Podcasts about too proud

What happens when pure joy meets unwavering work ethic in one of Broadway's most demanding jobs? In this episode of Raw + Rising, Joshua sits down with Treston J. Henderson, the magnetic performer whose rise from TikTok discovery to Broadway debut exemplifies the power of authentic hustle. From booking the tour of Ain't Too Proud through social media to swinging in his Broadway debut, Treston reveals the gritty reality of building credibility in an industry that's rapidly evolving.This conversation dives deep into the unique skill of swinging - covering multiple roles at a moment's notice - and how Treston's infectious positivity has become his secret weapon in an often cutthroat business. But this isn't just about performing; it's about vision. Treston shares his surprising long-term goal of leaving Broadway behind to build something bigger: a performing arts academy that will democratize access to high-level training. Raw, honest, and bursting with the kind of energy that makes you believe anything is possible, this episode showcases what it truly means to hustle with heart while keeping your eyes on a legacy that extends far beyond the stage.Treston's Site: https://www.trestonjhenderson.com/Treston's IG: https://www.instagram.com/treston.henderson/Join our Patreon for ad-free early access to episodes, exclusive discounts, weekly Q&As, and so much more. Visit https://www.patreon.com/CreativeRiskPodcast today!Submit your story to Raw & Rising, the mini-series spotlighting hustling creatives—those self-producing, diversifying their income, and tackling challenges head-on. Visit www.artists-strategy.com/creative-risk to pitch your story today. —Thanks for listening!Join our email list for our weekly newsletter with deep insight on our personal artistic journeys: www.artists-strategy.com/signupSubscribe on Apple Podcasts: podcasts.apple.com/us/podcast/creative-risk/id1706381310Subscribe on Spotify: open.spotify.com/show/5hzvD8HgCjOo1NcA5zBDN4?si=404a2369523a45cbFollow Us on IG: www.instagram.com/creativeriskpod/Follow Us on TikTok: www.tiktok.com/@creativeriskpod— “CREATIVE RISK”, is a new podcast hosted by actors Joshua Morgan and Mike Labbadia of Artist's Strategy where they explore all things art, entrepreneurialism and everything in between. The acting industry is more volatile and competitive than ever before, therefore the artist must evolve in order to take radical ownership over their creative businesses. Each episode, Mike and Joshua will get raw and unfiltered, giving hot takes and cutting edge strategies on how to build a sustainable career in the arts.

Jason Fraley interviews Otis Williams, last surviving original member of The Temptations, which performs live at “A Capitol Fourth” in Washington D.C. tomorrow at 8 p.m. on PBS. They discuss classic Motown hits like “My Girl,” “The Way You Do the Things You Do,” “Get Ready” and “Ain't Too Proud to Beg,” as well as evolving into a new era with “Cloud Nine,” “Ball of Confusion,” “Just My Imagination” and “Papa Was a Rolling Stone.”  (Theme Music: Scott Buckley's "Clarion")

In this episode we continue our conversation with Benjamin Velez and Lisa Loomer about the Broadway musical: Real Women Have Curves. Ana García (Broadway newcomer Tatianna Córdoba) dreams of flying away. But when her family's East Los Angeles garment business receives a make-or-break order for 200 dresses, Ana finds herself juggling her own ambitions, her mother Carmen's (Tony Award nominee Justina Machado) expectations, and a community of women all trying to make it work against the odds.  REAL WOMEN HAVE CURVES: THE MUSICAL features a Tony-nominated score by Grammy® Award–winning songwriter Joy Huerta (Jesse & Joy) and Benjamin Velez (Kiss My Aztec), a book by Lisa Loomer (Girl, Interrupted) with Nell Benjamin (Mean Girls), music supervision by Nadia DiGiallonardo (Waitress), and choreography and direction by Tony® winner Sergio Trujillo (Ain't Too Proud). Based on the play by Josefina López that inspired the iconic hit HBO film, critics have lauded CURVES as “entertaining and empowering” (NY Daily News), and “a laugh-out-loud musical comedy with a massive dose of heart.” (The Washington Post). This episode features the songs “Daydream” performed by Florencia Cuenca and “Adios Andrés” performed by Justina Machado and the Original Broadway Company of Real Women Have Curves. Connect with Benjamin Velez: Website: https://www.benjaminvelez.com/ Instagram: @benjaminvelezmusic Connect with Lisa Loomer: Instagram: @lisalromano Connect with New York Theatre Barn: Twitter: @nytheatrebarn Instagram: @newyorktheatrebarn  Facebook.com/nytheatrebarn nytheatrebarn.org  Pauls's personal instagram: @paulsmacs Teresa's personal instagram: @terijoyeaux Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode features a conversation with Benjamin Velez and Lisa Loomer about the Broadway musical: Real Women Have Curves. Ana García (Broadway newcomer Tatianna Córdoba) dreams of flying away. But when her family's East Los Angeles garment business receives a make-or-break order for 200 dresses, Ana finds herself juggling her own ambitions, her mother Carmen's (Tony Award nominee Justina Machado) expectations, and a community of women all trying to make it work against the odds.  REAL WOMEN HAVE CURVES: THE MUSICAL features a Tony-nominated score by Grammy® Award–winning songwriter Joy Huerta (Jesse & Joy) and Benjamin Velez (Kiss My Aztec), a book by Lisa Loomer (Girl, Interrupted) with Nell Benjamin (Mean Girls), music supervision by Nadia DiGiallonardo (Waitress), and choreography and direction by Tony® winner Sergio Trujillo (Ain't Too Proud). Based on the play by Josefina López that inspired the iconic hit HBO film, critics have lauded CURVES as “entertaining and empowering” (NY Daily News), and “a laugh-out-loud musical comedy with a massive dose of heart.” (The Washington Post). This episode features the songs “Make It Work” performed by Florencia Cuenca, Jennifer Sanchez, Carla Jimenez, Aline Mayagoitia, Sandra Valls and Shelby Acosta, “Jugglin” performed by the Original Broadway Cast of Real Women Have Curves, as well as “Flying Away” performed by Tatiana Cordoba. Connect with Benjamin Velez: Website: https://www.benjaminvelez.com/ Instagram: @benjaminvelezmusic Connect with Lisa Loomer: Instagram: @lisalromano Connect with New York Theatre Barn: Twitter: @nytheatrebarn Instagram: @newyorktheatrebarn  Facebook.com/nytheatrebarn nytheatrebarn.org  Pauls's personal instagram: @paulsmacs Teresa's personal instagram: @terijoyeaux Learn more about your ad choices. Visit megaphone.fm/adchoices

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.We're bringing back a Broadway Drumming 101 Classic episode with Joe Choroszewski—a musician whose Broadway and live performance resume is as deep as it is diverse.Joe has been on drums for The Radio City Christmas Spectacular Starring The Rockettes for the past three seasons, performing hundreds of shows at one of the most iconic venues in the world. Before that, he spent an entire decade (2009–2019) anchoring the Off-Broadway hit Avenue Q at New World Stages, helping extend the legacy of the Tony Award-winning production long after its Broadway run.As a Broadway sub, Joe is in rare company—having performed on more than twenty Broadway productions, including The Lion King, Wicked, The Book of Mormon, Beetlejuice, Frozen, Beautiful – The Carole King Musical, Legally Blonde, Jagged Little Pill, Ain't Too Proud, Newsies, and more.Joe also stepped in to take over the drum chairs for Finding Neverland in 2016 and Promises, Promises in 2010, finishing the final runs of both Broadway productions. He was the drummer for the Off-Broadway run of Avenue Q and on tour, he performed in Joseph and the Amazing Technicolor Dreamcoat starring Patrick Cassidy. Joe was also on the first national tours of Avenue Q and Monty Python's Spamalot.In this episode, Joe shares insights from:* His time working with major artists like Heather Headley, Ariana DeBose, Cheyenne Jackson, Sutton Foster, and Chita Rivera* Backing cabaret icons like Natalie Douglas, Christina Bianco, and “Kenn Boisinger” (Michael West)* Playing for household names like Mario Cantone and Real Housewives star Luann de Lesseps* And his long-standing involvement in Broadway Cares/Equity Fights AIDS benefit eventsBeyond Broadway, Joe's played everywhere—from symphony halls (Princeton Symphony, Allentown Symphony) to cruise ship showbands (Carnival and Norwegian), weddings to worship bands, jazz trios to hard rock cover groups. He's also helped shape new musicals in development and has been a go-to regional drummer for ACT of Connecticut and Ridgefield Playhouse concerts.Education Spotlight:Joe holds a degree in Jazz Studies from the prestigious University of North Texas College of Music, where he studied for six semesters with drum legend Ed Soph. He continued his private study with another legend—Tommy Igoe—in New Jersey and is featured on Igoe's best-selling instructional DVD Great Hands For A Lifetime. Joe has been teaching privately for over 25 years and continues to share his knowledge as a guest clinician at schools and studios.Offstage, Joe lives in Somerset County, NJ, with his wife Giana, their three boys, and three dogs. He's an avid runner, a vintage drum collector, and a passionate Major League Baseball fan.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Talked with Lauren Perry, Associate Vice President of Marketing & Cultural Tourism, Cultural Council for Palm Beach County.  Every May, the Cultural Council puts together, MOSAIC. MOSAIC stands for Month of Shows, Art, Ideas and Culture.  There's a month-long celebration for residents to enjoy. As part of that, the Cultural Council gathered over 30 limited time offers throughout Palm Beach County.  Some of them are: BOGO admission to the Boca Raton Museum of Art and the Norton Museum of Art in West Palm Beach, discounts on shows from the Kravis Center including Cimafunk on May 23 and "Ain't Too Proud" coming in June, plus discounts at Palm Beach Zoo, COX Science Center, Yesteryear Village Living History Park at the South Florida Fairgrounds, Scavenger hunt at Resource Depot, and discounts at Morikami Museum and Japanese Gardens. Listeners can interact with artists and check out their work during Open Studio on May 17/18. For locations and more info, listeners can go to MOSAICPBC.com.  For info on the Cultural Council, listeners can visit www.palmbeachculture.com

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Broadway Drumming 101 – Episode: Quinton “Q.” Robinson (2025 Update)

Lynn & Carl are joined by the Urge's Steve Ewing from Steve's Hot Dogs about his spring happenings. They are next joined by Ain't Too Proud's Robert Crenshaw to preview the show at the Fabulous Fox. Then Lynn liked Companion & didn't care for On Swift Horses. Plus Carl has a new job.

