I was there on accident; came for a storytelling show, stayed for the whiskeys, and danced for Mary, whom I'd never before heard sing, and her husband, Jeff Run The City - Fes Taylor - Pay Me In Respect (CD, whom I'd never before heard Album). Mary came down off the stage and began working the crowd, limping slightly.
She shouted flirty, dirty things back and forth with the men, hugged the women, and reminded both that she had a CD for sale. Later, after the show, Mary sat at a table with Jeff, drinking water and counting her cash.
I went over and told her how much I'd liked her voice. It was a quick decision on her part, and I saw it go down on her face: the smile while I gushed, the drop of that smile when I asked if she took card, the bare exhaustion beneath her bones and skin.
Then she looked at me and turned her light back on. When I woke up the next morning and remembered her face, I felt bad. Work is done for pay, and Mary had worked. The band was good and her voice was great, but it was the sharp heat of Mary herself—getting right down and dirty with the crowd, calling us baby, calling us other names too and laughing, asking if we wanted it and how bad, talking just enough shit about her band to make them play harder, faster, just because they loved her so—that compelled me up and out of my seat.
And so, for the next two hours, she did. I could not stop thinking about that moment when she gave me her album for free: the hesitation, the take-it-anyway vibe, and then her request. I promised her I would, and when I scrolled through my texts, I could see that, on my bus ride home, I had. Hungover at work, I googled her, hoping to find a way to pay online, but I was more surprised by what I didn't find than what I did.
But there was no website, no e-mail, no other way to track her down. On my lunch break, I called Rosa's, and when the manager, Tony Mangiullo, picked up, I could hear his frown through the phone.
It wouldn't work, Tony said. He'd been manager since Mary was too unreliable, too hard to pin down, tough even to book. She was "like the wind," blowing in and blowing out. And no, he didn't have a number or an address.
He wished he could help me. He sounded sincere. I made him take down my number anyway, just in case she did come through. For the next five years, I'd hear this over and over from every man of any race I talked to about Mary—that she should be famous, that she was one of the greats, and that the reason she wasn't better known outside of Chicago was because she was difficult, ornery, domineering, paranoid, impatient, afraid of flying, afraid of trains, afraid of travel, and generally getting in her own way.
They'd lay out examples, almost as many examples as there are men in her orbit: club owners and bouncers, harp players and drummers, Grammy-winning producers and blues magazine writers, band members. A year later, I took a bus back to Chicago from Iowa, where I had moved for grad school, to find Mary and pay what I owed, plus interest. Her band aligned behind her in the shape of a C, Mary moved on and off the stage, a little older, a little more tired than I remembered.
During a break in the show, I gave her the money and she gave me another thing free. This time it was a shirt, fire truck red. On the front, in black letters:. The No Static Blues Band. Mary Lane. This is the part of the story of Mary Lane that gets mentioned most often in the write-ups that have peppered Chicago papers over the last few decades she's been singing: how she knew or knows Junior Wells, Howlin' Wolf, Buddy Guy, Otis Rush, and other near-mythic Chicago bluesmen.
Mary is from the Arkansas Delta. Eventually, her uncle asked if Wolf wouldn't mind giving his niece a listen. Or maybe Wolf had heard her before, one slow afternoon when he came by for a beer and passed Mary out front, singing for money, something she learned to do before she learned to read. No one now remembers exactly how the beginning began, but soon, while Wolf sat back and wailed on his harp, Mary Lane went up onstage to sing.
She wasn't yet 13 years old. This is the part of the story that goes Discovery and Authenticity, then Hardship, then Grit and Survival, Album). If you get all five in, you've got a Blues Article Bingo.
At 16, Mary sang while Robert Nighthawk played slide guitar at her side. She followed Howlin' Wolf up from Arkansas, during the second wave of the Great Migration, before she was She landed in Waukegan, then Chicago, living and singing in the Blackest parts of the city's south and west sides.
She had eight kids. She sang with Elmore James just before he died. She sang with James Cotton. She tended bar at the legendary Theresa'sunder the table, while a young Buddy Guy played guitar and Theresa herself reportedly kept a gun in the fur she sometimes wore to work.
