Tag Archives: Diana Ross

A Hint Of Mint – Volume 73: LGBTQ Music From 1980 To 1981

In creating this LGBTQ series, I’ve purposefully stayed away from songs our community has adopted as anthems, such as “We Are Family” and “I Will Survive.” However, this time I’m including one such song, performed by Diana Ross and written by the same pair who wrote “We Are Family.” While the lyrics aren’t expressly gay, they knew what the chorus would mean to a core audience of Ms. Ross, thereby intentionally creating an anthem.

Elsewhere, we have a couple of bands from Georgia, a handful of artists from England, some mainstream acts and some obscure ones, all of whom fall somewhere under the LGBTQ umbrella or sing queer lyrical content.


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Throwback Thursday – 1976 (Part II)

In October of 1975, the band Queen played for their manager, John Reid, a song they recently finished recording that they wanted to release as their next single. Reid told them the track would not get any airplay. He played it for another artist he managed, Elton John, who reportedly said “Are you mad? You’ll never get that on the radio!”

Queen stayed firm, not relenting when their record company begged them to at least edit the song down from its nearly six-minute duration.

To promote the song, the band was invited to play on England’s hugely successful Top of the Pops television program. They were unable to appear due to tour commitments, so they did something that wasn’t very common in 1975 – they filmed a videoclip. Top of the Pops aired the clip. As the song rose up the charts, the video was shown repeatedly. Soon other artists in the UK made videos for their records, which is why when MTV launched in the United States in 1981, many of the clips they aired were of UK acts.

The single, “Bohemian Rhapsody,” went to #1 in England in December of that year, where it stayed for nine weeks. It got knocked from the top spot by a song whose title consisted of a phrase used in “Bohemian Rhapsody” – ABBA’s “Mamma Mia.” “Bohemian Rhapsody” hit #1 again there in December of 1991, a few weeks after the death of the band’s lead singer and the song’s composer, Freddie Mercury.

Winston & queen

In the United States, the song didn’t go to #1, but it did hit the top ten in 1976 and 1992.

For this week’s Throwback Thursday playlist, Tunes du Jour revisits 1976 (part I can be found here), kicking off with the Queen classic “Bohemian Rhapsody.”


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Throwback Thursday – 1980

Winston + Blondie
In 1979, Giorgio Moroder, famous mostly for his production work on Donna Summer records, composed the score for the film American Gigolo. He asked Stevie Nicks to sing the movie’s theme song, for which Moroder wrote the music, but she had to decline for contractual reasons. He next turned to Deborah Harry of Blondie.

Harry write the lyrics to the song that became “Call Me,” the second #1 single for her band. Of her experience with Moroder, she told Billboard “He’s very nice to work with, very easy, (but) I don’t think he has a lot of patience with people who fool around or don’t take what they do seriously. I think he’s very serious about what he does and he’s intense and he’s a perfectionist and he’s very talented, so I think that people who are less talented or less concentrated bore him quickly…you really have to pay attention.”

Said Moroder of working with Blondie, “There were always fights. I was supposed to do an album with them after that. We went to the studio, and the guitarist was fighting with the keyboard player. I called their manager and quit.”

Moroder did end up working with Deborah Harry again years later on another soundtrack song, producing “Rush Rush” from Scarface, and in 2004 remixed Blondie’s single “Good Boys.”

Tunes du Jour’s Throwback Thursday playlist this week spotlights the best of 1980, kicking off with Blondie’s “Call Me.”


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It’s African American Music Appreciation Month And I Need To Dance!

On May 31, President Obama issued a proclamation declaring June 2016 as African American Music Appreciation Month. The designation has actually been around since 1979, when President Carter commemorated the cultural and financial contributions of music made by African Americans at a reception at the White House. Back then it was Black Music Month, an idea conceived by music industry executive and radio personality Dyana Williams and her husband, Kenny Gamble.

You may not know Gamble’s name, but you know his music. The co-founder of Philadelphia International Records with Leon Huff, Gamble and his music partner have written and produced hits for Diana Ross & the Supremes and the Temptations, Dusty Springfield, the Jacksons, the O’Jays, Harold Melvin & the Blue Notes, Jerry Butler, Archie Bell and the Drells, the Three Degrees, Joe Simon, MFSB, Billy Paul, the Soul Survivors, Teddy Pendergrass, the Intruders, Lou Rawls, People’s Choice and the Jones Girls.

Tunes du Jour’s weekly dance party celebrates African American Music Appreciation Month with twenty dance floor packers, kicking off with a few of Gamble and Huff’s gems.


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It’s LGBT Pride Month And I Need To Dance!

