On this day in 1989, Pepsi dropped Madonna as a spokesperson after complaints about her "blasphemous" video for the single (also used in the Pepsi commercial campaign) "Like A Prayer." The Vatican condemned the video for its imagery of burning crosses and Madonna kissing a black man, while religious groups called for a boycott of all Pepsi-affiliated products. The soft drink manufacturer caved and cut and run from the Pop princess. But Pepsi gave Madonna a nice parting gift — the company was so eager to get away from the controversy that they let her keep her $5 million (yes, million) advance.
Thirty years earlier, another music-related controversy erupted in the U.K. when the BBC decided that The Coasters' song "Charlie Brown" was not fit for airplay. Was it that the Peanuts comic strip was too controversial? Peppermint Patty's sexuality has always been a topic of debate. Were they afraid the youth of England would all mimic Charlie Brown's sparse curly-Q hairdo, essentially killing off the hair-care product industry? Was Pigpen's personal hygiene deficiency deemed a bad influence?
Nope — the BBC was worried about the song because it contained the word "spitball" and they were fearful kids all over would be inspired to destroy society with saliva-drenched missiles. Unlike Pepsi, the Beeb reversed its decision a couple of weeks later, apparently realizing how ridiculous the "ban" was.
Here are clips relating to both controversies. Watch at your own risk!
On this day in 1994, the MTV Movie Awards paid tribute to The Beatles with a special performance by the band that recorded the Beatles songs (or rather, the songs The Beatles covered in their early days) for the soundtrack to the film Backbeat.
As seen in the clip below, the band included Hamilton, Ohio's Greg Dulli of the recently reunited Afghan Whigs, Dave Pirner of Soul Asylum, Don Fleming of Gumball, Mike Mills of R.E.M., Thurston Moore of Sonic Youth and Dave Grohl, in his first performance since Kurt Cobain's death just three months earlier.
The best part of this may be Dulli and Moore wrestling mid-song.
Born This Day: Musical movers and shakers sharing a June 4 birthday include Jazz singer Morgana King (1930); Mexican-American Country, Rock and Tejano musician/singer Freddy Fender (1937); Mamas & Papas singer turned actress Michelle Phillips (1944); late guitarist with Paul McCartney's Wings, Jimmy McCulloch (1953); New Jack Swing/R&B vocalist Al B. Sure! (1968); Canadian-born, British-based Electronic musician/DJ Richie Hawtin (1970); Soul/Funk artist Nikka Costa (1972); Dave Matthews Band bassist Stefan Lessard (1974); and R&B comebacker (and co-founder of "family band" DeBarge) El DeBarge (1961).
DeBarge is one of those celebrities who have unfortunately had to deal with public attention and scrutiny while attempting to overcome his addiction to drugs. He death with ensuing legal problems, cleaned up and made a highly-touted, Grammy-nominated comeback album in 2010 appropriately titled Second Chance (his first in almost 20 years).
DeBarge's triumphant return included a set at the 2011 Macy's Music Festival in Cincinnati. He also sang with Chaka Khan during her set.
DeBarge has struggled since the release of Second Chance, returning to treatment — he told Atlanta radio station V103 that friends 50 Cent and Babyface (who co-produced the comeback album) intervened and insisted he not give up and return to rehab. And, just this past March, he got arrested for "suspicion of possession of drugs for sale." (The case was dropped because the judge said there was not enough evidence.)
He's clearly still fighting his demons. And so are some of his family members. Just about a week ago, an arrest warrant was issued for brother Mark DeBarge for drug possession charges in Hollywood.
Hopefully they'll all get things worked out before it's too late. El DeBarge reportedly met with Whitney Houston at a party two days before her untimely passing. That has to be a wake-up call.
As long as he's musically on point, fans will continue to give him second, third, fourth or more chances.
On this date in 1987, a Beastie Boys/Run DMC concert in Liverpool, England, turned into a riot and ended with the arrest of Adam "Ad Rock" Horovitz. The pumped-out crowd reportedly began throwing bottles and cans at the group, which the Boys playfully batted back at them. At first. After just a few minutes, things continued to get out of hand and the concert was cancelled for the safety of all involved. At the hotel later that night, Horovitz was arrested because police believed he was responsible for the beer can that struck and injured a female fan.
