Podcasts about i heard it through

William Franklin Guest was an original member of the iconic, soulful, multi-Grammy-winning, Rock and Roll Hall of Fame group, Gladys Knight & the Pips. He was there when the group formed out of friendships and family, playing in churches back in 1952. He was with them for nearly four decades, known as the best dancer of the group, on stage performing hits like Midnight Train To Georgia, I've Got to Use My Imagination, Best Thing That Ever Happened to Me, and I Heard It Through the Grapevine. His story has never been told.Until now. With the release of Midnight Train from Georgia, musical fans will learn not only the details of his storied life, but they will read an inspiring tale about the bonds of family, love, church and music. They will also learn a bit about the music industry and the birth of Motown. It is the time of The Apollo, Soul Train, Ed Sullivan Show, and Dick Clark. It's both a personal story – and one of music history. William's sister-in-law, Dhyana Ziegler, also a songwriter, interviewed William over several years before he died in 2015. The book, which received the Bronze from the Fall 2024 BookFest Awards and an International Impact Book Award in December, 2024, is based off of edited transcripts of those interviews, along with some commentary from Dhyana. Midnight Train from Georgia chronicles the incredible rise of Gladys Knight and the Pips from their origins singing in a small Atlanta church to their induction into the Rock & Roll Hall of Fame. When two families' destinies intertwined at Mt. Moriah Baptist Church, they discover the extraordinary musical talents of their children. Young cousins William, Eleanor Guest, Gladys, Brenda Knight, and Bubba Knight unite their heavenly vocals to form The Pips gospel choir.We follow William from his formative years in Atlanta, where his love of music is kindled by evenings listening to his family perform rhythmic gospel songs on their porch. The Pips' journey takes them from these humble back-porch jam sessions to struggle and sacrifice on the road to stardom. With faith, fortitude and William's grandmother's lessons to guide them, the group overcomes adversity through the transcendent power of their music.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

William Franklin Guest was an original member of the iconic, soulful, multi-Grammy-winning, Rock and Roll Hall of Fame group, Gladys Knight & the Pips. He was there when the group formed out of friendships and family, playing in churches back in 1952. He was with them for nearly four decades, known as the best dancer of the group, on stage performing hits like Midnight Train To Georgia, I've Got to Use My Imagination, Best Thing That Ever Happened to Me, and I Heard It Through the Grapevine. His story has never been told.Until now. With the release of Midnight Train from Georgia, musical fans will learn not only the details of his storied life, but they will read an inspiring tale about the bonds of family, love, church and music. They will also learn a bit about the music industry and the birth of Motown. It is the time of The Apollo, Soul Train, Ed Sullivan Show, and Dick Clark. It's both a personal story – and one of music history. William's sister-in-law, Dhyana Ziegler, also a songwriter, interviewed William over several years before he died in 2015. The book, which received the Bronze from the Fall 2024 BookFest Awards and an International Impact Book Award in December, 2024, is based off of edited transcripts of those interviews, along with some commentary from Dhyana. Midnight Train from Georgia chronicles the incredible rise of Gladys Knight and the Pips from their origins singing in a small Atlanta church to their induction into the Rock & Roll Hall of Fame. When two families' destinies intertwined at Mt. Moriah Baptist Church, they discover the extraordinary musical talents of their children. Young cousins William, Eleanor Guest, Gladys, Brenda Knight, and Bubba Knight unite their heavenly vocals to form The Pips gospel choir.We follow William from his formative years in Atlanta, where his love of music is kindled by evenings listening to his family perform rhythmic gospel songs on their porch. The Pips' journey takes them from these humble back-porch jam sessions to struggle and sacrifice on the road to stardom. With faith, fortitude and William's grandmother's lessons to guide them, the group overcomes adversity through the transcendent power of their music.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Bruno Bocayuva novamente junto do Júlio Adler e João Valente. Motivo de festa, não fosse pelo atraso de um dia. Desafio da Ericeira, Alejo derrubando paredes, Tya Zebrowski assombrando um mundo que não se cansa de assombrar-se com meninas brilhantes pipocando a cada 3 meses - vivemos na era das poderosas. Na trilha temos, Fuck the Police com N.W.A. I Heard It Through the Grapevine (Cover do Marvin Gaye) com as Slits e The Message Is Love (Cupid Mix) com Arthur Baker & the Backbeat Disciples feat. Al Green.

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

(00:00-26:07) – Query & Company opens on a Tuesday with Jake Query, Jimmy Cook, and producer Eddie Garrison discussing the big game tonight between Indiana and Purdue. Additionally, Jake explains the troubles he had sleeping last night along with his phone not charging. Finally, they debate who the most hated Indiana player in the last 10-15 years in the eyes of Purdue fans and take a couple calls about the rivalry. (26:07-49:24) – Former Purdue Boilermaker and NBA champion, Brian Cardinal, joins Query & Company to relive the history of the rivalry between Indiana and Purdue, explains why the rivalry is one of the best in all of sports, how returning to Assembly Hall a couple years ago dusted off a ton of memories, applauds Matt Painter for the job he has done building up the program, and what his message to the team and fans would be in order to win the NCAA Championship for the first time in program history. (49:24-50:14) – Hour one concludes with Jake and Jimmy sharing some of their thoughts from the Pacers loss to the Utah Jazz last night. (50:14-1:14:43) – Scott Agness from Fieldhouse Files and 1075thefan.com joins Query & Company to recap the Pacers blowout loss to the Jazz, access the first extended performance of Jarace Walker in the NBA, and evaluates how he and Ben Sheppard can earn more minutes on the floor. Finally, shares what he knows about the severity of Bennedict Mathurin and Isaiah Jackson's injuries from last night's game and evaluates the rest of the road trip for Indiana. (1:14:43-1:33:12) – Jake and Jimmy come back from break by discussing the poll that Jake put out on Twitter that has received thousands of votes and a lot of debate within his replies. Then they transition back to the Pacers with a caller stating that they need to trade for Andrew Wiggins and not Pascal Siakam.     (1:33:12-1:40:37) – The one o'clock hour concludes with the Jake sharing some trivia pertaining to I Heard It Through the Grapevine. This leads to Jake and Jimmy talking about bitcoin, dogecoin, and NBA NFT's. (1:40:37-2:08:11) – ESPN.com Indianapolis Colts beat reporter Stephen Holder joins Jake and Jimmy to reveal if he has been able to find anything more about the health of Jim Irsay. Additionally, they dive into some things from Chris Ballard's press conference last week like the way he was talking/acting compared to last season, the hesitation in answering the question pertaining to Alec Pierce's second year, and if he believes that Shane Steichen is giving Gus Bradley the benefit of the doubt for not having a lot of talent to work with. (2:08:11-2:25:38) – Former Indiana Hoosier Todd Leary makes his second appearance on Query & Company to dispute some of the things that Brian Cardinal said earlier in the program and shared his perspective on the rivalry between IU and Purdue. Additionally, he breaks down the game tonight between the two teams, explains the importance of Xavier Johnson's defense, and shares his perspective on the future of Mackenzie Mgbako and Kel'el Ware. (2:25:38-2:30:42) – Today's show ends with the JCook Plays of the Day, Eddie sharing a bet he likes, and JMV joining the guys to talk a little bit about IU vs Purdue.See omnystudio.com/listener for privacy information.

This year, James Baldwin would be turning 100 years old. To celebrate his centennial, Film Forum is hosting a screening series of Baldwin-related films. "I Heard It Through the Grapevine" is the first documentary to screen in the series. The film, directed by Dick Fontaine and Pat Hartley and released in 1982, was made with Baldwin, and chronicles his trip to the South twenty years after the end of the Civil Rights Movement. "I Heard It Through the Grapevine" was recently restored, and is screening at Film Forum through January 25. Hartley joins us to discuss the film alongside scholar and Baldwin expert Rich Blint, and we take your calls.  

Ep. 218: Amy Taubin on I Heard It Through the Grapevine, Fellow Travelers, Sundance Past + My Napoleon Welcome to The Last Thing I Saw with your host, Nicolas Rapold. It's time to ring in 2024 with the one and only Amy Taubin! After some thoughts on the challenges of the contemporary film landscape, she talks about I Heard It Through the Grapevine, the elegiac 1982 civil-rights documentary featuring James Baldwin and co-directed by the late Dick Fontaine and Pat Hartley, playing at Film Forum; Too Much Sleep; Fellow Travelers, a dramatic series on Showtime; and remembrances of Sundance highlights past, on the occasion of a Criterion Channel selection from the festival's history. I also share my experience watching Ridley Scott's Napoleon in a special format. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Check out The Jack & 'Chill Podcast here!http://atozenglishpodcast.com/episodeshttps://podcasts.apple.com/us/podcast/the-jack-chill-podcast/id1709902691https://redcircle.com/shows/the-jack-and-chill-podcastHere's a lyric from the song "I Heard It Through the Grapevine" by Marvin Gaye that includes the idiom "heard it through the grapevine":"I heard it through the grapevineNot much longer would you be mine."In this context, "heard it through the grapevine" means learning about something through informal or unofficial channels, often involving rumors or gossip. The song conveys the idea of someone finding out about a breakup through word-of-mouth rather than directly from their partner.Here's a lyric from the song "Hit the Road Jack" by Ray Charles that includes the idiom "hit the road":"Hit the road Jack, and don't you come backNo more, no more, no more, no more."In this song, "hit the road" is an idiomatic expression meaning to leave or depart, often used in a dismissive or exasperated way. It's a classic example of how idioms can be used creatively in song lyrics.Podcast Website:https://atozenglishpodcast.com/a-to-z-quick-tips-36-idioms-in-popular-songs/Social Media:Facebook Group: https://www.facebook.com/groups/671098974684413/Tik Tok:@atozenglish1Instagram:@atozenglish22Twitter:@atozenglish22A to Z Facebook Page:https://www.facebook.com/theatozenglishpodcastCheck out our You Tube Channel:https://www.youtube.com/channel/UCds7JR-5dbarBfas4Ve4h8ADonate to the show: https://app.redcircle.com/shows/9472af5c-8580-45e1-b0dd-ff211db08a90/donationsRobin and Jack started a new You Tube channel called English Word Master. You can check it out here:https://www.youtube.com/channel/UC2aXaXaMY4P2VhVaEre5w7ABecome a member of Podchaser and leave a positive review!https://www.podchaser.com/podcasts/the-a-to-z-english-podcast-4779670Join our Whatsapp group: https://forms.gle/zKCS8y1t9jwv2KTn7Intro/Outro Music: Daybird by Broke for Freehttps://freemusicarchive.org/music/Broke_For_Free/Directionless_EP/Broke_For_Free_-_Directionless_EP_-_03_Day_Bird/https://creativecommons.org/licenses/by/3.0/legalcodehttps://freemusicarchive.org/music/eaters/simian-samba/audrey-horne/Support this podcast at — https://redcircle.com/the-a-to-z-english-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Although one of the most successful artists and songwriters of the 60's, Marvin Gaye had not released a solo studio album for two years prior to In the Groove, his eighth studio album.  Instead he had been releasing duet performances with artists like Kim Weston and Tammi Terrell.  Gaye was one of the primary artists shaping what would become the Motown sound, first as a session player, then as a solo artist and songwriter.  Gaye formed a vocal quartet called The Marquees shortly after leaving the Air Force in the late 50's.  The Marquees performed in the D.C. area, connecting with Bo Diddley who co-wrote their first (and only) single, "Wyatt Earp."  The group disbanded in 1960, and Marvin Gaye relocated to Detroit, connected with Barry Gordy around Christmas of 1960, and signing with Tamla, a Motown subsidiary.  By 1962 Gaye was a success as a singer, session musician, and writer.In the Groove was released in August of 1968, and would see its third single, I Heard It Through the Grapevine released in October.  This single would become Gaye's first number 1 hit.  October would also bring tragedy, when his vocal duet partner Tammi Terrell collapsed from exhaustion into Gaye's arms, later being diagnosed with a brain tumor which would eventually claim her life.  After the monster international success of I Heard It Through the Grapevine, the entire album would be re-released under that title.  The album was both a critical and commercial success.John Lynch brings us this soulful selection. I Heard It Through the GrapevineAlthough one of Gaye's most successful songs, he was not the first artist to record or release the song.  It was intended to be released by Gladys Knight & the Pips, who did so in September 1967.  The Miracles also recorded the song and released it in 1968.  Gaye's version would become the classic rendition.YouThis was the first single from the album, released in December of 1967, months before the album.  The song was about a man wanting to keep his relationship with a woman secret, because she was upper class and he was working class.  It featured a rougher Gaye vocal part than was typical of his previous songs, and  went to number 34 on the pop charts.ChainedThe second single would be released in August 1968, the same month as the album release.  Frank Wilson wrote and produced this song which went to number 32 on the Billboard Hot 100.  The lyrics are about a man pining for a woman he lost and wants back.Some Kind of WonderfulThis deeper cut was not released as a single.  The Drifters originally released this song in 1961, and it was written by Gerry Goffin and Carole King.  Many artists would cover this one, including Carole King and most recently Michael Bublé.  ENTERTAINMENT TRACK:Barbarella by The Bob Crewe Generation (from the motion picture “Barbarella”) Jane Fonda's cult classic of bad science fiction films would appear in the theaters in October 1968. STAFF PICKS:On the Road Again by Canned Heat Bruce starts the staff picks with a blues and harmonica jam off Canned Heat's second album “Boogie with Canned Heat.”  The group takes its name from a 1928 Tommy Johnson song entitled "Canned Heat Blues."  Canned Heat's lead vocalist was Bob "The Bear" Hite, but Alan "Blind Owl" Wilson takes the lead for this song.  Chewy Chewy by Ohio ExpressRob features a happy bubblegum pop number from Mansfield, Ohio.  Ohio Express consisted of session musicians who put out the music for Super K Productions.  The group had a previous hit in "Yummy, Yummy, Yummy."Sunshine Help Me by Spooky Tooth Wayne brings us an acid rock deep cut written by Gary Wright of “Dream Weaver” fame.  The song itself is about letting the sunshine clear the singer's mind.  Spooky Tooth was a blues/psychedelic band from England active between 1967 and 1974.  This song was not a hit, but did appear on their greatest hits album.Hey Jude by The BeatlesLynch's staff picks is  one of the Beatles' biggest hits, though it was not released on a studio album at the time. It is also the longest single in the Beatles' catalog, running 7:11, the longest single ever released at the time.  It was written by Paul McCartney for John and Cynthia Lennon's son Julian when John and Cynthia were going through a divorce.     NOVELTY TRACK:Mr. Tambourine Man by the William ShatnerSomehow Shatner was able to put this song in the hopper while simultaneously starring as Captain Kirk in the original run of the TV show, Star Trek.  We'll let you decide whether he missed his calling as a rock star.

