#linda hopkins

[negrolicity]

Cast Of Purlie "Walk Him Up the Stairs" on The Ed Sullivan Show

[xtrablak674]

Betrayed

[Originally published in Fashion Fag Magazine, Volume 3, Issue 3, Number 8, September 1996, has been lightly edited for clarity]

Fri 17 May 1996 Daily Assistant Company Manager Report #9

The show was nearly over, and on headset I could over hear Adam and Jim talking about a rehearsal for tomorrow. Adam's last words before calling his next cue, were "Well make sure we tell Trevor" Everyone for some reason has this feeling to always call on me to get things done. Norman had told me before he left that, that is a good thing and I should not feel abused. And I don't, at least not in that respect.

So on the bus back to the hotel, our bus ritual began, I got on the mike and made the announcements that I needed to make, to which I actually had none this evening to great cheers from the company. So I handed the mike over to Adam, who announced tomorrows schedule. And I followed up and said that, I would post the bus schedule. in the usual spot next to the touring people schedule by the elevator.

I stop at the front desk and check for messages, none. I get to my room to find a note stuffed in the door scribbled on a piece of hotel stationary. That says,

"Trevor- Please do not post B&B schedule in the hotel lobby. Please discuss this with me tomorrow at the production office I'll be in by 10:00 am -Jul Fri 5/17"

OK, this presented a dilemma, everyone was just told that by midnight there would be a schedule posted in the regular spot. Let's call Julie, for recommendations, cause I don't know where she's disappeared to after the show. Shit, phone's busy, Norman's words of wisdom about reliability echoed through my head, and I began to write out the schedule to post.

I had remembered from a training class when we were talking about relationships, and how in them, unmet expectations lead to anger and frustration, this schedule was expected from me, from the company and staff et. al, Frustration and anxiety also set in, when one does not know whats going on, and I had did my best to alleviate this energy in the company by trying to let them know what's going on to the best of my ability.

I tried Julie again, Busy. So I went downstairs and told stage management about the note and they said the posted schedule was very necessary. I agreed, and posted it. Then I walked Ms. Linda downstairs to get something to eat, I went back to the lobby phone to call Julie. Finally, 'Hi Julie, this is Trevor, how are you?

I explained to her that the company was expecting the schedule to be posted. Her voice raised and she started to yell, who told them that a schedule would be posted in the lobby? I calmly said that I did.

She began to go off about how we all could be robbed because everyone in the hotel would know when we were not in. and why weren't we using the PA system at theatre. I didn't want to provoke her again but the schedule didn't fully come together until after the show and half the dancers were already boarding the bus, I said,

"Julie, please do not yell at me."

Now my understanding was that there was a problem with the wire of money, so we couldn't get paid today, so Julie was more than likely stressing. But that doesn't allow the abusive yelling and condescending tone that I was getting from Julie. I deserve the equal respect for my knowledge and abilities that I give her and everyone.

Julie was a mother-figure for me of sorts, and as a child I was physically and verbally abused and the emotional scars were triggered when someone yells at me. So I always try my hardest to not provoke anyone to yell at me.

I hung up the phone and went to Julie's room. I've been more than patient with her and tried to understand her and be supportive of her needs to the best of my ability, my first question to her this morning was How are you today Julie?, which every one knows I ask with a sincerity that usually makes you respond honestly. She sort of mumbled a response.

At her door I could hear her still yelling at me, and she was screaming to her boyfriend that, 'He hung up on me he hung up on me'. I was very upset by this point, I don't know how many times I tried to help this woman and try to diffuse the very strong negative energy the company had towards her, but she didn't help any, making promises then not following through with them. No one to my knowledge could say the same of me.

Here I was at her door ready to do battle for my respect, of which she was giving me none by debasing me like a child and yelling at me like an incompetent.

"Julie if have anything further to discuss with me, I'm right outside your door."

There was more yelling, I stepped back from the door and it swung open and her boyfriend stood there and said,

"I think you need to leave."

I said, "I'm sorry but I need to talk to Julie, we need to clear the air."

"I think you need to leave, now." And he took a stance as if he was going to hit me. And I called his glove dropping.

"Are you going to remove me?"

