Podcasts about detroit red

Monday marks what would have been Malcolm X’s 100th birthday. Akinyele Umoja, a professor in the department of Africana Studies at Georgia State University, talks more about the Muslim minister and civil and human rights leader’s life and legacy, from his early years when he was known as “Detroit Red” to his period within the Nation of Islam. Professor Umoja also discusses his own involvement in the Malcolm X Grassroots Movement. INSERT: We continue with WABE’s “Server South” series. Residents in Fayetteville brace for rapid data center development, basically in their backyards, we air WABE Southside reporter DorMiya Vance’s latest report. Plus, for “Closer Look’s” Class of 2025 graduation series, we hear from Winter Jones. The standout graduate is part of Spelman College’s largest-ever graduating class, consisting of 694 students. While earning her degree, Jones became an astronaut scholar and worked with NASA on reducing emissions from supersonic jets. Now, Jones talks with Rose about her academic journey and her dreams of becoming an aerospace engineer.See omnystudio.com/listener for privacy information.

Mike Knuble is the only NHL player to have been teammates with the top 2 goal scorers in NHL history: Wayne Gretzky and Alex Ovechkin. He shares some great stories about playing with both Ovechkin and Gretzky and why their playing styles may have been different, but their impact to their teammates and to the NHL was very similar. Knuble played in the NHL for 16 seasons in over 1,000 NHL games. He won the Stanley Cup early in his career with the 1998 Detroit Red wings and has an NHL record himself - Knuble is the NHL record holder for the fastest 2 goals, by the same player, to start an NHL Game. (he scored 2 goals in the first :27 seconds as a member of the Boston Bruins against the Florida Panthers in 2003..!! Mike was a great player, great teammate and has fun, crazy stories - enjoy!!!See omnystudio.com/listener for privacy information.

Malcolm X might have stayed as “Detroit Red” if it wasn't for a chance meeting in prison with Elton Bembry, better known as “Bimbi,” who showed him the power of education. But who was Bimbi? _____________ 2-Minute Black History is produced by PushBlack, the nation's largest non-profit Black media company. PushBlack exists to amplify the stories of Black history you didn't learn in school. You make PushBlack happen with your contributions at BlackHistoryYear.com — most people donate $10 a month, but every dollar makes a difference. If this episode moved you, share it with your people! Thanks for supporting the work. The production team for this podcast includes Cydney Smith, Len Webb, and Lilly Workneh. Our editors are Lance John and Avery Phillips from Gifted Sounds Network. Julian Walker serves as executive producer. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Hey guy's for Black History Mouth we are doing a Spike Lee Joint Malcolm X (1992) and drinking the Detroit Red    1 1/2 oz Bourbon  1oz Lemon Juice  1/2oz Simple Syrup  1oz Sangria Shack Bourbon, Lemon and Simple Syrup  Float Sangria on top  Cheers!!!  

(00:00) Fred, Rich, and Wallach start off today by recapping Fred's trip over to Detroit. . (17:34) WHAT HAPPENED LAST NIGHT: Recapping another series win for the Boston Red Sox. (33:13) Reacting to Paul Pierce talking about how his career would've been better if he played with Wade's teammates. CONNECT WITH TOUCHER & RICH:   Twitter: @Toucherandrich | @FredToucher | @KenGriffeyrules  Instagram: @toucherandrichofficial | @fredtoucher Facebook: Toucher & Rich Twitch: TheSportsHub Visit the Toucher & Rich page on 985thesportshub.com. Follow 98.5 the Sports Hub on Twitter, Facebook and Instagram!

Weekly podcast discussing Erie, PA's “LIVE MUSIC SCENE”!  Nat & the gang discuss who's playing where, they spin some tunes by local artists & discuss “the scene” with their weekly guests!  This week's guests: Pati Williams & Dan Douglas.  This week's topic “Jammin' in June!”.  This week's musical selections: “Wrong Side of Your Kiss” by Detroit Red, “Back in the Day” by Soul Addiction & “22” by Dan Douglas.  Thanks for listening & we hope to see YOU at a show real soon!!  PEACE-OUT!! www.2manhappyhour.com 

Red's Moving On Up. The Dan Gilbert skyscraper got $60 million in exchange for letting poor people live there. Detroit Red takes him up on the offer. Only to find out,... The post Go F*** Yourself appeared first on No BS News Hour with Charlie LeDuff.

The Context of White Supremacy hosts The Context of White Supremacy hosts the weekly Compensatory Call-In. We encourage non-white listeners to dial in with their codified concepts, new terms, observations, research findings, workplace problems or triumphs, and/or suggestions on how best to Replace White Supremacy With Justice ASAP. This weekly broadcast examines current events from across the globe to learn what's happening in all areas of people activity. We cultivate Counter-Racist Media Literacy by scrutinizing journalists' word choices and using logic to deconstruct what is reported as "news." We'll use these sessions to hone our use of terms as tools to reveal truth, neutralize Racists/White people. #ANTIBLACKNESS 58 Years after the assassination of Minister Malcolm X, his family filed a lawsuit against the FBI, CIA,and NYPD for the assassination and years of deception about the murder of "Detroit Red." The C.O.W.S. this week recognized fourteen years of counter-racism broadcasting while still in Buffalo, New York. It's been mighty cold. In fact, they're still investigating the December 2022 blizzard where more than three dozen people died - many of them classified as black. As "black history month" 2023 concludes, we learned about some of historian Carter G. Woodson's raping White relatives. Woodson's pale descendants took precedent over recounting how he was nearly butchered "like beef" during the 1919 White Supremacist massacre in Washington, D.C. The father of black history month barely escaped a lynching in the national's capitol - which kept him alive to write The Miseducation of the Negro and other classics. #MinisterMalcolmXhttp://paypal.me/TheCOWS Cash App: https://cash.app/$TheCOWS CALL IN NUMBER: 605.313.5164 CODE 564943#

Malcolm X might have stayed as “Detroit Red” if it wasn't for a chance meeting in prison with Elton Bembry, better known as “Bimbi,” who showed him the power of education. But who was Bimbi? _____________ 2-Minute Black History is produced by PushBlack, the nation's largest non-profit Black media company. PushBlack exists to amplify the stories of Black history you didn't learn in school. You make PushBlack happen with your contributions at BlackHistoryYear.com — most people donate $10 a month, but every dollar makes a difference. If this episode moved you, share it with your people! Thanks for supporting the work. The production team for this podcast includes Cydney Smith, Len Webb, and Lilly Workneh. Our editors are Lance John and Avery Phillips from Gifted Sounds Network. Julian Walker serves as executive producer. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

The Katherine Massey Book Club hosts the 14th and final study session on Catherine Pelonero's 2017 publication, Absolute Madness: A True Story of a Serial Killer, Race, and a City Divided. We'll make our final assessment of Joey's reign of terror and ponder why Pelonero included so much detail about the White Supremacist components of this case since her agenda is to transmogrify a White Supremacist serial killer into a victim of mental illness. We'll re-state the significance of Pelonero's deliberate exclusion of the local black press - The Buffalo Challenger & The Buffalo Criterion. In fact, Pelonero may have completely excluded all of the black journalists, like the late Chet Fuller, who did exemplary work reporting on these murders of black males. Alongside the erasure of the black press, Pelonero says nothing about accused child rapist Father Michael Freeman, who is a major figure in this case. Allegations against him were published one year after the release of this book. However, the enormity of the child rape system within the Catholic church was well established by 2017. Buffalo is Pelonero's hometown, her father was a police officer here, and as an allegedly good-lookin' White Woman, she has access to all kinds of information and people on the Buffalo scuttlebutt. Last week, Pelonero invested lots of time impugning the credentials of the Erie county prosecution's British psychiatrist Russell Barton. Readers are told this guy is a no count Nazi-sympathizing, holocaust denier who also insists good ol' Joey is sane. Once again, all kinds of Whites think Joey is a swell dude who deserves heaps of our sympathy - along with his White mother, Therese. Joey apparently feels awful about people assuming he's Racist and hates black guys. Pelonero also invests lots of energy persuading readers that Joey didn't kill and mutilate two black cab drivers. She retreats to the same lame theory from forty years ago - that Parler Edwards and Ernest Jones were victims of the numbers racket. Thank goodness Minister Malcolm X retired from running numbers in Harlem before West Indian Archie carved open Detroit Red's chest. #LetsGoBuffalo #PaytonGendron #22CaliberKiller #JoesphGChristopher #ChildRape #RickJames #TheCOWS13 INVEST in The COWS – http://paypal.me/TheCOWS Cash App: https://cash.app/$TheCOWS CALL IN NUMBER: 720.716.7300 CODE: 564943#

Thursday, August 18th 8:00PM Eastern / 5:00PM Pacific The Katherine Massey Book Club hosts the 14th and final study session on Catherine Pelonero's 2017 publication, Absolute Madness: A True Story of a Serial Killer, Race, and a City Divided. We'll make our final assessment of Joey's reign of terror and ponder why Pelonero included so much detail about the White Supremacist components of this case since her agenda is to transmogrify a White Supremacist serial killer into a victim of mental illness. We'll re-state the significance of Pelonero's deliberate exclusion of the local black press - The Buffalo Challenger & The Buffalo Criterion. In fact, Pelonero may have completely excluded all of the black journalists, like the late Chet Fuller, who did exemplary work reporting on these murders of black males. Alongside the erasure of the black press, Pelonero says nothing about accused child rapist Father Michael Freeman, who is a major figure in this case. Allegations against him were published one year after the release of this book. However, the enormity of the child rape system within the Catholic church was well established by 2017. Buffalo is Pelonero's hometown, her father was a police officer here, and as an allegedly good-lookin' White Woman, she has access to all kinds of information and people on the Buffalo scuttlebutt. Last week, Pelonero invested lots of time impugning the credentials of the Erie county prosecution's British psychiatrist Russell Barton. Readers are told this guy is a no count Nazi-sympathizing, holocaust denier who also insists good ol' Joey is sane. Once again, all kinds of Whites think Joey is a swell dude who deserves heaps of our sympathy - along with his White mother, Therese. Joey apparently feels awful about people assuming he's Racist and hates black guys. Pelonero also invests lots of energy persuading readers that Joey didn't kill and mutilate two black cab drivers. She retreats to the same lame theory from forty years ago - that Parler Edwards and Ernest Jones were victims of the numbers racket. Thank goodness Minister Malcolm X retired from running numbers in Harlem before West Indian Archie carved open Detroit Red's chest. #LetsGoBuffalo #PaytonGendron #22CaliberKiller #JoesphGChristopher INVEST in The COWS – http://paypal.me/TheCOWS Cash App: https://cash.app/$TheCOWS CALL IN NUMBER: 720.716.7300 CODE 564943# The C.O.W.S. Radio Program is specifically engineered for black & non-white listeners - Victims of White Supremacy. The purpose of this program is to provide Victims of White Supremacy with constructive information and suggestions on how to counter Racist Woman & Racist Man. Phone: 1-720-716-7300 - Access Code 564943# Hit star *6 & 1 to enter caller cue

This week Alice discusses Detroit Red and Moms Mabley, patron saint of dandies, first Robbins of spring, and candid daughters.

