Coming soon! A unique glimpse into a brand that has had a span of more than 60 years and written by one of over 60 members that have come through it ranks. The Drifters as everyone knows is one of the most unusual stories in the history of musical entertainment. Much has been written on the brand over the years but never from one of it's performing members. The book is compiled with many photos, stats, and facts related to the brand spanning through it's 3 golden era's. the Idea here is to create a historical repository that all can refer to for definitive information.
There has been much fanfare around the subject of the Drifters brand in recent years since the days of management by the original owners or one might say the early Treadwell management style. For one the concept of brand can be confusing to many out there to include those who for the most part were part of the exploitation that was rooted at the core of the organizational style. At the end only division has surfaced among it's ranks which you can see with the proliferation of the many spin off groups over the years. This also brings into question what is distinctly a brand and what are the different components of what makes up a brand. Now in reality The Drifters as a name didn't begin with the Atlantic group of Drifters that you know of in history. It was a name that surfaced among a number of other musical outfits during the early fifties. Particularly that of country and western bands of that era both in the United States and abroad in such places as England UK and Ireland. Names that surface are the Carolina Drifters, the Evergreen Drifters, the Texas Drifters, the Ozark Drifters, Johnny Whitlock and the Drifters, the Dixieland Drifters, and the Dixie Drifters (there were probably many more in this list). There were also Joe Dolan and the Drifters (from Ireland) and Cliff Richard and the Drifters (from England). Then there was Jimmy Williams and the Drifters, a 1954 white group from Michigan. Another offering was Jeril Deane and the Drifters (a white Pop trio) on Vita, from mid-1953. Most of these were pre-Atlantic Drifters. According to Marv Goldberg in his commentary on pre- Atlantic Drifters there were legitimate groups which appeared on London (1949-50), Coral (1950), Excelsior (1951), Class (1953), and Crown records (1954). After the Atlantic Drifters had their No#1 hit. A group of Drifters surfaced on Crown Records a subsidiary of Modern who were in fact the group called the robins during this period obviously looking to capitalize on the name. Today there are country group such as the Dirt Drifters, The Southern Drifters, Midnight Drifters and the Neon Drifter bands. Then there are the Tribute Drifter groups spread across both the US and Europe. The history of rhythm and blues is filled with vocal groups whose names ... no one at Atlantic liked "the Drifters" at first, thinking it sounded too country & western ... Now the word brand derives from the the old Norse "brandr" meaning to burn recalling the old custom of producers burning their mark (or brand) onto their products. According to Wiki Pedia (Although connected with the history of trademarks and including earlier examples which could be deemed "protobrands" (such as the marketing puns of the "Vesuvinum" wine jars found at Pompeii), brands in the field of mass-marketing originated in the 19th century with the advent of packaged goods. Industrialization moved the production of many household items, such as soap, from local communities to centralized factories. When shipping their items, the factories would literally brand their logo or insignia on the barrels used, extending the meaning of "brand" to that of a trademark). So as you can see The Drifters as a name has travelled in many direction since it's conception. Yet it takes more than a name to distinguish one brand or trademark from the next. The Atlantic group of Drifters in it's beginning was much rooted in R & B and gospel but managed to cross over to popular music styles in later years. Yet for the most part it has always been an American brand but today has lost much of it's American identity as far as the core or legitimate group. Drifter songs have become distinguishable depending on the era that one is familiar with. We are left with the question has the true brand lost it's way.
