubs and fraternal organizations. "Social Clubs and Fraternal Organizations" as used herein include any corporation, partnership, association or group or combination acting as a unit, such as service clubs, lodges, and community, country, and athletic clubs.
The tax applies to receipts from the furnishing of meals, food, and drink by social clubs and fraternal organizations unless furnished: (1) exclusively to members; and also, (2) less frequently than once a week. Both of these requirements must be met. If the club or organization furnishes meals, food or drink to nonmembers, all receipts from the furnishing of meals, food or drink are subject to tax whether furnished to members or nonmembers, including receipts on occasions when furnished exclusively to members. Meals, food or drink paid for by members are considered furnished to them even though consumed by guests who are not members.
(k) Student meals.
(1) Definitions.
(A) "Food products." As used herein, the term "food products" as defined in Regulation 1602 (18 CCR 1602) includes food furnished, prepared, or served for consumption at tables, chairs, or counters, or from trays, glasses, dishes, or other tableware provided by the retailer or by a person with whom the retailer contracts to furnish, prepare or serve food to others.
(B) "Meals." As used herein, the term "meals" includes both food and nonfood products, which are sold to students for an established single price at a time set aside for meals. If a single price for the combination of a nonfood product and a food product is listed on a menu or on a sign, a single price has been established. The term "meals" does not include nonfood products which are sold to students for a separate price and tax applies to the sales of such products. Examples of nonfood products are: carbonated beverages and beer. For the purpose of this regulation, products sold at a time designated as a "nutrition break", "recess", or similar break, will not be considered "meals."
(2) Application of tax.
(A) Sales by schools, school districts and student organizations. Sales of meals or food products for human consumption to students of a school by public or private schools, school districts, and student organizations, are exempt from tax, except as otherwise provided in (d)(4) above.
(B) Sales by parent-teacher associations. Tax does not apply to the sale of, nor the storage, use or other consumption in this state of, meals and food products for human consumption furnished or served to the students of a school by parent-teacher associations. Parent-teacher associations qualifying under Regulation 1597 as consumers are not retailers of tangible personal property, which they sell. Accordingly, tax does apply to the sale to such associations of nonfood items such as carbonated beverages, containers, straws and napkins.
(C) Sales by blind vendors. Tax does not apply to the sale of meals or food products for human consumption to students of a school by any blind person (as defined in section 19153 of the Welfare and Institutions Code) operating a restaurant or vending stand in an educational institution under article 5 of chapter 6 of part 2 of division 10 of the Welfare and Institutions Code, except as otherwise provided in (d)(4) above.
(D) Sales by caterers. The application of tax to sales by caterers in general is explained in subdivision (i) above. However, tax does not apply to the sale by caterers of meals or food products for human consumption to students of a school, if all the following criteria are met:
1. The premises used by the caterer to serve the lunches to the students are used by the school for other purposes, such as sporting events and other school activities, during the remainder of the day;
2. The fixtures and equipment used by the caterer are owned and maintained by the school; and
3. The students purchasing the meals cannot distinguish the caterer from the employees of the school.
(l) Employees' meals.
(1) In general. Any employer or employee organization that is in the business of selling meals, e.g., a restaurant, hotel, club, or association, must include its receipts from the sales of meals to employees, along with its receipts from sales to other purchasers of meals, in the amount upon which it computes its sales tax liability. An employer or an employee organization selling meals only to employees becomes a retailer of meals and liable for sales tax upon its receipts from sales of meals if it sells meals to an average number of five or more employees during the calendar quarter.
(2) Specific charge. The tax applies only if a specific charge is made to employees for the meals. Tax does not apply to cash paid an employee in lieu of meals. A specific charge is made for meals if:
(A) Employee pays cash for meals consumed.
(B) Value of meals is deducted from employee's wages.
(C) Employee receives meals in lieu of cash to bring compensation up to legal minimum wage.
(D) Employee has the option to receive cash for meals not consumed.
(3) No specific charge. If an employer makes no specific charge for meals consumed by employees, the employer is the consumer of the food products and the nonfood products, which are furnished to the employees as a part of the meals.
In the absence of any of the conditions under (l)(2) a specific charge is not made if:
(A) A value is assigned to meals as a means of reporting the fair market value of employees' meals pursuant to state and federal laws or regulations or union contracts.
(B) Employees who do not consume available meals have no recourse on their employer for additional cash wages.
(C) Meals are generally available to employees, but the duties of certain employees exclude them from receiving the meals and are paid cash in lieu thereof.
(4) Meals credited toward minimum wage. If an employee receives meals in lieu of cash to bring his or her compensation up to the legal minimum wage, the amount by which the minimum wage exceeds the amount otherwise paid to the employee is includable in the employer's taxable gross receipts up to the value of the meals credited toward the minimum wage.
For example, if the minimum rate for an eight-hour day is $46.00, and the employee received $43.90 in cash, and a lunch is received which is credited toward the minimum wage in the maximum allowable amount of $2.10, the employer has received gross receipts in the amount of $2.10 for the lunch.
(5) Tax reimbursement. If a separately stated amount for tax reimbursement is not added to the price of meals sold to employees for which a specific charge is made, the specific charge will be regarded as being a tax-included charge for the meals.
(m) Religious organizations. Tax does not apply to the sale of, and the storage, use or other consumption in this state of, meals and food products for human consumption furnished or served by any religious organization at a social or other gathering conducted by it or under its auspices, if the purpose in furnishing or serving the meals and food products is to obtain revenue for the functions and activities of the organization and the revenue obtained from furnishing or serving the meals and food products is actually used in carrying on such functions and activities. For the purposes of this regulation, "religious organization" means any organization the property of which is exempt from taxation pursuant to subdivision (f) of section 3 of article XIII of the State Constitution.
(n) Institutions. Tax does not apply to the sale of, nor the storage, use, or other consumption in this state of, meals and food products for human consumption furnished or served to and consumed by patients or residents of an "institution" as defined in Regulation 1503. Tax, however, does apply to the sale of meals and food products by an institution to persons other than patients or residents of the institution.
(o) Meal programs for low-income elderly persons. Tax does not apply to the sale of, and the storage, use or other consumption in this state of, meals and food products for human consumption furnished or served to low-income elderly persons at or below cost by a nonprofit organization or governmental agency under a program funded by this state or the United States for such purposes.
(p) Food products, nonalcoholic beverages and other tangible personal property transferred by nonprofit youth organizations. See Regulation 1597 for the application of tax on food products, nonalcoholic beverages and other tangible personal property transferred by nonprofit youth organizations.
(q) Nonprofit parent-teacher associations. Nonprofit parent-teacher associations and equivalent organizations qualifying under Regulation 1597 are consumers and not retailers of tangible personal property, which they sell.
(r) Meals and food products served to condominium residents. Tax does not apply to the sale of, and the storage, use, or other consumption in this state of meals and food products for human consumption furnished to and consumed by persons 62 years of age or older residing in a condominium and who own equal shares in a common kitchen facility; provided, that the meals and food products are served to such persons on a regular basis.
This exemption is applicable only to sales of meals and food products for human consumption prepared and served at the common kitchen facility of the condominium. Tax applies to sales to persons less than 62 years of age.
(s) Veteran's organization. Beginning April 1, 2004, tax does not apply to the sale of, and the storage, use or other consumption in this state of, meals and food products for human consumption furnished or served by any nonprofit veteran's organization at a social or other gathering conducted by it or under its auspices, if the purpose in furnishing or serving the meals and food products is to obtain revenue for the functions and activities of the organization and the revenue obtained from furnishing or serving the meals and food products is actually used in carrying on those functions and activities.
(t) CalFresh Benefits (Formerly Food Stamp Coupons). Tax does not apply to tangible personal property which is eligible to be purchased with CalFresh benefits acquired pursuant to the Food and Nutrition Act of 2008 and so purchased. When payment is made in the form of both CalFresh benefits and cash, the amount of the CalFresh benefits must be applied first to tangible personal property normally subject to the tax, e.g., nonalcoholic carbonated beverages. Retailers are prohibited from adding any amount designated as sales tax, use tax, or sales tax reimbursement to sales of tangible personal property purchased with CalFresh benefits. (See paragraph (c) of Regulation 1602.5 for special reporting provisions by grocers.)
(u) Honor system snack sales. An "honor system snack sale" means a system where customers take snacks from a box or tray and pay by depositing money in a container provided by the seller. Snacks sold through such a system may be subject to tax depending upon where the sale takes place. Sales of such snacks are taxable when sold at or near a lunchroom, break room, or other facility that provides tables and chairs, and it is contemplated that the food sold will normally be consumed at such facilities. Honor system snack sales do not include hotel room mini-bars or snack baskets.
(v) Mobile food vendors. Mobile food vendors include retailers who sell food and beverages for immediate consumption from motorized vehicles or un-motorized carts. Examples of mobile food vendors include food trucks, coffee carts, and hot dog carts. For sales made on or after July 1, 2014, unless a separate amount for tax reimbursement is added to the price, mobile food vendors' sales of taxable items are presumed to be made on a tax-included basis.
This presumption does not apply when a mobile food vendor is making sales as a "caterer" as defined in (i)(1).
History—Amended September 14, 1955.
Amended September 13, 1961.
Amended September 18, 1963.
Amended September 2, 1965, applicable as amended September 17, 1965.
Amended October 8, 1968, applicable on and after October 1, 1968.
Amended November 3, 1969, effective as amended January 1, 1970.
Amended December 10, 1969, applicable as amended January 1, 1970.
Amended and renumbered June 5, 1970, effective July 9, 1970.
Amended June 19, 1970, effective July 23, 1970.
Amended November 5, 1970, effective December 10, 1970.
Amended May 12, 1971, effective June 13, 1971, as a restatement.
Amended September 15, 1971, effective October 1, 1971.
Amended December 15, 1971, applicable on and after January 1, 1972.
Amended February 16, 1972, effective March 25, 1972.
Amended September 14, 1972, effective September 15, 1972.
Amended October 17, 1973, effective November 18, 1973.
Amended October 8, 1974, effective October 10, 1974. Noted effect of change of definition of "institution".
Amended December 19, 1974, effective January 26, 1975. Clarified tax exempt sales of hot food to interstate air carriers, reorganized (d) and (e), and added (n) on reference to section on tax exempt sales by nonprofit youth sports organizations.
Amended September 19, 1975, effective October 26, 1975. Corrected reference and clarified the taxable status of sales of hot bakery goods and hot beverages, of vending machine sales, and of credited tips against the minimum wage.
Amended December 17, 1975, effective January 1, 1976. Noted that employers can no longer credit tips against wages of employees and deleted references to such credit of tips as taxable receipts.
Amended September 28, 1978, effective November 18, 1978. Amends (i)(2)(A) and (c)(4); adds (i)(2)(B) and (o).
Amended April 9, 1980, effective July 6, 1980. In Subsection (k) deleted "section 1½" and added "subdivision (f) of Section 3 of Article XIII of the State Constitution. Added to Appendix A all banks except "Purchasing Air Carrier."
Amended April 1, 1981, effective August 19, 1981. In (1) changed "inmates" to "residents." Added (p).
Amended May 9, 1984, effective September 12, 1984. In (d)(1) added reference to Regulation 1574; in (i)(2)(A) and (i)(3) deleted reference to 33 percent of gross receipts from sale of cold food products sold for more than 15 cents; and in (i)(2)(A) deleted reference to Regulation 1574.
Amended April 9, 1985, effective June 27, 1985. A new subdivision (c) was added to interpret and explain the 1984 amendments to Section 6359. Subdivisions (d) through (p) were relettered to (e) through (q) consecutively. Subdivision (f), formerly designated (e) was changed by deleting obsolete language which was contrary to the provisions of Section 6359, as amended by Chapter 930, Statutes of 1984, and there were corrections of cross references.
Amended May 6, 1986, effective July 24, 1986. In subdivision (d)(1), amended regulation to include marinas, campgrounds, and recreational vehicle parks. In subdivision (o), amended regulation to limit organizations covered by regulation, and made the organizations consumers of certain items of tangible personal property.
Amended August 24, 1988, effective November 19, 1988. In subdivision (s) amended to provide that certain items purchased with food stamp coupons are exempt from sales and use taxes. In subdivision (r) amended to provide guidance with reference to free meals provided by restaurants under a sales promotional plan.
Amended August 1, 1989, effective October 15, 1989. Subdivision (m), added the explanation that tax does apply to sales of meals and food productions to persons other than patients or residents.
Amended March 17, 1992, effective July 3, 1992. Divided former paragraph (j)(1) into (A) Food Products, as defined in Regulation 1602, and (B) Meals, which includes tax application to food and non-food products; deleted "or equivalent organizations" in paragraph (j)(2)(B); corrected various references, printing errors and numbering; added footnote 1 to paragraph (b).
Amended October 26, 1993, effective February 20, 1994. Amended subdivision (j)(1)(B) to delete "snack food" as an example of a non-food product; amended subdivisions (b) and (c); added (c)(1)(B), (c)(2) and (c)(3) to clarify the application of the 80-80 rule.
Amended September 23, 1998, effective January 9, 1999. Subdivision (a) rewritten and expanded. New subdivision (a)(1) designated; former first unnamed paragraph renamed subdivision (a)(1)(A), new subdivisions (a)(1)(B–E) added; former unnumbered paragraph included in new subdivision (a)(2)(A) with references to special packages and beverages added; subdivision (2)(B) added. Subdivision (c)(1)(A) amended by substituting phrase "meets both criteria of the 80-80 rule as explained in" for "qualifies under the provisions of" and "(80-80 rule)" and adding new unnumbered paragraph; subdivision (c)(1)(B) amended by substituting phrase "meets both criteria of the 80-80 rule as explained in" for "qualifies under the provisions of" and "(80-80 rule)"; subdivision (c)(2) amended by moving substance of subdivision (c)(2) to new subdivision (c)(2)(A) and redesignating former paragraphs (c)(2)(A) and (B) as new subdivisions (c)(2)(A)1. and 2. (with references to milkshakes added to new subdivision (c)(2)(A)2.); new subdivision (c)(2)(B) added; subdivision (c)(3)(B) revised for clarity and new first sentence added to unnumbered paragraph. Subdivision (k)(2) amended by adding "to employees" to first sentence. Subdivision (k)(3) amended by adding phrases "by an employer" and "consumed by employees" and "and … meals" and deleting "purchased … employer."; and subdivision (k)(4) amended by adding "or her" to first paragraph and substituting "$46.00" for "$13.20" and "$43.90" for "$12.20" and "$2.10" for "$1.00." Subdivision letters deleted from cross-references to Regulation 1597 in subdivisions (o) and (p).
