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Dvēseles dziedātājam Alam Grīnam uzbrūk savā vannā

Dvēseles dziedātājam Alam Grīnam uzbrūk savā vannā


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Nevar būt šaubu, ka kādu būtu satricinājuši notikumi, kas notika Memfisā, Tenesī, dziedātāja Al Grīna mājās 1974. gada 18. oktobra agrās rīta stundās, kad vannā viņam uzbruka bijusī draudzene. un ielēja mugurā katlu ar applaucētiem putraimiem, pirms atkāpās guļamistabā un nošāva sevi ar Grīna ieroci. Tomēr ne visi būtu apstrādājuši incidenta nozīmi gluži tā, kā to darīja Grīns. Uzskatot, ka viņš ir nomaldījies no viņam paredzētā taisnīgā muzikālā un garīgā kursa, Al Grīns gadu iepriekš bija kļuvis par atdzimušu kristieti. Bet pēc Mērijas Vudsonas uzbrukuma šajā dienā 1974. gadā viņš uzsāka procesu, kas galu galā noveda pie tā, ka viņš atteicās no popzvaigznes un visa tā.

Als Grīns, plaši pazīstams kā viena no izcilākajām balsīm soulmūzikas vēsturē, savu spēku pilnā augstumā bija 1974. gadā. Viņam aiz muguras bija septiņi kritiski un komerciāli veiksmīgi lielie albumi, kuros bija iekļauti tādi mūžīgi hiti kā "Tired Of" Būt vienam ”(1971),“ Paliksim kopā ”(1971) un“ I'm Still In Love With You ”(1972). Viņš arī, pēc Deivina Sjē vārdiem, kurš sadarbojās ar Grīnu savā 2000. gada autobiogrāfijā, Aizved mani uz upi, bija "pamata dzīvnieku pievilcība sievietēm", kas piesaistīja daudzus cienītājus, tostarp Mēriju Vudsonu.

Mērija Vudsone vispirms iepazinās ar Grīnu pēc tam, kad atstāja vīru un bērnus Ņūdžersijā un apmeklēja vienu no viņa koncertiem Ņujorkas štata štatā. Uzbrukuma naktī Vudsons negaidīti bija ieradies Grīna Memfisas mājās pēc atgriešanās no koncerta Sanfrancisko. Kas tieši pamudināja viņu rīkoties, nav skaidrs, taču viņas rīcība ne tikai atstāja Al Grīnu ar smagiem apdegumiem, kas prasītu vairākus mēnešus ilgu hospitalizāciju, bet arī viņu emocionāli un garīgi stipri satricināja. "Viņam patīk attālināt savas [reliģiskās] pievēršanās faktus no šīs nakts briesmīgajiem notikumiem," saka Sejs, "bet es domāju, ka Vudsona incidents kristalizēja viņa nepieciešamību virzīties tālāk, lai izslēgtu vienu savas dzīves daļu. dzīvi un atvērt citu. "


Al Green

Alberts Lorness Grīns [1] (dzimis 1946. gada 13. aprīlī), plašāk pazīstams kā Al Green, ir amerikāņu dziedātājs, dziesmu autors un ierakstu producents, kurš vislabāk pazīstams ar to, ka 70. gadu sākumā ierakstīja dvēseles hitu singlu sēriju, tostarp "Take Me to the River", "Tired of Being Alone", "I'm Still in Love with You" "," Mīlestība un laime "un viņa paraksta dziesma" Paliksim kopā ". [2] Pēc incidenta, kurā viņa draudzene nomira pašnāvības dēļ, Grīns kļuva par ordinētu mācītāju un pievērsās gospeļmūzikai. Vēlāk viņš atgriezās pie laicīgās mūzikas. [1] [3]

Grīns tika uzņemts Rokenrola slavas zālē 1995. gadā. Muzeja vietnē viņš tika minēts kā "viens no apdāvinātākajiem soulmūzikas piegādātājiem". [2] Viņu dēvē arī par "Pēdējo no lielajām dvēseles dziedātājām". [4] Grīns ir ieguvis 11 Grammy balvas, tostarp Grammy balvu par mūža ieguldījumu. Viņš ir saņēmis arī BMI ikonas balvu un ir Kenedija centra apbalvojumu saņēmējs. Viņš tika iekļauts Ripojošs akmens visu laiku 100 izcilāko mākslinieku saraksts, ieņemot 65. vietu [5], kā arī tā 100 izcilāko dziedātāju saraksts, 14. vietā. [6]


Dvēseles dziedātājam Alam Grīnam uzbrūk savā vannā - VĒSTURE

“Es pacēlu acis tieši laikā, lai spogulī redzētu Marijas atspulgu. Viņai abās rokās bija tvaicējamais katls. ”

“Nākamajā sekundē mana pasaule eksplodēja tūkstošos tīru agoniju. Marija ūdenim bija pievienojusi putraimus, pagatavojot biezu, verdošu karstu pastu. Ar visiem spēkiem viņa to uzmeta man, šļakstīdama vannas istabas sienas un apdedzinot manu kailo muguru. Sāpes bija tik spēcīgas, ka es ne mirkli nebiju pārliecināts, kas notiek. ”

Grīna kliedzieni brīdināja Viljamsu, kura atvēra savas guļamistabas durvis. Grīns pagrūda viņai garām un ieskrēja vannas istabā. Viljamss palīdzēja Grīnam ieiet vannā un ar pilnu spēku ieslēdza dušas auksto ūdeni.

“Es atkal kliedzu, noliecos un sāku aptumsties, kad pēkšņi dušas pērkonā dzirdēju skaļu sprādzienu. ”

"Es paskatījos uz Karlotu, un viņa paskatījās uz mani. It kā mēs abi zinātu, ka mums apkārt atklājas kaut kas briesmīgs un viss, ko mēs varam darīt, ir stāvēt briesmīgā, bezpalīdzīgā liecībā. Tad vēl viens blīkšķis un slikta, nepārprotama skaņa, kad kaut kas smags ietriecas grīdā. ”

Vudsons pēc Grīna applaucēšanas bija atkāpies guļamistabā. Paķērusi Grīna pistoli, viņa raidīja vienu šāvienu sienā, pirms nogalināja sevi ar otro lodi. Viņas somā tika atrasta pašnāvības piezīme.

Vēlāk viņi uzzināja, ka Mērija Vudsone tikai dažas dienas pirms šīs nakts bija mēģinājusi sevi nogalināt, sagriežot plaukstas locītavas un paņemot daudz miega zāļu.

Pirms šī traģiskā atgadījuma Al Grīns iepriekš bija sarakstījis dziesmu “Sha-La-La ” Mērijai Vudsonei.

Grīns teica, ka mīlēs Mēriju Vudsonu mūžīgi un ir viņai mūžīgi pateicīgs. Viņš teica, ka viņa ir vienīgā persona, kas paredzēja, ka viņš galu galā dziedās Tam Kungam un viņam būs sava baznīca 10 gadus pirms tam, kad viņa prātā pat bija doma. Viņš teica, ka pasmējās par viņas paziņojumu un jokojot teica, ka viņa ir "traka",#domājot, ka viņš to kādreiz varētu darīt. Izrādās, ka tas ir tieši tas, ko viņš darīja, un viņš joprojām dzied evaņģēliju un sludina savus sprediķus līdz pat šai dienai. Pilna evaņģēlija telts baznīca atrodas viņa dzimtajā pilsētā Memfisā.

-ILoveOldSchoolMusic, Old school ziņas ar jaunu skatu punktu


Kuram R&B dziedātājam bija dušas laikā uzkaisītas karstas putraimus?

star_gazer
19 gadu biedrs
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Stāsts saka, ka viņš bija vannā, nevis dušā.

Varbūt tas ar nabaga puisi notika divas reizes.

Vienreiz vannā un pēc tam dušā.

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16 gadu biedrs
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Pašlaik balso par labākā atbilde.

Varbūt viņš mazgājās dušā apvienotajā dušas vannā.

"1974. gada 18. oktobrī Grīna kunga draudzene Mērija Vudsone Vaita viņu uzbruka, pirms viņa izdarīja pašnāvību savā Memfisas mājā. Lai gan viņa jau bija precējusies, tika ziņots, ka Vaitas kundze kļuva satraukta, kad Grīna kungs atteicās viņu precēt. Ironiski , Grīns bija sasniedzis 32. vietu Hot 100 topā ar dziesmu "Let's Get Married", agrāk 1974. gadā. Vakara laikā Vaita kundze dušā mazgāja Grīna kungu ar verdošu putraimu pannu, izraisot trešās pakāpes apdegumus uz Grīna kunga muguras, vēdera un rokām. " Incidents lika viņam dramatiski mainīt savu dzīvesveidu!


Kauna almanahs

Uzbrukuma brīdī Als Grīns bija slavas virsotnē, dziedājot tādus hitus kā "Tired Of Being Alone" (1971), "Let's Stay Together" (1971) un "I'm Still In Love With You" (1972). 1973. gadā, kļuvis no jauna piedzimis kristietis, Grīns sāka sniegt labdarības koncertus slimnīcās un cietumos. Tieši vienā no šiem koncertiem, kas notika Ņujorkas štata labošanas iestādē, viņš pirmo reizi tikās ar Mēriju Vudsoni, kura pastāstīja Grīnam, ka viņa ir tur, lai apciemotu draugu. Patiesībā viņa bija atstājusi savu vīru un viņu bērnus Ņūdžersijā, lai īpaši tiktos ar Grīnu.