Today on One Song, Diallo and LUXXURY unpack Motown's secret sauce through the lens of The Supremes's electrifying 1966 hit “You Keep Me Hangin' On.” Diallo and LUXXURY highlight every element that makes this track a timeless classic: Diana Ross's subdued vocals, James Jamerson's groovin' bassline, and the iconic Morse Code-esque guitar riff. Join them as they celebrate the brilliance of this song and give flowers to all the unsung heroes. Songs Discussed: “You Keep Me Hangin' On” - The Supremes “Ain't Too Proud to Beg” - The Temptations “Buttered Popcorn” - The Supremes “Where Did Our Love Go” - The Supremes “Baby Love” - The Supremes “Come See About Me” - The Supremes “Stop! In The Name Of Love” - The Supremes “Back In My Arms Again” - The Supremes “Back to Black” - Amy Winehouse “Be My Baby” - The Ronettes “Take Me Home Tonight” - Eddie Money “Wichita Lineman” - Glen Campbell “I Want You Back” - The Jackson 5 “Starman” - David Bowie “London Calling” - The Clash “You Keep Me Hangin' On” - Vanilla Fudge “You Keep Me Hangin' On” - Kim Wilde “Set Me Free” - Ken Boothe “All I Want Is You” - Zilla Mayes Learn more about your ad choices. Visit megaphone.fm/adchoices

Throwback to one of the wildest and most unforgettable nights of my Broadway career—the opening night of Ain't Too Proud - The Life And Times Of The Temptations on March 21st, 2019, and performing on The Tonight Show Starring Jimmy Fallon. Playing live on national TV was already a huge deal, but throw in a mad dash through Times Square with a police escort to make it back to the Imperial Theatre for opening night? That took it to another level.After performing on The Tonight Show with Jimmy Fallon at 5 PM, we still had to race across town to the Imperial Theatre for our Ain't Too Proud opening night. Traffic leaving Rockefeller Center was brutal, and for a moment, it looked like we might not make it. But somehow, we pulled up just in time.I had a click track in my ears during this Tonight Show performance—same with the music director. The band and lead vocals were 100% live, but the background vocals were pre-recorded and locked to the click.Here's a little secret that not many folks—maybe not even most of my Ain't Too Proud cast and bandmates—know: between “Get Ready” and “Ain't Too Proud to Beg,” I had four clicks to cue me into the next tune. I was supposed to kick things off with that classic Benny Benjamin intro fill… but with the adrenaline rushing, nerves firing, and Questlove and The Roots watching from the wings, I skipped the fill and went straight into the groove.Thankfully—it worked. But man, knowing millions of people were watching, then thinking about how we had to jet across town and race to opening night right after this? My head was spinning.Looking back, I'm grateful for moments like that—creating something meaningful, making people smile, and sharing the stage with some of the best in the business. Ain't Too Proud should still be running, no doubt—but that's a convo for another day. For now, I'm just appreciating the journey. And with what I'm working on over the next few weeks, maybe there's one more Broadway run in my future.But if not? I'm good. I've had my shot—and I truly hope you get yours. There's nothing like the feeling of playing a show. It's one of the most rewarding experiences a musician can have.Have you ever had one of those moments where you knew the show or song like the back of your hand—but then one little thing throws you off? Let me know. I know I'm not the only one. Leave a comment here: Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.comThis Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Broadway Drumming 101 – Classic Interview: Gary SeligsonIn this classic episode of Broadway Drumming 101, I sit down with the incredible Gary Seligson. If you've been around the Broadway scene, you already know his name. Gary's played on some massive shows, including Aida, Tarzan, Wicked, and Billy Elliot. His resume is stacked, but what really makes this interview special is the insight he shares about navigating the business, working in the pit, and adapting to the ever-changing world of theater drumming.We get into everything—how he got started, what it takes to lock in with a Broadway orchestra night after night, and how he keeps his playing fresh even after doing the same show hundreds (or thousands) of times. He also shares his approach to learning a book, staying prepared, and making a lasting career in this business.Gary's been in the game for a long time, and he's got a ton of wisdom to share. Whether you're an aspiring Broadway drummer or just someone who loves hearing behind-the-scenes stories from the pit, this episode is packed with gems.Episode Highlights:* Gary's Beginnings in Drumming: From banging on pots and pans as a child to his first toy snare drum, Gary's love for drumming was evident from an early age. His father nurtured this passion, leading him to study with Glenn Weber, who became a pivotal figure in his musical education.* High School and Early Gigs: Gary discusses his experiences in regional and all-state jazz bands, his first gig at age 13 with a Chicago/Blood, Sweat & Tears-style horn band, and how playing Bar Mitzvahs and country music gigs gave him a solid foundation for professional musicianship.* Music Education at Hartt School of Music: He shares why he chose the Hartt School over Berklee and North Texas, his influential mentor Al Lepak, and how studying in Hartford put him on a path toward a professional career in music.* Breaking into the New York Music Scene: After studying with legendary studio drummer Gary Chester, Gary received his first opportunity to sub on Broadway's The King and I in 1984. His first night in the pit was a nerve-wracking but pivotal moment that shaped his future on Broadway.* National Tours and Nine Years on the Road: Gary recounts his time playing Cats, Les Misérables, and Miss Saigon on tour, how driving between cities gave him a new appreciation for different parts of the U.S., and how this extensive road experience prepared him for his return to Broadway.* Landing Long-Running Broadway Shows: His journey from subbing on Chicago and The Lion King to originating the drum books for Aida, Wicked, and Tarzan. He shares fascinating behind-the-scenes stories, including how Phil Collins personally insisted that Gary be the drummer for Tarzan after hearing him play Wicked live.* Working with Legends: Gary reflects on playing drums alongside Elton John and Phil Collins, what made their playing styles so unique, and how their guidance influenced his own musicianship.* Adapting to Different Roles: From drumming to percussion work on Motown: The Musical, Gary shares how playing alongside master percussionists like Roger Squitero and Javier Diaz elevated his approach to groove and feel.* Navigating Broadway's Ups and Downs: Gary talks about the transitions between gigs, the importance of subbing, and how he balanced a career that included School of Rock and subbing next to me at Ain't Too Proud.This in-depth discussion offers incredible insights into a Broadway musician's life, the industry's realities, and the dedication required to thrive in musical theater drumming. Whether you're an aspiring drummer or a theater enthusiast, this episode is a must-listen.Give it a listen, and let me know what you think!

A new MP3 sermon from First Christian Church is now available on SermonAudio with the following details: Title: Too Proud for Revival? Subtitle: Together We Grow Speaker: Dr. T. J. Gentry Broadcaster: First Christian Church Event: Devotional Date: 3/17/2025 Bible: James 4:10 Length: 1 min.

Several years ago, we interviewed Broadway actor Nik Walker on our podcast, and talked all things theme parks. Many people claim to be theme park "nerds." Nik, who played Aaron Burr in Hamilton, Otis Williams in Ain't Too Proud, and Sir Galahad in Spamalot, not only "walks the walk," when it comes to being a theme park fan - he can "talk the talk." Folks, this man literally told People Magazine how big of a theme park fan he is.Nik rejoins the Coaster101 podcast to chat about finding fellow theme park fans in the wild (including his Spamalot co-star Taran Killam), his Halcyon voyage onboard the Star Wars Galactic StarCruiser, his on-going rivalry with James Monroe Iglehart, and how he's hoping to have it written into the contract of his next acting gig that he'll be allowed to miss a technical rehearsal in order to attend the Grand Opening of Universal's Epic Universe. (We're manifesting it, anyway.)Two nerds, nerding out about decidely nerdy things. It's honestly a delightful listen! You can connect with the show by hitting us up on social media @Coaster101: Facebook  |  Twitter  |  Instagram. We also have a website, if you're into that sort of thing: www.coaster101.comAlso, be sure to subscribe to the podcast so you don't miss an episode! And please give us a rating and review wherever you listen, it helps new listeners find us!Find the latest and greatest Coaster101 and theme park-inspired merch at c101.co/teepublic!Thanks to JMMD Entertainment for providing our theme song. For more on them, check out jmmusicdesign.com.