With his 1971 album, "What's Going On," Motown staple Marvin Gaye turned the R&B world -- and the pop music world for that matter -- upside down, smashing conventional ideas about pop songs, album topics and even song themes. It's an album -- and one you really should listen to from start to finish -- about a Vietnam vet returning from war to find an America weighted down by racism, drugs, hatred and injustice. Not surprising, Gaye had to fight hard to have his vision come to life. It was deemed to be a concept album without any radio hits. It was too dark -- especially coming from the voice of such hits as "How Sweet It Is (To Be Loved By You)," "I Heard It Through the Grapevine," and so many more. But in the end, Gaye got his way -- and our world is better for it. He even had the last laugh as the title track went to No. 2 on the Billboard Soul charts, and "Mercy Mercy Me" and "Inner-City Blues" both charted in the top 10. Oh, and in 2020, Rolling Stone listed it No. 1 on its list of the 500 greatest albums of all time. "Right On."

Counting Down the Greatest Cover Songs of All-Time!!#30-26Intro: Sweet Jane by Cowboy JunkiesOutro: Sweet Jane by The Velvet Underground30. I Heard It Through the GrapevineOriginal: I Heard It Through the Grapevine by Gladys Knight & the PipsAlternate: I Heard It Through the Grapevine by Smokey Robinson & the MiraclesAlternate: I Heard It Through the Grapevine by Creedence Clearwater RevivalAlternate: I Heard It Through the Grapevine, Pt. 1 by RogerCover: I Heard It Through the Grapevine by Marvin Gaye29. Simple ManOriginal: Simple Man by Lynyrd SkynyrdAlternate: Simple Man by Warren ZeidersAlternate: Simple Man by Machine Gun KellyAlternate: Simple Man by Michael GrimmAlternate: Simple Man by *Mystery Artist*Cover: Simple Man by Shinedown28. ZombieOriginal: Zombie by The CranberriesAlternate: Zombie by Ran-DAlternate: Zombie by Clarissa SernaCover: Zombie by Bad Wolves27. AfricaOriginal: Africa by TotoAlternate: Africa by Mike MasseAlternate: Africa by Tyler Ward & Lisa CimorelliCover: Africa by Weezer26. Istanbul (Not Constantinople)Original: Istanbul (Not Constantinople) by The Four LadsAlternate: Istanbul (Not Constantinople) by *Mystery Artist*Alternate: Istanbul (Not Constantinople) by Bart&BakerAlternate: Estambul by The SacadosCover: Istanbul (Not Constantinople) by They Might Be GiantsVote on your favorite cover version from today's episodeAnd if you haven't yet voted on previous episodes:Vote on your favorite cover version from Episode 1Vote on your favorite cover version from Episode 2Vote on your favorite cover version from Episode 3Vote on your favorite cover version from Episode 4Vote on your favorite cover version from Episode 5Vote on your favorite cover version from Episode 6Vote on your favorite cover version from Episode 7Vote on your favorite cover version from Episode 8Vote on your favorite cover version from Episode 9Vote on your favorite cover version from Episode 10Vote on your favorite cover version from Episode 11Vote on your favorite cover version from Episode 12Vote on your favorite cover version from Episode 13Vote on your favorite cover version from Episode 14

#5-1Intro/Outro: Stop! In the Name of Love by The Supremes5. I Heard It Through the Grapevine by Marvin Gaye *4. A Day in the Life by The Beatles *3. Good Vibrations by The Beach Boys *2. Respect by Aretha Franklin *1. Like a Rolling Stone by Bob Dylan *Vote on your favorite song from today's episodeVote on your favorite song from Week 3* - Previously played on the podcastCountdown Wrap-Up:68 of the 100 songs on this countdown have been played previously on the podcast (For comparison: the 50's had 34 of the 100 songs).Final Year Tally:1960 - 31961 - 21962 - 11963 - 71964 - 111965 - 161966 - 141967 - 171968 - 131969 - 16(For comparison: 1957 won the 50's)Artist Tally:The Beatles - 11 songsThe Rolling Stones - 7 songsThe Beach Boys, Bob Dylan, CCR, and James Brown - 3 songs12 artists - 2 songs46 artists - 1 songsRegarding the 12 lists compiled:439 total songs0 songs were found on all 12 lists1 song was found on 11 lists5 songs were found on 10 lists16 songs were found on 9 lists417 songs were found on 8 lists or fewerPoint totals from the 12 lists compiled:Songs 1-10: 714-956 pointsSongs 11-50: 354-668 pointsSongs 51-100: 181-352 points#1 songs on the 12 lists:Sinnerman by Nina SimoneSweet Caroline by Neil DiamondBrown Eyed Girl by Van MorrisonMy Girl by The TemptationsGimme Shelter by The Rolling Stones(I Can't Get No) Satisfaction by The Rolling StonesA Day in the Life by The BeatlesRespect by Aretha FranklinGod Only Knows by The Beach Boys (2)Like a Rolling Stone by Bob Dylan (2)Programming announcement:Next week there will be five more special episodes with my friend, Steve.The Greatest Songs of the 70's will start the following week on May 9, 2022.Results of this week's voting will be announced on May 9th. 

How long is too long?  In Episode 28, Derringer Discoveries covered a band that reunited with all four original members after a 40-year break.  Now, for this episode, the band under the microscope is Creedence Clearwater Revival, also known as Creedence or CCR.  They have been separated for 50 years! CCR's line-up was Tom Fogerty, John Fogerty, Stu Cook, and Doug "Cosmo" Clifford.  Tom was John's older brother.  CCR broke up in 1972, not long after Tom quit the band. Even though they have not been a functioning band for 50 years, they are still one of the Top 300 bands in the world, based on Spotify listeners.  Without a doubt, you will know their songs.  They even had a hit with Marvin Gaye's "I Heard It Through the Grapevine" from their biggest selling album, Cosmo's Factory. Tom has been dead since 1990.  The other three have been estranged since 1972.  In this episode, Team Derringer - Laura, Alton, Paul, and Dave - undertake five tasks: (1) A countdown of seven fantastic CCR songs spanning their seven albums; (2) Disclosure of CCR's #1 song, according to Spotify listeners; (3) Did they Jump the Shark; (4) Did they Cross the Rubicon; and (5) Will they reunite? Stay for the Post Episode Bonus as Team Derringer conducts an exclusive interview with Neil Richards of the UK-based band The Carousels who have been together with the same four members since 1994.  Hear snippets of some of The Carousel's best songs, as selected by Derringer Discoveries.  We also uncover the compelling stories behind the songs as told by Neil. Today's playlist featuring all of the songs discussed or mentioned in this episode can be found at Will Creedence Reunite? Team Derringer wants to hear from you! Send your comments to us at feedback@derringerdiscoveries.com. You can also find all our featured playlists, such as the Turnip Music Radio Top 25, on our website: www.derringerdiscoveries.com. While you're there, be sure to sign up for our free newsletter! Please subscribe to Derringer Discoveries wherever you listen to podcasts. Doing so lets us know that you enjoy the content and look forward to future episodes. Tell your friends, family, and fellow music lovers about Derringer Discoveries. Your Sister's Room by Ho Jo Fro is the theme song for Derringer Discoveries and is available on most digital streaming platforms. © Copyright 2022 | All Rights Reserved | Derringer Discoveries

