Motown songs adopted by, 192
nationalist ideals of, 159–60, 161–62
Nation of Islam, 28, 114
peaceful approach of, 199–200
violent approach of, 114–15, 154–55, 161–63, 170–71
Blanding, Tonya, 184
blues, 3–4
Blues People (Baraka), 4, 191
BMI-ASCAP rivalry, 34, 39
Bolton, Michael, 221, 222, 234–35, 236, 237
Boone, Pat, 24, 36–37, 38, 41
bop talk, 68–69
Bowie, David, 223–26
Bowles, Thomas “Bean,” 67, 71, 73, 99
Bracken, Vivian and James, 29
Brando, Marlon, 14–15
Brecht, Bertolt, 156–57
Briggs, David, 220
Britain. See Great Britain
British Invasion, xvi–xvii, 129–33, 152–53
Brown, H. Rap, 154–55, 181–82, 183, 186–87, 199
Brown, James, 198–200, 204
Bullock, Betty, 123
Bush, George H. W., 165
Carmichael, Stokely, 102, 170–72
Carpenter, Karen, 202–3
Carter, Asa, 35
Casals, Pablo, 33
Chaney, James, 135–36, 147, 151
Charles, Ray, 48, 102, 179, 219, 222
Charlesworth, Dr. James C., 111
civil rights movement. See also SNCC (Student Nonviolent Coordinating Committee)
Brown v. Board of Education, 18, 161
Civil Rights Bill, 112–14, 152
Congress of Racial Equality (CORE), 11–12, 60
disappearance of activists, 135–36, 151
Du Bois versus Washington approach, 55, 101, 162
Freedom Rides of, 11, 100
March on Washington, 103, 104–5, 106–7, 109
Mississippi Freedom Democratic Party, 153–54
Mississippi Freedom Summer voter registration campaign of, xv–xvi, 133–36, 151
Motown bubble of noninvolvement, 100–101, 198
Motown’s Black Forum label, 102, 104
NAACP, 55, 80, 161, 162, 229
nonviolence of, 11, 105–6, 161
origin in World War II draft resistance, 10–11
protest and freedom songs of, 19, 102–3, 133, 171–72, 191
Clark, Petula, 178
Clay, Cassius (later Muhammad Ali), 54, 114–15, 130
Cleveland, Al, 201
Cleveland, James, 88
Cole, Nat King, 6, 24, 34–35, 61, 63
Color magazine, 60–61
Columbia Records, 13
Congress of Racial Equality (CORE), 11–12, 60, 120, 135, 136
Cooke, Sam, 48–49, 88, 115, 156, 180, 192
Cooley High, 227
Cosby, Bill, 174
Cousin Brucie. See Morrow, Bruce
Crosby, Bing, 47
crossover
big band music, 6
black musicians in white bands, 131–32, 219
black radio programming for whites, 37–38, 88–89
black versus white interpretation of lyrics, 194
as cultural bridge, 26, 235–36
decline of independent R&B studios, 28
integration concept of, 18, 25–26
in nonmusical fields, 27, 61
non-threatening black female singers, 89
non-threatening portrayal of blacks, 24, 25–26, 174–75
white embrace of “Dancing in the Street,” 147
as white rebellion, 15–16, 36
white singers and covers, 24, 26–27, 36–37, 129, 219, 221
Crystals, The, 47
“Dancing in the Street”
background vocals, xxi, 146
blame for provocation of Watts riots, 166
B side of, 147–48
call-and-response form, 3, 175
collaborative authorship of, xix–xx, 138–39
covers, 177–81, 203, 218–23, 223–27, 245–46
crossover appeal of, 147
dancing in the street phrase, 138–39
durability of, 233–37
hook of, 145–46
imitations of, 203–5
impact on young people, 148
lyrics of, xii–xiii
in movies, 227–31
musical references to, 204–5, 231–32
as party song, 182, 194–95
political interpretation of, 172, 182, 186–90, 192–93, 195, 196–97, 229–30
