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The style created by the Motown musicians was a major influence on several non-Motown artists of the mid-1960s, such as Dusty Springfield and the Foundations. In the United Kingdom, the Motown sound became the basis of the northern soul movement. Smokey Robinson said the Motown sound had little to do with Detroit:
Motown AZ: 21st century Motown B.G.O.T.I. 1980s/1990s BGOTI Babyface: 21st century Motown Erykah Badu: 1980s/1990s Motown Bankroll Freddie: 21st century Motown J. J. Barnes: 1960s Ric-Tic Records Drake Bell: 21st century Motown Yummy Bingham: 21st century Motown Will Biondo: 21st century Motown Black Coffey 21st century Motown Blinky: 1960s ...
In June 2018 the National Portrait Gallery in London opened an exhibition titled Michael Jackson: On the Wall, featuring art inspired by Jackson and created by many leading artists. The curators stated that Jackson was "the most depicted cultural figure in visual art". [100]
Forty years ago, Michael Jackson took the stage and made an indelible impact on pop culture with his solo performance on Motown 25: Yesterday, Today, Forever, a televised celebration of the famous ...
Rodger L. Penzabene (1945 – December 31, 1967) was an American songwriter for the Motown label. Among his most notable compositions as a lyricist are "Take Me in Your Arms and Love Me" by Gladys Knight & the Pips; "The End of Our Road" by Gladys Knight & the Pips and Marvin Gaye; and a trilogy of hits for The Temptations: "You're My Everything", "I Wish It Would Rain", and "I Could Never ...
Debbie Dean recorded as Penny Smith and Debbie Stevens at various labels before arriving at Motown in the early 1960s, and was Motown's first white female solo recording artist, signed by Berry Gordy. [2] Unlike most of the early Motown recording artists, Dean preferred rock and roll to R&B and blues.
Brian Holland (born February 15, 1941) is an American songwriter and record producer, best known as a member of Holland–Dozier–Holland, the songwriting and production team that was responsible for much of the Motown sound, and numerous hit records by artists such as Martha and the Vandellas, The Supremes, The Four Tops, and The Isley Brothers. [1]
When Motown expanded into new offices in 1966, she was hired to work in the company's department of artist personal development, teaching artists such as Smokey Robinson and the Miracles, Marvin Gaye, the Jackson 5 and the Supremes, whose Mary Wilson stated Powell taught them more than stage presence, but "tools for us as human beings". In ...