POPULARITY
2 episodes with To Love Somebody
2 episodes with To Love Somebody
4 episodes with To Love Somebody
2 episodes with To Love Somebody
2 episodes with To Love Somebody
In this episode of Screens in Focus, host Diana and returning guest Renee Hansen dive into iconic movie soundtracks that leave lasting impressions. With Renee's deep knowledge of music and pop culture, they explore unforgettable 80s soundtracks and beyond, sharing their top three favorites. Key soundtracks discussed include Rocky IV, Grease, Purple Rain, The Lost Boys, and Top Gun. Plus, TV and movie recommendations, including Getaway, Here, and the final season of Cobra Kai. Join the fun as they celebrate the magic of music in film! Tune in for a nostalgic and fun discussion celebrating the power of music in film! 00:00 Introduction and Hosts 00:27 The Impact of Music 01:11 Unforgettable Movie Soundtracks 01:45 Rocky IV and Patriotic Anthems 03:20 Grease and Childhood Memories 04:04 The Influence of Tommy 05:26 The Role of Movie Soundtracks 06:04 Top Gun and Iconic Songs 07:48 Footloose and Energetic Beats 08:48 John Hughes and New Wave Music 10:36 Purple Rain and Prince's Masterpiece 11:15 The Lost Boys Soundtrack 14:37 Dirty Dancing and Timeless Romance 15:47 Modern Soundtracks: Sing Street 17:18 The Commitments and R&B 18:52 Bohemian Rhapsody and Queen 21:17 The Bodyguard and Whitney Houston 21:57 Forrest Gump and Musical Evolution 23:18 O Brother, Where Art Thou? 24:14 The Muppet Movie Soundtrack 25:24 A Star is Born: Two Generations 26:34 Guardians of the Galaxy 27:54 Hamilton: A Cultural Phenomenon 29:07 Elton John's Resurgence 29:35 School of Rock: A Love Letter to Rock Music 31:59 Titanic's Haunting Soundtrack 35:35 Top Three Movie Soundtracks 41:38 Iconic Songs from Movie Soundtracks 46:13 TV and Movie Recommendations 55:41 Wrapping Up: Music and Memories Too Much Heaven (Bee Gees): https://www.youtube.com/watch?v=nREV8bQJ1MA To Love Somebody (Bee Gees): https://youtu.be/hBvUrchek1I?si=RJC8YATfPI8oGD_J Too Much Heaven is the reaction video I was talking about and I LOVE this song! To Love Somebody is covered by many artists including Michael Buble The Lost Boys • Cry Little Sister • Gerard McMaho: https://youtu.be/G_nesH9k3qo?si=gH0_m5UJpnI2C_Rf Renee Hansen: https://linktr.ee/renee.hansen https://reneehansen.journoportfolio.com Follow and subscribe to Screens in Focus. Website: www.screensinfocus.com Email: screensinfocus@gmail.com X https://x.com/screensinfocus Instagram: https://www.instagram.com/screensinfocuspodcast/ Facebook: https://www.facebook.com/screensinfocus Feedback and TV/Movie Recommendations: Google voice (669) 223-8542 Free background music from JewelBeat.com: www.jewelbeat.com
In the mid-1960s, the young British songwriter Barry Gibb was in New York City for the first time when he was visited at the Waldorf Astoria by one of his musical heroes: soul/R&B superstar Otis Redding.Redding reportedly loved Gibb's work and came to urge him to write a song for him to record. Legend has it that immediately after they met, Gibb went downstairs and, on a hotel piano, thrashed out “To Love Somebody,” rushing back to offer it to Otis.Sadly, before getting the opportunity to sing Gibb's ode, Otis Redding was gone. Just months after that happy encounter, Redding was dead at 26, killed in a plane crash in Lake Monona near Madison, WI. The music world still mourns that loss.The Bee GeesThe song ultimately was introduced by Gibb himself, along with brothers Robin and Maurice, on their international debut album, Bee Gees 1st.Curiously, the tune — which years later Barry Gibb called his favorite of everything he had written — initially enjoyed only a lukewarm reception. As The Bee Gees' second single, it reached only No. 17 in the U.S. and a humbling No. 41 on Britain's own charts.However, the song became ever-more popular as it was covered by other artists — more than 200 renditions have been recorded to date — and initially, some of the best versions were by top female artists of the day.Nina Simone and Janis Joplin each recorded “To Love Somebody” within the first year and half of its debut. Roberta Flack waxxed a beautiful re-imagining of the song on her lovely Quiet Fire album in 1971. A decade and a half later, Bonnie Tyler was revisiting the song in the studio and in her live shows around the world.Perhaps the song's most popular cover came in 1992 when Michael Bolton released it as a single from his Timeless: The Classics album. His version reached No. 11 in the US and No. 2 in Canada.“To Love Somebody” even has also had currency in country corners after Hank Williams Jr. put it on his 1979 Family Tradition album.Our Take on the TuneIn the Floodisphere, it was a quarter of a century ago when Joe Dobbs' son, Dale, first used the word “eclectic” to describe The Flood's diverse musical tastes. True, that. The Floodery does tap a wide variety of sources for its tunes, from blues and old-time string band numbers to jazz, jug band and classic rock. But even the guys themselves didn't see this one coming (though you diehard Bee Gees probably knew they'd get to you sooner or later). Here's Randy Hamilton leading the way on Barry Gibb's best composition. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com
Dans cet épisode fascinant de "La partition", plongez dans l'univers musical des Bee Gees en compagnie d'Ombline Roche. Découvrez l'histoire incroyable de ces frères mythiques, de leurs débuts dans les quartiers défavorisés de Brisbane à leur montée en puissance sur la scène musicale internationale. Avant de devenir les rois du disco avec des tubes incontournables comme "Stayin' Alive", les Bee Gees ont exploré le registre de la balade pop avec des morceaux tels que "To Love Somebody".Suivez l'évolution du groupe, de ses débuts modestes en Australie à leur succès en Angleterre, en passant par leur rencontre avec l'imprésario des Beatles. Plongez dans l'univers psychédélique des années 60, où les influences des Beatles, des Beach Boys et même de David Bowie se mêlent pour créer une musique unique et intemporelle. Explorez les coulisses de la création musicale des Bee Gees, avec les voix envoûtantes des frères Gibb et leur harmonie à trois voix qui ont marqué l'histoire de la musique. Découvrez des anecdotes surprenantes sur le groupe et sa carrière, depuis leurs débuts modestes jusqu'à la rumeur d'un biopic qui pourrait bientôt voir le jour. Plongez dans l'univers des Bee Gees avec Ombline Roche, votre guide passionnée de l'histoire de la musique. Un épisode captivant qui vous fera redécouvrir tout le génie et la diversité artistique de ce groupe légendaire. Un rendez-vous à ne pas manquer pour tous les amateurs de musique en quête de nouvelles découvertes et de récits fascinants.
Se nominaste i Bee Gees al primo che passa, questo al 99% risponderebbe citando "La Febbre Del Sabato Sera". In realtà la Disco ha occupato solo una piccola fetta della loro carriera (circa tre anni). Così come il falsetto, che useranno solo a partire dal decimo album circa, quindi molto avanti.Prima i tre fratelli Gibb hanno attraversato varie fasi, con sonorità sempre diverse. Come quando agli esordi tutti li scambiavano per i Beatles, e non a torto: ascoltare per credere... Instagram: https://www.instagram.com/swing_out_faber/Spotify: https://spoti.fi/2yxp5xCApple: https://apple.co/2WAUcjKSpreaker: https://www.spreaker.com/show/suono-ma-nessuno-apreGrafica di Daris Nardini: https://instagram.com/thedarside?igshid=YmMyMTA2M2Y=Musica di sottofondo: "Once There Were Willows" by Danosongs - https://danosongs.comSetlist episodio:I've Gotta Get A Message To YouI Started A JokeNew York Mining Disaster 1941MassachusettsFirst Of MayJive Talkin'Stayin' AliveTo Love SomebodyPlaylist episodio su Spotify: https://open.spotify.com/playlist/2pdeSNXcdTnDdFRorvRsj5?si=xon0tpf_TUqyGeZC9AP_7A&pi=e-24V7QrPzQCqU
Episode 169 of A History of Rock Music in Five Hundred Songs looks at “Piece of My Heart" and the short, tragic life of Janis Joplin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "Spinning Wheel" by Blood, Sweat & Tears. 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 There are two Mixcloud mixes this time. As there are so many songs by Big Brother and the Holding Company and Janis Joplin excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two . For information on Janis Joplin I used three biographies -- Scars of Sweet Paradise by Alice Echols, Janis: Her Life and Music by Holly George-Warren, and Buried Alive by Myra Friedman. I also referred to the chapter '“Being Good Isn't Always Easy": Aretha Franklin, Janis Joplin, Dusty Springfield, and the Color of Soul' in Just Around Midnight: Rock and Roll and the Racial Imagination by Jack Hamilton. Some information on Bessie Smith came from Bessie Smith by Jackie Kay, a book I can't really recommend given the lack of fact-checking, and Bessie by Chris Albertson. I also referred to Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday by Angela Y. Davis And the best place to start with Joplin's music is this five-CD box, which contains both Big Brother and the Holding Company albums she was involved in, plus her two studio albums and bonus tracks. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode contains discussion of drug addiction and overdose, alcoholism, mental illness, domestic abuse, child abandonment, and racism. If those subjects are likely to cause you upset, you may want to check the transcript or skip this one rather than listen. Also, a subject I should probably say a little more about in this intro because I know I have inadvertently caused upset to at least one listener with this in the past. When it comes to Janis Joplin, it is *impossible* to talk about her without discussing her issues with her weight and self-image. The way I write often involves me paraphrasing the opinions of the people I'm writing about, in a mode known as close third person, and sometimes that means it can look like I am stating those opinions as my own, and sometimes things I say in that mode which *I* think are obviously meant in context to be critiques of those attitudes can appear to others to be replicating them. At least once, I have seriously upset a fat listener when talking about issues related to weight in this manner. I'm going to try to be more careful here, but just in case, I'm going to say before I begin that I think fatphobia is a pernicious form of bigotry, as bad as any other form of bigotry. I'm fat myself and well aware of how systemic discrimination affects fat people. I also think more generally that the pressure put on women to look a particular way is pernicious and disgusting in ways I can't even begin to verbalise, and causes untold harm. If *ANYTHING* I say in this episode comes across as sounding otherwise, that's because I haven't expressed myself clearly enough. Like all people, Janis Joplin had negative characteristics, and at times I'm going to say things that are critical of those. But when it comes to anything to do with her weight or her appearance, if *anything* I say sounds critical of her, rather than of a society that makes women feel awful for their appearance, it isn't meant to. Anyway, on with the show. On January the nineteenth, 1943, Seth Joplin typed up a letter to his wife Dorothy, which read “I wish to tender my congratulations on the anniversary of your successful completion of your production quota for the nine months ending January 19, 1943. I realize that you passed through a period of inflation such as you had never before known—yet, in spite of this, you met your goal by your supreme effort during the early hours of January 19, a good three weeks ahead of schedule.” As you can probably tell from that message, the Joplin family were a strange mixture of ultraconformism and eccentricity, and those two opposing forces would dominate the personality of their firstborn daughter for the whole of her life. Seth Joplin was a respected engineer at Texaco, where he worked for forty years, but he had actually dropped out of engineering school before completing his degree. His favourite pastime when he wasn't at work was to read -- he was a voracious reader -- and to listen to classical music, which would often move him to tears, but he had also taught himself to make bathtub gin during prohibition, and smoked cannabis. Dorothy, meanwhile, had had the possibility of a singing career before deciding to settle down and become a housewife, and was known for having a particularly beautiful soprano voice. Both were, by all accounts, fiercely intelligent people, but they were also as committed as anyone to the ideals of the middle-class family even as they chafed against its restrictions. Like her mother, young Janis had a beautiful soprano voice, and she became a soloist in her church choir, but after the age of six, she was not encouraged to sing much. Dorothy had had a thyroid operation which destroyed her singing voice, and the family got rid of their piano soon after (different sources say that this was either because Dorothy found her daughter's singing painful now that she couldn't sing herself, or because Seth was upset that his wife could no longer sing. Either seems plausible.) Janis was pushed to be a high-achiever -- she was given a library card as soon as she could write her name, and encouraged to use it, and she was soon advanced in school, skipping a couple of grades. She was also by all accounts a fiercely talented painter, and her parents paid for art lessons. From everything one reads about her pre-teen years, she was a child prodigy who was loved by everyone and who was clearly going to be a success of some kind. Things started to change when she reached her teenage years. Partly, this was just her getting into rock and roll music, which her father thought a fad -- though even there, she differed from her peers. She loved Elvis, but when she heard "Hound Dog", she loved it so much that she tracked down a copy of Big Mama Thornton's original, and told her friends she preferred that: [Excerpt: Big Mama Thornton, "Hound Dog"] Despite this, she was still also an exemplary student and overachiever. But by the time she turned fourteen, things started to go very wrong for her. Partly this was just down to her relationship with her father changing -- she adored him, but he became more distant from his daughters as they grew into women. But also, puberty had an almost wholly negative effect on her, at least by the standards of that time and place. She put on weight (which, again, I do not think is a negative thing, but she did, and so did everyone around her), she got a bad case of acne which didn't ever really go away, and she also didn't develop breasts particularly quickly -- which, given that she was a couple of years younger than the other people in the same classes at school, meant she stood out even more. In the mid-sixties, a doctor apparently diagnosed her as having a "hormone imbalance" -- something that got to her as a possible explanation for why she was, to quote from a letter she wrote then, "not really a woman or enough of one or something." She wondered if "maybe something as simple as a pill could have helped out or even changed that part of me I call ME and has been so messed up.” I'm not a doctor and even if I were, diagnosing