American Minister. Malcolm Little ran the streets from city to city as Detroit Red and New York Red after serving time for grand larceny, he emerged as Malcolm X. A representative of The Nation of Islam and The Black Nationalist and Civil rights movement. Instagram: @painpowerpodcast Email: Painpowerpodcast@gmail.com Sources: Malcolm X: Quotes, Movie & Autobiography - HISTORY Malcolm X Assassinated - HISTORY Malcolm X Biography – Malcolm X Malcolm X - Wikipedia The Lost Tapes: Malcolm X (Full Episode) - YouTube --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/velma-hood9/support

Hear from longtime Detroit Red wings analyst Mickey Redmond before the struggling Original Six clubs comes to town riding a six-game losing streak. See omnystudio.com/listener for privacy information.

The Nation of Islam's Dr. Wesley Muhammad joins Kalonji Changa on #RiotStarterTV in response to a recent episode of the platform titled, "Baba Zak Kondo: Death of Detroit Red and the Resurrection of Malcolm X". Dr. Wesley Muhammad sits on the Executive Council, the governing body of the Nation of Islam under the direction and guidance of the Honorable Minister Farrakhan. Dr. Muhammad is also a member of Minister Farrakhan's elite Research Team. NEW BPM DISCORD! https://discord.gg/TDP9a4f5Ez

Malcolm X is a singular figure in African-American history. He led an extraordinary life. He was born in an impoverished family in Omaha, NE on May 19, 1925. He recalled being “dizzy” with hunger. He said, “My whole life has been a chronology of changes.” Indeed it was. He went through a remarkable series of transformations from being a street hustler known as Detroit Red to going to jail, to converting to Islam then breaking with Nation of Islam leader Elijah Muhammad and becoming an independent voice for black dignity, self-reliance, and economic independence. Malcolm challenged the racist white power structure and the blacks who went along with it. He was only 39 years old when he was assassinated on February 21, 1965 in New York. Maya Angelou said of him, “His aura was too bright.” He had a charismatic presence and a radiant smile. And he was an electrifying orator. At his funeral, Ossie Davis eulogized him as our “prince. Our own black shining prince.” Today, Malcolm's autobiography continues to be read and his words continue to inspire.

Baba, Iya & Lorne tha Jazzy Leo commemorate the life and legacy of al-Hajj Abdul Malik al-Shabazz-al-Sabann (a.k.a. Malcolm Little, Detroit Red, Malcolm X & Brother Omowale) on the 57th year since he was assassinated. PLAYLIST 1. People Get Up & Drive That Funky Soul by James Brown [INTRO] 2. My People...Hold On by Eddie Kendricks 3. Message to the System by Segments of Time 4. Malcolm X by Hal Singer 5. Blackenized by Hank Ballard 6. Slave by Prince 7. Malcolm X by Earl Sixteen 8. Malcolm X by Dennis Brown 9. Black Is Back by Lakim Shabazz 10. Power to the People, Free Our People by Black Panther Kids 11. Theme from the Motion Picture "Cleopatra Jones" by Joe Simon & The Mainstreeters [OUTRO] --- Send in a voice message: https://anchor.fm/jadestonevintagesoul/message Support this podcast: https://anchor.fm/jadestonevintagesoul/support

It was one long blur of lock down, riot, Covid, crime, government incompetence and the Cuomo brothers. Basically, 2021 was one long shitty extension of 2020. Charlie, Karen, Marc and Detroit Red discuss the biggest stories of the year; and NBNs biggest scoops including Whitmer, Chief Craig, nursing homes, jet planes and ghost skyscrapers. We […]

The Red Wings lose to the Predators. Should Dwayne Casey be in the hot seat? Justin Thind joins the show to talk college football.Plus:Would you rather WednesdayTop Rated RBsOnline petition to change the name of Wildcat Stadium to “Tate Myre Stadium":https://www.change.org/p/oxford-high-... 2:00 - Detroit Red wings 14:00 -Detroit Pistons26:00 -Would You Rather Wednesday40:00 -College Football Coaching50:00 -Lions Rookies1:09 -Top Rated College Running backs1:20 -Big Ten Coaches & Lions Celebrations1:35 -Tigers1:42 -Lions & Goff1:51 -Mailbag Questions#MichiganWolverines #UofM #Michigan #Heisman #DetroitLions #JimHarbaughListen Live on FB, YouTube and TwitterFollow The Woodward Sports Network!Instagram: https://www.instagram.com/woodwardspo...Twitter: https://twitter.com/woodwardsportsFacebook: https://www.facebook.com/WoodwardSports/Twitch: https://www.twitch.tv/woodwardsportsTikTok: https://www.tiktok.com/@woodwardsport...Watch our Shows Live on Youtube, Facebook & TwitterThe Morning Woodward Show | Monday - Friday 8am-10am Big D Energy | Monday - Friday 11am-1pmThe Bottom Line | Monday - Friday 3pm-5pmWoodward Bets | Monday - Friday 6pm-7pm / Saturday & Sunday 9am-10am

Part 4 of my interview with Dana as she shares what she thinks about the most when her dad's birthday comes around every year, especially that close to Father's Day. - Did her father lose his job to come to her graduation? - What Bill teaches men today about having a work ethic. - What would Dana's first hiring decision be if she owned an NFL team? - Dana tells a story that sounds like Bill was with Detroit Red before he was Malcolm X! - What would Bill tell my sons in their 20s? - Is college the only answer? - What advice would Bill give all men? - What would Bill tell a stranger? - What would Bill say to a young man in love and about to get married? - Bill's advice to his daughter for men who cannot keep their hands to themselves. ------------------------------------------------------------------------------------------------------------------------ Follow me on IG: @Blackprospector --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Ace and Zim discuss the Bengals Lions game, Kareem's return and more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

How does a man go to Beaumont Hospital for a routine colonoscopy and end up in the morgue? The sad and outrageous details of the collapse of a once great Michigan institution.  Plus next week’s news today:  *More dirty demo dirt? Next to a neighborhood? Detroit Red investigates in arctic temperatures.   *Adult Care workers […]

Exclusive: The Secret Flint Water Tapes. A scandal so egregious it drives Councilman Eric Mays to drink. Macomb County Executive Mark Hackel (D) begs the Governor to get her act together.  Party hacks aren’t pleased with him. Pulitzer Prize winner Wes Lowery live from Black DC. Trump, BLM & what’s eating America. Detroit Red from […]

Tamara Payne is available for interviews immediately through Friday, February 26, 2021. I would love to get you a copy of the book and schedule an interview. If there is interest, please respond with the best way to send the book (PDF or hard copy) and a time/date for the interview. This biography gives new meaning to our understanding of Malcolm X and his ever-expanding impact on American history. Les Payne and Tamara Payne’s THE DEAD ARE ARISING is the culmination of nearly 30 years of exhaustive research reflective of Les Payne’s Pulitzer-prize investigative reporting. Mr. Payne was able to record hundreds of hours of interviews with Malcolm’s then still-living immediate family and contemporaries. Those interviews have not seen the light of day—until now. Payne, who passed away in March 2018 as he delivered the manuscript, first witnessed Malcolm X’s galvanizing oratory when attending a rally in 1963. As he went on to an illustrious newspaper career—principally at Newsday, where he won the Pulitzer—and helped found the National Association of Black Journalists, Payne’s experience of hearing Malcolm X speak never abandoned him. Aware that time was running out to record the shrinking inner circle of people who knew Malcolm throughout his life, Payne was able to document their stories and observations for posterity. THE DEAD ARE ARISING greatly expands our understanding of Malcolm X’s life and contextualizes it, not only within the Nation of Islam, but within the larger arc of African American history. With access to such important figures as Malcolm’s siblings, classmates, former ministers of the Nation of Islam, collaborators, street buddies (including one of those who served as a model for the composite “Shorty”), and even the men falsely imprisoned for his murder, Payne presents a deeply nuanced and unprecedented portrait of how East Lansing Red gave way to Detroit Red and ultimately begat the icon, X.

Tamara Payne is available for interviews immediately through Friday, February 26, 2021. I would love to get you a copy of the book and schedule an interview. If there is interest, please respond with the best way to send the book (PDF or hard copy) and a time/date for the interview. This biography gives new meaning to our understanding of Malcolm X and his ever-expanding impact on American history. Les Payne and Tamara Payne’s THE DEAD ARE ARISING is the culmination of nearly 30 years of exhaustive research reflective of Les Payne’s Pulitzer-prize investigative reporting. Mr. Payne was able to record hundreds of hours of interviews with Malcolm’s then still-living immediate family and contemporaries. Those interviews have not seen the light of day—until now. Payne, who passed away in March 2018 as he delivered the manuscript, first witnessed Malcolm X’s galvanizing oratory when attending a rally in 1963. As he went on to an illustrious newspaper career—principally at Newsday, where he won the Pulitzer—and helped found the National Association of Black Journalists, Payne’s experience of hearing Malcolm X speak never abandoned him. Aware that time was running out to record the shrinking inner circle of people who knew Malcolm throughout his life, Payne was able to document their stories and observations for posterity. THE DEAD ARE ARISING greatly expands our understanding of Malcolm X’s life and contextualizes it, not only within the Nation of Islam, but within the larger arc of African American history. With access to such important figures as Malcolm’s siblings, classmates, former ministers of the Nation of Islam, collaborators, street buddies (including one of those who served as a model for the composite “Shorty”), and even the men falsely imprisoned for his murder, Payne presents a deeply nuanced and unprecedented portrait of how East Lansing Red gave way to Detroit Red and ultimately begat the icon, X.

I’m a huge Tupac junkie. I own all six movies Pac starred in on DVD. If there was a Tupac lyric recital competition, I’d 1000% win. I’ve been listening to Tupac since I was a pre-teen for Pete’s Sake. Tupac was without a doubt the most polarizing figure in rap and hip-hop ever. Raised by a Black Panther, he had REVOLUTIONARY in his blood! Pac was an inspiration to many, and way ahead of his time. Quincy Jones said it best: “The tragedy of Tupac is that his untimely passing is representative of too many young black men in this country . . . If we had lost Oprah Winfrey at 25, we would have lost a relatively unknown, local market TV anchorwoman. If we had lost Malcolm X at 25, we would have lost a hustler named Detroit Red. And if I had left the world at 25, we would have lost a big-band trumpet player and aspiring composer--just a sliver of my eventual life potential.” I’m 26 years old now, and while I’m proud of everything I had accomplished by age 25, I’d probably just be remembered as the kid from Long Island who is always preaching motivational quotes and sells soda and sticky notes!  Quote: “Every time I speak I want the truth to come out. Every time I speak I want a shiver. I don’t want them to be like they know what I’m gonna say because it’s polite. I’m not saying I’m gonna rule the world or I’m gonna change the world, but I guarantee you that I will spark the brain that will change the world.” Tupac left behind a ton of wisdom for us to learn from in his entire body of work. It doesn’t matter if you’re an actress, writer, entrepreneur, musician, athlete or WHATEVER; living by a few of these life lessons can benefit ANYONE! Embrace Change: Change . . . SHIT, I GUESS Change is GOOD for ANY of US . . .  Promote Unity: “It’s time for us as a people to start making some chances, lets change the way we eat, lets change the way we live, and let’s change the way we treat each other. You see the old way wasn’t working so it’s on us to do what we gotta do, to survive.”  Smile Often: “Through all the rain and the pain, you gotta keep a sense of humor. You gotta be able to smile through all this bullshit.” Make a Difference: Be the change that you wish to see in the world. Speak up for those who can’t speak up for themselves.  THUG LIFE BABY! https://mruddo.com