I was furious, the last time a scenario played out like this was the husband of a producer, white man attempting to assault me during the intermission of a show. Why is it that white men love to try my patience? They probably see in my eyes that I don't like them, because most of them are lying, stealing, cheating, misogynistic, homophobic, racist assholes, excuse my French.

And there was nigger written all over his face. You uppity, smart mouthy darky get in your place and respect this frail, innocent, white woman your superior. And the door slammed in my face.

I stepped back took a deep breath, and said,

"Now Julie are we ready to be an adult and come out and talk about this like reasonable people?" My tone very even, not raising my voice a hair.

I turned to walk away and I saw one of the dancers who asked me if I was alright. I didn't have time to respond because I swung around to see Julie's door opening and Julie stepping out.

"You should be glad my boyfriend is not letting me near you."

"What does that mean? Is that a threat of physical harm to me Julie?"

"You should be glad my boyfriend is not letting me near you. We will talk about this in the morning."

Knowing that most of her promises never came true.

"Will we?"

"Trevor, I'm sick and tired of your attitude and your disobeying my orders, I'm your boss you work for me damnit, and I am tired of you and your fucking own agenda, whose side are you on? The companies or management?"

She had to go there, a white heterosexual, middle-class woman, trying to make her house-nigger choose between, the big house and the fields. Choose between white or Black, choose between gay or straight, choose Black or gay, CHOOSE!

"Julie there are no sides here, no wrong or right, if you are not satisfied with my work then you can send me home."

"Well I don't think you should go to the theatre until we settle this on Monday with Norman, I am your boss and that is a direct order."

"I'm sorry Julie, I'm not going to break my contract and shirk my responsibilities, I will continue to take care of Bunny and Olivette and the Divas as per my contract until the matter is resolved."

Another one of the dancers appeared,

"Hey guys, its really late, can we take this in doors the whole floor can hear."

Julie was still screaming at this point I just turned around and looked calmly at the dancer, and turned back to Julie who was smoking like a chimney, figuratively and literally.

"We will talk about this shit in the morning at the office."

"Are you still going to be grumpy, Julie? Because I'd rather wait until you're in a better mood."

"We'll talk in the morning damn it."

SLAM.

I took another deep breath and went downstairs to look for Francois to tell him what happened. I stopped to call Gayle and let her know what happened. And then I saw Francois walking by and waved him over. At exactly the same time Julie appeared with her boyfriend, and I went back to the phone, while Julie had a few words with Francois and then stepped out into the cool night air with her boyfriend trailing. I then proceeded to call the dancer who had asked me if everything was alright and told the dancer things were cool and not to worry. I grabbed Francois and told him again that I need to speak with him.

So me and Francois later joined by Adam talked about what had happened. And Francois told me that just yesterday Julie was praising my work as she had been doing for weeks. Once again mixed signals. I'm a very literal person. If you say something to me. I'm going to keep that in the equation until you tell me to remove it.

Julie's mixed signals are very confusing.

"Don't spend money on taxis," then "Why didn't you just put her in a cab?"

My behavior is very consistent. I try my best to keep her appraised of all my moves, but she tends to shrug me off for something that is more important. In looking at styles, I prefer Norman's, he has a very calming energy about him and the patience to listen to the whole story to understand the different angles. A quality some day I hope to master. And he has never promised something that he has not come through with. He also doesn't let loose ends go unattended. Norman realizes that he's not an expert and will relent to somebody else who he thinks may know better, which is a very noble quality. I really miss Norman.

You know I really feel like a child who is being abused by one parent, and I'm crying for help to the other parent, but he doesn't believe me. Does this make the non-abusive parent not responsible?

Afterwords: Wow, there's a lot going on here. You know I didn't recall that Julie had actually threatened to assault me. And just like a whyte woman twisted the actual facts of the incident to make herself look above and beyond reproach. But even at such a young age I fortified myself by immediately circling the wagons and making sure I touched base with the rest of the production staff informing them of the incident. I even followed up with the dancer who was a clear witness to the altercation.

There is one thing I have to wonder about myself then and even now, if I am a little bit on the spectrum. Because after Julie said we would speak in the morning, I should have remained silent. But I pointed out the obvious, she had been extremely unreliable in the things she said, so, would we? Now as a very grown person now, I am tickled by my brazen-ness but I could see how that just added gasoline to a four alarm fire.