historical figures is an unethical thing to do, but certainly the acne, weight gain, and mental health problems she had are all consistent with PCOS, the most common endocrine disorder among women, and it seems likely given what the doctor told her that this was the cause. But at the time all she knew was that she was different, and that in the eyes of her fellow students she had gone from being pretty to being ugly. She seems to have been a very trusting, naive, person who was often the brunt of jokes but who desperately needed to be accepted, and it became clear that her appearance wasn't going to let her fit into the conformist society she was being brought up in, while her high intelligence, low impulse control, and curiosity meant she couldn't even fade into the background. This left her one other option, and she decided that she would deliberately try to look and act as different from everyone else as possible. That way, it would be a conscious choice on her part to reject the standards of her fellow pupils, rather than her being rejected by them. She started to admire rebels. She became a big fan of Jerry Lee Lewis, whose music combined the country music she'd grown up hearing in Texas, the R&B she liked now, and the rebellious nature she was trying to cultivate: [Excerpt: Jerry Lee Lewis, "Whole Lotta Shakin' Goin' On"] When Lewis' career was derailed by his marriage to his teenage cousin, Joplin wrote an angry letter to Time magazine complaining that they had mistreated him in their coverage. But as with so many people of her generation, her love of rock and roll music led her first to the blues and then to folk, and she soon found herself listening to Odetta: [Excerpt: Odetta, "Muleskinner Blues"] One of her first experiences of realising she could gain acceptance from her peers by singing was when she was hanging out with the small group of Bohemian teenagers she was friendly with, and sang an Odetta song, mimicking her voice exactly. But young Janis Joplin was listening to an eclectic range of folk music, and could mimic more than just Odetta. For all that her later vocal style was hugely influenced by Odetta and by other Black singers like Big Mama Thornton and Etta James, her friends in her late teens and early twenties remember her as a vocal chameleon with an achingly pure soprano, who would more often than Odetta be imitating the great Appalachian traditional folk singer Jean Ritchie: [Excerpt: Jean Ritchie, "Lord Randall"] She was, in short, trying her best to become a Beatnik, despite not having any experience of that subculture other than what she read in books -- though she *did* read about them in books, devouring things like Kerouac's On The Road. She came into conflict with her mother, who didn't understand what was happening to her daughter, and who tried to get family counselling to understand what was going on. Her father, who seemed to relate more to Janis, but who was more quietly eccentric, put an end to that, but Janis would still for the rest of her life talk about how her mother had taken her to doctors who thought she was going to end up "either in jail or an insane asylum" to use her words. From this point on, and for the rest of her life, she was torn between a need for approval from her family and her peers, and a knowledge that no matter what she did she couldn't fit in with normal societal expectations. In high school she was a member of the Future Nurses of America, the Future Teachers of America, the Art Club, and Slide Rule Club, but she also had a reputation as a wild girl, and as sexually active (even though by all accounts at this point she was far less so than most of the so-called "good girls" – but her later activity was in part because she felt that if she was going to have that reputation anyway she might as well earn it). She also was known to express radical opinions, like that segregation was wrong, an opinion that the other students in her segregated Texan school didn't even think was wrong, but possibly some sort of sign of mental illness. Her final High School yearbook didn't contain a single other student's signature. And her initial choice of university, Lamar State College of Technology, was not much better. In the next town over, and attended by many of the same students, it had much the same attitudes as the school she'd left. Almost the only long-term effect her initial attendance at university had on her was a negative one -- she found there was another student at the college who was better at painting. Deciding that if she wasn't going to be the best at something she didn't want to do it at all, she more or less gave up on painting at that point. But there was one positive. One of the lecturers at Lamar was Francis Edward "Ab" Abernethy, who would in the early seventies go on to become the Secretary and Editor of the Texas Folklore Society, and was also a passionate folk musician, playing double bass in string bands. Abernethy had a great collection of blues 78s. and it was through this collection that Janis first discovered classic blues, and in particular Bessie Smith: [Excerpt: Bessie Smith, "Black Mountain Blues"] A couple of episodes ago, we had a long look at the history of the music that now gets called "the blues" -- the music that's based around guitars, and generally involves a solo male vocalist, usually Black during its classic period. At the time that music was being made though it wouldn't have been thought of as "the blues" with no modifiers by most people who were aware of it. At the start, even the songs they were playing weren't thought of as blues by the male vocalist/guitarists who played them -- they called the songs they played "reels". The music released by people like Blind Lemon Jefferson, Son House, Robert Johnson, Kokomo Arnold and so on was thought of as blues music, and people would understand and agree with a phrase like "Lonnie Johnson is a blues singer", but it wasn't the first thing people thought of when they talked about "the blues". Until relatively late -- probably some time in the 1960s -- if you wanted to talk about blues music made by Black men with guitars and only that music, you talked about "country blues". If you thought about "the blues", with no qualifiers, you thought about a rather different style of music, one that white record collectors started later to refer to as "classic blues" to differentiate it from what they were now calling "the blues". Nowadays of course if you say "classic blues", most people will think you mean Muddy Waters or John Lee Hooker, people who were contemporary at the time those white record collectors were coming up with their labels, and so that style of music gets referred to as "vaudeville blues", or as "classic female blues": [Excerpt: Mamie Smith, "Crazy Blues"] What we just heard was the first big blues hit performed by a Black person, from 1920, and as we discussed in the episode on "Crossroads" that revolutionised the whole record industry when it came out. The song was performed by Mamie Smith, a vaudeville performer, and was originally titled "Harlem Blues" by its writer, Perry Bradford, before he changed the title to "Crazy Blues" to get it to a wider audience. Bradford was an important figure in the vaudeville scene, though other than being the credited writer of "Keep A-Knockin'" he's little known these days. He was a Black musician and grew up playing in minstrel shows (the history of minstrelsy is a topic for another day, but it's more complicated than the simple image of blackface that we are aware of today -- though as with many "more complicated than that" things it is, also the simple image of blackface we're aware of). He was the person who persuaded OKeh records that there would be a market for music made by Black people that sounded Black (though as we're going to see in this episode, what "sounding Black" means is a rather loaded question). "Crazy Blues" was the result, and it was a massive hit, even though it was marketed specifically towards Black listeners: [Excerpt: Mamie Smith, "Crazy Blues"] The big stars of the early years of recorded blues were all making records in the shadow of "Crazy Blues", and in the case of its very biggest stars, they were working very much in the same mould. The two most important blues stars of the twenties both got their start in vaudeville, and were both women. Ma Rainey, like Mamie Smith, first performed in minstrel shows, but where Mamie Smith's early records had her largely backed by white musicians, Rainey was largely backed by Black musicians, including on several tracks Louis Armstrong: [Excerpt: Ma Rainey, "See See Rider"] Rainey's band was initially led by Thomas Dorsey, one of the most important men in American music, who we've talked about before in several episodes, including the last one. He was possibly the single most important figure in two different genres -- hokum music, when he, under the name "Georgia Tom" recorded "It's Tight Like That" with Tampa Red: [Excerpt: Tampa Red and Georgia Tom, "It's Tight Like That"] And of course gospel music, which to all intents and purposes he invented, and much of whose repertoire he wrote: [Excerpt: Mahalia Jackson, "Take My Hand, Precious Lord"] When Dorsey left Rainey's band, as we discussed right back in episode five, he was replaced by a female pianist, Lil Henderson. The blues was a woman's genre. And Ma Rainey was, by preference, a woman's woman, though she was married to a man: [Excerpt: Ma Rainey, "Prove it on Me"] So was the biggest star of the classic blues era, who was originally mentored by Rainey. Bessie Smith, like Rainey, was a queer woman who had relationships with men but was far more interested in other women. There were stories that Bessie Smith actually got her start in the business by being kidnapped by Ma Rainey, and forced into performing on the same bills as her in the vaudeville show she was touring in, and that Rainey taught Smith to sing blues in the process. In truth, Rainey mentored Smith more in stagecraft and the ways of the road than in singing, and neither woman was only a blues singer, though both had huge success with their blues records. Indeed, since Rainey was already in the show, Smith was initially hired as a dancer rather than a singer, and she also worked as a male impersonator. But Smith soon branched out on her own -- from the beginning she was obviously a star. The great jazz clarinettist Sidney Bechet later said of her "She had this trouble in her, this thing that would not let her rest sometimes, a meanness that came and took her over. But what she had was alive … Bessie, she just wouldn't let herself be; it seemed she couldn't let herself be." Bessie Smith was signed by Columbia Records in 1923, as part of the rush to find and record as many Black women blues singers as possible. Her first recording session produced "Downhearted Blues", which became, depending on which sources you read, either the biggest-selling blues record since "Crazy Blues" or the biggest-selling blues record ever, full stop, selling three quarters of a million copies in the six months after its release: [Excerpt: Bessie Smith, "Downhearted Blues"] Smith didn't make royalties off record sales, only making a flat fee, but she became the most popular Black performer of the 1920s. Columbia signed her to an exclusive contract, and she became so rich that she would literally travel between gigs on her own private train. She lived an extravagant life in every way, giving lavishly to her friends and family, but also drinking extraordinary amounts of liquor, having regular affairs, and also often physically or verbally attacking those around her. By all accounts she was not a comfortable person to be around, and she seemed to be trying to fit an entire lifetime into every moment. From 1923 through 1929 she had a string of massive hits. She recorded material in a variety of styles, including the dirty blues: [Excerpt: Bessie Smith, "Empty Bed Blues] And with accompanists like Louis Armstrong: [Excerpt: Bessie Smith with Louis Armstrong, "Cold in Hand Blues"] But the music for which she became best known, and which sold the best, was when she sang about being mistreated by men, as on one of her biggest hits, "'Tain't Nobody's Biz-Ness if I Do" -- and a warning here, I'm going to play a clip of the song, which treats domestic violence in a way that may be upsetting: [Excerpt: Bessie Smith, "'Tain't Nobody's Biz-Ness if I Do"] That kind of material can often seem horrifying to today's listeners -- and quite correctly so, as domestic violence is a horrifying thing -- and it sounds entirely too excusing of the man beating her up for anyone to find it comfortable listening. But the Black feminist scholar Angela Davis has made a convincing case that while these records, and others by Smith's contemporaries, can't reasonably be considered to be feminist, they *are* at the very least more progressive than they now seem, in that they were, even if excusing it, pointing to a real problem which was otherwise left unspoken. And that kind of domestic violence and abuse *was* a real problem, including in Smith's own life. By all accounts she was terrified of her husband, Jack Gee, who would frequently attack her because of her affairs with other people, mostly women. But she was still devastated when he left her for a younger woman, not only because he had left her, but also because he kidnapped their adopted son and had him put into a care home, falsely claiming she had abused him. Not only that, but before Jack left her closest friend had been Jack's niece Ruby and after the split she never saw Ruby again -- though after her death Ruby tried to have a blues career as "Ruby Smith", taking her aunt's surname and recording a few tracks with Sammy Price, the piano player who worked with Sister Rosetta Tharpe: [Excerpt: Ruby Smith with Sammy Price, "Make Me Love You"] The same month, May 1929, that Gee left her, Smith recorded what was to become her last big hit, and most well-known song, "Nobody Knows You When You're Down and Out": [Excerpt: Bessie Smith, "Nobody Knows You When You're Down and Out"] And that could have been the theme for the rest of her life. A few months after that record came out, the Depression hit, pretty much killing the market for blues records. She carried on recording until 1931, but the records weren't selling any more. And at the same time, the talkies came in in the film industry, which along with the Depression ended up devastating the vaudeville audience. Her earnings were still higher than most, but only a quarter of what they had been a year or two earlier. She had one last recording session in 1933, produced by John Hammond for OKeh Records, where she showed that her style had developed over the years -- it was now incorporating the newer swing style, and featured future swing stars Benny Goodman and Jack Teagarden in the backing band: [Excerpt: Bessie Smith, "Gimme a Pigfoot"] Hammond was not hugely impressed with the recordings, preferring her earlier records, and they would be the last she would ever make. She continued as a successful, though no longer record-breaking, live act until 1937, when she and her common-law husband, Lionel Hampton's uncle Richard Morgan, were in a car crash. Morgan escaped, but Smith died of her injuries