Radās iespaids, ka Mērija Vudsone ir viena un pieejama romantiskām attiecībām, Al Grīns uzaicināja viņu izlidot kopā ar viņu uz Sanfrancisko, kamēr viņš tur uzstājās. Pēc Sanfrancisko viņš atgriezās mājās Memfisā un drīz saņēma zvanu no Mērijas, sakot, ka viņa ir pilsētā un viņai patiktu, ja varētu sanākt kopā. Grīns piekrita, un viņi pārgāja no kopā pavadītām dienām līdz nedēļām kopā.

1974. gada 18. oktobra vakarā Grīns bija studijā, kad saņēma zvanu no Memfisas policijas. Viņi arestēja Mēriju Vudsonu par pīpēšanas podu, un viņa bija minējusi, ka ir Grīna draudzene. Viņš pacēla viņu no cietuma un aizveda atpakaļ uz studiju, kur, viņaprāt, dziedājot viņai, Marija jutīsies labāk. Tomēr drīz viņiem negaidīti pievienojās aviokompānijas stjuarte Karlota Viljamsa, kuru Grīns bija saticis ceļojuma laikā. Grīns uzskatīja, ka vislabāk būtu sievietes aizvest atpakaļ uz savu māju un ierasties uz nakti.

Pēc ierašanās Grīna mājā Viljamsa lūdza, lai viņu parāda vienā no viesu istabām, jo ​​nākamajā rītā viņai bija agrs lidojums. Pēc tam, kad Grīns bija pārliecinājies, ka viņa ir apmetusies, viņš devās meklēt Mēriju Vudsonu un atrada viņu virtuvē, kaut ko maisot katlā. Viņa jautāja viņam, vai viņš kādreiz bija iedomājies, ka abi beidzot apprecēsies. Grīns bija pārsteigts par šo jautājumu un teica, ka būtu labāk, ja viņi turpinātu šo sarunu no rīta. Pēc tam viņš uzkāpa augšstāvā, lai izģērbtos, gatavojoties mazgāties. Toreiz vannas istaba iegāja Mērija Vudsone un uzmeta mugurā katlu ar verdošiem putraimiem. Karlota Viljamsa dzirdēja viņa kliedzienus un ievilka viņu dušā, lai viņa varētu uzspridzināt viņu ar aukstu ūdeni. Pēc brīža Grīns un Viljamss dzirdēja šāvienus. Neskatoties uz to, ka viņš bija pārklāts ar otrās un trešās pakāpes apdegumiem, Grīns izkāpa no dušas un devās meklēt Vudsonu. Viņš atrada viņas ķermeni vienā no guļamistabām.

Tikai pēc Mērijas Vudsones pašnāvības Al Grīns uzzināja, ka viņai Ņūdžersijā ir vīrs un četri bērni. Patiesībā, neilgi pirms uzbrukuma viņas vīrs bija ieradies Memfisā, cenšoties panākt, lai Marija atgriežas mājās. Policija arī atklāja, ka viņai bijušas psihiskas problēmas. Viņa bija atstājusi divas pašnāvības piezīmes. Viens lasīja: "Es tevi mīlu, Al. Es neesmu traks, vienkārši nelaimīgs, jo nevaru būt kopā ar tevi."

Al Grīnam uzbrukuma rezultātā būtu vairāki ādas transplantāti, un viņš astoņus mēnešus pavadīja slimnīcā. Lai gan viņš apgalvo, ka viņa reliģiskā pievēršanās notika 1973. gadā un tam nebija nekāda sakara ar Mērijas Vudsones rīcību, viņa biogrāfs Deivins Sējs saka: "Es domāju, ka Vudsona incidents kristalizēja viņa nepieciešamību virzīties tālāk, kaut kā slēgt vienu daļu savu dzīvi un atver citu. " 1976. gadā Grīns kļuva par ordinētu kalpotāju un iegādājās pilnu evaņģēlija telti, kur joprojām sludina. Šā gada septembrī viņš izdeva savu pirmo jauno ierakstu pēdējās desmitgades laikā - Fredija Fendera dziesmas "Before the Next Teardrop Falls" vāku.


Komerciāli panākumi

Pēc tam, kad dvēseles biedriem neizdevās gūt labumu no viena trāpījuma, grupa izjuka un Al Grīns izsita savu. Tieši šajā laikā viņš nolēma no sava uzvārda atcelt galīgo & citātu.

1968. gadā, atrodoties ceļā Teksasā, Grīns atvēra producentu Villiju Mičelu. Pārsteigts par dzirdēto, Mičels parakstīja Grīnu ar līgumu ar Hi Records of Memphis, Tenesī. Kad viņš sāka cieši sadarboties ar Mitchell, Green & aposs mīkstās frāzes un falseta izrotājumi pārņēma dvēseli jaunā virzienā. 1971. gadā Grīnam bija populārs filmas The Temptations & apos & quot; & quot; Can & apost Get Next to You. viņa dāvinātās rozes ar gariem kātiem sievietēm koncertzālēm un zelta balsi, Grīns kļuva par īstu zvaigzni.


SKATIES: Leģendārais evaņģēlijs un dvēseles dziedātājs Al Grīns atzīmē 40 gadus kā pilnas evaņģēlija telts mācītājs Memfisā

(Foto: Jim Weber, komerciālā apelācija)

Tas nav domāts kā metafora vai runas figūra. Al Grīns burtiski runā ar Dievu. Viņš pļāpā, pļāpā, smejas, strīdas, uzdod jautājumus, dzied un runā ar Visvareno regulāri - vai nu guļot gultā, braucot ar automašīnu, sēžot birojā vai sludinot kancele. Tā ir saruna, kas sākās pagājušā gadsimta 70. gadu sākumā un ir turpinājusies nemainīgi pēdējās piecas desmitgades.

"Es visu laiku runāju, šurpu turpu, visu laiku, šurpu turpu," saka Grīns, Memfisas Evaņģēlija telts draudzes mācītājs un viens no slavenākajiem dvēseles dziedātājiem pasaulē.

„Al, kurš visu laiku par tevi rūpējās?

"Nu, nē, es nevaru iedomāties laiku, kad tu mani kādreiz pameti."

"Vai es tevi kādreiz esmu pametis vai kaut ko citu?

"Nu, Al, es tevi tagad neatstāšu."

Grīns atkārto šo neseno apmaiņu ar Viņu no galda savā biznesa birojā Vaithāfenā, kas atrodas viņa baznīcas ēnā.

Šajā decembra darba dienā Grīns ierodas ar vēlīnā modeļa balto Cadillac, kas valkā melnu Nike sporta tērpu, kleitu kreklu un kleitas kurpes. Lai gan aprīlī viņam apritēja 70 gadu, viņš izskatās vieglāks un veiklāks nekā pēdējos gados (ziņots, ka ceļgala trauma dēļ viņš uz laiku palika nekustīgs un veicināja svara pieaugumu). Sēdēdams krēslā-zem zelta ierāmēta fotoattēla, kurā viņš redzams 70. gadu krāšņumā, izliektā, kailā krūtīs, viņš sāk.

Intervija ar Grīnu nedaudz atgādina viena cilvēka izrādes skatīšanos. Viņš neatbild uz jautājumiem tik daudz, cik atbild ar stāstiem un jokiem, dodoties uz nejaušiem rifiem, dziedot fragmentus no saviem slavenajiem hitiem un cita starpā veicot Toma Džounsa un Elvisa Preslija atdarinājumus. Neatkarīgi no savvaļas pieskārieniem vai novirzēm, diskusija vienmēr atgriežas pie Grīna ticības. Tas viņu noveda pie atklātā evaņģēlija telts 1976. gada 18. decembrī.

Grīns svētdien svinēs baznīcas 40 gadu jubileju. Papildus regulārajiem rīta dievkalpojumiem notiks arī pēcpusdienas piemiņas pasākums, kurā uzstāsies mācītājs Melvins Čārlzs Smits no Morijas Austrumbaptistu draudzes un Grīna pirmā sieva Šērlija Grīna, kas uzstāsies kopā ar savām trim meitām.

Kad Grīns '76 teica savu pirmo sprediķi, viņš teica: "Es ticu, ka esmu."

“Es vienkārši ticu tam, ko saka Vārds. Nemēģinu izskaidrot, izskaidrot, izskaidrot. [..] Katra cilvēka [reliģijas] interpretācija, manuprāt, ir pēc viņa patikas. Bet es nedomāju, ka Dievs atstās jums daudz iespēju kļūdīties. ”

Kā stāsta Grīns, runājot par viņa īpašo ceļu - ceļu, kas viņu aizveda no muzikālās superzvaigznes augstumiem līdz baznīcas klēpim - nekad nebija nekādu šaubu.