release of, 147
rise in charts of, 155–56
selection of Reeves to record, xx, 140–44
signature musical features of, 144–45, 148
social climate at time of release, xv–xvii
status and respectability of, 232–33
Dancin’ in the Street anthology, 233
Dash, Sarah, 195, 218
Davis, Billy, 69, 83
Davis, Sammy, Jr., 24, 33, 199
Dean, James, 14, 15
Decca Records, 6, 7, 16, 19
Dellinger, David, 11
Democratic Party, 113, 121, 153–54, 186, 206
Detroit
auto industry of, 52–53, 64–66, 119
black electoral power of, 113, 119
black migration to, 51–54
gangs and Eastside/Westside divide, xviii, 77–78
growth and prosperity of, 110–11
King civil rights rally, 103–4
lack of black record companies, 10, 62, 88
music education in schools, 87–88, 228
police force, 104, 119, 183–84
population decline and economic downturn of, 118–20, 210–11
racism in, 59, 60
radio stations of, 93
riots in, 60, 183–84, 210
street-corner singing groups of, 91
Diamond, Neil, 223
Diddley, Bo, 26, 29, 35, 81, 85, 221
Domino, Fats, 7, 22, 25, 26, 31, 36, 64
Dozier, Lamont, 71, 98, 128, 147, 216. See also Holland-Dozier-Holland
Du Bois, W. E. B., 55, 57, 101, 159, 162, 173, 229
Duncan, Helen, 123
Dylan, Bob, 86, 133, 176, 186, 192–93
Eaton, Cleveland, 203
Ed Sullivan Show, The, xvi, 29, 42–43, 122, 123, 124, 131, 133
Engel, Don, 215
Epstein, Brian, 175, 178
Everly Brothers, 24, 31–32, 37, 179–80
Faith, Adam, 132, 219
Farmer, James, 11, 102, 112, 120
Ferguson, Danny, 220
Ferlinghetti, Lawrence, 44, 45
Flame Show Bar, The, 67–68, 73, 124, 144
Ford, Henry, 52, 59
Francis, Connie, 37, 179
Franklin, C. L., 88, 104
Freed, Alan, 17, 22, 37–40, 81
Freedom Democratic Party, 153–54
Freedom Rides, 11, 100
Freedom Singers, 103, 133
Frye, Marquette, 167–68
Funk Brothers, 73–74, 144, 183, 213, 220
Fuqua, Harvey, 81, 82–83, 123, 216
Gabler, Milt, 19
Gaye, Marvin
aspirations for singing career of, 24, 80–81, 96–97
“Dancing in the Street” coauthorship of, xix–xx, 138–39
death of, 138
father of, 80, 138, 201
first R&B album of, 96
on Gordy’s success, 212
with Harvey and the Moonglows, 81
image and demeanor of, 125, 174
introduction to Gordy, 81–82
marriage to An
na Gordy, 83
Motown Revue tour, 99–100
on murder of Malcolm X, 163
musical and songwriting talent of, 96–97
political passion and agenda of, 80, 169–70, 173, 196–97, 200–202
Geldof, Bob, 223–24
George, Nelson, 26, 123
Gilbert, David, 193
Gillespie, Dizzy, 25, 63, 103, 120
Ginsberg, Allen, 14, 44–45
girl groups, 47–48, 67, 89
Glenn Miller Orchestra, 6
Goldwater, Barry, 39, 114, 121–22, 151, 155, 228
Goodman, Andrew, 136, 147, 151, 156
Goodman, Benny, 6, 67
Gordon, Jim, 220
Gordy, Anna, 67, 82–83, 84
Gordy, Berry, Jr. See also Motown
ambition and childhood heroes of, 61, 63
auto factory assembly-line work, 64–66, 86
birth, and childhood in Detroit, 58–60
as black power ideal, 162
boxing career of, 61–62
business strategy and crossover concept of, 62, 84–87, 88–89, 174–75
on “Dancing in the Street” recording, 147
as developer of raw talent, 68–70, 75–76
family prosperity and migration to Detroit, 54–57
introduction to Gaye, 81–82
jazz influence on, 63–64
