The Gospel Truth NC I a Free Take One Volume I Issue 3 Published by the National Christians in Action March 2011
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The Social and Cultural Changes That Affected the Music of Motown Records from 1959-1972
Columbus State University CSU ePress Theses and Dissertations Student Publications 2015 The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 Lindsey Baker Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Baker, Lindsey, "The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972" (2015). Theses and Dissertations. 195. https://csuepress.columbusstate.edu/theses_dissertations/195 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 by Lindsey Baker A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the degree of Bachelor of Music in Performance Schwob School of Music Columbus State University Thesis Advisor Date Dr. Kevin Whalen Honors Committee Member ^ VM-AQ^A-- l(?Yy\JcuLuJ< Date 2,jbl\5 —x'Dr. Susan Tomkiewicz Dean of the Honors College ((3?7?fy/L-Asy/C/7^ ' Date Dr. Cindy Ticknor Motown Records produced many of the greatest musicians from the 1960s and 1970s. During this time, songs like "Dancing in the Street" and "What's Going On?" targeted social issues in America and created a voice for African-American people through their messages. Events like the Mississippi Freedom Summer and Bloody Thursday inspired the artists at Motown to create these songs. Influenced by the cultural and social circumstances of the Civil Rights Movement, the musical output of Motown Records between 1959 and 1972 evolved from a sole focus on entertainment in popular culture to a focus on motivating social change through music. -
Marvelettes Co-Founder Gladys Horton Dies at 66
www.detnews.com | Printer-friendly article page Page 1 of 2 January 27, 2011 http://detnews.com/article/20110127/OBITUARIES/101270442 Marvelettes co-founder Gladys Horton dies at 66 SUSAN WHITALL The Detroit News Gladys Horton, who helped launch the girl group era of the '60s with her sassy, girlish lead vocal on the Marvelettes' "Please, Mr. Postman," has died in Los Angeles. Horton, 66, was recovering from a stroke in a Los Angeles nursing home when she died Wednesday night, according to her son, Vaughn Thornton. "She fought until the end, her son told me," said fellow Marvelette Katherine Anderson Schaffner. Schaffner had alerted friends and fans several weeks ago that Horton was ill. "When I let everybody know on my Facebook page that she was ill, she was already in hospice," Schaffner said. "Even though you try to prepare, and know the inevitable is about to happen, I don't think you're ever prepared for (someone's) death." They were just kids when Horton, 15, and Schaffner, 17, and several friends from Inkster High School's choir formed a group so they could enter a talent contest. Schaffner remembers that Horton was determined to get into the mix when she heard that the prize was an audition at Motown. They called their group the "Casinyets" (i.e. "can't sing yet"), and no, they didn't win the contest. But a sympathetic counselor secured a meeting at Motown anyway for the group. They wowed Berry Gordy and his staff. What happened to the raw Inkster teenagers over the next decade is both an inspirational story and a cautionary tale. -
Rubber Souls: Rock and Roll and the Racial Imagination
Rubber Souls: Rock and Roll and the Racial Imagination The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hamilton, John C. 2013. Rubber Souls: Rock and Roll and the Racial Imagination. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11125122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Rubber Souls: Rock and Roll and the Racial Imagination A dissertation presented by Jack Hamilton to The Committee on Higher Degrees in American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of American Studies Harvard University Cambridge, Massachusetts April 2013 © 2013 Jack Hamilton All rights reserved. Professor Werner Sollors Jack Hamilton Professor Carol J. Oja Rubber Souls: Rock and Roll and the Racial Imagination Abstract This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music “became white.” By Jimi Hendrix’s death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously. -
