Podcasts about beguine

This episode was originally released on 9/1/2018. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes beginning with this episode on the birth of radio. ___________ In Breaking Walls Episode 83, we focus the radio industry of the 1930s and 40s—especially on the career of David Sarnoff, as RCA's network, NBC begins to lose its grip on the top spot in the broadcasting industry while they introduce Television. We'll also focus on the introduction of new talent to the industry, and the CBS talent raids of 1948-1949. Highlights: • David Sarnoff announces the birth of TV at The 1939 World's Fair 
• Edwin Howard Armstrong Invents FM 
• Television Experiments in the 1920s and 1930s 
• Sarnoff and Armstrong's Crumbling Friendship • How World War II Stopped Television's Commercial Expansion
 • William S. Paley's Plan to make CBS the #1 Network 
• The Rise of Arthur Godfrey 
• Sarnoff's Court Battles 
• The Death of Edwin Howard Armstrong
 • The CBS Talent Raids of 1948-49
 • Dean Martin and Jerry Lewis 
• The Simple Art of Macabre 
The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers The reading material used in today's episode was: • The General: David Sarnoff & The Rise of the Communications Industry - by Kenneth Bilby • The Encyclopedia of Old-Time Radio - by John Dunning • Empire: William S. Paley & The Making of CBS - by Lewis J. 
 • The Museum of Broadcast Communications Encyclopedia of Radio - by Christopher H. Sterling • The Network - by Scott Wooley • As well as an article on Martin & Lewis from the August 2018 issue of SPERDVAC's Radiogram, by Michael Hayde

 Selected Music featured in today's Episode was: • Mr. Lucky, by Si Zentner • Begin the Beguine, by Artie Shaw and His Orchestra • Seance on a Wet Afternoon, arranged by John Barry

Tracklist 5:30 Lova - Freedom 11:30 Boozoo Bajou - Keep Going 18:30 The High & Mighty - Funk-O-Mart (Smoove Remix) feat. Chubb Rock 27:00 Vice beats, Smoove, Greg Blackman, Audessey - That Love (Remix) 38:30 Akay - So Good 43:00 Can 7 - Stronger 49:30 Jimmy Spicer - Adventures of Super Rhymes 58:00 N9ne Lives - Dr. Boogie (Original Mix) 1:12:00 Frankie Fandango - Sunshines Through The Clouds (2019 Rework) 1:21:00 Ariane Mamon - Dangerous Trees 1:30:00 Ferry Ultra - The Wiggle 1:34:00 Paul Da Gud - That Deep Feel (Main Mix) 1:38:00 Glass - Let Me Feel Your Heartbeat (2012 - Remaster) 1:55:00 Alex Lo Faro - I Need Your Love 1:57:30 Mike D' Jais - We Touch the Sky 2:00:30 Poncho Warwick - Amor Rocket (2025 Remaster) 2:09:00 Aggression - Tag (Woody Bianchi Edit) 2:12:30 Soulstance, Jazz 2 More - Latin Vibes 2:17:30 Marga Sol - Keep It Real 2:23:00 Aris Kokou - Papa Funk (Aris Kokou Afro Disco Mix) 2:27:00 Born 74/Onj - Tape Your Beat 2:33:00 Joji Chissu - Satan Was A Lady (Original Mix) 2:34:00 Joji Chissu - Satan Was a Lady (Original Mix) 2:35:30 Fred Everything - Breathe (Lazy Dub) 2:44:30 Julio Iglesias - Begin the Beguine 2:46:00 Julio Iglesias - Volver a Empezar (Begin the Beguine) 2:52:30 Madonna - Borderline 2:57:30 Matia Bazar - Ti Sento (1991 - Remaster) 3:20:00 Dirtytwo - In Ulmox We Trust 3:26:00 Club Soda - The Bottle (Ruff Mix) 3:31:00 D.P.V. - Move All Night (Original Mix) 3:34:00 Lempo - Lezgo 3:37:00 Duran Duran - All She Wants Is (US Master Mix) [2010 Remaster] 3:42:30 Pet Shop Boys - West End Girls 3:56:30 Daniele Busciala/Luis Radio/William Makume - Change For You (Luis Radio Remix) 4:02:00 Sandra - In The Heat Of The Night 4:04:00 Charly Angelz - Disco Freedom 4:09:00 Nile Rodgers - Do What You Wanna Do 4:16:00 Destiny II/Dave Lee - I'm Here For This (Groove Assassin Remix) 4:24:30 DJ Popinjay - Crop & Chop (Original Mix) 4:25:30 Even Funkier - A Fraction of Your Love 4:29:00 Lee Cabrera - Everybody (Shake It) 4:31:00 Beau - Losing You 4:34:00 Inaya Day - Keep Pushin' 4:38:30 Fleetwood Mac - Little Lies (Extended Version) Deep House, Funky Disco House, Live Mix, R&B, Funky House, Jazz Funk, vocal Type: DJ-Set116 bpm Key: AbmBeverly Hills, Californie, États-Uni