EP 29 BADRUNESSA'S RUNT SEASON FINALE.WE WILL BE BACK IN 2021 FOR SEASON 2 & 3. TO EVERYONE WHO HAS LISTENED TO THIS SHOW-MAJOR LOVE.  A BIG SHOUT-OUT TO OUR RECORDING ENGINEER GLENN SCHWARTZ.  Twitter- @NightWorldPodEmail us-nightworldpod@hvbrecordings.comLeave a review, share with your click.  S1 ep 29- BADRUNESSA'S RUNT/ this thing we're pursuingWe'll stay running it up. They emerged from the heap of ashy skin, that imperfect leather. The engine room 'green' would flake 'off the wall', chips of paint laying on top bedsheets next to crumbs of spicy tomato flavored potato crackers; he promised to 'work day and night' to restore the shells of those walls. Road no. 19 housed their family heirloom, ounish number was torn down before he could make good on his promise. Choudhurani had high expectations for her lot. He couldn't make good on a promise to himself, to be in the company of Choudhurani's expectations was too daunting of a demand for him to address. Education was a requisite to meet those expectations, she would remind him of her demands with the word 'certificate'. A child born to sponge the arts, he soaked up hip hop, consumed it, imbibed the culture, went to Sister Clara Muhammad's, thought of himself as Detroit Red, in a room of one he was a certified G. When G-Granny, Badrunessa asked for updates regarding his 'certificate' he was diminished to an O, a zero in bangla we called that goal. We've all got goals, but to be one, that ain't the movement. Stillborn aspirations kill bravado. Open rooftops under the shade of coconut leaves that's God's sovereignty. God's people the poor, were under Badrunessa's care; they would clamor at the gates of ounish no. with tin vessels, and torn sari's outstretched in the hopes of receiving blessings. Blessings manifested themselves as staples, rice and such. He was dispatched as Badrunessa's emissary, employed with the distribution of those staples. She would guide him, "pour the grains in 'gently', give them some 'taka'(cash) be discreet, they may be in need, but you need to give them respect."She was grooming him, for what? That has yet to be realized.If we seen it how you seen itWe wouldn't be here cleaning Long way to goTrynna get us onWhat I'm really doing?It don't roll where you wantLot of things to tell usDone roll the eyes whatever Its shit that I'm that dodgingKnees shake about himYou lone em them lordTell em prayers equal more5 times and 5 percentersMy mind don't know no better Boy I can't hold your head upNot asking for guilt Just know what we built Forward the motion Know where to openWe'll work out on both endsHopefully fingers crossed No need to bring it upWe going through We'll hold it cool itX X 0 Got a Lambo damnBig bank roll on that matel manLot lives they livinOur minds ain't in itDon't worry about who blessed Or who God got up nextHashing get it girlClick click live thier worldFuck I look like Putting my life on iceWith cold blooded likes Smiley face emoji Ya'll don't really know meI don't really know meBack up into low keyBump me up some old thingsBump bump bump it upThings keep poppin upHope he got eye on usWhats up you never watch The doors got different locks Been on through different waysAint no one in a daze9-5 livinThe top down get itYou know we ain't no poster childLook at us we older nowNo known replacementsYount own your notion Cold operation(s)What the fuck you chasinNo one own life To give it up to the skyI mean you can't afford change But we holding all lanesDon't you rise to listen Ain't no amount of living Can go and get you with itHe was throwing out em dishesYou was going about ambitionDon't you answer to the fogWhat dis battle and dis warDo they hold hands if you fallAin't no one going offSo and so is onAnd you rolling on the lawnBoy you better go to mom Don't you ever Rock your head up Finger rolling you know better Use to hold it or whatever That guilt is daunting It build up nonsense Been holding on it The world you dodging So alarming  SEASON 1 LOOKING THROUGH THE TUNNEL.NIGHT WORLD IS RECORDED AT NIGHT SOUND STUDIOS IN CARRBORO NORTH CAROLINA. DREAMY GHOST is the instrumental used in today's episode (#29) it is from SFRBEATS.COMNIGHT WORLD a PODCAST is written  & performed by Arvid, 8TATE HYE, & Zaf. Glenn Schwartz is our recording engineer. Please leave reviews, subscribe and share this podcast.

All murder all the time. Acquitted of the White Castle triple murder, Tim goes back to the life. Neo-nazi confesses triple murder to Detroit Red and then blows his brains out. The exclusive interview. Janet is surprised to learn she’s registered in Michigan and Texas. The murder of her American dream. #fixtheshit #nextweeksnewstoday.

Detroit True Crime: White Boy Rick to go Free. Dan Gilbert to get richer. Detroit grows poorer. Gretchen Whitmer on the run. Detroit Red on the streets.

Today on Boston Public Radio: NBC “Meet the Press” moderator Chuck Todd weighed in on the Department of Justice’s recommendation of a lighter sentence for Trump associate Roger Stone, statements from former White House Chief of Staff John Kelly on the president’s view of immigrants, and the winning poodle at this week’s Westminster dog show. Medical ethicist Art Caplan discussed the president’s proposed cuts to health and science agencies, The WHO's inability to control media reporting on the coronavirus, and President Trump’s proposal to move tobacco regulation away from FDA control.  We opened our lines to talk with listeners about former White House Chief of Staff John Kelly’s statements on President Trump, and get your thoughts on why most Republicans are unwilling to criticize the president in a significant way.  Massachusetts Governor Charlie Baker joined us for our monthly edition of “Ask the Governor,” where he spoke about the Transportation Climate Initiative, affordable housing, air monitoring in Weymouth, and more.  Former Massachusetts Secretary of Education Paul Reville discussed controversy over testing for Boston Exam School applicants, a religious school choice case before the Supreme Court, and concerns over the use of facial recognition technology in Mass. schools. We re-opened our lines to talk with callers about the flashy look of this year’s Westminster Dog Show winner, a black standard poodle named Siba.  WGBH Senior Arts Editor Jared Bowen discussed several plays in the Boston area, including “Plaza Suite,” "Detroit Red,” and “Sweat.”

1:30:20, 11.21 AM Buy the book here: https://amzn.to/2uy3jYr ### Note on the author Having apprenticed under Robert Greene, who wrote *[The 48 Laws of Power](http://fourminutebooks.com/the-48-laws-of-power-summary/)*, Ryan Holiday went on to become director of marketing for American Apparel. He was a marketing genius and build enormous reach for big brands and authors alike. But recently his focus shifted a lot. Since then, he's published three books about Stoicism, lives a humble life in Texas and spends a lot of his time writing. Looks like he's learned how to keep his ego in check. Let's learn from him. Ego Is The Enemy describes a tendency to believe the world revolves around us and us alone. It holds us back from living the life we truly desire and how we can overcome it and become the greatest version of ourselves. ### Aspire ### Success ### Failure Live without wasted time - Detroit Red was a criminal mastermind, robbery, ran numbers, sold drugs, pimped, and a little bit of everything else. That was until he was caught and booked for 10 years. Detroit Red had lost himself and found himself in a hole in the ground with no way out. Robert Green has said there is two types of time in our lives. **Alive time (learning, acting, and utilizing everything)** and **dead time (passive and waiting).** Every moment holds the choice for us, alive time or dead time. Detroit Red choose to be alive. And be reborn into Malcolm X. Reading became his obsession. History, relgiion, philosophy, classics. They would ask him later on what his alma malder was. He replied, Books. Books granted Malcolm X the freedom of the mind. Acceptance, humility and strength are the pilers of combating the ego. Turn shit to sugar. Don't let a stubbornness make a bad situation worse Success is peace of mind - self satisfaction - because you did the best to become the best Ambition ties your wellbeing to what others have to say or do Sanity means tying it to your own actions. Do your job. Let go, and let God do His work. The world can show you the truth but no one can force you to accept it. You need to clear out the baggage and return to the real you. The greatest enemy is ego and It's sidekick is denial. Hitting the bottom is the worst thing. But immersing and living it creates a strength Even Steve Jobs was fired from Apple. His ego out of control Steve sold all but 1 share of the company he helped founded.. But something happened was that he was humbled. Steve had to prove himself again and did. The Steve we know now is the iPhone creator and a new renaissance of consumer tech. He was only able to do that because he recognized this error and removed his ego. If we don't take control of ourselves there's only one thing that we can guarantee. Ego will seek out failure — it's true north. Push through with strength not ego and you're unstoppable. Buy the book here: https://amzn.to/2uy3jYr

Will Power is an internationally renowned playwright, performer, lyricist and educator. Considered one of the pioneers and co-creators of hip-hop theater, he’s also an artist who views theatre as a vehicle for transformation. His latest is Detroit Red about Malcolm X’s years as a teenager and young man in Roxbury. It’s currently play at the Emerson Paramount Center. Please welcome Will Power.

Spike Lee’s “Malcolm X” paints a nuanced portrait of a historical icon — as a human being who was constantly searching for his truth and who was willing to change his mind in public, over and over again. The movie takes us through the various chapters of Malcolm X’s life: first as Malcolm Little, then, in his early 20s, as “Detroit Red,” to his rise as Malcolm X, the activist preserved in history books today — and beyond. Activist and poet Andrea Jenkins related to Malcolm X’s experience of transformation and evolution portrayed in the movie. She’s a city council member in Minneapolis and was the first openly transgender black woman elected to office in the United States. She joined us for a live recording and screening of the movie at the Parkway Theater in Minneapolis.Andrea Jenkins is a poet, politician, performance artist, and transgender activist. She’s the vice president of the Minneapolis city council. Her book is "The T is Not Silent: New and Selected Poems."Find the transcript at https://onbeing.org/series/this-movie-changed-me/Subscribe to our weekly newsletter at https://onbeing.org/tmcmletter/

Special Guest! "Celebrity Comedian & Feature film Actor" Detroit Red Host, Yolanda Nollie & Celebrity Co-Host , Jonathan Haywood(Stinger J) July 12 , 2019 Comedian Detroit Red Bio- Hilarious, "Outrageously funny," "Comedic genius," are words that describe Red's comedy. Hilarious because sometimes his jokes have a tendency to fly over your head but when you catch them, you can't stop laughing. Outrageously funny because of his dynamic, sixth sense, ad lib abilities and his comedic genius are clearly reflected by his lightening quick wit. Red's humor has the ability to touch the hearts of people from all walks of life; young and old. Although he will make you laugh till it hurts, you will also get the message in his jokes. Red started his comedy career in a Detroit based comedy club (CoCo's House of Comedy) in October of 1998. Since his first performance on stage Red has matured into one of the most realistic comedians in the circuit today. Taking his outlook and spin on real life and putting it to jokes, Red will have you doubled over in your seat with laughter. Like all of us, Red (husband and father), has had obstacles to overcome in comedy as well as in "everyday" life but he has found a way to take obstacles and turn them into milestones His enthusiasm and positivity is not only reflected on stage but exudes into every aspect of his life. There's not a person Red encounters that is not touched by his positive and humorous outlook on life. If you are in a bad mood Red has a way of always getting that giggle out of you, sometimes before you even realize it your mood is uplifted instantly. Like they say laughter is medicine for the soul. So, Red is not just a comedian he is a doctor for the soul, a comediologist, ---if you will. Red is one chosen to bring a smile to your face. So why not enjoy one of God's greatest gifts (laughter) and book Red for your next event. Red is capable of hosting, featuring and headlining comedy shows. He performs clean, as well as, adult comedy and will travel if accommodations are provided. Keeping true to his motto, "No show to big or small" Red knows how to deliver that knock out comedy punch to any type of crowd leaving them wanting more.. Comedian Detroit Red's Comedy set Resume of COMEDY CLUBS: 486 Lounge, Detroit, MI Ambassador Hall, Monroe, MI Bea's Comedy Kitchen, Detroit, MI Club C-Note, Detroit, MI CoCo's a.k.a. The House of Comedy Elk's Lodge Grand Rapids Chapter, Grand Rapids, MI Garden Palace, Chicago, IL Giggles Comedy Club, Toledo, OH Joey's Comedy Club, Livonia, MI Joey's Comedy Club, Dearborn, MI Mandee's, Detroit, MI Mark Ridley's Comedy Castle, Royal Oak, MI Mix Lounge, Detroit, MI P.J.'s, Battle creek, MI Shooter's, Saginaw, MI Skeet's, Cleveland, OH Starting line lounge, New Boston, MI The Limit Lounge, Detroit, MI VWA Hall, Kalamazoo, MI And many more. Comedian Detroit Red Acting Resume Openings: A.J. From the movie "Friday" Tommy Ford from the sitcom "Martin"& “Who’s Got Jokes” Martha Reeves & the Vandellas Kurtis Blow at Bea's Comedy Kitchen Film & Television Appearances: "8 mile" "Detroit Def Comedy Jam" "Make a Left on Hastings" Accomplishments: United States Marine Corps Reserve Benefit "Toys for Tot" Miller Genuine Draft's "2002 and 2003 Kings and Queens of Comedy Search Fran Production "Comedy Competition 2006" "It Ain't Been Said, Til' You Heard It From Red," CD “ A Taste of Red “ DVD “Not White, Not Black, Just Red” DVD Comedian Detroit Red's Contact Information To Book Red for your next event 313 740-6533 Please Contact us at: redthecomedian@redjokerprods.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/radio--tv-entertainment-n/message

