#rock&soul revue

[thedepartmentofdiscoveries]

Watch "Ike & Tina Turner Revue "Proud Mary" on The Ed Sullivan Show" on YouTube

June 11, 1970.

[krispyweiss]

Boz Scaggs Turns 80

Though he’s best known for Silk Degrees and “Lido Shuffle,” Boz Scaggs’ musical history is much more - and much more interesting - than that.

As Scaggs turns 80 today, June 8, 2024, Sound Bites offers this brief sketch of the dude who’s worked with some of the all-timers and sings like the world’s smoothest Muppet.

Scaggs was a founding member of the Steve Miller Band, contributing guitar and vocals to 1968’s Children of the Future and Sailor before leaving for a solo career. His 1969 self-titled LP features Duane Allman on slide guitar and spawned the modern blues standard “Loan Me a Dime.”

He briefly joined Mother Earth for 1969’s Make a Joyful Noise before dedicating himself to solo work, which peaked commercially with 1976’s Silk Degrees, and whose band, hand-picked by Scaggs, became Toto.

“I’m not sure if Toto would have happened as soon, or quite the same way, without Silk Degrees,” David Paich once said.

Scaggs has kept up a low-key solo career ever since, breaking briefly to tour with Donald Fagen’s New York Rock and Soul Revue and releasing six 21st-century albums, most recently 2018’s Out of the Blues, which features a killer rendering of Neil Young’s “On the Beach.”

Don’t be fooled by the disco-leaning hits. Scaggs is an important player in the history of modern rock and blues and that - along with hitting the milestone of 80 - is worth celebrating.

6/8/24

[best-underrated-anime]

Best Underrated Anime Group B Round 4: Kageki Shoujo!! vs Orient

#B2: Kageki Shoujo!!

Girls aiming to become top stars in a Takarazuka high-school

#B3: Orient

Samurai on motorcycles!

Details and poll under the cut!

#B2: Kageki Shoujo!!

Summary:

After being forced to graduate from JPX48 following a controversial incident with a male fan, Ai Narata swears to never interact with another man ever again. Using her talents and strong desire to get away from men, Ai auditions for the exclusive all-female Kouka School of Musical and Theatrical Arts. The school is renowned for producing the best actresses that go on to perform in the famous all-female Kouka Theatre Troupe. Coming from the idol industry, Ai is the perfect candidate for the school’s hundredth generation class, but her aloof demeanor alienates her from her classmates. The eccentric Sarasa Watanabe is the only person who wishes to become Ai’s friend. She enters Kouka with the goal of becoming a top “otokoyaku” performer—an actress that plays traditionally male roles. After seeing a Kouka performance of The Rose of Versailles when she was younger, Sarasa dreams of performing as Lady Oscar one day. Unfortunately, Sarasa's inability to read a room causes friction between her and her classmates, including Ai, who reluctantly becomes her roommate and partner in many of their classes. Succeeding at Kouka will involve more than just raw talent for these young girls as jealousy, deceit, and the harsh realities of show business put their mental fortitude to the test. Will Sarasa and Ai be able to rise to the top and stand on the silver bridge?

Propaganda:

If theatre setting/schools is your thing, you’re probably going to love this series! We follow our protagonists and their schoolmates following their dreams to become actresses for the prestigious Kouka Revue. Not an easy road as they will have to face and overcome many challenges, the hardest ones coming from themselves. Indeed, the story is not afraid to address sensitive topics and their resulting traumas (see TW list) always rightfully handed. These episodes may be a bit hard to see if you’re sensitive to these topics, but the show never leaves you in discomfort: everything is properly addressed, and characters are cared for realistically.

The characters are all very well-written, portraying individuals with way more depth than they may appear at first glance. We follow their growth—or its start—during the series. Sarasa is a walking sunbeam, and her blooming friendship with the withdrawn Ai is a delight to watch. We learn to know—and love—all their classmates as well, as episodes switch focus to one or the other.

The OST is really good, with a catchy opening, and no less than five different versions of the ending song, a fabulous duet voiced by the cast! The animation features really pretty art with iconic details like the stars in Sarasa’s eyes. The series is a homage to Takarazuka and scatter references to famous real-life Revues and older famous shôujo manga series like “Versailles no Bara” or “Glass no Kamen”. Actually, it feels like a modernized version of their essence: roses, sparkles, spotlight, drama, all while staying safe!

This anime is like candy for eyes and soul, and I really hope we'll get a season 2 to explore the girls' voices further!

Trigger Warnings: Child Abuse, Pedophilia, Self-Harm

Nothing is too graphical nor explicit, just the right amount to let the unsettling situations be clear enough to watchers, and they’re always addressed correctly.

Child abuse/ Pedophilia: episode 3 (+4), about Ai’s traumas

Self-harm: episode 5 focuses on a girl with an eating disorder, forcing herself to vomit (not sure if that really counts as TW?)

#B3: Orient

Summary:

Freed from the rule of samurai 150 years ago, the people of Hinomoto live peaceful lives and revere their liberators—demons whose true forms remain elusive—as gods. Fated to mine rocks for the demons to feast on, Musashi knows the grim truth: humanity is enslaved by these otherworldly beings and the samurai are the last bastion fighting for freedom. Hiding his true opinion from his peers and growing distant from his childhood friend Kojirou Kanemaki, Musashi lives in angst until the day of his graduation.