For the Record is a conversation series where we speak with all manner of music heads — DJs, music journos, indie label captains, record shop owners, listening bar kingpins, et al — about their stories + the music that makes them. Join the Crate Coalition: https://discord.gg/sAaG6a7bv4 Dougal Perman is a seasoned figure in Scotland's music industry, with a career spanning over two decades. In 2001, he co-founded Radio Magnetic, one of the UK's pioneering internet radio stations, dedicated to promoting underground and alternative music. His leadership extended to the Scottish Music Industry Association (SMIA), where he served as Chair from 2016 to 2023. During his tenure, Dougal played a pivotal role in launching and developing the Scottish Album of the Year (SAY) Award, now recognised as Scotland's national music prize. He was actively involved in lobbying government and industry representation during the pandemic. Beyond his contributions to music media and industry development, Dougal loves playing music. He began DJing at 16, ran hip hop clubs in Edinburgh and Glasgow later was a resident at Kinky Afro at Glasgow's Sub Club and various Radio Magnetic nights around Scotland. He plays piano, guitar and oboe, and occasionally creates electronic music. Music is a family affair, Dougal enjoys jamming with his girlfriend and children. He believes that music is in all of us, it's part of what makes us human. MUSIC MENTIONS The Who Ian Dury “The Jungle Book” Soundtrack Scottish Chamber Orchestra Segei Rachmaninoff The Temptations Usher Hall (Edinburgh) Apollo Theater (NYC) Iron Maiden Led Zeppelin Frank Zappa MTV Nirvana “Smells Like Teen Spirit” by Nirvana NME Melody Maker (publication) Subcity Radio Rolling Stone Cafe Graffiti (Edinburgh) Radio Magnetic Radio Magnetic (31:00): Warner Music UK Ultimate Dilemma Records Mushroom Records Much Music Soma Records Slam Phonetic Recordings Tania Swift Jill Mingo Chicks on Speed TripTych Music Festival Underground Solution (Edinburgh) Rubadub Records Ninja Tune Grand Central Records Compost Records Kompakt Records Q&A Chemikal Underground Records The Delgados Scottish Music Industry Association “dinny greet” by rEDOLENT The National Piping Centre Celtic Connections (festival) First Aid Kit Björk Joanna Newsom Constant Follower “Ain't Too Proud to Beg” by The Temptations “Double Figure” by Plaid Warp Records Vicki Troop David Kelly Honeyblood Discovering music today (1:01:24): Bandcamp Shazam Bleep Scottish Album of the Year Award First album ever purchased (1:07:45): “The Song Remains the Same” by Led Zeppelin Most recent album purchased (1:08:25): “Ash Grey and the Gull Glides On” by Andrew Wasylyk and Tommy Perman Artists discovered in the past year (1:11:15): rEDOLENT Becky Sikasa Charm of Finches Irish Mythen Bird Vox Jemima and the Fuse Desert island discs (1:17:00): “All the Million-Sellers” by The Temptations “The Rite of Spring” by Stravinsky (Dutoit, Orchestra Symphonique de Montreal) “A Hi-Tech Jazz Compilation” by Galaxy 2 Galaxy (Underground Resistance)

New York City native and longtime contributor to its music and nightlife scene, W. Andrew Raposo is best known as a crazy dog dad and for his work with DFA records--most notably with Hercules and Love Affair, Still Going, and Jayson Green & The Jerk--and as a founding member of cosmic dance floor stalwarts Midnight Magic. His studio, La Piscina Recordings, has hosted such clubland luminaries as Justin Strauss, Eli Escobar, and Nomi Ruiz as well as rocketing torchbearers The Illustrious Blacks, Muscle Cars and Cesar Toribio. Raposo continues to tour both on stage and in the DJ booth with Hess Is More, Midnight Magic and 79.5 (Razor N Tape) bringing his three layer dip of post-punk, psychedelic disco, and haunted-house to sweaty basements and debaucherous mountain chalets all over the world. For the Record is a conversation series where we speak with all manner of music heads — DJs, music journos, indie label captains, record shop owners, listening bar kingpins, et al — about their stories + the music that makes them. Join the Crate Coalition: https://discord.gg/sAaG6a7bv4 Formed in 2009 by Tiffany Roth, W. Andrew Raposo, Morgan Wiley, and Carter Yasutake, Midnight Magic is responsible for some of the most beloved 'new classics' from the disco-revival era of the early oughts including club mainstays "Beam Me Up" and "Drop Me A Line." Through their collaboration with Brooklyn jazz legend Nick Roseboro, former Charles Bradley & The Extraordinaires drummer Caito Sanchez, saxophone and synthesizer wizard Julio Monterrey and past members Max Goldman, Andrew Frawley, and Jason Disu, Midnight Magic casts a genre defying spell on sweaty discotheques and festival stages across the universe. MUSIC MENTIONS Sonic Youth Johann Sebastian Bach Green Day LASPEES The Come Ons Early days of Midnight Magic (16:20): Bernard Herrmann Ennio Morricone Angelo Badalamenti Goblin ESG Siouxsie and the Banshees Grace Jones Chaka Khan Selda Bağcan “Yaz Gazeteci Yaz” by Selda Bağcan Wendy Carlos “The Shining” by Rachel Elkind & Wendy Carlos Sequential Dave Smith Patrick Crowley August Arnell Patsy Alley Jorge Roeder Patrick Adams “Journey into Paradise: The Larry Levan Story” album Larry Levan DFA Records Factory Records Beastie Boys Bernard Edwards Bootsy Collins Q&A H0L0 (NYC) Toribio Antenes “Ain't Too Proud to Beg” by TLC “Let's Talk About Sex” by Salt-N-Pepa Tyler Pope !!! (chk chk chk) LCD Soundsystem Interference Pattern “Australia und vorbei” by Angela Werner “Stop The War” by Örö “Suicide Commando” by Echo Park and No More “Síntesis Moderna (An Alternative Vision Of Argentinian Music 1980-1990)” by Various Artists “Ain't That Better (Harari Edit)” by Toby Aphex Twin Sylvia Striplin Faze-O William Devaughn Denise Williams Patrice Rushen Weezer Discovering music today (34:19): Shazam Friends, DJ's Justin Strauss James Mulry JKriv Razor-N-Tape First album ever purchased (43:10): “Violator” by Depeche Mode “Dark Side of the Moon” by Pink Floyd Most recent album purchased (46:05): “I hit the water” by Lollise “Pay Attention To The Bass” by Tyler Pope Artists discovered in the past year (49:58): Kate Fagan Tik and Tok Todd Terje Jex Opolis Angela Werner Örö No More Desert island discs (59:28): “Standing On a Beach” by The Cure “Catching Up With” by Depeche Mode “Champion Sounds (Funk)” by Various Artists “Selected Ambient Works II” by Aphex Twin “Roseland NYC Live” by Portishead “King Sunny Ade” by Juju Music

PLAYLIST November 17, 2024Pacific St Blues & AmericanaFind out More @ Our Facebook page1. Richie Havens / Won't Get Fooled Again 2. Fabulous Thunderbirds with Billy Gibbons / Payback Time 3. SRV w/ Bonnie Raitt / Texas Flood 4. Kris Lager Band / You Deserve All of the Love5. Jumaane Smith / Come On Home6. Alex Harris / Something Gotta Change 7. Wild Magnolias / Old Time Indians8. Neville Brothers / Wild Injuns9. Shaun Murphy with Little Feat / Wang Dang Doodle10. Joanne Shaw Taylor / Hold of My Heart11. Boomchank / Magic Bag12. Ian Moore / Magic Bus 13. T-Bone Burnett / He Came Down14. Dave Alvin & Rick Holmstrom Trio / Steal My Thunder15. Gillian Welch & Dave Rawlings / Empty Trainload of Sky 16. Janiva Magness / Desperado 17. Rod Stewart / I'm Losing You 18. Rare Earth / Get Ready 19. Neville Brothers / Ball of Confusion20. Ben Harper / Ain't Too Proud to Beg

