The Sound of Subways Around the World: A Global Collection of Subway Door Closing Announcements, Beeps & Chimes

The next L train is now arriving on the Manhattan bound track. Please stand away from the platform edge. 

Thus begins Brooklyn saxophone-percussion trio Moon Hooch’s “Number 9.”

Anyone who’s taken the train into the city from Bushwick or Williamsburg two or three times, you should be able to chant along with no trouble.

Mind the gap!” is a sentimental favorite of both native Londoners and first time visitors navigating The Tube with freshly purchased Oyster Cards.

Residents of Montreal are justly proud that their Metro’s closing doors signal is a near twin of Aaron Copland’s “Fanfare for the Common Man.”




Civil engineer Ted Green has been documenting the mass transit sounds that cue passengers that the subway doors are about to close since 2004, when he logged 26 seconds on the Piccadilly Line in London’s Russell Square Station:

In 2003 I used the Russell Square station daily for a week and it’s the first announcement that caught my attention… Back then the Piccadilly Line did not have on-train station and door closing announcements, it had the beeps, but the stations in central London had automatic announcements from platform speakers aimed at the open train door. Once the Piccadilly Line received on-train announcements a few years later, this announcement was phased out.

Over the course of a decade, the project has expanded to encompass announcements on suburban rail, railways, trams, and light rail.

His travels have taken him to Asia, Australia, Europe, and North America, where curiosity compels him to document what happens during “dwell time,” the brief period when a train is disgorging some riders and taking on others.

Whether the canned recording is verbal or non-verbal, the intent is to keep things moving smoothly, and prevent injuries, though passengers can become blasé, attempting to force their way on or off by thrusting a limb between closing doors at the absolute last minute.

Green’s incredibly popular video compilations aren’t nearly so harrowing.

As he told The New York Times‘ Sophie Haigney and Denise Lu:

I think the appeal is the simplicity. You wonder, how can there be so many different variations of beeps? And then you listen, and they’re all so different.

The pandemic only increased his audience, as locked down commuters found themselves longing for the soundtrack of normal life.

It’s the same impulse that led software developer Evan Lewis to make an app of New York City subway sounds.

For those who want to bone up on their lines, information designer Ilya Birman, author of Designing Transit Maps, has scripted lists of London Underground and New York City subway announcements.

And Brooklyn-based Metropolitan Transit Authority worker Fred Argoff’s zine Watch the Closing Doors ushered civilians behind the scenes, sometimes exploring other cities’ subway systems or, in the case of Cincinnati, lack thereof.

Readers, do you have a fondness for a particular underground sound? Tell us what and why in the comments.

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Follow her @AyunHalliday

Every Christmas, Peruvians Living in the Andes Settle Their Scores at Fist-Fighting Festivals

As Chris Hedges discovered as a battle-hardened reporter, war is a force that gives us meaning. Whether we sublimate violence in entertainment, have paid professionals and state agents do it for us, or carry it out ourselves, human beings cannot seem to give up their most ancient vice; “we demonize the enemy,” Hedges wrote, “so that our opponent is no longer human,” and “we view ourselves, our people, as the embodiment of absolute goodness…. Each side reduces the other to objects — eventually in the form of corpses.” Each new generation inherits old hatreds, and so forth….

Maybe one way to break cycles of violence is with controlled violence — using bare fists to settle scores, and walking away with only bruises, a little hurt pride, but no lasting wounds? That’s the idea behind Takanakuy, an Andean festival that takes place each year at Christmas in the province of Chumbivilcas, in the mountains of Peru. The region has a police force made up of around three officers, the nearest courthouse is “a stomach-wrecking 10-hour drive through the mountains,” notes Vice, who bring us the video above. Potentially explosive disputes naturally arise, and must be settled outside the law.




Rather than rely on state intervention, residents wait to slug it out on Takanakuy. The name of the festival come from Quechua — the region’s indigenous language — and means “to hit each other” or, more idiomatically, “when the blood is boiling.” But combatants have had upwards of twelve months to cool before they step into a ring of cheering spectators and go hand-to-hand with an opponent. Fights are also officiated by referees, who do crowd control with short rope whips and call a fight as soon as someone goes down. Takanakuy is ritualized combat, not bloodsport. Although traditionally dominated by men, women, and children also participate in fights, which usually only last a couple minutes or so.