When the fresh graduates arrive at the mine, they are horrified to see the inhumane treatment of miners and the uncanny physical appearance of their overseers. However, Musashi manages to endure thanks to Kojirou's help. As the demon leader wreaks havoc on the quarry, Musashi is saved once more from certain death by the Takeda samurai clan. Recovering from humiliation and yearning for adventure, Musashi embarks on a journey to become a samurai and form his own clan!

Propaganda:

Ohtaka has done it again in creating a world full of characters with more depth than can be portrayed limited amount of screen time that each of them get. This leaves the viewer with a whole lot of potential to imagine on their own, even after watching. It’s kind of unique that it is set in the samurai era of Japan, but thanks to crystals left by the demons, motorcycles and flying castles are a thing outside the main characters’ mining village. There are plenty of gags throughout and dynamics between characters. Personally, I loved the second half a lot more than the first because of the cast introduced then. For example, the detail given to Kuroku with the lace she wears–it’s so intricately beautiful! Plus, most of the mechanics of how the world works is covered by then, so we can get into the action.

Trigger Warnings: Child Abuse, Emotional Abuse

The third main character comes from a mentally abusive family situation, but the other two help her leave that situation. Main character’s child abuse is in flashbacks for character development to rise above that and break the cycle. Don’t know if gore or fan service need a trigger warning, typical shounen stuff.

When reblogging and adding your own propaganda, please tag me @best-underrated-anime so that I’ll be sure to see it.

If you want to criticize one of the shows above to give the one you’re rooting for an advantage, then do so constructively. I do not tolerate groundless hate or slander on this blog. If I catch you doing such a thing in the notes, be it in the tags or reblogs, I will block you.

Know one of the shows above and not satisfied with how it’s presented in this tournament? Just fill up this form with your revisions, and I’ll consider adapting those changes.

New: Starting round 5, screenshots will be included in the poll post. You can submit screenshots through the form linked above, or through here, via ask or dm.

Guidelines in submitting screenshots:

No NSFW or spoilery images.

Pick some good images please. Don’t send any blurry or pixelated ones.

You may send up to 9 screenshots, but not all may be used.

[yuzukahibiscus]

That’s TAKARAZUKA 2023 Flower Troupe

LOOK BACK on 2022 – You can feel their resilience and strength after overcoming the tribulations.

（The performance is Genroku. The Mizu Sumitomo Visa Card Theatre Musical “Genroku Baroque Rock” is full of glamorous costumes.)

From January, Yuzuka-san and Hoshikaze Madoka-san became the new Top Combi and started Flower Troupe’s 2022, going through a turbulent year. The year began with the Tokyo Takarazuka Theatre performance – a story of Chūshingura added with time traveling elements “Genroku Baroque Rock” and the show celebrating Flower Troupe’s 100th anniversary “The Fascination! – Flower Troupe’s 100th Anniversary To The Future and Beyond–”. But it was forced to stop right after it started and even though it reopened later, it was ultimately a performance period of 12 days. 

(Yuzuka-san was what people discussed a lot, as she not only played the beautiful pianist Liszt in “Years of Pilgrimage” but also for actually performing the piano live.)

In the next Grand Theatre performance, it is the musical portraying the life of the piano magician Liszt “Years of Pilgrimage~The Wandering Soul of Liszt Ferenc” and the stylish show “Fashionable Empire”. In the Tokyo performances also, the first day opened a few days later but it was announced that there were suspensions again and the performance reopened only on the last day (Senshuuraku). But the Senshuuraku performance was the thing to believe that it’s not just about feeling negative – I believe that was what the Flower Troupe members were thinking on the day. That it was a stage that’s not too forceful, but sincere and passionate; that it’s enriching with precision rather than leaving a blank. Especially the thing that caught my eye was how powerful the group dances were. That’s how strong the resilience of the troupe is, with Top Star Yuzuka-san in the centre. We are looking forward to Flower Troupe in 2023 as they accumulate and become a level stronger in resilience.

Q: What kind of troupe is Flower Troupe?

From Yuzuka-san:

Everyone is cheerful and bright and are wonderful kids that are moving forward enthusiastically. I’m thankful for them. Their energy in rehearsals are amazing, and I’m happy they can perform on stage with such liveliness and vividness. From now on, I’d be thankful that everyone could always be professional and aspire to improve, being a troupe that is honing and improving.

From Minami-san:

They’re very bright and I feel that everyone including the underclassmen have their own objectives and are progressing towards then. They have a passion for the performing arts. The underclassmen are always learning from the upperclassmen. The upperclassmen would also be the first in position ready to teach them, and when I see that every time, I’d think this is a good troupe.

From Towaki-san:

We’re a troupe that’s often growing and expanding to be better. That otokoyaku and musumeyaku are all enjoying to focus on the key points of being otokoyaku and musumeyaku and I feel that we respect each other.

Q: What kind of person is Hoshikaze Madoka-san? 

From Yuzuka-san:

I’ve been thinking of this ever since we’re a combi, but she’s quick at understanding what I want to do. I am truly grateful for her being straightforward, playful and ambitious and she enjoys the process of transforming with me. It's been about a year and a half since we started working together, but I feel like we'll be together even longer.