How long is too long?  In Episode 28, Derringer Discoveries covered a band that reunited with all four original members after a 40-year break.  Now, for this episode, the band under the microscope is Creedence Clearwater Revival, also known as Creedence or CCR.  They have been separated for 50 years! CCR's line-up was Tom Fogerty, John Fogerty, Stu Cook, and Doug "Cosmo" Clifford.  Tom was John's older brother.  CCR broke up in 1972, not long after Tom quit the band. Even though they have not been a functioning band for 50 years, they are still one of the Top 300 bands in the world, based on Spotify listeners.  Without a doubt, you will know their songs.  They even had a hit with Marvin Gaye's "I Heard It Through the Grapevine" from their biggest selling album, Cosmo's Factory. Tom has been dead since 1990.  The other three have been estranged since 1972.  In this episode, Team Derringer - Laura, Alton, Paul, and Dave - undertake five tasks: (1) A countdown of seven fantastic CCR songs spanning their seven albums; (2) Disclosure of CCR's #1 song, according to Spotify listeners; (3) Did they Jump the Shark; (4) Did they Cross the Rubicon; and (5) Will they reunite? Stay for the Post Episode Bonus as Team Derringer conducts an exclusive interview with Neil Richards of the UK-based band The Carousels who have been together with the same four members since 1994.  Hear snippets of some of The Carousel's best songs, as selected by Derringer Discoveries.  We also uncover the compelling stories behind the songs as told by Neil. Today's playlist featuring all of the songs discussed or mentioned in this episode can be found at Will Creedence Reunite? Team Derringer wants to hear from you! Send your comments to us at feedback@derringerdiscoveries.com. You can also find all our featured playlists, such as the Turnip Music Radio Top 25, on our website: www.derringerdiscoveries.com. While you're there, be sure to sign up for our free newsletter! Please subscribe to Derringer Discoveries wherever you listen to podcasts. Doing so lets us know that you enjoy the content and look forward to future episodes. Tell your friends, family, and fellow music lovers about Derringer Discoveries. Your Sister's Room by Ho Jo Fro is the theme song for Derringer Discoveries and is available on most digital streaming platforms. © Copyright 2022 | All Rights Reserved | Derringer Discoveries

1. Lets Stay Together - Al Green 2. I Wanna Be with You - Charlie Singleton3. Slide - El DeBarge4. Here I Am - Glenn Jones 5. Lonely Teardrops - Jackie Wilson6. Groove Me - King Floyd7. Lady Lady - Luther Vandross8. Love's Comin' at Ya - Melba Moore9. Too Close - Next10. Mary Jane - Rick James11. High Hopes - The S.O.S. Band12. Mustang Sally - Wilson Picket 13. Here We Go Again - Aretha Franklin14. Express Yourself - Charles Wright & the Watts 103rd Street Rhythm Band 15. Da' Butt - E.U.16. A Cute, Sweet, Love Addiction  - Johnny Gill17. Lovey Dovey - Tony Terry18. Second Time Around - Shalamar19. Someone To Love - Mac Band20. Who's Making Love - Johnnie Taylor 21. Love Is The Greatest Story - Earth, Wind & Fire 22. Why You Wanna Trip On Me - Michael Jackson23. Try Again - New Edition24. Do You Love What You Feel - Rufus & Chaka Khan25. Watching You - Slave26. Ill Take You There - The Staple Singers27. Ride - Dazz Band28. Sprung On Me - Charlie Wilson29. I Heard It Through the Grapevine - Gladys Knight and the Pips30. 2nd Time Around - Jeffrey Osborne31. Another Sad Love Song - Toni Braxton32. Sweet Soul Music  - Arthur Conley33. Rock Bottom - Babyface34. I Wanna Love Like That - Tony Thompson 35. Simple Pleasures -  Karyn White36. She's Loving Me - R. Kelly37. Feels Good  - Tony Toni Tone38. Tighten Up - Archie Bell & The Drells39. Are You Single - Aurra40. Baby, Baby (You Ain't Treatin' Me Right) - Mary Davis41. Coulda' Been Me - Sam Salter

Playlist Special Marvin Gaye 1/ Intro 2/ Let's Get It On (Paul Simpson & Miles Dalto Groove Remix) 3/ You Can Leave... [The Reflex Revision] 4/ Heavy Love Affair (CMAN Edit) 5/ Mercy Me (Rayko re-edit) 6/ Inner City Blues (Kveldsvik Edit) 7/ I Want You (John Morales Extended Mix) 8/ What's Going On (Conan Liquid Reel To Reel Re Re Re Edit) 9/ It s A Desperate Situation (Alkalino rework) 10/ Real Thing (V's Ain't Nothing Like It jam) 11/ A Funky Disco Reincarnation (Jay Airiness Retouch) 12/ Funk Me (The John Morales M+M Edit Mix) 13/ I Heard It Through the Grapevine (LNTG Rework) 14/ After The Dance (Alkalino remix) 15/ Got To Give It Up [The Reflex Revision] 16/ Sunny (Mercury Edit II) 17/ Ain't no Mountain High Enough ( Mikeandtess boot édit )

Marvin Gaye was an American singer, songwriter, and record producer. He helped to shape the sound of Motown in the 1960s, first as an in-house session player and later as a solo artist with a string of hits, earning him the nicknames «Prince of Motown» and «Prince of Soul». Gaye's Motown hits include «Ain't That Peculiar», «How Sweet It Is (To Be Loved By You)», and «I Heard It Through the Grapevine». Gaye also recorded duets with Mary Wells, Kim Weston, Tammi Terrell, and Diana Ross. During the 1970s, Gaye recorded the albums What's Going On and Let's Get It On and became one of the first artists in Motown to break away from the reins of a production company. His later recordings influenced several contemporary R&B subgenres, such as quiet storm and neo soul. --- Send in a voice message: https://anchor.fm/biography/message

Host Z & Host Jess discuss the intersectionality of folklore and race with Dr. Pat Turner of UCLA, author of "I Heard It Through the Grapevine: Rumor in African-American Culture" and "Crafted Lives: Stories and Studies of African American Quilters." 

** PLEASE SUBSCRIBE **Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music’s foremost masters of the groove. NOTE: There is a special, limited-time FREE book giveaway revealed early on in this show!Featured in TIR Episode 165 (Part 2 of 2): Singer Jannetta Warren, who under her maiden name of Jannetta Boyce was a member of funk powerhouse Zapp, one of the most successful R&B groups of the 1980s. She also contributed to several other acts under the umbrella of bandleader-producer Roger Troutman, including his solo albums and those by Bobby Glover, The Human Body, Sugarfoot from the Ohio Players and Shirley Murdock. In recent years, along with other original band members, she has performed under the name Zapp Anthology -- continuing to bring revered favorites to fans like “More Bounce to the Ounce,” “Dancefloor,” “Heartbreaker,” “I Can Make You Dance,” “I Heard It Through the Grapevine” and “Computer Love.” Those are certainly among the all-time most beloved jams.Here she talks about being the only female member of Zapp, meeting and sharing stages with all the funk and soul greats, what made Roger Troutman tick, and lots more.RECORDED SEPTEMBER 2020LEGAL NOTICE: All video and audio content is protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281).Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c4008

** PLEASE SUBSCRIBE **Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music’s foremost masters of the groove. NOTE: There is a special, limited-time FREE book giveaway revealed early on in this show!Featured in TIR Episode 165 (Part 1 of 2): Singer Jannetta Warren, who under her maiden name of Jannetta Boyce was a member of funk powerhouse Zapp, one of the most successful R&B groups of the 1980s. She also contributed to several other acts under the umbrella of bandleader-producer Roger Troutman, including his solo albums and those by Bobby Glover, The Human Body, Sugarfoot from the Ohio Players and Shirley Murdock. In recent years, along with other original band members, she has performed under the name Zapp Anthology -- continuing to bring revered favorites to fans like “More Bounce to the Ounce,” “Dancefloor,” “Heartbreaker,” “I Can Make You Dance,” “I Heard It Through the Grapevine” and “Computer Love.” Those are certainly among the all-time most beloved jams.Here she talks about being the only female member of Zapp, meeting and sharing stages with all the funk and soul greats, what made Roger Troutman tick, and lots more.RECORDED SEPTEMBER 2020LEGAL NOTICE: All video and audio content is protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281).Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c4008

… all about conspiracy theories – Prof. Michael Butter (University Tübingen) talks about the history of conspiracy theories and their status today, about relating academic research to public audiences, and the importance of engaging with so-called unloved subjects. Last but not least - we're talking American Studies! Hosted by Verena Adamik & Anja Söyünmez (University of Potsdam)FeaturingProf. Dr. Michael Butter https://uni-tuebingen.de/fakultaeten/philosophische-fakultaet/fachbereiche/neuphilologie/englisches-seminar/sections/american-studies/faculty-staff/prof-dr-michael-butter/Dr. Verena Adamik https://vadamik.wordpress.com/Bibliography Agamben, Giorgio. “Una domanda.” Quodlibet, April 13, 2020. https://www.quodlibet.it/giorgio-agamben-una-domandaBirchall, Clare. Knowledge Goes Pop: from Conspiracy Theory to Gossip. Berg,2006.Butter, Michael. Nichts ist, wie es scheint: Über Verschwörungstheorien. Suhrkamp, 2018. Butter, Michael. “Einfache Wahrheiten für eine komplizierte Welt.” Deutschlandfunk Nova Hörsaal, 2008.Butter, Michael. Plots, Designs, and Schemes: American Conspiracy Theories from the Puritans to the Present. de Gruyter, 2014.Butter, Michael; Knight, Peter. Routledge Handbook of Conspiracy Theories. Routledge, 2020. Butter, Michael. The Epitome of Evil: Hitler in American Fiction, 1939-2002. Palgrave Macmillan, 2009.Butter, Michael. The Nature of Conspiracy Theories. Polity, 2020.Butter, Michael. “Warum gibt es gerade so viele Verschwörungstheorien?” Politikstunde. bpb, 2020. https://www.youtube.com/watch?v=CVQAShC3L2cFenster, Mark. Conspiracy Theories: Secrecy and Power in American Culture. U of Minnesota P, 2008.Fielding, Nigel. “Mediating the Message: Affinity and Hostility in Research on Sensitive Topics”, Researching Sensitive Topics. Sage, 1993.Hofstadter, Richard. “The Paranoid Style in American Politics,” Harper's Magazine, 1964. Knight, Peter. Conspiracy Culture: American Paranoia from the Kennedy Assassination to the X-Files. London: Routledge, 2001.Lamberty, Pia. Fake Facts: Wie Verschwörungstheorien unser Denken bestimmen. Bastei, 2020. Thalmann, Katharina.The Stigmatization of Conspiracy Theory Since the 1950s. Routledge, 2019.Turner, Patricia A. I Heard It Through the Grapevine: Rumor in African-American Culture. U of California P, 1994. Sanders-Mcdonagh, Erin. “Conducting ‘Dirty Research’ with Extreme Groups” Qualitative Research in Organizations and Management, vol 9, no. 3, 2014.Zeit Online – das Politikteil “Was tun, wenn der Nachbar fantasiert?” https://www.zeit.de/politik/2020-09/verschwoerungstheorien-michael-butter-corona-demos-politikpodcastMusic Intro/OutroTitle: pine voc - coconut macaroon; Author: Stevia Sphere; Source: https://soundcloud.com/hissoperator/pine-voc-coconut-macaroon License: http://creativecommons.org/licenses/by/3.0/ Royalty Free Open Music https://starfrosch.com

