Motown Quotes

That’s what she loves about Motown, the way it asks you to carry sadness and heartbreak but dance while doing so.

The only people discussing “race” with any insight and courage are loud middle-aged white men who romanticize the Kennedys and Motown, well-read open-minded white kids like the tie-dyed familiar sitting next to me in the Free Tibet and Boba Fett T-shirt, a few freelance journalists in Detroit, and the American hikikomori who sit in their basements pounding away at their keyboards composing measured and well-thought-out responses to the endless torrent of racist online commentary.

I've got my Motown girl-group music playing, and my supplies are laid out all around me in a semicircle. My heart hole punch, pages and pages of scrapbook paper, pictures I've cut out of magazines, glue gun, my tape dispenser with all my different colored washi tapes. Souvenirs like the playbill from when we saw Wicked in New York, receipts, pictures. Ribbon, buttons, stickers, charms. A good scrapbook has texture. It's thick and chunky and doesn't close all the way.

You know those people, just so fucking happy to be alive, bouncing down the street, buds in their ears and faces repulsive with pleasure as they belt out the lyrics to some noxious Motown classic. I’ve gotten bold, bumping them with my enormous bag as I pass by, savoring their outraged “Hey!” behind me. No one gets to be that happy.

Motown, J Dilla, Slum Village.

We set up our gear for the tune-up and Tony [Iommi] launched into the opening riff of ‘Black Sabbath’ – doh, doh, doooohnnnn – but before I’d got through the first line of lyrics the manager had run on to the stage, red in the face, and was shouting, ‘STOP, STOP, STOP! Are you f**king serious? This isn’t Top-Forty pop covers! Who are you people?’ ‘Earth,’ said Tony, shrugging. ‘You booked us, remember?’ ‘I didn’t book this. I thought you were going to play “Mellow Yellow” and “California Dream-in’”.’ ‘Who – us?’ laughed Tony. ‘That’s what your manager told me!’ ‘Jim Simpson told you that?’ ‘Who the hell’s Jim Simpson?’ ‘Ah,’ said Tony, finally working out what had happened. He turned to us and said, ‘Lads, I think we might not be the only band called Earth.’ He was right: there was another Earth on the C-list gig circuit. But they didn’t play satanic music. They played pop and Motown covers.

Every week seems to bring another luxuriantly creamy envelope, the thickness of a letter-bomb, containing a complex invitation – a triumph of paper engineering – and a comprehensive dossier of phone numbers, email addresses, websites, how to get there, what to wear, where to buy the gifts. Country house hotels are being block-booked, great schools of salmon are being poached, vast marquees are appearing overnight like Bedouin tent cities. Silky grey morning suits and top hats are being hired and worn with an absolutely straight face, and the times are heady and golden for florists and caterers, string quartets and Ceilidh callers, ice sculptors and the makers of disposable cameras. Decent Motown cover-bands are limp with exhaustion. Churches are back in fashion, and these days the happy couple are travelling the short distance from the place of worship to the reception on open-topped London buses, in hot-air balloons, on the backs of matching white stallions, in micro-lite planes. A wedding requires immense reserves of love and commitment and time off work, not least from the guests. Confetti costs eight pounds a box. A bag of rice from the corner shop just won’t cut it anymore.

1976. The Bicentennial. In the laundromat, you want for the time on your coins to run out. Through the porthole of the dryer, you watch your bedeviled towels and sheets leap and fall. The radio station piped in from the ceiling plays slow, sad Motown; it encircles you with the desperate hopefulness of a boy at a dance, and it makes you cry. When you get back to your apartment, dump everything on your bed. Your mother is knitting crookedly: red, white, and blue. Kiss her hello. Say: "Sure was warm in the place." She will seem not to hear you.

America is now a land that rewards failure--at the personal, corporate and state level. If you reward it, you get more of it. If you reward it lavishly as the federal government does, you'll get the Radio City Spectacular of Failure, on ice and with full supporting orchestra. The problem is that, in abolishing failure, you also abolish the possibility of success, and guarantee only the huge sucking statist swamp. From Motown to no town, from the Golden State to Golden Statists. What happens when the policies that brought ruin to Detroit and decay to California are applied to the nation at large?