NEXT STAGE – This is the Takarazuka CLASSIC. A classical performance portrayed in Reiwa (year). 

Flower Troupe is starting January in the Takarazuka Grand Theatre with the two-set show of “MAYERLING” and “ENCHANTEMENT–A Luxurious Perfume–”. “MAYERLING” portrays the historical story of the misfortunate Austria Crown Prince Rudolf as the protagonist, a masterpiece performed again ever since the premiere in 1983. The one who wrote the script, Shibata Yukihiro-san was a longtime playwright and director of Takarazuka Revue ever since the ‘60s. Yuzuka-san led Flower Troupe to perform “Sorrowful Cordoba” in 2021, “Love Burns in Firenze” in 2022 for the national tour performances. The Shibata works have a classical depth to it and when they were performed by Yuzuka-san who’s modern and stylish, she adds smartness and reality to the melodrama. Yuzuka-san played Rudolf once in “Elisabeth – The Rondo of Love and Death”, and she enjoys it very much to pursue the portrayal of the ultimate love. At the same time “ENCHANTEMENT” is a show with perfume as a theme. From the title, it is a word meaning “magical” and “rapture”. It’s a performance that is sometimes sweet, sometimes spicy and exotic, one that is gorgeously charming.

Q: Please tell us about your favourite scents. 

From Yuzuka-san:

I love citrus smells when I’m in underclassmen times…recently I like something that’s a little stronger and deeper…compared to flower aromas, I like scents that are sweet like vanilla more. Also, when I clean the room, I open the window for a refresh of air, I love to light some aroma scented (candles) in the room.

From Minami-san:

I like the citrus and fresh kind of scents. I'm actually very sensitive to smell, so if it’s car refresher or car perfumes, I don’t like those with strong synthetic smell. I think scents I like can affect those around me, so I’ve been using perfumes a lot these years. Recently I like the laundry smell the most.

From Towaki-san:

Even though I like almost all kinds of good scents, recently among those scents, I like those with smoky aroma. That’s why instead of aroma candles, I’m the kind that likes the charcoal or incense smell. Recently, my favourite is using a spicy or smoky kind of spray type to fill the room with fragrance.

(Admin’s note: This is the last of the ANAN Translation series! 💙）

[scottguy]

Article: Claudia Lennear, The Inspiration Behind 'Brown Sugar,' Regrets Song Leaving Rolling Stones' Live Set - Spin

Claudia Lennear, The Inspiration Behind 'Brown Sugar,' Regrets Song Leaving Rolling Stones' Live Set - Spin

As I imagined the song was inspired by a gorgeous black woman, a brilliant (multilingual!) and talent major back-up singer.

If SHE is okay with the song, then other people should lighten up. (Save your offense for actual racists. Goodness knows there are enough of those to criticize!)

Besides... it's just a great DANCE song. The rhythm guitar riffs are amazing.

[lboogie1906]

Fontella Marie Bass (July 3, 1940 – December 26, 2012) was an R&B and soul singer and songwriter known for her #1 R&B hit “Rescue Me” in 1965.

At 17, she started her professional career working at the Showboat Club near Chain of Rocks, Missouri. She auditioned on a dare for the Leon Claxton carnival show and was hired to play piano and sing in the chorus for two weeks, making $175 per week for the two weeks it was in town. She wanted to go on tour with Claxton but her mother refused and according to her “... she dragged me off the train”. It was during this brief stint with Claxton that she was heard by vocalist Little Milton and his bandleader Oliver Sain who hired her to back Little Milton on piano for concerts and recording.

She only played piano with the band, but one night Milton didn’t show up on time so Sain asked her to sing and she was soon given her featured vocal spot in the show. Milton and Sain split up and she went with Sain; he recruited male singer Bobby McClure and the group became known as “The Oliver Sain Soul Revue featuring Fontella and Bobby McClure”. #africanhistory365 #africanexcellence

[weeb-polls-with-pip]

AUTISTIC ANIME GIRLS ROUND TWO MATCHUPS!

Each group will last for one week.

List below the cut:

GROUP ONE:

Tome Kurata (Mob Psycho 100) VS Haruhi Fujioka (Ouran High School Host Club)

Ami Mizuno/Sailor Mercury (Sailor Moon) VS Homura Akemi (Puella Magi Madoka Magica)

Shouko Komi (Komi Can’t Communicate) VS Athena Cykes (Ace Attorney)

Rina Tennouji (Love Live! Nijigasaki High School Idol Club) VS Rei Ayanami (Neon Genesis Evangelion)

Futaba Sakura (Persona 5) VS Constanze Amalie von Braunschbank-Albrechtsberger (Little Witch Academia)

Suletta Mercury (Mobile Suit Gundam: The Witch from Mercury) VS Falin Touden (Dungeon Meshi)

Anthy Himemiya (Revolutionary Girl Utena) VS Sakaki (Azumanga Daioh)

Tomori Takamatsu (BanG Dream: It’s MyGO!!!!!) VS Midori Asakusa (Keep Your Hands Off Eizouken!)