and was buried on October the fourth 1937. Ten thousand people came to her funeral, but she was buried in an unmarked grave -- she was still legally married to Gee, even though they'd been separated for eight years, and while he supposedly later became rich from songwriting royalties from some of her songs (most of her songs were written by other people, but she wrote a few herself) he refused to pay for a headstone for her. Indeed on more than one occasion he embezzled money that had been raised by other people to provide a headstone. Bessie Smith soon became Joplin's favourite singer of all time, and she started trying to copy her vocals. But other than discovering Smith's music, Joplin seems to have had as terrible a time at university as at school, and soon dropped out and moved back in with her parents. She went to business school for a short while, where she learned some secretarial skills, and then she moved west, going to LA where two of her aunts lived, to see if she could thrive better in a big West Coast city than she did in small-town Texas. Soon she moved from LA to Venice Beach, and from there had a brief sojourn in San Francisco, where she tried to live out her beatnik fantasies at a time when the beatnik culture was starting to fall apart. She did, while she was there, start smoking cannabis, though she never got a taste for that drug, and took Benzedrine and started drinking much more heavily than she had before. She soon lost her job, moved back to Texas, and re-enrolled at the same college she'd been at before. But now she'd had a taste of real Bohemian life -- she'd been singing at coffee houses, and having affairs with both men and women -- and soon she decided to transfer to the University of Texas at Austin. At this point, Austin was very far from the cultural centre it has become in recent decades, and it was still a straitlaced Texan town, but it was far less so than Port Arthur, and she soon found herself in a folk group, the Waller Creek Boys. Janis would play autoharp and sing, sometimes Bessie Smith covers, but also the more commercial country and folk music that was popular at the time, like "Silver Threads and Golden Needles", a song that had originally been recorded by Wanda Jackson but at that time was a big hit for Dusty Springfield's group The Springfields: [Excerpt: The Waller Creek Boys, "Silver Threads and Golden Needles"] But even there, Joplin didn't fit in comfortably. The venue where the folk jams were taking place was a segregated venue, as everywhere around Austin was. And she was enough of a misfit that the campus newspaper did an article on her headlined "She Dares to Be Different!", which read in part "She goes barefooted when she feels like it, wears Levi's to class because they're more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break out into song it will be handy." There was a small group of wannabe-Beatniks, including Chet Helms, who we've mentioned previously in the Grateful Dead episode, Gilbert Shelton, who went on to be a pioneer of alternative comics and create the Fabulous Furry Freak Brothers, and Shelton's partner in Rip-Off Press, Dave Moriarty, but for the most part the atmosphere in Austin was only slightly better for Janis than it had been in Port Arthur. The final straw for her came when in an annual charity fundraiser joke competition to find the ugliest man on campus, someone nominated her for the "award". She'd had enough of Texas. She wanted to go back to California. She and Chet Helms, who had dropped out of the university earlier and who, like her, had already spent some time on the West Coast, decided to hitch-hike together to San Francisco. Before leaving, she made a recording for her ex-girlfriend Julie Paul, a country and western musician, of a song she'd written herself. It's recorded in what many say was Janis' natural voice -- a voice she deliberately altered in performance in later years because, she would tell people, she didn't think there was room for her singing like that in an industry that already had Joan Baez and Judy Collins. In her early years she would alternate between singing like this and doing her imitations of Black women, but the character of Janis Joplin who would become famous never sang like this. It may well be the most honest thing that she ever recorded, and the most revealing of who she really was: [Excerpt: Janis Joplin, "So Sad to Be Alone"] Joplin and Helms made it to San Francisco, and she started performing at open-mic nights and folk clubs around the Bay Area, singing in her Bessie Smith and Odetta imitation voice, and sometimes making a great deal of money by sounding different from the wispier-voiced women who were the norm at those venues. The two friends parted ways, and she started performing with two other folk musicians, Larry Hanks and Roger Perkins, and she insisted that they would play at least one Bessie Smith song at every performance: [Excerpt: Janis Joplin, Larry Hanks, and Roger Perkins, "Black Mountain Blues (live in San Francisco)"] Often the trio would be joined by Billy Roberts, who at that time had just started performing the song that would make his name, "Hey Joe", and Joplin was soon part of the folk scene in the Bay Area, and admired by Dino Valenti, David Crosby, and Jerry Garcia among others. She also sang a lot with Jorma Kaukonnen, and recordings of the two of them together have circulated for years: [Excerpt: Janis Joplin and Jorma Kaukonnen, "Nobody Knows You When You're Down and Out"] Through 1963, 1964, and early 1965 Joplin ping-ponged from coast to coast, spending time in the Bay Area, then Greenwich Village, dropping in on her parents then back to the Bay Area, and she started taking vast quantities of methamphetamine. Even before moving to San Francisco she had been an occasional user of amphetamines – at the time they were regularly prescribed to students as study aids during exam periods, and she had also been taking them to try to lose some of the weight she always hated. But while she was living in San Francisco she became dependent on the drug. At one point her father was worried enough about her health to visit her in San Francisco, where she managed to fool him that she was more or less OK. But she looked to him for reassurance that things would get better for her, and he couldn't give it to her. He told her about a concept that he called the "Saturday night swindle", the idea that you work all week so you can go out and have fun on Saturday in the hope that that will make up for everything else, but that it never does. She had occasional misses with what would have been lucky breaks -- at one point she was in a motorcycle accident just as record labels were interested in signing her, and by the time she got out of the hospital the chance had gone. She became engaged to another speed freak, one who claimed to be an engineer and from a well-off background, but she was becoming severely ill from what was by now a dangerous amphetamine habit, and in May 1965 she decided to move back in with her parents, get clean, and have a normal life. Her new fiance was going to do the same, and they were going to have the conformist life her parents had always wanted, and which she had always wanted to want. Surely with a husband who loved her she could find a way to fit in and just be normal. She kicked the addiction, and wrote her fiance long letters describing everything about her family and the new normal life they were going to have together, and they show her painfully trying to be optimistic about the future, like one where she described her family to him: "My mother—Dorothy—worries so and loves her children dearly. Republican and Methodist, very sincere, speaks in clichés which she really means and is very good to people. (She thinks you have a lovely voice and is terribly prepared to like you.) My father—richer than when I knew him and kind of embarrassed about it—very well read—history his passion—quiet and very excited to have me home because I'm bright and we can talk (about antimatter yet—that impressed him)! I keep telling him how smart you are and how proud I am of you.…" She went back to Lamar, her mother started sewing her a wedding dress, and for much of the year she believed her fiance was going to be her knight in shining armour. But as it happened, the fiance in question was described by everyone else who knew him as a compulsive liar and con man, who persuaded her father to give him money for supposed medical tests before the wedding, but in reality was apparently married to someone else and having a baby with a third woman. After the engagement was broken off, she started performing again around the coffeehouses in Austin and Houston, and she started to realise the possibilities of rock music for her kind of performance. The missing clue came from a group from Austin who she became very friendly with, the Thirteenth Floor Elevators, and the way their lead singer Roky Erickson would wail and yell: [Excerpt: The 13th Floor Elevators, "You're Gonna Miss Me (live)"] If, as now seemed inevitable, Janis was going to make a living as a performer, maybe she should start singing rock music, because it seemed like there was money in it. There was even some talk of her singing with the Elevators. But then an old friend came to Austin from San Francisco with word from Chet Helms. A blues band had formed, and were looking for a singer, and they remembered her from the coffee houses. Would she like to go back to San Francisco and sing with them? In the time she'd been away, Helms had become hugely prominent in the San Francisco music scene, which had changed radically. A band from the area called the Charlatans had been playing a fake-Victorian saloon called the Red Dog in nearby Nevada, and had become massive with the people who a few years earlier had been beatniks: [Excerpt: The Charlatans, "32-20"] When their residency at the Red Dog had finished, several of the crowd who had been regulars there had become a collective of sorts called the Family Dog, and Helms had become their unofficial leader. And there's actually a lot packed into that choice of name. As we'll see in a few future episodes, a lot of West Coast hippies eventually started calling their collectives and communes families. This started as a way to get round bureaucracy -- if a helpful welfare officer put down that the unrelated people living in a house together were a family, suddenly they could get food stamps. As with many things, of course, the label then affected how people thought about themselves, and one thing that's very notable about the San Francisco scene hippies in particular is that they are some of the first people to make a big deal about what we now call "found family" or "family of choice". But it's also notable how often the hippie found families took their model from the only families these largely middle-class dropouts had ever known, and structured themselves around men going out and doing the work -- selling dope or panhandling or being rock musicians or shoplifting -- with the women staying at home doing the housework. The Family Dog started promoting shows, with the intention of turning San Francisco into "the American Liverpool", and soon Helms was rivalled only by Bill Graham as the major promoter of rock shows in the Bay Area. And now he wanted Janis to come back and join this new band. But Janis was worried. She was clean now. She drank far too much, but she wasn't doing any other drugs. She couldn't go back to San Francisco and risk getting back on methamphetamine. She needn't worry about that, she was told, nobody in San Francisco did speed any more, they were all on LSD -- a drug she hated and so wasn't in any danger from. Reassured, she made the trip back to San Francisco, to join Big Brother and the Holding Company. Big Brother and the Holding Company were the epitome of San Francisco acid rock at the time. They were the house band at the Avalon Ballroom, which Helms ran, and their first ever gig had been at the Trips Festival, which we talked about briefly in the Grateful Dead episode. They were known for being more imaginative than competent -- lead guitarist James Gurley was often described as playing parts that were influenced by John Cage, but was equally often, and equally accurately, described as not actually being able to keep his guitar in tune because he was too stoned. But they were drawing massive crowds with their instrumental freak-out rock music. Helms thought they needed a singer, and he had remembered Joplin, who a few of the group had seen playing the coffee houses. He decided she would be perfect for them, though Joplin wasn't so sure. She thought it was worth a shot, but as she wrote to her parents before meeting the group "Supposed to rehearse w/ the band this afternoon, after that I guess I'll know whether I want to stay & do that for awhile. Right now my position is ambivalent—I'm glad I came, nice to see the city, a few friends, but I'm not at all sold on the idea of becoming the poor man's Cher.” In that letter she also wrote "I'm awfully sorry to be such a disappointment to you. I understand your fears at my coming here & must admit I share them, but I really do think there's an awfully good chance I won't blow it this time." The band she met up with consisted of lead guitarist James Gurley, bass player Peter Albin, rhythm player Sam Andrew, and drummer David Getz. To start with, Peter Albin sang lead on most songs, with Joplin adding yelps and screams modelled on those of Roky Erickson, but in her first gig with the band she bowled everyone over with her lead vocal on the traditional spiritual "Down on Me", which would remain a staple of their live act, as in this live recording from 1968: [Excerpt: Big Brother and the Holding Company, "Down on Me (Live 1968)"] After that first gig in June 1966, it was obvious that Joplin was going to be a star, and was going to be the group's main lead vocalist. She had developed a whole new stage persona a million miles away from her folk performances. As Chet Helms said “Suddenly this person who would stand upright with her fists clenched was all over the stage. Roky Erickson had modeled himself after the screaming style of Little Richard, and Janis's initial stage presence came from Roky, and ultimately Little Richard. It was a very different Janis.” Joplin would always claim to journalists that her stage persona was just her being herself and natural, but she worked hard on every aspect of her performance, and far from the untrained emotional outpouring she always suggested, her vocal performances were carefully calculated pastiches of her influences -- mostly Bessie Smith, but also Big Mama Thornton, Odetta, Etta James, Tina Turner, and Otis Redding. That's not to say that those performances weren't an authentic expression of part of herself -- they absolutely were. But the ethos that dominated San Francisco in the mid-sixties prized self-expression over technical craft, and so Joplin had to portray herself as a freak of nature who just had to let all her emotions out, a wild woman, rather than someone who carefully worked out every nuance of her performances. Joplin actually got the chance to meet one of her idols when she discovered that Willie Mae Thornton was now living and regularly