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  1. Fulwell 73 - Wikipedia › Hitsville:_The_Making_of_Motown

    Fulwell 73 is a television, film and music production company based in London. It was founded in 2005 by brothers Gabe and Ben Turner, Leo Pearlman, and Ben Winston . [2] Fulwell 73 operates across a wide range of genres and across all media platforms; theatrical, broadcast and digital.

    • 2005; 16 years ago
    • Motion pictures and television production
  2. Motown - Wikipedia › wiki › Hitsville_West
    • History
    • Motown Sound
    • Artist Development
    • Motown Subsidiary Labels
    • British (Pre-Tamla Motown) Labels
    • See Also
    • References
    • Further Reading
    • External Links

    Beginnings of Motown

    Berry Gordy's interest in the record business began when he opened a record store called the 3D Record Mart, a shop where he hoped to "educate customers about the beauty of jazz", in Detroit, Michigan. (The Gordys were an entrepreneurial family.) Although the shop did not last very long, Gordy's interest in the music business did not fade. He frequented Detroit's downtown nightclubs, and in the Flame Show Bar he met bar manager Al Green (not the famed singer), who owned a music publishing com...

    West Grand Boulevard

    Also in 1959, Gordy purchased the property that would become Motown's Hitsville The photography studio located in the back of the property was modified into a small recording studio, and the Gordys moved into the second-floor living quarters. Within seven years, Motown would occupy seven additional neighboring houses: 1. Hitsville U.S.A., 1959 – (ground floor) administrative office, tape library, control room, Studio A; (upper floor) Gordy living quarters (1959–62), artists and...

    Detroit: 1959–1972

    Early Tamla/Motown artists included Mable John, Eddie Holland and Mary Wells. "Shop Around", the Miracles' first number 1 R&B hit, peaked at number two on the Billboard Hot 100 in 1960. It was Tamla's first million-selling record. On April 14, 1960, Motown and Tamla Records merged into a new company called Motown Record Corporation. A year later, the Marvelettes scored Tamla's first US number-one pop hit, "Please Mr. Postman". By the mid-1960s, the company, with the help of songwriters and pr...

    Motown specialized in a type of soul music it referred to with the trademark "The Motown Sound". Crafted with an ear towards pop appeal, the Motown Sound typically used tambourines to accent the back beat, prominent and often melodic electric bass-guitar lines, distinctive melodic and chord structures, and a call-and-response singing style that originated in gospel music. In 1971, Jon Landau wrote in Rolling Stone that the sound consisted of songs with simple structures but sophisticated melodies, along with a four-beat drum pattern, regular use of horns and strings, and "a trebly style of mixing that relied heavily on electronic limiting and equalizing (boosting the high range frequencies) to give the overall product a distinctive sound, particularly effective for broadcast over AM radio". Pop production techniques such as the use of orchestral string sections, charted horn sections, and carefully arranged background vocals were also used. Complex arrangements and elaborate, melism...

    Artist development was a major part of Motown's operations instituted by Berry Gordy. The acts on the Motown label were fastidiously groomed, dressed and choreographed for live performances. Motown artists were advised that their breakthrough into the white popular music market made them ambassadors for other African-American artists seeking broad market acceptance, and that they should think, act, walk and talk like royalty, so as to alter the less-than-dignified image commonly held of black musicians by white Americans in that era. Given that many of the talented young artists had been raised in housing projects and lacked the necessary social and dress experience, this Motown department was not only necessary, it created an elegant style of presentation long associated with the label. The artist development department specialized primarily in working with younger, less-experienced acts; experienced performers such as Jr. Walker and Marvin Gayewere exempt from artist-development c...

    In order to avoid accusations of payolashould DJs play too many records from the original Tamla label, Gordy formed Motown Records as a second label in 1960. The two labels featured the same writers, producers and artists. Many more subsidiary labels were established later under the umbrella of the Motown parent company, including Gordy Records, Soul Records and VIP Records; in reality the Motown Record Corporation controlled all of these labels. Most of the distinctions between Motown labels were largely arbitrary, with the same writers, producers and musicians working on all the major subsidiaries, and artists were often shuffled between labels for internal marketing reasons. All of these records are usually considered to be "Motown" records, regardless of whether they actually appeared on the Motown Records label itself.

    Print sources

    1. Flory, Andrew (2017). I Hear a Symphony: Motown and Crossover R&B. University of Michigan Press. ISBN 978-0-472-12287-5.

    Jon Fitzgerald (January 1995). "Motown Crossover Hits 1963–1966 and the Creative Process". Popular Music. Cambridge University Press. 14 (1): 1–11. doi:10.1017/s0261143000007601. JSTOR 853340.
    Nelson George (2007) [first published 1985]. Where Did Our Love Go?: The Rise & Fall of the Motown Sound. University of Illinois Press. ISBN 9780252074981.
    Andrew Flory (2017). I Hear a Symphony: Motown and Crossover R&B. University of Michigan Press. ISBN 9780472036868.
  3. Motown – Part 2 – Hitsville USA – Music Enthusiast – At the ... › motown-part-2-hitsville-usa

    Apr 10, 2017 · In fact, in its special “100 Greatest Bass Players” issue in 2017, Bass Player Magazine named Motown bassist James Jamerson the number one “Greatest Bass Player.” One of the first significant signings to the label was the band The Matadors, who changed their name to the Miracles and became Motown’s first supergroup.

  4. Motown (final) – Can I Get a Witness? – Music Enthusiast – At ... › 2017/04/12 › motown-final-can

    Apr 12, 2017 · The choreography that you saw in the Tempts and Supremes videos was, of course, no accident. Hitsville wasn't there just to record songs. According to The Story of Motown, Berry Gordy set up a rigorous training program for his fledgling stars.

  5. People also ask

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  6. Butterboy: MUSIC MOVIE DOCUMENTARY #10 Hitsville, The Making ... › 2021 › 04

    Apr 16, 2021 · Hitsville, The Making of Motown MP4 "Hitsville U.S.A." is the nickname given to Motown's first headquarters and recording studio. The house (formerly a photographers' studio) is located at 2648 West Grand Boulevard in Detroit, Michigan, near the New Center area. The house was purchased by Motown founder Berry Gordy in 1959.

    • Butterboy
  7. Step (film) - Wikipedia › wiki › STEP_(film)

    Step (sometimes stylized STEP) is a 2017 American documentary film directed by Amanda Lipitz, focusing on a girls' Baltimore high school dance team. It won the U.S. Documentary Special Jury Award for Inspirational Filmmaking at the 2017 Sundance Film Festival and the Audience Award for Best Feature at the 2017 AFI Docs Festival.

  8. The Hitsville movie | › 2019/09/24 › the-hitsville-movie

    Sep 24, 2019 · The clip was included in Hitsville: The Making of Motown, which received its European premiere only a few hours after Berry Gordy Jr, the company’s founder and president, announced his retirement a couple of months before his 90th birthday.

  9. 29 Black Music Documentaries for Black History Month 2020 ... › 29-days-29-black-music

    Feb 29, 2020 · 29 Black Music Documentaries for Black History Month 2020. ... who played The Joker in 2017’s Suicide Squad, ... Watch Hitsville: The Making of Motown on Showtime. 29. Wu-Tang Clan: Of Mics and ...

  10. Ian Arber - Wikipedia › wiki › Ian_Arber

    Ian Arber is a British composer for film and television. He is based in London, England. In 2019, he composed the music for BBC One's thriller series The Capture alongside Blur's Dave Rowntree. The Capture was the most-watched new BBC series of 2019 with over 20 million streams.

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