mick laBriola

Overton Amos Lemons (July 5, 1913 – October 7, 1966), known as Smiley Lewis, was an American New Orleans rhythm and blues singer and guitarist. The music journalist Tony Russell wrote that “Lewis was the unluckiest man in New Orleans. He hit on a formula for slow-rocking, small-band numbers like ‘The Bells Are Ringing’ and ‘I Hear You Knocking‘ only to have Fats Domino come up behind him with similar music with a more ingratiating delivery. Lewis was practically drowned in Domino’s backwash.”

Lemons was born in DeQuincy, Louisiana, a rural hamlet near Lake Charles, to Jeffrey and Lillie Mae Lemons. He was the second of three sons. His mother died while he was a child, and later he named a song and several automobiles after her. In his mid-teens, he hopped a slow-moving freight train with some friends, who jumped off when the train began to speed up. Lewis alone remained on the train, getting off when it reached its stop in New Orleans. He found boarding with a Caucasian family in the Irish Channel neighborhood and eventually adopted their surname, Lewis.

He began playing clubs in the French Quarter and “tan bars” in the Seventh Ward, at times billed as Smiling Lewis, a variation of the nicknameearned by his lack of front teeth. He was often accompanied by the pianist Isidore “Tuts” Washington, with whom he played in Thomas Jefferson’s Dixieland band in the mid-1930s. When the band dissolved, Lewis began playing in clubs, earning only tips.

Lewis married Leona Robinson in 1938. The couple lived with her mother until they began having children, when they moved to South Tonti Street, while Lewis worked at manual labor during the day and performed at night. During World War II, he joined Washington again, this time with Kid Ernest Molière’s band, entertaining soldiers stationed at Fort Polk, outside Bunkie, Louisiana, and serving as the house band at the Boogie Woogie Club. The two formed a trio with the drummer Herman Seals after the war ended and again began playing in clubs in the French Quarter and along Bourbon Street.

The trio was invited by David Braun to record a session for his DeLuxe Records in 1947, which produced Lewis’s debut record, “Here Comes Smiley” (Papa John Joseph replaced Seals and played bass at this session). The single “Turn On Your Volume” was a local jukebox hit, but DeLuxe requested no more material and left two other recorded sides unreleased. An invitation from Dave Bartholomew, who grew up in the same neighborhood as Lewis and was then beginning a career as a producer with Imperial Records, led to a recording session for the trio in March 1950, at which they recorded the song “Tee Nah Nah”. Lewis had his first national hit song with “The Bells Are Ringing” in 1952. He was the first to record Bartholomew’s song “Blue Monday“, in 1954; Fats Domino‘s recording of the song was a hit two years later.^[8][5] In 1955 he achieved his biggest sales with “I Hear You Knocking“, the first recording of the song (written by Bartholomew and Pearl King), with Huey Smith playing the piano.

Flamenco Fridays with Bulerias.

“Bulería” is the most characteristic flamenco style of Jerez de la Frontera. It is generally composed of three or four eight-syllable verses. This is one of the most complex dancing and guitar styles: bustling, happy and cheerful.

It is characterised by a fast rhythm and a redoubled beat. It is more suitable than other flamenco styles to be sung accompanied by flamenco clapping, “jaleo” and other shouts and expresive voices. “Bulerías” constitute an usually dance to finish all flamencos parties (composing a semicircle, people dance in the middle of it a part of the song).

“Loco Mateo” was the first performer of this style, finishing  his “soleares or soleás” with “bulerías”. Hence “bulería” results from “solea”. It was originated in the late 19th century. In “Sinfonía Virtual” magazine Guillermo Castro documented that the term “bulería” was used for the first time in the 17th century, but it didn’t acquire its flamenco meaning until the early 20th century. It was earlier believed that the first appearance of this style came up with the painting of José García Ramos “Baile por bulerías” (1884), preserved in the Museum of Fine Arts of Seville. Currently, it’s widely known that this paiting had other titles previously such as “Tango“, “Bailarina” or “El Baile”. It was not until second half of the XX century that it adopted the name “Baile por Bulerías”.

NGC 6946 also known as the Fireworks Galaxy is a face-on intermediate spiral galaxy with a small bright nucleus, whose location in the sky straddles the boundary between the northern constellations of Cepheus and Cygnus. Its distance from Earth is about 25.2 million light-years or 7.72 megaparsecs, similar to the distance of M101 (NGC 5457) in the constellation Ursa Major. Both were once considered to be part of the Local Group. but are now known to be among the dozen bright spiral galaxies near the Milky Way but beyond the confines of the Local Group. NGC 6946 lies within the Virgo Supercluster.