“Some traditionalists disapprove of female participation in Takanakuy,” writes photojournalist Mike Kai Chen at The New York Times, but “an increasing number of women in Chumbivilcas are defying convention and stepping up to fight in front of their community.” Male fighters wear boots, flashy leather chaps, and elaborate, hand-sewn masks with taxidermied birds on top. Women wear elegant dresses with fine embroidery, and wrap their wrists in colorful embroidered cloth. “The ultimate aim is to begin the new year in peace. For this reason every fight… begins and ends with a hug”… or, at the very least, a handshake.

The festival also involves much dancing, eating, drinking, craft sales, and Christmas celebrations. Suemedha Sood at BBC Travel compares Takanakuy to Seinfeld‘s “Festivus,” the alt-winter holiday for the airing of grievances and feats of strength. But it’s no joke. “The festival seeks to resolve conflict, strengthen community bonds and hopefully, arrive at a greater peace.” Libertarian economists Edwar Escalante and Raymond March frame Takanakuy as “a credible mechanism of law enforcement in an orderly fashion with social acceptance.” For indigenous teacher and author and participant Victor Laime Mantilla, it’s something more, part of “the fight to reclaim the rights of indigenous people.”

“In the cities,” says Mantilla, “the Chumbivilcas are still seen as a savage culture.” But they have kept the peace amongst themselves with no need for Peruvian authorities, fusing an indigenous music called Huaylia with other traditions that date back even before the Incas. Takanakuy arose as a response to systems of colonial oppression. When “justice in Chumbivilcas was solely administered by powerful people,” Mantilla says, “people from the community always lost their case. What can I do with a justice like that? I’d rather have my own justice in public.”

See the costumes of the traditional Takanakuy characters over at Vice and see Chen’s stunning photos of friendly fistfights and Takanakuy fun at The New York Times.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Is the Viral “Red Dress” Music Video a Sociological Experiment? Performance Art? Or Something Else?

Before it set itself on fire, HBO’s Game of Thrones resonated deeply with contemporary morality, becoming the most meme-worthy of shows, for good or ill, online. Few scenes in the show’s run — perhaps not even the Red Wedding or the nauseating finale — elicited as much gut-level reaction as Cersei Lannister’s naked walk of shame in the Season 5 finale, a scene all the more resonant as it happened to be based on real events.

In 1483, one of King Edward IV’s many mistresses, Jane Shore, was marched through London’s streets by his brother Richard III, “while crowds of people watched, yelling and shaming her. She wasn’t totally naked,” notes Mental Floss, “but by the standards of the day, she might as well have been,” wearing nothing but a kirtle, a “thin shift of linen meant to be worn only as an undergarment.”




What are the standards of our day? And what is the punishment for violating them? Sarah Brand seemed to be asking these questions when she posted “Red Dress,” a music video showcasing her less than stellar singing talents inside Oxford’s North Gate Church. In less than a month, the video has garnered well over half a million views, “impressive for a musician with hardly any social media footprint or fan base,” Kate Fowler writes at Newsweek.

“It takes only a few seconds,” Fowler generously remarks, “to realize that Brand may not have the voice of an angel.” Or, as one clever commenter put it, “She is actually hitting all the notes… only of other songs. And at random.” Is she ludicrously un-self-aware, an heiress with delusions of grandeur, a sad casualty of celebrity culture, forcing herself into a role that doesn’t fit? Or does she know exactly what she’s doing…

The judgments of medieval mobs have nothing on the internet, Brand suggests. “Red Dress” presents what she calls “a cinematic, holistic portrayal of judgment,” one that includes internet shaming in its calculations. Given the amount of online rancor and ridicule her video provoked, it “did what it set out to do,” she tells the BBC. And given that Brand is currently completing a master’s degree in sociology at Oxford University, many wonder if the project is a sociological experiment for credit. She isn’t saying.

Jane Shore’s walk ended with years locked in prison. Brand offered herself up for the scorn and hatred of the mobs. No one is pointing a pike at her back. She paid for the privilege of having people laugh at her, and she’s especially enjoying “some very, very witty comments” (like those above). She’s also very much aware that she is “no professional singer.”