This episode was originally released on 6/1/2018. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes beginning with this episode on the birth of radio. ___________ Question? What do starlets Marlene Dietrich, Kay Thompson, Margaret Sullivan, and Loretta Young have in common? How about writers and directors Norman Corwin, Helen Deutsch, and Bill Spier. How about Danny Kaye, Mel Allen, Gerald Mohr, Elliot Lewis, Byron Kane, Lurene Tuttle, Paula Winslowe, Joseph Kearns, and Arthur Q. Bryan? Answer: They guest-starred, grew, or launched their careers on CBS's Forecast! Forecast was a summer replacement series for the Lux Radio Theatre which ran for two seasons in 1940 and 1941. It ushered in an era of show pilots for public viewing and helped give rise to countless actors, writers, and directors, as well as two huge shows: Suspense & Duffy's Tavern. On Breaking Walls Episode 80, we present an in-depth look at Forecast featuring interviews, insights, and episode moments. Highlights: • Why would Forecast have come to the airwaves in the first place? • Hear CBS head William S. Paley's insights on programming • How Alfred Hitchcock helped launch the famed mystery show, Suspense • Bill Spier: Music critic, turned producer and director of mystery • How Elliott Lewis got his start on Forecast • Mel Allen & Duffy's Tavern: Where the Elite Meet To Eat • Norman Corwin's Two pieces for Forecast that helped catapult his career • How radio actor Byron Kane got his first role on Forecast • Jim Backus & the Class of 1941 * Hopalong Cassidy • The Country Lawyer: One of the most experimental radio broadcasts of its time • An all african-american jubilee to close Forecast The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. Featured in today's episode were interviews with: • Bill Spier and Mel Allen for Dick Bertel & Ed Corcoran's WTIC Golden Age of Radio program, who's episodes can be found at GoldenAge-Wtic.org • Elliott Lewis and Byron Kane, for the Society to Preserve and Encourage Radio Drama, Variety, and Comedy, which can be found at SPERDVAC.com • and Jim Backus and Norman Corwin with Chuck Schaden, who's interviews can be streamed for free at SpeakingofRadio.com. Norman Corwin was also interviewed by Michael James Kacey for his DVD The Poet Laureate of Radio: An Interview with Norman Corwin, which you can pick up on Amazon. Selected Music featured in today's Episode was: • My Blue Heaven by Glenn Miller • Begin the Beguine & Stardust by Artie Shaw • Alcolba Azul, by Elliot Goldenthal The Battle Cry for Freedom by Jaqueline Schwab for the Civil War, by Ken Burns Falling played by Michael Silvermann • Catch a Falling Star, by Perry Como

