Podcasts about chitlin

Today on another brand new episode of the Rarified Heir Podcast, we bring you part one of two episodes with Rodd Bland, son of the genius blues, soul, gospel & rhythm & blues singer Bobby “Blue” Bland. Best friends with B.B. King, & called the Frank Sinatra of the Blues – Bobby has more inductions into more museums and Hall of Fame's than an Amana Radar Range. Known for his soulful voice and his signature phrasing, Bobby was truly one of the greats. He also was also known for a guttural sound he made while singing that we get into on this episode. What started as a cue from a preacher became a sound that the ladies loved. No one did it like Bobby. Our conversation with Rodd dovetailed into many topics, including musicians such as ZZ Top to Pearl Jam, Taylor Hawkins to Jay-Z who were all influenced by “Blue.” We also talk about his father's late career resurgence thanks to films and television. From Spiderman the Animated Movie, to The Lincoln Lawyer and American Gangster, all roads seemed to lead back to “Blue”'s tunes in trailers, opening scenes in films and the like. Rodd tells us a rather touching story about when his father first heard one of his songs in a film that left us misty eyed. Along the way, we discuss what it was like touring in the Chitlin' Circuit, we touch on – albeit briefly – Don Robey and the Duke / Peacock years at the beginning of his career and a little known fact about Bobby that perhaps makes this episode an unleavened experience with a singer nicknamed as Sonny Boy that even Rodd didn't know. We had to call his mom to confirm it and she pretty much did. So sit back, take a listen to this episode of the Rarified Heir Podcast with Rodd Bland discussing everything from “Ain't No Love in the Heart of the City,” and “Further Up The Road” “Cry, Cry, Cry” & “I Pity The Fool.” But not, “Member's Only.” That one we saved for our Patreon page where we hear an exclusive, bonus episode, you won't hear anywhere else. Another child of a celebrity, interviewed by a child of a celebrity. Everyone has a story.  

Giddy Up, Giddy Up! Hold onto your chaps, BeyHive. Meghan and Melisa just left the "Cowboy Carter and the Rodeo Chitlin' Circuit Tour," and these TYRANTS share what they witnessed. Join them as they raise II HANDS II HEAVEN and unpack every breathtaking moment from Beyoncé Giselle Knowles-Carter's latest global spectacle. From the groundbreaking fusion of country, Black history, and pure artistry to the overwhelming emotions it stirred, prepare for what might just be Beyoncé's most impactful tour ever. But the Knowles' family celebrations don't stop there. M&M briefly touch on Ms. Tina Knowles' recently released memoir, "Matriarch."  And finally, afer talking about Beyoncé's RIIVERDANCE, Meghan and Melisa take a trip to the mid-90s and dissect the absolute chokehold Michael Flatley and Riverdance had on white women everywhere. Most of y'all are too young to understand the fever dream that was the “Lord of the Dance.” Listen to Full Episodes: https://podcasts.apple.com/us/podcast/dont-blame-me-but-am-i-wrong/id1223800566 Join our Patreon: https://www.patreon.com/dontblameme Buy Our Merch https://crowdmade.com/collections/sister-sign Call In for DBM - 310-694-0976 (3 minutes or less) Write In for DBM - meghanpodcast@gmail.com (300 words or less) Write in for BAIW - butamiwrongpod@gmail.com DBM Submission Form BAIW Submission Form Follow Us! instagram.com/meghanandmelisa @meghanrienks instagram.com/meghanrienks https://twitter.com/meghanrienks @sheisnotmelissa instagram.com/sheisnotmelissa instagram.com/diamondmprint.productions Learn more about your ad choices. Visit megaphone.fm/adchoices

We get a crash course in the Chitlin' Circuit, a network of entertainment venues for Black musicians during segregation. And we take a closer look at a special stop along the way: Club Ebony. It's a place that still thumps with the blues of the past, even as it welcomes a new generation of musicians.

Diverse Voices Book Review host Hopeton Hay interviewed Preston Lauterbach, author of BEFORE ELVIS: The African American Musicians Who Made the King. In the interview Lauterbach highlighted the influence of African American musicians on Elvis Presley. He noted that Elvis's first hit, "That's All Right," was originally recorded by Arthur Crudup, and songs like "Hound Dog" and "Mystery Train" had African American origins. Lauterbach also explored the economic exploitation of Black artists and the cultural appropriation by white artists. He shared insights into the evolution of R&B and its impact on pop music in the 1970s, emphasizing the importance of recognizing Black music's roots and contributions to American culture. Preston Lauterbach is author of the American music classic The Chitlin' Circuit (2011) as well as Beale Street Dynasty (2015) and Bluff City (2019).  He has co-authored three memoirs with significant figures in Black music, including Brother Robert (2020) with the stepsister of bluesman Robert Johnson, Timekeeper (2021) with Memphis soul drummer Howard Grimes, and the Blind Boys of Alabama biography Spirit of the Century.  Diverse Voices Book Review Social Media: Facebook - @diversevoicesbookreview Instagram - @diverse_voices_book_review Email: hbh@diversevoicesbookreview.com 

Kellie is another year older! So the Chitlin' Gang lead by their fearless leader Allen, aka Big Sausage, headed to the bluebonnet capital of Texas to take some pretty pictures. It turns out finding those bluebonnets was more difficult than they thought.  After the bluebonnet search, Kellie and Allen raced back home to watch the last couple hours of The Masters. If you were wondering why Rory McIlroy's wife seemed a little icy, Kellie AND ALLEN share all the gossip and speculation.  Kellie's daughter Emma Kelly gives her a birthday gift that had her squealing with joy.  And finally, Kidd's Kids is a charity that takes children with life-altering conditions and their families on an all-expenses paid, once-in-a-lifetime trip to Disney World. You can support this charity and maybe win a car at the same time! Just go to CarContest2025.com and for as little as $20, you could win your choice of one of five vehicles donated by the Ancira Auto Group — Kia Telluride, GMC Canyon, Chevy Silverado, Jeep Wrangler, or Keystone Bullet Crossfire RV, plus other great prizes! Deadline to enter is June 5, 2025.  Try your new trusty favorites with an exclusive set for our listeners. New customers can get the Liquid Lash Extensions Mascara and a mini-sized Brilliant Eye Brightener at a special set price with free shipping available at thrivecausemetics.com/SANDWICH. or save more with 20% off your first order. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on BSC we feature a performance by Bill Abel from the Mighty Mississippi Music Fest during Bridging the Blues. He's an accomplished potter and visual-artist, but most folks know him as an omni-present force on the Delta festival and jook joint circuit. Also BSC contributor Preston Lauterbach continues his series the Chitlin' Circuit and The Road to Rock n Roll.

Kellie was invited to speak and a women in tech happy hour, which brought up old memories of lewd radio conventions from 90s.  Kellie and Allen had big hopes for the season finale of Paradise, but did it live up to their expectations? While Kellie is excited about The Traitors finale this week, she also has some new recommendations for your viewing pleasure. And after the Gabby Petito documentary, there's a conspiracy theory building steam that her murderer boyfriend Brian Laundrie is actually alive.  Kellie went to lunch with fellow Chitlin' Gang member, Bacon Bit Sarah, and they ended up being taste testers for the restaurant's new menu! And to get even with Kellie surprising him with a spelling bee, Allen shares medieval translations for office speak followed by a vocabulary quiz. And finally, Allen shares a disturbing tale of a foot licking incident at Ross.  Thank you to our podcast sponsors!  Go to PairEyewear.com and use code LOVIN for 15% off your first pair, and support our show by mentioning that A Sandwich and Some Lovin' sent you in your post-checkout survey.  Take the 90 Day Ruff Greens challenge! Get a free jumpstart trial bag at RuffGreens.com and use promo code SANDWICH. You just cover the cost of shipping. Check protecting your memories off your spring cleaning to do list with Legacybox. Visit Legacybox.com/SANDWICH to shop their $9 tape sale.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello friends! Tomar Williams and Andy Tenberg from Austin based, soul-funk band Tomar and the FCs return to the show for episode 1463! Tomar and the FCs are celebrating their 10th anniversary with a new album, Soul Searching (out 2/28), and a release show at Antone's here in Austin THIS Friday, February 28th. Go to thefcs.band for music, show info and more. We have a great conversation about making Soul Searching in guitarist Andy Tenberg's garage, the decade's long journey as a band, Tomar's upbringing playing the "Chitlin'" circuit, how the "Chitlin'" circuit got it's name, touring, the Austin music scene, and much more. I had a great time catching up with these fine fellows. I'm sure you will too. Let's get down!   Follow us on Instagram, Facebook, Spotify, Apple Podcasts, or anywhere you pod.   If you feel so inclined. Venmo: venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie

Grammy nominated blues artist, Cedric Burnside, is back with us this week. Cedric is the grandson of the late, great R.L. Burnside, and he plays the Hill Country blues like nobody else. This performance was captured at The Memphis Blues Society's Bonafide Blues Festival during Bridging the Blues. Also on the program, BSC contributor, Preston Lauterbach, discusses the Chitlin' Circuit and The Road to Rock n Roll.

James Marshall Hendrix (nacido como Johnny Allen Hendrix; Seattle, Washington, 27 de noviembre de 1942-Notting Hill, Londres, 18 de septiembre de 1970), más conocido como Jimi Hendrix, fue un guitarrista, cantante y compositor estadounidense. A pesar de que su carrera profesional solo duró cuatro años, es considerado uno de los músicos y guitarristas más influyentes de la historia del rock. El Salón de la Fama del Rock and Roll lo describe como «Indiscutiblemente uno de los músicos más grandes de la historia del rock».[1]? Nacido en Seattle, Washington, en una diversa familia afroestadounidense que contaba además con raíces cheroquis, comenzó a tocar la guitarra a los 15 años. En 1961, se enroló en el ejército de los Estados Unidos como paracaidista en la 101.ª División Aerotransportada y se licenció al año siguiente. Poco después, se mudó a Clarksville, Tennessee, y comenzó a tocar en algunos conciertos conocidos como Chitlin' Circuit, donde consiguió un hueco tocando como músico de apoyo de The Isley Brothers y después para Little Richard, con quien continuó hasta mediados de 1965. Más adelante pasó a tocar con Curtis Knight and The Squires antes de mudarse a Inglaterra a finales de 1966 gracias a Linda Keith, quien además llamó la atención del bajista de The Animals Chas Chandler para convertirse en su mánager. En cuestión de meses, Hendrix ya había obtenido tres sencillos Top 10 en el Reino Unido con su banda The Jimi Hendrix Experience: «Hey Joe», «Purple Haze» y «The Wind Cries Mary». Saltó a la fama en Estados Unidos después de su actuación en el Monterey Pop Festival de 1967. Al año siguiente, en 1968, su tercer disco de estudio Electric Ladyland, llegó al primer puesto de la lista estadounidense de éxitos; fue su éxito comercial más grande y único número uno en dicho país. En su momento, fue el artista mejor pagado por su concierto en el Festival de Woodstock (1969) y el Festival de la Isla de Wight (1970), antes de su muerte por ingesta de barbitúricos el 18 de septiembre de 1970 a los 27 años de edad.

    After Gurdip & Justin discuss the latest FTDs: The Making of King Creole, The Last Tour Volume 2 and The Girl Happy Sessions, the guys answer a handful of listener emails, landing on one from fellow patron Robin, whose visit back to an early TCBCast episode that touched upon the subject of Elvis's Black influences, which conveniently leads us right into our main topic. For the main discussion, John Michael Heath of EAP Society taps in as we're joined by Preston Lauterbach, author of acclaimed books such as "The Chitlin' Circuit," "Beale Street Dynasty," "Bluff City: The Secret Life of Photographer Ernest Withers" and several others about Black musicians in the early 20th century, whose latest book, "Before Elvis: The African-American Musicians Who Made The King" is being published by Hachette Books on January 7, 2025. Keen-eared Elvis fans may also recognize Preston's voice as an interviewee from 2018's "Elvis Presley: The Searcher."  Preston's new book examines the life stories of Arthur Crudup, Willie Mae "Big Mama" Thornton, Reverend W. Herbert Brewster, Junior Parker and Calvin and Phineas Newborn and numerous other major and minor figures that factor into their stories and complicated, nuanced relationships with Elvis both as a person and as a phenomenon as they impacted him, and he in turn impacted them. It's a book for Elvis fans and non-fans alike, even Elvis skeptics are sure to find it extremely revealing as Preston thoroughly dispels many rumors and accusations thrown at Elvis over the decades, with receipts, while centering his narrative around lifting and celebrating the voices and life stories of these figures far beyond a mere connection to Elvis. Yet it never shies away from hard truths, all informed by a history of Memphis, the political landscape of the Deep South in the 1950s, inner workings of the record and music publishing industries, and the ways both white and black audiences responded to changing perceptions of artists, genres and influences across the decades. It's likely to be the most in-depth discussion about the book to be done in its release media cycle, as Preston was extraordinarily generous with his time, answering all our questions, geeking out with us about Memphis music history, and having a thorough discussion that we hope will help this episode stand on its own, well into the future beyond the publication date. You can learn more about "Before Elvis" and where to buy it at: https://www.hachettebookgroup.com/titles/preston-lauterbach/before-elvis/9780306833083/?lens=hachette-books And you can follow Preston's blog on Substack at: https://thechitlincircuit.substack.com/  If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

This week we feature recording artist Southern Avenue in a performance at Loflin Yard as they celebrate the release of their self titled debut album. With their unique melting pot of blues, gospel, and soul influences, they epitomize what great Memphis music is all about. Also BSC contributor Preston Lauterbach continues his series the Chitlin' Circuit and The Road to Rock n Roll.

This week on BSC we go back in the archives with Grammy winner and blues legend Bobby Rush in a performance at the 2017 grand reopening of the legendary Club Paradise in Memphis, TN. We also continue our series with BSC contributor Preston Lauterbach discussing the Chitlin' Circuit and The Road to Rock n Roll.

Send us a Text Message.It's not unusual for bands to change their sound or style as they move through their career.  We take a look at bands that changed their sound, or started a completely new sound for a whole lot of reasons - from The Beatles, Bowie and Dylan and Black Sabbath through to Japan, The Cure and Split Enz.   Our album you must hear before you die is Let it Bleed by The Rolling Stones. From the cover art to the great music it contains, this album from The Stones' golden period leading into the 70's - Sticky Fingers & Exile on Main Street - is a corker! In Rock News, Jeff updates us on The Sex POistols, Ritchie Blackmore and Cyndiu Lauper, while our Ozzy Osbourne report has Sharon telling us that “If a bomb dropped there would be cockroaches, Keith Richards and Ozzy!”  Enjoy.  References: The Sex Pistols, Ritchie Blackmore, Deep Purple, Blackmore's Night, Candice Night, Cyndi Lauper, The Police, Spotify, Spotify CEO Daniel Ek, John Lennon's guitar, Ozzy Osbourne, Keith Richards, The Rolling Stones, Let it Bleed, Jimmy Miller, Brian Jones, Mick Taylor, “Gimme Shelter”, “Midnight Rambler”, “Love in Vain”, “You can't always get what you want”, “Honky Tonk Woman”, Beggars Banquet, The Beatles, The Quarrymen, Lonnie Donegan, Revolver, Sgt Peppers, Paul MacCartney, Lucy in the Sky with Diamonds, The Bee Gees, “New York Mining Disaster”, “Stayin' Alive”, David Bowie, “Love you ‘til Tuesday", “The Laughing Gnome”, art-rock, glam, Bob Dylan, T-Rex, Tyrannosaurus Rex, Japan, Jimi Hendrix, Chitlin' Circuit, Split Enz, Neil Finn, Tim Finn, The Cure, Billy Joel, Black Sabbath, “Black Sabbath”, The Animals, “The House of the Rising Sun”, Isaac Hayes, “Theme from Shaft”, Pixies, “Monkey Gone to Heaven”, Kurt Cobain, Nirvana, Soundgarden, BushPlaylist John Lennon on Dick Cavett Show Hendrix Live on TV   

Ever wondered what it takes to build a multi-billion dollar media empire from scratch? This week we're sitting down with one of the most prolific filmmakers of our time – Tyler Perry – to talk about how he did just that. From his humble beginnings on the Chitlin' Circuit to the blockbuster Madea films, Tyler recalls a journey fueled by relentless drive and boundless empathy. He also shares advice on everything from lifting loved ones out of dark places to taking ownership of your creative work. Then we play a new game made JUST for Tyler – it's called, “Baby, This Is Mabel Earlene Simmons!”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

For the first of our four-part series on the King of Pop, writer, professor and critic Emily Lordi joins Pop Pantheon to help us begin to untangle one of the most knotty legacies in pop history: the story of Michael Jackson. Emily and DJ Louie discuss Michael's extremely strict upbringing, sadistic abuse at the hands of his father Joe, and the creation of The Jackson 5, from playing the Chitlin' Circuit to landing a Motown deal and kicking off one of the greatest single runs in history, beginning with 1969's “I Want You Back.” Next they dig into The Jackson 5's prolific Motown output, the marketing of Michael as a child sensation and how Jacksonmania made the Jacksons into a symbol of post-civil rights promise in America. Finally, they work through the band's rebrand as The Jacksons, their post-Motown work, late '70s comeback and how the group's monumental success set Michael up for solo superstardom. Join us next week for Part 2, in which we will be talking about Michael's early solo work and his breakthrough as a solo star, 1979's Off The Wall. Listen to Pop Pantheon's Michael Jackson Essentials PlaylistJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreBuy Tickets to our Dance Party Pop Pantheon Present: Main Pop Girls of '24 in NYC on August 2!Come to Gorgeous Gorgeous Lincoln Center on 7/20 FOR FREE!Come to Gorgeous Gorgeous: Los Angeles at Los Globos in Silver Lake on 7/26Follow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on Twitter

Send us a Text Message.On this episode, we tackle a BIG album, the 1967 debut LP by the Jimi Hendrix Experience, Are You Experienced. Heralded by many as the greatest rock guitarist of all time, to many Jimi Hendrix, along with his band the Jimi Hendrix Experience (bassist Noel Redding and drummer Mitch Mitchell) seemingly came out of nowhere. However, in reality, Hendrix more than paid his dues, playing in relative obscurity backing a myriad of musicians on the "Chitlin' Circuit," including the Isely Bothers and Little Richard.  Endlessly restless, his stints with these bands was often short lived because he would eventually tire of being in the background and get fired for upstaging the star he was hired to support.  He was finally "discovered" in New York by Chas Chandler (bassist of the Animals) who convinced him to go to England where he finally found the success that had alluded him in his own country. But Are You Experienced  proves Hendrix was more than just an amazing guitarist. It showcases what a gifted singer (if a shy and underappreciated one) and  songwriter he was. It underscores his imagination and creativity in how he used the studio in his quest to find new sounds from his guitar. After its release, Hendrix became a star and would eventually become the highest paid rock musician of the era.  While he would continue to stretch the boundaries of what both the guitar and  the studio could do over his next two LPs, Are You Experienced  is where it all began, and the the music within sounds as innovative and imaginative as it did in the over the five-plus decades since its release. Visit us at www.tappingvinyl.com.

From Chitlin's to Raw Vegan: A Healing Journey dives into the transformative power of a raw vegan lifestyle. Inspired by the legendary works of Alvenia Fulton, Dick Gregory and others, this podcast episode explores the profound impact that transitioning to veganism, not just as a diet, but as a holistic approach to healing - physically, mentally, and spiritually. Through the lens of our special guest, Ms Beverly Medley, a raw vegan chef and owner of All the Way Live cafe listen to her experiences, challenges and benefits of transitioning from chitlins to raw veganism.

Happy Gamuary! This year, Chris and Charlotte broaden their scope a little, as Godzilla vs. Megalon finds them roaring about Godzilla, Jet Jaguar, Megalon, Gigan, and Squawkzilla.Show Notes.Godzilla vs. Megalon (Jun Fukuda, 1973): MST3K Wiki. IMDb. Trailer.Our episodes on Crash of Moons and The Sword and the Dragon.Stalag 17 (Billy Wilder, 1953).Gregory Younging: Elements of Indigenous Style.Some more articles on the topic.Adam and Beth and Chris watch Godzilla on The Scene Of The Scene.Godzilla (Ishirō Honda, 1954).Godzilla Minus One (Takashi Yamazaki, 2023).Godzilla vs. Megalon (Takuya Uenishi, 2023).Which is a sequel to Godzilla vs. Gigan Rex (Takuya Uenishi, 2022).Wikizilla pages for Godzilla, Jet Jaguar, Megalon, and Gigan.Ultraman.Chris missed some subtleties in beetle taxonomy.M Space Hunter Nebula Aliens.K00: The Green Slime.Robert Dunham.Our episodes on Time of the Apes, KTMA and Season 3 style.The Chitlin' Circuit.Moms Mabley.Another Mother for Peace.Yusef Lateef: Love Theme from Spartacus.Robert Frost: Acquainted with the Night.Langston Hughes: The Underground.Catching up with Gary Redenbacher.Meet Squawkzilla.Against Bridezilla.Support It's Just A Show on Patreon and you can hear a very, very long bonus bit where Chris and Charlotte talk all about Godzilla Minus One.