MAF talked about finding his passion for rapping at a early age, very first artist that influenced him, Reasonable Doubt & Nocturnal albums, his The Ghost Of project, difference between skimming through music & actually listening & paying attention to the lyrics, B.A Badd, finding his stage name, past projects & winning best hiphop award in Syracuse, being really inspired by Upstate New York,Graphwize, upcoming project titled Detroit Red & much more! Instagram: @maf_fogmg @kxnglo @fromthedeskoflo @datfeelinpodcast

On this episode “Could Detroit Red Become Malcolm X During This Era?” we were joined by a few dope guests including: Balogun Ojetade, Rah A. Karim-Kincey and Anana Harris Parris. A very powerful special edition where we were joined by our first studio audience. Check out this important piece centered around grassroots activism with a social media mix. Hosted by Kalonji Changa and Kamau Franklin Produced by Naka "The Ear Dr" Recorded by Playback Studios on location Downtown Atlanta, Ga Check out the website at www.renegadeculture.org

    Welcome to episode five of A History of Rock Music in Five Hundred Songs. Today we're looking at Sister Rosetta Tharpe and "This Train" ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of Rosetta Tharpe's music is now in the public domain, so there are a lot of compilations available. This one, at three CDs for four pounds, is probably the one to get. Almost all the information about Rosetta Tharpe's life in this episode comes from Shout, Sister, Shout!: The Untold Story of Rock-and-roll Trailblazer Sister Rosetta Tharpe by Gayle F Wald,  For more on Thomas Dorsey, check out The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church by Michael W. Harris. The Spirituals to Swing concerts are currently out of print, and the recording quality is poor enough it's really not worth paying the silly money the CDs go for second hand. But if you want to do that, you can find them here. And Rosetta Tharpe's performance at Wilbraham Road Railway Station can be found on The American Folk Blues Festival: The British Tours 1963-1966 Transcript One of the problems when dealing with the history of rock and roll, as we touched upon the other week in the brief disclaimer episode, is the way it's dominated by men. Indeed, the story of rock and roll is the story of men crowding out women, and white men crowding out black men, and finally of rich white men crowding out poorer white men, until it eventually becomes a dull, conservative genre. Sorry if that's a spoiler, but don't say I didn't warn you when I get to the nineties.   But one black woman is as responsible as anyone for the style of rock and roll, and in particular, for its focus on the guitar.   To find out why, we're going to be making our final trip back to 1938 and Carnegie Hall.   We've talked in earlier episodes about John Hammond's legendary Spirituals to Swing concerts, and at the time I said that I'd talk some more about the ways in which they were important, but also about how they were problematic. (I know that's a word that gets overused these days, but I mean it literally -- they had problems, but weren't all bad. Far from it).   One of the most problematic aspects of them, indeed, is encoded in the name. "From Spirituals to Swing". It gives you a nice, simple, linear narrative -- one that was still being pushed in books I read in the 1980s. You start with the spirituals and you end with swing. It's like those diagrams of the evolution of man, with the crawling monkey on one side and the tall, oddly hairless, white man with his genitals carefully concealed on the other.   The fact is, most of the narrative about "primitive" music -- a narrative that was put forward by very progressive white men like John Hammond or the Lomaxes -- is deeply mistaken. The forms of music made largely by black people could sound less sophisticated in the 1930s, but that wasn't because they were atavistic survivals of more primitive forms, musical coelacanths dredged up from the depths to parade. It was because the people making the music often couldn't afford expensive instruments, and were recorded on cheaper equipment, and all the other myriad ways society makes the lives of black people, and underprivileged people in other ways, just that bit more difficult.   But this was, nonetheless, the narrative that was current in the 1930s. And so the Spirituals to Swing concerts featured a bisexual black woman who basically invented much of what would become rock guitar, an innovator if ever there was one, but portrayed her as somehow less sophisticated than the big band music on the same bill. And they did that because that innovative black woman was playing religious music.   In fact, black gospel music had grown up around the same time as the big bands. Black people had, of course, been singing in churches since their ancestors were forcibly converted to Christianity, but gospel music as we talk about it now was largely the creation of one man -- Thomas Dorsey.   (This is not the same man as the white bandleader Tommy Dorsey who we've mentioned a couple of times earlier).   Dorsey was a blues and jazz musician, who had led the band for Ma Rainey, one of the great early blues singers, and under the name "Georgia Tom" he'd collaborated with Tampa Red on a series of singles. Their song "It's Tight Like That", from 1928, is one of the earliest hokum records, and is largely responsible for a lot of the cliches of the form -- and it sold seven million copies.   [excerpt of "It's Tight Like That"]   That record, in itself, is one of the most important records that has ever been made -- you can trace from that song, through hokum blues, through R&B, and find its influence in basically every record made by a black American, or by anyone who's ever listened to a record made by a black American, since then. If Dorsey had only made that one record, he would have been one of the most important figures in music history.   But some time around 1930, he also started writing a whole new style of music. It combined the themes, and some of the melody, of traditional Christian hymns, with the feel of the blues and jazz music he'd been playing. It's rare that you can talk about a single person inventing a whole field of music, but gospel music as we know it basically *was* invented by Thomas Dorsey.    Other people had performed gospel music before, of course, but the style was very different from anything we now think of as gospel. Dorsey was the one who pulled all the popular music idioms into it and made it into something that powered and inspired all the popular music since.   He did this because he was so torn between his faith and his work as a blues musician that he had multiple breakdowns -- at one point finding himself on stage with Ma Rainey and completely unable to move his fingers to play the piano. While he continued parallel careers for a while, eventually he settled on making religious music. And the songs he wrote include some of the most well-known songs of all time, like "Peace in the Valley" and "Take My Hand, Precious Lord".   That's a song he wrote in 1932, after his wife died in childbirth and his newborn son died a couple of days later. He was feeling a grief that most of us could never imagine, a pain that must have been more unbearable than anything anyone should have to suffer, and the pain came out in beauty like this:   [excerpt of Rosetta Tharpe singing "Take My Hand, Precious Lord"]   That's not "primitive" music. That's not music that is unsophisticated. That's not some form of folk art. That's one man, a man who personally revolutionised music multiple times over, writing about his own personal grief and creating something that stands as great art without having to be patronised or given special consideration.   And the person singing on that recording is Sister Rosetta Tharpe, who, like Dorsey, is someone who doesn't need to be given special treatment or be thought of as good considering her disadvantages or any of that patronising nonsense. Sister Rosetta Tharpe was one of the great singers of her generation, and one of the great guitar players of all time. And she was making music that was as modern and cutting-edge as anything else made in the 1930s and 40s. She wasn't making music that was a remnant of something that would evolve into swing, no matter what John Hammond thought, she was making important music, and music that would in the long run be seen as far more important than most of the swing bands.   Obviously, one should not judge Hammond too harshly. He was from another time. A primitive.   Sister Rosetta was brought up in, and spent her life singing for, the Church of God in Christ. As many of my listeners are in Europe, as I am myself, it's probably worth explaining what this church is, because while it does have branches outside the US, that's where it's based, and that's where most of its membership is.   The Church of God in Christ is a Pentecostal church, and it's the largest Pentacostal church in the US, and the fifth-largest church full stop. I mention that it's a Pentacostal church, because that's something you need to understand to understand Rosetta Tharpe. Pentacostals believe in something slightly different to what most other Christian denominations believe.    Before I go any further, I should point out that I am *not* an expert in theology by any means, and that what I'm going to say may well be a mischaracterisation. If you're a Pentacostal and disagree with my characterisation of your religion here, I apologise, and if you let me know I'll at least update the show notes. No disrespect is intended.   While most Christians believe that humanity is always tainted by original sin, Pentacostals believe that it is possible for some people, if they truly believe -- if they're "born again" to use a term that's a little more widespread than just Pentacostalism -- to become truly holy. Those people will have all their past sins forgiven, and will then be sinless on Earth. To do this, you have to be "baptised in the Holy Ghost". This is different from normal baptism, what Pentacostals call "water baptism" -- though most Pentacostals think you should be water baptised anyway, as a precursor to the main event. Rather, this is the Holy Spirit descending from Heaven and entering you, filling you with joy and a sense of sanctity. This can often cause speaking in tongues and other strange behaviours, as people are enthused (a word which, in the original Greek, actually meant a god entering into you), and once this has happened you have the tendency to sin removed from you altogether.    This is all based on the Acts of the Apostles, specifically Acts 2:4, which describes how at the Pentecost (which is the seventh Sunday after Easter), "All were filled with the Holy Spirit. They began to express themselves in foreign tongues and make bold proclamation as the Spirit prompted them".   Unlike many Protestant denominations, which adhere to Calvinist beliefs that nobody can know if they're going to Heaven or Hell, and that only God can ever know this, and that nothing you do can make a difference to your chances, most Pentacostals believe that you can definitely tell whether you're going to Heaven. You're going to Heaven once you're sanctified by the Holy Spirit, and that's an end of it.   At least, it's an end of it so long as you continue with what's called "outward holiness", and so you have to dress conservatively, to avoid swearing, to avoid drinking or gambling or smoking, or dancing suggestively, or wearing makeup. If you do that, once the spirit's entered into you, you're going to remain holy and free from temptation. If you don't do that, well, then the Devil might get you after all.   This is a very real fear for many Pentacostals, who have a belief in a literal heaven and hell. And it's a fear that has inspired a *lot* of the most important musicians in rock and roll. But Pentacostalism isn't just about fear and living right, it's also about that feeling of elation and exhiliration when the holy spirit enters you. And music helps bring that feeling about.    It's no surprise that a lot of the early rock and rollers went to Pentacostal churches -- at many of them, especially in the South of the US, there's a culture of absolutely wild, unrestrained, passionate music and dancing, to get people into the mood to have the spirit enter them. And Sister Rosetta Tharpe is probably the greatest performer to come out of those churches.   But while most of the performers we'll be looking at started playing secular music, Sister Rosetta never did, or at least very rarely. But she was, nonetheless, an example of something that we'll see a lot in the history of rock -- the pull between the spiritual and the worldly.    From the very start of her career, Sister Rosetta was slightly different from the other gospel performers. While she lived in Chicago at the same time as Thomas Dorsey and Mahalia Jackson, she isn't generally considered part of the gospel scene that they were at the centre of -- because she was travelling round the country playing at revival meetings, rather than staying in one place. When her first marriage -- to a fellow evangelist, who apparently abused her -- broke up, she moved on to New York, and there she started playing to audiences that were very different from the churches she was used to.   