Discovered by William Herschel on 9 September 1798, this well-studied galaxy has a diameter of approximately 40,000 light-years , about one-third of the Milky Way’s size, and it contains roughly half the number of stars as the Milky Way. The galaxy is heavily obscured by interstellar matter as it lies quite close to the galactic plane of the Milky Way. Due to its prodigious star formation it has been classified as an active starburst galaxy.

Various unusual celestial objects have been observed within NGC 6964. This includes the so-called ‘Red Ellipse’ along one of the northern arms that looks like a super-bubble or very large supernova remnant, and which may have been formed by an open cluster containing massive stars. There are also two regions of unusual dark lanes of nebulosity, while within the spiral arms several regions appear devoid of stars and gaseous hydrogen, some spanning up to two kiloparsecs across. A third peculiar object, discovered in 1967, is now known as “Hodge’s Complex”. This was once thought to be a young supergiant cluster, but in 2017 it was conjectured to be an interacting dwarf galaxy superimposed on NGC 6964.

Fred Wesley (born July 4, 1943) is an American jazz and funk trombonist, best known for his work with James Brown in the 1960s and 1970s, as well as Parliament-Funkadelic in the second half of the 1970s. In 2015, Wesley was inducted into the Alabama Jazz Hall of Fame. Wesley was born the son of a high school teacher and big band leader in Columbus, Georgia, and raised in Mobile, Alabama. As a child he took piano and later trumpet lessons. He played baritone horn and trombone in school, and at around age 12 his father brought a trombone home, whereupon he switched (eventually permanently) to trombone.

During the 1960s and 1970s he was a pivotal member of James Brown‘s bands, playing on many hit recordings including “Say it Loud – I’m Black and I’m Proud,” “Mother Popcorn” and co-writing tunes such as “Hot Pants.” His slippery riffs and pungent, precise solos, complementing those of saxophonist Maceo Parker, gave Brown’s R&B, soul, and funk tunes their instrumental punch. In the 1970s he also served as band leader and musical director of Brown’s band the J.B.’s and did much of the composing and arranging for the group. His name was credited on ‘Fred Wesley & the J.B.’s’ recording of “Doing It to Death,” which sold over one million copies, and was awarded a gold disc by the R.I.A.A. in July 1973. He left Brown’s band in 1975 and spent several years playing with George Clinton‘s various Parliament-Funkadelic projects, even recording a couple of albums as the leader of a spin-off group, The Horny Horns.

Wesley became a force in jazz in 1978 when he joined the Count Basie Orchestra. He released his first jazz album as a leader, To Someone in 1988. It was followed by New Friends in 1990, Comme Ci Comme Ca in 1991, the live album Swing and Be Funky, and Amalgamation in 1994.

William Harrison Withers Jr. (born on July 4, 1938) is an American singer-songwriter and musician who performed and recorded from 1970 until 1985. He recorded several major hits, including “Lean on Me“, “Ain’t No Sunshine“, “Use Me“, “Just the Two of Us“, “Lovely Day“, and “Grandma’s Hands“. Withers won three Grammy Awards and was nominated for four more. His life was the subject of the 2009 documentary film Still Bill. He was inducted into the Rock and Roll Hall of Fame in 2015.

Bill Withers was born in the small coal-mining town of Slab Fork, West Virginia. He was born with a stutter and has said he had a hard time fitting in. Raised in nearby Beckley, he was 13 years old when his father died. Withers enlisted with the United States Navy at the age of 18 and served for nine years, during which time he overcame his stutter and became interested in singing and writing songs.

During early 1970, Withers’ demonstration tape was auditioned favorably by Clarence Avant, owner of Sussex Records. Avant signed Withers to a record deal and assigned former Stax Records stalwart Booker T. Jones to produce Withers’ first album. Four three-hour recording sessions were planned for the album, but funding caused the album to be recorded in three sessions with a six-month break between the second and final sessions. Just as I Am was released in 1971 with the tracks, “Ain’t No Sunshine” and “Grandma’s Hands” as singles. The album features Stephen Stills playing lead guitar. On the cover of the album, Withers is pictured at his job at Weber Aircraft in Burbank, California, holding his lunch box.