Amended February 6, 2002, effective June 13, 2002. Subdivision (a)(1)(C)—words "there" and "the" capitalized. Subdivision (a)(2)(A)—new sentence added to the end of the first paragraph; first unnumbered paragraph—spelling of "Soufflé" corrected. Subdivision (e)(1)—spelling of "consommè " corrected. Subdivision (h) is expanded with several new subdivisions. First paragraph of existing subdivision (h) moved to new subdivision (h)(1) and entitled "DEFINITION"; word "and" replaced with "or" and phrase "or … caterer," added. Phrase "customer by the" added. New subdivisions (h)(2) and (h)(3) added. Language of first unnumbered paragraph of existing subdivision (h) transferred to new subdivision (h)(3)(A) and re-written. Phrase "A … General" added. New subdivisions (h)(3)(B), (C) and (E), (h)(4), and (h)(5) added. Language of current second unnumbered paragraph promulgated as new subdivision (h)(3)(D). Subdivision (j)(2)—new subdivision (D) added. Subdivision (k)(3)—subdivision re-written from passive to active voice. Subdivision (t) added.
Amended June 30, 2004; effective September 10, 2004. Word "Section" changed to lower case and spelling errors corrected throughout. Subdivision (a)(2)(C)—added with language of former subdivision (r) regarding free meals served by restaurants moved to here. Subdivisions (c)(3)(A&B)—first words in subdivisions corrected to upper case. Subdivisions (h)(1&2)—line spaces added. Subdivision (h)(5) line space added after title; word "and" added before word "federal." Subdivision (j)(2)(D)—parentheses deleted from sub-designations. Subdivision (l)—letter "s" deleted from word "sales" and words "the" and ", and the storage, use or other consumption in this state of," added. Subdivision (r)—new subdivision added.
Amended April 25, 2007, effective August 15, 2007. Amended subdivision (g) to clarify the application of tax to tips, gratuities and service charges.
Amended March 25, 2014, effective July 1, 2014. Added subdivision (u) to provide that for sales made on or after July 1, 2014, mobile food vendors' sales of taxable items are presumed to be made on a tax-included basis.
Amended August 5, 2014, effective January 1, 2015. Amended subdivision (g)’s provisions regarding tips, gratuities, and service charges so that they only apply to transactions occurring prior to January 1, 2015; added a new subdivision (h) with provisions that are applicable to such transactions occurring on or after January 1, 2015, including provisions that define the term "amount" and provide that when a retailer keeps records consistent with reporting amounts as tip wages for Internal Revenue Service purposes, such amounts are presumed to be optional and not subject to tax. Renumbered subdivisions (h) through (u), as subdivisions (i) through (v), and updated cross-references to the renumbered subdivisions. Made minor grammatical and formatting changes to subdivisions (a)(1)(E), (2)(A), (2)(B), (e)(1), and (g)(1)(A), and in new subdivisions (i)(3)(A) and (4), (j), (k)(1)(A) and (B), (l)(3), and (p). Updated the cross-references to other regulations following the reference note.
Amended and effective March 22, 2023. Changes without regulatory effect to replace the title of subdivision (t), "Food stamp coupons" with "CalFresh Benefits (Formerly Food Stamp Coupons)," delete the comma after "property," replace "federal food stamp coupons" with "CalFresh benefits," and replace "Stamp Act of 1977" with "and Nutrition Act of 2008" in the first sentence of subdivision (t), replace "food stamps" with "CalFresh benefits" after "both" and "food stamp coupons" with "CalFresh benefits" after "of the" in second sentence of subdivision (t), and replace "food stamp coupons" with "CalFresh benefits" in the third sentence of subdivision (t); filed March 22, 2023, pursuant to section 100, title 1, California Code of Regulations (Register 2023, No.13-Z ).
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https://www.britannica.com/art/rock-and-roll-early-style-of-rock-music
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Rock and roll | History, Songs, Artists, & Facts
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Rock and roll, style of popular music that originated in the United States in the mid-1950s and that evolved by the mid-1960s into the more encompassing international style known as rock music, though the latter also continued to be known as rock and roll. Learn more about the history of rock and roll in this article.
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en
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/art/rock-and-roll-early-style-of-rock-music
|
rock and roll, style of popular music that originated in the United States in the mid-1950s and that evolved by the mid-1960s into the more encompassing international style known as rock music, though the latter also continued to be known as rock and roll.
Rock and roll has been described as a merger of country music and rhythm and blues, but, if it were that simple, it would have existed long before it burst into the national consciousness. The seeds of the music had been in place for decades, but they flowered in the mid-1950s when nourished by a volatile mix of Black culture and white spending power. Black vocal groups such as the Dominoes and the Spaniels began combining gospel-style harmonies and call-and-response singing with earthy subject matter and more aggressive rhythm-and-blues rhythms. Heralding this new sound were disc jockeys such as Alan Freed of Cleveland, Ohio, Dewey Phillips of Memphis, Tennessee, and William (“Hoss”) Allen of WLAC in Nashville, Tennessee—who created rock-and-roll radio by playing hard-driving rhythm-and-blues and raunchy blues records that introduced white suburban teenagers to a culture that sounded more exotic, thrilling, and illicit than anything they had ever known. In 1954 that sound coalesced around an image: that of a handsome white singer, Elvis Presley, who sounded like a Black man.
Britannica Quiz
Sound Check: Musical Vocabulary Quiz
Presley’s nondenominational taste in music incorporated everything from hillbilly rave-ups and blues wails to pop-crooner ballads. Yet his early recordings with producer Sam Phillips, guitarist Scotty Moore, and bassist Bill Black for in Memphis were less about any one style than about a feeling. For decades African Americans had used the term rock and roll as a euphemism for sex, and Presley’s music oozed sexuality. Presley was hardly the only artist who embodied this attitude, but he was clearly a catalyst in the merger of Black and white culture into something far bigger and more complex than both.
In Presley’s wake, the music of Black singers such as Fats Domino, Little Richard, Chuck Berry, and Bo Diddley, who might have been considered rhythm-and-blues artists only years before, fit alongside the rockabilly-flavoured tunes of white performers such as Buddy Holly, Eddie Cochran, and Jerry Lee Lewis, in part because they were all now addressing the same audience: teenagers. For young white America, this new music was a soundtrack for rebellion, however mild. When Bill Haley and His Comets kicked off the 1955 motion picture Blackboard Jungle with “Rock Around the Clock,” teens in movie houses throughout the United States stomped on their seats. Movie stars such as Marlon Brando in The Wild One (1953) and James Dean in Rebel Without a Cause (1955) oozed sullen, youthful defiance that was echoed by the music. This emerging rock-and-roll culture brought a wave of condemnations from religious leaders, government officials, and parents’ groups, who branded it the “devil’s music.”
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https://tasteofcountry.com/sam-hunt-montevallo-debut-album/
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Remember When Sam Hunt Released His Debut Album?
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2023-10-27T14:51:54+00:00
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Sam Hunt released his debut album, 'Montevallo', on Oct. 27, 2014.
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en
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Taste of Country
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https://tasteofcountry.com/sam-hunt-montevallo-debut-album/
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Sam Hunt had been in Nashville and working on a career in music for half a decade by the time he released his debut album, Montevallo. After he signed his first record deal, though, things took off quickly.
Montevallo arrived seven years ago today, on Oct. 27, 2014 — just four months after Hunt signed with MCA Nashville and dropped his debut country radio single, "Leave the Night On," in June of 2014. The song appears on both his 2013 acoustic mixtape, Between the Pines, and 2014's X2C EP in addition to Montevallo, and by mid-November of 2014, it was at No. 1 on both the Billboard Country Airplay and Hot Country Songs charts.
"Leave the Night On" is one of four songs from X2C and several from Between the Pines that also appear on Montevallo. Hunt co-wrote the 10 tracks on his debut album primarily with Shane McAnally and Josh Crowell, the record's co-producers, as well as Josh Osborne, though Jerry Flowers, Old Dominion member Matt Ramsey and others also have writing credits on various songs. Among the musicians who were in the studio with Hunt were Mickey Guyton and Hillary Lindsey, both of whom sing backup vocals throughout the project.
In addition to "Leave the Night On," Montevallo's singles were "Take Your Time," "House Party," "Break Up in a Small Town" and "Make You Miss Me." All of the songs except "Break Up in a Small Town" went to No. 1 on Billboard Country Airplay chart, and even that single peaked at No. 2. All five singles have also been certified at least three-times Platinum, with "House Party" going four-times Platinum and both "Take Your Time" and "Break Up in a Small Town" achieving five-times Platinum status.
Hunt's quick success, good looks and penchant for singing about a failed relationship got fans wondering: Who broke his heart, and what was the connection to the small college town of Montevallo, Ala., after which Hunt named his debut album? The story played out as his star rose.
Hunt himself attended the University of Alabama at Birmingham, which is located about 30 miles north of Montevallo — but, during college, he met a woman named Hannah Lee Fowler, who was from Montevallo. Their on-again, off-again romance inspired not only much of Montevallo, but also, later, a public apology in the form of Hunt's song "Drinkin' Too Much," in which he tries to make amends for his romantic misdeeds, and for, perhaps inadvertently, putting Fowler in a spotlight of her own as fans dug into Hunt's personal life and identified her.
Hunt and Fowler's story has a happy ending, of course: He first released "Drinkin' Too Much" around the time he and Fowler announced their engagement in early 2017. They got married that April, and she also inspired Hunt's record-breaking 2020 mega-hit "Body Like a Back Road." They now have one daughter and are expecting another child.
Upon its release, Montevallo landed at No. 1 on the Billboard Top Country Albums chart and at No. 3 on the all-genre Billboard 200. Because "Leave the Night On" was at No. 1 on both country song charts at the same time, Hunt became the first country artist in more than two decades to top three country charts simultaneously since Billy Ray Cyrus did so with "Achy Breaky Heart."
Montevallo spent nine non-consecutive weeks at No. 1, and has been certified three-times Platinum. The album and its songs earned Hunt ACM Awards nominations for New Artist of the Year, Album of the Year and Single Record of the Year; CMA Awards for Single of the Year, Song of the Year and New Artist of the Year; and Grammy Awards for Best New Artist and Best Country Album, among other accolades.
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https://www.bemuso.com/articles/beatlestimelines.html
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The Beatles, chronology of single, album, film releases, events, records, song recordings, sessions, date sequence order
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The Beatles
timelines of their recordings and career
Recordings, releases and key events in order
Recording and chronology notes
The table layout
The tracks and releases
Pete Best
Bigger Than Jesus
Songs in recording session order
Polydor Germany recordings
Decca audition recordings
EMI Parlophone recordings
Beatles timelines
This is an outline of The Beatles’ writing and recording career, relating studio sessions, original UK releases and other events.
There are 2 main lists on this page:
An overall chronology of major releases and events
A complete sequential list of recording sessions and songs
This isn’t a complete discography or an exhaustive account of every repackaged and rereleased track. I don’t cover every out-take and post-Beatles recording on this page.
These Beatles records and films were produced in less than 8 years, alongside:
4 years relentless touring around the world up to 1966;
regular television and radio work, recordings and appearances;
Lennon/McCartney songs written for other artists;
solo instrumental compositions by Paul;
George’s solo electronic compositions;
Ringo’s solo records and acting work;
John’s books and drawings, and records and films with Yoko.
It’s an impressive legacy, and that’s only the highlights. Here are the main titles in the order they were originally recorded and released.
Recordings, releases and key events in order
Few Beatles singles were album tracks and you can’t easily tell if they were also on EPs or LPs. All the tracks are now available on various CDs, but not in the order they were originally made and issued. This table shows the albums and singles in chronological order, with recording and UK release dates (EPs that duplicated other releases are omitted). It also shows which singles were on albums and some key events for context. There are additional footnotes about certain tracks and events.
Album Start End Release Single Start End Release title date date date name date date date 1957 Paul met John and The Quarry Men 6 July (Woolton Parish Church Garden Fête) and joined that month 1958 George joined The Quarry Men in February or March ‘In Spite Of All The Danger’ recording John, Paul, George (Colin Hanton, drums and John Lowe, piano) 1959 Local gigs and talent shows as The Quarry Men and Johnny and the Moondogs 1960 May: Alan Williams (manager) arranged Scottish tour (Tommy Moore, drums) with Larry Parnes’ Johnny Gentle Pete Best joined 12 August for Hamburg bookings and The Silver Beatles became The Beatles Hamburg (1)—August to November (inc. first John, Paul, George and Ringo recordings, with Wally) November: George, Paul and Pete Best deported from Germany (and Stu Sutcliffe quit) 1961 Hamburg (2)—April to June (inc. recording with Tony Sheridan) Brian Epstein became manager 10 December 1962 Decca London recording audition 1 January (15 songs selected by Brian) Hamburg (3)—April to May EMI Abbey Road recording audition 6 June Love Me Do PPM
P.S. I Love You PPM 6.6.62
11.9.62 Pete Best sacked 16 August and replaced by Ringo (first gig 18 August) 5.10.62 Please Please Me
PPM 11.9.62 Please Please Me PPM
Ask Me Why PPM 26.11.62
6.6.62 26.11.62
26.11.62 Hamburg (4)—18 to 31 December (last dates at the Star Club) 1963 11.2.63 22.3.63 11.1.63 From Me To You
Thank You Girl 5.3.63
5.3.63
13.3.63 11.4.63 She Loves You
I’ll Get You 1.7.63 23.8.63 With The Beatles 18.7.63 23.10.63 22.11.63 I Want To Hold Your Hand
This Boy 17.10.63 29.11.63 1964 America (1)—7 to 21 February, Ed Sullivan Show, Washington Coliseum and Carnegie Hall Can’t Buy Me Love
You Can’t Do That AHDN 29.1.64
25.2.64 25.2.64
20.3.64 I Call Your Name 1.3.64 19.6.64 A Hard Day’s Night film release 6 July A Hard Day’s
Night AHDN 25.2.64 2.6.64 10.7.64 A Hard Day’s Night AHDN
Things We Said Today AHDN 16.4.64
2.6.64 10.7.64 America (2)—19 August to 20 September Beatles For Sale 11.8.64 26.10.64 4.12.64 I Feel Fine
She’s A Woman 18.10.64
8.10.64 27.11.64 1965 Help! H! 15.2.65 Ticket To Ride H!
