Podcast appearances and mentions of Berry Gordy

Fan Favorite: This episode originally aired on: August 27, 2019. What up, homies! It's your girl Lisa Bilyeu, and welcome back to another fire episode of Women of Impact, where we rise, we conquer, and we create waves that last lifetimes. Today, I'm beyond thrilled to introduce an absolute legend in her own right, our fabulous guest, Rhonda Ross! Now, imagine for a moment growing up under the immense spotlight of music royalty. Yep, that's where Rhonda's journey starts – daughter of the iconic Diana Ross and the genius behind Motown Records, Berry Gordy. You'd think expectations would shape her completely, but Rhonda's here to flip that script and show us how she not only knew that her path was hers alone to walk but learned to light the fire within herself, making her authentic voice boom! From standing ovations at the Hollywood Bowl and Madison Square Garden to headlining for President Obama, Rhonda Ross isn't just stepping out of her famous parent's shadows; she's creating her own light, speaking on racism, sexism, and self-love with power and grace. So, buckle up because Rhonda's about to share some priceless gems on finding your true self amidst the noise. SHOWNOTES 00:00: Introduction to Rhonda Ross's Journey 00:00:44: Breaking Down Expectations and Limitations 01:42: Embracing Unique Identity Beyond Fame 05:24: Overcoming Society's Expectations 07:55: Discovering and Nurturing Authentic Self 18:05: The Daily Practice of Happiness and Fulfillment 21:41: The Power of Personal Joy and Light 27:49: Navigating Infertility and Staying Positive 30:25: Embracing and Celebrating Each Life Step 33:47: Insights on Emotional Resilience and Presence FOLLOW RHONDA ROSS: Instagram:https://www.instagram.com/therhondaross/ Twitter: https://twitter.com/therhondaross/ Website: https://www.rhondaross.com/ CHECK OUT OUR SPONSORS Audible: Sign up for a free 30-day trial at https://audible.com/WOI  Vital Proteins: Get 20% off by going to https://www.vitalproteins.com and entering promo code WOI at check out.  BiOptimizers: Head to https://bioptimizers.com/impact and use code IMPACT for 10% off.  Kettle & Fire: Get 20% off at https://kettleandfire.com/lisa with code LISA Shopify: Sign up for your one-dollar-per-month trial period at https://shopify.com/lisa Netsuite: Download the CFO's Guide to AI and Machine Learning at https://NetSuite.com/women ********************************************************************** LISTEN TO WOMEN OF IMPACT AD FREE + BONUS EPISODES on APPLE PODCASTS:  apple.co/womenofimpact ********************************************************************** FOLLOW LISA: Instagram: https://www.instagram.com/lisabilyeu/ Twitter: https://twitter.com/lisabilyeu YouTube: https://www.youtube.com/womenofimpact Tik Tok: https://www.tiktok.com/@lisa_bilyeu?lang=en Learn more about your ad choices. Visit megaphone.fm/adchoices

Phil & David love it when they're Cruisin' together with the great Smokey Robinson and their buddy Brad Paisley. Hear great stories about The Temptations, The Funk Brothers, Smokey's late great guitarist and co-writer Marv Tarplin, Jackie Wilson, Marvin Gaye, the amazing stories of how Smokey and Stevie Wonder created "Tears of a Clown," how Berry Gordy went to incredible lengths to make The Miracles' "Shop Around" sell, plus Brad's amazing story of how Charlie Pride changed his life. And to learn more about Smokey's new album, "What The World Needs Now" which will be released April 25th and upcoming tour dates celebrating the 50th Anniversary of his classic "Quiet Storm" album, go to: https://smokeyrobinson.com. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com. 

Ooo Baby Baby, Phil and David are thrilled to welcome the legendary Smokey Robinson to a very special "Naked Lunch" with Brad Paisley. In Part 1 of this conversation we learn about Smokey and Brad's mutual admiration, discuss Smokey's upcoming album, "What The World Needs Now" due out April 25th, and hear great stories about Muhammad Ali, Marvin Gaye, Burt Bacharach and Hal David, Beethoven, Diana Ross, Bill Withers, Berry Gordy and the culinary skills of the Queen of Soul, Aretha Franklin, the 50th Anniversary of Smokey's "Quiet Storm" album and many more. For more info on Smokey's new album and tour dates, visit https://smokeyrobinson.com. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com. 

CNN, HBO MaxLegendary US singer Dionne Warwick 2025 Inductee Class in the Rock & Roll Hall of FameThe news came shortly after the 82-year-old star became one of the latest recipients of a Kennedy Center Honor, alongside comedian Billy Crystal and actor Queen Latifah.The Don't Make Me Over tour will begin its UK leg at Gateshead's The Glasshouse on Sunday 5 May, 2024, with tickets going on sale via Ticketmaster.  In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS © 2025 Building Abundant Success!!2025  All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Feel the Glow on Episode 147 of The Bulletproof Podcast! Join Chris the Brain, "The Toyman" Chris DePetrillo and Ryan Campbell as they go back to the 80s and review Berry Gordy's The Last Dragon! The music, Bruce Leroy unwittingly playing hard to get, the confidence of Richie, the star power of Vanity's Laura Charles, the show stealing Johnny Yu and a rogues gallery that is capped off by "The Shogun of Harlen" Sho'nuff are all among the talking points! Plus, CTB shares his one degree of separation with The Last Dragon AND pitches his idea for a G.I. Joe live action movie! Learn more about your ad choices. Visit megaphone.fm/adchoices

Laughing My Freaking Ass Off, or LMFAO as they were more commonly known - were one of the most enigmatic duos in pop music history. Formed in 2006 by Motown Records’ founder Berry Gordy’s youngest son Stefan Kendal Gordy - AKA Redfoo, and Redfoo’s half-nephew Skyler Austen Gordy - or Sky Blu (with no e, of course)... I would hazard a guess that these hyperactive nepo-babies are the single most successful Uncle-Nephew duo in all of music. As was the style at the time - Foo and Blu’s club bangers included tracks with influences from contemporary pop, hip hop, synthpop, paving the way for a somewhat mindless wave of EDM that focused on the carefree vibes of nightlife, partying, drinking, and just having a good time. After gaining a bit of a following and laying down some demos that truly distilled their party-rocking sound, Redfoo decided to show his demos off to his best friend to get his thoughts on the songs. Now, You may not be surprised to find out that Redfoo’s best friend LOVED the demos; you could even say he had a feelin’ that LMFAO were ready for the big time. Of course, I’m burying the lede here. It PROBABLY didn’t hurt that this ‘best friend’ in question, was none other than Will. I . Am. This is the story of LMFAO's 'Party Rock Anthem' with newly unearthed audio from the group.

(S4-Ep13) The Four Tops - Reach Out (Motown)Released July 1967 and Recorded between 1966-1967Reach Out is the Four Tops' best-selling studio album and a landmark Motown release. The album features their signature hit, “Reach Out I'll Be There,” It showcases Levi Stubbs' passionate vocals, dramatic orchestration, and the Funk Brothers' impeccable musicianship. Other standout tracks include “Standing in the Shadows of Love,” “Bernadette,” and “7-Rooms of Gloom,” all highlighting the group's dynamic intensity and James Jamerson's masterful bass playing. This was the last album the Four Tops recorded with the legendary Holland–Dozier–Holland team before they departed from Motown, marking the end of an era. To broaden the group's crossover appeal, Motown's Berry Gordy had them cover several contemporary pop hits, including The Left Banke's “Walk Away Renée,” Tim Hardin's “If I Were a Carpenter,” and two Monkees songs, “I'm a Believer” and “Last Train to Clarksville.” Though some of these covers felt somewhat forced, the album remains a defining moment in their career. Reach Out was a commercial success, reaching #11 on the Billboard Top LPs chart and #4 in the UK. Its legacy endures, earning a spot on Rolling Stone's 500 Greatest Albums of All Time and solidifying the Four Tops' place in Motown history.Signature Tracks: "Reach Out I'll Be There,"  "Standing In The Shadows Of Love,""Bernadette"Full Album: YouTube  Spotify Playlists: YouTube  Spotify

Send us a textHey Fam,Join me for an amazing conversation with the one and only Rhonda Ross, Emmy-nominated actor, Grammy-nominated songwriter, and motivational singer who's been touching hearts with her music, speeches, courses, and workshops. You may know her as the daughter of legendary Diana Ross and Motown mogul Berry Gordy, but trust me, her story is so much deeper than that.Let me tell you, Rhonda is one of us. Sure, we see the fame, the glitz, and the family photos, but we don't always get to see the struggles she's faced behind the scenes—the feelings of not being enough, the insecurity, and even the depression that once weighed her down.In this episode, Rhonda opens up about hitting rock bottom and the work it took to kick that negative self-talk to the curb. She shares her powerful journey toward emotional balance and healing, and what it means to feel better for real.We dive into her experiences in the music industry, her life as an artist, and how she eventually found her true calling. Let me tell you, we had some real moments in this conversation, and Rhonda's heart for helping others overcome their own inner struggles and step into their light is nothing short of inspiring.So, grab your favorite drink, get cozy, and tune in to hear why critics are raving about Rhonda's electric performances and why she's a true force of nature. Trust me, you won't want to miss this.Please visit our website check out our merch and get your LOGO tee shirt and cap. Listen | Share | EnjoyLove and Light, Monica Wisdom Monica Wisdom Global is a consulting agency for women entrepreneurs. We help you build a business aligned with your vision, voice, and values. To learn more visit www.monicawisdomhq.comThank you for your support Got Merch? Pick up your Black Women Amplified tee shirts and caps. www.blackwomenamplified.com