In an inadvertently Spanish themed episode, Paulo doesn't want to join the Redington Frognal Neighbourhood Forum Whatsapp group - even if it does have to do with George Michael's bush.A Knight Rider Agujero de conejo, led us to discover the joys of 80s shows in Spanish - which makes them 100 times better.In movies, Dori cuts class, Paulo is crazy for you and Val Kilmer is mad at Matthew Modine.Julio Iglesias is getting the Netflix treatment - we're looking forward to the 80s stuff, but it will probably Begin in the Beguine.Jump to: - 80s Memories in Cape Town (00:00:56) - George Michael's bush (00:03:06) - Spanish Translations of TV Shows (00:09:22):  https://www.youtube.com/watch?v=gfYl6-RyAlMhttps://www.youtube.com/watch?v=rtpPXPsDQoE https://www.youtube.com/watch?v=zg3t5hYaea0https://www.youtube.com/watch?v=kYCzmjKNNPkhttps://www.youtube.com/watch?v=EsGKDo3Jgm0 - Cutting Class (25:12): https://www.youtube.com/watch?v=79iQi-2ZL9w - Vision Quest (00:37:15): https://www.youtube.com/watch?v=1VGaEQcvpZ4 - Julio Iglesias Biopic Announcement (00:48:18): https://todotvnews.com/en/netflix-announces-julio-iglesias-biopic/ - Rick Rolled by the House of Judiciary (00:51:38): https://san.com/cc/republicans-rickroll-the-epstein-files-receive-blowback-from-users/#Cape Town, #80s television shows, #George Michael, #pop culture, #native Capetonians, #Joburgers, #Fourways, #Camps Bay, #local community, #transformation, #nostalgia, #movie recommendations, #Cutting Class, #Brad Pitt, #ensemble casts, #Vision Quest, #Madonna, #Matthew Modine, #Full Metal Jacket, #80s movies, #film soundtrack, #cultural impact, #humor, #podcast episode, #cinema, #community reactions, #wildlife habitats, #neighborhood forum, #movie discussion, #live show, #movie trailers, #classic films, #film critiques, #character analysis, #coming-of-age themes, #fashion trends, #80s nostalgia, #film legacy.

Segunda sesión doble y vamos con dos cómics muy distintos, pero más que disfrutables, cada uno a su manera. Comenzamos con el drama de dos ancianitos adorables en medio de una guerra nuclear con Cuando el viento sopla, un tebeo de Raymond Briggs de 1986, que se hizo muy popular en su día gracias a la adaptación en película de animación. Sería una lástima que os perdierais este tebeazo, pero tenemos que avisar que no es muy apto para corazones sensibles o si tenéis un mal día. Así que saltamos al extremo contrario con la acción retro y disfrutona de Rocketeer: Cargamento de destrucción, ya en aquel 2012 de la eclosión definitiva del nuevo indie. Y atentos al equipazo porque os podéis hacer a la idea de que con Mark Waid, Chris Samnee y Jordie Bellaire, la cosa no puede salir mal. La noche es caliente como el infierno. Todo se te pega. Una asquerosa habitación de un asqueroso barrio de una asquerosa ciudad. El aparato de aire acondicionado es un pedazo de chatarra que no podría enfriar ni una bebida aunque la metieras dentro. Parece el sitio perfecto para escuchar el podcast 357 de ELHDLT Selección musical: 🎶 When the Wind Blows, de David Bowie (Cuando el viento sopla BSO) 🎶 Begin the Beguine, de Melora Hardin (Rocketeer BSO)

Eruch Jessawalla - Jan 4, 1996

S3E5 Secular Christ | Meister Eckhart & Beguine Mysticism.

We left off in Alexandria in the second century and in this episode time travel a thousand years forward in tie, to the 14th century Northern Europe. At this point in time, particularly in Belgium and in Western Germany in the Rhineland, a non dual philosophy of Christianity emerges. The center player is Meister Eckhart and we explore his relationship to the woman's movement of The Beguines.Visit our pop-up shop for the existential swag you did now know you needed! The music played in this episode is licensed under creativecommons.org: XYLO - ZIK - SUBMERSIBLE

Acompáñanos en este episodio del bruhcast en donde hablamos del álbum Begin The Beguine de Julio Iglesias.