Detroit Blues Women Michael Duggan Murphy Wayne State University
Wayne State University Wayne State University Dissertations 1-1-2011 Detroit blues women Michael Duggan Murphy Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the African American Studies Commons, Music Commons, and the United States History Commons Recommended Citation Murphy, Michael Duggan, "Detroit blues women" (2011). Wayne State University Dissertations. Paper 286. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. DETROIT BLUES WOMEN by MICHAEL DUGGAN MURPHY DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2011 MAJOR: HISTORY Approved by: ____________________________________ Advisor Date ____________________________________ ____________________________________ ____________________________________ DEDICATION “Detroit Blues Women” is dedicated to all the women in Detroit who have kept the blues alive, to the many friends, teachers and musicians who have inspired me throughout my life, and especially to the wonderful and amazing family that has kept me alive. Many thanks to Lee, Frank, Tom, Terry, Kim, Allison, Brendan, John, Dianne, Frankie, Tommy, Kathy, Joe, Molly, Tom, Ann, Michael, Dennis, Nancy, Mary, Gerry, Charles, Noranne, Eugene, Maegan, Rebecca, Tim, Debby, Michael Dermot and Angela. ii ACKNOWLEDGMENTS I would first like to thank my advisor and committee chair John J. Bukowczyk for his friendship, his editing skills, and his invaluable guidance through all stages of this dissertation. Throughout my graduate career, Dr. Bukowczyk has been generous mentor with a great deal of insight into the workings of the University and the world at large. -
Senators Alexander, Wojno, Chang, Geiss, Irwin, Mcmorrow, Bullock
Senators Alexander, Wojno, Chang, Geiss, Irwin, McMorrow, Bullock, Brinks, Moss, Hollier, Bayer, MacDonald and Lauwers offered the following resolution: Senate Resolution No. 7. A resolution to commemorate the 60th Anniversary of Motown Records. Whereas, Berry Gordy, Jr. and Motown Records, both musical and cultural icons, have forever affixed Detroit, Michigan as a permanent fixture in the history of music; and Whereas, Berry Gordy, Jr. and Motown Records have both become icons in the socio-cultural fabric of American life from the 1960s to the present; and Whereas, The two record labels, known as Tamla and Motown, were founded in 1959 with an eight hundred dollar loan from his family; and Whereas, That same year, Berry Gordy, Jr. purchased a two-story house on West Grand Boulevard in Detroit; and Whereas, Tamla Records was the first Motown record label debuting in 1959; and Whereas, The Tamla record label was first to hit Number 1 with the song, “Please Mr. Postman,” by the Marvelettes, which topped the Hot 100 on December 11, 1961; and Whereas, The Marvelettes began as a quintet in rural Inkster, Michigan, with members including Gladys Horton, Georgia Dobbins, Georgeanna Tillman, Juanita Cowart, and Katherine Anderson; and Whereas, Hitsville, as it was called, served as the site of one of the most phenomenally prolific music production facilities ever; and Whereas, The list of stars who recorded at Hitsville have become household names, including Smokey Robinson and the Miracles, Mary Wells, Marvin Gaye, Diana Ross and the Supremes, -
THE PROGRAM for BROADWAY in DETROIT at the FISHER THEATRE Work Light Productions PRESENTS