I've drawn up some new artwork for the show and firing a couple of week worth of specials your way. This week is all hits, all Motown and Stax, all hour! FACEBOOK: facebook.com/ontargetpodcast INSTAGRAM: instagram.com/modmarty TWITTER: twitter.com/modmarty ----------------------------------------------- The Playlist Is: "I Want You Back" The Jackson 5 - Motown "Tears Of A Clown" Smokey Robinson & The Miracles - Tamla-Motown "Walking The Dog" Rufus Thomas - Stax "Shotgun" Jr. Walker & The All Stars - Soul "25 Miles" Edwin Starr - Tamla-Motown "Do You Love Me (Now That I Can Dance)" The Contours - Tamla "You Keep Me Hangin' On" The Supremes - Motown "Dancing In The Street" Martha Reeves & The Vandellas - Tamla-Motown "Reach Out I'll Be There" The Four Tops - Tamla-Motown "Soul Man" Sam & Dave - Stax "I Heard It Through the Grapevine" Gladys Knight & the Pips - Soul "Ain't No Mountain High Enough" Marvin Gaye & Tammi Terrel - Tamla-Motown "Knock On Wood" Otis & Carla - Stax "Too Many Fish In The Sea" The Marvelettes - Tamla "I Wish" Stevie Wonder - Motown "Mr. Big Stuff" Jean Knight - Stax "It's A Shame" The Spinners - Tamla-Motown "Got to Give It Up" Marvin Gaye - Motown "Keep On Truckin'" Eddie Kendricks - Tamla-Motown "I'll Take You There" The Staple Singers - Stax "Green Onions" Booker T. & The Mg's - Stax

ELO “Showdown” 1973 album “On the Third Day” on Harvest label written and prod by Jeff LynnePersonnel:Jeff Lynne – vocals, guitarsBev Bevan – drums, percussionRichard Tandy – piano, Moog, clavinet, Wurlitzer electric pianoMike de Albuquerque – bass, backing vocalsMike Edwards – celloWilf Gibson – violinColin Walker – celloCover:Josh Bond rhythm guitar/vocalNeal Marsh lead guitarIntro:For the Kings “Shithouse” 2010 “A Collection of Songs for the Kings” written by Josh Bond prod Frank Charlton released independentlyOther artists/songs mentioned:James Brown Marvin Gaye 1968 “I Heard It Through the Grapevine” single released on Tamla written by Norman Whitfield and Barret Strong Prod by WhitfieldELO 1975 “Evil Woman” from “Face the Music” on United Artists writ and prod by Jeff LynneELO 1979 “Don’t Bring Me Down” from “Discovery” on Jet writ and prod by Jeff LynneTravelling Wilburys Bob DylanJoe Cocker 1969 “With a Little Help From My Friends” from same name album on A&M Lennon/McCartney prod Denny CordellVan Morrison David Bowie 1975 “Golden Years” from “Station to Station” on RCA writ prod by David Bowie prod Harry MaslinThe Beatles 1967 “I Am the Walrus” single on Capitol Lennon/McCartney George MartinELO 1977 “Telephone Line” from “A New World Record” on UA Jeff LynneELO 1974 “Can’t Get It Out of My Head” from “El Dorado” on WB/UA Jeff LynneMozart’s “Turkish March”Mrs. America theme “Beethoven’s 5th” from Symphony No 5 Beethoven 1808Tame Impala Fruit Bats Band of Horses Freddy Johnston 1994 “Bad Reputation” from “This Perfect World” on Elektra writ Freedy Johnston Prod Butch VigCurtis Mayfield 

Story by: Gail NoblesPhoto credit: Pixabay.comVocals: Gail NoblesSong by: Norman Whitfield and Barrett StrongYa'll know the song, "I Heard It Through the Grapevine". It is a song written by Norman Whitfield and Barrett Strong for Motown Records in 1966. Gladys Knight and the Pips and Marvin Gaye both recorded the song.So what does it mean to hear something through the grapevine? It means to hear gossip or a rumor spreading around from person to person.According to the lyrics, the broken hearted one heard through the grapevine about his lover's plan to make him blue. He learned that he would be loosing her.He said, "You could of told me yourself that you loved someone else. Instead I heard it through the grapevine. Not much longer would you be mine."This song can be for a guy or a girl to sing. There are a lot of broken hearted men as well as broken hearted women loosing the one that they love. And I betcha some of them think of this song.....

The 1980’s TV commercials for California raisins have been called some of the best ads ever made. The claymation raisins singing and dancing to Marvin Gaye’s “I Heard It Through the Grapevine” became a kids TV show, recorded an album that went platinum, launched a range of toys and costumes, and starred in an Emmy-winning Christmas special. But were they a success for the raisin industry? Or did the dancing California raisins cause more trouble than they were worth?Sign up for our newsletter: http://newsletter.businessinsider.com/join/brought-to-you-by

Geoffrey’s Junebug teammate, member of the comedy band The Whiskey Mountain Way, and audio engineer for Golden Age Radio, Kate Hardly is back this week to talk about commercials related to The Adventures of Mark Twain!Image Description: The California Raisins singing a song on stage. Buckle up, because we’re taking a wild ride through Will Vinton’s Claymation career, and learning all kinds of things about raisin advertising drama!We started in 1986, the first year the California Raisins appeared in a commercial.This led us to reminisce about Ocean Spray Cranberry World (East and West), and Kate mentioned some kind of memory related to Edaville in Carver, Massachusetts, but we utterly failed to get the whole story on that. Damn!Here’s the Wikipedia entry on the California Raisin Advisory Board in case you want to read that bonkers history for yourself.Next we watched this Michael Jackson commercial. This article on the history of the California Raisins confirms that, yes, that really was Michael Jackson, by the way. And he did his part for free. This wasn’t exactly a take on “Bad” as we say in the podcast. It’s from the same era, but it’s actually Michael Jackson covering the raisinified lyrics to “I Heard It Through the Grapevine”.And yes, according to the Simpsons wiki, it was actually Michael Jackson in that one Simpsons episode, too. We also watched a commercial featuring construction workers.And one with one of the workers later at home. We also watched this commercial for Crispy M&Ms featuring Diedrich Bader. And then we watched some of Domino’s Noid commercials. Starting with the first one. And this one from a couple years later…This somehow led to Julia and Geoffrey talking about getting Thrifty ice cream when they were kids, and discussing the distinctive shape of the scoops. While were looking for crispy orange m&m commercials (since Will Vinton made some of those, like the Diedrich Bader one), we accidentally watched a Holiday M&Ms commercial that was not claymation at all…What is UP with that list!? Where did she get infinite scroll paper? And another accidental M&M find: This German commercial from 2007 with CGI (not Claymation) Red and Yellow fighting in the ruins of a castle. Kate then caused us all to learn about the history of people thinking red M&Ms might give you cancer, which is pretty wild. And… of course we had to then look up M&Ms fanfiction. Because honestly, now. How could we not?Thanks again to Kate Hardly, who will really have to come back on and tell us about Edaville properly… Go check out all her stuff! Now is a fabulous time to support musicians on Bandcamp, just saying. And here’s a picture of one of the last Junebug shows from back in the Before Time, when we were allowed to leave our houses. One day we’ll be able to see live improv in person again!Image Description: The cast of Junebug on stage at Improv Boston in February of 2020. Kate is the ship’s mechanic, third from the left in a blue skirt and a white top with blue embroidered flowers. Fouhy (from the Santa Claus Is Coming to Town episode) is next to Kate in the center of the stage as the ship’s captain, and Geoffrey is second from the right, fondling a stethoscope as the ship’s doctor. Thank you for listening! A quick note: under normal circumstances, next week would be our paid subscribers only week, but with all the Coronavirus quarantining going on, we’ve decided to give everyone some more free childhood nightmare fuel! Because who doesn’t love to distract from current trauma with past trauma, right??? So look out for a couple of bonus episodes about a truly traumatic childhood fave next week! If you’re having fun listening to us, please tell your friends about us! Subscribe to our newsletter at thisiswhywerelikethis.substack.com for free, or pay $5/month to get access to two bonus paid episodes each month! We’re also on Patreon if that’s your jam! Rate and review us! follow us on Twitter where we’re @thisiswhy_pod! And, of course, you can always drop us a note at at thisiswhywerelikethis@gmail.com. This is a public episode. Get access to private episodes at thisiswhywerelikethis.substack.com/subscribe

Geoffrey's Junebug teammate, member of the comedy band The Whiskey Mountain Way, and audio engineer for Golden Age Radio, Kate Hardly is back this week to talk about commercials related to The Adventures of Mark Twain!Image Description: The California Raisins singing a song on stage. Buckle up, because we're taking a wild ride through Will Vinton's Claymation career, and learning all kinds of things about raisin advertising drama!We started in 1986, the first year the California Raisins appeared in a commercial.This led us to reminisce about Ocean Spray Cranberry World (East and West), and Kate mentioned some kind of memory related to Edaville in Carver, Massachusetts, but we utterly failed to get the whole story on that. Damn!Here's the Wikipedia entry on the California Raisin Advisory Board in case you want to read that bonkers history for yourself.Next we watched this Michael Jackson commercial. This article on the history of the California Raisins confirms that, yes, that really was Michael Jackson, by the way. And he did his part for free. This wasn't exactly a take on "Bad" as we say in the podcast. It's from the same era, but it's actually Michael Jackson covering the raisinified lyrics to "I Heard It Through the Grapevine".And yes, according to the Simpsons wiki, it was actually Michael Jackson in that one Simpsons episode, too. We also watched a commercial featuring construction workers.And one with one of the workers later at home. We also watched this commercial for Crispy M&Ms featuring Diedrich Bader. And then we watched some of Domino's Noid commercials. Starting with the first one. And this one from a couple years later…This somehow led to Julia and Geoffrey talking about getting Thrifty ice cream when they were kids, and discussing the distinctive shape of the scoops. While were looking for crispy orange m&m commercials (since Will Vinton made some of those, like the Diedrich Bader one), we accidentally watched a Holiday M&Ms commercial that was not claymation at all…What is UP with that list!? Where did she get infinite scroll paper? And another accidental M&M find: This German commercial from 2007 with CGI (not Claymation) Red and Yellow fighting in the ruins of a castle. Kate then caused us all to learn about the history of people thinking red M&Ms might give you cancer, which is pretty wild. And… of course we had to then look up M&Ms fanfiction. Because honestly, now. How could we not?Thanks again to Kate Hardly, who will really have to come back on and tell us about Edaville properly… Go check out all her stuff! Now is a fabulous time to support musicians on Bandcamp, just saying. And here's a picture of one of the last Junebug shows from back in the Before Time, when we were allowed to leave our houses. One day we'll be able to see live improv in person again!Image Description: The cast of Junebug on stage at Improv Boston in February of 2020. Kate is the ship's mechanic, third from the left in a blue skirt and a white top with blue embroidered flowers. Fouhy (from the Santa Claus Is Coming to Town episode) is next to Kate in the center of the stage as the ship's captain, and Geoffrey is second from the right, fondling a stethoscope as the ship's doctor. Thank you for listening! A quick note: under normal circumstances, next week would be our paid subscribers only week, but with all the Coronavirus quarantining going on, we've decided to give everyone some more free childhood nightmare fuel! Because who doesn't love to distract from current trauma with past trauma, right??? So look out for a couple of bonus episodes about a truly traumatic childhood fave next week! If you're having fun listening to us, please tell your friends about us! Subscribe to our newsletter at thisiswhywerelikethis.substack.com for free, or pay $5/month to get access to two bonus paid episodes each month! We're also on Patreon if that's your jam! Rate and review us! follow us on Twitter where we're @thisiswhy_pod! And, of course, you can always drop us a note at at thisiswhywerelikethis@gmail.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit thisiswhywerelikethis.substack.com/subscribe

Iniciamos nuestra cuarta temporada con un episodio dedicado a la AOR y recordamos la música de un grupo mítico: The Doobie Brothers. La voz de Michael McDonald imprimió un carácter distintivo a su música, que continuó brillando en su carrera en solitario con un repertorio de clásicos del Soul que también incluimos en nuestro episodio. Nuestro invitados: The Doobie Brothers (Listen to the Music; Long Train Runnin'; Takin' It to the Streets; Little Darling I Need You; What a Fool Believes; One Step Closer); Chaka Khan & Michael McDonald (You Belong To Me); Michael McDonald (I Keep Forgettin'; Sweet Freedom; I Heard It Through the Grapevine; I Want You; I Was Made to Love Her; Nowhere to Run; Higher And Higher); Viktoria Tolstoy & Jacob Karlzon (I Can Let Go Now).