Tickets are available for in-person attendance and via livestream on The Green Room 42 website. Next month marks the 50th anniversary of The Little Prince, a musical film based on the classic children's story and the final collaboration of Broadway writing duo Alan Jay Lerner and Frederick Loewe. To celebrate this milestone The Green Room 42 presents “Lights, Camera, Lerner and Loewe” on November 5th at 9:30pm. And the special guest of the evening is Steven Warner, who was the child actor in the title role alongside Broadway luminaries like Richard Kiley, Bob Fosse, Donna McKechnie, and Gene Wilder. Two other movie musicals also celebrating anniversaries this fall are Brigadoon, which has enchanted audiences for 70 years with its tale of love and a mystical village, as well as My Fair Lady, the timeless classic reaching its 60th anniversary. And each of these three musicals will be brought to life with some of the finest voices on and off Broadway. This one-night-only concert features Grammy Award nominee Mykal Kilgore (Motown, Hair), Tony Award nominee Jane Summerhays (Me and My Girl, A Chorus Line), Tony Award Honoree Ben Davis (Once Upon a Mattress, La Boheme), E. Clayton Cornelious (Ain't Too Proud), and Ellis Gage (White Rose, James & the Giant Peach). Warner will reprise songs he sang in The Little Prince. Performers from recent Broadway revivals of Lerner & Loewe musicals are among the singers as well, including Rachel Fairbanks (Camelot), Michael Halling (My Fair Lady), and Valerie Torres-Rosario (Camelot). The associate conductor for both Camelot and My Fair Lady, Will Curry, will provide music direction and violin along with Megan Smythe (The Great Gatsby) on piano. Relive the magic of Lerner and Loewe's cinematic masterpieces through an evening of soaring melodies, romance, and nostalgia. The Green Room 42 is located at 570 Tenth Avenue inside YOTEL in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tickets are available for in-person attendance and via livestream on The Green Room 42 website. Next month marks the 50th anniversary of The Little Prince, a musical film based on the classic children's story and the final collaboration of Broadway writing duo Alan Jay Lerner and Frederick Loewe. To celebrate this milestone The Green Room 42 presents “Lights, Camera, Lerner and Loewe” on November 5th at 9:30pm. And the special guest of the evening is Steven Warner, who was the child actor in the title role alongside Broadway luminaries like Richard Kiley, Bob Fosse, Donna McKechnie, and Gene Wilder. Two other movie musicals also celebrating anniversaries this fall are Brigadoon, which has enchanted audiences for 70 years with its tale of love and a mystical village, as well as My Fair Lady, the timeless classic reaching its 60th anniversary. And each of these three musicals will be brought to life with some of the finest voices on and off Broadway. This one-night-only concert features Grammy Award nominee Mykal Kilgore (Motown, Hair), Tony Award nominee Jane Summerhays (Me and My Girl, A Chorus Line), Tony Award Honoree Ben Davis (Once Upon a Mattress, La Boheme), E. Clayton Cornelious (Ain't Too Proud), and Ellis Gage (White Rose, James & the Giant Peach). Warner will reprise songs he sang in The Little Prince. Performers from recent Broadway revivals of Lerner & Loewe musicals are among the singers as well, including Rachel Fairbanks (Camelot), Michael Halling (My Fair Lady), and Valerie Torres-Rosario (Camelot). The associate conductor for both Camelot and My Fair Lady, Will Curry, will provide music direction and violin along with Megan Smythe (The Great Gatsby) on piano. Relive the magic of Lerner and Loewe's cinematic masterpieces through an evening of soaring melodies, romance, and nostalgia. The Green Room 42 is located at 570 Tenth Avenue inside YOTEL in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices

Female urinal at Michigan state park is rare, vintage Michigan urges hunters to shoot more does as deer population swells Temptations' Otis Williams back in Detroit for return of jukebox musical 'Ain't Too Proud'

Connor and Dylan are joined by Tony Award nominee Ephraim Sykes (Our Town, Ain't Too Proud: The Life and Times of the Temptations). It's officially fall, y'all, and we're chatting with Ephraim, one of the stars from the new Broadway production of Our Town, to kick off the season. But first: a conversation about NBC's Smash, and its upcoming Broadway adaptation. Gagged! Ephraim reflects on his time dancing on Smash, his entire love of the arts beginning with his talent for dance, as well as his inspirations and influences. We cover all things Our Town - from the glorious cast, co-starring with Zoey Deutch, their trip to Peterborough, New Hampshire, and why the themes of the play are timeless. The twins get the scoop on Ephraim's Hamilton experience from early workshops all the way to Broadway, the NYCC production of Pal Joey, and starring with Ariana Grande in Hairspray Live on NBC. Ephraim was an original Newsie, made his Broadway debut in The Little Mermaid, and was nominated for a Tony AND Grammy for Ain't Too Proud. It wouldn't be DRAMA without covering the culture, including Industry, The Perfect Couple, and the Kendrick Lamar/Drake beef. This chat is NOT to be missed.Follow Ephraim on InstagramFollow DRAMA. on Twitter & Instagram & TiktokFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramSubscribe to our show on iHeartRadio Broadway!Support the podcast by subscribing to DRAMA+, which also includes bonus episodes, Instagram Close Friends content, and more!

Percussionist, Bandleader, Vocalist, Historian, Clinician and Educator Kelli Rae Tubbs stops by to talk about being the “world's oldest intern” for the Everwood Arts Foundation, playing gigs, researching drumset players who are women, and getting into the instrument rental business (03:35), her current work as a performer, speaker, and “Riverlorian” on riverboats in the Midwest (26:40), her enjoyment of studying history and being a bandleader (45:00), and growing up in Chicago in Minnesota, finding “her people”, and navigating some challenging times earlier in her life (55:00).Finishing with a Rave on rewatching the 1998 film Elizabeth (01:16:00).Kelli Rae Tubbs links:Kelli Rae Tubbs's websiteKelli Rae Tubbs's research on women who play drumsetKelli Rae Tubbs's YouTube channelKelli Rae Tubbs's Facebook pageMSP Percussion Rental and RepairKelli Rae Tubbs's ReverbNation Arrangements pageOther Links:Daniel GlassEverwood Farmstead FoundationChristmas in the Dells Clara SchumannW.C. HandyFate MarableThe Funk Brothers play “Ain't Too Proud to Beg”“Rhinestone Cowboy” - Glen Campbell“Ring of Fire” - Johnny Cash“Georgy Girl” - The Seekers“Moonchild?In Your Quiet Place” - Gary BurtonSteve SwallowRaves:Elizabeth trailer

This episode of The Other Side of the Bell, featuring commercial trumpeter and vocalist, Ravi Best, is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube.   About Ravi:   Ravi Best is a New York City based jazz and commercial trumpet player who has performed domestically and internationally for two decades. Most recently, he has been performing, recording, and touring with Kool & The Gang, Blood, Sweat and Tears, The Duke Ellington Orchestra, and Little Steven and The Disciples of Soul, where he had the chance to perform with Sir Paul McCartney, and Bruce Springsteen. He has performed with several Jazz, Rock, and R&B artists such as Stevie Wonder, Aretha Franklin, Whitney Houston, Beyonce, Jay-Z, Lenny Kravitz, Queen Latifah, Annie Lennox, Robert Cray, ani difranco, Michael Buble, Clark Terry, Tony Bennett, and Herbie Hancock.  He has played in several Broadway shows such as The Heart of Rock and Roll, Merrily We Roll Along, Hell's Kitchen, Diana, The Color Purple, Chicago, 42nd St., Sweet Charity, Annie, and several others.  He has made several TV appearances playing in the house band on SNL, Jesus Christ Superstar Live, Jimmy Kimmel Live( Kool and The Gang), Good Morning America(Boyz II Men), The Today Show(Little Big Town), The Late Show(Rufus Wainwright), and The Sherri Show. Ravi was also featured in the Chris Colombus film The Christmas Chronicles.  He can also be heard on many recordings such as, Kenny Garrett's Pushing The World Away, Little  Steven and The Disciples of Soul's Soulfire Live, and Summer of Sorcery, David Byrne & St. Vincent's Love This Giant, David Murray Octet's Octet Plays Trane, Lester Bowie's Brass Fantasy's The Odyssey of Funk & Popular Music, Sam River's Rivbea Orchestra's Culmination, Ani DiFranco's Evlolve, So Much Shouting, So Much Laughter, and Mya's Moodring, The Broadway cast recordings of Jesus Christ Superstar Live In Concert, Heart of Rock and Roll, Diana, Ain't Too Proud, 42nd Street, and Baby It's You.

Here is what you will discover on this week's episode of The GMS Podcast: 1) Pride is Destructive 2) Too Proud to Let Go 3) Defensive Pride Creates Conflict 4) The Humility to Release Pride 5) Letting Go of Being Sensitive and Defensive 6) In True Humility There is No Rejection 7) When Doubt is Addressed, Pride is Released *Visit This Link to Request a Free 20 Minute Coaching Session* https://www.goldenmastermind.com/coaching-call-signup/   *Connect with Jeffery* Facebook: https://www.facebook.com/jeffery.combs Instagram: https://www.instagram.com/jeffery_combs/ LinkedIn: https://www.linkedin.com/in/jefferycombs Website: https://www.goldenmastermind.com/   *Jeffery's Books* (2019 Bestseller) The Breakthrough Factor - https://www.goldenmastermind.com/product/the-breakthrough-factor/ The Anger Factor - https://www.goldenmastermind.com/product/the-anger-factor/ The Procrastination Cure - https://www.goldenmastermind.com/product/the-procrastination-cure/ Psychologically Unemployable - https://www.goldenmastermind.com/product/psychologically-unemployable-remastered/ More Heart Than Talent - https://www.goldenmastermind.com/product/more-heart-than-talent-book/   *Other Ways to Listen to The GMS Podcast* Website: https://www.goldenmastermind.com/podcast/ Apple Podcasts: https://apple.co/3D07Y6f Spotify: https://spoti.fi/3Qd4FvC YouTube: https://www.youtube.com/JefferyCombsGMS