There is much thrown around on who is significant and who is not significant as far as contributions to the legacy of the Drifters. It is very sad to me that such information doesn't have a more balancing approach by those who for whatever reason have a claim to it's history. As I look around the web and explore sites by managers promoters artist and a host of others who are currently at the moment cashing in on what I call a Drifter cottage industry. There is just no incite on the fact that what ever legitimate roll one played in the legacy it had a important place in the overall history of the brand. Yes you had your significant lead singers or what you might call front men but there were just as many behind the scenes or side personal that made the whole thing work and become what history celebrates today. For the most part the artist that you celebrate today were used and abused by these same so called people who have the Gaul to dictate who they want to say is significant and not but in the end just feed their pockets on this cottage industry. History should take an honest and even approach to the truth and is for that reason I myself must stay vigilant on the matters at hand. At the moment there are battles being fort on both sides of the Atlantic by self serving parties and those of us in the middle of things are quietly watching all of the madness unfold. So who's who? Well as far as the Golden eras are concerned as I have reported in the past there are three. The Clyde McPhatter, The Ben E. King and The Bell/Arista era and know matter what era you subscribe to, they all had there importance in maintaining the continued legacy of the brand. Hopefully in the future there will be a forth golden age of Drifters but that will only come if there is the music to go along with it. That has yet to be produced. Yet currently the legitimate group that is performing today is also carrying on the legacy like all of those before it and we here at D Legends extend our blessing to them. Don't misunderstand though many of the members from all eras have passed on and there are those of us who are still alive and have not retired from what we love and do best and that's perform and entertain. We here at D Legends will claim our part of the history and that's Bell/Arista just as everyone else weather it's the 60s group org., The Original Drifters org. The Treadwell Org. or any other so call Drifter wannabes out there. The difference is historically we are very even in reporting the truth and the whole truth in giving everyone their props as far as the legacy is concerned. The name you can have and play around and fight with as you have all done over the years which has greatly damaged the brand but the history is not owned by any one org. but we will tell it's in any medium that is appropriate to keep the facts straight.
Lewis Howard Latimer was born in Chelsea, Massachusetts on September 4, 1848, and was the youngest of five children of Rebecca Latimer (1826–1910) and George Latimer (July 4, 1818 - May 29, 1896). George Latimer had been the slave of James B. Gray of Virginia. George Latimer ran away to freedom in Trenton, New Jersey in October,1842, along with his wife Rebecca, who had been the slave of another man. In 1874, he co patented (with Charles W. Brown) an improved toilet system for railroad cars called the Water Closet for Railroad Cars (U.S. Patent 147,363). In 1876, Alexander Graham Bell employed Latimer, then a draftsman at Bell's patent law firm, to draft the necessary drawings required to receive a patent for Bell's telephone. After moving to Bridgeport Connecticut Lewis was hired as assistant manager and draftsman for the U.S. Electric Lighting Company, a company owned by Hiram Maxim, a rival of Thomas A. Edison. Latimer received a patent in January 1881 for the "Process of Manufacturing Carbons", an improved method for the production of carbon filaments used in lightbulbs. This extended the life of the light bulb considerably. The Edison Electric Light Company in New York City hired Latimer in 1884, as a draftsman and an expert witness in patent litigation on electric lights. Latimer is credited with an improved process for creating a carbon filament at this time, which was an improvement on Thomas Edison's original paper filament, which would burn out quickly. When that company was combined in 1892 with the Thomson-Houston Electric Company to form General Electric, he continued to work in the legal department. When General Electric and Westinghouse Electric Company formed the "Board of Patent Control" in 1896, to coordinate patent licensing and litigation, Latimer was employed as chief draftsman. In 1911 he became a patent consultant to law firms.