performing in the Bay Area. She and some of her bandmates saw Big Mama play a small jazz club, where she performed a song she wouldn't release on a record for another two years: [Excerpt: Big Mama Thornton, "Ball 'n' Chain"] Janis loved the song and scribbled down the lyrics, then went backstage to ask Big Mama if Big Brother could cover the song. She gave them her blessing, but told them "don't" -- and here she used a word I can't use with a clean rating -- "it up". The group all moved in together, communally, with their partners -- those who had them. Janis was currently single, having dumped her most recent boyfriend after discovering him shooting speed, as she was still determined to stay clean. But she was rapidly discovering that the claim that San Franciscans no longer used much speed had perhaps not been entirely true, as for example Sam Andrew's girlfriend went by the nickname Speedfreak Rita. For now, Janis was still largely clean, but she did start drinking more. Partly this was because of a brief fling with Pigpen from the Grateful Dead, who lived nearby. Janis liked Pigpen as someone else on the scene who didn't much like psychedelics or cannabis -- she didn't like drugs that made her think more, but only drugs that made her able to *stop* thinking (her love of amphetamines doesn't seem to fit this pattern, but a small percentage of people have a different reaction to amphetamine-type stimulants, perhaps she was one of those). Pigpen was a big drinker of Southern Comfort -- so much so that it would kill him within a few years -- and Janis started joining him. Her relationship with Pigpen didn't last long, but the two would remain close, and she would often join the Grateful Dead on stage over the years to duet with him on "Turn On Your Lovelight": [Excerpt: Janis Joplin and the Grateful Dead, "Turn on Your Lovelight"] But within two months of joining the band, Janis nearly left. Paul Rothchild of Elektra Records came to see the group live, and was impressed by their singer, but not by the rest of the band. This was something that would happen again and again over the group's career. The group were all imaginative and creative -- they worked together on their arrangements and their long instrumental jams and often brought in very good ideas -- but they were not the most disciplined or technically skilled of musicians, even when you factored in their heavy drug use, and often lacked the skill to pull off their better ideas. They were hugely popular among the crowds at the Avalon Ballroom, who were on the group's chemical wavelength, but Rothchild was not impressed -- as he was, in general, unimpressed with psychedelic freakouts. He was already of the belief in summer 1966 that the fashion for extended experimental freak-outs would soon come to an end and that there would be a pendulum swing back towards more structured and melodic music. As we saw in the episode on The Band, he would be proved right in a little over a year, but being ahead of the curve he wanted to put together a supergroup that would be able to ride that coming wave, a group that would play old-fashioned blues. He'd got together Stefan Grossman, Steve Mann, and Taj Mahal, and he wanted Joplin to be the female vocalist for the group, dueting with Mahal. She attended one rehearsal, and the new group sounded great. Elektra Records offered to sign them, pay their rent while they rehearsed, and have a major promotional campaign for their first release. Joplin was very, very, tempted, and brought the subject up to her bandmates in Big Brother. They were devastated. They were a family! You don't leave your family! She was meant to be with them forever! They eventually got her to agree to put off the decision at least until after a residency they'd been booked for in Chicago, and she decided to give them the chance, writing to her parents "I decided to stay w/the group but still like to think about the other thing. Trying to figure out which is musically more marketable because my being good isn't enough, I've got to be in a good vehicle.” The trip to Chicago was a disaster. They found that the people of Chicago weren't hugely interested in seeing a bunch of white Californians play the blues, and that the Midwest didn't have the same Bohemian crowds that the coastal cities they were used to had, and so their freak-outs didn't go down well either. After two weeks of their four-week residency, the club owner stopped paying them because they were so unpopular, and they had no money to get home. And then they were approached by Bob Shad. (For those who know the film Walk Hard: The Dewey Cox Story, the Bob Shad in that film is named after this one -- Judd Apatow, the film's director, is Shad's grandson) This Shad was a record producer, who had worked with people like Big Bill Broonzy, Sarah Vaughan, Dinah Washington, and Billy Eckstine over an eighteen-year career, and had recently set up a new label, Mainstream Records. He wanted to sign Big Brother and the Holding Company. They needed money and... well, it was a record contract! It was a contract that took half their publishing, paid them a five percent royalty on sales, and gave them no advance, but it was still a contract, and they'd get union scale for the first session. In that first session in Chicago, they recorded four songs, and strangely only one, "Down on Me", had a solo Janis vocal. Of the other three songs, Sam Andrew and Janis dueted on Sam's song "Call on Me", Albin sang lead on the group composition "Blindman", and Gurley and Janis sang a cover of "All Is Loneliness", a song originally by the avant-garde street musician Moondog: [Excerpt: Big Brother and the Holding Company, "All is Loneliness"] The group weren't happy with the four songs they recorded -- they had to keep the songs to the length of a single, and the engineers made sure that the needles never went into the red, so their guitars sounded far more polite and less distorted than they were used to. Janis was fascinated by the overdubbing process, though, especially double-tracking, which she'd never tried before but which she turned out to be remarkably good at. And they were now signed to a contract, which meant that Janis wouldn't be leaving the group to go solo any time soon. The family were going to stay together. But on the group's return to San Francisco, Janis started doing speed again, encouraged by the people around the group, particularly Gurley's wife. By the time the group's first single, "Blindman" backed with "All is Loneliness", came out, she was an addict again. That initial single did nothing, but the group were fast becoming one of the most popular in the Bay Area, and almost entirely down to Janis' vocals and on-stage persona. Bob Shad had already decided in the initial session that while various band members had taken lead, Janis was the one who should be focused on as the star, and when they drove to LA for their second recording session it was songs with Janis leads that they focused on. At that second session, in which they recorded ten tracks in two days, the group recorded a mix of material including one of Janis' own songs, the blues track "Women is Losers", and a version of the old folk song "the Cuckoo Bird" rearranged by Albin. Again they had to keep the arrangements to two and a half minutes a track, with no extended soloing and a pop arrangement style, and the results sound a lot more like the other San Francisco bands, notably Jefferson Airplane, than like the version of the band that shows itself in their live performances: [Excerpt: Big Brother and the Holding Company, "Coo Coo"] After returning to San Francisco after the sessions, Janis went to see Otis Redding at the Fillmore, turning up several hours before the show started on all three nights to make sure she could be right at the front. One of the other audience members later recalled “It was more fascinating for me, almost, to watch Janis watching Otis, because you could tell that she wasn't just listening to him, she was studying something. There was some kind of educational thing going on there. I was jumping around like the little hippie girl I was, thinking This is so great! and it just stopped me in my tracks—because all of a sudden Janis drew you very deeply into what the performance was all about. Watching her watch Otis Redding was an education in itself.” Joplin would, for the rest of her life, always say that Otis Redding was her all-time favourite singer, and would say “I started singing rhythmically, and now I'm learning from Otis Redding to push a song instead of just sliding over it.” [Excerpt: Otis Redding, "I Can't Turn You Loose (live)"] At the start of 1967, the group moved out of the rural house they'd been sharing and into separate apartments around Haight-Ashbury, and they brought the new year in by playing a free show organised by the Hell's Angels, the violent motorcycle gang who at the time were very close with the proto-hippies in the Bay Area. Janis in particular always got on well with the Angels, whose drugs of choice, like hers, were speed and alcohol more than cannabis and psychedelics. Janis also started what would be the longest on-again off-again relationship she would ever have, with a woman named Peggy Caserta. Caserta had a primary partner, but that if anything added to her appeal for Joplin -- Caserta's partner Kimmie had previously been in a relationship with Joan Baez, and Joplin, who had an intense insecurity that made her jealous of any other female singer who had any success, saw this as in some way a validation both of her sexuality and, transitively, of her talent. If she was dating Baez's ex's lover, that in some way put her on a par with Baez, and when she told friends about Peggy, Janis would always slip that fact in. Joplin and Caserta would see each other off and on for the rest of Joplin's life, but they were never in a monogamous relationship, and Joplin had many other lovers over the years. The next of these was Country Joe McDonald of Country Joe and the Fish, who were just in the process of recording their first album Electric Music for the Mind and Body, when McDonald and Joplin first got together: [Excerpt: Country Joe and the Fish, "Grace"] McDonald would later reminisce about lying with Joplin, listening to one of the first underground FM radio stations, KMPX, and them playing a Fish track and a Big Brother track back to back. Big Brother's second single, the other two songs recorded in the Chicago session, had been released in early 1967, and the B-side, "Down on Me", was getting a bit of airplay in San Francisco and made the local charts, though it did nothing outside the Bay Area: [Excerpt: Big Brother and the Holding Company, "Down on Me"] Janis was unhappy with the record, though, writing to her parents and saying, “Our new record is out. We seem to be pretty dissatisfied w/it. I think we're going to try & get out of the record contract if we can. We don't feel that they know how to promote or engineer a record & every time we recorded for them, they get all our songs, which means we can't do them for another record company. But then if our new record does something, we'd change our mind. But somehow, I don't think it's going to." The band apparently saw a lawyer to see if they could get out of the contract with Mainstream, but they were told it was airtight. They were tied to Bob Shad no matter what for the next five years. Janis and McDonald didn't stay together for long -- they clashed about his politics and her greater fame -- but after they split, she asked him to write a song for her before they became too distant, and he obliged and recorded it on the Fish's next album: [Excerpt: Country Joe and the Fish, "Janis"] The group were becoming so popular by late spring 1967 that when Richard Lester, the director of the Beatles' films among many other classics, came to San Francisco to film Petulia, his follow-up to How I Won The War, he chose them, along with the Grateful Dead, to appear in performance segments in the film. But it would be another filmmaker that would change the course of the group's career irrevocably: [Excerpt: Scott McKenzie, "San Francisco (Be Sure to Wear Some Flowers in Your Hair)"] When Big Brother and the Holding Company played the Monterey Pop Festival, nobody had any great expectations. They were second on the bill on the Saturday, the day that had been put aside for the San Francisco acts, and they were playing in the early afternoon, after a largely unimpressive night before. They had a reputation among the San Francisco crowd, of course, but they weren't even as big as the Grateful Dead, Moby Grape or Country Joe and the Fish, let alone Jefferson Airplane. Monterey launched four careers to new heights, but three of the superstars it made -- Otis Redding, Jimi Hendrix, and the Who -- already had successful careers. Hendrix and the Who had had hits in the UK but not yet broken the US market, while Redding was massively popular with Black people but hadn't yet crossed over to a white audience. Big Brother and the Holding Company, on the other hand, were so unimportant that D.A. Pennebaker didn't even film their set -- their manager at the time had not wanted to sign over the rights to film their performance, something that several of the other acts had also refused -- and nobody had been bothered enough to make an issue of it. Pennebaker just took some crowd shots and didn't bother filming the band. The main thing he caught was Cass Elliot's open-mouthed astonishment at Big Brother's performance -- or rather at Janis Joplin's performance. The members of the group would later complain, not entirely inaccurately, that in the reviews of their performance at Monterey, Joplin's left nipple (the outline of which was apparently visible through her shirt, at least to the male reviewers who took an inordinate interest in such things) got more attention than her four bandmates combined. As Pennebaker later said “She came out and sang, and my hair stood on end. We were told we weren't allowed to shoot it, but I knew if we didn't have Janis in the film, the film would be a wash. Afterward, I said to Albert Grossman, ‘Talk to her manager or break his leg or whatever you have to do, because we've got to have her in this film. I can't imagine this film without this woman who I just saw perform.” Grossman had a talk with the organisers of the festival, Lou Adler and John Phillips, and they offered Big Brother a second spot, the next day, if they would allow their performance to be used in the film. The group agreed, after much discussion between Janis and Grossman, and against the wishes of their manager: [Excerpt: Big Brother and the Holding Company, "Ball and Chain (live at Monterey)"] They were now on Albert Grossman's radar. Or at least, Janis Joplin was. Joplin had always been more of a careerist than the other members of the group. They were in music to have a good time and to avoid working a straight job, and while some of them were more accomplished musicians than their later reputations would suggest -- Sam Andrew, in particular, was a skilled player and serious student of music -- they were fundamentally content with playing the Avalon Ballroom and the Fillmore and making five hundred dollars or so a week between them. Very good money