The style in which I sing the song was important because it reflected the story. The vocals don’t seem to quite fit, they seem out of place and they make people uncomfortable… and the video is this outsider doing things differently and causing discomfort and eliciting all this judgement.

All of this is voluntary performance art, in a sense, though Brand has shown previous aspirations on social media to become a singer, and perhaps faced similar ridicule involuntarily. “Part of what this project deals with,” she says, is judgment “overall as a central theme.” She credits herself as the director, producer, choreographer, and editor and made every creative decision, to the bemusement of the actors, crew, and studio musicians. Yet choosing to endure the gauntlet does not make the gauntlet less real, she suggests.

The shame rained down on Shore was part misogyny, part pent-up rage over injustice directed at a hated better. When anyone can pretend (or pretend to pretend) to be a celebrity with a few hundred bucks for cinematography and audio production, the boundaries between our “betters” and ourselves get fuzzy. When young women are expected to become brands, to live up to celebrity levels of online polish for social recognition, self-expression, or employment, the lines between choice and compulsion blur. With whom do we identify in scenes of public shaming?

Brand is coy in her summation. “Judgmental behavior does hurt the world,” she says, “and that is what I’m trying to bring to light with this project.” Judge for yourself in the video above and the … interesting… lyrics to “Red Dress” below.

 

Came to church to praise all love
Sitting, coming for someone else
It didn’t stew well for me
But I said it was a lover’s deed

Didn’t trust my own feels
Let someone else behind my wheel
Said it was love driving me
But the only one who should steer is me

Cuz what they saw

They see me in a red dress
Hopping on the devil fest
Thinking of lust
As they judge in disgust
What are you doing here?

They see me in a red dress
Hopping on the devil fest
Thinking of lust
As I judge in disgust
What am I doing here?

Lettin’ someone else steer

I saw a love, precious and fine
Thought I should do anything for time 
Time to change the hearts and minds
Of people not like me in break or stride

Shouldn’t be me, trying to change
Thought I’d be something if I remained 
It just ain’t me singing of sins
Watching exclusion getting its wins

Cuz what they saw

They see me in a red dress
Hopping on the devil fest
Thinking of lust
As they judge in disgust
What are you doing here?

They see me in a red dress
Hopping on the devil fest
Thinking of lust
As I judge in disgust
What am I doing here?

Lettin’ someone else steer

Came to church 
To praise love
Coming for
Someone else

But all the eyes
Judging in disguise
They don’t see me
Just the lies

They see me in a red dress
No different from the rest
Starting to trust
As they join in a rush
What are we doing here?

They see me in a red dress
No different from the rest
Starting to trust
As I lose my disgust
What am I doing here?

Striking the fear

They see me in a red dress

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Sylvia Plath’s Tarot Cards (Which Influenced the Poems in Ariel) Were Just Sold for $207,000

We celebrated my birthday yesterday: [Ted] gave me a lovely Tarot pack of cards and a dear rhyme with it, so after the obligations of this term are over your daughter shall start her way on the road to becoming a seeress & will also learn how to do horoscopes, a very difficult art which means reviving my elementary math. 

– Sylvia Plath, in a letter to her mother, 28 October 1956

Sylvia Plath’s Tarot cards, a 24th birthday present from her husband, poet Ted Hughes, just went for £151,200 in an auction at Sotheby’s.

That’s approximately £100,000 more than this lot, a Tarot de Marseille deck printed by playing card manufacturer B.P. Grimaud de Paris, was expected to fetch.

The auction house’s description indicates that a few of the cards were discolored —  evidence of use, as supported by Plath’s numerous references to Tarot in her journals.




Recall Tarot’s appearance in “Daddy,” her most widely known poem, and her identification with the Hanging Man card, in a poem of the same name:

By the roots of my hair some god got hold of me.

I sizzled in his blue volts like a desert prophet.

The nights snapped out of sight like a lizard’s eyelid :

A world of bald white days in a shadeless socket.

A vulturous boredom pinned me in this tree.

If he were I, he would do what I did.

This century has seen her collection Ariel restored to its author’s intended order.
The original order is said to correspond quite closely to Tarot, with the first twenty-two poems symbolizing the cards of the Major Arcana.

The next ten are aligned with the numbers of the Minor Arcana. Those are followed by four representing the Court cards. The collection’s final four poems can be seen to reference the pentacles, cups, swords and wands that comprise the Tarot’s suits.