Horovitz spent the night in jail and, in November, Ad Rock — 21 at the time — was found not guilty of the charges.
Here's an ancient MTV segment featuring the Boys at Spring Break (to give you a sense of the trio's pre-enlightenment personalities around the time of Horovitz's arrest).
Born This Day: Musical movers and shakers sharing a May 30 birthday include legendary Big Band bandleader and clarinetist Benny Goodman (1909); founding bassist for Punk giants Dead Kennedys, Geoffrey Lyall, better known as Klaus Flouride (1949); Jazz Fusion bassist Dann Glenn (1950); on-again/off-again drummer for The Clash, Topper Headon (1955); singer for Swedish Pop duo Roxette ("It Must Have Been Love," "The Look") Marie Fredriksson (1958); drummer and founding member of progressive Canadian Metal greats Voivod, Michel Langevin (1963); Country star Wynonna Judd (1964); Rage Against the Machine/Audioslave guitarist Tom Morello (1964); frontman for Indie Rock icons Pavement, Stephen Malkmus (1966); singer for Brit Pop crew The Charlatans, Tim Burgess (1967); Hip Hop-turned-Pop superstar Cee-Lo Green (1974); singer for Metal band Shadows Fall, Brian Fair (1975); "Freak Folk" poster child Devendra Banhart (1981) and Hip Hop MC Remy Ma (1981).
Remy was born Reminisce Smith and grew up in the Castle Hill Projects in the Bronx. Neighborhood MC Big Pun was an early mentor, putting Remy (then "Remi Martin") on a pair of tracks from his Yeeeah Baby album. It was a bittersweet debut, though; Pun died from a heart attack in 2000 and the album came out two months afterwards. (Big Pun was reportedly 698 pounds when he died.) Another big rapper, Fat Joe, took Remy under his wing and made her a member of Terror Squad. She was featured on the Terror Squad's huge 2004 single "Lean Back," which was a No. 1 hit on the Billboard Hot 100 for three weeks that summer. It also earned Remy a Grammy nomination.
Remy's debut solo album, There's Something About Remy: Based on a True Story, dropped on Feb. 7, 2006, the sixth anniversary of Big Pun's death. The album was critically acclaimed but didn't sell very well (Fat Joe and Remy blamed poor promotion and choice of singles). She left Terror Squad in 2007.
As a free agent, Remy reportedly received numerous label offers and even a reported deal for a reality show. She had her second album in the works, as well as the debut of the super-trio 3Sum, featuring fellow MCs Jacki-O and Shawnna, when things went really bad for Remy. She turned herself into police after a shooting outside of a nightclub that wounded a woman who had allegedly tried to rob the rapper. The woman ID'ed Remy as the shooter. In 2008, Remy was convicted of assault, attempted coercion and weapons possession. She was sentenced to eight years in prison. In 2008, she married her fiancee, Hip Hop artist Papoose.
Remy — who also has a young son — lost her appeal last June. The earliest she can be released is Jan. 31, 2015. If she has to serve her whole sentence, she won't be out until March 23, 2016.
Despite her jail stint and the limited material released, Remy Ma remains a big influence on established and up-and-coming female Rap artists.
Here's part of an interview Remy did with StreetHeat about her life in prison.
On this day in 1991, Country superstar Reba McEntire lost eight members of her touring entourage when their charter plane crashed near San Diego, late at night after Reba and the band had performed a corporate gig for IBM. McEntire and her husband received the news at their hotel room nearby where they'd been sleeping. On a recent episode of Oprah's Master Class, hosted by Oprah on the Oprah channel, McEntire recalled the moment she got the news, calling it "the worst thing that's ever happened in my life." She had been extremely close with the musicians and her tour manager, some of whom had been with her for many years.
That October, McEntire released For My Broken Heart, dedicated to her lost friends. The album (her 18th) featured songs about loss and recovery; in the liner notes, McEntire called it "a form of healing for all our broken hearts." The album made it to No. 3 on the overall album charts and No. 1 on the Country charts (pretty much a forgone conclusion when Reba puts out a record); the title track became her 16th No. 1 Country single and the album's "Is There Life Out There" became her 17th.
