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Monday, November 5, 2012

Performance Choreography Of The Four Tops & The Temptations

Edited by Azizi Powell

This post showcases a few examples of the soul music and the performance routines of two classic Rhythm & Blues groups - The Four Tops and The Temptations.

The content of this post is presented for folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

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FEATURED VIDEOS
(The video examples of these two music groups are presented with the videos of the groups alternating in alphabetical order using the first letter of the group.)

Example #1

The four tops - I can't help myself - Live HQ



bol2funk, Uploaded on Feb 25, 2008

classic soul

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Example #2

Ain't Too Proud To Beg - Temptations



Tj Limbu, Uploaded on Oct 8, 2007

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Example #3

Four Tops - Standing In The Shadows Of Love (1967)



Freya0815007, Uploaded on Apr 7, 2010

HQ-Video. Four Tops - Standing In The Shadows Of Love, released 1966.

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Example #4

Temptations - My Girl



rjtorre, Uploaded on Nov 16, 2005

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BONUS VIDEO

Battle of the Bands 1985



MRSSPECBLUESMITH, Uploaded on Jun 17, 2008

TEMPTATIONS VS. FOUR TOPS, THE MANHATTTANS,THE DRIFTERS,THE CADILLACS

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ACKNOWLEDGEMENTS AND THANKS

My thanks to the showcased Rhythm & Blues groups. Also, thanks to the composers of these featured songs, and to the producers and uploaders of these sound files and videos for helping to spread awareness of this type of music and this group throughout the world.

Finally, thank you for visiting pancocojams.

Viewer comments are welcome

2 comments:

  1. In addition to the performance routines, it's interesting to notice other things about these performances such as how still the audience is for instance in the Temptations' "My Girl" performance.

    The way the audience sat so still was the standard demeanor for White Americans then and it still is the standard audience demeanor now, depending on which performance is occuring, when it is occuring, and the racial/ethnic composition of the audience.

    The expectation that the audience will clap, shout exhortations, sing along, wave their hands, and/or dance in their seats or in the aisle during a music performance comes from African American traditions.

    I believe that the two standard expectations inherent in these two cultural norms sometimes still makes for some uncertainity about what is expected and acceptable audience behaviour during performances when there are relatively equal numbers of Black Americans and White Americans.

    For instance, there appeared to be an equal number of Black audience members and White audience members at a concert in Pittsburgh, Pennsylvania that I attended two years ago of the legacy of Black university drum lines. As is part of our tradition, a large number of the Black audience members clapped along with the performances, and some Black audience members stood up to show their appreciation for certain acts. My sense was that many of the White audience members were dismayed and even irritated by both of those responses, but particularly by folks standing up since it meant that the show was difficult to see for those who remained seated. I personally don't like people to stand up during performances, but the difference is that with Black audiences I expect that to happen. And I understand that this is just another way that we have of joining in the performance by giving the performers some of our energy, and by letting them know that what they are doing is connecting with their audience.

    I'm sure that given where and when they were performing their song, The Temptations didn't expect the audience to respond the way they would if that had been an all Black or a majority Black audience during that same decade. But it still seems quite inconguent for me to see the audience sitting so still & proper during that group's performance.

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  2. Also, it's interesting to notice in that clip of "My Girl" that three of the Temptations wore their hair in a short natural while two members still had a processed (chemically straigthened) hair style.

    That processed hair style for men was losing its popularity among a growing number of African American men in the mid 1960s. And by the 1970s, as a result of the "Black Pride" movement, few if any Black male performers had a "process", and most African American male & African American female performers, like many of their younger fans, wore their hair in afros (also called "naturals"). And the bigger and wider the afro, the more attractive it was considered to be.

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