Asa Mitaka (Chainsaw Man) VS Patty Thompson (Soul Eater)

Mako Mankanshoku (Kill la Kill) VS Ayumu Kasuga/Osaka (Azumanga Daioh)

Mitsumi Iwakura (Skip and Loafer) VS Sawako Kuronuma/Sadako (Kimi ni Todoke: From Me to You)

Winry Rockbell (Fullmetal Alchemist) VS Lain Iwakura (Serial Experiments Lain)

Himari Arisugawa/Cure Custard (KiraKira☆Pretty Cure A La Mode) VS Milly Thompson (Trigun)

Atsuko Kagari/Akko (Little Witch Academia) VS Hitori Gotoh/Bocchi (Bocchi the Rock!)

Tsukimi Kurashita (Princess Jellyfish) VS Clara Valac (Welcome to Demon School! Iruma-kun)

Edward Wong Hau Pepelu Tivrusky IV (Cowboy Bebop) VS Chieko (Princess Jellyfish)

GROUP TWO:

Nico Niiyama (Kiznaiver) VS Nagisa Furukawa (Clannad)

Nagisa Momoe (Madoka Magica: Rebellion) VS Yellow (Pokémon Adventures)

Kuriko Saiki (The Disastrous Life of Saiki K.) VS Himiko Yumeno (Danganronpa)

Yuuko Aioi (Nichijou) VS Tsubomi Takane (Mob Psycho 100)

Maya Fey (Ace Attorney) VS Usagi Tsukino (Sailor Moon)

Don Quixote (Limbus Company) VS Miho Nosaka (Yugioh)

Ringo Andou (Puyo Puyo) VS Alluka Zoldyck (Hunter x Hunter)

Izutsumi (Dungeon Meshi) VS Sorawo Kamikoshi (Otherside Picnic)

Satsuki Minazuki (Liar Satsuki Can See Death) VS Anri Sonohara (Durarara!!)

Nico Yazawa (Love Live!) VS Ahiru Arima/Duck (Princess Tutu)

Miriel (Fire Emblem Awakening) VS Yuri (Doki Doki Literature Club)

Biscuit Krueger/Bisky (Hunter x Hunter) VS Maria Inomata (School Babysitters)

Sayo Yasuda (Umineko When They Cry) VS Mai Minakami (Nichijou)

Ai Mie (The Girl I Like Forgot Her Glasses) VS Nausicaä (Nausicaä of the Valley of the Wind)

Sumireko Usami (Touhou Project) VS Shizuku Murasaki (Hunter x Hunter)

Marcille Donato (Dungeon Meshi) VS Anisphia Wynn Palletia (The Magical Revolution Of The Reincarnated Princess and The Genius Young Lady)

GROUP THREE:

Kaoru Seta (BanG Dream! Girls Band Party!) VS Kanna Makino (Tamako Market)

Chouko Shizuhata (Oddman 11) VS Hikari Kagura (Revue Starlight)

Nafra Ampsey (Welcome to Demon School! Iruma-kun) VS Sana Futaba (Magia Record)

Valerie (Pokémon) VS Akashi (The Tatami Galaxy)

Miku Hatsune (Vocaloid) VS Sayaka Kanamori (Keep Your Hands Off Eizouken!)

Richeh (Witch Hat Atelier) VS Saki Hanajima (Fruits Basket)

Konata Izumi (Lucky Star) VS Ran-Mao (Black Butler)

Tsubame Mizusaki (Keep Your Hands Off Eizouken!) VS Franziska von Karma (Ace Attorney)

Nico Robin (One Piece) VS Penny (Pokémon Scarlet and Violet)

Sora Kajiwara (Sketchbook: Full Color’s) VS Sucy Manbavaran (Little Witch Academia)

Kiyoko Shimizu (Haikyuu!!) VS Mai Mishou/Cure Egret/Cure Windy (Futari wa Pretty Cure Splash Star)

Omoharu Nakanaka (Komi Can’t Communicate) VS Yor Forger (Spy x Family)

Kirie Motoba (Himouto! Umaru-chan) VS Riza Hawkeye (Fullmetal Alchemist)

Miae Hwang (After School Lessons For Unripe Apples) VS Lotte Jansson (Little Witch Academia)

Bulma (Dragon Ball) VS Power (Chainsaw Man)

Tooru Taki (Natsume’s Book of Friends) VS Suzuno Kamazuki/Crestia Bell (The Devil is a Part-Timer!)

[jinkieswouldyoulookatthis]

My oldest is in his high school's Rock 'n' Soul Revue and this year they're doing the 70's and not only did they perform Kashmir (one of my absolute favorites) but they did Carry On My Wayward Son and, y'all, it was all I could do to not start singing along. LOL!

[whileiamdying]

One Night In New York

When Ike and Tina Turner came storming into Manhattan in 1971 [April 1st, 1971], they were red hot. "Proud Mary," the biggest hit of their career, was burning up the charts; in the aftermath of their late Sixties tour with the Rolling Stones, they had graduated from the chitlin circuit to glamorous big-money venues. Crossing over to the American mainstream. they were discovering wildly diverse audiences - hippies at rock festivals, high rollers in Vegas, highbrows in New York City. Their new-fangled form of rhythm and blues, rooted in Ike's Delta blues and filtered through the psychedelic funk celebrated by Sly and the Family Stone, had, at long last, hit its stride.