When life comes knockin', it's the heartbroken doo-wop singer who understands regret and the price of loving, the hard-living soul man who understands "I take what I want, I'm a bad go-getter, yeah..." and the Motown divas, men and women, who know you've got to play a little bit of the white man's/rich man's game. You have to make thoughtful compromises that don't sell out your soul, that let you reach just a little bit higher until your moment comes and then you set the rules. This was the credo all along Route 9 and you'd better understand it or else you would die an ugly musical death while risking bodily injury on Saturday night.

It’s funny how sometimes our minds want to jump right to the reasons something might not work instead of considering how we can make something possible.

I was born and raised on steel river I see it all like it was yesterday The ships and bridges they were all delivered From Sydney harbour to the Cisco bay And I met my love down on steel river We served our dreams and spent our childhood days In rainy streets we'd kiss away the shivers And hide from fear inside the latest craze Dancing to Motown Making love with Carole King record playing And oh how I loved you Say goodbye steel river

High school hockey games in Bethel, Maine, drew the same kind of crowds high school football did in Midwestern communities. There were girls standing in the lobby, fixing their lipstick in the reflection of the plate-glass windows, and toddlers weaving through the denim forest of grown-up legs. The grizzled man who sold hot dogs and nachos and Swiss Miss cocoa had taken up residence behind the kitchenette and was singing Motown as he ladled sauerkraut into a bun.

Techno emerged in the early to mideighties in and around Detroit, at the hands of black middle-class DJs who for some reason idealized the glamour and suavity of European electronic pop and Italo disco, as it reached them via GQ and the radio DJ who called himself the Electrifying Mojo. They brought some rigor and a hint of Motown to it and created an industrial-sounding music that was funky, futuristic, and kind of arch—evoking the auto plants that were putting these kids’ parents out of work.

I’ve never understood the phenomenon, but everyone absolutely loses their minds whenever they see someone pull out a T-shirt gun. It’s a universal constant that transcends all cultural divides: Republicans, Democrats, rich, poor, glassblowers, Inuit Indians, Motown nostalgia acts: They all pay a fortune for their tickets and sit nicely dressed and civilized. Then the dudes with the T-shirt guns come out and everyone gets that crazy red demon glow in their eyes, ready to tear arms out of their sockets and dive off balconies for three dollars of cotton. On the other end, the guys with the guns are in complete control of the crowd and get a God complex, teasing them, faking shots and making thousands of screaming loons sway left and right with their slightest move. And yet nobody but me can see the potential, like the next time the rest of the world is giving America a bunch of shit, our president just goes before the UN General Assembly and busts out a T-shirt gun. Problem fucking solved.

Later, as the sisters grew, Esther hyperfocused on their differences, but as a little kid she'd been far more hypnotised by their sameness. They both loved chewing lemon peels and watermelon rinds, loved pictures of goats but not actual goats, loved putting sand in their hair so they could scratch it out later, loved watching their parents slow-dance in the living room to Motown records. They loved the sound of the wind, the sound of breaking ice, the sound of coyotes calling on the mountain. They disliked zippers, ham, the word 'milk', flute music, the gurgling sound of the refrigerator, Cecily's long weekends away, Abe's insistence on regular chess matches, and days with no clouds. They disliked the boxes of books that came to their door daily or were lugged home by their father, disliked their dusty lonesome smell and how they consumed Abe's attention. They disliked when their parents closed the bedroom door and fought in whispers. They hated the phrase 'half sister.' There had been no half about it.

I would dance all day in my basement listening to Off the Wall. You young people really don’t understand how magical Michael Jackson was. No one thought he was strange. No one was laughing. We were all sitting in front of our TVs watching the “Thriller” video every hour on the hour. We were all staring, openmouthed, as he moonwalked for the first time on the Motown twenty-fifth anniversary show. When he floated backward like a funky astronaut, I screamed out loud. There was no rewinding or rewatching. No next-day memes or trends on Twitter or Facebook posts. We would call each other on our dial phones and stretch the cord down the hall, lying on our stomachs and discussing Michael Jackson’s moves, George Michael’s facial hair, and that scene in Purple Rain when Prince fingers Apollonia from behind. Moments came and went, and if you missed them, you were shit out of luck. That’s why my parents went to a M*A*S*H party and watched the last episode in real time. There was no next-day M*A*S*H cast Google hangout. That’s why my family all squeezed onto one couch and watched the USA hockey team win the gold against evil Russia! We all wept as my mother pointed out every team member from Boston. (Everyone from Boston likes to point out everyone from Boston. Same with Canadians.) We all chanted “USA!” and screamed “YES!” when Al Michaels asked us if we believed in miracles. Things happened in real time and you watched them together. There was no rewind. HBO arrived in our house that same year. We had