learning experiences of, 64, 66, 202
marriages, affairs, and children of, 70, 83, 128, 216
political noninvolvement of, 85, 101, 162, 170, 171
political support and participation of, 102, 104, 198, 199
record store of, 63–64
songwriting of, 63, 66–70, 84
To Be Loved autobiography of, 64
wealth of, 212
Gordy, Berry, Sr. (“Pop”), 55–58, 59–61
Gordy, Esther, 61, 63, 82
Gordy, Gwen, 67, 69, 82, 83, 84, 123
Gordy, Loucye, 82, 83
Gorman, Frank, 147
gospel, 7–8, 10, 28, 48–49, 88
Gould, Jack, 43–44
Grateful Dead, 180, 223
Great Britain
ban on “Street Fighting Man,” 206
“Dancing in the Street” covers, 177–79, 180
Live Aid concert, 223–24
London antiwar demonstration, 204
Prince’s Trust charity, 225–26
rock ’n’ roll riots of, 20–21
start of rock ’n’ roll in, 47
Griffin, Junius, 197–98
Haley, Bill, 16, 18–20, 22, 35, 40
Hampton, Fred, 192
Hampton, Lionel, 5–6, 68, 78
Hawkins, Erskine, 5–6
Hayden, Marion, 73
Hayden, Tom, 164, 182
Hendrix, Jimi, 181
Hitsville U.S.A., 75–76, 77, 84, 87, 122, 236. See also Motown
Holiday, Billie, 19, 68
Holland, Brian, 71, 98, 216. See also Holland-Dozier-Holland
Holland, Eddie, 90, 98, 147, 216. See also Holland-Dozier-Holland
Holland-Dozier-Holland
contract dispute with Motown, 216
hits of, 98, 108, 129, 132
percussion technique of, 75
songwriting partnership of, 71, 98
Hoskyns, Barney, 226
Houser, George, 11
Hunter, Ivy Jo
backup singing on “Dancing in the Street,” 146
“Dancing in the Street” coauthorship of, xx–xxi, 138–39, 142, 214
denial of political message in “Dancing in the Street,” 196
Detroit home of, 53–54
on Gordy’s discovery of new talent, 76
job offer at Motown, 138
on polished appearance of artists, 125
recording of Reeves’s “Dancing in the Street,” xx, 142
resentment of Gordy’s favoritism, 128
Hurston, Zora Neale, 159–60
Impressions, 29, 172, 198
integration, 2, 25–26, 101, 131–32, 159–60. See also civil rights movement
Isley Brothers, The, 132, 219
ITMI (International Talent Management Inc.), 87, 214
Jackson, Mahalia, 10, 81, 103
Jagger, Mick, 131, 199, 204–6, 223–26, 228. See also Rolling Stones
Jailhouse Rock, 23
Jamerson, James, 71–73, 76, 94, 145, 220
Jaynetts, The, 192
jazz, 4, 13, 22–25, 63, 68–69
Jobete publishing company, 70, 87, 214, 217
Johnson, Bernice, 103
Johnson, Lady Bird, 111–12
Johnson, Lyndon
Civil Rights Bill, 112–13
at disappearance of civil rights workers, xvi, 136
election of, 120–21, 155
social agenda and Great Society initiative, 109, 149, 209
on Vietnam, xv, 117–18, 149
Warren Commission, 110
Johnson, Esther, 54
Johnson, Marv, 70–71
Jones, Floyd, 144
Jones, LeRoi. See Baraka, Amiri
Jordan, Louis, 5, 6, 19, 69
Jordan, Stephen, 143, 145, 146, 177
Kelly, Betty, xxi, 146. See also Martha and the Vandellas
Kendricks, Eddie, 95
Kennedy, John F.
anti-rock campaign of, 39
assassination of, 109–10
on civil rights issues, 106, 107
presidential agenda of, 112, 117
support of in South, 113
Kennedy, Robert, 110, 121, 136, 191, 200
Kenworthy, E. W., 105
Kerner Report, 188, 195, 209–10
Kerr, Clark, xvi
Khan, Chaka, 227
Killens, John Oliver, 116
King, Carole, 226
King, Martin Luther, Jr.