‘Paskaties uz manām rokām ’

Alberts Lorns Grīns jeb Grīns - uz kuru viņš vēlāk mainītu pareizrakstību - dzimis 1946. gada aprīlī Forrest City, Arkanzasa, sestais no 10 bērniem, uzaudzis dievbijīgā reliģiskā ģimenē. Bērnībā viņš pārcēlās uz dzīvi Mičiganā un kopā ar brāļiem sāka dziedāt evaņģēliju. Pēc tam, kad viņa stingrais baptistu tēvs viņu izraidīja no mājas par Džekija Vilsona ierakstu klausīšanos, viņš sāka savu karjeru ar albumu mazajam Hot Line Label 1967. gadā ar nosaukumu “Back Up Train”.

Green ’ pirmais singls bija neliels izrāviens, nokļūstot Top 40 apakšējos pakāpienos, taču viņa karjera drīz vien izjuka. 1968. gada beigās Standā, Midlendā, Teksasā, viņš jautāja, vai varētu sēdēt un nopelnīt dažus dolārus, dziedājot kopā ar Memfisas grupas vadītāju Villiju Mičelu, kurš tajā naktī uzstājās pilsētā.

"Viņš sāka dziedāt, un es dzirdēju šo balsi un teicu:"Ah-ha! Paskaties, ko es šeit atradu, ”Atcerējās mirušais Mičels, kurš teica Grīnam, ka viņam vajadzētu atgriezties Memfisā kopā ar viņu, ka, ja viņš viņam dotu 18 mēnešus, Mičels varētu viņu padarīt par zvaigzni.

Grīnam vajadzēja nedaudz laika, lai ierastos Blefa pilsētā, un nedaudz ilgāk, lai izlauztos, taču, kā Mitčels bija solījis, pāris gadu laikā viņš bija dvēseles dziedoša supernova. Pirmie divi albumi, ko viņi ierakstīja Mitchell vadītajā Hi Records, “Al Green is Blues” un “Al Green Gets Next You” bija mazi šedevri, cita starpā piedāvājot izgudrojošu R & ampB interpretāciju Beatles un The Doors dziesmām. Pēdējais albums radīja 10 populārākos hitus Grīna rakstītajā dziesmā “Tired of Being Alone” un smieklīgi pārstrādāja Temptations dziesmu “Can’t Get Next To You”.

Ierakstot South Memphis Royal Studios ar house grupas Hi Rhythm atbalstu, Mičels lika Grīnam mīkstināt savu dziedāšanu un atrast savu dabisko falcetu, kā rezultātā 1972. gadā tika pārdots daudzu miljonu pārdošanas singls un albums “Let's Stay Together”.

Nākamie gadi, iespējams, sniegtu vislielāko panākumu R & ampB gadagrāmatās, un Mičels producētu un palīdzētu kopīgi uzrakstīt daudzus Green ’s hitus, bet Hi Rhythm ģitārists Mabon “Teenie ” Hodges sadarbotos ar vairākiem citiem (“Mīlestība un laime , "" Šeit es esmu [nāc un ņem mani] "). Green ’s mīlas dziesmas ne tikai dominēs, bet arī no jauna definēs soulmūziku 70. gadu sākumā, pārceļot to no baznīcas saknēm uz tveicīgāku guļamistabas apkārtni.

Līdz 1973. gadam Grīns bija savas karjeras zenītā - nauda, ​​sievietes un visa cita veida izdabāšana viņam piederēja. Tomēr, neskatoties uz slavu un bagātību, viņš bija dziļi nelaimīgs. Viņš sāka attālināties no mūzikas un pievērsties reliģijai. Viņa garīgā maiņa sākās ar epifāniju ceļā 1973. gadā pēc uzstāšanās Disnejlendā.

“Man bija atdzimšana no jauna… Coach 'n' Four motelī Anaheimā, Kalifornijā. Un kopš tā laika es nekad neesmu bijis tāds pats. Mani pārmainīja vai kaut kas, ”saka Grīns, kurš skrēja pie tēva, pēc tam ceļojot kopā ar viņu. “Mans tētis man jautāja:“ Kas par lietu? ”Es saku:“ Paskaties uz manām rokām… paskaties uz manām kājām…. Viņi spīd - vai jūs to neredzat? ”

Tad viņš dzirdēja Dieva balsi. "Viņš teica:" Es gribu, lai tu nāk pie manis. Nāc pie manis. ’‘Bet man vajadzēja dziedāt šīs dziesmas un iepriecināt visus šos cilvēkus. ’‘ Tev nekas nav jādara, Al. Nāc pie manis, un es visu sakārtošu. ”Es teicu:„ Labi. Man ir viegli, cilvēks, es esmu viegls kā svētdienas rīts. ’ "

Tas iezīmēja personīgas un profesionālas pārvērtības, kas pāris gadu laikā pilnībā mainīs viņa dzīvi.

Grīna reliģiskā degsme kļuva intensīvāka pēc traģiskā 1974. gada incidenta, kurā bija iesaistīta viņa draudzene Mērija Vudsone, kura uzbruka dziedātājam savās mājās ar applaucētu putraimu, izraisot nopietnus ķermeņa apdegumus. "Es esmu izdegusi, man ir olas lieluma blisteri ar ūdeni," atceras Grīns. "Es zinu, kas ir karsts. Tā ir viena lieta, ko es zinu. Man nav jāiet ellē. Viņi teica, ļaujiet man parādīt, kas ir karsts, pirms mēs tur nokļūstam, lai jūs varētu izvairīties no šīs kļūdas. Tāpēc es zinu, kas ir karsts. ”

Neilgi pēc uzbrukuma Grīnam Vudsons-precēta četru bērnu māte ar garīgām problēmām-atkāpās guļamistabā un nošāva sevi ar Grīna paša 38 kalibra revolveri. Gadu gaitā Vudsons kļūs par kaut kādu spoku, kas vajā Grīna psihi. Intervijas laikā Grīns viņu audzina bez paskaidrojumiem, paskaidrojot, ka tieši Vudsonam bija redzējums par pilnu evaņģēlija telti gadiem pirms tās pastāvēšanas.

"Marija ir tā, kas man teica:" Tu esi tā, kurai būs skaista baznīca un vieta, kas man saglabāta priekšējā sēdeklī, un daudz biedru. "Un es domāju:" Kas ir par ko tu runā? ”Tajā laikā es daru“ Šeit es esmu (nāc un ņem mani). ”Ko man darīt - pārtraukt to, ko daru, un sākt dziedāt evaņģēlija mūziku?


DŽEKI VILSONA STĀSTS, Nat Tarnopol, Brunswick Records

Džekijs Vilsons, kura medum bagātā falseta tenora balss bija saviļņojusi miljonus cilvēku visā pasaulē, nomira 1984. gada 21. janvārī 49 gadu vecumā.

Iepriekšējos astoņus gadus un četrus mēnešus viņš bija dārzeņiem līdzīgā stāvoklī. Kopš 1975. gada 29. septembra, uzstājoties Latīņamerikas kazino Cherry Hill, Ņūdžersijā, viņš nekad neteica ne vārda.

Džekiju gaidīja vēl viena sašutums. Pēc plaši publiskotajām bērēm, kurās piedalījās aptuveni 1500 radinieku, draugu un fanu, viņš tika apglabāts neapzīmētā kapā savā dzimtajā pilsētā Detroitā. Faktiski viņa apbedīšana bija nabags.

Džekijs dzimis 1934. gada jūnijā. Viņš bija Džekas un Elīzas Vilsonu vienīgais bērns no Kolumbusas, Misisipi štatā.

Izmantojot vārdu Džekijs Vilsons, viņš sasniegtu izvēlētā aicinājuma virsotni un#8211 kā dziedātājs un izpildītājs. No pazemīgas izcelsmes viņš kļūs pazīstams visā pasaulē ar savu strauji augošo un kaislīgo dziedāšanas stilu un nepārspējamo skatuves rutīnu. Viņa panākumi ASV topā sasniedza 55 Top 100 un 24 Top 40 hitus. Viņu apbrīnoja un līdzinājās daudzi izklaidētāji, tostarp Maikls Džeksons un Elviss Preslijs.
Džekija māte viņu spēcīgi ietekmēja. Tā kā Džekija bija viņas vienīgais dēls, viņa mīlēja viņu. Viņa tēvam attīstījās hroniska alkohola problēma un viņš parasti bija bezdarbnieks.

Džekijam nebija skolas, viņš bija parasts braucējs. Tas viņam nozīmēja nepatikšanas un divas reizes - apcietinājumu Lansingas korekcijas institūtā. Tur viņš iemācījās boksēties un bija prasmīgs atbalstītājs. Viņš pat apsvēra iespēju kļūt par profesionālu bokseri.
Džekijs dziedāja no sešu gadu vecuma, un no pusaudža gadiem viņš uz ielas dziedāja gan gospeļu, gan blūzu. Pat tad varēja dziedāt perfektā atslēgā un ar savu balsi bagātināja daudzas dvēseles.

Agrīnā pusaudža gados Džekijs izveidoja kvartetu Ever Ready Gospel Singers Group, kas kļuva par iecienītu rajona baznīcu iezīmi. Džekijs nebija reliģisks, viņam vienkārši patika dziedāt, un skaidrā nauda noderēja, lai iegādātos lētu vīnu.
Viņš arī skrēja kopā ar vietējo biedēto biedru, ko sauca par Shakers. Tomēr Džekijs drīzāk bija bandas ikona, un viņi nodrošināja, ka viņam netika nodarīts kaitējums regulāro amatieru priekšnesumu laikā “draudzīgos un#8221 rajonos.

