ಳ Read Format Kindle ᗪ Otis Redding: An Unfinished Life ೈ Ebook By Jonathan Gould ೭

ಳ Read Format Kindle ᗪ Otis Redding: An Unfinished Life  ೈ Ebook By Jonathan Gould ೭ ಳ Read Format Kindle ᗪ Otis Redding: An Unfinished Life ೈ Ebook By Jonathan Gould ೭ MontereyI was pretty sure that Id seen God onstage.Bob WeirLate on the evening of June 18, 1967, as Saturday night turned to Sunday morning, the San Franciscobased rock group known as the Jefferson Airplane concluded their forty minute set to rousing applause from the 7,500 fans who filled the fairgrounds arena in the resort town of Monterey, California, on the second night of an event billed as the First International Pop Festival The Airplane were local heroes to the crowd at Monterey, many of whom lived in the Bay Area and had followed the bands career from its inception in 1965 Along with other whimsically named groups like the Charlatans, Big Brother and the Holding Company, and the Grateful Dead, they had gotten their start in the folk coffeehouses and rock ballrooms of the Haight Ashbury, a neighborhood on the eastern edge of San Franciscos Golden Gate Park whose recent emergence as a bohemian enclave had captured the imagination of young people across America During the first half of 1967, a series of sensationalistic articles had appeared in newspapers and national magazines describing this self styled psychedelic city state and the long haired, hedonistic hippies who populated it This rash of publicity had inspired tens of thousands of footloose college students, college dropouts, teenaged runaways, and flower children of all ages to converge on San Francisco in anticipation of an idyllic Summer of Love.The Monterey Pop Festival was timed to coincide with the start of that summer The idea for the festival had originated a few months before as a gleam in the eye of a neophyte Los Angeles promoter named Alan Pariser, who envisioned it as a pop oriented version of the seaside jazz and folk festivals at Newport and Monterey that had served as a fashionable form of summertime entertainment since the 1950s After booking the fairgrounds and enlisting a well connected Hollywood Brit named Derek Taylor who had previously worked for the Beatles as their publicist, Pariser and his partner, a talent agent named Ben Shapiro, approached the Los Angeles folk rock group The Mamas and the Papas with the intent of hiring them as headliners The groups leader, John Phillips, and their producer, Lou Adler, responded with a vision of their own They proposed expanding the size and scope of the festival and using it to showcase the explosion of creative energy that had enveloped the world of popular music in the three years since the arrival of the Beatles in America in 1964 They also proposed staging the festival on a nonprofit basis, with the performers donating their services and the proceeds going to charity.When Shapiro balked at this idea, Phillips and Adler bought out his interest and formed a new partnership with Pariser They then set out to assemble a roster of some thirty acts, enough to fill three nights and two days of music Toward this end, they established a tony sounding board of governors that included such prominent pop stars as Paul McCartney, Mick Jagger, Smokey Robinson, and Brian Wilson Though none of these luminaries actually attended or performed, they gave the festival enough cachet to ensure that most of the artists the promoters contacted accepted their invitation to appear In the deft hands of Derek Taylor, the advance publicity for the festival also attracted some twelve hundred loosely credentialed representatives of the press, as well as enough agents, managers, and record company executives to lend the proceedings the feeling of an open air music business trade fair.Phillips and Adler recognized that staging the festival on a nonprofit basis was essential to realizing their parochial goal, which was to celebrate Californias sudden ascendancy in the world of popular music, with Los Angeles now recognized as the pop recording center of America and San Francisco as the home of the countrys most dynamic underground music scene Fully half the acts that performed came from the West Coast, with the balance drawn from points east, including the new pop capital of London Yet bridging the gap between the Northern and Southern Californian nodes of musical sensibility was no simple matter, for the two factions approached one another with the suspicion of rival tribes, vying over their respective notions of the California Dream The music business in Los Angeles was just thata branch of the entertainment industry governed by conventional Hollywood standards of stardom and success The music scene in San Francisco, by contrast, subscribed to a bohemian ethos whose insularity and self regard had been supercharged by the grandiosity of the psychedelic drug culture Bay Area bands that could