Love is a rollercoaster, and in this hilarious episode, we're diving headfirst into the crazy world of celebrity relationships! First up, we've got Jeannie Mai and Jeezy's divorce saga - are they breaking up or just taking a really long coffee break?   Then, the shocker of all shockers - Teyana Taylor and Iman are separating! Is it too late to start a petition to keep these two together? We'll ponder that while sipping our tea.   But wait, there's more! Taylor Swift is making headlines with her new beau, Travis Kelcee. Are they the latest power couple or just a catchy rhyme waiting to happen?   And last but not least, Blueface and Chrisean's newborn's hernia - yes, you read that right! We're not sure how a baby gets a hernia, but we're pretty sure it's not from too much baby dancing.   Tune in for celebrity relationship drama, laughs, and a whole lot of head-scratching moments. You won't want to miss this wild ride through Hollywood's love limbo! Follow Hear Ye Podcast: Instagram: www.instagram.com/hearyepodcast/ Facebook: www.facebook.com/Hearyepodcast Twitter: twitter.com/Hearyepodcast Dennis: COMMERCIAL WORK | ShotbyDen Send any questions to : hearyepodcast@gmail.com #Hearyepodcast #podcast

Ed Wiley III spent more than 30 years as a journalist, working as a newspaper and magazine reporter, congressional press secretary, communications manager, and most recently as the Managing Editor at BET News. In 2006, he moved to North Carolina, and two years later returned to his love for cooking. He and his wife, Yalem, opened their first restaurant in Raleigh, NC. Wiley attributes much of what her learned in the kitchen to his father, the legendary saxophonist Ed Wiley Jr., who developed his culinary chops cooking for bandmates on the Chitlin' Circuit during the days when many of the restaurants were segregated. The Prime Smokehouse: Barbecue & Beyond, which moved to Rocky Mount, NC, in 2013, has been ranked No. 1 on most online social media outlets in the city since it was established. In fact, Yelp recently named Prime the Top Dining Destination for Travelers to North Carolina, and the restaurant has been featured in various publications and television programs.

Brian and Murdock celebrate the "Queen of Rock N Roll" - Tina Turner - by examining the giant impact she just might have made on the way rock n roll has looked onstage for the last 60 years. This episode brought to you in part by Louder Than Life Music Festival. Louder Than Life America's Biggest Rock Festival Louisville, KY September 21-24, 2023 Highland Festival Grounds At Kentucky Exposition Center Foo Fighters, Green Day, Tool, Avenged Sevenfold, Godsmack, Pantera, Queens Of The Stone Age, Weezer, Limp Bizkit, Megadeth, Rancid, Turnstile & More General Admission And VIP Passes On Sale Now Starting At $10 Down Win Louder Than Life tickets by entering HERE!   Support the show on Patreon: https://www.patreon.com/rocknrollbedtimestories SHOW NOTES Songs used in this episode: “Rocket 88” by Jackie Brenston & His Delta Cats; “A Fool in Love” by Ike & Tina Turner; “River Deep, Mountain High” by Ike & Tina Turner ` https://www.theatlantic.com/culture/archive/2021/01/tina-turner-proud-mary/617843/ https://en.wikipedia.org/wiki/Proud_Mary https://www.biography.com/musicians/tina-turner-proud-mary-origins https://faroutmagazine.co.uk/rolling-stones-mick-jagger-learn-to-dance/ https://www.npr.org/2023/05/25/1178270147/the-genre-bending-influence-and-legacy-of-tina-turner https://nz.news.yahoo.com/tina-turner-taught-mick-jagger-150109041.html https://en.wikipedia.org/wiki/Kings_of_Rhythm https://en.wikipedia.org/wiki/Chitlin%27_Circuit https://en.wikipedia.org/wiki/Bob_Krasnow Ike and Tina on The Big TNT Show: https://youtu.be/RrLl1o1shos https://americansongwriter.com/various-artists-t-m-showthe-big-t-n-t-show-collectors-edition/ https://en.wikipedia.org/wiki/River_Deep_%E2%80%93_Mountain_High https://www.lamag.com/article/listen-tina-turners-marathon-recording-of-river-deep-mountain-high/ River Deep recording session outtakes: https://tinaturnerblog.com/2011/05/28/ike-tina-river-deep-mountain-high-outtake/  https://www.the-world-of-tina.com/rolling-stones---concert.html 1971 Rolling Stone piece: https://www.rollingstone.com/feature/tales-of-ike-and-tina-turner-237489/ Tina and Mick at Live Aid: https://www.youtube.com/watch?v=9wyuwJP-u9Q http://rockandrollgarage.com/where-mick-jagger-got-the-inspiration-for-his-dance-moves/ https://www.towleroad.com/2023/05/tina-turner-was-prepared-for-sir-mick-jagger-ripping-her-skirt-off-at-live-aid/ https://etcanada.com/news/994825/mick-jagger-shares-rare-footage-of-himself-and-tina-turner-in-1969/ The Pony dance tutorial: https://www.youtube.com/watch?v=F-I0HEbcrVo Another Pony dance tutorial: https://www.youtube.com/watch?v=Qhrx5IcPUIw

Episode 65. Six Degrees of Patti LaBelle. The Queen. The Legendary Godmother of Soul. Hosted by Troy Saunders, Wanda T., and Arif St. Michael.In this part of our series on the music and career of the legendary Patti LaBelle, we focus on Patti's early years with The Bluebells and LaBelle. Our special guest is singer and songwriter Keith Anthony Fluitt, who has performed with Patti LaBelle, Nona Hendryx, Sarah Dash, Diana Ross, Roberta Flack, Bruce Springsteen, Pet Shop Boys, Michael Jackson, Harry Belafonte, and many others. We have asked him to be on the show since he has worked with Patti, Nona, and Sarah.Patti LaBelle grew up singing in a local Baptist choir, and in 1960 teamed with friend Cindy Birdsong to form a group called the Ordettes. A year later, following the additions of vocalists Nona Hendryx and Sarah Dash, the group was renamed the Blue Belles. With producer Bobby Martin at the helm, they scored a Top 20 pop and R&B hit in 1962 with the single "I Sold My Heart to the Junkman," and subsequently hit the charts in 1964 with renditions of "Danny Boy" and "You'll Never Walk Alone."The quartet, now known as Patti LaBelle & the Bluebelles, signed in 1965 to Atlantic, where they earned a minor hit with their version of the standard "Somewhere Over the Rainbow." In 1967, Birdsong replaced Florence Ballard in the Supremes. The remaining trio toured the so-called "Chitlin' Circuit" for the remainder of the decade before signing on with British manager Vicki Wickham in 1970. Wickham renamed the group simply LaBelle and pushed their music in a funkier, rock-oriented direction, and in the wake of their self-titled 1971 Warner Bros. debut, they even toured with the Who. The trio also collaborated with Laura Nyro on the superb R&B-influenced album “Gonna Take a Miracle”. By 1973, LaBelle had gone glam, taking the stage in wildly theatrical, futuristic costumes. A year later, they became the first African-American act to appear at New York's Metropolitan Opera House. The landmark performance introduced "Lady Marmalade," which in 1974 became their lone chart-topping single, produced by Allen Toussaint.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.”

Preston Lauterbach, music journalist and author of Beale Street Dynasty, is also the author of The Chitlin Circuit: And the Road to Rock 'n" Roll, where he explores the origins of rock-and-roll in Black culture, specifically Black/Delta blues culture. Cooki B and Tonya talk to him about his book, the artists and songs that served as a springboard for rock music and of course Robert Johnson. Often classified as second tier, the Chitlin Circuit birthed and nurtured some of our country's most renowned musicians and singers whether directly or indirectly! 

Pascal Deweze en Carol van Dijk vonden elkaar in hun liefde voor country. Als een Gram Parsons & Emmylou Harris van de lage landen maakten ze twee albums onder de naam Chitlin' Fooks.

Back in the bad old days, when racial segregation was the law, there were music entertainment clubs throughout the state to accommodate a Black-only crowd. Known as the “Chitlin' Circuit,” some of the biggest names in rhythm and blues, including Ray Charles and James Brown, made the trek from place to place. The swankiest of all the stops was the cleverly named Dew Drop Inn, located in New Orleans on LaSalle Street. There were big name entertainers, including a few female impersonators, plus a bar, food and dancing; and even a hotel. After passage of the Civil Rights bill there were more options for Black people. Some of the old clubs lost their following and fell into disrepair. The good news is that the Dew Drop Inn is making a comeback. Developer Curtis Doucette joins Errol Laborde, Executive Editor of Louisiana Life, along with podcast producer Kelly Massicot to talk about his efforts to revive the Dew Drop and make it better than ever. Oh yes, we also hear about Drag Queen master of ceremonies Patsy Vidalia and her unique presence.

On this episode of The In Godfrey We Trust Podcast: Comedian Godfrey welcomes comics Von Decarlo, Domo Jones and Detroit's very own Courtney Bee to the show! Courtney Bee tells us about working with Godfrey on Nick Cannons Wild N Out, Domo Jones is straight chillin, Hottie Tottie doesn't want you messin' round that Chitlin' Circut and much much more on this all new episode! We're not reinventing the wheel, we're just talkin' shit (twice a week).Original Air Date: 05.27.22SUPPORT OUR SPONSORS:https://mipod.com and use promo code GODFREY for 20% OFF your orderhttps://rockauto.com and let them know you heard about them on In Godfrey We TrustWatch & SUBSCRIBE on YouTubehttps://youtube.com/channel/UC9pY7pvK-F3S17lBK2yhgvw?sub_confirmation=1In Godfrey We Trust is LIVE every TUESDAY & FRIDAY at 10PM ET ONLY on GaS DigitalOr catch the YouTube Premiere later in the week: SATURDAY's & TUESDAY's at 11PMhttps://GaSDigitalNetwork.com/LIVESign up to the Gas Digital Network with promo code GODFREY for a 7 Day FREE TRIAL to get access to the HD livestreams, the live chat, and every single episode On Demand in HD.https://GaSDigitalNetwork.com/high-octane-all-accessFOLLOW THE WHOLE SHOW!In Godfrey We Trust PodcastInstagram: https://instagram.com/godfreypodcastTikTok: https://tiktok.com/@godfreypodcastGodfreyInstagram: https://instagram.com/comediangodfreyTwitter: https://twitter.com/GodfreyComedianVon DecarloInstagram: https://www.instagram.com/vondecarloTwitter: https://twitter.com/vondecarloCourtney BeeInstagram: https://www.instagram.com/mylifeisajoketvTwitter: https://twitter.com/mylifeisajoketvDomo JonesInstagram: https://www.instagram.com/townofjonesGaS Digital NetworkInstagram: https://instagram.com/gasdigitalTwitter: https://twitter.com/gasdigitalSEND US MAIL:GaS Digital Studios Attn: GODFREY151 1st Ave No.311New York, NY 10003orInGodfreyWeTrust@gmail.com#Comedy #Podcast #Godfrey #GaSDigitalSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The future king of pop, Michael Joseph Jackson, was born on August 29, 1958 in Gary, Indiana.   Joe Jackson, Michael's dad, was a former boxer and crane operator at U.S. Steel during the 1950s in Gary – according to a fantastic article by Rolling Stone, quoted in the book; Dave Marsh's Trapped: Michael Jackson and the Crossover Dream, there were actual quotas in place on how many black workers were allowed to move up the ladder into skilled trades in the city's mills. This idiocy meant black workers were paid less than white workers. Unfortunately, this also meant they were subject to higher rates of fatal industry-related illnesses – but Papa Joe hoped that music would lift his life. Michael's mother, Katherine Scruse, was from Alabama but lived in East Chicago, Indiana when she met Joe. Momma Katherine played clarinet and piano, had dreams of being a country-and-western performer, worked part-time at Sears, and was a Jehovah's Witness. She grew up listening to country & western music, and even though she had a dream to be a musician, she was stricken with a bout of polio that had left her with an unfortunate and permanent limp. Papa Joe and Momma Katherine were young when they married in 1949 and started on the idea of a big ol family. The first of the bunch was Maureen (aka Rebbie) in 1950, then Sigmund (aka Jackie) in 1951, Toriano (Tito) followed up in 1953, Jermaine in 1954, La Toya in 1956, Marlon in 1957. Then there came Michael in 1958, Randy in 1961, and little baby Janet in 1966, making her 16 years younger than Rebbie. Marlon was actually a twin but their brother, Brandon, died shortly after birth.   M.J. and his cluster of brothers and sisters constantly had music around them. Papa Joe was super into the new electric R&B sound tearing up Chicago, which wasn't far away, not to mention the beginning stages of early rock & roll. So Papa Joe formed a band with his brothers called "the Falcons," making some extra coin in the surrounding area at parties and small clubs. In his 1988 autobiography, Moonwalk, Michael wrote, "They would do some of the great early rock & roll and blues songs by Chuck Berry, Little Richard … you name it," Going on to say, "All those styles were amazing, and each had an influence on … us, though we were too young to know it at the time."   The Falcons eventually broke up, and Papa Joe put down his guitar and hid it in his bedroom closet. He wouldn't let anyone near it, let alone touch it, giving us insight into his control over the household. Regardless of Papa Joe's musical dismay, Momma Katherine taught her flock of kiddies how to harmonize while listening to her favorite country/western songs. Tito, just like daddy, was drawn to music and one day thought it was a bright idea to snag Papa Joe's precious guitar from the closet and take it to practice with his brothers. Well, guess what? He broke a string. Michael later said Joe whipped Tito for the infraction and, "he let him have it,." After the whoopin', Papa Joe told Tito to show him what he could do on the guitar. Well, Papa joe was floored. Tito impressed the crap out of him.   Is it possible that at that very moment, Papa Joe's lightbulb blew a breaker and saw his musical dreams come to fruition vicariously through his kids? First, he bought Tito his own guitar and taught him some Ray Charles music, then he got Jermaine a bass. Soon he was working all his sons into an ensemble. So, I'm going to say yes, the breaker blew. Papa Joe loved the blues, but he appreciated that his kids liked the new R&B – Motown and soul – and more than likely saw dollar signs every time they mentioned it. Joe wanted Jermaine to be the lead singer with Jackie and Tito, and Michael and Marlon playing the tambourine and congas. Michael has said that his father told him he had a "fat nose" (just a little foreshadowing here) and abused him during rehearsals. Michael recalled that Joe often sat in a chair with a belt in his hand as his children rehearsed, ready to punish any mistakes. Joe acknowledged that he regularly whipped Michael. Katherine said that although whipping came to be considered abuse, it was a common way to discipline children when Michael was growing up. Jackie, Tito, Jermaine, and Marlon have said that their father wasn't abusive and that the whippings, which were harder on Michael because he was younger, kept them disciplined and out of trouble. Michael said his childhood was lonely and isolated.   At just four years old, Momma Katherine saw Michael singing along to a James Brown song, and she saw – in both his voice and moves – he was already better than his older brother. So she told Joe, "I think we have another lead singer." Katherine would later say that sometimes Michael's precocious abilities frightened her – she probably saw that his childhood might give way to stardom – but she also noticed that there was something undeniable about his young voice. Michael was also a natural entertainer. He absolutely loved singing and dancing, and because he was so young, the choice was clear, Michael was young, AND Michael was BAD. Get it? No? He was fantastic, OK?   Joe Jackson was good at what he did. "He knew exactly what I had to do to become a professional," Michael later said. "He taught me exactly how to hold a mic, make gestures to the crowd, and handle an audience." But by Joe's own admission, he was also unrelenting. "When I found out that my kids were interested in becoming entertainers, I really went to work with them," he told the time in 1984. "I rehearsed them about three years before I turned them loose. That's practically every day, for at least two or three hours. … They got a little upset about the whole thing in the beginning because the other kids were out having a good time. … Then I saw that after they became better, they enjoyed it more." That isn't always how Michael remembered it. "We'd perform for him, and he'd critique us," he wrote in Moonwalk. "If you messed up, you got hit, sometimes with a belt, sometimes with a switch. … I'd get beaten for things that happened mostly outside rehearsal. Dad would make me so mad and hurt that I'd try to get back at him and get beaten all the more. I'd take a shoe and throw it at him, or I'd just fight back, swinging my fists. That's why I got it more than all my brothers combined. I'd fight back, and my father would kill me, just tear me up." Those moments – and probably many more – created a loss that Jackson never got over. He was essential to the family's music-making, but there was no other bond between father and son. Again, from Moonwalk: "One of the few things I regret most is never being able to have a real closeness with him. He built a shell around himself over the years, and once he stopped talking about our family business, he found it hard to relate to us. We'd all be together, and he'd just leave the room."   Around 1964, Joe began entering the Jackson brothers in talent contests, many of which they handily won. Michael started sharing lead vocals with Jermaine, and the group's name was changed to the Jackson 5. In 1965, the group won a talent show; Michael performed the dance to Robert Parker's 1965 song "Barefootin'" and sang the Temptations' "My Girl." From 1966 to 1968, the Jackson 5 toured the Midwest; they frequently played at a string of black clubs known as the Chitlin' Circuit as the opening act for artists such as Sam & Dave, the O'Jays, Gladys Knight, and Etta James. Oh, and James Brown. No one was as important to Michael as James Brown.  "I knew every step, every grunt, every spin and turn," he recalled. "He would give a performance that would exhaust you, just wear you out emotionally. His whole physical presence, the fire coming out of his pores, would be phenomenal. You'd feel every bead of sweat on his face, and you'd know what he was going through….You couldn't teach a person what I've learned just standing and watching." The chitlin circuit was a collection of performance venues throughout the eastern, southern, and upper Midwest areas of the United States that provided commercial and cultural acceptance for African American musicians, comedians, and other entertainers during the era of racial segregation in the United States through the 1960s. The Jackson 5 also performed at clubs and cocktail lounges, where striptease shows were featured, and local auditoriums and high school dances. In August 1967, while touring the East Coast, they won a weekly amateur night concert at the Apollo Theater in Harlem, NY.   "At first, I told myself they were just kids," Joe said in 1971. "I soon realized they were very professional. There was nothing to wait for. The boys were ready for stage training, and I ran out of reasons to keep them from the school of hard knocks." So in 1966, he booked his sons into Gary's black nightclubs and some in Chicago. Many of the clubs served alcohol and several featured strippers. "This is quite a life for a nine-year-old," Katherine would remind her husband, but Joe was undaunted. "I used to stand in the wings of this one place in Chicago and watch a lady whose name was Mary Rose," Michael recalled. "This girl would take off her clothes and panties and throw them to the audience. The men would pick them up and sniff them and yell. My brothers and I would be watching all this, taking it in, and my father wouldn't mind." Sam Moore of Sam and Dave recalled Joe locking Michael – who was maybe 10 years old – in a dressing room while Joe went off on his own adventures. Michael sat alone for hours. He also later recalled having to go onstage even if he'd been sick in bed that day.   On those tours, the most famous place was the Apollo in New York, where the Jackson 5 won an Amateur Night show in 1967. Joe had invested everything he had in his sons' success, though any accurate recognition or profit would also be his success. While on the circuit, Joe had known Gladys Knight, who was enjoying a string of small wins with Motown, America's pre-eminent black pop label. With the encouragement of both Knight and Motown R&B star Bobby Taylor, of Bobby Taylor and the Vancouvers, Joe took his sons to Detroit to audition for the label after they opened for Taylor at Chicago's Regal Theater in 1968. Taylor produced some of their early Motown recordings, including a version of "Who's Lovin' You."   In 1969, Motown moved the Jackson family to Los Angeles, set them up at the homes of Diana Ross and the label's owner, Berry Gordy, and began grooming them. Finally, Motown executives decided Ms. Ross should introduce the Jackson 5 to the public. Michael remembered Gordy telling them, "I'm gonna make you the biggest thing in the world. … Your first record will be a number one, your second record will be a number one, and so will your third record. Three number-one records in a row."  In 1959, Gordy founded Tamla Records – which soon became known as Motown – in Detroit. By the time he signed the Jackson 5, Motown had long enjoyed its status as the most essential black-owned and -operated record label in America, spawning the successes of Smokey Robinson and the Miracles, the Temptations, Mary Wells, the Four Tops, and Diana Ross and the Supremes, among others. Unlike Stax and Atlantic, Motown's soul wasn't incredibly bluesy or gritty, nor was it music that spoke explicitly to social matters or to the black struggle in the U.S. By its nature, the label exemplified black achievement. Still, its music was made to be consumed by the pop mainstream – which of course, meant a white audience as much as a black one (the label's early records bore the legend "The Sound of Young America"). At the time, rock music was exceedingly becoming a medium for full-length albums. However, Motown maintained its identity as a label that manufactured hit singles, despite groundbreaking albums by Stevie Wonder and Marvin Gaye. Gordy was looking for a singles-oriented group to deliver hits for young people and give them somebody to identify as their own and admire. The Jackson 5, Gordy said, would exemplify "bubblegum soul." The Jackson 5 made their first television appearance in 1969 in the Miss Black America pageant, performing a cover of "It's Your Thing." Rolling Stone later described the young Michael as "a prodigy" with "overwhelming musical gifts" who "quickly emerged as the main draw and lead singer."   The Jackson 5's first three singles – "I Want You Back," "ABC" and "The Love You Save" – became Number One hits as Gordy had promised, and so did a fourth, "I'll Be There." "I Want You Back" became the first Jackson 5 song to reach number one on the U.S. Billboard Hot 100; it stayed there for four weeks. It was originally written for Gladys Knight and The Pips and Diana Ross. The group was established as the breakout sensation of 1970. Fred Rice, who would create Jackson 5 merchandise for Motown, said, "I call 'em the black Beatles. … It's unbelievable." And he was right. The Jackson 5 defined the transition from 1960s soul to 1970s pop as much as Sly and the Family Stone. When many Americans were uneasy about minority aspirations to power, the Jackson 5 displayed an agreeable ideal of black pride, reflecting kinship and aspiration rather than opposition. Moreover, they represented a realization that the civil rights movement made possible, which couldn't have happened even five or six years earlier. Not to mention, the Jackson 5 earned the respect of the critics. Reviewing "I Want You Back" in Rolling Stone, Jon Landau wrote, "The arrangement, energy and simple spacing of the rhythm all contribute to the record's spellbinding impact." Yes, we all they were a fantastic group. However, there was no question about who the Jackson 5's true star was and who they depended on. Michael's voice also worked beyond conventional notions of male-soul vocals – it surpassed genders. Cultural critic and musician Jason King wrote, "It is not an exaggeration to say that he was the most advanced popular singer of his age in the history of recorded music. His untrained tenor was uncanny. By all rights, he shouldn't have had as much vocal authority as he did at such a young age." In May 1971, the Jackson family moved into a large house on a two-acre estate in Encino, California. Michael turned from a child performer into a heart-throbbing teen idol during this period.   Michael and his brothers seemed like they were everywhere for at least the first few years and enjoyed the praise of the masses. But soon, they experienced some problematic limitations. The music they were making wasn't really of invention – they didn't write or produce it – and after Michael was relegated to recording throwback tunes like "Rockin' Robin," in 1972, he worried that the Jackson 5 would become an "oldies act" before he left adolescence.    Michael released four solo studio albums with Motown: Got to Be There (1972), Ben (1972), Music & Me (1973), and Forever, Michael(1975). "Got to Be There" and "Ben," the title tracks from his first two solo albums, sold well as singles, as did a cover of the aforementioned, Bobby Day's "Rockin' Robin."   They were frustrated by Motown's refusal to give creative input, so The Jackson 5 started producing themselves and creating their own sound. When given creative leeway, Stevie Wonder and Marvin Gaye showed the ability to grow and change – and sell records. And with 1974's "Dancing Machine," the Jacksons proved they could thrive when they tackled a funk groove and brought the robot dance into popularity. Motown, however, wouldn't consider it. "They not only refused to grant our requests," Michael said in Moonwalk, "they told us it was taboo to even mention that we wanted to do our own music." Michael understood this: Motown would not let the Jackson 5 grow. But unfortunately, they also wouldn't let him grow as an artist. So Michael waited, studying the producers he and his brothers worked with. "I was like a hawk preying in the night," he said. "I'd watch everything. They didn't get away with nothing without me seeing. I really wanted to get into it."   In 1975, The Jackson 5 left Motown, and Joe Jackson negotiated a new deal for his sons with Epic Records for a 500 percent royalty-rate increase and renamed themselves the Jacksons, with younger brother Randy joining the band around this time. The contract also stipulated solo albums from the Jacksons (though the arrangement did not include Jermaine, who married Gordy's daughter Hazel and stayed with Motown, creating a rift with the family that lasted for several years). Motown tried to block the deal and stopped the brothers from using the Jackson 5 name. Instead, epic initially placed them with Philadelphia producers Kenny Gamble and Leon Huff. Still, it wouldn't be until 1978's "Destiny" that the Jacksons, with Michael as their primary songwriter, finally took control over their music and rebranded their sound with the dance-tastic hits "Blame It on the Boogie" and "Shake Your Body (Down to the Ground)," while bringing a newly found emotional embellishment in songs like "Push Me Away" and "Bless His Soul." Destiny, however, was just the start. After that, Michael was ready to make significant changes to establish his dominance as a solo artist.    In 1977, Michael moved to New York City to star as the Scarecrow in The Wiz. It costarred Diana Ross, Nipsey Russell, and Ted Ross. The movie was a box-office failure but has gained significant traction as a cult classic. Its score was arranged by a gentleman named Quincy Jones, who later produced three of Michael's solo albums. In New York, Jackson often hung out at the Studio 54 nightclub, where he discovered early hip hop; this influenced his beatboxing on future tracks such as "Working Day and Night." In 1978, Jackson broke his nose during a dance routine. A rhinoplasty led to breathing difficulties that later affected his career.    During this time, he fired his father as his manager and found himself a new father figure, that guy Quincy Jones. Jones was a respected jazz musician, bandleader, composer, and arranger who had worked with Clifford Brown, Frank Sinatra, Lesley Gore, Count Basie, Aretha Franklin, and Paul Simon. In addition, he wrote the film scores for The Pawnbroker, In Cold Blood, and In the Heat of the Night.    Michael liked Quincy's ear for mixing complex hard beats with soft overlayers. "It was the first time that I fully wrote and produced my songs," Jackson said later, "and I was looking for somebody who would give me that freedom, plus somebody who's unlimited musically." Specifically, Michael said his solo album had to sound different than the Jacksons; he wanted a cleaner and funkier sound. These two getting together was history in the making. Quincy brought an ethereal buoyancy to Michael's 5th solo album, Off the Wall, and his soft erotic fever on songs like "Rock With You" and "Don't Stop' Til You Get Enough," and in a fantastic moment like "She's Out of My Life," Where Quincy pulled out and left the intense heartbreak in Michael's voice. The tears in She's Out of My Life are real. Jackson would break down in tears at the end of each studio take. "We recorded about - I don't know - 8 to 11 takes, and every one at the end, he just cried," producer Quincy Jones said. "I said, 'Hey - that's supposed to be, leave it on there.'" The resulting album was a massive hit, selling more than 5 million copies in the U.S. alone by 1985 and producing four top ten singles. It reached number 3 on the Billboard 200 and sold more than 20 million copies worldwide. “Don't Stop Til You Get Enough” was solely written by Michael. He decided to write the song after constantly humming the melody at home.   Michael won three American Music Awards for his solo work in 1980: Favorite Soul/R&B Album, Favorite Soul/R&B Male Artist, and Favorite Soul/R&B Single for "Don't Stop 'Til You Get Enough." He also won a Grammy Award for Best Male R&B Vocal Performance for "Don't Stop 'Til You Get Enough." However, he thought he should have taken away more.  The Doobie Brothers' "What a Fool Believes" won Record of the Year, and Billy Joel's 52nd Street won Album of the Year. Michael was stunned and kind of bitter. "My family thought I was going crazy because I was weeping so much about it," he later said. "I felt ignored and it hurt. I said to myself, 'Wait until next time' – they won't be able to ignore the next album. … That experience lit a fire in my soul."  Michael told Quincy and others that his next album wouldn't simply be more immense than "Off the Wall," it would be the biggest album ever. Man, he wasn't lying.   In 1981, Michael was the American Music Awards winner for Favorite Soul/R&B Album and Favorite Soul/R&B Male Artist. In 1980, he secured the highest royalty rate in the music industry: 37 percent of wholesale album profit.   So what are royalties, you may ask? Music royalties are compensation payments received by songwriters, composers, recording artists, and their respective representatives in exchange for the licensed use of their music.   Michael recorded with Freddie Mercury, the star-studded frontman of future Icons Queen, from 1981 to 1983, recording demos of "State of Shock," "Victory," and "There Must Be More to Life Than This." The recordings were supposed to be for an album of duets, but, according to Queen's manager Jim Beach, the relationship went to crap when Jackson brought a llama into the recording studio. Yes, a llama. Also, Michael was upset by Mercury's drug use. But yet... a llama.  Luckily, those songs were released in 2014. Michael recorded "State of Shock" with Mick Jagger for the Jacksons' album Victory (1984), the fifteenth studio album by the Jacksons. The album was the only album to include all six Jackson brothers together as an official group; also, it was the band's last album to be entirely recorded with Michael as lead singer. In 1982, Michael contributed "Someone in the Dark" to the audiobook for the film E.T. the Extra-Terrestrial.