Their Carnegie Hall performance caught the excitement. Five years earlier, they'd been scuffling. Five years later, they'd be splitting up. But here in the early Seventies, despite or perhaps because of a boiling tension, the duo was on fire. The Carnegie concert really wasn't a concert at all, but simply the Ike and Tina Revue, unadulterated and unshackled, down and dirty, and thank God, unfazed by the sophisticated surroundings.

In retrospect, it's tempting to read the repertoire as autobiography.

When Tina sings as a wronged woman, especially on her brilliant rendition of the ominous 12-bar blues, "I Smell Trouble," I believe every word. I also believe that Tina, along with Etta James and Aretha Franklin, forms a holy trinity of female soul singers. Ike's role as orchestral architect is no less brilliant. In the annals of soul music, he ranks high among its most influential leaders. As an inventor of the tight-and-right small band sound, Turner molded the minds of B.B. King, Ray Charles and James Brown, to name but three. On "I Smell Trouble," his guitar provides the perfect comic counterpoint to Tina's lament. I also love the way he sings around her on Otis Redding's "I've Been Loving You Too Long." Whatever happened off stage, their on-stage rapport was magical.

"If people just listen to the music," Ike recently told me, "they'll hear that me and Tina were on the same wavelength. We listened to each other. We worked off each other. For years we were in sync. I listen to this concert now and remember how we spoke a musical language like a secret language that's salty and sweet."

That language is evident in "Proud Mary," a cover of Creedence Clearwater Revival's original version a top-five smash in 1969-that rose to #4 on the pop charts. The concert version contains Tina's famous locution: "We never ever do nothing nice and easy," she explains. "We always do it nice and rough."

"Tina," says Ike, "had a way with words. I'd encourage her to say whatever she liked before singing. That kept the crowd on the edge of their seats. She was rapping before rap was called rap. Tina was a cool talker. She could work the crowd. real nice.. and rough."

There's much to savor here: the rough-and-tumble re-reading of Jessie Hill's infectious "Ooh Poo Pah Doo"; Tina's heartbreaking interpretation of "A Love Like Yours," whose country flavor gives us a feel for her Tennessee childhood; the raucous "Honky Tonk Woman," which takes the song to a level of theatricality unknown to the Stones; Tina's Tina-ization of Sly' spirited "I Want to Take You Higher" and Aretha's riveting "Respect."

"Tina's got her own sound," says Ike. "Maybe I helped bring it out, but it was there from the get-go."

Tina also has her own intensity, the quality that sets her apart. Her unrelenting focus is both thrilling and frightening; her stage persona incorporates high drama and smoldering sexuality in a manner that leaves audience weak and wanting more.

The tale of Ike and Tina has taken on mythic proportions. Like Adam and Eve, they are folk legends and archetypes of ruined romance. Tina has written her book. One day I hope Ike will tell the story from his point of view. The man-woman issues surrounding power and the abuse of power excite our anger and fears. The fact that those emotions are so evident in the music made at Carnegie Hall some quarter-century ago speaks to the expressive genius of both artists. And the further fact that the music still sounds fresh and vibrant still explodes with the force of nature is another validation of the timelessness of vital rhythm and blues.

— By David Ritz

David Ritz's latest collaboration is BLUES ALL AROUND ME, the autobiography of B. B. King. He's also written books on Marvin Gaye, Ray Charles, Etta James, Smokey Robinson and Jerry Wexler - plus the lyrics to "Sexual Healing."

[sbrown82]

Did u read P.P. Arnold's book? What else did she say about her relationship with Mick Jagger?

P.P. first met Mick during the opening night of The Rolling Stones’ 1966 tour when the Ike & Tina Revue were the opening act for the band.

She said she couldn’t understand a damn word he was saying at first! 🤣

Mick would watch Tina and the Ikettes dance from backstage and would come into their dressing room where they would teach him the latest dances like the “Mashed Potato” and the “Pony”.

He eventually asked Tina, "Which one should I go for?" and Tina suggested that he ask P.P. out, who was only 19 at the time.

Mick was the first white person she ever really knew and became friends with.

Their first date they saw a movie, Roman Polanski’s 1965 film “Repulsion” and before you knew it, they started tongue kissing which led to him taking her back to his hotel room where they slept together.

She said Mick was the first man to ever make her feel safe and didn’t force her to do things she didn’t want to do (i.e. hard drugs, sex, etc.)

They had sex A LOT...and never really used protection outside of the pill, which she eventually ran out of.

Mick would kiss her, ride around in limos with her, and hold her hand in public, which was unheard of in America.

He started dating some white girl named Marianne Faithfull (Lol) at the same time as P.P. and seemed to get more serious with her for some reason. She didn’t really mind tho because technically they weren’t official.

She and Marianne became like friends and/or “sister wives” and would shop together and go out to lunch around London.

In the book, she claimed that Mick liked threesomes & group sex, and especially liked to watch other girls go down on her. She wasn’t really into girls tho. 

She eventually grew tired of Ike’s bullshit and wanted to leave, so Mick convinced her to stay in England and sign with the Immediate Label which was led by The Rolling Stones' manager Andrew Loog Oldham.

She was dubbed the first lady of soul in England and Mick produced a few of her songs, and even played guitar on a number of them, including “Though it Hurts Me Badly” which is about their relationship.