- Brother Jimmy, said Joey the Lips. - I'm worried. - About Dean. - Wha' abou' Dean? - He told me he's been listening to jazz. - What's wrong with tha'? Jimmy wanted to know. - Everything, said Joey the Lips. - Jazz is the antithesis of soul. - I beg your fuckin' pardon! - I'll go along with Joey there, said Mickah. - See, said Joey the Lips. - Soul is the people's music. Ordinary people making music for ordinary people. - Simple music. Any Brother can play it. The Motown sound, it's simple. Thump-thump-thump-thump. - That's straight time. Thump-thump-thump-thump. - See? Soul is democratic, Jimmy. Anyone with a bin lid can play it. - It's the people's music. - Yeh don't need anny honours in your Inter to play soul, isn't tha' wha' you're gettin' at, Joey? - That's right, brother Michael. - Mickah. - Brother Mickah. That's right. You don't need a doctorate to be a doctor of soul. - Nice one. - An' what's wrong with jazz? Jimmy asked. - Intellectual music, said Joey the Lips. - It's anti-people music. It's abstract. - It's cold an' emotionless, amn't I righ'? said Mickah. - You are. - It's got no soul. It is sound for the sake of sound. It has no meaning. - It's musical wanking, Brother. - Musical wankin', said Mickah. - That's good. - Here, yeh could play tha' at the Christmas parties. - Instead o' musical chairs.

Inmates would overwhelmingly welcome segregation. As Lexy Good, a white prisoner in San Quentin State Prison explained, “I’d rather hang out with white people, and blacks would rather hang out with people of their own race.” He said it was the same outside of prison: “Look at suburbia. . . . People in society self-segregate.” Another white man, using the pen name John Doe, wrote that jail time in Texas had turned him against blacks: '[B]ecause of my prison experiences, I cannot stand being in the presence of blacks. I can’t even listen to my old, favorite Motown music anymore. The barbarous and/or retarded blacks in prison have ruined it for me. The black prison guards who comprise half the staff and who flaunt the dominance of African-American culture in prison and give favored treatment to their “brothers” have ruined it for me.' He went on: '[I]n the aftermath of the Byrd murder [the 1998 dragging death in Jasper, Texas] I read one commentator’s opinion in which he expressed disappointment that ex-cons could come out of prison with unresolved racial problems “despite the racial integration of the prisons.” Despite? Buddy, do I have news for you! How about because of racial integration?' (emphasis in the original) A man who served four years in a California prison wrote an article for the Los Angeles Times called “Why Prisons Can’t Integrate.” “California prisons separate blacks, whites, Latinos and ‘others’ because the truth is that mixing races and ethnic groups in cells would be extremely dangerous for inmates,” he wrote. He added that segregation “is looked on by no one—of any race—as oppressive or as a way of promoting racism.” He offered “Rule No. 1” for survival: “The various races and ethnic groups stick together.” There were no other rules. He added that racial taboos are so complex that only a person of the same race can be an effective guide.

Dick Clark was pleased with the group’s success, but he was also happy to be rid of them. They had kept many of the other acts awake by practicing late at night on the bus, and Diane Ross had too many fights with other artists. Once, Ross had a spat with Brenda Holloway, who she thought had taken her can of hair spray. Another fight was with the Crystals’ Delores Brooks, whom Diane accused of stealing a pair of her shoes. Their shouting got them both temporarily kicked off the bus. Another time, she jumped on the back of Mary Wilson, pulling her hair and punching her. Other women complained that Ross hogged the single mirror in the small dressing rooms they all used. “Diane always had a temper,” said Mary Wilson, “and while some people might have seen her actions as the result of conniving, her behavior was actually more like that of a spoiled brat. Once she made up her mind about something, there was no reasoning with her…. Diane would fight with anyone, and often she would take a minor issue and keep on it until you reacted.

