Sharing a clip I took of Teena Marie in concert @ B. B. Kings in 2008.
Have you noticed that despite access to literally millions of songs being made available through internet streaming services, you still don’t have all your classics? Why are they so hard to find? Just airing out some thoughts to you guys.
I actually had to split this video because I felt it was too long. I may post the other portion as an article later on. Since technically, people are still shopping for the holidays until about Jan 1st. I thought that this would be a perfect opportunity to give my personal tips on shopping online safely.
This is really my response to an article I’ve read recently, were a NYC “psychic” conned this women out of a large sum of money, to bring her luck and fortune. Got to love those old beliefs. They can get you in this kind of trouble every time. If you would like to read the article I’m referring to, please click here.
Despite the fact I expressed my dislike for Mantan Moreland as an actor; the acting in which he was typecast-ed for seemed to have worked out very well for this particular movie. Because truth of the matter is, if the directors/writers kept the movie the way it was WITHOUT Mr. Moreland, the movie would not have kept me interested, or been nearly as enjoyable in my opinion. This movie is in the public domain, you can pick it up here.
Please Note: It appears that there is no DVD for this movie. The only way to view this movie, is via Netflix.com
I highly recommend this movie. Moments of intense drama and suspense.
Hi guys, since I’ve made so many significant changes to my blog, I thought it would be a good idea to re-do the intro for youtube. I’m going to delete the last intro. Enjoy.
Gamera is in the Public Domain. Please click here to download free from Archive.org
Initially, I wasn’t going to do a video on streaming services, ’cause I’ve already touched a little bit on them in my earlier blog posts. However, the way technology is going, I feel that the “vintage” community needs to talk about this more. Yes, I understand the whole nostalgic feeling of buying an actual album in the stores, etc., etc., but these experiences are slowly fading away. They’re not gone, just moving in to the digital world (we’re the belong, archived and preserved). As physical resources for vintage nostalgia seems to dwindle before our eyes at a rapid pace, they’ve thankfully found a new home in the cyber-sphere. Where do you buy your classic music? Are you utilizing all of the various digital services that now have a growing library of vintage films and movies? Which one of these services are the best? I go over just a couple of today’s popular music services, and discuss why I have chosen Rhapsody to be my primary music service.
© 2013 Yogi / Vintagenewscast.com
Hey guys, been a long time since I’ve made a video. This weekend, I am paying tribute to Booker T. Washington.[correction: I was tired when I made the video; it’s Hampton Institute, not Hamston..LOL
The Terrorist (1974) Sean Connery. Tonight’s vintage commercial is Crest toothpaste.
Tonight, VintageNewscast honors Jimmy Cliff.
Hey guys, I’m back with more classic commentaries that includes “The New Zoo Revue” and “Captain America”. This video also includes my new segment “Paying Tribute”. The “Paying Tribute” honors an exceptional media personality, be it performer, actor, poet, politician, activist, etc for their past achievements and contributions made (dead or living); and to also introduce my young blog members a new piece of history, and or a new genre. Tonight’s celebrity focus is on Flip Wilson. Classic commercial of the week is from Mazola.
Hey guys, back with another review on two movies. A action movie called “The HIt” (1973)” staring Billy Dee Williams and Richard Pryor. Also a gangster movie called “Highway 301 (1950)” staring Gaby Andre and Steve Cochran. Enjoy.
This is my first movie review for VintageNewscast.com, hope you guys enjoy watching it. The first 2 movies i’ve reviewed are “The Earth Dies Screaming (1964)”, and “Fighting Stallions (1950)”.
In 1925, four students at Booker T. Washington High in Norfolk, Virginia – Henry Owens, Clyde Riddick, Willie “Bill” Johnson, Orlandus Wilson – founded the Gates. It is of interest to know that another group called the Golden Gate Quartet was organized in Baltimore, Maryland, in 1892. In this podcast, I would like to share a negro-spiritual called “Anyhow” by The Golden Jubilee Quartet, song in 1943. Now in the public domain. Please click download to listen to song. Or subscribe to my podcast.
By Katherine Cole
© 2009 VOA
Mary Travers, the glamorous blond who sang into the middle microphone with folk trio Peter, Paul and Mary, died September 16 at 72 after a long battle with leukemia. Born in 1936, Mary Travers was two years old when her parents moved the family from Kentucky to Greenwich Village in New York City. By the time she was a teenager, Mary was a full-fledged member of the 1950s Village folk scene, though, at the time, she said music was just a hobby, and she had no plans to sing professionally.
That changed in 1961, when Mary met Bob Dylan’s manager, Albert Grossman. Grossman had decided to put together a folk supergroup to rival the chart-topping Kingston Trio. He introduced Travers to Peter Yarrow and Paul Stookey. The story of how the group was formed caused many fellow folk singers to brand Peter, Paul and Mary as “too commercial,” and not “authentic”, but Mary Travers always defended the group’s sound and founding, saying they made the music accessible to everyone. There is no dispute that the trio made folk music popular. Their first album, “Peter, Paul and Mary,” reached Number One shortly after its March 1962 release, and remained at the top of the charts for seven weeks. The album contained two hit singles: “If I Had A Hammer”; and “Lemon Tree.”