I am also amazed that I suggested the paramount solution to Julie, if you're not happy with my work then send me home. Even in this context I realized that Ms. Crosby and me working together wasn't a tenable situation anymore. No matter what I did at that point nothing would ever be amenable to her, she was in a very high pressure situation that wouldn't resolve until the company was made whole financially.

This is something that I didn't state plainly in this piece or the other one from this time period, but its very relevant to the mood and disposition of the company. TCA International Productions had stopped paying everyone in the company back home for I think it was like three or four before it was discovered. Let me explain how it went unnoticed for so long. The agreement was that there were two disbursements to everyone in the staff, a per diem to cover expenses abroad and a pay check that was deposited in their accounts back home every pay day.

Due to some unforeseen circumstance, some investor or something had backed out and TCA found themselves financially short. They continued to pay our per diems but stopped paying us back home. What added to this is the fact that they never notified us that this was occurring even though they were fully aware of the situation.

This offense created a lot of anxiety and tensions, because the company no longer trusted management, rightfully so. In essence these whyte folks were fucking with people's livelihoods, student loans, mortgages, rents and other financial responsibilities were at risk when folks thought they were getting paid and weren't.

As I have pointed out, management was all whyte with the exception my tokenism, but I clearly had no real authority. All of the company was Black, the dancers, the Divas, the musicians basically all of the performing talent. There was a record of this in history, Black folks getting on stage and performing for whyte folks managed by other whyte folks and getting literally robbed. It wasn't my fault that I was a student of history to understand the larger implications of this infraction.

When reading this story I think its important to understand that this laced the subtext of everything I was saying. You want us out there every night dancing for our supper and we need to be fine with the fact that you're not actually paying us for our hard work. This is white supremacy at its finest in practice.

I had indeed chosen a side, the side of the people who looked like me and were probably in a similar financial situation as myself. Since no one else in management was looking out for their interest, I made sure that I was. I didn't abide double-talk or the non-follow through on promises made. I was there to hold management accountable and this whyte woman loathed me for it.

If I had the opportunity to go back and do it all again, I wouldn't change a damned thing except maybe I would sue TCA for slander and mismanagement of funds. Albeit this tour didn't have any major impact on my overall career I didn't like for an instance that someone had attempted to malign my reputation for doing my best in a very complicated, tense and frustrating situation.

Most of all I applaud my younger-self for being so totally and completely myself, covering my ass, creating my own records, and understanding when a good situation had gone bad. The thing I can see from this distance is that I was clearly a scape-goat for other things that were going wrong with management and the producers. In my other "bosses" words I was getting praise for weeks from Julie regarding my work, and only when her own work began to falter did I become some prodigal child.

I was betrayed but I overcame because ultimately as Maya Angelou said, folks won't remember what you said, but how you made them feel, and I made everyone on that tour feel seen and heard, and that is a good enough legacy for me.

[Photo by Brown Estate]

Me Interviewing for the job with TCA

[ludmilachaibemachado]

“And then I got a phone call: 'Why don't you come over?' It was september (1968). I remember Heather was just going to start Dalton and my parents were so furious with me. She got into Dalton. It would have been great. It was really good for Heather; I wish she had had that kind of life, instead of this crazy life. Dalton and then do well at school, go to university, whatever. But I had no feeling of responsibility, I must have been quite irresponsible to think that a five-year-old kid is starting school for the first time, and I'm buzzing off leaving her... I was led to feel guilty by my parents, my father and stepmother. I'm going to London now, so I get on the plane.” Linda McCartney from "Many Years From Now" by Barry Miles.🌼🌼🌼

📸1. Heather at Linda's apartment, NYC 1967. Linda Eastman.

📸2. Linda with Heather and Paul on their wedding day in London, 12 March 1969. Getty Images

📸3. Heather with Paul and Linda and Mary Hopkin at EMI Abbey Road Studios entrance, London 1969. Shot by a fan

Via @maccalover66 on Instagram🌼

[harrisongslimited]

George Picture of the Day 1-19-24

Paul and Mary Hopkin. I shall say no more.

Thank you to owner.

[denver-carrington]

Article in the September 1983 issue of Jet Set magazine about the Dynasty cast's superstitions and quirks.