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our milestone 100th episode with the legendary Lamont Dozier! ABOUT LAMONT DOZIERLamont Dozier, along with brothers Eddie and Brian Holland, wrote and produced more than 20 consecutive singles recorded by the Supremes, including ten #1 pop hits: “Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Stop! In the Name of Love,” “Back in My Arms Again,” “I Hear a Symphony,” “You Can't Hurry Love,” “You Keep Me Hangin' On,” “Love is Here and Now You're Gone,” and “The Happening.” Other Top 5 singles they wrote for the Supremes include “My World is Empty Without You” and “Reflections.” In addition to their hits with the Supremes, Holland, Dozier, and Holland helped further define the Motown sound by writing major pop and R&B hits such as “Heat Wave,” “Nowhere to Run,” and “Jimmy Mack” for Martha and the Vandellas, “Mickey's Monkey” for the Miracles, “Can I Get a Witness” and “You're a Wonderful One” for Marvin Gaye, and “(I'm A) Road Runner” for Junior Walker and the All Stars. The trio found particular success with The Four Tops, who scored hits with their songs “Baby I Need Your Loving,” “I Can't Help Myself (Sugar Pie Honey Bunch),” “It's the Same Old Song,” “Reach Out I'll Be There,” “Standing in the Shadows of Love,” and “Bernadette.” Additional hits include “Crumbs Off the Table” for Glass House, “Give Me Just a Little More Time” for Chairmen of the Board, “Band of Gold” for Freda Payne, and Dozier's own recording of “Why Can't We Be Lovers.” Hit cover versions of his songs by rock artists include “Don't Do It” by the Band, “Take Me in Your Arms (Rock Me a Little While)” by the Doobie Brothers, “How Sweet It Is (To Be Loved By You)” by James Taylor, and “This Old Heart of Mine” by Rod Stewart. With hits spanning multiple decades, Dozier also co-wrote “Two Hearts” with Phil Collins, earning a #1 pop hit, a Grammy award, a Golden Globe, and an Oscar nomination. Dozier is in the Songwriters Hall of Fame and the Rock and Roll Hall of Fame. He is the recipient of the prestigious Johnny Mercer Award for songwriting, as well as the BMI Icon award. Lamont Dozier was additionally named among Rolling Stone magazine's 100 Greatest Songwriters of All Time.

Berry Gordy and Pres Jimmy Carter are cousins and share a grandfather! Their connection represents the true AMERICA. Majority of Black and White - if they were to dig in their family tree or take a DNA test would see how connected they truly are! Jimmy and Berry Knew they were related since the 1970's..super cool! Listen to this podcast and learn what folks in Hollywood ar Pase' Blanc- who is passing as white i.e. carol channing Loni Anderson Pete Wentz Steven Tyler etc.

Larry is joined by journalist and MSNBC political analyst Juanita Tolliver to discuss her new book, ‘A More Perfect Party: The Night Shirley Chisholm and Diahann Carroll Reshaped Politics'. They begin their conversation by talking about what inspired Tolliver to write about the legendary political fundraiser and shining a light on the many influential luminaries that were in attendance, including Huey Newton, Flip Wilson, and Berry Gordy. After the break, Larry and Juanita talk about the converging ideologies that aligned themselves with Chisholm's groundbreaking campaign and draw comparisons between her and Kamala Harris's recent bid for the presidency (30:19). Juanita ends the pod by contemplating on who could fill Shirley Chisholm's revolutionary shoes in today's politics, and sharing some of the favorite things she learned while researching the book (46:03). Host: Larry Wilmore Guest: Juanita Tolliver Producer: Chris Sutton Learn more about your ad choices. Visit podcastchoices.com/adchoices

We know you love us - but "Do You Love Me"? Berry Gordy got Motown started in 62 with The Contours and it might be a little revenge-romance fantasy. You will love Billy Gordon's vocal performance, the amazing backing vocal performance by FOUR other singers, to say nothing of The Funk Brothers. In '65, Paul Revere & The Raiders cranked out a version that's a lil bit ska, a lil bit surf. With palm muting - wild! The dawn of the 70s brought a strange, easy listening rendition by Essex's finest - Deep Feeling. Not far away, podcast faves Silicon Teens waxed the track in 79 and you know we love Daniel Miller's synth and soul (?) sounds ... The 80s got weird with Andy Fraser's attempt in 84 - the song is meh but the video is adorable. Finally, there's a version from 94 by Duke Baysee, and, true to the song, the dude is really working. Watch us now!

Berry Gordy IV is the son of the legendary Motown Founder Berry Gordy. Berry the 4th is a bit of a sage.  In his podcast debut he shares his unique perspective with Roseanne and Jake.  Berry believes language is a human creation and not a creation of god- and that single degree of separation is why man is constantly confused and conflicted.  Berry is a profoundly sweet and authentic man that we just fucking love and his book “Living Life Before Words” may just be the the written word your soul needs.  Berry Gordy IV: www.beforewords.com ------------------------------------------------ Sponsored By: Get prepped with IVERMECTIN and life-saving meds at The Wellness Company: http://www.twc.health/RB – code RB saves $30 + FREE shipping at checkout on Emergency Contagion Kits. HomeChef is offering my listeners 18 Free Meals + Free Shipping on your first box at http://HomeChef.com/ROSEANNE. Stop leaving your safety to chance. Get a Byrna—because sometimes, less-lethal is all you need to get the job done. Visit http://www.Byrna.com/roseanne to receive 10% off your purchase. Earth Breeze: Get a powerful clean without the unnecessary chemicals. Keep it simple by going to http://www.earthbreeze.com/roseanne for 40% off with your subscription. NOBLE GOLD Investments.Protect your wealth while you still can at https://roseannebarrgold.com  Try AMRA Colostrum! Go to https://www.tryarmra.com/RB or enter RB to get 15% off your first order. ------------------------------------------------ Follow Roseanne:     Website: https://www.roseannebarr.com Instagram: https://www.instagram.com/officialroseannebarr    Facebook: https://www.facebook.com/officialroseannebarr   Twitter: https://twitter.com/therealroseanne   YouTube: https://www.youtube.com/roseanneworld Rumble: https://rumble.com/user/roseannebarrpodcast Merch: https://www.roseannebarr.com/shop    ------------------------------------------------ Co-host /Producer: Jake Pentland https://twitter.com/jakezuccproof https://www.instagram.com/jakepentlandzuccproof ------------------------------------------------ Music: "Synthetic World" by Swamp Dogg: https://youtu.be/2_uOB0455VI ------------------------------------------------    

Can transforming your thoughts and habits truly reshape your life? In this episode, I sit down with RedFoo, a world-renowned music producer, DJ, and co-founder of LMFAO. Together, we explore the power of positive thinking, the Law of Attraction, and how diet, lifestyle, and mindset can radically transform not only our bodies but our entire lives. From his journey of manifesting chart-topping hits to embracing raw food and discovering his purpose as a teacher and parent, RedFoo shares the lessons that helped him align his life with his dreams. We uncover how small, consistent changes in mindset and habits create massive shifts—and why celebrating what you want is the key to unlocking your best self. This conversation is about more than music or health—it's about reclaiming your power, reprogramming your mind, and building a super life.   We Also Discuss: (00:02:15 - 00:03:58) Introduction & Overcoming Setbacks - RedFoo shares a hilarious mix-up before the podcast and reflects on resilience after property loss. (00:03:58 - 00:06:13) Manifestation & The "Plus One Mentality" - How dreaming big and eliminating negativity turned RedFoo's vision into reality. (00:06:13 - 00:08:32) The Brain's Negativity Bias - Why our brains default to fear and how to retrain them for positivity and growth. (00:08:32 - 00:12:20) Saying Yes to Opportunities - From DJing his first party to performing at LA's biggest club, RedFoo reveals how embracing opportunities shaped his career. (00:12:20 - 00:20:34) Breaking Free from Excuses & Environment - The impact of surroundings on mindset and how to reclaim control over your life. (00:20:34 - 00:23:01) The Power of Health & Lifestyle Choices - RedFoo discusses how food and daily habits drastically changed his energy and perspective. (00:26:27 - 00:30:10) Shifting Perspectives for Growth - How stating your goals in positive terms transforms your mindset and outcomes. (00:30:10 - 00:35:22) The Role of Diet in Mental Clarity & Energy - Raw food, sprouts, and the joy of simple, healthy living. (00:35:22 - 00:39:03) Aligning Actions with Intentions - Why your daily actions must align with your goals to manifest a fulfilling life. (00:39:03 - 00:44:45) Lessons from RedFoo's Parents - Insights from Berry Gordy and RedFoo's mother on creativity, resilience, and forging your own path. (00:44:45 - 00:50:06) Overcoming Limiting Beliefs - How RedFoo resisted opinions that could have stifled his dreams and redefined his path. (00:50:06 - 00:57:20) The Power of Uplifting Music - The role of tempo and frequencies in creating music that elevates the soul and energizes the listener. (01:00:08 - 01:06:05) Becoming a Teacher & Leading by Example - RedFoo's passion for teaching his daughter and creating a healthier, purpose-driven future. (01:06:05 - 01:07:24) The Secret to a Super Life - Simple yet powerful practices to build momentum and unlock limitless potential. (01:07:24 - 01:08:10) Final Reflections on Health & Growth - How prioritizing health transforms every aspect of life, from physical energy to mental clarity.   Don't forget… You can order now by heading to darinolien.com/fatal-conveniences-book or order now on Amazon.   Special Thanks to Our Sponsors: Therasage: Go to www.therasage.com and use code DARIN at checkout for 15% off Fatty15: Get an additional 15% off their 90-day subscription Starter Kit by going to fatty15.com/DARIN and using code DARIN at checkout. Bite: Go to trybite.com/DARIN20 or use code DARIN20 for 20% off your first order. Find more from Darin: Website: https://darinolien.com/ Instagram: @Darinolien Book: darinolien.com/fatal-conveniences-book/ Down to Earth: darinolien.com/down-to-earth/ Find more from RedFoo Instagram: https://www.instagram.com/redfoo Website: https://redfoo.com Twitter: https://x.com/redfoo