Džekijs kļuva par Fredas Hudas mīļoto, kad viņam bija desmit gadu, bet viņai-11. Viņš bija izskatīgs, pašpārliecināts līdz pat nekaunībai un bija mīļākais ar meitenēm. Kopš agras bērnības viņš Fredai izteica savu vēlmi kļūt par izklaidētāju. Viņš pameta skolu devītajā klasē, 1950. gadā, 16 gadu vecumā.
Fredai, kad viņa palika stāvoklī, bija 17, bet Džekijai - 16, tāpēc 1951. gada februārī tika steigšus noslēgta laulība. Nākamajā mēnesī piedzima meita. Džekijam nebija regulāra darba, lai uzturētu savu jauno ģimeni, bet no 15 gadu vecuma Džekijs bija pastāvīgs mākslinieks vietējā melnās naktsklubā. Būdams nepilngadīgs, viņam bija jāstājas, izmantojot citu personu apliecinošu dokumentu-to pašu ID, ko izmantoja, lai apprecētos. Parādīšanās ienesa skaidru naudu, bet ģimenes dzīve parasti bija cīņa.
17 gadu vecumā Džekijs ieguva darbu Ford automobiļu lietuvē, netālu no dzīvesvietas, kur dzīvoja kopā ar māti (kura bija šķīrusies no Džeka Snra) un viņas vedeklu Džonu Lī. Viņš Ford rūpnīcā izturēja tikai divas nedēļas.
Tajā laikā viņš praktizēja dziedāšanu kopā ar vietējo grupu, kurā bija Levi Stubbs (vēlāk Četru topu solists). Toreiz pazīstami kā karaliskie, viņi kopā ar Džekiju neierakstīja nevienu dziesmu, bet attīstījās kā Hanks Ballards un Midnighters. Veiksmīga melnādainā grupa tajā laikā bija Billijs Vords un The Dominoes, kuras solists bija Klaids Makfaters. Džekiju sasniedza ziņas, ka Vords atrodas Detroitā un vēlas aizstāt armijā iesaukto grupas dalībnieku.
Tika rīkots konkurss, lai iepriekš izvēlētos armijas sastādītāja pēcteci. 18 gadus vecais Džekijs uzvarēja un kļuva par grupas dalībnieku, bet dažu mēnešu laikā Domino grupas solists Klaids Makfaters aizgāja, lai izveidotu savu grupu (The Drifters), kas ļautu Džekijam kļūt par jauno līderi.

Grupa daudzus gadus strādāja, īpaši Lasvegasā, pirms baltās auditorijas. Neskatoties uz dažiem pasakainiem ierakstu izlaidumiem ar Džekija un#8217 tenora vadību, viņa vienīgais panākums ierakstā ar Domino bija 1956. gada jūnijā ar “St Therese of the Roses ”, kas popmūzikas topos sasniedza 13. vietu.

1957. gadā Džekija nolēma izmēģināt solo karjeru. Džeksija vadību pārņēma Al Grīns, kurš jau vadīja dziedātājus Džoniju Reju, Dellu Rīzu un Lavernu Beikeru. Grīns devās uz Ņujorku un sarunājās ar ierakstu
izpilddirektors Bobs Teils parakstīs Džekiju pie Decca etiķetes. Dienu pirms darījuma parakstīšanas Al Grīns nomira.

Green ’s aizstāvis bija Nat Tarnopol. Tarnopole pārliecināja Džekiju ļaut viņam kļūt par viņa vadītāju, neskatoties uz to, ka viņam nav vadības pieredzes. Un tā viņš parakstīja Džekiju Deka stallī. Džekijs gadiem ilgi bija vienīgais dziedātājs meitasuzņēmuma Brunsvikas etiķetē, tāpēc Tarnopole pārliecināja Deka priekšniekus, ka viņš var veiksmīgi rīkoties ar šo etiķeti un piesaistīt vairāk melnādaino talantu, un līguma ietvaros viņam tika piešķirtas 50% īpašumtiesības.
no etiķetes.

Topošie dziesmu autori Berijs Gordijs un Rokels un#8220 Bilijs un#8221 Deiviss iepazinās ar Džekiju caur Flame Show Bar, kas ir populāra Detroitas nakts vieta, kuru Al Grīns arī bija pārvaldījis. Viņi bija uzrakstījuši daudzas melodijas, viņiem vajadzēja balsi dziesmu iedzīvināšanai.

1957. gada septembrī tika izdots Džekija pirmais ieraksts “Reet Petite ”. Tā bija Gordija un Deivisa kompozīcija, kurai Džekijs pievienoja savu atšķirīgo stilu. Lai gan ASV popmūzikas topos tā ieguva tikai 62. vietu, Apvienotajā Karalistē veicās labāk, sasniedzot 6. vietu. Džekijs bija ceļā.

1958. gada oktobrī Džekijs ar citu Deivisa/Gordija kompozīciju un#8220Lonely Teardrops ” sasniedza popmūzikas topu 7. vietu un savu pirmo miljonu pārdevēju. Trīs mūziķi tagad bija ceļā uz pasaules atzīšanu. Viens no Džekija svarīgākajiem īpašumiem bija viņa vienlīdzīgā pievilcība melnbaltām auditorijām.

Džekijs netieši un muļķīgi uzticējās Natam Tarnopolam, kurš viņam parakstīja pilnvaru. Tarnopole labprāt neierobežoja Džekija karjeru, koncentrējoties uz roka un#8216n ’ roll. Viņš izvēlējās grupas veterānu un Deka aranžētāju Diku Džeikobsu, lai noorganizētu un producētu lielāko daļu Džekija ierakstu no 1957. līdz 1966. gadam. Džekijs kļuva par galveno zvaigzni, bieži rādot televīziju no krasta līdz krastam nacionālajos TV šovos, Ņujorkā un Kopakabanā. un Lasvegasas naktskluba ķēdē. Pirms izpārdotās auditorijas viņš nenogurstoši apceļoja valsti. Kā skatuves māksliniekam viņam bija tikai jāiet uz skatuves, lai nojauktu māju, izraisot histēriju sieviešu vidū. Viņš bieži piekrita briesmām, ielecot auditorijā, kur viņa drēbes tiks sašķeltas.

Dienvidu štatos viņš spēlēja nošķirtai auditorijai, kas, protams, viņu satracināja. Bija daudz rasistisku incidentu, kas viņu apdraudēja. Izrādes laikā Ņūorleānā 1960. gadā uzstājās Lerijs Viljamss, un policija bija pavēlējusi viņam neveikt savu tradicionālo lēcienu skatītājos. Džekijs mudināja Viljamsu veikt savu parasto sniegumu, tāpēc viss kļuva ārkārtīgi saspringts. Kad policists satvēra Viljamsu, Džekijs ieraudzīja sarkanu un nogāza viņu. Uzliesmoja pilnīga pandēmija un sākās nemieri. Džekiju arestēja, un policija viņu smagi piekāva, pirms viņš tika izraidīts no pilsētas. Ja vēl būtu šaubas par Džekija balss talantiem, viņa otrā miljona pārdevēja un#8220Night ” viņus kliedētu. “Nakts un#8221 sasniedza 4. vietu popmūzikas topos. Berijs Gordijs izmantoja savu honorāru par deviņiem hitiem, kurus viņš rakstīja Džekijam, lai izveidotu savu ierakstu kompāniju Motown, savukārt Deiviss pievienojās Chess Records kā A & ampR menedžeris, dziesmu autors un producents.
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Līdz 1961. gadam Džekija bija kopā ar Harleanu Harisu - krāšņu žurnāla Ebony modes modeli. Džekijs visu savu dzīvi bija sievišķīga sieviete, un viņam bija arī attiecības ar jaunu sievieti Huanitu Džonsu. 1961. gada 15. februāra agrā rītā Džonss gaidīja Džekiju, un, kad viņš kopā ar Hārleinu atgriezās savā Manhetenas dzīvoklī, viņa uzbruka viņam un divreiz nošāva. Neskatoties uz ievainojumiem, Džekijs ar vienu lodi atradās netālu no mugurkaula un nokļuva lejā uz ielas ar revolveri, ko viņš joprojām izrāva rokā. Par laimi policists viņu nogādāja tuvējā slimnīcā. Operācija un vairākas nedēļas ilga medicīniskā aprūpe viņu izglāba, lai gan lode uz visiem laikiem palika pie mugurkaula, jo bija pārāk nepieejama, lai to noņemtu. Viņš arī zaudēja nieri, un viņam paveicās izdzīvot.