THE PROGRAM FOR BROADWAY IN DETROIT AT THE FISHER THEATRE Work Light Productions PRESENTS BOOK BY MUSIC AND LYRICS FROM Berry Gordy The Legendary Motown Catalog Based upon the Book To Be Loved: Music by arrangement with The Music, The Magic, The Memories Sony/ATV Music Publishing Of Motown by Berry Gordy Motown® is used under license from UMG Recordings, Inc. STARRING Kenneth Mosley Trenyce Justin Reynolds Matt Manuel Nick Abbott Taylor Rae Almonte Tracy Byrd Kai Calhoun Arielle Crosby Alex Hairston Devin Holloway Quiana Holmes Kayla Jenerson EJ King Brett Michael Lockley Rob McCaffrey Trey McCoy Alia Munsch Erick Patrick Eric Peters Chase Phillips Isaac Saunders Jr. Eran Scoggins Ayla Stackhouse Nate Summers Cartreze Tucker Jamari Johnson Williams Dre’ Woods Nazarria Workman SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN PROJECTION DESIGN David Korins Emilio Sosa Natasha Katz Peter Hylenski Daniel Brodie HAIR AND WIG DESIGN COMPANY STAGE SUPERVISION GENERAL MANAGEMENT EXECUTIVE PRODUCER Charles G. LaPointe Sarah Diane Work Light Productions Nansci Neiman-LeGette CASTING PRODUCTION MANAGEMENT TOUR BOOKING AGENCY TOUR MARKETING AND PRESS Bank of America applauds Broadway Wojcik | Seay Casting Port City Technical The Booking Group Allied Touring Rhys Williams Mollie Mann In Detroit for bringing the arts to all ORCHESTRATIONS MUSIC DIRECTOR/CONDUCTOR DANCE MUSIC ARRANGEMENTS ADDITIONAL ARRANGEMENTS When members of the community support the arts, they help inspire and Ethan Popp & Bryan Crook Matthew Croft Zane Mark Bryan Crook enrich everyone. Artistic diversity can be a powerful force for unity, SCRIPT CONSULTANTS CREATIVE CONSULTANT creating shared experiences and a desire for excellence. David Goldsmith & Dick Scanlan Christie Burton MUSIC SUPERVISION AND ARRANGEMENTS BY Bank of America recognizes Broadway in Detroit for its success in Ethan Popp bringing the arts to performers and audiences throughout our community. -
The Life of Esther Gordy Edwards and Her Contributions to the Building of Motown Records
Sarah Lawrence College DigitalCommons@SarahLawrence Women's History Theses Women’s History Graduate Program 5-2017 Queen Esther: The Life of Esther Gordy Edwards and Her Contributions to the Building of Motown Records Velvet Aisha Johnson Ross Sarah Lawrence College Follow this and additional works at: https://digitalcommons.slc.edu/womenshistory_etd Part of the Women's History Commons Recommended Citation Ross, Velvet Aisha Johnson, "Queen Esther: The Life of Esther Gordy Edwards and Her Contributions to the Building of Motown Records" (2017). Women's History Theses. 28. https://digitalcommons.slc.edu/womenshistory_etd/28 This Thesis - Open Access is brought to you for free and open access by the Women’s History Graduate Program at DigitalCommons@SarahLawrence. It has been accepted for inclusion in Women's History Theses by an authorized administrator of DigitalCommons@SarahLawrence. For more information, please contact [email protected]. Queen Esther: The Life of Esther Gordy Edwards and Her Contributions to the Building of Motown Records Velvet Aisha Johnson Ross Submitted in partial completion of the Master of Arts Degree at Sarah Lawrence College, May 2017 Abstract The Life of Esther Gordy Edwards and Her Contribution to the Building of Motown Records Esther Gordy Edwards was called the “First Woman of Motown Records.” She was a thirty-year music executive veteran of Motown Records’ label. Edwards was a woman of many capabilities. She served as a mentor, personal manager of artists, Senior Vice President, Corporate Secretary and International Director. Motown Records was founded in 1959, with a loan from a family fund she established. The Motown Museum and her work as the “keeper of culture” helped to seal the Motown Record label into the world’s historical consciousness. -
Maxine Powell