Yes It Is 15.2.65
16.2.65 9.4.65 17.6.65 Help! H!
I’m Down 13.4.65
14.6.65 23.7.65 MBE awards announced 12 June Help! film release 29 July 6.8.65 America (3)—13 to 31 August George Martin left EMI to form AIR August Rubber Soul 17.6.65 11.11.65 3.12.65 We Can Work It Out
Day Tripper 20.10.65
16.10.65 29.10.65
3.12.65 1966 Revolver R 6.4.66 Paperback Writer
Rain 13.4.66
14.4.66 14.4.66
16.4.66 10.6.66 20.6.66 5.8.66 Yellow Submarine R / YS
Eleanor Rigby R * 26.5.66
28.4.66 1.6.66
6.6.66 5.8.66 Philipines 4/5 July, Imelda ‘snubbed’, Beatles robbed and deported ‘More popular than Christianity’ article appeared in Datebook 29 July sparking USA protests America (4)—12 to 29 August Candlestick Park, San Francisco last live concert 29 August John: acted in How I Won The War, Paul: theme for The Family Way, George: sitar lessons Ravi Shankar (India) John met Yoko at Indica Gallery Sgt. Pepper’s
Lonely Hearts
Club Band 6.12.66 Penny Lane **
Strawberry Fields Forever ** 29.12.66
24.11.66 17.1.67
22.12.66 1967 17.2.67 Yellow Submarine
YS 13.2.67 3.4.67 1.6.67 BBC One World satellite broadcast 25 June featuring ‘All You Need Is Love’ Magical Mystery
Tour MMT 25.4.67 All You Need Is Love YS **
Baby You’re A Rich Man * / ** 14.6.67
11.5.67 25.6.67
7.7.67 Brian Epstein died 26/27 August 7.11.67 8.12.67 Hello Goodbye **
I Am The Walrus MMT 2.10.67
5.9.67 2.11.67
29.9.67 24.11.67 Magical Mystery Tour film release (TV) 26 December 1968 India, the Maharishi February to April 11.2.68 Lady Madonna
The Inner Light 3.2.68
12.1.68 6.2.68
8.2.68 15.3.68 The Beatles TB 30.5.68 Hey Jude
Revolution TB 29.7.68
30.5.68 1.8.68
12.7.68 30.8.68 Yellow Submarine film release 17 July 14.10.68 22.11.68 1969 17.1.69 Let It Be LIB
Let It Be…Naked 22.1.69 Get Back LIB
Don’t Let Me Down 23.1.69
22.1.69 5.2.69
30.1.69 Apple rooftop gig last public performance 30 January Abbey Road AR 22.2.69 11.4.69 The Ballad Of John and Yoko
Old Brown Shoe 14.4.69
16.4.69
18.4.69 30.5.69 The last day all 4 Beatles were in the studio 20 August Something AR
Come Together AR 16.4.69
21.7.69 15.8.69
30.7.69 25.8.69 26.9.69 31.10.69 Let It Be LIB
You Know My Name 25.1.69
17.5.67 4.1.70
30.4.69 1970 4.1.70 6.3.70 Last Beatles recording session 3/4 January Paul, George and Ringo ‘Let It Be’ album tracks Paul McCartney the first to publicly quit 10 April 8.5.70 Let It Be film release 20 May 1971 The Beatles partnership legally dissolved 26 April with final effect 1 October 1974 2003 17.11.2003
Recording and chronology notes
The table layout
This is how the table is arranged.
Records are organised by the start of recording.
Album start dates ignore tracks previously issued as singles.
Release dates are the UK releases.
Single A and B sides are shown in that order.
Compilations (EPs and LPs) are not listed (except 2., 4. and 5. below).
Events are placed chronologically between releases.
Bold initials show songs that are also on albums.
The tracks and releases
Some additional notes about the releases and tracks:
Love Me Do was recorded with three different drummers.
Pete Best at the EMI audition on 6.6.62 (the version on Anthology 1)
Ringo at the first EMI session on 4.9.62 (the version on Past Masters Volume One)
Andy White a week later on 11.9.62 (the version on Please Please Me and 1 with Ringo on tambourine)
I Call Your Name: there were 12 single-disc EPs (see below) but only the Long Tall Sally EP had a Beatles song not on other singles or albums.
A compilation A Collection of Beatles Oldies was released 9.12.66 with only one new track (Bad Boy) not a Beatles composition.
* these single tracks were added to the later Yellow Submarine Songtrack album (13.8.99).
** these single tracks were added to the later Magical Mystery Tour album (19.11.76).
Magical Mystery Tour was originally a double EP rather than an album (also their last EP).
Let It Be: Across The Universe was started on 4.2.68—22.1.69 is the first day of the main recording.
Abbey Road: various tracks were rehearsed during the Let It Be sessions at Twickenham but all were re-recorded for the Abbey Road album.
Let It Be was the only album released in two versions (Phil Spector in 1970 and Let It Be…Naked in 2003).
The single versions of Revolution, Get Back and Let It Be are different to the album versions.
Pete Best
Various band members came and went before the final John, Paul, George and Ringo line-up. After Stu Sutcliffe, Pete Best is the most well-known. His two year stint began when they renamed themselves simply “The Beatles” and he was crucial for their live Hamburg and UK work. It is tragic that he was replaced on the eve of their breakthrough. There are conspiracy theories but it seems fairly straightforward, especially since the Pete Best version of Love Me Do was released on Anthology 1.
Brian Epstein and George Martin agree it was George Martin’s decision to replace Pete after the EMI recording test in June 1962. Pete’s rhythmic variations on Love Me Do are weaker than Ringo’s interpretation (copied by session drummer Andy White for the original release). George Martin wanted the debut single to be tight. A mono mix was made from one of Ringo’s 15 takes but a week later Andy White played on a further 18 takes before Martin was satisfied. It seems unlikely Pete could have drummed on the single George Martin wanted. He had to go.
In simple terms, the band previously rejected by EMI and Decca was also rejected by George Martin.
Bigger Than Jesus
The generally accepted version of the “Bigger Than Jesus” story is that Americans, particularly in the Deep South, were outraged by John’s supposedly blasphemous remark. The offending quote was first published in a Maureen Cleave series for the Evening Standard on 4 March 1966. Apparently it went unnoticed in the USA until it was picked up by Datebook (a teenage pop magazine) for their issue published on 29 July, presumably to cash in on The Beatles’ American tour in August. What interests me is that Paulâs quote, which appears before Johnâs on the cover, seems more inflammatory but it is hardly ever mentioned.
Of course, The Beatles knew black American musicians well and were inspired by their music, and they knew how they had been treated. Also, The Beatles insisted on playing to unsegregated audiences, so they were well aware of the situation in the South. It seems likely to me that it was Paulâs comment and The Beatlesâ position on segregation that caused more anger in Alabama and Texas but Johnâs comment was more convenient as an excuse. A blatantly racist anti-Beatles campaign would not go down well in New York or California where contrived Christian indignation might. If so, it worked and The Beatles never played there again.
Songs in recording session order
Polydor Germany recordings
The Beatles’ first recording contract was backing Tony Sheridan as The Beat Brothers. Sheridan was signed separately to Bert Kaempfert’s production company in Germany. This was a one year deal for 4 tracks to be released on Polydor. Two of these tracks (Cry For A Shadow and Ain’t She Sweet) featured The Beatles. The My Bonnie single was released in October 1961 and featured two of the 9 tracks recorded. The other tracks weren’t used immediately.
Year Song Single Writers 1961 Polydor single session — 22 to 23 June 1961 My Bonnie Lies Over the Ocean A side cover When The Saints Go Marching In B side cover Nobody’s Child cover Why (Can’t You Love Me Again) cover Cry For A Shadow Harrison/Lennon Polydor second session — 24 June 1961 (If You Love Me Baby) Take Out Some Insurance On Me cover Ain’t She Sweet cover 1962 Polydor final session — 24 May 1962 Sweet Georgia Brown cover Swanee River cover
Decca audition recordings
These are the songs chosen by Brian Epstein and recorded at The Beatles’ unsuccessful Decca audition (1 January 1962) in the order they were played. It was this recording (rejected by Decca) that eventually led to their recording deal with EMI. On 8 February 1962 Brian took his Decca audition tape to HMV (EMI) in Oxford Street to have some 78 rpm acetates made (to demo the band in future meetings). Jim Foy, engineer at HMV, recommended the McCartney/Lennon compositions to Syd Coleman head of Ardmore and Beechwood, EMI’s music publisher at the time. Coleman’s office was upstairs at HMV. After meeting Epstein (8 May 1962) and hearing the acetate Syd Coleman recommended the band to George Martin for Parlophone. Epstein and Martin met the next day at Abbey Road and the audition was arranged for 6 June 1962.
Year Song Writers 1962 Decca audition — 1 January 1962 Like Dreamers Do McCartney/Lennon Money cover ‘Till There Was You cover The Sheik Of Araby cover To Know Her Is To Love Her cover Take Good Care Of My Baby cover Memphis, Tennessee cover Sure To Fall cover Hello Little Girl McCartney/Lennon Three Cool Cats cover Crying, Waiting, Hoping cover Love Of The Loved McCartney/Lennon September In The Rain cover Besame Mucho cover Searchin’ cover
EMI Parlophone recordings
This is a complete list of all The Beatles’ EMI songs showing how they were originally released in the UK, and the order they were recorded. They are sub-divided broadly into album sessions and The Beatles compositions are numbered (these numbers are the same as the sections in Revolution In The Head). Note that, contrary to popular myth, the Please Please Me album wasn’t recorded in a single day. However, most of the album was recorded on 11 February 1963 in two remarkable sessions.