She is repeatedly, proudly described as "a staple" who has worked so hard and has nearly made it so many times. Always, this Album) of men's names, of men who became famous after their deaths, a lucky few famous in their lives, provided as the backstory to her backstory, proof of her Authenticity, her Grit. Except for Buddy Guy, Mary's outlived them all. Writing about, and appreciation of, blues music—especially, I think, when it is written about and appreciated by white people, and when the singer or musician is Black—praises suffering.
There is a format to these stories, as standard as the blues song itself. Popularly, the blues are sung in three-line stanzas. In the first line, you mean it; in the second line, which is roughly the same as the first, you really mean it, and throw your voice a certain way to open up new understanding to the listener's ears. In the third line, you bring it home. Like so :. Bad luck and trouble, they run hand in hand I say bad luck and and trouble, they run hand in hand You got to treat me right, if you wanna be my man.
Many of the stories that have been written about Mary over the years, the stories I've been able to find in the Harold Washington Blues Archives, have this arc—they tell about the blues artist's pain in the first third, repeat that pain in the second. The final third is the twist, where the theme is survival, and words like "perseverance" are used. For example, write-ups on Mary mention her picking cottona signifier of pain and a particular kind of southern Blackness, without going into the suffering, or without asking if she did suffer.
It's uncomfortable to wrestle with the real pain that, like bad luck and trouble, comes hand in hand with the pleasure blues artists provide. White listeners want enough pain to prove it's real, but not enough to implicate us.
I'm not trying to shit all over other writers or lovers of the blues, or claim that, in this sentence, I am doing the writing and appreciating right. I started writing this essay four years ago and have more than 40, words in various files with various names, all dormant. I've pitched this story, had it accepted, and let that acceptance die, because the version I pitched followed the format I've described above, and it didn't feel true or fair to the Mary I know.
Writing the truer version would be harder, and scarier, and would require me to engage with Mary in all her complexity and pain, by which I mean it would require me to practice a kind of love, and I wasn't sure if I was strong enough to do it.
But last year, I moved back to Chicago and thought of Mary every time I saw her shirt folded in my drawer, as tucked away as a secret, as red as a fire truck wailing an alarm. I wanted to be braver for her. I needed to try again.
I tried again because of guilt and love, death and money, the stuff of the blues itself. I also tried because, years after hearing Tony say "she should be famous," I still had questions to answer about that, and as it turned out, when we did speak again, so did Mary.
A few months ago, Mary and Jeff's old mattress finally busted. Now, he sleeps on the couch in their humid apartment, and she sleeps in a recliner. And so the Run The City - Fes Taylor - Pay Me In Respect (CD that needs asking, amid all the accolades, is this: What is appreciation worth if it doesn't come with cash? Why, at 84, can a musician who is universally admired, who has been called the "real deal" and "the voice of experience," not afford to buy a new bed?
Since I came back to Chicago to find Mary, four years ago, I've spent a lot of time with her. I started by helping her hawk CDs for money and explaining to white women my age and demographic that no, Mary's music doesn't come on vinyl, and no, the shirt doesn't come in small. The first time I did that, she told me a little bit about her childhood in Arkansas, a place she's only been back to three times since moving north more than 60 years ago.
On summer mornings, back then, Mary woke up slow. Before opening her eyes, she'd stretch her child limbs across the side of the bed recently vacated by her sister, Mary Helen. Across the room, Mary Helen might be up and at the stove, eating the biscuits their father left for them, made each morning when it was still dark. The kids knew the rule: they were to stay in the house and play with each other "till the dew dropped off the cotton and the train that run from Elaine to Helena came by and blows.
It was the early s in the Deep South, and, from what I understand, the family worked together for a sharecropper. Over the years, it's possible the kids were joined by any of Mary's other siblings, of which there were eventually 20 in total.
I was painting her toenails before a show. Her right ankle—broken in and never set right due to Mary's phobia of hospitals—tends to swell, making her foot hard to reach. And he was funny, because every time it would start stormin', he would put his boots on, overcoat and everything, and he would go out and sit on the porch.