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Watch the Screenplay Reading: https://www.youtube.com/watch?v=IRRmkXi2wUA Two families from different eras, one White and one Black, are inextricably linked by a violent family legacy and a historic home that holds a haunting secret. The story unfolds across two timelines, intricately weaving their lives together through violence, love, acceptance, and the discovery of a shared past. Get to know the writer: Begin the Beguine should be made into a movie because the time for it is right. It's not just a story for the LGBTQ+ community, it's a universal story that reflects our history as a nation coming to grips with its racist and homophobic past, and learning to move beyond it. As an artist, I wholeheartedly believe that film and television possess the transformative power to inform, challenge, and reshape society. They can serve as conduits to ignite empathy, compassion, and personal creativity. Through the mediums of film and TV, we can embark on journeys that transport us to different times, cultures, and places, broadening our perspective and offering us the opportunity to grow and learn. Begin the Beguine is a love story, but it's also a story about us as a nation and how we treat People of Color and People in the LGBTQ+ Community. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Chalee teaches Chelsea how to do a sourdough starter and we discuss all things bread. 

Eruch Jessawala - Aug 8, 1985

This is the third dialogue session that focuses on the Beguine mystic, Mechthild of Magdeburg. James Finley and Kirsten Oates talk about the third session which focused on passages from Mechthild of Magdeburg's book The Flowing Light of the Godhead. Resources: The transcript for this episode can be found here. The book we will be using this season, The Flowing Light of the Godhead, can be found here. Connect with us: Have a question you'd like Jim or Kirsten to answer about Mechthild of Magdeburg? Email us: podcasts@cac.org or leave us voicemail. Questions for this season will only be accepted until October 30th, 2023. This podcast is made possible, thanks to the generosity of our donors. If you would love to support the ongoing work of the Center for Action and Contemplation and the continued work of our podcasts, you can donate at https://cac.org/support-cac/podcasts/ Thank you!

This is the third session that focuses on the Beguine mystic, Mechthild of Magdeburg. In the tenor of the ancient practice of Lectio Divina, James Finley begins with passages from Mechthild of Magdeburg's book The Flowing Light of the Godhead, reflects on the qualitative essence of the spirit of this text, and finishes with a meditative practice. Resources: The transcript for this episode can be found here. The book we will be using this season, The Flowing Light of the Godhead, can be found here. Connect with us: Have a question you'd like Jim or Kirsten to answer about Mechthild of Magdeburg? Email us: podcasts@cac.org or leave us voicemail. Questions for this season will only be accepted until October 30th, 2023. This podcast is made possible, thanks to the generosity of our donors. If you would love to support the ongoing work of the Center for Action and Contemplation and the continued work of our podcasts, you can donate at https://cac.org/support-cac/podcasts/ Thank you!

This is the second dialogue session that focuses on the Beguine mystic, Mechthild of Magdeburg. James Finley and Kirsten Oates talk about the second session which focused on passages from Mechthild of Magdeburg's book The Flowing Light of the Godhead. Resources: The transcript for this episode can be found here. The book we will be using this season, The Flowing Light of the Godhead, can be found here. Connect with us: Have a question you'd like Jim or Kirsten to answer about Mechthild of Magdeburg? Email us: podcasts@cac.org or leave us voicemail. Questions for this season will only be accepted until October 30th, 2023. This podcast is made possible, thanks to the generosity of our donors. If you would love to support the ongoing work of the Center for Action and Contemplation and the continued work of our podcasts, you can donate at https://cac.org/support-cac/podcasts/ Thank you!

This is the second session that focuses on the Beguine mystic, Mechtild of Magdeburg. In the tenor of the ancient practice of Lectio Divina, James Finley begins with passages from Mechtild of Magdeburg's book The Flowing Light of the Godhead, reflects on the qualitative essence of the spirit of this text, and finishes with a meditative practice. Resources: The transcript for this episode can be found here. The book we will be using this season, The Flowing Light of the Godhead, can be found here. Connect with us: Have a question you'd like Jim or Kirsten to answer about Mechtild of Magdeburg? Email us: podcasts@cac.org or leave us voicemail. Questions for this season will only be accepted until October 30th, 2023. This podcast is made possible, thanks to the generosity of our donors. If you would love to support the ongoing work of the Center for Action and Contemplation and the continued work of our podcasts, you can donate at https://cac.org/support-cac/podcasts/ Thank you!