Before The Nation Of Islam here in the United States under The Honorable Elijah Muhammad there was Marcus Garvey. Marcus Mosiah Garvey, Jr., ONH (17 August 1887 – 10 June 1940), was a Jamaican political leader, publisher, journalist, entrepreneur, and orator who was a staunch proponent of the Black nationalism and Pan-Africanism movements, to which end he founded the Universal Negro Improvement Association and African Communities League (UNIA-ACL). He founded the Black Star Line, part of the Back-to-Africa movement, which promoted the return of the African diaspora to their ancestral lands. Garveyism intended persons of African ancestry in the diaspora to "redeem" the nations of Africa and for the European colonial powers to leave the continent. His essential ideas about Africa were stated in an editorial in the Negro World entitled "African Fundamentalism", where he wrote: "Our union must know no clime, boundary, or nationality… to let us hold together under all climes and in every country…Marcus Mosiah Garvey, Jr. was born as the youngest of eleven children in St. Ann's Bay, Jamaica, to Marcus Mosiah Garvey, Sr., a mason, and Sarah Jane Richards, a domestic worker. Only Marcus and his sister Indiana survived to adulthood. His family was financially stable given the circumstances of this time period. Garvey's father had a large library, and it was from his father that Marcus gained his early love for reading. He also attended elementary schools in St. Ann's Bay during his youth. While attending these schools, Garvey first began to experience racism. When Marcus was younger, he used to be friends with his white neighbors and play with them all the time. However, when they reached their teenage years, they began to shun him. Sometime in 1900, Garvey entered into an apprenticeship with his uncle, Alfred Burrowes, who also had an extensive library, of which Marcus made good use. In 1910 Marcus left Jamaica and began traveling throughout the Central American region. His first stop was Costa Rica, where he had a maternal uncle. He lived in Costa Rica for several months where he worked as a time-keeper on a banana plantation. He began work as editor for a daily newspaper called La Nacionale in 1911. Later that year, he moved to Colón, Panama, where he edited a biweekly newspaper, before returning to Jamaica in 1912. After years of working in the Caribbean, Garvey left Jamaica to live in London from 1912 to 1914, where he attended Birkbeck College, taking classes in law and philosophy. He also worked for the African Times and Orient Review, published by Dusé Mohamed Ali, who was a considerable influence on the young man. Garvey sometimes spoke at Hyde Park's Speakers' Corner. Garvey's philosophy was also influenced by African-American leaders such as Booker T. Washington, Martin Delany, and Henry McNeal Turner. Garvey is said to have been influenced by the ideas of Dusé Mohamed Ali in his speeches, and his later organizing of the Universal Negro Improvement Association (UNIA) in Jamaica in 1914.n 1914 Garvey returned to Jamaica, where he organized the UNIA. Historian Rashid suggests that the UNIA motto, "One God, One Aim, One Destiny", was derived from Dusé Ali's Islamic influence (Rashid, 2002). Garvey named the organization the Universal Negro Improvement Association and African Communities (Imperial) League. The UNIA held an international convention in 1921 at New York's Madison Square Garden. Also represented at the convention were organizations such as the Universal Black Cross Nurses, the Black Eagle Flying Corps, and the Universal African Legion. Garvey attracted more than 50,000 people to the event and in his cause. The UNIA had 65,000 to 75,000 members paying dues to his support and funding. The national level of support in Jamaica helped Garvey to become one of the most influential leaders of the 20th century on the island. After corresponding with Booker T. Washington, head of the Tuskegee Institute in Alabama and a national African-American leader in the United States, Garvey traveled by ship to the U.S., arriving on 23 March 1916 aboard the S.S. Tallac. He intended to make a lecture tour and to raise funds to establish a school in Jamaica modeled after Washington's Institute. Garvey visited Tuskegee, and afterward, visited with a number of black leaders. May 1917, Garvey and thirteen others formed the first UNIA division outside Jamaica. They began advancing ideas to promote social, political, and economic freedom for black people. On 2 July, the East St. Louis riots broke out. On 8 July, Garvey delivered an address, entitled "The Conspiracy of the East St. Louis Riots", at Lafayette Hall in Harlem. During the speech, he declared the riot was "one of the bloodiest outrages against mankind", condemning America's claims to represent democracy when black people were victimized "for no other reason than they are black people seeking an industrial chance in a country that they have laboured for three hundred years to make great". It is "a time to lift one's voice against the savagery of a people who claim to be the dispensers of democracy. By October, rancor within the UNIA had begun to set in. A split occurred in the Harlem division, with Garvey enlisted to become its leader; although he technically held the same position in Jamaica. Garvey is known as a leading political figure because of his determination to fight for the unity of African Americans by creating the Universal Negro Improvement Association and rallying to gather supporters to fight. He though found himself in conflict with other black leaders during the times such as W. E. B. Du Bois. Dubois felt that the Black Star Line was "original and promising he added reportedly that "Marcus Garvey is, without doubt, the most dangerous enemy of the Negro race in America and in the world. He is either a lunatic or a traitor. Du Bois feared that Garvey's activities would undermine his efforts toward black rights it is said.