Year/
No. Song Album
Track? Single
- A - Single
- B - Writers 1962 Please Please Me recording sessions — 6 June 1962 to 13 March 1963 1 Love Me Do Album A side McCartney/Lennon 2 P.S. I Love You Album B side McCartney/Lennon 3 Please Please Me Album A side McCartney/Lennon 4 Ask Me Why Album B side McCartney/Lennon 5 There’s A Place Album McCartney/Lennon 6 I Saw Her Standing There Album McCartney/Lennon A Taste Of Honey Album cover 7 Do You Want To Know A Secret Album McCartney/Lennon 8 Misery Album McCartney/Lennon 9 Hold Me Tight • With The Beatles McCartney/Lennon Anna Album cover Boys Album cover Chains Album cover Baby It’s You Album cover Twist And Shout Album cover 10 From Me To You A side McCartney/Lennon 11 Thank You Girl B side McCartney/Lennon 1963 With The Beatles recording sessions — 1 July 1963 to 17 October 1963 12 She Loves You A side Lennon/McCartney 13 I’ll Get You B side Lennon/McCartney You Really Got A Hold On Me Album cover Money (That’s What I Want) Album cover Devil In Her Heart Album cover Till There Was You Album cover Please Mr Postman Album cover 14 It Won’t Be Long Album Lennon/McCartney Roll Over Beethoven Album cover 15 All My Loving Album Lennon/McCartney 16 I Wanna Be Your Man Album Lennon/McCartney 17 Little Child Album Lennon/McCartney 18 All I’ve Got To Do Album Lennon/McCartney 19 Not A Second Time Album Lennon/McCartney 20 Don’t Bother Me Album Harrison 21 I Want To Hold Your Hand A side Lennon/McCartney 22 This Boy B side Lennon/McCartney 1964 A Hard Day’s Night recording sessions — 29 January 1964 to 2 June 1964 23 Can’t Buy Me Love Album Lennon/McCartney 24 You Can’t Do That Album Lennon/McCartney 25 And I Love Her Album Lennon/McCartney 26 I Should Have Known Better Album Lennon/McCartney 27 Tell Me Why Album Lennon/McCartney 28 If I Fell Album Lennon/McCartney 29 I’m Happy Just To Dance With You Album Lennon/McCartney Long Tall Sally • Long Tall Sally EP cover 30 I Call Your Name • Long Tall Sally EP Lennon/McCartney 31 A Hard Day’s Night Album Lennon/McCartney Matchbox • Long Tall Sally EP cover 32 I’ll Cry Instead Album Lennon/McCartney Slow Down • Long Tall Sally EP cover 33 I’ll Be Back Album Lennon/McCartney 34 Any Time At All Album Lennon/McCartney 35 Things We Said Today Album Lennon/McCartney 36 When I Get Home Album Lennon/McCartney 1964 Beatles For Sale recording sessions — 11 August 1964 to 26 October 1964 37 Baby’s In Black Album Lennon/McCartney 38 I’m A Loser Album Lennon/McCartney Mr Moonlight Album cover 39 Every Little Thing Album Lennon/McCartney 40 I Don’t Want To Spoil The Party Album Lennon/McCartney 41 What You’re Doing Album Lennon/McCartney 42 No Reply Album Lennon/McCartney 43 Eight Days A Week Album Lennon/McCartney 44 She’s A Woman B side Lennon/McCartney Kansas City/Hey, Hey, Hey, Hey Album cover 45 I Feel Fine A side Lennon/McCartney 46 I’ll Follow The Sun Album Lennon/McCartney Everybody’s Trying To Be My Baby Album cover Rock And Roll Music Album cover Words Of Love Album cover Honey Don’t Album cover 1965 Help! recording sessions — 15 February 1965 to 17 June 1965 47 Ticket To Ride Album A side Lennon/McCartney 48 Another Girl Album Lennon/McCartney 49 I Need You Album Harrison 50 Yes It Is B side Lennon/McCartney 51 The Night Before Album Lennon/McCartney 52 You Like Me Too Much Album Harrison 53 You’ve Got To Hide Your Love Away Album Lennon/McCartney 54 Tell Me What You See Album Lennon/McCartney 55 You’re Going To Lose That Girl Album Lennon/McCartney 56 Help! Album A side Lennon/McCartney Dizzy Miss Lizzy Album cover Bad Boy • Oldies But Goldies cover 57 I’ve Just Seen A Face Album Lennon/McCartney 58 I’m Down B side Lennon/McCartney 59 Yesterday Album Lennon/McCartney 60 It’s Only Love Album Lennon/McCartney Act Naturally Album cover 1965 Rubber Soul recording sessions — 17 June 1965 to 11 November 1965 61 Wait Album Lennon/McCartney 62 Run For Your Life Album Lennon/McCartney 63 Norwegian Wood (This Bird Has Flown) Album Lennon/McCartney 64 Drive My Car Album Lennon/McCartney 65 Day Tripper A side Lennon/McCartney 66 If I Needed Someone Album Harrison 67 In My Life Album Lennon/McCartney 68 We Can Work It Out A side Lennon/McCartney 69 Nowhere Man Album Lennon/McCartney 70 I’m Looking Through You Album Lennon/McCartney 71 Michelle Album Lennon/McCartney 72 What Goes On Album Lennon/McCartney/Starkey 73 Think For Yourself Album Harrison 74 The Word Album Lennon/McCartney 75 You Won’t See Me Album Lennon/McCartney 76 Girl Album Lennon/McCartney 1966 Revolver recording sessions — 6 April 1966 to 21 June 1966 77 Tomorrow Never Knows Album Lennon/McCartney 78 Got To Get You Into My Life Album Lennon/McCartney 79 Love You To Album Harrison 80 Paperback Writer A side Lennon/McCartney 81 Rain B side Lennon/McCartney 82 Doctor Robert Album Lennon/McCartney 83 And Your Bird Can Sing Album Lennon/McCartney 84 Taxman Album Harrison 85 I’m Only Sleeping Album Lennon/McCartney 86 Eleanor Rigby Album A side Lennon/McCartney 87 For No One Album Lennon/McCartney 88 Yellow Submarine Album A side Lennon/McCartney 89 I Want To Tell You Album Harrison 90 Good Day Sunshine Album Lennon/McCartney 91 Here, There And Everywhere Album Lennon/McCartney 92 She Said She Said Album Lennon/McCartney 1966 Sgt Pepper recording sessions — 24 November 1966 to 1 April 1967 93 Strawberry Fields Forever A side Lennon/McCartney 94 When I’m Sixty Four Album Lennon/McCartney 95 Penny Lane A side Lennon/McCartney 96 A Day In The Life Album Lennon/McCartney 97 Sgt. Pepper’s Lonely Hearts Club Band Album Lennon/McCartney 98 Good Morning Good Morning Album Lennon/McCartney 99 Fixing A Hole Album Lennon/McCartney 100 Only A Northern Song • Yellow Submarine Harrison 101 Being For The Benefit Of Mr Kite! Album Lennon/McCartney 102 Lovely Rita Album Lennon/McCartney 103 Lucy In The Sky With Diamonds Album Lennon/McCartney 104 Getting Better Album Lennon/McCartney 105 Within You Without You Album Harrison 106 She’s Leaving Home Album Lennon/McCartney 107 With A Little Help From My Friends Album Lennon/McCartney 108 Sgt. Pepper’s Lonely Hearts Club Band
(Reprise) Album Lennon/McCartney 1967 Magical Mystery Tour recording sessions — 25 April 1967 to 11 February 1968 109 Magical Mystery Tour EP Lennon/McCartney 110 Baby You’re A Rich Man B side Lennon/McCartney 111 All Together Now • Yellow Submarine Lennon/McCartney 112 You Know My Name
(Look Up The Number) • Let It Be single B side Lennon/McCartney 113 It’s All Too Much • Yellow Submarine Harrison 114 All You Need Is Love A side Lennon/McCartney 115 Your Mother Should Know EP Lennon/McCartney 116 I Am The Walrus EP B side Lennon/McCartney 117 Blue Jay Way EP Harrison 118 Flying EP Harrison/Lennon/McCartney/Starkey 119 The Fool On The Hill EP Lennon/McCartney 120 Hello, Goodbye A side Lennon/McCartney 121 The Inner Light B side Harrison 122 Lady Madonna A side Lennon/McCartney 123 Across The Universe • Let It Be album Lennon/McCartney 124 Hey Bulldog • Yellow Submarine Lennon/McCartney 1968 The Beatles recording sessions — 30 May 1968 to 13 October 1968 125 Revolution 1 Album Lennon/McCartney 126 Don’t Pass Me By Album Starkey 127 Revolution 9 Album Lennon/McCartney 128 Blackbird Album Lennon/McCartney 129 Everybody’s Got Something To Hide
Except For Me And My Monkey Album Lennon/McCartney 130 Good Night Album Lennon/McCartney 131 Ob-La-Di, Ob-La-Da Album Lennon/McCartney 132 Revolution B side Lennon/McCartney 133 Cry Baby Cry Album Lennon/McCartney 134 Helter Skelter Album Lennon/McCartney 135 Sexy Sadie Album Lennon/McCartney 136 While My Guitar Gently Weeps Album Harrison 137 Hey Jude A side Lennon/McCartney 138 Mother Nature’s Son Album Lennon/McCartney 139 Yer Blues Album Lennon/McCartney 140 Rocky Raccoon Album Lennon/McCartney 141 Wild Honey Pie Album Lennon/McCartney 142 Back In The USSR Album Lennon/McCartney 143 Dear Prudence Album Lennon/McCartney 144 Glass Onion Album Lennon/McCartney 145 I Will Album Lennon/McCartney 146 Birthday Album Lennon/McCartney 147 Piggies Album Harrison 148 Happiness Is A Warm Gun Album Lennon/McCartney 149 Honey Pie Album Lennon/McCartney 150 Savoy Truffle Album Harrison 151 Martha My Dear Album Lennon/McCartney 152 Long, Long, Long Album Harrison 153 I’m So Tired Album Lennon/McCartney 154 The Continuing Story Of Bungalow Bill Album Lennon/McCartney 155 Why Don’t We Do It In The Road Album Lennon/McCartney 156 Julia Album Lennon/McCartney 1969 Let It Be recording sessions — 22 to 30 January 1969 157 Dig A Pony Album Lennon/McCartney 158 I’ve Got A Feeling Album Lennon/McCartney 159 Don’t Let Me Down Album B side Lennon/McCartney 160 Get Back Album A side Lennon/McCartney 161 Two Of Us Album Lennon/McCartney Maggie Mae Album cover 162 Dig It Album Harrison/Lennon/McCartney/Starkey 163 For You Blue Album Harrison 164 Let It Be Album A side Lennon/McCartney 165 The Long And Winding Road Album Lennon/McCartney 166 The One After 909 Album Lennon/McCartney 1969 Abbey Road recording sessions — 22 February 1969 to 5 August 1969 167 I Want You (She’s So Heavy) Album Lennon/McCartney 168 The Ballad Of John And Yoko A side Lennon/McCartney 169 Old Brown Shoe B side Harrison 170 Something Album Harrison 171 Oh! Darling Album Harrison 172 Octopus’s Garden Album Starkey 173 You Never Give Me Your Money Album Lennon/McCartney 174 Her Majesty Album Lennon/McCartney 175/6 Golden Slumbers/Carry That Weight Album Lennon/McCartney 177 Here Comes The Sun Album Harrison 178 Maxwell’s Silver Hammer Album Lennon/McCartney 179 Come Together Album Lennon/McCartney 180 The End Album Lennon/McCartney 181/2 Sun King/Mean Mr Mustard Album Lennon/McCartney 183/4 Polythene Pam/She Came In
Through The Bathroom Window Album Lennon/McCartney 185 Because Album Lennon/McCartney 1970 Final Let It Be recording session — 3 to 4 January 1970 186 I Me Mine Album Harrison
Only two of their 13 EPs (Long Tall Sally and Magical Mystery Tour) are included in this list because all the others were re-releases of earlier tracks. No post-Beatles recordings are included on this page.
In addition to these original UK releases there are:
many repackaged USA releases;
European Polydor releases in the 1960s;
EMI re-releases in the 1970s;
Beatles Red, 1962–66 and Blue, 1967–70 compilations;
Past Masters Volume 1 (Black, 1962–65) and Volume 2 (White, 1966–70) compilations;
1 compilation of Beatles’ number one hits;
Anthology albums and singles in the 1990s;
Let It Be… Naked (an official de-Spectorised release of Let It Be).
2009 The Beatles stereo remasters:
A full basic catalogue re-issue available as a box-set and individual albums;
The Help! and Rubber Soul remasters are the 1987 George Martin remasters for CD;
Magical Mystery Tour is the album version with added singles from the period;
Yellow Submarine is the original version with George Martin’s film soundtrack;
Each studio album includes a video documentary and the box includes a DVD.
2009 The Beatles in Mono remasters:
A re-issue of the basic mono catalogue available as a box-set only;
The Help! and Rubber Soul remasters include both the complete 1965 mono and stereo mixes;
The studio albums exclude Let It Be and Abbey Road (The Beatles’ Yellow Submarine tracks are included in the singles collection);
The singles collection (Mono Masters) excludes The Ballad Of John And Yoko, Old Brown Shoe and Let It Be.
There is a good discography in About The Beatles. These releases contain mostly the same tracks but singles from the Red, Blue and Past Masters compilations are useful for completing a CD collection, the live BBC double album is excellent and the Anthology is essential for enthusiasts.
These lists were assembled from The Beatles Diary Volume One, Revolution In The Head and The Complete Beatles Recording Sessions (recommended books).
Note: to print this page as it appears you need to enable “print backgrounds” in your browser or print options.
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A POP CULTURE ADDICT - IN REHAB
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[
"Matthew W. Turcotte",
"View my complete profile"
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Hello, everybody! I'd like to take the opportunity to wish everybody a Happy Easter Sunday! For today, I have dyed this blo...
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https://gaslightrecords.com/news/the-beatles-release-follow-up-single-to-ticket-to-ride
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July 19th, 1965: The Beatles release follow up single to "Ticket To Ride"
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"Gaslight Writers"
] |
2015-07-19T03:14:00-04:00
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July 19th, 1965 - The Beatles released the John Lennon penned single, 'Help!' It was the second single and title track from their upcoming album. Listen to 'Help!' below.
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Gaslight Records
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https://gaslightrecords.com/news/the-beatles-release-follow-up-single-to-ticket-to-ride
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July 19th, 1965 - The Beatles released the John Lennon penned single, "Help!" It was the second single and title track from their upcoming album.
In a 1980 interview with Playboy Lennon said of the track, "The whole Beatles thing was just beyond comprehension. I was subconsciously crying out for help".
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https://www.crosswordsolver.org/clues/0/1965-beatles-song.563986
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1965 Beatles song Crossword Clue Answers
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1965 Beatles song crossword clue? Find the answer to the crossword clue 1965 Beatles song. 1 answer to this clue.
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https://a.crosswordsolver.org/favicon.ico
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https://www.crosswordsolver.org/clues/0/1965-beatles-song.563986
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Below are possible answers for the crossword clue 1965 Beatles song.
If you're still haven't solved the crossword clue 1965 Beatles song then why not search our database by the letters you have already!
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https://m.facebook.com/jimmypage/photos/on-this-day-in-1965-john-mayall-released-the-single-witch-doctor-telephone-blues/10157529050312612/
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https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
[
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[
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
https://www.facebook.com/login/
| ||||
1487
|
dbpedia
|
1
| 55
|
https://www.imdb.com/title/tt0059742/releaseinfo/
|
en
|
Meine Lieder, meine Träume (1965)
|
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Meine Lieder, meine Träume (1965) - Movies, TV, Celebs, and more...
|
en
|
IMDb
|
https://www.imdb.com/title/tt0059742/releaseinfo/
|
Top Gap
What is the streaming release date of Meine Lieder, meine Träume (1965) in Spain?
Answer
|
|||||
1487
|
dbpedia
|
0
| 19
|
https://www.songfacts.com/facts/the-mccoys/hang-on-sloopy
|
en
|
Hang On Sloopy by The McCoys
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Hang On Sloopy by The McCoys song meaning, lyric interpretation, video and chart position
|
en
|
/images/favicons/apple-touch-icon.png
| null |
Let's DanceDavid Bowie
David Bowie's "Let's Dance" is about more than just dancing. It's about dishonesty, particularly when we mask our true feelings.
True CompanionMarc Cohn
When Marc Cohn played "True Companion" to his girlfriend, she thought he was proposing. He wasn't, but he did eventually marry her.
Born To Be WildSteppenwolf
The first popular song to use the phrase "Heavy Metal" was "Born To Be Wild" by Steppenwolf, which was featured in the movie Easy Rider.
Don't Dream It's OverCrowded House
"Don't Dream It's Over" is the biggest hit for Crowded House, whose lead singer, Neil Finn, sang it on tour when he joined Fleetwood Mac. He wrote the song when he was feeling a bit lost as a way of urging himself on.