Las rutas de la música han curado heridas enormes, mortales en muchas ocasiones. Los artistas negros, durante décadas, tuvieron que limitarse a seguir un itinerario marcado por la segregación legal en muchos estados de su país. Hoy abrimos un segmento dedicado al circuito Chitlin’ que tendrá continuidad en próximos podcasts. Además, traemos novedades y noticias muy alegres, todo ello reflejado en esta playlist: Louis Armstrong - Beale Street Blues Ika & Tina Turner - Mojo Queen WC Clark - Let it rain Nat King Cole - Memphis Blues BB King - Nightlife Adelaide Hall - Drop me off in Harlem James Brown - Medley at the Apollo Lucky Millinder - Chitlin’ Switch Princess Leia’s Theme Dennis Johnson - Talk to you Dennis Johnson - Going Down Marcus King - Rescue Me Midnight North - Everyday Letucce - Keep the funk alive Letucce - Gravy Train The Greyboy All Stars - Lady Day and John Coltrane The Greyjoy All Stars - Taxman Bruce Springsteen - Thunder Road Wilco - Tired of talking it out on you Down By Law - 500 Miles Nitty Gritty Dirt Band - Don’t think twice it’s all right Nitty Gritty Dirt Band - The Times They Are A-Changin’ Síguenos en Twitter: @CDSradioShow 💙 Apoya este proyecto desde 1,49€ al mes. Tan solo tienes que pulsar el botón azul que tienes en la cabecera de este canal 💙

Will God answer your prayer if you don't end with, "In Jesus' name, Amen?" Learn what praying in the name of Jesus really means. I taught this week on the call of Abraham and the development of God's missionary call through the nation of Israel as they were responsible to communicate the truth of God to the cultures around them. They were given that great commission. The great commission didn't start in Matthew 28. It started with Abraham in Genesis 12 —the first three verses there —Abraham, chosen by God to raise up a nation who would then be God's priests to the world so that they would be a blessing to all of the nations. They had a unique role in the great monotheistic religion. The Jews were supposed to reflect morality to the world. Israel was to witness to the name of God. When they talked about the name of God and witnessing to God's name, that does not mean that they were to let everybody know what they called God, "Yahweh." Their goal wasn't to cover the countryside with evangelists who just let everybody know what the right word for God was. It meant something different. ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ https://linktr.ee/jacksonlibon -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- #realtalk #face #instagram #amour #take #couple #dance #dancers #vogue #voguedqnce #garden #tiktok #psychology #beyou #near #love #foryou #money #ForYouPizza #fyp #irobot #theend #pups #TikToker #couplegoals #famille #relation #doudou #youtube #twitter #tiktokers #love #reeĺs #shorts #instagood #follow #like #ouy #oyu #babyshark #lilnasx #girl #happybirthday #movie #nbayoungboy #deviance #autotrader #trading #khan #academy #carter #carguru #ancestry #accords #abc #news #bts #cbs #huru #bluebook #socialmedia #whatsapp #music #google #photography #memes #marketing #india #followforfollowback #likeforlikes #a #insta #fashion #k #trending #digitalmarketing #covid #o #snapchat #socialmediamarketing H

Christopher Finan is NCAC's executive director. He previously served as president of the American Booksellers Foundation for Free Expression (ABFE), the bookseller's voice in the fight against censorship. He has been an advocate for free expression since 1982. Prior to joining ABFE, he was executive director of Media Coalition, a trade association that defends the First Amendment rights of producers and distributors of media. He is a former chair of NCAC and Media Coalition. He was a trustee of the Freedom to Read Foundation and received its Roll of Honor Award in 2011.A native of Cleveland, Chris is a graduate of Antioch College. After working as a newspaper reporter, he studied American history at Columbia University where he received his Ph.D.He is the author of From the Palmer Raids to the Patriot Act: A History of the Fight for Free Speech in America (Beacon Press), which won the 2008 Eli Oboler Award of the American Library Association. He also wrote Alfred E. Smith: The Happy Warrior (Hill and Wang) and edited National Security and Free Speech: The Debate Since 9/11 (IDEBATE Press), a reader for high school students. The Hugh M. Hefner Foundation honored the latter with its First Amendment Award. His latest book is Drunks: The Story of Alcoholism and the Birth of Recovery (Beacon Press).Chris is married to Pat Willard, author of several food histories, including America Eats! On the Road with the W.P.A.–The First Fries, Box Supper Socials, and Chitlin' Feasts that Define Real American Food (Bloomsbury).  They have two sons and live in Brooklyn.Christopher M. FinanNational Coalition Against CensorshipHow Free Speech Saved Democracy, Christopher M. FinanSupport the show (https://paypal.me/TheBookshopPodcast?locale.x=en_US)

Known as the Gate City, Greensboro, North Carolina is a transitional town: hub of the Piedmont between the mountain high country to the west and coastal Sandhill Plains to the east, and a city defined by the people who have come, gone, and passed through over the years. As a crossroads location, it has long been a way station for many endeavors, including touring musicians - from the likes of the Rolling Stones and Jimi Hendrix at the Greensboro Coliseum, the state's largest indoor arena, to James Brown and Otis Redding at clubs like the El Rocco on the Chitlin' Circuit. Throw in the country and string band influences from the textile mill towns in the area, and the regional style of the Piedmont blues, and you've got yourself quite the musical melting pot.  This historical mixture was not lost on one of Greensboro's own, Rhiannon Giddens - one of modern day Americana's ultimate crossover artists. A child of black and white parents, she grew up in the area hearing folk and country music, participating in music programs in local public schools, and eventually going on to study opera at Oberlin Conservatory in Ohio. Once she returned to North Carolina and came under the study of fiddler Joe Thompson and the Black string band tradition, she began playing folk music and forged an artistic identity steeped in classical as well as vernacular music. In this episode of Carolina Calling, we spoke with Giddens about her background in Greensboro and how growing up mixed and immersed in various cultures, in a city so informed by its history of segregation and status as a key civil rights battleground, informed her artistic interests and endeavors, musical styles, and her mission in the music industry.    Subscribe to Carolina Calling to follow along as we journey across the Old North State, visiting towns like Durham, Wilmington, Shelby, Asheville, and more. Brought to you by The Bluegrass Situation and Come Hear NC Music featured in this episode: Rhiannon Giddens - "Black is the Color"Andrew Marlin - "Erie Fiddler"Carolina Chocolate Drops - "Cornbread and Butterbeans"The Rolling Stones - "Rocks Off"Count Basie and His Orchestra - "Honeysuckle Rose"Roy Harvey - "Blue Eyes"Blind Boy Fuller - Step It Up and GoRhiannon Giddens, Francesco Turrisi - "Avalon"Carolina Chocolate Drops - "Snowden's Jig (Genuine Negro Jig)"Barbara Lewis -"Hello Stranger"The O'Kaysions - "Girl Watcher"Joe and Odell Thompson - "Donna Got a Rambling Mind"Carolina Chocolate Drops - "Country Girl"Carolina Chocolate Drops - "Hit 'Em Up Style"Our Native Daughters - "Moon Meets the Sun"Rhiannon Giddens, Francesco Turrisi - "Si Dolce é'l Tormento" Cover image: Rhiannon Giddens by Ebru YildizAdvertising Inquiries: https://redcircle.com/brands

We take a counter-racist look at the legacy of Anti-Blackness within U.S. Pop-Culture by way of Music, Film and Television with a focus on Minstrelsy, Vaudeville, Chitlin Circuit and Blue Comedy. All of which displayed Rap, Poetry, Spoken Words and Rhyming as a fundamental element of entertainment tradition. We contend that rap has been a part of U.S. Black Classifieds entertainment tradition from its beginning. We play clips of NPR, Butterfly McQueen, Butterbeans & Susie, Moms Mabley, Mantan Moreland, Pigmeat Markham, Redd Foxx, Lawanda Page, Leroy Daniels and Rudy Rat Moore to add context.

This Friday's Deeper Roots takes another dip into the brass and sass of soul and funk sounds from Duke, Kent, Motown, and beyond. We're taking a bright and soulful circuitous route from Detroit to Memphis, Chicago, Philly, and the Chitlin' Circuit. A little bit of rare soul beach music thrown in with some northern soul. We'll hear from Mitty Collier, Donnie Elbert, Eddie Floyd, Willie Tee and an incredible roster of the known and not-so known from the past century. We'll also pay tribute to Betty Davis, a soul and funk pioneer songstress who we lost this past week. Dial us up every Friday morning at 9 Pacific.

The New Chitlin Circuit is back! Syd & Lex kick of season 3 with 'Real Talk', a wild ride following radio show host Dominique the Dam (played by Jasmine Carmichael.) Hold on to your wigs, because this one is full of twists and turns. Episode Sponsor: BlackOakTV: A black-owned streaming service focused on giving black audiences content they can relate to. Use our code 'CHITLIN' now for 25% off your subscription. Go to blackoak.tv/chitlin Follow The New Chitlin Circuit twitter.com/TNCCpod instagram.com/newchitlincircuit www.thenewchitlincircuit.com The New Chitlin Circuit is the only podcast dedicated solely to highlighting Black, independent film. Every Monday, Syd and Lex review a Black indie, low-budget, or direct-to-tv movie.

In this episode we talk with the King of the Chitlin' Circuit, Bobby Rush. The Grammy award-winning musician has recorded more than 400 songs over the course of five decades in the music industry. His new memoir is I Ain't Studdin' Ya: My American Blues Story.

In this episode we talk with the King of the Chitlin' Circuit, Bobby Rush. The Grammy award-winning musician has recorded more than 400 songs over the course of five decades in the music industry. His new memoir is I Ain't Studdin' Ya: My American Blues Story. 

On this episode of Blues In The Basement, Cookie B and Malvin celebrate the historic sounds of the Chitlin' Circuit as we hear from artists like Buddy Guy, Bobby Rush and more. Make sure to tune into this brand new episode on the KUDZUKIAN app and kudzukian.com.  

Over fifty years after his death, Jimi Hendrix (1942–1970) is celebrated as the greatest rock guitarist of all time. But before he was setting guitars and the world aflame, James Marshall Hendrix was a shy kid in Seattle, plucking at a broken ukulele and in fear of a father who would hit him for playing left-handed. Bringing Jimi's story to vivid life against the backdrop of midcentury rock, and with a wealth of new information, acclaimed music biographer Philip Norman delivers a captivating and definitive portrait of a musical legend.Drawing from unprecedented access to Jimi's brother, Leon Hendrix, who provides disturbing details about their childhood, as well as Kathy Etchingham and Linda Keith, the two women who played vital roles in Jimi's rise to stardom, Norman traces Jimi's life from playing in clubs on the segregated Chitlin' Circuit, where he encountered daily racism, to barely surviving in New York's Greenwich Village, where was taken up by the Animals' bass player Chas Chandler in 1966 and exported to Swinging London and international stardom.For four staggering years, from 1966 to 1970, Jimi totally rewrote the rules of rock stardom, notably at Monterey and Woodstock (where he played his protest-infused rendition of the “Star-Spangled Banner”), while becoming the highest-paid musician of his day. But it all abruptly ended in the shabby basement of a London hotel with Jimi's too-early death. With remarkable detail, Wild Thing finally reveals the truth behind this long-shrouded tragedy.Norman's exhaustive research reveals a young man who was as shy and polite in private as he was outrageous in public, whose insecurity about his singing voice could never be allayed by his instrumental genius, and whose unavailing efforts to please his father left him searching for the family he felt he never truly had. Filled with insights into the greatest moments in rock history, Wild Thing is a mesmerizing account of music's most enduring and endearing figures.Philip Norman is the best-selling biographer of Eric Clapton, Buddy Holly, the Rolling Stones, John Lennon, Elton John, Mick Jagger, Paul McCartney, and Jimi Hendrix. A novelist and a playwright, he lives in London.Purchase a copy of "Wild Thing: The Short, Spellbinding Life of Jimi Hendrix" through Liveright Books/WWNorton: https://wwnorton.com/books/9781631495892Listen to a playlist of the music discussed in this episode: https://open.spotify.com/playlist/1E2qgiPpmVxTSC4rA7qBYl?si=681ed5656179492fThe Booked On Rock Website: https://www.bookedonrock.comFollow The Booked On Rock with Eric Senich:FACEBOOK: https://www.facebook.com/bookedonrockpodcastTWITTER: https://twitter.com/bookedonrockSupport Your Local Bookstore! Find your nearest independent book store here: https://www.indiebound.org/indie-store-finderContact The Booked On Rock Podcast:thebookedonrockpodcast@gmail.comThe Booked On Rock Theme Song: “Whoosh” by Crowander [ https://freemusicarchive.org/music/crowander]The Booked On Rock “Latest Books On Rock Releases” Song: “Slippery Rocks” by Crowander [ https://freemusicarchive.org/music/crowander]

On this episode of On In Five, we cover Jimi Hendrix as he attempted to make a name for himself as a guitarist. We see him make a half hearted attempt to be a military man like his father before him, we see him cut his teeth on the infamous Chitlin' Circuit, and we see just how his unwavering grooviness put him in the perfect position to become one of the biggest musicians of all time.