SEASON 6, BONUS PODCASTMJ - The MusicalJuly 9-12, 2024Broadway Grand RapidsMore info: broadwaygrandrapids.com/mjIn this podcast, John Gonzalez of Behind the Mitten interviews J. Daughtry, who plays Berry Gordy in the National Broadway Tour of "MJ - The Musical."He is a seasoned pro who came into theatre in a non-traditional way. He was teaching at a private school in Maryland, when his principal tapped him to fill in when the school's theater teacher suddendly passed away. They knew he could sing, but they didn't realize how talented he was. It was the school principal who pushed him to audition in New York.He has since performed on Broadway ("The Color Purple," "Beautiful," "Ain't Too Proud") and also toured the country on National tours ("Miss Saigon," "The Color Purple," "Motown: The Musical"). He also continues to perform his music professionally and is a two-time Grammy nominee as well as a winner of multiple Stellar and Dove Awards.He is a graduate of Bethune Cookman University. He is a Theatrical, Gospel and R&B singer/actor on both stage and screen. He is originally from Bartow, Florida, and he talks about why loves about that part of the country."MJ" is a multi Tony Award-winning new musical centered around the making of the 1992 Dangerous World Tour. It was created by Tony Award-winning Director/Choreographer Christopher Wheeldon and two-time Pulitzer Prize winner Lynn Nottage. "MJ" is making its Michigan premiere at the Devos Performance Hall in  Grand Rapids.PERFORMANCESTuesday, July 9, 2024 - 7:30pmWednesday, July 10, 2024 - 7:30pmThursday, July 11, 2024 - 7:30pmFriday, July 12, 2024 - 7:30pmSaturday, July 13, 2024 - 2:00pmSaturday, July 13, 2024 - 7:30pmSunday, July 14, 2024 - 1:00pmSunday, July 14, 2024 - 6:30pmThis Grand Rapids engagement is welcomed by Barnes & Thornburg, LLP; Corewell Health; Edify North; UFP Industries.

Join Morgan as she interviews Nik Walker, the actor who portrayed Aaron Burr in Hamilton (on tour and on Broadway) and is one of her dream guests (!!!). Nik is also known for his roles in Spamalot and Ain't Too Proud. In this candid and heartwarming episode, Nik shares his experiences from his Hamilton Tour days, his favorite nerdy things, such as Mark Twain's work, Jurassic Park, and theme parks, and his recent projects. Morgan and Nik also explore what being a nerd means, the impact of fandom, and the importance of curiosity and rest. It's an in-depth and heartfelt conversation celebrating shared passions and the magic of fandom. 00:28 Meeting Nik Walker aka Morgan fangirls out 01:45 Hamilton Memories and Fort Lauderdale Stories 07:11 Nerdy Beginnings: Jurassic Park 12:30 Theme Park Adventures and Nostalgia 15:16 Mark Twain and the Magic of Play 19:12 Current Nerdy Interests and TV Shows 23:54 Harry Potter Fandom and House Sorting 25:30 Halloween Horror Night 26:45 Nerdy About Naps 30:02 Disney Song Bangers 31:56 Journey into Fandom 45:39 Starstruck by Matt Damon 50:32 The Power of Fandom 52:28 Embracing Nerdiness 54:49 Conclusion and Farewell Follow Nik Walker at:  https://www.instagram.com/nikkywalks https://www.threads.net/@nikkywalks Follow That Nerd Thing at: ⁠⁠TikTok: @thatnerdthingpod⁠⁠ ⁠⁠Instagram: @thatnerdthingpod⁠⁠ YouTube: @thatnerdthingpod⁠⁠ Email: thatnerdthingpod@gmail.com Don't forget to share this podcast with your nerdy friends!

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

Fresh from starring in Ain't Too Proud, Cameron Bernard Jones is soon to be playing Collins in the new UK revival of Rent for Landmark Theatres. Cameron is originally from New York and has performed internationally in Porgy & Bess, Hairspray and Showboat. In the West End, he has been in Motown The Musical and Tina: The Tina Turner Musical in which he covered Ike Turner. Cameron was in South Pacific at the Chichester Festival Theatre, Punchdrunk's acclaimed porudction of The Burnt City and received a Black British Theatre Award nomination for his performance as the title role in The Wiz at the Hope Mill Theatre in Manchester. Cameron starred as Melvin Franklin in the original West End cast of Ain't Too Proud: The Life and Times of The Temptations at the Prince Edward Theatre. Cameron is also a podcaster; he hosts and produces Lick The Plate, a podcast about people and food. In this episode, Cameron discusses his original journey into theatre, reestablishing himself in the UK and the highs and lows of his first contract as a West End leading man. He also reflects on navigating a career in theatre as a bass baritone and lots more. Follow Cameron on Instagram: @cbjartsFollow and subscribe to Lick The Plate wherever you get your podcasts. You can see Cameron in Rent at the Peterborough New Theatre and Queen's Theatre Barnstaple in June and July. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  46s Film Making 46s: Filmmakers talk origins, challenges, budgets, and profits.Listen on: Apple Podcasts Spotify

L'épisode d'aujourd'hui est consacré à "I Can't Help Myself" des Four Tops, et constitue la deuxième partie d'une série de trois épisodes consacrés à la Motown de 1965. PLAYLIST FOUR TOPS The Four Tops, "I Can't Help Myself" The Four Aims, "She Gave Me Love" The Four Tops, "Kiss Me Baby" Ray Charles, "Kissa Me Baby" The Classics, "If Only the Sky Was a Mirror" The Four Tops, "This Can't be Love" The Supremes, "Run Run Run" Martha and the Vandellas, "My Baby Loves Me" The Four Tops, "Baby I Need Your Loving" The Four Tops, "I Can't Help Myself" The Supremes, "Where Did Our Love Go ?" The Four Tops, "I Can't Help Myself" The Four Tops, "I Can't Help Myself" The Four Tops, "It's the Same Old Song" The Four Tops, "Loving You is Sweeter Than Ever" The Supremes, "You Keep Me Hanging On" Vanilla Fudge, "You Keep Me Hanging On" The Four Tops, "Reach Out I'll Be There" The Four Tops, "Reach Out I'll Be There" The Temptations, "Ain't Too Proud to Beg" The Four Tops, "Bernadette" The Four Tops, "Walk Away Renee" The Four Tops, "If I Were a Carpenter" The Four Tops, "When She Was My Girl" The Four Tops, "Loco in Acapulco"

We have a dear friend and legitimate LEGEND on the pod! E. Clayton Cornelious joins us! A Tony nominated investor/producer and a 25-year Broadway veteran, who has appeared in over 10 Broadway shows! Currently producing The Who's Tommy and Spamalot on Broadway and coming off starring on the Ain't Too Proud tour, E. Clay is a truly fierce multi-hyphenate and entrepreneur. We talk about his wild journey from actor to producer, his various business ventures and the mindset that has allowed him to carve out a successful living in this crazy business.“CREATIVE RISK”, is a new podcast hosted by actors Joshua Morgan and Mike Labbadia of Artist's Strategy where they explore all things art, entrepreneurialism and everything in between. The acting industry is more volatile and competitive than ever before, therefore the artist must evolve in order to take radical ownership over their creative businesses. Each episode, Mike and Joshua will get raw and unfiltered, giving hot takes and cutting edge strategies on how to build a sustainable career in the arts.­­­­­­­____________________________________________________________________Get exclusive content as well as discounts on merch and coaching at our Patreon.https://www.patreon.com/CreativeRiskPodcast

Singles Going Around- Under My ThumbThe Stone's did some great covers. Here's a few of my favorites.."Route 66""Ain't Too Proud to Beg""Everybody Needs Somebody to Love""Stop Breaking Down""Bye Bye Johnny""Prodigal Son""I Can't Be Satisfied""Not Fade Away""I Gotta Go""I'm A King Bee""You Gotta Move""I'm Moving On""Hip Shake""Everybody Knows About My Good Thing""Love In Vain"

From playing Aaron Burr in the Broadway smash hit Hamilton, to playing Sir Galahad in the Broadway Revival of Spamalot, Nik Walker has an unparalleled range. U Guys, this week's BroadwayWorld Recap has all the latest Bway updates! Then I am joined by actor and writer Nik Walker to talk about his amazing career! From performing in two different Broadway productions of Motown The Musical, to playing Otis Williams in Ain't Too Proud, Nik shares about the experience of bringing black stories to the Broadway stage. He also shares about his own original shows, and talks about how much fun he is having playing Sir Galahad in the highly acclaimed Bway revival of Spamalot, now running through April 7th, 2024. Nik is lovely and hilarious, U don't wanna miss this episode! Follow Nik on Instagram: @nikkywalks Follow the pod on Instagram: @ohmypoduguys Learn more about your ad choices. Visit megaphone.fm/adchoices

