American singer
POPULARITY
5 episodes with Jackie Shane
5 episodes with Jackie Shane
4 episodes with Jackie Shane
5 episodes with Jackie Shane
2 episodes with Jackie Shane
2 episodes with Jackie Shane
2 episodes with Jackie Shane
2 episodes with Jackie Shane
2 episodes with Jackie Shane
Throughout the tapestry of music history, certain figures stand out not just for their talent but for their sheer courage and resilience. Count Jackie Shane among them-- a groundbreaking black trans woman who made a mark on the music scene in the 1950's and 60's. In our latest podcast episode, we delve into the life and legacy of Jackie Shane, a trailblazer whose story is as compelling as her music. Learn more about your ad choices. Visit megaphone.fm/adchoices
Throughout the tapestry of music history, certain figures stand out not just for their talent but for their sheer courage and resilience. Count Jackie Shane among them-- a groundbreaking black trans woman who made a mark on the music scene in the 1950's and 60's. In our latest podcast episode, we delve into the life and legacy of Jackie Shane, a trailblazer whose story is as compelling as her music. William Bell - Published by Bais Music (BMI) & Irving Music (BMI) Learn more about your ad choices. Visit megaphone.fm/adchoices
Join us for an illuminating journey into the life of Jackie Shane, a groundbreaking soul singer who carved her own path through the 1960s music scene. This episode explores how Shane's unwavering authenticity and electrifying performances challenged societal norms and paved the way for transgender representation in popular music. From her early days in Nashville to her transformative years in Toronto's vibrant music scene, discover how Jackie Shane's powerful voice and fearless self-expression left an indelible mark on music history. Learn about her chart-topping hit "Any Other Way," her mysterious disappearance at the height of her career, and the enduring legacy that continues to inspire generations. ---------------------------------------------------------- @translessonplan @mariiiwrld Merch: https://trans-lesson-plan.printify.me/products Subscribe to our newsletter: https://mailchi.mp/a914d2eca1cf/trans-lesson-plan ---------------------------------------------------------- References: Allen, Dan. “Trailblazing Black Trans Singer Jackie Shane Finally Gets Her Due in Tennessee.” NBCNews.Com, NBCUniversal News Group, 20 Sept. 2024, www.nbcnews.com/nbc-out/out-pop-culture/jackie-shane-singer-black-trans-lgbtq-tennessee-rcna171975. Darling, Harper-Hugo. “Jackie Shane.” Making Queer History, Making Queer History, 29 May 2024, www.makingqueerhistory.com/articles/2020/2/24/jackie-shane-part-i. Fensterstock, Alison. “Jackie Shane, a Force of Nature Who Disappeared, Has a Story All Her Own.” NPR, NPR, 25 Oct. 2017, www.npr.org/sections/therecord/2017/10/25/559775225/jackie-shane-a-force-of-nature-who-disappeared-has-a-story-all-her-own. “Jackie Shane: Remembering the Groundbreaking Trans Soul Singer.” The Guardian, Guardian News and Media, 25 Feb. 2019, www.theguardian.com/music/2019/feb/25/jackie-shane-groundbreaking-trans-soul-singer. Mcgowan, Douglas. “Jackie Shane: It's just, ‘yes ma'am, no ma'am.'” Southern Cultures, vol. 24, no. 3, 2018, pp. 30–44, https://doi.org/10.1353/scu.2018.0030. “No Other Way: The Story of Jackie Shane.” Museum of Toronto, 2 Apr. 2024, www.museumoftoronto.com/collection/no-other-way-the-story-of-jackie-shane/. Stack, Liam. “Jackie Shane, Transgender Pioneer of 1960s Soul Music, Dies at 78.” The New York Times, The New York Times, 23 Feb. 2019, www.nytimes.com/2019/02/22/obituaries/jackie-shane-dead.html.
We've got a small-town Alabama group's rare version of Mr. Pitiful for you this week, plus R&B, northern soul, and more from Bobby McClure, Jackie Shane, The Traits, Trini Lopez, a Billy Joe Royal favorite, some British Psych from the Spencer Davis Group, and The Coasters' early 1970s take on Love Potion Number Nine.For more info and tracklisting, visit: https://thefaceradio.com/that-driving-beat/Tune into new broadcasts of That Driving Beat, Tuesdays from 8- 10 PM EST / 1 - 3 AM GMT//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
We've got a small-town Alabama group's rare version of Mr. Pitiful for you today, plus R&B, northern soul, and more from Bobby McClure, Jackie Shane, The Traits, Trini Lopez, a Billy Joe Royal favorite, some British Psych from the Spencer Davis Group, and The Coasters' early 1970s take on Love Potion Number Nine. -Originally broadcast November 24, 2024- Willie Mitchell / That Driving BeatJunior Wells / You're Tuff EnoughThe Jagged Edge / Baby You Don't KnowJeanette Williams / All Of A SuddenThe Goodees / Condition RedThe Seeds / Can't Seem To Make You MineThe Fabulous Shades / Mr. PitifulPips / Room In Your HeartThe Sharpees / Do the 45"Big Jay McNeely & Band / ...Back ...Shack ...TrackBenny Spellman / Fortune TellerMary Wells / My GuyEvelyn Legrand / I Got CaughtTrini Lopez / What Have I Got of My OwnElvis Presley / Rubberneckin'Tension / It's a FactJohnny Jones & The King Casuals / Purple HazeCopper & Brass / Does Anybody Know What Time It IsPaul Anka / My Baby's Comin' HomeDee Clark / Cross Fire TimeBobby McClure / The Peak Of LoveThe Blue Notes / Hot Chills And Cold ThrillsCoasters / Love Potion Number NineRoger James Four / Leave Me AloneThe Furys / Never MoreJackie Shane / In My TenementSteve Alaimo / Every Day I Have To CryOscar Toney Jr. / You Can Lead Your Woman to the AltarBilly Joe Royal / Heart's DesireThe Persuaders / You Must Have Put Something In Your LoveTom Storm and the Peps / That's The Way Love IsThe Pirates / Mind Over Matter (I'm Gonna Make You Mine)The Traits / Harlem ShuffleThe Runarounds / You're A DragThe Avengers / Crying All AloneThe Spencer Davis Group / Time SellerHuman Beinz / This Little Girl of MineJr. Walker & The All Stars / Brain WasherBobby Fuller Four / The Magic Touch Hosted on Acast. See acast.com/privacy for more information.
Se reeditan los álbumes “Alto disco” (2008) -edición con nuevas mezclas- y “Manual de montaña rusa” (2011). El primero se mantiene como uno de los álbumes más valorados en la trayectoria del trío de Estepona, el segundo fue su disco de cambio hacia un sonido más pop y melódico. Charlamos con Adolfo, Pepillo y Jose Andrés sobre aquellos maravillosos años en los que Airbag se convirtió en la gran banda del punk pop ibérico.Playlist;(sintonía) AIRBAG “Playa de Cristo” (Manual de montaña rusa)AIRBAG “Spoiler” (Alto Disco)AIRBAG “Comics y posters” (Alto Disco)AIRBAG “De un verano a otro” (Alto Disco)AIRBAG “Salva mi domingo” (Alto Disco)AIRBAG “Ventidos” (Manual de montaña rusa)AIRBAG “La ola perfecta” (Manual de montaña rusa)AIRBAG “Surf instrumental para separar fases” (Alto Disco)GRANDE AMORE “Pelea”BEIGE BANQUET “Hotel room”BUM MOTION CLUB “La ceremonia” (Claridad y laureles)TITO RAMIREZ “Milly Malone”JACKIE SHANE “Comin down”Escuchar audio
Today on "Words On Film", Dan Burke reviews: "Megalopolis" "The Wild Robot" "The Forge" "Any Other Way: The Jackie Shane Story" "Boys Go to Jupiter" Mr. Burke also runs down the movies subject to being released into theaters for the week of September 30th - October 4th, 2024.
Plans for a Murfreesboro ballpark include the unique inclusion of some local history. Plus, the local news for September 20, 2024 and a Jackie Shane documentary. Credits: This is a production of Nashville Public RadioHost/producer: Nina CardonaEditor: Miriam KramerAdditional support: Mack Linebaugh, Tony Gonzalez, Rachel Iacovone, LaTonya Turner and the staff of WPLN and WNXP
There's a sub-genre of documentaries that track down figures who've disappeared from public view. A new film called “Any Other Way: The Jackie Shane Story” captures Shane as a powerhouse R&B performer and a Black, trans woman who got her start in Nashville, then took the Toronto scene by storm in the 1960s. She eventually stopped performing and no one knew where she was. Decades later, Shane was excited to be found by a filmmaker, but she died before they could really get to work. Senior music writer Jewly Hight says the challenge became figuring out how to do justice to a performer who'd never been properly appreciated even in life.
From Francis Craig and the Beatles to Jackie Shane and Minor Threat, United Record Pressing has made some of the world's most significant records. United CEO and Chairman Mark Michaels is here to tell the story of this unique Nashville-based, American-owned business, and how — thanks to some ingenuity, a few well-timed business decisions, and a whole lotta luck — it's survived decades of changes in the music industry.GuestsMark Michaels | Chairman and CEO, United Record Pressing, LLCFurther Reading and ListeningWPLN | Behind the scenes at Nashville's United Record Pressing, the oldest vinyl producer in North AmericaWPLN | The unending appeal of vinyl recordsBillboard | As Nashville's United Record Pressing Celebrates 75 Years, a Look Back at 15 Essential Vinyl Pressings
Christian Zyp interviews Michael Mabbott (dir/prod) about the documentary "ANY OTHER WAY: The Jackie Shane Story". Mabbott co-directed & Co-produced the film with Lucah Rosenberg-Lee. It's screening as part of the Edmonton International Film Festival on Thu, Oct 3rd, 6:30 PM @ Telus World of Science & Fri, Oct 4th, 2:00 PM @ Landmark Cinemas 9 City Centre.ANY OTHER WAY: THE JACKIE SHANE STORY... A lost R&B star who eclipsed Etta James and Little Richard, trans soul singer Jackie Shane blazed an extraordinary trail with an unbreakable commitment to her truth. Forty years after vanishing from public view, this 20th century icon finally gets her second act.
We've got some exciting new finds for our record collections to share on today's radio dance party. There's a version of a Tams classic northern soul song we hadn't heard before, an Ikettes record that had so far escaped us, a nice Tina Britt tune, and a rare one by Kenny Wells that made its way into James's play box. We've got Major Lance, The Sweet Inspirations, Dolly Parton, Mel Torme, Jackie Shane, The Artistics, some Hoosier garage rock, and more!For more info and tracklisting, visit: https://thefaceradio.com/that-driving-beat/Tune into new broadcasts of That Driving Beat, Tuesdays from 8- 10 PM EST / 1 - 3 AM GMT//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
We've got some exciting new finds for our record collections to share on today's radio dance party. There's a version of a Tams classic northern soul song we hadn't heard before, an Ikettes record that had so far escaped us, a nice Tina Britt tune, and a rare one by Kenny Wells that made its way into James's play box. We've got Major Lance, The Sweet Inspirations, Dolly Parton, Mel Torme, Jackie Shane, The Artistics, some Hoosier garage rock, and more! -Originally broadcast August 25, 2024- Willie Mitchell - That Driving BeatWillie Parker - I Live the Life I LoveBrothers and Sisters - Shake A LadyThe Ikettes - Sally Go Round the RosesMajor Lance - Little Young LoverThe Sensations - Gotta Find Myself Another GirlD.J. Groover - Hey Girl, Don't Bother MeKenny Wells - Isn't It Just A ShameBetty Adams - See Me ThroughBobby Freeman - C'mon and SwimJackie Lee - The Shotgun and the DuckMarion Black - Who KnowsThe Charts - I Wanna Take You HomeThe Sweet Inspirations - I'm BlueTina Britt - The Real ThingDolly Parton - Control YourselfCharlie Gracie - Walk With Me GirlDon Covay & Goodtimers - SeesawBocky and the Visions - Good Good Lovin'The Surf Suns - Still In Love With You BabyThe Trolls - Every Day and Every NightMel Tormé - Comin' Home BabyMarie Knight - Cry Me A RiverJackie Shane - Any Other WayBad & Good Boys - We Got SoulHomer Banks - 60 Minutes of Your LoveThe Imaginations - I Love You, More (Than Anyone)Otis Leavill - Charlotte (Yes I'm Gonna Miss You}J.J. Jackson - Here We Go AgainSister Sledge - Love Don't You Go Through No Changes On MeThe Artistics - It's Those Little Things That CountSherri James - Sweet Talkin' GuyAl Greene & The Soul Mates - Don't Leave MeThe Chirades - PacemakerThe Intensions - I Don't Care AnymoreOtis Clay - It's Easier Said, Than Done Hosted on Acast. See acast.com/privacy for more information.
Michael Mabbott and Lucah Rosenberg-Lee are the directors of a new documentary about the late American R&B singer Jackie Shane. Jackie was a Black trans woman who became popular in Canada after moving to Toronto in the 1960s. She released a single called “Any Other Way” that charted across the country, but in the 1970s, she became a recluse and disappeared from the public eye. Michael and Lucah join Tom to discuss their film “Any Other Way: The Jackie Shane Story” and how an unreleased song was discovered in Jackie's house after she passed.
The story of a legendary performer is now in theatres and is coming to Winnipeg. Any Other Way: The Jackie Shane Story celebrates the incredible journey of Jackie Shane, a transgender Black woman whose talent and courage paved the way for performers of diverse identities. The film explores her meteoric rise and answers the question of her sudden step out of the spotlight. Why is telling her story important, and how can her perseverance help inspire all of us? Let's find out.
It's time for another action-packed 1960s radio dance party. We've got stacks of rare soul, R&B, and garage rock records to set the dance floor on fire! James has picked up a few longtime wants from a Canadian record dealer, including a Jackie Shane record, and one by a Montreal garage rock band. Uwe spins a favorite Brazilian-French Mod orchestral shaker, plus a rare cover of an Otis Redding tune, and a not so rare cover of a song first done by Little Stevie Wonder. -Originally broadcast June 30, 2024- Willie Mitchell / That Driving BeatThe Soul City / Everybody Dance NowLee Andrews & The Hearts / Never The LessBrenda Holloway / When I'm GoneThe Ikettes / Peaches "N" CreamRuby Johnson / Keep On Keeping OnThe Astors / CandyJackie Shane / In My TenementThe Orlons / Rules of LoveJames & Bobby Purify / Do Unto MeSilvio Silvera and his Brazilian Orchestra / Brigitte BardotThe King-Pins / A Lucky GuyThe Drifters / Still Burning In My HeartPhillip Mitchell / Turning Over The GroundBarbara Lynn / Take Your Love and RunThe Haunted / 1-2-5The Sheep / Hide & SeekThe Razor's Edge / Gotta Find HerLes Internes / Oh! Non!The Original Emotions / You're A Better Man Then IDebra Swisher / You're So Good To MeLula Reed / PuddentaneJimmy Washington / You Oughta See My BabyThe Radiants / Father Knows BestThe Fabulous Shades / Mr. PitifulC.P. Love / Never Been In Love BeforeBobby Fuller Four / The Magic TouchLaura Lee / To Win Your HeartJimmy Conwell / Too MuchJackie Shane / Comin' DownGarnett Mimms / Prove It To MeVerdelle Smith / Walk TallThe Blendells / La La La La LaMary Wells / Keep Me In SuspenseBarbara Acklin / A Raggedy RideThe Isley Brothers / Nobody But MeDetroit Emeralds / Shades Down Hosted on Acast. See acast.com/privacy for more information.
We celebrate James Baldwin, Jackie Shane, and Lorraine Hansberry. For more ways to give: Lorraine Hansberry Intiative Baldwin For The Arts --- Support this podcast: https://podcasters.spotify.com/pod/show/pj-oneal/support
Welcome to Flashback Fridays! We're bringing back two films that you can see on the big screen at this year's Frameline Film Festival in San Francisco (running June 19-29)! We truly loved both of these documentaries that will introduce you to two amazing women that should already be household names.The World According to Allee Willis shares the story of one of the most successful singer/songwriter/artists of our time, Allee Willis, from her strict upbringing to her creative successes (despite struggling to fit in with sexual and gender norms), and eventually, her path to love. We are joined by director Alexis Spraic, producer Nicholas Coles, and EP/participant Prudence Fenton, who share the finding of hidden gems in Allee's archival footage, if there is potential for this to become a series (yes, please!), and how they are continuing Allee's legacy through the Willis Wonderland Foundation.Any Other Way: The Jackie Shane Story, follows the life of one of music's first Black trans performers, and how she made it to the edge of stardom before disappearing. Directors Michael Mabbott and Lucah Rosenberg-Lee describe how they thankfully were able to find Jackie before her sudden death, the importance of the timing of the film's release, and telling the story of a trans woman's life that was filled with joy.Purchase tickets to the films here!Listen to Allee Willis' Child Star album hereFollow EP/participant Prudence Fenton on IGFind Jackie Shane's music hereFollow Any Other Way on IGFollow director Michael Mabbott on IGFollow director Lucah Rosenberg-Lee on IGAudio engineering by Jeff Hunt from Storied: San FranciscoSupport the Show.Thanks for listening and for your support! We couldn't have reached 11 years, recorded 800+ episodes, and won Best of the Bay Best Podcast in 2022 and 2023 without your help! -- Be well, stay safe, Black Lives Matter, AAPI Lives Matter, and abortion is normal. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM
I had a very awesome interview with Dr. Amara Pope. She is a fun person to speak with, especially when we talk about music and marketing. Amara is passionate about her career, and she strives to be the best of herself. Dr. Amara Pope is a second-generation Canadian-Trinidadian woman. Under thirty, Pope has completed her Ph.D., MA, and Joint Honors BA, all while working at several jobs to pay for her education. Nothing was given. The onus was on her to succeed. Pope brings laser focus and personal clarity to her PhD. dissertation, "Canadians Redefining R&B: The Online Marketing of Drake, Justin Bieber, and Jessie Reyez" The topic stems from the impact music had/ has (although not fully realized at the time) on this little girl growing up in a predominantly white place. Today, Dr. Amara Pope is a passionate and confident marketing manager, the first in a loving working-class family to graduate with a PhD. Music became an important part of her life growing up, the understanding of why and how significant came later in the journey, with Pope's insightful PhD dissertation. Pope's well researched work uncovers the missing history of Canadian R&B, which had been excluded from Canadian media in the past. Pope features stories with Crack of Dawn, Oscar Peterson, Jackie Shane, Eleanor Collins & others. The paper critiques the organization of music through racial and national divides with insights from interviews conducted with music professionals and marketing executives. Pope explores how Canadian music was exclusively represented by white rock and folk artists & R&B music was exclusively used to group Black U.S. artists. The extensive dissertation argues that R&B exemplifies a multicultural Canadian identity by investigating how Drake, Justin Bieber, and Jessie Reyez broke into the music industry to represent multiple yet equally Canadian R&B artists. Pope analyzes the growing popularity of contemporary Canadian R&B in the digital era by examining Drake's, Bieber's, and Reyez's performances during BLM and the COVID-19 pandemic when they all released new music. The researcher takes an in depth look at the rise of Canadian hip hop and R&B music, specifically through the struggles of many racialized and immigrant Canadian artists who work together in the periphery of Canadian society to break into mainstream media. Pope explores how these Canadian artists collaborated with many U.S. artists to establish what she calls "Canadian R&B music," a mixture of R&B, hip-hop, pop, soca, reggae, and many immigrant sounds, styles, and cultures. The dissertation looks at how Drake, Justin Bieber, and Jessie Reyez reinforce, complicate, and / or challenge dominant beliefs of "Canadian-ness" and "R&B-ness" At a young age, Pope relocated from Scarborough, On. with its diverse ethnicities to a small town in Elmira, On. where hers was the only “brown family.” They were known as the “brown” family in the corner house. Pope embraced her Trinidadian culture with strength, understanding, and a sense of empowerment. She realized after her dissertation that musical artists like Bieber, Drake, and Reyez resonated with her younger self and allowed her to embrace different parts of her identity in ways that her immediate environments did not permit. Pope uncovered a deep interest in exploring the ability of musical artists to create experiences that she can enjoy along with other listeners. Follow Dr. Amara Pope on her social media https://www.instagram.com/DRAMARAPOPE/ https://twitter.com/dramarapope https://www.youtube.com/@dramarapope or her website at https://dramarapope.ca/ You can also contact Sasha Stoltz Publicity: Sasha Stoltz at Sasha@sashastoltzpublicity.com | 416.579.4804 https://www.sashastoltzpublicity.com Thank you for listening to and supporting the podcast. If you want to be heard, email mscaramellucas@gmail.com or follow me on Instagram @mscaramellucas - TikTok @caramellucas - Facebook - Caramel Lucas --- Send in a voice message: https://podcasters.spotify.com/pod/show/caramel-lucas/message
Feds give the B.C government a thumbs-up on banning drugs in public spaces GUEST: Elenore Sturko, BC United MLA for South Surrey and Shadow Minister for Mental Health, Addiction, Recovery and Education New poll reveals how people would feel if Justin Trudeau resigned from office GUEST: Hamish [HAY-MISH] Telford, Professor of Political Science at University of the Fraser Valley A mother's reaction to Ottawa approving B.C's ban on drugs GUEST: Deb Bailey, member of Moms Stop The Harm Any Other Way: The Jackie Shane Story premiering at DOXA Film Festival GUEST: Geri Mayer-Judson, Show Contributor Bottoms up! Park Board approves Alcohol on Beaches re-pilot program for Summer 2024 GUEST: Brennan Bastyovanszky, Vancouver Park Board Chair Learn more about your ad choices. Visit megaphone.fm/adchoices
GUEST: Geri Mayer-Judson, Show Contributor Learn more about your ad choices. Visit megaphone.fm/adchoices
Jackie Shane was one of soul's first Black trans performers. She was born in 1940 in Nashville but her incredible voice took her across North America. She found a home in Toronto in the '60s, performing sold-out shows almost every night. In 1971, Shane disappeared from the spotlight. When she eventually reemerged in the 2010s, there were still many questions surrounding her life and career. Michael Mabbott and Lucah Rosenberg-Lee's latest documentary, Any Other Way, tells the story of Shane's life.
Michael Mabbott and Lucah Rosenberg-Lee are the directors of a new documentary about the late American R&B singer Jackie Shane. Jackie was a Black and trans woman who became popular in Canada after moving to Toronto in the 1960s. She released a single called “Any Other Way” that charted across the country, but in the 1970s, she became a recluse and disappeared from the public eye. Michael and Lucah join Tom to discuss their film “Any Other Way: The Jackie Shane Story” and how an unreleased song was discovered in Jackie's house after she passed.
This episode brings you two SXSW Film Festival documentaries that will introduce you to two amazing women that should already be household names.The World According to Allee Willis shares the story of one of the most successful singer/songwriter/artists of our time, Allee Willis, from her strict upbringing to her creative successes (despite struggling to fit in with sexual and gender norms), and eventually, her path to love. We are joined by director Alexis Spraic, producer Nicholas Coles, and EP/participant Prudence Fenton, who share the finding of hidden gems in Allee's archival footage, if there is potential for this to become a series (yes, please!), and how they are continuing Allee's legacy through the Willis Wonderland Foundation.Any Other Way: The Jackie Shane Story, follows the life of one of music's first Black trans performers, and how she made it to the edge of stardom before disappearing. Directors Michael Mabbott and Lucah Rosenberg-Lee describe how they thankfully were able to find Jackie before her sudden death, the importance of the timing of the film's release, and telling the story of a trans woman's life that was filled with joy.Listen to Allee Willis' Child Star album hereFollow EP/participant Prudence Fenton on IGFind Jackie Shane's music hereFollow Any Other Way on IGFollow director Michael Mabbott on IGFollow director Lucah Rosenberg-Lee on IGSupport the showThanks for listening and for your support! We couldn't have reached 10 years, recorded 700+ episodes, and won Best of the Bay Best Podcast in 2022 and 2023 without your help! -- Be well, stay safe, Black Lives Matter, AAPI Lives Matter, and abortion is normal. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM
If you have a dog, you have to understand your responsibilty - "Walking the Dog" isn't as simple as you might think. Therefore, we start with Rufus Thomas and his instructional record of the same name from 1963. Is it a goofy great? It's definitely great, because a million bands have covered it. The Rolling Stones took the dog out in 1964 and Brian Jones sounds appropriately woofy. The amazing Jackie Shane walked the dog her way when back in Nashville, which also gives us a chance to talk about Noble Blackwell and the amazing Night Train variety show, where she performed the song live. The Sonics took Rover out in '65 and they seem to have strutted off to sniff some chip bags or sumthin'. You know it's good - uh huh huh. In '66, Duluth's finest musical product ... The Yes It Is made a surfy/rockabilly/Mexican version of the tune. It's off leash!!! Finally, in the 70s, Aerosmith created a weird hybrid version which make us go "Ruh Roh!" like Scooby! What's your 12?
In this episode of Carolyn Talks Podcast, filmmakers Michael Mabott and Lucah Rosenberg-Lee about their documentary biopic ANY OTHER WAY: THE JACKIE SHANE STORY, uncovering the life of Jackie Shane, a transgender performer who broke barriers and stereotypes from her childhood in Nashville, to singing on stage in Toronto in the 1960s, and her nomination for a Grammy in 2017.#TheJackieShaneStory #Biography #LGBTQ #SXSW2024 #FilmCriticFind me on Twitter, Instagram and TikTok at: @CarrieCnh12To contribute to my work donations can be given at paypal.com/paypalme/carolynhinds0525My Social Media hashtags are: #CarolynTalks #DramasWithCarrie #SaturdayNightSciFi #SHWH #SHWHcarolyn #SHWHTIFF23Visit Authory.com/CarolynHinds to find links to all of my published writing, YouTube and other podcasts So Here's What Happened!, and Beyond The Romance. Hosted on Acast. See acast.com/privacy for more information.
Après l'excellent Radyo Siwèl en 2018, Mélissa Laveaux est de retour avec un nouvel et quatrième album studio : Mama Forgot Her Name Was Miracle, un disque spirituel, poétique et hautement émancipatoire. (Rediffusion) ⇒ Facebook de Mélissa Laveaux.À ses débuts en 2008, Mélissa Laveaux se faisait déjà alchimiste de la chanson au fil de son premier album Camphor & Copper (No Format), dévoilant les contours de sa cosmogonie : une guitare offerte par son père à 13 ans, des textes poétiques en anglais et en créole, une voix féline, une folkblues hantée où réside un mystère. Celle qui a fait ses armes de militante dans le milieu punk-fém d'Ottawa poursuivra son chemin de musique en traversant l'Atlantique pour s'installer à Paris où elle vit désormais et donner naissance à Dying Is A Wild Night (No Format, 2013), un deuxième opus largement inspiré par ce voyage initiatique.Le déracinement fait partie intégrante de l'ADN musical de Mélissa Laveaux : avant elle, ses parents ont fui Haïti pour Montréal au Canada quand sa grande idole, la résistante haïtienne Martha Jean-Claude, chantait son île chérie depuis Cuba, où elle s'est réfugiée dans les années 50 alors que sévissait la dynastie Duvalier. Et c'est en partie pour restaurer ce lien perdu avec Haïti, pour guérir l'exil, qu'avec Radyo Siwèl (No Format, 2018), Mélissa Laveaux puisait en ethnomusicologue dans ses traditions musicales pour en exhumer comptines et chants perdus, nous rappelant aussi combien la musique peut être un instrument de résistance politique.Après une tournée triomphale qui s'achevait au Trianon à Paris en octobre 2019, la guitariste, chanteuse et poétesse se dévoile à présent sous un jour plus intime. À 37 ans, Mélissa Laveaux explore aujourd'hui la dimension thérapeutique et spirituelle de la musique en revisitant une forme ancestrale : la berceuse. Car si les rituels et les modèles dont on hérite sont parfois défaillants, dépassés voire rétrogrades, libre à nous d'innover ! Avec Mama Forgot Her Name Was Miracle, Mélissa Laveaux ré-ensauvage donc la berceuse en convoquant de puissantes voix d'outre-temps pour créer une toute nouvelle mythologie. Alternative. Moderne. Subversive. Car changer les légendes, c'est changer le présent. En archiviste des luttes féministes et sociales, en passeuse, Mélissa Laveaux fait donc appel à une communauté d'héroïnes que l'Histoire a oubliées ou volontairement mises à la marge. Autant d'archétypes dont le talent, le culot, l'engagement, la résilience et la grande liberté constituent pour la musicienne une source d'inspiration inépuisable.Ainsi d'un titre à l'autre croise-t-on Harriet Tubman, Jackie Shane, Audre Lorde, Helen Stephens, la déesse Lilith, La Papesse Jeanne, Ching Shih, Alice Walker, James Baldwin, Faith Ringgold, Ana Mendieta ou encore Alexis Pauline Gumbs... Tour à tour guérisseuses et guerrières, les membres de ce chœur-courage se sont affirmées en refusant de se contenter de survivre, de se soumettre à des normes assignées ou de subir un destin qu'elles n'avaient pas choisi. A l'image de Jackie Shane, pionnière transgenre de la soul canadienne dont les chants d'amour révolutionnaires ont ouvert la voie à tant d'autres. A l'image de Ching Shih, travailleuse du sexe chinoise qui préféra devenir la pirate la plus respectée des Mers du Sud au début du XIXe siècle. À l'image encore d'Harriet Tubman, ancienne esclave afro-américaine qui a aidé des centaines d'autres opprimé.e.s à retrouver les routes de la liberté.Trait-d'union immémorial entre les mondes et les cultures, musicothérapie originelle, musique-sorcière par excellence, la berceuse demeure sans doute le premier geste de soin, le chant d'amour le plus pur. Un rituel magique qui chez Mélissa Laveaux regorge d'incantations, de prières et de clés, mystiques ou métaphoriques, pour trouver la force de déconstruire ses peurs, transcender ses traumatismes et renaître guérie – ou au moins aguerrie. Collier d'amulettes électriques porté par une conversation rythmique entre les Caraïbes et l'Afrique de l'Ouest, Mama Forgot Her Name Was Miracle dit alors : «Osons vivre ! Férocement, libres et flamboyant.e.s ! #subjectivation».L'union fait la force, l'adage a déjà fait ses preuves, ainsi Mélissa Laveaux s'entoure donc d'une brigade sûre de sorciers du son. Citons notamment à la réalisation Guillaume Ferran (Griefjoy, Julien Doré, Victor Solf), Fin Greenall aka Fink (Ninja Tunes) ou Mathieu Senechal (Charlotte Cardin). Aux instruments : Voyou (trompette, clarinette), Clyde Rabatel (claviers, piano), Mathieu Gramoli (batterie), Steve Yameogo (basse, guitare), Sébastien Delage (guitare). Sans oublier quelques invité.e.s de choix qui viennent ajouter un peu de leur magie au tout : November Ultra («Rosewater»), Dope Saint Jude («Half a Wizard, Half a Witch») et Oxmo Puccino («Lilit»).Dans Mama Forgot Her Name Was Miracle, Mélissa Laveaux met sa poésie militante et son groove folk-punk au service d'une pop atypique, mobilisant ces super-pouvoirs que sont le don, la créativité, la joie, la beauté, la métamorphose ou encore l'intuition. Pour nous et pour elle-même, Mélissa Laveaux réactive ainsi, en formidable conteuse des eaux profondes, une force vitale miraculeuse qui contrairement aux apparences n'est jamais totalement anéantie. Un grand album, à découvrir en live dans cette émission et le 20 janvier 2023 au Théâtre du Châtelet. Titres interprétés au Grand studio- La Baleine Live RFI voir le clip - Rosewater, Feat. November Ultra, extrait de l'album voir le clip - Half Wizard, Half Witch Live RFI voir le clip. Line Up : Mélissa Laveaux (guitare-voix).Son : Benoît Letirant, Fabien Mugneret. Playlist de Mélissa Laveaux- Bulerias de un caballo malo - Ralphie Choo - Pisonia prologue - Tora-i voir le clip - The Truth - Sampa the Great - Ayuwe - Martha Da'ro. ► Album Mama Forgot Her Name Was Miracle (Twanet 2022).
This week Jaf opens with a classic post-punk 45 then gets funky before popping over to Brazil, France (via Dusseldorf), the UK, Canada and the US. New releases from Gary Beals, CJ Cooper, Little Boots and Peggy Gou. Oldies from Jackie Shane, Rose Batiste and the Ig. Something for everyone!Tune into new broadcasts of Blues & Grooves, Sunday from 4 - 5 PM EST / 9 - 10 PM GMT.For more info visit: https://thefaceradio.com/blues-and-grooves///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
RAINBOW COUNTRYA 2 HOUR Nationally Syndicated Gay radio show & Canada's #2 LGBT Podcast working to give voice to the LGBT Community & BEYOND! ON EPISODE 361:HR 1 #GayTalkRadioOn Friday June 23 2023Heritage Toronto unveiled a new plaque honouring Nashville born#TRANS R&B Artist #JackieShane.Jackie rose to prominence in the Toronto music scene of the 1960sWhere she helped to break down barriers as a Transgender performerBest known for the single Any Other Way.For the FULL 2 hour episodes of Rainbow Country:Mark Tara Archiveshttp://marktara.com/RCarchives.html
This month's show honours Jackie Shane as Toronto unveiled a plaque at the location The Saphire Tavern stood where her incredible live album was recorded and declared Friday June 23rd Jackie Shane Day! Interviews with film producer Amanda Burt and grammy award winning ethnomusicologist Rob Bowman.Tune into new broadcasts of Girl About Town,1st, Monday 1 - 2 PM EST / 6 - 7 PM GMT.Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com//For more info visit: https://thefaceradio.com/girl-about-town Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
Today's Pride 2023 episode focuses on two pathbreaking pop artists from the 1960s and 1970s, who were undervalued or even reviled at the time in which they were active, but whose contribution, importance, and influence on today's pop music scene is indisputable. In reverse chronological order, Bruce Wayne Campbell (1946–1983), a brilliant if emotionally unstable pianist, composer, and singer, was refashioned by a 1970s entrepreneur/Svengali named Jerry Brandt, into the would-be pop icon Jobriath. Brandt secured Jobriath a lucrative deal with Elektra Records and plastered Jobriath's face (and body) all over the media, including a huge billboard at Times Square and trumpeted him as “rock's truest fairy,” (in contrast to pretenders or closeted figures like David Bowie, Marc Almond, and Elton John). The relentless overexposure, coupled with the unapologetic homophobia of the rock music scene, led to a spectacular fall from grace, and Jobriath's premature death ad the age of 36, one of the earliest victims of the AIDS epidemic. By contast, Jackie Shane (1940–2019) was raised in a loving supportive environment, and announced her true gender to her mother at the age of 13. She went on to become first a fixture on the chitlin circuit, performing alongside such figures as Chubby Checker, Little Richard, and Etta James, finally establishing herself as one of the premier figures on the Toronto music scene in the 1960s. Jackie's career also had its ups and downs, its near-misses, and was marred by catastrophic associations with various toxic males. As a result, she finally walked away from her massive local celebrity in 1971 and never looked back. But throughout her abbreviated career and beyond, she kept a strong sense of self and never allowed herself to be used or abused. Interest in Jackie surged in 2014 with the release of an elaborate CD retrospective which was subsequently nominated for an Emmy. Jackie was philosophical about this new interest in her work, but was grateful that she had not, as she had previously feared, been forgotten. Both of these artists are generously represented on the episode with musical examples that highlight their historical importance as well as their influence on future generations of queer musical artists that extends to the present day. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.
1960's R and B Soul Sister Jackie Shane was a black trans woman living her life and belting out hit songs. She is an Icon and we are in awe. Join us as we talk about this remarkable woman. Support the show
Jackie Shane (1940-2019) Black transgender soul singer who shook things up in the rhythm and blues scene in Toronto. Her legacy was almost lost to history when she disappeared for decades. We're celebrating Pride Month with Icons: supreme queens of queer culture. Some are household names... others are a little more behind the scenes. All of them have defied social norms and influenced generations of people to be unapologetically themselves. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Ale Tejeda, Sara Schleede, and Abbey Delk. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omny.fm/listener for privacy information.
All Canadian show with music from the 60s to today! Featuring girl groups, garage, yéyé, northern soul, funk from across the country. You may be surprised with which artists are originally from Canada!R Dean Taylor, The Mynah Birds, Jenny Rock, Shirley Matthews, Jackie Shane, The Guess Who, Les Merseys, Paul Anka, Eddie Spencer and The Soul Motivators to name a few!Tune into new broadcasts of Girl About Town,1st, Monday 1 - 2 PM EST / 6 - 7 PM GMT.Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com//For more info visit: https://thefaceradio.com/girl-about-town/ Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
Tinha tudo para dar errado, mas a incrível cantora de Soul e R&B, Jackie Shane fez de sua carreira um sucesso, à sua maneira...See omnystudio.com/listener for privacy information.
Originally broadcast February 19, 2023It's the 250th episode of That Driving Beat! We gathered some of our absolute favorite soul and R&B records from our collections to celebrate 250 episodes over the last 5 years! These are some of the records that bring us the most joy as we browse our record vaults, the ones we're thrilled to have and to be able to share. We're talking gems by Terry Callier, Jerry Williams, Jackie Shane, The Showmen, Marlena Shaw, Chuck Wood, Pearlean Gray, Harold Melvin & The Blue Notes, and even a few local Louisville records by artists like Sonny Fishback and Soul, Inc.Willie Mitchell / That Driving BeatChuck Wood / Seven Days Too LongThe Dells / Wear It On Our FaceGene Chandler / Mr. Big ShotBobby McClure / The Peak Of LoveNelson Sanders / This Love is Here to StayJohnny Jones And The King Casuals / Purple HazeJackie Day / Come On Try MePearlean Gray / I Don't Want to CryFats Domino / Work My Way Up SteadyBobby Brooks / Wise Like SolomanJackie Shane / Any Other WayBaby Washington / Leave Me AloneThe Marriotts / Tell It Like it IsMarlena Shaw / Let's Wade in the WaterBarbara Lynn / I'm a Good WomanThe Showmen / Our Love Will GrowThe Traits / Too Good To Be TrueBetty Everett / It's Getting Mighty CrowdedJerry Williams / If You Ask Me (Because I Love You)Billy Joe Royal / Heart's DesireTommy Raye / You Don't Love MeBobby Bland / ShoesMary Ann Fisher / Forever MoreThe Heartbreakers / I've Got To Face ItSoul, Inc. / In The Midnight HourSonny Fishback / Heart Breaking ManVirgil Murray's Tomorrow's Yesterday / I Still CareTerry Callier / Look At Me NowHarold Melvin & The Blue Notes / Get Out (and Let Me Cry)Major Lance / You Don't Want Me No MorePearl Woods / Don't Tell It AllBarbara Carr / Shake Your HeadBobby Allen Poe / Concrete JungleGloria Jones / Tainted LoveBarbara Acklin / Am I the Same GirlThe High Keys / Que Sera, Sera Hosted on Acast. See acast.com/privacy for more information.
This week we have three topics concerning George Santos. Also w discuss RuPaul's Drag Race, 1950s trans jazz singer Jackie Shane, a professor who advises straight students to watch gay porn to see if they are bisexual, and much more. Download and listen to find out more. Life is too serious to be taken seriously.
Après l'excellent Radyo Siwèl en 2018, Mélissa Laveaux est de retour avec un nouvel et quatrième album studio : Mama Forgot Her Name Was Miracle, un disque spirituel, poétique et hautement émancipatoire. ⇒ Facebook de Mélissa Laveaux. À ses débuts en 2008, Mélissa Laveaux se faisait déjà alchimiste de la chanson au fil de son premier album Camphor & Copper (No Format), dévoilant les contours de sa cosmogonie : une guitare offerte par son père à 13 ans, des textes poétiques en anglais et en créole, une voix féline, une folkblues hantée où réside un mystère. Celle qui a fait ses armes de militante dans le milieu punk-fém d'Ottawa poursuivra son chemin de musique en traversant l'Atlantique pour s'installer à Paris où elle vit désormais et donner naissance à Dying Is A Wild Night (No Format, 2013), un deuxième opus largement inspiré par ce voyage initiatique. Le déracinement fait partie intégrante de l'ADN musical de Mélissa Laveaux : avant elle, ses parents ont fui Haïti pour Montréal au Canada quand sa grande idole, la résistante haïtienne Martha Jean-Claude, chantait son île chérie depuis Cuba, où elle s'est réfugiée dans les années 50 alors que sévissait la dynastie Duvalier. Et c'est en partie pour restaurer ce lien perdu avec Haïti, pour guérir l'exil, qu'avec Radyo Siwèl (No Format, 2018), Mélissa Laveaux puisait en ethnomusicologue dans ses traditions musicales pour en exhumer comptines et chants perdus, nous rappelant aussi combien la musique peut être un instrument de résistance politique. Après une tournée triomphale qui s'achevait au Trianon à Paris en octobre 2019, la guitariste, chanteuse et poétesse se dévoile à présent sous un jour plus intime. À 37 ans, Mélissa Laveaux explore aujourd'hui la dimension thérapeutique et spirituelle de la musique en revisitant une forme ancestrale : la berceuse. Car si les rituels et les modèles dont on hérite sont parfois défaillants, dépassés voire rétrogrades, libre à nous d'innover ! Avec Mama Forgot Her Name Was Miracle, Mélissa Laveaux ré-ensauvage donc la berceuse en convoquant de puissantes voix d'outre-temps pour créer une toute nouvelle mythologie. Alternative. Moderne. Subversive. Car changer les légendes, c'est changer le présent. En archiviste des luttes féministes et sociales, en passeuse, Mélissa Laveaux fait donc appel à une communauté d'héroïnes que l'Histoire a oubliées ou volontairement mises à la marge. Autant d'archétypes dont le talent, le culot, l'engagement, la résilience et la grande liberté constituent pour la musicienne une source d'inspiration inépuisable. Ainsi d'un titre à l'autre croise-t-on Harriet Tubman, Jackie Shane, Audre Lorde, Helen Stephens, la déesse Lilith, La Papesse Jeanne, Ching Shih, Alice Walker, James Baldwin, Faith Ringgold, Ana Mendieta ou encore Alexis Pauline Gumbs... Tour à tour guérisseuses et guerrières, les membres de ce chœur-courage se sont affirmées en refusant de se contenter de survivre, de se soumettre à des normes assignées ou de subir un destin qu'elles n'avaient pas choisi. A l'image de Jackie Shane, pionnière transgenre de la soul canadienne dont les chants d'amour révolutionnaires ont ouvert la voie à tant d'autres. A l'image de Ching Shih, travailleuse du sexe chinoise qui préféra devenir la pirate la plus respectée des Mers du Sud au début du XIXe siècle. À l'image encore d'Harriet Tubman, ancienne esclave afro-américaine qui a aidé des centaines d'autres opprimé.e.s à retrouver les routes de la liberté. Trait-d'union immémorial entre les mondes et les cultures, musicothérapie originelle, musique-sorcière par excellence, la berceuse demeure sans doute le premier geste de soin, le chant d'amour le plus pur. Un rituel magique qui chez Mélissa Laveaux regorge d'incantations, de prières et de clés, mystiques ou métaphoriques, pour trouver la force de déconstruire ses peurs, transcender ses traumatismes et renaître guérie – ou au moins aguerrie. Collier d'amulettes électriques porté par une conversation rythmique entre les Caraïbes et l'Afrique de l'Ouest, Mama Forgot Her Name Was Miracle dit alors : «Osons vivre ! Férocement, libres et flamboyant.e.s ! #subjectivation». L'union fait la force, l'adage a déjà fait ses preuves, ainsi Mélissa Laveaux s'entoure donc d'une brigade sûre de sorciers du son. Citons notamment à la réalisation Guillaume Ferran (Griefjoy, Julien Doré, Victor Solf), Fin Greenall aka Fink (Ninja Tunes) ou Mathieu Senechal (Charlotte Cardin). Aux instruments : Voyou (trompette, clarinette), Clyde Rabatel (claviers, piano), Mathieu Gramoli (batterie), Steve Yameogo (basse, guitare), Sébastien Delage (guitare). Sans oublier quelques invité.e.s de choix qui viennent ajouter un peu de leur magie au tout : November Ultra («Rosewater»), Dope Saint Jude («Half a Wizard, Half a Witch») et Oxmo Puccino («Lilit»). Dans Mama Forgot Her Name Was Miracle, Mélissa Laveaux met sa poésie militante et son groove folk-punk au service d'une pop atypique, mobilisant ces super-pouvoirs que sont le don, la créativité, la joie, la beauté, la métamorphose ou encore l'intuition. Pour nous et pour elle-même, Mélissa Laveaux réactive ainsi, en formidable conteuse des eaux profondes, une force vitale miraculeuse qui contrairement aux apparences n'est jamais totalement anéantie. Un grand album, à découvrir en live dans cette émission et le 20 janvier 2023 au Théâtre du Châtelet. Titres interprétés au Grand studio - La Baleine Live RFI voir le clip - Rosewater, Feat. November Ultra, extrait de l'album voir le clip - Half Wizard, Half Witch Live RFI voir le clip. Line Up : Mélissa Laveaux (guitare-voix). Son : Benoît Letirant, Fabien Mugneret. Playlist de Mélissa Laveaux - Bulerias de un caballo malo - Ralphie Choo - Pisonia prologue - Tora-i voir le clip - The Truth - Sampa the Great - Ayuwe - Martha Da'ro. ► Album Mama Forgot Her Name Was Miracle (Twanet 2022).
durée : 00:59:51 - Love Supreme - par : Nathalie Piolé -
While I'm still on hiatus, I invited questions from listeners. This is an hour-long podcast answering some of them. (Another hour-long Q&A for Patreon backers only will go up next week). 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/ There is a Mixcloud of the music excerpted here which can be found at https://www.mixcloud.com/AndrewHickey/500-songs-supplemental-qa-edition/ Click below for a transcript: Hello and welcome to the Q&A episode I'm doing while I'm working on creating a backlog. I'm making good progress on that, and still hoping and expecting to have episode 151 up some time in early August, though I don't have an exact date yet. I was quite surprised by the response to my request for questions, both at the amount of it and at where it came from. I initially expected to get a fair few comments on the main podcast, and a handful on the Patreon, and then I could do a reasonable-length Q&A podcast from the former and a shorter one from the latter. Instead, I only got a couple of questions on the main episode, but so many on the Patreon that I had to stop people asking only a day or so after posting the request for questions. So instead of doing one reasonable length podcast and one shorter one, I'm actually doing two longer ones. What I'm going to do is do all the questions asked publicly, plus all the questions that have been asked multiple times, in this one, then next week I'm going to put up the more niche questions just for Patreon backers. However, I'm not going to answer *all* of the questions. I got so many questions so quickly that there's not space to answer them all, and several of them were along the lines of "is artist X going to get an episode?" which is a question I generally don't answer -- though I will answer a couple of those if there's something interesting to say about them. But also, there are some I've not answered for another reason. As you may have noticed, I have a somewhat odd worldview, and look at the world from a different angle from most people sometimes. Now there were several questions where someone asked something that seems like a perfectly reasonable question, but contains a whole lot of hidden assumptions that that person hadn't even considered -- about music history, or about the process of writing and researching, or something else. Now, to answer that kind of question at all often means unpacking those hidden assumptions, which can sometimes make for an interesting answer -- after all, a lot of the podcast so far has been me telling people that what they thought they knew about music history was wrong -- but when it's a question being asked by an individual and you answer that way, it can sometimes, frankly, make you look like a horribly unpleasant person, or even a bully. "Don't you even know the most basic things about historical research? I do! You fool! Hey everyone else listening, this person thinks you do research in *this* way, but everyone knows you do it *that* way!" Now, that is never how I would intend such answers to come across -- nobody can be blamed for not knowing what they don't know -- but there are some questions where no matter how I phrased the answer, it came across sounding like that. I'll try to hold those over for future Q&A episodes if I can think of ways of unpicking the answers in such a way that I'm not being unconscionably rude to people who were asking perfectly reasonable questions. Some of the answers that follow might still sound a bit like that to be honest, but if you asked a question and my answer sounds like that to you, please know that it wasn't meant to. There's a lot to get through, so let's begin: Steve from Canada asks: “Which influential artist or group has been the most challenging to get information on in the last 50 podcasts? We know there has been a lot written about the Beatles, Beach Boys, Motown as an entity, the Monkees and the Rolling Stones, but you mentioned in a tweet that there's very little about some bands like the Turtles, who are an interesting story. I had never heard of Dino Valenti before this broadcast – but he appeared a lot in the last batch – so it got me curious. [Excerpt: The Move, “Useless Information”] In the last fifty episodes there's not been a single one that's made it to the podcast where it was at all difficult to get information. The problem with many of them is that there's *too much* information out there, rather than there not being enough. No matter how many books one reads on the Beatles, one can never read more than a fraction of them, and there's huge amounts of writing on the Rolling Stones, on Hendrix, on the Doors, on the Byrds... and when you're writing about those people, you *know* that you're going to miss out something or get something wrong, because there's one more book out there you haven't read which proves that one of the stories you're telling is false. This is one of the reasons the episodes have got so much longer, and taken so much more time. That wasn't the case in the first hundred episodes -- there were a lot of artists I covered there, like Gene and Eunice, or the Chords, or Jesse Belvin, or Vince Taylor who there's very little information about. And there are some coming up who there's far less information about than people in the last fifty episodes. But every episode since the Beatles has had a surfeit of information. There is one exception -- I wanted to do a full episode on "Rescue Me" by Fontella Bass, because it would be an interesting lens through which to look at how Chess coped with the change in Black musical styles in the sixties. But there was so little information available about her I ended up relegating it to a Patreon bonus episode, because she makes those earlier artists look well-documented. Which leads nicely into the next question. Nora Tillman asks "Forgive this question if you've answered it before: is there literally a list somewhere with 500 songs you've chosen? Has the list changed since you first composed it? Also, when did you first conceive of this list?" [Excerpt: John Reed and the D'Oyly Carte Opera Company, "As Someday it May Happen"] Many people have asked this question, or variations upon it. The answer is yes and no. I made a list when I started that had roughly two hundred songs I knew needed to be on there, plus about the same number again of artists who needed to be covered but whose precise songs I hadn't decided on. To make the initial list I pulled a list out of my own head, and then I also checked a couple of other five-hundred-song lists -- the ones put out by Rolling Stone magazine and the Rock and Roll Hall of Fame -- not because I wanted to use their lists; I have very little time for rock critical orthodoxy, as most of my listeners will likely have realised by now, but because I wanted to double-check that I hadn't missed anything obvious out, and that if I was missing something off their lists, I knew *why* I was missing it. To take a ludicrous example, I wouldn't want to get to the end of the 1960s and have someone say "Wait a minute, what about the Beatles?" and think "I *knew* I'd forgotten something!" Then, at the start of each fifty-episode season, I put together a more rigorous list of the fifty songs coming up, in order. Those lists *can* still change with the research -- for example, very early on in the research for the podcast, I discovered that even though I was completely unfamiliar with "Ko Ko Mo" by Gene and Eunice, it was a hugely important and influential record at the time, and so I swapped that in for another song. Or more recently, I initially intended to have the Doors only have one episode, but when I realised how much I was having to include in that episode I decided to give them a second one. And sometimes things happen the other way -- I planned to do full episodes on Jackie Shane and Fontella Bass, but for both of them I couldn't find enough information to get a decent episode done, so they ended up being moved to Patreon episodes. But generally speaking that fifty-song list for a year's episodes is going to remain largely unchanged. I know where I'm going, I know what most of the major beats of the story are, but I'm giving myself enough flexibility to deviate if I find something I need to include. Connected with this, Rob Johnson asks how I can be confident I'll get back to some stories in later episodes. Well, like I say, I have a pretty much absolute idea of what I'm going to do in the next year, and there are a lot of individual episodes where I know the structure of the episode long before we get to it. As an example here... I don't want to give too much away, and I'm generally not going to be answering questions about "will artist X be appearing?", but Rob also asked about one artist. I can tell you that that artist is one who will not be getting a full episode -- and I already said in the Patreon episode about that artist that they won't -- but as I also said in that episode they *will* get a significant amount of time in another episode, which I now know is going to be 180, which will also deal with another artist from the same state with the same forename, even though it's actually about two English bands. I've had the structure of that episode planned out since literally before I started writing episode one. On the other hand, episode 190 is a song that wasn't originally going to be included at all. I was going to do a 1967 song by the same artist, but then found out that a fact I'd been going to use was disputed, which meant that track didn't need to be covered, but the artist still did, to finish off a story I'd started in a previous episode. Patrick asks:"I am currently in the middle of reading 1971: Never a Dull Moment by David Hepworth and I'm aware that Apple TV have produced a documentary on how music changed that year as well and I was wondering what your opinion on that subject matter? I imagine you will be going into some detail on future podcasts, but until recently I never knew people considered 1971 as a year that brought about those changes." [Excerpt: Rod Stewart, "Angel"] I've not yet read Hepworth's book, but that it's named after an album which came out in 1972 (which is the album that track we just heard came from) says something about how the idea that any one year can in itself be a turning point for music is a little overstated -- and the Apple documentary is based on Hepworth's book, so it's not really multiple people making that argument. Now, as it happens, 1971 is one of the break points for the podcast -- episodes 200 and 201 are both records from July 1971, and both records that one could argue were in their own way signifiers of turning points in rock music history. And as with 1967 it's going to have more than its fair share of records, as it bridges the gap of two seasons. But I think one could make similar arguments for many, many years, and 1971 is not one of the most compelling cases. I can't say more before I read Hepworth's book, which won't be for a few months yet. I'm instinctively dubious of these "this year was the big year that changed everything" narratives, but Hepworth's a knowledgeable enough writer that I wouldn't want to dismiss his thesis without even reading the book. Roger Pannell asks I'm a fairly recent joiner-in too so you may have answered this before. What is the theme tune to the podcast please. [Excerpt: The Boswell Sisters, “Rock and Roll”] The theme song to the podcast is "Rock and Roll" by the Boswell Sisters. The version I use is not actually the version that was released as a single, but a very similar performance that was used in the film Transatlantic Merry-Go-Round in 1931. I chose it in part because it may well be the first ever record to contain the phrase "rock and roll" (though as I've said many times there's no first anything, and there are certainly many records which talk about rocking and/or rolling -- just none I know of with that phrase) so it evokes rock and roll history, partly because the recording is out of copyright, and partly just because I like the Boswell Sisters. Several people asked questions along the lines of this one from Christopher Burnett "Just curious if there's any future episodes planned on any non-UK or non-North American songs? The bonus episodes on the Mops and Kyu Sakamoto were fascinating." [Excerpt: Kyu Sakamoto, "Sukiyaki"] Sadly, there won't be as many episodes on musicians from outside the UK and North America as I'd like. The focus of the podcast is going to be firmly on British, American, Irish, and Canadian musicians, with a handful from other Anglophone countries like Australia and Jamaica. There *are* going to be a small number of episodes on non-Anglophone musicians, but very few. Sadly, any work of history which engages with injustices still replicates some of those injustices, and one of the big injustices in rock history is that most rock musicians have been very insular, and there has been very little influence from outside the Anglophone world, which means that I can't talk much about influential records made by musicians from elsewhere. Also, in a lot of cases most of the writing about them is in other languages, and I'm shamefully monolingual (I have enough schoolboy French not to embarrass myself, but not enough to read a biography without a dictionary to hand, and that's it). There *will* be quite a few bonus episodes on musicians from non-Anglophone countries though, because this *is* something that I'm very aware of as a flaw, and if I can find ways of bringing the wider story into the podcast I will definitely do so, even if it means changing my plans somewhat, but I'm afraid they'll largely be confined to Patreon bonuses rather than mainline episodes. Ed Cunard asks "Is there a particular set of songs you're not looking forward to because you don't care for them, but intend to dive into due to their importance?" [Excerpt: Jackie Shane, "Don't Play That Song"] There are several, and there already have been some, but I'm not going to say what they are as part of anything to do with the podcast (sometimes I might talk about how much I hate a particular record on my personal Twitter account or something, but I try not to on the podcast's account, and I'm certainly not going to in an episode of the podcast itself). One of the things I try to do with the podcast is to put the case forward as to why records were important, why people liked them at the time, what they got out of them. I can't do that if I make it about my own personal tastes. I know for a fact that there are people who have come away from episodes on records I utterly despise saying "Wow! I never liked that record before, but I do now!" and that to me shows that I have succeeded -- I've widened people's appreciation for music they couldn't appreciate before. Of course, it's impossible to keep my own tastes from showing through totally, but even there people tend to notice much more my like or dislike for certain people rather than for their music, and I don't feel anything like as bad for showing that. So I have a policy generally of just never saying which records in the list I actually like and which I hate. You'll often be able to tell from things I talk about elsewhere, but I don't want anyone to listen to an episode and be prejudiced not only against the artist but against the episode by knowing going in that I dislike them, and I also don't want anyone to feel like their favourite band is being given short shrift. There are several records coming up that I dislike myself but where I know people are excited about hearing the episode, and the last thing I want to do is have those people who are currently excited go in disappointed before they even hear it. Matt Murch asks: "Do you anticipate tackling the shift in rock toward harder, more seriously conceptual moves in 1969 into 1970, with acts like Led Zeppelin, The Who (again), Bowie, etc. or lighter soul/pop artists such as Donna Summer, Carly Simon or the Carpenters? Also, without giving too much away, is there anything surprising you've found in your research that you're excited to cover? [Excerpt: Robert Plant, "If I Were a Carpenter"] OK, for the first question... I don't want to say exactly who will and won't be covered in future episodes, because when I say "yes, X will be covered" or "no, Y will not be covered", it invites a lot of follow-up discussion along the lines of "why is X in there and not Y?" and I end up having to explain my working, when the episodes themselves are basically me explaining my working. What I will say is this... the attitude I'm taking towards who gets included and who gets excluded is, at least in part, influenced by an idea in cognitive linguistics called prototype theory. According to this theory, categories aren't strictly bounded like in Aristotelian thought -- things don't have strict essences that mean they definitely are or aren't members of categories. But rather, categories have fuzzy boundaries, and there are things at the centre that are the most typical examples of the category, and things at the border that are less typical. For example, a robin is a very "birdy" bird -- it's very near the centre of the category of bird, it has a lot of birdness -- while an ostrich is still a bird, but much less birdy, it's sort of in the fuzzy boundary area. When you ask people to name a bird, they're more likely to name a robin than an ostrich, and if you ask them “is an ostrich a bird?” they take longer to answer than they do when asked about robins. In the same way, a sofa is nearer the centre of the category of "furniture" than a wardrobe is. Now, I am using an exceptionally wide definition of what counts as rock music, but at the same time, in order for it to be a history of rock music, I do have to spend more time in the centre of the concept than around the periphery. My definition would encompass all the artists you name, but I'm pretty sure that everyone would agree that the first three artists you name are much closer to the centre of the concept of "rock music" than the last three. That's not to say anyone on either list is definitely getting covered or is definitely *not* getting covered -- while I have to spend more time in the centre than the periphery, I do have to spend some time on the periphery, and my hope is to cover as many subgenres and styles as I can -- but that should give an idea of how I'm approaching this. As for the second question -- there's relatively little that's surprising that I've uncovered in my research so far, but that's to be expected. The period from about 1965 through about 1975 is the most over-covered period of rock music history, and so the basic facts for almost every act are very, very well known to people with even a casual interest. For the stuff I'm doing in the next year or so, like the songs I've covered for the last year, it's unlikely that anything exciting will come up until very late in the research process, the times when I'm pulling everything together and notice one little detail that's out of place and pull on that thread and find the whole story unravelling. Which may well mean, of course, that there *are* no such surprising things. That's always a possibility in periods where we're looking at things that have been dealt with a million times before, and this next year may largely be me telling stories that have already been told. Which is still of value, because I'm putting them into a larger context of the already-released episodes, but we'll see if anything truly surprising happens. I certainly hope it does. James Kosmicki asks "Google Podcasts doesn't seem to have any of the first 100 episodes - are they listed under a different name perhaps?" [Excerpt: REM, "Disappear"] I get a number of questions like this, about various podcast apps and sites, and I'm afraid my answer is always the same -- there's nothing I can do about this, and it's something you'd have to take up with the site in question. Google Podcasts picks up episodes from the RSS feed I provide, the same as every other site or app. It's using the right feed, that feed has every episode in it, and other sites and apps are working OK with it. In general, I suggest that rather than streaming sites like Google Podcasts or Stitcher or Spotify, where the site acts as a middleman and they serve the podcast to you from their servers, people should use a dedicated podcast app like RadioPublic or Pocketcasts or gPodder, where rather than going from a library of podcast episodes that some third party has stored, you're downloading the files direct from the original server, but I understand that sometimes those apps are more difficult to use, especially for less tech-savvy people. But generally, if an episode is in some way faulty or missing on the 500songs.com webpage, that's something I can do something about. If it's showing up wrong on Spotify or Google Podcasts or Stitcher or whatever, that's a problem at their end. Sorry. Darren Johnson asks "were there any songs that surprised you? Which one made the biggest change between what you thought you knew and what you learned researching it?" [Excerpt: The Turtles, "Goodbye Surprise"] Well, there have been a few, in different ways. The most surprising thing for me actually was in the most recent episode when I discovered the true story behind the "bigger than Jesus" controversy during my reading. That was a story I'd known one way for my entire life -- literally I think I first read about that story when I was six or seven -- and it turned out that not one thing I'd read on the subject had explained what had really happened. But then there are other things like the story of "Ko Ko Mo", which was a record I wasn't even planning on covering at first, but which turned out to be one of the most important records of the fifties. But I actually get surprised relatively little by big-picture things. I'll often discover fun details or new connections between things I hadn't noticed before, but the basic outlines of the story never change that much -- I've been reading about music history literally since I learned how to read, and while I do a deep dive for each episode, it's very rare that I discover anything that totally changes my perspective. There is always a process of reevaluation going on, and a change in the emphases in my thought, so for example when I started the project I knew Johnny Otis would come up a fair bit in the early years, and knew he was a major figure, but was still not giving him the full credit he deserved in my head. The same goes for Jesse Belvin, and as far as background figures go Lester Sill and Milt Gabler. But all of these were people I already knew were important, i just hadn't connected all the dots in my head. I've also come to appreciate some musicians more than I did previously. But there are very few really major surprises, which is probably to be expected -- I got into this already knowing a *LOT*, because otherwise I wouldn't have thought this was a project I could take on. Tracey Germa -- and I'm sorry, I don't know if that's pronounced with a hard or soft G, so my apologies if I mispronounced it -- asks: "Hi Andrew. We love everything about the podcast, but are especially impressed with the way you couch your trigger warnings and how you embed social commentary into your analysis of the music. You have such a kind approach to understanding human experiences and at the same time you don't balk at saying the hard things some folks don't want to hear about their music heroes. So, the question is - where does your social justice/equity/inclusion/suffer no fools side come from? Your family? Your own experiences? School/training?” [Excerpt: Elvis Costello and the Attractions, "Little Triggers"] Well, firstly, I have to say that people do say this kind of thing to me quite a lot, and I'm grateful when they say it, but I never really feel comfortable with it, because frankly I think I do very close to the absolute minimum, and I get by because of the horribly low expectations our society has for allocishet white men, which means that making even the tiniest effort possible to be a decent human being looks far more impressive by comparison than it actually is. I genuinely think I don't do a very good job of this at all, although I do try, and that's not false modesty there. But to accept the premise of the question for a moment, there are a couple of answers. My parents are both fairly progressive both politically and culturally, for the time and place where they raised me. They both had strong political convictions, and while they didn't have access to much culture other than what was on TV or in charting records or what have you -- there was no bookshop or record shop in our town, and obviously no Internet back then -- they liked the stuff out of that mix that was forward-thinking, and so was anti-racist, accepting of queerness, and so on. From a very early age, I was listening to things like "Glad to be Gay" by the Tom Robinson Band. So from before I really even understood what those concepts were, I knew that the people I admired thought that homophobia and racism were bad things. I was also bullied a lot at school, because I was autistic and fat and wore glasses and a bunch of other reasons. So I hated bullying and never wanted to be a bully. I get very, very, *very* angry at cruelty and at abuses of power -- as almost all autistic people do, actually. And then, in my twenties and thirties, for a variety of reasons I ended up having a social circle that was predominantly queer and/or disabled and/or people with mental health difficulties. And when you're around people like that, and you don't want to be a bully, you learn to at least try to take their feelings into consideration, though I slipped up a great deal for a long time, and still don't get everything right. So that's the "social justice" side of things. The other side, the "understanding human experiences" side... well, everyone has done awful things at times, and I would hope that none of us would be judged by our worst behaviours. "Use every man to his desert and who should 'scape whipping?" and all that. But that doesn't mean those worst behaviours aren't bad, and that they don't hurt people, and denying that only compounds the injustice. People are complicated, societies are complicated, and everyone is capable of great good and great evil. In general I tend to avoid a lot of the worst things the musicians I talk about did, because the podcast *is* about the music, but when their behaviour affects the music, or when I would otherwise be in danger of giving a truly inaccurate picture of someone, I have to talk about those things. You can't talk about Jerry Lee Lewis without talking about how his third marriage derailed his career, you can't talk about Sam Cooke without talking about his death, and to treat those subjects honestly you have to talk about the reprehensible sides of their character. Of course, in the case of someone like Lewis, there seems to be little *but* a reprehensible side, while someone like Cooke could be a horrible, horrible person, but even the people he hurt the most also loved him dearly because of his admirable qualities. You *have* to cover both aspects of someone like him if you want to be honest, and if you're not going to be honest why bother trying to do history at all? Lester Dragstedt says (and I apologise if I mispronounced that): "I absolutely love this podcast and the perspective you bring. My only niggle is that the sound samples are mixed so low. When listening to your commentary about a song at voice level my fingers are always at the volume knob to turn up when the song comes in." [Excerpt: Bjork, "It's Oh So Quiet"] This is something that gets raised a lot, but it's not something that's ever going to change. When I started the podcast, I had the music levels higher, and got complaints about that, so I started mixing them lower. I then got complaints about *that*, so I did a poll of my Patreon backers to see what they thought, and by about a sixty-forty margin they wanted the levels to be lower, as they are now, rather than higher as they were earlier. Basically, there seem to be two groups of listeners. One group mostly listens with headphones, and doesn't like it when the music gets louder, because it hurts their ears. The other group mostly listens in their cars, and the music gets lost in the engine noise. That's a gross oversimplification, and there are headphone listeners who want the music louder and car listeners who want the music quieter, but the listenership does seem to split roughly that way, and there are slightly more headphone listeners. Now, it's literally *impossible* for me to please everyone, so I've given up trying with this, and it's *not* going to change. Partly because the majority of my backers voted one way, partly because it's just easier to leave things the way they are rather than mess with them given that no matter what I do someone will be unhappy, and partly because both Tilt when he edits the podcast and I when I listen back and tweak his edit are using headphones, and *we* don't want to hurt our ears either. Eric Peterson asks "if we are basically in 1967 that is when we start seeing Country artists like Johnny Cash and Waylon Jennings - the Man who Survived the Day the Music Died - start to bring more rock songs into their recordings and start to set the ground work in many ways for Country Rock ... how do you envision bringing the role they play in the History of Rock and Roll into the podcast?" [Excerpt: The Del McCoury Band, "Nashville Cats"] I will of course be dealing with country rock as one of the subgenres I discuss -- though there's only one real country-rock track coming up in the next fifty, but there'll be more as I get into the seventies, and there are several artists coming up with at least some country influence. But I won't be looking at straight country musicians like Jennings or Cash except through the lens of rock musicians they inspired -- things like me talking about Johnny Cash briefly in the intro to the "Hey Joe" episode. I think Cocaine and Rhinestones is already doing a better job of covering country music than I ever could, and so those people will only touch the story tangentially. Nili Marcia says: "If one asks a person what's in that room it would not occur to one in 100 to mention the air that fills it. Something so ubiquitous as riff--I don't know what a riff actually is! Will you please define riff, preferably with examples." Now this is something I actually thought I'd explained way back in episode one, and I have a distinct memory of doing so, but I must have cut that part out -- maybe I recorded it so badly that part couldn't be salvaged, which happened sometimes in the early days -- because I just checked and there's no explanation there. I would have come back to this at some point if I hadn't been thinking all along that I'd covered it right at the start, because you're right, it is a term that needs definition. A riff is, simply, a repeated, prominent, instrumental figure. The term started out in jazz, and there it was a term for a phrase that would be passed back and forth between different instruments -- a trumpet might play a phrase, then a saxophone copy it, then back to the trumpet, then back to the saxophone. But quickly it became a term for a repeated figure that becomes the main accompaniment part of a song, over which an instrumentalist might solo or a singer might sing, but which you remember in its own right. A few examples of well-known riffs might include "Smoke on the Water" by Deep Purple: [Excerpt: Deep Purple, "Smoke on the Water"] "I Feel Fine" by the Beatles: [Excerpt: The Beatles, "I Feel Fine"] "Last Train to Clarksville" by the Monkees: [Excerpt: The Monkees, "Last Train to Clarksville"] The bass part in “Under Pressure” by Queen and David Bowie: [Excerpt: Queen and David Bowie, “Under Pressure”] Or the Kingsmen's version of "Louie Louie": [Excerpt: The Kingsmen, "Louie Louie"] Basically, if you can think of a very short, prominent, instrumental idea that gets repeated over and over, that's a riff. Erik Pedersen says "I love the long episodes and I suspect you do too -- thoroughness. of this kind is something few get the opportunity to do -- but have you ever, after having written a long one, decided to cut them significantly? Are there audio outtakes you might string together one day?" [Excerpt: Bing Crosby and Les Paul, "It's Been a Long, Long Time"] I do like *having* done the long episodes, and sometimes I enjoy doing them, but other times I find it frustrating that an episode takes so long, because there are other stories I want to move on to. I'm trying for more of a balance over the next year, and we'll see how that works out. I want to tell the story in the depth it deserves, and the longer episodes allow me to do that, and to experiment with narrative styles and so on, but I also want to get the podcast finished before I die of old age. Almost every episode has stuff that gets cut, but it's usually in the writing or recording stage -- I'll realise a bit of the episode is boring and just skip it while I'm recording, or I'll cut out an anecdote or something because it looks like it's going to be a flabby episode and I want to tighten it up, or sometimes I'll realise that because of my mild speech impediments a sentence is literally unspeakable, and I'll rework it. It's very, very rare that I'll cut anything once it's been recorded, and if I do it's generally because when I listen back after it's been edited I'll realise I'm repeating myself or I made a mistake and need to cut a sentence because I said the wrong name, that sort of thing. I delete all the audio outtakes, but even if I didn't there would be nothing worth releasing. A few odd, out of context sentences, the occasional paragraph just repeating something I'd already said, a handful of actual incorrect facts, and a lot of me burping, or trying to say a difficult name three times in a row, or swearing when the phone rings in the middle of a long section. Lucy Hewitt says "Something that interests me, and that I'm sure you will cover is how listeners consume music and if that has an impact. In my lifetime we've moved from a record player which is fixed in one room to having a music collection with you wherever you go, and from hoping that the song you want to hear might be played on the radio to calling it up whenever you want. Add in the rise of music videos, and MTV, and the way in which people access music has changed a lot over the decades. But has that affected the music itself?" [Excerpt: Bow Wow Wow "C30 C60 C90 Go!"] It absolutely has affected the music itself in all sorts of ways, some of which I've touched on already and some of which I will deal with as we go through the story, though the story I'm telling will end around the time of Napster and so won't involve streaming services and so forth. But every technology change leads to a change in the sound of music in both obvious and non-obvious ways. When AM radio was the most dominant form of broadcasting, there was no point releasing singles in stereo, because at that time there were no stereo AM stations. The records also had to be very compressed, so the sound would cut through the noise and interference. Those records would often be very bass-heavy and have a very full, packed, sound. In the seventies, with the rise of eight-track players, you'd often end up with soft-rock and what would later get termed yacht rock having huge success. That music, which is very ethereal and full of high frequencies, is affected less negatively by some of the problems that came with eight-track players, like the tape stretching slightly. Then post-1974 and the OPEC oil crisis, vinyl became more expensive, which meant that records started being made much thinner, which meant you couldn't cut grooves as deeply, which meant you lost bass response, which again changed the sound of records – and also explains why when CDs came out, people started thinking they sounded better than records, because they *did* sound better than the stuff that was being pressed in the late seventies and early eighties, which was so thin it was almost transparent, even though they sounded nowhere near as good as the heavy vinyl pressings of the fifties and sixties. And then the amount of music one could pack into a CD encouraged longer tracks... A lot of eighties Hi-NRG and dance-pop music, like the records made by Stock, Aitken, and Waterman, has almost no bass but lots of skittering high-end percussion sounds -- tons of synthesised sleighbells and hi-hats and so on -- because a lot of disco equipment had frequency-activated lights, and the more high-end stuff was going on, the more the disco lights flashed... We'll look at a lot of these changes as we go along, but every single new format, every new way of playing an old format, every change in music technology, changes what music gets made quite dramatically. Lucas Hubert asks: “Black Sabbath being around the corner, how do you plan on dealing with Heavy Metal? I feel like for now, what is popular and what has had a big impact in Rock history coincide. But that kind of change with metal, no? (Plus, prog and metal are more based on albums than singles, I think.)” [Excerpt: Black Sabbath, “Sabbath Bloody Sabbath”] I plan on dealing with metal the same way I've been dealing with every other subgenre. We are, yes, getting into a period where influence and commercial success don't correlate quite as firmly as they did in the early years -- though really we've already been there for quite some time. I've done two episodes so far on the Byrds, a group who only had three top-twenty singles in the US and two in the UK, but only did a bonus episode on Herman's Hermits, who had fourteen in the US and seventeen in the UK. I covered Little Richard but didn't cover Pat Boone, even though Boone had the bigger hits with Richard's songs. In every subgenre there are going to be massive influences who had no hits, and people who had lots of hits but didn't really make much of a wider impact on music, and I'll be dealing with the former more than the latter. But also, I'll be dealing most with people who were influential *and* had lots of hits -- if nothing else because while influence and chart success aren't a one-to-one correlation, they're still somewhat correlated. So it's unlikely you'll see me cover your favourite Scandinavian Black Metal band who only released one album of which every copy was burned in a mysterious fire two days after release, but you can expect most of the huge names in metal to be covered. Though even there, simply because of the number of subgenres I'm going to cover, I'm going to miss some big ones. Related to the question about albums, Svennie asks “This might be a bit of a long winded question so just stick with me here. As the music you cover becomes more elaborate, and the albums become bigger in scale, how do you choose a song which you build the story around while also telling the story of that album? I ask this specifically with the White Album in mind, where you've essentially got four albums in one. To that end, what song would you feel defines the White Album?” [Excerpt: The Beatles, “Revolution #9”] Well, you'll see how I cover the White Album in episode one hundred and seventy-two -- we're actually going to have quite a long stretch with no Beatles songs covered because I'm going to backfill a lot of 1967 and then we're getting to the Beatles again towards the end of 1968, but it'll be another big one when we get there. But in the general case... the majority of albums to come still had singles released off them, and a lot of what I'm going to be looking at in the next year or two is still hit singles, even if the singles are by people known as album bands. Other times, a song wasn't a single, but maybe it was covered by someone else -- if I know I'm going to cover a rock band and I also know that one of the soul artists who would do rock covers as album tracks did a version of one of their songs, and I'm going to cover that soul artist, say, then if I do the song that artist covered I can mention it in the episode on the soul singer and tie the two episodes together a bit. In other cases there's a story behind a particular track that's more interesting than other tracks, or the track is itself a cover version of someone else's record, which lets me cover both artists in a single episode, or it's the title track of the album. A lot of people have asked me this question about how I'd deal with albums as we get to the late sixties and early seventies, but looking at the list of the next fifty episodes, there's actually only two where I had to think seriously about which song I chose from an album -- in one case, I chose the title track, in the other case I just chose the first song on the album (though in that case I may end up choosing another song from the same album if I end up finding a way to make that a more interesting episode). The other forty-eight were all very, very obvious choices. Gary Lucy asks “Do you keep up with contemporary music at all? If so, what have you been enjoying in 2022 so far…and if not, what was the most recent “new” album you really got into?” [Excerpt: Stew and the Negro Problem, "On the Stage of a Blank White Page"] I'm afraid I don't. Since I started doing the podcast, pretty much all of my listening time has been spent on going back to much older music, and even before that, when I was listening to then-new music it was generally stuff that was very much inspired by older music, bands like the Lemon Twigs, who probably count as the last new band I really got into with their album Do Hollywood, which came out in 2016 but which I think I heard in 2018. I'm also now of that age where 2018 seems like basically yesterday, and when I keep thinking "what relatively recent albums have I liked?" I think of things like The Reluctant Graveyard by Jeremy Messersmith, which is from 2010, or Ys by Joanna Newsom, which came out in 2006. Not because I haven't bought records released since then, but because my sense of time is so skewed that summer 1994 and summer 1995 feel like epochs apart, hugely different times in every way, but every time from about 2005 to 2020 is just "er... a couple of years ago? Maybe?" So without going through every record I've bought in the last twenty years and looking at the release date I couldn't tell you what still counts as contemporary and what's old enough to vote. I have recently listened a couple of times to an album by a band called Wet Leg, who are fairly new, but other than that I can't say. But probably the most recent albums to become part of my regular listening rotation are two albums which came out simultaneously in 2018 by Stew and the Negro Problem, Notes of a Native Song, which is a song cycle about James Baldwin and race in America, and The Total Bent, which is actually the soundtrack to a stage musical, and which I think many listeners to the podcast might find interesting, and which is what that last song excerpt was taken from. It's basically a riff on the idea of The Jazz Singer, but set in the Civil Rights era, and about a young politically-radical Black Gospel songwriter who writes songs for his conservative preacher father to sing, but who gets persuaded to become a rock and roll performer by a white British record producer who fetishises Black music. It has a *lot* to say about religion, race, and politics in America -- a couple of the song titles, to give you some idea, are "Jesus Ain't Sitting in the Back of the Bus" and "That's Why He's Jesus and You're Not, Whitey". It's a remarkable album, and it deals with enough of the same subjects I've covered here that I think any listeners will find it interesting. Unfortunately, it was released through the CDBaby store, which closed down a few months later, and unlike most albums released through there it doesn't seem to have made its way onto any of the streaming platforms or digital stores other than Apple Music, which rather limits its availability. I hope it comes out again soon. Alec Dann says “I haven't made it to the Sixties yet so pardon if you have covered this: what was the relationship between Sun and Stax in their heyday? Did musicians work in both studios?” [Excerpt: Booker T. and the MGs, "Green Onions"] I've covered this briefly in a couple of the episodes on Stax, but the short version is that Sun was declining just as Stax was picking up. Jim Stewart, who founded Stax, was inspired in part by Sam Phillips, and there was a certain amount of cross-fertilisation, but not that much. Obviously Rufus Thomas recorded for both labels, and there were a few other connections -- Billy Lee Riley, for example, who I did an episode on for his Sun work, also recorded at the Stax studio before going on to be a studio musician in LA, and it was actually at a Billy Lee Riley session that went badly that Booker T and the MGs recorded "Green Onions". Also, Sun had a disc-cutting machine and Stax didn't, so when they wanted to get an acetate cut to play for DJs they'd take it to Sun -- it was actually Scotty Moore, who was working for Sun as a general engineer and producer as well as playing RCA Elvis sessions by 1962, who cut the first acetate copy of "Green Onions". But in general the musicians playing at Stax were largely the next generation of musicians -- people who'd grown up listening to the records Sam Phillips had put out in the very early fifties by Black musicians, and with very little overlap. Roger Stevenson asks "This project is going to take the best part of 7 years to complete. Do you have contingency plans in case of major problems? And please look after yourself - this project is gong to be your legacy." [Excerpt: Bonzo Dog Doodah Band, "Button Up Your Overcoat"] I'm afraid there's not much I can do if major problems come up -- by major problems I'm talking about things that prevent me from making the podcast altogether, like being unable to think or write or talk. By its nature, the podcast is my writing and my research and my voice, and if I can't do those things... well, I can't do them. I *am* trying to build in some slack again -- that's why this month off has happened -- so I can deal with delays and short-term illnesses and other disruptions, but if it becomes impossible to do it becomes impossible to do, and there's nothing more I can do about it. Mark Lipson asks "I'd like to know which episodes you've released have been the most & least popular? And going forward, which episodes do you expect to be the most popular? Just curious to know what music most of your listeners listen to and are interested in." [Excerpt: Sly and the Family Stone, "Somebody's Watching You"] I'm afraid I honestly don't know. Most podcasters have extensive statistical tools available to them, which tell them which episodes are most popular, what demographics are listening to the podcast, where they are in the world, and all that kind of thing. They use that information to sell advertising spots, which is how they make most of their money. You can say "my podcast is mostly listened to by seventy-five year-olds who google for back pain relief -- the perfect demographic for your orthopedic mattresses" or "seven thousand people who downloaded my latest episode also fell for at least one email claiming to be from the wallet inspector last year, so my podcast is listened to by the ideal demographic for cryptocurrency investment". Now, I'm lucky enough to be making enough money from my Patreon supporters' generosity that I don't have to sell advertising, and I hope I never do have to. I said at the very start of the process that I would if it became necessary, but that I hoped to keep it ad-free, and people have frankly been so astonishingly generous I should never have to do ads -- though I do still reserve the right to change my mind if the support drops off. Now, my old podcast host gave me access to that data as standard. But when I had to quickly change providers, I decided that I wasn't going to install any stats packages to keep track of people. I can see a small amount of information about who actually visits the website, because wordpress.com gives you that information – not your identities but just how many people come from which countries, and what sites linked them. But if you're downloading the podcast through a podcast app, or listening through Spotify or Stitcher or wherever, I've deliberately chosen not to access that data. I don't need to know who my audience is, or which episodes they like the most -- and if I did, I have a horrible feeling I'd start trying to tailor the podcast to be more like what the existing listeners like, and by doing so lose the very things that make it unique. Once or twice a month I'll look at the major podcast charts, I check the Patreon every so often to see if there's been a massive change in subscriber numbers, but other than that I decided I'm just not going to spy on my listeners (though pretty much every other link in the chain does, I'm afraid, because these days the entire Internet is based on spying on people). So the only information I have is the auto-generated "most popular episodes" thing that comes up on the front page, which everyone can see, and which shows the episodes people who actually visit the site are listening to most in the last few days, but which doesn't count anything from more than a few days ago, and which doesn't count listens from any other source, and which I put there basically so new listeners can see which ones are popular. At the moment that's showing that the most listened episodes recently are the two most recent full episodes -- "Respect" and "All You Need is Love" -- the most recent of the Pledge Week episodes, episodes one and two, so people are starting at the beginning, and right now there's also the episodes on "Ooby Dooby", "Needles and Pins", "God Only Knows", "She Loves You" and "Hey Joe". But in a couple of days' time those last five will be totally different. And again, that's just the information from people actually visiting the podcast website. I've deliberately chosen not to know what people listening in any other way are doing -- so if you've decided to just stream that bit of the Four Tops episode where I do a bad Bob Dylan impression five thousand times in a row, you can rest assured I have no idea you're doing it and your secret is totally safe. Anyway, that's all I have time for in this episode. In a week or so I'll post a similar-length episode for Patreon backers only, and then a week or two after that the regular podcast will resume, with a story involving folk singers, jazz harmony, angelic visitations and the ghost of James Dean. See you then.
What's the greatest line used to promote an album? You're going to find out in this episode of The Road The Stage with Ella Coyes AKA Sister Ray. Patrick Bateman and Peter Michaels have been spending a ton of time with Sister Ray's new record Communion, which is absolutely beautiful. And it reveals a lot about the sort of things Ella has experienced over the years. We talk about the process, working with Ginla, finally seeing Big Thief, the Legend of Jackie Shane, Chicago eats and maybe even some F1. It's a great talk and you deserve to hear it. You can also watch it over on the Communal Creative Studios YouTube channel. Follow Sister Ray and make sure you check out Communion - it's fantastic. Recorded and produced at Communal Creative Studios in Red Deer, Alberta.
Over the course of history, for Persons of Color who also happen to be queer, the interface between these two populations is sometimes an enormously challenging one, but one which also frequently produces path-breaking musical artists of enormous courage and originality. In celebration of Juneteenth this coming weekend, and as a follow-up to my Queer Blues episode published last year, I once again pay tribute to an extraordinary array of Black and Queer musical artists across a wide spectrum of popular musical styles, be it Blues, jazz. middle-of-the-road pop, musicals, rock ‘n' roll, disco, and folk. Artists represented include Billy Strayhorn, Billie Holiday, Johnny Mathis, Tracy Chapman, Mabel Mercer, Joan Armatrading, Nona Hendryx, Sylvester, Joséphine Baker, Jackie Shane, Carmen McRae, Billy Preston, Esquerita, and Carolyn Franklin, Michael R. Jackson, the 2022 Tony Award winner for A Strange Loop, is introduced by my dear friend the theater scholar David Savran, who describes what makes this piece and its creator so daring and original. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.
Listening to our Jackie Shane episode is the closest to Jesus Christ you will ever get…but really, tune in to hear Lil Jackie Shane's incredible story, with most of the retelling quoted straight from her words. A true queer pioneer, the Nashvillian found her home in Canada, where her light shone brighter than many US citizens ever knew - from being kidnapped by the mob to Etta James and Jimi Hendrix. Heads up, you'll find out about one of Alyx's biggest secrets!
Spaziert man in Toronto durch die Yonge Street, genauer gesagt am Hochhaus Nr. 423 vorbei, dann kann man eines von zahlreichen Wandgemälden des Künstlers Adrian Hayes bewundern. Man sieht dort die Porträts einiger Musiker:innen aus den 50ern und 60ern - darunter auch Jackie Shane. Eine Künstlerin, die getrost als Heldin bezeichnet werden darf. (superfly.fm)
In celebration of Trans Day of Visibility, this week's episode honors trans and non-binary people. Hannah covers Brandon Teena who inspired the film “Boys Don't Cry,” Lori discusses Robert Eads and his fight for healthcare, and Sheena tells the story of soul singer Jackie Shane. TW: The following episode may contain discussion that some listeners may find difficult regarding violence, suicide and SA.
We chat with Ghislan Timm(Jess-lin/Jiz-lan) (she/they) an experimental filmmaker and multidisciplinary artist based in Tkaronto (Toronto). We talk nighttime collage making, Romare Bearden, the way stillness feels, August Wilson, nature as the great muse, Jackie Shane's connection to Toronto, and finding references in the everyday. Recommendations from this episode: Romare Bearden, A Life in Art August Wilson on His Pittsburgh Cycle Jackie Shane Money ( That's What I Want) Live Jackie Shane salt nayyirah waheed Ghislan's work is influenced by Afro-Caribbean folklore and culture, Afro-futurism, soundscape, and cinema, and often appropriates archival film and imagery to shape non-linear narratives from fragments of memories. ghislantimm.format.com| @orphicinema
Originally recorded on September 26, 2021, this episode of TNT focuses on the the reissue/compilation "Any Other Way," by the pioneering transgender soul and R&B singer Jackie Shane, released in 2017 by the Numero Group.
“Keep going, keep going.” Wngz sings, whispers, and celebrates the legacies and histories that helped her find her voice: Sankofa; Harriet Tubman; Jackie Shane; abolitionism. Weaving together centuries-old traditions of struggle with those of today, she calls for us to reclaim land and body connection, radical love, and interdependence. Ravyn Wngz, “The Black Widow of Burlesque,” is a Tanzanian, Bermudian, Mohawk, 2Spirit, Queer and Transcendent empowerment storyteller. Ravyn is an abolitionist and co-founder of ILL NANA/DiverseCity Dance Company. She is a Canadian Best-Selling Author, one of the Top 25 Women of Influence in Canada (2021), and a co-founder of Black Lives Matter Canada. She serves on the steering team of the Black Lives Matter Toronto Chapter, a group committed to eradicating all forms of anti-Black racism and to supporting Black healing and liberating Black communities. Photo: Jackie Brown “Artists-in-Presidents” is initiated by Constance Hockaday, curated by Christine Shaw, and commissioned by The Blackwood (University of Toronto Mississauga). Podcast production by Vocal Fry. Transmissions are released every Friday from August 6–December 17, 2021. To view the portrait gallery, access ASL videos and transcripts, and for additional information about the project, visit www.artistsinpresidents.com and www.blackwoodgallery.ca.
This is a bonus episode, part of Pledge Week 2021. Patreon backers get one of these with every episode of the main podcast. If you want to get those, and to support the podcast, please visit patreon.com/andrewhickey to sign up for a dollar a month or more. Click below for the transcript. This week's Patreon bonus episode is one that, for the longest time, I actually had scheduled as an episode of the main podcast, because the story of Jackie Shane is a fascinating one, and she was a major talent. Sadly, though, I just couldn't find a way to tie her in to the main narrative enough to justify her inclusion in the main podcast. But had I been able to, this would have been a much longer episode. So today, we're going to look at “Any Other Way” by Jackie Shane. [Excerpt: Jackie Shane, "Any Other Way"] Jackie Shane, who died last year, was never someone who had a huge amount of success, although she made a few TV appearances in the sixties. She didn't have the kind of connections to other performers that allow her to be fitted into the narrative, and that is in large part because she was the earliest prominent trans performer -- who came out as trans -- that I have been able to discover. This is not to say that she was the first trans performer -- I've talked in the main podcast about how Little Richard was almost certainly a closeted trans woman, and there was a whole history of drag in Black variety shows, especially, that often involved performers who we would now consider trans. Up until relatively recently, there was much less distinction between the identities that we now separate under the LGBT umbrella, and many trans women at the time would still think of themselves, or be thought of by others, as being gay men. But this isn't a podcast about identities, and they're also not something that I'm particularly expert in, being as I am a cis het white man. I merely mention this to explain why Shane was for a long time regarded publicly as a gay man, or a female impersonator, and it was only shortly before she died that she confirmed her gender publicly. That's not to say that she was ever closeted -- far from it -- but she was out of the spotlight for many decades, and those were the decades in which the labels we use for different LGBT+ identities changed. From a very early age, Jackie Shane did things her way, rather than the way the adults around her wanted. She was asked to join the choir at her church when she was eight, and agreed, but on condition that she didn't have to listen to anything the minister said, and that she wouldn't give any money to the collection. She also refused to join her school's track team, even though she was the best runner in the school, because she wasn't going to do anything just because of school spirit -- she wanted paying. She started out singing gospel music, and was particularly impressed by the phrasing and delivery of Ruth Davis, of the gospel group The Davis Sisters: [Excerpt: The Davis Sisters, "Twelve Gates to the City"] Her first musical performances were with a travelling preacher and con artist, who sang gospel songs -- she would hit metal chairs while he sang, adding percussion. She soon moved on to the drums, playing with an R&B trio who got their own local radio show, on which she would play drums standing up, while also singing. She also became friendly with Little Richard's band, the Upsetters, and later claimed to have shown Chuck Connors the drum pattern that was used for Richard's records "Rip It Up" and "Slippin' and Slidin'". That trio never made records on their own, but they would often back up other acts, like Lillian Offitt, who had a top ten R&B hit in 1957 with "I Miss You So", on which Shane played drums: [Excerpt: Lillian Offitt, "I Miss You So"] She became part of the house band for Excello Records, as well as performing regularly on the chitlin' circuit, but eventually she got tired of the bigotry in the Deep South and moved up to Canada, where they didn't have a context for her at all -- there were relatively few Black people at the time in Montreal, where she was based at first, or in Toronto where she later settled, and with no other context for a gospel-voiced Black trans woman a rumour went around that she was related to Little Richard. She started singing with a band led by a trumpeter called Frank Motley, who had played with Dizzy Gillespie, and whose big gimmick was playing two trumpets on stage at the same time, and she cut a few singles. Her first, a version of "Money", didn't do much at all: [Excerpt: Jackie Shane, "Money"] But her second was more interesting. The original version of "Any Other Way" was by William Bell, on Stax records: [Excerpt: William Bell, "Any Other Way"] Shane took the song and gave it a very different reading, especially on the line "Tell her that I'm happy, tell her that I'm gay": [Excerpt: Jackie Shane, "Any Other Way"] That became a local hit, and it later made the lower reaches of the Canadian national charts when it was reissued in the mid-sixties. Around this time, Shane also recorded a live album, which was released several years later, and which shows the power of her soul vocals: [Excerpt:Jackie Shane, "Barefootin' (Live)"] But while "Any Other Way" was a success, the follow-up "In My Tenement" wasn't, and Jackie was unhappy that she didn't get to pick her own material. She also missed out on other opportunities -- for example there was a possibility of a booking on the Ed Sullivan Show, which she missed out on because she refused to present as male for the performance. Eventually, she gave up on performing altogether, and moved back to Tennessee to look after her sick mother in the early seventies. She spent much of the next few decades trying to put her performing career behind her, refusing to talk to anyone about it until the middle of the last decade, when she started to be rediscovered by a new, larger, audience. A two-CD set of all her recordings came out in 2017, and there was talk of her making a return to the stage, but sadly she died last year, aged 78, before that became possible.
Finalmente edito in Italia, grazie a enciclopediadelledonne.it, "Vietato scrivere. Come soffocare la scrittura delle donne" di Joanna Russ. Ne parliamo con Nicoletta Vallorani, traduttrice, scrittrice, insegnante, e Margherita Marcheselli, di enciclopediadelledonne.it; la rivista internazionale Journal of Interpersonal Violence ha recentemente pubblicato uno studio condotto dal gruppo di ricerca guidato dalla Prof.ssa Georgia Zara, docente del Dipartimento di Psicologia dell'Università di Torino, sul tema della violenza contro le donne. Vi presentiamo i risultati della ricerca. La rubrica di Clarice Trombella: l'artista di oggi è Jackie Shane!
Finalmente edito in Italia, grazie a enciclopediadelledonne.it, "Vietato scrivere. Come soffocare la scrittura delle donne" di Joanna Russ. Ne parliamo con Nicoletta Vallorani, traduttrice, scrittrice, insegnante, e Margherita Marcheselli, di enciclopediadelledonne.it; la rivista internazionale Journal of Interpersonal Violence ha recentemente pubblicato uno studio condotto dal gruppo di ricerca guidato dalla Prof.ssa Georgia Zara, docente del Dipartimento di Psicologia dell'Università di Torino, sul tema della violenza contro le donne. Vi presentiamo i risultati della ricerca. La rubrica di Clarice Trombella: l'artista di oggi è Jackie Shane!
یک شنبه دیگر با برنامه «هنر و فرهنگ کوییر» همراه شما هستیم. در این قسمت علیرضا شجاعیان؛ میزبان شما در این برنامه به رویداد های ۱۹۶۹، شورش استون وال و فقدان تصویر از این رویداد انقلابی در دنیای کوییر میپردازد. در ادامه نگاهی خواهیم داشت به عکسهای فِرِد مَک دارا از صحنههای پس از این رویداد و با دو نفر از افرادی که در این عکسها دیده میشوند؛ توماس لَنیگَن اسمیت، هنرمند و سیلویا ریورا درگ کویین و کنشگر آشنا میشویم. در آخر با جَکی کُرتیس، چهره شاخص مبارزه با کلیشههای جنسیتزده در درون جامعه کوییر خواهیم شنید. Music credits: Jackie Shane, Any other way, 1963 Jackie Curtis, My lucky star, 1974 .نظرات و پیشنهادات خود را حتماً با ما در میان بگذارید.
The Spark File is kicking off February celebrating Black History Month while asserting that Every Month is Black History Month! Creative sparks fly with conversations about Jackie Shane, William + Ellen Craft and more! Plus, E.B. White's Here is New York is the little classic you need. The mighty NYC has been through much in it's storied history. It is resilient, ever changing and changless at the same time. We heart NYC.
Episode one hundred and three of A History of Rock Music in Five Hundred Songs looks at “Hitch-Hike” by Marvin Gaye, and the early career of one of Motown’s defining artists. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Any Other Way” by Jackie Shane. 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/ —-more—- Erratum I say that Smokey Robinson was the only person allowed to be both a writer/producer and performer at Motown. That was Marvin Gaye’s later statement, but at this point Eddie Holland was also still doing all those things. Resources As usual, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the 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. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. There is a Complete Motown Singles 1959-62 box available from Hip-O-Select with comprehensive liner notes, but if you just want the music, I recommend instead this much cheaper bare-bones box from Real Gone Music. For information on Gaye specifically, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. The best collection of Gaye’s music is The Master, a four-disc box covering his recordings from “Stubborn Kind of Fellow” to the very last recordings of his life. Transcript A brief note — this week’s episode contains some minor mentions of parental and domestic abuse, and some discussions of homophobia. I don’t think those mentions will be upsetting for anyone, but if you’re unsure you might want to check the transcript before listening. Today we’re going to look at the start of one of the great careers in soul music, and one of the great artists to come out of the Motown hit factory. We’re going to look at the continued growth of the Motown company, and at the personal relationships that would drive it in the 1960s, but would also eventually lead to its downfall. We’re going to look at “Hitch-Hike”, and the early career of Marvin Gaye: [Excerpt: Marvin Gaye, “Hitch-Hike”] One thing we’ve not talked about much in the podcast so far is the way that the entertainment industry, until relatively recently, acted as a safety valve for society, a place where people who didn’t fit in anywhere could build themselves a life and earn a living without playing along with the normal social conventions. And by instinct, temperament, and upbringing, Marvin Gaye was one of those people. He was always someone who rubbed up against authority. He spent his youth fighting with his abusive father, and eventually left home to join the Air Force just to get away from his father. But he didn’t stay long in the Air Force either — he was discharged due to mental problems, which he later claimed he’d faked, with his honourable discharge stating “Marvin Gay cannot adjust to regimentation and authority”. Back in Washington DC, where he’d grown up, and feeling like a failure, he formed a doo-wop group called the Marquees — in later years, Gaye would state that he’d come up with the name as a reference to the Marquis de Sade, but in fact Gaye hadn’t heard of de Sade at the time. The Marquees were like a million doo-wop groups of the time, and leaned towards the sweeter end of doo-wop, particularly modelling themselves on the Moonglows. The group performed around Washington, and came to the attention of Bo Diddley, who was living in the area and friends with a neighbour of the group. Diddley took them under his wing and wrote and produced both sides of their first single, which had another member, Reese Palmer, singing lead — Palmer also claimed that he wrote both songs, but Diddley is credited and they certainly sound like Diddley’s work to me. The tracks were originally backed by Diddley’s band, but Okeh, the record label for whom they were recording, asked that one of the two sides, “Wyatt Earp”, be rerecorded with session musicians like Panama Francis who played on almost every R&B record made on the East Coast at the time. Oddly, listening to both versions, the version with the session musicians sounds rather more raw and Bo-Diddleyesque than the one with Diddley’s band. The result had a lot of the sound of the records the Coasters were making around the same time: [Excerpt: The Marquees, “Wyatt Earp”] At the same initial session, the Marquees also sang backing vocals on a record by Billy Stewart. We’ve encountered Stewart briefly before — his first single, “Billy’s Blues”, was the first appearance of the guitar figure that later became the basis for “Love is Strange”, and he played piano in Diddley’s band. With Diddley’s band and the Marquees he recorded “Billy’s Heartache”: [Excerpt: Billy Stewart, “Billy’s Heartache”] However, the Marquees’ first record did nothing, and the group were dropped by the label and went back to just playing clubs around Washington DC. It looked like their dreams of stardom were over. But one of the group’s members, Chester Simmons, took a job as Bo Diddley’s driver, and that was to lead to the group’s second big break. Diddley was on a tour with the Moonglows, who as well as being fellow Chess artists had also backed Diddley on records like “Diddley Daddy”: [Excerpt: Bo Diddley, “Diddley Daddy”] Harvey Fuqua, the group’s leader, was complaining to Diddley about the rest of the group, and in particular about Bobby Lester, the group’s tenor singer. He was thinking of dropping the entire group and getting a new, better, set of Moonglows to work with. Simmons heard Fuqua talking with Diddley about this, and suggested that the Marquees might be suitable for the job. When the tour hit DC, Fuqua auditioned the Marquees, and started working with them to get them up to the standard he needed, even while he was still continuing to tour with the original Moonglows. Fuqua trained the Marquees in things like breath control. In particular, he had a technique he called “blow harmony”, getting the group to sing with gentle, breathy, “whoo” sounds rather than the harder-edged “doo” sounds that most doo-wop groups used — Fuqua was contemptuous of most doo-wop groups, calling them “gang groups”. He taught the Marquees how to shape their mouths, how to use the muscles in their throats, and all the other techniques that most singers have to pick up intuitively or never learn at all. The breathy sound that Fuqua taught them was to become one of the most important techniques that Gaye would use as a vocalist throughout his career. Fuqua took the group back with him to Chicago, and they added a sixth singer, Chuck Barkside, who doubled Simmons on the bass. There were attempts at expanding the group still further, as well — David Ruffin, later the lead singer of the Temptations, auditioned for the group, but was turned down by Fuqua. The group, now renamed Harvey and the Moonglows, cut a few tracks for Chess, but most were never released, but they did better as backing vocalists. Along with Etta James, they sang the backing vocals on two hits by Chuck Berry, “Almost Grown” and “Back in the USA”: [Excerpt: Chuck Berry, “Back in the USA”] At the time, Etta and Harvey were in a relationship, and Marvin took note — being in a relationship with someone else in the industry could be good for your career. Marvin was starting to discover some other things, as well — like that he really didn’t enjoy being on stage, even though he loved singing, and that the strain of touring could be eased with the use of cannabis. Marvin didn’t want to be on the stage at all — he wanted to be making records. The studio was where he was comfortable. The new Moonglows did release some recordings of their own, one of which, “Mama Loochie”, had Marvin on lead vocals, and was cowritten by Marvin and Harvey: [Excerpt: Harvey and the Moonglows, “Mama Loochie”] Another record that featured Marvin, though not as lead vocalist, was “Twelve Months of the Year”, an attempt to recapture the success of the original Moonglows’ “Ten Commandments of Love”. On that one, Marvin does the spoken recitation at the beginning and end, as well as singing backing vocals: [Excerpt: Harvey and the Moonglows, “Twelve Months of the Year”] But the Moonglows were coming to the end of their career — and Harvey was also coming to the end of his relationship with Etta James. Anna Records, one of the labels owned by members of the Gordy family, had made a distribution agreement with Chess Records, and Leonard Chess suggested to Harvey that he move to Detroit and work with Anna as a Chess liaison. Soon Harvey Fuqua was fully part of the Gordy family, and he split up with Etta James and got into a relationship with Gwen Gordy. Gwen had split up with her own partner to be with Harvey — and then Gwen and her ex, Roquel Davis, co-wrote a song about the split, which Etta James sang: [Excerpt: Etta James, “All I Could Do Was Cry”] Marvin had come with Harvey — he’d signed with him as a solo artist, and Harvey thought that Marvin could become a Black Frank Sinatra, or better. Marvin was signed to Harvey Records, Harvey’s label, but after Harvey and Gwen got together romantically, their various labels all got rolled up in the Motown family. At first, Marvin wasn’t sure whether he would be recording at all once Harvey Records was shut down, but he made an impression on Berry Gordy by gatecrashing the Motown Christmas party in 1960 and performing “Mr. Sandman” at the piano. Soon he found that Berry Gordy had bought out his recording contract, as well as a fifty percent share of his management, and he was now signed with Tamla. Marvin was depressed by this to an extent — he saw Fuqua as a father figure — but he soon came to respect Gordy. He also found that Gordy’s sister Anna was very interested in him, and while she was seventeen years older than him, he didn’t see that as something that should stand in the way of his getting together with the boss’ sister. There was a real love between the twenty year old Marvin Gaye and the thirty-seven-year-old Anna Gordy, but Gaye also definitely realised that there was an advantage to becoming part of the family — and Berry Gordy, in turn, thought that having his artists be part of his family would be an advantage in controlling them. But right from the start, Marvin and Berry had different ideas about where Marvin’s career should go. Marvin saw himself becoming a singer in the same style as Nat “King” Cole or Jesse Belvin, while Gordy wanted him to be an R&B singer like everyone else at Motown. While Marvin liked singers like Sam Cooke, he was also an admirer of people like Dean Martin and Perry Como — he would later say that the sweaters he wore in many photos in the sixties were inspired by Como, and that “I always felt like my personality and Perry’s had a lot in common”. They eventually compromised — Marvin would record an album of old standards, but there would be an R&B single on it, one side written by Berry, and the other written by Harvey and Anna. The Soulful Moods of Marvin Gaye was only the second album released by Motown, which otherwise concentrated on singles, but neither it nor the single Berry wrote, “Let Your Conscience Be Your Guide”, had any commercial success: [Excerpt: Marvin Gaye, “Let Your Conscience Be Your Guide”] As well as singing on the album, Marvin also played drums and piano, and while his singing career wasn’t doing wonderfully at this point, he was becoming known around Motown for turning his hand to whatever was needed, from drumming on a session to sweeping the floor. The most notable thing about the album, though, was that he changed the spelling of his surname, from Gay spelled G-a-y to G-a-y-e. He gave three different reasons for this, at least two of which were connected. The first one was that he was inspired by Sam Cooke, whose career he wanted to emulate. Cooke had added an “e” to his surname, and so Marvin was doing the same. The second reason, though, was that by this time the word “gay” was already being used to refer to sexuality, and there were rumours floating around about Marvin’s sexuality which he didn’t want to encourage. He did like to wear women’s clothing in private, and he said some things about his experience of gender which might suggest that he wasn’t entirely cis, but he was only interested in women sexually, and was (like many people at the time) at least mildly homophobic. And like many people he confused sexuality and gender, and he desperately didn’t want to be thought of as anything other than heterosexual. But there was another aspect to this as well. His father was also someone who wore women’s clothing, and tied in with Marvin’s wish not to be thought of as gay was a wish not to be thought of as like his father, who was physically and emotionally abusive of him throughout his life. And his father was Marvin Gay senior. By adding the “e”, as well as trying to avoid being thought of as gay, he was also trying to avoid being thought of as like his father. While Marvin’s first album was not a success, he was doing everything he could to get more involved with the label as a whole. He played drums on records, despite never having played the instrument before, simply because he wanted to be around the studio — he played on a record we’ve already looked at, “Please Mr. Postman” by the Marvelettes: [Excerpt: The Marvelettes, “Please Mr. Postman”] He played with the Miracles on occasion, and he also played on “I Call It Pretty Music, But the Old People Call it the Blues” by Little Stevie Wonder: [Excerpt, Little Stevie Wonder, “I Call It Pretty Music, But the Old People Call it the Blues”] And on “That’s What Girls are Made For”by the Spinners (the group known in the UK as the Detroit Spinners): [Excerpt: The Spinners, “That’s What Girls are Made For”] And he both co-wrote and played drums on “Beechwood 4-5789” by the Marvelettes, which made the top twenty: [Excerpt: The Marvelettes, “Beechwood 4-5789”] But this kind of thing ended up with Gaye being pushed by Berry Gordy in the direction of writing, which was not something he wanted to do. At that time in Motown, there was a strict demarcation, and the only person who was allowed to write *and* perform *and* produce was Smokey Robinson — everyone else was either a writer/producer or a singer, and Marvin knew he wanted to be a singer first and foremost. But Marvin’s own records were flopping, and it was only because of Anna Gordy’s encouragement that he was able to continue releasing records at all — if he hadn’t given up himself, he would almost certainly have been dropped by the label. And indirectly, his first hit was inspired by Anna. Marvin’s attitude to authority was coming out again in his attitude towards Motown and Berry Gordy. By this point, Motown had set up its famous charm school — a department of the label that taught its singers things like elocution, posture, how to dress and how to dance. Marvin absolutely refused to do any of that, although he later said he regretted it. Anna told him all the time that he was stubborn, and he started thinking about this, and jamming with Mickey Stevenson, the Motown staff songwriter and producer with whom he worked most closely, and who had started out as a singer with Lionel Hampton. The two of them came up with what Marvin later described as a “basic jazz feeling”, and then Berry Gordy suggested a few extra chords they could stick in, and the result was “Stubborn Kind of Fellow”: [Excerpt: Marvin Gaye, “Stubborn Kind of Fellow”] You can hear what he meant about that starting out with a jazz feel, most notably with Beans Bowles’ flute part, but the finished product was very much an R&B record — Marvin sounds more like Ray Charles than Sinatra or Como, and the backing vocals by Martha and the Vandellas are certainly not anything that you would have got behind a crooner. The record went right up the R&B chart, making the R&B top ten, but it didn’t cross over to the pop audience that Gaye was after. He was disappointed, because what he wanted more than anything else was to get a white audience, because he knew that was where the money was, but after getting an R&B hit, he knew he would have to do as so many other Black entertainers had, and play to Black audiences for a long time before he crossed over. And that also meant going out on tour, something he hated. At the end of 1962 he was put on the bill of the Motortown Revue, along with the Contours, the Supremes, the Marvelettes, Little Stevie Wonder, Mary Wells, and the Miracles. On the live album from that tour, recorded at the Apollo, you can hear Gaye still trying to find a balance between his desire to be a Sinatra-type crooner appealing to a white audience, and his realisation that he was going to have to appeal to a Black audience. The result has him singing “What Kind of Fool Am I?”, the Anthony Newley show tune, but sticking in interpolations inspired by Ray Charles: [Excerpt: Marvin Gaye, “What Kind of Fool Am I?”] This was a real concern for him. He would later say “Commercially, though, I learned quickly that it was primarily my people who were going to support me. I vowed always to take care of them, give ’em the funk they wanted. It wasn’t my first choice, but there’s integrity in the idea of pleasing your own people. Secretly, I yearned to sing for rich Republicans in tuxes and tails at the Copacabana. No matter.” He hated that tour, but some of the musicians on the tour thought it was what made him into a star — specifically, they knew that Gaye had stage fright, hated being on stage, and would not put his all into a live performance. Unless they put Little Stevie Wonder on before him. Wonder’s performances were so exciting that Gaye had to give the audience everything he had or he’d get booed off the stage, and Gaye started to rise to the challenge. He would still get stage fright, and try to get out of performing live at all, but when he turned up and went on stage he became a captivating performer. And that was something that was very evident on the first recording he made after coming off the tour. The Apollo recording we just heard was from the last week of the tour, and two days after it concluded, on December 19th 1962, Marvin Gaye was back in the studio, where he felt most comfortable, writing a song with Mickey Stevenson and Clarence Paul. While there were three writers of the song, the bulk of it was written by Gaye, who came up with the basic groove before the other writers got involved, and who played both piano and drums on the record: [Excerpt: Marvin Gaye, “Hitch-Hike”] “Hitch-Hike” became Gaye’s first real crossover hit — it made number twelve on the R&B chart, but also made the top forty on the pop chart, largely because of his appearances on American Bandstand, where he demonstrated a new dance he’d made up, involving sticking your thumb out like a hitch-hiker, which became a minor craze among Bandstand’s audiences — we’re still in the period where a novelty dance was the most important thing in having a hit. The song also became the first Marvin Gaye song to get covered on a regular basis. The first cover version of it was by the Vandellas, who sang backing vocals on Marvin’s version, and who used the same backing track for their own recording — this was something that happened often with Motown, and if you listen to albums by Motown artists in the sixties, you’ll frequently hear a hit single with different vocals on it: [Excerpt: Martha and the Vandellas, “Hitch-Hike”] But while Martha and the Vandellas were the first to cover “Hitch-Hike”, they were far from the only ones — it became a favourite for white rock groups like the Sonics or the Rolling Stones to cover, and it would be the inspiration for many more rock records by people who wanted to show they could play soul. By June 1963, Marvin Gaye was a bona fide star, and married to Anna Gordy. He was even able to buy his mother a house. But while everything seemed to be going swimmingly as far as the public were concerned, there were already problems — at their wedding reception, Gaye and Anna got into a huge row which ended up with Anna hitting Gaye on the head with her shoe heel. And while he’d bought the house for his mother, his father was still living with her, and still as toxic as he had ever been. But for the moment, those things didn’t matter. Marvin Gaye was on top of the world, and had started a run of singles that would come to define the Motown sound, and he was also becoming a successful songwriter — and the next time we look at him, it’ll be for a classic song he wrote for someone else.
Episode one hundred and three of A History of Rock Music in Five Hundred Songs looks at "Hitch-Hike" by Marvin Gaye, and the early career of one of Motown's defining artists. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Any Other Way" by Jackie Shane. 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/ ----more---- Erratum I say that Smokey Robinson was the only person allowed to be both a writer/producer and performer at Motown. That was Marvin Gaye's later statement, but at this point Eddie Holland was also still doing all those things. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the 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. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. There is a Complete Motown Singles 1959-62 box available from Hip-O-Select with comprehensive liner notes, but if you just want the music, I recommend instead this much cheaper bare-bones box from Real Gone Music. For information on Gaye specifically, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. The best collection of Gaye's music is The Master, a four-disc box covering his recordings from "Stubborn Kind of Fellow" to the very last recordings of his life. Transcript A brief note -- this week's episode contains some minor mentions of parental and domestic abuse, and some discussions of homophobia. I don't think those mentions will be upsetting for anyone, but if you're unsure you might want to check the transcript before listening. Today we're going to look at the start of one of the great careers in soul music, and one of the great artists to come out of the Motown hit factory. We're going to look at the continued growth of the Motown company, and at the personal relationships that would drive it in the 1960s, but would also eventually lead to its downfall. We're going to look at "Hitch-Hike", and the early career of Marvin Gaye: [Excerpt: Marvin Gaye, "Hitch-Hike"] One thing we've not talked about much in the podcast so far is the way that the entertainment industry, until relatively recently, acted as a safety valve for society, a place where people who didn't fit in anywhere could build themselves a life and earn a living without playing along with the normal social conventions. And by instinct, temperament, and upbringing, Marvin Gaye was one of those people. He was always someone who rubbed up against authority. He spent his youth fighting with his abusive father, and eventually left home to join the Air Force just to get away from his father. But he didn't stay long in the Air Force either -- he was discharged due to mental problems, which he later claimed he'd faked, with his honourable discharge stating "Marvin Gay cannot adjust to regimentation and authority". Back in Washington DC, where he'd grown up, and feeling like a failure, he formed a doo-wop group called the Marquees -- in later years, Gaye would state that he'd come up with the name as a reference to the Marquis de Sade, but in fact Gaye hadn't heard of de Sade at the time. The Marquees were like a million doo-wop groups of the time, and leaned towards the sweeter end of doo-wop, particularly modelling themselves on the Moonglows. The group performed around Washington, and came to the attention of Bo Diddley, who was living in the area and friends with a neighbour of the group. Diddley took them under his wing and wrote and produced both sides of their first single, which had another member, Reese Palmer, singing lead -- Palmer also claimed that he wrote both songs, but Diddley is credited and they certainly sound like Diddley's work to me. The tracks were originally backed by Diddley's band, but Okeh, the record label for whom they were recording, asked that one of the two sides, "Wyatt Earp", be rerecorded with session musicians like Panama Francis who played on almost every R&B record made on the East Coast at the time. Oddly, listening to both versions, the version with the session musicians sounds rather more raw and Bo-Diddleyesque than the one with Diddley's band. The result had a lot of the sound of the records the Coasters were making around the same time: [Excerpt: The Marquees, "Wyatt Earp"] At the same initial session, the Marquees also sang backing vocals on a record by Billy Stewart. We've encountered Stewart briefly before -- his first single, "Billy's Blues", was the first appearance of the guitar figure that later became the basis for "Love is Strange", and he played piano in Diddley's band. With Diddley's band and the Marquees he recorded "Billy's Heartache": [Excerpt: Billy Stewart, "Billy's Heartache"] However, the Marquees' first record did nothing, and the group were dropped by the label and went back to just playing clubs around Washington DC. It looked like their dreams of stardom were over. But one of the group's members, Chester Simmons, took a job as Bo Diddley's driver, and that was to lead to the group's second big break. Diddley was on a tour with the Moonglows, who as well as being fellow Chess artists had also backed Diddley on records like "Diddley Daddy": [Excerpt: Bo Diddley, "Diddley Daddy"] Harvey Fuqua, the group's leader, was complaining to Diddley about the rest of the group, and in particular about Bobby Lester, the group's tenor singer. He was thinking of dropping the entire group and getting a new, better, set of Moonglows to work with. Simmons heard Fuqua talking with Diddley about this, and suggested that the Marquees might be suitable for the job. When the tour hit DC, Fuqua auditioned the Marquees, and started working with them to get them up to the standard he needed, even while he was still continuing to tour with the original Moonglows. Fuqua trained the Marquees in things like breath control. In particular, he had a technique he called "blow harmony", getting the group to sing with gentle, breathy, "whoo" sounds rather than the harder-edged "doo" sounds that most doo-wop groups used -- Fuqua was contemptuous of most doo-wop groups, calling them "gang groups". He taught the Marquees how to shape their mouths, how to use the muscles in their throats, and all the other techniques that most singers have to pick up intuitively or never learn at all. The breathy sound that Fuqua taught them was to become one of the most important techniques that Gaye would use as a vocalist throughout his career. Fuqua took the group back with him to Chicago, and they added a sixth singer, Chuck Barkside, who doubled Simmons on the bass. There were attempts at expanding the group still further, as well -- David Ruffin, later the lead singer of the Temptations, auditioned for the group, but was turned down by Fuqua. The group, now renamed Harvey and the Moonglows, cut a few tracks for Chess, but most were never released, but they did better as backing vocalists. Along with Etta James, they sang the backing vocals on two hits by Chuck Berry, "Almost Grown" and "Back in the USA": [Excerpt: Chuck Berry, "Back in the USA"] At the time, Etta and Harvey were in a relationship, and Marvin took note -- being in a relationship with someone else in the industry could be good for your career. Marvin was starting to discover some other things, as well -- like that he really didn't enjoy being on stage, even though he loved singing, and that the strain of touring could be eased with the use of cannabis. Marvin didn't want to be on the stage at all -- he wanted to be making records. The studio was where he was comfortable. The new Moonglows did release some recordings of their own, one of which, "Mama Loochie", had Marvin on lead vocals, and was cowritten by Marvin and Harvey: [Excerpt: Harvey and the Moonglows, "Mama Loochie"] Another record that featured Marvin, though not as lead vocalist, was "Twelve Months of the Year", an attempt to recapture the success of the original Moonglows' "Ten Commandments of Love". On that one, Marvin does the spoken recitation at the beginning and end, as well as singing backing vocals: [Excerpt: Harvey and the Moonglows, "Twelve Months of the Year"] But the Moonglows were coming to the end of their career -- and Harvey was also coming to the end of his relationship with Etta James. Anna Records, one of the labels owned by members of the Gordy family, had made a distribution agreement with Chess Records, and Leonard Chess suggested to Harvey that he move to Detroit and work with Anna as a Chess liaison. Soon Harvey Fuqua was fully part of the Gordy family, and he split up with Etta James and got into a relationship with Gwen Gordy. Gwen had split up with her own partner to be with Harvey -- and then Gwen and her ex, Roquel Davis, co-wrote a song about the split, which Etta James sang: [Excerpt: Etta James, "All I Could Do Was Cry"] Marvin had come with Harvey -- he'd signed with him as a solo artist, and Harvey thought that Marvin could become a Black Frank Sinatra, or better. Marvin was signed to Harvey Records, Harvey's label, but after Harvey and Gwen got together romantically, their various labels all got rolled up in the Motown family. At first, Marvin wasn't sure whether he would be recording at all once Harvey Records was shut down, but he made an impression on Berry Gordy by gatecrashing the Motown Christmas party in 1960 and performing "Mr. Sandman" at the piano. Soon he found that Berry Gordy had bought out his recording contract, as well as a fifty percent share of his management, and he was now signed with Tamla. Marvin was depressed by this to an extent -- he saw Fuqua as a father figure -- but he soon came to respect Gordy. He also found that Gordy's sister Anna was very interested in him, and while she was seventeen years older than him, he didn't see that as something that should stand in the way of his getting together with the boss' sister. There was a real love between the twenty year old Marvin Gaye and the thirty-seven-year-old Anna Gordy, but Gaye also definitely realised that there was an advantage to becoming part of the family -- and Berry Gordy, in turn, thought that having his artists be part of his family would be an advantage in controlling them. But right from the start, Marvin and Berry had different ideas about where Marvin's career should go. Marvin saw himself becoming a singer in the same style as Nat "King" Cole or Jesse Belvin, while Gordy wanted him to be an R&B singer like everyone else at Motown. While Marvin liked singers like Sam Cooke, he was also an admirer of people like Dean Martin and Perry Como -- he would later say that the sweaters he wore in many photos in the sixties were inspired by Como, and that "I always felt like my personality and Perry's had a lot in common". They eventually compromised -- Marvin would record an album of old standards, but there would be an R&B single on it, one side written by Berry, and the other written by Harvey and Anna. The Soulful Moods of Marvin Gaye was only the second album released by Motown, which otherwise concentrated on singles, but neither it nor the single Berry wrote, "Let Your Conscience Be Your Guide", had any commercial success: [Excerpt: Marvin Gaye, "Let Your Conscience Be Your Guide"] As well as singing on the album, Marvin also played drums and piano, and while his singing career wasn't doing wonderfully at this point, he was becoming known around Motown for turning his hand to whatever was needed, from drumming on a session to sweeping the floor. The most notable thing about the album, though, was that he changed the spelling of his surname, from Gay spelled G-a-y to G-a-y-e. He gave three different reasons for this, at least two of which were connected. The first one was that he was inspired by Sam Cooke, whose career he wanted to emulate. Cooke had added an "e" to his surname, and so Marvin was doing the same. The second reason, though, was that by this time the word "gay" was already being used to refer to sexuality, and there were rumours floating around about Marvin's sexuality which he didn't want to encourage. He did like to wear women's clothing in private, and he said some things about his experience of gender which might suggest that he wasn't entirely cis, but he was only interested in women sexually, and was (like many people at the time) at least mildly homophobic. And like many people he confused sexuality and gender, and he desperately didn't want to be thought of as anything other than heterosexual. But there was another aspect to this as well. His father was also someone who wore women's clothing, and tied in with Marvin's wish not to be thought of as gay was a wish not to be thought of as like his father, who was physically and emotionally abusive of him throughout his life. And his father was Marvin Gay senior. By adding the "e", as well as trying to avoid being thought of as gay, he was also trying to avoid being thought of as like his father. While Marvin's first album was not a success, he was doing everything he could to get more involved with the label as a whole. He played drums on records, despite never having played the instrument before, simply because he wanted to be around the studio -- he played on a record we've already looked at, "Please Mr. Postman" by the Marvelettes: [Excerpt: The Marvelettes, "Please Mr. Postman"] He played with the Miracles on occasion, and he also played on "I Call It Pretty Music, But the Old People Call it the Blues" by Little Stevie Wonder: [Excerpt, Little Stevie Wonder, "I Call It Pretty Music, But the Old People Call it the Blues"] And on "That's What Girls are Made For”by the Spinners (the group known in the UK as the Detroit Spinners): [Excerpt: The Spinners, "That's What Girls are Made For"] And he both co-wrote and played drums on "Beechwood 4-5789" by the Marvelettes, which made the top twenty: [Excerpt: The Marvelettes, "Beechwood 4-5789"] But this kind of thing ended up with Gaye being pushed by Berry Gordy in the direction of writing, which was not something he wanted to do. At that time in Motown, there was a strict demarcation, and the only person who was allowed to write *and* perform *and* produce was Smokey Robinson -- everyone else was either a writer/producer or a singer, and Marvin knew he wanted to be a singer first and foremost. But Marvin's own records were flopping, and it was only because of Anna Gordy's encouragement that he was able to continue releasing records at all -- if he hadn't given up himself, he would almost certainly have been dropped by the label. And indirectly, his first hit was inspired by Anna. Marvin's attitude to authority was coming out again in his attitude towards Motown and Berry Gordy. By this point, Motown had set up its famous charm school -- a department of the label that taught its singers things like elocution, posture, how to dress and how to dance. Marvin absolutely refused to do any of that, although he later said he regretted it. Anna told him all the time that he was stubborn, and he started thinking about this, and jamming with Mickey Stevenson, the Motown staff songwriter and producer with whom he worked most closely, and who had started out as a singer with Lionel Hampton. The two of them came up with what Marvin later described as a "basic jazz feeling", and then Berry Gordy suggested a few extra chords they could stick in, and the result was "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] You can hear what he meant about that starting out with a jazz feel, most notably with Beans Bowles' flute part, but the finished product was very much an R&B record -- Marvin sounds more like Ray Charles than Sinatra or Como, and the backing vocals by Martha and the Vandellas are certainly not anything that you would have got behind a crooner. The record went right up the R&B chart, making the R&B top ten, but it didn't cross over to the pop audience that Gaye was after. He was disappointed, because what he wanted more than anything else was to get a white audience, because he knew that was where the money was, but after getting an R&B hit, he knew he would have to do as so many other Black entertainers had, and play to Black audiences for a long time before he crossed over. And that also meant going out on tour, something he hated. At the end of 1962 he was put on the bill of the Motortown Revue, along with the Contours, the Supremes, the Marvelettes, Little Stevie Wonder, Mary Wells, and the Miracles. On the live album from that tour, recorded at the Apollo, you can hear Gaye still trying to find a balance between his desire to be a Sinatra-type crooner appealing to a white audience, and his realisation that he was going to have to appeal to a Black audience. The result has him singing "What Kind of Fool Am I?", the Anthony Newley show tune, but sticking in interpolations inspired by Ray Charles: [Excerpt: Marvin Gaye, "What Kind of Fool Am I?"] This was a real concern for him. He would later say "Commercially, though, I learned quickly that it was primarily my people who were going to support me. I vowed always to take care of them, give 'em the funk they wanted. It wasn't my first choice, but there's integrity in the idea of pleasing your own people. Secretly, I yearned to sing for rich Republicans in tuxes and tails at the Copacabana. No matter." He hated that tour, but some of the musicians on the tour thought it was what made him into a star -- specifically, they knew that Gaye had stage fright, hated being on stage, and would not put his all into a live performance. Unless they put Little Stevie Wonder on before him. Wonder's performances were so exciting that Gaye had to give the audience everything he had or he'd get booed off the stage, and Gaye started to rise to the challenge. He would still get stage fright, and try to get out of performing live at all, but when he turned up and went on stage he became a captivating performer. And that was something that was very evident on the first recording he made after coming off the tour. The Apollo recording we just heard was from the last week of the tour, and two days after it concluded, on December 19th 1962, Marvin Gaye was back in the studio, where he felt most comfortable, writing a song with Mickey Stevenson and Clarence Paul. While there were three writers of the song, the bulk of it was written by Gaye, who came up with the basic groove before the other writers got involved, and who played both piano and drums on the record: [Excerpt: Marvin Gaye, "Hitch-Hike"] "Hitch-Hike" became Gaye's first real crossover hit -- it made number twelve on the R&B chart, but also made the top forty on the pop chart, largely because of his appearances on American Bandstand, where he demonstrated a new dance he'd made up, involving sticking your thumb out like a hitch-hiker, which became a minor craze among Bandstand's audiences -- we're still in the period where a novelty dance was the most important thing in having a hit. The song also became the first Marvin Gaye song to get covered on a regular basis. The first cover version of it was by the Vandellas, who sang backing vocals on Marvin's version, and who used the same backing track for their own recording -- this was something that happened often with Motown, and if you listen to albums by Motown artists in the sixties, you'll frequently hear a hit single with different vocals on it: [Excerpt: Martha and the Vandellas, "Hitch-Hike"] But while Martha and the Vandellas were the first to cover "Hitch-Hike", they were far from the only ones -- it became a favourite for white rock groups like the Sonics or the Rolling Stones to cover, and it would be the inspiration for many more rock records by people who wanted to show they could play soul. By June 1963, Marvin Gaye was a bona fide star, and married to Anna Gordy. He was even able to buy his mother a house. But while everything seemed to be going swimmingly as far as the public were concerned, there were already problems -- at their wedding reception, Gaye and Anna got into a huge row which ended up with Anna hitting Gaye on the head with her shoe heel. And while he'd bought the house for his mother, his father was still living with her, and still as toxic as he had ever been. But for the moment, those things didn't matter. Marvin Gaye was on top of the world, and had started a run of singles that would come to define the Motown sound, and he was also becoming a successful songwriter -- and the next time we look at him, it'll be for a classic song he wrote for someone else.
Episode one hundred and three of A History of Rock Music in Five Hundred Songs looks at “Hitch-Hike” by Marvin Gaye, and the early career of one of Motown’s defining artists. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Any Other Way” by Jackie Shane. 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/ (more…)
Still respecting the social distancing guidelines, Pat & Ben have reunited under the Parka Avenue HQ roof for the first time in months. Unlike our neighbours to the South, as Jackie Shane would point out, the numbers are comin’ down! Plenty of new / old records on this episode! Northern Soul, RnB, fuzz drenched Garage and out of the mystery record zone, an unknown acetate
We are so excited to welcome you back to another episode of She Said, She Said! We are on episode #23, and no, that’s not why we began the episode encouraging everyone to go watch Nexflix’s new Michael Jordan’s documentary titled The Last Dance… anyway, today’s focus is on Pride Month - June may be over now, but we think it’s important to celebrate all year long. Pride never ends. Thank you to the LGBTQ+ community for your leadership & courage in the fight for equality. Fighting for true equality means fighting for Black trans lives. We also highlight the stories of Marsha P. Johnson (we encourage everyone to go watch Reina Gossett’s Happy Birthday, Marsha!), Jackie Shane and her album Any Other Way, Atta Boy’s newly released Big Heart Manners, the film Tangerine (2015) directed by Sean Baker, and the concept of “weathering,” along with a discussion that film should not just be seen as entertainment, but also as creativity & expression - something to learn from and educate yourself with. Check out our linktree, which has been updated to include any links from this episode that you may be interested in: https://linktr.ee/shesaidshesaid. As always, thanks for listening & for your sincere support - we feel so blessed!
This episode brought to you by Sahara dust.First, an update on the Dabells.Lisa tells us the inspiring story of Mary Mahoney.Carina follows the incredible journey of Jackie Shane.Whitney figures out what really happened to James Joseph Richardson's kids. See acast.com/privacy for privacy and opt-out information.
Jackie Shane, a Black transgender soul singer, gained prominence in the 1960s with her captivating stage presence and voice. Then, in 1971, she quit her career and faded from the public eye and into a reclusive life at home. New York Times writer Reggie Ugwu was able to track her down in 2017 and spoke to her on the phone from her home in Nashville. She passed away last year at the age of 78. Ugwu says many people see Jackie Shane as being way ahead of her time, but that she had always put it as “everyone else was behind." When asked about Jackie Shane’s legacy, Ugwu says, “She was someone who was extremely confident and exuded dignity. She never let anyone define her or put her in a box and she never felt that she had to explain herself to anyone. So she was someone who believed deeply in personal liberation and personal freedom and 'live and let live' […] She’s a real model for how you can be yourself and not conform to the pressures of society." Support the show: https://www.kexp.org/sound/
5ta temporada de Segurola y Habana en Futurock.fm Conduce Julia Mengolini, Fito Mendonca Paz y Noelia Custodio.
En esta nueva edición de la receta no le perdemos la cara a la desescalada y hacemos nuestro particular homenaje a los desaparecidos este año Little Richard y Robert Parker. Contamos con la participación de Harriet Callahan que realiza un breve repaso de la carrera de Josh Homme. Suenan Little Richard, Jackie Shane, Robert Parker, Mujeres, Mamá Ladilla, Al Dual, Los Chicos, Dogmatics, Johnny Keating and The Z-Men, Alvvays, The Desert Sessions, Them Crooked Vultures, Queens of the Stone Age, Manual Scan y Soul Bandidos.
Jackie Shane: The Lowest I Go is to the Top of My Head. In this episode, Dr. Clarke discusses the great R & B singer Jackie Shane. Aside from her formidable performing skills, he highlights her compassion, her fierce independence, her courage, and her abiding love for Toronto. Listen in.
Today we honor some of the incredible people in music that we lost in 2019, including Rock Hall curation visionary James Henke, inductees Dr. John and Ric Ocasek, and such musical heroes as Jackie Shane, Kim Shattuck, Eddie Money, and Nipsey Hussle.
I kväll inträder fyra nya ledamöter samtliga kvinnor i Svenska akademien vid den årliga högtidssammankomsten. Vad betyder tillskottet för akademiens arbete? Samtal med kulturredaktionens Mattias Berg. SARA PARKMANS SUCCÉ-ÅR Folkmusikern Sara Parkman har haft ett framgångsrikt år - hon har hörts både från teaterscenen och på skiva och har hyllats brett. P1 Kultur har träffat henne. DE SOM LÄMNADE OSS 2019 - VI MINNS JACKIE SHANE En av de som musiker som gick bort under året var soulsångerskan Jackie Shane. Reportage av Lisa Wall som intervjuade henne 2017. KLASSIKERN: EN TOMTE AV ETT ANNAT SNITT Det fanns en tid när tomten fortfarande var grå och grubblade över existensen. Han delade inte ut några klappar men iakttog familjen och vaktade gården. Veckans klassiker är Viktor Rydbergs dikt "Tomten". Programledare: Felicia Frithiof Producent: Eskil Krogh Larsson
Toronto, 1962. Jackie Shane est un phénomène. Partout, on ne parle que de cette chanteuse qui se produit dans les clubs de Yonge Street. Il faut dire qu’elle arbore un style androgyne et extravagant… See acast.com/privacy for privacy and opt-out information.
Devlyn defines their gender more clearly. Sal gives us a glimpse of the afterlife. We talk about aliens, visions of our femme disco bar, and plans for the future of the podcast! Welcome to the T in our LGBT Pride month interviews! xoxo Join our Patreon now on any of our three tiers: Supportive Lady, Sugar Mother, or The Reba McEntire Level. You’ll get our new BONUS podcast “More Queers For Your Ears,” buttons, posters, Q&A videos, and more! This month’s bonus is about HBO’s new vvvv lesbian show Gentleman Jack. Queer history! Click here or go to www.patreon.com/theythempod to join now!Follow us on Instagram and Twitter @theythempod Support the show and get fun rewards and bonus episodes at patreon.com/theythempod Visit theypodcast.com to submit music, suggestions, guest appearances, or if you are a Chicago pro-LGBTQ+ business interested in sponsoring the show!Opening song “Sticks and Stones” by Jackie Shane. Music by Kevin MacLeod at incompetech.com Licensed under Creative Commons: By Attribution 3.0
Sal delivers their groundbreaking study, The Grindr Report. Devlyn ponders the queer possibilities of the Frasier reboot. (Don’t erase Roz’s bisexuality!) We also reveal our secret tactics for making men online spiral into madness.This week our guest is the beautiful B in our LGBT Pride month interviews, Courtney Feiler! (Sal’s girlfriend!) We’re talking about the new Hulu show “The Bisexual,” and sexual exploration!You can still win a free copy of one of Owen Keehnen’s new books “Tell Me About It” or “LGBTQ Book of Days” by DMing us or tagging us on Instagram! (More about his books in last week’s episode.)Join our Patreon now on any of our three tiers: Supportive Lady, Sugar Mother, or The Reba McEntire Level. You’ll get our new BONUS podcast “More Queers For Your Ears,” buttons, posters, Q&A videos, and more! This month’s bonus is about HBO’s new vvvv lesbian show Gentleman Jack. Queer history! Click here or go to www.patreon.com/theythempod to join now!Follow us on Instagram and Twitter @theythempod Support the show and get fun rewards and bonus episodes at patreon.com/theythempod Visit theypodcast.com to submit music, suggestions, guest appearances, or if you are a Chicago pro-LGBTQ+ business interested in sponsoring the show!Opening song “Sticks and Stones” by Jackie Shane. Music by Kevin MacLeod at incompetech.com Licensed under Creative Commons: By Attribution 3.0
Devlyn talks about living in the space between being a gay man and a straight woman. Sal serves up some Botswanan tea!Give us a G! We’ve got the G in our LGBT Pride month interviews, grassroots historian Owen Keehnen! She’s back! Talking about legendary disco Dugan’s Bistro, socialized queer censorship, Pride and cynicism, and the Belmont Rocks. Win a free copy of one of Owen’s new books “Tell Me About It” or “LGBTQ Book of Days” by DMing us or tagging us on Instagram!Join our Patreon now on any of our three tiers: Supportive Lady, Sugar Mother, or The Reba McEntire Level. You’ll get our new BONUS podcast “More Queers For Your Ears,” buttons, posters, Q&A videos, and more! This month’s bonus is about HBO’s new vvvv lesbian show Gentleman Jack. Queer history! Click here or go to www.patreon.com/theythempod to join now!Follow us on Instagram and Twitter @theythempod Support the show and get fun rewards and bonus episodes at patreon.com/theythempod Visit theypodcast.com to submit music, suggestions, guest appearances, or if you are a Chicago pro-LGBTQ+ business interested in sponsoring the show!Opening song “Sticks and Stones” by Jackie Shane. Music by Kevin MacLeod at incompetech.com Licensed under Creative Commons: By Attribution 3.0
Today’s episode is brought to you by Women & Children First Bookstore in Andersonville!Sal reads from the Book of Jonas. Devlyn is learning life lessons from cartoons. We’re covering the recent email leak at Progress Bar, Buffalo Grove Pride, trans issues in court, and much more! Our EXTREMELY FUN guests are Lee & Sue, the @420oldfatlesbians viral sensation. We’re talking about their hilarious instagram videos, Chicago gay bars, and other “likes of dykes.”Join our Patreon now on any of our three tiers: Supportive Lady, Sugar Mother, or The Reba McEntire Level. You’ll get our new BONUS podcast “More Queers For Your Ears,” buttons, posters, Q&A videos, and more! This week’s bonus is about HBO’s new vvvv lesbian show Gentleman Jack. Queer history! Click here or go to www.patreon.com/theythempod to join now!Follow us on Instagram and Twitter @theythempod Support the show and get fun rewards and bonus episodes at patreon.com/theythempod Visit theypodcast.com to submit music, suggestions, guest appearances, or if you are a Chicago pro-LGBTQ+ business interested in sponsoring the show!Opening song “Sticks and Stones” by Jackie Shane. Music by Kevin MacLeod at incompetech.com Licensed under Creative Commons: By Attribution 3.0
Sal is blocking all the men on Grindr. Devlyn is spamming Sal on Grindr. We have James and Brian from Piece of Pie: The Queer Film Podcast joining us for a chat about their fun podcast and James’s Chicago queer history work!Click here to check out our crossover episode on their show in which we talk about queer films A Fantastic Woman and Mosquita y Mari.Join our Patreon now on any of our three tiers: Supportive Lady, Sugar Mother, or The Reba McEntire Level. You’ll get our new BONUS podcast “More Queers For Your Ears,” buttons, posters, Q&A videos, and more! This week’s bonus is about HBO’s new vvvv lesbian show Gentleman Jack. Queer history! Click here or go to www.patreon.com/theythempod to join now!Follow us on Instagram and Twitter @theythempod Support the show and get fun rewards and bonus episodes at patreon.com/theythempod Visit theypodcast.com to submit music, suggestions, guest appearances, or if you are a Chicago pro-LGBTQ+ business interested in sponsoring the show!Opening song “Sticks and Stones” by Jackie Shane. Music by Kevin MacLeod at incompetech.com Licensed under Creative Commons: By Attribution 3.0
1. Donnie Elbert - A Little Piece of Leather - 19652. O'Nita Hammond & Group - Mighty Fine - 19623. Little Gigi - Take The Bitter With The Sweet - 19644. The Sonics - Shot down - 19655. Tigermen - Close That Door - 19666. Bunker Hill - You Can't Make Me Doubt My Baby - 19637. Gloria Jones - Heartbeat (Part.1) - 19658. Shepherd Sisters - Don't Mention My Name - 19639. Dead Brothers - I can't get enough - 200610. The Bees - A Minha Menina - 200411. The Super Supers - Mama Soul - 200312. Sherri Taylor - He's The One That Rings My Bell - 196113. Lulu Reed - What Makes You So Cold - 196114. Millie Foster - What a Thrill - 196315. The Skatalites feat. Jackie Opel - Old Rocking Chair - 196416. Byron Lee & The Dragonaires - Jamaica Ska - 196417. Ken Boothe and Stranger Cole - Arte Bella - 196518. Jackie Shane - You are my sunshine - 196719. Dusty Wilson - Can't Do Without You - 196420. Charlie Rich - Midnight Blues - 196221. Rose Mitchell - Baby please don't go - 195422. Miss Toni Magestro - Broken Hearted Over You - 196023. April Stevens - Teach Me Tiger - 195924. Wanda Jackson - Funnel Of Love - 196125. The King Khan & BBQ Show - Love you so - 200226. The Pacifics - You Can't Judge A Book - 201127. The Del-Gators - Get Down (And Get Stupid!) - 2001DOWNLOAD | SUBSCRIBE TO RAMPAGE | SUBSCRIBE TO RADIOMUTATION | FACEBOOK | ITUNES | TWITTER| INSTAGRAM|
Dear Heatrockers, On a recent episode, our deep dive into Jackie Shane's "Any Other Way", we unintentionally misgendered Ms. Shane and the late Wilmer Broadnax. Although some of this was addressed at the start of the episode, we'd like to take the opportunity to apologize to members of the transgender community and anyone who found our choice of words offensive and insensitive. We have re-cut the episode to remove the discussion of Broadnax and we pledge for the future to do a more thoughtful job in choosing our language in a respectful and accurate manner. Thanks to all of you who sent us feedback on this; we appreciate your input and support. The Album: Jackie Shane Any Other Way (2017) This week's episode focuses on the life, career and resurgence of soul singing trans pioneer Jackie Shane, who spent much of the 50's and 60's alongside Frank Motley and the Motley Crew band enthralling Toronto audiences with her voice, her presence and her realism. We were thrilled to be joined by another old soul, singer Nick Waterhouse, a cool kid from the best coast whose sonic leanings hearken back to a time and type of rhythm and blues. He came to share the Jackie Shane's influence on him as a singer, the splendor that was her life and the songs that moved him from her seminal 2017 compilation album, Any Other Way. This one's too good to miss! And be sure to check out Nick Waterhouse's new self-titled record releasing 03/08. More on Nick Waterhouse Nick Waterhouse on Consequence of Sound Nick Waterhouse "Song for Winners" Website | Twitter More on Any Other Way official website Jackie's interview with the CBC" "Transgender Pioneer Jackie Shane Reflects on Her Re-Emergence & Grammy-Nominated Album" (Billboard) Show Tracklisting (all songs from Any Other Way unless indicated otherwise): New Way of Loving Nick Waterhouse: Wreck the Rod Stand Up Straight and Tall Walking the Dog Any Other Way Frank Motley and the Hitchhikers: Hook & Sling Money (That's What I Want) Dual Trumpet Bounce - Live Papa's Got A Brand New Bag - Live Comin' Down Money (That's What I Want) Violent Femmes: Blister in the Sun Stand Up Straight and Tall Money (That's What I Want) - Live Walking the Dog Shotgun - Live Here is the Spotify playlist of as many songs as we can find there. If you're not already subscribed to Heat Rocks in Apple Podcasts, do it here!
Episode 33 is dedicated to the memory of the iconic Soul singer Jackie Shane and Irma the Detroit dog. Pat unveils his new purchase, a true Northern Soul holy grail. Ben has some Mod classics by the Small Faces and The Action up for sale. His intrepid border crossing almost prevented him from putting those records into Pat's hands.
We revel in Billy Porter’s tuxedo gown, Jason Momoa’s scrunchie, and Selma Blair’s cane. Watching Pen15 on Hulu is giving us all the middle and high school feels. And, remembering soul singer Jackie Shane.
Inda & Didi are back to celebrate Black Fem Genius (TM)! We squee about new projects from Gina Prince Bythewood, Alfre Woodard and friend of the show, Savannah J. Frierson! We celebrate Black women musicians like Our Native Daughters, Adia Victoria, and give a special tribute to Jackie Shane. Then we send a few fades to awards academies for not giving Black women their things and to the CPD for... being them. We revisit a fave in DWIDP who deserves to be in the conversation of 'Best Actor of Their Generation'. Intro is "Clean" by Adia Victoria Outro is "Dope Queen Blues" by Adia Victoria Black Girl Squee is on Twitter, Tumblr, Apple Podcasts (PLEASE RATE, SHARE, AND SUBSCRIBE!) and Google Play Podcasts. Support the show and get bonus content at the BGS Patreon! Check out the Black Swan Collective and Inda’s Corner Audio Essays at https://mixcloud.com/indalauryn. Contact Info: BGS Podcast (@blackgirlsquee); Email: blackgirlsquee@gmail.com
In this episode, hosts Abby Dees and Wenzel Jones discuss the validity of Trump’s plan to decriminalize homosexuality, Martina Navratilova Op-Ed on Trans/Intersex athletes and the Athlete Ally reply, and Jackie Shane the Trans Soul Singer’s life and times in the Honest TEA. Also, we hear... ...Martin Duberman explore the question, “Has the Gay Movement failed?” with John Riley ...Gender and sexually diverse children from the Revry documentary, “Room to Grow” with Abby Dees Share the IMRU Radio Podcast with a friend or two and follow us on Facebook, Twitter and Instagram! Please let comments below: --- Send in a voice message: https://anchor.fm/imruradio/message
Songs from Valerie June, Treepeople, Griot musicians Noura Mint Seymali and Sourakata Koité, Loose Tooth, Fila Brazilia, and 1960s transgender pioneer Jackie Shane, plus Bob talks about his indie rock fantasy basketball league with Stephen Malkmus, Doug Martsch, and others.
On Today’s Menu on Marsha’s Plate Mia discuss our agenda and freedom of the oppositions Zee talks about Robert Eads death in the documentary Southern Comfort https://www.youtube.com/watch?v=R6JIWD2DNyY Diamond talks about Jackie Shane and stealthing https://www.msn.com/en-us/news/music-grammys/grammy-nominated-album-shines-light-on-transgender-pioneer/ar-BBSlfbr?fbclid=IwAR0azkzW_3-z413P-gl4gsSVLGqvKn9u1YvNPCNbINe9vY5YoJtz6hpREGA Accountability is an ongoing process and allyship has to be renewed everyday through actions and support TransFaith Bobbie Jean Baker Award Application https://www.transfaith.info/bobbie-jean-baker-memorial-award DONATE HERE https://www.patreon.com/MarshasPlate https://cash.me/$DiamondStylz https://www.paypal.me/DiamondStylz OTHER SOCIAL MEDIA https://www.facebook.com/MarshasPlate/ https://www.Instagram.com/MarshasPlate/ https://www.twitter.com/MarshasPlate/
The Brighter Side is back while Ed is out working like a madman, Amber sends in her thoughts on Airplane, College, Being a kid, and scary hook up apps. And then Ed tries to relate. Give a listen y'all. Be good to yourselves. For 25% off your first month of personalized care/of vitamins, visit http://takecareof.com and enter promo code: brighter. To get 40% off all subscriptions, visit http://mylola.com and enter BRIGHTER when you subscribe. Taking us out today is You are My Sunshine by Jackie Shane. https://www.youtube.com/watch?v=4Xdy2qwFewM Casa Bossa Nova, ZigZag, Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/
Vandaag veel soul en funk in de show Je hoort leuke muziek van Deva Mahal, Quiet Ellegance, Robert Finley, Jackie Shane, Elvin Biship en Nina Simone.
Meet Jackie Shane, the singer and trailblazer that came to prominence during Toronto's bustling Yonge Street music scene during the '60s.
Una nueva edición de la receta en la que dedicaremos buena parte del programa a rescatar de nuestros fogones añejos algunas voces femeninas de rythm and blues. Suenan Bettye Swann, Imperial Surfers, Lulu Reed, Yo La Tengo, Melba Moore, BMX Bandits, Bonnie Davis, Go-Kart Mozart, Denim, Mary Love, Depressing Claim, Mary Knight, Ray Collins Hot Club, Barbara Mills, Los Planetas y Jackie Shane.
Der Blickpunkt Trans* mit Henry Hohmann, Co-Präsident von TGNS mit Informationen aus der trans* Welt: - Internationale Umfrage zur Akzeptanz von trans Menschen – mit erstaunlichen Ergebnissen - USA und Kanada: Trans-Jugendliche und ihre Gesundheit - Indonesien und Malaysia: Verfolgung und «Heilung» von trans Frauen - Die Situation von trans Menschen in der Arbeitswelt – und eine neue Aktion von TGNS - Glanz und Gloria: Der kurze Auftritt von Soraya Germany's next Topmodeund wer war Jackie Shane?
Your hosts, Oombi and Queen Bestia talk Jackie Shane, and dating.
Jackie Shane, en av de första transpersonerna inom populärmusiken, försvann från soulscenen för över fyrtio år sedan. Lisa Wall intervjuar henne och berättar hennes historia. December 1971. Efter ett bråk så lämnade den spirande soulstjärnan Lil Jackie Shane den kanadensiska musikklubben, soulscenen och till sin egen och alla andras förvåning; sin egen karriär. Hon skulle försvinna i 40 år. Jackie var en föregångare. Född i en mans kropp så var hon den första artisten som valde att leva öppet som en kvinna. Detta i en tid när livsutrymmet för svarta människor i USA var oerhört begränsat: smink och tajta klänningar kunde ha tagit hennes liv. I oktober gavs en dubbelCD med booklet ut om artisten, med bilder och kärleksfullt framgrävt material. Musikjournalisten Lisa Wall har gjort den första intervjun någonsin där Jackies röst hörs. Alla andra tidigare intervjuer som hon har gjort har varit skrivna.
Professor Rob Bowman is a Grammy award winner and one of the world's top music authorities on Soul and R&B music. He is also Danko's old university professor! He's written countless liner notes and writes the program for the Rock … Continued The post Episode #165: Professor Rob Bowman Talks About Jackie Shane appeared first on Danko Jones.
Zaterdagavond dus uptempo muziek. Muziek van Rita Pavone, Los Ga-Ga, Ellen ten Dame & The Magpie Orchestra, Drs. P, Jo Alan en Jackie Shane.
Earlier this year, we published an interview with Major and he played selector on the Aquarium Drunkard Show on Sirius XM, pulling out rare psych, private press oddities, and much more. He’s the subject of a new book, Feel The Music: The Psychedelic Worlds of Paul Major, and the compiler of an accompanying soundtrack, Feel the Music Vol. 1, both out on Anthology. The book compiles scans of Major’s rare record catalogs, which featured his hallucinatory music writing, alongside essays by his friends, bandmates, and collaborators. In all, the book and soundtrack illustrate Paul’s attraction to “real people” music and testify to his desire to share the weird music and ideas that turn him on. In the second half of the show, Aquarium Drunkard founder Justin Gage and co-host Jason P. Woodbury explore the sound of ten of their favorite reissues of 2017, including Jackie Shane, Outro Tempo: Electronic And Contemporary Music From Brazil 1978 – 1992, crucial Pharoah Sanders titles, Acetone’s 1992-2001, Alice Coltrane, and more. Check out the full list of reissues after the jump.
Welcome to another week of Bag Ladiez! Don’t forget to check out our Teespring here:https://teespring.com/stores/bag-ladiez! It’s the first time we’ve sold things and just in time for the holiday season! Support your favorite Bag Ladiez! This week for “Currento Eventos” we’re talking about male victims of sexual assault and Terry Crews, the most recent elections, Univision FINALLY having an Afrolatinx news anchor after 55 years of whiteness, and Spelman and Morehouse get called out about how they deal with rapists. In “What’s Your Baggage?” We’re dealing with the fact that ALL YOUR FAVES ARE PROBLEMATIC. From Cardi B to George Takei how do we deal with artists and performers we admire when their actions or politics are slightly or just straight up fucked up? We talk about problematic behavior and why it’s important to call it out! For “Put it in your Bag” Estephanie brought in the National Coalition for the Homeless who help individuals and families currently going through these experiences and Lina brings in the music of Jackie Shane a black trans woman who made dope music in the 60s! Finally for our Rotating theme we’ve got NEW RULE FOR THE YTs. The do’s and don’ts of being a “white ally”. Send this to a white friend in need. Also use #UnpackBG to continue the conversation what are some new rules our white allies need to follow? What questions does Susan have to STOP ASKING YOU?? Let us know! As always thank you for listening and you can find all our links below! Comment, subscribe, leave an Itunes review, or tell a friend! Teespring: https://teespring.com/stores/bag-ladiez Terry Crews: http://bit.ly/2z0alXh Some historic Election 2017 wins: http://bit.ly/2yCSvoV First Afrolatina News Anchor at Univision: http://bit.ly/2mq2Brx Spelman & Morehouse Called Out: http://bit.ly/2hqfb4P Jackie Shane: http://bit.ly/2jqEmsi National Coalition for the Homeless: http://www.nationalhomeless.org/ Follow us @: Twitter: Bag_Ladiez Tumblr: bgladiez.tumblr.com Gmail: bgladiez@gmail.com Soundcloud: https://soundcloud.com/bgladies Listen to us on Itunes! #UnpackBG
Records we talk about: Margo Price - https://open.spotify.com/album/2ZxlcZ2NMgupfqGcyjnmkE Jackie Shane - https://open.spotify.com/album/4cixaT2jAnamdxeLqvWOhk A. Savage - https://open.spotify.com/album/1jmReMlhBKjUB7KXg9Pdxm John Maus - https://open.spotify.com/album/50Trv9V4O6AUqYOCm5HUG8 Events We Mention: Movie Night: https://www.facebook.com/events/490463681309038/ Guantanamo Baywatch: https://www.facebook.com/events/323556001442740/ Neptunes Halloween: https://www.facebook.com/events/292808551221170/ Other Stuff We Talk About: https://support.apple.com/explore/find-my-iphone-ipad-mac-watch Tocino Gump Insult Vid: https://www.youtube.com/watch?v=WC6zd5MPA2E Kev's "The Man Who Sold The World" cover: https://www.youtube.com/watch?v=x26_BHZtPzs Kev & Enoch's episode of Pavement Enslavement https://thepavementenslavement.simplecast.fm/ Kev's Band: https://lesswestern.bandcamp.com/
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Especial Pluma, con Víctor Vergara, Dominik Valvo y Brays Efe. Después de tres programas perdidos, EPSA vuelve con un programa coral en el que tratamos de reivindicar el lugar y el no lugar de la pluma en la vida del homosexual joven. Tuvimos las llamadas de Sita Abellán y Juan Flahn, y sonaron bonitas canciones de Spellbinders, Van McCoy, Chris Montez, Jackie Shane, RobertOrsi y Joe Meek, todas con muchísima pluma.
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Especial Pluma, con Víctor Vergara, Dominik Valvo y Brays Efe. Después de tres programas perdidos, EPSA vuelve con un programa coral en el que tratamos de reivindicar el lugar y el no lugar de la pluma en la vida del homosexual joven. Tuvimos las llamadas de Sita Abellán y Juan Flahn, y sonaron bonitas canciones de Spellbinders, Van McCoy, Chris Montez, Jackie Shane, RobertOrsi y Joe Meek, todas con muchísima pluma.Escucha este episodio completo y accede a todo el contenido exclusivo de Podcast El Programa de Sita Abellán. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://www.ivoox.com/podcast-podcast-el-programa-sita-abellan_sq_f130132_1.html
© 2020-2025 Ivy Podcast Discovery LLC