barely sing or play in tune professed to distain the commercialism and slick professionalism of their counterparts in L.A At this point, the music of the Haight Ashbury was a hodgepodge of strident folk harmonies, impressionistic lyrics, modal improvisation, and sophomoric electric blues But the purported affinities of this music with the effects of hallucinogenic drugs had earned it the label acid rock and generated a formidable mystique.By the time of their appearance at Monterey, the Jefferson Airplane had established themselves as the most musically accomplished and commercially successful exponents of the San Francisco Sound Their second album, Surrealistic Pillow, stood high on the Billboard charts, while their latest single, an anthem of alienation called Somebody to Love, had attained a saturation level presence on the airwaves of Americas Top 40 radio stations Onstage and off, the group dressed with a theatrical flair that erased the lines between clothing and costume All five of the men wore Beatlesque helmets of shoulder length hair the one woman, a former fashion model named Grace Slick, had the pale skin, luminous eyes, and flowing kaftan robes of a pagan priestess Yet, unlike the Beatles and their fellow British Invasion bands, who had institutionalized the rock group as an autonomous musical unit, the members of the Jefferson Airplane did not project an almost familial uniformity of appearance They looked instead like a patchwork of different typesa Western gunslinger, a Regency dandy, a bespectacled Siouxdrawn from the collective unconscious of a generation of television babies, raised on a diet of half hour period dramas In this the members of the band were indistinguishable from the members of their audience At times, our audience was outrageous than the people onstage, recalled Paul Kantner, the groups rhythm guitarist.Though the Jefferson Airplane were hometown heroes to the crowd at Monterey, they were not the headlining act on the second night of the festival No sooner had they finished their set than the harried stage crew, pressed by a midnight curfew that had already expired, began replacing their banks of amplifiers with the modest gear of a four piece rhythm section called Booker T and the MGs and a two piece horn section called the Mar Keys Their presence at Monterey owed to their role as the studio band for Stax Records, a small Memphis label that specialized in a distinctive brand of earthy, gospel tinged rhythm and blues whose roots in the fervent emotionalism of the black church had earned it the label soul music The most prominent and charismatic artist associated with Stax was the singer Otis Redding, and it was as the prelude and accompaniment to Reddings eagerly anticipated performance that the MGs and the Mar Keys now prepared to take the stage.Whereas the members of the Jefferson Airplane blended easily into the crowd of predominantly white, long haired, flamboyantly dressed young people who filled the fairgrounds arena, the MGs and Mar Keysthree of them white, three of them blackcould well have arrived there, as one of them later said, from another planet To a man, their hair was cut short and, in the case of the white musicians, swept back into the sort of sculpted pompadour that was commonly associated in 1967 with television evangelists and country music stars Even anomalous was the fact that the six of them were dressed in matching, double breasted, lime green and electric blue stage suits from Lansky Brothers, a local institution in Memphis whose most famous client, Elvis Presley, could be said to stand for everything in the realm of contemporary American popular music that the West Coast bands were not.From his seat in the VIP section, just behind the photographers pit that ran in front of the stage, Jerry Wexler awaited the start of Otis Reddings set with mounting trepidation A vice president of Atlantic Records, Wexler was a renowned music executive and producer, best known for his work with Ray Charles and, recently, Aretha Franklin He was also a notorious worrier, and he felt a sense of personal responsibility for Reddings presence at Monterey It was Wexler who had nurtured the relationship between Atlantic and Stax that put the fledgling Memphis label on the map, and who had assured Reddings manager, Phil Walden, that the festival would be a prime opportunity for his client to connect with the burgeoning audience for progressive rock.Yet Wexler himself was unnerved by the countercultural pageant he encountered at Monterey It was not the thick haze of marijuana smoke hovering over the fairgrounds that gave him pause Wexler had been smoking reefer since his club hopping days in Harlem in the 1930s It was rather that much of the music he had heard during the afternoon and evening concerts on Saturday had impressed him as amateurish, bombastic, and banal, and he was now consumed with doubt about