Podcasts about motowns

"Shoot The Puck" är en podcast av Hockeynews.se Hockeynews chefredaktör Henrik Sjöberg är tillbaka i Nordamerika igen och den här gången gästas Shoot The Puck av Detroitstjärnan Lucas Raymond – som gör sin fjärde säsong i den anrika NHL-klubben och göteborgare har på kort tid blivit en lysande stjärna i NHL. Snart kommer han dessutom ha en nyckelroll i Sam Hallams Tre Kronor inför Four Nations Faceoff.

Galenskap har sällan svängt så okontrollerat och fritt. Det är svårt att föreställa sig hur musiken hade låtit och sett ut om det inte vore för en galaktisk man i vitt lakan, platåstövlar och hår i regnbågens färger. George Clinton öppnade porten till en annan verklighet bortom förtrycket och fattigdomen där fantasin flödade i en korsning av all musik. Lyssna på alla avsnitt i Sveriges Radio Play. Från frisersalongen i New Jersey och söt doowop under gatlyktan, till Detroits uppviglande rockscen och blåkopian för Motowns psykedeliska soul, vidare till kronan på verket. En hårdsvängande, vild bandfunk som fick namnet P-funk, och som visade vägen in i afrofuturism, hiphop, techno och mycket mer. Parliament/Funkadelics katalog tillhör den mest samplade, och har funkat som bas för bland andra Dr Dre, Snoop och Digital Underground. Med utgångspunkt i sju möten med George Clinton serverar Mats Nileskär berättelsen om en spektakulär karriär som spänner över sju decennier.I avsnitt ett träffar du också Garry Shider, Billy Nelson, James Brown, George Kerr, Bernie Worrell och Smokey Robinson.

In this episode of “What The Music” we're cracking open the computer and playing some submissions you sent in! Here's who we played: Ruby J – Homea song inspired by Motowns bouncy rhythms & soulful vocals. https://linktr.ee/rubyjofficial Roofman – Two Buckets Of DreamsRoofman has this special charisma that makes people listen to him. https://www.instagram.com/roofman_official/ Ocean …

An obscure funk band founded by a group of Minneapolis teenagers in the early 1970s caused Minnesota's music scene to catch lightning in a bottle not once, but twice. Minnesota has served as home base for two globally recognized music powerhouses — Prince and his Paisley Park sound and the Flyte Tyme Studios' groove of Jimmy “Jam” Harris and Terry Lewis.The band Flyte Tyme was established in 1972. A pre-fame Prince was merely a player in it. The band's name was based on the song “Flight Time” by jazz trumpeter Donald Byrd. Flyte Tyme had a rotating cast for nearly a decade with acclaimed local artists who would go on to work as longtime collaborators and, at times, rivals.That list included the likes of Jellybean Johnson, Cynthia Johnson and Alexander O'Neal who rotated in and out as members. But, the keyboardist and bassist, a young Harris and Lewis, respectively, remained constant.  By the time 1980 rolled around, the band was done and Prince had assumed the mantle of king of the local music scene.“The Time” is a truncated version of “Flyte Tyme” and featured Harris and Lewis on keyboards and bass, respectively, and Morris Day on vocals.“Prince once said that the only band he ever feared was The Time,” said Christopher Fuller, co-founder of the Los Angeles-based Black Music Project, a group of artists and academics who promote the history of Black music as the story of America. “And, he was referring to The Time of Morris Day and Jimmy Jam and Terry Lewis and he kind of saw them as a threat. I think that's part of the reason they got fired.”Sources dispute whether it was Prince or Day who fired them, but Harris and Lewis were fired from the band because they were in Atlanta producing music for another act and missed a flight time.The pair could have licked their wounds, founded a middling funk band and carried on. But, they decided to create a music studio in south Minneapolis and later in Edina with their earnings. Make great music and keep it coming Gary Hines spent 10 years as a staff producer for Flyte Tyme and topped the charts with his Flyte Tyme-produced group, “Sounds of Blackness.”When Hines first entered the nondescript building at 4330 Nicollet Avenue on Minneapolis' southside, he knew Harris and Lewis had created something special. “Walking in the door and it was like, ‘Oh, my God!',” he said. “Seeing their Grammys and the photos of artists they had worked with and the range of those artists, you know, Michael, Janet, Lionel Richie … and the groups, New Edition.”To Hines, it was like he was handed the keys to the kingdom.Hines was one of about 10 staff producers, including local artists Jellybean Johnson, Stokely Williams and Jeff Taylor who comprised Flyte Tyme's front line. Their mission was simple: make great music and keep it coming. “The producers would basically live at Flyte Tyme — 12 to 14 hours or more, pretty much daily,” said Hines. “It was part of the joy and the intensity. There was a sign at the entryway that read, ‘The only thing that smokes in this building is the music!'”One of the producers' duties was to screen incoming submissions, which came in the mail, through couriers or were handed directly to the producers. There were demos from unknowns and from celebrities like Dolly Parton. Every staff producer screened hundreds of CDs and cassettes each week. “Jam and Lewis were looking for at least a song a week from us,” Hines said. “It might be two weeks and sometimes it might be a couple in a week.”Besides screening demos for the next hit song, the producers were also writing, often for bands they fronted, Stokely Williams, for example, was lead singer for Mint Condition. The band recorded their hit “Breakin' My Heart (Pretty Brown Eyes)” at Flyte Tyme's Edina studio in 1991. In 1992 the song peaked at No. 6 on the Billboard Hot 100 chart and No. 3 on Billboard's Hot R&B chart.Producers would also assist other projects in the pipeline. Whether it was through singing or playing, everyone was expected to contribute. “You were writing constantly, improving and honing your craft, obviously for their perusal, review and approval,” he said. “They were like ‘Don't not write. Write a bad song, but keep writing. Hone your craft.'”In its heyday, Flyte Tyme churned out 100 Billboard Top 10 songs; 16 Number One Hot 100 hits and 26 R&B Number One hits. That includes Janet Jackson's multi-platinum hit record “Control” which dropped in 1986.The process clearly worked. Imagine 1960s Detroit had spawned a trio of Berry Gordys, who then went on to create two Motowns. That was the late century Twin Cities music scene.But, Christopher Fuller says the Motown comparison is not as accurate as another.“Jimmy and Terry I think one would say they're closer to the Philly International [production studio] of Kenny Gamble and Leon Huff because basically those two were the Philly Sound. And, like Jimmy and Terry, they were songwriters, too. Not just producers,” he said.Fuller adds that unlike legendary Beatles producer George Martin, Jam and Lewis wrote or co-wrote many of the songs for the artists they worked with.Music created at Flyte Tyme reached audiences around the world.Hines remembers the chills he got touring with Sounds of Blackness when he first heard overseas audiences singing along to lyrics borne in Flyte Tyme studios.“Many of whom were not English speaking, but they knew every lyric, not only the choruses, but the verses in the bridge … and were singing them in perfect English!”Since Prince's passing and Flyte Tyme's move away from the Twin Cities, the founders of The Minneapolis Sound may have fallen quiet, but Fuller says their legacy is still with us in the new acts and their songs.“We're still seeing their effect today. The most popular music right now, globally, is K-Pop [Korean Pop Music],” Fuller said. “But, you know what K-Pop is? It's reconstituted Black music – especially 90s R&B, which along with Teddy Riley and New Jack Swing was Flyte Tyme. Jimmy and Terry. Just about all of modern pop music owes a huge debt to them.”

Lamont Dozier har desværre forladt os i den forbindelse kan du høre mit program om sangskrivertrioen. De tre skrev, producerede og arrangerede mange af Motowns største hit med Supremes og Four Tops, at de nærmest blev synonym med Motown mellem 64 og 67. Jeg prøver i programmet og komme rundt om de forskellige aspekter af … Læs videre "Holland, Dozier and Holland"

Hør podcasten om Motowns sangskriver trio, de skrev sangene til og producerede for, Supremes, Four Tops, Marvin Gaye og mange flere. De skabte den gyldne periode hos Motown i årene 64 – 67 med numre som, Where Did Our Love Go, Reach Out, Nowhere To Run, Your Unchanging Love med flere.

At 73 years of age, Alice Cooper has every right to be excitedly entering the twilight years of a stellar career.Instead, he has just released a new album Detroit Stories and has announced plans to record the next one already.The man is more than a legend, he is a metal God, and one whos indelible stamp will be left forever on the metal scene for which he has almost literally given his soul.HEAVY caught up with Alice from his home base last week for a refreshing and open chat about life through the eyes of The Godfather of Shock Rock.The first port of call was to wish the great man a happy belated birthday.“I’m 73 but I'm probably more like 40,” he joked. “I quit drinking and doing all the bad stuff 38 years ago and I never smoked cigarettes so that's a big plus also. I can go on stage and do five shows a week no problem, whereas usually, guys my age are doing one or two shows a week! I'm not just in the Alice Cooper band, I'm also in the (Hollywood) Vampires so I've got two tours and two bands and four albums, that kind of thing. I'm working on three albums right now and Detroit Stories just came out! And I play golf every day (laughs)."Detroit Stories has been universally praised by critics and fans alike, a fact Cooper puts down to releasing the right album at the right time."I think people were waiting for a fun album to come out,” he shrugged, “a hard rock album that's fun to listen to and I think that's what this one is. Hopefully, people are getting up for it and getting a nice lift from this album."The album focuses on the Golden Era of music from the city of Detroit, with Cooper crediting a large part of his success to the lasting impact being part of that movement."You can't really cover anything with 13 songs,” he said, “but we tried to cover every kind of music in Detroit. There's blues there, there's Motown, mostly hard rock - Detroit is a guitar-driven hard rock town - because when we moved there from L.A... L.A had The Doors and they had Love and bands like that and San Francisco had their Grateful Dead and Jefferson Airplane and New York had their bands but in Detroit, we didn't fit in anywhere except Detroit (laughs) so when we went to Detroit we met Iggy & The Stooges and Ted Nugent and Bob Segar and Suzi Quatro so we fit right in there and at the same time I was from Detrot - that's my hometown - so we were welcomed with open arms. That's really where a lot of our stuff came out. That's where "18" broke and everything big happened for us out of Detroit."With rock and roll starting to reclaim its rebellious nature, Cooper admits that the future of the music he loves and helped to pioneer is in good hands."I think now rock and roll, in general, is an outcast which I kinda think is a good thing. When rock and roll first started it was a bunch of rock and roll kids - we were like pirates - we weren't the main charts at all. It was pop music with The Beach Boys and The Four Seasons and The Motowns and we were the rock and roll guys looking in because we had a whole different attitude about rock and roll. Our rock and roll was more dangerous. Our rock and roll was sort of like 'can we really put that on the radio?' and then rock and roll got so big that it became the focal point of everything and I think in some ways it lost a bit of its edge. So now that rock and roll is back on the outside looking in I think you're gonna get edgier bands coming out. I think young kids right now are sitting there in Australia learning Guns N Roses songs and learning Aerosmith songs, a bunch of 18-year-old kids, and that's great. You're gonna see a whole crop of new rock and roll bands come out."In the full interview, Alice talks about Detroit Stories in more details, his ambitious plan to write, demo and record the next album completely on the road, the variety of music and genres on Detroit Stories, his favourite live performances, fitting in musically, his five Commandments of Rock and some special advice on submitting your music and how to protect it.

 Show Notes:Today I am talking with my buddy Nate "The Sooze" Sousa. He is the music director at Fellowship Bible Church in Brentwood, TN and he is also one of the founders of the guitar amp profiling company Tone Junkie which records and captures amp sounds for digital amplifiers that guitar players can buy online. Our conversation covers what is needed when you want to work as a worship leader or music director in a church of any size.  Plus, we talk about the ever present need for strong relationships in ministry as well as how putting together multiple jobs in music can allow you to make a great living without the need to feel like you have to be famous to do so.Sponsors: Edenbrooke Productions - We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at contact@johnmartinkeith.com. Talking Points:*Nate is the music director at Fellowship Bible Church in Brentwood, TN.*My dad helped start a band called The Motowns which later became Tower of Power.*Dad became a worship leader and I was raised in a musical household. I became the drummer for my dad at church when I was in 5th grade.*I realized my dad did this for a living and I saw that you can make a living doing music.*I went to college at Azusa Pacific University and majored in music and took theory and arranging and hymnology (the study of hymns) which was a great overview of old church music.*I decided to change majors from music to theology because I liked the church history part of it. I wanted to be musically proficient and know how theory worked but I also needed to know the Bible and needed a solid foundation for Truth.*Then I went to Fuller Theological Seminary and studied Theology (The Study of God) and Art and put my two passions together that I wanted to be doing with my life.*How did you transition from college into the workforce with what you studied? I started looking for churches to work for as a worship pastor or music director.*Music Director - someone who helps lead the band, creates charts, makes backing tracks using Ableton, arranging, running point on recordings if you can record new songs, etc. It’s a lot of behind the scenes, a lot of prep work. It’s still pastoring people and meeting with people and having those relationships. It doesn’t include that upfront singing and speaking leadership to the congregation.*My first job was as a worship leader at a small church and even though that particular environment wasn’t my sweet spot I knew it was something I should do.*Start saying “yes” when something comes along in the realm of what you would like to do, maybe just give a try.*When you’re just starting out and looking for work it doesn’t help to be super picky at that point necessarily.*Sometimes it does if your making sure that you are theologically on base with what you know to be true and that the church is also teaching that also because there can be miscommunication and issues if those things don’t line up.*Make sure your beliefs line up with the church’s beliefs.*Besides that, you should take any opportunity you can get when you are first starting out.*I worked as worship leader at that church for six months, then there was a built in check up time with the pastor to see how things were going.*I learned that singing and leading was not my strong suit so I left that position.*I learned what I’m good at and not so good at and what I have passion around and don’t have passion around.*One of the outcomes of being a “yes man” is saying I got experience.*I started to hone in on becoming a music director and helping worship leaders to take details off their plate.*Music directors are used mainly in larger churches. Smaller churches don’t need one, they need a worship pastor/music director all in one.*Wanting a music director position at a church means the number of opportunities goes down exponentially because most churches are smaller and don’t need that position separated from the worship pastor position.*I got invited by a friend to play at Friend's Church in CA. for a young adults group on Thursday nights which paid a little bit.*During that time I was finishing school and waiting tables.*Then they asked me to play on Sundays. I saw a gap that needed to be filled there.*I built great relationships there. I met the music director there and realized this guy had the job I wanted.*Find people that are doing what you want to be doing and draft them and follow along what they are doing.*I would hang out with him all the time and ask lots of questions and go to his office and learn things from him and he basically started mentoring me.*He showed me Sibelius Notation Software for creating music charts.*Over time he would ask me to fill in for him to lead the band when he was out of town to the point it became a part time music director assistant position.*Be valuable to people.*Go above and beyond.*After me being involved for about six years, the music director ended up leaving and I was asked to step into that role full time.*Aaron Blanton from Nashville moved to Friend’s Church to be the one of the worship pastors and we became great friends and worked together to bring the church into a new era musically.*What does it take to be a music director at a church?*Best case scenario is handing musicians information they can trust. It’s the skill to chart out music that players can understand.*Using Planning Center to make sure people have all the resources they need for a Sunday service.*Make sure mp3 songs are in the right key for rehearsing at home.*It’s a lot of administration work.*It’s very relationship based as well.*I’m the most direct contact with the band people.*I pastor the worship team differently than the worship leaders would because I have more contact with them because I’m their first point of contact.*Aaron Blanton moved back to Nashville and became the worship pastor here at Fellowship. He called me and said there was an opening for a music director at Fellowship and my wife and I prayed about it and I came out to interview and felt this was a great place to be.*The relationship with Aaron was a huge reason to be able to make the move.*Part of my life in music has been piecing together multiple streams of income.*While being church music director in California, I became a guitar teacher which allowed me to become a better player.*I played for a country cover band in Southern California because of a relationship where a friend asked me to play in his band.*Those things allowed me to do music full time and quit the jobs that were not music related.*I decided if I was going to be away from my family working then I would like it to be in my wheelhouse.*I wanted jobs that would all be connected using my skill as a musician to earn money for my family.*When I moved to Tennessee in addition to music directing at Fellowship I started working with a company called Tone Junkie because of a relationship with the owner John Sullivan.*We bonded over music gear and got together a couple of times a month and eventually started recording the sessions for people who might enjoy hearing us play and talk about gear.*We started getting some listeners and subscribers but it took off when John bought a Kemper digital guitar amp which captures the sound of an amp and puts it in the Kemper.*We started profiling (recording) our amps into the Kemper and offering them for sale online and we sold thousands of our profiles all over the world over the past couple of years.*We have a website, www.tonejunkiestore.com and podcast.*You Tube Channel*Aaron Blanton moved to work for Integrity Music and they needed someone to make worship charts for their company and he asked me to chart music and be a “Song Setter” for that company so I work for them part time.*A “Song Setter” uses computer programs like Finale or Sibelius where you can input music into charts using just slashes to making scores for movies.*It’s having the ability to hear music and write it out for musicians to play in churches.*Integrity Music wants multiple versions with different parts like guitar, piano, vocals etc. so I turn in ten files for each song.*What is some advice you would give to people wanting to get into playing worship music?*Don’t be afraid to do jobs that are not 100% what you want.*Ask what are the reasons to say "yes" and give a job a chance.*Get the experience. If you wait and wait you still don’t have experience, so jump in with people that are willing to give you a chance.*Large churches or organizations are not going to hire you to lead thousands of people without experience. Start in smaller churches or venues and get experience leading people and work your way up from there.*I was not in big bands or anything where everyone knew my name. I found joy in playing church music and it didn’t have to be a stepping stone for something else.*But if you get invited to go play for someone or do session work or something and that is what you are trying to do, go do it.*Whatever you are wanting to do, find people who are already doing it and ask them if you can get with them and ask them questions.*Don’t have an entitlement mentality and assume that you deserve something. That works against you.*Be humble and generous and have gratitude.*Pay attention to how you come across to people because people can sense that and it is written all over your face.www.fellowshipbiblechurch.org to watch live or recorded services.www.weareworship.com is where you can get charts I create for Integrity Music.Nate Sousa grew up playing music from an early age, being taught by his father. After studying music in college, he went on to teach private lessons, direct music in churches, play on the road for several years, and do the weekend warrior band thing. Piecing together music gigs has been Nate’s bread and butter for the last 15 years. He is currently the Director of Music at Fellowship Bible church in Brentwood, TN; while also helping to create content for Tone Junkie TV and We Are Worship.   

Da Diana Ross, Mary Wilson og Florence ’Flo’ Ballard som The Primettes troppede op på Motown Records i 1960, tog ingen dem alvorligt. Men de var vedholdende, og i 1962 underskrev de som The Supremes kontrakt med selskabet, og da gruppen i 1963 parredes med sangskrivertrioen Holland-Dozier-Holland, begyndte hitsene af vælte ind. Fra og med ‘Where Did Our Love Go' erobrede førstepladsen i 1964, lå gruppen uafbrudt på de amerikanske hitlister resten af årtiet. The Supremes er den dag i dag Motowns mest succesrige navn nogensinde.I 1967 blev Ballard fyret og erstattet af Cindy Birdsong, hvorefter navnet blev ændret til Diana Ross & The Supremes. I 1970 sprang Ross ud som solist og havde succes op gennem 1970erne, også som skuespiller, ikke mindst i 1972-filmen om Billie Holiday, ‘Lady Sings the Blues'. Diana Ross stod derefter på discobølgen, og karrierehøjdepunktet blev det Bernard Edwards og Nile Rodgers-producerede album, Diana, som i 1980 gik sin sejrsgang verden over, drevet af hittet ‘Upside Down', en vaskeægte dansegulvsklassiker.Som at få hældt honning i ørerne, parret med en afsindig lyst til at danse din vinterdepression væk, for bedre popmusik skal man lede længe efter!Playliste:The SupremesWhen the Lovelight Starts Shining Through His Eyes (1963)Where Did Our Love Go (1964)Baby Love (1964)Stop! In the Name of Love (1965)You Can't Hurry Love (1966)You Keep Me Hangin' On (1966)The Happening (1967)Diana Ross & The Supremes –Reflections (1967) Love Child (1968)Some Day We’ll Be Together (1969)Diana Ross  Reach Out and Touch (Somebody's Hand) (1970)Good Morning Heartache (1972)Touch Me in the Morning (1973)Diana Ross & Marvin Gaye: You’re a Special Part of Me (1973)Theme from Mahogany (Do You Know Where You're Going To) (1975)Love Hangover (Album version) (1976)Upside Down (1980)Muscles (1982)

Kyle Meredith is joined by Rod Argent of The Zombies and Emilio Castillo of Tower of Power to discuss the significant 50th anniversaries that each band is celebrating in 2018. In honor of the 50th anniversary of their sophomore album, Odyssey and the Oracle, Argent breaks down the record’s notable trajectory that took it from obscurity to the acclaimed status it has today. He also discusses the forthcoming 50th anniversary that his second band, Argent, will be celebrating in 2019 as well as what listeners can expect from The Zombies in the future.In honor of the 50th anniversary of Tower of Power getting their start as a band in 1968, Castillo reflects back on the band’s origins, which includes originally being called The Motowns, and how they created their own sonic identity within soul during its height. Castillo also lets us in on details regarding Tower of Power’s newer work. For information regarding your data privacy, visit acast.com/privacy

This is a musical tribute to one of Motowns legendary songwriters. Ms Sylvia Moy wrote some of Motown biggest hits such as My Cherie Amour,Uptight,It Takes two, I was made to love her, just to name a few. Tune in Saturday 12-2pm cst dial 646 716-5525 and press the 1 button to talk about ths legendary artist.

   Zany and crazy, serious and informative, the contrast of all things available to you and anyone.  Sometimes you'll laugh, sometimes you'll throw your computer up against the wall - you will be shocked what you hear on this show, both from the ridiculous side AND THE INFORMATIVE - it's a guarantee you will learn something, for sure.  Wednesdays are honorary - let's hump it.  GUESS WHAT DAY IT IS.  347-205-9366.  Join the crew if you can do - Johnny Davis ( who later gets a piece of the honey comb hideout style on his WILD music rants of soul and jazz and everything snazzy ) Darryl L Williams (TEAM DLW) and Jay King.  You know I"m there in spirit - even if you don't hear me, I'm the one that typed this here up in this piece - HAH!  You ready for the KINGS IN THE MORNING?  Followed by Johnny Davis with WILD WEDNESDAYS?  Okay then.  347-205-9366

Join Scott Cluthe's Newsletter HERE Join Scott's FACEBOOK PAGE HERE LIVE FRIDAY-Tower of Power Founder Emilio Castillo with Scott Cluthe Tower of Power has hit the road with an all New 2 CD release also ! I'll chat with Emilio, spin some wax and find out just exactly What IS Hip Today ! Emilio Castillo Emilio Castillo plays second tenor sax, as well as providing background and lead vocals. Emilio was born in Detroit, Michigan on September 24, 1950 and is of Mexican and Greek parentage. During his transition from Detroit to Fremont, California, Emilio discovered his interest in music stemming from the likes of Roger Collins, The Spyders, and Sly and the Family Stone - masters of soul. In 1967, Emilio started his own group called the Motowns which would became Tower of Power in 1968, the same year that Emilio met the Funky Doctor (Stephen Kupka). He is a self-proclaimed homebody and enjoys spending his time when not touring with TOP with his wife Suzanne and children, Christian, Isabella, Dominic, Ariana and Katina. He spends much of the time with his family at their local church, and makes it a habit of telling and showing them that he loves them every day. "I’ve learned from experience that God has a plan for me, and that it’s better than mine! I just try to remember that, no matter what comes down the pike," he says.

Denna vecka, då USA har gett förnyat förtroende till Barack Obama som landets president, ska vi ägna oss åt några kvinnor från Detroit som också förändrat historien, på sitt sätt - The Supremes. Med en genomtänkt och glittrande stil, och ett pärlband av hitlåtar, lyckades de förändra inställningen till hur en svart popgrupp skulle se ut, och bete sig. The Supremes framgångar sammanföll med den lag som förbjöd diskriminering i USA – The Civil Rights Act – som den amerikanske presidenten Lyndon B Johnson drev igenom 1964. Innan dess hade svarta artister svårt att bryta igenom till den stora breda och vita publiken som köpte skivor. Men så blev The Supremes inbjudna, som första svarta artister, till det annars helvita tv-underhållningsprogrammet ”The Ed Sullivan Show”. Ett slags hippare Hylands Hörna som alla i landet tittade på för att få se en glimt av artister som man annars bara hörde på radion. De tre kvinnorna i The Supremes – Diana Ross, Mary Wilson och Florence Ballard – visade med andra ord upp något som många aldrig sett förut. Och den amerikanska publiken älskade vad de såg. The Supremes satsade på en sofistikerad look med långa klänningar och höga klackar. Välkoreograferat rörde de sig under tv-studions kristallkronor och sjöng den låt som skulle komma att bli en sorts prototyp för The Supremes sound, och sånger, i framtiden – Where did our love go. Det var bara början. Än idag är det ingen som knäckt deras rekord som USA:s mest framgångsrika kvinnliga sånggrupp genom tiderna. Hela tolv låtar letade sig upp till topplistans förstaplats mellan 1964 och 1969, och bara de kunde konkurrera med Beatles ifråga om skivförsäljning. Under åren kom The Supremes att byta ut medlemmar i en takt som kan göra vem som helst nervös, men det hindrade inte denna trio från att vidareutveckla sin eleganta stil. Mode blev ett verktyg för Motowns grundare och producent Berry Gordy som medvetet formade dem till att bli en crossoverband. The Supremes fick en enorm klädbudget och lät anlita teaterkostymörer som Bob Mackie och Michael Travis ( som senare gjorde Liberaces alla scenkläder). Deras garderober fylldes med eleganta apelsinfärgade cocktailklänningar, långa crèmefärgade aftonklänningar och pärlbroderade stassar som strålkastarljuset fick att skimra som stjärnor. I programmet berättar vi mer om The Supremes som tog världen med storm. Även i Sverige. Vi har träffat några av dem som var med då de var här på turné 1968. Vi har även ringt upp African American Museum i Philadelphia som i januari börjar visa en utställning med de scenkläder som sparats av Mary Wilson – ”Come and See About Me – The Mary Wilson Collection”. Och så har vi varit på besök i den svenska artistfabriken X Factor på TV 4 som kanske inte skiljer sig så mycket från hur man förr drillade fram stjärnor, både i Hollywood och Detroit. Dessutom får vi höra om vad som föregick på svenska scener samtidigt som The Supremes stod på toppen av sin karriär i mitten av 1960-talet. Även här fanns tjejband och ett av dem hette Plommons. Veckans gäst är Jenny Seth, programledare på Musikmagasinet i P3.

El programa de hoy va dedicado a la música italiana de los años 60, partiendo de un grupo anglosajón de la british invasion que cantaba en italiano como The Rokes, y moviendonos entre el Beta, el pop y la música ligera haremos un recorrido por interpretes como Adriano Celentano, Gino Paoli, Gianni Morandi, Eduardo Vianello, Nico Fidenco, rita Pavone, Gianni Meccia, patty Bravo, Ricky Shayne, Enzo jannacci, Luigi Tenco, Mal, The Motowns, Mina, Gigliola Cinquetti, Rita Pavone y algunos más. Emitimos siempre desde Radio Nava para el mundo. Síguenos en ivoox, facebook, itunes, o en nuestro blog: http://carreteressecundariesradioblog.blogspot.com.es/ y contacta con nosotros en carreteressecundaries@gmail.com

"I just want to celebrate, yeah, yeah!" Today I celebrate the Supreme Court decision to end the misinterpretation of the Second Amendment of the US Constitution in our nation’s cities and my 46th birthday. (I am 30 years old with 16 years experience!) This podcast will use a few bars from Motown’s Rare Earth, “I just want to celebrate” which pretty much captures how I feel about everything right in my life. Interesting note is that this was one of Motowns first, all White American groups that had this hit in 1971. I love the fact that music is universal and the color of your skin doesn’t mean “jack”. Play that funky music … OK the Supreme Court of the United States agrees with us that the Second Amendment is an individual right. Now what? I know there is confusion as to whether the law where you live is a state or federal law and which one will finally rule. The Supremacy Clause in the Constitution says: This Constitution, and the Laws of the United States which shall be made in Pursuance thereof; and all Treaties made, or which shall be made, under the Authority of the United States, shall be the supreme Law of the Land; and the Judges in every State shall be bound thereby, any thing in the Constitution or Laws of any State to the Contrary notwithstanding. Meaning that federal law always trumps state law if there is a conflict between the two. If there is no conflict then the state law will be used but if there is any question or conflict of the two reading as the same, then the federal rule would win. The bad news is, cities and states can and will still create restrictions to keep you from being able to protect yourself and family in the letter of the law. It is no coincidence that lawyers become politicians. Shoot or Don't Shoot- You Decide Scenario #4 is complex - "The Good Samaritan"- lets talk about this on the forums on gunrightsradio.com/forums2, Urban shooter please leave some comments on iTunes for The Urban Shooter Podcast thanks again for listening, Kenn blackmanwithagun@gmail.com gunrightsradio.com