for 1967, but nothing else. Joplin, on the other hand, was someone who absolutely craved success. She wanted to prove to her family that she wasn't a failure and that her eccentricity shouldn't stop them being proud of her; she was always, even at the depths of her addictions, fiscally prudent and concerned about her finances; and she had a deep craving for love. Everyone who talks about her talks about how she had an aching need at all times for approval, connection, and validation, which she got on stage more than she got anywhere else. The bigger the audience, the more they must love her. She'd made all her decisions thus far based on how to balance making music that she loved with commercial success, and this would continue to be the pattern for her in future. And so when journalists started to want to talk to her, even though up to that point Albin, who did most of the on-stage announcements, and Gurley, the lead guitarist, had considered themselves joint leaders of the band, she was eager. And she was also eager to get rid of their manager, who continued the awkward streak that had prevented their first performance at the Monterey Pop Festival from being filmed. The group had the chance to play the Hollywood Bowl -- Bill Graham was putting on a "San Francisco Sound" showcase there, featuring Jefferson Airplane and the Grateful Dead, and got their verbal agreement to play, but after Graham had the posters printed up, their manager refused to sign the contracts unless they were given more time on stage. The next day after that, they played Monterey again -- this time the Monterey Jazz Festival. A very different crowd to the Pop Festival still fell for Janis' performance -- and once again, the film being made of the event didn't include Big Brother's set because of their manager. While all this was going on, the group's recordings from the previous year were rushed out by Mainstream Records as an album, to poor reviews which complained it was nothing like the group's set at Monterey: [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] They were going to need to get out of that contract and sign with somewhere better -- Clive Davis at Columbia Records was already encouraging them to sign with him -- but to do that, they needed a better manager. They needed Albert Grossman. Grossman was one of the best negotiators in the business at that point, but he was also someone who had a genuine love for the music his clients made. And he had good taste -- he managed Odetta, who Janis idolised as a singer, and Bob Dylan, who she'd been a fan of since his first album came out. He was going to be the perfect manager for the group. But he had one condition though. His first wife had been a heroin addict, and he'd just been dealing with Mike Bloomfield's heroin habit. He had one absolutely ironclad rule, a dealbreaker that would stop him signing them -- they didn't use heroin, did they? Both Gurley and Joplin had used heroin on occasion -- Joplin had only just started, introduced to the drug by Gurley -- but they were only dabblers. They could give it up any time they wanted, right? Of course they could. They told him, in perfect sincerity, that the band didn't use heroin and it wouldn't be a problem. But other than that, Grossman was extremely flexible. He explained to the group at their first meeting that he took a higher percentage than other managers, but that he would also make them more money than other managers -- if money was what they wanted. He told them that they needed to figure out where they wanted their career to be, and what they were willing to do to get there -- would they be happy just playing the same kind of venues they were now, maybe for a little more money, or did they want to be as big as Dylan or Peter, Paul, and Mary? He could get them to whatever level they wanted, and he was happy with working with clients at every level, what did they actually want? The group were agreed -- they wanted to be rich. They decided to test him. They were making twenty-five thousand dollars a year between them at that time, so they got ridiculously ambitious. They told him they wanted to make a *lot* of money. Indeed, they wanted a clause in their contract saying the contract would be void if in the first year they didn't make... thinking of a ridiculous amount, they came up with seventy-five thousand dollars. Grossman's response was to shrug and say "Make it a hundred thousand." The group were now famous and mixing with superstars -- Peter Tork of the Monkees had become a close friend of Janis', and when they played a residency in LA they were invited to John and Michelle Phillips' house to see a rough cut of Monterey Pop. But the group, other than Janis, were horrified -- the film barely showed the other band members at all, just Janis. Dave Getz said later "We assumed we'd appear in the movie as a band, but seeing it was a shock. It was all Janis. They saw her as a superstar in the making. I realized that though we were finally going to be making money and go to another level, it also meant our little family was being separated—there was Janis, and there was the band.” [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] If the group were going to make that hundred thousand dollars a year, they couldn't remain on Mainstream Records, but Bob Shad was not about to give up his rights to what could potentially be the biggest group in America without a fight. But luckily for the group, Clive Davis at Columbia had seen their Monterey performance, and he was also trying to pivot the label towards the new rock music. He was basically willing to do anything to get them. Eventually Columbia agreed to pay Shad two hundred thousand dollars for the group's contract -- Davis and Grossman negotiated so half that was an advance on the group's future earnings, but the other half was just an expense for the label. On top of that the group got an advance payment of fifty thousand dollars for their first album for Columbia, making a total investment by Columbia of a quarter of a million dollars -- in return for which they got to sign the band, and got the rights to the material they'd recorded for Mainstream, though Shad would get a two percent royalty on their first two albums for Columbia. Janis was intimidated by signing for Columbia, because that had been Aretha Franklin's label before she signed to Atlantic, and she regarded Franklin as the greatest performer in music at that time. Which may have had something to do with the choice of a new song the group added to their setlist in early 1968 -- one which was a current hit for Aretha's sister Erma: [Excerpt: Erma Franklin, "Piece of My Heart"] We talked a little in the last episode about the song "Piece of My Heart" itself, though mostly from the perspective of its performer, Erma Franklin. But the song was, as we mentioned, co-written by Bert Berns. He's someone we've talked about a little bit in previous episodes, notably the ones on "Here Comes the Night" and "Twist and Shout", but those were a couple of years ago, and he's about to become a major figure in the next episode, so we might as well take a moment here to remind listeners (or tell those who haven't heard those episodes) of the basics and explain where "Piece of My Heart" comes in Berns' work as a whole. Bert Berns was a latecomer to the music industry, not getting properly started until he was thirty-one, after trying a variety of other occupations. But when he did get started, he wasted no time making his mark -- he knew he had no time to waste. He had a weak heart and knew the likelihood was he was going to die young. He started an association with Wand records as a songwriter and performer, writing songs for some of Phil Spector's pre-fame recordings, and he also started producing records for Atlantic, where for a long while he was almost the equal of Jerry Wexler or Leiber and Stoller in terms of number of massive hits created. His records with Solomon Burke were the records that first got the R&B genre renamed soul (previously the word "soul" mostly referred to a kind of R&Bish jazz, rather than a kind of gospel-ish R&B). He'd also been one of the few American music industry professionals to work with British bands before the Beatles made it big in the USA, after he became alerted to the Beatles' success with his song "Twist and Shout", which he'd co-written with Phil Medley, and which had been a hit in a version Berns produced for the Isley Brothers: [Excerpt: The Isley Brothers, "Twist and Shout"] That song shows the two elements that existed in nearly every single Bert Berns song or production. The first is the Afro-Caribbean rhythm, a feel he picked up during a stint in Cuba in his twenties. Other people in the Atlantic records team were also partial to those rhythms -- Leiber and Stoller loved what they called the baion rhythm -- but Berns more than anyone else made it his signature. He also very specifically loved the song "La Bamba", especially Ritchie Valens' version of it: [Excerpt: Ritchie Valens, "La Bamba"] He basically seemed to think that was the greatest record ever made, and he certainly loved that three-chord trick I-IV-V-IV chord sequence -- almost but not quite the same as the "Louie Louie" one. He used it in nearly every song he wrote from that point on -- usually using a bassline that went something like this: [plays I-IV-V-IV bassline] He used it in "Twist and Shout" of course: [Excerpt: The Isley Brothers, "Twist and Shout"] He used it in "Hang on Sloopy": [Excerpt: The McCoys, "Hang on Sloopy"] He *could* get more harmonically sophisticated on occasion, but the vast majority of Berns' songs show the power of simplicity. They're usually based around three chords, and often they're actually only two chords, like "I Want Candy": [Excerpt: The Strangeloves, "I Want Candy"] Or the chorus to "Here Comes the Night" by Them, which is two chords for most of it and only introduces a third right at the end: [Excerpt: Them, "Here Comes the Night"] And even in that song you can hear the "Twist and Shout"/"La Bamba" feel, even if it's not exactly the same chords. Berns' whole career was essentially a way of wringing *every last possible drop* out of all the implications of Ritchie Valens' record. And so even when he did a more harmonically complex song, like "Piece of My Heart", which actually has some minor chords in the bridge, the "La Bamba" chord sequence is used in both the verse: [Excerpt: Erma Franklin, "Piece of My Heart"] And the chorus: [Excerpt: Erma Franklin, "Piece of My Heart"] Berns co-wrote “Piece of My Heart” with Jerry Ragavoy. Berns and Ragavoy had also written "Cry Baby" for Garnet Mimms, which was another Joplin favourite: [Excerpt: Garnet Mimms, "Cry Baby"] And Ragavoy, with other collaborators
Rick Springfield and Colin Petersen are two Aussies who have both made a huge impact on the international scene, Colin as a child actor in the movie Smiley then behind the drum kit for the Bee Gees' first musical assault on the world through hits like Massachusetts, To Love Somebody, New York Mining Disaster and Words. Now a Queensland resident, Colin shares the story, from his start in the business to the first break up of the brothers Gibb. Rick Springfield is touring the United States now with his new album Automatic. He talks about making the new record and looks back over a career that includes being shot at while touring Vietnam in the sixties, the story behind covering Eleanor Rigby with Zoot, the smash success of Jessie's Girl and much more. Thanks to Murcotts Driving Excellence. One phone call could make such a difference to your life. Call them on 1300 555 576 to become a better driver or give a gift certificate to someone you care about. Visit murcotts.edu.au todaySee omnystudio.com/listener for privacy information.
Song 1 - “To Love Somebody,” (Bee Gees COVER) Song 2 - “Everything Is Free,” (Gillian Welch COVER) Song 3 - “Dublin Blues,” (Guy Clark COVER) Song 4 - “Sweet Revenge,” (John Prine COVER) The Proper Way // Van Sessions at The Monarch Recorded during Ogden's First Friday Art Stroll. Supported by a generous grant from Ogden City Arts along with love from The Monarch, and Roosters Brewing. Thanks to everyone who came out to the live show! Join us every First Friday for recordings at The Monarch Building in Ogden, Utah. ARTIST | The Proper Way WEBSITE: https://theproperwayband.com/ INSTAGRAM: https://www.instagram.com/theproperwayband/ FACEBOOK: https://www.facebook.com/theproperwayband/ YOUTUBE: https://www.youtube.com/channel/UC2dYiq1_zmMVeGIbnQgAehg?view_as=subscriber SPOTIFY: https://open.spotify.com/artist/6BrPKZOFfJ7ufCiIsME0hF?si=7vEYVV4eTqiybShRZqadfA SUPPORTERS Roosters Brewing: https://www.roostersbrewingco.com/ The Monarch Building: https://themonarchogden.com/ Suntea's Music Booch: https://www.instagram.com/suntea.love/ Ogden City Arts: https://www.ogdencity.com/707/Arts CREDITS Producer / Host: R. Brandon Long, The Banyan Collective Logistics / Bookings: Todd Oberndorfer, The Banyan Collective Audio Mix: Scott Rogers Video Assistant: Ben Bauter Video Assistant: Isla Long FOLLOW // SUBSCRIBE Van Sessions Instagram: https://www.instagram.com/vansessions/ Van Sessions Facebook: https://www.facebook.com/thevansessions Van Sessions YouTube: https://www.youtube.com/@vansessionspod Our “Patreon,” Like what you hear, buy us beer: https://www.buymeacoffee.com/banyanmedia The drive behind Van Sessions is to create a music discovery community for Northern Utah musicians to share their work, refine their craft, and network with other artists. Van Sessions helps support local musicians, photographers, and videographers through our project. Show your support for local artists by subscribing to Van Sessions on YouTube @vansessionspod or search "Van Sessions Podcast" on your favorite podcast platform. Join us live at the Monarch in Ogden every First Friday to be a part of the free concert and video podcast recording. Bookings: todd@thebanyancollective.com
La Grande Sophie était de retour dans #LeDriveRTL2, elle a parlé de son nouvel album "La vie moderne" qui sort ce vendredi 13 janvier avec Eric Jean-Jean et a interprété deux titres en direct des studios de RTL2, son nouveau single "La vie moderne" ainsi qu'une adaptation en français de "To Love Somebody" un titre des Bee Gees. La nouveauté du jour : Temples "Gamma Rays" Trois choses à savoir sur le punk Britannique Le journal de la musique - Jeff Beck s'est éteint à 78 ans - John Lydon souhaite représenter l'Irlande à l'Eurovision avec - Le plus petit disque vinyle est à peine visible à l'oeil nu Le classique du jour : Jeff Beck "Cause We've Ended as Lovers"
La Grande Sophie était de retour dans #LeDriveRTL2, elle a parlé de son nouvel album "La vie moderne" qui sort ce vendredi 13 janvier avec Eric Jean-Jean et a interprété deux titres en direct des studios de RTL2, son nouveau single "La vie moderne" ainsi qu'une adaptation en français de "To Love Somebody" un titre des Bee Gees.
La Grande Sophie était de retour dans #LeDriveRTL2, elle a parlé de son nouvel album "La vie moderne" qui sort ce vendredi 13 janvier avec Eric Jean-Jean et a interprété deux titres en direct des studios de RTL2, son nouveau single "La vie moderne" ainsi qu'une adaptation en français de "To Love Somebody" un titre des Bee Gees.