Where people like Mahalia were playing church music for church people, Rosetta Tharpe was taking the gospel to the sinners. Throughout her career, she played in nightclubs and theatres, playing for any audience that would have her, and playing music that got them excited and dancing, even as she was singing about holiness.   She started playing the Cotton Club in 1938. The Cotton Club was the most famous club in New York, though in 1938 it was on its last days of relevance. It had been located in Harlem until 1936, but after riots in Harlem, it had moved to a more respectable area, and was now on Broadway.   In the twenties and early thirties, the Cotton Club had been responsible for the success of both Duke Ellington and Cab Calloway, though only Calloway was still playing there regularly by the time Rosetta Tharpe started performing there. It was still, though, the place to be seen -- at least if you were white. The Cotton Club was strictly segregated -- only black people on stage, but only white people in the audience. The black performers were there to be leered at, in the case of the showgirls, or to play up to black stereotypes. Even Duke Ellington, possibly the most sophisticated musician ever to come out of the United States, had been presented as a "jungle musician". The name itself -- the Cotton Club -- was trading on associations with slavery and cotton picking, and the feel of the new venue could probably be summed up by the fact that it had, on its walls, pictures of famous white bandleaders in blackface.   So it's not surprising that the performances that Sister Rosetta did at the Cotton Club were very different from the ones she'd been doing when she was travelling the country with her mother performing to church crowds. She was still playing the same music, of course -- in fact, over her career, she mostly stuck to the same quite small repertoire, rerecording the same material in new arrangements and with new emphases as she grew as an artist -- but now she was doing it as part of a parody of the very kind of church service she had grown up in and devoted her life to, with dancers pretending to be "Holy Rollers", mocking her religion even as her music itself was still devoted to it.   Originally, she was only taken on at the Cotton Club as a sort of trial, on a two-week engagement -- and apparently she thought the manager was joking when she was offered five hundred dollars a week, not believing she could be making that much money -- and her role was simply to be one of many acts who'd come on and do a song or two between the bigger acts who were given star billing. But she soon became a hit, and she soon got signed to Decca to make records.   Her first record was, of course, a song by Thomas Dorsey, originally titled "Hide Me in Thy Bosom" but given the newer title "Rock Me" by Tharpe. Her arrangement largely stuck to Dorsey's original, with one important exception -- where he had written "singing", Tharpe sang "swinging".   [excerpt of "Rock Me"]   Many people also claimed to hear a double entendre in the lyrics to "Rock Me", and to think the song was about more worldly matters than Dorsey had intended. Whether Tharpe thought that or not, it almost certainly factored into the decision to make it her first single.   When she was booked to perform at the Spirituals to Swing concerts, she performed both that song and "That's All", backed by Albert Ammons, one of the boogie woogie players who also appeared on the bill, and in the recording of that we can hear, rather better than in the studio recording, the raw power of Tharpe's performance.   [excerpt of "That's All" from Carnegie Hall]   The sound quality of these recordings isn't great, of course, but you can clearly hear the enthusiasm in that performance.   Tharpe's performances at the Cotton Club drew a great deal of attention, and Time magazine even did a feature on her, and how she “Swings Same Songs in Church and Night Club.” When the Cotton Club shut down she moved on to the Cafe Society, a venue booked by John Hammond, which was an integrated club and which fit her rather better.   While she was working there, she came to the attention of Lucky Millinder, the big band leader. Different people have different ideas as to how the two started working together -- Mo Gale, Millinder's manager, was also Chick Webb's manager, and claimed that it was his idea and that he'd seen Tharpe as being an Ella Fitzgerald to Millinder's Chick Webb, but Bill Doggett, the piano player with Millinder's band, said that it was Millinder's idea, not Gale's, to get Tharpe on board.   Either way, the combination worked well enough at first, as Tharpe got to sing the same songs she'd been performing earlier -- her gospel repertoire -- but with a big band backing her. She'd also switched to playing an electric guitar rather than an acoustic, and the effect on her guitar playing was extraordinary -- where before she'd had to be a busy accompanist, constantly playing new notes due to the lack of sustain from an acoustic guitar, now she was able to play single-note lead lines and rely on the orchestra to provide the chordal pad.   Her remake of "Rock Me" with Millinder's band, from 1941, shows just how much her artistry had improved in just three years:   [excerpt of 1941 "Rock Me"]   With that record, she more or less invented the guitar style that T-Bone Walker, B.B. King, and others would adapt for themselves. That's just how you play electric blues now, but it wasn't how anyone played before Rosetta Tharpe.   Soon after she joined Millinder's band they moved to a residency at the Savoy Ballroom, and became one of the most popular bands for dancers in New York -- regulars there included a young man known as Detroit Red, who later changed his name to Malcolm X.  The Savoy Ballroom was closed down not long after -- allegedly for prostitution, but more likely because it allowed white women to dance with black men, and the city of New York wouldn't allow that -- although as Malcolm X said, it wasn't as if they were dragging the white women in there.   However, Millinder's band was an odd fit for Rosetta Tharpe, and she was increasingly forced to sing secular numbers along with the gospel music she loved. There were plenty of good things about the band, of course -- she became lifelong friends with its young trumpet player, Dizzy Gillespie, for example, and she enjoyed a tour where they were on the same bill as a young vocal group, The Four Ink Spots, but she was a little bit uncomfortable singing songs like "Tall Skinny Papa", which wasn't particularly gospel-like   [excerpt "Tall Skinny Papa"]   And it's not particularly likely that she was keen on the follow-up, although she didn't sing on that one.   [excerpt "Big Fat Mama"]   So eventually, she quit the Millinder band, without giving notice, and went back to performing entirely solo, at least at first.    This was in the middle of the musicians' union strike, but when that ended, Tharpe was back in the studio, and in September 1944 she began one of the two most important musical collaborations of her career, when she recorded "Strange Things Happening Every Day", with Sam Price on piano.   Sam Price did *not* get along with Tharpe. He insisted on her playing with a capo, because she was playing in an open tuning and wasn't playing in a normal jazz key. He didn't like the idea of combining gospel music with his boogie woogie style (eventually he was persuaded by Tharpe's mother, a gospel star in her own right who was by all accounts a fearsome and intimidating presence, that this was OK), and when the result became a massive hit, he resented that he got a flat fee.   But nonetheless, "Strange Things Happening Every Day" marks out the start of yet another new style for Tharpe -- and it's yet another song often credited as "the first rock and roll record".   [Excerpt "Strange Things Happening Every Day"]   Shortly after this, Tharpe started working with another gospel singer, Marie Knight. Her partnership with Marie Knight may have been a partnership in more than one sense. Knight denied the relationship to the end of her days -- and it's entirely understandable that she would, given that she was a gospel singer who was devoted to a particularly conservative church, and whose career also depended on that church -- but their relationship was regarded as an open secret within the gospel music community, which had a rather more relaxed attitude to homosexuality and bisexuality than the rest of the church. Some of Tharpe's friends have described her as a secret lesbian, but given her multiple marriages to men it seems more likely that she was bi -- although of course we will never know for sure.   Either way, Tharpe and Knight were a successful double act for many years, with their voices combining perfectly to provide a gospel vocal sound that was unlike anything ever recorded. They stopped working together in 1950, but remained close enough that Knight was in charge of Tharpe's funeral in 1973,   The two of them toured together -- and Tharpe toured later on her own -- in their own bus, which was driven by a white man. This gave them a number of advantages in a deeply segregated and racist country. It was considered acceptable for them to go into some public places where they otherwise wouldn't have been allowed, because they were with a white man -- if a black woman was with a white man, it was just assumed that she was sleeping with him, and unlike a white woman sleeping with a black man, this was considered absolutely acceptable, a sexual double-standard that dated back to slavery. If they needed food and the restaurant in a town was whites-only, they could send the white driver in to get them takeout. And if it came to it, if there was no hotel in town that would take black people, they could sleep on the bus.   And segregation was so accepted at the time by so many people that even when Tharpe toured with a white vocal group, the Jordanaires (who would later find more fame backing up some country singer named Elvis something) they just thought her having her own bus was cool, and didn't even make the connection to how necessary it was for her.   While Tharpe and Knight made many great records together, probably Tharpe's most important recording was a solo B-side to one of their singles, a 1947 remake of a song she'd first recorded in 1938, "This Train", again featuring Sam Price on piano:   [excerpt "This Train"]   That's a song that sets out the theology of the Pentacostal church as well as you'll ever hear it. This train is a *clean* train. You want to ride it you better get redeemed. No tobacco chewers or cigar smokers. No crap shooters. If you want to be bound for glory, you need to act holy.   There was no-one bigger than Tharpe in her genre. She is probably the first person to ever play rock and roll guitar in stadiums -- and not only that, she played rock and roll guitar in a stadium *at her wedding* -- her third wedding, to be precise, which took place at Griffith Stadium, the home of the Washington Senators and the Homestead Grays. Twenty thousand people came to see her get married and perform a gospel show afterwards, concluding with fireworks that first exploded in the shape of Tharpe playing her guitar before taking on other shapes like two hearts pierced with Cupid's arrow. Even Tharpe's half-sister had to pay for her ticket to the show. Apparently Tharpe signed the contract for her wedding seven months earlier, and then went out to find herself a husband.   Rosetta Tharpe's popularity started to wane in the 1950s, at least in her home country, but she retained a following in Europe. There's fascinating footage of her in 1964 filmed by Granada TV, playing at the abandoned Wilbraham Road railway station in Manchester. If you live in Manchester, as I do, that piece of track, which is now part of the Fallowfield cycle loop was the place where some of the greats of black American music were filmed for what may have been the greatest blues TV programme of all time -- along with Tharpe, there was Muddy Waters, Otis Span, Reverend Gary Davis, and Sonny Terry and Brownie McGhee, all performing in the open air in Manchester in front of an extremely earnest audience of young white British people. Fittingly for an open-air show in Manchester, Tharpe opened her short set with "Didn't It Rain"   [Didn't It Rain TV performance excerpt]   By that time, Tharpe had become primarily known as a blues musician, even though she was still doing the same thing she'd always been doing, simply because music had moved on and recategorised her. But she'd had an influence on blues, R&B, and rock and roll music that most people didn't even realise. "This Train" was not written by Tharpe, exactly -- it dates back to the 1920s -- but it was definitely her version, and her rewrite, that inspired one of the most important blues records of all time:   [Excerpt of "My Babe"]   Indeed, only a few months after Rosetta Tharpe's UK performances, Gerry and the Pacemakers, one of the biggest bands of the new Merseybeat sound, who'd had three number one records that year in the UK, were recording their own version of "My Babe". Gerry and the Pacemakers were, in most respects, as far as you could imagine from gospel music, and yet the connection is there, closer than you'd think.   Rosetta Tharpe died in 1973, and never really got the recognition she deserved. She was only inducted into the Rock Hall of Fame last year. But if you've ever liked rock guitar, you've got her to thank. Shout, Sister, Shout!   Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