how this crowd of wide eyed dilettantes would respond to the raw emotional intensity and high energy stagecraft of Otis Reddings performance To make matters worse, a cold drizzle was beginning to fall, and as Booker T and the MGs launched into their opening number, Wexlers expert ears told him that the group, known for their impeccable timing, was sounding slightly off When Phil Walden emerged from the backstage area to pay his respects, Wexler told his young protg that he was afraid they had made a mistake.By the time Walden returned backstage, Booker T and the MGs had overcome the effects of the late hour, the cold night, and whatever nervousness they may have felt at performing in such unfamiliar surroundings and were setting up an enormous groove behind the saxophonist Andrew Love as he scorched through his solo on the Mar Keys showcase Philly Dog As for Otis Redding, the very real apprehension he felt was imperceptible to all but his closest associates A tall, thick featured, powerfully built man whose imposing physical presence made him seem considerably older than his age of twenty five, Redding waited in the wings with his usual air of restless energy Earlier, when Phil Walden asked him what songs he planned to sing, Redding had teasingly pretended that he hadnt given the matter much thought In fact, he had determined his set with the band the day before His feigned nonchalance was entirely in character, for one of traits that had distinguished Redding throughout his five year professional career was his seemingly boundless confidence in his ability to win people over.Notwithstanding Jerry Wexlers doubts, Redding had gained a great deal of experience performing in front of nominally hip white audiences during the year that preceded his appearance at Monterey In the spring of 1966, he had wowed the Hollywood in crowd with his shows at the Whisky a Go Go, a nightclub on the Sunset Strip In the fall he had toured in England and France and played a three night engagement in San Francisco at Bill Grahams Fill Auditorium, the Carnegie Hall of acid rock Twenty five years later, Graham would remember it simply as the best gig I ever put on in my entire life More recently, in the spring of 1967, Redding had returned to Europe, where he was rapturously received by fans in Britain, France, and Scandinavia, and afforded a royal welcome by the Beatles, the Rolling Stones, and the other members of Londons pop aristocracy who had revered him from afar.At the conclusion of Philly Dog, the television host Tommy Smothers came onstage and encouraged the crowd to give a warm welcome to Mister Otis Redding The MGs initial downbeat was answered by a syncopated fanfare from the horns and fusillade of accents from the drums as Redding, resplendent in a teal green silk suit, strode to the microphone, snatched it off its stand, flashed an enormous smile, and issued what was very likely the first unequivocal command to come from the stage at Monterey since the festival began SHAKE he demanded Everybody say it And again SHAKE Let me hear the whole crowd Between the honorific tone of Tommy Smotherss introduction and the note of total authority in the singers voice and the bands accompaniment, for the 7,500 astonished young listeners who leapt to their feet and surged toward the stage, it was as if the grown ups had arrived.The five songs Otis Redding performed in his rain and curfew shortened set at Monterey comprised an overview of his brief career The incendiary opening number, Shake, had been a posthumous hit for Sam Cooke, the gospel singer turned pop star whose supple voice, clean cut good looks, and consistent crossover success with white and black listeners alike had made him, along with Ray Charles, a role model for every soul artist of the 1960s Following Cookes untimely death in a shooting incident in 1964, Redding had consciously sought to assume his mantle by recording his songs and emulating his determination to be his own man in the music business.Otiss second number, Respect, was one of the three hit singles he released in 1965, the year he emerged as a full fledged RB recording star Respect was a prototype of the sort of driving dance tune with a stamping beat and a syncopated chorus of horns that defined the sound of the Stax label, but it had recently gained a new and greater significance as a vehicle for Aretha Franklin, who recorded it as part of her stunning debut on Atlantic Records in the spring of 1967 Franklin turned Reddings songin which respect served as a euphemism give it to me for sexual attentioninto a womans demand for the real thing, complete with a newly written release in which she literally spelled out the meaning of the word By the time of Monterey, this feminist reprise of Respect stood at 1 on the Billboard Pop charts This is a song that a girl took away from me, Otis told the crowd But Im still going to do it anyway.Ive