civil rights activism and Nobel Peace Prize of, 102
Congress on Racial Equality (CORE) membership of, 12
on crossover music, 235–36
Detroit address of, 103–4
gun ownership of, 161
language of race, 2
lawsuit against Motown, 104
March on Washington, 103, 104
nonviolent approach of, 105, 161
responses to murder of, 199, 218
Southern Christian Leadership Conference, 105
King, Maurice, xviii, 67, 124
Kingsmen, 190
Kingston Trio, 133
Kinks, The, 177
Kirk, Grayson, 1, 120
Ku Klux Klan, xv–xvi, 36, 134, 136
LaBelle, Patti, 195, 219
Labelle, 218–20
Landau, Jon
on “Dancing in the Street,” 148, 233–34
on interpretation of songs, 189
on Motown, 85, 126, 233–34
on Reeves’s voice, 143
on Springsteen’s “Racing in the Street,” 232
Latin music, 16
Lee, Brenda, 179
leisure time and leisure class, 111–12
Leningrad Cowboys, The, 226
Lewis, Jerry Lee, 41–42, 43, 68
Lewis, John, 106–7, 134
Lewis, Ramsey, 25, 203
Life magazine, 24, 111, 137
Liles, Raynoma Mayberry, 70
Liston, Sonny, 114
Little Richard, xvii, 25–26, 29, 41, 44, 130, 218
Live Aid concert, 223–24
Los Angeles, Watts riots, 164–69
Louis, Joe, 61
Mack, Clifford, 72
Magnificent Montague. See Montague, Nathaniel
Mailer, Norman, 36, 163–64
Malcolm X. See X, Malcolm
Mallet, David, 224–25
Mamas and the Papas, The, 180–81
mambo music, 16–17
March on Washington, 103, 104–5, 106–7, 109
Marlowe, Bill, 21–22
Martha and the Vandellas. See also Reeves, Martha
British tour of, 133
“Dancing in the Street” backup vocals, xxi, 146
formation and first hits of, 97–98
Motown Revue tour of, 99–100
non-threatening demeanor of, 175
royalty dispute with Motown, 217
Mathis, Johnny, 24
Mayfield, Curtis, 172, 198, 219
McDonald, Country Joe, 194, 195
McGuire, Barry, 176, 227
Meiklejohn, Alexander, 138–39, 156
Meredith, James, 115
Messerlian, Krikor, 184
Messina, Joe, 73–74, 213–14
Metheny, Pat, 148
Miller, Mitch, 33
Millinder, Lucky, 9
Mississippi Freedom Summer, xv–xvi, 133–36, 151
Montague, Nathaniel “Magnificent Montague,” 25, 49, 166–67, 175, 217–18
Monte, Eric, 227
Monterey Pop Festival, 180–81, 219
Morrow, Bruce “Cousin Brucie”
airing of “Dancing in the Street,” 147
on deejay payola, 39
on dull period in rock ’n’ roll, 47
on Gaye’s political agenda, 197
initial impression of “Dancing in the Street,” 194–95
on postwar technological changes, 14
on “race music” designation, 7
on radio programming decisions, 186
Motown. See also Gordy, Berry, Jr.
Anna record label, 84, 98
Artist Development department, 124–25
auto-industry concepts of, 86–87
backup singing style of, 126
Beatles and, 132–33
Black Forum label of, 102, 104
choreography and smooth-moving acts of, 123–24
competitiveness within, 127–28, 213–14
contract disputes and departure of artists, 126, 215–17
Detroit as unique opportunity for, 62
enduring qualities of songs, 233–34
exploitation of artists, 212–15
family structure and feel of, 82–83, 126, 211
Gaye’s role at, 80–82
girl groups, Motown divas, 89–90
glamorous and polished performers of, 122–25
hits of, xvii, 107–8, 156, 212
Hitsville U.S.A., 75–76, 77, 84, 87, 122, 236
hook feature of songs, 69, 145
influences of, 48
ITMI (International Talent Management Inc.), 87, 214
Jobete publishing company, 214, 217
Motown Revue touring company, 99–100
Ready For a Brand New Beat Page 26