Ariel’s manuscript was rearranged by Hughes, who dropped some of the “more lacerating” poems and added others in advance of its 1965 publication, two years after Plath’s death by suicide. (Hear Plath read poems from Ariel here.)

Daughter Frieda defends her father’s actions and describes how damaging they were to his reputation in her Foreword to Ariel: The Restored Edition.

One wonders if it’s significant that Plath’s Page of Cups, a card associated with positive messages related to family and loved ones, has a rip in it?

We also wonder who paid such a staggering price for those cards.

Will they give the deck a moon bath or salt burial to cleanse it of Plath’s negative energy?

Or is the winning bidder such a diehard fan, the chance to handle something so intimately connecting them to their literary hero neutralizes any occult misgivings?

We rather wish Plath’s Tarot de Marseille had been awarded to Phillip Roberts in Shipley, England, who planned to exhibit them alongside her tarot-influenced poems in a pop up gallery at the Saltaire Festival. To finance this dream, he launched a crowd-funding campaign, pledging that every £100 donor could keep one of the cards, to be drawn at random, with all contributors invited to submit new art or writing to the mini-exhibition: Save Sylvia Plath’s cards from living in the drawers of some wealthy collector, and let’s make some art together!

Alas, Roberts and friends fell  £148,990 short of the winning bid. Better luck next time, mate. We applaud your graciousness in defeat, as well as the spirit in which your project was conceived.

via Lithub

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Follow her @AyunHalliday.

Why Finland & Denmark Are Happier Than the United States

We may never convince the greediest among us that money won’t buy happiness. But if we weren’t persuaded before the pandemic, it seems more of us are now, since thousands of workers refuse to return to exploitative conditions. “The Covid job market,” the Harvard Business Review admits, “is not like 2008, nor really like anything anyone has observed since the birth of modern capitalism.” This observation comes amidst a discussion of the factors influencing hiring, but most economist-speak avoids the emotional language we use to talk about our jobs.

The fact is, most of us are stressed out, unhappy, overworked, and underpaid, with little in terms of public policy or corporate benefits to help reduce the burdens on the average American worker. It’s far worse for other workers around the world. “The average US workweek is 38.6 hours,” notes Business Insider. “That may feel like forever to some people, but it’s nothing compared to some countries’ workweeks.” Workers in Colombia, for example, spend an average of 47.7 hours at work.




Much of that time could be spent caring for ourselves and our families, and lockdowns, quarantines, shelter-in-place and work-from-home orders have given us time to reconsider how we’ve been living. As we do, we might look to Finland and Denmark, where people profess some of the highest rates of happiness in the world, according to the most recent World Happiness Report, a series of measures co-created by Jeffrey Sachs, Director of Columbia University’s Center for Sustainable Development.

“In a lamentable year,” the report points out, “Finland again is the happiest country in the world.” Denmark isn’t far behind. What does this mean? “It’s not primarily a measure of whether one laughed or smiled yesterday,” says Sachs, “but how one feels about the course of one’s life.” This feeling is measured according to “six areas of life satisfaction,” CNBC notes in an introduction to the video above — a short documentary on Finnish and Danish happiness — including “income, healthy life expectancy, social support, freedom, trust and generosity.”

“We need urgently to learn from Covid-19,” says Sachs. “The pandemic reminds us of our global environmental threats, the urgent need to cooperate, and the difficulties of achieving cooperation in each country and globally. The World Happiness Report 2021 reminds us that we must aim for wellbeing rather than mere wealth, which will be fleeting indeed if we don’t do a much better job of addressing the challenges of sustainable development.” Learn what makes the Finns and Danes so happy in the video above (spoiler: it isn’t exorbitant salaries) and learn more about why people in the “happiest” countries thrive at the World Happiness Report.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

How Ramen Became the Currency of Choice in Prison, Beating Out Cigarettes

The last decade ushered in a slew of traditional Japanese-style ramen restaurants — enough to justify ramen maps to New York CityChicago, and the Bay Area.

Yet most Americans still conceive of ramen as the pack of seasoning and dehydrated instant noodles that have long sustained broke artists and college students.

Add incarcerated persons to the list of packaged ramen’s most ardent consumers.