DJ Rhythm Dee's Motown Groove  Inspired by a recent trip to the motor city to visit the iconic Motown recording studio, I decided to put this little mix together.This is just a fraction of the early offerings of Berry Gordy and his talented artists which gave us the sound of young America and the world.PLAYLIST1. Mickey's Monkey/The Miracles2. Going to a Go-Go/The Miracles3. I Can't Help Myself/The Four Tops4. Uptight/Stevie Wonder5. Stop In The Name Of Love/The Supremes6. Ain't Too Proud To Beg/The Temptations7. Tears Of A Clown/Smokey Robinson &The Miracles8. Come See About Me/The Supremes9. Ain't Nothing Like The Real Thing (f/Tammi Terrell)/ Marvin Gaye10. Baby Love/The Supremes11. The Way You Do The Things You Do/The Temptations12. Back In My Arms Again/The Supremes13. Please Mr. Postman/The Marvelettes14. Finger Tips (Part 2)/Stevie Wonder15. (Love Is Like A) Heatwave/Martha & The Vandellas16. Dancing In The Street/Martha & The Vandellas17. Shotgun/Jr. Walker & The All Stars18. My Girl/The Temptations19. You Can't Hurry Love/ The Supremes20. Reach Out I'll Be There/The Four Tops21. Jimmy Mack/Martha & The Vandellas22. The Happening/The Supremes23. Heard It Through The Grapevine/Marvin Gaye24. My Whole World Ended (The Moment You Left Me)/Jimmy Ruffin25. I Was Made To Love Her/Stevie Wonder26. Get Ready/The Temptations27. You're All I Need (f/Tammi Terrell)/Marvin Gaye28. Too Busy Thinking About My Baby/The Temptations29. For Once In My Life/Stevie Wonder30. You Keep Me Hanging On/The Supremes31. Signed Sealed Delivered I'm Yours/Stevie Wonder32. I'm Gonna Make You Love Me/Diana Ross & The Supremes and The Temptations33. Reflections/The Supremes34. I Can't Get Next To You/The Temptations35. I Want You Back/The Jackson 536. Superstition/Stevie Wonder37. Ball Of Confusion/The Temptations38. What's Going On/Marvin Gaye39. Mercy Mercy Me (The Ecology Song)/Marvin Gaye40. Inner City Blues (Make Me Wanna Holler)/Marvin Gaye41. Papa Was A Rolling Stone/The Temptations42. Heard It Through The Grapevine/Gladys Knight & The Pips43. Someday We'll Be Together/Diana Ross & The Supremes

These children of showbiz legends are ensuring that their fathers' memories and legacies live on. We speak with James Tormé and Melissa Tormé-March about their Velvet Fog of a dad, Mel Tormé, as we approach the 80th anniversary of his incomparable contribution to the holiday music canon, 'The Christmas Song'. Then Joel Brokaw joins us. His new book 'Driving Marilyn: The Life and Times of Legendary Hollywood Agent Norman Brokaw' chronicles the history of William Morris star-maker, Norman Brokaw, known to Joel as Dad.Melissa and James share their enthusiasm for Oy! To the World Christmas with a Twist, a new musical playing this month at North Hollywood's El Portal Theatre, which features their father's music alongside a hit list of Christmas classics composed by Jewish-American songwriters. James and Melissa take us back to the sweltering July day in 1945 when their Dad and Bob Wells attempted to beat the heat with wintery lyrics and remained sweaty but created magic by conjuring “Chestnuts roasting on an open fire…”They rushed the song over to Nat King Cole who was in at a few bars and proudly led a parade of 80,064 recorded covers, including James' own version! The Torme kids share their Torme Christmas memories which include their dad and contraband Christmas movies!Then Joel shares his family's history as a Ukrainian vaudeville acrobatic act that segued into the agency business when his Uncle, Johnny Hyde became VP of William Morris, discovered Marilyn Monroe and took on his young nephew, Norman to drive and accompany Marilyn to events.Starting in the mailroom, Norman worked his way up to CEO.  We hear about his working relationships with Marilyn Monroe, Kim Novak, Colonel Tom Parker, Dick Van Dyke, Gerald Ford, Mark Spitz, Barry Gordy and so many other greats.Joel talks about his complicated history with a father whose clients received his primary caregiving. Joel grew up with TV stars spending weekends by his pool, monopolizing his Dad's attention.But what were the qualities that made Norman so affective as a talent mentor? We learn the magic ingredients and hear how Norman took the new fangled TV department and made history with Loretta Young, Barbara Stanwyck, Dick Van Dyke and Andy Griffith.  Joel also talks about Norman's relationship with Bill Cosby and how his father's dementia buffered him from the horrors of Cosby's crimes. And, finally, what was the fate of Norman's sacred, secret keeping Rolodex?Plus, this week Weezy recommends Nutcrackers on Hulu and Fritz is all about Thelma, now in theaters and on streaming platforms.Path Points of Interest:Oy! To The WorldJames Tormé James Tormé on YouTubeJames Tormé  on XThe Christmas Song by James Tormé James Tormé at Kookaburra on 12/21Joel BrokawDriving Marilyn by Joel BrokawNorman Brokaw on WikiNutcrackers on HuluThelma - Streaming in Most Places  

On the November 28 edition of the Music History Today podcast, the Grand Ole Opry radio show premieres, John Lennon plays with Elton John, & Prince & Britney Spears premieres. Also, happy birthday to Berry Gordy, Jr. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Supersonic singer and bandleader talks about working with the Motown cats in Detroit who were left behind when Berry Gordy took his company to Los Angeles. Keep swinging!

In this episode, I spoke with Joel Brokaw about his book "Driving Marilyn: The Life and Times of Legendary Hollywood Agent Norman Brokaw".Norman Brokaw was CEO and Chairman of the William Morris Agency from 1989 to 1997, but his legacy may lie in his ascent from mail room clerk to Marilyn Monroe's personal driver to agent for some of Hollywood's most iconic figures of the late 20th Century: Marilyn Monroe, Kim Novak, Elvis (and Colonel Parker), Natalie Wood, Loretta Young, Clint Eastwood, Danny Thomas, Dick Van Dyke, Berry Gordy, Bill Cosby, Donna Summer, Brooke Shields plus many more. 

Season 6, episode 43 on the California Sports Lawyer® Podcast with Jeremy Evans, interviewing author Joel Brokaw, youngest son of renowned Hollywood talent agent Norman Brokaw, discussing Norman's life and times from the mailroom at famed William Morris Agency, to driving Marilyn Monroe and confiding in Joe DiMaggio, working with Elvis Presley and Col. Tom Parker, and representing the likes of President Gerald Ford, athlete Mark Spitz, musical genius Berry Gordy, in his book "Driving Marilyn: The Life and Times of Legendary Hollywood Agent Norman Brokaw", describes his life of purpose, selflessness, and revolutionizing the talent agency business and television. Copyright © 2024.  California Sports Lawyer®.  All Rights Reserved (www.CSLlegal.com).

Berry Gordy's movie The Last Dragon conveys an important message about responsibility and self-definition: "Who's the master?!... I AM..." Our reality reflects what we strive for. If a person focuses on their limitations and the difficulty of change, they will create a life defined by those thoughts. Start with a positive emotion and consistently affirm your identity. I am, I can, I have... The answer is in the question. Cheers!

On this day, Oct. 24, 1996, Berry Gordy, the visionary founder of Motown Records, received a star on the Hollywood Walk of Fame. Gordy established Motown in 1959 in Detroit, creating a musical powerhouse that would change the industry forever. Under his leadership, Motown launched the careers of iconic African-American artists like Michael Jackson, Stevie Wonder, and the Supremes, along with many other household names. Known for its distinctive sound, Motown broke racial barriers and became a symbol of unity and cultural pride. Learn more about your ad choices. Visit megaphone.fm/adchoices

Liss 'N Kristi celebrate a black tie Saturday morning in the company of two Texan style, media and society influencers: Society Texas and The Society Diaries alum, and host of the Fun In Fundraising podcast Rob Giardinelli; and Brilliant, The Society Diaries and Society Texas founding Editor-in-Chief Lance Avery Morgan.The wide-ranging conversation starts with some of Kristi's encounters as a reporter, including her "funeral-crashing" exploits undercover. They talk about the changing social dynamics of Texas philanthropy, and a big fund-raising milestone for Kristi's national non-profit, k9s4Cops.org. 00:00 - Start00:11 - In black tie on a Saturday morning01:07 - My old friend Welcome Wilson01:58 - Faking it 'til you make it 02:55 - The Koch Brothers 03:45 - "They gave her $50,000 a month"05:32 - "You know who lives next door"? Dianne (Marshall)07:18 - "Mr. Marshall, I don't know if you remember me"07:38 - Eating at Anthonys: "This hand comes over" - Mr Marshall prefers to eat alone08:53 - "I found peel-on tattoos and got the story" 09:14 - She sang "The Wind Beneath my Wings"10:45 - "They hadn't been in a grocery store for 30 years"11:10 - "No one will want to watch anybody who isn't famous"11:52 - The ascension of the reality star13:24 - Buzz Aldrin and coping with returning from space15:30 - He kicked a guy's ass at a book signing16:20 - Everything old is new again17:40 - Elon Musk's attention span19:15 - People who choose to give back20:00 - K9s4cops - just hit $8-billion in contraband seized21:50 - The woman running fentanyl23:55 - k9s4cops funding is all through private donations

Diana Ross is rightly one of the biggest stars in the world, but her fortuitous proximity to Motown Records and its founder, Berry Gordy, and his obsession with her, supercharged the musical career of a girl who dreamed of becoming a fashion designer. Their romance may not have been long lasting, but it left carnage in its wake even as Diana's star rose higher and higher. Want early, ad-free episodes, regular Dumpster Dives, bonus divorces, limited series, Zoom hangouts, and more? Join us at patreon.com/trashydivorces! Want a personalized message for someone in your life? Check us out on Cameo! To advertise on our podcast, please reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

For more than forty years, composer Misha Segal has been consistently working on all kinds of films and television projects, from Ninja III: The Domination to The Facts of Life Goes to Paris to Berry Gordy's The Last Dragon to 1989's Phantom of the Opera with Robert Englund. To this day, Misha not only continues to inspire as he had throughout the 1980s, but he also makes a point to check out other musicians on TikTok and duet with other musicians on the app. To see for yourself how active Misha continues to be, cilck HERE!For those who would like to get involved with the Once Upon a Podcast Network, please message onceuponapodcastnetwork@gmail.com with your contact information and the name & description of your show. And if you have an idea for any of the concepts listed below, definitely let us know! We'd like to add shows that focus on the following:Indie Comics / Cosplaying / Book Club (roundtable show with indie books & authors) / Indie Films / Conventions / Fan Fiction / Self-Help (a creative host focusing on ailments all creatives deal with such as anxiety, depression, imposter syndrome, etc)Subscribe to all shows in the Once Upon a Podcast Network by clicking HERE.The Excelsior Journeys podcast exists primarily as a platform for creatives of all kinds (authors, filmmakers, stand-up comics, musicians, voice artists, painters, podcasters, etc) to share their journeys to personal success. It is very important to celebrate those voices as much as possible to not only provide encouragement to up-and-coming talent, but to say thank you to the established men & women for inspiring the current generation of artists.If you agree that the Excelsior Journeys podcast serves a positive purpose and would like to show your appreciation, you can give back to the show by clicking HERE.