Click on for Born This Day featuring Flavor Flav, Patty Griffin and "The Hug Guy":
On this day in 1973, Paul McCartney and Wings had their very own network TV special, James Paul McCartney. The variety/musical show was a bit cheeky and a bit sappy — in other words, pretty funny to watch now. Paul and Co. do a bunch a Beatles tunes and a bunch of Wings stuff, including the just released "Live and Let Die." Worth watching (or at least skipping through) if you were a fan of Sir Paul's kick-ass mullet, always wanted to hear a drunk Paul sing drinking songs in a crowded pub or wondered how "The Cute One" looks in a pink tuxedo and mustache.
Paul's most recent adventures in visual entertainment contains a bit more star power:
Click on for Born This Day with Dusty Springfield, Akon and Ian MacKaye.
Today in 1996, one of the greatest, most influential bassists ever, Bernard Edwards of Disco/Funk group Chic, passed away after contracting pneumonia while on tour in Japan.
My personal favorite bass line is Sly Stone's lick on "If You Want Me to Stay," but it's hard to deny the power of Chic's "Good Times," a Disco-era hit that helped lay the groundwork for Hip Hop. Edwards' bass line from the song is considered one of the most sampled pieces of music ever and it has been mimicked almost as often. Songs that wouldn't exist with Edwards' riff include Queen's "Another One Bites the Dust," Hip Hop trailblazers Sugarhill Gang's breakthrough "Rapper's Delight," Blondie's "Rapture," Daft Punk's "Around the World" and Wham!'s "Wham Rap! (Enjoy What You Do)" (hey, they can't all be winners).
R.I.P Bernard Edwards. And thanks for the groove.
Click on for Born This Day featuring Bez, Skip Spence, Grandmaster Caz and Robert Christgau.
On this date in 1962, a pre-performance speech by legendary conductor Leonard Bernstein, seen by some as an attack on guest pianist — the almost equally as legendary Glenn Gould — caused quite a stir in the Classical music world. The concert was to feature Gould performing Brahms' "First Piano Concerto," but apparently the pianist and music director (Bernstein) disagreed on how it was to be performed. The New York Philharmonic concert came towards the end of the orchestra's final season at Carnegie Hall.
The disagreement was largely over tempo — Gould felt the composition should be played very slowly. Before the intermission, the orchestra played selections by Carl Nielsen. Fearful that Gould would not even show up (he was notorious for last-minute cancellations), Bernstein had the Philharmonic prepared to play Brahms' First Symphony just in case. Gould showed, but to prepare the audience for the unorthodox performance, Bernstein took to the podium and delivered the controversial introduction/disclaimer/diss. (Bernstein delivered the same speech at a preview performance the night before.)
Don't be frightened. Mr. Gould is here. He will appear in a moment. I'm not, um, as you know, in the habit of speaking on any concert except the Thursday night previews, but a curious situation has arisen, which merits, I think, a word or two. You are about to hear a rather, shall we say, unorthodox performance of the Brahms D Minor Concerto, a performance distinctly different from any I've ever heard, or even dreamt of for that matter, in its remarkably broad tempi and its frequent departures from Brahms' dynamic indications. I cannot say I am in total agreement with Mr. Gould's conception and this raises the interesting question: "What am I doing conducting it?" I'm conducting it because Mr. Gould is so valid and serious an artist that I must take seriously anything he conceives in good faith and his conception is interesting enough so that I feel you should hear it, too.
But the age old question still remains: "In a concerto, who is the boss; the soloist or the conductor?" The answer is, of course, sometimes one, sometimes the other, depending on the people involved. But almost always, the two manage to get together by persuasion or charm or even threats to achieve a unified performance. I have only once before in my life had to submit to a soloist's wholly new and incompatible concept and that was the last time I accompanied Mr. Gould. But, but this time the discrepancies between our views are so great that I feel I must make this small disclaimer. Then why, to repeat the question, am I conducting it? Why do I not make a minor scandal — get a substitute soloist, or let an assistant conduct? Because I am fascinated, glad to have the chance for a new look at this much-played work; Because, what's more, there are moments in Mr. Gould's performance that emerge with astonishing freshness and conviction. Thirdly, because we can all learn something from this extraordinary artist, who is a thinking performer, and finally because there is in music what Dimitri Mitropoulos used to call "the sportive element", that factor of curiosity, adventure, experiment, and I can assure you that it has been an adventure this week collaborating with Mr. Gould on this Brahms concerto and it's in this spirit of adventure that we now present it to you
Many critics wrote about the intro and viewed it as the conductor's way of saying, "If this sucks, it's his fault." And many took Gould to task for his interpretation of the music (though some musicologists later said Gould's version was a correct reading of the material). Gould, for his part, said he enjoyed the performance and liked that it caused some in the audience to boo. Columbia had planned to release a recording of the performance but backed off given the controversy. Bootlegs spread like wildfire and Sony Classical, years later (in 1998), released the recording with Bernstein's remarks in tact. In the liner notes, Gould is quoted as saying, "Soloists and conductors disagree all the time. Why should this be hidden from the public, especially if both parties still give their all?" Bernstein also didn't seem too bothered by the controversy and he never stopped praising Gould's unique talent.