The album was a success, and Withers began touring with a band assembled from members of the Watts 103rd Street Rhythm Band: drummer James Gadson, guitarist Benorce Blackmon, keyboardist Ray Jackson, and bassist Melvin Dunlap.

At the 14th annual Grammy Awards, on Tuesday, March 14, 1972, Withers won a Grammy Award for Best R&B Song for “Ain’t No Sunshine“. The track had already sold over one million copies and was awarded a gold disc by the RIAA in September 1971.

During a hiatus from touring, Withers recorded his second album, Still Bill. The single, “Lean on Me” went to number one the week of July 8, 1972. It was Withers’ second gold single with confirmed sales in excess of three million. His follow-up, “Use Me” released in August 1972, became his third million seller, with the R.I.A.A. gold disc award taking place on October 12, 1972. His performance at Carnegie Hall on October 6, 1972, was recorded, and released as the live album Bill Withers, Live at Carnegie Hall on November 30, 1972. In 1974, Withers recorded the album +’Justments. Due to a legal dispute with the Sussex company, Withers was unable to record for some time thereafter.

During this time, he wrote and produced two songs on the Gladys Knight & the Pips record I Feel a Song, and in October 1974 performed in concert together with James Brown, Etta James, and B.B. King in Zaire four weeks prior to the historic Rumble in the Jungle fight between Foreman and Ali. Footage of his performance was included in the 1996 documentary film When We Were Kings, and he is heard on the accompanying soundtrack. Other footage of his performance is included in the 2008 documentary film Soul Power, which is based on archival footage of the 1974 Zaire concert.

https://www.youtube.com/watch?v=WwgggzBgJfM

William Thomas “Champion Jack” Dupree (July 23, 1909 or July 4, 1910 – January 21, 1992) was an American blues and boogie-woogie pianist and singer. His nickname was derived from his early career as a boxer. Dupree was a New Orleans blues and boogie-woogie pianist, a barrelhouse “professor”. His father was from the Belgian Congo and his mother was part African American and Cherokee. His birth date has been given as July 4, July 10, and July 23, 1908, 1909, or 1910; the researchers Bob Eagle and Eric LeBlanc give July 4, 1910.

He was orphaned at the age of eight and was sent to the Colored Waifs Home in New Orleans, an institution for orphaned or delinquent boys (about the same time, Louis Armstrong was also sent there as a child, after being arrested as a “dangerous and suspicious character”). Dupree taught himself to play the piano there and later apprenticed with Tuts Washington and Willie Hall, whom he called his father and from whom he learned “Junker’s Blues“. He was also a “spy boy” for the Yellow Pocahontas tribe of the Mardi Gras Indians. He soon began playing in barrelhouses and other drinking establishments.

He began a life of travelling, living in Chicago, where he worked with Georgia Tom, and in Indianapolis, Indiana, where he met Scrapper Blackwell and Leroy Carr. He also worked as a cook. In Detroit, after Joe Louis encouraged him to become a boxer, he fought 107 bouts, winning Golden Gloves and other championships and picking up the nickname Champion Jack, which he used the rest of his life.

He returned to Chicago at the age of 30 and joined a circle of recording artists, including Big Bill Broonzy and Tampa Red, who introduced him to the record producer Lester Melrose. Many of Dupree’s songs were later credited to Melrose as composer, and Melrose claimed publishing rights to them.

Dupree’s career was interrupted by military service in World War II. He was a cook in the United States Navy and was held by the Japanese for two years as a prisoner of war.

After the war, his biggest commercial success was “Walkin’ the Blues”, which he recorded as a duet with Teddy McRae. This led to several national tours and eventually a European tour. In 1959 he played an unofficial (and unpaid) duo gig with Alexis Korner at the London School of Economics.

Dupree moved to Europe in 1960, settling first in Switzerland and then Denmark, England, Sweden and, finally, Germany.^[6] On June 17, 1971, he played at the Montreux Jazz Festival, in the Casino Kursaal, with King Curtis, backed by Cornell Dupree on guitar, Jerry Jemmott on bass and Oliver Jackson on drums. The recording of the concert was released in 1973 as the album King Curtis & Champion Jack Dupree: Blues at Montreux on the Atlantic label.