I was hoping to be done with Margot's scrapbook before she left for college, but as anyone who's ever scrapbooked knows, Rome wasn't built in a day. You could spend a year or more working on a scrapbook. I've got Motown girl-group music playing, and my supplies are laid out all around me in a semicircle. My heart hole punch, pages and pages of scrapbook paper, pictures I've cut out of magazines, glue gun, my tape dispenser with all my different colored washi tapes. Souvenirs like the playbill from when we saw Wicked in New York, receipts, pictures. Ribbon, buttons, stickers, charms. A good scrapbook has texture. It's thick and chunky and doesn't close all the way.

Fifty Best Rock Documentaries Chicago Blues (1972) B. B. King: The Life of Riley (2014) Devil at the Crossroads (2019) BBC: Dancing in the Street: Whole Lotta Shakin’ (1996) BBC: Story of American Folk Music (2014) The Weavers: Wasn’t That a Time! (1982) PBS: The March on Washington (2013) BBC: Beach Boys: Wouldn’t It Be Nice (2005) The Wrecking Crew (2008) What’s Happening! The Beatles in the U.S.A. (1964) BBC: Blues Britannia (2009) Rolling Stones: Charlie Is My Darling—Ireland 1965 (2012) Bob Dylan: Dont Look Back (1967) BBC: The Motown Invasion (2011) Rolling Stones: Sympathy for the Devil (1968) BBC: Summer of Love: How Hippies Changed the World (2017) Gimme Shelter (1970) Rumble: The Indians Who Rocked the World (2017) Cocksucker Blues (1972) John Lennon & the Plastic Ono Band: Sweet Toronto (1971) John and Yoko: Above Us Only Sky (2018) Gimme Some Truth: The Making of John Lennon’s “Imagine” Album (2000) Echo in the Canyon (2018) BBC: Prog Rock Britannia (2009) BBC: Hotel California: LA from the Byrds to the Eagles (2007) The Allman Brothers Band: After the Crash (2016) BBC: Sweet Home Alabama: The Southern Rock Saga (2012) Ain’t in It for My Health: A Film About Levon Helm (2010) BBC: Kings of Glam (2006) Super Duper Alice Cooper (2014) New York Dolls: All Dolled Up (2005) End of the Century: The Story of the Ramones (2004) Fillmore: The Last Days (1972) Gimme Danger: The Stooges (2016) George Clinton: The Mothership Connection (1998) Fleetwood Mac: Rumours (1997) The Who: The Kids Are Alright (1979) The Clash: New Year’s Day ’77 (2015) The Decline of Western Civilization (1981) U2: Rattle and Hum (1988) Neil Young: Year of the Horse (1997) Ginger Baker: Beware of Mr. Baker (2012) AC/DC: Dirty Deeds (2012) Grateful Dead: Long, Strange Trip (2017) No Direction Home: Bob Dylan (2005) Hip-Hop Evolution (2016) Joan Jett: Bad Reputation (2018) David Crosby: Remember My Name (2019) Zappa (2020) Summer of Soul (2021)

I began my research by taking Diana Ross to lunch. She said she couldn’t help me; she barely knew Michael. The story about her discovering the Jackson 5 was made up, as was the idea that she had mothered him at Motown.

My attempts to interest him in non-orchestral music fell on deaf ears until he suddenly, inexplicably, independently developed a liking for Motown.

A Motown Christmas CD began

Outside the bedroom Jane fumbled around and in her purse and produced a pack of cigarettes, but couldn’t figure out whether to smoke one or not. “Holy Motown Jesus with Pips, what the fuck is going on in there?

On the sale of Essence Communications Inc: "What I would first learn is something that Suzanne de Passe, the legendary Hollywood producer who headed Motown Productions, commented on thirty years ago when there was talk of Motown being sold: 'In a certain way black people seem to feel that black companies owe them something extra, the kind of something extra that cannot be given if you want to stay in business.