Books By Marcus Garvey:
The Philosophy and Opinions of Marcus Garvey. Edited by Amy Jacques Garvey. 412 pages. Majority Press; Centennial edition, 1 November 1986. ISBN 0-912469-24-2. Avery edition. ISBN 0-405-01873-8.
Message to the People: The Course of African Philosophy by Marcus Garvey. Edited by Tony Martin. Foreword by Hon. Charles L. James, president- general, Universal Negro Improvement Association. 212 pages. Majority Press, 1 March 1986. ISBN 0-912469-19-6.
The Poetical Works of Marcus Garvey. Compiled and edited by Tony Martin. 123 pages. Majority Press, 1 June 1983. ISBN 0-912469-02-1.
Hill, Robert A., editor. The Marcus Garvey and Universal Negro Improvement Association Papers. Vols. I-VII, IX. University of California Press, c. 1983- (ongoing). 1146 pages. University of California Press, 1 May 1991. ISBN 0-520-07208-1.
Hill, Robert A., editor. The Marcus Garvey and Universal Negro Improvement Association Papers: Africa for the Africans 1921–1922. 740 pages. University of California Press, 1 February 1996. ISBN 0-520-20211-2.
Anksunamen for Corner Talk Report! This month Corner Talk Report will be celebrating Black History Month with a spotlight on great men and women who contributed to the Nubian Historical experience in Music, Film, Stage, Television, Politics, Religion and the universal Struggle.......Butch Leake
Pearl Mae Bailey was an American black actress and singer. After appearing in vaudeville, she made her Broadway debut in St. Louis Woman in 1946. She won a Tony Award for the title role in the all-black production of Hello, Dolly! in 1968. Born in Southampton County in southeastern Virginia to Ella Mae Ricks and Joseph Bailey, and reared in the Bloodfields neighborhood of Newport News, Virginia. Pearl made her stage-singing debut at age 15. She began by singing and dancing in Philadelphia’s black nightclubs in the 1930s. This was on the suggestion of her brother Bill Bailey that she enter an amateur contest at the Pearl Theatre in Philadelphia. She won the amateur song-and-dance contest and was later offered a job there for 35 dollars a week but the show closed in the middle of the engagement and she never go paid, She later entered another contest at the famed Apollo Theater in Harlem New York City. From there she decide to pursue a career in entertainment. During world war two Pearl toured the country with the USO, performing for American troops. After the tour, she settled in New York. Her solo successes as a nightclub performer were followed by acts with such entertainers as Cab Calloway and Duke Ellington. In 1946, Bailey made her formal Broadway debut in St. Louis Woman. and continued to tour and record albums in between her stage and screen performances. Early in the television medium, Bailey guest starred on CBS's Faye Emerson's Wonderful Town. In 1954 her film credits were quite impressive she took the role of Frankie in the film version of Carmen Jones, and her rendition of "Beat Out That Rhythm on the Drum" is one of the highlights of the film. Other credits include the role of Maria in the film version of Porgy and Bess, starring Sidney Poitier and Dorothy Dandridge. the role of "Aunt Hagar" in the movie St. Louis Blues, alongside Mahalia Jackson, Eartha Kitt, and Nat King Cole. She starred in the Broadway musical House of Flowers. During the 1970s she had her own television show, and she also provided voices for animations such as Tubby the Tuba (1976) and Disney's The Fox and the Hound (1981). She returned to Broadway in 1975, playing the lead in an all-black production of Hello, Dolly!. She earned a B.A. in theology from Georgetown University in Washington, D.C., in 1985, at age 67. She married jazz drummer Louie Bellson in London on November 19, 1952. A republican, she was awarded the Bronze Medallion (New York City award. In her later years Bailey wrote several books: The Raw Pearl (1968), Talking to Myself (1971), Pearl's Kitchen (1973), and Hurry Up America and Spit (1976). In 1975 she was appointed special ambassador to the United Nations by President Gerald Ford. Her last book, Between You and Me (1989), details her experiences with higher education.rd) in 1968 and a Presidential Medal of Freedom on October 17, 1988. Pearl passed away at Thomas Jefferson University Hospital in Philadelphia on August 17, 1990.