    Welcome to episode five of A History of Rock Music in Five Hundred Songs. Today we’re looking at Sister Rosetta Tharpe and “This Train” —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of Rosetta Tharpe’s music is now in the public domain, so there are a lot of compilations available. This one, at three CDs for four pounds, is probably the one to get. Almost all the information about Rosetta Tharpe’s life in this episode comes from Shout, Sister, Shout!: The Untold Story of Rock-and-roll Trailblazer Sister Rosetta Tharpe by Gayle F Wald,  For more on Thomas Dorsey, check out The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church by Michael W. Harris. The Spirituals to Swing concerts are currently out of print, and the recording quality is poor enough it’s really not worth paying the silly money the CDs go for second hand. But if you want to do that, you can find them here. And Rosetta Tharpe’s performance at Wilbraham Road Railway Station can be found on The American Folk Blues Festival: The British Tours 1963-1966 Transcript One of the problems when dealing with the history of rock and roll, as we touched upon the other week in the brief disclaimer episode, is the way it’s dominated by men. Indeed, the story of rock and roll is the story of men crowding out women, and white men crowding out black men, and finally of rich white men crowding out poorer white men, until it eventually becomes a dull, conservative genre. Sorry if that’s a spoiler, but don’t say I didn’t warn you when I get to the nineties.   But one black woman is as responsible as anyone for the style of rock and roll, and in particular, for its focus on the guitar.   To find out why, we’re going to be making our final trip back to 1938 and Carnegie Hall.   We’ve talked in earlier episodes about John Hammond’s legendary Spirituals to Swing concerts, and at the time I said that I’d talk some more about the ways in which they were important, but also about how they were problematic. (I know that’s a word that gets overused these days, but I mean it literally — they had problems, but weren’t all bad. Far from it).   One of the most problematic aspects of them, indeed, is encoded in the name. “From Spirituals to Swing”. It gives you a nice, simple, linear narrative — one that was still being pushed in books I read in the 1980s. You start with the spirituals and you end with swing. It’s like those diagrams of the evolution of man, with the crawling monkey on one side and the tall, oddly hairless, white man with his genitals carefully concealed on the other.   The fact is, most of the narrative about “primitive” music — a narrative that was put forward by very progressive white men like John Hammond or the Lomaxes — is deeply mistaken. The forms of music made largely by black people could sound less sophisticated in the 1930s, but that wasn’t because they were atavistic survivals of more primitive forms, musical coelacanths dredged up from the depths to parade. It was because the people making the music often couldn’t afford expensive instruments, and were recorded on cheaper equipment, and all the other myriad ways society makes the lives of black people, and underprivileged people in other ways, just that bit more difficult.   But this was, nonetheless, the narrative that was current in the 1930s. And so the Spirituals to Swing concerts featured a bisexual black woman who basically invented much of what would become rock guitar, an innovator if ever there was one, but portrayed her as somehow less sophisticated than the big band music on the same bill. And they did that because that innovative black woman was playing religious music.   In fact, black gospel music had grown up around the same time as the big bands. Black people had, of course, been singing in churches since their ancestors were forcibly converted to Christianity, but gospel music as we talk about it now was largely the creation of one man — Thomas Dorsey.   (This is not the same man as the white bandleader Tommy Dorsey who we’ve mentioned a couple of times earlier).   Dorsey was a blues and jazz musician, who had led the band for Ma Rainey, one of the great early blues singers, and under the name “Georgia Tom” he’d collaborated with Tampa Red on a series of singles. Their song “It’s Tight Like That”, from 1928, is one of the earliest hokum records, and is largely responsible for a lot of the cliches of the form — and it sold seven million copies.   [excerpt of “It’s Tight Like That”]   That record, in itself, is one of the most important records that has ever been made — you can trace from that song, through hokum blues, through R&B, and find its influence in basically every record made by a black American, or by anyone who’s ever listened to a record made by a black American, since then. If Dorsey had only made that one record, he would have been one of the most important figures in music history.   But some time around 1930, he also started writing a whole new style of music. It combined the themes, and some of the melody, of traditional Christian hymns, with the feel of the blues and jazz music he’d been playing. It’s rare that you can talk about a single person inventing a whole field of music, but gospel music as we know it basically *was* invented by Thomas Dorsey.    Other people had performed gospel music before, of course, but the style was very different from anything we now think of as gospel. Dorsey was the one who pulled all the popular music idioms into it and made it into something that powered and inspired all the popular music since.   He did this because he was so torn between his faith and his work as a blues musician that he had multiple breakdowns — at one point finding himself on stage with Ma Rainey and completely unable to move his fingers to play the piano. While he continued parallel careers for a while, eventually he settled on making religious music. And the songs he wrote include some of the most well-known songs of all time, like “Peace in the Valley” and “Take My Hand, Precious Lord”.   That’s a song he wrote in 1932, after his wife died in childbirth and his newborn son died a couple of days later. He was feeling a grief that most of us could never imagine, a pain that must have been more unbearable than anything anyone should have to suffer, and the pain came out in beauty like this:   [excerpt of Rosetta Tharpe singing “Take My Hand, Precious Lord”]   That’s not “primitive” music. That’s not music that is unsophisticated. That’s not some form of folk art. That’s one man, a man who personally revolutionised music multiple times over, writing about his own personal grief and creating something that stands as great art without having to be patronised or given special consideration.   And the person singing on that recording is Sister Rosetta Tharpe, who, like Dorsey, is someone who doesn’t need to be given special treatment or be thought of as good considering her disadvantages or any of that patronising nonsense. Sister Rosetta Tharpe was one of the great singers of her generation, and one of the great guitar players of all time. And she was making music that was as modern and cutting-edge as anything else made in the 1930s and 40s. She wasn’t making music that was a remnant of something that would evolve into swing, no matter what John Hammond thought, she was making important music, and music that would in the long run be seen as far more important than most of the swing bands.   Obviously, one should not judge Hammond too harshly. He was from another time. A primitive.   Sister Rosetta was brought up in, and spent her life singing for, the Church of God in Christ. As many of my listeners are in Europe, as I am myself, it’s probably worth explaining what this church is, because while it does have branches outside the US, that’s where it’s based, and that’s where most of its membership is.   The Church of God in Christ is a Pentecostal church, and it’s the largest Pentacostal church in the US, and the fifth-largest church full stop. I mention that it’s a Pentacostal church, because that’s something you need to understand to understand Rosetta Tharpe. Pentacostals believe in something slightly different to what most other Christian denominations believe.    Before I go any further, I should point out that I am *not* an expert in theology by any means, and that what I’m going to say may well be a mischaracterisation. If you’re a Pentacostal and disagree with my characterisation of your religion here, I apologise, and if you let me know I’ll at least update the show notes. No disrespect is intended.   While most Christians believe that humanity is always tainted by original sin, Pentacostals believe that it is possible for some people, if they truly believe — if they’re “born again” to use a term that’s a little more widespread than just Pentacostalism — to become truly holy. Those people will have all their past sins forgiven, and will then be sinless on Earth. To do this, you have to be “baptised in the Holy Ghost”. This is different from normal baptism, what Pentacostals call “water baptism” — though most Pentacostals think you should be water baptised anyway, as a precursor to the main event. Rather, this is the Holy Spirit descending from Heaven and entering you, filling you with joy and a sense of sanctity. This can often cause speaking in tongues and other strange behaviours, as people are enthused (a word which, in the original Greek, actually meant a god entering into you), and once this has happened you have the tendency to sin removed from you altogether.    This is all based on the Acts of the Apostles, specifically Acts 2:4, which describes how at the Pentecost (which is the seventh Sunday after Easter), “All were filled with the Holy Spirit. They began to express themselves in foreign tongues and make bold proclamation as the Spirit prompted them”.   Unlike many Protestant denominations, which adhere to Calvinist beliefs that nobody can know if they’re going to Heaven or Hell, and that only God can ever know this, and that nothing you do can make a difference to your chances, most Pentacostals believe that you can definitely tell whether you’re going to Heaven. You’re going to Heaven once you’re sanctified by the Holy Spirit, and that’s an end of it.   At least, it’s an end of it so long as you continue with what’s called “outward holiness”, and so you have to dress conservatively, to avoid swearing, to avoid drinking or gambling or smoking, or dancing suggestively, or wearing makeup. If you do that, once the spirit’s entered into you, you’re going to remain holy and free from temptation. If you don’t do that, well, then the Devil might get you after all.   This is a very real fear for many Pentacostals, who have a belief in a literal heaven and hell. And it’s a fear that has inspired a *lot* of the most important musicians in rock and roll. But Pentacostalism isn’t just about fear and living right, it’s also about that feeling of elation and exhiliration when the holy spirit enters you. And music helps bring that feeling about.    It’s no surprise that a lot of the early rock and rollers went to Pentacostal churches — at many of them, especially in the South of the US, there’s a culture of absolutely wild, unrestrained, passionate music and dancing, to get people into the mood to have the spirit enter them. And Sister Rosetta Tharpe is probably the greatest performer to come out of those churches.   But while most of the performers we’ll be looking at started playing secular music, Sister Rosetta never did, or at least very rarely. But she was, nonetheless, an example of something that we’ll see a lot in the history of rock — the pull between the spiritual and the worldly.    From the very start of her career, Sister Rosetta was slightly different from the other gospel performers. While she lived in Chicago at the same time as Thomas Dorsey and Mahalia Jackson, she isn’t generally considered part of the gospel scene that they were at the centre of — because she was travelling round the country playing at revival meetings, rather than staying in one place. When her first marriage — to a fellow evangelist, who apparently abused her — broke up, she moved on to New York, and there she started playing to audiences that were very different from the churches she was used to.   Where people like Mahalia were playing church music for church people, Rosetta Tharpe was taking the gospel to the sinners. Throughout her career, she played in nightclubs and theatres, playing for any audience that would have her, and playing music that got them excited and dancing, even as she was singing about holiness.   She started playing the Cotton Club in 1938. The Cotton Club was the most famous club in New York, though in 1938 it was on its last days of relevance. It had been located in Harlem until 1936, but after riots in Harlem, it had moved to a more respectable area, and was now on Broadway.   In the twenties and early thirties, the Cotton Club had been responsible for the success of both Duke Ellington and Cab Calloway, though only Calloway was still playing there regularly by the time Rosetta Tharpe started performing there. It was still, though, the place to be seen — at least if you were white. The Cotton Club was strictly segregated — only black people on stage, but only white people in the audience. The black performers were there to be leered at, in the case of the showgirls, or to play up to black stereotypes. Even Duke Ellington, possibly the most sophisticated musician ever to come out of the United States, had been presented as a “jungle musician”. The name itself — the Cotton Club — was trading on associations with slavery and cotton picking, and the feel of the new venue could probably be summed up by the fact that it had, on its walls, pictures of famous white bandleaders in blackface.   So it’s not surprising that the performances that Sister Rosetta did at the Cotton Club were very different from the ones she’d been doing when she was travelling the country with her mother performing to church crowds. She was still playing the same music, of course — in fact, over her career, she mostly stuck to the same quite small repertoire, rerecording the same material in new arrangements and with new emphases as she grew as an artist — but now she was doing it as part of a parody of the very kind of church service she had grown up in and devoted her life to, with dancers pretending to be “Holy Rollers”, mocking her religion even as her music itself was still devoted to it.   Originally, she was only taken on at the Cotton Club as a sort of trial, on a two-week engagement — and apparently she thought the manager was joking when she was offered five hundred dollars a week, not believing she could be making that much money — and her role was simply to be one of many acts who’d come on and do a song or two between the bigger acts who were given star billing. But she soon became a hit, and she soon got signed to Decca to make records.   Her first record was, of course, a song by Thomas Dorsey, originally titled “Hide Me in Thy Bosom” but given the newer title “Rock Me” by Tharpe. Her arrangement largely stuck to Dorsey’s original, with one important exception — where he had written “singing”, Tharpe sang “swinging”.   [excerpt of “Rock Me”]   Many people also claimed to hear a double entendre in the lyrics to “Rock Me”, and to think the song was about more worldly matters than Dorsey had intended. Whether Tharpe thought that or not, it almost certainly factored into the decision to make it her first single.   When she was booked to perform at the Spirituals to Swing concerts, she performed both that song and “That’s All”, backed by Albert Ammons, one of the boogie woogie players who also appeared on the bill, and in the recording of that we can hear, rather better than in the studio recording, the raw power of Tharpe’s performance.   [excerpt of “That’s All” from Carnegie Hall]   The sound quality of these recordings isn’t great, of course, but you can clearly hear the enthusiasm in that performance.   Tharpe’s performances at the Cotton Club drew a great deal of attention, and Time magazine even did a feature on her, and how she “Swings Same Songs in Church and Night Club.” When the Cotton Club shut down she moved on to the Cafe Society, a venue booked by John Hammond, which was an integrated club and which fit her rather better.   While she was working there, she came to the attention of Lucky Millinder, the big band leader. Different people have different ideas as to how the two started working together — Mo Gale, Millinder’s manager, was also Chick Webb’s manager, and claimed that it was his idea and that he’d seen Tharpe as being an Ella Fitzgerald to Millinder’s Chick Webb, but Bill Doggett, the piano player with Millinder’s band, said that it was Millinder’s idea, not Gale’s, to get Tharpe on board.   Either way, the combination worked well enough at first, as Tharpe got to sing the same songs she’d been performing earlier — her gospel repertoire — but with a big band backing her. She’d also switched to playing an electric guitar rather than an acoustic, and the effect on her guitar playing was extraordinary — where before she’d had to be a busy accompanist, constantly playing new notes due to the lack of sustain from an acoustic guitar, now she was able to play single-note lead lines and rely on the orchestra to provide the chordal pad.   Her remake of “Rock Me” with Millinder’s band, from 1941, shows just how much her artistry had improved in just three years:   [excerpt of 1941 “Rock Me”]   With that record, she more or less invented the guitar style that T-Bone Walker, B.B. King, and others would adapt for themselves. That’s just how you play electric blues now, but it wasn’t how anyone played before Rosetta Tharpe.   Soon after she joined Millinder’s band they moved to a residency at the Savoy Ballroom, and became one of the most popular bands for dancers in New York — regulars there included a young man known as Detroit Red, who later changed his name to Malcolm X.  The Savoy Ballroom was closed down not long after — allegedly for prostitution, but more likely because it allowed white women to dance with black men, and the city of New York wouldn’t allow that — although as Malcolm X said, it wasn’t as if they were dragging the white women in there.   However, Millinder’s band was an odd fit for Rosetta Tharpe, and she was increasingly forced to sing secular numbers along with the gospel music she loved. There were plenty of good things about the band, of course — she became lifelong friends with its young trumpet player, Dizzy Gillespie, for example, and she enjoyed a tour where they were on the same bill as a young vocal group, The Four Ink Spots, but she was a little bit uncomfortable singing songs like “Tall Skinny Papa”, which wasn’t particularly gospel-like   [excerpt “Tall Skinny Papa”]   And it’s not particularly likely that she was keen on the follow-up, although she didn’t sing on that one.   [excerpt “Big Fat Mama”]   So eventually, she quit the Millinder band, without giving notice, and went back to performing entirely solo, at least at first.    This was in the middle of the musicians’ union strike, but when that ended, Tharpe was back in the studio, and in September 1944 she began one of the two most important musical collaborations of her career, when she recorded “Strange Things Happening Every Day”, with Sam Price on piano.   Sam Price did *not* get along with Tharpe. He insisted on her playing with a capo, because she was playing in an open tuning and wasn’t playing in a normal jazz key. He didn’t like the idea of combining gospel music with his boogie woogie style (eventually he was persuaded by Tharpe’s mother, a gospel star in her own right who was by all accounts a fearsome and intimidating presence, that this was OK), and when the result became a massive hit, he resented that he got a flat fee.   But nonetheless, “Strange Things Happening Every Day” marks out the start of yet another new style for Tharpe — and it’s yet another song often credited as “the first rock and roll record”.   [Excerpt “Strange Things Happening Every Day”]   Shortly after this, Tharpe started working with another gospel singer, Marie Knight. Her partnership with Marie Knight may have been a partnership in more than one sense. Knight denied the relationship to the end of her days — and it’s entirely understandable that she would, given that she was a gospel singer who was devoted to a particularly conservative church, and whose career also depended on that church — but their relationship was regarded as an open secret within the gospel music community, which had a rather more relaxed attitude to homosexuality and bisexuality than the rest of the church. Some of Tharpe’s friends have described her as a secret lesbian, but given her multiple marriages to men it seems more likely that she was bi — although of course we will never know for sure.   Either way, Tharpe and Knight were a successful double act for many years, with their voices combining perfectly to provide a gospel vocal sound that was unlike anything ever recorded. They stopped working together in 1950, but remained close enough that Knight was in charge of Tharpe’s funeral in 1973,   The two of them toured together — and Tharpe toured later on her own — in their own bus, which was driven by a white man. This gave them a number of advantages in a deeply segregated and racist country. It was considered acceptable for them to go into some public places where they otherwise wouldn’t have been allowed, because they were with a white man — if a black woman was with a white man, it was just assumed that she was sleeping with him, and unlike a white woman sleeping with a black man, this was considered absolutely acceptable, a sexual double-standard that dated back to slavery. If they needed food and the restaurant in a town was whites-only, they could send the white driver in to get them takeout. And if it came to it, if there was no hotel in town that would take black people, they could sleep on the bus.   And segregation was so accepted at the time by so many people that even when Tharpe toured with a white vocal group, the Jordanaires (who would later find more fame backing up some country singer named Elvis something) they just thought her having her own bus was cool, and didn’t even make the connection to how necessary it was for her.   While Tharpe and Knight made many great records together, probably Tharpe’s most important recording was a solo B-side to one of their singles, a 1947 remake of a song she’d first recorded in 1938, “This Train”, again featuring Sam Price on piano:   [excerpt “This Train”]   That’s a song that sets out the theology of the Pentacostal church as well as you’ll ever hear it. This train is a *clean* train. You want to ride it you better get redeemed. No tobacco chewers or cigar smokers. No crap shooters. If you want to be bound for glory, you need to act holy.   There was no-one bigger than Tharpe in her genre. She is probably the first person to ever play rock and roll guitar in stadiums — and not only that, she played rock and roll guitar in a stadium *at her wedding* — her third wedding, to be precise, which took place at Griffith Stadium, the home of the Washington Senators and the Homestead Grays. Twenty thousand people came to see her get married and perform a gospel show afterwards, concluding with fireworks that first exploded in the shape of Tharpe playing her guitar before taking on other shapes like two hearts pierced with Cupid’s arrow. Even Tharpe’s half-sister had to pay for her ticket to the show. Apparently Tharpe signed the contract for her wedding seven months earlier, and then went out to find herself a husband.   Rosetta Tharpe’s popularity started to wane in the 1950s, at least in her home country, but she retained a following in Europe. There’s fascinating footage of her in 1964 filmed by Granada TV, playing at the abandoned Wilbraham Road railway station in Manchester. If you live in Manchester, as I do, that piece of track, which is now part of the Fallowfield cycle loop was the place where some of the greats of black American music were filmed for what may have been the greatest blues TV programme of all time — along with Tharpe, there was Muddy Waters, Otis Span, Reverend Gary Davis, and Sonny Terry and Brownie McGhee, all performing in the open air in Manchester in front of an extremely earnest audience of young white British people. Fittingly for an open-air show in Manchester, Tharpe opened her short set with “Didn’t It Rain”   [Didn’t It Rain TV performance excerpt]   By that time, Tharpe had become primarily known as a blues musician, even though she was still doing the same thing she’d always been doing, simply because music had moved on and recategorised her. But she’d had an influence on blues, R&B, and rock and roll music that most people didn’t even realise. “This Train” was not written by Tharpe, exactly — it dates back to the 1920s — but it was definitely her version, and her rewrite, that inspired one of the most important blues records of all time:   [Excerpt of “My Babe”]   Indeed, only a few months after Rosetta Tharpe’s UK performances, Gerry and the Pacemakers, one of the biggest bands of the new Merseybeat sound, who’d had three number one records that year in the UK, were recording their own version of “My Babe”. Gerry and the Pacemakers were, in most respects, as far as you could imagine from gospel music, and yet the connection is there, closer than you’d think.   Rosetta Tharpe died in 1973, and never really got the recognition she deserved. She was only inducted into the Rock Hall of Fame last year. But if you’ve ever liked rock guitar, you’ve got her to thank. Shout, Sister, Shout!   Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