Driving home I switch on the radio and one of those old Motown voices comes on and reaches my heart.

her imperative to “think dialectically”—a maxim drawn from her study of the philosopher G. W. F. Hegel. Because reality is constantly changing, we must constantly detect and analyze the emerging contradictions that are driving this change. And if reality is changing around us, we cannot expect good ideas to hatch within an ivory tower. They instead emerge and develop through daily life and struggle, through collective study and debate among diverse entities, and through trial and error within multiple contexts. Grace often attributes her “having been born female and Chinese” to her sense of being an outsider to mainstream society. Over the past decade she has sharpened this analysis considerably. Reflecting on the limits of her prior encounters with radicalism, Grace fully embraces the feminist critique not only of gender discrimination and inequality but also of the masculinist tendencies that too often come to define a certain brand of movement organizing—one driven by militant posturing, a charismatic form of hierarchical leadership, and a static notion of power seen as a scarce commodity to be acquired and possessed. Grace has struck up a whole new dialogue and built relationships with Asian American activists and intellectuals since the 1998 release of her autobiography, Living for Change. Her reflections on these encounters have reinforced her repeated observation that marginalization serves as a form of liberation. Thus, she has come away impressed with the particular ability of movement-oriented Asian Americans to dissect U.S. society in new ways that transcend the mind-sets of blacks and whites, to draw on their transnational experiences to rethink the nature of the global order, and to enact new propositions free of the constraints and baggage weighing down those embedded in the status quo. Still, Grace’s practical connection to a constantly changing reality for most of her adult life has stemmed from an intimate relationship with the African American community—so much so that informants from the Cointelpro days surmised she was probably Afro-Chinese.3 This connection to black America (and to a lesser degree the pan-African world) has made her a source of intrigue for younger generations grappling with the rising complexities of race and diversity. It has been sustained through both political commitments and personal relationships. Living in Detroit for more than a half century, Grace has developed a stature as one of Motown’s most cherished citizens: penning a weekly column for the city’s largest-circulation black community newspaper; regularly profiled in the mainstream and independent media; frequently receiving awards and honors through no solicitation of her own; constantly visited by students, intellectuals, and activists from around the world; and even speaking on behalf of her friend Rosa Parks after the civil rights icon became too frail for public appearances.

One morning Gordy found out that Columbia Records, previous home of the Motown group the Four Tops, was going to rerelease one of the Tops’ old records. He instructed his top team at the time, Holland-Dozier-Holland, to produce a response, and by early afternoon they’d come up with “It’s the Same Old Song.” The track was recorded later the same day; the record was in stores three days later. It reached number five on the charts and became a classic. (The Columbia Four Tops release peaked at number 93.)

In America people like Bobby Womack used to say, “The first time we heard you guys we thought you were black guys. Where did these motherfuckers come from?” I can’t figure that out myself, why Mick and I in that damn town should come up with such a sound—except that if you soak it up in a damp tenement in London all day with the intensity that we did, it ain’t that different from soaking it up in Chicago. That’s all we played, until we actually became it. We didn’t sound English. And I think it surprised us too. Each time we played—and I still do this at certain times—I’d just turn round and say, “Is that noise just coming from him there, and me?” It’s almost as if you’re riding a wild horse. In that respect we’re damn lucky we got to work with Charlie Watts. He was playing very much like black drummers playing with Sam and Dave and the Motown stuff, or the soul drummers. He has that touch.

Sadye Pryor is a pillar of the Pensacola Mt. Zion Baptist Church. I myself see the inside of a church only when there’s a funeral. Aunt Sadye wears glasses and frumpy sack dresses and looks studious. I was born dapper and will die dapper; I don’t wear the reading spectacles I need. She is a librarian who’s known for raising her eyebrows to get students to quiet down. I am a show producer known for raising my eyebrows to get kids to project louder. Yes, presidents of Motown PTAs have been known to question whether I am a fit example for our young ones, because I consort with show folk and gamblers and others associated with nightlife. Sadye Pryor maintains perfectly proper associates (fellow board members of the YWCA, members of the Eastern Star lodge she leads, fellow Sunday School teachers) and is lauded as an example of PTA-praiseworthy deportment. In Pensacola, indeed across Florida, and all around these United States. Sadye was born a virgin and by choice will likely die a virgin. Some folks call me the old reprobate.

There was also the occasional appearance from Tommy Chong, who was a member of the Motown group Bobby Taylor & the Vancouvers.