Broadway and Tv actor and writer, Nik Walker joins us to Take A Bow for his work in the entertainment industry. Nik is a true student of the art and takes you through his philosophies and ideologies of how to approach text as an actor. Hear all about: Journey to becoming a performer/storyteller What excites him most as an actor Why are stakes important How can being an actor, a writer, and a director all at the same time impact your work How taxing a role can be and how to take care of yourself Hamilton Hardest part of performing HAMILTON Spamalot Sharing a stage with your best friends (Alex Brightman, Christopher Fitzgerald, Ethan Slater, Leslie Kritzer, James Monroe Iglehart, etc.) How Motown influenced Broadway + So much more! Curtain up, Nik Walker Connect with Nik Walker on Instagram: @nikkywalks Bio: Nik Walker is a Boston native, theme park nerd and proud NYU Tisch alum (Adler, Classical and Stonestreet)- who's been earning a living in the industry for a decade and counting. He's been seen on Broadway as Aaron Burr in Hamilton, Otis Williams in Ain't Too Proud, and as Sir Galahad in the revival of Spamalot; on screen in Blue Bloods, Law and Order SVU, and in the upcoming AppleTV+ film The Instigators, alongside his hometown hero Matt Damon. Cleaners, the animated series that he created and writes with partner Alex Brightman, is in development at Warner Bros. Animation, and his musical, Whiskeyland, is being developed with veteran producers Hunter Arnold and Tina Cocumelli at TBD Theatricals. He is the co-host of the arts/activism show The Chaos Twins, and his movie podcast, Little Justice, is streaming where ever podcasts are imbibed. In the free time between all of this, Nik can either be found writing plays at a coffee shop, teaching incredible NYU students, or annoying his talented wife, Sarah Joyce. Connect with Take A Bow on social: @takeabowpodcast Connect with host, Eli Tokash on social: @tokash_eli Learn more about your ad choices. Visit megaphone.fm/adchoices

Jelani Remy Broadway: Back To The Future, Ain't Too Proud, The Lion King.  Other theater credits include: High School Musical, Smokey Joe's Café, AppleBoys, Oscar Michaeux Suite, Love Around the Block, Cabaret, Mozart: Her Story. Paper Mill Playhouse Rising Star and Chita Rivera Award recipient. BCEFA NextGen Advocate.  @itsjelaniremy Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jalen Harris first came to prominence on American Idol, but that's just the beginning of his story. Since then, he's starred on Broadway in The Lion King and he's currently playing Eddie Kendricks in the touring company of Ain't Too Proud to Beg. And now he's sharing his own voice with his EP ManneKin.We talked with Jalen about his journey and how his work on stage informed his own music. For more information, follow Jalen on Instagram.

On this episode of On the Rocks we head to Broadway with Courtney Reed currently in Moulin Rouge (from Aladdin,In the Heights) and Jelani Remy currently in Back to the Future (from Lion King, Ain't Too Proud) as we talk about career, the movie musical, diversity in theatre, and their roles in the new vampire musical Blood/Love…with guest co-host Broadway aficionado Michael Ferrera hot off his Broadway musical seeing tour and your host, Alexander Rodriguez! Raise a glass, it's On the Rocks!!!

Jalen Harris first came to prominence on American Idol, but that's just the beginning of his story. Since then, he's starred on Broadway in The Lion King and he's currently playing Eddie Kendricks in the touring company of Ain't Too Proud to Beg. And now he's sharing his own voice with his EP ManneKin.We talked with Jalen about his journey and how his work on stage informed his own music. For more information, follow Jalen on Instagram.

Goals and The Temptations? Yes on this last episode of the season and year I talk to E. Clayton Cornelious about his role as Paul Williams on the Broadway show of Ain't Too Proud coming to the Kimmel Cultural Campus January 3-21st. Tickets are now available............................................................................................................................................E. CLAYTON CORNELIOUS (Paul Williams) is a Grammy winning Broadway/Tv veteran actor of 25 years. He's worked on the West End of London, has done 9 1/2 Broadway shows, and this marks his 10th Broadway national tour. On top of acting, he is now a 5-year Broadway Investor/Producer. He made his Broadway producing debut in 2021 and was recently nominated for his 1st Tony Award in 2023 as co-producer. He is a graduate of PPU and is currently getting his 2nd degree in Business Management at EGCC. He is grateful to friends, family and God. Instagram: @Eclaycorn. Website: Eclaycorn.com..................................................................................................................................................Goals are meant to have a plan with them. Resolutions and goals aren't simply a wish list that you write down and hope for the best. Make a list and a plan to go along with it that will assist you in making 2024 successful. Remember to sprinkle in some grace in your goals setting. We tend to be on the go to making things happen without adding some pauses into our lives. ...........................................................................................................................................Follow me on the Blog and on socials as ToitimeblogNew Year Blogs to add to your world:Getting Organized into the New YearKeep A Few Things into the New YearStick to your New Year Goals/Resolutions

Jason and Brett's love for books and Broadway come together in this exciting episode!  They talk to musical book writer and lyricist Kait Kerrigan about adapting The Great Gatsby for the stage, Merri Sugarman about the casting process and her new book From Craft to Career, and Matthew Chisling (aka @mattyandthebooks) about book adaptations coming to Broadway. A behind-the-scenes conversation you won't want to miss!Kait Kerrigan is an award-winning lyricist, book writer, and playwright. She is an alumnus of Barnard College and the BMI Musical Theatre Workshop and a member of the Dramatists Guild. Off Broadway: book and lyrics for The Mad Ones, and Henry & Mudge. Regional: The Great Gatsby (Paper Mill Playhouse), plays (Father/Daughter and Imaginary Love) and musicals (Justice, Earthrise, and Rosie Revere, Engineer & Friends). Digital credits include: A Killer Party. Her immersive house party The Bad Years (book and lyrics) had two sold-out pop-up productions in Brooklyn. Awards include: Kleban Award for libretto, Jonathan Larson Award for lyric-writing, Most Promising Lyricist Award from the Theatre Hall of Fame, Edgerton Award, and residencies at Page 73, Dramatists Guild Fellows, Rhinebeck, Goodspeed's Johnnie Mercer Project, and MacDowell.Initially an actress (Les Misérables, Aspects of Love), Merri Sugarman found herself in L.A. where she quickly made a name for herself at Liberman/Hirschfeld Casting working on such shows as Seinfeld, HBO's Band of Brothers, and the feature film My Big Fat Greek Wedding, to name a few. Following that, at Dreamworks Studios, Merri was the Casting Executive in charge of TV Pilots and Series. She is a Senior Casting Director at Tara Rubin Casting. Credits: Ain't Too Proud, Jersey Boys, Phantom Of The Opera, Les Misérables, School of Rock, Miss Saigon and A Bronx Tale. Off Broadway: Clueless and Trevor. Matthew Chisling has worked for a decade in the professional theatre space as a marketer, producer, ticketing manager and strategist. He is currently a senior director of campaign marketing at TodayTix Group, a technology company in the performing arts space. Matt is an avid reader and runs an instagram account called @mattyandthebooks**BOOKS!** Check out the list of books discussed on each episode on our Bookshop page:https://bookshop.org/shop/gaysreading | By purchasing books through this Bookshop link, you can support both Gays Reading and an independent bookstore of your choice!Join our Patreon for exclusive bonus content! Purchase your Gays Reading podcast Merch! Follow us on Instagram @gaysreading | @bretts.book.stack | @jasonblitmanWhat are you reading? Send us an email or a voice memo at gaysreading@gmail.com

Hailing from Perth Amboy, NJ, Juan "Carlito" Mendoza is a seasoned musician with over 25 years of experience. A classically trained percussionist, he excels in playing the marimba, timpani, orchestral snare drum, vibraphone, drum set, and hand percussion. Juan obtained his BA in Music Education from New Jersey City University in 2004 and earned his MA, summa cum laude, in Music Education in 2013. His musical journey has been enriched by studying under renowned instructors like Nicholas Cerrato (Timpanist for the Tony Award-winning Broadway show "Cats"), marimba expert Greg Giannascoli of the Philadelphia Pops Orchestra, and Brazilian percussion maestro Guillerme Franco.Juan's musical prowess was evident from an early age. At 13, he won Best Soloist at the national Maid of the Mist competition in Niagara Falls, Canada. His competitive spirit continued through various drum corps engagements. He performed with the esteemed Hawthorne Caballeros Drum and Bugle Corps from Hawthorne, NJ, in 1997 and 1999-2001. In 2002, he joined the Syracuse Brigadiers, contributing to their victory at the Drum Corps Association World Championship and securing the best percussion title. That same year, Juan outperformed 35 other contestants to become the Drum Corps Association Snare Drum Champion.Juan's talents have also led him to feature in Pat Petrillo's educational DVD "Learning to Read Rhythms" by Alfred Music, where he recorded all the musical examples and appeared as a featured soloist. His crowning achievement came in 2012 when he outshone over 5,000 competitors to win the Guitar Center Drum Off Grand Champion title. Juan has recently contributed to Drumeo, offering valuable content for their platform and the broader drumming community.Currently, Juan serves as an adjunct professor at New Jersey City University, operates a drum educational website offering pre-recorded video lessons covering various techniques and musical styles, and holds a position as a middle school band director.Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Afraid of commitment? Click here to support Broadway Drumming 101: https://www.buymeacoffee.com/bd101For more: https://www.carlitomendoza.comClayton Craddock hosts the Broadway Drumming 101 Podcast and has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud. He has been a sub drummer on Motown, The Color Purple, Rent, Little Shop of Horrors, Spongebob Squarepants-The Musical, Evita, Cats, Avenue Q, and The Big Apple Circus. The next project he's working on is The Hippest Trip – The Soul Train Musical.Clayton has performed on various TV shows, including Good Morning America, The Colbert Report, The View, The Jimmy Fallon Show, The CBS Early Show, the Today Show, and the 2010 and 2019 TONY Awards at Radio City. He's shared the stage with legends such as The Stylistics, Denise Williams, Chuck Berry, and Ben E. King and was in the Netflix DWYCK episode of Luke Cage with the Delfonics and the HBO version of Lady Day at Emerson's Bar and Grill.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Broadway star Nik Walker (Hamilton) joins The Art of Kindness with Robert Peterpaul to discuss kindness in the theatre, the sparkling "mishap" this is his new bway show Spamalot, holding space for others, Batman and more. About Nik Walker: Nik Walker is a Boston native, theme park nerd, NYU professor, and NYU Tisch alumni (Adler, Classical and Stonestreet), who's been earning a living in “The Industry” for a decade and counting. He's been seen on Broadway as Aaron Burr in Hamilton, Otis Williams in Ain't Too Proud, and as Sir Galahad in the revival of Spamalot; onscreen in Blue Bloods, Law and Order SVU, and in the upcoming AppleTV+ film The Instigators, alongside his hometown hero Matt Damon. Cleaners, the animated series that he created and wrote with writing partner Alex Brightman, is in development at Warner Bros. Animation, and his musical Whiskeyland, is in workshops after a successful breakout performance at Orlando Fringe. He is the co-host of the arts/activism show The Chaos Twins, and his movie podcast, Little Justice, is streaming wherever podcasts are imbibed. Follow Nik: @nikkywalks Follow us: @artofkindnesspod / @robpeterpaul Support the show! (https://www.buymeacoffee.com/theaok) Music: "Awake" by Ricky Alvarez & "Sunshine" by Lemon Music Studio. Learn more about your ad choices. Visit megaphone.fm/adchoices