On this week's show, we... Bid adieu to the late Duke Fakir of The Four Tops Pour one out for the late Martin Phillipps of The Chills Spend qualtiy time with superlative new records from Jack White, Parlor Greens & Johnny Blue Skies All this & much, much less! Debts No Honest Man Can Pay started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

This is part 3 of our conversation about Berry Gordy's The Last Dragon. https://en.wikipedia.org/wiki/The_Last_Dragon   Website: https://BSReactor.com Instagram: https://www.instagram.com/bsreactor/ SoundCloud: https://soundcloud.com/bsreactor

Welcome to the latest episode of edition of WorkTape, where we take a retrospective journey back to 1964, to celebrate 60 years of some of the year's most interesting albums. We dive into the early years of The Beatles and The Rolling Stones, the rise of motown with Berry Gordy and Smokey Robinson, and examine the impact of artists like Bob Dylan and Sam Cooke. Join us as we reflect on how the early 60s pre-Vietnam era influenced music, the significance of surf rock and jazz during this period, and how these iconic sounds laid the foundation for generations to come. Don't miss this deep dive into one of the most transformative times in music history!Episode Highlights:What was the influence of Motown on the music of the early 60s?How did Bob Dylan's "The Times They Are A-Changin'" pave the way for conscious music?What was the impact of Chuck Berry's music on bands like The Beatles and The Beach Boys?How has surf rock played a role in the evolution of indie music?How did the 60s set the stage for the psychedelic sounds of the 70s?Were The Who and The Kinks the harder side to bands like The Rolling Stones and The Beatles?

This time at the reactor we're diving into the classic 1985 martial arts film, Berry Gordy's The Last Dragon.  SHO NUF   https://en.wikipedia.org/wiki/The_Last_Dragon   Website: https://BSReactor.com Instagram: https://www.instagram.com/bsreactor/ SoundCloud: https://soundcloud.com/bsreactor

Nos sentimos obligados a hacer una segunda parte dedicada a las canciones que alcanzaron su puesto más alto en listas en julio de 1964. Una selección vinculada plenamente a artistas estadounidenses con mucho peso del soul, estilo que cada vez cobra más importancia, con especial atención a esa factoría de hits que era la disquera Motown de Detroit.(Foto del podcast; The Temptations con Smokey Robinson y el fundador de Motown, Berry Gordy)Playlist;(sintonía) HENRY MANCINI and HIS ORCHESTRA “A shot in the dark” (Top 97)THE IMPRESSIONS “Keep on pushing” (Top 10)SAM COOKE “Good times” (Top 11)SAM COOKE “Tennessee waltz” (Top 35)JAMES BROWN “The things that I used to do” (Top 99)ELVIS PRESLEY “Viva Las Vegas” (Top 92)TRINI LOPEZ “What have I got on my own” (Top 43)THE TEMPTATIONS “I’ll be in trouble” (Top 33)STEVIE WONDER “Hey Harmonica man” (Top 29)MARVIN GAYE “Try it baby” (Top 15)MARVIN GAYE and MARY WELLS “What’s the matter with you baby” (Top 17)EDDIE HOLLAND “Just ain’t enough love” (Top 54)MAJOR LANCE “It ain’t no use” (Top 68)MAJOR LANCE “Girls” (Top 68)CHUBBY CHECKER “Lazy Elsie Molly” (Top 40)ROUND ROBIN “Kick That Little Foot Sally" (Top 61)THE EVERLY BROTHERS “The Ferris Wheel” (Top 72)GLORIA LYNNE “Don't Take Your Love from Me” (Top 74)Escuchar audio

Join @TheBuzzKnight for this classic replay with a man who has shaped the music of Motown, Mickey Stevenson. Working for Berry Gordy, Mickey helped launched the careers of The Four Tops, The Supremes, Stevie Wonder, Marvin Gaye and countless others. If you have questions, comments, or suggestions share them at buzz@buzzknightmedia.com Connect with Buzz on Twitter @TheBuzzKnight and Instagram @takinawalkpodcast. Like the show? Leave us a review here. Review  See omnystudio.com/listener for privacy information.

Join @TheBuzzKnight for this classic replay with a man who has shaped the music of Motown, Mickey Stevenson. Working for Berry Gordy, Mickey helped launched the careers of The Four Tops, The Supremes, Stevie Wonder, Marvin Gaye and countless others. If you have questions, comments, or suggestions share them at buzz@buzzknightmedia.com Connect with Buzz on Twitter @TheBuzzKnight and Instagram @takinawalkpodcast. Like the show? Leave us a review here. Review  Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

We're introducing a new series in Trapital called One of Ones! We'll break down some of the most important moguls and executives in music, media, and entertainment.Our first one is on Quincy Jones. We discuss how his upbringing shapes his strategy in business, his leadership style compared to Motown founder Berry Gordy, Michael Jackson, two truths and a lie, and more.This episode is presented by State Farm, the home for your small business needs. Like a good neighbor, State Farm is there.Make sure you check out Chartmetric Stat of the Week.

Send us a Text Message.Hello, Family, Join me for a heartfelt conversation with Rhonda Ross, the Emmy-nominated actor, Grammy-nominated songwriter, and motivational singer who's been inspiring thousands with her music, speeches, courses, workshops, and retreats. You might know her as the child of legends Diana Ross and Motown mogul Berry Gordy, but there's so much more to her story.Let me tell you, family, Rhonda is one of us. We see the fame and the family photos, but what we don't see are the painful struggles she faces. The feelings of never being enough, insecurity, low self-esteem, and even overwhelming depression.In this episode, Rhonda gets real about hitting rock bottom and how she kicked her addiction to negative self-talk. She shares her journey to emotional balance and healing and what it took to finally feel better.You'll hear about her powerful performance, “This Makes Me Feel Like ‘BEEEP': An Evening of Music and the Magic of Mindset,” where she sings through her story with heart and humor, offering her unique perspective on life's ups and downs.Rhonda sat down with me to talk about the music industry, life as an artist, and how she found her true calling. We had some touching moments, discussing the challenges of finding our space to shine. Rhonda's passion for helping others overcome their inner struggles and discover their own light is truly inspiring.So, tune in and see why critics rave about her electric performances, and get ready to be moved by Rhonda Ross's incredible journey. Listen now on your favorite podcast platform. Love and kindness, Monica Wisdom, Host EPwww.monicawisdomhq.comTo learn more about Rhonda Ross and her works visit: http://therhondaross.comDon't get to join us on YouTube for empowering conversations with Monica Wisdom where we discuss life as a Black woman, behind the scenes of building a podcast, and my final thoughts about the podcast episodes. Subscribe to our Black Women Amplified YouTube Page.  Thinking of starting a podcast? Download our 9-Step Podcast Gameplan and discover a new way to showcase your expertise and elevate your brand. Please support our Sponsors:Vital Body is a nutrient company that has an incredible product called Vital Fruits and Vegetables with amazing ingredients, probiotics, and greens with no added sugar. www.blackwomenamplified.com/vitalbodyThey are offering our tribe 20% off when you use the code: monica20Unlock the potential of your voice, expertise, and perspective with Monica Wisdom's Podcasting Development Agency. Discover how podcasting can elevate your impact. Visit [link] for more info.Visit www.monicawisdomhq.comThank you for supporting our power partners.