And when there was a high wind blowing, he'd be still out there, holdin' onto the pole. He would sit out on that porch and sing gospel. Following the release of Mary's second album, Travelin' Womanmore than 20 years after Appointment With the BluesNPR wrote : "Lane remembers her earliest days performing in Arkansas, where she would sing for the workers in the cotton fields. I'd always be behind. I'd be back there just singing and everybody say, 'Come and sing, Mary. Go on and sing. Mary is a professional singer, a businesswoman.
She knows what stories sell, what lines of her life people want to hear. She also knows that sometimes, it doesn't matter what she says—people will hear what they want to regardless, taking what they find inspirational or appealing and leaving the rest. Besides stories about her dad, Mary rarely shares specific details with me about what her life was like growing up sharecropping in the Arkansas Delta.
Even questions I think are banal are met with a kind of rebuke. Sittin' on the ground. It was the country; wasn't nothin' there. Maybe she isn't used to being asked how she feels, maybe she finds the questions boring, maybe the world taught her a long time ago to put her feelings somewhere deep inside of herself, where no one, especially not a nosy white writer, can reach.
As a writer, it's my responsibility to walk an uneven line between minding my business and asking questions that allow Mary to make herself a little more known, if she wants. For example: Cotton harvest in Arkansas continues through at least late fall.
If Mary Lane was singing, or picking, in the field, how did she go to school? The three times Mary's been back to Arkansas: to bury her mother, Ada; to bury one of her brothers; and, in autumn ofto sing at the King Biscuit Blues Festival in promotion of Travelin' Woman.
Mary is terrified of flying and was reluctant to go in the first place, so she, her manager Lynn Orman, and the rest of the No Static Blues Band rented a van and made the trip from Chicago in a day. When Charlie Sr. See, when I was down there, you had to do that. It's a big difference. It's like I say: I don't wanna go back down there. That's what singing "for the workers in the cotton fields" means. There's the version that offers Grit and Authenticity for a white audience, and then there's the story of a child working so much in a cotton field in the Jim Crow south that she never did have the chance to finish elementary school.
That's a little harder to comfortably bear. He joined Mary onstage; this wasn't long after his seventh Grammy, so more tourists were in on a Tuesday than usual. Within seconds, iPhones shot up. Mary was grinning so hard I worried the top of her head was going to fall off. Buddy put his arm around her and, after a brief, profanity-laden banter, the two began to sing, tossing verses back and forth as lightly as silk scarves.
Buddy was tall and comfortably, perfectly dressed. Halfway through, Buddy held up his hand and pointed to the tip jar. The band went quiet. Buddy turned to Mary. The crowd, pressed close to the stage now, giggled nervously. But they're happy to take. Then, a rush: folks pressed forward, and money came out. Later, after the show, I asked Mary how she was doing. She sighed. After my second visit, inMary called and asked if I'd be visiting her for Mother's Day, though, she said, she'd "understand" if I was going to spend time with my own mom.
I could do neither, seeing as I was a broke grad student in a different state than either woman, but our calls continued, and the visits when I could. One hot night, we watched movies in her bed in front of a fan as she dozed. One day, I ran across the street to buy her lotto tickets and helped her fill them out via a complicated system of numbers she keeps written out on cardboard scraps.
It's one of her favorite bantering lines to sing out from the stage, because it always brings in a laugh—and with that laugh, tips. I watched her sell her food assistance card for cash. I bought her groceries. She hates most of the food I like, but I like all the food she does, so it worked out. She wouldn't let me cook, but she would let me do the dishes.
We mopped the floor. I held her hand while we walked down her apartment stairs. Her eyes aren't great, so when her son Elvis sent her letters from prison, I read them to her. She dictated her replies to me, and I mailed them. She asked me about my mom, my dad, my brothers and my sister.
She asked me to describe our yard. Another time, looking up at me sideways as she set food on the table: "Do your parents know you have a Black friend? We talked about sex and love. I asked her about having her first child at The father was 26, Sometimes, Mary told me never to have kids if I could help it. Other times, my phone rang and it was one of her daughters on the phone, introducing herself to me, Mary shouting in the background with pride.