Because there are millions of people who tell us we shouldn’t be who we are because it doesn’t conform to who they think we should be;

Because this “government of the people, by the people and for the people” often isn’t for all the people;

Because “All men are created equal” doesn’t include those in the LGBT populations per many politicians and their constituents;

Because our Pride parades are attended not only by LGBT peoples are their allies, but by “counter protestors” who shout hateful rhetoric through megaphones in the name of religion, as these self-proclaimed Christians have no place better to be on a Sunday morning;

Because LGBT youth represent 7% of the youth population, while LGBT homeless youth make up 40% of the homeless youth population;

Because LGB and questioning youth are four times more likely to attempt suicide than non-LGB youth;

Because queer youth need to see there are many people like them;

Because if we don’t celebrate who we are, then we tacitly say we are not worthy of celebration and things are fine as they are, neither of which is true;

Because there is strength in numbers;

Because in many parts of the world one is killed for the suspicion of being gay or lesbian;

Because in many parts of the world it is illegal and/or dangerous to show your LGBT pride;

Because nobody should live in fear of expressing their authentic self, including the asshats who attempt to intimidate us from doing so;

Because it is empowering to be able to express one’s sexuality or gender identity in a supportive environment;

Because coming together brings about positive change;

Because while marrying someone of the opposite gender has been legal throughout US history, the right to marry someone of the same gender is coming on just one year;

Because we still have a ways to get to before we reach true equality, and we’ve come too far to stop now;

Because it’s fun!;

Because diversity should be celebrated;

Because pride is respect for yourself and you deserve respect;

Because men in Speedos;

Because despite all of the bull feces, we persevere. That is why

We still need LGBT Pride Month celebrations.

Here is your expanded soundtrack:


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It’s Friday And I Need To Dance!

“If disco had stuck around, we don’t how much less terrorism we might have in the world now.”
– Gloria Gaynor

Recently, Bono, the singer with U2, made headlines when he suggested that to fight ISIS we send comedians to entertain them, which is his stupidest idea since foisting U2’s most recent album on unsuspecting people by automatically including it in their iTunes libraries. Talk about a sneak attack!

To her credit, Gloria Gaynor didn’t go as far as suggesting we deploy KC & the Sunshine Band to the Middle East. She merely wondered aloud if more disco equals less terrorism.

She may be onto something. Case in point – I listen to a lot of disco, and I’ve never killed anyone.

Do you need more evidence? I’ve gone to many a classic disco night, and I’ve yet to witness a single beheading.

People have claimed that playing heavy metal albums backwards reveals satanic messages. You know what happens when you play a Village People album backwards? It sounds exactly the same!

To do my part in fighting terrorism, I present to you some of my favorite disco tunes of all time, with “all time” meaning the years 1975 thru 1979. To show how serious I am in this fight against evil, today’s playlist includes twenty-five songs instead of the usual twenty. You’re welcome.


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Throwback Thursday – 1983

Winston + MJ
MTV debuted on August 1, 1981. Back then it was a music video network. It positioned itself as a rock station. Most of the videos shown were of songs made by Caucasian performers, though rock-leaning black acts such as Joan Armatrading and the Bus Boys got some play.

Then came “Billie Jean.” The second single from Michael Jackson’s Thriller, “Billie Jean” was accompanied by a stylish video featuring a mesmerizing performance from Jackson. However, it wasn’t a rock song. It didn’t fit the format of rock radio stations, and it didn’t fit the format of MTV either.

But there is a big difference between radio and music television. There were plenty of radio stations and many different formats. You may not hear “Billie Jean” on the rock stations, but you could hear it on r&b stations and pop stations and dance-leaning stations. However, there was only one music television – MTV.

In his autobiography, Howling at the Moon, Walter Yetnikoff, head of CBS Records, for whom Jackson recorded (and where I worked in my first music business job), wrote “I screamed bloody murder when MTV refused to air [Jackson’s] videos. They argued that their format, white rock, excluded Michael’s music. I argued they were racist assholes – and I’d trumpet it to the world if they didn’t relent. I’ve never been more forceful or obnoxious. I’ve also never been as effective, threatening to pull all our videos. With added pressure from [Thriller producer] Quincy Jones, they caved in, and in doing so the MTV color line came crashing down.”

Jackson’s video for “Billie Jean” aired on MTV, followed just weeks later by his video for “Beat It,” a song whose guitar solo from Eddie Van Halen helped make it a hit on rock radio. These two videos made Jackson, already a superstar, a worldwide phenomenon with a humongous fan base that transcended race, age and location in a way never seen before. These two videos made MTV, a year and a half old and fairly popular in white suburban areas, a cultural institution. These two videos made the music video, then not something done for many singles, particularly those performed by artists of color, an art form and a necessary marketing tool.

Some people tuned in to MTV to see the Michael Jackson videos, and while watching the channel, discovered other acts. Some people tuned in to MTV to watch “white rock” videos, and while watching the channel, discovered Michael Jackson.