During the 1970s and 1980s he lived at Ovenden in Halifax, England. A piano he used was later discovered at Calderdale College in Halifax. He continued to record in Europe with the Kenn Lending Band, Louisiana Red and Axel Zwingenberger and made many live appearances. He also worked again as a cook, specializing in New Orleans cuisine. He returned to the United States from time to time and performed at the New Orleans Jazz & Heritage Festival.

Messier 110 (M110), also known as the Edward Young Star, is a dwarf elliptical galaxy located in the constellation Andromeda.
M110 is a satellite of the much larger Andromeda Galaxy (M31). It lies at a distance of 2.69 million light years from Earth and has an apparent magnitude of 8.92. It has the designation NGC 205 in the New General Catalogue.Messier 110 occupies an area of 21.9 by 11 arc minutes of apparent sky, corresponding to an actual diameter of 17,000 light years. In spite of its size, the galaxy is difficult to observe with binoculars because it has a low surface brightness.

Messier 110, or M110, also known as NGC 205, is a dwarf elliptical galaxy that is a satellite of the Andromeda Galaxy. Although Charles Messier never included the galaxy in his list, it was depicted by him, together with M32, on a drawing of the Andromeda Galaxy; a label on the drawing indicates that Messier first observed NGC 205 on August 10, 1773. The galaxy was independently discovered by Caroline Herschel on August 27, 1783; her brother William Herschel described her discovery in 1785. The suggestion to assign the galaxy a Messier number was made by Kenneth Glyn Jones in 1967.

This galaxy has a morphological classification of pec dE5, indicating a dwarf elliptical galaxy with a flattening of 50%. M110 is designated peculiar because there are patches of dust and young blue stars located near the center. This is unusual for dwarf elliptical galaxies in general, and the reason for this peculiarity is unclear. Unlike M32, NGC 205 does not (as of 2005) show evidence for a supermassive black hole at its center.

Lonnie Smith (born July 3, 1942), styled Dr. Lonnie Smith, is an American jazz Hammond B3 organist who was a member of the George Bensonquartet in the 1960s. He recorded albums with saxophonist Lou Donaldson for Blue Note before being signed as a solo act. He owns the label Pilgrimage. He was born in Lackawanna, New York, into a family with a vocal group and radio program. Smith says that his mother was a major influence on him musically, as she introduced him to gospel, classical, and jazz music. He was part of several vocal ensembles in the 1950s, including the Teen Kings which included Grover Washington Jr., on sax and his brother Daryl on drums. Art Kubera, the owner of a local music store, gave Smith his first organ, a Hammond B3.

Smith’s affinity for R&B melded with his own personal style as he became active in the local music scene. He moved to New York City, where he met George Benson, the guitarist for Jack McDuff‘s band. Benson and Smith connected on a personal level, and the two formed the George Benson Quartet, featuring Lonnie Smith, in 1966.

After two albums under Benson’s leadership, It’s Uptown and Cookbook, Smith recorded his first solo album (Finger Lickin’ Good Soul Organ) in 1967, with George Benson and Melvin Sparks on guitar, Ronnie Cuber on baritone sax, and Marion Booker on drums. This combination remained stable for the next five years.

After recording several albums with Benson, Smith became a solo recording artist and has since recorded over 30 albums under his own name. Numerous prominent jazz artists have joined Smith on his albums and in his live performances, including Lee Morgan, David “Fathead” Newman, King Curtis, Terry Bradds, Blue Mitchell, Joey DeFrancesco and Joe Lovano.

In 1967, Smith met Lou Donaldson, who put him in contact with Blue Note Records. Donaldson asked the quartet to record an album for Blue Note, Alligator Bogaloo. Blue Note signed Smith for the next four albums, all in the soul jazz style, including Think! (with Lee Morgan, David Newman, Melvin Sparks and Marion Booker) and Turning Point (with Lee Morgan, Bennie Maupin, Melvin Sparks and Idris Muhammad).

John Heard is a bass player and artist. He has worked with Pharoah Sanders, playing on his Heart is a Melody album, George Duke playing on the Jean-Luc Ponty Experience with the George Duke Trio album and Oscar Petersons The London Concert album. he also played on the Night Rider by Oscar Peterson and Count Basie.

He was born John William Heard in July 1938. He also played saxophone in his early years. He began playing bass at the age of 14. His professional career began in a band that included sax player Booker Ervin, drummer J.C. Moses, pianist Horace Parlan and trumpet player Tommy Turrentine. Whilst still at high school, he attended special classes at the Carnegie Museum of Art.