La Grande Sophie était de retour dans #LeDriveRTL2, elle a parlé de son nouvel album "La vie moderne" qui sort ce vendredi 13 janvier avec Eric Jean-Jean et a interprété deux titres en direct des studios de RTL2, son nouveau single "La vie moderne" ainsi qu'une adaptation en français de "To Love Somebody" un titre des Bee Gees.
All live selections includes Intro You Should Be Dancing/Alone, To Love Somebody, Islands In The Stream, Our Love (Don't Throw It All Away), Night Fever/More Than A Woman, Lonely Days, Nights On Broadway, How Can You Mend A Broken Heart, Tragedy, Grease, Jive Talkin', How Deep Is Your Love, Stayin' Alive and You Should Be Dancing.
I denne episode af POV Mediano Music har Jan Eriksen besøg af Bjørn Fjæstad, der netop har udsendt albummet ”Uncover”. Fjæstad er multikunstner – eller med hans egne ord: ”Jeg er lidt af en kludetæppe-dude”. For godt og vel 30 år siden var han med til at skabe Baal, der lød som intet andet på den danske rockscene, dengang ofte sammenlignet med David Bowie og Queen. Siden har Baal udgivet otte studiealbum og to livealbum og turneret flittigt. Samtidig er Fjæstad blevet en dansk Mr. Teaterkoncert – indtil videre har han været med i 13, fra Bob Dylan over Mozart til Bowies "Lazarus". Du kender ham sikkert også fra tv, ikke mindst "Rytteriet". Som det ligger i titlen, er ”Uncover” en samling coverversioner af sange, der har haft stor betydning for Fjæstad siden drengeårene. Som han siger: ”Sangene er en mikroskopisk lille del af soundtracket til min ungdomsforelskelser og den ulykkelige kærlighed. Sangene som satte lyd på drømme og fik mig til at glemme hverdagen for en stund.” Det er sange som Bee Gees' "To Love Somebody", The Cars' "Drive" og The Korgis' "Everybody's Got to Learn Sometime". Og som altid i POV Mediano Musics podcast dykker vi også tilbage i historien, til dengang Baal blev dannet i resterne af et andet band. "Vi lavede sådan en selvspunden mytologi om os selv, som vi kaldte Baal manifestet. Når jeg taler om det i dag lyder det helt skørt, men det var dels for vores egen skyld, dels for sjov. Det var noget med, at vi havde fundet hinanden i Krakow, nogle af os." Lyt med og hør Fjæstad fortælle om: - inspirationen fra Bertolt Brechts teaterstykke Baal om en kvindeglad outsider. - den musiker, han mener skal have æren for, at Baal stadig eksisterer. - dogmet bag indspilningen af "Uncover": afstå, afstå, afstå. - hvad der første frem til, at han indspillede en version af Dolly Partons evigt grønne ”I Will Always Love You”. - sine to møder med David Bowie, det første gang tilfældigt som dreng i Grøften i Tivoli, anden gang backstage i Vega. Hør hvordan det spændte af. - hvad musikken kom til at betyde for ham, da han som dreng så sin stedfar tæve moren indimellem. - dengang han og barndomsvennen Lars hoppede i fløjssofaen med hver sin badmintonketcher og spillede luftguitar til Meat Loafs ”Bat Out of Hell”. - hvilken Baal-tekst, Bjørn Fjæstads datter har tatoveret på sin arm. - baggrunden for "sorg"-solopladen "Du kender intet til mig". ... og meget andet.
I denne episode af POV Mediano Music har Jan Eriksen besøg af Bjørn Fjæstad, der netop har udsendt albummet ”Uncovered”. Fjæstad er multikunstner – eller med hans egne ord: ”Jeg er lidt af en kludetæppe-dude”. For godt og vel 30 år siden var han med til at skabe Baal, der lød som intet andet på den danske rockscene, dengang ofte sammenlignet med David Bowie og Queen. Siden har Baal udgivet otte studiealbum og to livealbum og turneret flittigt. Samtidig er Fjæstad blevet en dansk Mr. Teaterkoncert – indtil videre har han været med i 13, fra Bob Dylan over Mozart til Bowies "Lazarus". Du kender ham sikkert også fra tv, ikke mindst "Rytteriet". Som det ligger i titlen, er ”Uncovered” en samling coverversioner af sange, der har haft stor betydning for Fjæstad siden drengeårene. Som han siger: ”Sangene er en mikroskopisk lille del af soundtracket til min ungdomsforelskelser og den ulykkelige kærlighed. Sangene som satte lyd på drømme og fik mig til at glemme hverdagen for en stund.” Det er sange som Bee Gees' "To Love Somebody", The Cars' "Drive" og The Korgis' "Everybody's Got to Learn Sometime". Og som altid i POV Mediano Musics podcast dykker vi også tilbage i historien, til dengang Baal blev dannet i resterne af et andet band. "Vi lavede sådan en selvspunden mytologi om os selv, som vi kaldte Baal manifestet. Når jeg taler om det i dag lyder det helt skørt, men det var dels for vores egen skyld, dels for sjov. Det var noget med, at vi havde fundet hinanden i Krakow, nogle af os." Lyt med og hør Fjæstad fortælle om: - inspirationen fra Bertolt Brechts teaterstykke Baal om en kvindeglad outsider. - den musiker, han mener skal have æren for, at Baal stadig eksisterer. - dogmet bag indspilningen af "Uncovered": afstå, afstå, afstå. - hvad der første frem til, at han indspillede en version af Dolly Partons evigt grønne ”I Will Always Love You”. - sine to møder med David Bowie, det første gang tilfældigt som dreng i Grøften i Tivoli, anden gang backstage i Vega. Hør hvordan det spændte af. - hvad musikken kom til at betyde for ham, da han som dreng så sin far tæve moren indimellem. - dengang han og barndomsvennen Lars hoppede i fløjssofaen med hver sin badmintonketcher og spillede luftguitar til Meat Loafs ”Bat Out of Hell”. - hvilken Baal-tekst, Bjørn Fjæstads datter har tatoveret på sin arm. - baggrunden for "sorg"-solopladen "Du kender intet til mig". ... og meget andet.
Hey folks and welcome to the Better Each Day Podcast Radio Show with your host, Bruce Hilliard. This is a special episode with the ghost of John Oates past. I was reflecting on a conversation from a while back where we talked about band names, the Beatles and Hall and Oates being two of them, and the famous Abandoned Luncheonette.So here are a couple of covers starting with one from an album called Help! It's by that band with the name that catches on after a while, the Beatles.I just recorded this last night. The Bee Gees' To Love Somebody.Here are two songs in a row that I wrote about my imaginary romance.This is a song I'm proud to say was written and recorded by two brothers of different mothers from mine, the Murchy Brothers with On The Harbor…that would be Grays Harbor where we grew up together.Thank you so much for listening. Here's on more of my tunes. This one is one of those “stop and smell” the roses…Doesn't Anybody Fall In Love No More.
WARNING: Aboriginal and Torres Strait Islander listeners should be aware that this episode contains the names, voices and words of people who have died.My Kind of Scene uncovers the past and present of Australian music. Australia has a tremendous legacy of musical siblings. In this two-part episode, we're going to take a stroll through the streets of sibling-spawned Aussie music.Find the episode playlist on the Spotify Cara Diaria artist page. Send questions or compliments to mykindofscenepod[@]gmail.com.My Kind Of Scene acknowledges and pays respect to the past, present and future Traditional Custodians and Elders of the nation many of us call Australia.Sources:WikipediaByrne, D. "Family ties: Australia's best musical siblings" abc.net.au, Jun 18, 2018Jenke, T. "10 of the best sibling team-ups in music" Tone Deaf, Feb 6, 2017Stavropoulos, L. "A Family Affair: 20 Sibling Groups Who Rock" udiscovermusic.com, Apr 10, 2022"Why Bon Scott Is A Rock Legend" Society of Rock."Song for the King – Vika and Linda Bull Interview" NFSA, 2005.Vikaandlindabull.comBogna, J. "Whatever happened to The Veronicas?" Dig Mag, Sep 1, 2013Henriques-Gomes, L. "Remembering Get Born: Jet's Debut And Still Their Crowning Achievement" Tone Deaf, Sep 13, 2016 Guppy, S. "Talei Wolfgramm" Tone Deaf, Oct 30, 2012"The Wolfgramm Sisters – Don't Stop" youtube.com, Nov 18, 2011 Kidd, S & Ursem, J. "To Love Somebody by The Bee Gees" Awesome Aussie Songs, Aug 14, 2022Simmons, R. "The 10 Best Songs Written by the Bee Gees – That Became Hits for Other Artists" Rebeat, May 20, 2016
Du kannst nicht einschlafen? Abendlieder und Chormusik, die dich ruhig ins Land der Träume schicken. Diese Musikstücke hast Du in der Folge gehört: Rainhard Fendrich & Arnold Schönberg Chor - "Weus'd a Herz hast wia a Bergwerk" // John Rutter & World Choir for Peace - "The Music's always there with you" // Joseph Gabriel Rheinberger - "Abendlied" // Scott Matthews - "To Love Somebody" // Eric Whitacre & Voces8 - "The Seal Lullaby" // Wenn Du eine Idee oder einen Wunsch hast, zu welchem Thema Philipp unbedingt eine Playlist zusammenzimmern muss, dann schreib ihm ebenso eine Mail: playlist@ndr.de.
Should you ever be ashamed of liking something? Does the concept of a "guilty pleasure" even apply in the anything-goes 21st century? Can you like something that you also think is bad? Is it simple nostalgia, or a deep appreciation of craft?We attempt to answer these questions as we share some of our self-defined guiltiest pleasures, and explain why we feel bad for liking them.This episode is made with REAL CHEESE!--References:Styx "Too Much Time On My Hands": https://youtu.be/5XcKBmdfpWsStyx "Come Sail Away": https://youtu.be/e5MAg_yWsq8Styx "Blue Collar Man": https://youtu.be/CDM6v1XhWEgStyx "Babe": https://youtu.be/yaVyQS1T7TYStyx "Renegade": https://youtu.be/E9eLz4DrwF8Fleetwood Mac "Tusk": https://youtu.be/ATMR5ettHz8Sly Fox "Let's Go All The Way": https://youtu.be/X-tYprm1WRoRihanna "Diamonds" (written by Sia): https://youtu.be/lWA2pjMjpBsSia gets in trouble for "Music": https://nypost.com/2021/02/17/more-than-55000-critics-cancel-sias-music-amid-backlash/Kenny Loggins "Easy Driver": https://youtu.be/rOFanKyFSUEKenny Loggins "I'm Alright": https://youtu.be/PVjU7g6zWcwKenny Loggins "This Is It": https://youtu.be/VS52sEUqxMoBee Gees "Tragedy": https://youtu.be/WJcozEOWgxIBee Gees "I Started A Joke": https://youtu.be/4ZWKR2zJESkBee Gees "To Love Somebody": https://youtu.be/DWJWWHCFPbEMiley Cyrus "Wrecking Ball": https://youtu.be/My2FRPA3Gf8Harry Styles "Watermelon Sugar": https://youtu.be/E07s5ZYygMgKaty Perry "Teenage Dream": https://youtu.be/98WtmW-lfeEAllan Holdsworth "Tokyo Dream" (Live 1984): https://youtu.be/txSs03ET-jsPat Metheny "Last Train Home": https://youtu.be/Sq5oqY3-vhgAl Dimeola (with Jan Hammer) "Sequencer": https://youtu.be/JS9hlHg9jXoAndy Summers & Robert Fripp "I Advance Masked": https://youtu.be/8vEM0GZWFJ0Lady Gaga "Bad Romance": https://youtu.be/qrO4YZeyl0IBlondie "Heart of Glass": https://youtu.be/WGU_4-5RaxUBlondie "Hanging on the Telephone": https://youtu.be/uWhkbDMISl8Michael Penn "No Myth": https://youtu.be/IxkJHX7ukKEPatrick Warren: https://en.wikipedia.org/wiki/Patrick_WarrenChamberlin (instrument): https://en.wikipedia.org/wiki/ChamberlinCombos stuffed snacks: https://www.combos.com/https://en.wikipedia.org/wiki/CombosRaven "Hellraiser/Action": https://youtu.be/LIkeHK8nwss--Michael Hateley:Lotus Mastering http://lotusmastering.com/ Extra Fancy "You Look Like a Movie Star":https://youtu.be/0pE1TqlWHCkBaldyloks (Michael Hateley & John Napier):https://soundcloud.com/baldyloks-1Dee Madden:https://www.deemadden.com/Penal Colony “Blue 9” video:https://youtu.be/Fes9E3ea8FYDee Madden on Spotify:https://open.spotify.com/artist/4jsYxJ4QxzoGn9t0HRllPk Anu Kirk:https://www.anukirk.comAnu on BandcampSid Luscious and The Pants on BandcampLuscious-235 on BandcampRêvenir on Bandcamp
Without doubt, The Bee Gees are the most successful act to come from Australia. In this episode of Awesome Aussie Songs, we take a look at one of their early international smash hits To Love Somebody. Rather than just the Gibb Brothers performing as a trio, the 1967 to 69 incarnation of The Bee Gees was a 5 piece band capable of heart felt ballads, as well as equally being at home with some ‘four to the floor' Rock n Roll. We speak with The Bee Gees original lead guitarist Vince Melouney and he shares some fascinating insights into the early years of group and how they came to take on the world and win! There are also historical interview excerpts from Barry, Robin and Maurice, as well as plenty of information and facts to keep even the most fanatical Bee Gees fan satisfied. This episode is a celebration of the band and their contribution to popular music.