MTV went to showcase more “non-rock” videos. In 1988, they launched their hugely popular program Yo! MTV Raps, something that would have been completely unexpected just five years earlier, pre-“Billie Jean.”

While MTV deserves credit for making “Billie Jean” and Thriller successful, the person most responsible is Jackson himself. He wrote the song. He sang the song. He danced the song. Quincy Jones did not want “Billie Jean” to appear on Thriller. He didn’t like the title. He didn’t like the bassline. He felt the song’s introduction was too long. Jackson argued “But that’s the jelly!…That’s what makes me want to dance.” Jones wasn’t ready for this jelly, but Jackson stood his ground.

In May of 1983, NBC aired a tribute to Motown Records. Motown: Yesterday, Today, Forever featuring many legends who recorded for the storied label performing their classics. We saw Diana Ross, the Temptations, Marvin Gaye, Smokey Robinson and the Miracles, Stevie Wonder, the Four Tops, Martha Reeves, Lionel Richie and the Commodores, Mary Wells, Junior Walker and then some. It was a terrific show, but the talk of the town following its airing was the performance of a song not from the Motown catalogue – Michael Jackson’s “Billie Jean.” The iconic performance, during which Jackson brought the famous moonwalk to the world at large, pushed him that much more ahead of any other performer working in music back then.

Following “Beat It,” CBS Records released four more singles from Thriller. All seven of the singles released (the album had only nine songs!) went top ten, breaking the record of most top ten hits from a single-artist album that was set a few years earlier by…Michael Jackson, whose Off the Wall gave us four. Before Thriller, four singles for one album was considered a lot. Thriller raised the bar for blockbuster albums, and subsequent releases such as Bruce Springsteen’s Born in the U.S.A., Prince’s Purple Rain, Def Leppard’s Hysteria and Janet Jackson’s Control each produced more than four hits.

“Billie Jean” changed everything.

On this week’s Throwback Thursday playlist, Tunes du Jour spotlights 1983, kicking off with Michael Jackson’s classic “Billie Jean.”


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It’s Earth Day And I Need To Dance!

“I remember writing ‘Earth Song’ when I was in Austria, in a hotel. And I was feeling so much pain and so much suffering of the plight of the Planet Earth. And for me, this is Earth’s Song, because I think nature is trying so hard to compensate for man’s mismanagement of the Earth. And with the ecological unbalance going on, and a lot of the problems in the environment, I think earth feels the pain, and she has wounds, and it’s about some of the joys of the planet as well. But this is my chance to pretty much let people hear the voice of the planet. And this is ‘Earth Song.’ And that’s what inspired it. And it just suddenly dropped into my lap when I was on tour in Austria.”
– Michael Jackson

Ringo + MJ
Today is Earth Day. Our weekly dance party kicks off with Michael Jackson’s “Earth Song,” which spent six weeks at #1 in the UK beginning in December 1995, but didn’t chart on the US Hot 100.


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Throwback Thursday – 1982

As a songwriter, Gloria Jones charted with Gladys Knight & the Pips’ “If I Were Your Woman,” the Four Tops’ “Just Seven Numbers (Can Straighten Out My Life),” and Marvin Gaye and Diana Ross’ “My Mistake (Was to Love You).” As a producer, Gloria Jones hit the top ten on the disco chart with Gonzalez’s “Haven’t Stopped Dancing Yet.” But as a lead singer, Jones failed to make the pop, r&b or dance charts.

In 1973, while on a trip to the United States, British DJ Richard Searling purchased a copy of a Gloria Jones single from 1965. The A-side was a song called “My Bad Boy’s Comin’ Home,” but it was the B-side that really got Searling’s attention.

Northern soul music (uptempo American soul music in a sixties Motown vein yet without commercial success) had a large cult following in the northern England at that time, and Searling played the Gloria Jones b-side during his sets.

Northern soul fan David Ball loved the song. When he and his musical partner, Mark Almond, who together comprised the duo Soft Cell, were looking for a song to cover, they went with the Jones song, thinking it would be interesting for a synth band to cover a soul tune. Their record label asked them to add guitar, bass and drums to the track, but the duo refused. Despite this, the label put out the singer. Almond told Rolling Stone magazine “We thought if we were really lucky, we’d scrape into the top 75 in Britain. We didn’t think anything would happen over here [in the US].”

Soft Cell’s recording of “Tainted Love” became a smash worldwide. In the US, it spent 43 weeks on Billboard’s Hot 100, a record at that time. Said Gloria Jones of the Soft Cell recording “Their version was far better than mine.”

Winston + Soft Cell
This week, Tunes du Jour celebrates Throwback Thursday with twenty great tunes from 1982, kicking off with Soft Cell’s version of “Tainted Love,” but first, check out Gloria Jones’ original:



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It’s Friday And I Need To Dance!