Bobby Rush, whose outlook on life after years playing in Blues clubs from Louisiana to Chicago, and more recently internationally,  is as positive as it is meaningful. His story is told in his new autobiograpphy I'm not studio ya My American Blues story (Hachette). It is an honor to welcome this Grammy winning artist.  

Enjoy an hour of words and music with the Grammy-winning blues legend Bobby Rush, known as the "King of the Chitlin' Circuit". He and Kyle Long discuss his time performing on Indiana Avenue with Muddy Waters during the early 1950s. Rush has a new book out titled "I Ain't Studdin' Ya: My American Blues Story."

On Episode FIVE of Through These Doors: A FAME Studios Podcast, Rodney Hall is honored to welcome the legendary First Lady of Southern Soul, Candi Staton, for a wildly entertaining talk about her life and hit-making career. From touring the Chitlin' Circuit as a child to topping the charts and being inducted into the Alabama Music Hall of Fame, this is a conversation you won't want to miss.

The Chitlin' Circuit, some early rock 'n' roll, and the fabulous Jackie Shane --- Support this podcast: https://podcasters.spotify.com/pod/show/diane-t-sands/support

In a segregated US, black audiences, entertainers and entrepreneurs established their own network of live performance venues known as the Chitlin' Circuit. Concentrated primarily in the Deep South, it provided many pioneers of modern music with the platform to hone their craft and perfect their style as they travelled the country. Virtually every notable African-American performer from the '30s to the '60s graced the circuit. From famous urban institutions like The Apollo Theater in New York or The Howard Theatre in Washington D.C, to a run-down barn on a country back-road. It was in these settings, amidst a backdrop of segregation, that the sounds of rhythm and blues and rock'n'roll emerged and evolved, long before they captivated the world. Bobby Rush shines a light on a hugely influential network of venues that paved the way for rock'n'roll and shaped music history.

Part of Us by Ray Neapolitan ​In the music community I was involved in, there was no discrimination, there were no barriers. I don't remember playing an event or with a band where there were a lot of social comments. ​We looked up to the black musicians; they were always a part of us. Especially growing up in Chicago—those guys were my idols. We never held fear or prejudice in our neighborhoods, or our families or our schools. Obviously there was a lot going on, but not in my Italian/Black/Jewish neigh-borhood. They were just part of us. ​For a small period of time, Bill Goodwin and I worked with The Treniers, a totally black Chitlin' Circuit band. They were twin brothers: Cliff and Claude. It had that Louis Prima kind of vibe. ​We traveled a lot with one of the family members named Milt through the South. We'd stay in people's homes. In 1958 there were separate bathrooms. Bill and I did have to go into certain places to get sandwiches for everybody. ​When we played in front of an all-black audience, they accepted Bill and me. Sometimes Danny Long was with us, so it would be a white trio behind this black band. We never felt any discrimination. It was wonderful.

19th Street Red - Ramblin' On My Mind Gare du Nord – Pablo’s Blues Otis Spann with Muddy Waters and His Band – Tin Pan Alley - Live The Life - 1997 Hendrikse - Your Arms Will Keep Me Warm (feat. Jumping Matt & Piet Tromp) - A Good Day For The Blues – 2021 Big Joe Shelton – Chitlin lovin man - Black Prairie Blues – 2021 Sir Oliver Mally Group - Bleeding Sunshine (Feat. Raphael Wressnig & Hubert Hofherr) - Tryin' To Get By – 2021 Robert Finley - Country Boy The Reverend Shawn Amos - I'm Ready Christina Skjolberg - My Man Alastair Greene - Heroes (Acoustic Version) Blackberry Smoke - Hey Delilah Robert Jon & The Wreck – Last Light on the highway part 1 and 2 - Last Light On The Highway - 2020 Sunday Wilde – Shake that man

Good News-Stand Up Comedy is coming back!Interview-Comedian, actor and author Wayne Federman discusses his new book, the History of Stand-Up: From Mark Twain to Dave Chapelle, including:* Old Time Radio* Late Night TV* Strip Clubs* Richard Pryor* Marvelous Mrs. Maisel* Lenny Bruce* The "Chitlin' Circuit"* Dick Gregory* Moms Mabley* Maria Bamford* Janeane Garofalo* George Carlin* Garry Shandling* And more!Parody-Fake promo for the Silent Comedy Podcast.Buy the History of Stand-Up by Wayne Federman on Amazon.Review the PodcastThank you for listening to the Daily Detour. May we ask a small favor? Would you please write a review on Apple Podcasts? It will help more listeners find this program that you are enjoying. Or are at least tolerating. Thank you so much!Daily Detour ShopConsider supporting the Daily Detour with a purchase from our Tee Public shop. Funny shirts, lifestyle shirts and yes, shirts with the damn podcast logo.Tees and hoodies that are perfect for Spring.  Also: Coffee and travel mugs for work and home.The Daily Detour now has a blog! Lots of NEW content, plus text versions of things you heard on the podcast, with additional info and commentary. Weekly word-search puzzles. And lovely full-color pictures! Check it out here.Daily Detour on YouTube  Videos, live-streams and bonus content. Check it out here.Dig Deeper  Dan's website has all kinds of audio, video and pics to check out.

1 Hip hug her Mongo Santamaria 02:53 2 Troubles of the World The Christian Harmonizers 03:02 Greg Belson's Divine Funk: Rare American Gospel Funk and Soul 3 If I Could Reach Out Otis Clay 02:55 Royal Memphis Soul 4 Loop de Loop Happy Junior/I.Q.S 02:57 Muzik City: The Story of Trojan Disc 3 5 Love Power Dusty Springfield 02:11 6 That's The Way It Is Al Green 03:45 Full Of Fire 7 Don't Let Go Tony Borders 02:10 Cheaters Never Win 8 In The Basement Etta James & Sugar Pie DeSanto 02:25 The Chess Story 1947-1975 (1965-1966) (Disc 11) 9 What You Got (Is Good For Me) Soul Brothers Six 02:42 Blues & Soul Power 10 Lean Lanky Annie Little Annie 02:08 Raw Soul 11 I Don't Need No Doctor Ray Charles 02:30 Singular Genius: The Complete ABC Singles CD3 12 Sunrise Revolution ROBIN TROWER, MAXI PRIEST, LIVINGSTONE BROWN 05:28 United State of Mind 13 Inner City Blues (Live at The Stage - Miami, Florida, 1981) Marvin Gaye 05:01 The Prince of Soul (Live) 14 My People Cha Wa 03:51 My People 15 Crazy Water Was (Not Was) 04:49 Boo! 16 Synthetic World Jimmy Cliff 03:38 Goodbye Yesterday (Limited Edition) 17 Lonely Swamp Dogg 02:39 Love, Loss, and Auto-Tune 18 Write a Letter DeRobert & The Half-Truths 03:45 I'm Tryin' 19 We The People Who Are Darker Than Blue Curtis Mayfield 06:01 Curtis 20 Perfect Harmony El Michels Affair 02:13 Yeti Season 21 Ulterior Motives (feat. Brinsley Forde, Bongo Herman & Don Camel) Roots Radics & Sly & Robbie 03:51 The Final Battle: Sly & Robbie vs. Roots Radics 22 Sympathy for the Devil Bernard Fowler 05:42 Inside Out 23 Facing Death Afrikän Protoköl 06:22 Beyond the Grid 24 Love Will Tear Us Apart Hot 8 Brass Band 03:37 Love Will Tear Us Apart 25 Sucker Punch Connie Price and The Keystones 04:32 Wildflowers 26 I need a man prince 05:34 27 Chitlin' Strut The Backyard Heavies 02:50 Crescent City Funk and More... 28 Your Mama Wants You Back Mahalia Barnes & The Soul Mates 04:29 Ooh Yea!: The Betty Davis Songbook 29 Hold On Tight (Feat Alice Russell) The Quantic Soul Orchestra 04:22 Pushin' On 30 Yesterday I Had the Blues Harold Melvin & The Blue Notes 07:34 Harold Melvin & the Blue Notes

This was one amazing interview as the guys talk about their past working in the Music Industry & Present Topics: How was it starting out with a Top of the charts Record, touring in the beginning (The Chitlin.Circuit), The Sacrifice and Dedication figuring it all out, Bust it Records and Capitol Records, Award Shows, Family first and sticking together. #middletownny #podcast #Ladimiz #rnbmusic #ascap #bmi #livemusic #bayarea #specialgeneration4life #music Instagram: Host: @ladimiz also. Ray Merriman @bronx_navyboy From The Ground Up Productions Sponserd by Btpmediagroup / @btpmediagroup Group Links: Maquet Robinson / @maquet_specialgeneration Kendrick Washington / @soulofkendrick Fernando Allen / @Fernando.allen Maurice Dowdell / @specialgeneration4life Charles Salter / @specialgeneration4life Website for fans www.specialgenerationmusic.com Booking : SpecialGMusic@gmail.com

In this week's episode the fellas continue their celebration of Black History Month with and in-depth look at The Chitlin' Circuit. The Chitlin' Circuit was a series of venues predominantly in the South. These venues were mostly black owned and operated and provided a place for black musicians to play during Jim Crow while they were excluded from many of the nations white owned venues. The Chitlin' Circuit is another example of how black people in America used art, creativity, and entrepreneurship as a form of resistance. We hope you enjoy learning about the background of The Chitlin' Circuit and hear some of its greatest performers. 

X & Van talk the BIG reveal in #WandaVision. Plus Supergirl coming to the Flash movie, Blue Beetle, King in Black, and more this week.

Sarah Dash defines the word "legend." As an award-winning vocalist, songwriter, motivational speaker, educator, entrepreneur, and humanitarian, Sarah is a unique force whose voice has touched millions of listeners around the world. From co-founding Patti LaBelle & the Bluebelles and making history as a member of Labelle to becoming the very first Music Ambassador (2017) of Trenton, New Jersey, Sarah has blazed a trail in every facet of her remarkable career. Music has been a constant source of inspiration in Sarah's life ever since her childhood in Trenton. The seventh of thirteen children born to Elder Abraham Dash and Mother Elizabeth Dash, Sarah sang in the Trenton Church of Christ Choir as a young girl and entertained her classmates with renditions of standards like "With These Hands." The radio dial introduced her to everything from R&B and rock 'n' roll to country and polka, with the voices of Tina Turner, Gladys Knight, and Smokey Robinson shaping some of Sarah's earliest influences alongside albums by Mahalia Jackson, Nat "King" Cole, Andy Williams, and her brother's jazz collection. Doo-wop groups The Capris and The Dells inspired the name of Sarah's first group, the Del-Capris, which included another Trenton-based singer, Nona Hendryx. When Sarah and Nona teamed with Patricia (Patti) Holte and Cynthia (Cindy) Birdsong of The Ordettes, a new group was born — The Bluebelles. Beginning in 1962, Patti LaBelle & the Bluebelles were among the most dynamic vocal groups of the 1960s, recording for major labels like Cameo-Parkway and Atlantic, touring the Chitlin' Circuit, and earning rave reviews for their appearances at the Apollo Theater where they were affectionately nicknamed "The Sweethearts of the Apollo." Four years after Cindy Birdsong left the Bluebelles to join Diana Ross & the Supremes, Sarah, Patti, and Nona signed with Warner Bros., unveiling a new name and a new style on Labelle (1971) and Moon Shadow (1972), and recording with acclaimed singer-songwriter Laura Nyro on Gonna Take a Miracle (1971). Working with manager and former Ready Steady Go! producer Vicki Wickham, the trio began writing their own songs and geared their sound towards a progressive fusion of rock and soul. With the release of Pressure Cookin' (1973) on RCA, Labelle transformed into funk-rock goddesses outfitted in fashion-forward couture. A trio of albums on Epic Records, the gold-selling Nightbirds (1974), Phoenix (1975), and Chameleon (1976), sparked Labelle's breakthrough to mainstream success. They topped the Hot 100 with "Lady Marmalade," graced the cover of Rolling Stone, sold out theaters across the country, and made history as the first black group to perform at New York's Metropolitan Opera House. After Labelle parted ways in 1977, Sarah embarked on a successful solo career. She acted in and wrote the theme song to Watch Your Mouth! (1978), a PBS series produced by Ellis Haizlip (Soul!) that also starred Joe Morton (Scandal). She released three albums on CBS-distributed Kirshner Records, Sarah Dash (1978), Oo-La-La (1980), and Close Enough (1981), scoring a massive disco hit with "Sinner Man," which featured Jerry Butler. Throughout the '80s and '90s, she recorded a series of club singles, including "Low Down Dirty Rhythm," plus her fourth solo effort You're All I Need (1988) on EMI-Manhattan Records. Her highly accalimed Gospel project featured several of her own self-penned tracks, including "I'm Still Here," which has since become a show-stopper of her concerts. In between producing her one-woman stage shows, "Dash of Diva" and "Sarah: One Woman," Sarah brought her talent to several different projects. Having worked with a variety of acts like Living Colour, Nile Rodgers, Alice Cooper, The Marshall Tucker Band, The O'Jays, Wilson Pickett and Bo Diddley over the years, she toured and recorded with Keith Richards' X-Pensive Winos and appeared on the Rolling Stones' Steel Wheels (1989) album. She reunited with Patti and Nona for the #1 club hit "Turn It Out" (1995), received the Rhythm & Blues Foundation's "Pioneer Award" in 1999, and recorded the Labelle reunion album Back to Now (2008), featuring productions by Lenny Kravitz, Wyclef Jean, and Kenny Gamble & Leon Huff. In 2017, the members of Labelle were inducted to the Philadelphia Music Alliance's Music Walk of Fame. She's a member of the Grammy Board of Governors (Philadelphia chapter), serves as the Grammy New Jersey Ambassador for the Advocacy Board of the Membership Committee, and is a member of the Grammy Hall of Fame (2003), as well as the Board of Trustees for the New Jersey Capital Philharmonic Orchestra. Most recently, she joined fellow legends at the Apollo Theater for the Jazz Foundation of America's salute to singer Merry Clayton. Sarah Dash has built on a legacy that traces more than 50 years of music. Like the greatest music legends, there is truly no limit to the inspiration Sarah Dash brings to every note she sings.

On this episode of Blues In The Basement, Cookie B and Leon celebrate some of the greatest hits performed at the Chitlin' Circuit. We hear from greats like Johnny Taylor, Bobby Blue Bland, and many more. Make sure to tune into this brand new episode on the Kudzukian app and kudzukian.com  

A shattering new biography of rock music’s most outrageous―and tragic―genius. Over fifty years after his death, Jimi Hendrix (1942–1970) is celebrated as the greatest rock guitarist of all time. But before he was setting guitars and the world aflame, James Marshall Hendrix was a shy kid in Seattle, plucking at a broken ukulele and in fear of a father who would hit him for playing left-handed. Bringing Jimi’s story to vivid life against the backdrop of midcentury rock, and with a wealth of new information, acclaimed music biographer Philip Norman delivers a captivating and definitive portrait of a musical legend. Drawing from unprecedented access to Jimi’s brother, Leon Hendrix, who provides disturbing details about their childhood, as well as Kathy Etchingham and Linda Keith, the two women who played vital roles in Jimi’s rise to stardom, Norman traces Jimi’s life from playing in clubs on the segregated Chitlin’ Circuit, where he encountered daily racism, to barely surviving in New York’s Greenwich Village, where was taken up by the Animals’ bass player Chas Chandler in 1966 and exported to Swinging London and international stardom. For four staggering years, from 1966 to 1970, Jimi totally rewrote the rules of rock stardom, notably at Monterey and Woodstock (where he played his protest-infused rendition of the “Star-Spangled Banner”), while becoming the highest-paid musician of his day. But it all abruptly ended in the shabby basement of a London hotel with Jimi’s too-early death. With remarkable detail, Wild Thing finally reveals the truth behind this long-shrouded tragedy. Norman’s exhaustive research reveals a young man who was as shy and polite in private as he was outrageous in public, whose insecurity about his singing voice could never be allayed by his instrumental genius, and whose unavailing efforts to please his father left him searching for the family he felt he never truly had. Filled with insights into the greatest moments in rock history, Wild Thing is a mesmerizing account of music’s most enduring and endearing figures.

A shattering new biography of rock music’s most outrageous―and tragic―genius. Over fifty years after his death, Jimi Hendrix (1942–1970) is celebrated as the greatest rock guitarist of all time. But before he was setting guitars and the world aflame, James Marshall Hendrix was a shy kid in Seattle, plucking at a broken ukulele and in fear of a father who would hit him for playing left-handed. Bringing Jimi’s story to vivid life against the backdrop of midcentury rock, and with a wealth of new information, acclaimed music biographer Philip Norman delivers a captivating and definitive portrait of a musical legend. Drawing from unprecedented access to Jimi’s brother, Leon Hendrix, who provides disturbing details about their childhood, as well as Kathy Etchingham and Linda Keith, the two women who played vital roles in Jimi’s rise to stardom, Norman traces Jimi’s life from playing in clubs on the segregated Chitlin’ Circuit, where he encountered daily racism, to barely surviving in New York’s Greenwich Village, where was taken up by the Animals’ bass player Chas Chandler in 1966 and exported to Swinging London and international stardom. For four staggering years, from 1966 to 1970, Jimi totally rewrote the rules of rock stardom, notably at Monterey and Woodstock (where he played his protest-infused rendition of the “Star-Spangled Banner”), while becoming the highest-paid musician of his day. But it all abruptly ended in the shabby basement of a London hotel with Jimi’s too-early death. With remarkable detail, Wild Thing finally reveals the truth behind this long-shrouded tragedy. Norman’s exhaustive research reveals a young man who was as shy and polite in private as he was outrageous in public, whose insecurity about his singing voice could never be allayed by his instrumental genius, and whose unavailing efforts to please his father left him searching for the family he felt he never truly had. Filled with insights into the greatest moments in rock history, Wild Thing is a mesmerizing account of music’s most enduring and endearing figures.

Trump dies! Biden wins, gets a COVID shot!  Trump thinking he's a turkey, tries to fuck, then pardon, himself. Plus, racist,  murdering Vallejo  cops; the Chitlin' Circuit of old Jim Crow America; MacKenzie Scott redefines philanthropy, gives $6 billion to those who need it the most, no strings. And, I'm on Facebook. Just go to Facebook.com and look for me there. Also, you can email me at henrygmark@gmail.com. Your comments are welcome!Content Warning (CW): This podcast is intended for listeners 18 or older. It talks about racial violence, civil rights struggles, injustice, antiracism and violence toward women using strong language and is uncensored. If this is upsetting or triggering for you, please stop, scroll ahead in the episode, or avoid listening to the episode entirely. Thank you.