In 1967, they were still messing around while he was dating Marianne. She had skipped taking her birth control and he got her pregnant. She called him up while he was on vacation in Morocco and asked him what he wanted to do. They both decided to get an abortion, but he didn’t cut his vacation short. He did instead sent her flowers and called her everyday.

She was kinda hurt and decided to leave soon after. She eventually married her second husband Jim Morris, who was an assistant for the manager of The Bee Gees.

Even tho she had moved on, she and Mick were still cool. The motherfucker even invited her to his wedding in 1971 to “Bitchanca” in St. Tropez. The dumb broad had no idea they used to date. 

Strangely enough she also became close with Marsha Hunt (Mick’s first baby mama) and Claudia Lennear (another Ikette who Mick dated).

***She also said in the book that she made out with Brian Jones, guitarist for The Rolling Stones, in his bed when she visited his home in 1966 and would’ve let him hit if he wasn’t so damn moody and depressed all the time! 🤣

That’s the TEA!!!! ☕️☕️☕️☕️☕️☕️☕️

[krispyweiss]

Old Crow Medicine Show at KEMBA Live!, Columbus, Ohio, Jan. 25, 2024

Old Crow Medicine Show ain’t sellin’ no snake oil. No, Sir and Ma’am. Their music is a proven elixir for all that ails at the end of a long day.

And the septet has no problem transforming a bluegrass-country show in to an arena-rock extravaganza, making Ketch Secor’s greeting of: “Let’s get ready to rock ‘n’ roll” entirely plausible despite denim, cowboy hats and mostly acoustic instrumentation.

For just as the balmy, rainy Jan. 25 weather made the Columbus, Ohio winter feel like spring, the Medicine men proceeded to make the rural rock - hard - on the show-opening “Tell it to Me,” delivered as it was with the exuberance of a final encore as the band members danced around the stage like youngsters overdosing on caffeine. That the music inside KEMBA Live! was as tight as the players were loose is just another part of Old Crow’s irresistible appeal, even as cheesy faux-preacher asides and incessant references to Ohio and its Buckeyes college football team grew tiresome over the course of the two-hour gig in front of a respectable-for-a-Thursday-night-sized audience.

The engine-revving continued on the aptly titled “Alabama High-Test” and - despite the occasional balladic breather - across the set that chronicled OCMS’ sonic evolution from the 2004 Bob Dylan leftover-cum-huge-hit “Wagon Wheel” to the social commentary of 2023’s “Louder than Guns.”

And by the time the rambunctious, early-set “Carry Me Back” screeched to a dime-stop close, the audience was crackling with as much electricity as the band. The glorious transfer of energy from stage to floor and back continued all evening, whether the band members were arrayed at their individual mics singing two- to seven-part harmonies or lined up at the lip of the stage tossing harmonicas and guitar picks in to the audience.

This was one of the first Old Crow gigs of 2024. And while the band is looking forward to what’s about to unfold, the players spent a portion of the show arrayed around a single mic and looking back at the musicians lost in 2023 with a medley that included Sinead O’Connor’s “Nothing Compares 2 U,” CSN’s “Teach Your Children,” Gordon Lightfoot’s “Early Morning Rain” and Jimmy Buffett’s “Margaritaville.”

Performing in front of a circus-tent backdrop emblazoned with their name, Old Crow Medicine Show traded instruments and swapped lead-vocal duties, making themselves sound like a different band on various songs. Working as one, the seven Medicine men, Secor (fiddle, keys, harmonica, guitar, banjo, ukelele); Cory Younts (mandolin, melodica, banjo, keys, harmonica); acoustic and electric bassist Morgan Jahnig; PJ George (banjo, accordion, mandolin, fiddle, guitar, drums); Mike Harris (guitar, mandolin, banjo, Dobro); Dante’ Pope (drums, percussion, keys); and Mason Via on guitar, guitjo and mandolin - transformed CCR’s “Proud Mary” into a hybrid soul-grass revue with dueling fiddles; presented “Tequila” as a drunken barn dance with a guest spot from the sax player of Bird and Byron, whose homecoming opening set served to help the neo-soul group develop before a large audience; and unrolled C.C. Rider as a piano-driven blues as Pope took the keys and mic while George held steady at the kit.

Shades of the big-“B” Band. But this small-“b” band of brothers, is, despite lots of covers - including an angry rendition of “Ohio” and its celebratory antithesis “Hang on Sloopy” with Ohio- and Old Crow-specific lyrics added - its own singular thing. This is what makes an OCMS show one of the only places on Earth a concertgoer can find himself in the 1950s singing to “Great Balls of Fire;” straddling the distant and recent past while dancing down the middle of “Dixie Avenue” and lustily cheering Secor’s taunting of Ohio’s fearmongering Statehouse.

“Trans kids can dance here, too.” he declared.

No snake oil here. Just the healing and the facts, Ma’am and Sir.

Grade card: Old Crow Medicine Show at KEMBA Live! - 1/25/24 - A-

See more photos on Sound Bites’ Facebook page.