In the 1980s he had converted a North Hollywood garage into a studio and was spending much time there painting. He said that he was hanging out with Santa Monica-based sculptor, Jim Casey who was teaching him the way he wanted to learn. 18 months prior to his being interviewed for the article he had taken up sculpturing. His first one was a bust of Duke Ellington then one of Billy Eckstine. At the time he was working on one of Louis Armstrong. Examples of his work are held in the Oakland Museum of California. They include drawings of Bud Powell and Milt Jackson.

John Coles (July 3, 1926 – December 21, 1997) was an American jazz trumpeter.

Coles was born in Trenton, New Jersey on July 3, 1926. He grew up in Philadelphia and was self-taught on trumpet. Coles spent his early career playing with R&B groups, including those of Eddie Vinson (1948–1951), Bull Moose Jackson (1952), and Earl Bostic (1955–1956). He was with James Moody from 1956 to 1958, and played with Gil Evans‘s orchestra between 1958 and 1964, including for the album Out of the Cool. After this he spent time with Charles Mingus in his sextet which also included Eric Dolphy, Clifford Jordan, Jaki Byard, and Dannie Richmond. Following this he played with Herbie Hancock (1968–1969), Ray Charles (1969–1971), Duke Ellington (1971–1974), Art Blakey (1976), Dameronia, Mingus Dynasty, and the Count Basie Orchestra under the direction of Thad Jones (1985–1986).

In 1985 Coles settled in the San Francisco Bay area; he recorded with Frank Morgan and Chico Freeman the following year. After his return to Philadelphia in 1989 he again worked with Morgan and was part of Gene Harris‘s Philip Morris Superband. In 1990 he recorded with Charles Earland and Buck Hill. Coles recorded as a leader several times over the course of his career. He died of cancer on December 21, 1997 in Philadelphia.

mick featured on the Judge Judy April 2019 TV Show.

mick unleashed his antics of hooting and hollering in the courtroom concluding with a slip jig dance of exhilaration and a hoop de doo Winning the Case carte blanche! mick (landlord) is taken to court by his ex tenant who was evicted because of daily cigarette smoking. The landlord kept the security deposit due to smoke damages and broken/missing items in the apt. Judge Judy’s show picked this case up and low and behold; JJ could see right through the Plaintiffs lies/deceit about her toxic/obnoxious smoking. Claiming she never smoked and blamed her daughter for smoking on one day in January 2019 (but actually had smoked dozens of times). Judge Judy awarded mick $810 of the $850 security deposit for Deodorizing Process due to her daily consumption of the nicotine burning frenzy. mick is a percussionist/educator based in the Twin Cities.

https://www.youtube.com/watch?v=3Nk1YU7LtYY&fbclid=IwAR1XcQmtnmbbGZgKrnFTZPG1UXWKkl4pFeG9jqJXTyHH42QHtWZRHImPt3M

An island universe containing billions of stars and situated about 40 million light-years away toward the constellation of the Dolphinfish (Dorado), NGC 1566 presents a gorgeous face-on view. Classified as a grand design spiral, NGC 1566’s shows two prominent and graceful spiral arms that are traced by bright blue star clusters and dark cosmic dust lanes. Numerous Hubble Space Telescope images of NGC 1566 have been taken to study star formation, supernovas, and the spiral’s unusually active center. Some of these images, stored online in the Hubble Legacy Archive, were freely downloaded, combined, and digitally processed by an industrious amateur to create the featured image. NGC 1566’s flaring center makes the spiral one of the closest and brightest Seyfert galaxies, likely housing a central supermassive black hole wreaking havoc on surrounding stars and gas.

Charles Robert Watts (born 2 June 1941) is an English drummer, best known as a member of the Rolling Stones since 1963. Originally trained as a graphic artist, he started playing drums in London’s rhythm and blues clubs, where he met Brian Jones, Mick Jagger, and Keith Richards. In January 1963, he joined their fledgling group, the Rolling Stones, as drummer, while doubling as designer of their record sleeves and tour stages. He has also toured with his own group, the Charlie Watts Quintet, and appeared in London at Ronnie Scott’s Jazz Club with the Charlie Watts Tentet.

In 2006, Watts was elected into the Modern Drummer Hall of Fame; in the same year, Vanity Fair elected him into the International Best Dressed List Hall of Fame. In the estimation of noted music critic Robert Christgau, Watts is “rock’s greatest drummer.” In 2016, he was ranked 12th on Rolling Stone‘s “100 Greatest Drummers of All Time” list.