Crossing the Golden Gate Bridge represents a transition, in the metaphysics of the region, there to be felt even by travelers unwary as Zoyd. When the busful of northbound hippies first caught sight of it, just at sundown as the fog was pouring in, the towers and cables ascending into pale gold otherworldly billows, you heard a lot of ''Wow,'' and ''Beautiful,'' though Zoyd only found it beautiful the way a firearm is, because of the bad dream unreleased inside it, in this case the brute simplicity of height, the finality of what swept below relentlessly out to sea. They rose into the strange gold smothering, visibility down to half a car length. . . . Trees. Zoyd must have dozed off. He woke to rain coming down in sheets, the smell of redwood trees in the rain through the open bus windows, tunnels of unbelievably tall straight red trees whose tops could not be seen pressing in to either side. . . . The storm lashed the night, dead trees on slow log trucks reared up in the high-beams shaggy and glistening, the highway was interrupted by flooding creeks and minor slides that often obliged the bus to creep around inches from the edge of Totality. Aislemates struck up conversations, joints appeared and were lit, guitars came down from overhead racks and harmonicas out of fringe bags, and soon there was a concert that went on all night, a retrospective of the times they'd come through more or less as a generation, the singing of rock and roll, folk, Motown, fifties oldies, and at last, for about an hour just before the watery green sunrise, one guitar and one harmonica, playing the blues.

After the funeral, I see him everywhere. Every time a man is shot in the head. I see him between the couch cushions. The blunt’s end, in Jamaica drinking a Red Stripe on a patch of grass, in a backyard drunk with witches dancing to Motown. Screaming from my mouth. In my lupus diagnosis. Laying in the cracks of my knuckles. Knock, knock, who’s there?

Then they get to Mississippi and Ella pauses because Mama sometimes talked about Mississippi and Ella imagines warmth and mosquitoes and tallgrass, haze more than smoke and lounging on cars with the smell of weed making a blanket and somebody’s blasting Motown music out the open doors of their beat-up four-door and everybody is everybody’s cousin and barbecue sauce is suddenly on people’s fingers and bellies bulge with plenty. Maybe Mama didn’t say all those things when she said the word “Mississippi.” Maybe she didn’t mention the mosquitoes or the music. But it was the only time Ella ever saw her not look like she was made of iron.

When he does Cronauer’s anarchic broadcasts—screeching “Goo-oo-oood mornin’, Viet-nam!” and launches into bursts of giddy, wildfire free association, punctuated with Motown and ’60s rock—he’s transformed.… Williams at the mike is like a man possessed, purified, liberated.

From the Motor City to Motown Records, Detroit has rested on America’s vanguard culturally, socially, politically, and economically.

News so big that it should be shouted by Christian Bale in Newsies" -Athena

Carnival Cruise Lines has its own successful way of doing things, which in this case involved creating a musical group called “The Hot Shots!” The word “Fantastic” comes to mind when thinking of this musical group! Each member auditioned separately at the Carnival rehearsal facility in Miami and then rehearsed as a group until they were ready for the big leagues aboard ship. Fortunately for me and my team, which includes Jorge Fernandez, a former guitar player from Cuba and now a top flight structural engineer in the Tampa Bay area, who helps me with much of my technical work; Lucy Shaw, Chief Copy Editor; Ursula Bracker, Proofer, and lucky me Captain Hank Bracker, award winning author (including multiple gold medals), were aboard the Carnival Legend and were privileged to listen to and enjoy, quite by chance, music that covered everything from Classical Rock, to Disco, to Mo Town and the years in between. Talented Judith Mullally, Carnival’s Entertainment Director, was on hand to encourage and partake in the music with her outstanding voice and, not to be left out, were members of the ship’s repertory cast, as well as the ship’s Cruise Director. The popular Red Frog lounge on the Carnival Legend was packed to the point that one of the performances had to be held on the expansive Lido deck. However, for the rest of the nights, the lounge was packed with young and old, singing and dancing to “The Hot Shots!” - a musical group that would totally pack any venue in Florida. Pheona Baranda, from the Philippines, is cute as a button and is the lead female singer, with a pitch-perfect soprano voice. Lucas Pedreira, from Argentina, is the lead male singer and guitar player who displayed endless energy and the ability to keep the audience hopping! Paulo Baranda, Pheona’s younger brother, plays the lead guitar to perfection and behind the scenes is the band’s musical director and of course is also from the Philippines. Ygor, from Israel, is the “on the money” drummer who puts so much into what he is doing, that at one point he hurt his hand, but refused to slow down. Nick is the bass guitar player, from down under New Zealand, and Marina, the piano and keyboard player, hails from the Ukraine. As a disclaimer I admit that I hold shares in Carnival stock but there is nothing in it for me other than the pleasure of listening to this ultra-talented group which cannot and should not be denied. They were and still are the very best! However, I am sorry that just as a “Super Nova” they unfortunately can’t last. Their bright shining light is presently flaring, but this will only be for a fleeting moment and then will permanently go to black next year on January 2, 2020. That’s just the way it is, but my crew and I, as well as the many guests aboard the Carnival Legend, experienced music seldom heard anywhere, any longer…. It was a treat we will remember for years to come and we hope to see them again, as individual musical artists, or as perhaps with a new group sometime in the near future!