Been Loving You Too Long To Stop Now was another of Reddings breakthrough hits from 1965, and another hallmark of his style a slow, imploring ballad in 12 8 time, paced by wistful arpeggios on the guitar and stately crescendos from the horns This is the Love Crowd, right Otis asked, alluding to the hippies atmospheric embrace of love advertised by a banner reading Music, Love, and Flowers that ran the length of the stage He then launched into a romantic testimonial of excruciating intensity, addressed to a woman whose love is growing cold as our affair grows old.An NPR Best Book of 2017A Rolling Stone Best Music Book of 2017A Paste Best Nonfiction Book of 2017 An impressive biography Access to Reddings surviving family members helps Gould flesh out his upbringing and offstage personality Music historians like Peter Guralnick, Rob Bowman and Robert Gordon have all done essential work on the history of Stax, but Gould takes a contrary and provocative position on the labels relationship to its greatest star He makes a convincing case that, while Reddings recordings are never less than compelling thanks to his remarkable voice, Stax co founder Jim Stewarts shortcomingsheld Redding back as a songwriter and repeatedly stymied his popular momentum Alan Light, New York Times Book Review Magisterial With meticulous scholarship, lively prose, and a tale that uses a singular musician as a springboard into interrogating Americas political and popular cultures, Gould has created a vital book that helps contextualize one of the most important figures in pop music Maura Johnston, Boston Globe An absorbing and ambitious book that succeeds in making Redding seem a good deal remarkable by taking the measure of the historical circumstances he emerged from Among the great pleasuresare Goulds very considered assessments of each of Otiss albums, track by track Geoffrey OBrien, The New York Review of BooksPerceptive.An incisive and deeply humanistic portrait.Eddie Dean, Wall Street Journal Jonathan Goulds Otis Redding doesnt so much practice revisionist history as simply get a complex story right, capturing the too short life and career of the immortal Otis Redding with unerring perceptiveness, precision and cultural context In short, Gould delivers the first biography to do Redding justice.Steve Nathans Kelly, PasteThe beloved 60s soul titancomes alive in Goulds insightful, well researched biography People Wonderful The Atlantic Gouldsets sky high aspirations for his book, attempting not to merely chronicle Reddings meteoric life, but to use him as the backdrop for a larger story about race in America, the history of soul music, and the rise of Memphis small but powerful Stax Records He does that gracefully Dallas News A rich picture of Reddings world.Illuminating Rolling StoneAn excellent and definitive biography A master storyteller, Gould tackles Reddings life by planting his flag firmly at the crossroads of individual genius and social and cultural context His fabulous portraitprovides Redding with the Respect he richly deserves Highly recommended Library Journal starred review A music biography with the depth to do its subject justice Otis Redding 1941 1967 ranks high in the pantheon of 1960s musical luminaries, so it s fitting that Otis Redding ranks equally high among such work focusing on popular musical artists Better late than never, the soul master receives his considerable due in this superbly researched and written biography Kirkus Reviews starred review Jonathan Goulds much heralded biography builds beautifully, like a great soul ballad than the dance hall hit so many music biographies aim at becoming One feels the time thats gone into the books organization, its exegesis, its every insightful and often quite funny sentences Hudson Valley One Gould vividly brings to life the man Stax Records boss Jim Stewart called a walking inspiration.From his supreme triumphs to his one last heart breaking phone call to Zelma, devotees and soul scholars alike could not wish for a thorough and sensitive portrait Mojo Some of the best parts of Goulds book are his incisive descriptions of Reddings live performances and recording sessions But even than his vivid re creations of Reddings composing and recording work, its Goulds insightful portrayal of the Segregated Souths racial climate that makes Otis Redding An Unfinished Life so compelling PasteNuanced and well researched Otis Redding belongs in the hands of anyone who cares about soul music in the sixties Booklist Jonathan Goulds exquisitely written biography of one of the greatest singers of all time is spell binding His deep research superbly contextualizes Otis Reddings way too short life and career, while his incisive critique of Reddings work makes his music come alive on the page leaving us yearning to have experienced the remarkable performer onstage Holly George Warren, author of A Man Called Destruction