Džekija vadība un juridiskie padomnieki nolēma, ka incidents izraisīs skandālu. Būdams precēts vīrietis, kuram ir romāns ar citu sievieti, tas, iespējams, ir sabojājis arī viņa karjeru. Tika izdomāts stāsts, kurā Džonss tika attēlots kā vājprātīgs fans, kurš bija plānojis nošaut sevi, bet Džekijs bija iejaucies, un rezultātā viņš tika nošauts. Par laimi Džonsam, stāsts tika pieņemts, un viņa izkāpa bez skotijas. Pusotru mēnesi vēlāk Džekijs tika izrakstīts, un, neskaitot klibumu un diskomfortu kādu laiku, viņš ātri atveseļojās. Viņš atklāja, ka, neskatoties uz panākumu virsotni, viņš ir salauzts. Vienošanās, kas nav pilnīgi acīmredzama, Natu Tarnopolu kontrolēja mūzikas industrijas mafiozs ar nosaukumu Gaetano “Tommy ” Vastola. Vastolai vismaz daļēji piederēja Queens Booking Agency, kas bija Jackie ’s un lielākā daļa citu melnādaino mākslinieku un#8217 rezervēšanas aģentūras visā periodā. Džekija ceļojumu menedžeris, strādājot Vastolas aizgādībā, bija mafijas īstenotājs vārdā Džonijs Robertss. Roberts pieņēma darbā domnieku, lai rūpētos par Džekiju. Viņš bija Augusts Simss, melnādainais cilvēks, kas svēra aptuveni 230 mārciņas. Viņš nodrošināja aizsardzību, kā arī nodrošināja Džekijam savu koncertu datumus.

1963. gadā Džekijam bija liels trieciens rokās ar deju gropi, “Baby Workout ”, kas sasniedza 5. vietu Pop topā. Ap šo laiku Iekšējo ieņēmumu dienests (IRS) sagrāba Džekija un Detroitas ģimenes mājas. Freda sacīja, ka tā bija pirmā, kas uzzināja par nesamaksātajiem nodokļiem, jo ​​Tarnopolei un viņa grāmatvedim bija jārūpējas par šādiem jautājumiem. Fakts bija tāds, ka Džekijs bija gandrīz salauzts. Par laimi Džekijs vienojās ar IRS, lai atmaksātu nesamaksātos nodokļus un atkārtoti iegādātos ģimenes māju izsolē. Tomēr Freda pacietība beidzot bija beigusies Džekija bēdīgi slavenās viltības dēļ, un viņa iesniedza šķiršanās pieteikumu. Džekija to neapstrīdēja, un tāpēc viņu trīspadsmit gadu laulība tika anulēta 1965. gadā. Atlikušo mūžu Freda nožēloja, ka vēlas šķirties.

Džekijs turpināja ceļu ekskursiju slīpēšanas režīmu, taču tuvāko gadu laikā viņa karjerai pietrūka tvaika. Tomijs Vastola sarīkoja nejaušu tikšanos starp Tarnopoli un cienījamo Čikāgas soulmūzikas producentu Karlu Deivisu. Tikšanās bija katalizators īsai atdzimšanai Jackie ’s un Brunswick Records ’ bagātībās. Tātad bija tā, ka Džekija karjerai ir divi atšķirīgi posmi - Dika Džeikoba fāze no 1957. līdz 1966. gadam
un Karla Deivisa fāze no 1966. līdz 1975. gadam. Deiviss uzstāja, ka visi Džekija ieraksti tagad jāveic Čikāgā. Kādu dienu Džekijs bija Deivisa birojā un apsprieda, kādu materiālu viņi gatavojas ierakstīt, un uz galda atradās “Whispers ” demonstrācija. Džekijs visu laiku jautāja Deivisam, kas tā par dziesmu. Vai viņš varētu to klausīties? “Nē, un#8221 Deiviss visu laiku teica Džekijam, tas nebija viņam. Beidzot viņš piekāpās un ļāva Džekijam to dzirdēt. “Es gribu to darīt, ” viņš uzreiz teica. Dāvis piekrita, un Džekijs to pārvērta par #11 popmūzikas hitu. Džekijs atkal atgriezās uz pareizā ceļa, un trešais miljons pārdevēju sekoja 1967. gadā, kad “Higher and Higher ” sasniedza 6. vietu Pop topos.

Tomēr tas bija vētraina perioda sākums Džekija dzīvē. Viņš smagi dzēra, šņācot bīstamu daudzumu kokaīna un izmetot “uppers ” (amfetamīnu). Džekija dzīvē dominēja paranoja. This began in the early 1960s when he accused Freda and his mother of working for the FBI. The drugs were part of the problem, but the realization that he was being robbed and yet was unable to get off the Brunswick label also played a part in Jackie’s demise. Frankly, he was scared. It reached the point where Tarnopol didn’t want to pay him his record sales royalties and, in turn, Jackie was reluctant to record. Naturally his career suffered, particularly as he was being poorly promoted.

In March 1967 Jackie and his friend and drummer were arrested in South Carolina on morals charges. Both were arrested in a motel with two young white women. Lurid details of the case appeared in the newspapers. Tarnopol decided that to restore Jackie’s public image, a marriage to long-time girlfriend Harlean had to be held. The civil ceremony was held the next month. Jackie had been going with Harlean from at least 1961 and they’d had a son in 1963. They were only fined a few hundred dollars and the “morals charges” were soon forgotten.

Yet Jackie’s personal life was in turmoil. Not only was he being shot-changed by his management, but believed that Tarnopol was having an affair with Harlean. In 1969 he obtained a legal separation from her and went to live in a run-down hotel in mid-town Manhattan. Jackie was beginning to lose interest in life and his career. He’d not bother to dress and would remain for weeks in his cheap hotel room, drinking and smoking marijuana. Maintenance payments were not being made for his four children to Freda and she resorted to court orders to force payment. As well, he now had New York court orders, issued on behalf of Harlean, seeking maintenance for their son and herself. Jackie feuded with Tarnopol and it had reached a point where they hated each other intensely. At one point it is claimed Jackie was held out the window of a New York high-rise, just to make the point of who was in control. Jackie wanted to change labels, yet remained bound to the Brunswick label for 18 years.

Tragedy struck Jackie again in September 1970 when his eldest son, 16-year-old Jackie Jnr, was shot dead during a confrontation at a neighbors’ home. Jackie took it very hard and began to take stock of the alcohol and drugs that were destroying him. Shortly after the death of his son Jackie met Lynn Crochet and lived with her for the next five years. Lynn, who was white, had been head waitress at a nightclub, outside of New Orleans, which was Mob owned. In 1971 a civil marriage ceremony was held, but Jackie must have been aware it would not be legally recognized being still married to Harlean.

With firm threats of leaving him Lynn got Jackie into “detox” and, in his later years, Jackie didn’t drinking anything stronger than Pepsi. Around 1971, Jackie wanted his management contract with Tarnopol terminated and to do this he needed the help of someone with as much or more influence than Nat. He approached Tommy Vastola, who was already part of Tarnopol’s control group. It is not entirely clear how the management was wrested from Tarnopol, but it was. The management contract with Tarnopol was torn up. However, he was still bound to Brunswick. In September, 1975 Jackie was on stage in New Jersey, performing “Lonely Teardrops” and was on his knees when he was stricken by a heart attack. Dick Clark, who headed the Rock ‘n’ Roll Revue revival tour, recalls him crashing backward and striking his head. An ambulance quickly got him to the nearby hospital where he remained in a coma for over three months.

Jackie gradually improved to a semi-comatose state, but obviously he had suffered severe brain damage and, at 41, a tremendous career was ended. Although he never uttered another word, he remained clinging to life for a further eight and a quarter years. In a most tragic irony, his mother came over from Detroit to see him and less than a month after he was stricken, she collapsed into a diabetic coma and died. Jackie finally let go of life on 21 January, 1984 and the voice that had thrilled millions would sing no more.


'Look at my hands'

Albert Leorns Greene, or Green — to which he would later change the spelling — was born April 1946 in Forrest City, Arkansas, the sixth of 10 children, raised in a devoutly religious family. He relocated to Michigan as a child and began singing gospel with his brothers. After his strict Baptist father kicked him out of the house for listening to Jackie Wilson records, he launched his career with an album for the tiny Hot Line Label in 1967, called “Back Up Train.”

Green's first single had been a small breakout, making it to the lower rungs of the Top 40, but his career soon sputtered. Stranded in Midland, Texas in late 1968, he asked if he could sit in and earn a few dollars singing with Memphis bandleader Willie Mitchell, who was performing in town that night.

“He started singing, and I heard that voice and I said, ‘Ah-ha! Look what I found here,’” remembered the late Mitchell, who told Green he should come back to Memphis with him, that if he gave him 18 months, Mitchell could make him a star.

It took Green a little while to arrive in the Bluff City, and a little longer to break out, but as Mitchell had promised, within a couple of years, he was a soul singing supernova. The first two albums they recorded for the Mitchell-run Hi Records, “Al Green is Blues” and “Al Green Gets Next to You”, were minor masterpieces, offering inventive R&B interpretations of songs by the Beatles and The Doors, among others. The latter album produced a top 10 hit in the Green-penned “Tired of Being Alone” and a gritty reworking of the Temptations’ “Can’t Get Next To You.”

Recording at South Memphis’ Royal Studios with backing by house band Hi Rhythm, Mitchell pushed Green to soften his singing and find his natural falsetto, resulting in the 1972 multi-million-selling smash single and album “Let’s Stay Together.”