Episode 108- Join host Troy Saunders as he takes a look into the world of the multitalented Chester Gregory!Troy and Chester met back in 2008 and by that time Chester had already solidified his name in the annuals as one of  Broadway's finest performers; and was in the process of releasing his first independent soul album, "In Search Of High Love". Prior to this Chester taught in the Chicago public school system & performed around Chicago in several plays. This led him to the lead role in "The Jackie Wilson Story" which toured the country. The performance brought Chester and the cast to The Apollo Theater in Harlem NY, where it was met with rave reviews. Chester shorty after landed a major role on Broadway in "Hairspray" and the rest is history.  In this episode Troy and Chester discuss Chester's reverence for his home town Gary, Indiana and the role it played in his career choices. As we all know Michael Jackson  (one of Chester's biggest influences) was from Gary. Chester explains how playing Jackie Wilson & Berry Gordy brought him to meeting Michael himself. It was a full circle moment. Chester also tell Troy his feelings on getting a Honorary Doctorate from his alma mater, Columbia College Chicago.Throughout the conversation the guys play snippets from Chester's 2008 album "In Search Of High Love" and his latest offering "Retrograde". Chester tells the listening audience to be on the look out for a new album but wouldn't give a release date but explains the premise behind the project.Chester is one of the most talented people in entertainment. Tune in to get a glimpse into what makes this incomparable genius tick. It was a wonderful conversation full of insight, history and of course music.Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

A nudisco celebration of the music of Philadelphia International Records and the role it played in the development of disco. Founded in 1971 by Kenneth Gamble and Leon Huff, the label's original vision was to rival Berry Gordy's Motown organisation. Gamble and Huff were also responsible for writing many of the label's greatest hits, which often featured their own in-house orchestra MFSB (or Mother Father Sister Brother). Gamble and Huff have also been activists supporting the black community and improving south Philadelphia. They created Universal Companies which in 2003 partnered with others in a $100 million plan to construct and renovate 400 homes. Together they have written over 3,000 songs producing 175 gold and platinum records, making them some of the most prolific songwriters of all time. They were inducted into the Rock and Roll Hall of Fame in 2008.  Mixed with love in London.  XX F*All the original tracks are available on Spotify, where you'll find the playlist so you can create your own mix. (NB promo tracks and exclusives may not be available.)Una celebracion nudisco de la música de Philadelphia International Records (PIR) y el papel que jugó en el desarrollo de la música disco. Fundada en 1971 por Kenneth Gamble y Leon Huff, la visión original del PIR  era rivalizar con la organización Motown de Berry Gordy. Gamble y Huff también fueron responsables de escribir muchos de los grandes éxitos de PIR, que a menudo contaban con su propia orquesta interna MFSB (o Mother Father Sister Brother). Gamble y Huff también han sido activistas que apoyan a la comunidad negra y mejoran el sur de Philadelphia. Crearon Universal Companies que en 2003 se asociaron con otros en un plan de 100 millones de dólares para construir y renovar 400 viviendas. Juntos han escrito más de 3.000 canciones y han producido 175 discos de oro y platino, lo que los convierte en algunos de los compositores más prolíficos de todos los tiempos. Fueron incluidos en el Rock and Roll Hall of Fame en 2008.  Mezclado con amor en Londres. XXF*Todas las canciones originales están disponibles en Spotify, donde encontrarás la lista para que puedas crear tu propia mezcla. (Es posible que las canciones promocionales y exclusivas no estén disponibles).Here's the track list:1 | Lou Rawls | You'll never find another love like mine (F*Monday Exclusive Edit, featuring Kenny Summit, Frankie Knuckles, Eric Kupper & Jerry Ropero)2 | The Philadelphia International All Stars | Let's clean up the ghetto (Sascha Satoshi Edit)3 | People's Choice | Do it any way you wanna (DJ S remix)4 | Billy Paul | Bring the family back (DJ Fopp disco mix)5 | Billy Paul | Only the strong survive (Chuggin Edits)6 | Teddy Pendergrass | I don't love you any more (RLP Re edit)7 | Lou Rawls | This song will last forever (Belony Edits)8 | The O'Jays | I love music (Dave Lee Sweet Music Mix)9 | Harold Melvin and the Bluenotes | Don't leave me this way (Extended Mike and Tess Edit)10 | Lou Rawls | See you when I get there (WVZ Mix)

Not everything has to be a competition...but maybe it should be. When creative people compete, everyone can win, and we're going to explore how.