[atheist-nerd23]

Sublime imagery

[bodie-r-hart]

The Manhattan Alien Abduction

Die Alien Entführung von Manhattan (1989)

[sgtpeppers]

"You are my love, you are my song": Paul & Love As A Duet:

One of my favourite things Paul does in his work is use the idea of singing a song with someone as a metaphor for love or a relationship, so I've catalogued the main instances I think this occurs below!

Now, Paul writes lyrics about music/songs a lot (because he's Paul, he lives and breathes music), so this isn't every song that he references music or even references music in terms of a relationship, but the ones I felt explicitly have a 'loving someone = making music with them' lyric.

Starting in the late sixties we have three songs where there are lines about performing alone, or hearing someone else's song but not necessarily being a part of it.

So let it out and let it in, hey Jude, begin, You're waiting for someone to perform with

Hey Jude (1968)

And when at last I find you Your song will fill the air Sing it loud so I can hear you Make it easy to be near you

I Will (1968)

Far away my lover sings a lonely song And calls me to his side When a song of lonely love invites me on I must go to his side

Goodbye (1969), written for Mary Hopkin

Once we get to Paul's first solo album, where he's actively bringing Linda in on his music, we have this line about singing songs alone in the past tense:

I used to ride on my fast city line Singing songs that I thought were mine alone

Man We Was Lonely (1970)

But in the present tense, has someone to sing his songs with:

Maybe I'm amazed at the way you help me sing my song

Maybe I'm Amazed (1970)

On Wild Life, we have the song that captures the idea completely, Paul and Linda singing to and with each other, both of them simultaneously the song, the singer and a recipient of a love song:

You are my love, You are my song, linger on, You are my song, I am your singer. You are my one You are my own melody, You are my song, I am your singer. Someday when we're singing We will fly away, Going winging. Sing, singing my love song to you. My song is sung, When day is done harmonies will linger on, I am your singer, I am your singer, Singing my love song to you.

I Am Your Singer (1973)

In Venus and Mars, we've got a little nod to the same idea, although perhaps less viewing love as a song to perform together, but certainly tying the idea of love and a song together.

My heart cries out for love and all that goes with loving Love in song, love in song

Love in Song (1975)

Then the idea seems to disappear, but reappears on Tug of War with Here Today, a song we know is about John. This isn't necessarily in the same vein as the Linda songs, but the very literal reading is about the importance of singing with John and keeping someone's memory alive in a song.

And if you take that metaphor of love as a song, the duet can still be kept alive if Paul continues to sing for the both of them.

What about the time we met? Well I suppose that you could say that We were playing hard to get Didn't understand a thing But we could always sing … And if I say I really loved you And was glad you came along Then you were here today, For you were in my song

Here Today (1982)

From here on out my thoughts are more scattered, because I think primarily this idea is something he ties to Linda and John. But there are a few more interesting lyrics I think it's worth adding here.

In Press To Play, we've got a reference to 'our' song, which again, alludes to the idea that love is a song created between two people:

If you should ever feel that something's wrong, I'm going to want to put it right, To bring a happy ending to our song, I'll carry on believing in a love.

Only Love Remains (1986)

On Flaming Pie we have him reflecting on how songs were something he and the other Beatles could come back to, this idea of music being a thread that ties him to other people.

But we always came back to the song We were singing At any particular time

The Song We Were Singing (1997)

On Driving Rain he reflects on a time where he was free, his heart was 'singing' and he was doing that with someone else:

I well remember when my soul was free My heart could sing, so could we

Tiny Bubble (2001)

And then this idea of him constantly reaching out, singing a song and waiting for someone else to join in:

If you love me, won't you call me I've been waiting, waiting too long In my soul is constant yearning Always singing, singing this song

Anyway (2005)

I'm not really trying to make some big point here, I just love this motif and especially the ways I think John, Linda and music all tangle together in his head. I'm not usually one for digging into every little line of a song for some sort of hidden meaning, but I do think it's interesting to note when patterns emerge in a body of work.

If anyone's got an additions/thoughts/corrections (or has written a similar post with a more coherent point), please do share, I love chatting about this stuff and reading other people's thoughts!

[king-of-the-birds]

PAUL'S BALL

a launch party for wings

He produced a handwritten invitation, leaving space to write in the invitee's name, as well as a number, which would be used for a raffle drawing toward the end of the evening. (The prize was a magnum of champagne; the disc jockey Jeff Dexter was the winner.) (..) The recommended dress was "glam."(..)