The Life and Music of Alex Chilton, from Box Tops to Big Star to Backdoor Man In his biography of Otis Redding, Jonathan Gould summons up the teeming cast of hustlers, visionaries, and eccentrics who fed Otis supernatural talent It s a thrill to see Redding brought back to life in all his raw, flashing glory David Dalton, founding editor, Rolling Stone, and author of Who Is That Man Otis Redding Wikipedia Otis Ray Jr September , December was an American singer, songwriter, record producer, arranger, and talent scoutHe is considered one of the greatest singers in history popular music a seminal artist soul rhythm bluesRedding s style singing gained inspiration from gospel that preceded genre official homepage Soul Celebrate th Anniversary Sittin On Dock Bay on Music Check out Music Stream ad free or purchase CD MPs now Dawson Georgia september Madison Wisconsin december een Amerikaans soulzanger die bekendstond om zijn gepassioneerde manier van zingen Zijn grote hit BayDeze single werd postuum uitgebracht januari Pain My Heart YouTube Feb my heart she treating me cold where can baby be Lord no knows just won t let sleep Very Best Of by Nov Radio Listen to Free Get Latest Biography One most influential s, exemplified many listeners power Southern deep hoarse, gritty vocals, brassy arrangements, emotional way with both party tunes aching ballads Hard To Handle May Engsub Courtney Hadwin year old Golden Buzzer Winning Performance America Got Talent Duration Huynh Quoc Dat Recommended for you Wikipdia n le septembre et mort dcembre dans lac Monona est un des plus grands chanteurs amricains de musique Rhythm blues parvenu faire sa profondment enracine la culture noire amricaine, une universelle cet gard, il jouit d remarquable popularit travers Story Behind had never seen anything so peaceful California sunlight sprinkling diamonds calm water bay, seagulls circling overhead azure sky, fishermen hauling their nets near docksJonathan Gould presenter Jonathan born Kenya British television who host UK baseball show MLB Five until it cancelled In he presented similar radio BBC Live He has been closely Penguin Random House JONATHAN GOULD former professional musician author CAN T BUY ME LOVE The Beatles, Britain divides his time between Alan July football player coach profiles LinkedIn View professionals named LinkedIn There are Gould, use exchange information, ideas, opportunities Callan CAIA Vice President Callan Real Assets Consulting group responsible conducting intensive due diligence evaluations investment managers respective real estate assets products behalf plan sponsor clients Los Angeles Times restaurant critic Gold dies at Jul Watch videoJonathan Gold, Pulitzer Prize winning Los richly chronicled city vast culinary landscape made its food understandable approachable Profiles Facebook people Join Facebook connect others may know gives lived Melbourne, Australia all life, except when hasn written comedy sketches theatre radio, as well several published children books educational market Dr PHD Book Appointment Charlotte, NC Dr psychologist NC specializes psychology forensic Leave Review Psychologist Search S Sharon Amity Rd Contact Information Background No malpractice claims found North Carolina Management Stonemar Properties Co Managing Member Properties co founder Partners, company affiliate, Management, property management affiliate Places Eat LAKILA best restaurants Angeles, decided Phone Number, Email, Address, Public New York, Florida other states Click state below find easily Can Buy Me Love Britain, Can America, Chief Counsel Senate Banking Committee profile LinkedIn, world largest community jobs listed See complete discover An Unfinished Life FREE shipping qualifying offers long awaited, definitive biography King Soul, timed coincide anniversary iconic performance Monterey Pop Festival remains immortal presence canon strength such classic hits Brother Brother personification EnglandHe also used emblem USA general, allegory capitalismThe catch phrase came into George Washington struggled provision armies during War IndependenceWhen considering state, lack of, munitions supplies, would We must consult Larson David February January composer playwright noted exploring social issues multiculturalism, 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prequel della Breaking Bad, ed incentrata sull avvocato di Walter White, Goodman, interpretato Bob OdenkirkIl primo episodio andato onda l febbraio su AMC, risultando premire col pi alto indice ascolto sempre per TV via cavo interested any families, choose table taken directly her page From there, access immediate family By Kevin Schwoyer, Autisitc, yrs Otis Redding: An Unfinished Life


    • Otis Redding: An Unfinished Life
    • 3.1
    • 245
    • Format Kindle
    • 0307453944
    • Jonathan Gould
    • Anglais
    • 08 December 2017

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