Charles Robert “Charlie” Watts was born to Charles Richard Watts, a lorry driver for the London Midland & Scottish Railway, and his wife Lillian Charlotte (née Eaves), at University College Hospital, London, and raised (along with his sister Linda) in Kingsbury. He attended Tylers Croft Secondary Modern School from 1952 to 1956; as a schoolboy, he displayed a talent for art, cricket and football.

https://www.youtube.com/watch?v=XMr0bhvFQaY

Ahmad Jamal (born Frederick Russell Jones, July 2, 1930) is an American jazz pianist, composer, bandleader, and educator. For five decades, he has been one of the most successful small-group leaders in jazz.

Jamal was born in Pittsburgh, Pennsylvania. He began playing piano at the age of three, when his uncle Lawrence challenged him to duplicate what he was doing on the piano. Jamal began formal piano training at the age of seven with Mary Cardwell Dawson, whom he describes as greatly influencing him.

Trained in both traditional jazz (“American classical music”, as he prefers to call it) and European classical style, Ahmad Jamal has been praised as one of the greatest jazz innovators over his exceptionally long career. Following bebop greats like Charlie Parker and Dizzy Gillespie, Jamal entered the world of jazz at a time when speed and virtuosic improvisation were central to the success of jazz musicians as artists. Jamal, however, took steps in the direction of a new movement, later coined “cool jazz” – an effort to move jazz in the direction of popular music. He emphasized space and time in his musical compositions and interpretations instead of focusing on the blinding speed of bebop.

Because of this style, Jamal was “often dismissed by jazz writers as no more than a cocktail pianist, a player so given to fluff that his work shouldn’t be considered seriously in any artistic sense”. Stanley Crouch, author of Considering Genius, offers a very different reaction to Jamal’s music, claiming that, like the highly influential Thelonious Monk, Jamal was a true innovator of the jazz tradition and is second in importance in the development of jazz after 1945 only to Parker. His unique musical style stemmed from many individual characteristics, including his use of orchestral effects and his ability to control the beat of songs. These stylistic choices resulted in a unique and new sound for the piano trio: “Through the use of space and changes of rhythm and tempo”, writes Crouch, “Jamal invented a group sound that had all the surprise and dynamic variation of an imaginatively ordered big band.” Jamal explored the texture of riffs, timbres, and phrases rather than the quantity or speed of notes in any given improvisation. Speaking about Jamal, A. B. Spellman of the National Endowment of the Arts said: “Nobody except Thelonious Monk used space better, and nobody ever applied the artistic device of tension and release better.” These (at the time) unconventional techniques that Jamal gleaned from both traditional classical and contemporary jazz musicians helped pave the way for later jazz greats like Bill Evans, Herbie Hancock, and McCoy Tyner.

https://www.youtube.com/watch?v=is9n_QfGfto

Imam Mohammad Ahmad Eissa or Sheikh Imam (Arabic: إمام محمد أحمد عيسى‎) (July 2, 1918 – June 7, 1995) was a famous Egyptian composer and singer. For most of his life, he formed a duo with the famous Egyptian colloquial poet Ahmed Fouad Negm. Together, they were known for their political songs in favor of the poor and the working classes.

Imam was born to a poor family in the Egyptian village of Abul Numrus in Giza. He lost his sight when he was a child. At the age of five he joined a recitation class, where he memorized the Qur’an. He later moved to Cairo to study where he led a dervish life. In Cairo, Imam met Sheikh Darwish el-Hareery, a prominent musical figure at that time, who taught him the basics of music and muwashshah singing. He then worked with the Egyptian composer Zakariyya Ahmad. At that time, he expressed interest in Egyptian folk songs especially those by Sayed Darwish and Abdou el-Hamouly. He also performed at weddings and birthdays.

In 1962 he met the Egyptian poet Ahmed Fouad Negm. For many years, they formed a duo composing and singing political songs, mostly in favor of the poor oppressed classes and indicting the ruling classes. Though their songs were banned on Egyptian Radio and Television stations, they were popular among ordinary people in the 1960s and 1970s. Their revolutionary songs criticizing the government after the 1967 war led them to imprisonment and detention several times. In the mid 80s Imam performed several concerts in France, Britain, Lebanon, Tunisia, Libya and Algeria. Later Imam and Negm broke up after several disagreements. Imam died at the age of 76 after a long illness.