Passionate KissesLucinda Williams
Lucinda Williams wrote and recorded "Passionate Kisses" 4 years before it was a hit for Mary Chapin Carpenter.
How "A Rolling Stone Gathers No Moss" Became Rock's Top ProverbSong Writing
How a country weeper and a blues number made "rolling stone" the most popular phrase in rock.
Yoko OnoSongwriter Interviews
At 80 years old, Yoko has 10 #1 Dance hits. She discusses some of her songs and explains what inspired John Lennon's return to music in 1980.
Wedding Bell BluesSong Writing
When a song describes a wedding, it's rarely something to celebrate - with one big exception.
Edie BrickellSongwriter Interviews
Edie Brickell on her collaborations with Paul Simon, Steve Martin and Willie Nelson, and her 2021 album with the New Bohemians.
Reverend Horton HeatSongwriter Interviews
The Reverend rants on psychobilly and the egghead academics he bashes in one of his more popular songs.
Susanna Hoffs - "Eternal Flame"They're Playing My Song
The Prince-penned "Manic Monday" was the first song The Bangles heard coming from a car radio, but "Eternal Flame" is closest to Susanna's heart, perhaps because she sang it in "various states of undress."
|
|||||
1487
|
dbpedia
|
1
| 22
|
https://www.bobdylan.com/
|
en
|
The Official Bob Dylan Site
|
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en
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https://www.bobdylan.com/
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Bob Dylan brings the Rough and Rowdy Ways tour to Europe and the UK this fall.
Tickets go on sale on Friday, July 19.
See all the tour dates at http://bobdylan.com/on-tour
Don’t you dare miss it!
The 1974 Live Recordings will be released on Friday, September 20, celebrating the 50th anniversary of Bob Dylan’s return to touring that year. Featuring all professionally recorded shows from the artist’s 1974 performances backed by The Band, the collection will be available as a deluxe box set across 27 CDs. The 1974 Live Recordings offers fans 417 previously-unreleased Bob Dylan live tracks – including 133 recordings newly mixed from 16-track tape, and every single surviving soundboard recording – along with new liner notes by journalist and critic Elizabeth Nelson.
Pre-order The 1974 Live Recordings today! https://BobDylan.lnk.to/1974LiveRecordings
The 2024 Outlaw Music Festival Tour features an unprecedented lineup including headliners Willie Nelson & Family, Bob Dylan, Robert Plant & Alison Krauss, and John Mellencamp with Brittney Spencer, Celisse, and Southern Avenue. Billy Strings will also join the tour for one special night at The Gorge in Washington.
See the bobdylan.com On Tour page for dates and ticket links.
A deluxe box set celebrating Bob Dylan’s 1978 world concert tour and the 45th anniversary of the artist’s first concert appearances in Japan, The Complete Budokan 1978 presents two full shows originally recorded on 24-channel multitrack analog tapes at Tokyo’s Nippon Budokan Hall on February 28 and March 1, 1978 and offers fans 36 previously unreleased Dylan performances. The Complete Budokan 1978 is available in 4CD, 8LP (Japan only) and digital configurations.
Order today!
“The entire show was one jaw-dropping delight after another.” – Rolling Stone
“He hasn’t sounded better in decades.” – Variety
Order Now!
Shadow Kingdom originally aired as an exclusive streaming event in July 2021 and will now be available on vinyl, CD and streaming platforms for the first time.
Shadow Kingdom presents Bob Dylan performing revelatory 21st century versions of songs from his storied back catalog — including fan favorites like “Forever Young” and “It’s All Over Now, Baby Blue,” and deep catalog gems like “Queen Jane Approximately” and “The Wicked Messenger.”
The full-length Shadow Kingdom feature film will also be available for download and rental on Tuesday, June 6.
Watch the video for a previously unreleased version of “Not Dark Yet,” one of the stand-out tracks on the original ‘Time Out Of Mind’ album. Photography in the video is courtesy of renowned photo agency Magnum Photos.
“Not Dark Yet” (Version 1) will be included in the upcoming release of Bob Dylan’s ‘Fragments – Time Out of Mind Sessions (1996-1997): The Bootleg Series Vol. 17.’
‘1970’ is a new 3-disc set, released by popular demand on February 26. It includes previously unreleased outtakes from the sessions that produced ‘Self Portrait’ and ‘New Morning’ plus the complete May 1, 1970 studio recordings with George Harrison, which capture the pair performing together on nine tracks.
PURCHASE Bob Dylan – 1970
Greetings to my fans and followers with gratitude for all your support and loyalty across the years.
This is an unreleased song we recorded a while back that you might find interesting.
Stay safe, stay observant and may God be with you.
Bob Dylan
Listen to “Murder Most Foul”> bobdylan.com has published the <u>lyrics to “Murder Most Foul.”
News Flash – we are not perfect! Due to a printing error, four pages were left out of the handwritten lyric notebook included in the Deluxe Edition of ‘More Blood, More Tracks.’
We’re including them here, with our apologies.
Bob Dylan’s Live 1962 – 1966: Rare Performances from The Copyright Collections is now available digitally or as a 2-CD set.
Most of the performances on the album have been previously available only on the extremely limited edition “50th Anniversary / Copyright Extension” albums (three highly-collectible compilations–released in 2012, 2013 and 2014–of rare early Dylan recordings).
Across two discs-worth of music, Live 1962 – 1966: Rare Performances from The Copyright Collections chronicles Dylan’s transformation from groundbreaking acoustic “folk” artist to iconic force of pop culture.
The album features seminal recordings from the artist’s coffeehouse era (Gerde’s Folk City, 1962), his mythic 1963 breakout concerts at New York’s Town Hall and Carnegie Hall, a duet with Joan Baez from the historic March on Washington (August 28, 1963), definitive performances from his European and world tours of 1965 and 1966, incandescent moments from the 1964 and 1965 Newport Folk Festivals and more.
Get your copy today!
Heaven’s Door – a collection of American Whiskeys developed in collaboration with Bob Dylan and renowned craft distillers, will be available in May. Years in the making, the inaugural trilogy of expressions includes a Tennessee Straight Bourbon Whiskey, Double Barrel Whiskey and Straight Rye Whiskey finished in oak barrels from Vosges, France, air-dried for 3 years. The perfect blend of art and craft, each bottle showcases Dylan’s distinctive welded iron gates that he created in his metalworking studio, Black Buffalo Ironworks.
Heaven’s Door web site
New York Times article
New York Times taste test
“Trouble No More – The Bootleg Series Vol. 13 / 1979-1981” has been recommended on many publications’ year-end gift lists. Rolling Stone’s Best Reissue of the Year
It’s one of the most enthusiastically praised Bootleg Series releases. Get your copy today or give it to a Bob Dylan fan in your life!
Order Now:
Deluxe
Deluxe download
Double CD
Vinyl
Bob Dylan Store
Order from Amazon
Out now:: A beautiful, comprehensive volume of Dylan’s lyrics, from the beginning of his career through the present day—with the songwriter’s edits to dozens of songs, appearing here for the first time.
“If the measure of greatness is to gladden the heart of every human being on the face of the earth, then he truly was the greatest. In every way he was the bravest, the kindest and the most excellent of men.”
“All the Way” is the second song released off the album Fallen Angels out May 20. Both “All the Way” and “Melancholy Mood” are available instantly with all digital pre-orders of the album. The track can also be streamed here and on Apple Music.
Put yourself in the studio during the 1965-66 sessions by visiting the Studio A Revisited microsite, which gives you an opportunity to play with the four studio “stems” that make up “Like A Rolling Stone” and more.
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https://www.the-paulmccartney-project.com/timeline/year-1965/
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en
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Paul McCartney's 1965 • Albums, Songs, and Life Events
|
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] |
[] |
[] |
[
""
] | null |
[] |
2015-04-17T18:42:32+00:00
|
Get a deeper understanding of Paul McCartney's legacy by exploring his career in 1965, including his albums, songs, and important moments.
|
en
|
/_images/apple-touch-icon.png
|
The Paul McCartney project
|
https://www.the-paulmccartney-project.com/timeline/year-1965/
|
"Help!" Session #1
Feb 15, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #2
Feb 16, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #3
Feb 17, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #4
Feb 18, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #5
Feb 19, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #6
Feb 20, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #7
Feb 23, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #8
Mar 15, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #9
Mar 30, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #10
Apr 02, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #11
Apr 13, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #12
Apr 18, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #13
May 10, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #14
Jun 08, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #15
Jun 14, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #16
Jun 15, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #17
Jun 17, 1965 • Songs recorded during this session appear on Help! (Mono)
"Help!" Session #18
Jun 18, 1965 • Songs recorded during this session appear on Help! (Mono)
"Rubber Soul" Session #1
Oct 12, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
Recording "Rubber Soul"
Oct 12 - Nov 30, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"Rubber Soul" Session #2
Oct 13, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"We Can Work It Out / Day Tripper" Session #1
Oct 16, 1965 • Songs recorded during this session appear on We Can Work It Out / Day Tripper
"Rubber Soul" Session #3
Oct 18, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"We Can Work It Out / Day Tripper" Session #2
Oct 20, 1965 • Songs recorded during this session appear on We Can Work It Out / Day Tripper
"Rubber Soul" Session #4
Oct 21, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"Rubber Soul" Session #5
Oct 22, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"Rubber Soul" Session #6
Oct 24, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"Rubber Soul" Session #7
Oct 25, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"Rubber Soul" Session #8
Oct 26, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"We Can Work It Out / Day Tripper" Session #3
Oct 28, 1965 • Songs recorded during this session appear on We Can Work It Out / Day Tripper
"Rubber Soul" Session #12
Nov 08, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"Rubber Soul" Session #13
Nov 09, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"Rubber Soul" Session #14
Nov 10, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"Rubber Soul" Session #15
Nov 11, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"Rubber Soul" Session #16
Nov 15, 1965 • Songs recorded during this session appear on Rubber Soul (UK Mono)
"Rubber Soul" Session #17
Nov 30, 1965 • Songs recorded during this session appear on Rubber Soul - Studio Sessions - Back To Basics
|
||||
1487
|
dbpedia
|
1
| 63
|
https://www.facebook.com/MusicDrivesUs/videos/on-this-day-in-1965-the-beatles-released-one-of-their-most-iconic-songs-of-all-t/610849969569065/
|
en
|
On this day in 1965, The Beatles released one of their most iconic songs of all time, Yesterday, in the U.S. . . Written by member Paul McCartney, the...
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
On this day in 1965, The Beatles released one of their most iconic songs of all time, Yesterday, in the U.S.
.
.
Written by member Paul McCartney, the...
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/MusicDrivesUs/videos/on-this-day-in-1965-the-beatles-released-one-of-their-most-iconic-songs-of-all-t/610849969569065/
| ||||||
1487
|
dbpedia
|
0
| 78
|
https://www.msadventuresinitaly.com/blog/2008/01/18/an-introduction-to-italian-candy-caramelle/
|
en
|
An Introduction to Italian Candy – Caramelle
|
http://farm3.static.flickr.com/2291/1907655997_144702fdcf.jpg
|
http://farm3.static.flickr.com/2291/1907655997_144702fdcf.jpg
|
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[
"Ms. Adventures in Italy",
"Mariangely says",
"Karen Terilli says",
"Sheila Meadows says",
"Joy says",
"Paul C says",
"Noel says",
"cathy pascarella says",
"Ilan Mosery says",
"Melanie DeLaRosa says"
] |
2008-01-18T00:00:00
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Sei golosa!! You’re a glutton! I often hear that in Italy. In America, I’m what you’d call a sweet tooth. Everywhere I go I tend to check out the candy counter. I’m not talk…
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Ms. Adventures in Italy
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https://www.msadventuresinitaly.com/blog/2008/01/18/an-introduction-to-italian-candy-caramelle/
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Sei golosa!! You’re a glutton! I often hear that in Italy. In America, I’m what you’d call a sweet tooth. Everywhere I go I tend to check out the candy counter.
I’m not talking today about chocolate or gum today, just “caramelle” which are considered usually hard candies or non-chocolate sweets in Italy. There are some clear sub-types of caramelle and their well-known brands. There are a few which would be considered “gommosi” or gummy-like, but not gummies in the traditional Haribo sense.
These are also predominantly made directly in Italy and not imported. In a typical Tabaccaio or even supermarket, you will find many more foreign brands and candies available that are quite popular.
At the end is a contest and I’m giving away a kilo of these candies, free!
Liquorice, Anice and Herbal candies
Milk candies
“Mou” Toffee and Gelatin fruit candies
Dietorelle “diet” candies
Honey hard candies
Pastiglie Leone
Inside a Tobaccaio and candies you might find there
Rossana and Negrita
The contest!
Liquorice, Anice and Herbal candies
I couldn’t start off talking about Italians and their candy without talking about liquorice, anice and herbal candies. I’ve seen that the flavor preferences of any country are reflected in their gum, and also in their toothpaste flavors. The first time I saw an herbal toothpaste flavor here, I did a double take. And yes, it tastes herbal.
Much like the Americans love their cinnamon and peppermint flavors, Italians love liquorice and anise flavors. Unfortunately, this is a class of flavors that I can’t tolerate in large quantities or strong intensity. For some time, I stopped buying gum until I could figure out which brand didn’t have a liquorice or anice undertone.
Possibly the most popular liquorice candy is Golia (pictured far right) – tiny little white wrappers with a chewy/gummy liquorice button inside. Other than these “classiche,” Golia has branched out into many non-liquorice varieties, including mint, fruit and balsamic varieties.
Herbal flavors are quite popular in Italian candies and I’ve enjoyed rediscovering some flavors that I wasn’t used to finding in candy. The smartly-wrapped candies on the left by Mera & Longhi have become my fast favorite. The best thing is every bag is a completely different mix of flavors and no two is alike. I didn’t even see a cannella (cinnamon) flavored one until my 5th bag. Flavors pictured are: genziana (gentian), camomilla (chamomile), anice (anise), salvia e limone (sage-lemon), ginepro (juniper), and bergamotto (bergamot), but there are many more. My friends decided that rhubarb was by far the worst flavor (not pictured).