This is the first dialogue session that focuses on the Beguine mystic, Mechtild of Magdeburg. James Finley and Kirsten Oates talk about the first session which focused on passages from Mechtild of Magdeburg's book The Flowing Light of the Godhead. Resources: The transcript for this episode can be found here. The book we will be using this season, The Flowing Light of the Godhead, can be found here. Connect with us: Have a question you'd like Jim or Kirsten to answer about Mechtild of Magdeburg? Email us: podcasts@cac.org or leave us voicemail. Questions for this season will only be accepted until October 30th, 2023. This podcast is made possible, thanks to the generosity of our donors. If you would love to support the ongoing work of the Center for Action and Contemplation and the continued work of our podcasts, you can donate at https://cac.org/support-cac/podcasts/ Thank you!

This is the first session that focuses on the Beguine mystic, Mechtild of Magdeburg. In the tenor of the ancient practice of Lectio Divina, James Finley begins with passages from Mechtild of Magdeburg's book The Flowing Light of the Godhead, reflects on the qualitative essence of the spirit of this text, and finishes with a meditative practice. Resources: The transcript for this episode can be found here. The book we will be using this season, The Flowing Light of the Godhead, can be found here. Connect with us: Have a question you'd like Jim or Kirsten to answer about Mechtild of Magdeburg? Email us: podcasts@cac.org or leave us voicemail. Questions for this season will only be accepted until October 30th, 2023. This podcast is made possible, thanks to the generosity of our donors. If you would love to support the ongoing work of the Center for Action and Contemplation and the continued work of our podcasts, you can donate at https://cac.org/support-cac/podcasts/ Thank you!

Welcome to Season 8 of Turning to the Mystics. This season we are turning to the 13th-century German mystic Mechtild of Magdeburg, a Beguine, for spiritual guidance. In this episode, James Finley and Kirsten Oates cover the life and person of Mechtild of Magdeburg and discuss how we can work with her teachings to transform our lives. Resources: Turning to the Mystics is a podcast by the Center for Action and Contemplation. To learn more about James Finley, visit his faculty profile at the Center for Action and Contemplation here. The transcript for this episode can be found here. The book we will be using this season can be found here. Connect with us: Have a question you'd like Jim or Kirsten to answer about Mechtild of Magdeburg? Email us: podcasts@cac.org Questions for this season will only be accepted until October 30th, 2023. This podcast is made possible, thanks to the generosity of our donors. If you would love to support the ongoing work of the Center for Action and Contemplation and the continued work of our podcasts, you can donate at https://cac.org/support-cac/podcasts/ Thank you!

Mani Irani - Aug 8, 1987

Dedicamos el episodio a uno de los instrumentos que marcó las preferencias musicales de las adolescentes estadounidenses de la primera mitad del siglo XX, el clarinete. Nuestros invitados son famosos clarinetistas, pioneros del jazz y del swing (Sidney Bechet, Artie Shaw, Benny Goodman) y también valores contemporáneos del instrumento (Eddie Daniels, Anat Cohen) que construyen un sensual retrato musical del clarinete. Playlist: Sidney Bechet - Laura; Sidney Bechet - Love For Sale; Sidney Bechet - Petite Fleur; Sidney Bechet - Si Tu Vois Ma Mère; Artie Shaw - Begin the Beguine; Artie Shaw and His Orchestra - Frenesi; Artie Shaw & His Gramercy Five - Misterioso; The Benny Goodman Sextet - Seven Come Eleven; Benny Goodman and His Orchestra - Goody Goody; The Benny Goodman Quartet - Moon Glow; Eddie Daniels and Gary Burton - Moonglow; Eddie Daniels and Gary Burton - Sing, Sing, Sing; Eddie Daniels and Gary Burton - Avalon; Anat Cohen - La Vie en rose; Anat Cohen & The Anzic Orchestra - La Comparsa; Anat Cohen - Espinha de Bacalhau.