For those who haven't heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a two-episode look at the song “I Heard it Through the Grapevine”. This week we take a short look at the song’s writers, Norman Whitfield and Barrett Strong, and the first released version by Gladys Knight and the Pips. In two weeks time we’ll take a longer look at the sixties career of the song’s most famous performer, Marvin Gaye. This episode is quite a light one. That one… won’t be. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on “Bend Me Shape Me” by Amen Corner. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources Mixcloud will be up with the next episode. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. Motown: The Golden Years is another Motown encyclopaedia. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. For information on Marvin Gaye, and his relationship with Norman Whitfield, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. I’ve also used information on Whitfield in  Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, I’ve also referred to interviews with Whitfield and Strong archived at rocksbackpages.com , notably “The Norman Whitfield interview”, John Abbey, Blues & Soul, 1 February 1977 For information about Gladys Knight, I’ve used her autobiography. The best collection of Gladys Knight and the Pips’ music is this 3-CD set, but the best way to hear Motown hits is in the context of other Motown hits. This five-CD box set contains the first five in the Motown Chartbusters series of British compilations. The Pips’ version of “I Heard it Through the Grapevine” is on disc 2, while Marvin Gaye’s is on disc 3, which is famously generally considered one of the best single-disc various artists compilations ever. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a brief note — this episode contains some brief mentions of miscarriage and drug abuse. The history of modern music would be immeasurably different had it not been for one car breakdown. Norman Whitfield spent the first fifteen years of his life in New York, never leaving the city, until his grandmother died. She’d lived in LA, and that was where the funeral was held, and so the Whitfield family got into a car and drove right across the whole continent — two thousand five hundred miles — to attend the old lady’s funeral. And then after the funeral, they turned round and started to drive home again. But they only got as far as Detroit when the car, understandably, gave up the ghost.  Luckily, like many Black families, they had family in Detroit, and Norman’s aunt was not only willing to put the family up for a while, but her husband was able to give Norman’s father a job in his drug store while he saved up enough money to pay for the car to be fixed. But as it happened, the family liked Detroit, and they never did get around to driving back home to New York. Young Norman in particular took to the city’s nightlife, and soon as well as going to school he was working an evening job at a petrol station — but that was only to supplement the money he made as a pool hustler. Young Norman Whitfield was never going to be the kind of person who took a day job, and so along with his pool he started hanging out with musicians — in particular with Popcorn and the Mohawks, a band led by Popcorn Wylie. [Excerpt: Popcorn and the Mohawks, “Shimmy Gully”] Popcorn and the Mohawks were a band of serious jazz musicians, many of whom, including Wylie himself, went on to be members of the Funk Brothers, the team of session players that played on Motown’s hits — though Wylie would depart Motown fairly early after a falling out with Berry Gordy. They were some of the best musicians in Detroit at the time, and Whitfield would tag along with the group and play tambourine, and sometimes other hand percussion instruments. He wasn’t a serious musician at that point, just hanging out with a bunch of people who were, who were a year or two older than him. But he was learning — one thing that everyone says about Norman Whitfield in his youth is that he was someone who would stand on the periphery of every situation, not getting involved, but soaking in everything that the people around him were doing, and learning from them. And soon, he was playing percussion on sessions. At first, this wasn’t for Motown, but everything in the Detroit music scene connected back to the Gordy family in one way or another. In this case, the label was Thelma Records, which was formed by Berry Gordy’s ex-mother-in-law and named after Gordy’s first wife, who he had recently divorced. Of all the great Motown songwriters and producers, Whitfield’s life is the least-documented, to the extent that the chronology of his early career is very vague and contradictory, and Thelma was such a small label there even seems to be some dispute about when it existed — different sources give different dates, and while Whitfield always said he worked for Thelma records, he might have actually been employed by another label owned by the same people, Ge Ge, which might have operated earlier — but by most accounts Whitfield quickly progressed from session tambourine player to songwriter. According to an article on Whitfield from 1977, the first record of one of his songs was “Alone” by Tommy Storm on Thelma Records, but that record seems not to exist — however, some people on a soul message board, discussing this a few years ago, found an interview with a member of a group called The Fabulous Peps which also featured Storm, saying that their record on Ge Ge Records, “This Love I Have For You”, is a rewrite of that song by Don Davis, Thelma’s head of A&R, though the credit on the label for that is just to Davis and Ron Abner, another member of the group: [Excerpt: The Fabulous Peps, “This Love I Have For You”] So that might, or might not, be the first Norman Whitfield song ever to be released. The other song often credited as Whitfield’s first released song is “Answer Me” by Richard Street and the Distants — Street was another member of the Fabulous Peps, but we’ve encountered him and the Distants before when talking about the Temptations — the Distants were the group that Otis Williams, Melvin Franklin, and Al Bryant had been in before forming the Temptations — and indeed Street would much later rejoin his old bandmates in the Temptations, when Whitfield was producing for them. Unlike the Fabulous Peps track, this one was clearly credited to N. Whitfield, so whatever happened with the Storm track, this is almost certainly Whitfield’s first official credit as a songwriter: [Excerpt: Richard Street and the Distants, “Answer Me”] He was soon writing songs for a lot of small labels — most of which appear to have been recorded by the Thelma team and then licensed out — like “I’ve Gotten Over You” by the Sonnettes: [Excerpt: The Sonnettes, “I’ve Gotten Over You”] That was on KO Records, distributed by Scepter, and was a minor local hit — enough to finally bring Whitfield to the attention of Berry Gordy. According to many sources, Whitfield had been hanging around Hitsville for months trying to get a job with the label, but as he told the story in 1977 “Berry Gordy had sent Mickey Stevenson over to see me about signing with the company as an exclusive in-house writer and producer. The first act I was assigned to was Marvin Gaye and he had just started to become popular.” That’s not quite how the story went. According to everyone else, he was constantly hanging around Hitsville, getting himself into sessions and just watching them, and pestering people to let him get involved. Rather than being employed as a writer and producer, he was actually given a job in Motown’s quality control department for fifteen dollars a week, listening to potential records and seeing which ones he thought were hits, and rating them before they went to the regular department meetings for feedback from the truly important people. But he was also allowed to write songs. His first songwriting credit on a Motown record wasn’t Marvin Gaye, as Whitfield would later tell the story, but was in fact for the far less prestigious Mickey Woods — possibly the single least-known artist of Motown’s early years. Woods was a white teenager, the first white male solo artist signed to Motown, who released two novelty teen-pop singles. Whitfield’s first Motown song was the B-side to Woods’ second single, a knock-off of Sam Cooke’s “Cupid” called “They Call Me Cupid”, co-written with Berry Gordy and Brian Holland: [Excerpt: Mickey Woods, “They Call Me Cupid”] Unsurprisingly that didn’t set the world on fire, and Whitfield didn’t get another Motown label credit for thirteen months (though some of his songs for Thelma may have come out in this period). When he did, it was as co-writer with Mickey Stevenson — and, for the first time, sole producer — of the first single for a new singer, Kim Weston: [Excerpt: Kim Weston, “It Should Have Been Me”] As it turned out, that wasn’t a hit, but the flip-side, “Love Me All The Way”, co-written by Stevenson (who was also Weston’s husband) and Barney Ales, did become a minor hit, making the R&B top thirty. After that, Whitfield was on his way. It was only a month later that he wrote his first song for the Temptations, a B-side, “The Further You Look, The Less You See”: [Excerpt: The Temptations, “The Further You Look, The Less You See”] That was co-written with Smokey Robinson, and as we heard in the episode on “My Girl”, both Robinson and Whitfield vied with each other for the job of Temptations writer and producer. As we also heard in that episode, Robinson got the majority of the group’s singles for the next couple of years, but Whitfield would eventually take over from him. Whitfield’s work with the Temptations is probably his most important work as a writer and producer, and the Temptations story is intertwined deeply with this one, but for the most part I’m going to save discussion of Whitfield’s work with the group until we get to 1972, so bear with me if I seem to skim over that — and if I repeat myself in a couple of years when we get there. Whitfield’s first major success, though, was also the first top ten hit for Marvin Gaye, “Pride and Joy”: [Excerpt: Marvin Gaye, “Pride and Joy”] “Pride and Joy” had actually been written and recorded before the Kim Weston and Temptations tracks, and was intended as album filler — it was written during a session by Whitfield, Gaye, and Mickey Stevenson who was also the producer of the track, and recorded in the same session as it was written, with Martha and the Vandellas on backing vocals. The intended hit from the session, “Hitch-Hike”, we covered in the previous episode on Gaye, but that was successful enough that an album, That Stubborn Kinda Fellow, was released, with “Pride and Joy” on it. A few months later Gaye recut his lead vocal, over the same backing track, and the record was released as a single, reaching number ten on the pop charts and number two R&B: [Excerpt: Marvin Gaye, “Pride and Joy”] Whitfield had other successes as well, often as B-sides. “The Girl’s Alright With Me”, the B-side to Smokey Robinson’s hit for the Temptations “I’ll Be In Trouble”, went to number forty on the R&B chart in its own right: [Excerpt: The Temptations, “The Girl’s Alright With Me”] That was co-written with Eddie Holland, and Holland and Whitfield had a minor songwriting partnership at this time, with Holland writing lyrics and Whitfield the music. Eddie Holland even released a Holland and Whitfield collaboration himself during his brief attempt at a singing career — “I Couldn’t Cry if I Wanted To” was a song they wrote for the Temptations, who recorded it but then left it on the shelf for four years, so Holland put out his own version, again as a B-side: [Excerpt: Eddie Holland, “I Couldn’t Cry if I Wanted To”] Whitfield was very much a B-side kind of songwriter and producer at this point — but this could be to his advantage. In January 1963, around the same time as all these other tracks, he cut a filler track with the “no-hit Supremes”, “He Means the World to Me”, which was left on the shelf until they needed a B-side eighteen months later and pulled it out and released it: [Excerpt: The Supremes, “He Means the World to Me”] But the track that that was a B-side to was “Where Did Our Love Go?”, and at the time you could make a lot of money from writing the B-side to a hit that big. Indeed, at first, Whitfield made more money from “Where Did Our Love Go?” than Holland, Dozier, or Holland, because he got a hundred percent of the songwriters’ share for his side of the record, while they had to split their share three ways. Slowly Whitfield moved from being a B-side writer to being an A-side writer. With Eddie Holland he was given a chance at a Temptations A-side for the first time, with “Girl, (Why You Wanna Make Me Blue)”: [Excerpt: The Temptations, “Girl (Why You Wanna Make Me Blue)”] He also wrote for Jimmy Ruffin, but in 1964 it was with girl groups that Whitfield was doing his best work. With Mickey Stevenson he wrote “Needle in a Haystack” for the Velvettes: [Excerpt: The Velvettes, “Needle in a Haystack”] He wrote their classic followup “He Was Really Sayin' Somethin’” with Stevenson and Eddie Holland, and with Holland he also wrote “Too Many Fish in the Sea” for the Marvelettes: [Excerpt: The Marvelettes, “Too Many Fish In The Sea”] By late 1964, Whitfield wasn’t quite in the first rank of Motown songwriter-producers with Holland-Dozier-Holland and Smokey Robinson, but he was in the upper part of the second tier with Mickey Stevenson and Clarence Paul. And by early 1966, as we saw in the episode on “My Girl”, he had achieved what he’d wanted for four years, and become the Temptations’ primary writer and producer. As I said, we’re going to look at Whitfield’s time working with the Temptations later, but in 1966 and 67 they were the act he was most associated with, and in particular, he collaborated with Eddie Holland on three top ten hits for the group in 1966. But as we discussed in the episode on “I Can’t Help Myself”, Holland’s collaborations with Whitfield eventually caused problems for Holland with his other collaborators, when he won the BMI award for writing the most hit songs, depriving his brother and Lamont Dozier of their share of the award because his outside collaborations put him ahead of them. While Whitfield *could* write songs by himself, and had in the past, he was at his best as a collaborator — as well as his writing partnership with Eddie Holland he’d written with Mickey Stevenson, Marvin Gaye, and Janie Bradford. And so when Holland told him he was no longer able to work together, Whitfield started looking for someone else who could write lyrics for him, and he soon found someone: [Excerpt: Barrett Strong, “Money”] Barrett Strong had, of course, been the very first Motown act to have a major national hit, with “Money”, but as we discussed in the episode on that song he had been unable to have a follow-up hit, and had actually gone back to working on an assembly line for a while. But when you’ve had a hit as big as “Money”, working on an assembly line loses what little lustre it has, and Strong soon took himself off to New York and started hanging around the Brill Building, where he hooked up with Doc Pomus and Mort Shuman, the writers of such hits as “Save the Last Dance for Me”, “Viva Las Vegas”, “Sweets for My Sweet”, and “A Teenager in Love”.  