Understanding Music Course Pack MUS.131.PCI1 COTTON FACILITY FALL 2020 Instructor: Brian Ketner # of copies: 0 Table of Contents Syllabus pg 1 Course Block and Due Dates Schedule pg 2 Video Lesson Schedule pg 3 J-Pay Interactive Question Guidelines pg 4 Assignment Packet Instructions pg 5 Chapter Summary Guidelines pg 6 Writing Assignment Guidelines pg 7 Reading Guidelines pg 8 Writing Assignment Prompts pg 9 Appendix: Motown Pages pg 19 Instructions and Guidelines 1 Syllabus: Understanding Music MUS.131.PCI1 Fall 2020 Number of Credits: 3 Days Class Meets: N/A Location: Internet Based Learning Instructor: Professor Ketner Course Description Lecture and directed listening on the elements, forms, and historic chronology of Western music. Course Goals To equip students with tools to listen to and appreciate multiple genres of music, to increase comprehension of musical form, style, and other musical concepts, and to recognize the historical development of Western music. Textbook • The Enjoyment of Music, 12E, by Forney, Dell’Antonio, and Machlis Expectations • Students are expected to check J-Pay regularly and interact with the question prompts. (This is also how I keep track of attendance. If you are not checking J-Pay, then you are not participating, and risk being dropped from the class.) • Students are expected to watch every class video and process it alongside reading. • Students are expected to be familiar with all reading assignments. • While listening to examples in the videos, students are expected to listen attentively. Use this time to practice observing and noticing specific details in the music. • Students are expected to turn in all assignments by the listed due dates. -
Finding Aid to the Historymakers ® Video Oral History with Katherine Schaffner
Finding Aid to The HistoryMakers ® Video Oral History with Katherine Schaffner Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Schaffner, Katherine, 1944- Title: The HistoryMakers® Video Oral History Interview with Katherine Schaffner, Dates: March 5, 2007 Bulk Dates: 2007 Physical 5 Betacame SP videocasettes (2:18:10). Description: Abstract: Singer Katherine Schaffner (1944 - ) was an original member of the musical group, The Marvelettes. Schaffner was interviewed by The HistoryMakers® on March 5, 2007, in Detroit, Michigan. This collection is comprised of the original video footage of the interview. Identification: A2007_074 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Original member of the Marvelettes, Katherine Anderson Schaffner was born Katherine Elaine Anderson on January 16, 1944, in Ann Arbor, Michigan to Robert Timothy Calvin “T.C.”Anderson and Florence Smith Anderson. Raised in the Detroit suburb of Inkster’s Carver Homes, Schaffner attended Carver Elementary School, Ford Junior High School, Fellrath Junior High School and Inkster High School. At age seventeen, she was drafted as a back up singer for friends Gladys Horton and Georgia Dobbins for the Inkster High School talent show in 1961. Their group included Georgeanna Tillman and Wyanetta (often spelled “Juanita”) Cowart. The five teenagers called themselves the Casinyets for “Can’t Sing Yets.” They won fourth place, but with the help of their teacher, Shirley Sharpley, who knew Berry Gordy’s driver, Jon O’Den, they were able to land an audition with Motown Records. Motown’s featured stars in 1961 were Smokey Robinson and the Miracles and Mary Wells. -
Senate Resolution No.7
SENATE RESOLUTION NO.7 Senators Alexander, Wojno, Chang, Geiss, Irwin, McMorrow, Bullock, Brinks, Moss, Hollier, Bayer, MacDonald and Lauwers offered the following resolution: 1 A resolution to commemorate the 60th Anniversary of Motown 2 Records. 3 Whereas, Berry Gordy, Jr. and Motown Records, both musical and 4 cultural icons, have forever affixed Detroit, Michigan as a 5 permanent fixture in the history of music; and 6 Whereas, Berry Gordy, Jr. and Motown Records have both become 7 icons in the socio-cultural fabric of American life from the 1960s 8 to the present; and 9 Whereas, The two record labels, known as Tamla and Motown, 10 were founded in 1959 with an eight hundred dollar loan from his SR7 2 1 family; and 2 Whereas, That same year, Berry Gordy, Jr. purchased a two- 3 story house on West Grand Boulevard in Detroit; and 4 Whereas, Tamla