As we bring our special three-part series to a close, we want to express gratitude for your interest in the podcast. We started a few weeks ago by introducing you to Michael Aarons, an industry veteran, whose invaluable insights have broadened our understanding of the many facets of musical production—from Broadway stages to recording studios, live events, and beyond.With a career that's been both broad and deep, Michael has shown us what it takes to assemble world-class pit orchestras, navigate complex labor agreements, and manage the intricacies that come with large-scale productions. His wealth of knowledge has proved invaluable for drummers and anyone aspiring to make their mark on Broadway.As Broadway Drumming 101 continues to grow and evolve, we are more committed than ever to bring you diverse voices and perspectives from industry titans like Michael. We believe that this series has been a treasure trove of information and strategies designed to elevate your musical career to new heights.To contact Michael: https://www.m2music.nycIf you've missed any part of this trilogy, don't worry! All three episodes are available for you to check out by subscribing at Broadway Drumming 101. Whether you're a seasoned pro or just taking your first steps in the drumming world, this series stands as an invaluable resource you won't want to overlook.For future updates and more invaluable content, subscribe here:Clayton Craddock hosts the Broadway Drumming 101 Podcast and has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud. He has been a sub drummer on Motown, The Color Purple, Rent, Little Shop of Horrors, Spongebob Squarepants-The Musical, Evita, Cats, Avenue Q, and The Big Apple Circus. The next project he's working on is The Hippest Trip – The Soul Train Musical.Clayton has performed on various TV shows, including Good Morning America, The Colbert Report, The View, The Jimmy Fallon Show, The CBS Early Show, the Today Show, and the 2010 and 2019 TONY Awards at Radio City. He's shared the stage with legends such as The Stylistics, Denise Williams, Chuck Berry, and Ben E. King and was in the Netflix DWYCK episode of Luke Cage with the Delfonics and the HBO version of Lady Day at Emerson's Bar and Grill.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

PLAYLIST: Pacific St Blues & AmericanaNovember 12, 2023www.podomatic.com/podcasts/KIWRblues1. Christone Kingfish Ingram / Not Gonna Lie (live)2. Black Crowes / 99 Pounds 3. Tracy Nelson / Brown Eyed Handsome Man 4. Chuck Berry / Confessing the Blues 5. Robert Wilkins / No Way to Get Along 6. Slim Harpo / Shake Your Hips7. The Rolling Stones / Rollin' Stone Blues8. Carl Weathersby / Stop Breaking Down Blues 9. Mavis Staples & Levon Helm / You Got to Move 10. Jon Dee Graham / Lost in the Flood 11. Bywater Call / Sweet Maria 12. Emma Wilson / A Small World 13. Bobby Harden / One Night of the Week 14. Mississippi Heat / Silent Too Long 15. The Blood Brothers (Mike Zito & Albert Castiglia) Feat Joe Bonamassa / A Thousand Heartaches 16. Blind Lemon Jefferson / Black Snake Moan 17. Kris Lager Band / Matchbox Blues 18. North Mississippi All Stars / I See the Moon19. Wild Magnolias / Old Time Indian20. Neville Brothers / Ball of Confusion 21. Ben Harper w/Funk Brothers / Ain't Too Proud to Beg  

In the second installment of our special three-part series, we're showcasing Michael Aarons, a veteran with an extensive background encompassing Broadway, live events, recording studios, television, film, and national tours. He's been instrumental in assembling top-notch pit orchestras for numerous Broadway shows and over 15 national tours. Outside the theater, his multifaceted talents shine through in his roles as a music coordinator and guitarist on Grammy-winning albums and in various capacities within television and film, including as a composer.What sets Michael distinctly apart is his comprehensive grasp of the business aspects of music. He excels in logistical oversight, adept negotiation of union labor contracts, and the skillful navigation of complex challenges commonly associated with large-scale productions. His expertise serves as a goldmine of information for drummers and anyone aiming to carve out a niche on Broadway.Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.As we continue to expand the scope of Broadway Drumming 101, we're excited to include invaluable insights from industry veterans like Michael—professionals who offer unique viewpoints and indispensable advice.This installment is part of a trilogy aimed at providing a deep well of knowledge and actionable tips to enhance your journey in the world of music. Keep an eye out for the next episodes, scheduled to be released on November 11th and 18th. Whether you're an experienced drummer or a beginner, this series is a crucial resource you won't want to miss.For additional information, head over to M2 Music.Clayton Craddock hosts the Broadway Drumming 101 Podcast and has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud. He has been a sub drummer on Motown, The Color Purple, Rent, Little Shop of Horrors, Spongebob Squarepants-The Musical, Evita, Cats, Avenue Q, and The Big Apple Circus. The next project he's working on is The Hippest Trip – The Soul Train Musical.Clayton has performed on various TV shows, including Good Morning America, The Colbert Report, The View, The Jimmy Fallon Show, The CBS Early Show, the Today Show, and the 2010 and 2019 TONY Awards at Radio City. He's shared the stage with legends such as The Stylistics, Denise Williams, Chuck Berry, and Ben E. King and was in the Netflix DWYCK episode of Luke Cage with the Delfonics and the HBO version of Lady Day at Emerson's Bar and Grill.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

While we frequently spotlight drummers who have made enduring contributions to Broadway and touring stages, it's just as essential to get the inside scoop from the influential figures orchestrating things behind the curtain. That's why today marks the launch of a special three-part series. We're ecstatic to start by introducing you to Michael Aarons, a seasoned Music Coordinator whose portfolio spans Broadway, recording studios, live events, television, film, and national tours.With a career spanning over 20 years in various corners of the music industry—from Broadway theaters to concert arenas and from TV studios to film sets—Michael is a revered music coordinator and guitarist. He's the linchpin behind forming first-rate pit orchestras for countless Broadway productions and more than 15 national tours. Beyond the stage, Michael's talents extend to his roles as a music coordinator, guitarist for Grammy-winning albums, and in various capacities in TV and film, including work as a composer.What truly sets Michael apart is his deep-rooted understanding of the commercial aspects of music. He is adept at overseeing logistics, negotiating union labor agreements, and skillfully steering through the complicated challenges often tied to large-scale productions. His insights are a treasure trove for drummers and anyone aspiring to make their mark in the music industry.As Broadway Drumming 101 continues to evolve, we're delighted to broaden our horizons to include voices like Michael's—industry stalwarts who provide unique perspectives and priceless counsel.This episode is the first in a three-part series designed to dive deep into a wealth of knowledge and tips to elevate your musical career. Stay tuned for the next installments, set to drop on November 11th and 18th. Whether you're a seasoned drummer or just getting started, this series is an invaluable resource you will want to take advantage of.For more details, visit M2 Music.Clayton Craddock hosts the Broadway Drumming 101 Podcast and has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud. He has been a sub drummer on Motown, The Color Purple, Rent, Little Shop of Horrors, Spongebob Squarepants-The Musical, Evita, Cats, Avenue Q, and The Big Apple Circus. The next project he's working on is The Hippest Trip – The Soul Train Musical.Clayton has performed on various TV shows, including Good Morning America, The Colbert Report, The View, The Jimmy Fallon Show, The CBS Early Show, the Today Show, and the 2010 and 2019 TONY Awards at Radio City. He's shared the stage with legends such as The Stylistics, Denise Williams, Chuck Berry, and Ben E. King and was in the Netflix DWYCK episode of Luke Cage with the Delfonics and the HBO version of Lady Day at Emerson's Bar and Grill.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