Hi Folks, N's are back with long one...pun intended. We talk about: Eating Chitterlings, https://armagazine.com/3gSpmNrJake Paul Knocking out Nate Robinson, https://bit.ly/3nqZQBtEagles Suck…Ice Cube Melted?Evaluating Kevin Hart’s New Stand Up, https://bit.ly/3akwBMOMike Tyson vs Roy Jones Jr Fight ReviewNBA PreviewCOVID Update, https://bloom.bg/3nxpEvOElection UpdateSneaker Review, https://bit.ly/2WzTwfbDoes Russel Westbrook Stat Pad, https://bit.ly/3amXtf5Year of WayneIs French Montana Overstepping?, https://bit.ly/2IUYK1CFuture Pod Talk Thanks and Happy Holler Days!!! Real Ni99a Reading List, https://forms.gle/EBVvLNdhTTQHaciB7E-mail Us: realni99apod@gmail.comTweet Us: @realniggapodDM Us: @trnpodcastSupport with Us: Philly Bail Fund

On this week's pod, Leo and Steve are honoured to be joined by Blues legend and King of the Chitlin' Circuit, Mr Bobby Rush. Bobby discusses his early years, persuading Elmore James to become his guitarist, forming a band with Freddie King, spending time in the studio with Howlin Wolf and much more. Finally, it wouldn't be Eclectica if Bobby didn't discuss his fantasy dinner guests and chosen bard.

James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American musician, singer, and songwriter. Although his mainstream career spanned only four years, he is widely regarded as one of the most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century. The Rock and Roll Hall of Fame describes him as "arguably the greatest instrumentalist in the history of rock music". Born in Seattle, Washington, Hendrix began playing guitar at the age of 15. In 1961, he enlisted in the US Army, but was discharged the following year. Soon afterward, he moved to Clarksville, Tennessee, and began playing gigs on the Chitlin' Circuit, earning a place in the Isley Brothers' backing band and later with Little Richard, with whom he continued to work through mid-1965. He then played with Curtis Knight and the Squires before moving to England in late 1966 after bassist Chas Chandler of the Animals became his manager. Within months, Hendrix had earned three UK top ten hits with the Jimi Hendrix Experience: "Hey Joe", "Purple Haze", and "The Wind Cries Mary". He achieved fame in the US after his performance at the Monterey Pop Festival in 1967, and in 1968 his third and final studio album, Electric Ladyland, reached number one in the US. The double LP was Hendrix's most commercially successful release and his first and only number one album. The world's highest-paid performer, he headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970 before his accidental death in London from barbiturate-related asphyxia on September 18, 1970, at the age of 27. © Radio Free Miami

Sarah Dash defines the word "legend." As an award-winning vocalist, songwriter, motivational speaker, educator, entrepreneur, and humanitarian, Sarah is a unique force whose voice has touched millions of listeners around the world. From co-founding Patti LaBelle & the Bluebelles and making history as a member of Labelle to becoming the very first Music Ambassador (2017) of Trenton, New Jersey, Sarah has blazed a trail in every facet of her remarkable career. Music has been a constant source of inspiration in Sarah's life ever since her childhood in Trenton. The seventh of thirteen children born to Elder Abraham Dash and Mother Elizabeth Dash, Sarah sang in the Trenton Church of Christ Choir as a young girl and entertained her classmates with renditions of standards like "With These Hands." The radio dial introduced her to everything from R&B and rock 'n' roll to country and polka, with the voices of Tina Turner, Gladys Knight, and Smokey Robinson shaping some of Sarah's earliest influences alongside albums by Mahalia Jackson, Nat "King" Cole, Andy Williams, and her brother's jazz collection. Doo-wop groups The Capris and The Dells inspired the name of Sarah's first group, the Del-Capris, which included another Trenton-based singer, Nona Hendryx. When Sarah and Nona teamed with Patricia (Patti) Holte and Cynthia (Cindy) Birdsong of The Ordettes, a new group was born — The Bluebelles. Beginning in 1962, Patti LaBelle & the Bluebelles were among the most dynamic vocal groups of the 1960s, recording for major labels like Cameo-Parkway and Atlantic, touring the Chitlin' Circuit, and earning rave reviews for their appearances at the Apollo Theater where they were affectionately nicknamed "The Sweethearts of the Apollo." Visit SarahDash.net for more info

Back in the 50s and 60s you could find no more Racist state in America than Alabama. Swampland and urban squalor blacks getting hosed down and the overt fears of one race towards another was revealed. These overt acts of hostility provided character development from folks like my guest who grew up playing black clubs on the Chitlin circuit. Because of the communal/spiritual nature of music it pushed back against the epidemic of Rascism. It strove for love in this case trust with a fallen Allman Duane that is as the band decided to go with a lead piano player alongside the gun slinger Dickey Betts. This was gutbucket music mixing Appalacia/Dixie/Blues/Cajon/Swamp/funk/ down @ Capricorn Records..... This laid back boogie woodie permeated my guest as he became connected with Grandmother Earth tending farms in Georgia learning about the earth, how to heal it...bring the Sea Level Down just a little because the Fever's always there. Playing the same chromatic scales over and over again until the audience got the point tripping their faces off after a 21 min mountain jam. Or branching of to play with the Stones or Eric Clapton. Chuck Leavell Welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American musician, singer, and songwriter. Although his mainstream career spanned only four years, he is widely regarded as one of the most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century. The Rock and Roll Hall of Fame describes him as "arguably the greatest instrumentalist in the history of rock music". Born in Seattle, Washington, Hendrix began playing guitar at the age of 15. In 1961, he enlisted in the US Army, but was discharged the following year. Soon afterward, he moved to Clarksville, Tennessee, and began playing gigs on the Chitlin' Circuit, earning a place in the Isley Brothers' backing band and later with Little Richard, with whom he continued to work through mid-1965. He then played with Curtis Knight and the Squires before moving to England in late 1966 after bassist Chas Chandler of the Animals became his manager. Within months, Hendrix had earned three UK top ten hits with the Jimi Hendrix Experience: "Hey Joe", "Purple Haze", and "The Wind Cries Mary".  He achieved fame in the US after his performance at the Monterey Pop Festival in 1967, and in 1968 his third and final studio album, Electric Ladyland, reached number one in the US. The double LP was Hendrix's most commercially successful release and his first and only number one album.  The world's highest-paid performer, he headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970 before his accidental death in London from barbiturate-related asphyxia on September 18, 1970, at the age of 27.

As I continue (as a middle-aged white dude) to attempt to learn more about Black History, Culture, and issues, a friend of mine suggested I watch the TV show Black AF on Netflix as there is always a hidden history lesson.   (a writer and producer)  plays a television writer and producer (named Kenya Berris). In one episode the main character (who is a movie and television creator) is worried about giving feedback to a fellow black creator, and also is worried about what others might think about his films and content. In sone scene, Kenya meets Tyler Perry who might know from his movies feature Madea. This is a character played by Perry. She is a tough, elderly African-American woman. She 6'2" and 365 lbs. Diary of a Mad Black Woman—2005 Madea's Family Reunion—2006 Meet the Browns (cameo)—2008 Madea Goes to Jail—2009 I Can Do Bad All by Myself—2009 Madea's Big Happy Family—2011 Madea's Witness Protection—2012 A Madea Christmas—2013 Boo! A Madea Halloween—2016 Boo 2! A Madea Halloween—2017 A Madea Family Funeral—2019 Transcript from Black AF Featuring Tyler Perry In the episode, Kenya asks about the website Rotten Tomatoes. ---- Kenya Barris: Go to Rotten Tomatoes. Tyler Perry: But let me just tell you about the tomatoes. I don't fuck with 'em. Kenya Barris: No tomatoes? Tyler Perry: I don't give a damn about a rotten or a fresh none of that means shit to me. Kenya Barris: That's amazing. What about critics? Tyler Perry: I don't give a fuck Kenya Barris: I guess that's amazing. Tyler Perry: Can I just tell you why? Listen, man, I know that I'm telling stories that my folks want to see. I'm talking from our point of view. We're speaking a language. We're speaking a shorthand that we get, and that white people don't necessarily get. Nina Simone said this and I never forgot that she said, "You will use up everything you got trying to give everybody what they want." You got to focus man you know what I do? I super serve my niche. We speak like we're talking we know each other - we get it. There's a lot of times I see shit that wins Oscars and I be like, what is this shit? I walked out halfway through it. I don't get it.  I feel like they feel the same way about my work. They don't get it, which is all cool. My mother born in Jim Crow South In Louisiana, right down the street from Mississippi where Emmett Till was murdered. She told me the value of being who I am of my blackness. She said, "Don't you ever let anybody tell you who you are, you know who you are, you know where you come from." I watched her stories, I watched her struggles and that's what I'm telling. I'm telling the stories that I come from, and that's why they're winning. Because people are recognizing themselves in these stories, no matter how crass that people think they are, no matter what the critics are saying, Oh, I don't get this shit. I don't understand what is. I don't give a fuck because I'm talking to us. That's why millions of people are watching my shows every week. That's why people keep showing up and sending the movies to number one. I'm talking to us connecting with us. You know, I'm saying? Let me tell you what you're doing, you're trying to get them to approve you. That's when I don't get why niggas run around trying to get white folks, "Please tell me I'm special. Oh, give me your Oscar. Oh, let me know I'm all of these things that you want me.." Fuck that. Tell your story. Live in your own life in your own culture. Tell your own experience. Ain't nobody gonna tell you how to be you. You hear what I'm saying? Kenya Barris: I do man. I really fucking do. Tyler Perry: Good. ---- Now keep in mind that this is Kenya Berris playing himself and the same for Tyler Perry, but the more I got into researching Tyler Perry the move I loved his message. It's Not How You Start - It's How you Finish Tyler grew up in Louisiana with his mother and an alcoholic father who would beat both he and his mother. His Success Didn't Come Overnight Tyler started with plays. His first play cost $12,000 to put on. He expected to get 1200 people, and instead he got 30. It Starts With Knowing Your Audience Tyler Perry knows white critics are not going to get his movies. He doesn't care because he got feedback from someone who saw the movie "Diary of a Mad Black Woman" and she said, "In two hours, you got my sister to do what we've been trying to do for twelve years - leave an abusive relationship." (source) His Attitude on Feedback In his book Higher is Waiting, he states, "What's more, you need some naysayers in your life. You need people to challenge your point of view. Your job is to look for the truth in their negativity. For instance, sometimes I'll get a bad review. And my first defensive reaction is to think it's completely off the mark. Once I give myself a moment and allow my initial reaction to be released, I'll read it again to see if there's anything I can learn from the review. If it's pure vitriol, well, I let it go. But if there's some truth, even a kernel, I'll use what's written to be better at what I do. I can take constructive criticism." It Took Seven Years to Start to Catch On Tyler mentions how each year he would work different jobs, saving his money so he could put his play I Know I've Been Changed on in a theater. Upon the seventh year, he started to get feedback from attendees saying how much they enjoyed the play. It would go on tour from 1998-2000. He Went To Where His Audience Was Perry continued to create new stage productions, touring with them on the so-called "Chitlin' Circuit" (now also known as the "urban theater circuit") and developing a large, devoted following among African-American audiences. In 2005, Forbes reported that he had sold "more than $100 million in tickets, $30 million in videos of his shows and an estimated $20 million in merchandise", and "the 300 live shows he produces each year are attended by an average of 35,000 people a week." He is Brave and Shares His Faith If you interview Tyler Perry he will say his success is due to one thing. The grace of God. He knows saying "Jesus" is not a popular thing to do in mainstream media. But it's not to his audience. In a survey in 2007 by the Pew Research Center's Forum on Religion & Public Life, the African-American population was found to be more religious than the U.S. population as a whole, with 87% of its members being affiliated with a religion, and 79% of them saying that "religion is very important in their life", in contrast to 83% and 56% of the whole US. population, most of which is Christian, with 83% of black Americans identifying as Christian, including 45% who identify as baptist. He Owns All of His Material While many podcasters are looking to be on a big network, Tyler Perry went direct. He rented theaters for his plays. He wrote, acted, and directed his content. Why? His father was a carpenter and he would see his father build a house and get paid $8,000 while to owner/seller of the house got $80,000. Perry's films are co-produced and distributed by Lions Gate Entertainment; he retains full copyright ownership under the corporate name Tyler Perry Films, and places his name in front of all titles. Perry's movies have seen very limited release outside North America, but in May 2010, Lionsgate announced plans to begin releasing his films in the United Kingdom. He Gives Back to His Community His dream was to own his own studio. He bought land in Atlanta Georgia that was previously a confederate fort that made plans to keep 3.9 million negros enslaved, and he put built it there so other black children could see "that the land is now owned by one negro." (source) Mentioned in This Episode www.reviewsandrandomness.com Question of the Month Indie Pod Con Tyler Perry Spring Tuskegee Commencement Speech Tyler Perry Gives Powerful Speech Of Motivation As He Accepts Ultimate Icon Award | BET Awards 2019 Avoid Overwhelm - Start Your Podcast Today Get access to the private Facebook group, the step by step tutorials, and access to live group coaching, and me! http://www.schoolofpodcasting.com/start  

Living Room Blues Special with The Chitlin Crew

Five-Time GRAMMY nominee and member of the Alabama Music Hall of Fame (among other halls of fame) Candi Staton has seen a lot in her 80 years. From growing up in Alabama singing in church to becoming a star of the Chitlin' Circuit to recording influential records with the late great Rick Hall at FAME Records in Muscle Shoals to surviving multiple instances of domestic abuse and rising to become an outspoken leader against abuse, Candi's perseverance is nothing short of amazing. Bill spoke with her about her life as the First Lady of Southern Soul and her two new records supporting today's civil rights protests. Warning: this episode contains detailed accounts of domestic abuse.

Cam is back in the League like he never left with the Master behind him in New England We play the name game again but same hilarious results Co Owner of the Atlanta Dream is dreaming of a world where black protesters don't have guns Mississippi did the right thing not cause they wanted but cause they had to with the State Flag New Segment called Punt It or Bunt It Remember our store at: https://teespring.com/stores/sfth-fan-shop --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Rev. Celeste's guest is Rev. "Queen" Michelle Jordan, powerful vocalist, musical theater actress, passionate vocal teacher and choir director. Celeste mentions the California Arts Council Grant (http://arts.ca.gov/opportunities/grants.php) Rev. Michelle received for Vocal Music in schools, and the Critics Circle Award for her portrayal of Effie in "Dreamgirls" (https://www.eastbaytimes.com/2007/06/10/berkeley-bred-singer-taking-perfect-path-toward-broadway/). The real topic of discussion is Gratitude. Rev. Celeste weaves gratitude through questions. Some interesting discoveries include: Rev. Deborah Johnson's (https://www.innerlightministries.com/about-us/rev-deborah-johnson/) call for gratitude at a graduation ceremony.The murder of Ahmaud Aubery (https://www.usnews.com/news/top-news/articles/2020-05-21/third-suspect-charged-with-murder-of-georgia-unarmed-black-jogger) retraumatizing Michelle around the murder of her nephew Terrence McCrary (https://www.berkeleyside.com/2016/08/15/in-loving-memory-of-terrence-mccrary-1993-2016); and how her sister, Florence McCrary is a voice for those who have lost their children to gun violence (https://www.berkeleyside.com/2017/09/21/1-year-berkeley-artists-killing-still-unsolved-despite-25000-reward)The Center for Spiritual Living San Jose's Halloween in 1998 and a famous fictional character portrayed (https://www.distractify.com/trending/2017/10/20/1hRg09/twitter-aunt-jemima)Her Episcopalian minister grandfather who stowed away on a boat from Accra, Ghana to England, the discovery of her family name Lamitsoi (pronounced Lamtray) and her daughter's discovery of her name on a trip to GhanaMichelle's soul kinship with Rosetta Tharpe (https://www.npr.org/templates/story/story.php?storyId=9278355) The Chitlin' Circuit (https://medium.com/@richardkyu/chitlin-circuit-blues-culture-and-american-culture-785c913d5add)Director Toney Haney spotting her soul when she thought she was Deena, but he saw her as Effie (https://www.broadwayworld.com/people/Anthony-J.-Haney/)Michelle's email sign-off: "I'm happy because I sing" (William James quote attributed to Tom Paxton)How having a song to prepare protects her from negative energy and protects her soulMichelle being anchored by the song and being liberated by the song"We Are Going" (https://www.lyrics.com/lyric/1534428/Book+of+Love/Woyaya), a song from Ghana), in Ga (https://omniglot.com/writing/ga.htm), the language of her ancestors, and the song lyrics' relationship to our Covid-19 experienceThe Q Process (created by Rev. Dr. Gary Simmons) (https://omniglot.com/writing/ga.htm) the practice that no one is against you.Support the show (http://paypal.me/rev107)

On this episode of Night Talk With TC, TC talks bout hitting the road and getting himself ready for the "Chitlin' Circuit" --- Support this podcast: https://anchor.fm/nighttalkwithtc/support

Full transcript:Antifa or Antifa, depending where you live in this country, the anti-fascist who go mask into demonstrations, why are they masked? They do not want to be identified. Antifa has always been a buzzword. In the media, a buzzword is a word or phrase that becomes very popular for a period of time. They will move quickly and talk about Antifa this, this, uh, uh, group that's been identified on the far left.Um, how do we read that? And just today, the president Trump has declared Antifa as a terrorist organization. And that's the reason why today. We're gonna focus, um, Antifa and whether you call them Antifa or Antifa, the group has become a relatively recent buzz word in the news. Yet the antifascist movement has been around for nearly a century.So what exactly is the modern Antifa and where does it come from? Well, historically anti fascism has been defined as a reactive and Milton opposition to fascist groups in power.According to Merriam Webster, the definition of Antifa Antifa is a person or group actively opposing fascism. The second definition is an anti fascist movement. An example from tart Chitlin would be. Antifa is the backlash to the backlash at defensive response to the growing presents of right wing extremism.The first known use is 1946 in the meaning defined at the first definition, and from the etymology point of view, Antifa was borrowed from German. Antifa short for anti-fascist dish in anti-fascist tissue act tune, meaning multi-party front initiated by the German communist party in 1932 to counter narcissism.Pivot of, you call it whatever you want, but they're people that want free speech. If you look at what's going on with free speech with the super left. With Antifa with all of these characters. I'll tell you what, they get a lot of publicity, but you go to the real campuses and you go all over the country.You go out to the middle West, you go out even to the coast in many cases, uh, we have a tremendous support. I would say we have majority support. I think it's highly overblown, highly over. I totally agree. And we see it on the ground and some people say, Hey, I'm, did you recognize that voice? Have a guess.So guys, that's it for today. I'm Daniel Goodson. Thank you very much for tuning in. Bye. We could even engage in some light and gun-free fact checking every now and then you could while your friends online by being the first to figure out that this supposed image of a. Antifa demonstrator beating a policeman in Charlottesville was actually an altered photo of Greek protests taken years earlier.https://www.youtube.com/watch?time_continue=3022&v=tHlDx2DZcC8&feature=emb_logoInsurgency from Below: Activism in the Trump EraThe Graduate Center, CUNYhttps://www.youtube.com/watch?time_continue=451&v=nKYHllgoErY&feature=emb_logoShields and Brooks on John McCain's patriotism, Florida election upsetsPBS NewsHour https://www.youtube.com/watch?time_continue=53&v=kRXlAu1Pjsg&feature=emb_logoAntifa's Violent History Explained | NowThis WorldNowThis World 5https://www.youtube.com/watch?time_continue=547&v=2dAcxXvay-U&feature=emb_logoPresident Trump Participates in a Panel Discussion at the Generation Next SummitThe White House https://www.youtube.com/watch?time_continue=448&v=cBIJd7hjpa8&feature=emb_logoThe internet is trolling you | Pamela Martin | TEDxUSUTEDx Talks https://www.merriam-webster.com/dictionary/antifaMountains All Around Us by Scott Holmes is licensed under a Attribution-NonCommercial License. https://freemusicarchive.org/music/Scott_Holmes/Road_Trip_Indie_Rock/Mountains_All_Around_Us

Christian gets on the good foot with Alan Leeds tour manager for James Brown for many years (along with Prince, D'Angelo and Chris Rock), who has just released his memoirs working for Mr. Brown called, There Was A Time: James Brown, The Chitlin' Circuit and Me from Post Hill Press. A behind-the-scenes look at the Chitlin' Circuit during America's most vital period of soul music - from the eyes and ears of a young Jewish kid from Queens who joined the team of the hardest working man in show business and learned the art of the music business at the hand of the performer who mastered it.In the mid-'60s, Alan Leeds was a young DJ looking for his way into the music business. An interview with James Brown to promote a local show in Virginia led to an opportunity to promote one of Brown's concerts, which then led to Brown hiring him to help run his tours. Soon Leeds was wearing many hats and traveling around the country as Brown battled a complicated web of local promoters and managers, all too willing to try to rip him off.In this riveting book - part memoir, part history - Leeds weaves a wholly new and remarkable portrait of Brown as an idiosyncratic iconoclast, determined artist, and forceful businessman. It is a rare look into a world little known to white America immediately following the Civil Rights Movement. Leeds discovers that Brown is a fascinatingly complex man, and their experiences, both business and personal, range from emotional to humorous. All the while, they navigate the complicated world of popular black music in America, told by someone who actually lived it.Alan Leeds (born January 26, 1947) is an American music executive, tour manager, production manager, writer and archivist best known for his work organizing performances and concert tours for artists such as James Brown, Prince, D'Angelo and Chris Rock. In addition to his career in management for artists, Leeds is recognized as an award-winning writer and music archivist. Leeds received a Grammy Award for Best Album Notes in 1992 for his work on the James Brown compilation Star Time. Leeds also penned the liner notes for the 1993 Prince box set The Hits/The B-Sides, and cowrote The James Brown Reader with Nelson George.Alan Leeds was born in Jackson Heights, New York.Leeds' music career began as a music writer. He first became involved with James Brown as his publicity director in 1969, and worked as Brown's tour manager from 1970 to 1973. Beginning in 1983, Leeds managed tours for Prince during the peak of his commercial and artistic success, notably including the Purple Rain Tour. Leeds' work with Prince culminated in his eventual naming as president of Prince's vanity label Paisley Park Records in 1989.Leeds' career as a tour manager continued with D'Angelo, managing the successful Voodoo Tour in 2000. This was followed by stints with a variety of other artists, including Raphael Saadiq and The Roots. Leeds has also been involved in the curation of the James Brown: The Singles collections, and has spoken at events commemorating Brown's career and accomplishments.https://www.amazon.com/dp/B082SZXVLG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1Visit our sponsor Adam & Eve for 50% off almost any item AND receive FREE shipping. Just go to adamandeve.com and type “DIGS” at checkout.