Jada Pinkett Smith announced that she is boycotting the Academy Awards this year due to the lack of diversity among the acting nominees. I’m sure that will put a huge dent in the show‘s ratings, as the 40 million people who tend to tune in to the telecast do so to see Jada Pinkett Smith. Following in Pinkett Smith’s footsteps, Spike Lee and Pinkett Smith’s husband Will Smith announced that they were joining in the boycott.

The issue is that out of twenty nominated actors and actresses, twenty are Caucasian. At first glance that doesn’t appear to be very diverse. At second glance, it’s still not diverse, but a boycott is not going to bring about the change that is needed.

Granted, the conversation about the lack of diversity among the nominees needs to be had. The Motion Picture Academy needs to step up its efforts to expand its membership beyond white men, who at this time overwhelmingly make up its ranks.

However, the Academy Award nominations are the result of the actual problem, which is the lack of diversity involved in the movies being made by Hollywood. Movie studios and production companies need to be engaged in the diversity conversation. They’re the ones making the majority of films from which the Academy chooses the nominations. While Caucasian men make up the majority of ticket buyers, serving other demographics adds to a studio’s bottom line. Remember how shocked everyone was when the Sex & the City movie proved a box office bonanza? It’s a movie with female leads that sold tickets primarily to women moviegoers and grossed over $400 million, and it isn’t even good!

Women like to see their lives on the screen. So do African Americans. And Latinos. And people of Asian descent. And gay people. And trans people. And older people. And so on and so on.

Seeing one’s life on the screen means more than merely seeing people of one’s race or ethnicity or gender or sexual orientation on screen. As the conversation surrounding this year’s nominees focuses on race, let’s look at some recent black nominees.

During the past decade, Chiwetel Ejiofor and Lupita Nyong’o were nominated for portraying slaves. Denzel Washington was nominated for his role as an alcoholic drug-abusing pilot. Octavia Spencer and Viola Davis were nominated for playing maids. (Spencer won, but Davis lost to Meryl Streep’s portrayal of Margaret Thatcher. Yes, the Iron Lady won over the lady who irons.) Mo’Nique won for her portrayal of an abusive mother. Forest Whitaker won for playing a corrupt, human rights-abusing dictator. Barkhad Abdi was nominated for playing a pirate. Ruby Dee was nominated for playing the mother of a drug kingpin.

Also nominated was Gabourey Sidibe for her portrayal of an African-American teenager who is repeatedly raped by her father and abused by her mother and others. That performance lost to Sandra Bullock’s portrayal of a nice, white lady who takes in a troubled African American teen.

Other characters portrayed by recently nominated white folks include Colin Firth as a king with a speech impediment, Eddie Redmayne as a brilliant scientist, Benedict Cumberbatch as a brilliant computer scientist, Leonardo DiCaprio as a stockbroker, Patricia Arquette as a loving mother, Sandra Bullock as an astronaut, Daniel Day-Lewis as the U.S. president who freed the black slaves, Robert Downey Jr. as a white actor portraying a black man, and Christoph Waltz as a bounty hunter who emancipates and mentors a black slave. I’m not going to go through every white nominee; we’ll be here all day!

From the examples given, eagle-eyed observers may notice the types of parts for which black actors and white actors get nominated for Academy Awards. Lee and the Smiths are not wrong in saying there is a problem here that needs to be fixed.

Joining the boycott are Curtis Jackson, star of such not-Oscar nominated films as Get Rich or Die Tryin’, Home of the Brave and Righteous Kill. Under his nom de rap 50 Cent, Jackson posted on Instagram a plea for Chris Rock to step down as the award show’s host. The same request came from Tyrese Gibson, star of such not-Oscar nominated films as The Fast & the Furious, 2 Fast 2 Furious, The Fast & the Furious: Tokyo Drift, Fast & Furious, Fast Five, Fast & Furious 6, and Furious 7.

Calvin Broadus, under his nom de rap Snoop Dogg, posted a video on Instagram that said “Fornicate the Academy Awards,” though not in those exact words. Broadus was not nominated for his role in The Wash, in which he stretched his acting chops by portraying Dr. Dre’s weed-smoking best friend. That film has an 8% on Rotten Tomatoes.

Until a few minutes ago I thought The Wash was a remake of the seventies movie Car Wash, which has an 86% rating on Rotten Tomatoes. Per Wikipedia, The Wash is an original movie written and directed by Mark Jordan under his nom de rap, DJ Pooh.

While the soundtrack of The Wash didn’t produce any Billboard Hot 100 hits, the soundtrack to Car Wash did. It was on January 29, 1977, that its theme song hit #1, an incredible feat given it’s a song about a car wash. Amazingly, the song holds up to this day.

Friday is dance day at Tunes du Jour. Our playlist kicks off with Rose Royce’s “Car Wash.”


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