N Concert

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EARTH WIND and FIRE


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It was, Thursday, July 21, 1983, a hot, humid day even by midsummer New York standards. By 11:00 A.M., temperatures had soared into the nineties. But the sweltering heat was undaunting to the 4,000 fans who had already begun to congregate on the Great lawn in New York’s Central Park in anticipation of the night’s performance. Some had come with picnic lunches-one family had even brought a white table cloth, champagne, and a gourmet luncheon. Others simply drank sodas and claimed their places as close to the stage as they could get. By late afternoon, the crowd had swelled to well over 100,000. They had all come to see the legendary Diana Ross, who was scheduled to give a free concert that Ross, who was scheduled to give a free concert that evening at six o’clock. Ross had agreed to hold the concert, paid for largely out of her own pocket, in order to raise money for the renovation of a playground in another part of Central Park. Sales of T-shirts, poster, and other souvenirs would help pay the cost of restoring the park. “It’s for the children,” said Ross of the project. “It’s my dream.” When she published her memoir, secrets of a sparrow, Ross detailed her vision for the playground. She wrote that she wanted to create “a secure place where children could play, run, laugh, and meet other children, a place to be safe in the magical time of childhood, a wooden playground where little fingers would not get pinched.” The concert had been a huge undertaking involving months of planning, both for Ross and for the city of New York. One hundred forty amplifiers were positioned to carry Ross’s voice o the huge audience, and two massive video screens, each over 20 feet high were suspended four stories above the staged for the benefit of those fans who were too far away to actually see Ross perform. The concert was also slated to be broadcasted on television around the world. By the time six o’clock rolled around, between 350,000 and 400,000 people had packed into the 13-acre expanse of the Great Lawn. Even for Diana Ross, who had performed countless times in front of huge audiences – first as a member of the Supremes and then in her subsequent solo career- this was an event to be remembered. In recent years, free concerts in Central Park have become a summer tradition, but in the early 1980’s only Elton John and Simon and Garfunkel had been willing to make the effort. Nelson George, an editor at Billboard magazine, complimented Ross on her decision to give a free concert for people who could not otherwise afford to see her. “With the Atlantic City prices she’s getting, George wrote, “ “most black folks have never seen her perform live.” Shortly after 6:00 P.M. Ross hit the stage amid a troupe of dancers in traditional African garb. She wore a multicolored straw veil but shortly threw it aside to reveal a sparkling orange bodysuit. The Cheers of the audience swelled into powerful, seemingly endless waves. Finally, Ross launched into her opening number, the inspirational “Ain’t No Mountain High Enough,” one of the first singles she had released after leaving the Supremes in 1970 to pursue her solo career. “Ain’t no mountain high enough,” she sang. “Nothing in this world can keep me from you.” The crowd went wild. Ross continued her with “Stop! In the Name of Love,” Baby Love,” and other songs that had launched her career with the Supremes almost 20 years earlier. But as she sang, rain began to patter on the lawn and the stage. Undaunted, Ross continued her performance. “I’ve waited a lifetime to get here,” she shouted triumphantly to the crowd, “and I’m not going anywhere.” The audience was certainly not about to walk out on the spectacular show. They stood their ground as the wind picked up and rain came down more heavily. Some fans danced joyously while others simply stared at the stage transfixed. New York’s mayor, Edward Koch, watched from underneath his umbrella, his well-shined shoes sinking into the deepening mud of the Great Lawn. Ross’s orange cape, which had been thrown over her shoulders when the clouds first opened, fluttered gently and then began to blow wildly in the wind. Several times the concert staff and the park officials tried to coax her off the stage, but she continued to sing with her makeup dripping down her face in great black streaks. “I opened my arms wide,” she later wrote. “I moved them back and forth, arresting any personal resistance that had surfaced. I merged with the pouring water. I let it in. I became a part of it, it became a part of me. Rain and woman were one. Now I was a rain woman.” When the shower became a torrential downpour, even Ross had to admit that it was time to stop the music. Nevertheless, she remained on the stage for some time, urging the crowd to disperse in and orderly fashion so that no one would get hurt.

From the book DIANA ROSS – ENTERTAINER by John Wyeth, Jr.
Great stuff, great stuff, this little book is full of great stuff. This is a fun and informative book. Real cool.

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Gordy recalled his inspiration for songwriting in the following terms: “Everybody was writing love songs. I was basically a dreamer of love songs, and that’s what I wanted to write, too. But wanting to write love songs and also living in the real world and listening to the earthy problems of life, I tried to mix that up with the love and the feeling.” At Tamla, this became a formula for successful songwriting. These songs told stories about life, straying from the lyrical gibberish that had been popular in rock and roll of the late 1950s and early 1960s-Little Richard’s 1955 hit “Tutti Frutti” is a prime example. Asked by an interviewer to describe the Motown sound (Tamla was renamed Motown in 1962), Gordy said, “We thought of the neighborhoods we were raised in, and came up with a six-word definition: Rats, roaches, struggle, talent, guts, love.” Motown songs dealt with the gritty realities of life, but they always had a danceable beat. In 1959, Tamla had its first major hit with the Miracles’ “Shop Around,” which went to number one on the rhythm and blues charts and number two on the pop charts, selling more than 1 million copies. With good fortune coming relatively fast, the offices of Tamla Records at 2648 West Grand Boulevard in Detroit (soon renamed Hitsville USA) became the central hangout for aspiring black singers, songwriters, and music groupies. Diane Ross was among the young people crowding the lobby of the plain, unassuming white house where the Tamla success story was unfolding. All the young dreamers hoped to meet the man himself, Berry Gordy, Jr., who would lead them to their own pot of gold.
From the book DIANA ROSS – ENTERTAINER by John Wyeth, Jr.
Great stuff, great stuff, this little book is full of great stuff. This is a fun and informative book. Real cool.


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