Pomus and Shuman, according to Strong, signed him to a management contract, and they got him signed to Atlantic’s subsidiary Atco, where he recorded one single, “Seven Sins”, written and produced by the team: [Excerpt: Barrett Strong, “Seven Sins”] That was a flop, and Strong was dropped by the label. He bounced around a few cities before ending up in Chicago, where he signed to VeeJay Records and put out one more single as a performer, “Make Up Your Mind”, which also went nowhere: [Excerpt: Barrett Strong, “Make Up Your Mind”] Strong had co-written that, and as his performing career was now definitively over, he decided to move into songwriting as his main job. He co-wrote “Stay in My Corner” for the Dells, which was a top thirty R&B hit for them on VeeJay in 1965 and in a remade version in 1968 became a number one R&B hit and top ten pop hit for them: [Excerpt: The Dells, “Stay in My Corner”] And on his own he wrote another top thirty R&B hit, “This Heart of Mine”, for the Artistics: [Excerpt: The Artistics, “This Heart of Mine”] He wrote several other songs that had some minor success in 1965 and 66, before moving back to Detroit and hooking up again with his old label, this time coming to them as a songwriter with a track record rather than a one-hit wonder singer. As Strong put it “They were doing my style of music then, they were doing something a little different when I left, but they were doing the more soulful, R&B-style stuff, so I thought I had a place there. So I had an idea I thought I could take back and see if they could do something with it.” That idea was the first song he wrote under his new contract, and it was co-written with Norman Whitfield. It’s difficult to know how Whitfield and Strong started writing together, or much about their writing partnership, even though it was one of the most successful songwriting teams of the era, because neither man was interviewed in any great depth, and there’s almost no long-form writing on either of them. What does seem to have been the case is that both men had been aware of each other in the late fifties, when Strong was a budding R&B star and Whitfield merely a teenager hanging round watching the cool kids. The two may even have written together before — in an example of how the chronology for both Whitfield and Strong seems to make no sense, Whitfield had cowritten a song with Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”, in 1962 — when Strong was supposedly away from Motown — and it had been included as an album track on the That Stubborn Kinda Fellow album: [Excerpt: Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”] The writing on that was originally credited just to Whitfield and Gaye on the labels, but it is now credited to Whitfield, Gaye, and Strong, including with BMI. Similarly Gaye’s 1965 album track “Me and My Lonely Room” — recorded in 1963 but held back – was initially credited to Whitfield alone but is now credited to Whitfield and Strong, in a strange inverse of the way “Money” initially had Strong’s credit but it was later removed. But whether this was an administrative decision made later, or whether Strong had been moonlighting for Motown uncredited in 1962 and collaborated with Whitfield, they hadn’t been a formal writing team in the way Whitfield and Holland had been, and both later seemed to date their collaboration proper as starting in 1966 when Strong returned to Motown — and understandably. The two songs they’d written earlier – if indeed they had – had been album filler, but between 1967 when the first of their new collaborations came out and 1972 when they split up, they wrote twenty-three top forty hits together. Theirs seems to have been a purely business relationship — in the few interviews with Strong he talks about Whitfield as someone he was friendly with, but Whitfield’s comments on Strong seem always to be the kind of very careful comments one would make about someone for whom one has a great deal of professional respect, a great deal of personal dislike, but absolutely no wish to air the dirty laundry behind that dislike, or to burn bridges that don’t need burning. Either way, Whitfield was in need of a songwriting partner when Barrett Strong walked into a Motown rehearsal room, and recognised that Strong’s talents were complementary to his. So he told Strong, straight out, “I’ve had quite a few hit records already. If you write with me, I can guarantee you you’ll make at least a hundred thousand dollars a year” — though he went on to emphasise that that wasn’t a guarantee-guarantee, and would depend on Strong putting the work in. Strong agreed, and the first idea he brought in for his new team earned both of them more than that hundred thousand dollars by itself. Strong had been struck by the common phrase “I heard it through the grapevine”, and started singing that line over some Ray Charles style gospel chords. Norman Whitfield knew a hook when he heard one, and quickly started to build a full song around Strong’s line. Initially, by at least some accounts, they wanted to place the song with the Isley Brothers, who had just signed to Motown and had a hit with the Holland-Dozier-Holland song “This Old Heart of Mine”: [Excerpt: The Isley Brothers, “This Old Heart of Mine (Is Weak For You)”] For whatever reason, the Isley Brothers didn’t record the song, or if they did no copy of the recording has ever surfaced, though it does seem perfectly suited to their gospel-inflected style. The Isleys did, though, record another early Whitfield and Strong song, “That’s the Way Love Is”, which came out in 1967 as a flop single, but would later be covered more successfully by Marvin Gaye: [Excerpt: The Isley Brothers, “That’s the Way Love Is”] Instead, the song was first recorded by the Miracles. And here the story becomes somewhat murky. We have a recording by the Miracles, released on an album two years later, but some have suggested that that version isn’t the same recording they made in 1966 when Whitfield and Strong wrote the song originally: [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] It certainly sounds to my ears like that is probably the version of the song the group recorded in 66 — it sounds, frankly, like a demo for the later, more famous version. All the main elements are there — notably the main Ray Charles style hook played simultaneously on Hammond organ and electric piano, and the almost skanking rhythm guitar stabs — but Smokey Robinson’s vocal isn’t *quite* passionate enough, the tempo is slightly off, and the drums don’t have the same cavernous rack tom sound that they have in the more famous version. If you weren’t familiar with the eventual hit, it would sound like a classic Motown track, but as it is it’s missing something… [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] According to at least some sources, that was presented to the quality control team — the team in which Whitfield had started his career, as a potential single, but they dismissed it. It wasn’t a hit, and Berry Gordy said it was one of the worst songs he’d ever heard. But Whitfield knew the song was a hit, and so he went back into the studio and cut a new backing track: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine (backing track only)”] (Incidentally, no official release of the instrumental backing track for “I Heard it Through the Grapevine” exists, and I had to put that one together myself by taking the isolated parts someone had uploaded to youtube and synching them back together in editing software, so if there are some microsecond-level discrepancies between the instruments there, that’s on me, not on the Funk Brothers.) That track was originally intended for the Temptations, with whom Whitfield was making a series of hits at the time, but they never recorded it at the time. Whitfield did produce a version for them as an album track a couple of years later though, so we have an idea how they might have taken the song vocally — though by then David Ruffin had been replaced in the group by Dennis Edwards: [Excerpt: The Temptations, “I Heard it Through the Grapevine”] But instead of giving the song to the Temptations, Whitfield kept it back for Marvin Gaye, the singer with whom he’d had his first big breakthrough hit and for whom his two previous collaborations with Strong – if collaborations they were – had been written. Gaye and Whitfield didn’t get on very well — indeed, it seems that Whitfield didn’t get on very well with *anyone* — and Gaye would later complain about the occasions when Whitfield produced his records, saying “Norman and I came within a fraction of an inch of fighting. He thought I was a prick because I wasn't about to be intimidated by him. We clashed. He made me sing in keys much higher than I was used to. He had me reaching for notes that caused my throat veins to bulge.” But Gaye sang the song fantastically, and Whitfield was absolutely certain they had a sure-fire hit: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine”] But once again the quality control department refused to release the track. Indeed, it was Berry Gordy personally who decided, against the wishes of most of the department by all accounts, that instead of “I Heard it Through the Grapevine” Gaye’s next single should be a Holland-Dozier-Holland track, “Your Unchanging Love”, a soundalike rewrite of their earlier hit for him, “How Sweet It Is”. “Your Unchanging Love” made the top thirty, but was hardly a massive success. Gordy has later claimed that he always liked “Grapevine” but just thought it was a bit too experimental for Gaye’s image at the time, but reports from others who were there say that what Gordy actually said was “it sucks”. So “I Heard it Through the Grapevine” was left on the shelf, and the first fruit of the new Whitfield/Strong team to actually get released was “Gonna Give Her All the Love I’ve Got”, written for Jimmy Ruffin, the brother of Temptations lead singer David, who had had one big hit, “What Becomes of the Brokenhearted” and one medium one, “I’ve Passed This Way Before”, in 1966. Released in 1967, “Gonna Give Her All the Love I’ve Got” became Ruffin’s third and final hit, making number 29: [Excerpt: Jimmy Ruffin, “Gonna Give Her All the Love I’ve Got”] But Whitfield was still certain that “Grapevine” could be a hit. And then in 1967, a few months after he’d shelved Gaye’s version, came the record that changed everything in soul: [Excerpt: Aretha Franklin, “Respect”] Whitfield was astounded by that record, but also became determined he was going to “out-funk Aretha”, and “I Heard it Through the Grapevine” was going to be the way to do it. And he knew someone who thought she could do just that. Gladys Knight never got on well with Aretha Franklin. According to Knight’s autobiography this was one-sided on Franklin’s part, and Knight was always friendly to Franklin, but it’s also notable that she says the same about several other of the great sixties female soul singers (though not all of them by any means), and there seems to be a general pattern among those singers that they felt threatened by each other and that their own position in the industry was precarious, in a way the male singers usually didn’t. But Knight claimed she always *wished* she got on well with Franklin, because the two had such similar lives. They’d both started out singing gospel as child performers before moving on to the chitlin circuit at an early age, though Knight started her singing career even younger than Franklin did. Knight was only four when she started performing solos in church, and by the age of eight she had won the two thousand dollar top prize on Ted Mack’s Amateur Hour by singing Brahms’ “Lullaby” and the Nat “King” Cole hit “Too Young”: [Excerpt: Nat “King” Cole, “Too Young”] That success inspired her, and she soon formed a vocal group with her brother Bubba, sister Brenda and their cousins William and Eleanor Guest. They named themselves the Pips in honour of a cousin whose nickname that was, and started performing at talent contests in Atlanta Chitlin’ Circuit venues. They soon got a regular gig at one of them, the Peacock, despite them all being pre-teens at the time. The Pips also started touring, and came to the attention of Maurice King, the musical director of the Flame nightclub in Detroit, who became a vocal coach for the group. King got the group signed to Brunswick records, where they released their first single, a song King had written called “Whistle My Love”: [Excerpt: The Pips, “Whistle My Love”] According to Knight that came out in 1955, when she was eleven, but most other sources have it coming out in 1958. The group’s first two singles flopped, and Brenda and Eleanor quit the group, being replaced by another cousin, Edward Patten, and an unrelated singer Langston George, leaving Knight as the only girl in the quintet. While the group weren’t successful on records, they were getting a reputation live and toured on package tours with Sam Cooke, Jackie Wilson, and others. Knight also did some solo performances with a jazz band led by her music teacher, and started dating that band’s sax player, Jimmy Newman. The group’s next recording was much more successful. They went into a makeshift studio owned by a local club owner, Fats Hunter, and recorded what they thought was a demo, a version of the Johnny Otis song “Every Beat of My Heart”: [Excerpt: The Pips, “Every Beat of My Heart (HunTom version)”] The first they knew that Hunter had released that on his own small label was when they heard it on the radio. The record was picked up by VeeJay records, and it ended up going to number one on the R&B charts and number six on the pop charts, but they never saw any royalties from it. It brought them to the attention of another small label, Fury Records, which got them to rerecord the song, and that version *also* made the R&B top twenty and got as high as number forty-five on the pop charts: [Excerpt: Gladys Knight and the Pips, “Every Beat of My Heart (Fury version)”] However, just because they had a contract with Fury didn’t mean they actually got any more money, and Knight has talked about the label’s ownership being involved with gangsters. That was the first recording to be released as by “Gladys Knight and the Pips”, rather than just The Pips, and they would release a few more singles on Fury, including a second top twenty pop hit, the Don Covay song “Letter Full of Tears”: [Excerpt: Gladys Knight and the Pips, “Letter Full of Tears”] But Knight had got married to Newman, who was by now the group’s musical director, after she fell pregnant when she was sixteen and he was twenty. However, that first pregnancy tragically ended in miscarriage, and when she became pregnant again she decided to get off the road to reduce the risk. She spent a couple of years at home, having two children, while the other Pips – minus George who left soon after – continued without her to little success. But her marriage was starting to deteriorate under pressure of Newman’s drug use — they wouldn’t officially divorce until 1972, but they were already feeling the pressure, and would split up sooner rather than later — and Knight  returned to the stage, initially as a solo artist or duetting with Jerry Butler, but soon rejoining the Pips, who by this time were based in New York and working with the choreographer Cholly Atkins to improve their stagecraft. For the next few years the Pips drifted from label to label, scoring one more top forty hit in 1964 with Van McCoy’s “Giving Up”, but generally just getting by like so many other acts on the circuit. Eventually the group ended up moving to Detroit, and hooking up with Motown, where mentors like Cholly Atkins and Maurice King were already working. At first they thought they were taking a step up, but they soon found that they were a lower tier Motown act, considered on a par with the Spinners or the Contours rather than the big acts, and according to Knight they got pulled off an early Motown package tour because Diana Ross, with whom like Franklin Knight had something of a rivalry, thought they were too good on stage and were in danger of overshadowing her. Knight says in her autobiography that they “formed a little club of our own with some of the other malcontents” with Martha Reeves, Marvin Gaye, and someone she refers to as “Ivory Joe Hunter” but I presume she means Ivy Jo Hunter (one of the big problems when dealing with R&B musicians of this era is the number of people with similar names. Ivy Jo Hunter, Joe Hunter, and Ivory Joe Hunter were all R&B musicians for whom keyboard was their primary instrument, and both Ivy Jo and just plain Joe worked for Motown at different points, but Ivory Joe never did) Norman Whitfield was also part of that group of “malcontents”, and he was also the producer of the Pips’ first few singles for Motown, and so when he was looking for someone to outdo Aretha, someone with something to prove, he turned to them. He gave the group the demo tape, and they worked out a vocal arrangement for a radically different version of the song, one inspired by “Respect”: [Excerpt: Gladys Knight and the Pips, “I Heard it Through the Grapevine”] The third time was the charm, and quality control finally agreed to release “I Heard it Through the Grapevine” as a single. Gladys Knight always claimed it had no promotion, but Norman Whitfield’s persistence had paid off — the single went to number two on the pop charts (kept off the top by “Daydream Believer”), number one on the R&B charts, and became Motown’s biggest-selling single *ever* up until that point. It also got Knight a Grammy nomination for Best R&B Vocal Performance, Female — though the Grammy committee, at least, didn’t think she’d out-Aretha’d Aretha, as “Respect” won the award. And that, sadly, sort of summed up Gladys Knight and the Pips at Motown — they remained not quite the winners in everything. There’s no shame in being at number two behind a classic single like “Daydream Believer”, and certainly no shame in losing the Grammy to Aretha Franklin at her best, but until they left Motown in 1972 and started their run of hits on Buddah records, Gladys Knight and the Pips would always be in other people’s shadow. That even extended to “I Heard It Through the Grapevine” when, as we’ll hear in part two of this story, Norman Whitfield’s persistence paid off, Marvin Gaye’s version got released as a single, and *that* became the biggest-selling single on Motown ever, outselling the Pips version and making it forever his song, not theirs. And as a final coda to the story of Gladys Knight and the Pips at Motown, while they were touring off the back of “Grapevine’s” success, the Pips ran into someone they vaguely knew from his time as a musician in the fifties, who was promoting a group he was managing made up of his sons. Knight thought they had something, and got in touch with Motown several times trying to get them to sign the group, but she was ignored. After a few attempts, though, Bobby Taylor of another second-tier Motown group, the Vancouvers, also saw them and got in touch with Motown, and this time they got signed. But that story wasn’t good enough for Motown, and so neither Taylor nor Knight got the credit for discovering the group. Instead when Joe Jackson’s sons’ band made their first album, it was titled Diana Ross Presents the Jackson 5. But that, of course, is a story for another time…