Some 800 musicians, reporters, friends of the band and music business honchos were invited.(..)

As always at such events, there was ample carping, which a reporter for Rolling Stone duly cataloged. After describing the Empire Ballroom as decidedly unhip, a leftover from the days when the Joe Loss Orchestra would play foxtrots, and young ladies shopped for husbands among the dancers, the writer noted that while the wine and cheese were free, everything at the bar was for sale.

(…)

Eyebrows were raised when, instead of a Wings performance, partygoers were treated to fox-trots, waltzes, quicksteps, and congas, played by McVay's band-along with what McVay remembered as arrangements of sixties and seventies hits, including a Beatles medley and some Beach Boys tunes. They were raised higher still when the heavily sequined and coiffed Frank and Peggy Spence Latin and Ballroom Formation Dancing Teams filed onto the floor to demonstrate their artistry.

"I'm beginning to think that Paul actually digs all this" one guest quipped to the Rolling Stone reporter, "that he actually likes dance bands, ballrooms, and buffet food. That's incredibly camp, you know, incredibly camp. Have you seen his suit? It's like a clown's costume, the jacket is about five sizes too big, and it's not even been finished."

(from the McCartney Legacy Vol. 1)

Paul: A press launch is always a good excuse to have a night out, so we invited friends and journalists, played the album, danced and had a few funny people come on to entertain. I wore an outrageous big check suit that I thought would be good. When I went to collect it from the tailor that morning he told me that it wasn’t finished. I said, ‘Maybe not, but it’s a look!’ So I went to the party with the cotton and the stitching showing, and everyone said, ‘Your suit’s not finished.’ I said, ‘Yeah, I know. Great, huh?’

(from Wingspan, 2002)

Some of the guests that attended were Jimmy Page, Elton John, Sandy Denny, Mary Hopkin, members of the Who, the Faces, Deep Purple, Ginger Baker, Henry McCullough, Gilbert O'Sullivan, Graham Bond, Sandie Shaw, the Greek synthesizer wizard Vangelis, the actors Malcolm McDowell, and Terence Stamp, some of the Monty Python troupe, Sir Joseph Lockwood, the head of EMI, Allan Clarke, of the Hollies, and (Benny) Gallagher and (Graham) Lyle.

After the party a fan encountered Paul:

He went skipping (yes it is true) down the road with Linda and just as he turned the corner to a side street, I took courage and called him back. He stopped and said “yeah” so I ran to catch him up and breathlessly asked him for his autograph. The funny part is my pen was at the bottom of this large bag of mine! He stood patiently watching me with arms folded as I rummaged elbow deep. I asked him if he had a pen as I just couldn’t find mine; he said no (which isn’t surprising as he had this crazy suit on that had no pockets).

(Kathy Turner – From Meet the Beatles for Real: Wings Party)

[gameofthunder66]

-(finished) watchin' Series (3 Seasons)- 2/10/2023- 3 [3/4] stars- on Netflix

Dead To Me (2019-2022). We’ve Reached the End.

[ludmilachaibemachado]

Mary Hopkin. London, 1969🍁

Via @lindamccartney on Instagram🌼

[billboard-hotties-tourney]

Okay, folks, the mini-tourney is inching closer to the finals, so I'm going to give a list of the competitors in the Miss Billboard Tourney in order to give everyone a chance to submit more propaganda. The nominees are:

Lale Andersen

Marian Anderson

Signe Toly Anderson

Julie Andrews

LaVerne Andrews

Maxene Andrews

Patty Andrews

Ann-Margret

Joan Armatrading

Dorothy Ashby

Joan Baez

Pearl Bailey

Belle Baker

Josephine Baker

LaVern Baker

Florence Ballard

Brigitte Bardot

Eileen Barton

Fontella Bass

Shirley Bassey

Maggie Bell

Lola Beltran

Ivy Benson

Gladys Bentley

Jane Birkin

Cilla Black

Ronee Blakley

Teresa Brewer

Anne Briggs

Ruth Brown

Joyce Bryant

Vashti Bunyan

Kate Bush

Montserrat Caballe

Maria Callas

Blanche Calloway

Wendy Carlos

Cathy Carr

Raffaella Carra

Diahann Carroll

Karen Carpenter

June Carter Cash

Charo

Cher

Meg Christian

Gigliola Cinquetti

Petula Clark

Merry Clayton

Patsy Cline

Rosemary Clooney

Natalie Cole

Judy Collins

Alice Coltrane

Betty Comden

Barbara Cook

Rita Coolidge

Gal Costa

Ida Cox

Karen Dalton

Marie-Louise Damien

Betty Davis

Jinx Dawson

Doris Day

Blossom Dearie

Kiki Dee

Lucienne Delyle

Sandy Denny

Jackie DeShannon

Gwen Dickey

Marlene Dietrich

Marie-France Dufour

Julie Driscoll

Yvonne Elliman

Cass Elliot

Maureen Evans

Agnetha Faeltskog

Marianne Faithfull

Mimi Farina

Max Feldman

Gracie Fields

Ella Fitzgerald

Roberta Flack

Lita Ford

Connie Francis

Aretha Franklin

France Gall

Judy Garland

Crystal Gayle

Gloria Gaynor

Bobbie Gentry

Astrud Gilberto

Donna Jean Godchaux

Lesley Gore

Eydie Gorme

Margo Guryan

Sheila Guyse

Nina Hagen

Francoise Hardy

Emmylou Harris

Debbie Harry

Annie Haslam

Billie Holiday

Mary Hopkin

Lena Horne

Helen Humes

Betty Hutton

Janis Ian

Mahalia Jackson

Wanda Jackson

Etta James

Joan Jett

Bessie Jones

Etta Jones

Gloria Jones

Grace Jones

Shirley Jones

Tamiko Jones

Janis Joplin

Barbara Keith

Carole King

Eartha Kitt

Chaka Khan

Hildegard Knef

Gladys Knight

Sonja Kristina

Patti Labelle

Cleo Laine

Nicolette Larson

Daliah Lavi

Vicky Leandros

Peggy Lee

Rita Lee

Alis Lesley

Barbara Lewis

Abbey Lincoln

Melba Liston

Julie London

Darlene Love

Lulu

Anni-Frid Lyngstad

Barbara Lynn

Loretta Lynn

Vera Lynn

Siw Malmkvist

Lata Mangeshkar

Linda McCartney

Kate McGarrigle

Christie McVie

Bette Midler

Jean Millington

June Millington

Liza Minnelli

Carmen Miranda

Joni Mitchell

Liz Mitchell

Marion Montgomery

Lee Morse

Nana Mouskouri

Anne Murray

Wenche Myhre

Holly Near

Olivia Newton-John

Stevie Nicks

Nico

Laura Nyro

Virginia O’Brien

Odetta

Yoko Ono

Shirley Owens

Patti Page

Dolly Parton

Freda Payne

Michelle Phillips

Edith Piaf

Ruth Pointer

Leontyne Price

Suzi Quatro

Gertrude Rainey

Bonnie Raitt

Carline Ray

Helen Reddy

Della Reese

Martha Reeves

June Richmond

Jeannie C. Riley

Minnie Riperton

Jean Ritchie

Chita Rivera

Clara Rockmore

Linda Ronstadt

Marianne Rosenberg

Diana Ross

Anna Russell

Melanie Safka

Buffy Sainte-Marie

Samantha Sang

Pattie Santos

Hazel Scott

Doreen Shaffer

Jackie Shane

Marlena Shaw

Sandie Shaw

Dinah Shore

Judee Sill

Carly Simon

Nina Simone

Nancy Sinatra

Siouxsie Sioux

Grace Slick

Bessie Smith

Mamie Smith

Patti Smith

Ethel Smyth

Mercedes Sosa

Ronnie Spector

Dusty Springfield

Mavis Staples

Candi Staton

Barbra Streisand

Poly Styrene

Maxine Sullivan

Donna Summer

Pat Suzuki

Norma Tanega

Tammi Terrell

Sister Rosetta Tharpe

Big Mama Thornton

Mary Travers

Moe Tucker

Tina Turner

Twiggy

Bonnie Tyler

Sylvia Tyson

Sarah Vaughan

Sylvie Vartan

Mariska Veres

Akiko Wada

Claire Waldoff

Jennifer Warnes

Dee Dee Warwick

Dionne Warwick

Dinah Washington

Ethel Waters

Elisabeth Welch

Kitty Wells

Mary Wells

Juliane Werding

Tina Weymouth

Cris Williamson

Ann Wilson

Mary Wilson

Nancy Wilson

Anna Mae Winburn

Syreeta Wright

Tammy Wynette

Nan Wynn

Those in italics have five or more pieces of usable visual, written, or audio propaganda already. If you have any visuals like photos or videos, or if you have something to say in words, submit it to this blog before round one begins on June 25th!