What I noticed about the West Coast bands was that they had awful rhythm sections. The bassist was just the guy who couldn’t play guitar as well as the other guy. In Detroit, the bar was very high—it was the home of Motown.

After dinner I text Chris to see if she wants to come over, but she doesn't text back. She's probably out with one of the guys she hooks up my scrapbooking. with. Which is fine. I should catch up on I was hoping to be done with Margot's scrapbook before she left for college, but as anyone who's ever scrapbooked knows, Rome wasn't built in a day. You could spend a year or more working on one scrapbook. I've got Motown girl-group music playing, and my sup plies are laid out all around me in a semicircle. My heart hole punch, pages and pages of scrapbook paper, pictures I've cut out of magazines, glue gun, my tape dispenser with all my different colored washi tapes. Souvenirs like the playbill from when we saw Wicked in New York, receipts, pictures. Ribbon, buttons, stickers, charms. A good scrap book has texture. It's thick and chunky and doesn't close all the way.

By January 1967 Motown had built up an unrivalled sales force under the formidable direction of their white Sicilian-American sales boss, Barney Ales, whom Gordy had met when Ales was a rising star at Warner Brothers. Ales was more than a salesman. He had been a strategic lynchpin in Motown’s ability to break through racial barriers and sell its sound to a white teenage audience.

We all listened to and loved the Stones, the Beatles, Cat Stevens, Nina Simone, Neil Young, Bonnie Raitt, Aretha, sixties Motown, Andreas

So, too, did Motown begin its exit from the city that gave it its name, a mission accomplished in 1972 when its headquarters officially moved from Detroit to Los Angeles. As with the auto industry, Motown left many workers behind, including the Funk Brothers. Most of the Motown records of this period, including Stevie Wonder's classics Music of My Mind, Talking Book, and Innervisions, featured freelance studio musicians recording at outsourced facilities in New York or LA (in addition to Wonder's multi-instrumental talents). The exception

In 1982 Mojo relocated from WGPR to WJLB, another legacy radio station, broadcasting urban contemporary and Quiet Storm14 to a growing African American middle class from the top of the eighth tallest building in the world, Detroit's Penobscot Building. The elevated vantage point inspired the new, on-air studio concept of the “Mothership,” in connection to George Clinton's assemblage of the Motown-inspired Parliament–Funkadelic (P-Funk) ensembles. Building on

She’s listening to Otis Redding’s “(Sittin’ on) The Dock of the Bay.” It’s her least-favorite Otis Redding song because it gets played too much. She shuffles her music and it lands on Smokey Robinson’s “The Tracks of My Tears.” This song gives her that strange mix of sad and happy. Plus it’s upbeat. That’s what she loves about Motown, the way it asks you to carry sadness and heartbreak but dance while doing so.

Once I got to talk to music legend Berry Gordy. We were at a party celebrating the anniversary of Motown, and soon after I met him, we got to talking about what it takes to succeed. “Man, I failed at everything in life until I was thirty-three,” he said. “I failed at every single thing, man. Hundreds of things—magazines, a bunch of other projects, too. It took me all those times of failing to make something actually work for me.