Christian gets on the good foot with Alan Leeds tour manager for James Brown for many years (along with Prince, D'Angelo and Chris Rock), who has just released his memoirs working for Mr. Brown called, There Was A Time: James Brown, The Chitlin' Circuit and Me from Post Hill Press. A behind-the-scenes look at the Chitlin' Circuit during America's most vital period of soul music - from the eyes and ears of a young Jewish kid from Queens who joined the team of the hardest working man in show business and learned the art of the music business at the hand of the performer who mastered it.In the mid-'60s, Alan Leeds was a young DJ looking for his way into the music business. An interview with James Brown to promote a local show in Virginia led to an opportunity to promote one of Brown's concerts, which then led to Brown hiring him to help run his tours. Soon Leeds was wearing many hats and traveling around the country as Brown battled a complicated web of local promoters and managers, all too willing to try to rip him off.In this riveting book - part memoir, part history - Leeds weaves a wholly new and remarkable portrait of Brown as an idiosyncratic iconoclast, determined artist, and forceful businessman. It is a rare look into a world little known to white America immediately following the Civil Rights Movement. Leeds discovers that Brown is a fascinatingly complex man, and their experiences, both business and personal, range from emotional to humorous. All the while, they navigate the complicated world of popular black music in America, told by someone who actually lived it.Alan Leeds (born January 26, 1947) is an American music executive, tour manager, production manager, writer and archivist best known for his work organizing performances and concert tours for artists such as James Brown, Prince, D'Angelo and Chris Rock. In addition to his career in management for artists, Leeds is recognized as an award-winning writer and music archivist. Leeds received a Grammy Award for Best Album Notes in 1992 for his work on the James Brown compilation Star Time. Leeds also penned the liner notes for the 1993 Prince box set The Hits/The B-Sides, and cowrote The James Brown Reader with Nelson George.Alan Leeds was born in Jackson Heights, New York.Leeds' music career began as a music writer. He first became involved with James Brown as his publicity director in 1969, and worked as Brown's tour manager from 1970 to 1973. Beginning in 1983, Leeds managed tours for Prince during the peak of his commercial and artistic success, notably including the Purple Rain Tour. Leeds' work with Prince culminated in his eventual naming as president of Prince's vanity label Paisley Park Records in 1989.Leeds' career as a tour manager continued with D'Angelo, managing the successful Voodoo Tour in 2000. This was followed by stints with a variety of other artists, including Raphael Saadiq and The Roots. Leeds has also been involved in the curation of the James Brown: The Singles collections, and has spoken at events commemorating Brown's career and accomplishments.https://www.amazon.com/dp/B082SZXVLG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1Visit our sponsor Adam & Eve for 50% off almost any item AND receive FREE shipping. Just go to adamandeve.com and type “DIGS” at checkout.

Chef Liesha talks to Samantha Elisabeth about her favorite foods and the way she stays grounded.

In this episode, Porsche shares the historical data and present-day, grueling statistics of Black America as it pertains to health. She offers insight on why the state of black health is where it is and the things the community at large can do to change.Any thoughts you'd like to add to this conversation? Write reachangelhouse@gmail.com or send a shout-out or DM to @porschetheangel on Instagram.Be sure to download a copy of her new FREE eBook "The Cat Who Cried Listen":https://books.apple.com/us/book/the-cat-who-cried-listen/id1493359169?ls=1Support the show (http://cash.app/$payporscheangel)

Episode fifty-eight of A History of Rock Music in Five Hundred Songs looks at “Mr. Lee” by the Bobbettes, and at the lbirth of the girl group sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Little Bitty Pretty One”, by Thurston Harris.  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I’ve used multiple sources to piece together the information here. Marv Goldberg’s page is always the go-to for fifties R&B groups. Girl Groups: Fabulous Females Who Rocked the World by John Clemente has an article about the group with some interview material. American Singing Groups by Jay Warner also has an article on the group.  Most of the Bobbettes’ material is out of print, but handily this CD is coming out next Friday, with most of their important singles on it. I have no idea of its quality, as it’s not yet out, but it seems like it should be the CD to get if you want to hear more of their music.  Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Over the last few months we’ve seen the introduction to rock and roll music of almost all the elements that would characterise the music in the 1960s — we have the music slowly standardising on a lineup of guitar, bass, and drums, with electric guitar lead. We have the blues-based melodies, the backbeat, the country-inspired guitar lines. All of them are there. They just need putting together in precisely the right proportions for the familiar sound of the early-sixties beat groups to come out. But there’s one element, as important as all of these, which has not yet turned up, and which we’re about to see for the first time. And that element is the girl group. Girl groups played a vital part in the development of rock and roll music, and are never given the credit they deserve. But you just have to look at the first Beatles album to see how important they were. Of the six cover versions on “Please Please Me”, three are of songs originally recorded by girl groups — two by the Shirelles, and one by the Cookies. And the thing about the girl groups is that they were marketed as collectives, not as individuals — occasionally the lead singer would be marketed as a star in her own right, but more normally it would be the group, not the members, who were known. So it’s quite surprising that the first R&B girl group to hit the charts was one that, with the exception of one member, managed to keep their original members until they died. and where two of those members were still in the group into the middle of the current decade. So today, we’re going to have a look at the group that introduced the girl group sound to rock and roll, and how the world of music was irrevocably changed because of how a few young kids felt about their fifth-grade teacher. [Excerpt: The Bobettes, “Mister Lee”] Now, we have to make a distinction here when we’re talking about girl groups. There had, after all, been many vocal groups in the pre-rock era that consisted entirely of women — the Andrews Sisters, for example, had been hugely popular, as had the Boswell Sisters, who sang the theme song to this show. But those groups were mostly what was then called “modern harmony” — they were singing block harmonies, often with jazz chords, and singing them on songs that came straight from Tin Pan Alley. There was no R&B influence in them whatsoever. When we talk about girl groups in rock and roll, we’re talking about something that quickly became a standard lineup — you’d have one woman out front singing the lead vocal, and two or three others behind her singing answering phrases and providing “ooh” vocals. The songs they performed would be, almost without exception, in the R&B mould, but would usually have much less gospel influence than the male vocal groups or the R&B solo singers who were coming up at the same time. While doo-wop groups and solo singers were all about showing off individual virtuosity, the girl groups were about the group as a collective — with very rare exceptions, the lead singers of the girl groups would use very little melisma or ornamentation, and would just sing the melody straight. And when it comes to that kind of girl group, the Bobbettes were the first one to have any real impact. They started out as a group of children who sang after school, at church and at the glee club. The same gang of seven kids, aged between eleven and fifteen, would get together and sing, usually pop songs. After a little while, though, Reather Dixon and Emma Pought, the two girls who’d started this up, decided that they wanted to take things a bit more seriously. They decided that seven girls was too many, and so they whittled the numbers down to the five best singers — Reather and Emma, plus Helen Gathers, Laura Webb, and Emma’s sister Jannie. The girls originally named themselves the Harlem Queens, and started performing at talent shows around New York. We’ve talked before about how important amateur nights were for black entertainment in the forties and fifties, but it’s been a while, so to refresh your memories — at this point in time, black live entertainment was dominated by what was known as the Chitlin Circuit, an informal network of clubs and theatres around the US which put on largely black acts for almost exclusively black customers. Those venues would often have shows that lasted all day — a ticket for the Harlem Apollo, for example, would allow you to come and go all day, and see the same performers half a dozen times. To fill out these long bills, as well as getting the acts to perform multiple times a day, several of the chitlin circuit venues would put on talent nights, where young performers could get up on stage and have a chance to win over the audiences, who were notoriously unforgiving. Despite the image we might have in our heads now of amateur talent nights, these talent contests would often produce some of the greatest performers in the music business, and people like Johnny Otis would look to them to discover new talent. They were a way for untried performers to get themselves noticed, and while few did, some of those who managed would go on to have great success. And so in late 1956, the five Harlem Queens, two of them aged only eleven, went on stage at the Harlem Apollo, home of the most notoriously tough audiences in America. But they went down well enough that James Dailey, the manager of a minor bird group called the Ospreys, decided to take them on as well. The Ospreys were a popular group around New York who would eventually get signed to Atlantic, and release records like “Do You Wanna Jump Children”: [Excerpt: The Ospreys, “Do You Wanna Jump Children?”] Dailey thought that the Harlem Queens had the potential to be much bigger than the Ospreys, and he decided to try to get them signed to Atlantic Records. But one thing would need to change — the Harlem Queens sounded more like a motorcycle gang than the name of a vocal group. Laura’s sister had just had a baby, who she’d named Chanel Bobbette. They decided to name the group after the baby, but the Chanels sounded too much like the Chantels, a group from the Bronx who had already started performing. So they became the Bobbettes. They signed to Atlantic, where Ahmet Ertegun and Jerry Wexler encouraged them to perform their own material. The girls had been writing songs together, and they had one — essentially a playground chant — that they’d been singing together for a while, about their fifth-grade teacher Mr. Lee. Depending on who you believe — the girls gave different accounts over the years — the song was either attacking him, or merely affectionately mocking his appearance. It called him “four-eyed” and said he was “the ugliest teacher you ever did see”. Atlantic liked the feel of the song, but they didn’t want the girls singing a song that was just attacking a teacher, and so they insisted on them changing the lyrics. With the help of Reggie Obrecht, the bandleader for the session, who got a co-writing credit on the song largely for transcribing the girls’ melody and turning it into something that musicians could play, the song became, instead, a song about “the handsomest sweetie you ever did see”: [Excerpt: The Bobbettes, “Mister Lee”] Incidentally, there seems to be some disagreement about who the musicians were on the track. Jacqueline Warwick, in “Girl Groups, Girl Culture”, claims that the saxophone solo on “Mr. Lee” was played by King Curtis, who did play on many sessions for Atlantic at the time. It’s possible — and Curtis was an extremely versatile player, but he generally played with a very thick tone. Compare his playing on “Dynamite at Midnight”, a solo track he released in 1957: [Excerpt: King Curtis, “Dynamite at Midnight”] With the solo on “Mr Lee”: [Excerpt: The Bobbettes, “Mister Lee”] I think it more likely that the credit I’ve seen in other places, such as Atlantic sessionographies, is correct, and that the sax solo is played by the less-well-known player Jesse Powell, who played on, for example, “Fools Fall in Love” by the Drifters: [Excerpt: The Drifters, “Fools Fall In Love”] If that’s correct — and my ears tell me it is — then presumably the other credits in those sources are also correct, and the backing for “Mister Lee” was mostly provided by B-team session players, the people who Atlantic would get in for less important sessions, rather than the first-call people they would use on their major artists — so the musicians were Jesse Powell on tenor sax; Ray Ellis on piano; Alan Hanlon and Al Caiola on guitar; Milt Hinton on bass; and Joe Marshall on drums. “Mr. Lee” became a massive hit, going to number one on the R&B charts and making the top ten on the pop charts, and making the girls the first all-girl R&B vocal group to have a hit record, though they would soon be followed by others — the Chantels, whose name they had tried not to copy, charted a few weeks later. “Mr. Lee” also inspired several answer records, most notably the instrumental “Walking with Mr. Lee” by Lee Allen, which was a minor hit in 1958, thanks largely to it being regularly featured on American Bandstand: [Excerpt: Lee Allen, “Walking With Mr. Lee”] The song also came to the notice of their teacher — who seemed to have already known about the girls’ song mocking him. He called a couple of the girls out of their class at school, and checked with them that they knew the song had been made into a record. He’d recognised it as the song the girls had sung about him, and he was concerned that perhaps someone had heard the girls singing their song and stolen it from them. They explained that the record was actually them, and he was, according to Reather Dixon, “ecstatic” that the song had been made into a record — which suggests that whatever the girls’ intention with the song, their teacher took it as an affectionate one. However, they didn’t stay at that school long after the record became a hit. The girls were sent off on package tours of the Chitlin’ circuit, touring with other Atlantic artists like Clyde McPhatter and Ruth Brown, and so they were pulled out of their normal school and started attending The Professional School For Children, a school in New York that was also attended by Frankie Lymon and the Teenagers and the Chantels, among others, which would allow them to do their work while on tour and post it back to the school. On the tours, the girls were very much taken under the wing of the adult performers. Men like Sam Cooke, Clyde McPhatter, and Jackie Wilson would take on somewhat paternal roles, trying to ensure that nothing bad would happen to these little girls away from home, while women like Ruth Brown and LaVern Baker would teach them how to dress, how to behave on stage, and what makeup to wear — something they had been unable to learn from their male manager. Indeed, their manager, James Dailey, had started as a tailor, and for a long time sewed the girls’ dresses himself — which resulted in the group getting a reputation as the worst-dressed group on the circuit, one of the reasons they eventually dumped him. With “Mr. Lee” a massive success, Atlantic wanted the group to produce more of the same — catchy upbeat novelty numbers that they wrote themselves. The next single, “Speedy”, was very much in the “Mr. Lee” style, but was also a more generic song, without “Mr. Lee”‘s exuberance: [Excerpt: The Bobbettes, “Speedy”] One interesting thing here is that as well as touring the US, the Bobbettes made several trips to the West Indies, where R&B was hugely popular. The Bobbettes were, along with Gene and Eunice and Fats Domino, one of the US acts who made an outsized impression, particularly in Jamaica, and listening to the rhythms on their early records you can clearly see the influence they would later have on reggae. We’ll talk more about reggae and ska in future episodes, but to simplify hugely, the biggest influences on those genres as they were starting in the fifties were calypso, the New Orleans R&B records made in Cosimo Matassa’s studio, and the R&B music Atlantic was putting out, and the Bobbettes were a prime part of that influence. “Mr. Lee”, in particular, was later recorded by a number of Jamaican reggae artists, including Laurel Aitken: [Excerpt: Laurel Aitken, “Mr. Lee”] And the Harmonians: [Excerpt: the Harmonians, “Music Street”] But while “Mr Lee” was having a massive impact, and the group was a huge live act, they were becoming increasingly dissatisfied with the way their recording career was going. Atlantic was insisting that they keep writing songs in the style of “Mr. Lee”, but they were so busy they were having to slap the songs together in a hurry rather than spend time working on them, and they wanted to move on to making other kinds of records, especially since all the “Mr. Lee” soundalikes weren’t actually hitting the charts. They were also trying to expand by working with other artists — they would often act as the backing vocalists for other acts on the package shows they were on, and I’ve read in several sources that they performed uncredited backing vocals on some records for Clyde McPhatter and Ivory Joe Hunter, although nobody ever says which songs they sang on. I can’t find an Ivory Joe Hunter song that fits the bill during the Bobbettes’ time on Atlantic, but I think “You’ll Be There” is a plausible candidate for a Clyde McPhatter song they could have sung on — it’s one of the few records McPhatter made around this time with obviously female vocals on it, it was arranged and conducted by Ray Ellis, who did the same job on the Bobbettes’ records, and it was recorded only a few days after a Bobbettes session. I can’t identify the voices on the record well enough to be convinced it’s them, but it could well be: [Excerpt: Clyde McPhatter, “You’ll Be There”] Eventually, after a couple of years of frustration at their being required to rework their one hit, they recorded a track which let us know how they really felt: [Excerpt: The Bobbettes, “I Shot Mr. Lee”, Atlantic version] I think that expresses their feelings pretty well. They submitted that to Atlantic, who refused to release it, and dropped the girls from their label. This started a period where they would sign with different labels for one or two singles, and would often cut the same song for different labels. One label they signed to, in 1960, was Triple-X Records, one of the many labels run by George Goldner, the associate of Morris Levy we talked about in the episode on “Why Do Fools Fall In Love”, who was known for having the musical taste of a fourteen-year-old girl. There they started what would be a long-term working relationship with the songwriter and producer Teddy Vann. Vann is best known for writing “Love Power” for the Sand Pebbles: [Excerpt: The Sand Pebbles, “Love Power”] And for his later minor novelty hit, “Santa Claus is a Black Man”: [Excerpt: Akim and Teddy Vann, “Santa Claus is a Black Man”] But in 1960 he was just starting out, and he was enthusiastic about working with the Bobbettes. One of the first things he did with them was to remake the song that Atlantic had rejected, “I Shot Mr. Lee”: [Excerpt: The Bobbettes, “I Shot Mr. Lee”, Triple-X version] That became their biggest hit since the original “Mr. Lee”, reaching number fifty-two on the Billboard Hot One Hundred, and prompting Atlantic to finally issue the original version of “I Shot Mr. Lee” to compete with it. There were a few follow-ups, which also charted in the lower regions of the charts, most of them, like “I Shot Mr. Lee”, answer records, though answers to other people’s records. They charted with a remake of Billy Ward and the Dominos’ “Have Mercy Baby”, with “I Don’t Like It Like That”, an answer to Chris Kenner’s “I Like It Like That”, and finally with “Dance With Me Georgie”, a reworking of “The Wallflower” that referenced the then-popular twist craze. [Excerpt: The Bobbettes, “Dance With Me Georgie”] The Bobbettes kept switching labels, although usually working with Teddy Vann, for several years, with little chart success. Helen Gathers decided to quit — she stopped touring with the group in 1960, because she didn’t like to travel, and while she continued to record with them for a little while, eventually she left the group altogether, though they remained friendly. The remaining members continued as a quartet for the next twenty years. While the Bobbettes didn’t have much success on their own after 1961, they did score one big hit as the backing group for another singer, when in 1964 they reached number four in the charts backing Johnny Thunder on “Loop De Loop”: [Excerpt: Johnny Thunder, “Loop De Loop”] The rest of the sixties saw them taking part in all sorts of side projects, none of them hugely commercially successful, but many of them interesting in their own right. Probably the oddest was a record released in 1964 to tie in with the film Dr Strangelove, under the name Dr Strangelove and the Fallouts: [Excerpt: Dr Strangelove and the Fallouts, “Love That Bomb”] Reather and Emma, the group’s two strongest singers, also recorded one single as the Soul Angels, featuring another singer, Mattie LaVette: [Excerpt: The Soul Angels, “It’s All In Your Mind”] The Bobbettes continued working together throughout the seventies, though they appear to have split up, at least for a time, around 1974. But by 1977, they’d decided that twenty years on from “Mister Lee”, their reputation from that song was holding them back, and so they attempted a comeback in a disco style, under a new name — the Sophisticated Ladies. [Excerpt: Sophisticated Ladies, “Check it Out”] That got something of a cult following among disco lovers, but it didn’t do anything commercially, and they reverted to the Bobbettes name for their final single, “Love Rhythm”: [Excerpt: The Bobbettes, “Love Rhythm”] But then, tragedy struck — Jannie Pought was stabbed to death in the street, in a random attack by a stranger, in September 1980. She was just thirty-four. The other group members struggled on as a trio. Throughout the eighties and nineties, the group continued performing, still with three original members, though their performances got fewer and fewer. For much of that time they still held out hope that they could revive their recording career, and you see them talking in interviews from the eighties about how they were determined eventually to get a second gold record to go with “Mr. Lee”. They never did, and they never recorded again — although they did eventually get a *platinum* record, as “Mr. Lee” was used in the platinum-selling soundtrack to the film Stand By Me. Laura Webb Childress died in 2001, at which point the two remaining members, the two lead singers of the group, got in a couple of other backing vocalists, and carried on for another thirteen years, playing on bills with other fifties groups like the Flamingos, until Reather Dixon Turner died in 2014, leaving Emma Pought Patron as the only surviving member. Emma appears to have given up touring at that point and retired. The Bobbettes may have only had one major hit under their own name, but they made several very fine records, had a career that let them work together for the rest of their lives, and not only paved the way for every girl group to follow, but also managed to help inspire a whole new genre with the influence they had over reggae. Not bad at all for a bunch of schoolgirls singing a song to make fun of their teacher…