Barrett Strong tells Ann Delisi the history behind Motown hit songs “I Heard It Through the Grapevine” and “Money (That’s What I Want).”

Bombshell Radio Jazzamatazz Double Header Today 2pm-4pm EST 8pm -10pm BST 11am-1pm PDT bombshellradio.com Today's Bombshell (Bombshell Radio) JazzamatazzSOUL STOMPERS 23 - 24 classic feelgood dancefloor soul & uptempo Rhythm & Blues floorfillers. Soul Stompers vol.23 (formerly KTF Flowing). Northern Soul & mod favourites.#northernsoul , #soul , #r&b , #funk , #oldies1 TSOP MFSB 2 Have Love Will Travel Rosey Jones 3 Nothing But A Heartache The Flirtations 4 Little Miss Sweetness The Temptations 5 The Whole Damn World Is Goin Crazy John Gary Williams 6 I Lost You The Holidays 7 You're Welcome June Jackson 8 What's That On Your Finger? Kenny Carter 9 I Heard It Through the Grapevine Gladys Knight & the Pips 10 Sufferin' City Johnny Copeland 11 Operator Brenda Holloway 12 You Ain't Sayin' Nothin' New Virgil Henry 13 Yes To The Lord Stovall Sisters 14 Love Uprising Otis Leavill 15 (I Know) I'm Losing You The Temptations 16 Gotta Get Myself Together Kenny Carter 17 And The Rains Came The Millionaires 18 I Won't Hurt You Anymore Eddie Anderson 19 What's Wrong With Your Love The Metros 20 Paris Blues Tony Middleton 21 I Dont Want To Hear It Exits 22 You Say You Love Me Dee Edwards 23 Lonely Lover Marvin Gaye 24 What Does It Take To Win Your Love Bay Brothers

This episode combines tracks from the Verve Remixed compilations and the Blue Note Revisited compilations (w/ a couple from the Motown Remixed series as well). These releases feature some fantastic remixes and inspired re-workings of some classic tunes by a wide variety of Jazz musicians and vocalists. It's sometimes like hearing these songs again for the first time. Enjoy! The DMZ can be heard live Tuesday's @ 5:00p EST only on RadioFreeBrooklyn.com 1. Move Your Hand - Michael Franti / Spearhead Remix by Dr. Lonnie Smith 2. I Heard It Through the Grapevine (The Randy Watson Experience Sympathy for the Grapes Mix) by Gladys Knight & The Pips 3. California Soul, Diplo Remix by Marlena Shaw 4. Shotgun (Los Amigos Invisibles Mix) by Jr. Walker & The All Stars 5. Hummin' - Large Professor Remix by Cannonball Adderley 6. Is You Is or Is You Ain't My Baby (Rae & Christian Remix) by Dinah Washington 7. Brother, Where Are You - Mathew Herbert Remix by Oscar Brown, Jr. 8. Summertime - UFO Remix by Sarah Vaughan 9. I Want You Back (Z-Trip Remix) by The Jackson 5, Z-Trip 10. Fever - Adam Freeland Remix by Sarah Vaughan 11. Listen Here - G.U.R.U. Remix by Gene Harris 12. Peter Gunn - Max Sedgley Remix by Sarah Vaughan

Topics: The Black Church, Jessie Jackson, Marvin Gaye, Aretha Franklin, Shaft, & Soul Train. (Bonus Artist: Luck Pacheco)   1971 Overview Snapshots 1.    Richard Nixon still President 2.    Vietnam War still going: (year 16 of 19) 3.    Deaths: 2,357 of 58,318 total 4.    Congressional Black Caucus created 5.    Soledad Brothers (California) and Attica (New York) prison riots 6.    The Supreme Court rules unanimously that busing of students may be ordered to achieve racial desegregation. 7.    Maya Angelou’s, Gwendolyn Brooks, and Nikki Giovanni all publish books 8.    Beverly Johnson is the first black woman to appear on the cover of a major fashion magazine (Glamour). 9.    QUESTION: Because schools are socializing and educational institutions, did busing “undercut” black identity and intellect or help us get along better in a diverse world and learn more? Jesse Louis Jackson Sr.: Civil rights activist, Baptist minister, and politician from Greenville, South Carolina, U.S. 10.    Breakout Year: The "Black Expo" in Chicago, attend by 800,000+, to encourage black business and he organizes People United to Save Humanity (P.U.S.H.) 11.    FYI: Graduate from University of Illinois, Urbana-Champaign 12.    Started working for Martin Luther King Jr. in 1965 13.    Jackson participated in the Selma to Montgomery marches. 14.    Became known for commanding public attention since he first started with MLK. 15.    MLK was impressed by JJ’s drive and organizational abilities but was also concerned about his ambition and attention-seeking. 16.    1971 he grabs the MLK legacy and becomes the de facto face of the “Black Church”. 17.    QUESTION: I appreciate Jessie, but why don’t I trust him? The Black Church: Always in the Mix. (JJ  18.    The phrase "black church" refers to Protestant churches that minister to predominantly black congregations. 19.    Segregationist discouraged and often prevented blacks from worshiping with whites.  20.    This created culturally distinct communities and worship practices that incorporated African spiritual traditions. 21.    Gradually, slaves developed their own interpretations of the Scriptures. Finding inspiration in stories of oppression and deliverance like Moses vs. Pharaoh. 22.    Question: First image that comes to mind? 23.    Key event: Philadelphia, PA 1787 – Birth of the “Black Church”: Richard Allen founded the Bethel African Methodist Episcopal Church (AME). The first fully independent black denomination. 24.    The AME church put a high premium on education, tended to attract the middle class, and produce black leadership. 25.    After the Civil War, "Baptists" grew rapidly, due primarily to a more independent governing structure. 26.    Baptist churches are governed locally, by the congregation. 27.    Major Difference Between Methodist and Baptist: The Method of Baptism [Pentecostals require additional reading] 28.    Who: Methodists baptize infants. Baptists only baptizes those capable of understanding. 29.    How: Methodists baptize with immersion, sprinkling, and pouring. Baptists only with immersion. 30.    Question: Any special memories about you or someone else being baptized? The Civil Rights Period: The Baptist “Come Up” 31.    Black churches were the heart and soul: acting as information hubs and centers of solidarity, while also providing leadership, organizational manpower, and moral guidance during this period. 32.    Notable minister-activists: Martin Luther King, Jr. - Baptists (Atlanta, GA), Ralph David Abernathy - Baptist (Linden, AL), Bernard Lee - Baptist (Norfolk, VA), Fred Shuttlesworth - Baptist (Mount Meigs, AL), Wyatt Tee Walker - Baptists (Brockton, MA), C. T. Vivian - Baptist (Boonville, MO) *Obama awarded him The P.M.o.H. in 2013.  Practices 33.    Main features: African ritual, slave emotionalism, and speaking/story-telling eloquence.  34.    Services: devotional prayer, singing by the congregation and choir, and the minister's sermon. 35.    Many ministers use drama, poetry, and the "call and response" tradition to connect with and energize the congregation. Question: Have you ever visited a “white” church and felt the difference? Politics and social issues 36.    Tendency to focus more on social issues. (poverty, gang violence, drug use, prison ministries, racism, etc.) 37.    Generally, more socially conservative [i.e., same-sex marriage, LGBT issues, women's rights, etc.] Present Day: Quick facts (Pew Research Center’s 2014 Religious Landscape Study) 38.    Roughly eight-in-ten (79%) Blacks self-identify as Christian.  39.    The share of African Americans who identify as religiously “unaffiliated” has increased in recent years, mirroring national trends. 40.    This shift may help explain the popularity of non-church led activism, such as Black Lives Matter, Contributions of the Black Church 41.    The church has housed and fed the poor, assisted with psychologically negative and destructive habits, helped others overcome social and economic oppression, provided leadership development, supported the black family structure, acted as a social network and liaison for businesses, educated youths and adults, mentored "at risk" youth, provided job development skills, offered scholarships, built recreation centers, provided prison aftercare and drug prevention programs, and many other things. 42.    Functioned as a primary repository for "Black Culture", housing much of our history and traditions. Conclusion: 43.    Historically, the Black Church has been a major agent for socioeconomic and religious empowerment since the post-slavery era. 44.    It has acted as a reliable ally and sanctuary to the black community. Question: Will the Black Church be as vital to the next generation? Economics 45.    Unemployment Rate = 5.8% / Minimum Wage = $1.60, up .15c ($64w, $3,200y, ~$19,800 in 2018) Music 46.    Top Singles for the entire year of 1971 (Source: http://billboardtop100of.com/1971-2/) (*) = Black Artists / (it took 40 songs to get 10 black artists) -1    Three Dog Night: Joy To The World -2    Rod Stewart: Maggie May / (Find A) Reason To Believe -3    Carole King: It’s Too Late / I Feel The Earth Move -4    Osmonds: One Bad Apple -5    Bee Gees: How Can You Mend A Broken Heart -6    Raiders: Indian Reservation -7    Donny Osmond: Go Away Little Girl -8    John Denver: Take Me Home, Country Roads -9(1)    Temptations: Just My Imagination (Running Away With Me) -10    Dawn: Knock Three Times -11    Janis Joplin: Me And Bobby McGee -12(2)    Al Green: Tired Of Being Alone -13(3)    Honey Cone: Want Ads -14(4)    Undisputed Truth: Smiling Faces Sometimes -15(5)    Cornelius Brothers and Sister Rose: Treat Her Like A Lady -16    James Taylor: You’ve Got A Friend -17(6)    Jean Knight: Mr. Big Stuff -18    Rolling Stones: Brown Sugar -19    Lee Michaels: Do You Know What I Mean -20    Joan Baez: The Night They Drove Old Dixie Down -21(7)    Marvin Gaye: What’s Going On -22    Paul and Linda McCartney: Uncle Albert-Admiral Halsey -23(8)    Bill Withers: Ain’t No Sunshine -24    Five Man Electrical Band: Signs -25    Tom Jones: She’s A Lady -26    Murray Head and The Trinidad Singers: Superstar -27(9)    Free Movement: I Found Someone Of My Own -28    Jerry Reed: Amos Moses -29    Grass Roots: Temptation Eyes -30    Carpenters: Superstar -31    George Harrison: My Sweet Lord / Isn’t It A Pity -32    Donny Osmond: Sweet And Innocent -33    Ocean: Put Your Hand In The Hand -34    Daddy Dewdrop: Chick-a-boom -35    Carpenters: For All We Know -36    Sammi Smith: Help Me Make It Through The Night -37    Carpenters: Rainy Days And Mondays -38    Gordon Lightfoot: If You Could Read My Mind -40(10)    Jackson 5: Never Can Say Goodbye 47.    Question: Best Single? Top Albums 48.    Jan - ...To Be Continued, Isaac Hayes 49.    Feb - Curtis, Curtis Mayfield 50.    Apr - Live in Cook County Jail, B.B. King 51.    May - Maybe Tomorrow, The Jackson 5 52.    Jun - Aretha Live at Fillmore West, Aretha Franklin 53.    Jul - What's Going On, Marvin Gaye 54.    Jul - Shaft    Soundtrack, Isaac Hayes 55.    Question: Best album? Key Artists 56.    Marvin Gaye: American singer, songwriter and record producer. Gaye helped to shape the sound of Motown in the 1960s, first as an in-house session player and later as a solo artist with a string of hits, including "Ain't That Peculiar", "How Sweet It Is (To Be Loved By You)" and "I Heard It Through the Grapevine", and duet recordings with Mary Wells, Kim Weston, Diana Rossand Tammi Terrell, later earning the titles "Prince of Motown" and "Prince of Soul". 57.    During the 1970s, he recorded the albums What's Going On and Let's Get It On and became one of the first artists in Motown (joint with Stevie Wonder) to break away from the reins of a production company. His later recordings influenced several contemporary R&B subgenres, such as quiet storm and neo soul. Following a period in Europe as a tax exile in the early 1980s, he released the 1982 Grammy Award-winning hit "Sexual Healing" and its parent album Midnight Love. 58.    Aretha Louise Franklin: American singer and songwriter. Franklin began her career as a child singing gospel at New Bethel Baptist Church in Detroit, where her father, C. L. Franklin, was minister. In 1960, at the age of 18, she embarked on a secular career. 59.    In 1967, Franklin achieved commercial acclaim and success with songs such as "Respect", "(You Make Me Feel Like) A Natural Woman", "Spanish Harlem" and "Think". 60.    By the end of the 1960s decade she had gained the title "The Queen of Soul".  61.    Franklin eventually became the most charted female artist in the history. 62.    Franklin has won a total of 18 Grammy Awards and is one of the best-selling musical artists of all time, having sold over 75 million records worldwide. Franklin has been honored throughout her career including a 1987 induction into the Rock and Roll Hall of Fame, in which she became the first female performer to be inducted. She was inducted to the UK Music Hall of Fame in 2005. In August 2012, Franklin was inducted into the GMA Gospel Music Hall of Fame. Franklin is listed in at least two all-time lists on Rolling Stone magazine, including the 100 Greatest Artists of All Time; and the 100 Greatest Singers of All Time. African-American Cinema 63.    Sweet Sweetback's Baadasssss Song is a 1971 American independent action thriller film written, co-produced, scored, edited, directed by and starring Melvin Van Peebles. His son Mario Van Peebles also appears in a small role, playing the title character as a young boy. It tells the picaresque story of a poor black man on his flight from the white authority. 64.    Van Peebles began to develop the film after being offered a three-picture contract for Columbia Pictures. No studio would finance the film, so Van Peebles funded the film himself, shooting it independently over a period of 19 days, performing all of his own stunts and appearing in several sex scenes, reportedly unsimulated. He received a $50,000 loan from Bill Cosby to complete the project. The film's fast-paced montages and jump-cuts were unique features in American cinema at the time. The picture was censored in some markets and received mixed critical reviews. However, it has left a lasting impression on African-American cinema. 65.    The musical score of Sweet Sweetback's Baadasssss Song was performed by Earth, Wind & Fire. Van Peebles did not have any money for traditional advertising methods, so he released the soundtrack album prior to the film's release to generate publicity. Huey P. Newton celebrated and welcomed the film's revolutionary implications, and Sweetback became required viewing for members of the Black Panther Party. According to Variety, it demonstrated to Hollywood that films which portrayed "militant" blacks could be highly profitable, leading to the creation of the blaxploitation genre, although critic Roger Ebert did not consider this example of Van Peebles' work to be an exploitation film. 66.    Release date: April 23, 1971 / Budget: $150k (~920k today) / Gross: $4.1m (~25m today) 67.    Shaft is a 1971 American blaxploitation action-crime film directed by Gordon Parks and written by Ernest Tidyman and John D. F. Black. The film revolves around a private detective named John Shaft who is hired by a Harlem mobster to rescue his daughter from the Italian mobsters who kidnapped her. The film stars Richard Roundtree as John Shaft, Moses Gunn as Bumpy Jonas, Charles Cioffi as Vic Androzzi, and Christopher St. John as Ben Buford. The major themes present in Shaft are the Black Power movement, race, masculinity, and sexuality. It was filmed within the New York City borough of Manhattan, specifically in Harlem, Greenwich Village, and Times Square. 68.    Shaft was one of the first blaxploitation films, and one of the most popular, which "marked a turning point for this type of film and spawned a number of sequels and knockoffs." The Shaft soundtrack album, recorded by Isaac Hayes, was also a success, winning a Grammy Award for Best Score Soundtrack Album for a Motion Picture; and a second Grammy that he shared with Johnny Allen for Grammy Award for Best Instrumental Arrangement; Grammy Award for Best Original Score; the "Theme from Shaft" won the Academy Award for Best Original Song and has appeared on multiple Top 100 lists, including AFI's 100 Years...100 Songs. Widely considered a prime example of the blaxploitation genre. Shaft was selected in 2000 for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant." 69.    Release date: July 2, 1971 / Budget: 500k (~3m today) / Gross: $13m (~80m today) 70.    The film was one of only three profitable movies that year for MGM,  71.    It not only spawned several years of "blaxploitation" action films, it earned enough money to save then-struggling MGM from bankruptcy Television: 72.    Soul Train is an American music-dance television program which aired in syndication from October 2, 1971 to March 27, 2006. In its 35-year history, the show primarily featured performances by R&B, soul, dance/pop and hip-hop artists, although funk, jazz, disco and gospel artists also appeared. The series was created by Don Cornelius, who also served as its first host and executive producer. 73.    Some commentators have called Soul Train a "black American Bandstand," 74.    Cornelius acknowledged Bandstand as a model for his program, but he tended to bristle at the Bandstand comparisons. 75.    Cornelius, with help from Jesse Jackson, openly accused Dick Clark of trying to undermine TV's only Black-owned show, when Clark launched "Soul Unlimited". 76.    Cornelius was relatively conservative in his musical tastes and was admittedly not a fan of the emerging hip hop genre, believing that the genre did not reflect positively on African-American culture (one of his stated goals for the series). 77.    Rosie Perez testified in the 2010 VH1 documentary Soul Train: The Hippest Trip in America that Cornelius also disliked seeing the show's dancers perform sexually suggestive "East Coast" dance moves. 78.     This disconnect (which was openly mocked in an In-Living Color sketch where Cornelius and the show were lampooned as extremely old and out of touch) eventually led to Cornelius's stepping down as host in the early 1990s and the show's losing its influence. Black Church Sources: https://thewitnessbcc.com/history-black-church/ https://aaregistry.org/story/the-black-church-a-brief-history/ http://news.gallup.com/poll/200186/five-key-findings-religion.aspx [2016] https://en.wikipedia.org/wiki/Religion_in_Black_America#Baptists https://en.wikipedia.org/wiki/Religion_in_Black_America http://www.pewresearch.org/fact-tank/2018/02/07/5-facts-about-the-religious-lives-of-african-americans/