1/26/24

[theperplexedpoet]

music of the soul (one need only dance)

in the twilight hours for the faithless few as the outlook sours through the day's revue they will hear a chorus it will resonate dulcet tones so gorgeous they will clear the slate catching in this moment slip into its trance music simply owns it one need only dance give yourself to rhythm let it take control others, see it in them music of the soul in the twilight hours for the faithless few music can empower those it's moving through they will hear a chorus that speaks to their heart dulcet tones so gorgeous they will light a spark catching in this moment mold to circumstance let the music own it give in to the dance feel the rhythm burning let it rock and roll others, feel them learning music of the soul in the twilight hours for the faithless few as the outlook sours through the day's revue they will hear a chorus it will strike a chord dulcet tones so gorgeous they will clear the board feel the rhythm swaying let it take its toll others, hear them playing music of the soul catching in this moment often can be chance if you reach it, own it one need only dance (10/3/22)

[yuzukahibiscus]

“I could only be grateful for the audience” Takarazuka Flower Troupe Top [Star] Yuzuka Rei-san Retirement Press Conference

(Source from Asahi)

Takarazuka Revue Flower Troupe Top [Star] Yuzuka Rei will retire next May and had her retirement press conference in Osaka city on 16th [of August]. "I truly want to express only gratitude to my fans. Whenever the time, I was able to share the time with the audience. [The audience] would always be supporting me warmly. Everyone's words, your presence and your applause and anything that I have received in that space [of the theatre]…"

Her intention of graduation came in February as she told the revue. The reason was "I was raised well in the Revue, and I received love from so many people, and since I've only known about Takarazuka Revue, and I am only thankful, and I also hope to stay that way [to know only about Takarazuka], but I want to meet myself from the outer world that I haven't known about yet."

Yuzuka-san started her debut stage in 2009, being one of the many stars in the "Glamorous 95th class". With her gorgeous stage presence, her beautiful and dominant dance, an acting with depth and sexiness, she radiates a unique existence.

Born in Tokyo City. Raised as a "Hanaotoko" in Flower Troupe. Being the lead role for 3 newcomers' performances, she has garnered attention since she was a lowerclassman.

She became the Top Star in November 2019, but was met with the coronavirus the next year. Her grand theatre Top (Star) debut performance "Haikara-san ga Tooru" was suspended and they had a period of frustrating days to wait until it was finally opened 4 months later.

Despite those situations, she would encourage the Flower Troupe companions one by one to bring their unique colours to their roles, delivering stages that would motivate fans with energy.

Her vibrant dancing as a beast image in the revue "Cool Beast!!" The bright "Genroku Baroque Rock", the graceful and powerful dancing in "TOP HAT", her premiere of playing piano in "Years of Pilgrimage~The Wandering Soul of Ferenc Liszt". And also this year, playing as the sorrowful Crown Prince Rudolf in "Mayerling", the cute "Singing Lovebirds" with a exquisite Japanese style.

She is a Top Star who shared font trust in the Flower Troupe companions and got together with them through the difficulties. She was a Top Star that was always so warm when she gave the speeches warmly and sincerely for the Senshuuraku.

Her partner Top Musumeyaku Hoshikaze Madoka-san will retire with her together.

Her graduation performance is "Arc en Ciel ~The Rainbow over Paris~", a new production written by Koike Shuuichirou-san. February 9 to March 24 at the Takarazuka Grand Theatre and from April 13 to May 26 at the Tokyo Takarazuka Theatre.

[ah-vida-segue-07]

⁸Elvis tinha dentro de si uma revolução contra os costumes raciais da época, ele foi criado em um bairro pobre e desde pequeno sempre amou a convivência com os negros, seu gênero musical foi muito influenciado pelo som " negros ' tão discriminados na época, Elvis ia em todos os concertos da sua igreja bem como em todas as apresentações feitas por vários artistas negros.

Vale lembrar que Elvis sempre fez questão de falar de suas influências e elogiar os pioneiros do blues, gospel, r&b e da música country – muitos deles negros.

Disse Elvis Presley: "Muita gente diz que eu comecei o rock, mas o rock'n'roll já existia muito antes de eu aparecer. Ninguém consegue cantar essa música como os negros. Vamos falar a verdade: eu não consigo cantar como Fats Domino. Eu sei disso."

Acho que nenhuma discussão sobre o assunto seria completa sem a opinião de artistas negros contemporâneos de Elvis. Vamos lembrar o que disseram alguns deles:

Little Richard:

"Elvis foi um integrador, Elvis foi uma bênção. Eles não deixavam a música negra aparecer, e ele abriu as portas.

Rufus Thomas:

"Muita gente disse que Elvis roubou nossa música. Roubou a música do homem negro. Mas o homem negro, o homem branco, não são donos da música. A música pertence ao universo."

Jackie Wilson:

"Muita gente acusou Elvis de roubar a música dos negros, quando na verdade, quase todos os intérpretes negros copiaram os trejeitos de palco de Elvis."

B.B. King :

"Lembro de ver Elvis bem jovem, nos estúdios da Sun Records. Naquela época eu já sabia que aquele menino tinha um grande talento. Ele era um menino dinâmico. A maneira como ele cantava, sua maneira de interpretar uma canção, era tão única quanto Sinatra. Eu era um grande fã e, se Elvis tivesse vivido mais, não haveria limites para sua inventividade. "

Al Green :

"Elvis influenciou todo mundo. Ele quebrou o gelo para todos nós."

Bo Diddley :

"Se Elvis me copiou, não ligo. Força pra ele. Eu não estou passando fome."