Movie franchises will be knocking down our door for the incredibly lucrative and brilliant ideas for film series' we came up with in this episode. We're talking to you Marvel, Star Wars and (less so) Bond. Time to talk The Red Winged Octopus and why golfing’s greatest enigma is the mystery of the caddy. Hosted by Dave Zwolenski and Matthew (Redd) Peterson.

Comedian Detroit Red is a long time friend of Johnny D and well known on stages across the Midwest and beyond. He and Johnny D talk about "Red's" journey and how he heals himself and those around him with laughter. EPISODE: EP002 Laugh At Yourself... Comedian - Detroit Red PODCAST: Outstanding Life Podcast HOST: The Motivational Cowboy - Johnny D. (John Dmytryszyn) WEBSITE: https://www.MotivationalCowboy.com/podcast/ SOUNDCLOUD PODCAST: https://soundcloud.com/outstandinglifepodcast iTUNES APPLE PODCAST: https://itunes.apple.com/us/podcast/outstanding-life-with-the-motivational-cowboy/id1410576520?mt=2 SPOTIFY PODCAST: https://open.spotify.com/show/4OFNmM9Rv9jNA0gQMPv8XU YOUTUBE PODCAST PLAYLIST: https://www.youtube.com/watch?v=tttQkLT7SfE&list=PL1Jmeb31MqLiNLxcnufzmCCca3HGH20Rj&index=2&t=0s STITCHER: https://www.stitcher.com/s?fid=389557&refid=stpr SUPPORT with PAYPAL: https://www.paypal.me/motivationalcowboy SUPPORT with PATREON: https://www.patreon.com/motivationalcowboy FOLLOW: facebook.com/john.dmytryszyn.3 @MCJohnnyD4 #motivationalcowboy DESCRIPTION: LISTEN for FREE to ‘Outstanding Life’ PODCAST with Johnny D. the Motivational Cowboy on iTunes, Spotify, SoundCloud, Stitcher, YouTube & other major platforms and stations. Now with Over 1 Million Listeners! Motivational Speaker, John Dmytryszyn (Johnny D) has developed a strong brand as “The Motivational Cowboy”. He impacts audiences across the country with his message of “Living the Outstanding Life”, helping to change lives by reshaping thoughts about Image, Attitude, Focus and Consistency. His podcast is the latest in a long list of platforms that allows him to reach people. Among his most notable accomplishments is a 2nd Grammy consideration for his recently released spoken word CD “Time to Stand Out!”. Book the Motivational Cowboy for Your Next Event! https://www.MotivationalCowboy.com #MotivationalCowboy #OutstandingLifePodcast

Run the Jewels Rapper Killer Mike joined Renegade Culture hosts Kalonji Changa and Kamau Franklin in a discussion about the transformation from Detroit Red to Malcolm X, Black Nationalism and the need for Community Control.