A detailed look at black, African-American, culture during the "Sixties". (1960-1969)   Overview   "The Sixties":  the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order.   Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time.   Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm.   The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments.   In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock.   Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe.   The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States.   The 1960s were marked by several notable assassinations:   12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi.   22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas.   21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X.   4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee.   5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries.   Social and political movements (counterculture)   Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music.     Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in".   Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing.   Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country.   Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term.   Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride.   Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest.   Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018)   Popular culture   The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism.   Music   British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964   "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana.     As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public.   Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963.   Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward.   Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others.   While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music.   In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964.   As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes.   A major development in popular music during the mid-1960s was the movement away from singles and towards albums.   Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk.   Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century.   Significant events in music in the 1960s:   Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances.   Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record.   The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run.   The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go".   John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era.   In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States.   The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques.   R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash.   The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody".   1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin.   Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968.   Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock.   The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums.   Woodstock Festival, 1969   Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival.   Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch.   Television   The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie.   The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day.   Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War.   Fashion   Significant fashion trends of the 1960s include:     The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket.   The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints.   The bikini came into fashion in 1963 after being featured in the film Beach Party.   Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s.   Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade.   Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade.   African-American hairstyles for men and women included the afro.       James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968)     Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962)     Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969)     The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969)     Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964)     Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68)     The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968)     Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965)     The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965)     Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63)     Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967)     Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965)     Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968)     Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969)     Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967)     Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967)     B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968)     Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967)     The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965)     Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964)     The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966)     Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965)     Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964)     Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965)     Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68)     The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62)     Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964)     Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966)     The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63)     Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69)     Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969)     Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966)     Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962)     Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967)     Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969)     The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969)     Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969)     Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964)     Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969)     Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961)     Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966)     Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969)     The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968)     Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966)     Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969)     The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963)     Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965)     Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966)     Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966)     Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)  

A detailed look at black, African-American, culture during the "Sixties". (1960-1969) (Bonus Artists: hidingtobefound & Luck Pacheco)   Overview   "The Sixties":  the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order.   Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time.   Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm.   The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments.   In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock.   Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe.   The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States.   The 1960s were marked by several notable assassinations:   12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi.   22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas.   21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X.   4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee.   5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries.   Social and political movements (counterculture)   Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music.     Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in".   Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing.   Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country.   Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term.   Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride.   Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest.   Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018)   Popular culture   The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism.   Music   British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964   "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana.     As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public.   Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963.   Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward.   Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others.   While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music.   In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964.   As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes.   A major development in popular music during the mid-1960s was the movement away from singles and towards albums.   Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk.   Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century.   Significant events in music in the 1960s:   Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances.   Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record.   The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run.   The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go".   John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era.   In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States.   The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques.   R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash.   The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody".   1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin.   Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968.   Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock.   The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums.   Woodstock Festival, 1969   Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival.   Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch.   Television   The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie.   The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day.   Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War.   Fashion   Significant fashion trends of the 1960s include:     The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket.   The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints.   The bikini came into fashion in 1963 after being featured in the film Beach Party.   Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s.   Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade.   Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade.   African-American hairstyles for men and women included the afro.       James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968)     Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962)     Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969)     The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969)     Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964)     Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68)     The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968)     Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965)     The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965)     Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63)     Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967)     Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965)     Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968)     Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969)     Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967)     Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967)     B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968)     Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967)     The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965)     Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964)     The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966)     Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965)     Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964)     Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965)     Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68)     The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62)     Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964)     Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966)     The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63)     Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69)     Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969)     Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966)     Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962)     Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967)     Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969)     The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969)     Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969)     Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964)     Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969)     Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961)     Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966)     Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969)     The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968)     Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966)     Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969)     The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963)     Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965)     Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966)     Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966)     Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)  