There have been many great thinkers in the African universe of scholastic thought in both past and present periods, to name a few like Stokley Carmichael and Malcolm X. Yet as I look back to my earlier studies one man who stands out in profound radical thinking during his day was Cheikh Anta Diop. Born in Thieytou,l, Diourbel Region, French Senegal. Diop was born to an aristocratic Muslim Wolof family in Senegal where he was educated in a traditional Islamic school. Diop's family was part of the Mouride brotherhood, the only independent Muslim group in Africa according to Diop. He obtained a bachelor's degree in Senegal before moving to Paris for graduate studies, where he ended his scholastic education. In 1946, at the age of 23, Diop went to Paris to study and initially enrolled to study higher mathematics. but in the end enrolled to study philosophy in the Faculty of Arts of the Sorbonne. Which after he gained his first degree (licence) in philosophy in 1948. He then enrolled in the Faculty of Sciences, receiving two diplomas in chemistry in 1950. It was in 1949 that Diop registered a proposed title for a Doctor of Letters thesis, "The Cultural Future of African thought" under the direction of Professor Gaston Bachelard. In 1951 he registered a second thesis title "Who were the pre-dynastic Egyptians" under Professor Marcel Griaule. He completed his thesis on pre-dynastic Egypt in 1954 but could not find a jury of examiners for it: he later published many of his ideas as the book "Nations nègres et culture". In 1956 he re-registered a new proposed thesis for Doctor of Letters with the title "The areas of matriarchy and patriarchy in ancient times." From 1956, he taught physics and chemistry in two Paris lycees as an assistant master, before moving to the College de France. In 1957 he registered his new thesis title "Comparative study of political and social systems of Europe and Africa, from Antiquity to the formation of modern states." The new topics did not relate to ancient Egypt, but were concerned with the forms of organisation of African and European societies and how they evolved. He obtained his doctorate in 1960. A most controversial historian Diop rattled academia during his day particularly in the area of Egyptian studies on the indigenious population of Egypt as he put it in his thesis was populated by black people. A political activist! Diop from his early days in Paris was active in the Rassemblement Democratique Africaine (RDA), an African nationalist organisation led byFelix Houphouet-Boigny. He was general secretary of the RDA students in Paris from 1950 to 1953.
This month Corner Talk Report will be celebrating Black History Month with a spotlight on
great men and woman who contributed to the Nubian Historical Experience in Music,
Politics, Religion and Struggle...... Butch Leake
Phyllis Hyman a singers singer was one of the Legendary and most underrated singers of our times.
A woman of powerful statue and voice and who commanded attention wherever she went and performed.
For most didn't understand this great woman of song who had a heart that was bigger than life and a sad end to it through suicide Phyllis Hyman was born in Philadelphia Pennsylvania, and grew up in the St.. Clair Village the South Hills section of Pittsburgh. Born to an African American family, she was the eldest of seven children and a third cousin of actor Earl Hyman (best known for his recurring role on The Cosby Show as Cliff's father, Russell Huxtable). Hyman sang with Pharoah Sanders and the Fatback Band while working on her first solo album, Phyllis Hyman, released in 1977 on the Buddha Records label. When Arista Records bought Buddha, she was transferred to that label. Her first album for Arista, Somewhere in My Lifetime, was released in 1978; the title track was produced by then-label mate Barry Manilow. Her follow-up album, You Know How to Love Me, made the R&B Top 20 and also performed well on the club–dance charts. In the late 1970s, Hyman married her manager Larry Alexander (who is the brother of Jamaican pianist and melodic player Monty Alexander), but both the personal and professional associations ended in divorce.
For more on Miss Hyman Log into.http://www.ctrblogjournal.com/#!blogpoint/clj8 CORNER TALK REPORT / Butch Leake