CROPPED VERSION - Al Green in a Little Rock, Arkansas concert in the winter of 1973-1974. Although he considers Memphis home, Green was born between Marianna and Forrest City, Arkansas April 13, 1947, the sixth of 10 children. Speaking of his performances in a January 20, 1974 story in Mid-South Magazine (CA Sunday magazine, now defunct) Green said, "You can get hurt very easily there. Everyone is in an uproar, a rage, tearing for you, you know what I mean? I've been bumped and bruised around, and I had my pants tore off me in Louisville, Kentucky one night. I was standing onstage with my undies on, but a robe came out right away and I was saved." (By Charles Nicholas) (Photo: Charles Nicholas, The Commercial Appeal)

The next few years would yield arguably the greatest run in the annals of R&B, with Mitchell producing and helping co-write many of Green's hits and Hi Rhythm guitarist Mabon "Teenie" Hodges collaborating on several others (“Love and Happiness,” “Here I Am [Come and Take Me]”). Green's love songs would come not only to dominate, but to redefine soul music in the early ‘70s, moving it from its church roots to the more sultry environs of the bedroom.

By 1973, Green was at the zenith of his career — money, women and every other kind of indulgence were his for the taking. Yet despite the fame and fortune, he was deeply unhappy. He began drifting away from music and toward religion. His spiritual shift began with an epiphany on the road in 1973, following a performance at Disneyland.

“I had a born-again awakening … in the Coach ‘n’ Four Motel in Anaheim, California. And I never been the same since. I was changed about or something,” says Green, who ran to his father, then traveling with him. “My daddy asked me, ‘What’s the matter?’ I say ‘Look at my hands … look at my feet … . they’re glowing — can’t you see it?’”

Then, he heard the voice of God. “He said, ‘I want you to come to me. Come to me.’ 'But I got to sing these songs and please all these people.' ‘You don’t have to anything, Al. Come to me, and I’ll make everything OK.’ I said, ‘OK. I’m easy, man, I’m easy as Sunday morning.'”

It marked the start of a personal and professional transformation that would alter his life completely within a couple years.

Green’s religious fervor became more intense in the wake of a tragic 1974 incident involving his girlfriend Mary Woodson, who attacked the singer at his home with a pot of scalding-hot grits, causing serious burns to his body. “I’m all burned up, got egg-size blisters full of water,” recalls Green. “I know what hot is. That’s one thing I do know. I don’t need to go to hell. They said let me show you what hot is before we get there so you can avoid that mistake. So I know what hot is.”

Shortly after attacking Green, Woodson — a married mother of four with a history of mental problems — retreated to a bedroom and shot herself dead with Green's own .38-caliber revolver. In the years since, Woodson would become something of a ghost haunting Green’s psyche. During the interview, Green brings her up unprompted, explaining that it was Woodson who had the vision for Full Gospel Tabernacle years before it existed.

“Mary is the one that told me, ‘You’re the one going to have a beautiful church, and a space saved for me in the front seat, and a lot of members.’ And I’m going like, ‘What are you talking about?’ At that time, I’m doing ‘Here I Am (Come and Take Me).’ What am I supposed to do — stop what I’m doing and start singing gospel music?

That’s exactly what would happen, though Green says it would be years before he could shake the specter of Woodson’s demise. “I was drowned with that for 14, 15 years. … I had years of looking for Mary in everyone else I saw, but Mary Woodson couldn’t be found in nobody else. She was just one of a kind,” he says. “I ultimately moved on… There’s no sense in looking for Mary in the other people. Mary gone. You got to make up your mind to move on with the best parts of Mary.”

In 1976, the newly ordained Rev. Green would record a final album, “Have a Good Time”, with Willie Mitchell and Hi Rhythm. Green would leave his longtime creative home for his own newly built American Music studio, where he would self-produce the spiritually resonant masterpiece “The Belle Album.” His Hi label swansong “Truth N’ Time” came out in 1978. After that, he abandoned secular music entirely for a decade, finding comfort (and considerable success) as a gospel artist.

Green’s music career has proceeded in fits and starts since then. His most recent active period resulted in a pair of Willie Mitchell-produced “comeback” R&B records, released on the Blue Note label in 2003 and 2005. He followed with 2008’s “Lay it Down,” co-produced by The Roots’ Amir “Questlove” Thompson and pairing him with a generation of younger artists like John Legend and Anthony Hamilton.

Green has not been in the studio proper in the eight years since. But week after week (most of them, anyway) he can be found leading services at his Full Gospel Tabernacle. The church’s congregation is spirited, if relatively small — but it swells with the tourist season, as fans and curious visitors come from all over to see Green preach and sing.

He doesn’t view these people as interlopers, but rather as pilgrims. “You might have come on your vacation — we get a lot of that,” says Green. “Well, we say while you’re here, why don’t we do a little bit of ‘Amazing Grace.’ It may help you along your way. I don’t take it as anything else but an opportunity. If God gives me this audience, I’ll preach the Word to them.”


Saturs

Early years Edit

Jack Leroy Wilson Jr. was born on June 9, 1934, in Highland Park, Michigan, as the third and only surviving child of singer-songwriter Jack Leroy Wilson, Sr. (1903–1983) and Eliza Mae Wilson (1900–1975). Eliza Mae was born on the Billups-Whitfield Place in Lowndes County, Mississippi. Eliza Mae's parents were Tom and Virginia Ransom. Wilson often visited his family in Columbus and was greatly influenced by the choir at Billups Chapel. Growing up in the suburban Detroit enclave of Highland Park, Wilson joined a gang called the Shakers and often got himself in trouble. Wilson's alcoholic father was frequently absent and usually unemployed. In 1943, his parents separated shortly after Jackie's ninth birthday.

Jackie Wilson began singing as a youth, accompanying his mother, an excellent church choir singer. In his early teens he joined a quartet, the Ever Ready Gospel Singers, who gained popularity in local churches. Wilson was not very religious, but he enjoyed singing in public. The money the quartet earned from performing was often spent on alcohol, and Wilson began drinking at an early age. [6]

Wilson dropped out of high school at age 15, having been sentenced to detention in the Lansing Corrections system for juveniles twice. During his second stint in detention, Wilson learned to box and began competing in the Detroit amateur circuit at age 16. [7] Wilson's record in the Golden Gloves was 2 and 8. After his mother forced Jackie to quit boxing, [8] Wilson was forced to marry Freda Hood by her father after getting her pregnant, and he became a father at age 17.

Early career Edit

He began working at Lee's Sensation Club as a solo singer, [9] then formed a group called the Falcons that included cousin Levi Stubbs, who later led the Four Tops. (Two other Wilson cousins, Hubert Johnson and Levi's brother Joe, later became members of the Contours.) The other Falcons joined Hank Ballard as part of the Midnighters, [10] including Alonzo Tucker and Billy Davis, who worked with Wilson several years later as a solo artist. Tucker and Wilson collaborated as songwriters on a few songs Wilson recorded, including his 1963 hit "Baby Workout".

Jackie Wilson was discovered by talent agent Johnny Otis, who recruited him for a group called the Thrillers. That group evolved into the Royals (who later became R&B group, the Midnighters, though Wilson was not part of the group when it changed its name and signed with King Records). Wilson signed on with manager Al Green (not to be confused with R&B singer Al Green, nor Albert "Al" Green of the now defunct National Records). Green, who also managed LaVern Baker, Little Willie John, Johnnie Ray and Della Reese, owned two music publishing companies, Pearl Music and Merrimac Music, and Detroit's Flame Show Bar, where Wilson met Baker.

After Wilson recorded his first version of "Danny Boy" and a few other tracks on Dizzy Gillespie's record label Dee Gee Records under the name Sonny Wilson (his nickname), Wilson eventually was hired by Billy Ward in 1953 to join a group Ward formed in 1950 called the Dominoes, after Wilson's successful audition to replace the immensely popular Clyde McPhatter, who left the Dominoes and formed the Drifters. [11] Wilson almost blew his chance that day, showing up calling himself "The shit" Wilson and bragging about being a better singer than McPhatter. [12]

Billy Ward felt a stage name would better fit the Dominoes' image, hence Jackie Vilsons. Before leaving the Dominoes, McPhatter coached Wilson on the sound Billy Ward wanted for his group, influencing Wilson's singing style and stage presence. "I learned a lot from Clyde, that high-pitched choke he used and other things. Clyde McPhatter was my man. Clyde and Billy Ward." [9] 1940s blues singer Roy Brown was also a major influence on him, and Wilson grew up listening to the Mills Brothers, the Ink Spots, Louis Jordan and Al Jolson.

Wilson was the group's lead singer for three years, but the Dominoes lost some of their stride with the departure of McPhatter. They made appearances riding on the strength of the group's earlier hits, until 1956 when the Dominoes recorded Wilson with an unlikely interpretation of the pop hit "St. Therese of the Roses", giving the Dominoes another brief moment in the spotlight. (Their only other post-McPhatter/Wilson successes were "Stardust", released July 15, 1957, and "Deep Purple", released October 7, 1957. [13] ) In 1957 Jackie Wilson began a solo career, left the Dominoes, collaborated with his cousin Levi, and secured performances at Detroit's Flame Show Bar. Later, Al Green secured a deal with Decca Records, and Wilson was signed to its subsidiary label Brunswick.