“Peter, Paul and Mary everyone loved,” said singer-songwriter Gretchen Peters. “And it’s not that it was ‘watered down’ at all. That’s not why it worked. I’m not exactly sure why it worked, except that Mary’s voice was just a thing of beauty. It was a classically-beautiful voice.” Peters took up the guitar at age 7, and Peter, Paul and Mary songs were the first she learned to play. But it wasn’t just Mary Traver’s voice that attracted Gretchen. The harmony singing was equally important.
“That was a great education, just picking apart who sang what on the albums,” she said. “Because sometimes she actually sang lower than one of the guys, she would sometimes sing lower than Peter. And you’d have to kind of weed out who’s singing what in the harmonies. It was not simple, simple stuff, but it was beautiful.” While the group’s music proved commercially successful, the group did not play it safe when it came to politics. Like Peter Yarrow and Paul Stookey, Mary Travers was quite outspoken in her support of civil rights and the anti-Vietnam war movement. Peter, Paul and Mary performed at the historic 1963 March on Washington, and also took part in the 1965 voting rights marches from Selma to Montgomery, Alabama.
After the group disbanded in 1970, Mary Travers continued to perform at political events around the world. The trio reunited in 1978, intending to perform just one show at a benefit to oppose nuclear power. It was such a success that they continued to perform as a trio until Mary Travers retired in May of this year. It’s no exaggeration to say that Mary Travers and the trio of Peter, Paul and Mary took folk music from the coffeehouse to the mainstream, and helped spread a message of peace and harmony around the world. Their recordings also proved that folk music could be commercially successful. Peter, Paul and Mary’s music won five Grammy Awards and scored six Top Ten hits, eight gold and five platinum albums. They also introduced millions to the music of Bob Dylan, and turned “Blowin’ In The Wind” into an anthem of the 1960s’ protest movement.
VintageNewscast.com has received permission by the author to republish this article.
By Adam Phillips
© 2009 VOA
There were a great many great musical performers at the historic three day Woodstock Music and Arts Festival, whose 40th anniversary is being celebrated this August 14-16. But few are as etched into the public mind as singer-songwriter Richie Havens, whose rendition of “Freedom/Motherless Child” and others songs were featured in the Oscar-winning documentary about the legendary festival.
Richie Havens played his now-iconic medley end of the opening act before a crowd of between 300,000 and 500,000 music fans, hippies, counterculture activists and drug-soaked pleasure seekers. Havens was later followed onstage by superstars like Jimi Hendrix, the Who, Ravi Shankar, Santana, Crosby, Stills, Nash and Young and Janis Joplin. That might also help explain why Havens’ long African-style tunic was soaked with sweat during his performance.
Havens recently told this reporter that he had already been onstage for nearly three hours when he played that song, which suddenly sprang to mind from his doo wop and gospel days back in Brooklyn. “To tell you the truth, I had sung … all the songs I knew, and I am going ‘What am I going to do now,’” he said. At the same time, Havens was deeply moved by the camaraderie and free-spiritedness and of the Woodstock audience.
“And in my mind I’m going ‘you know, this is the freedom that my generation is looking for,” he said. Havens was onstage for as long as he was because Woodstock producers were waiting for the other performers to arrive. The roads to the festival site were choked with cars backed up for over 100 kilometers in all directions. So Havens and the others had to be flown in by helicopter. Havens remembers hovering high above that city of youth massed in what days before had been a peaceful cow pasture, and being awed by the size and the power of the gathering.
“And when I looked down and I saw all those colors, I said to myself ‘If the newspapers get hold of this shot, we’ve won,’” he said. Woodstock was billed as entertainment, not politics. But as it swelled, the watching world was aware that the vision of peace, music and community it represented was a gentle protest against the previous generation’s way of life.
But music and rebellion were nothing new, says Havens. “We were protesting in the 1950s!” he said with s smile, and began to sing – in a perfect “doo wop” falsetto “No, no no! I’m not a juvenile delinquent!’” Those lyrics, to his ear, expressed the spirit of youthful protest too. “It was about being something our parents don’t understand you are. It’s [asserting] the freedom to have a voice!”
With escalating racial tensions and increasing public anger over the Vietnam War, the Sixties was a time filled with strident voices. But Havens says that for those three muddy days at Woodstock, politics and activism took a back seat to peace, love and cheerfully dealing with the rain and mud. “Many of the fans that I came in contact with, they were so mellowed out, you could feel there was real joy,” said Havens, who added that he was hugged “thousands and thousands” of times over the course of the event.
As August 1969 fades farther into the past, the Woodstock Festival continues to enjoy a near-mythic status, both for those who were there and for the millions who wish they’d been there. But many of the tens of millions more who’ve been born since, and who know only the music, the legend and the media hype, are still inspired by the free-spirited and communitarian values that Woodstock has come to symbolize.
“There was just such an open door [that] even the least of us could have a vision,” Havens said. “This is the challenge we have now: to open a lot of those doors.” For his part, Havens, now nearly 70, continues to express the Woodstock ethos with new songs like “The Key,” which is featured on his new album Nobody Left to Crown, Meanwhile, in a role he seems to relish, Havens will continue to act as a benign, bearded ambassador for the Woodstock state of mind.
VintageNewscast.com has received permission by the author to republish this article.