In the above episode of Vox’s series, The Goods, we learn how those ubiquitous cellophane packages have outstripped cigarettes and postage stamps as the preferred form of prison currency.




Ramen is durable, portable, packaged in standard units, available in the prison commissary, and highly prized by those with a deep need to pad their chow hall meals.

Ramen can be used to pay for clothing and hygiene products, or services like laundry, bunk cleaning, dictation, or custom illustration. Gamblers can use it in lieu of chips.

Ramen’s status as the preferred form of exchange also speaks to a sharp decline in the quantity and quality of food in American penal institutions.

Ethnographer Michael Gibson-Light, who spent a year studying homegrown monetary practices among incarcerated populations, notes that slashed prison budgets have created a culture of “punitive frugality.”

Called upon to model a demonstrably tough on crime stance and cut back on expenditures, the institutions are unofficially shunting many of their traditional costs onto the prisoners themselves.

In response, those on the inside have pivoted to edible currency:

What we are seeing is a collective response — across inmate populations and security levels, across prison cliques and racial groups, and even across states — to changes and cutbacks in prison food services…The form of money is not something that changes often or easily, even in the prison underground economy; it takes a major issue or shock to initiate such a change. The use of cigarettes as money in U.S. prisons happened in American Civil War military prisons and likely far earlier. The fact that this practice has suddenly changed has potentially serious implications.

Ramen may be a relatively new development in the prison landscape, but culinary experimentation behind bars is not. From Pruno prison wine to Martha Stewart’s prison grounds crabapple jelly, it’s a nothing ventured, nothing gained type of deal. Work with what you’ve got.

Gustavo “Goose” Alvarez, who appears in Vox’s video, collected a number of the most adventurous recipes in his book, Prison Ramen: Recipes and Stories from Behind Bars. Anyone can bring some variety on the spur of the moment by sprinkling some of your ramen’s seasoning packet into your drinking water, but amassing the ingredients for an ambitious dish like Orange Porkies — chili ramen plus white rice plus ½ bag of pork skins plus orange-flavored punch — takes patience and perseverance.

Alvarez’s Egg Ramen Salad Sandwich recipe earns praise from actor Shia LeBoeuf, whose time served is both multiple and minimal.

Someone serving a longer sentence has a more compelling reason to search for the ramen-centered sense of harmony and wellbeing on display in Tampopo, the first “ramen western”:

Appreciate its gestalt. Savor the aromas.

Joe Guerrero, host of YouTube’s AfterPrisonShow, is not immune to the pleasures of some of his ramen-based concoctions, below, despite being on the outside for several years now.

You’re free to wrinkle your nose at the thought of snacking on a crumbled brick of uncooked ramen, but Guerrero points out that someone serving a long sentence craves variety in any form they can get. Experiencing it can tap into the same sense of pride as self-governance.

Guerrero’s recipes require a microwave (and a block of ramen).

Even if you’re not particularly keen on eating the finished product, there’s a science project appeal to his Ramen Noodle Cookie. It calls for no additional  ingredients, just ten minutes cooking time, an outrageous prospect in a communal setting with only one microwave.

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

Discover Ikaria, the Greek Island With the Oldest Life Expectancy in the World

Boilerplate human interest stories about the habits of particularly spry centenarians just don’t cut it anymore. Living a long, healthy, and happy life, we know, involves more than making the right individual choices. It means living in societies that make good choices readily available and support the individuals making them. Nutrition research has borne this out — just scan the latest popular food book titles for the word “Mediterranean,” for example, or input the same search term in an academic database, and you’ll pull up hundreds of results. Even fad diets have shifted from promoting individual celebrities to celebrating whole regions.

Scientists have identified a handful of places around the world, in fact, where diet and other ordinary lifestyle and social factors have led to the outcomes governments spend billions trying, and failing, to achieve. One of these regions is — yes — squarely in the Mediterranean, the Greek island of Ikaria, “named one of the healthiest places on earth,” writes Greek City Times, “a spot of exceptional longevity. Here, there are more healthy people over 90 than any other place on the planet.” Ikaria is just one of five so-called “Blue Zones” — which also include Sardinia, Italy, Okinawa, Japan, Nicoya, Costa Rica, and Loma Linda, California — where inhabitants regularly live healthy lives into their 90s and beyond.