Solo stardom Edit

Shortly before Jackie Wilson signed a solo contract with Brunswick, Green suddenly died. Green's business partner Nat Tarnopol took over as Wilson's manager (and ultimately rose to president of Brunswick). Wilson's first single was released, "Reet Petite" (from his first album He's So Fine), which became a modest R&B success (many years later, an international smash hit). "Reet Petite" was written by future Motown Records founder Berry Gordy Jr. (another former boxer who was a native son of Detroit), [14] in which he co-wrote "Reet Petite" with partner Roquel "Billy" Davis (using the pseudonym Tyran Carlo) and Gordy's sister Gwendolyn. The trio composed and produced six additional singles for Wilson, in which were: "To Be Loved", "I'm Wanderin'", "We Have Love", "That's Why (I Love You So)", "I'll Be Satisfied" and Wilson's late-1958 signature song, "Lonely Teardrops", which peaked at No. 7 on the pop charts, ranked No. 1 on the R&B charts in the U.S., and established Wilson as an R&B superstar known for his extraordinary, operatic multi-octave vocal range. [15] Wilson's "Lonely Teardrops" sold over one million copies, and was awarded a gold disc by the RIAA. [16]

Due to Wilson's fervor when performing, with his dynamic dance moves, impassioned singing and impeccable dress, he was soon christened "Mr. Excitement", a title Wilson kept for the remainder of his career. Jackie Wilson's stagecraft in his live shows inspired James Brown, Teddy Pendergrass, Michael Jackson [17] and Elvis Presley, as well as a host of other artists that followed. Presley was so impressed with Wilson that he made it a point to meet him, and the two instantly became good friends. In a photo of the two posing together, Presley's caption in the autograph reads "You got you a friend for life". Wilson was sometimes called "The Black Elvis". [18] Reportedly, when asked about this Presley said, "I guess that makes me the white Jackie Wilson." Wilson also said he was influenced by Presley, saying, "A lot of people have accused Elvis of stealing the black man's music, when in fact, almost every black solo entertainer copied his stage mannerisms from Elvis." [19]

Wilson's powerful, electrifying live performances rarely failed to bring audiences to a state of frenzy. [20] His live performances consisted of knee-drops, [21] [22] splits, spins, back-flips, [23] [24] one-footed across-the-floor slides, removing his tie and jacket and throwing them off the stage, basic boxing steps like advance and retreat shuffling, [25] and one of his favorite routines, getting some of the less attractive women in the audience to come up to the stage and kiss him. Wilson often said "if I get the ugliest girl in the audience to come up and kiss me, they'll all think they can have me and keep coming back and buying my records." [26]

Jackie Wilson was a regular on TV, making regular appearances on such shows as Eda Salivana šovs, Amerikāņu stends, Shindig!, Shivaree un Hullabaloo. His only movie appearance was in the rock and roll film Go, Johnny, Go!, where he performed his 1959 hit song "You Better Know It". [27]

In 1958, Davis and Gordy left Wilson and Brunswick after royalty disputes escalated between them and Nat Tarnopol. Davis soon became a successful staff songwriter and producer for Chess Records, while Gordy borrowed $800 from his family and used money he earned from royalties writing for Wilson to start his own recording studio, Hitsville USA, the foundation of Motown Records in his native Detroit. Meanwhile, convinced that Wilson could venture out of R&B and rock and roll, Tarnopol had the singer record operatic ballads and easy listening material, pairing him with Decca Records' veteran arranger Dick Jacobs.

Jackie Wilson scored hits as he entered the 1960s with the No. 15 "Doggin' Around", the No. 4 pop ballad "Night", another million-seller, [28] and "Baby Workout", another Top 10 hit (No. 5), which he composed with The Midnighters member Alonzo Tucker. His songwriting alliance with Tucker also turned out other songs, including "No Pity (In The Naked City)" and "I'm So Lonely." Top 10 hits continued with "Alone at Last" (No. 8 in 1960) and "My Empty Arms" (No. 9 in 1961).

Also in 1961, Wilson recorded a tribute album to Al Jolson, Nowstalgia . You Ain't Heard Nothin' Yet, which included the only album liner notes he ever wrote: ". to the greatest entertainer of this or any other era . I guess I have just about every recording he's ever made, and I rarely missed listening to him on the radio . During the three years I've been making records, I've had the ambition to do an album of songs, which, to me, represent the great Jolson heritage . This is simply my humble tribute to the one man I admire most in this business . to keep the heritage of Jolson alive." [29] [30] The album was a commercial failure.

Following the success of "Baby Workout", Wilson experienced a lull in his career between 1964 and 1966 as Tarnopol and Brunswick Records released a succession of unsuccessful albums and singles. Despite the lack of sales success, Wilson still made artistic gains as he recorded an album with Count Basie, as well as a series of duets with R & B artist LaVern Baker and gospel singer Linda Hopkins.

In 1966, Jackie Wilson scored the first of two big comeback singles with the established Chicago soul producer Carl Davis with "Whispers (Gettin' Louder)" and "(Your Love Keeps Lifting Me) Higher and Higher", the latter a No. 6 pop hit in 1967 that became one of his final hits. "I Get the Sweetest Feeling", despite its modest initial chart success in the US (Billboard Pop No. 34), has since become one of his biggest international chart successes, ranking in Top 10 twice in the UK (in 1972 and 1987), and in the Top 20 of the Dutch Top 40. "I Get the Sweetest Feeling" spawned numerous cover versions by other artists such as Edwin Starr, Will Young, Erma Franklin (Aretha Franklin's sister) and Liz McClarnon.

A key to Jackie Wilson's musical rebirth was Davis insisting that Wilson no longer record with Brunswick's musicians in New York instead, he recorded with legendary Detroit musicians normally employed by Motown Records and also Davis' own Chicago-based session players. The Detroit musicians, known as the Funk Brothers, participated on Wilson's recordings due to their respect for Davis and Wilson.

By 1975, Wilson and the Chi-Lites were the only significant artists left on Brunswick's roster. Wilson had continued to record singles that found success on the R&B chart, but found no significant pop chart success. His final hit, "You Got Me Walkin'", written by Eugene Record of the Chi-Lites, was released in 1972 with the Chi-Lites backing him on vocals and instruments.

According to Larry Geller, who visited Wilson backstage in Las Vegas with Elvis Presley, the singer had a habit of taking a handful of salt tablets and drinking large amounts of water before each performance, to create profuse sweating. Wilson told Elvis Presley, "The chicks love it." [31] A side effect would have been hypertension.

On September 29, 1975, Wilson was one of the featured acts in Dick Clark's Good Ol' Rock and Roll Revue, hosted by the Latin Casino in Cherry Hill, New Jersey. He was in the middle of singing "Lonely Teardrops" when he suffered a massive heart attack. On the words "My heart is crying" he collapsed on stage audience members applauded as they initially thought it was part of the act. Clark sensed something was wrong, then ordered the musicians to stop the music. Cornell Gunter of the Coasters, who was backstage, noticed Wilson was not breathing. Gunter was able to resuscitate him and Wilson was then rushed to a nearby hospital. [12]

Medical personnel worked to stabilize Wilson's vital signs, but the lack of oxygen to his brain caused him to slip into a coma. He briefly recovered in early 1976, and was even able to take a few wobbly steps, but slipped back into a semi-comatose state. [32] Wilson's friend, fellow singer Bobby Womack, planned a benefit at the Hollywood Palladium to raise funds for Wilson on March 4. [32] Wilson was deemed conscious but incapacitated in early June 1976, unable to speak but aware of his surroundings. Wilson was a resident of the Medford Leas Retirement Center in Medford, New Jersey, when he was admitted into Memorial Hospital of Burlington County in Mount Holly, New Jersey, due to having trouble taking nourishment, according to Wilson's attorney John Mulkerin. Wilson's friend Joyce McRae tried to become his caregiver while he was in a nursing home, but he was placed in the guardianship of his estranged wife Harlean Harris and her lawyer John Mulkerin in 1978. [33]

Wilson died on January 21, 1984, at age 49 from complications of pneumonia. [7] [34] He was initially buried in an unmarked grave at Westlawn Cemetery near Detroit. [35] In 1987, fans raised money in a fundraiser spearheaded by an Orlando disc jockey Jack (the Rapper) Gibson to purchase a mausoleum. [36] On June 9, 1987, his 53rd birthday, a ceremony was held and Wilson was interred in the mausoleum at Westlawn Cemetery in Wayne, Michigan. His mother Eliza Wilson, who died in 1975, was also placed in the mausoleum. [36]

Wilson converted to Judaism as an adult. [37]

Wilson had a reputation for being short-tempered and promiscuous. [9] In her autobiography, Patti LaBelle accused Wilson of sexually assaulting her backstage at a Brooklyn theater in the early 1960s. [38]

On February 15, 1961, in Manhattan, Wilson was shot and seriously wounded by a woman named Juanita Jones. [39] However, Jones was one of his girlfriends, and she shot him in a jealous rage after he returned to his Manhattan apartment with another woman, fashion model Harlean Harris, an ex-girlfriend of Sam Cooke. [40] Wilson's management supposedly concocted the story about her being a zealous fan to protect Wilson's reputation. They claimed that Jones was an obsessed fan who had threatened to shoot herself, and that Wilson's intervention resulted in his being shot. [39] [41] Wilson was shot in the stomach the bullet resulted in the loss of a kidney, and lodged too close to his spine to be operated on. [6] In early 1975, during an interview with author Arnold Shaw, Wilson maintained it actually was a zealous fan he did not know who shot him. "We also had some trouble in 1961. That was when some crazy chick took a shot at me and nearly put me away for good. " [42] No charges were brought against Jones.