This is the second of four of the “Back to the Future” podcast takeover! This episode features Merritt David Janes and Jelani Remy, two real-life friends and on stage frenemies. Merritt talks about the show's influence on his childhood and describes being a part of the show as a pinch-me moment for him, Jelani discusses his early experiences with performing and touring and the two talk about their experiences with the production of "Back to the Future" , how they auditioned for their roles, and what it means to them. They emphasize the positive and collaborative atmosphere on the set and how the cast gets along well, their favorite parts of the show, and the fulfillment they get from the support of younger fans and the theater community. Merritt and Jelani share their motivations and advice for aspiring performers, including finding reasons to show up to pursue one's dreams (and good food!). Merritt David Janes and Jelani Remy are both no strangers to the Broadway stage. Jelani Remy's credits include “Ain't Too Proud”, “The Lion King”, “High School Musical” (1 and 2), and “Smokey Joe's Cafe”. He was recognized as a Paper Mill Playhouse Rising Star and is a Chita Rivera Award recipient. Merritt David Janes, on the other hand, recently graced the Broadway stage in the original cast of “School of Rock” and has performed in national tours of “School of Rock”, “Sweeney Todd”, “Beauty and the Beast”, “The Wedding Singer”, “Phantom of The Opera”, “Shrek”, and “Catch Me If You Can”, and was recently in the world premiere of “The Griswolds' Broadway Vacation”. Together, they have numerous credits, including Jelani now playing Mayor Goldie Wilson and Marvin Berry and Merritt playing Principal Strickland, both in the Broadway production of “Back to the Future”. Connect with Merritt David Janes and Jelani Remy: Instagram: @mdjtanner, @itsjelaniremy Facebook: @merritt.janes Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast YouTube: YouTube.com/TheTheatrePodcast Threads, Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Learn more about your ad choices. Visit megaphone.fm/adchoices

To take you further behind the scenes of Wonderland, I'm sharing my conversation with E. Clayton Cornelious, who played the part of Caterpillar and is also a Broadway producer himself of such shows as Ain't Too Proud, Chicken and Biscuits, and New York, New York. In the previous episode, we explored the musical world of Frank Wildhorn and two of his shows that graced the Marquis Theatre for only about a month each, and E. Clay was a big help in putting that episode together. Now, you'll get our full interview, full of anecdotes and tidbits I couldn't fit into the mail episode. You'll learn about how he was ultimately cast in Wonderland and even more about what was going backstage during rehearsals and performances. And being a producer as well, E. Clay also provides extra insight into what it means for a show to close so quickly. Follow Closing Night on Instagram and listen on your favorite podcast app. --- Closing Night is a production of WINMI Media with Patrick Oliver Jones as host and executive producer. Dan Delgado is the editor and co-producer, not only for this podcast but also for his own movie podcast called The Industry. Blake Stadnik composed the theme music, and Maria Clara Ribeiro is co-producer. Learn more about your ad choices. Visit megaphone.fm/adchoices

https://cartermclean.com Carter was born in San Francisco and shortly thereafter moved to Connecticut. This is where McLean listened to and fell in love with music and especially the drums. At age 10, he started his journey as a musician. Broadway wasn't even on his radar when he started working at Manny's Music in Manhattan just prior to 9/11. The self-taught musician had just wrapped up his studies at University of Colorado, Boulder and was hoping to land a gig with someone like Sting, Peter Gabriel or Paul Simon. But then, while working his shift and playing at the store, he got noticed by a vet of Stevie Wonder's band Dennis Davis and got invited to play with legendary musician Roy Ayers in Harlem. While touring with Melvin Sparks in 2002 McLean was approached to be a sub at The Lion King in NYC. This eventually lead to McLean taking over the chair at the hit show in 2011. From Charlie Hunter to the Lion King on Broadway, McLean has been busy touring and doing studio work as well as having a busy teaching schedule. In addition McLean has shared the stage or recorded with Jamie McLean, Greg Holden, Charlie Hunter, Victor Wooten, Anthony Hamilton, Bernie Worrell (Parlament Funkadelic), Fred Wesley (James Brown), Shelby Johnson (Prince), Melanie Gabriel (Peter Gabriel) Leni Stern, Matt Duke and many others.For more, subscribe to Broadway Drumming 101 here: When you subscribe for only $10 a month, you will receive behind-the-scenes access to the life of a musician who makes a living on Broadway through YouTube videos, bi-weekly podcasts, and articles on what you need to know. We also have merchandise! https://merchandise.broadwaydrumming101.comClayton Craddock hosts the Broadway Drumming 101 Podcast and has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud. He has been a sub drummer on Motown, The Color Purple, Rent, Little Shop of Horrors, Spongebob Squarepants-The Musical, Evita, Cats, Avenue Q, and The Big Apple Circus. The next project he's working on is The Hippest Trip – The Soul Train Musical.Clayton has performed on various TV shows, including Good Morning America, The Colbert Report, The View, The Jimmy Fallon Show, The CBS Early Show, the Today Show, and the 2010 and 2019 TONY Awards at Radio City. He's shared the stage with legends such as The Stylistics, Denise Williams, Chuck Berry, and Ben E. King and was in the Netflix DWYCK episode of Luke Cage with the Delfonics and the HBO version of Lady Day at Emerson's Bar and Grill.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Dan has been making music most of his life.  While attending East Carolina University's School of Music, he auditioned and was hired at age 19 to join the cast of the Off-Broadway show "STOMP".  After performing in the New York company, he joined the national tour, eventually playing the lead role and becoming the Rehearsal Director. During this tour, he had the opportunity to perform on stage with Bobby McFerrin for the Presidential Millenium Celebration and appeared on several tv shows, including "Good Morning America", among many others. Dan has since moved back to NYC to continue his music career and has performed at such venues as Madison Square Garden, Town Hall, The Grand Ole Opry, Radio City Music Hall and The Meadowlands Arena.Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Dan recently played drums on Broadway for "The Cher Show," a biographical musical co-produced by Cher herself which premiered in December of 2018 at the Neil Simon Theater.  He also acted as the house drummer for seasons 7, 8 & 10 of NBC's "America's Got Talent" and played for the PBS special "From Broadway With Love" featuring Chita Rivera, Kelli O'Hara, Jesse Mueller, Norbert Leo Butz and Lilias White.  He held the percussion chair for the Broadway show "Holler If Ya Hear Me," and has also subbed on drums in the orchestra pit for Broadway shows like "Wicked" and "Little Shop Of Horrors," played hundreds of auditions the casting office of Bernard Telsey Casting and recently played drums for the Obie Award-winning show "The World Is Round" at BAM.  He plays often for Grammy Award winning artist Tim Kubart and was grateful to contribute percussion to his winning album "Home."  He has played for a number of artists including Cher, Andrea Bocelli, Tituss Burgess, Melinda Doolittle (American Idol Finalist), Stephanie Block, Kelli O'Hara, Heather Christian, Montego Glover, Lucie Arnaz, and Randy Rainbow. In addition, he occasionally performs for corporate events for companies such as GM, Microsoft, Pfizer. etc.  Also trained in music production and recording, Dan produces, engineers and mixes music on a for-hire basis. Recently, he produced, engineered and mixed a Christmas record for Randy Rainbow with the title track co-written by Marc Shaiman. It reached #1 on the Billboard Comedy charts and #7 on iTunes Top Albums. Dan also recorded vocals for bounce music legend Big Freedia(the artist featured on Beyonce's “BREAK MY SOUL”) for an upcoming track. He also produced (and played drums for) "The Sedaka Sessions", where he had the honor of working with Neil Sedaka and an incredible team including engineer Roy Hendrickson (Paul McCartney, Miles Davis, Frank Sinatra, etc) and Grammy Award-winning executive producer Tony McAnany. Some other audio production highlights include a national commercial for "The Grinch That Stole Christmas", a track for Coca-Cola's 125th Anniversary Celebration and mixing of promotional content for Broadway shows like "Natasha Pierre & The Great Comet of 1812," and “Smokey Joe's Cafe”.  He also had the opportunity to contribute as an engineer (as well as a background vocalist and percussionist) on the album "LISTEN", which features Hall & Oates, Carly Simon, and Duncan Sheik.Dan proudly endorses Paiste Cymbals and ACS Custom In-Ear Monitors.http://www.danweinerdrums.comClayton Craddock hosts the Broadway Drumming 101 Podcast and has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud. He has been a sub drummer on Motown, The Color Purple, Rent, Little Shop of Horrors, Spongebob Squarepants-The Musical, Evita, Cats, Avenue Q, and The Big Apple Circus. The next project he's working on is The Hippest Trip – The Soul Train Musical.Clayton has performed on various TV shows, including Good Morning America, The Colbert Report, The View, The Jimmy Fallon Show, The CBS Early Show, the Today Show, and the 2010 and 2019 TONY Awards at Radio City. He's shared the stage with legends such as The Stylistics, Denise Williams, Chuck Berry, and Ben E. King and was in the Netflix DWYCK episode of Luke Cage with the Delfonics and the HBO version of Lady Day at Emerson's Bar and Grill.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Broadway Drumming 101 YouTube HERE! YouTubeThank you for reading Broadway Drumming 101. This post is public so feel free to share it. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

A review of the Broadway musical “Ain't Too Proud” plus The Temptations first live album. --- Send in a voice message: https://podcasters.spotify.com/pod/show/kelli-n/message Support this podcast: https://podcasters.spotify.com/pod/show/kelli-n/support