If you don't see a name you submitted here, it's because most or all of their career was as a child/they were too young for the cutoff, their career was almost entirely after 1979, or music was something they only dabbled in and are hardly known for. There are quite a few ladies on the list whose primary career wasn't "recording artist" or "live musician," but released several albums or were in musical theater, so they've been accepted.

[denver-carrington]

George Santo Pietro, Linda, Bo, and Al.

[usafphantom2]

A huge black-and-white picture of an RC-135U hung on my bedroom wall (no, I didn’t have THE Farah poster). Robert Hopkins lll (Air Force brat later RC-135 Pilot.)

He moved from Beale Air Force Base to Offuff AFB in Nebraska. As a child Robert had to move often, which was normal he went from living at the home of the SR 71 to living at the home base of the majority of the RC-135 fleet, I saw these jets every day while volunteering at the SAC Museum at the end of the closed runway. I had an inkling of what they did, and my early exposure to British aviation magazines led me to appreciate the mystique they possessed when visiting RAF Mildenhall in England.~ Robert Hopkins in Hush-kit interview.

I’ve had the privilege over the last few years of getting to know Robert he volunteered to edit my father, Butch Sheffield‘s book. Unfortunately, He had to quit editing Dad’s book because another matter came up. I will admit that I did not know how privileged my family was to have him volunteer at first.He is an aviation author of the first degree very much admired by many. Although we lived just a five-minute walk away from each other during the time I lived at Beale Air Force Base, as a kid I didn’t know him. Robert was one year younger than me his best friend was Jamie Kraus, son of an RSO. He understands the competition, mostly friendly that I found between the RC 135 and the SR-71. Robert is a fan of the SR 71 but his heart belongs to the RC 135. He grew up and became a pilot of the RC 135 just like his father was.

I had heard about the U-2 versus the SR-71, competition but this story was new to me.

The SR 71 brought out competition between SR-71 crewmembers and the RC-135 also. I read about this story in Rich Graham‘s Book “Flying the SR 71 Blackbird “

The mobile crew of an SR-71 went to the Kadena Airbase, Okinawa, “O” Club to eat a quick lunch. (The mobile crew is the back or Buddy crew. It would consist of a pilot and an RSO of the SR-71 they were expected back to the flight line when the SR71 came back from the flight. In the officer club parking lot, the RC 135 crew noticed the locked car had a top-secret kit bag that they could see while peering into the back window.

They called the security police to report them!!

Being able to see this top-secret kit bag It’s a big no-no, Rich Graham explained So the SR-71 crew went back to their squadron and plotted their revenge.

The revenge was they made stencils of an RC 135 then went “stealthy” into the night with spray paint and stencils in hand, a group of SR-71 men spray painted the stencils, of the RC 135 everywhere they could, signs, polls, and buildings.

At first, the RC squadron was proud, thinking that it was one of them who had done the stenciling until that squadron was ordered to clean up the mess that the SR-71 squadron had made! Normally, what would happen is the RC 135 squadron would be the ones stenciling the silhouette of their airplane on SR 71 property. But this time it was the SR 71 guys that were doing the stenciling. I think they got off easy. Haha

This kind of practical joke would not be tolerated in today’s Air Force. I have been told this.

What is it about the SR 71 that used to drive so many people to compete with them?

Linda Sheffield

@Habubrats71 via X

[eptodaytommorowforever]

Events In The History And The Life Of Elvis Presley Today On The 22nd Of June In 1974.

Elvis Presley In Providence Ri Evening Show On June The 22nd In 1974.

Two Elvis Presley Fans From Providence Ri there true Experience being At the Elvis Presley's Two Shows On June The 22nd In 1974.