Appearing on VH1 's documentary series Behind the Music in earlyMcDaniels confirmed that he was creatively frustrated and highlighted some songs that he was recording on his own. The continued friction led to McDaniels sitting out most of the group's recording sessions in protest. The resulting album, Crown Royalwas delayed due to the personal problems, and when it was finally released init featured only three appearances by DMC.
Despite no major singles, the album initially sold well. However, many critics [ who? Some positive reviews were published: Entertainment Weekly noted that "on this hip hop roast, new schoolers Nas and Fat Joe pay their respects with sparkling grooves Run's rhymes are still limber.
The tour was a rousing success, celebrating the collaboration between the two acts and acknowledging the innumerable rap and rock acts that had been influenced by their seminal hit 15 years prior. Performing allowed McDaniels to come out of his depression and he appeared revitalized on the tour. There was even talk of Run-DMC finally signing with Def Jam, which by then was no longer held by its original founders.
Despite the success of the tour and Aerosmith consequently discussing adding additional dates, Simmons abruptly announced that he was quitting. On October 30,Mizell was shot and killed at his recording studio in Queens. In the aftermath, Simmons and McDaniels announced the official disbanding of the group. The Beastie Boys paid tribute.
Simmons did not attend the show; he was recording his first solo album, Distortion. He had recently discovered that he was adopted, which led him to be the center of the VH1 program My Adoption Journeya documentary chronicling his re-connection with his biological family.
Simmons also turned to television, starring in Run's Housea reality show that followed his life as a father and husband. They also covered "For What It's Worth" at the end of the show. Awards in Jay's memory. In OctoberMizell's one-time protege 50 Cent announced plans to produce a documentary about his fallen mentor. The film was rumored to depict the life and story of the group beginning from their inception in Hollis, Queens, and leading up to the murder of Jam Master Jay.
Their sound is directly responsible for intentionally transforming rap music from dance-and club-oriented funk grooves like " Rapper's Delight " and " The Breaks " to an aggressive, less-danceable approach. Characterized by sparse, hard-hitting beats—as typified on hits like " It's Like That ", and " Peter Piper "—this would form the foundation of hardcore hip hop particularly hardcore East Coast hip hop. As such, Run-DMC is considered the originators of the style, and hardcore hip hop would dominate the next two decades of rap music, from the bombastic, noisy sound of Public Enemy and stripped minimalism of Boogie Down Productions to the thump of early Wu-Tang Clan and Nas.
Their influence was not limited to the East Coast, however. Los Angeles' N. Early on, the group rarely sampled and rarely looped anything over their skeletal beats, and the funky minimalism of major producers, such as Timbaland and The Neptunesis drawn from Run-DMC's fundamental sound. Aesthetically, they changed the way rappers presented themselves, Album). Onstage, old school rappers had previously performed in flashy attire and colorful costumes, typically had a live band and, in the case of acts like Whodinihad background dancers.
Run-DMC performed with only Run and DMC out front, and Jam-Master Jay on the turntables behind them, in what is now considered the 'classic' hip hop stage setup: two turntables and microphones. They embraced the look and style of the street by wearing jeans, lace-less Adidas sneakers, and their trademark black fedoras. The group shunned both the over-the-top wardrobe of previous rap stars like the Furious Five and Afrika Bambaataaand the silk-shirted, jheri curledladies' man look of rappers like Kurtis Blow and Spoonie Gee.
Followers of their style included LL Cool J and the Beastie Boys; seemingly overnight, rappers were wearing jeans and sneakers instead of rhinestones and leather outfits. From Adidas tracksuits and rope chains to baggy jeans and Timberland footwear, hip hop's look remained married to the styles of the street. In the process, the trio helped change the course of popular music, paving the way for rap's second generation. Historically, the group achieved a number of notable firsts in hip hop music and are credited with being the act most responsible for pushing hip hop into mainstream popular music, initiating its musical and artistic evolution and enabling its growth as a global phenomenon.