Records was the first Motown record label 5 debuting in 1959; and 6 Whereas, The Tamla record label was first to hit Number 1 with 7 the song, “Please Mr. Postman,” by the Marvelettes, which topped 8 the Hot 100 on December 11, 1961; and 9 Whereas, The Marvelettes began as a quintet in rural Inkster, 10 Michigan, with members including Gladys Horton, Georgia Dobbins, 11 Georgeanna Tillman, Juanita Cowart, and Katherine Anderson; and 12 Whereas, Hitsville, as it was called, served as the site of 13 one of the most phenomenally prolific music production facilities 14 ever; and 15 Whereas, The list of stars who recorded at Hitsville have 16 become household names, including Smokey Robinson and the -
A Note from Berry Gordy
THE PROGRAM FOR BROADWAY IN DETROIT AT THE FISHER THEATRE ‘S Wonderful! 2017-18 SEASON “Broadway In Detroit has the best shows.” 6 SHOWS STARTING - Robin, subscriber since 1961 “This is the best place in Detroit to see a show.” AS LOW AS $299 - Corinne, subscriber since 1973 October 2017 December 2017 January 2018 February 2018 April 2018 May 2018 Fisher Theatre Detroit Opera House Fisher Theatre Fisher Theatre Fisher Theatre Fisher Theatre Subscribe now at BroadwayInDetroit.com or call 313-872-1000, ext. 0 Subscriber benefits include: HAMILTON • Same great seats for every show COMING TO • FREE exchange privileges DETROIT IN 2018-19 • Purchase additional tickets directly through Fisher Theatre box office • First access to all extra attractions 2017-18 Broadway In Detroit season ticket holders will have first access to HAMILTON when they renew their subscription for the 2018-19 series • Exclusive subscriber pricing that includes HAMILTON! • Much more! The Whitney Kevin McCollum Doug Morris and Berry Gordy The Katherine McGregor Publication: in association with Work Light Productions Publication: Broadway in Detroit PRESENT Dessert Parlor playbill program v 54, n 8 for Love Letters and Sound of Music Run dates: 4/12/16–5/22/16 BOOK BY MUSIC AND LYRICS FROM Size: full-page with bleedBerry Gordy The Legendary Motown Catalog trim size: 5-3/8 in. w. x 8-3/8 in. h. Based upon the book Music by arrangement with bleed: 1/8To Be in. Loved: The Music, The Magic, The Memories of Motown Sony/ATV Music Publishing inside margin: 1/4 in. By Berry Gordy Motown® is used under license from UMG Recordings, Inc. -
SR7, As Adopted by Senate, January 24, 2019
SR7, As Adopted by Senate, January 24, 2019 Senators Alexander, Wojno, Chang, Geiss, Irwin, McMorrow, Bullock, Brinks, Moss, Hollier, Bayer, MacDonald and Lauwers offered the following resolution: Senate Resolution No. 7. A resolution to commemorate the 60th Anniversary of Motown Records. Whereas, Berry Gordy, Jr. and Motown Records, both musical and cultural icons, have forever affixed Detroit, Michigan as a permanent fixture in the history of music; and Whereas, Berry Gordy, Jr. and Motown Records have both become icons in the socio-cultural fabric of American life from the 1960s to the present; and Whereas, The two record labels, known as Tamla and Motown, were founded in 1959 with an eight hundred dollar loan from his family; and Whereas, That same year, Berry Gordy, Jr. purchased a two-story house on West Grand Boulevard in Detroit; and Whereas, Tamla Records was the first Motown record label debuting in 1959; and Whereas, The Tamla record label was first to hit Number 1 with the song, “Please Mr. Postman,” by the Marvelettes, which topped the Hot 100 on December 11, 1961; and Whereas, The Marvelettes began as a quintet in rural Inkster, Michigan, with members including Gladys Horton, Georgia Dobbins, Georgeanna Tillman, Juanita Cowart, and Katherine Anderson; and Whereas, Hitsville, as it was called, served as the site of one of the most phenomenally prolific music production facilities ever; and Whereas, The list of stars who recorded at Hitsville have become household names, including Smokey Robinson and the Miracles, Mary Wells,