Legal problems Edit

In 1960, Wilson was arrested and charged with assaulting a police officer when fans tried to climb on stage in New Orleans. He assaulted a policeman who had shoved one of the fans.

In 1964, Wilson jumped from a second floor window at Kiel Auditorium in St. Louis to avoid being arrested after a show. His arrest stemmed from a default of a $2,200 contract judgement in which he failed to appear at The Riviera Club in 1959. He was caught by the police and jailed for a day before he posted a $3,000 bond. [43]

In March 1967, Wilson and his drummer, Jimmy Smith, were arrested in South Carolina on "morals charges" the two were entertaining two 24-year-old white women in their motel room. [12]

Financial issues Edit

In 1961, Wilson declared annual earnings of $263,000, while the average annual salary at that time was just $5,000, but he discovered that, despite being at the peak of success, he was broke. Around this time the Internal Revenue Service (IRS) seized Wilson's Detroit family home. Tarnopol and his accountants were supposed to take care of such matters. Wilson made arrangements with the IRS to make restitution on the unpaid taxes he also re-purchased the family home at auction. [6] Nat Tarnopol had taken advantage of Wilson's naïveté, mismanaging his money since becoming his manager. Tarnopol also had power of attorney over Wilson's finances.

Tarnopol and 18 other Brunswick executives were indicted on federal charges of mail fraud and tax evasion stemming from bribery and payola scandals in 1975. Also in the indictment was the charge that Tarnopol owed at least $1 million in royalties to Wilson. In 1976 Tarnopol and the others were found guilty an appeals court overturned their conviction 18 months later. Although the conviction was overturned, judges went into detail, outlining that Tarnopol and Brunswick Records did defraud their artists of royalties, and that they were satisfied that there was sufficient evidence for Wilson to file a lawsuit. However, a trial to sue Tarnopol for royalties never took place, as Wilson lay in a nursing home semi-comatose. Tarnopol never paid Wilson monies he had coming to him, and Wilson died owing money to Brunswick Records and an estimated $300,000 to the IRS. [44]

Marriages and children Edit

At the age of 17, Wilson married his girlfriend Freda Hood in 1951 while she was pregnant. Together they had four children (Jacqueline Denise, Sandra Kay, Jack Leroy Jr, and Anthony Duane). Hood divorced Wilson in 1965, after 14 years of marriage, as she was frustrated with his notorious womanizing. [6]

In 1967, Wilson married his second wife, model Harlean Harris (1937–2019), at the urging of Nat Tarnopol to repair his image. [45] [46] They had been dating since at least 1960, and had a son, John Dominick known as Petey, born in 1963. [45] Wilson and Harris legally separated in 1969. [47] Wilson later lived with Lynn Guidry. They had two children, son Thor Lathon Kenneth (b. 1972) and daughter, Li-Nie Shawn (b. 1975). Thor died on October 23, 2018 at the age of 46. [48] Wilson was in a relationship with Guidry, who was under the impression that she was his legal wife, until his heart attack in 1975. However, Wilson and Harris never officially divorced. Harris became his court-appointed guardian in 1978. [33]

Wilson's 16-year-old son, Jackie Jr, was shot and killed on a neighbor's porch near their Detroit home in 1970. Wilson sank into a period of depression, and for the next couple of years remained mostly a recluse. He turned to drug abuse and continued drinking in an attempt to cope with the loss of his son. [49] More tragedy hit when two of Wilson's daughters died when young. [50] His daughter Sandra died in 1977 at the age of 24 of an apparent heart attack. Another daughter, Jacqueline, was killed in 1988 in a drug-related incident in Highland Park, Michigan. [51]

Wilson also had children out of wedlock with different women, including singer Bobby Wilson.

After Wilson's death, Michael Jackson honored Jackie Wilson at the 1984 Grammy Awards Jackson dedicated his Album of the Year Grammy for Trilleris to Wilson, saying, "Some people are entertainers and some people are great entertainers. Some people are followers. And some people make the path and are pioneers. I'd like to say Jackie Wilson was a wonderful entertainer. He's not with us anymore, but Jackie, where you are I'd like to say, I love you and thank you so much." [52] [53]

In 1985, the Commodores recorded "Nightshift" in memory of Wilson and soul singer Marvin Gaye, who had both died in 1984.

Wilson scored a posthumous hit in Europe when "Reet Petite" topped the charts in the Netherlands, the Republic of Ireland and the United Kingdom in 1986. This success was likely due in part to a new animated video made for the song, featuring a clay model of Wilson, that became popular on the BBC Two TV network in the latter country. The following year, Wilson's posthumous charting success in the United Kingdom continued when he hit the UK Singles Chart again with "I Get the Sweetest Feeling" (number three), and "(Your Love Keeps Lifting Me) Higher and Higher" (number 15).

In his 1994 autobiography To Be Loved (named for one of the hit tunes he wrote for Wilson) Motown founder Berry Gordy stated that Wilson was "The greatest singer I've ever heard. The epitome of natural greatness. Unfortunately for some, he set the standard I'd be looking for in singers forever". [54]

In 1994, Monkee Peter Tork recorded a bluegrass-rock cover of "Higher and Higher" on his first solo album Stranger Things Have Happened.

In the 2010 VH1 television special, Say It Loud: A Celebration of Black Music in America, Smokey Robinson and Bobby Womack both paid tribute to Wilson. Smokey explained that "Jackie Wilson was un most dynamic singer and performer that I think I've ever seen." Bobby added "He was the īsta Elvis Presley, as far as I'm concerned. and Elvis took a lot from him too." [55]

In 2010, Wilson's songs "(Your Love Keeps Lifting Me) Higher and Higher" and "Lonely Teardrops" were ranked No. 248 and No. 315 on Ripojošs akmens magazine's list of the 500 Greatest Songs of All Time. [56]

In 2014, artist Hozier released a song titled "Jackie and Wilson", a play on Wilson's name. The song includes the lyrics "We'll name our children Jackie and Wilson and raise them on rhythm and blues." [57]

In 2016, Cottage Grove Street in Detroit was renamed Jackie Wilson Lane in his honor. [58]

In 2018, Hologram USA Networks Inc. launched the hologram stage show, Higher & Higher: The Jackie Wilson Story. [59] [60]

During their 2019-20 season, "(Your Love Keeps Lifting Me) Higher and Higher" was played following every home win by the St. Louis Blues.

Portrayals in the media Edit

In 1987, Wilson was portrayed in the Ritchie Valens biographical film La Bamba by Howard Huntsberry.

In 1992, Wilson was portrayed in the ABC miniseries by Grady Harrell in The Jacksons: An American Dream.

In 1999, Wilson was portrayed by Leon Robinson in the NBC television film Mr. Rock 'n' Roll: The Alan Freed Story. [61]

In 1999, Wilson was portrayed by Sananda Maitreya, then known professionally as Terence Trent D'Arby, in the television film Shake, Rattle & Roll.

In 2000, Wilson was portrayed by Chester Gregory in the Black Ensemble Theater of Chicago's musical production about Wilson's life. [62]

In 2019, Wilson was portrayed by Jeremy Pope in One Night in Miami. . [63]

  • 1987: Wilson was inducted into the Rock and Roll Hall of Fame[3]
  • 2003: Wilson was honored with the Rhythm and Blues Foundation Legacy Tribute Award [4]
  • 2005: Jackie Wilson was voted into the Michigan Rock and Roll Legends Hall of Fame [64]
  • 2013: Wilson was inducted into the R&B Music Hall of Fame
  • 2019: Wilson was honored with a star on the Hollywood Walk of Fame[65]

Grammy Awards Edit

Wilson was nominated for two Grammy Awards. [66] In 1999, his songs "Higher and Higher" and "Lonely Teardrops" were inducted into the Grammy Hall of Fame. [67]


Tragic Death and Legacy

No one knows for certain what exactly happened in the early hours of December 11, 1964. Cooke had been out the night before, reportedly drinking at a Los Angeles bar where he met a woman named Elisa Boyer. The pair hit it off and eventually ended up at the Hacienda Motel. There the couple had some type of altercation in their room, and Cooke then ended up in the motel&aposs office. He reportedly clashed with the motel&aposs manager, and the manager shot Cooke. Cooke died from his injury, which the manager claimed was inflicted in self-defense. It was later ruled justifiable homicide.

Thousands turned out to mourn the legendary singer. Ray Charles and Lou Rawls sang at his funeral in Los Angeles, and another service was held in his former hometown, Chicago. The year after his death, Cooke&aposs record company released his song "A Change Is Gonna Come." He wrote this civil rights anthem in response to Bob Dylan&aposs "Blowin&apos in the Wind." It was perhaps his most pointedly political song.

No matter the circumstances of his passing, Cooke left behind a tremendous musical legacy. It only takes a listen to recordings of his live shows, such as his 1963 performance at Miami&aposs Harlem Square Club, to recognize his contributions to soul music. And as a pop icon, Cooke has endured through his songs. Otis Redding and Al Green are among the artists who have covered his work. He was inducted into the Rock and Rock Hall of Fame in 1986.



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