The Context of White Supremacy hosts the second study session on one of the most popular texts in the world, The Autobiography of Malcolm X: As Told To Alex Haley (1965). This broadcast will air one day before the 50 year anniversary of Minister Malcolm's assassination. With the global focus on police terrorism, the efficacy of marching, the impact of White Jesus/Christianity, government spying, and Muslim-bashing, it seemed timely to get reacquainted with "Detroit Red." Listeners should remain mindful that there are reportedly significant portions of this memoir that have never been released to the public. Last week's session outlined the impact of Marcus Garvey on the world view of his parents. We also learned how the contamination of colorism (light skin/dark skin) affected his mother and father in explicit ways. His father was assassinated by a gang of White Terrorists. Minister Malcolm's mother was attacked by White insurance and social workers who blocked Earl Little's insurance policy, obliterated the family by removing her children, and had her institutionalized. As we continue, listeners are encouraged to keep this text in mind when searching for patience to share with black people. INVEST in The COWS - http://tiny.cc/ledjb CALL IN NUMBER: 760.569.7676 CODE 564943# SKYPE: FREECONFERENCECALLHD.7676 CODE 564943# The C.O.W.S. archives: http://tiny.cc/76f6p

The Context of White Supremacy hosts the premier study session on one of the most important, popular books in the world, The Autobiography of Malcolm X: As Told To Alex Haley (1965). There's a little over one week before the 50 year anniversary of Minister Malcolm's assassination. With the global surge of attention targeting police terrorism, the efficacy of marching, the impact of White Jesus/Christianity, Muslim-bashing, and government spying, it seemed like a timely moment to hear "Detroit Red." It may be prudent to remain mindful that there are reportedly significant portions of this memoir that have never been released to the public. We'll get details on Min. Malcolm's childhood in Nebraska and Michigan as well as his parents' commitment to the teachings of Marcus Garvey. Perhaps a wonderful example to keep in mind when searching for patience to share with other black people. INVEST in The COWS - http://tiny.cc/ledjb CALL IN NUMBER: 760.569.7676 CODE 564943# SKYPE: FREECONFERENCECALLHD.7676 CODE: 564943# The C.O.W.S. archives: http://tiny.cc/76f6p

Nearly 50 years after his death, Malcolm X remains a controversial figure. An 8th grade dropout (he ditched school when a white teacher told him it was unrealistic for a black kid to dream of being a lawyer), he rose to prominence as the second most influential minister in the Nation of Islam, only to dramatically break with the Nation and convert to Sunni Islam the year before he was killed. As the nickname “Detroit Red”–gained during his hustling days in Harlem–implies, Malcolm X makes for a sneaky biographical subject. In the public imagination, he’s largely defined by The Autobiography of Malcolm X, written by Alex Haley and published shortly after his death. However, as the late Columbia University scholar Manning Marable reminds us in his ground-breaking biography Malcolm X: A Life of Reinvention (Penguin, 2011), The Autobiography is a text and not a history. The Autobiography itself was a reinvention. The winner of the 2012 Pulitzer Prize for History, Malcolm X is an attempt to reshape the narrative of Malcolm X’s life and to prompt further investigation into the circumstances surrounding his death, but the book’s greatest contribution may turn out to be its portrayal of Malcolm himself. In contrast to the near messianic figure of The Autobiography, the Malcolm that emerges in Marable’s telling is profoundly flawed and hauntingly human. He is also vividly alive. “He lived the existence of an itinerant musician,” writes Marable, “traveling constantly from city to city, standing night after night on the stage, manipulating his melodic tenor voice as an instrument. He was consciously a performer, who presented himself as the vessel for conveying the anger and impatience the black masses felt.” The snappiness of Marable’s prose leaves one with the sensation that Malcolm X must’ve been standing over the author’s shoulder for the full twenty years it took him to write the book. Detroit Red– whistling, snapping, hustling, along. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nearly 50 years after his death, Malcolm X remains a controversial figure. An 8th grade dropout (he ditched school when a white teacher told him it was unrealistic for a black kid to dream of being a lawyer), he rose to prominence as the second most influential minister in the Nation of Islam, only to dramatically break with the Nation and convert to Sunni Islam the year before he was killed. As the nickname “Detroit Red”–gained during his hustling days in Harlem–implies, Malcolm X makes for a sneaky biographical subject. In the public imagination, he’s largely defined by The Autobiography of Malcolm X, written by Alex Haley and published shortly after his death. However, as the late Columbia University scholar Manning Marable reminds us in his ground-breaking biography Malcolm X: A Life of Reinvention (Penguin, 2011), The Autobiography is a text and not a history. The Autobiography itself was a reinvention. The winner of the 2012 Pulitzer Prize for History, Malcolm X is an attempt to reshape the narrative of Malcolm X’s life and to prompt further investigation into the circumstances surrounding his death, but the book’s greatest contribution may turn out to be its portrayal of Malcolm himself. In contrast to the near messianic figure of The Autobiography, the Malcolm that emerges in Marable’s telling is profoundly flawed and hauntingly human. He is also vividly alive. “He lived the existence of an itinerant musician,” writes Marable, “traveling constantly from city to city, standing night after night on the stage, manipulating his melodic tenor voice as an instrument. He was consciously a performer, who presented himself as the vessel for conveying the anger and impatience the black masses felt.” The snappiness of Marable’s prose leaves one with the sensation that Malcolm X must’ve been standing over the author’s shoulder for the full twenty years it took him to write the book. Detroit Red– whistling, snapping, hustling, along. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nearly 50 years after his death, Malcolm X remains a controversial figure. An 8th grade dropout (he ditched school when a white teacher told him it was unrealistic for a black kid to dream of being a lawyer), he rose to prominence as the second most influential minister in the Nation of Islam, only to dramatically break with the Nation and convert to Sunni Islam the year before he was killed. As the nickname “Detroit Red”–gained during his hustling days in Harlem–implies, Malcolm X makes for a sneaky biographical subject. In the public imagination, he’s largely defined by The Autobiography of Malcolm X, written by Alex Haley and published shortly after his death. However, as the late Columbia University scholar Manning Marable reminds us in his ground-breaking biography Malcolm X: A Life of Reinvention (Penguin, 2011), The Autobiography is a text and not a history. The Autobiography itself was a reinvention. The winner of the 2012 Pulitzer Prize for History, Malcolm X is an attempt to reshape the narrative of Malcolm X’s life and to prompt further investigation into the circumstances surrounding his death, but the book’s greatest contribution may turn out to be its portrayal of Malcolm himself. In contrast to the near messianic figure of The Autobiography, the Malcolm that emerges in Marable’s telling is profoundly flawed and hauntingly human. He is also vividly alive. “He lived the existence of an itinerant musician,” writes Marable, “traveling constantly from city to city, standing night after night on the stage, manipulating his melodic tenor voice as an instrument. He was consciously a performer, who presented himself as the vessel for conveying the anger and impatience the black masses felt.” The snappiness of Marable’s prose leaves one with the sensation that Malcolm X must’ve been standing over the author’s shoulder for the full twenty years it took him to write the book. Detroit Red– whistling, snapping, hustling, along. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nearly 50 years after his death, Malcolm X remains a controversial figure. An 8th grade dropout (he ditched school when a white teacher told him it was unrealistic for a black kid to dream of being a lawyer), he rose to prominence as the second most influential minister in the Nation of Islam, only to dramatically break with the Nation and convert to Sunni Islam the year before he was killed. As the nickname “Detroit Red”–gained during his hustling days in Harlem–implies, Malcolm X makes for a sneaky biographical subject. In the public imagination, he’s largely defined by The Autobiography of Malcolm X, written by Alex Haley and published shortly after his death. However, as the late Columbia University scholar Manning Marable reminds us in his ground-breaking biography Malcolm X: A Life of Reinvention (Penguin, 2011), The Autobiography is a text and not a history. The Autobiography itself was a reinvention. The winner of the 2012 Pulitzer Prize for History, Malcolm X is an attempt to reshape the narrative of Malcolm X’s life and to prompt further investigation into the circumstances surrounding his death, but the book’s greatest contribution may turn out to be its portrayal of Malcolm himself. In contrast to the near messianic figure of The Autobiography, the Malcolm that emerges in Marable’s telling is profoundly flawed and hauntingly human. He is also vividly alive. “He lived the existence of an itinerant musician,” writes Marable, “traveling constantly from city to city, standing night after night on the stage, manipulating his melodic tenor voice as an instrument. He was consciously a performer, who presented himself as the vessel for conveying the anger and impatience the black masses felt.” The snappiness of Marable’s prose leaves one with the sensation that Malcolm X must’ve been standing over the author’s shoulder for the full twenty years it took him to write the book. Detroit Red– whistling, snapping, hustling, along. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nearly 50 years after his death, Malcolm X remains a controversial figure. An 8th grade dropout (he ditched school when a white teacher told him it was unrealistic for a black kid to dream of being a lawyer), he rose to prominence as the second most influential minister in the Nation of Islam, only to dramatically break with the Nation and convert to Sunni Islam the year before he was killed. As the nickname “Detroit Red”–gained during his hustling days in Harlem–implies, Malcolm X makes for a sneaky biographical subject. In the public imagination, he's largely defined by The Autobiography of Malcolm X, written by Alex Haley and published shortly after his death. However, as the late Columbia University scholar Manning Marable reminds us in his ground-breaking biography Malcolm X: A Life of Reinvention (Penguin, 2011), The Autobiography is a text and not a history. The Autobiography itself was a reinvention. The winner of the 2012 Pulitzer Prize for History, Malcolm X is an attempt to reshape the narrative of Malcolm X's life and to prompt further investigation into the circumstances surrounding his death, but the book's greatest contribution may turn out to be its portrayal of Malcolm himself. In contrast to the near messianic figure of The Autobiography, the Malcolm that emerges in Marable's telling is profoundly flawed and hauntingly human. He is also vividly alive. “He lived the existence of an itinerant musician,” writes Marable, “traveling constantly from city to city, standing night after night on the stage, manipulating his melodic tenor voice as an instrument. He was consciously a performer, who presented himself as the vessel for conveying the anger and impatience the black masses felt.” The snappiness of Marable's prose leaves one with the sensation that Malcolm X must've been standing over the author's shoulder for the full twenty years it took him to write the book. Detroit Red– whistling, snapping, hustling, along. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Four more bangers for yall this week. Detroit Red outta Detroit, MI, Eternal out of Los Angeles, CA, NK Tha Great from Atlanta, GA and Neph from Baltimore, MD. Dont forget to check us out in this Months SPIN Magazine and win a free t-shirt! Check this episode out! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Four more bangers for yall this week. Detroit Red outta Detroit, MI, Eternal out of Los Angeles, CA, NK Tha Great from Atlanta, GA and Neph from Baltimore, MD. Dont forget to check us out in this Months SPIN Magazine and win a free t-shirt! Check this episode out!

Four more bangers for yall this week. Detroit Red outta Detroit, MI, Eternal out of Los Angeles, CA, NK Tha Great from Atlanta, GA and Neph from Baltimore, MD. Dont forget to check us out in this Months SPIN Magazine and win a free t-shirt! Check this episode out! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app