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Wonderful time up there soundtrack1/9/2023 They were not going to play an R&B record by Chuck Berry, or Fats Domino, or Little Richard. …And to Joe Smith, ".Everybody was aware that the original artists were not going to get played on 90% of the radio stations in America. It was pop artists doing R&B music that focused the spotlight on the original artists and opened the door." People don't understand the necessary role the cover versions played. But when we would do a more polished pop version of a song, it had a chance, and it began to catch on. Deejays weren't ready to play it and people weren't ready to receive it. People were used to big bands and polished productions. It was too raw, rough, unfinished sounding, garbled – you couldn't understand all the words. But in those early days, R&B music did not get played on pop radio. Many acts, including Teresa Brewer, Gale Storm, Georgia Gibbs, the McGuire Sisters, the Diamonds, and Bill Haley were recording their own versions of R&B hits for the white market.Īs Boone himself explained to former 'Newsweek' pop critic Karen Schoemer, "The revisionist idea has sprung up, somehow, that when pop artists covered an R&B record we were inhibiting the progress, instead of enhancing the progress, of the original artists. Of course, in life nothing is that simple. But in general, the policy of the 'white' record companies covering the songs of black artists was a cruel larceny of original talent."(While Boone’s version was a cover and did compete, Presley’s came out later and only as an album cut). Many years later, Little Richard biographer Charles White wrote: "As 'Tutti Frutti' climbed the charts, it was covered by two white artists – Pat Boone and Elvis Presley.This actually helped sales of Richard's original version, as people who had never heard Rock 'n' Roll (sic) before became turned on to the new sound. The other…well, as Ruth Brown, another of the stars on the show, later put it, "Pat Boone, with them white bucks on his feet, runnin' in late from school."īrown may have been somewhat bemused by the Columbia University English Literature student wearing his signature white buckskin shoes and singing to a predominantly black audience songs that many of them recognized from earlier versions by black acts. One of the two white acts was a vocal group, the Cheers, protégés of Jerry Leiber and Mike Stoller, whose hits (to that point in time) included Bazoom and Black Denim Trousers And Motorcycle Boots. Jive.' He had a strong line-up of R&B performers on the show, among them Bo Diddley, Clyde McPhatter, the Flamingos, the Five Keys, and the Turbans. While Freed's stage shows – like his trendsetting radio program – had always been integrated, this was a first for 'Dr. Jive' Smalls the opportunity to move his show from Harlem to the Brooklyn Paramount, where it opened its week-long engagement on December 23, 1955, a day following the premier of Freed's 12-day stand, downtown. Which gave competing disc jockey Tommy 'Dr. “But God, does it feel good/ ‘Cause I got him where I want him now,” Brandy yelled as the audience backed her up on the song written by the then-17-year-old Williams about a teenage love triangle gone sideways.U nwilling to meet the increased rent imposed by the managers of the Brooklyn Paramount Theater, New York City disc jockey Alan Freed moved his hugely successful 'Rock 'n' Roll Holiday Jubilee' to the Academy of Music in Manhattan. The singer then handed her mic to superfan Brandy in the front row at Mechanics Bank Arena, encouraging her to sing as if all the people in the room came to see her show. I’m just gonna say thank you for being nostalgic about this because this is one of the coolest moments of our show and it’s very nice to feel like there’s a reason to bring it back that’s positive.” That’s all I’m gonna say – I’m not gonna preach about it. We can all learn from ourselves, right? Just for the record, 90% of you said ‘whore’ tonight. And if you’re cool, you won’t call a woman a whore because that’s bulls–t. “I guess what I’m trying to say is… it’s a word. Williams then reminisced about the good old days on the then “really small” band’s MySpace page, before “Misery” was released, when they noticed some fans were calling themselves “ParaWhores.” “And we were like, ‘ugh, that’s weird,'” she recalled. “But what we did not know was that, just about five minutes after I got canceled for saying the word ‘whore’ in a song, all of TikTok decided that it was OK. “Four years ago, we said we were gonna retire this song for a little while, and I guess technically we did,” the singer said during a mid-song breakdown.
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