Here's a clip of Bernstein and Gould getting along just fine in 1960, performing Bach's "Piano Concerto No. 1 in D Minor."
Click on for Born This Day featuring Warren Haynes, Gerry Mulligan, Merle Haggard and Cobra Starship's Alex Suarez.
On this day in 1967, The Beatles continued work on arguably their best song, "A Day in the Life." After a debate over how to end the track following the huge orchestral build-up (sustained choral vocals were considered, but scrapped), the group decided to simultaneously strike a massive E chord on three pianos and sustain the notes for as long as possible. Adding overdubs (and a contribution from producer George Martin on harmonium), the final resonating notes hang in the air for over 40 seconds on the recording. As the held chords faded on the pianos in the studio, the engineer had to crank the recording level, which picked up some incidental sounds (like a creaking chair and, certainly, something about Paul being dead) from the studio.
That E-major chord that closes the song — and the whole Sgt. Pepper's Lonely Hearts Club Band album, considered one of the best ever — is widely considered one of the most famous chords in Rock/Pop history. Which means that The Beatles are responsible for the most popular opening chord in modern music — the mysterious G7sus4-ish that kicks off "A Hard Day's Night" — and the most notable final chord with the "A Day in the Life" finale.
Below is audio of BTO guitarist Randy Bachman explaining the "Hard Day's" chord mystery (frustrated guitarists should feel better about their inability to figure it out), followed by today's biggest Pop superstar performing that famed final note from Sgt. Peppers.
Click the jump for "Born This Day" featuring live footage from one of the final Sublime concerts with Bradley Nowell.
On this day in 2003, proto-Rock & Roll singer/songwriter Hank Ballard died after a battle with throat cancer. One of the under-heralded heroes of the development of Rock & Roll, Ballard's career is inexorably tied to Cincinnati, where he recorded for locally-based King Records (as well as the related Federal imprint). Ballard was a member of early ’50s Doo-wop grope The Royals, which had an R&B hit with the Federal single "Get It" in 1953 (despite it's alleged "sexually-suggestive" lyrical content).
The group became The Midnighters and landed a No. 1 R&B hit with Ballard's "Work With Me, Annie," another risque tune that was banned by the FCC from radio play. In 1959, the group became "Hank Ballard and the Midnighters" and moved to the King label proper. A 1959 B-side written by Ballard was covered by Chubby Checker and became a No. 1 smash on the Pop charts in 1960 and again in 1962. The song and accompanying dance (said to have also been developed by Ballard) became an international craze. The book Behind The Hits: Inside Stories of Classic Pop and Rock and Roll called the song's success "a major turning point for adult acceptance of rock and roll music."
Despite having one of their songs co-opted and turned into a cultural phenomenon, the early ’60s did bring Ballard and the Midnighters several Pop chart hits, including "Let's Go, Let's Go, Let's Go" and the Grammy-nominated "Finger Poppin' Time." Ballard began a solo career in the late ’60s (despite support from James Brown, it never fully took off) and performed with a version of The Midnighters off and on until the year before he died. In 1990, Ballard was inducted into the Rock and Roll Hall of Fame (without his Midnighters).
The footage is a little rough, but here's a cool clip of Ballard from 1989 performing "Work With Me, Annie" on one of my favorite live-music TV shows ever, David Sanborn's Night Music.
Click on for Born This Day, featuring Lou Reed, Chris Martin and … Dr. Seuss?