Another popular mint flavor is a variety of Fernet Branca liquor called Branca Menta. This particular candy is called Fernet Menta (top right), which is not an official brand name of liquor so it can be used on a candy. It has a bit of a wintergreen flavor. Peppermint and spearmint flavors are not common, though a few varieties of gum have a peppermint flavor.
Milk Candies
Milk is good for children, right? So of course a candy that uses predominantly or is based on milk will be good for children, too. Kinder is of course a wonderful example of how convincing parents milk in candy makes it more nutritional.
The most popular milk candy in Italy is arguably “Galatine” – and almost all Italians I’ve met ate it at one point in their childhood. An interesting note – when I put out a basket of these candies later, they were the first to disappear.
Galatine in their classic form are simple white tablets which are compressed milk and sugar. You can crunch them or savour them, and every person has their preference. Now Galatine come in different forms – with chocolate bits (pictured), in gummy form, but the classic version remains the ones the Italians remember. At least this grown-up generation.
“Mou” Toffee and Gelatin fruit candies
Mou, or toffee/taffy made with milk (pictured right), exist in many flavors, from coffee to liquorice and mint mentioned above. Fruit flavors are also popular in a gelee / gelatin form (pictured left) like lampone (raspberry), fragola (strawberry), limone (lemon), pesca (peach), and arancia (orange).
Dietorelle “diet” candies
Dietorelle is a brand that made itself famous focusing on sugar-free candies, so you can eat candy and stay “in forma.” There are other sugar-free brands but Dietorelle is the most widely-known. They are available in almost any flavor combination and can be gummy, hard candies or mou. Pictured here are chewy fruit flavors.
Honey hard candies
I spoke about some honey makers’ products that I enjoy from Gruppo Apicoltori Riuniti They also make all sorts of honey candies paired with other flavors like lemon, erbe alpine (alpine herbs), gentian and even liquorice. Ambrosoli candies are often eaten when you have a sore throat and now they are saying that honey is a natural cure and can even be used to dress wounds! For now, I’ll just eat it in my candy.
Pastiglie Leone
I couldn’t talk about Italian candies without mentioning the little boxed candies from Torino, Pastiglie Leone. Perhaps known more for their old-world packaging than for their individual flavors, they keep innovating and bringing out new flavors like Assenzio (Absinthe), Te Verde (Green Tea), and Caffe’ (Coffee). I love the special metal tins (left) and I refill those with my favorites.
Before gorging yourself on their candies, make sure you read if it’s a “dissetanti” (thirst-quencher) or “digestive” first as eating too many of them might give you a stomach-ache!
Inside a Tabaccaio and (Other) Popular Candies You Might Find There
When I was a child, the supermarket was where I went for a huge display of candy. Usually an additional display right as you were checking out, in Italy there is a candy aisle in most supermarkets, but at the checkout lines, they are usually monopolized by all things Kinder. To get a wide variety of gum, hard candy and other individually-packaged candy, the local Tabaccaio (Tobacco seller) is the place to go. Since they sell other things like bus tickets, your chances of running into one is high. They are usually quite small, so vertical space is used as much as possible and the candy displays are everywhere.
And just in case any government officials are watching: there is no tobacco in this picture, neither am I promoting nor advertising the use of tobacco and/or cigarettes!!
Here are some other candies you might find in a Tabaccaio:
From lower left: La Pasticca del Re Sole are liquorice flavored candies my coworker loves. Probably the first candy you could afford with your own money is gummy Goleador (liquorice and cola flavors). Zigulivit are vitamin-like pellet candies that have some added nutritional value and come in several fruit flavors. Alpenliebe candies are sugar-free versions of caramel Werther’s Original. Fruitella, similar to Starburst in America, are usually fruit-based chewy candies (pictured here in strawberry). The last candy in this picture is perhaps the strangest candy that I’ve come across in Italy. It’s called Pip and it’s “the smoker’s candy.” The packaging makes it look like a cigar which doesn’t make it that appetizing in my opinion. The verdict? Strong candies but since they have such a strong undertone of liquorice, they are not for me.
Two random candies: Rossana and Negrita
I couldn’t leave these two out for this introduction.
Negrita were candies that I found several years ago and their little black faces and the (random) shiny spot make them look a little bit like olives on the package. Inside, however, is a delicious chocolate-covered “croccantino” of caramelized nuts. Yes, this does have chocolate in it, but it’s so interesting I had to include it.
Rossana from Perugina are candies that an Italian child might find in his “Befana” stocking – S always picks them out from our pile. Hard candy outside with a liquid hazelnut cream inside, this pretty package brings back memories for a lot of my friends.
The Contest: Free Candy for You and a Fellow Commenter!
Now it’s your turn. Do you want to win a 1/2 kilo box full of all the candies* I’ve talked about today? What about one for a friend, too? (*Candies that are individually wrapped)
Which of these candies most inspires you? Repulses you? What about your favorite childhood candy?
This giveaway is a little different from the past. There will be TWO winners! Here’s what to do:
Leave a comment here until January 25th (Friday!) (comment only once, your email address must be valid, but will not be displayed)
Send this post to a friend or many friends and ask them to comment if interested!
I’ll pick one winner and ask them to tell me the number of the other commenter they’d like to win, and that person will get a package, too!
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http://www.steviewonder.org.uk/discography/albums/albums.html
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https://forums.stevehoffman.tv/threads/beatles-stereo-singles-when-and-where-were-they-released.300720/
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Beatles Stereo Singles - When and where were they released
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Hello to all.
I should know this, but I don't.
When and where were the stereo mixes of the Beatles' singles released?
At the time? At a later...
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en
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/images/apple-touch-icon.png?v=2017a
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Steve Hoffman Music Forums
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https://forums.stevehoffman.tv/threads/beatles-stereo-singles-when-and-where-were-they-released.300720/
|
All singles were in mono only until 1969, although Japan issued EP's in stereo.
However, the answer to your deeper question is more complex. You asked...
When and where were the stereo mixes of the Beatles' singles released?
Let's go through the single tracks one by one...
Love Me Do -- Master tapes deliberately destroyed; no stereo mixes possible.
PS I Love You -- Master tapes deliberately destroyed; no stereo mixes possible.
Please, Please Me -- 1st appearance in stereo on the Please, Please Me LP (1963)
Ask Me Why -- 1st appearance in stereo on the Please, Please Me LP (1963)
From Me to You -- 1st appearance in stereo on the German "Beatles Greatest" LP (1965). The stereo mix was also sent to Capitol/USA in 1965, but they did not use it until 1973!
Thank You Girl -- 1st appearance in stereo on the American "Beatles Second Album" LP (1964)
The mono and stereo mixes of “Thank You Girl” were made immediately after the last overdub session on March 13th. “From Me to You” was mixed for mono and stereo the following day.
She Loves You -- Although it appears that parts of the backing track were used as the basis for "Sie Liebt Dich," the single track has never appeared in true stereo. The original master tape is believed to have been stolen or destroyed.
I'll Get You -- Based on the version on the Beatles Second Album, the original master tape may have an isolated harmonica on one channel. At any rate, the song has never appeared anywhere in true stereo.
I Want to Hold Your Hand -- 1st appearance in stereo on the German "Beatles Greatest" LP (1965). The standard mix was created in 1966 and first appeared on the Collection of Beatles Oldies LP.
This Boy -- 1st appearance in stereo on the Canadian reissue single "All My Loving"/"This Boy" (1976).
On October 21st, 1963, both songs were mixed for mono and stereo. The 1963 stereo mix of "I Want to Hold Your Hand" was not released until 1977, when it came out in Australia.
Can't Buy Me Love -- 1st appearance in stereo on the Hard Day's Night LP.
You Can't Do That -- 1st appearance in stereo on the Hard Day's Night LP.
A Hard Day's Night -- 1st appearance in stereo on the Hard Day's Night LP.
Things We Said Today -- 1st appearance in stereo on the Hard Day's Night LP.
I Feel Fine -- 1st appearance in stereo on the Collection of Beatles Oldies LP (1966).
She's a Woman -- 1st appearance in stereo on the Australian LP, "Greatest Hits Vol. 2" (1966).
Both songs were mixed for stereo in late 1964.
Ticket to Ride -- 1st appearance in stereo on the Help! LP (1965).
Yes it Is -- 1st appearance in stereo on the "Only the Beatles" cassette (1986).
Although the b-side was mixed for stereo on 23 February, 1965, there were problems with sound dropout near the end of the recording. The song stayed on the shelf for 20 years.
Help! -- 1st appearance in stereo on the Help! LP (1965).
I'm Down -- 1st appearance in stereo on the Japanese "Help!" EP (1965).
We Can Work it Out -- 1st appearance in stereo on the American "Yesterday...And Today" LP (1966)
Day Tripper -- 1st appearance in stereo on the American "Yesterday...And Today" LP (1966)
Both of the above mixes were made in 1965 along with Rubber Soul. When the time came to create the LP, A Collection of Beatles Oldies, new mixes were made for that album. These 1966 mixes became the standard mixes. The 2009 remaster of "Day Tripper" is actually a tweaked version of the 1966 mix (an edit and extra echo) made for the "1" album.
Paperback Writer -- 1st appearance in stereo on the Collection of Beatles Oldies LP (1966)
Rain -- 1st appearance in stereo on the Hey Jude album, released by Apple in several countries (1970)
"Rain" was one of several anomalies -- songs that were not mixed for stereo until later -- in this case, 1969.
Yellow Submarine -- 1st appearance in stereo on the Revolver LP.
Eleanor Rigby -- 1st appearance in stereo on the Revolver LP.
Strawberry Fields Forever -- 1st appearance in stereo on the American Magical Mystery Tour LP (1967).
Penny Lane -- 1st appearance in stereo on the Australian Essential Beatles LP (late 1971).
Although Capitol-USA requested and received a stereo mix of SFF, it appears that they did not request a stereo mix of "Penny Lane." That song was not mixed for stereo until 1971. Shortly thereafter (1971), it was decided to create a new mix of SFF. That new mix first appeared on the German MMT album (1972) and became the standard mix.
All You Need is Love -- 1st appearance in stereo on the Yellow Submarine LP (1968).
Baby, You're a Rich Man -- 1st appearance in stereo on the German Magical Mystery Tour LP (1972).
Hello Goodbye -- 1st appearance in stereo on the American Magical Mystery Tour LP
I am the Walrus -- 1st appearance in stereo on the Magical Mystery Tour EP.
Lady Madonna -- 1st appearance in stereo on Apple's Hey Jude LP (1970).
The Inner Light -- 1st appearance in stereo on the British EP, The Beatles, which was released as part of the EP boxed set (1981).
Hey Jude -- 1st appearance in stereo on Apple's Hey Jude LP (1970).
Revolution -- 1st appearance in stereo on Apple's Hey Jude LP (1970).
Get Back -- 1st appearance in stereo on the American single (1969)
Don't Let Me Down -- 1st appearance in stereo on the American single (1969)
The singles after Get Back were issued in stereo in England from the start.
What a great post. Good work.
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https://ultimateclassicrock.com/lou-reed-words-and-music-may-1965/
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Lou Reed’s Earliest Recordings to Be Released in Archival Series
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[
"lou reed words and music may 1965",
"new albums",
"news"
] | null |
[
"Allison Rapp"
] |
2022-06-06T14:56:04+00:00
|
A Lou Reed archival series kicks off with 'Words & Music, May 1965' in August 2022.
|
en
|
Ultimate Classic Rock
|
https://ultimateclassicrock.com/lou-reed-words-and-music-may-1965/
|
Some of Lou Reed's earliest records will be released this summer as part of a new archival series.
In partnership with Reed's widow, Laurie Anderson, acclaimed label Light in the Attic will release the first album of the series, Words & Music, May 1965, on Aug. 26. The LP features early demos of songs like “Heroin,” “I’m Waiting for the Man” and “Pale Blue Eyes" that Reed recorded with Velvet Underground bandmate John Cale.
Up until now, the five-inch reel of recordings, which Reed mailed to himself as a "poor man's copyright," had remained sealed for close to 50 years. The tape was found in Reed’s office untouched after his death in 2013. Other previously unreleased compositions are included in the new collection, too. You can see the track listing below.
You can listen to a previously unheard 1965 demo of "I'm Waiting for the Man" below.
Liner notes for the collection were provided by music journalist Greil Marcus, who writes, “The poverty in these songs — the bathtub-in-the-kitchen you hear in their clumsiness, the fifth-floor-walkup you can hear in their defiance — lets you hear them, now, as chalk on a wall, not the markings that wash away in the next rain but inscriptions that somehow become part of the brick, even if in a year or two no one will be able to read them. Each of these songs is its own bildungsroman.
"They make a darkness, and Reed and Cale try to feel their way through it. In ‘Heroin,’ there’s just a hint of the hurricane it will become and the enormous authority it will carry two years later. … ‘Pale Blue Eyes’ says go farther, there’s no end to this, and you know that they will go farther — they’re almost there.”
You can watch an album trailer for Words & Music, May 1965 below.
Words & Music, May 1965 will be available in several formats, including LP, cassette, 8-track, digital and CD, and can be preordered now. The deluxe two-LP edition, which will be limited to 7,500 copies, also includes an additional 7" record manufactured at Jack White's Third Man Record Pressing that features six early songs, plus a cover of Bob Dylan’s “Don’t Think Twice, It’s All Right.” (These six songs will also be released as a digital EP, Gee Whiz, 1958-1964, on Oct. 7.)
The reel-to-reel tape will be physically on display this week, along with other Reed-related artifacts, at Lou Reed: Caught Between the Twisted Stars. The exhibition opens on June 9 at the New York Public Library for the Performing Arts.