Episode fifty-eight of A History of Rock Music in Five Hundred Songs looks at “Mr. Lee” by the Bobbettes, and at the lbirth of the girl group sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Little Bitty Pretty One”, by Thurston Harris.  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I’ve used multiple sources to piece together the information here. Marv Goldberg’s page is always the go-to for fifties R&B groups. Girl Groups: Fabulous Females Who Rocked the World by John Clemente has an article about the group with some interview material. American Singing Groups by Jay Warner also has an article on the group.  Most of the Bobbettes’ material is out of print, but handily this CD is coming out next Friday, with most of their important singles on it. I have no idea of its quality, as it’s not yet out, but it seems like it should be the CD to get if you want to hear more of their music.  Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Over the last few months we’ve seen the introduction to rock and roll music of almost all the elements that would characterise the music in the 1960s — we have the music slowly standardising on a lineup of guitar, bass, and drums, with electric guitar lead. We have the blues-based melodies, the backbeat, the country-inspired guitar lines. All of them are there. They just need putting together in precisely the right proportions for the familiar sound of the early-sixties beat groups to come out. But there’s one element, as important as all of these, which has not yet turned up, and which we’re about to see for the first time. And that element is the girl group. Girl groups played a vital part in the development of rock and roll music, and are never given the credit they deserve. But you just have to look at the first Beatles album to see how important they were. Of the six cover versions on “Please Please Me”, three are of songs originally recorded by girl groups — two by the Shirelles, and one by the Cookies. And the thing about the girl groups is that they were marketed as collectives, not as individuals — occasionally the lead singer would be marketed as a star in her own right, but more normally it would be the group, not the members, who were known. So it’s quite surprising that the first R&B girl group to hit the charts was one that, with the exception of one member, managed to keep their original members until they died. and where two of those members were still in the group into the middle of the current decade. So today, we’re going to have a look at the group that introduced the girl group sound to rock and roll, and how the world of music was irrevocably changed because of how a few young kids felt about their fifth-grade teacher. [Excerpt: The Bobettes, “Mister Lee”] Now, we have to make a distinction here when we’re talking about girl groups. There had, after all, been many vocal groups in the pre-rock era that consisted entirely of women — the Andrews Sisters, for example, had been hugely popular, as had the Boswell Sisters, who sang the theme song to this show. But those groups were mostly what was then called “modern harmony” — they were singing block harmonies, often with jazz chords, and singing them on songs that came straight from Tin Pan Alley. There was no R&B influence in them whatsoever. When we talk about girl groups in rock and roll, we’re talking about something that quickly became a standard lineup — you’d have one woman out front singing the lead vocal, and two or three others behind her singing answering phrases and providing “ooh” vocals. The songs they performed would be, almost without exception, in the R&B mould, but would usually have much less gospel influence than the male vocal groups or the R&B solo singers who were coming up at the same time. While doo-wop groups and solo singers were all about showing off individual virtuosity, the girl groups were about the group as a collective — with very rare exceptions, the lead singers of the girl groups would use very little melisma or ornamentation, and would just sing the melody straight. And when it comes to that kind of girl group, the Bobbettes were the first one to have any real impact. They started out as a group of children who sang after school, at church and at the glee club. The same gang of seven kids, aged between eleven and fifteen, would get together and sing, usually pop songs. After a little while, though, Reather Dixon and Emma Pought, the two girls who’d started this up, decided that they wanted to take things a bit more seriously. They decided that seven girls was too many, and so they whittled the numbers down to the five best singers — Reather and Emma, plus Helen Gathers, Laura Webb, and Emma’s sister Jannie. The girls originally named themselves the Harlem Queens, and started performing at talent shows around New York. We’ve talked before about how important amateur nights were for black entertainment in the forties and fifties, but it’s been a while, so to refresh your memories — at this point in time, black live entertainment was dominated by what was known as the Chitlin Circuit, an informal network of clubs and theatres around the US which put on largely black acts for almost exclusively black customers. Those venues would often have shows that lasted all day — a ticket for the Harlem Apollo, for example, would allow you to come and go all day, and see the same performers half a dozen times. To fill out these long bills, as well as getting the acts to perform multiple times a day, several of the chitlin circuit venues would put on talent nights, where young performers could get up on stage and have a chance to win over the audiences, who were notoriously unforgiving. Despite the image we might have in our heads now of amateur talent nights, these talent contests would often produce some of the greatest performers in the music business, and people like Johnny Otis would look to them to discover new talent. They were a way for untried performers to get themselves noticed, and while few did, some of those who managed would go on to have great success. And so in late 1956, the five Harlem Queens, two of them aged only eleven, went on stage at the Harlem Apollo, home of the most notoriously tough audiences in America. But they went down well enough that James Dailey, the manager of a minor bird group called the Ospreys, decided to take them on as well. The Ospreys were a popular group around New York who would eventually get signed to Atlantic, and release records like “Do You Wanna Jump Children”: [Excerpt: The Ospreys, “Do You Wanna Jump Children?”] Dailey thought that the Harlem Queens had the potential to be much bigger than the Ospreys, and he decided to try to get them signed to Atlantic Records. But one thing would need to change — the Harlem Queens sounded more like a motorcycle gang than the name of a vocal group. Laura’s sister had just had a baby, who she’d named Chanel Bobbette. They decided to name the group after the baby, but the Chanels sounded too much like the Chantels, a group from the Bronx who had already started performing. So they became the Bobbettes. They signed to Atlantic, where Ahmet Ertegun and Jerry Wexler encouraged them to perform their own material. The girls had been writing songs together, and they had one — essentially a playground chant — that they’d been singing together for a while, about their fifth-grade teacher Mr. Lee. Depending on who you believe — the girls gave different accounts over the years — the song was either attacking him, or merely affectionately mocking his appearance. It called him “four-eyed” and said he was “the ugliest teacher you ever did see”. Atlantic liked the feel of the song, but they didn’t want the girls singing a song that was just attacking a teacher, and so they insisted on them changing the lyrics. With the help of Reggie Obrecht, the bandleader for the session, who got a co-writing credit on the song largely for transcribing the girls’ melody and turning it into something that musicians could play, the song became, instead, a song about “the handsomest sweetie you ever did see”: [Excerpt: The Bobbettes, “Mister Lee”] Incidentally, there seems to be some disagreement about who the musicians were on the track. Jacqueline Warwick, in “Girl Groups, Girl Culture”, claims that the saxophone solo on “Mr. Lee” was played by King Curtis, who did play on many sessions for Atlantic at the time. It’s possible — and Curtis was an extremely versatile player, but he generally played with a very thick tone. Compare his playing on “Dynamite at Midnight”, a solo track he released in 1957: [Excerpt: King Curtis, “Dynamite at Midnight”] With the solo on “Mr Lee”: [Excerpt: The Bobbettes, “Mister Lee”] I think it more likely that the credit I’ve seen in other places, such as Atlantic sessionographies, is correct, and that the sax solo is played by the less-well-known player Jesse Powell, who played on, for example, “Fools Fall in Love” by the Drifters: [Excerpt: The Drifters, “Fools Fall In Love”] If that’s correct — and my ears tell me it is — then presumably the other credits in those sources are also correct, and the backing for “Mister Lee” was mostly provided by B-team session players, the people who Atlantic would get in for less important sessions, rather than the first-call people they would use on their major artists — so the musicians were Jesse Powell on tenor sax; Ray Ellis on piano; Alan Hanlon and Al Caiola on guitar; Milt Hinton on bass; and Joe Marshall on drums. “Mr. Lee” became a massive hit, going to number one on the R&B charts and making the top ten on the pop charts, and making the girls the first all-girl R&B vocal group to have a hit record, though they would soon be followed by others — the Chantels, whose name they had tried not to copy, charted a few weeks later. “Mr. Lee” also inspired several answer records, most notably the instrumental “Walking with Mr. Lee” by Lee Allen, which was a minor hit in 1958, thanks largely to it being regularly featured on American Bandstand: [Excerpt: Lee Allen, “Walking With Mr. Lee”] The song also came to the notice of their teacher — who seemed to have already known about the girls’ song mocking him. He called a couple of the girls out of their class at school, and checked with them that they knew the song had been made into a record. He’d recognised it as the song the girls had sung about him, and he was concerned that perhaps someone had heard the girls singing their song and stolen it from them. They explained that the record was actually them, and he was, according to Reather Dixon, “ecstatic” that the song had been made into a record — which suggests that whatever the girls’ intention with the song, their teacher took it as an affectionate one. However, they didn’t stay at that school long after the record became a hit. The girls were sent off on package tours of the Chitlin’ circuit, touring with other Atlantic artists like Clyde McPhatter and Ruth Brown, and so they were pulled out of their normal school and started attending The Professional School For Children, a school in New York that was also attended by Frankie Lymon and the Teenagers and the Chantels, among others, which would allow them to do their work while on tour and post it back to the school. On the tours, the girls were very much taken under the wing of the adult performers. Men like Sam Cooke, Clyde McPhatter, and Jackie Wilson would take on somewhat paternal roles, trying to ensure that nothing bad would happen to these little girls away from home, while women like Ruth Brown and LaVern Baker would teach them how to dress, how to behave on stage, and what makeup to wear — something they had been unable to learn from their male manager. Indeed, their manager, James Dailey, had started as a tailor, and for a long time sewed the girls’ dresses himself — which resulted in the group getting a reputation as the worst-dressed group on the circuit, one of the reasons they eventually dumped him. With “Mr. Lee” a massive success, Atlantic wanted the group to produce more of the same — catchy upbeat novelty numbers that they wrote themselves. The next single, “Speedy”, was very much in the “Mr. Lee” style, but was also a more generic song, without “Mr. Lee”‘s exuberance: [Excerpt: The Bobbettes, “Speedy”] One interesting thing here is that as well as touring the US, the Bobbettes made several trips to the West Indies, where R&B was hugely popular. The Bobbettes were, along with Gene and Eunice and Fats Domino, one of the US acts who made an outsized impression, particularly in Jamaica, and listening to the rhythms on their early records you can clearly see the influence they would later have on reggae. We’ll talk more about reggae and ska in future episodes, but to simplify hugely, the biggest influences on those genres as they were starting in the fifties were calypso, the New Orleans R&B records made in Cosimo Matassa’s studio, and the R&B music Atlantic was putting out, and the Bobbettes were a prime part of that influence. “Mr. Lee”, in particular, was later recorded by a number of Jamaican reggae artists, including Laurel Aitken: [Excerpt: Laurel Aitken, “Mr. Lee”] And the Harmonians: [Excerpt: the Harmonians, “Music Street”] But while “Mr Lee” was having a massive impact, and the group was a huge live act, they were becoming increasingly dissatisfied with the way their recording career was going. Atlantic was insisting that they keep writing songs in the style of “Mr. Lee”, but they were so busy they were having to slap the songs together in a hurry rather than spend time working on them, and they wanted to move on to making other kinds of records, especially since all the “Mr. Lee” soundalikes weren’t actually hitting the charts. They were also trying to expand by working with other artists — they would often act as the backing vocalists for other acts on the package shows they were on, and I’ve read in several sources that they performed uncredited backing vocals on some records for Clyde McPhatter and Ivory Joe Hunter, although nobody ever says which songs they sang on. I can’t find an Ivory Joe Hunter song that fits the bill during the Bobbettes’ time on Atlantic, but I think “You’ll Be There” is a plausible candidate for a Clyde McPhatter song they could have sung on — it’s one of the few records McPhatter made around this time with obviously female vocals on it, it was arranged and conducted by Ray Ellis, who did the same job on the Bobbettes’ records, and it was recorded only a few days after a Bobbettes session. I can’t identify the voices on the record well enough to be convinced it’s them, but it could well be: [Excerpt: Clyde McPhatter, “You’ll Be There”] Eventually, after a couple of years of frustration at their being required to rework their one hit, they recorded a track which let us know how they really felt: [Excerpt: The Bobbettes, “I Shot Mr. Lee”, Atlantic version] I think that expresses their feelings pretty well. They submitted that to Atlantic, who refused to release it, and dropped the girls from their label. This started a period where they would sign with different labels for one or two singles, and would often cut the same song for different labels. One label they signed to, in 1960, was Triple-X Records, one of the many labels run by George Goldner, the associate of Morris Levy we talked about in the episode on “Why Do Fools Fall In Love”, who was known for having the musical taste of a fourteen-year-old girl. There they started what would be a long-term working relationship with the songwriter and producer Teddy Vann. Vann is best known for writing “Love Power” for the Sand Pebbles: [Excerpt: The Sand Pebbles, “Love Power”] And for his later minor novelty hit, “Santa Claus is a Black Man”: [Excerpt: Akim and Teddy Vann, “Santa Claus is a Black Man”] But in 1960 he was just starting out, and he was enthusiastic about working with the Bobbettes. One of the first things he did with them was to remake the song that Atlantic had rejected, “I Shot Mr. Lee”: [Excerpt: The Bobbettes, “I Shot Mr. Lee”, Triple-X version] That became their biggest hit since the original “Mr. Lee”, reaching number fifty-two on the Billboard Hot One Hundred, and prompting Atlantic to finally issue the original version of “I Shot Mr. Lee” to compete with it. There were a few follow-ups, which also charted in the lower regions of the charts, most of them, like “I Shot Mr. Lee”, answer records, though answers to other people’s records. They charted with a remake of Billy Ward and the Dominos’ “Have Mercy Baby”, with “I Don’t Like It Like That”, an answer to Chris Kenner’s “I Like It Like That”, and finally with “Dance With Me Georgie”, a reworking of “The Wallflower” that referenced the then-popular twist craze. [Excerpt: The Bobbettes, “Dance With Me Georgie”] The Bobbettes kept switching labels, although usually working with Teddy Vann, for several years, with little chart success. Helen Gathers decided to quit — she stopped touring with the group in 1960, because she didn’t like to travel, and while she continued to record with them for a little while, eventually she left the group altogether, though they remained friendly. The remaining members continued as a quartet for the next twenty years. While the Bobbettes didn’t have much success on their own after 1961, they did score one big hit as the backing group for another singer, when in 1964 they reached number four in the charts backing Johnny Thunder on “Loop De Loop”: [Excerpt: Johnny Thunder, “Loop De Loop”] The rest of the sixties saw them taking part in all sorts of side projects, none of them hugely commercially successful, but many of them interesting in their own right. Probably the oddest was a record released in 1964 to tie in with the film Dr Strangelove, under the name Dr Strangelove and the Fallouts: [Excerpt: Dr Strangelove and the Fallouts, “Love That Bomb”] Reather and Emma, the group’s two strongest singers, also recorded one single as the Soul Angels, featuring another singer, Mattie LaVette: [Excerpt: The Soul Angels, “It’s All In Your Mind”] The Bobbettes continued working together throughout the seventies, though they appear to have split up, at least for a time, around 1974. But by 1977, they’d decided that twenty years on from “Mister Lee”, their reputation from that song was holding them back, and so they attempted a comeback in a disco style, under a new name — the Sophisticated Ladies. [Excerpt: Sophisticated Ladies, “Check it Out”] That got something of a cult following among disco lovers, but it didn’t do anything commercially, and they reverted to the Bobbettes name for their final single, “Love Rhythm”: [Excerpt: The Bobbettes, “Love Rhythm”] But then, tragedy struck — Jannie Pought was stabbed to death in the street, in a random attack by a stranger, in September 1980. She was just thirty-four. The other group members struggled on as a trio. Throughout the eighties and nineties, the group continued performing, still with three original members, though their performances got fewer and fewer. For much of that time they still held out hope that they could revive their recording career, and you see them talking in interviews from the eighties about how they were determined eventually to get a second gold record to go with “Mr. Lee”. They never did, and they never recorded again — although they did eventually get a *platinum* record, as “Mr. Lee” was used in the platinum-selling soundtrack to the film Stand By Me. Laura Webb Childress died in 2001, at which point the two remaining members, the two lead singers of the group, got in a couple of other backing vocalists, and carried on for another thirteen years, playing on bills with other fifties groups like the Flamingos, until Reather Dixon Turner died in 2014, leaving Emma Pought Patron as the only surviving member. Emma appears to have given up touring at that point and retired. The Bobbettes may have only had one major hit under their own name, but they made several very fine records, had a career that let them work together for the rest of their lives, and not only paved the way for every girl group to follow, but also managed to help inspire a whole new genre with the influence they had over reggae. Not bad at all for a bunch of schoolgirls singing a song to make fun of their teacher…