News of an Elvis Presley's concerts in Providence, R. I. first broke in late April when there was a small mention of it in one Boston paper. It was such a small article that many people nearly missed it and we had to be told about it by a friend who reads the paper more thoroughly than we do. We immediately rushed out that same night to put our ticket order in the mail hoping an early Postmark would get us better seats... but things don't always work out that way., do they? The Civic Center was so swamped with mail orders they not only were forced to dis-regard postmarks, but they didn't mail out tickets as soon as they'd promised. When our tickets finally came, they were upper balcony, quite a ways back from the stage. But we were able to borrow binoculars, so all was not lost. 

It had been two years since we saw Elvis Presley at Madison Square Garden,. and we were really looking forward to seeing him again. We wanted to try meeting his plane, so we went to the airport early the morning of June 22. While waiting around, we were approached by a man who offered to take us up for a ride in his plane. Feeling adventurous, we went up for an aerial tour of Rhode Island. Our guide, Ted Hopkins, was kind enough to radio in and ask if Elvis Presley had landed yet. Held come in a 2:00 a. m., so we went on to the Civic Center. 

We saw both the 2:30pm matinee and the 8:30pm evening show. This review is of the 8:30 show, although both shows were basically the same. 

Elvis Presley came running out on stage in a white jumpsuit with a blue "rainbow" swirled around his body and down his leg. He didn't wear a cape for either show. He went into " C. C. Rider, " obviously in a great mood, doing a spirited " one.. two.. three.. four " followed by a corresponding number of thrusts of a leg. Then he did " I Got A Woman " combined with ''Amen, " giving special recognition to J. D. Sumner Is deep voice. This was followed by " Love Me " and " Trying To Get To You " ( in which he says, " I've been travelling night and day, I've been streaking all the way... " which the crowd just loved ). Next came "All Shook Up, " " Love Me Tender, " " Hound Dog, " and " Fever. " He did a great version of " Polk Salad Annie, " which was really loved by the crowd. When he finished " Why Me Lord, " the reaction was so good, he repeated the chorus once again. 

Linda Thompson was at both shows, coming out just before Elvis Presley and sitting up front, to the side of the stage. When Elvis Presley did "Suspicious Minds, " instead of doing the line "I never lied to you. . . no, not much, " he left out the "not much" and looked in Linda's direction. 

Next, he paused long enough to introduce the band. At the matinee he introduced John Wilkinson as being from Providence and at the evening show he introduced Charlie Hodge as being from Pawtucket... both times he had a mischievous grin on his face and you could tell he was putting everyone on, but the crowd really loved it. 

" Know what I can't do? "... " I Can't Stop Loving You, " and with those words, he launched into a beautiful version of the song. Then he mentioned having a record out entitled " Help Me " and " If You Talk In Your Sleep " and said they'd like to do " Help. Me. " This song has so much more impact when you hear it live than it does on record- -fantastic. 

During "American Trilogy, " he clowns slightly when he sings ". . look away Disney... dixieland. 

Something fairly new for Elvis Presley is " Let Me Be There. " As he's done before, he can take someone's hit song and make it his own, putting such vitality and life into it. This song was a great new treat and we hope he'll continue to do it. 

After having the house lights turned up so he could look at the audience, he sings " Funny How Time Slips Away " (Steve says to me thank God for, Elvis Presley). At the matinee he sang... " Never know when I'll be back in town... 8:30 tonight. " 

Something different for a live concert was " Big Boss Man, " which he did marvelously. One older man down in front of us kept calling out " Teddy Bear " all during the show, and we were so happy for him when Elvis Presley did a " Teddy Bear " / " Don't Be Cruel " medley. 

Naturally, the saddest part of any concert is the beginning of " Can't Help Falling In Love, " and this was no exception. Elvis Presley had put on such a fantastic show, had been in such a great mood, and looked so darned handsome, we all hated to see this song come. But he gave the crowd a beautiful surprise by not rushing off the stage at the close of the song, but spending some time shaking hands around the edge of the stage. 

Time had stood still for an hour, but suddenly it was all over and the clock started up again. We met many fans outside afterwards and everyone agreed that it had been a magnificent concert; one we will long remember. Thank you, Elvis Presley for such a beautiful gift.

Rare Unseen Till Now! The Two Fans Private Live In Action! Candid Photo's Here Of Elvis Presley Taken At This Show Venue.