In the Vice video above, you can meet some of the residents of Ikaria, where 1 in 3 people live past 90, and learn about some of the factors that contribute to long life in blue zones, and in Ikaria in particular. Great weather doesn’t hurt. Most important, however, is local, fresh food, and lots of it. “The most important thing is the food,” says an Ikarian cook as she prepares a batch of fresh-caught fish. “Because you live with it. You eat the right way, everything works the right way.” This is a much better way of saying “you are what you eat.” As Max Fisher points out in a bulleted list of the Greek Island’s “secrets to long life,” things “working the right way” plays a huge role in longevity.

Not only do older people in Ikaria walk everywhere and continue working into their elderly years – happily but not under duress – they also report very healthy sex lives, part of a network of habits that socially reinforce each other, Fisher writes. Hear Ikarian residents above contrast their lives on the island with their lives in fast-paced modern cities where they traded health and wellbeing for more money. Read Fisher’s full list (excerpted below) at The Washington Post.

1) Plenty of rest.

2) An herbal diet.

3) Very little sugar, white flour, or meat.

4) Mediterranean diet.

5) No processed food.

6) Regular napping.

7) Healthy sex lives after 65.

8) Stay busy and involved.

9) Yes, exercise.

10) Little stress of any kind.

11) “Mutually reinforcing” habits.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Revisiting Marvin Gaye’s “What’s Goin’ On,” and the Album That Opened R&B to Resistance: Revisited 50 Years Later

I just want to be heard and that’s all that matters. — Marvin Gaye

R&B superstar Marvin Gaye was more than willing to risk his career on a record.

His polished public persona was a false front behind which lurked some serious demons — depression and addiction, exacerbated by the illness and death of his close friend and duet mate, Tammi Terrell.

His downward spiral was also fueled by his distress over events of the late 60s.

How else to respond to the Vietnam War, the murder of civil rights leaders, police brutality, the Watts Riots, a dire environmental situation, and the disenfranchisement and abandonment of lower income Black communities?




Perhaps by refusing to adhere to producer Barry Gordy‘s mandate that all Motown artists were to steer clear of overt political stances….

He controlled their careers, but art is a powerful outlet.

Obie Benson also came under Gordy’s thumb as a member of the R&B quartet, the Four Tops. The shocking violence he witnessed in Berkeley’s People’s Park on Bloody Thursday while on tour with his band provided the lyrical inspiration for “What’s Goin’ On.”

When the other members of the group refused to touch it, not wanting to rock the boat with a protest song, he took it to Gaye, who had lost all enthusiasm for the “bullshit” love songs that had made him a star

Benson recalled that Gaye added some “things that were more ghetto, more natural, which made it seem more like a story than a song… we measured him for the suit and he tailored the hell out of it.”

Gordy was not pleased with the song’s message, nor his loosey goosey approach to laying down the track. Eli Fontaine’s famous saxophone intro was improvised and “Motown’s secret weapon,” bassist James Jamerson was so plastered on Metaxa, he was recorded sprawling on the floor.

Jamerson told his wife they’d been working on a “masterpiece,” but Gordy dubbed “What’s Going On” “the worst thing I ever heard in my life,” pooh-poohing the “Dizzy Gillespie stuff in the middle, that scatting.” He refused to release it.

Gaye stonewalled by going on strike, refusing to record any music whatsoever.

Eight months in, Motown’s A&R Head Harry Balk, desperate for another release from one of the label’s most popular acts, directed sales vice president Barney Ales to drop the new single behind Gordy’s back.

It immediately shot to the top of the charts, selling 70,000 copies in its first week.

Gordy, warming to the idea of more sales, abruptly reversed course, directing Gaye to come up with an entire album of protest songs. It ushered in a new era in which Black recording artists were not only free, but encouraged to use their voices to bring about social change.

The album, What’s Going On, recently claimed top honors when Rolling Stone updated its  500 Greatest Albums list. Now, it is celebrating its 50th anniversary, and as Polyphonic, producers of the mini-doc above note, its sentiments couldn’t be more timely.

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join her June 7 for a Necromancers of the Public Domain: The Periodical Cicada, a free virtual variety honoring the 17-Year Cicadas of Brood X. Follow her @AyunHalliday.

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