To Love Somebody…it is Valentine's Day after all! “Album Tracks Aplenty!” for tomorrow, Tuesday's morning show 7-10AM ET, 4-7AM PT!! TEN NEW ALBUMS to lead off the show with! PS…the list below is from hour THREE of today's show! The Music Authority LIVE STREAM Show & Podcast... listen, like, comment, download, share, repeat…heard daily on Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes! Follow the show on TWITTER JimPrell@TMusicAuthority! Are you sharing the show? Are you listening? How does and can one listen in? Let me list the ways...*Listen LIVE here - https://fastcast4u.com/player/jamprell/ *Podcast - https://themusicauthority.transistor.fm/ The Music Authority LIVE STREAM Show & Podcast! Special Recorded Network Shows, too! Different than my daily show! *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT! February 14, 2022, Monday, Valentine Day Edition, the third…The Replacements - Valentine [Pleased To Meet Me]The Kut - SatelliteThe Clams - 01 Crazy Boys (Rum Bar Records)The Clams - 02 Train Song (Rum Bar Records)R.E. Seraphin - 9. Safe 2 Say [Tiny Shapes]The Ormidales - She's Leaving For LondonThe Sun Sawed in 1/2 - Too High StrungThe Sun Sawed in 1/2 - Falling in Slow MotionRickie Lee Jones - My Funny ValentineAnton Barbeau - B3 The Wait Of You [Magic Act]Tim Izzard Music - Empty My HeadYee loi - Beat On The BratShake Some Action! - 20 Valentine Jam [Sunny Days Ahead (deluxe reissue)]Emperor Penguin - 03 Oh Helena [Barbed Wire And Brass - EP]The Tremaines - Love and Kindness (Make The World Smile)The Dollyrots - 10 Valentine's Day [Down The Rabbit Hole] (Wicked Cool Records)Elvis Costello - My Funny Valentine [Taking Liberties]Famous Groupies - 11.Thank You [The Furry White Album]
Tom Petty & The Heartbreakers "Supernatural Radio"Jake Xerxes Fussell "Love Farewell"Fiona Apple "Heavy Balloon"Little Richard "Long Tall Sally"Tom Waits "Long Way Home"Don Nix "Yazoo City Jail"Percy Sledge "Baby Help Me"Big Mama Thornton "Gimme A Penny"Outkast "Elevators (Me & You)"Cedric Burnside "We Made It"James Carr "To Love Somebody"Amanda Shires/Jason Isbell and the 400 Unit "Cross Bones Style"Esther Phillips "Use Me"Porter Wagoner "Better Move It on Home"Will Johnson "Just to Know What You've Been Dreaming"Taj Mahal "Lovin' in My Baby's Eyes"Lucero "A Dangerous Thing"Jim Dickinson "Nobody Wants You When You're Down And Out"Dave Rawlings Machine "Pilgrim (You Can't Go Home)"Phoebe Bridgers "Graceland Too"Drive-By Truckers "The Opening Act"John Hammond, Jr. "Drop Down Mama"Grateful Dead "Me & Bobby McGee"The Rolling Stones "Monkey Man"Sam Cooke "Bring It On Home To Me"Otis Redding "Cigarettes and Coffee"Duane Allman "B.B. King Medley: Sweet Little Angel / It's My Own Fault / How Blue Can You Get"Neil Young "Unknown Legend"Bonnie 'Prince' Billy "New Memory Box"Charlie Parr "Louis Collins"The Staple Singers "Be What You Are"Aimee Mann "Suicide is Murder"Billy Joe Shaver "Get Thee Behind Me Satan"Sallie Ford "Coulda Been"Centro-matic "Supercar"Dave Van Ronk "Duncan and Brady"The Fox Hunt "We Know This Town"R.E.M. "New Test Leper"Waxahatchee "Under a Rock"
Ho Ho Ho into a star-studded line up to end the year. Brian is full of Christmas cheek and cheer as he and Kev catch up with Wilbur Wilde, Eve von Bibra, John Paul Young, Angry Anderson, Swanee and Mark Lane from Murcotts Driving Excellence. Our feature guest is Vince Melouney, the former member of the Bee Gees during their incredibly successful early days of hits like New York Mining Disaster, To Love Somebody and Words. He talks about those days and his new band Tall Poppy Syndrome. All thanks to Murcotts Driving Excellence making you a safer driver 1300 555 576 or visit their website murcotts.edu.au See omnystudio.com/listener for privacy information.
Before conquering the world of disco music in the 1970s, The Bee Gees were better known for their blend of soft rock/easy listening throughout the UK. In their formative years in the 1960s the group maintained a comfortable grip on the UK Singles chart, with high-ranking singles like "I've Gotta Get A Message To You", "To Love Somebody", and "I Started A Joke."This commercial dominance very nearly came crashing down in 1969, with the release of their sixth studio record; the double album Odessa. Almost certainly inspired by the success of records like Sgt. Pepper's Lonely Hearts Club Band and Pet Sounds, Odessa leaned heavily into realms of baroque, progressive rock, chamber music, and orchestral pop, all the while jumping across other genres with reckless abandon. At the time of its release it was a commercial flop and made critics shrug their shoulders, while the production led to some of the Gibb brothers' most furious arguments, which even led to the temporary absence of lead vocalist Robin Gibb.Nowadays Odessa is considered an unheralded work of genius, but we'll be the judge of that. On this episode of Jukebox Zeroes, Lilz and Patrick welcome the arrival of Season 5 with the return of Tyler Kent as their special guest. Join them through a whimsical journey through Odessa, to determine whether or not it was a misunderstood classic, or a bloated mess of pretentiousness and clashing egos.#WeAreNormalNow#DudeWheresMyBoatLocal Music Feature: Squirrel Flower - "Roadkill"
Rare BASEMENT TAPES – Discovered in the vaults of radio station WNEU on vintage reel-to-reel magnetic audio tapes and meticulously restored to on-air condition. These were state-of-the-art recordings created long before compact cassette tapes were produced. We present the music to you exactly as it was recorded in 1967. Enjoy.In this episode you'll hear:1) Thank The Lord For The Night Time by Neil Diamond [1967]2) Hold On! I'm Comin' by Sam & Dave [1966]3) My World Fell Down by Sagittarius [1967]4) Take It Or Leave It by The Rolling Stones [1967]5) Come Back When You Grow Up by Bobby Vee [1967]6) Purple Haze by The Jimi Hendrix Experience [1967]7) Reflections by Diana Ross & The Supremes [1967]8) All You Need Is Love (Reached #1 on August 19, 1967, Lasted for 1 week) by The Beatles [1967]9) Light My Fire (Reached #1 on July 29, 1967, Lasted for 3 weeks) by The Doors [1967]10) Ode to Billie Joe (Reached #1 on August 26, 1967, Lasted for 4 weeks) by Bobbie Gentry11) San Franciscan Nights by Eric Burdon & The Animals [1967]12) To Love Somebody by The Bee Gees [1967]13) I Live For The Sun by The Sunrays [1965]14) I'll Turn To Stone [B-side of 7-Rooms of Gloom] by The Four Tops [1967]15) Lovely Rita by The Beatles [1967]16) Sittin' On A Fence by The Rolling Stones [1967]17) Funky Broadway by Wilson Pickett [1967]18) A Groovy Kind Of Love by The Mindbenders (without Wayne Fontana) [1966]19) I Ain't Gonna Eat Out My Heart Anymore by The Young Rascals [1966]20) Baby You're A Rich Man by The Beatles [1967]21) Fakin' It by Simon & Garfunkel [1967]22) You're Welcome by The Beach Boys [1967]23) Blues' Theme (from The Wild Angels, starring Peter Fonda) by Davie Allan & The Arrows [1967] *** END OF SIDE NO. 1 *** END OF SIDE NO. 1 ***
Hay artistas que se han hecho famosos por sus letras, otros por su actitud, algunos lo tuvieron todos y luego está Nina Simone, cuyos temas propios removieron conciencias, pero que también, como Aretha Franklin, tuvieron la capacidad de hacer suya, y de nadie más, cualquier canción que tocaron.La vida de Nina Simone la hemos contado en algún que otro programa, también hemos dedicado algún Sofá Sonoro a alguno de sus trabajos. En este episodio queremos centrar el programa en sus versiones.A lo largo de su carrera, Simone tocó muchos palos, distintos estilos y versionó a artistas que van desde Bob Dylan o los Beatles pasando por Leonard Cohen o Bob Marley. Muchas de esas grabaciones se concentraron en un periodo muy interesante de la historia y de la carrera de la pianista, esta semana vamos a recorrer algunas canciones editadas entre 1969 y 1971, un periodo que comienza en realidad un año antes, un agitado 1968 marcado por el asesinato de Martin Luther King.En esta etapa Simone se radicalizó en su lucha contra el racismo. "Si me hubieran dejado sería una asesina. ¿Entiendes? Esa es la verdad. Si tuviera pistolas iría al sur y les daría violencia, balas contra las balas... si me dejaran. Pero mi marido me dijo que no sabía nada de armas y que no debía aprender, que lo que único que tenía era la música y que la usase, pero si me dejasen no estaría aquí hoy. Probablemente estaría muerta porque habría que usado las armas en esos años. Nunca fui una persona no violenta", aseguraba la pianista en una entrevista de los años ochenta.Pero Simone no usó las armas, usó las canciones. De esta etapa datan algunos de sus temas más recordados, pero también se apoyó en las canciones de otros como Bob Dylan para sus reclamaciones.En este episodio ponemos el foco en la lucha de Simone y en las versiones que grabó alejándose del jazz, principalmente en dos discos: To Love Somebody y Here Comes the Sun.Un viaje trepidante por la agitada etapa de Nina Simo
Hugo Egon Balder erzählt Geschichten und Anekdoten rund um einen Lieblingshit und seine Entstehung: "To love somebody" von den Bee Gees.
EP 32 Eric Burdon & The Animals "To Love Somebody"
The Bee Gees had a whole career any other group would have been proud of well before Saturday Night FeverSee omnystudio.com/listener for privacy information.
The Bee Gees had a whole career any other group would have been proud of well before Saturday Night Fever See omnystudio.com/listener for privacy information.
Kata "bucin" menjadi tren untuk menyebut cowok yang sedang tergila-gila akan cinta. Cowok ini akan selalu rela melakukan hal apapun demi orang yang dicintai. Tapi @susan.wibowo punya penyebutan yang berbeda untuk tipe cowok seperti ini. Kata "budak" memiliki pengertian yang berbeda dengan "pejuang" cinta. Argumen Susan diperkuat dengan gambaran budak dalam film Django Unchained (2012) yang dibintangi oleh Jamie Foxx, Christoph Waltz, dan Leonardo DiCaprio. Selain itu, Susan juga memperkuat argumennya dengan lirik lagu "Everything I do, I do it for you" yang dinyanyikan oleh Bryan Adams dan menjadi lagu cinta sepanjang masa. Susan juhga punya pesan khusus untuk para pejuang cinta, yang terinspirasi dari lagu "To Love Somebody" yang dinyanyikan oleh Michael Bolton. Tantangan hari ke-12 dari #30haribersuara yang digelar oleh @thepodcasters.id sudah dilaksanakan. @juicemarkisa | juicemarkisa.podcast@gmail.com
Who was To Love Somebody written for? Who was it written about? Why does Paul McCartney's name crop up? Join Stevie Nix as he answers all of these questions and more. WARNING: This episode contains traces of Bonnie Tyler.Featured artists [in alphabetical order]:The AnimalsBeyriesChambers BrothersBilly Corgan & Robert SmithCount BustyDexysRoberta FlackGermicideTom JonesBarb JungrLuluJimmy SomervilleDusty SpringfieldSweet InspirationsJoin Stevie on Spotify. He's just a click away.Bee Gees Playlist Join Stevie on Spotify and Instagramwww.songsungnew.com
It's Father's Day! Ps Mark plays us a funny video of a father and his daughter, about three years old, who has decided to borrow her mother's make-up and test it out on dad! And that includes a wig! The backing music is "To Love Somebody" so that is left in the podcast. There is a quiet bit towards the end of the song - that is where there's a knock at the door and a few of the dad's mates have come to visit him ..... while he still has all that make-up and wig on! Ps Mark then reads from Philippians 2:3-5. He points out that we should not try to impress others and also that we need to believe the best in others. He asks the question: "Are we a person of influence or are we being influenced?". Do we hang out with the right people? If we hang out with the wrong people the Bible clearly tells us that we will be influenced by their behaviour. Ps Mark then gives us some examples of some of his school teachers who influenced him in highly positive ways. The Bible is full of such people and, beginning with two Samuel 23, Ps Mark quickly mentions many others. And Jesus! He then presents us a slide with two columns comparing Instructors with Fathers. There are 10 points that are being compared. This slide cannot be shown in this Comment. It's definitely worth understanding all these differences.