“This collection is to inspire people,” Anderson said in a recent interview. “It’s not necessarily to say, ‘Here’s the real Lou Reed.’ That’s never what it was meant to be. Here’s a lot of his music and how he did it. Be inspired by it. But it’s not and can’t be a real picture of the man.”
Lou Reed, 'Words & Music, May 1965' Track Listing
2xLP
1. "I’m Waiting for the Man" (May 1965 Demo)
2. "Men of Good Fortune" (May 1965 Demo) *
3. "Heroin" (May 1965 Demo)
4. "Too Late" (May 1965 Demo) *
5. "Buttercup Song" (May 1965 Demo)
6. "Walk Alone" (May 1965 Demo)
7. "Buzz Buzz Buzz (May 1965 Demo)
8. "Pale Blue Eyes" (May 1965 Demo)
9. "Stockpile" (May 1965 Demo) *
10. "Wrap Your Troubles in Dreams" (May 1965 Demo)
11. "I’m Waiting for the Man" (May 1965 Alternate Version)
7-inch
1. "Gee Whiz" - (1958 Rehearsal) *
2. "Baby, Let Me Follow You Down" (1963/64 Home Recording)
3. "Michael, Row The Boat Ashore" (1963/64 Home Recording)
4. "Don’t Think Twice, It’s All Right" (Partial) (1963/64 Home Recording)
5. "W & X, Y, Z Blues" (1963/64 Home Recording) *
6. "Lou’s 12-Bar Instrumental" (1963/64 Home Recording) *
* Previously unheard composition
|
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1487
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dbpedia
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1
| 52
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https://www.rockandbluesmuse.com/2022/05/13/the-rolling-stones-singles-1963-1966-to-release-june-10/
|
en
|
The Rolling Stones Singles 1963-1966 To Release June 10
|
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[
"Martine Ehrenclou"
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2022-05-13T00:00:00
|
The Rolling Stones Singles 1963-1966 To Release June 10 from ABKCO, faithful reproductions of first 18 vinyl singles & EPs.
|
en
|
ROCK AND BLUES MUSE
|
https://www.rockandbluesmuse.com/2022/05/13/the-rolling-stones-singles-1963-1966-to-release-june-10/
|
Faithful Reproductions of First 18 Vinyl Singles & E.P.s
Includes Landmark Hits “Satisfaction,” “Get Off Of My Cloud,” “Time Is On My Side”;
Comes With 32-Page Book and Ephemera
ABKCO Records will release The Rolling Stones Singles 1963-1966 on June 10 in celebration of the group’s 60th anniversary this year. The limited-edition set includes reproductions of the first 18 7” vinyl singles and extended play records by “The World’s Greatest Rock ‘n’ Roll Band,” as originally released by Decca and London Records. The tracks are all remastered by 12-time Grammy Award-winning engineer Bob Ludwig. The set, replete with period-correct picture sleeve art, will also come with a 32-page book with extensive liner notes by Stones authority Nigel Williamson, as well as rare photos and ephemera plus a set of five photo cards and a poster, all housed in a hard-shell box. A companion second vinyl box set in the series, The Rolling Stones Singles 1966-1971, will be released next year.
Before they were thought of as one of the rock era’s quintessential album bands, the Rolling Stones began their recording career in 1963 with a slew of singles that captured the energy and excitement created by the classic lineup of Mick Jagger, Keith Richards, Brian Jones, Charlie Watts and Bill Wyman. Their version of Chuck Berry’s “Come On” backed with a cover of Muddy Waters’ “I Want To Be Loved” kicked it all off, and was quickly followed up with “I Wanna Be Your Man,” a song written by John Lennon and Paul McCartney for the Stones to use, before being recorded by The Beatles themselves. London Records, their US label, quickly withdrew the single on “moral grounds” due to the illicit implications of the B-side “Stoned” (credited to Nanker Phelge – the songwriting pseudonym for the entire band). None of the songs from these first two singles appeared on any of their albums.
The Rolling Stones Singles 1963-1966 follows the group’s shift away from covers in favor of originals, due in large part to Jagger and Richards developing into one of the most accomplished powerhouse songwriting duos of their generation. Of the nine US Top 40 hits contained within the set, all but one are Jagger/Richards compositions. These include “(I Can’t Get No) Satisfaction” and “Get Off Of My Cloud,” which were number one hits on both sides of the Atlantic. This collection includes the US and UK versions of both these singles, which feature different sleeve art and B-sides. The sole Top 40 cover is “Time Is On My Side,” (written by Jerry Ragovoy and notably recorded by Irma Thomas). The single in this collection is the lesser-known version which features an organ intro. Another rarity that never made it onto an album in any form is “Sad Day,” the US B-side of the 1966 hit “19th Nervous Breakdown.”
Three extended-play (E.P.) 7” records are included in The Rolling Stones Singles 1963-1966, all of which were originally UK-only releases. These are The Rolling Stones (not to be confused with the album of the same name) and Five by Five (recorded at Chicago’s famed Chess Studio at 2120 South Michigan Avenue), both released in 1964, as well as 1965’s Got Live If You Want It! – the first of many live records by a band that to this very day is known as an explosive concert attraction.
ABKCO Records is home to the entire catalog of The Rolling Stones from 1963 to early 1971. This includes the albums The Rolling Stones, England’s Newest Hit Makers, 12 X 5, The Rolling Stones No. 2, The Rolling Stones, Now!, Out of Our Heads, December’s Children (And Everybody’s), Aftermath, Got Live If You Want It!, Between the Buttons, Their Satanic Majesties Request, Beggars Banquet, Let It Bleed and Get Yer Ya-Ya’s Out! The Rolling Stones in Concert. ABKCO Films is home to Charlie Is My Darling – Ireland 1965 and The Rolling Stones Rock and Roll Circus.
Pre-Order The Rolling Stones Singles 1963-166 HERE
The Rolling Stones Singles 1963-1966 tracklist:
“Come On” (originally released June 1963)
Side A: Come On
Side B: I Want To Be Loved
“I Wanna Be Your Man” (originally released November 1963)
Side A: I Wanna Be Your Man
Side B: Stoned
The Rolling Stones E.P. (originally released January 1964)
Side A:
Bye Bye Johnny
Money
Side B:
You Better Move On
Poison Ivy
“Not Fade Away” (originally released February 1964)
Side A: Not Fade Away
Side B: Little By Little
“Tell Me” (originally released June 1964)
Side A: Tell Me
Side B: I Just Wanna Make Love To You
“It’s All Over Now” (originally released June 1964)
Side A: It’s All Over Now
Side B: Good Times, Bad Times
Five by Five E.P. (originally released August 1964)
Side A:
If You Need Me
Empty Heart
2120 South Michigan Avenue
Side B:
Confessin’ The Blues
Around and Around
“Time Is On My Side” (originally released September 1964)
Side A: Time Is On My Side
Side B: Congratulations
“Little Red Rooster” (originally released November 1964)
Side A: Little Red Rooster
Side B: Off The Hook
“Heart Of Stone” (originally released December 1964)
Side A: Heart Of Stone
Side B: What A Shame
“The Last Time” (originally released February 1965)
Side A: The Last Time
Side B: Play With Fire
Got Live If You Want It! E.P. (originally released June 1965)
Side A:
We Want The Stones (Live)
Everybody Needs Somebody To Love (Live)
Pain In My Heart (Live)
Route 66 (Live)
Side B:
I’m Moving On
I’m Alright
“(I Can’t Get No) Satisfaction”
(US version, originally released June 1965)
Side A: (I Can’t Get No) Satisfaction
Side B: The Under Assistant West Coast Promotion Man
“(I Can’t Get No) Satisfaction)”
(UK version, originally released August 1965)
Side A: (I Can’t Get No) Satisfaction
Side B: The Spider And The Fly
“Get Off Of My Cloud” (US version, originally released September 1965)
Side A: Get Off Of My Cloud
Side B: I’m Free
“Get Off Of My Cloud (UK version, originally released October 1965)
Side A: Get Off Of My Cloud
Side B: The Singer Not The Song
“As Tears Go By” (originally released December 1965)
Side A: As Tears Go By
Side B: Gotta Get Away
|
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0
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https://discover.midhudsonlibraries.org/search/card%3Fid%3Df2b3964d-6b26-509f-97dc-807e333b647b%26entityType%3DFormatGroup
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https://discover.midhudsonlibraries.org/search/favicon.ico
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https://discover.midhudsonlibraries.org/search/favicon.ico
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https://www.facebook.com/bobdylan/posts/july-20-1965-release-of-dylans-first-hit-single-like-a-rolling-stonegates-of-ede/599675758189541/
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en
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Facebook
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https://www.billboard.com/music/music-news/dion-talks-lost-1965-album-his-decision-to-release-it-52-years-later-exclusive-7728696/
|
en
|
Dion Talks Lost 1965 Album & His Decision to Release It 52 Years Later: Exclusive
|
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[
"Steve Marinucci"
] |
2017-03-20T13:00:00+00:00
|
A long-lost album by Rock and Roll Hall of Famer Dion DiMucci will finally come to light when "Kickin' Child: The Lost Album 1965" is released by Norton Records on May 12.
|
en
|
Billboard
|
https://www.billboard.com/music/music-news/dion-talks-lost-1965-album-his-decision-to-release-it-52-years-later-exclusive-7728696/
|
A long-lost album by Rock and Roll Hall of Famer Dion DiMucci will finally come to light when Kickin’ Child: The Lost Album 1965 is released by Norton Records on May 12.
The 15 songs on the album were recorded during Dion’s time at Columbia Records in sessions that started in spring of 1965 and intensified during September and October with a group called The Wanderers, which included The Belmonts’ Carlo Mastrangelo of drums. Columbia didn’t release the full album but put out a few songs, including the title track, as singles.
Dion, 77, tells Billboard that hearing the full album again recently erased a lot of negative feelings about it being passed over by the label.
“I just forgot about this album,” Dion says. “There were a lot of bad relationships that got very convoluted up at Columbia with me, what they expected from me.”
Trending on Billboard
The frustration led him to leave the label. “I left Columbia in the mid ’60s. I had a guaranteed contract for like $100,000 a year. And I just let it go. And I wasn’t a rich man,” he says. “There were a lot of bad vibes around the whole thing.”
Fast forward to 2017. Dion is listening to a finished copy of the album and says hearing it again made all the bad feelings go away. “I’m coming across Alligator Alley about three, four weeks ago. And Rob Santos [VP of A&R for Sony Music and Legacy Recordings] sent me a mastered copy of the album and I’m listening to it on my way home. And it just seemed to lift. The cloud lifted and I heard the music,” he said.
“I wasn’t really able to hear it. I had [previously] heard it as a very negative thing. I put it in kind of a box.” But all that changed. “I’ll be honest with you. I was really appreciating it. The cloud lifted like vapor. It just lifted right out of my head. And I heard the music loud and clear like it was present to me. It wasn’t a novelty. It was rich. It was artistic, it was heartfelt. It was live. It was the real deal. And I said, ‘Man, this stuff is good.’ And I was proud of it.”
The 15 tracks include 10 originals, two of which were written with Mastrangelo and one with Buddy Lucas. But the covers on the album also deserve special attention. One is by Mort Shuman (co-writer with Doc Pomus of Dion and the Belmont’s “A Teenager in Love”), another is by Tom Paxton and three by Bob Dylan. Dion and Dylan were recording for the same label at the time, but the two men were familiar with each other from years before.
“He came out to see Buddy Holly and Ritchie Valens and myself out in the Midwest when we were touring in 1959. He was playing in Bobby Vee’s band on piano and vocals. But when he came to Columbia, musically I just loved what he was doing. It was like they let him out of a cage. It was just free abandon and it was really different. Something was going on in there. I loved just hanging out in the studio listening to some of those sessions, like ‘Highway 61’ sessions, or ‘Bringing It All Back Home.’”
The Wanderers, the group with Dion on Kickin’ Child, are drummer Mastrangelo, lead guitarist John Falbo and bass player Pete Falsciglia. And a de facto member of the group is Al Kooper, fresh from his work with Bob Dylan. The title track — co-written with Buddy Lucas — that leads off the album with a vocal and lyric heavily influenced by Dylan. “She’s the kind of friend she don’t ask me where I’m going, she don’t ask me where I’ve been,” the song begins. The album was recorded in Columbia’s Studio A, where Dylan had recorded.
The second track, “Now,” co-written with Mastrangelo, is an impassioned vocal backed up by the band with Al Kooper. “Al Kooper was a friend long before all of that,” he says. “He was over in the Brill Building. Columbia was catty corner to the Brill Building. So I’d be over there sitting on a stool with Carole King while she wrote me a song like ‘This Little Girl’ or going in and out of the offices. And Al Kooper hung out there writing and playing. We were all young and passionate.”
The album, produced by Tom Wilson, who also helmed records by Dylan, Simon & Garfunkel, the Animals, and others, is really quite a fantastic group of songs. “My Love” is Dion removed from the teenage aura of “The Wanderer.” “Wake Up Baby,” another Dion original, has a country flavor. “Knowing I Won’t Go Back There” is a tender ballad. The production on the album is simple, and also very nostalgic.
Dion says there wasn’t a lot of contemplation about using the three Dylan covers “Baby, I’m in the Mood For You,” “Farewell” and “It’s All Over Now, Baby Blue.”
“I just liked them. I didn’t give it much thought. It’s hard to explain music when it goes in your gut and makes left and right and turns and moves you and resonates with you. I guess there’s something inside me. You either like something or you don’t,” says Dion, who was present when Dylan recorded “It’s All Over Baby Blue” in the studio.
The original songs came out of an awareness of what was happening in the country at the time. “It was the mid ’60s. They were confusing for me. The country was in a lot of turmoil. My mind was in a lot of turmoil,” he said.
He says the deaths of his friends Buddy Holly, the Big Bopper and Ritchie Valens had a huge effect on him.