Doc opens his 10th anniversary show talking about seeing crossover talent in sports, art and surgery. Doc uses examples of TV executive Roone Arledge in sports and Motown creator Berry Gordy in art. The Weekend Warrior Clinic opens for listeners and callers who want to say thanks to Doc.

Rerun: Freda Payne's banger ‘Band Of Gold' sounds like a Motown record, but actually isn't. Although written by Berry Gordy's hit-making trio Holland-Dozier-Holland, it was released on their breakaway label, Invictus, on 25th April, 1970. Ever since, fans have speculated as to the meaning of its lyrics and the nature of the crumbled relationship within. “That night on our honeymoon / We stayed in separate rooms,” Payne sings. Was her betrothed a closeted homosexual? Impotent? Frigid? In this episode, Arion, Rebecca and Olly explore how this ‘proto-disco' classic has been embraced as a gay anthem; explain why Payne originally felt ill-equipped to sing the song that made her name; and credit the extraordinary track record of Detroit's Hutchins Middle School…  Further Reading: • ‘Band of Gold by Freda Payne' (Songfacts): https://www.songfacts.com/facts/freda-payne/band-of-gold • ‘Holland-Dozier-Holland (1962-1970)' (Black Past, 2021): https://www.blackpast.org/african-american-history/groups-organizations-african-american-history/holland-dozier-holland-1962-1970/ • ‘Freda Payne - Band Of Gold' (Soul Train, 1970): https://www.youtube.com/watch?v=uF9Q3hnAr88 ‘Why am I hearing a rerun?' Every Thursday is 'Throwback Thursday' on Today in History with the Retrospectors: running one repeat per week means we can keep up the quality of our independent podcast. Daily shows like this require a lot of work! But as ever we'll have something new for you tomorrow, so follow us wherever you get your podcasts: podfollow.com/Retrospectors Love the show? Join 

YOU MUST SEE MJ AT THE DCPA It is a rousing musical about a moment in time when Michael Jackson was planning the Dangerous tour and it is SO GOOD. I've got actor J. Daughtry, who plays Berry Gordy and Nick on the show today at 12:30 to chat about it, buy your tickets here.

Mickey was Berry Gordy's A&R Man, responsible for signing the legends of the Motown Sound.Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Who am I?! Sho'nuff!It's time to look back at the baddest showdown between Bruce Leeroy and Sho'nuff, and harness the power of "The Glow!"That's right, we're revisiting the 1985 cult classic 'The Last Dragon' starring Taimak and Vanity to see if Rotten Tomatoes is wrong about its barely Fresh 61% Tomatometer score.Screenwriter and podcaster Brandon Collins joins Mark and Jacqueline to break down the delightful insanity that is 'The Last Dragon.'Have you seen this film? Was it a big influence on you growing up like it was for our panel? Let us know in the comments below!And tune in two weeks from now to hear our series finale as we say goodbye from 'Rotten Tomatoes is Wrong.'If you'd like to give your thoughts on this movie or have another movie you feel like Rotten Tomatoes got wrong, email us at RTisWrong@RottenTomatoes.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this day in 1983, Michael Jackson performed the moonwalk for the first time at the Pasadena Civic Auditorium in California. See omnystudio.com/listener for privacy information.

For the first time, we're coming to you from Miami Gardens, Florida! Before recapping Indian Wells, we share our first impressions of the Miami Open site and some of the tennis we got to see early on: Halep's first match back from her suspension, Azarenka-Stearns (with an appearance by early Berry Gordy's son RedFoo), Ostapenko lighting up Court 1, and more. Alcaraz defends his Indian Wells title -- snapping a title-less stretch going back to Wimbledon -- and Iga regains her title while losing a mere handful of games. Later on, we talk about the competing proposals that aim to overhaul mostly everything about tennis (Premier vs. PIF). 0:35 Miami Open: Penko-Siegemund, Vika-Peyton (and why RedFoo is here) 9:35 Simona's return and Woz's take heard round the world: “It wasn't a clearance” 18:48 Minding Our Own Business  22:20 Belatedly wrapping Indian Wells 27:07  Non-problematic beef 29:41 Unnecessary beef 32:28 Miss Beswick strikes again 35:28:Tennis headed for fundamental change: Premier Tour vs. Saudi PIF bid  

Rockshow episode 195 Berry Gordy Berry Gordy is a legendary American record producer and songwriter who founded Motown, one of the most successful and influential record labels in the history of music. He played a crucial role in shaping the careers of iconic artists like Stevie Wonder, Diana Ross, and Michael Jackson. #BerryGordy #MotownFounder #MusicLegend #MotownRecords #BerryGordyJr #MusicPioneer #RecordProducer #Songwriter #LegendaryProducer #ClassicRnB #MotownSound Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://www.patreon.com/Gettinglumpedup

Mickey Stevenson worked for Berry Gordy from Motown Records and was responsible for signing the biggest names from that era, Steve Wonder, The Supremes, The Temptations, The Four Tops, Martha Reeves, Marvin Gaye and others. Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Mickey Stevenson is the legendary A and R man for Berry Gordy at Motown Records, responsible for signing every major legend from that era. This is a trailer for an upcoming episode airing February 6.Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Suge discusses the history of the grooming of Black talent in the music industry. Starting with Michael Jackson and Berry Gordy, Suge traces a line that includes Russell Simmons, Andre Harrell, Puffy,  Usher and others. Suge shares his views on how so many Black entertainers feel that they have to change their looks, change the way they talk and are made to feel uncomfortable in their own skin. Suge shifts gears and directly addresses Snoop Dogg about his involvement with the “new” Death Row Records. 2:40 Why people used to call the music business “devil's music” 3:00 Suge talks about knowing Michael Jackson and how his father tried to protect his kids from the underbelly of the music business 4:30 Berry Gordy's secret life and his relationship with Michael Jackson 6:20 Suge talks about the relationship between Russell Simmons, Andre Harrell and Puffy 9:06 Suge talks about Dr. Dre working with the kids' group Immature and the problem that developed with their manager/producer Chris Stokes 11:49 Suge talks about the double standards of how USC has treated OJ Simpson and Reggie Bush as opposed to others like Dr. Dre & Jimmy Iovine 15:58 Suge and Dave discuss how Hip-Hop was always about being true to yourself and how things have changed over the years 20:06 Suge talks about the ownership of Death Row Records and sends a direct message to Snoop Dogg NEW EPISODES OF COLLECT CALL WITH SUGE KNIGHT ARE RELEASED WEEKLY Make sure you comment, like and subscribe on Apple, Spotify or wherever you listen to podcasts. Visit the @BreakbeatMedia YouTube page for video versions of our shows, https://www.youtube.com/@breakbeatmedia This episode is sponsored by Rocket Money. Stop paying for all those unwanted monthly subscription charges, go to https://Rocketmoney.com/Suge for details.  Executive Producers: Dave Mays (@therealdavemays) & Brett Jeffries (@igobybrettj) Executive Producer: Toi-Lin Kelly Editor & Producer: Trae Quaintance for Black Wolf Agency Producer: Christopher Samuel (@Christylezz) Audio: Tsun4miBeats Sound effects: Envato Elements IG: @BreakbeatMedia @OfficialSugeKnight @TheRealDaveMays Learn more about your ad choices. Visit megaphone.fm/adchoices

During the 1950s, the music scene was extremely segregated. Berry Gordy was a young Black man with a dream, who was determined to implement change. He wanted to help Black artists break into the mainstream music scene. But many today are quick to criticize how he went about it. _____________ 2-Minute Black History is produced by PushBlack, the nation's largest non-profit Black media company. PushBlack exists to amplify the stories of Black history you didn't learn in school. You make PushBlack happen with your contributions at BlackHistoryYear.com — most people donate $10 a month, but every dollar makes a difference. If this episode moved you, share it with your people! Thanks for supporting the work. The production team for this podcast includes Cydney Smith, Len Webb, and Lilly Workneh. Our editors are Lance John and Avery Phillips from Gifted Sounds Network. Julian Walker serves as executive producer. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices