Podcasts about Redlining

Systematic denial of services to residents of specific neighborhoods or communities

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  • Jan 13, 2023LATEST
Redlining

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Best podcasts about Redlining

Latest podcast episodes about Redlining

Marketplace Morning Report
Largest-ever settlement reached over mortgage redlining

Marketplace Morning Report

Play Episode Listen Later Jan 13, 2023 7:03


Yesterday, the Department of Justice reached a settlement with the California-based City National Bank over accusations of mortgage “redlining” in Latino and Black neighborhoods in Los Angeles County. The settlement is the largest in U.S. history, clocking in at $31 million. The storm in California is helping the drought situation, but there’s now talk of improving the state’s stormwater storage system. And, the BBC’s Ben Chu reports on the dire economic and political situation in Sri Lanka.

Marketplace All-in-One
Largest-ever settlement reached over mortgage redlining

Marketplace All-in-One

Play Episode Listen Later Jan 13, 2023 7:03


Yesterday, the Department of Justice reached a settlement with the California-based City National Bank over accusations of mortgage “redlining” in Latino and Black neighborhoods in Los Angeles County. The settlement is the largest in U.S. history, clocking in at $31 million. The storm in California is helping the drought situation, but there’s now talk of improving the state’s stormwater storage system. And, the BBC’s Ben Chu reports on the dire economic and political situation in Sri Lanka.

Short Wave
Redlining's Ripple Effects Go Beyond Humans

Short Wave

Play Episode Listen Later Jan 9, 2023 13:58 Very Popular


When Dr. Chloé Schmidt was a PhD student in Winnepeg, Canada, she was studying wildlife in urban areas. She and her advisor Dr. Colin Garroway came across a 2020 paper that posed a hypothesis: If the echos of systemic racism affect the human residents of neighborhoods and cities, then it should affect the wildlife as well. Short Wave Scientist in Residence Regina G. Barber talks to Chloé and Colin about their findings of how redlining and biodiversity are intertwined.

Science Friday
Redlining and Baltimore Trees, The Root Of A Gopher Mystery, Cold and the Nose, Glass Frogs. Jan 6, 2023, Part 2

Science Friday

Play Episode Listen Later Jan 6, 2023 47:12 Very Popular


How Redlining Shaped Baltimore's Tree Canopy Redlining was pervasive in American cities from the 1930s through the late 1960s. Maps were drawn specifically to ensure that Black people were denied mortgages. These discriminatory practices created a lasting legacy of economic and racial inequality which persists today. Less obvious is how redlining has shaped nature and the urban ecosystem. A recent study found that previously redlined neighborhoods in Baltimore have fewer big old trees and lower tree diversity than other parts of the city. These findings are part of the Baltimore Ecosystem Study, a collaborative research project which has tracked the city's changing urban environment for the past 25 years. But it's not all bad news. The city has a comprehensive tree replanting initiative and is now working to restore its tree canopy. In 2007, Baltimore set a goal to increase the tree cover from 20% to 40% by 2037. Since then, officials have been working closely with non-profit community organizations to plant trees all over the city—especially in previously redlined and otherwise under-served neighborhoods. Ira talks with Karin Burghardt, assistant professor of entomology at the University of Maryland about her latest research into the effect of redlining on Baltimore's tree ecosystem. And later, Ira speaks with Ryan Alston, communications and outreach manager for Baltimore Tree Trust, which has planted over 16,000 trees in the city to date.   What's Going On Underground With Gophers? Pocket gophers, also known as gophers, are often viewed as a pest species. But their extensive tunnel networks are good for soil and help shape healthy ecosystems everywhere gophers are found. Producer Christie Taylor talks to two University of Florida researchers who investigated the mystery of the pocket gopher—why does a single gopher build such a large network of tunnels? What they found led to deeper questions about how gophers get enough food for their extensive energy needs, and whether they might even be cultivating roots in a deliberate act of farming. Plus, why pocket gophers deserve our appreciation as ecosystem engineers.   How This Chemist Is Turning Agricultural Waste Into Water Filters Activated carbon filters have become common household items as water filters in pitchers, or directly on your faucet. These activated carbon filters are also used in industrial processes like wastewater treatment and to filter out chemicals released in smokestacks. Dr. Kandis Leslie Abdul-Aziz, assistant professor of chemical and environmental engineering at University of California Riverside, has created activated carbon filters from agricultural waste like corn stover and orange peels. Abdul-Aziz talks with Ira about her research, and what it will take to shift manufacturing processes to be more sustainable and less harmful to the planet.     The Nose Knows When It's Cold—And It May Get You Sick It's something most of us know from experience: When it's cold outside, you're likely to see a lot of people sneezing and coughing. Upper respiratory infections, like the flu, colds or even COVID-19 are common in winter. But understanding the biological reasons why hasn't been known—until now. Researchers at Mass Eye and Ear cracked the mystery in the Journal of Allergy and Clinical Immunology last month. The study points to the cold-sensitive nose—specifically extracellular vesicles inside nose cells—as the key immune response impacted by temperature. It turns out that a temperature drop of about 40 degrees Farenheit triggers a severe decrease in the quantity and effectiveness in EVs, decreasing the body's ability to prevent infection. Ira speaks to the study's lead author Benjamin Bleier, associate professor at Mass Eye and Ear in Boston, Massachusetts, about this breakthrough and the impact it could have on future treatments for respiratory illness.   By Hiding Their Blood, These Frogs Pull Off The Ultimate Disappearing Act Glass frogs have a superpower: If you look at them from above, they look like regular green frogs. But if you flip one over, you can see right into their bodies: hearts, intestines, bones, and all. As these frogs doze off, however, something changes: They disappear. Well, almost. A new study shows that the frogs can hide their red blood cells as they sleep, becoming expert camouflagers. Dr. Carlos Taboada, a biologist at Duke University, is a co-author on this study and he joins Ira to talk about the glass frogs' tricks.   Transcripts for each segment will be available the week after the show airs on sciencefriday.com.

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo - Brothers Perspective Magazine: Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 38 (Reparations Black People Entertainment)

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Jan 6, 2023 3:54


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 38 (Reparations Black People Entertainment Inside Poor Health Care) Policing the movements of Black people, slave patrols were explicit in their design to empower the White population. As the population of enslaved Black people boomed, especially with the invention of the cotton gin, so did the fear of resistance and uprisings by the enslaved. All Negro, mulatto and Indian slaves within this dominion…shall be held to be real estate. If any slave resist his master…correcting such slave, and shall happen to be killed in such correction…the master shall be free of all punishment…as if such accident never happened (1705 Laws of Virginia: Chapter XLIX). Racism may be used to justify the harsh treatment of others! Reparations are due because if you can help those who don't pay taxes, you turn around and do stuff like this ,The Marshall Plan (officially the European Recovery Program, ERP) was an American initiative enacted in 1948 to provide foreign aid to Western Europe. The United States transferred over $13 billion (equivalent of about $115 billion in 2021). The value of 40 acres and mule for those 40,000 freed slaves would be worth $640 billion today. Jun 19, 2020 When the fire died out, the horror continued as people moved in to dismember the body. Some took out their pocketknives and cut off ears and fingers and broke up bones to take as gruesome souvenirs. As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. We seek reparations now for the atrocities committed on Black People! Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #Reparations #diabetes #75dab #WilliamFroggieJames #lyching #basketball #nyc #fakereligion #war #neverapologize #brooklyn #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #marshallact #europeanrecoveryprogram #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Unf*cking The Republic
Show Notes [Ep 82: The Black & Jewish Divide in America + Quickie 14: How New York F*cked the Country.]

Unf*cking The Republic

Play Episode Listen Later Jan 4, 2023 78:08


In this very special Show Notes, Max and 99 are joined in-person by the one and only Manny Faces! They cover some Unf*cker feedback from the last two episodes, reflect on what was covered in 2022, and tease what's to come in 2023. Listen to The Black & Jewish Divide in America. Listen to Quickie 14: How New York F*cked the Country. Chapters Intro: 00:00:20 Emails: 00:07:02 Facebook Shout Outs: 01:05:38 Instagram Shout Outs: 01:07:5 Buy Me A Coffee Donations + Memberships: 01:09:17 Reviews: 01:14:09 Outro: 01:14:51 Resources UNFTR: The Economics of Racism: Bootstraps, Black Banks and Redlining. Trust Me Podcast: Torah Bontrager – Growing Up Amish, Part 1: Corporal Punishment & Rumspringa -- If you like #UNFTR, please leave us a rating and review on Apple Podcasts: unftr.com/rate and follow us on Facebook, Twitter and Instagram at @UNFTRpod. Visit us online at unftr.com. Join the Unf*cker-run Facebook group: facebook.com/groups/2051537518349565 Buy yourself some Unf*cking Coffee at shop.unftr.com. Subscribe to Unf*cking The Republic on Substack at unftr.substack.com to get the essays these episode are framed around sent to your inbox every week. Check out the UNFTR Pod Love playlist on Spotify: spoti.fi/3yzIlUP. Visit our bookshop.org page at bookshop.org/shop/UNFTRpod to find the full UNFTR book list, and find book recommendations from our Unf*ckers at bookshop.org/lists/unf-cker-book-recommendations. Access the UNFTR Musicless feed by following the instructions at unftr.com/accessibility. Unf*cking the Republic is produced by 99 and engineered by Manny Faces Media (mannyfacesmedia.com). Original music is by Tom McGovern (tommcgovern.com). The show is written and hosted by Max and distributed by 99. Podcast art description: Image of the US Constitution ripped in the middle revealing white text on a blue background that says, "Unf*cking the Republic."See omnystudio.com/listener for privacy information.

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 37 (Reparations Fight Against Colonized USA)

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Dec 27, 2022 9:28


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 37 (Reparations Fight Against Colonized USA) Policing the movements of Black people, slave patrols were explicit in their design to empower the White population. As the population of enslaved Black people boomed, especially with the invention of the cotton gin, so did the fear of resistance and uprisings by the enslaved. All Negro, mulatto and Indian slaves within this dominion…shall be held to be real estate. If any slave resist his master…correcting such slave, and shall happen to be killed in such correction…the master shall be free of all punishment…as if such accident never happened (1705 Laws of Virginia: Chapter XLIX). Racism may be used to justify the harsh treatment of others! Reparations are due because if you can help those who don't pay taxes, you turn around and do stuff like this ,The Marshall Plan (officially the European Recovery Program, ERP) was an American initiative enacted in 1948 to provide foreign aid to Western Europe. The United States transferred over $13 billion (equivalent of about $115 billion in 2021). The value of 40 acres and mule for those 40,000 freed slaves would be worth $640 billion today. Jun 19, 2020 When the fire died out, the horror continued as people moved in to dismember the body. Some took out their pocketknives and cut off ears and fingers and broke up bones to take as gruesome souvenirs. As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. We seek reparations now for the atrocities committed on Black People! Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #Reparations #diabetes #75dab #WilliamFroggieJames #lyching #basketball #nyc #fakereligion #war #neverapologize #brooklyn #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #marshallact #europeanrecoveryprogram #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 36 (Reparations For Stolen Gains)

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Dec 19, 2022 4:58


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 36 (Reparations For Stolen Gains) The Marshall Plan (officially the European Recovery Program, ERP) was an American initiative enacted in 1948 to provide foreign aid to Western Europe. The United States transferred over $13 billion (equivalent of about $115 billion in 2021). The value of 40 acres and mule for those 40,000 freed slaves would be worth $640 billion today. Jun 19, 2020 When the fire died out, the horror continued as people moved in to dismember the body. Some took out their pocketknives and cut off ears and fingers and broke up bones to take as gruesome souvenirs. As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. We seek reparations now for the atrocities committed on Black People! Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #Reparations #diabetes #75dab #WilliamFroggieJames #lyching #basketball #nyc #fakereligion #war #neverapologize #brooklyn #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #marshallact #europeanrecoveryprogram #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Unf*cking The Republic
The Black & Jewish Divide in America: The Fractured "Grand Alliance."

Unf*cking The Republic

Play Episode Listen Later Dec 18, 2022 87:34


Fascism, Nazism and antisemitism are back in the headlines. Conservative media and the New Right are relaxing with popcorn and settling in to watch as tensions between the Black and Jewish communities increase once again. Today's episode traces the legacy of conflict between Black and Jewish people in the United States from the so-called “Grand Alliance” of the Civil Rights era, the Black Power and Consciousness movements and the emergence of Zionism in the U.S. to the recent explosion in pop culture. Who stands to gain from this fracture should be painfully obvious, but that doesn't make for good television. Chapters Intro: 00:00:01 Chapter One: The ties that bind us together. 00:06:54 Chapter Two: The lies that pull us apart. 00:18:30 Chapter Three: Israel. 00:27:09 Chapter Four: Bringing It Home. 00:37:26 Post Show Musings: 00:43:39 Outro: 01:26:01 Resources Vanity Fair: The Secret History of Gavin McInnes UNFTR: The Economics of Racism: Bootstraps, Black Banks and Redlining. Pew Research Center: Economics and well-being among U.S. Jews Observer: The Music Industry's Long History of Dividing Blacks and Jews National Archive: The Student Nonviolent Coordinating Committee (SNCC) BBC: Leopold II: Belgium 'wakes up' to its bloody colonial past The New York Times: What to Know About Irving's Antisemitic Movie Post and the Fallout Conspirituality Podcast: Ye, Balenciaga, & Twilight Zone Propaganda Book Love Terrence L. Johnson & Jacques Berlinerblau: Blacks and Jews in America: An Invitation to Dialogue Jonathan Weisman: (((Semitism))) Being Jewish in America in the Age of Trump -- If you like #UNFTR, please leave us a rating and review on Apple Podcasts: unftr.com/rate and follow us on Facebook, Twitter and Instagram at @UNFTRpod. Visit us online at unftr.com. Join the Unf*cker-run Facebook group: facebook.com/groups/2051537518349565 Buy yourself some Unf*cking Coffee at shop.unftr.com. Subscribe to Unf*cking The Republic on Substack at unftr.substack.com to get the essays these episode are framed around sent to your inbox every week. Check out the UNFTR Pod Love playlist on Spotify: spoti.fi/3yzIlUP. Visit our bookshop.org page at bookshop.org/shop/UNFTRpod to find the full UNFTR book list, and find book recommendations from our Unf*ckers at bookshop.org/lists/unf-cker-book-recommendations. Access the UNFTR Musicless feed by following the instructions at unftr.com/accessibility. Unf*cking the Republic is produced by 99 and engineered by Manny Faces Media (mannyfacesmedia.com). Original music is by Tom McGovern (tommcgovern.com). The show is written and hosted by Max and distributed by 99. Podcast art description: Image of the US Constitution ripped in the middle revealing white text on a blue background that says, "Unf*cking the Republic."See omnystudio.com/listener for privacy information.

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 35 (Reparations For Production Inequality)

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Dec 12, 2022 4:14


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 35 (Reparations For Production Inequality) The Marshall Plan (officially the European Recovery Program, ERP) was an American initiative enacted in 1948 to provide foreign aid to Western Europe. The United States transferred over $13 billion (equivalent of about $115 billion in 2021). The value of 40 acres and mule for those 40,000 freed slaves would be worth $640 billion today. Jun 19, 2020 When the fire died out, the horror continued as people moved in to dismember the body. Some took out their pocketknives and cut off ears and fingers and broke up bones to take as gruesome souvenirs. As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. We seek reparations now for the atrocities committed on Black People! Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #Reparations #diabetes #75dab #WilliamFroggieJames #lyching #basketball #nyc #fakereligion #war #neverapologize #brooklyn #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #marshallact #europeanrecoveryprogram #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 34 (Reparations For A Lynching)

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Dec 5, 2022 5:08


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 34 (Reparations For A Lynching) William "Froggie" James, an African-American man, was lynched and his dead body mutilated on November 11, 1909 by a mob in the Illinois town of Cairo after he was charged with the rape and murder of 24-year-old shop clerk Anna Pelley. William James was dead. The mob ran with his bleeding body to the murder scene in the alley. One man chopped off James's head, put it on a pike, and lifted it up for the cheering crowd to see. The mob then set James's body on fire and roasted the remains while men, women, and children shouted and cheered. When the fire died out, the horror continued as people moved in to dismember the body. Some took out their pocketknives and cut off ears and fingers and broke up bones to take as gruesome souvenirs. As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. We seek reparations now for the atrocities committed on Black People! Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #Reparations #diabetes #75dab #basketball #nyc #fakereligion #war #neverapologize #brooklyn #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 33 (Reparations Now A)

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Nov 29, 2022 2:52


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 33 (Reparations Now A) As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. We seek reparations now for the atrocities committed on Black People! Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #Reparations #diabetes #75dab #basketball #nyc #fakereligion #war #neverapologize #brooklyn #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Consumer Finance Monitor
Mortgage Redlining: A Look at the Ongoing Challenges for Banks and Non-Banks, with Special Guest Abby Hogan, Regulatory Attorney and Former Analyst in the Office of Fair Lending and Equal Opportunity, Consumer Financial Protection Bureau

Consumer Finance Monitor

Play Episode Listen Later Nov 23, 2022 56:24


We first review the origins of mortgage redlining and discuss the concept of reverse redlining and new theories of redlining. We then look at a wide range of topics including: the application of redlining enforcement to non-banks; the use of the Equal Credit Opportunity Act and Fair Housing Act to challenge redlining; activity at state level targeting redlining; the types of evidence regulators will look for when examining for redlining or bringing an enforcement action; potential penalties for redlining violations; what steps may be required for remediation of redlining; and how a bank or non-bank can build a compliance program to avoid redlining. Alan Kaplinsky, Ballard Spahr Senior Counsel in the firm's Consumer Financial Services Group, hosts the conversation joined by Richard Andreano, a partner in the Group and Leader of the firm's Mortgage Banking Group.

Off The Couch
Joe DeMoor on the Sub-Ultra Trail Scene, His Colorado Running Roots, and Riding the Red Line

Off The Couch

Play Episode Listen Later Nov 22, 2022 55:17


Joe DeMoor is about as Colorado as they come; he's from Buena Vista, ran collegiately for the Buffalos at CU Boulder, lives in Carbondale, and works on Aspen Snowmass's trail crew in the summer and grooms ski runs there in the winter. As a professional mountain runner for La Sportiva, he's had a breakout year of racing thus far, with several wins under his belt. Redlining up mountains is in Joe's blood, so we sat down with him to talk about growing up on Colorado trails; the ins and outs of sub-ultra-distance racing; graveyard shifts; pain caves; and a whole lot more. TOPICS & TIMESGrowing up in CO (3:02)Running with the Buffaloes (5:49)Transitioning to the trails (11:21)Tourism management, what's that? (14:45)Trail crews & graveyard shifts (15:46)How Joe prepares for a race (18:46)Does having a super physical job help or hurt his training? (21:40)Recovery hacks (24:12)Following in his brother's footsteps (27:20)Year-in-review (29:22)Racing Vertical Kilometers (35:31)Skyrunning World Champs (41:09)Making his international racing debut in Italy (43:33)Thailand travelog (45:00)FKTs (48:00)Skimo season (53:00)CHECK OUT OUR OTHER PODCASTSCRAFTEDBlister PodcastGEAR:30Bikes & Big Ideas Hosted on Acast. See acast.com/privacy for more information.

The Source
San Antonio's redlining history still impacts the city's Black, Hispanic neighborhoods

The Source

Play Episode Listen Later Nov 21, 2022 24:50


San Antonio has many economically segregated neighborhoods. Historically the city has dealt with high poverty rates and low education among communities of color. Much of this can be attributed to the federal government's redlining practices after The Great Depression.

Beyond Reproach
S5 Ep60: Baddie One Shoe: Episode 60 (A Brief History of Redlining)

Beyond Reproach

Play Episode Listen Later Nov 21, 2022 61:30


In this episode, we are drinking a Stinger, an upper class society drink that is strong, sweet and minty. This creme de menthe based cockation (that is good at masking the flavor or subpar prohibition spirits) matches the era of TUX's scandal.

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 32 (Dont Emulate Oppressors

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Nov 21, 2022 3:43


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes 32 (Don't Emulate Oppressors) As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #diabetes #75dab #basketball #nyc #fakereligion #war #neverapologize #brooklyn #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 31 (Working For Oppression)

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Nov 14, 2022 2:03


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes 31 (Working For Oppression) As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #diabetes #75dab #basketball #nyc #fakereligion #war #neverapologize #brooklyn #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Taiiku Podcast
REDLINE

Taiiku Podcast

Play Episode Listen Later Nov 9, 2022 118:30


It's the 100th episode of the podcast! As I say on the recording itself, this isn't the actual 100th episode; we've had a few above 100 since I've done quite a few 0.5 episodes (like the top movies podcasts) that aren't in the mainline of episodes. But at least the episodes where we talk about a sports anime or manga, it's 100 episodes. I reached this milestone a bit earlier on Manga In Your Ears, just because our formerly biweekly and currently thriceweekly (is that a term for every three weeks?) would outpace Taiiku's monthly schedule regardless of whether I was actually on time on every single month of Taiiku (which I have not been). It's still a lot of episodes to be podcasting. I also joked on Manga In Your Ears that I've now started two podcasts, but I have no idea how to end any. So I guess anyone listening is stuck pretending to listen until...I die? Anyway, I digress. Thanks so much to everyone who's been on the podcast up to this point. Thanks to everyone who's listened and commented that you like an episode; it truly brings me unbridled joy (what is the etymology of unbridled? can I also be ungroomed? I kid.). Thanks especially to Camellia, who started this podcast journey with me. She doesn't appear on as many, or any, episodes anymore, but both iterations of the website literally would not exist without her help. And I owe her a lot more than I give credit to probably. The standing invite will always be there too. Thanks to Kyle for joining up on that first episode of Chihayafuru with us two; the former Chihayafuruhime himself. Thanks to Chris and Chris, who have joined up along the way to cover a multitude of subjects, including sports anime, sports manga, just anime in general on a lot of the top anime shows, and branching out into movies, first with our top movies shows, then later with covering a director at a time. I can't wait to jump into Jean-Pierre Melville, and I learned so much from you two watching Kurosawa and Lynch. Thanks to Ink and Basil, who have been on just so, so many episodes of this podcast and I would certainly have a lesser catalogue if not for those two being always willing to talk about the weirdest and worse dredges of sports anime. And finally, and of course, thanks to everyone who jumped into this podcast and recorded segments for it. Chris (@gokuffy), Chris (@antoniuspius), Basil (@itsbasiltime), Austin (@bebopshock), Grant (@grantthethief), Lum (@LumRanmaYasha), Mikey (@MikeyShiota), and Tony (@tondog). Here are a few of the other things mentioned on the podcast: AWO podcast Basil mentioned on REDLINE - Anime World Order Show # 96 – Redlining a Herocaine Sandwich with Tim Maughan Blade Licking Thieves - #15: REDLINE Chris's REDLINE review on Mania (now Fandom Post) - Why Redline is Important and you SHOULD Believe the Hype! Listen Next time is Anime Secret Santa. Ho ho ho.

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 30 (Don't Apologize Black People We At War)

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Nov 6, 2022 7:19


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 30 (Don't Apologize Black People We At War) As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #diabetes #75dab #basketball #nyc #fakereligion #war #neverapologize #brooklyn #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 29 (love and protect black life)

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Nov 2, 2022 3:32


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 29 (love and protect black life) As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #diabetes #75dab #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

All Sides with Ann Fisher
The legacy of redlining in the U.S. and Columbus

All Sides with Ann Fisher

Play Episode Listen Later Nov 1, 2022 49:55


Redlining is the discriminatory practice that kept minorities from purchasing homes in white neighborhoods. We'll examine the legacy it left around the U.S. and Columbus.

All Sides with Ann Fisher Podcast
The legacy of redlining in the U.S. and Columbus

All Sides with Ann Fisher Podcast

Play Episode Listen Later Nov 1, 2022 49:55


Redlining is the discriminatory practice that kept minorities from purchasing homes in white neighborhoods. We'll examine the legacy it left around the U.S. and Columbus.

A History Of Rock Music in Five Hundred Songs
Episode 156: “I Was Made to Love Her” by Stevie Wonder

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Oct 25, 2022


Episode one hundred and fifty-six of A History of Rock Music in Five Hundred Songs looks at “I Was Made to Love Her", the early career of Stevie Wonder, and the Detroit riots of 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Groovin'" by the Young Rascals. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. The best value way to get all of Stevie Wonder's early singles is this MP3 collection, which has the original mono single mixes of fifty-five tracks for a very reasonable price. For those who prefer physical media, this is a decent single-CD collection of his early work at a very low price indeed. As well as the general Motown information listed below, I've also referred to Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder by Mark Ribowsky, which rather astonishingly is the only full-length biography of Wonder, to Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner, and to Detroit 67: The Year That Changed Soul by Stuart Cosgrove. 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. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson by "Dr Licks" is a mixture of a short biography of the great bass player, and tablature of his most impressive bass parts. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode deals with disability and racism, and also deals from the very beginning with sex work and domestic violence. It also has some discussion of police violence and sexual assault. As always I will try to deal with those subjects as non-judgementally and sensitively as possible, but if you worry that anything about those subjects might disturb you, please check the transcript. Calvin Judkins was not a good man. Lula Mae Hardaway thought at first he might be, when he took her in, with her infant son whose father had left before the boy was born. He was someone who seemed, when he played the piano, to be deeply sensitive and emotional, and he even did the decent thing and married her when he got her pregnant. She thought she could save him, even though he was a street hustler and not even very good at it, and thirty years older than her -- she was only nineteen, he was nearly fifty. But she soon discovered that he wasn't interested in being saved, and instead he was interested in hurting her. He became physically and financially abusive, and started pimping her out. Lula would eventually realise that Calvin Judkins was no good, but not until she got pregnant again, shortly after the birth of her second son. Her third son was born premature -- different sources give different numbers for how premature, with some saying four months and others six weeks -- and while he apparently went by Stevland Judkins throughout his early childhood, the name on his birth certificate was apparently Stevland Morris, Lula having decided not to give another child the surname of her abuser, though nobody has ever properly explained where she got the surname "Morris" from. Little Stevland was put in an incubator with an oxygen mask, which saved the tiny child's life but destroyed his sight, giving him a condition called retinopathy of prematurity -- a condition which nowadays can be prevented and cured, but in 1951 was just an unavoidable consequence for some portion of premature babies. Shortly after the family moved from Saginaw to Detroit, Lula kicked Calvin out, and he would remain only a peripheral figure in his children's lives, but one thing he did do was notice young Stevland's interest in music, and on his increasingly infrequent visits to his wife and kids -- visits that usually ended with violence -- he would bring along toy instruments for the young child to play, like a harmonica and a set of bongos. Stevie was a real prodigy, and by the time he was nine he had a collection of real musical instruments, because everyone could see that the kid was something special. A neighbour who owned a piano gave it to Stevie when she moved out and couldn't take it with her. A local Lions Club gave him a drum kit at a party they organised for local blind children, and a barber gave him a chromatic harmonica after seeing him play his toy one. Stevie gave his first professional performance when he was eight. His mother had taken him to a picnic in the park, and there was a band playing, and the little boy got as close to the stage as he could and started dancing wildly. The MC of the show asked the child who he was, and he said "My name is Stevie, and I can sing and play drums", so of course they got the cute kid up on stage behind the drum kit while the band played Johnny Ace's "Pledging My Love": [Excerpt: Johnny Ace, "Pledging My Love"] He did well enough that they paid him seventy-five cents -- an enormous amount for a small child at that time -- though he was disappointed afterwards that they hadn't played something faster that would really allow him to show off his drumming skills. After that he would perform semi-regularly at small events, and always ask to be paid in quarters rather than paper money, because he liked the sound of the coins -- one of his party tricks was to be able to tell one coin from another by the sound of them hitting a table. Soon he formed a duo with a neighbourhood friend, John Glover, who was a couple of years older and could play guitar while Stevie sang and played harmonica and bongos. The two were friends, and both accomplished musicians for their age, but that wasn't the only reason Stevie latched on to Glover. Even as young as he was, he knew that Motown was soon going to be the place to be in Detroit if you were a musician, and Glover had an in -- his cousin was Ronnie White of the Miracles. Stevie and John performed as a duo everywhere they could and honed their act, performing particularly at the talent shows which were such an incubator of Black musical talent at the time, and they also at this point seem to have got the attention of Clarence Paul, but it was White who brought the duo to Motown. Stevie and John first played for White and Bobby Rodgers, another of the Miracles, then when they were impressed they took them through the several layers of Motown people who would have to sign off on signing a new act. First they were taken to see Brian Holland, who was a rising star within Motown as "Please Mr. Postman" was just entering the charts. They impressed him with a performance of the Miracles song "Bad Girl": [Excerpt: The Miracles, "Bad Girl"] After that, Stevie and John went to see Mickey Stevenson, who was at first sceptical, thinking that a kid so young -- Stevie was only eleven at the time -- must be some kind of novelty act rather than a serious musician. He said later "It was like, what's next, the singing mouse?" But Stevenson was won over by the child's talent. Normally, Stevenson had the power to sign whoever he liked to the label, but given the extra legal complications involved in signing someone under-age, he had to get Berry Gordy's permission. Gordy didn't even like signing teenagers because of all the extra paperwork that would be involved, and he certainly wasn't interested in signing pre-teens. But he came down to the studio to see what Stevie could do, and was amazed, not by his singing -- Gordy didn't think much of that -- but by his instrumental ability. First Stevie played harmonica and bongos as proficiently as an adult professional, and then he made his way around the studio playing on every other instrument in the place -- often only a few notes, but competent on them all. Gordy decided to sign the duo -- and the initial contract was for an act named "Steve and John" -- but it was soon decided to separate them. Glover would be allowed to hang around Motown while he was finishing school, and there would be a place for him when he finished -- he later became a staff songwriter, working on tracks for the Four Tops and the Miracles among others, and he would even later write a number one hit, "You Don't Have to be a Star (to be in My Show)" for Marilyn McCoo and Billy Davis Jr -- but they were going to make Stevie a star right now. The man put in charge of that was Clarence Paul. Paul, under his birth name of Clarence Pauling, had started his career in the "5" Royales, a vocal group he formed with his brother Lowman Pauling that had been signed to Apollo Records by Ralph Bass, and later to King Records. Paul seems to have been on at least some of the earliest recordings by the group, so is likely on their first single, "Give Me One More Chance": [Excerpt: The "5" Royales, "Give Me One More Chance"] But Paul was drafted to go and fight in the Korean War, and so wasn't part of the group's string of hit singles, mostly written by his brother Lowman, like "Think", which later became better known in James Brown's cover version, or "Dedicated to the One I Love", later covered by the Shirelles, but in its original version dominated by Lowman's stinging guitar playing: [Excerpt: The "5" Royales, "Dedicated to the One I Love"] After being discharged, Clarence had shortened his name to Clarence Paul, and had started recording for all the usual R&B labels like Roulette and Federal, with little success: [Excerpt: Clarence Paul, "I'm Gonna Love You, Love You Til I Die"] He'd also co-written "I Need Your Lovin'", which had been an R&B hit for Roy Hamilton: [Excerpt: Roy Hamilton, "I Need Your Lovin'"] Paul had recently come to work for Motown – one of the things Berry Gordy did to try to make his label more attractive was to hire the relatives of R&B stars on other labels, in the hopes of getting them to switch to Motown – and he was the new man on the team, not given any of the important work to do. He was working with acts like Henry Lumpkin and the Valladiers, and had also been the producer of "Mind Over Matter", the single the Temptations had released as The Pirates in a desperate attempt to get a hit: [Excerpt: The Pirates, "Mind Over Matter"] Paul was the person you turned to when no-one else was interested, and who would come up with bizarre ideas. A year or so after the time period we're talking about, it was him who produced an album of country music for the Supremes, before they'd had a hit, and came up with "The Man With the Rock and Roll Banjo Band" for them: [Excerpt: The Supremes, "The Man With The Rock and Roll Banjo Band"] So, Paul was the perfect person to give a child -- by this time twelve years old -- who had the triple novelties of being a multi-instrumentalist, a child, and blind. Stevie started spending all his time around the Motown studios, partly because he was eager to learn everything about making records and partly because his home life wasn't particularly great and he wanted to be somewhere else. He earned the affection and irritation, in equal measure, of people at Motown both for his habit of wandering into the middle of sessions because he couldn't see the light that showed that the studio was in use, and for his practical joking. He was a great mimic, and would do things like phoning one of the engineers and imitating Berry Gordy's voice, telling the engineer that Stevie would be coming down, and to give him studio equipment to take home. He'd also astonish women by complimenting them, in detail, on their dresses, having been told in advance what they looked like by an accomplice. But other "jokes" were less welcome -- he would regularly sexually assault women working at Motown, grabbing their breasts or buttocks and then claiming it was an accident because he couldn't see what he was doing. Most of the women he molested still speak of him fondly, and say everybody loved him, and this may even be the case -- and certainly I don't think any of us should be judged too harshly for what we did when we were twelve -- but this kind of thing led to a certain amount of pressure to make Stevie's career worth the extra effort he was causing everyone at Motown. Because Berry Gordy was not impressed with Stevie's vocals, the decision was made to promote him as a jazz instrumentalist, and so Clarence Paul insisted that his first release be an album, rather than doing what everyone would normally do and only put out an album after a hit single. Paul reasoned that there was no way on Earth they were going to be able to get a hit single with a jazz instrumental by a twelve-year-old kid, and eventually persuaded Gordy of the wisdom of this idea. So they started work on The Jazz Soul of Little Stevie, released under his new stagename of Little Stevie Wonder, supposedly a name given to him after Berry Gordy said "That kid's a wonder!", though Mickey Stevenson always said that the name came from a brainstorming session between him and Clarence Paul. The album featured Stevie on harmonica, piano, and organ on different tracks, but on the opening track, "Fingertips", he's playing the bongos that give the track its name: [Excerpt: Little Stevie Wonder, "Fingertips (studio version)"] The composition of that track is credited to Paul and the arranger Hank Cosby, but Beans Bowles, who played flute on the track, always claimed that he came up with the melody, and it seems quite likely to me that most of the tracks on the album were created more or less as jam sessions -- though Wonder's contributions were all overdubbed later. The album sat in the can for several months -- Berry Gordy was not at all sure of its commercial potential. Instead, he told Paul to go in another direction -- focusing on Wonder's blindness, he decided that what they needed to do was create an association in listeners' minds with Ray Charles, who at this point was at the peak of his commercial power. So back into the studio went Wonder and Paul, to record an album made up almost entirely of Ray Charles covers, titled Tribute to Uncle Ray. (Some sources have the Ray Charles tribute album recorded first -- and given Motown's lax record-keeping at this time it may be impossible to know for sure -- but this is the way round that Mark Ribowsky's biography of Wonder has it). But at Motown's regular quality control meeting it was decided that there wasn't a single on the album, and you didn't release an album like that without having a hit single first. By this point, Clarence Paul was convinced that Berry Gordy was just looking for excuses not to do anything with Wonder -- and there may have been a grain of truth to that. There's some evidence that Gordy was worried that the kid wouldn't be able to sing once his voice broke, and was scared of having another Frankie Lymon on his hands. But the decision was made that rather than put out either of those albums, they would put out a single. The A-side was a song called "I Call it Pretty Music But the Old People Call it the Blues, Part 1", which very much played on Wonder's image as a loveable naive kid: [Excerpt: Little Stevie Wonder, "I Call it Pretty Music But the Old People Call it the Blues, Part 1"] The B-side, meanwhile, was part two -- a slowed-down, near instrumental, version of the song, reframed as an actual blues, and as a showcase for Wonder's harmonica playing rather than his vocals. The single wasn't a hit, but it made number 101 on the Billboard charts, just missing the Hot One Hundred, which for the debut single of a new artist wasn't too bad, especially for Motown at this point in time, when most of its releases were flopping. That was good enough that Gordy authorised the release of the two albums that they had in the can. The next single, "Little Water Boy", was a rather baffling duet with Clarence Paul, which did nothing at all on the charts. [Excerpt: Clarence Paul and Little Stevie Wonder, "Little Water Boy"] After this came another flop single, written by Brian Holland, Lamont Dozier, and Janie Bradford, before the record that finally broke Little Stevie Wonder out into the mainstream in a big way. While Wonder hadn't had a hit yet, he was sent out on the first Motortown Revue tour, along with almost every other act on the label. Because he hadn't had a hit, he was supposed to only play one song per show, but nobody had told him how long that song should be. He had quickly become a great live performer, and the audiences were excited to watch him, so when he went into extended harmonica solos rather than quickly finishing the song, the audience would be with him. Clarence Paul, who came along on the tour, would have to motion to the onstage bandleader to stop the music, but the bandleader would know that the audiences were with Stevie, and so would just keep the song going as long as Stevie was playing. Often Paul would have to go on to the stage and shout in Wonder's ear to stop playing -- and often Wonder would ignore him, and have to be physically dragged off stage by Paul, still playing, causing the audience to boo Paul for stopping him from playing. Wonder would complain off-stage that the audience had been enjoying it, and didn't seem to get it into his head that he wasn't the star of the show, that the audiences *were* enjoying him, but were *there* to see the Miracles and Mary Wells and the Marvelettes and Marvin Gaye. This made all the acts who had to go on after him, and who were running late as a result, furious at him -- especially since one aspect of Wonder's blindness was that his circadian rhythms weren't regulated by sunlight in the same way that the sighted members of the tour's were. He would often wake up the entire tour bus by playing his harmonica at two or three in the morning, while they were all trying to sleep. Soon Berry Gordy insisted that Clarence Paul be on stage with Wonder throughout his performance, ready to drag him off stage, so that he wouldn't have to come out onto the stage to do it. But one of the first times he had done this had been on one of the very first Motortown Revue shows, before any of his records had come out. There he'd done a performance of "Fingertips", playing the flute part on harmonica rather than only playing bongos throughout as he had on the studio version -- leaving the percussion to Marvin Gaye, who was playing drums for Wonder's set: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] But he'd extended the song with a little bit of call-and-response vocalising: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] After the long performance ended, Clarence Paul dragged Wonder off-stage and the MC asked the audience to give him a round of applause -- but then Stevie came running back on and carried on playing: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] By this point, though, the musicians had started to change over -- Mary Wells, who was on after Wonder, was using different musicians from his, and some of her players were already on stage. You can hear Joe Swift, who was playing bass for Wells, asking what key he was meant to be playing in: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] Eventually, after six and a half minutes, they got Wonder off stage, but that performance became the two sides of Wonder's next single, with "Fingertips Part 2", the part with the ad lib singing and the false ending, rather than the instrumental part one, being labelled as the side the DJs should play. When it was released, the song started a slow climb up the charts, and by August 1963, three months after it came out, it was at number one -- only the second ever Motown number one, and the first ever live single to get there. Not only that, but Motown released a live album -- Recorded Live, the Twelve-Year-Old Genius (though as many people point out he was thirteen when it was released -- he was twelve when it was recorded though) and that made number one on the albums chart, becoming the first Motown album ever to do so. They followed up "Fingertips" with a similar sounding track, "Workout, Stevie, Workout", which made number thirty-three. After that, his albums -- though not yet his singles -- started to be released as by "Stevie Wonder" with no "Little" -- he'd had a bit of a growth spurt and his voice was breaking, and so marketing him as a child prodigy was not going to work much longer and they needed to transition him into a star with adult potential. In the Motown of 1963 that meant cutting an album of standards, because the belief at the time in Motown was that the future for their entertainers was doing show tunes at the Copacabana. But for some reason the audience who had wanted an R&B harmonica instrumental with call-and-response improvised gospel-influenced yelling was not in the mood for a thirteen year old singing "Put on a Happy Face" and "When You Wish Upon a Star", and especially not when the instrumental tracks were recorded in a key that suited him at age twelve but not thirteen, so he was clearly straining. "Fingertips" being a massive hit also meant Stevie was now near the top of the bill on the Motortown Revue when it went on its second tour. But this actually put him in a precarious position. When he had been down at the bottom of the bill and unknown, nobody expected anything from him, and he was following other minor acts, so when he was surprisingly good the audiences went wild. Now, near the top of the bill, he had to go on after Marvin Gaye, and he was not nearly so impressive in that context. The audiences were polite enough, but not in the raptures he was used to. Although Stevie could still beat Gaye in some circumstances. At Motown staff parties, Berry Gordy would always have a contest where he'd pit two artists against each other to see who could win the crowd over, something he thought instilled a fun and useful competitive spirit in his artists. They'd alternate songs, two songs each, and Gordy would decide on the winner based on audience response. For the 1963 Motown Christmas party, it was Stevie versus Marvin. Wonder went first, with "Workout, Stevie, Workout", and was apparently impressive, but then Gaye topped him with a version of "Hitch-Hike". So Stevie had to top that, and apparently did, with a hugely extended version of "I Call it Pretty Music", reworked in the Ray Charles style he'd used for "Fingertips". So Marvin Gaye had to top that with the final song of the contest, and he did, performing "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] And he was great. So great, it turned the crowd against him. They started booing, and someone in the audience shouted "Marvin, you should be ashamed of yourself, taking advantage of a little blind kid!" The crowd got so hostile Berry Gordy had to stop the performance and end the party early. He never had another contest like that again. There were other problems, as well. Wonder had been assigned a tutor, a young man named Ted Hull, who began to take serious control over his life. Hull was legally blind, so could teach Wonder using Braille, but unlike Wonder had some sight -- enough that he was even able to get a drivers' license and a co-pilot license for planes. Hull was put in loco parentis on most of Stevie's tours, and soon became basically inseparable from him, but this caused a lot of problems, not least because Hull was a conservative white man, while almost everyone else at Motown was Black, and Stevie was socially liberal and on the side of the civil rights and anti-Vietnam movements. Hull started to collaborate on songwriting with Wonder, which most people at Motown were OK with but which now seems like a serious conflict of interest, and he also started calling himself Stevie's "manager" -- which did *not* impress the people at Motown, who had their own conflict of interest because with Stevie, like with all their artists, they were his management company and agents as well as his record label and publishers. Motown grudgingly tolerated Hull, though, mostly because he was someone they could pass Lula Mae Hardaway to to deal with her complaints. Stevie's mother was not very impressed with the way that Motown were handling her son, and would make her opinion known to anyone who would listen. Hull and Hardaway did not get on at all, but he could be relied on to save the Gordy family members from having to deal with her. Wonder was sent over to Europe for Christmas 1963, to perform shows at the Paris Olympia and do some British media appearances. But both his mother and Hull had come along, and their clear dislike for each other was making him stressed. He started to get pains in his throat whenever he sang -- pains which everyone assumed were a stress reaction to the unhealthy atmosphere that happened whenever Hull and his mother were in the same room together, but which later turned out to be throat nodules that required surgery. Because of this, his singing was generally not up to standard, which meant he was moved to a less prominent place on the bill, which in turn led to his mother accusing the Gordy family of being against him and trying to stop him becoming a star. Wonder started to take her side and believe that Motown were conspiring against him, and at one point he even "accidentally" dropped a bottle of wine on Ted Hull's foot, breaking one of his toes, because he saw Hull as part of the enemy that was Motown. Before leaving for those shows, he had recorded the album he later considered the worst of his career. While he was now just plain Stevie on albums, he wasn't for his single releases, or in his first film appearance, where he was still Little Stevie Wonder. Berry Gordy was already trying to get a foot in the door in Hollywood -- by the end of the decade Motown would be moving from Detroit to LA -- and his first real connections there were with American International Pictures, the low-budget film-makers who have come up a lot in connection with the LA scene. AIP were the producers of the successful low-budget series of beach party films, which combined appearances by teen heartthrobs Frankie Avalon and Annette Funicello in swimsuits with cameo appearances by old film stars fallen on hard times, and with musical performances by bands like the Bobby Fuller Four. There would be a couple of Motown connections to these films -- most notably, the Supremes would do the theme tune for Dr. Goldfoot and the Bikini Machine -- but Muscle Beach Party was to be the first. Most of the music for Muscle Beach Party was written by Brian Wilson, Roger Christian, and Gary Usher, as one might expect for a film about surfing, and was performed by Dick Dale and the Del-Tones, the film's major musical guests, with Annette, Frankie, and Donna Loren [pron Lorren] adding vocals, on songs like "Muscle Bustle": [Excerpt: Donna Loren with Dick Dale and the Del-Tones, "Muscle Bustle"] The film followed the formula in every way -- it also had a cameo appearance by Peter Lorre, his last film appearance before his death, and it featured Little Stevie Wonder playing one of the few songs not written by the surf and car writers, a piece of nothing called "Happy Street". Stevie also featured in the follow-up, Bikini Beach, which came out a little under four months later, again doing a single number, "Happy Feelin'". To cash in on his appearances in these films, and having tried releasing albums of Little Stevie as jazz multi-instrumentalist, Ray Charles tribute act, live soulman and Andy Williams-style crooner, they now decided to see if they could sell him as a surf singer. Or at least, as Motown's idea of a surf singer, which meant a lot of songs about the beach and the sea -- mostly old standards like "Red Sails in the Sunset" and "Ebb Tide" -- backed by rather schlocky Wrecking Crew arrangements. And this is as good a place as any to take on one of the bits of disinformation that goes around about Motown. I've addressed this before, but it's worth repeating here in slightly more detail. Carol Kaye, one of the go-to Wrecking Crew bass players, is a known credit thief, and claims to have played on hundreds of records she didn't -- claims which too many people take seriously because she is a genuine pioneer and was for a long time undercredited on many records she *did* play on. In particular, she claims to have played on almost all the classic Motown hits that James Jamerson of the Funk Brothers played on, like the title track for this episode, and she claims this despite evidence including notarised statements from everyone involved in the records, the release of session recordings that show producers talking to the Funk Brothers, and most importantly the evidence of the recordings themselves, which have all the characteristics of the Detroit studio and sound like the Funk Brothers playing, and have absolutely nothing in common, sonically, with the records the Wrecking Crew played on at Gold Star, Western, and other LA studios. The Wrecking Crew *did* play on a lot of Motown records, but with a handful of exceptions, mostly by Brenda Holloway, the records they played on were quickie knock-off album tracks and potboiler albums made to tie in with film or TV work -- soundtracks to TV specials the acts did, and that kind of thing. And in this case, the Wrecking Crew played on the entire Stevie at the Beach album, including the last single to be released as by "Little Stevie Wonder", "Castles in the Sand", which was arranged by Jack Nitzsche: [Excerpt: Little Stevie Wonder, "Castles in the Sand"] Apparently the idea of surfin' Stevie didn't catch on any more than that of swingin' Stevie had earlier. Indeed, throughout 1964 and 65 Motown seem to have had less than no idea what they were doing with Stevie Wonder, and he himself refers to all his recordings from this period as an embarrassment, saving particular scorn for the second single from Stevie at the Beach, "Hey Harmonica Man", possibly because that, unlike most of his other singles around this point, was a minor hit, reaching number twenty-nine on the charts. Motown were still pushing Wonder hard -- he even got an appearance on the Ed Sullivan Show in May 1964, only the second Motown act to appear on it after the Marvelettes -- but Wonder was getting more and more unhappy with the decisions they were making. He loathed the Stevie at the Beach album -- the records he'd made earlier, while patchy and not things he'd chosen, were at least in some way related to his musical interests. He *did* love jazz, and he *did* love Ray Charles, and he *did* love old standards, and the records were made by his friend Clarence Paul and with the studio musicians he'd grown to know in Detroit. But Stevie at the Beach was something that was imposed on Clarence Paul from above, it was cut with unfamiliar musicians, Stevie thought the films he was appearing in were embarrassing, and he wasn't even having much commercial success, which was the whole point of these compromises. He started to get more rebellious against Paul in the studio, though many of these decisions weren't made by Paul, and he would complain to anyone who would listen that if he was just allowed to do the music he wanted to sing, the way he wanted to sing it, he would have more hits. But for nine months he did basically no singing other than that Ed Sullivan Show appearance -- he had to recover from the operation to remove the throat nodules. When he did return to the studio, the first single he cut remained unreleased, and while some stuff from the archives was released between the start of 1964 and March 1965, the first single he recorded and released after the throat nodules, "Kiss Me Baby", which came out in March, was a complete flop. That single was released to coincide with the first Motown tour of Europe, which we looked at in the episode on "Stop! In the Name of Love", and which was mostly set up to promote the Supremes, but which also featured Martha and the Vandellas, the Miracles, and the Temptations. Even though Stevie had not had a major hit in eighteen months by this point, he was still brought along on the tour, the only solo artist to be included -- at this point Gordy thought that solo artists looked outdated compared to vocal groups, in a world dominated by bands, and so other solo artists like Marvin Gaye weren't invited. This was a sign that Gordy was happier with Stevie than his recent lack of chart success might suggest. One of the main reasons that Gordy had been in two minds about him was that he'd had no idea if Wonder would still be able to sing well after his voice broke. But now, as he was about to turn fifteen, his adult voice had more or less stabilised, and Gordy knew that he was capable of having a long career, if they just gave him the proper material. But for now his job on the tour was to do his couple of hits, smile, and be on the lower rungs of the ladder. But even that was still a prominent place to be given the scaled-down nature of this bill compared to the Motortown Revues. While the tour was in England, for example, Dusty Springfield presented a TV special focusing on all the acts on the tour, and while the Supremes were the main stars, Stevie got to do two songs, and also took part in the finale, a version of "Mickey's Monkey" led by Smokey Robinson but with all the performers joining in, with Wonder getting a harmonica solo: [Excerpt: Smokey Robinson and the Motown acts, "Mickey's Monkey"] Sadly, there was one aspect of the trip to the UK that was extremely upsetting for Wonder. Almost all the media attention he got -- which was relatively little, as he wasn't a Supreme -- was about his blindness, and one reporter in particular convinced him that there was an operation he could have to restore his sight, but that Motown were preventing him from finding out about it in order to keep his gimmick going. He was devastated about this, and then further devastated when Ted Hull finally convinced him that it wasn't true, and that he'd been lied to. Meanwhile other newspapers were reporting that he *could* see, and that he was just feigning blindness to boost his record sales. After the tour, a live recording of Wonder singing the blues standard "High Heeled Sneakers" was released as a single, and barely made the R&B top thirty, and didn't hit the top forty on the pop charts. Stevie's initial contract with Motown was going to expire in the middle of 1966, so there was a year to get him back to a point where he was having the kind of hits that other Motown acts were regularly getting at this point. Otherwise, it looked like his career might end by the time he was sixteen. The B-side to "High Heeled Sneakers" was another duet with Clarence Paul, who dominates the vocal sound for much of it -- a version of Willie Nelson's country classic "Funny How Time Slips Away": [Excerpt: Stevie Wonder and Clarence Paul, "Funny How Time Slips Away"] There are a few of these duet records scattered through Wonder's early career -- we'll hear another one a little later -- and they're mostly dismissed as Paul trying to muscle his way into a revival of his own recording career as an artist, and there may be some truth in that. But they're also a natural extension of the way the two of them worked in the studio. Motown didn't have the facilities to give Wonder Braille lyric sheets, and Paul didn't trust him to be able to remember the lyrics, so often when they made a record, Paul would be just off-mic, reciting the lyrics to Wonder fractionally ahead of him singing them. So it was more or less natural that this dynamic would leak out onto records, but not everyone saw it that way. But at the same time, there has been some suggestion that Paul was among those manoeuvring to get rid of Wonder from Motown as soon as his contract was finished -- despite the fact that Wonder was the only act Paul had worked on any big hits for. Either way, Paul and Wonder were starting to chafe at working with each other in the studio, and while Paul remained his on-stage musical director, the opportunity to work on Wonder's singles for what would surely be his last few months at Motown was given to Hank Cosby and Sylvia Moy. Cosby was a saxophone player and staff songwriter who had been working with Wonder and Paul for years -- he'd co-written "Fingertips" and several other tracks -- while Moy was a staff songwriter who was working as an apprentice to Cosby. Basically, at this point, nobody else wanted the job of writing for Wonder, and as Moy was having no luck getting songs cut by any other artists and her career was looking about as dead as Wonder's, they started working together. Wonder was, at this point, full of musical ideas but with absolutely no discipline. He's said in interviews that at this point he was writing a hundred and fifty songs a month, but these were often not full songs -- they were fragments, hooks, or a single verse, or a few lines, which he would pass on to Moy, who would turn his ideas into structured songs that fit the Motown hit template, usually with the assistance of Cosby. Then Cosby would come up with an arrangement, and would co-produce with Mickey Stevenson. The first song they came up with in this manner was a sign of how Wonder was looking outside the world of Motown to the rock music that was starting to dominate the US charts -- but which was itself inspired by Motown music. We heard in the last episode on the Rolling Stones how "Nowhere to Run" by the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] had inspired the Stones' "Satisfaction": [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] And Wonder in turn was inspired by "Satisfaction" to come up with his own song -- though again, much of the work making it into an actual finished song was done by Sylvia Moy. They took the four-on-the-floor beat and basic melody of "Satisfaction" and brought it back to Motown, where those things had originated -- though they hadn't originated with Stevie, and this was his first record to sound like a Motown record in the way we think of those things. As a sign of how, despite the way these stories are usually told, the histories of rock and soul were completely and complexly intertwined, that four-on-the-floor beat itself was a conscious attempt by Holland, Dozier, and Holland to appeal to white listeners -- on the grounds that while Black people generally clapped on the backbeat, white people didn't, and so having a four-on-the-floor beat wouldn't throw them off. So Cosby, Moy, and Wonder, in trying to come up with a "Satisfaction" soundalike were Black Motown writers trying to copy a white rock band trying to copy Black Motown writers trying to appeal to a white rock audience. Wonder came up with the basic chorus hook, which was based around a lot of current slang terms he was fond of: [Excerpt: Stevie Wonder, "Uptight"] Then Moy, with some assistance from Cosby, filled it out into a full song. Lyrically, it was as close to social comment as Motown had come at this point -- Wonder was, like many of his peers in soul music, interested in the power of popular music to make political statements, and he would become a much more political artist in the next few years, but at this point it's still couched in the acceptable boy-meets-girl romantic love song that Motown specialised in. But in 1965 a story about a boy from the wrong side of the tracks dating a rich girl inevitably raised the idea that the boy and girl might be of different races -- a subject that was very, very, controversial in the mid-sixties. [Excerpt: Stevie Wonder, "Uptight"] "Uptight" made number three on the pop charts and number one on the R&B charts, and saved Stevie Wonder's career. And this is where, for all that I've criticised Motown in this episode, their strategy paid off. Mickey Stevenson talked a lot about how in the early sixties Motown didn't give up on artists -- if someone had potential but was not yet having hits or finding the right approach, they would keep putting out singles in a holding pattern, trying different things and seeing what would work, rather than toss them aside. It had already worked for the Temptations and the Supremes, and now it had worked for Stevie Wonder. He would be the last beneficiary of this policy -- soon things would change, and Motown would become increasingly focused on trying to get the maximum returns out of a small number of stars, rather than building careers for a range of artists -- but it paid off brilliantly for Wonder. "Uptight" was such a reinvention of Wonder's career, sound, and image that many of his fans consider it the real start of his career -- everything before it only counting as prologue. The follow-up, "Nothing's Too Good For My Baby", was an "Uptight" soundalike, and as with Motown soundalike follow-ups in general, it didn't do quite as well, but it still made the top twenty on the pop chart and got to number four on the R&B chart. Stevie Wonder was now safe at Motown, and so he was going to do something no other Motown act had ever done before -- he was going to record a protest song and release it as a single. For about a year he'd been ending his shows with a version of Bob Dylan's "Blowin' in the Wind", sung as a duet with Clarence Paul, who was still his on stage bandleader even though the two weren't working together in the studio as much. Wonder brought that into the studio, and recorded it with Paul back as the producer, and as his duet partner. Berry Gordy wasn't happy with the choice of single, but Wonder pushed, and Gordy knew that Wonder was on a winning streak and gave in, and so "Blowin' in the Wind" became Stevie Wonder's next single: [Excerpt: Stevie Wonder and Clarence Paul, "Blowin' in the Wind"] "Blowin' in the Wind" made the top ten, and number one on the R&B charts, and convinced Gordy that there was some commercial potential in going after the socially aware market, and over the next few years Motown would start putting out more and more political records. Because Motown convention was to have the producer of a hit record produce the next hit for that artist, and keep doing so until they had a flop, Paul was given the opportunity to produce the next single. "A Place in the Sun" was another ambiguously socially-aware song, co-written by the only white writer on Motown staff, Ron Miller, who happened to live in the same building as Stevie's tutor-cum-manager Ted Hull. "A Place in the Sun" was a pleasant enough song, inspired by "A Change is Gonna Come", but with a more watered-down, generic, message of hope, but the record was lifted by Stevie's voice, and again made the top ten. This meant that Paul and Miller, and Miller's writing partner Bryan Mills, got to work on his next  two singles -- his 1966 Christmas song "Someday at Christmas", which made number twenty-four, and the ballad "Travellin' Man" which made thirty-two. The downward trajectory with Paul meant that Wonder was soon working with other producers again. Harvey Fuqua and Johnny Bristol cut another Miller and Mills song with him, "Yester-Me, Yester-You, Yesterday": [Excerpt: Stevie Wonder, "Yester-Me, Yester-You, Yesterday"] But that was left in the can, as not good enough to release, and Stevie was soon back working with Cosby. The two of them had come up with an instrumental together in late 1966, but had not been able to come up with any words for it, so they played it for Smokey Robinson, who said their instrumental sounded like circus music, and wrote lyrics about a clown: [Excerpt: The Miracles, "The Tears of a Clown"] The Miracles cut that as album filler, but it was released three years later as a single and became the Miracles' only number one hit with Smokey Robinson as lead singer. So Wonder and Cosby definitely still had their commercial touch, even if their renewed collaboration with Moy, who they started working with again, took a while to find a hit. To start with, Wonder returned to the idea of taking inspiration from a hit by a white British group, as he had with "Uptight". This time it was the Beatles, and the track "Michelle", from the Rubber Soul album: [Excerpt: The Beatles, "Michelle"] Wonder took the idea of a song with some French lyrics, and a melody with some similarities to the Beatles song, and came up with "My Cherie Amour", which Cosby and Moy finished off. [Excerpt: Stevie Wonder, "My Cherie Amour"] Gordy wouldn't allow that to be released, saying it was too close to "Michelle" and people would think it was a rip-off, and it stayed in the vaults for several years. Cosby also produced a version of a song Ron Miller had written with Orlando Murden, "For Once in My Life", which pretty much every other Motown act was recording versions of -- the Four Tops, the Temptations, Billy Eckstine, Martha and the Vandellas and Barbra McNair all cut versions of it in 1967, and Gordy wouldn't let Wonder's version be put out either. So they had to return to the drawing board. But in truth, Stevie Wonder was not the biggest thing worrying Berry Gordy at this point. He was dealing with problems in the Supremes, which we'll look at in a future episode -- they were about to get rid of Florence Ballard, and thus possibly destroy one of the biggest acts in the world, but Gordy thought that if they *didn't* get rid of her they would be destroying themselves even more certainly. Not only that, but Gordy was in the midst of a secret affair with Diana Ross, Holland, Dozier, and Holland were getting restless about their contracts, and his producers kept bringing him unlistenable garbage that would never be a hit. Like Norman Whitfield, insisting that this track he'd cut with Marvin Gaye, "I Heard it Through the Grapevine", should be a single. Gordy had put his foot down about that one too, just like he had about "My Cherie Amour", and wouldn't allow it to be released. Meanwhile, many of the smaller acts on the label were starting to feel like they were being ignored by Gordy, and had formed what amounted to a union, having regular meetings at Clarence Paul's house to discuss how they could pressure the label to put the same effort into their careers as into those of the big stars. And the Funk Brothers, the musicians who played on all of Motown's hits, were also getting restless -- they contributed to the arrangements, and they did more for the sound of the records than half the credited producers; why weren't they getting production credits and royalties? Harvey Fuqua had divorced Gordy's sister Gwen, and so became persona non grata at the label and was in the process of leaving Motown, and so was Mickey Stevenson, Gordy's second in command, because Gordy wouldn't give him any stock in the company. And Detroit itself was on edge. The crime rate in the city had started to go up, but even worse, the *perception* of crime was going up. The Detroit News had been running a campaign to whip up fear, which it called its Secret Witness campaign, and running constant headlines about rapes, murders, and muggings. These in turn had led to increased calls for more funds for the police, calls which inevitably contained a strong racial element and at least implicitly linked the perceived rise in crime to the ongoing Civil Rights movement. At this point the police in Detroit were ninety-three percent white, even though Detroit's population was over thirty percent Black. The Mayor and Police Commissioner were trying to bring in some modest reforms, but they weren't going anywhere near fast enough for the Black population who felt harassed and attacked by the police, but were still going too fast for the white people who were being whipped up into a state of terror about supposedly soft-on-crime policies, and for the police who felt under siege and betrayed by the politicians. And this wasn't the only problem affecting the city, and especially affecting Black people. Redlining and underfunded housing projects meant that the large Black population was being crammed into smaller and smaller spaces with fewer local amenities. A few Black people who were lucky enough to become rich -- many of them associated with Motown -- were able to move into majority-white areas, but that was just leading to white flight, and to an increase in racial tensions. The police were on edge after the murder of George Overman Jr, the son of a policeman, and though they arrested the killers that was just another sign that they weren't being shown enough respect. They started organising "blu flu"s -- the police weren't allowed to strike, so they'd claim en masse that they were off sick, as a protest against the supposed soft-on-crime administration. Meanwhile John Sinclair was organising "love-ins", gatherings of hippies at which new bands like the MC5 played, which were being invaded by gangs of bikers who were there to beat up the hippies. And the Detroit auto industry was on its knees -- working conditions had got bad enough that the mostly Black workforce organised a series of wildcat strikes. All in all, Detroit was looking less and less like somewhere that Berry Gordy wanted to stay, and the small LA subsidiary of Motown was rapidly becoming, in his head if nowhere else, the more important part of the company, and its future. He was starting to think that maybe he should leave all these ungrateful people behind in their dangerous city, and move the parts of the operation that actually mattered out to Hollywood. Stevie Wonder was, of course, one of the parts that mattered, but the pressure was on in 1967 to come up with a hit as big as his records from 1965 and early 66, before he'd been sidetracked down the ballad route. The song that was eventually released was one on which Stevie's mother, Lula Mae Hardaway, had a co-writing credit: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] "I Was Made to Love Her" was inspired by Wonder's first love, a girl from the same housing projects as him, and he talked about the song being special to him because it was true, saying it "kind of speaks of my first love to a girl named Angie, who was a very beautiful woman... Actually, she was my third girlfriend but my first love. I used to call Angie up and, like, we would talk and say, 'I love you, I love you,' and we'd talk and we'd both go to sleep on the phone. And this was like from Detroit to California, right? You know, mother said, 'Boy, what you doing - get off the phone!' Boy, I tell you, it was ridiculous." But while it was inspired by her, like with many of the songs from this period, much of the lyric came from Moy -- her mother grew up in Arkansas, and that's why the lyric started "I was born in Little Rock", as *her* inspiration came from stories told by her parents. But truth be told, the lyrics weren't particularly detailed or impressive, just a standard story of young love. Rather what mattered in the record was the music. The song was structured differently from many Motown records, including most of Wonder's earlier ones. Most Motown records had a huge amount of dynamic variation, and a clear demarcation between verse and chorus. Even a record like "Dancing in the Street", which took most of its power from the tension and release caused by spending most of the track on one chord, had the release that came with the line "All we need is music", and could be clearly subdivided into different sections. "I Was Made to Love Her" wasn't like that. There was a tiny section which functioned as a middle eight -- and which cover versions like the one by the Beach Boys later that year tend to cut out, because it disrupts the song's flow: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] But other than that, the song has no verse or chorus, no distinct sections, it's just a series of lyrical couplets over the same four chords, repeating over and over, an incessant groove that could really go on indefinitely: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] This is as close as Motown had come at this point to the new genre of funk, of records that were just staying with one groove throughout. It wasn't a funk record, not yet -- it was still a pop-soul record, But what made it extraordinary was the bass line, and this is why I had to emphasise earlier that this was a record by the Funk Brothers, not the Wrecking Crew, no matter how much some Crew members may claim otherwise. As on most of Cosby's sessions, James Jamerson was given free reign to come up with his own part with little guidance, and what he came up with is extraordinary. This was at a time when rock and pop basslines were becoming a little more mobile, thanks to the influence of Jamerson in Detroit, Brian Wilson in LA, and Paul McCartney in London.  But for the most part, even those bass parts had been fairly straightforward technically -- often inventive, but usually just crotchets and quavers, still keeping rhythm along with the drums rather than in dialogue with them, roaming free rhythmically. Jamerson had started to change his approach, inspired by the change in studio equipment. Motown had upgraded to eight-track recording in 1965, and once he'd become aware of the possibilities, and of the greater prominence that his bass parts could have if they were recorded on their own track, Jamerson had become a much busier player. Jamerson was a jazz musician by inclination, and so would have been very aware of John Coltrane's legendary "sheets of sound", in which Coltrane would play fast arpeggios and scales, in clusters of five and seven notes, usually in semiquaver runs (though sometimes in even smaller fractions -- his solo in Miles Davis' "Straight, No Chaser" is mostly semiquavers but has a short passage in hemidemisemiquavers): [Excerpt: Miles Davis, "Straight, No Chaser"] Jamerson started to adapt the "sheets of sound" style to bass playing, treating the bass almost as a jazz solo instrument -- though unlike Coltrane he was also very, very concerned with creating something that people could tap their feet to. Much like James Brown, Jamerson was taking jazz techniques and repurposing them for dance music. The most notable example of that up to this point had been in the Four Tops' "Bernadette", where there are a few scuffling semiquaver runs thrown in, and which is a much more fluid part than most of his playing previously: [Excerpt: The Four Tops, "Bernadette"] But on "Bernadette", Jamerson had been limited by Holland, Dozier, and Holland, who liked him to improvise but around a framework they created. Cosby, on the other hand, because he had been a Funk Brother himself, was much more aware of the musicians' improvisational abilities, and would largely give them a free hand. This led to a truly remarkable bass part on "I Was Made to Love Her", which is somewhat buried in the single mix, but Marcus Miller did an isolated recreation of the part for the accompanying CD to a book on Jamerson, Standing in the Shadows of Motown, and listening to that you can hear just how inventive it is: [Excerpt: Marcus Miller, "I Was Made to Love Her"] This was exciting stuff -- though much less so for the touring musicians who went on the road with the Motown revues while Jamerson largely stayed in Detroit recording. Jamerson's family would later talk about him coming home grumbling because complaints from the touring musicians had been brought to him, and he'd been asked to play less difficult parts so they'd find it easier to replicate them on stage. "I Was Made to Love Her" wouldn't exist without Stevie Wonder, Hank Cosby, Sylvia Moy, or Lula Mae Hardaway, but it's James Jamerson's record through and through: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] It went to number two on the charts, sat between "Light My Fire" at number one, and "All You Need is Love" at number three, with the Beatles song soon to overtake it and make number one itself. But within a few weeks of "I Was Made to Love Her" reaching its chart peak, things in Detroit would change irrevocably. On the 23rd of July, the police busted an illegal drinking den. They thought they were only going to get about twenty-five people there, but there turned out to be a big party on. They tried to arrest seventy-four people, but their wagon wouldn't fit them all in so they had to call reinforcements and make the arrestees wait around til more wagons arrived. A crowd of hundreds gathered while they were waiting. Someone threw a brick at a squad car window, a rumour went round that the police had bayonetted someone, and soon the city was in flames. Riots lasted for days, with people burning down and looting businesses, but what really made the situation bad was the police's overreaction. They basically started shooting at young Black men, using them as target practice, and later claiming they were snipers, arsonists, and looters -- but there were cases like the Algiers Motel incident, where the police raided a motel where several Black men, including the members of the soul group The Dramatics, were hiding out along with a few white women. The police sexually assaulted the women, and then killed three of the men for associating with white women, in what was described as a "lynching with bullets". The policemen in question were later acquitted of all charges. The National Guard were called in, as were Federal troops -- the 82nd Airborne Division, and the 101st Airborne from Clarksville, the division in which Jimi Hendrix had recently served. After four days of rioting, one of the bloodiest riots in US history was at an end, with forty-three people dead (of whom thirty-three were Black and only one was a policeman). Official counts had 1,189 people injured, and over 7,200 arrests, almost all of them of Black people. A lot of the histories written later say that Black-owned businesses were spared during the riots, but that wasn't really the case. For example, Joe's Record Shop, owned by Joe Von Battle, who had put out the first records by C.L. Franklin and his daughter Aretha, was burned down, destroying not only the stock of records for sale but the master tapes of hundreds of recordings of Black artists, many of them unreleased and so now lost forever. John Lee Hooker, one of the artists whose music Von Battle had released, soon put out a song, "The Motor City is Burning", about the events: [Excerpt: John Lee Hooker, "The Motor City is Burning"] But one business that did remain unburned was Motown, with the Hitsville studio going untouched by flames and unlooted. Motown legend has this being down to the rioters showing respect for the studio that had done so much for Detroit, but it seems likely to have just been luck. Although Motown wasn't completely unscathed -- a National Guard tank fired a shell through the building, leaving a gigantic hole, which Berry Gordy saw as soon as he got back from a business trip he'd been on during the rioting. That was what made Berry Gordy decide once and for all that things needed to change. Motown owned a whole row of houses near the studio, which they used as additional office space and for everything other than the core business of making records. Gordy immediately started to sell them, and move the admin work into temporary rented space. He hadn't announced it yet, and it would be a few years before the move was complete, but from that moment on, the die was cast. Motown was going to leave Detroit and move to Hollywood.

christmas tv love music women california history black europe earth hollywood man uk england fall change british french western detroit mayors blues wind run sun vietnam standing tribute miracles beatles straight beach dancing cd arkansas monkeys tears boy official rolling stones federal burning shadows pirates holland sand workout stones shortly morris supreme bob dylan dedicated billboard djs sunsets civil rights riots paul mccartney satisfaction mills signed temptations stevie wonder aretha franklin my life jimi hendrix james brown motown beach boys national guard hull cosby stevenson sealed marvin gaye someday willie nelson miles davis little rock glover roulette mixcloud ray charles tilt diana ross korean war castles airborne rock music brian wilson john coltrane supremes postman motor city braille gold star mind over matter grapevine smokey robinson airborne divisions gordy curtis mayfield copacabana licks redlining coltrane blowin clarksville wrecking crew saginaw all you need gonna come andy williams aip groovin detroit news john lee hooker dozier dusty springfield four tops fingertips police commissioners peter lorre ed sullivan show mc5 berry gordy dick dale lions club one i love marcus miller happy face rubber soul hardaway light my fire lyrically no chaser i heard moy american soul vandellas dramatics john glover lamont dozier uptight ron miller shirelles annette funicello royales hitchhike lowman frankie avalon dave thompson mary wells johnny ace john sinclair record shop marvelettes jamerson travellin funk brothers carol kaye young rascals frankie lymon brian holland nelson george billy eckstine uncle ray jazz soul roger christian king records ebb tide when you wish upon motown sound james jamerson bryan mills my show how sweet it is hitsville american international pictures i was made to be loved marilyn mccoo lorren little stevie wonder bobby fuller four i call stuart cosgrove where did our love go algiers motel billy davis jr bikini machine del tones bikini beach joe swift craig werner red sails donna loren muscle beach party mickey stevenson paris olympia scott b bomar tilt araiza
Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 28 (Cancel Colonial Oppression)

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Oct 23, 2022 3:40


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 28 (Cancel Colonial Oppression) As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #diabetes #75dab #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 27 (don't do it)

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Oct 16, 2022 5:14


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 27 (don't do it) As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #diabetes #75dab #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

All Sides with Ann Fisher
The legacy of redlining in the U.S. and Columbus

All Sides with Ann Fisher

Play Episode Listen Later Oct 13, 2022 49:55


Redlining is the discriminatory practice that kept minorities from purchasing homes in white neighborhoods. We'll examine the legacy it left around the U.S. and Columbus.

All Sides with Ann Fisher Podcast
The legacy of redlining in the U.S. and Columbus

All Sides with Ann Fisher Podcast

Play Episode Listen Later Oct 13, 2022 49:55


Redlining is the discriminatory practice that kept minorities from purchasing homes in white neighborhoods. We'll examine the legacy it left around the U.S. and Columbus.

Twisted Listers
Murder Houses Part 1

Twisted Listers

Play Episode Listen Later Oct 11, 2022 56:19


We're back this week, and we're a mess! But we're here, and we're continuing with the Halloween love with a tour of some of the scariest murder houses around! Cindy keeps it local (LA forever, baby) while Diva goes not only beyond LA, but also back in time, to discuss some super scary unsolved mysteries! We have multiple cursed mansions, potentially murder suicides, family massacres, and more! So tune in and get spooky with us! And especially where dying in scary mansions is involved, Stay Off Our Lists!Check out our website! www.twistedlisterspod.comBrought to you by Podmoth Media Network podmoth.networkJoin us on Patreon: www.patreon.com/twistedlistersFollow us on Instagram: @twistedlisterspcastTiktok: @twistedlistersCases Covered:1. The Los Feliz Murder Mansion2. The Villisca Axe MurdersSources:https://www.villiscaiowa.comhttps://www.desmoinesregister.com/story/news/2022/06/09/1912-villisca-ax-murders-what-to-know-iowa-cold-case/7567590001/https://thelosfelizmurdermansion.comhttps://www.dirt.com/gallery/locations/historical-locations/los-feliz-murder-house-sold-perelson-1203343371/https://la.curbed.com/2015/9/21/9920706/los-feliz-murder-houseSupport the show

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 26

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Oct 6, 2022 1:59


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 26 As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #diabetes #75dab #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Where We Live
How the FCC and local libraries are addressing "digital redlining"

Where We Live

Play Episode Listen Later Oct 4, 2022 49:00


Earlier this year, the Federal Communications Commission launched a task force to target digital discrimination and "digital redlining." This hour, FCC Chairwoman Jessica Rosenworcel joins us to discuss this effort. "Your zip code should not determine access to broadband," the Chairwoman has said. She tells us, "The pandemic made this issue crystal clear for everyone." The Chairwoman explains how digital discrimination is "more nuanced" than urban-rural divides. Plus, during Digital Inclusion Week, we discuss the important role local libraries play in bridging digital or informational divides? American Library Association executive director Tracie D. Hall joins us, along with Connecticut librarians and organizations like East Hartford Works. To learn more about Wednesday's panel discussion featuring Hall and others, hosted by Hartford Public Library, click here. GUESTS: Jessica Rosenworcel: Chairwoman, Federal Communications Commission Tracie D. Hall: Executive Director, American Library Association Melissa Canham-Clyne: Director, Hamden Public Library System Yadira Jeter: Career Navigator, East Hartford Works Support the show: http://wnpr.org/donateSee omnystudio.com/listener for privacy information.

Johns Hopkins Kimmel Cancer Center Podcasts
Cancer Disparities with Dr Otis Brawley - Redlining

Johns Hopkins Kimmel Cancer Center Podcasts

Play Episode Listen Later Oct 4, 2022 19:29


Dr Otis Brawley speaks with Dr Qasim Hussaini, a Fellow in the Hematology and Medical Oncology Fellowship Program, about a study he recently presented on the impact of historical housing discrimination on present-day colon cancer outcomes.

Live Mana Worldwide - Multimedia Broadcast Network (audio)
"Isaiah Prophecy & 3 Ways to Mitigate Redlining Risk" Joshua 'The World's Mayor'

Live Mana Worldwide - Multimedia Broadcast Network (audio)

Play Episode Listen Later Sep 28, 2022 59:50


Isaiah 5 and 6 delivers a powerful prophetic word that is as timely today as it was when it was first written and while it reveals destruction and misery, it provides hope for God's children. This includes victims of redlining, gentrification and other injustices that have gone on virtually unnoticed by most of the world. Yes, laws have been passed to stop this racially charged crime, however it still persist today and in some ways most are unaware of. Thank you for being a part of "Isaiah Prophecy & 3 Ways to Mitigate Redlining Risk" by Joshua 'The World's Mayor', on the Live Mana Network, brought to you by the Live Mana Worldwide Foundation. The Live Mana Network is broadcast all over the world on your favorite streaming audio and video platforms like Apple TV, ROKU, Amazon Fire, and iTunes. You can also find us on Google News, and other print mediums. Be blessed, Joshua T Berglan

Black Real Estate Dialogue
The Truth About Bank of America | Are They Redlining?

Black Real Estate Dialogue

Play Episode Listen Later Sep 26, 2022 53:15


Don't forget to subscribe, leave a rating and a 5-star review. I will be shouting out all 5-star reviews on the show!Today, we once again sit down with Dallas-based mortgage professional Dave Ball best known by his social media handle @coinsnculture. In this episode, Dave breaks down Bank of America's new home loan program focusing on Black and Hispanic communities, the Community Affordable Loan Solution™. He clears up common misconceptions surrounding the program and explains how to maximize one's potential to be approved for a mortgage according to BofA's stringent lending guidelines. We both share the concerns we've heard from our audiences as well as false information that has been spread about it.  Dave also highlights the importance of financial responsibility when purchasing any property, and offers his best advice on protecting your real estate investments in a downmarket, and even in a recession.Highlights1) BofA's program requires potential borrowers to have a 50% or less debt-to-income ratio, three credit tradelines (credit scores), and no late payments within the last six months on your credit report. They also take non-traditional credit into account, including utilities, car payments, etc.2) This program does not equal redlining because BofA is incentivizing Black and Hispanic communities to take advantage of this opportunity and they are lending in those neighborhoods.3) Regardless of whether you want to buy a home in an upmarket, downmarket, or sideways market, plan to live in that home for a minimum of three years. As long as you purchase a home within your budget, you will be relatively unaffected by current market conditions.How to find himInstagram - @coinsncultureEpisode 41 About Redlining- https://podcasts.apple.com/us/podcast/black-real-estate-dialogue/id1485181666?i=1000489156878Access all of our resources on our website- https://www.blackrealestatedialogue.com/links

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 25 Hymens of Burning Nepotism

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Sep 25, 2022 2:40


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 25 Hymns of Burning Nepotism As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #diabetes #75dab #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Unf*cking The Republic
The FCC: On the death of the fairness doctrine.

Unf*cking The Republic

Play Episode Listen Later Sep 24, 2022 52:27


This week we finally heed the call to Unf*ck the Federal Communications Commission (FCC.) We don't get all the way there (it's been around since 1934) but we manage to tackle the fairness doctrine, which was intended to provide balance and equal time in broadcasting and was repealed in 1987. Many credit this Reagan-era move as the beginning of the end of civility, leading to the divide in the nation today. But, of course, the story behind the doctrine is far more nuanced. We review a history of the FCC, its limitations and whether or not the fairness doctrine ever really had a place in America given the natural tension with the First Amendment. Visit the episode's accompanying site page. Chapters Intro: 00:03:53 Chapter One: What is the FCC and why should we give a shit? 00:04:51 Chapter Two: To be fair, it was never really a doctrine. 00:13:35 Chapter Three: Fairness in the eye of the withholder. 00:24:57 Chapter Four: Bring it home, Max. 00:33:27 Post Show Musings: 00:39:36 Book Love: 00:40:22 Outro: 00:49:35 Resources FCC Website Congressional Quarterly: Broadcasting Deregulation UNFTR Episode Resources Manufacturing Dissent: How We Let an Aussie Destroy the U.S. The Economics of Racism: Bootstraps, Black Banks and Redlining. Book Love Steven J. Simmons: The Fairness Doctrine and the Media Brian J. Karem: Free the Press: The Death of American Journalism and How to Revive It Ken Auletta: Backstory: Inside the Business of News Bernard Harcourt: The Illusion of Free Markets: Punishment and the Myth of Natural Order -- If you like #UNFTR, please leave us a rating and review on Apple Podcasts: unftr.com/rate and follow us on Facebook, Twitter and Instagram at @UNFTRpod. Visit us online at unftr.com. Join the Unf*cker-run Facebook group: facebook.com/groups/2051537518349565 Buy yourself some Unf*cking Coffee at shop.unftr.com. Subscribe to Unf*cking The Republic on Substack at unftr.substack.com to get the essays these episode are framed around sent to your inbox every week. Check out the UNFTR Pod Love playlist on Spotify: spoti.fi/3yzIlUP. Visit our bookshop.org page at bookshop.org/shop/UNFTRpod to find the full UNFTR book list, and find book recommendations from our Unf*ckers at bookshop.org/lists/unf-cker-book-recommendations. Access the UNFTR Musicless feed by following the instructions at unftr.com/accessibility. Unf*cking the Republic is produced by 99 and engineered by Manny Faces Media (mannyfacesmedia.com). Original music is by Tom McGovern (tommcgovern.com). The show is written by free speech and distributed by shut the fuck up. Podcast art description: Image of the US Constitution ripped in the middle revealing white text on a blue background that says, "Unf*cking the Republic."See omnystudio.com/listener for privacy information.

Land Matters
Berkeley Mayor Jesse Arreguín: We need to build new housing

Land Matters

Play Episode Listen Later Sep 23, 2022 23:35


Berkeley, California, is a classic case of a built-up city facing tensions over future development. In this candid interview, Mayor Jesse Arreguín talks about the need to make the city more affordable by clearing the way for new housing and discouraging speculation among owners sitting on vacant lots and properties.

The Sound of Ideas
Historic redlining and high asthma rates intersect in neighborhoods in Cleveland and Akron

The Sound of Ideas

Play Episode Listen Later Sep 22, 2022 58:30


On the "Sound of Ideas," we'll discuss how historic redlining and high asthma rates intersect in Northeast Ohio. Detailed show notes at https://www.ideastream.org/programs/sound-of-ideas/historic-redlining-and-high-asthma-rates-intersect-in-neighborhoods-in-cleveland-and-akron.

Kansas City RealTalk
Historian Andrew Gustafson on the Effects of Redlining in KC

Kansas City RealTalk

Play Episode Listen Later Sep 21, 2022 45:50


Andrew Gustafson is a historian and curator at the Johnson County Museum, where he worked to develop its "Redlined" exhibit on display this year. He joins Bobbi and Alex for a conversation about the history of redlining in the KC region and its effects today. Bobbi's Book Bit: Chaos Monkeys by Antonio Garcia Martinez View the Redlined exhibit at DEI's upcoming event: https://fb.me/e/5p8R9qHjh Upcoming JoCo Museum redlining panel event: https://anc.apm.activecommunities.com/jcprd/activity/search/detail/17710

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast
Underground Feed Back Stereo: Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 24

Underground Feed Back Stereo x Brothers Perspective Magazine Broadcast

Play Episode Listen Later Sep 21, 2022 2:44


Underground Feed Back Stereo - Brothers Perspective Magazine - Personal Opinion Database - Urban Mau Mau Against Redlining and Gentrification Out Takes Vol 24 As the Brothers Travel Into a new dimension of these creative Broadcasts, we present to you the Parts that didn't make pass predatory lending or the museum doors to show our art because of the ongoing gentrification from the stolen land land settlers feeding bad meals that lead to high blood pressure and diabetes mellitus. Adding bonus venting moments that detail the exploitation of entire populations around the world, gas prices, climate change, global warming, performed by predatory pathological maniacs. So we fight ferociously against Redlining and its unethical practices even though Black Folks may have good credit ratings, great income from horrible jobs and perfect qualifications to get approved for a loan from a predatory loan generator on high interest C Notes but still getting denied. Its the mind you must maintain against colonial genocide. This also happens with the endless rejection letters from art galleries etc. No respect to you! Sound Art? Tune in to these educated brothers as they deliver Personal Opinions for Brothers Perspective Audio Feedback #diabetes #75dab #guncontrol #birthcontrol #gentrification #stopviolence #blackmusic #chicago #southsidechicago #blackart #redlining #maumau #biko70 #chicago #soldout #PersonalOpinionDataBase #protest #blackart #africanart #gasprices #undergroundfeedbackstereo #blackpeople #race #brothersperspectivemagazine brothersperspective.com undergroundfeedbackstereo.com joelefthandrecords.com feat. art by instagram.com/nappy9folics www.nappy9folics.com --- Send in a voice message: https://anchor.fm/brothersperspectivemag/message

Free Associations
Episode 126 - Redlining and preterm birth

Free Associations

Play Episode Listen Later Sep 20, 2022 49:51


Matt, Jess, and guest host Jonathan Jay examine a study on the impact of historical redlining and structural racism on preterm birth rates in New York City, they discuss firearm […]

Blood & Syrup: A Vampire the Masquerade Podcast
2.45 - Origins: Evangeline - Redlining

Blood & Syrup: A Vampire the Masquerade Podcast

Play Episode Listen Later Sep 20, 2022 50:53


The day of Evangeline's (Laura Hamstra, @elhamstring) embrace began like any other: she walked Percy, had breakfast with Teddy, and was forced to work alongside her rival, Jaxx Ryder from Channel 5 (Tyler Hewitt, @Tyler_Hewitt). But as they moved through a Hallowe'en haunt, Evangeline was bitten by one of the supposed creature actors. When no one believed her, she left, only to be bitten again by different mysterious figure. How will Evvie cope with her transformation? Featuring our Storyteller Ryan LaPlante (@theryanlaplante). Enjoying Blood & Syrup? You can become a Patron of Dumb-Dumbs & Dice for as little as $1 a month at https://www.patreon.com/dumbdumbdice and gain access to a ton of extra BTS fun.   Can't remember a discount code you wanted to use from one of our ads? Find it at https://fableandfolly.com/partners/   You can also get cool merchandise featuring your favourite Dumb-Dumbs & Dice characters and catchphrases at https://www.redbubble.com/people/dumbdumbdice   Blood & Syrup's artwork was created by the brilliant Del Borovic. Website & Portfolio: http://delborovic.com Twitter: https://twitter.com/deltastic Learn more about your ad choices. Visit megaphone.fm/adchoices

#AskPhillip
Real estate: What is reverse redlining?

#AskPhillip

Play Episode Listen Later Sep 20, 2022 11:08


Podcasters: Robert L. Lewis, Jr. and Phillip Washington, Jr.    Powered by Stone Hill Wealth Management

Black, Married & Debt Free
(EP - 179 NO MUSIC) A New Era of Redlining? | Bank of America Offers Zero-down Mortgages in Black Neighborhoods

Black, Married & Debt Free

Play Episode Listen Later Sep 4, 2022 31:14


SHOW SPONSOR IS --> QOINS APP REDLINE MAPS --> MAPS --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/blackmarrieddebtfree/support

Black, Married & Debt Free
(EP - 179) A New Era of Redlining? | Bank of America Offers Zero-down Mortgages in Black Neighborhoods

Black, Married & Debt Free

Play Episode Listen Later Sep 4, 2022 31:14


SHOW SPONSOR IS --> QOINS APP REDLINE MAPS --> MAPS --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/blackmarrieddebtfree/support

The Sound of Ideas
Urban historians reveal new research about the origins of redlining

The Sound of Ideas

Play Episode Listen Later Sep 1, 2022 58:30


On the "Sound of Ideas" we discuss new research questioning some commonly held beliefs about famous redlining maps. Detailed show notes at https://www.ideastream.org/programs/sound-of-ideas/urban-historians-reveal-new-research-about-the-origins-of-redlining.

The African History Network Show
Black Couple's Home worth $300K more with White Owner; DOJ says FL GOP targeted

The African History Network Show

Play Episode Listen Later Aug 22, 2022 119:00


Black Couple's Home Appraised With a Black Owner: $472,000; With a White Owner: $750,000; ‘Redlining' and The Legacy of White Supremacy; DOJ says Florida Republicans ‘specifically' targeted Black Voters with restrictions; ‘No Mardi Gras,' New Orleans Mayor warns if Police Shortage persists; 403rd Anniversary of August 20th, 1619: America's History of Slavery Began almost 100 years Before Jamestown, Virginia.; Omari Osei of the UNIA – Detroit Chapter discusses their Nation 64th Annual International Convention coming up in Detroit. - TheAHNShow with Michael Imhotep 8-21-22   Support The African History Network through Cash App @ https://cash.app/$TheAHNShow or PayPal @ TheAHNShow@gmail.com or http://www.PayPal.me/TheAHNShow or visit http://www.TheAfricanHistoryNetwork.com. Thank you for your support and helping us to continue doing the work.

WorldAffairs
Zero Sum, Zero Change: What Racism Costs Everyone

WorldAffairs

Play Episode Listen Later Aug 22, 2022 33:30


In the US, polls show that more and more Americans say they want and need public goods like education, infrastructure, and healthcare. So why do we struggle to implement them?   Policy expert Heather McGhee says this tension is a centuries-old, racialized system of zero-sum economics and politics, which dictates that progress for some must come at the expense of others. McGhee joins Ray to discuss her new book and podcast, The Sum of Us, and the burgeoning cross-racial alliances pushing for real change.   Guest:     Heather McGhee, economic policy expert and author of The Sum of Us: What Racism Costs Everyone and How We Can Prosper Together   Host:   Ray Suarez   If you appreciate this episode and want to support the work we do, please consider making a donation to World Affairs. We cannot do this work without your help. Thank you.