Sammy Davis Jr. "Numa escala de um a dez, eu lhe daria onze!"

James Brown :

"Eu amava Elvis e espero vê-lo no Céu. Nunca vai haver outro 'soul brother' como ele." Chuck Berry "Descrever Elvis? Ele foi o maior que já existiu, ou que existirá."

Chuck Berry:

"Descrever Elvis? Ele foi o maior que já existiu, ou que existirá."

Dia 6 de dezembro de 1957 :

Elvis com Little Junior Parker, Bobby Blue Bland na WDIA Goodwill Revue na WDIA Radio. Quando Elvis regressou à WDIA Goodwill Revue a 6 de Dezembro de 1957, uma fotografia elegante dele a “conversar sobre negócios” com Little Junior Parker e Bobby “Blue” Bland apareceu no principal jornal vespertino de Memphis, “The Press-Scimitar”, acompanhada por um curta-metragem que deixou os sentimentos de Elvis bastante claros. “Foi real”, disse ele, resumindo tanto o desempenho quanto a resposta do público. 'Direto do coração'. Little Junior Parker (1932-1971) foi um cantor e músico de blues de Memphis bem-sucedido e influente. Ele gravou a música Mystery Train em 1953, dois anos antes de Elvis torná-la um de seus singles clássicos do Sun. A Rádio WDIA tinha sede em Memphis, Tennessee, e foi ao ar em 1947 e logo se tornou a primeira estação de rádio cujo programa era baseado apenas para afro-americanos.

E olha quem está lá junto na fotografia.... Elvis !

[music-in-my-veins14]

Kyoukai No Kanata Bocci On The Rock Summertime Rendering Musaigen No Phantom World Nichijou Komi-san Wa, Comyushou Desu Shoujo Kageki Revue Starlight Magic Kaito Demon Slayer Free! Darling In The Franxx Kino No Tabi Spiral Suiri No Kizuna Spirited Away K-On Grave Of The Fireflies Metropolis Black Butler Yu Yu Hakusho Black Rock Shooter Clannad Ponyo Tora Dora Millenium Actress Tengen Toppa Gueren Lagaan Ousama No Ranking Mushoky Tensei Spy x Family Shingeki No Kyojin Hibike! Euphonium Engage Kiss Neon Genesis Evangelion Ruroni Kenshin Aoashi Madoka Magica Yugioh Fate / Stay Night Sword Art Online Attack On Titan Fullmetal Alchemist: Brotherhood Revolutionary Girl Utena One Piece Death Note Haikyuu Your Lie In April Princess Tutu Card Captor Sakura Fullmetal Alchemist Dragon Ball Z Howl's Moving Castle The Melancholy Of Haruhi Suzumiya Tokyo Mew Mew Soul Eater Naruto Sailor Moon Pokemon

[dankusner]

August 29, 2003

The real deal

Mariah can sing — just Ignore the showgirl crap

Mariah Carey unleashes her five-octave Howitzer during "Vision of Love"

With her reputation as a true diva at stake, Mariah Carey scored major points when her tour stopped at NextStage on Tuesday night.

The 33-year-old pop queen has a lot to prove: Two years have passed and Glitter still remains a box-office punch line, and the failure of that blockbuster eventually led to her much-publicized "emotional and physical breakdown."

And who can forget that Virgin Records gave this powerhouse vocalist a $28-million settlement to not sing for them anymore?

Perhaps her troubles are behind her, because the new Mariah still sounds fantastic, and she's never looked prettier or happier.

You just wish she'd realize that she doesn't need a bunch of onstage junk to distract from her best assets — that crystalline and silvery voice combined with a woman who can evoke the supernatural by nailing amazingly written power ballads with Olympian key changes and progressions.

Her onstage set was like funky living room decorated in what could best be described as "all over the place."

The entire concept was like a watered-down Las Vegas revue.

Flashes of Moulin Rouge, marionettes, circus clutter, espionage spoofs and a back-up dance crew that looked like The Wiz gone horribly wrong only distracted from the good stuff: Mariah.

However, the costume changes were fun.

Girlfriend went from ghetto princess to hooker-chic to red-carpet Soprano Barbie who dropped to her knees wearing a floor-length gown.

She can still hit those notes that only dogs can hear, but all the onstage craziness reeks of an insecure star.

The girl has still got it — it's all just so pointlessly flashy and excessive.

— Daniel Kusner

Cher, Foreigner among inductees into Rock hall

NEW YORK — Mary J. Blige, Cher, Foreigner, A Tribe Called Quest, Kool & The Gang and Ozzy Osbourne have been inducted into the Rock & Roll Hall of Fame, a class that also includes folk-rockers Dave Matthews Band and singer-guitarist Peter Frampton.

Four of the eight nominees — Cher, Foreigner, Frampton and Kool & The Gang — were on the ballot for the first time.

Cher — the only artist to have a No. 1 song in each of the past six decades — and Blige, with eight multiplatinum albums and nine Grammy Awards, will help boost the number of women in the hall, which critics say is too low.

Artists nominated this year but who didn’t make the cut included Mariah Carey, Lenny Kravitz, the late Sinéad O’Connor, soul-pop singer Sade and alt-rockers Jane’s Addiction.

The induction ceremony will be Oct. 19 at Rocket Mortgage Fieldhouse in Cleveland.