Episode fifty-eight of A History of Rock Music in Five Hundred Songs looks at "Mr. Lee" by the Bobbettes, and at the lbirth of the girl group sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Little Bitty Pretty One", by Thurston Harris.  ----more----   Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I've used multiple sources to piece together the information here. Marv Goldberg's page is always the go-to for fifties R&B groups. Girl Groups: Fabulous Females Who Rocked the World by John Clemente has an article about the group with some interview material. American Singing Groups by Jay Warner also has an article on the group.  Most of the Bobbettes' material is out of print, but handily this CD is coming out next Friday, with most of their important singles on it. I have no idea of its quality, as it's not yet out, but it seems like it should be the CD to get if you want to hear more of their music.  Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Over the last few months we've seen the introduction to rock and roll music of almost all the elements that would characterise the music in the 1960s -- we have the music slowly standardising on a lineup of guitar, bass, and drums, with electric guitar lead. We have the blues-based melodies, the backbeat, the country-inspired guitar lines. All of them are there. They just need putting together in precisely the right proportions for the familiar sound of the early-sixties beat groups to come out. But there's one element, as important as all of these, which has not yet turned up, and which we're about to see for the first time. And that element is the girl group. Girl groups played a vital part in the development of rock and roll music, and are never given the credit they deserve. But you just have to look at the first Beatles album to see how important they were. Of the six cover versions on "Please Please Me", three are of songs originally recorded by girl groups -- two by the Shirelles, and one by the Cookies. And the thing about the girl groups is that they were marketed as collectives, not as individuals -- occasionally the lead singer would be marketed as a star in her own right, but more normally it would be the group, not the members, who were known. So it's quite surprising that the first R&B girl group to hit the charts was one that, with the exception of one member, managed to keep their original members until they died. and where two of those members were still in the group into the middle of the current decade. So today, we're going to have a look at the group that introduced the girl group sound to rock and roll, and how the world of music was irrevocably changed because of how a few young kids felt about their fifth-grade teacher. [Excerpt: The Bobettes, "Mister Lee"] Now, we have to make a distinction here when we're talking about girl groups. There had, after all, been many vocal groups in the pre-rock era that consisted entirely of women -- the Andrews Sisters, for example, had been hugely popular, as had the Boswell Sisters, who sang the theme song to this show. But those groups were mostly what was then called "modern harmony" -- they were singing block harmonies, often with jazz chords, and singing them on songs that came straight from Tin Pan Alley. There was no R&B influence in them whatsoever. When we talk about girl groups in rock and roll, we're talking about something that quickly became a standard lineup -- you'd have one woman out front singing the lead vocal, and two or three others behind her singing answering phrases and providing "ooh" vocals. The songs they performed would be, almost without exception, in the R&B mould, but would usually have much less gospel influence than the male vocal groups or the R&B solo singers who were coming up at the same time. While doo-wop groups and solo singers were all about showing off individual virtuosity, the girl groups were about the group as a collective -- with very rare exceptions, the lead singers of the girl groups would use very little melisma or ornamentation, and would just sing the melody straight. And when it comes to that kind of girl group, the Bobbettes were the first one to have any real impact. They started out as a group of children who sang after school, at church and at the glee club. The same gang of seven kids, aged between eleven and fifteen, would get together and sing, usually pop songs. After a little while, though, Reather Dixon and Emma Pought, the two girls who'd started this up, decided that they wanted to take things a bit more seriously. They decided that seven girls was too many, and so they whittled the numbers down to the five best singers -- Reather and Emma, plus Helen Gathers, Laura Webb, and Emma's sister Jannie. The girls originally named themselves the Harlem Queens, and started performing at talent shows around New York. We've talked before about how important amateur nights were for black entertainment in the forties and fifties, but it's been a while, so to refresh your memories -- at this point in time, black live entertainment was dominated by what was known as the Chitlin Circuit, an informal network of clubs and theatres around the US which put on largely black acts for almost exclusively black customers. Those venues would often have shows that lasted all day -- a ticket for the Harlem Apollo, for example, would allow you to come and go all day, and see the same performers half a dozen times. To fill out these long bills, as well as getting the acts to perform multiple times a day, several of the chitlin circuit venues would put on talent nights, where young performers could get up on stage and have a chance to win over the audiences, who were notoriously unforgiving. Despite the image we might have in our heads now of amateur talent nights, these talent contests would often produce some of the greatest performers in the music business, and people like Johnny Otis would look to them to discover new talent. They were a way for untried performers to get themselves noticed, and while few did, some of those who managed would go on to have great success. And so in late 1956, the five Harlem Queens, two of them aged only eleven, went on stage at the Harlem Apollo, home of the most notoriously tough audiences in America. But they went down well enough that James Dailey, the manager of a minor bird group called the Ospreys, decided to take them on as well. The Ospreys were a popular group around New York who would eventually get signed to Atlantic, and release records like "Do You Wanna Jump Children": [Excerpt: The Ospreys, "Do You Wanna Jump Children?"] Dailey thought that the Harlem Queens had the potential to be much bigger than the Ospreys, and he decided to try to get them signed to Atlantic Records. But one thing would need to change -- the Harlem Queens sounded more like a motorcycle gang than the name of a vocal group. Laura's sister had just had a baby, who she'd named Chanel Bobbette. They decided to name the group after the baby, but the Chanels sounded too much like the Chantels, a group from the Bronx who had already started performing. So they became the Bobbettes. They signed to Atlantic, where Ahmet Ertegun and Jerry Wexler encouraged them to perform their own material. The girls had been writing songs together, and they had one -- essentially a playground chant -- that they'd been singing together for a while, about their fifth-grade teacher Mr. Lee. Depending on who you believe -- the girls gave different accounts over the years -- the song was either attacking him, or merely affectionately mocking his appearance. It called him "four-eyed" and said he was "the ugliest teacher you ever did see". Atlantic liked the feel of the song, but they didn't want the girls singing a song that was just attacking a teacher, and so they insisted on them changing the lyrics. With the help of Reggie Obrecht, the bandleader for the session, who got a co-writing credit on the song largely for transcribing the girls' melody and turning it into something that musicians could play, the song became, instead, a song about "the handsomest sweetie you ever did see": [Excerpt: The Bobbettes, "Mister Lee"] Incidentally, there seems to be some disagreement about who the musicians were on the track. Jacqueline Warwick, in "Girl Groups, Girl Culture", claims that the saxophone solo on "Mr. Lee" was played by King Curtis, who did play on many sessions for Atlantic at the time. It's possible -- and Curtis was an extremely versatile player, but he generally played with a very thick tone. Compare his playing on "Dynamite at Midnight", a solo track he released in 1957: [Excerpt: King Curtis, "Dynamite at Midnight"] With the solo on "Mr Lee": [Excerpt: The Bobbettes, "Mister Lee"] I think it more likely that the credit I've seen in other places, such as Atlantic sessionographies, is correct, and that the sax solo is played by the less-well-known player Jesse Powell, who played on, for example, "Fools Fall in Love" by the Drifters: [Excerpt: The Drifters, "Fools Fall In Love"] If that's correct -- and my ears tell me it is -- then presumably the other credits in those sources are also correct, and the backing for "Mister Lee" was mostly provided by B-team session players, the people who Atlantic would get in for less important sessions, rather than the first-call people they would use on their major artists -- so the musicians were Jesse Powell on tenor sax; Ray Ellis on piano; Alan Hanlon and Al Caiola on guitar; Milt Hinton on bass; and Joe Marshall on drums. "Mr. Lee" became a massive hit, going to number one on the R&B charts and making the top ten on the pop charts, and making the girls the first all-girl R&B vocal group to have a hit record, though they would soon be followed by others -- the Chantels, whose name they had tried not to copy, charted a few weeks later. "Mr. Lee" also inspired several answer records, most notably the instrumental "Walking with Mr. Lee" by Lee Allen, which was a minor hit in 1958, thanks largely to it being regularly featured on American Bandstand: [Excerpt: Lee Allen, "Walking With Mr. Lee"] The song also came to the notice of their teacher -- who seemed to have already known about the girls' song mocking him. He called a couple of the girls out of their class at school, and checked with them that they knew the song had been made into a record. He'd recognised it as the song the girls had sung about him, and he was concerned that perhaps someone had heard the girls singing their song and stolen it from them. They explained that the record was actually them, and he was, according to Reather Dixon, "ecstatic" that the song had been made into a record -- which suggests that whatever the girls' intention with the song, their teacher took it as an affectionate one. However, they didn't stay at that school long after the record became a hit. The girls were sent off on package tours of the Chitlin' circuit, touring with other Atlantic artists like Clyde McPhatter and Ruth Brown, and so they were pulled out of their normal school and started attending The Professional School For Children, a school in New York that was also attended by Frankie Lymon and the Teenagers and the Chantels, among others, which would allow them to do their work while on tour and post it back to the school. On the tours, the girls were very much taken under the wing of the adult performers. Men like Sam Cooke, Clyde McPhatter, and Jackie Wilson would take on somewhat paternal roles, trying to ensure that nothing bad would happen to these little girls away from home, while women like Ruth Brown and LaVern Baker would teach them how to dress, how to behave on stage, and what makeup to wear -- something they had been unable to learn from their male manager. Indeed, their manager, James Dailey, had started as a tailor, and for a long time sewed the girls' dresses himself -- which resulted in the group getting a reputation as the worst-dressed group on the circuit, one of the reasons they eventually dumped him. With "Mr. Lee" a massive success, Atlantic wanted the group to produce more of the same -- catchy upbeat novelty numbers that they wrote themselves. The next single, "Speedy", was very much in the "Mr. Lee" style, but was also a more generic song, without "Mr. Lee"'s exuberance: [Excerpt: The Bobbettes, "Speedy"] One interesting thing here is that as well as touring the US, the Bobbettes made several trips to the West Indies, where R&B was hugely popular. The Bobbettes were, along with Gene and Eunice and Fats Domino, one of the US acts who made an outsized impression, particularly in Jamaica, and listening to the rhythms on their early records you can clearly see the influence they would later have on reggae. We'll talk more about reggae and ska in future episodes, but to simplify hugely, the biggest influences on those genres as they were starting in the fifties were calypso, the New Orleans R&B records made in Cosimo Matassa's studio, and the R&B music Atlantic was putting out, and the Bobbettes were a prime part of that influence. "Mr. Lee", in particular, was later recorded by a number of Jamaican reggae artists, including Laurel Aitken: [Excerpt: Laurel Aitken, "Mr. Lee"] And the Harmonians: [Excerpt: the Harmonians, "Music Street"] But while "Mr Lee" was having a massive impact, and the group was a huge live act, they were becoming increasingly dissatisfied with the way their recording career was going. Atlantic was insisting that they keep writing songs in the style of "Mr. Lee", but they were so busy they were having to slap the songs together in a hurry rather than spend time working on them, and they wanted to move on to making other kinds of records, especially since all the "Mr. Lee" soundalikes weren't actually hitting the charts. They were also trying to expand by working with other artists -- they would often act as the backing vocalists for other acts on the package shows they were on, and I've read in several sources that they performed uncredited backing vocals on some records for Clyde McPhatter and Ivory Joe Hunter, although nobody ever says which songs they sang on. I can't find an Ivory Joe Hunter song that fits the bill during the Bobbettes' time on Atlantic, but I think "You'll Be There" is a plausible candidate for a Clyde McPhatter song they could have sung on -- it's one of the few records McPhatter made around this time with obviously female vocals on it, it was arranged and conducted by Ray Ellis, who did the same job on the Bobbettes' records, and it was recorded only a few days after a Bobbettes session. I can't identify the voices on the record well enough to be convinced it's them, but it could well be: [Excerpt: Clyde McPhatter, "You'll Be There"] Eventually, after a couple of years of frustration at their being required to rework their one hit, they recorded a track which let us know how they really felt: [Excerpt: The Bobbettes, "I Shot Mr. Lee", Atlantic version] I think that expresses their feelings pretty well. They submitted that to Atlantic, who refused to release it, and dropped the girls from their label. This started a period where they would sign with different labels for one or two singles, and would often cut the same song for different labels. One label they signed to, in 1960, was Triple-X Records, one of the many labels run by George Goldner, the associate of Morris Levy we talked about in the episode on "Why Do Fools Fall In Love", who was known for having the musical taste of a fourteen-year-old girl. There they started what would be a long-term working relationship with the songwriter and producer Teddy Vann. Vann is best known for writing "Love Power" for the Sand Pebbles: [Excerpt: The Sand Pebbles, "Love Power"] And for his later minor novelty hit, "Santa Claus is a Black Man": [Excerpt: Akim and Teddy Vann, "Santa Claus is a Black Man"] But in 1960 he was just starting out, and he was enthusiastic about working with the Bobbettes. One of the first things he did with them was to remake the song that Atlantic had rejected, "I Shot Mr. Lee": [Excerpt: The Bobbettes, "I Shot Mr. Lee", Triple-X version] That became their biggest hit since the original "Mr. Lee", reaching number fifty-two on the Billboard Hot One Hundred, and prompting Atlantic to finally issue the original version of “I Shot Mr. Lee” to compete with it. There were a few follow-ups, which also charted in the lower regions of the charts, most of them, like "I Shot Mr. Lee", answer records, though answers to other people's records. They charted with a remake of Billy Ward and the Dominos' "Have Mercy Baby", with "I Don't Like It Like That", an answer to Chris Kenner's "I Like It Like That", and finally with "Dance With Me Georgie", a reworking of "The Wallflower" that referenced the then-popular twist craze. [Excerpt: The Bobbettes, "Dance With Me Georgie"] The Bobbettes kept switching labels, although usually working with Teddy Vann, for several years, with little chart success. Helen Gathers decided to quit -- she stopped touring with the group in 1960, because she didn't like to travel, and while she continued to record with them for a little while, eventually she left the group altogether, though they remained friendly. The remaining members continued as a quartet for the next twenty years. While the Bobbettes didn't have much success on their own after 1961, they did score one big hit as the backing group for another singer, when in 1964 they reached number four in the charts backing Johnny Thunder on "Loop De Loop": [Excerpt: Johnny Thunder, "Loop De Loop"] The rest of the sixties saw them taking part in all sorts of side projects, none of them hugely commercially successful, but many of them interesting in their own right. Probably the oddest was a record released in 1964 to tie in with the film Dr Strangelove, under the name Dr Strangelove and the Fallouts: [Excerpt: Dr Strangelove and the Fallouts, "Love That Bomb"] Reather and Emma, the group's two strongest singers, also recorded one single as the Soul Angels, featuring another singer, Mattie LaVette: [Excerpt: The Soul Angels, "It's All In Your Mind"] The Bobbettes continued working together throughout the seventies, though they appear to have split up, at least for a time, around 1974. But by 1977, they'd decided that twenty years on from "Mister Lee", their reputation from that song was holding them back, and so they attempted a comeback in a disco style, under a new name -- the Sophisticated Ladies. [Excerpt: Sophisticated Ladies, "Check it Out"] That got something of a cult following among disco lovers, but it didn't do anything commercially, and they reverted to the Bobbettes name for their final single, "Love Rhythm": [Excerpt: The Bobbettes, "Love Rhythm"] But then, tragedy struck -- Jannie Pought was stabbed to death in the street, in a random attack by a stranger, in September 1980. She was just thirty-four. The other group members struggled on as a trio. Throughout the eighties and nineties, the group continued performing, still with three original members, though their performances got fewer and fewer. For much of that time they still held out hope that they could revive their recording career, and you see them talking in interviews from the eighties about how they were determined eventually to get a second gold record to go with "Mr. Lee". They never did, and they never recorded again -- although they did eventually get a *platinum* record, as "Mr. Lee" was used in the platinum-selling soundtrack to the film Stand By Me. Laura Webb Childress died in 2001, at which point the two remaining members, the two lead singers of the group, got in a couple of other backing vocalists, and carried on for another thirteen years, playing on bills with other fifties groups like the Flamingos, until Reather Dixon Turner died in 2014, leaving Emma Pought Patron as the only surviving member. Emma appears to have given up touring at that point and retired. The Bobbettes may have only had one major hit under their own name, but they made several very fine records, had a career that let them work together for the rest of their lives, and not only paved the way for every girl group to follow, but also managed to help inspire a whole new genre with the influence they had over reggae. Not bad at all for a bunch of schoolgirls singing a song to make fun of their teacher...

Jasper Jenkinz joins the BloodLine REVOLUTION PodKast and rants about food, Donald Trump, and I95 Traffic.

NERDS IN LUXURY Chicken and Watermelon, Mortal Kombat Movie & Merchandise Give-Away, Wild World of Nerds: Meth Gators, When Animals Attack, Metal Straw Death, Chitlin’s, Situations with Sosa: Sexual, Single, Supple, Seminar for the Summer of Sosa 2019, Self Happiness, Secret Single Behaviors, How to Poop at Work, Veronica Goes Tubing? Veronica: Dog “Mom” Life & SoulCycle, Retail Rants: Christmas Returns and OCD, More Self Care Social: @nerdsinluxury, #nerdsinluxury, #luxenerdEmail: Veronica/at nerdsinluxury.com Studio: Depth Charge Studios (Alexandria, Virginia) Engineer:  Mister Wise Rate us 5-stars on Spotify, iTunes and Google Play! Buy us a snack and look fly at #LuxeNerd  Theme Song: "Dopest Flyest" by Wais-P

In this episode, Berzerker and Navox are raging on the need for third party gear websites, diving deep into their first forays of raiding the Battle of Dazar'alor, discussing the latest Warcraft developer Q&A, and gazing into the future to divine what may be coming next. So pull up a chair and join us now!

In this episode of PoPolitickin, we politick with Mississippi soul singer Derrick Salter. Derrick Salter A.K.A. “The Son of Jody” is the Founder/Creator of the 2018 Southern Soul Takeover Platform. The 2018 Southern Soul Take Over platform was created by Derrick Salter & Co-Founder Mose Stovall to give exposure to Southern Soul artists with little to no exposure. Since the creation of the 2018 Southern Soul Take Over Platform, MANY Southern Soul Artists music are being heard & recognized globally! Derrick Salter’s ( “The Son of Jody”) Southern Soul Roots started as an early child raised in Columbus, Mississippi by way of Birmingham, Al. Some of Derrick Salter’s influence in music are Johnnie Taylor, Marvin Sease, Teddy Pendergrass, Al Green, Muddy Water, Howlin Wolfe, Jeffrey Osborne, Jackie Wilson, & Chitlin’ Circuit (Down in the Delta) just to name a few! Follow Derrick on Instagram @derrick_salter Follow Po on Instagram @popolitickin

The crew from Coo Coo Town welcome Johnathon Danzy to the show. Johnathon brings a character by the name of Kenny Ray to the show, a retired voice actor turned barber, oh and by the way he's blind. Can Kenny patch things up with his ex-wife and land the voice role of a lifetime? Lets find out in Episode 11 of Welcome to Coo Coo Town.

Cecil Guyton is one of Chi-towns finest in the entertainment biz...from the "Chitlin' Circuit" to the "Big Stage" with everyone from Cannonball Aderely to Lionel Richie and beyond, this veteran production savant knows exactly where he came from and exactly where he's going! https://thecareermusician.com/

Rod and Karen are joined by Corey Glover to discuss dealing with fame, Kanye West tweets, social media addiction rehab, sex mad super slugs, Toronto restaurant racism, organic popcorn shop racism, man sues police for pulling him out of pool too late, man leaves daughter in car while at the bar, cell phone thief and sword ratchetness. Twitter: @rodimusprime @SayDatAgain @TBGWT @RevDaddyLove Email: theblackguywhotips@gmail.com Blog: www.theblackguywhotips.com Voice Mail: 704-557-0186 Sponsors: Twitter: @ShadowDogProd

My new podcast: Big Joe said he just sang the blues for years and eventually they called it rock and roll. Research material: The Chitlin’ Circuit and the Road to Rock ‘n Roll, by Preston Lauterbach (and a nod to … Continue reading →

DC Benny (@DCBenny) joins the show to talk about his life coming up in comedy as one of the only white guys performing at the black clubs in New York City in the 1990's. Before that, Turner (@TurnerBSparks) and Kap (@KapInAmerica) call pod lawyer Blue Shirt Esq. to help them figure how to take legal action against the fake Lost In America pod. This episode is brought to you by Ense, available in the App Store and on Google Play: ense.nyc/ Get "Hello Chinese", the world's #1 Chinese learning App below and enter the promo code "LOST" at checkout for 15% off all premium subscriptions: www.hellochinese.cc/ For tickets to Lost In America's live podcast on March 14 (8pm) at Stand Up NY in Manhattan go here: standupny.laughstub.com/event.cfm?id=505468&cart To see Turner Sparks in Philadelphia Saturday, March 3 (7:30pm) at L'Etage get tickets here: www.brownpapertickets.com/event/3348577 Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

When I finished watching Daniel Cross’s new documentary I Am the Blues, what I really wanted – besides an immediate trip to the Mississippi Delta – was a soundtrack album. It is the sounds of this wonderful guide to the backwoods of Louisiana and Mississippi that will stay with you – haunting, electrifying and thrilling anyone with a musical soul. Cross provides an introduction to blues veterans that still live in the American deep south and made their livings and reps for decades on the Chitlin’

 [ Click on the Image to Listen ] Funky Politics Radio | June 3, 2017  Preston Lauterbach, Author, Beale Street Dynasty and The Chitlin' Circuit: And the Road to Rock and Roll hangs out with the Funky Politics Crew.  Great Politics Great Music Great Fun…Did We Mention Great Politics!!!  Enjoy…

Few performers in American music have toiled for so many years before earning widespread acclaim and respect as Bobby Rush. Rolling Stone dubbed Rush King of the Chitlin' Circuit. Martin Scorsese featured him in his 2003 documentary The Blues. In 2006 he was named to the Blues Hall of Fame, and in 2015, he was named BB King Entertainer of the Year, one week before King himself, a close friend of Rush, passed away. But Bobby Rush is not coasting. He's plays between 100 and 200 dates a year with a big band, and he's recently signed the most significant record deal of his life. Rounder Records, a label with a long history of backing authentic folk and blues artists, has released Porcupine Meat. As the title implies, it's as rural and down-home and true to himself as anything he's ever done. In this hour, Bobby Rush speaks about his passion for performing, his farewell to BB King and about the long, arduous journey from his youth in Pine Bluff AR to Chicago and to his years touring the Deep South as a regional favorite. Then toward the end of the show, our time machine audio segment steps back another generation in the blues, with tape of Big Bill Broonzy, Memphis Slim and Sonny Boy Williamson telling Alan Lomax what it was REALLY like to launch a music career in the 1920s and 30s in the segregated south.  

When we think about the roots of rock n' roll, we generally tend to think about people like Elvis Presley, Jerry Lee Lewis, and Buddy Holly. For reasons owing to politics, race, and the various prejudices of historians and music journalists, many of the earliest African-American blues, jazz, and r n' b pioneers, such as Louis […] The post Ep. 15: The Chitlin' Circuit and the Road to Rock n' Roll: Preston Lauterbach on Rock's Forgotten Pioneers appeared first on Zachary Stockill.

When we think about the roots of rock n’ roll, we generally tend to think about people like Elvis Presley, Jerry Lee Lewis, and Buddy Holly. For reasons owing to politics, race, and the various prejudices of historians and music journalists, many of the earliest African-American blues, jazz, and r n’ b pioneers, such as Louis […] The post Ep. 15: The Chitlin’ Circuit and the Road to Rock n’ Roll: Preston Lauterbach on Rock’s Forgotten Pioneers appeared first on Travels in Music.

Writer and cultural historian Preston Lauterbach is the guest on this week's installment of The Chauncey DeVega Show. Preston is the author of the great new book Beale Street Dynasty which examines the intersecting lives, fascinating personalities, the power of the color line, and self-made men in the post-Civil War South. In all, Beale Street Dynasty is an amazing work that reveals a great deal about sex, song, and politics in Memphis, Tennessee, and America, more broadly. Preston does some great sharing and teaching in this week's episode. Chauncey and Preston talk about Elvis Presley and race, day-to-day life for black entertainers on the "Chitlin' Circuit", politics and life in the post war South, navigating freedom and slavery, and the life of the amazing black politician-gangster-entrepreneur-arts patron Mr. Robert Church. During this week's episode of the podcast, Chauncey talks about Donald Trump and professional wrestling, offers up his own conspiracy theory about the death of Antonin Scalia, and complains about impending decrepitude and his irritated skin.