Through images that reflect the “flowing light of divinity,” librettist Christian Lehnert adapted Mechthild von Magdeburg's own texts into a narrative that consists of three sections to emphasize the relevance of Mechthild today. In his expansive liner notes, Lehnert detailed the breakdown of each section, “In the first part, the Beguine, fatally ill, returns to her ‘home.' In a vision, she experiences erotic unity with divinity. External perspective and internal space confront each other. "In the second part, Mechthild experiences the opposite: lonesome godlessness. She experiences this state as the abyss of death, as an infinite fall. At the same time, this experience cleanses all thinking and believing; it cleanses herself and any imagination of God. Mechthild experiences a negation of God in order to find God. In a vision of hell, she descends to the deepest abyss. "In the third part, Mechthild lives in a monastery. She now finds God in the people whom she serves, as a caregiver. Mechthild's faith moves – metaphorically speaking – through fire: warmth and light were created, and the loss of herself became a deepening of her own existence. Transformed, she now finds God everywhere. She does not find God as thought or faith, but rather as a life force.” Mechthild TracklistReiko Füting – Mechthild (2022)Act I: Verwunden, vereint/ Wond, United1. Scene 1: Ankunft/ Arrival [4:40]2-5. Scene 2: Die Kranke/ The Invalid [7:53]6-15. Scene 3: Im Gemach der Gottheit/ In the Room of Divinity [12:53]Act II: Die Gottesfremde/ The Alienated16-17. Scene 4: Abgekippt/ Dumped [11:54]18. Scene 5: Wo bist du dann? Where Will You Then Be? [3:43]19. Scene 6: Höllenfahrt/ Descent into Hell [8:54]20. Scene 7: Nichts/ Naught [3:49]Act III: Nach Gott/ After God21-22. Scene 8: Im Krankensaal/ In the Ward [10:90]23. Scene 9: Feuer/ Fire [8:17]Total Time: 73:15Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Katy Salomon representing Primo Artists.

El dominicano Alberto Beltrán grabó en 1985 un álbum titulado “Boleros siempre boleros”, el cual contiene una hermosa canción titulada “Volver a empezar”.   El bolero de Alberto Beltrán utiliza la letra adaptada al español por el artista ibérico Julio Iglesias, quien realizó una versión de esta canción para su álbum “De niña a mujer” de 1981, con el título “Volver a empezar (Begin the beguine)”.   Varias décadas atrás, ya el famoso cantante mexicano Jorge Negrete nos había dejado su versión de esta canción en 1948 con letra adaptada por su compatriota María Grever, quien conservó el título original en inglés “Begin the beguine”.   Esta canción fue compuesta por el estadounidense Cole Porter, la cual fue grabada inicialmente como una Rumba por el español Xavier Cugat con su Orquesta en 1935 bajo el título “Begin the beguine”.   Tres años después, la canción alcanzaría fama mundial al ser interpretada por el estadounidense Artie Shaw en 1938 en ritmo de Fox Trot.   En 1946 el astro de la música estadounidense Frank Sinatra grabó su versión de “Begin the beguine”. Así la escuché yo….   ¿Y tú, conocías el origen de esta canción?   Autor: Cole Porter (estadounidense) - Versión al español María Grever (mexicana) para Jorge Negrete - Versión al español Julio Iglesias (español) para Julio Iglesias y Alberto Beltrán   Volver a empezar - Alberto Beltrán (1985) “Boleros siempre boleros” álbum (1985) Ritmo: Bolero Chachachá Alberto Beltrán (nombre real Alberto Amancio Beltrán, dominicano)   Volver a empezar (Begin the beguine) - Julio Iglesias (1981) “De niña a mujer” álbum (1981) Ritmo: Disco Julio Iglesias (nombre real Julio José Iglesias de la Cueva, español)   Begin the beguine - Jorge Negrete (1948) “Jorge Negrete” álbum (1948) Ritmo: Bolero Jorge Negrete (nombre real Jorge Alberto Negrete Moreno, mexicano)   Begin the beguine - Frank Sinatra (1946) single “Begin the beguine/Where is my bess?” (1946) Ritmo: Fox Trot Frank Sinatra (nombre real Francis Albert Sinatra, estadounidense)   Begin the beguine - Artie Shaw (1938) single “Begin the beguine/Indian love call” (1938) Del musical “Jubilee” Ritmo: Fox Trot Artie Shaw (nombre real Avraham Ben-Yitzhak Arshawsky, estadounidense)   Begin the beguine - Xavier Cugat (1935) single “Begin the beguine/Waltz down the isle” (1935) Ritmo: Rumba Canta: Don Reid (estadounidense) Xavier Cugat nombre real Francisco de Asís Javier Cugat Mingall de Bru y Deulofeu, español) ___________________   “Así la escuché yo…” Temporada: 6 Episodio: 55   Sergio Productions Cali – Colombia Sergio Luis López Mora