2017 Dec Jus’ Dance   Preparing for a party and selected those tunes for a sexy house get it down hour.   Won't be the exact playlist for the night (for those intending to come) but set should give you a taste of what to expect.   All about the beats and the bass.    Playlist:   2015 Jus’ Dance (Dario D'Attis Remix). Mr. V 2017 That Groove (Husky's BHM Mix). Cimieon, Marck Jamz, Husky 2017 Get into the Dub. ATFC  2016 Rapture (Andrey Exx Mix). Andrey Exx, Elis M. Feeling, Mary Irene 2017 Cola (Mousse T.'s Glitterbox Mix). CamelPhat, Elderbrook, Mousse T. 2017 My House (Greco NYC Remix). Low Steppa, Mr. V, Greco (NYC) 2017 My Way (Husky's BHM Deluxe Edit. Bonetti, Rescue Poetix, Husky 2017 Straight On (Original Mix). SAMO 2017 I Heard It Through the Grapevine (Club Mix). Andrea Marchesini, Norah Grey 2017 Saxomatic (Original Mix). Crazibiza 2016 Pump the Bass (Original Mix). Styline, Mr. V 2016 So Many Times Feat. Monika Kiss (Original Mix). Phil Daras, Vicente Ferrer, Victor Perez, Monika Kiss 2016 Beat Back (Dario's 'Future Funk' Mix). Dario Rodriguez & Mr. V Feat. Mr. V, Dario Rodriguez, Mr. V 2010 Billie Jean (DJ Fudge & Danny Marquez Radio Edit). Rocco, Danny Marquez, DJ Fudge 2010 Lmaoblade (Original Club Mix). Funkagenda   Shoutout to an immense Australian talent: Husky from Random Soul fame. https://www.residentadvisor.net/dj/husky/biography https://soundcloud.com/huskyrandomsoul https://www.facebook.com/Huskyrandomsoul/ http://randomsoulmusic.com

"Groove your Soul", um programa dedicado à música soul, da autoria de Lucélia Fernandes. Para ouvir em direto, quintas-feiras, às 23 horas na Rádio Autónoma (http://player.radioautonoma.com/). À meia-noite, o podcast fica aqui disponível (http://groove.radioautonoma.com). Playlist: 01. Letta Mbulu - "Whats Wrong with Groovin" 02. James Brown - "People Get Up and Drive Your Funky Soul" 03. Marvin Gaye - "I Heard It Through the Grapevine" 04. Barry White - "Cant Get Enough of Your Love Babe" 05. Earth, Wind and Fire - "Lets Groove" 06. Prince - "I Feel for You" 09. Michael Jackson - "I Cant Help It" 08. DAngelo - "Feel Like Makin Love" 09. Erikah Badu - "Bag Lady" 10. Jill Scott - "Gettin In the Way" 11. Lauryn Hill - "Doo Wop (That Thing)" 12. Tupac - "Do for love" 13. Curtis Mayfield - "Move on Up"

1 Quiet Storm [Smokey Robinson (Groove Boutique Remix)] 2 Héctor Lavoe; Que Lio 3 Burning Sensations - Belly Of The Whale 4 The Meters - Cissy Strut 5 Just My Imagination [The Temptations (Easy Mo Bee Remix)] 6 Charles Wright & The Watts - Express Yourself 7 Kamasi Washington;Kipling Theme 8 Double - The Captain Of Her Heart 9 The Boss [Diana Ross (Chosen Few Mix)] 10 I Want You Back [Jackson 5 (SPK Mix)] 11 Save Your Kisses For Me - The Nigel Brooks Singers 12 Visitors - V-I-S-I-T-O-R-S 13 Haysi Fantayzee - Shiny Shiny 14 Don't Look Any Further [Dennis Edwards (DJ U.F. Low Mix)] 15 joey negro presents kola kube; why__joey negro block party mix 16 Black Man in a White World (Ghetto Gettysburg Address) [feat. Nasir Jones as Mr. Books] 17 Square Biz [Teena Marie (Sonidero Nacional Remix)] 18 You Set My Heart On Fire - Tina Charles 19 Disco Lady - Johnnie Taylor 20 Signed, Sealed, Delivered I'm Yours [Stevie Wonder (DJ Smash Essential Funk Mix)] 21 Nu Shooz - I CanNu Shooz - I Canive 22 Bootsy Collins - Bootzilla 23 Scritti Politti - Perfect Way 24 Dr. John - Right Place Wrong Time 25 Hot Chocolate - You Sexy Thing 26 Graham Central Station - The Jam 27 I Can't Get Next to You [Temptations (Randy Cantor Mix)] 28 KC & The Sunshine Band - That's The Way (I Like It) 29 Peter Brown - Dance With Me 30 Christina Aguilera; Telepathy (feat. Nile Rodgers) 31 Herizen Guardiola;Set Me Free (feat. Nile Rodgers) 32 Jaden Smith, Justice Smith, Shameik Moore, Skylan Brooks, The Get Down Brothers & TJ Brown, Jr.; Get Down Brothers vs. Notorious 3 33 Onazis;Chorus Univerzum (Original Mix) 34 Chrissy - Join Me (Rahaan Re-Edit) 35 Miguel; Cadillac 36 I Heard It Through the Grapevine [Gladys Knight & the Pips (Sympathy for the Grapes Mix)] 37 Gwen McCrae - All This Love That IThis Love That I 38 King Curtis - Memphis Soul Stew 39 Dancing Machine [Jackson 5 (Miami Mix)] 40 Chaka Khan - I'm Every Woman

1 Quiet Storm [Smokey Robinson (Groove Boutique Remix)] 2 Héctor Lavoe; Que Lio 3 Burning Sensations - Belly Of The Whale 4 The Meters - Cissy Strut 5 Just My Imagination [The Temptations (Easy Mo Bee Remix)] 6 Charles Wright & The Watts - Express Yourself 7 Kamasi Washington;Kipling Theme 8 Double - The Captain Of Her Heart 9 The Boss [Diana Ross (Chosen Few Mix)] 10 I Want You Back [Jackson 5 (SPK Mix)] 11 Save Your Kisses For Me - The Nigel Brooks Singers 12 Visitors - V-I-S-I-T-O-R-S 13 Haysi Fantayzee - Shiny Shiny 14 Don't Look Any Further [Dennis Edwards (DJ U.F. Low Mix)] 15 joey negro presents kola kube; why__joey negro block party mix 16 Black Man in a White World (Ghetto Gettysburg Address) [feat. Nasir Jones as Mr. Books] 17 Square Biz [Teena Marie (Sonidero Nacional Remix)] 18 You Set My Heart On Fire - Tina Charles 19 Disco Lady - Johnnie Taylor 20 Signed, Sealed, Delivered I'm Yours [Stevie Wonder (DJ Smash Essential Funk Mix)] 21 Nu Shooz - I CanNu Shooz - I Canive 22 Bootsy Collins - Bootzilla 23 Scritti Politti - Perfect Way 24 Dr. John - Right Place Wrong Time 25 Hot Chocolate - You Sexy Thing 26 Graham Central Station - The Jam 27 I Can't Get Next to You [Temptations (Randy Cantor Mix)] 28 KC & The Sunshine Band - That's The Way (I Like It) 29 Peter Brown - Dance With Me 30 Christina Aguilera; Telepathy (feat. Nile Rodgers) 31 Herizen Guardiola;Set Me Free (feat. Nile Rodgers) 32 Jaden Smith, Justice Smith, Shameik Moore, Skylan Brooks, The Get Down Brothers & TJ Brown, Jr.; Get Down Brothers vs. Notorious 3 33 Onazis;Chorus Univerzum (Original Mix) 34 Chrissy - Join Me (Rahaan Re-Edit) 35 Miguel; Cadillac 36 I Heard It Through the Grapevine [Gladys Knight & the Pips (Sympathy for the Grapes Mix)] 37 Gwen McCrae - All This Love That IThis Love That I 38 King Curtis - Memphis Soul Stew 39 Dancing Machine [Jackson 5 (Miami Mix)] 40 Chaka Khan - I'm Every Woman

Jim Broadbent stars as an elderly divorcee who receives a letter that unlocks memories of a relationship he had back in the 1960s. He and director Ritesh Batra describe how they've reinterpreted Julian Barnes' novel The Sense of an Ending for film.50 years ago this week Marvin Gaye finished recording a track that would go on to become one of the most iconic love songs ever written. To mark the moment, music journalist Kevin Le Gendre records his own tribute to I Heard It Through the Grapevine.Novelist Matt Johnson started writing as part of his treatment for PTSD after a career in the army and police. Author Johana Gustawsson tackled the horror of her grandfather's deportation to a Second World War concentration camp, to form a family bond that wasn't possible during his lifetime. They discuss how writing has helped them to process difficult life experiences. Presenter: Kirsty Lang Producer: Angie Nehring.

On this date in 1946, “It’s a Wonderful Life” was released in the United States. Here are some things you may not have known about the classic Christmas movie. It’s based on a story called “The Greatest Gift” by Philip Van Doren Stern, who wrote it in 1939. After failing to sell the story, he made it into a Christmas card and send copies to friends and family in 1943. One of these cards came to the attention of a producer at RKO Pictures, which bought the story intending to make it into a movie starring Cary Grant. RKO shelved the project after three unsuccessful screenplay attempts were made. Director Frank Capra read the story and saw its potential. His production company bought the rights and the three screenplays for $10,000. Capra worked with a team of writers, including Frances Goodrich, Albert Hackett, Jo Swerling and Dorothy Parker. The popular belief is that the role of George Bailey was all but written for Jimmy Stewart, however film historian Stephen Cox claims that Henry Fonda was also considered. The part of Mary was offered first to Jean Arthur, Olivia de Havilland and Ginger Rogers before it finally went to to Donna Reed. Vincent Price and Charles Bickford were considered for the part of the villainous Mr. Potter, who was eventually played by Lionel Barrymore. Filming took place largely at RKO’s studio in Culver City, California and the RKO movie ranch in Encino, California. The only filming locations that remain intact are the home that the Martini family buys in the film, and the gymnasium at Beverly Hills High School with its swimming pool under the gym floor. It’s widely believed that “It’s a Wonderful Life” was originally a box office flop and was dislike by critics. However, this isn’t entirely true. The film made $3.3 million dollars in 1947, placing it 26th among more than 400 films released late in 1946 and in 1947. The reviews were mixed, with Time magazine and Variety praising it, and the New York Times and New Yorker magazine panning it. It went on to be nominated for six Academy Awards, including Best Picture, Best Director for Capra and Best Actor for Stewart. It won an Oscar for technical achievement for a new method of simulating falling snow. It lost the Best Picture Oscar to “The Best Years of Our Lives.” The single event that made the film a Christmas classic didn’t happen until 24 years after it was released. In 1974, the company which owned the rights to the film didn’t properly renew the copyright. This allowed the film to be shown inexpensively on hundreds of local television stations. The film was believed to be in the public domain until 1993, when Republic Pictures proved that it still owned the film rights to the original short story, and because of that, to all derivative works, including “It’s a Wonderful Life.” The movie is now licensed to NBC, which shows it twice during the Christmas season, including on Christmas Eve. Our question: Which television villain was inspired by the character of Mr. Potter? Today is unofficially Cathode-Ray Tube Day, Games Day, and National Sangria Day. It’s the birthday of tire magnate Harvey Firestone, who was born in 1868; author Sandra Cisneros, who is 62; and actor Jonah Hill, who is 33. Because our topic happened before 1960, we’ll spin the wheel to pick a year at random. This week in 1968, the top song in the U.S. was “I Heard It Through the Grapevine” by Marvin Gaye. The No. 1 movie was “Oliver!,” while the novel “The Salzburg Connection” by Helen MacInnes topped the New York Times Bestsellers list. Weekly question What was the first broadcast network in the United States? Submit your answer at triviapeople.com/test and we’ll add the name of the person with the first correct answer to our winner’s wall … at triviapeople.com. We'll reveal the correct answer on Friday’s episode. Links Follow us on Twitter, Facebook or our website. Also, if you’re enjoying the show, please consider supporting it through Patreon.com Please rate the show on iTunes by clicking here. Sources https://en.wikipedia.org/wiki/It's_a_Wonderful_Life https://en.wikipedia.org/wiki/Mr._Potter https://en.wikipedia.org/wiki/Ginger_Rogers http://www.iamnotastalker.com/2009/12/22/the-martini-house-from-its-a-wonderful-life/ https://www.checkiday.com/12/20/2016 http://www.biography.com/people/groups/born-on-december-20 http://www.bobborst.com/popculture/numberonesongs/ https://en.wikipedia.org/wiki/List_of_1968_box_office_number-one_films_in_the_United_States https://en.wikipedia.org/wiki/The_New_York_Times_Fiction_Best_Sellers_of_1968 iOS: http://apple.co/1H2paH9 Android: http://bit.ly/2bQnk3m