Label: Atco 6503Year: 1967Condition: M-Last Price: $16.00. Not currently available for sale.This is one Bee Gees single that's hard to find nowadays and which, when I do get a copy, doesn't last long in the store. There's a good reason for that... "To Love Somebody" is, without a doubt, one of the brothers' very best songs, and it's got a great arrangement going, too. Note: This beautiful copy comes in a vintage Atco Records factory sleeve. The vinyl looks untouched but has a faint "14" impression from a pen on the sleeve, but it has no effect on the audio, which is pristine Mint!
VINCE MELOUNEY SECT "Women (Make You Feel Alright)" Burger Records (2020) “Women (Make You Feel Alright)” is the new digital single by Australian guitarist Vince Melouney who was a member of The Bee Gees during the band's initial wave of worldwide popularity from 1967 to 1969. “Women” was originally recorded by Vince’s mates The Easybeats in 1966. Vince’s version was recorded earlier this year with legendary producer Shel Talmy whose credits include The Easybeats’ “Friday On My Mind” in addition to classic tracks by The Kinks, The Who, The Creation and others. “Women” features Vince on vocal and lead guitar, joined by Clem Burke of Blondie on drums, Jonathan Lea of The Jigsaw Seen on additional guitars, Alec Palao on bass and Paul Kopf on backing vocals. Alec and Paul are members of the San Francisco-based band Strangers In A Strange Land and also play in the current version of veteran Garage Rock band The Seeds. As a member of The Bee Gees, Vince appeared on seven US Top 20 singles; "New York Mining Disaster 1941," "To Love Somebody," "Holiday," "Massachusetts," "Words," "I've Gotta Get A Message To You" and "I Started A Joke" plus five US Top 20 albums; "Bee Gees' First," "Horizontal," "Idea,” “Odessa” and “Best Of Bee Gees.” Vince's television appearances with The Bee Gees include "The Ed Sullivan Show," "The Smothers Brothers Comedy Hour" and "Rowan & Martin's Laugh- In" in the US, "Top Of The Pops" in the UK and "Beat Club" in Germany. Vince appears in The Bee Gees' forthcoming official documentary produced by Frank Marshall ("Raiders Of The Lost Ark," "Back To The Future") and Nigel Sinclair ("The Beatles: Eight Days A Week," "George Harrison: Living In The Material World.") This film will be released by Universal Music Group later this year. Released by Burger Records, “Women” is now available at digital music stores and streaming services.
Label: Atco 6503Year: 1967Condition: M-Price: $16.00This is one Bee Gees single that's hard to find nowadays and which, when I do get a copy, doesn't last long in the store. There's a good reason for that... "To Love Somebody" is, without a doubt, one of the brothers' very best songs, and it's got a great arrangement going, too. This beautiful copy has pristine Mint audio, so enjoy the mp3 "snippet" of it! Note: This 45 record has a drillhole and comes in a vintage Atco Records factory sleeve. The labels grade Near Mint overall, though there is also a small stain on the A side (see scan). The vinyl (styrene) looks hardly touched, and the powerful audio sounds flawless!
Il y a des classiques à ne pas toucher. La chanson du jour en est un, du moins pour moi, et la reprise évoquée dans l’épisode est loin d’être à la hauteur....à mon simple et humble avis. N’hésitez pas à revenir vers moi pour me dire ce que vous en pensez. Pour échanger avec moi : Sur Twitter : @HCoverpodcast Sur Instagram : @harrycover_lepodcast Discord des streetcasteurs Mon blog La playlist Spotify de l'émission. Si vous avez un compte Anchor, vous pouvez également me laisser un message vocal. Dans l'épisode : "New York Mining Disaster 1941" sur Spotify. "To Love Somebody", l'originale sur Spotify. "To Love Somebody", la reprise sur Youtube. Pour aller plus loin : Le premier album des Bee Gees sur Spotify. "To Love Somebody" par Michael Bublé. "To Love Somebody" par Janis Joplin. "To Love Somebody" par Nina Simone. Ecouter le podcast sur : Anchor. Apple podcasts. Spotify. Flux rss de l'émission.
Où l'on danse.Si si. Références du morceau : «You Should Be Dancing», The Bee Gees (composition Barry, Robin et Maurice Gibb) 1976. Quelques liens vers des morceaux incontournables des Bee Gees :- «Spicks And Specks», sur l’album Spicks and Specks (1966)- «New York Mining Disaster 1941», sur l’album Bee Gees’ 1st (1967)- «To Love Somebody», sur l’album Bee Gees’ 1st (1967)- «Massachusetts», sur l’album Horizontal (1968)- «I Started A Joke», sur l’album Idea (1968)- «Jive Talking», sur l’album Main Course (1975)- «Stayin' Alive», sur la BO de Saturday Night Fever (1977)- «How Deep Is Your Love», sur la BO de Saturday Night Fever (1977)- «Night Fever», sur la BO de Saturday Night Fever (1977)- «More Than A Woman», sur la BO de Saturday Night Fever (1977)- «Too Much Heaven», sur l’album Spirit Having Flown (1979)- «Tragedy», sur l’album Spirit Having Flown (1979)
Whether you're a Daly Brother or whether you're a mother, you're stayin' alive, and you should be dancing! This isn't a joke. Ryan and Neil Daly return to discuss the Brothers Gibb, better known as the Bee Gees. From the hippy days of psychedelic rock to the feverish nights setting disco clubs on fire, the Bee Gees have an immense catalogue of frequently undervalued popular hits! On this episode, the Brothers Daly share each of their five favorite Bee Gees tracks, as well as the hidden gems written by the Gibbs but made famous by other performers. All tracks performed by the Bee Gees except where noted. Night Fever Emotion by Samantha Sang (featuring the Bee Gees) How Can You Mend a Broken Heart Stayin’ Alive Lonely Days Jive Talkin’ You Should Be Dancing Massachussetts How Deep is Your Love To Love Somebody More Than a Woman If I Can’t Have You by Yvonne Elliman Ghetto Supastar (That is What You Are) by Pras (with Ol’ Dirty Bastard and Mya) Islands in the Stream by Dolly Parton and Kenny Rogers I Just Want To Be You Everything by Andy Gibb Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!
Hoy: Iggy Pop, Candy - The Buggles, Video Killed the Radio Star - The Kinks, Lola - Bee Gees, To Love Somebody. Titanes en el Ring , Tufi Memet. --- Support this podcast: https://anchor.fm/temazosabados/support
YOU DON’T KNOW WHAT IT’S LIKE #122: Daily Mentoring with Trevor Crane on GreatnessQuest.com SUMMARY I got emotional today. In today’s show, I’ll show you the video, (a ‘golden buzzer’ video) from America’s Got Talent. And I wish I could sing like this because all it made me think of is the most amazing woman ever, my wife, Robyn Harris Crane. GET THE APP: Text: TREVOR To: 36260 #greatnessquest #trevorcrane #unstoppable #idealbusiness #ideallife
A detailed look at black, African-American, culture during the "Sixties". (1960-1969) Overview "The Sixties": the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order. Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time. Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm. The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments. In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock. Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe. The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States. The 1960s were marked by several notable assassinations: 12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi. 22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas. 21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X. 4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee. 5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries. Social and political movements (counterculture) Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music. Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in". Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing. Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country. Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term. Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride. Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest. Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018) Popular culture The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism. Music British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964 "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana. As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public. Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963. Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward. Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others. While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music. In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964. As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes. A major development in popular music during the mid-1960s was the movement away from singles and towards albums. Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk. Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century. Significant events in music in the 1960s: Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances. Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record. The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run. The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go". John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era. In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States. The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques. R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash. The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody". 1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin. Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968. Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock. The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums. Woodstock Festival, 1969 Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival. Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch. Television The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie. The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day. Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War. Fashion Significant fashion trends of the 1960s include: The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket. The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints. The bikini came into fashion in 1963 after being featured in the film Beach Party. Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s. Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade. Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade. African-American hairstyles for men and women included the afro. James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968) Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962) Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969) The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969) Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964) Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68) The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968) Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965) The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965) Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63) Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967) Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965) Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968) Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969) Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967) Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967) B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968) Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967) The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965) Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964) The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966) Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965) Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964) Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965) Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68) The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62) Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964) Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966) The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63) Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69) Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969) Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966) Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962) Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967) Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969) The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969) Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969) Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964) Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969) Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961) Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966) Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969) The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968) Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966) Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969) The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963) Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965) Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966) Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966) Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)
A detailed look at black, African-American, culture during the "Sixties". (1960-1969) (Bonus Artists: hidingtobefound & Luck Pacheco) Overview "The Sixties": the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order. Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time. Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm. The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments. In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock. Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe. The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States. The 1960s were marked by several notable assassinations: 12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi. 22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas. 21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X. 4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee. 5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries. Social and political movements (counterculture) Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music. Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in". Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing. Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country. Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term. Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride. Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest. Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018) Popular culture The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism. Music British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964 "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana. As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public. Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963. Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward. Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others. While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music. In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964. As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes. A major development in popular music during the mid-1960s was the movement away from singles and towards albums. Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk. Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century. Significant events in music in the 1960s: Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances. Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record. The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run. The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go". John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era. In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States. The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques. R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash. The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody". 1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin. Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968. Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock. The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums. Woodstock Festival, 1969 Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival. Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch. Television The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie. The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day. Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War. Fashion Significant fashion trends of the 1960s include: The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket. The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints. The bikini came into fashion in 1963 after being featured in the film Beach Party. Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s. Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade. Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade. African-American hairstyles for men and women included the afro. James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968) Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962) Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969) The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969) Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964) Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68) The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968) Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965) The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965) Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63) Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967) Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965) Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968) Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969) Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967) Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967) B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968) Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967) The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965) Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964) The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966) Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965) Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964) Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965) Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68) The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62) Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964) Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966) The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63) Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69) Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969) Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966) Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962) Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967) Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969) The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969) Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969) Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964) Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969) Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961) Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966) Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969) The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968) Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966) Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969) The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963) Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965) Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966) Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966) Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)
La Bóveda Universal se hace con un tema de Los Bee Gees, en la voz tan rasposa y única de Bonnie Tyler.
La Bóveda Universal se hace con un tema de Los Bee Gees, en la voz tan rasposa y única de Bonnie Tyler.
A dozen cover songs produced specifically for this show. The artists were given a song title and two weeks to return a recording. Shanon and Jack talked about the songs, discussed the benefits of yoga and mediation, and revealed a few embarrassing facts from the past. "Little Room" by The Born Losers "To Love Somebody" by The Wayside Strangers "Love Is a Rose" by Stephanie Purtle and Chuck Masi "Whole Lotta Love" by Frankie Kimm "Nimrod's Son" by Greg Weinger "Whiskey Bar/Five to One" by Jack Miller "Cherry Bomb" by Erin Gately "Cocaine Blues" by Craig Bradford "Working Woman Blues" by Shanon Emerson "All That She Wants" by Brandon Emerson "After the Fire is Gone" by Oliver Elf Army "You Don't Miss Your Water" by Dan Blaker "Simple Man" by Erik Clampitt Individual tracks available on SoundCloud
A Moby Dick è arrivato Scott Matthew, cantautore australiano trapiantato a NY. Dal vivo ci propone un vecchio successo dei Bee Gees in una versione fantastica: "To love somebody". www.radio2.rai.it; www.rai.tv;
This episode looks at The Bee Gees' 1967 single, "To Love Somebody" and cover versions from The Upsetters, The Animals, Roberta Flack and more--some expected, some not so... I should put forth the fact that my commentary on these episodes comes from the viewpoint not of a music critic, but of someone who has had a hand in writing, arranging and producing music for the last decade and a half. Also, from the viewpoint of a music lover and historian. Enjoy, and if you find out where that sound's coming from, let me know! -Brian
© 2020-2025 Ivy Podcast Discovery LLC