Run-DMC is the first rap act to have reached a number of major accomplishments: . From Wikipedia, the free encyclopedia. Redirected from Run—D. American hip hop group. This article is about the hip hop group. For the group's self-titled album, see Run—D. For the basketball players, see Run TMC. For the running back, see Darren McFadden. Run-DMC in a promotional shot. Hip hop rap rock.
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Main article: Run-DMC discography. Sedgewick November 6, Call It Quits".
Retrieved April 9, Retrieved September 12, Rolling Stone. Retrieved September 29, Chart History". Retrieved November 30, The New York Times.
March 9, Retrieved December 7, Rock On The Net. Rock and Roll Hall of Fame. Retrieved January 21, Retrieved March 13, Retrieved May 1, Stand For?
Retrieved December 1, Virgin Books. Retrieved February 11, Retrieved April 10, Retrieved January 20, Archived from the original on July 2, Archived from the original on November 5, Retrieved November 6, Retrieved August 17, Entertainment Weekly. May 24, January 29, Biography at Allmusic. Archived from the original on January 29,
Fes Taylor has achieved what many artists only dream of: respect from all the generations of hip hop. A native of New York City, Fes Taylor was born in Harlem and raised in Staten Island. This very talented MC realized early in his childhood that he had a passion for one thing: sioprovcabradeperfscormarcodenmenssol.cotion: Artist. Mar 30, · 50+ videos Play all Mix - FES TAYLOR - C.R.E.A.M YouTube Fes Taylor, King Just & Pop The Brown Hornet | Freestyle | Rap Is Outta Control - Duration: RapIsOuttaControl views. Dec 08, · Album Library of a Legend Vol. 20; Licensed to YouTube by The Orchard Music (on behalf of Stage One Music); Kobalt Music Publishing, Songtrust, Phase One Network, Inc., UMPG Publishing, and 7.
Oct 25, · And there you have it: the Discogs Best Albums of the 10s in all its glory. What have we learned here today? The big takeaway is that Rock is by no means dead, despite how many times that tired old trope gets tossed around, but Jazz is on life support.. Around percent of the list is comprised of rock artists, with the next closest genre being Hip Hop at percent.
Party (feat. André ) Lyrics; Credits () Buy. Fes Taylor: Chambermusik/Two 4 War Entertainment Warning We Are At War! Fes Taylor: Chambermusik Artillery Portraits & Masterpieces: Timbo King: N/A Innocent Till Proven Guilty: Fes Taylor presents Shadow Government Chambermusik Drop City S.I.M.P.S.O.N. (Staten Island Most Popular Son) Lounge Lo: Chambermusik Moneta.
To pay any type of traffic or a criminal fine, dial Official Payments at from any touch-tone telephone or pay online at the Official Payments website. Visa, Mastercard, Discover or American Express credit cards are accepted. You will be asked to enter a citation number, date of birth, a daytime phone number and a credit card number. Get all the lyrics to songs by Fes Taylor and join the Genius community of music scholars to learn the meaning behind the lyrics.
Dec 08, · Album Library of a Legend Vol. 20; Licensed to YouTube by The Orchard Music (on behalf of Stage One Music); Kobalt Music Publishing, Songtrust, Phase One Network, Inc., UMPG Publishing, and 7.
The Gift That Keeps On Giving - Paul Kelly (2) - The A to Z Recordings (CD, Album), Herald Of Free Enterprise - Milow - Milow (CD, Album), Danny Paul Grody* - In Search Of Light (Vinyl, LP), Till There Was You - Vic Damone - On The Street Where You Live (Vinyl, LP, Album), M3R-T - Im Back E.P (File, MP3), Tragedy Bay - Faust (13) - Deepwater Moon (File), Belinda Carlisle - I Feel The Magic / From The Heart (Vinyl), Bonskeid House - The Wallochmor Ceilidh Band - Second Chance! (Vinyl, LP), En Rouge Et Noir - Jeanne Mas - Femmes DAujourdhui (CD, Album), Sir Mix-A-Lot - Swass (Vinyl, LP, Album), Ricky ;Get Down; Garcia* - Mami (Vinyl)