I live with a super social twelve-year-old.  Our home is conveniently located within biking and walking distance to a vast majority of her friends.  Therefore, I interact with dozens, seemingly hundreds, of middle-schoolers on the reg.  That means “regularly.”  Not only do I hear, and apparently absorb (…totes…) their language, but I also hear, and often abhor, their music.  At times, I’m tempted to let something much like this slip from my mouth, “Music is horrible today.” Guess what, though? It’s not true. What I’d really be saying is, “When I was a kid…our shitty pop music was less shitty than this generation’s shitty pop music.”  But see, shitty pop music is shitty pop music is shitty pop music.  And also, all art is relative, and personal, and wrought with nostalgic, emotional overlay. I realized this as Jen played, “Hit the Quan” for me.  If you stream the podcast just below this post, you can hear both the song and the insights. For those of you who’ll just read, and to assure myself that, indeed, every decade’s shitty pop…let’s call it Poop Music, is merely soon-to-be-dated Poop, I did some research.  I use the term “research” quite loosely.  What I really did was look at the “List of Billboard Top 100 chart achievements by decade” on Wikipedia, within which I found the top songs of each decade back to 1958.  That’s right, 1958.  People, Wikipedia is absolutely wonderful for many things.  Not serious academic research, and not as a solitary source.  Don’t dismiss it out of hand just because it’s crowd-sourced.  While it only takes one dick to ruin something, the crowd generally trumps the dick.  However, also realize that the community created a 1958 – 1969 “decade” because, I dunno, the dick won there. So, for any of you who’ve claimed, in your best crotchety old-man/old-woman demeanor, “Music ain’t like it used to be,” feast your eyes on these lists.  (And hell, link through to the videos to feast your ears as well!)  Keep in mind, there are absolute gems of pop perfection in each decade…and there are heaping mounds of steaming shit as well.  All the way back to the decade that began in, uh…1958.  I won’t try to convince you which songs here are genius, which are formulaic, which are immediately forgetful, unforgettable, and which are vomit-worthy.  I only ask you to keep track of your reactions as you travel back…and be completely honest with yourself. Because a turd by any other name would smell as putrid. Here goes: 2010’s – “Songs,” and artists (by total weeks at number one) “Uptown Funk,” Mark Ronson featuring Bruno mars (14)“Blurred Lines,”* Robin Thicke featuring T.I. and Pharrell (12)*No-boobies version****If you like boobies, and who doesn’t like boobies (?!),  just google search: blurred lines unrated“See You Again,” Wiz Khalifa featuring Charlie Puth (12)“We Found Love,” Rihanna featuring Calvin Harris (10)“Happy,” Pharrell Williams (10)“Tik Tok,” Kesha (9)“Call Me Maybe,” Carly Rae Jepson (9)“One More Night,” Maroon 5 (9)“Royals,” Lorde (9)“Somebody That I Used to Know,” Gotye featuring Kimbra (8)“All About That Bass,” Meghan Trainor (8) 2000’s – “Songs,” and artists (by total weeks at number one) “We Belong Together,” Maria Carey (14)“I Gotta Feeling,” The Black Eyed Peas (14)“Lose Yourself,” Eminem (12)“Yeah!,” Usher featuring Lil John and Ludacris (12)“Boom Boom Pow,” The Black Eyed Peas (12)“Independent Woman,” Destiny’s Child (11)“Irreplaceable,” Beyonce (10)“Low,” Flo Rida featuring T-Pain (10)“Maria Maria,” Santana featuring The Product G&B  (10)“Dilemma,” Nelly featuring Kelly Rowland (10)“Foolish,” Ashanti (10)“Gold Digger,” Kanye West featuring Jamie Fox (10) 1990’s – “Songs,” and artists (by total weeks at number one) “One Sweet Day,” Mariah Carey and Boyz II Men (16)“I Will Always Love You,” Whitney Houston (14)“I’ll Make Love to You,” Boyz II Men (14)“Candle in the Wind ‘97/Something About the Way You Look Tonight,” Elton John (14)“Macarena,” Los Del Rio (14)“End of the Road,” Boyz II Men (13)“The Boy is Mine,” Brandy and Monica (13)“Smooth,” Santana featuring Rob Thomas (12)“Un-Break My Heart,” Toni Braxton (11)“I Swear,” All-4-One (11)“I’ll Be Missing You,” Puff Daddy and Faith Evans featuring 112 (11) 1980’s – “Songs,” and artists (by total weeks at number one) “Physical,” Olivia Newton-John (10)****I never realized how gay this video is, literally and in 80’s vernacular.“Bette Davis Eyes,” Kim Carnes (9)“Endless Love,” Diana Ross and Lionel Richie (9)“Every Breath You Take,” The Poice (8)“I Love Rock ‘n’ Roll,”** Joan Jett and the Blackhearts (7)**I also love Rocky Road“Ebony and Ivory,”** Paul McCartney and Stevie Wonder (7)**this“Billie Jean,” Michael Jackson (7)“Call Me,” Blondie (6)“Lady,” Kenny Rogers (6)“Centerfold,” The J. Geils Band (6)“Eye of the Tiger,” Survivor (6)“Flashdance…What a Feeling,” Irene Cara (6)“Say, Say, Say,” Paul McCartney and Michael Jackson (6)“Like a Virgin,” Madonna (6) 1970’s – “Songs,” and artists (by total weeks at number one) “You Light Up My Life,” Debby Boone (10)“Night Fever,” Bee Gees (8)“Tonight’s the Night (Gonna Be Alright),” Rod Stewart (8)“Shadow Dancing,” Andy Gibb (7)“Bridge over Troubled Water,” Simon & Garfunkle (6)“Joy to the World,” Three Dog Night (6)“The First Time Ever I saw Your Face,” Roberta Flack (6)“Alone Again (Naturally),” Gilbert O’Sullivan (6)“Le Freak,”Chic (6)“My Sharona,” The Knack (6) (NOTE: For as much shit as the 70’s get, I’m actually quite impressed with these 10 tunes.  Also, I kind of like the unlikely and glorious collision of punk, soul, kink, and the gay community called Disco.) 1958 – 1969 – “Songs,” and artists (by total weeks at number one) “Mack the Knife,” Bobby Darin (9)“Theme from a Summer Place,” Percy Faith (9)“Hey Jude,” The Beatles (9)“Tossin’ and Turnin’,” Bobby Lewis (7)“I want to Hold Your Hand,” The Beatles (7)“I’m a Believer,” The Monkees (7)“I Heard It Through the Grapevine,” Marvin Gaye (7)“It’s All in the Game,” Tommy Edwards (6)“The Battle of New Orleans,” Johnny Horton (6)“Are You Lonesome Tonight?” Elvis Presley (6)“Aquarius/Let the Sunshine In,” The 5th Dimension (6)“In the Year 2525,” Zager and Evans (6) So…maybe I’ve convinced you, or maybe you’re now doubling down on the assertion that today’s popular music is considerably worse than yesterday’s.  In either case, we present to you, “Now That’s What I Call Poop Music!” Oh…and at the end?  “Paid In Full (7 Minutes of Madness Remix).”  Pump up the volume, pump up the volume, chkuh-chk-chk-chk Pump that bass!  

They recorded more #1 singles than any other artists ever, and nobody seems to know their names. They have more radio airtime than any other musicians… ever. The Funk Brothers were the studio musicians that delivered the MOTOWN sound and this tape is a tribute to their talent. 1. We'll Sing in the Sunshine, Gale Garnet (music bed) 2. Money, Barrett Strong. 3. You've Really Got A Hold On Me, Smokey Robinson. 4. Bernadette, Four Tops. 5. (love is like a) Heatwave, Martha Reeves and the Vandellas. 6. Ain't to Proud to Beg, Temptations 7. I Heard It Through the Grapevine, Gladys Knight and the Pips. 8. Reach Out I'll Be There, Four Tops. 9. My Girl, Temptations. 10. Ain't no Mountain High Enough, Marvin Gaye and Tammi Terrel. 11. The Tears Of A Clown, Smokey Robinson. 12. Please Mr. Postman, The Marvelettes. 13. Can't hurry Love, Supremes. 14. Higher and Higher, Jackie Wilson. 15. Baby Love, Supremes. 16. I Second That Emotion, Smokey Robinson. 17. What Becomes of the Broken Hearted, Joan Osborne.

As we continue Black History Month...we have another Legend...this time in the Music Industry, BARRETT STRONG!   BARRETT STRONG, Artist of the first Hit Record out of Motown Records is a Grammy Award Winner and Songwriter Hall of Famer best noted for his hits with the Temptations, Marvin Gaye, Gladys Knight & the Pips and others. BARRETT STRONG wrote some of the most successful and critically acclaimed songs ever to be released by Motown, including  "I Heard It Through the Grapevine", "Smiling Faces Sometimes", "Cloud Nine", "I Can't Get Next to You", Psychedelic Shack", "War", "Papa Was a Rollin' Stone" and others, including the co-write of "Just My Imagination (Running Away With Me)" a 1971 Billboard No. 1. 

Tues 10-11pm PT www.party934.com "Glitch" Moody Boyz "Age of Consent" (Howie B. remix) New Order "Satellite of Love" Lou Reed "Dont Wish Me Luck" The Neon Judgment "The Chase" Propaganda "Institution" Suicidal Tendencies "Come On Eileen" (Night mix) Save Ferris "Gangsters" The Special AKA "Let's Do Rock Steady" The Bodysnatchers "Hey Joe" Guitar Shorty "Watermelon Man" Jimmy Smith "I Heard It Through the Grapevine" The Slits "Pongi Reggae" Black Uhuru

00:00 The Bottom Half > 05:36 KaBump > 12:34 "Jimmy Stewart"^ > 20:16 The Bottom Half (11.08.06 - Liberty Hall, Lawrence, Kansas) 23:19 Divisions* > 40:57 I Heard It Through the Grapevine$ > 48:46 Dump City > 59:50 Divisions > 61:29 Dr. Feelgood > 64:17 Divisions (11.09.06 - Cain's Ballroom, Tulsa, Oklahoma) Total Broadcast Length 73:23 Notes: ^ with lyrics * with Simple Gifts teases $ with Dump City jam The Bottom Half sets the table for a rousing KaBump which featured some crowd interaction, including Jake using an audience member's cell phone as a slide. The "Jimmy Stewart" that follows is a fine example of a few simple ideas coming together to form a 'song' in the moment, with melodies sure to be stuck in your head for days. Divisions is a spring board for Umphrey's to cover a wide array of genres and styles, everything from a Bill Frisell-ian stroll through I Heard it Through the Grapevine, a quick stop in the dirty funk of Dump City, a foray into some minimalistic post-rock, and even a tribute to Motley Crue.