“I lost three friends, great songwriters, great guys. I was on tour with them for two weeks. And when that plane went down, killing all three of those guys, I was wondering who am I? Where am I? What’s life all about? Where am I going? Why am I here? And so this kind of confusion. Plus you’re at Columbia making records like ‘Ruby Baby’ and ‘Drip Drop’ — I’m doing really well up there. I always had a lot of questions on my mind where I belonged and how I fit into all of this, what my life was all about being newly married, how to be a husband, how this rock star world worked in the midst of all that and the creative world. I had this drive to create,” he says
The liner notes by Scott Kempner call the Kickin’ Child album a link to “Abraham, Martin and John,” a Billboard Top 10 hit for Dion in October, 1968. This lost release is also called the first serious album Dion ever made. And indeed, the lyrics are not about ’50s teenage love. Kickin’ Child is more than a rescue from the vaults, though. It’s an authentic and wonderful trip back in time.
The release of Kickin’ Child may not be the last vintage reissue to come from Dion. Santos confirmed with Billboard that a box set of Dion’s complete Columbia Records recordings is being considered, though there’s no timetable for its release.
“There’s a lot of unreleased blues stuff I did with the Apollo Theater musicians and there was of experimenting going on for me in the mid-‘60s in that studio, which I think frustrated Columbia,” he says. “(Rob Santos) wanted to put out this album first before he put out the box set and I thank him for that.”
Dion says he looks back with fondness on the Laurie Records songs, like “A Teenager in Love,” “The Wanderer” and “Runaround Sue.” “Those were fun making and they’re still fun to listen to. I think they’re great records, I really do. They’re perfect records, in spite of all the flaws,” he says.
“I can’t tell you the first time we put that together acapella, a rendition of it. It was like heaven. It was like four guys singing four different things. And it was like a carousel in heaven. It was unbelievable. It was a defining moment in my life. I was 17 years old. It was incredible. So I have very fond memories. That’s all good. I love that people received it, appreciated it and enjoy it till this day. I’m happy about all that. I’m a blessed man. Singing is like praying twice.”
And he’s very glad the public will now get to hear Kickin’ Child. “I’m just happy that they decided to release it in its original form. It just kind of slipped through the tracks and was sitting there. I’m just grateful to Sony and Norton for rediscovering it and putting it out as is. It was like a piece of me that was lost back there in a way. And it kind of puts the diary in place. It fills in the movie, the story,” he says.
Kickin’ Child: The Lost Album 1965 track list:
|
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1487
|
dbpedia
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1
| 44
|
https://www.newsweek.com/beatles-songs-reached-number-one-hits-billboard-charts-1497051
|
en
|
Every Beatles Song That Reached No.1 on the Charts
|
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] | null |
[
"Seren Morris"
] |
2020-04-10T00:01:01-04:00
|
The Beatles song that spent the longest in the charts is "Hey Jude," which was on the charts for 19 weeks.
|
en
|
Newsweek
|
https://www.newsweek.com/beatles-songs-reached-number-one-hits-billboard-charts-1497051
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Today marks 50 years since The Beatles broke up on April 10, 1970. During their eight years as a band, The Beatles had 20 No. 1 hits, and 34 Top 10 hits on the Billboard chart.
Forming in 1962 and breaking up in 1970, not only did The Beatles' top songs, like "Hey Jude" and "Come Together," peak at number one, they also spent months on the charts.
The Beatles Songs That Reached No. 1 on the Charts
Hey Jude
Come Together
I Want to Hold Your Hand
She Loves You
Let it Be
Love Me Do
Help!
A Hard Day's Night
We Can Work it Out
Get Back
All You Need is Love
Yesterday
Ticket to Ride
Hello Goodbye
I Feel Fine
The Long And Winding Road/For You Blue
Penny Lane
Can't Buy Me Love
Paperback Writer
Eight Days a Week
"Hey Jude" was The Beatles' number one hit that spent the longest on the charts. "Hey Jude" reached No. 1 on September 28, 1968, and spent 19 weeks on the charts. The second-longest No. 1 Beatles hit was "Come Together," which reached No. 1 on November 29, 1969, and spent 16 weeks on the charts.
"I Want to Hold Your Hand" reached No. 1 on February 1, 1964, and "She Loves You" reached No. 1 on March 21, 1964, and both hits spent 15 weeks on the charts.
"Let It Be" reached No. 1 on April 11, 1970, and "Love Me Do" reached No. 1 on May 30, 1964, and spent both songs were on the charts for 14 weeks.
"Help!" reached No. 1 on September 4, 1965, and "A Hard Day's Night" reached No. 1 on August 1, 1964, and both spent 13 weeks on the charts.
"We Can Work it Out," which reached No. 1 on January 8, 1966, and "Get Back," which reached No. 1 on May 24, 1969, were both on the charts for 12 weeks.
The Beatles had five No. 1 hits that were on the charts for 11 weeks, which were "All You Need is Love," which reached No. 1 on August 19, 1967, "Yesterday," which reached No. 1 on October 9, 1965, "Ticket to Ride," which reached No. 1 on May 22, 1965, "Hello Goodbye," which reached No. 1 on December 30, 1967, and "I Feel Fine," which reached No. 1 on December 26, 1964.
The Beatles also had five No. 1 hits that were on the charts for 10 weeks, which were "The Long And Winding Road/For You Blue," which reached No. 1 on June 13, 1970, "Penny Lane, "which reached No. 1 on March 18, 1967, "Can't Buy Me Love," which reached No. 1 on April 4, 1964, "Paperback Writer," which reached No. 1 on June 25, 1966, and "Eight Days a Week," which reached No. 1 on March 13, 1965.
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https://forward.com/culture/music/390978/this-bang-up-music-doc-is-one-you-should-have-seen-in-2017/
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en
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Bert Berns Music Doc Is A Jewish Movie You Should See
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"The Forward"
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2017-12-28T15:00:00+00:00
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"BANG!" is an entertaining film about Jewish songwriter Bert Berns who wrote songs recorded by Ben E. King, The Beatles and the Rolling Stones.
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en
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The Forward
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https://forward.com/culture/music/390978/this-bang-up-music-doc-is-one-you-should-have-seen-in-2017/
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I first started digging for old records in thrift stores in the late 1980s, back when you could still score stacks of 45s from the glory days of AM radio at 5 or 10 cents a pop. In the course of each thrift store foray, I would almost inevitably come across a single or two on the Bang imprint; between the bright-yellow label and the witty pop-art logo — an antique derringer pistol shooting a comic book speech balloon containing the label’s name — records on BANG were pretty hard to miss, even on the dustiest shelf.
They were also, as I quickly learned, well worth picking up. Early Neil Diamond hits like “Cherry, Cherry” and “Kentucky Woman” were on Bang, as was Van Morrison’s “Brown Eyed Girl.” The Strangeloves’ “I Want Candy” and “Night Time” were on the label, too, as were the McCoys’ hits “Hang On Sloopy” and “Fever.” In addition to their colorful labels, the singles all seemed linked by a similar aesthetic — catchy, upbeat rock ’n’ roll songs that required only a few ener getically strummed guitar chords to get their point across.
These singles all had something else in common, as well, something they shared with such classic ’60s hits as the Drifters’ “Under the Boardwalk,” Solomon Burke’s “Everybody Needs Somebody to Love,” Freddie Scott’s “Are You Lonely for Me?” Them’s “Here Comes the Night,” Erma Franklin’s “Piece of My Heart” and a snappy, oft-covered little ditty called “Twist and Shout”: They were all produced, written and/or released by a guy named Bert Berns.
A hard-hustling son of Russian Jewish immigrants, Berns made an indelible mark on the popular music of the early-to-mid-60s. His songs were recorded by rhythm and blues greats like the Isley Brothers, Ben E. King and Wilson Pickett, and influenced (and were covered by) British Invaders like The Beatles, The Rolling Stones and The Animals. As the driving force behind Bang Records, he helped launch Neil Diamond’s career and established Morrison as a solo artist. But while Berns’s contemporaries, like Phil Spector, Jerry Wexler, Jerry Leiber and Mike Stoller, have all rightly achieved pop cultural recognition on a wider scale — and while his own music can still be heard today on oldies stations everywhere — Berns himself has long remained shrouded in semi-obscurity, in part because he had the misfortune to die in 1967 (at the age of 38), long before the general public had any real awareness or understanding of how “record men” like him created and shaped the pop sounds that they hungrily consumed.
Berns has experienced something of a posthumous renaissance in recent years, however, due in part to Joel Selvin’s excellent 2014 biography “Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues.” A jukebox musical called “Piece of My Heart: The Bert Berns Story” had an off-Broadway run in the sum- mer of 2014, and Berns was inducted into the Rock & Roll Hall of Fame last year, receiving the hall’s Ahmet Ertegun Award for nonperformers. And now, finally available via iTunes and Apple Music, comes “BANG! The Bert Berns Story.”
An enormously entertaining documentary directed by Brett Berns (Bert’s son) and Bob Sarles, “BANG!” paints a colorful tale of a man driven equally by an intense love of music and a nagging awareness of his own mortality. Born in 1929 in the Bronx, Berns nearly died of rheumatic fever as a child, and the toll that the disease took on his heart would cast a dark shadow over the rest of his time on the planet. While the filmmakers perhaps hammer a little too hard on the notion that “Piece of My Heart” (which was made famous by Big Brother and the Holding Company) was written by Berns in reference to his own cardiac issues, the documentary makes it clear that his lust for life and desire to leave a musical mark on the world were driven by the knowledge that he wouldn’t live to a ripe old age.
Indeed, Berns packed a lot of living into his 38 years. Initially drawn to the Afro-Cuban sounds popular in the nightclubs of 1950s New York City, Berns mamboed his way down to Havana in time to witness the Cuban Revolution. (He claimed to have crossed paths with Fidel Castro while he was there, though this may have been just some colorful mythmaking on his part.)
Returning to New York in 1960, he schmoozed his way into a $50-a-week songwriting gig for Robert Mellin Music, and scored a Top 20 hit a year later by writing “A Little Bit of Soap” for the Jarmels, an R&B vocal group. More Berns-penned hits quickly followed, including “Twist and Shout,” the Exciters’ “Tell Him” and Solomon Burke’s “Cry to Me” — all of which shared a bit of the Latin bounce that would characterize much of Berns’s songwriting work.
In 1963, Berns replaced Jerry Leiber and Stoller as a staff producer at Atlantic Records. Atlantic’s head honchos Ahmet Ertegun, Nesuhi Ertegun and Jerry Wexler would eventually become his partners at Bang Records, which Berns founded in 1965. (Berns also formed his own R&B label, Shout, in 1966.) While at Atlantic, Berns made the then unusual move of traveling to London to produce several British acts, including Them, the Irish R&B band that, led by Morrison, recorded Berns’s “Here Comes the Night.” When Morrison left Them in 1966, following a dispiriting tour of the United States, Berns snapped him up as a solo artist for BANG.
While BANG and Shout proved enormously successful ventures for Berns, he made almost as many enemies as he did hit singles. He quickly fell out with Wexler over money (Wexler is quoted at the beginning of the film as saying of Berns, “I don’t know where he’s buried, but if I did I’d piss on his grave”), while Diamond left BANG in a huff after Berns opted to release “Kentucky Woman” as a single in lieu of Diamond’s more introspective “Shilo.” Morrison, who thought he was coming to New York to record a handful of singles for BANG, was appalled to see his recordings cobbled together by Berns for an album called “Blowin’ Your Mind!”; the singer/songwriter would eventually extricate himself from a crummy deal with Berns’s publishing company by recording 31 nonsense songs (including such immortal tracks as “Want a Danish” and “Blow in Your Nose”) in a single afternoon session.
As was fairly common practice in the mobbed-up music business of the 1960s, Berns liked to surround himself with heavies. He counted Thomas Eboli, the acting boss of the Genovese crime family, as one of his closest pals, and he was shadowed for much of his career by a wiseguy named Carmine “Wassel” DeNoia. DeNoia’s interview segments in “BANG! The Bert Berns Story” are worth the price of admission in themselves; he boasts of throwing people out windows and expounds on the brilliance of Freddie Scott’s “Are You Lonely for Me” with equal degrees of enthusiasm.
Indeed, the characters in “BANG! The Bert Berns Story” are as memorable as Berns himself. Bravely flouting the unwritten rule that says all 21st-century music docs must feature Dave Grohl, Henry Rollins and/or Bono as interview subjects, the filmmakers largely let people who actually knew or worked with Berns tell his story; the lone exception is music critic Joel Selvin, who also wrote the narration delivered by Steven Van Zandt. Keith Richards, Paul McCartney, Morrison, Ronald Isley, Solomon Burke, Ben E. King, Stoller and Ellie Greenwich are just some of the notable folks who get screen time in the documentary. (The “extras” available via iTunes include over an hour of additional interview footage.) Also vividly present in the film is Ilene Berns, the former go-go dancer who wound up running BANG and Shout after her husband’s fatal heart attack. A tough cookie in her own right, she relates more than a few hilarious tales in the film, including one about the fateful night when she and Berns met: After accepting his invitation to a party at his apartment, she arrived to find that she was the only guest. “I said, ‘This isn’t a party,’” she recalled. “’This is a schtup!’”
For all of the documentary’s colorful characters and juicy stories, though, the filmmakers wisely never stray too far from Berns’s musical legacy. Perhaps the most affecting moment in the film is when the infamously cantankerous Morrison (whose willingness to be interviewed speaks volumes in itself about his respect for Berns’s work) describes his final conversation with Berns. Shortly before his death, Berns reached out to Morrison by phone and asked what he was up to. When Morrison replied that he was writing songs, Berns — who had become increasingly mired in the business end of BANG — grew wistful. “Yeah,” he said to Morrison, “That’s what I like to do!” And as “BANG! The Bert Berns Story” ably attests, he did it very well, indeed.
Dan Epstein is the author of ‘Stars and Strikes: Baseball in the Bicentennial Summer of 1976.’
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