The jokes take on a nautical feel, when Red Skelton talks about sailors, ships, and storms. Phil Davis plays, Begin the Beguine. Red talks about his new suit. When the…

Or, The Thousand Dollars. Red pokes fun at Dell King's mustache, then is sassed by his microphone. The jokes turn to politics. Phil Davis plays, Begin the Beguine. Red Foley…

This week on The Sound Kitchen you'll hear the answer to the question about the late Brazilian football icon, Edson Arantes do Nascimento, better known as Pelé. There's info about the International Day of Human Fraternity, the bonus question and the “Listeners Corner” with Michael Fitzpatrick, Ollia Horton's “Happy Moment”, and “Music from Erwan”. All that, and the new quiz question, too, so click on the “Audio” arrow above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.The ePOP video competition is open! The deadline for entries is 20 April 2023 – but don't put it off! Start now!The ePOP video competition is sponsored by the RFI department “Planète Radio”, whose mission is to give a voice to the voiceless. ePOP focuses on the environment, and how climate change has affected “ordinary” people …you create a three-minute video about climate change, the environment, pollution – told by the people it affects. So put on your thinking caps and get to work ... and by the way, the prizes are incredibly generous!To read the ePOP entry guidelines – as well as watch videos from previous years – go to the ePOP website.Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service.  Keep checking our website for updates on the latest from our staff of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” on the upper left-hand side of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note!  I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”).There's a Facebook page for members of the general RFI Listeners Club too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!We have a new RFI Listeners Club member to welcome: Md. Rana from Naogaon, Bangladesh.Welcome, Rana! So glad you have joined us! Be sure you join the RFI Listeners Club Facebook page!You too can be a member of the RFI Listeners Club – just write to me at english.service@rfi.fr and tell me you want to join, and I'll send you a membership number. It's that easy. When you win a Sound Kitchen quiz as an RFI Listeners Club member, you receive a premium prize, AND, you can join our Facebook page, the RFI Listeners Club page. You must ask to join the group, and you must furnish your RFI Listeners Club membership number. I'll approve you, and off you go!This week's quiz: On 7 January, I asked you a question about the "king” of football, Brazilian Edson Arantes do Nascimento, better known as Pelé. Pelé passed away at the end of December, and RFI English journalist Paul Myers wrote about him in his article “Brazilian president Lula joins the mourners at wake for football icon Pelé”. You were to re-read Paul's article and send in the answer to this question: how many goals did Pelé score throughout his career playing for Brazil, Santos, and the New York Cosmos?The answer is: 1283In addition to the quiz question, there was the bonus question: “What's the nicest compliment you've ever been given?”Do you have a bonus question idea? Send it to us!  The winners are: RFI Listeners Club member Skafzal Husain from Odisha, India. Skafzal is also the winner of this week's bonus question.Congratulations Skafzal !Also on the list of lucky winners this week are Nuraiz Bin Zaman, who's a member of the RFI Amour Fan Club in Rajshahi, Bangladesh; RFI Listeners Club members Shaira Hosen Mo and Ajharul Islam Tamim, both from Kishoreganj, Bangladesh, and last but not least, Rachid Dahmani from M'sila Algeria, who is also an RFI Listeners Club member.Congratulations winners!Here's the music you heard on this week's programme: “Arrival of the Queen of Sheba” by George Frederic Handel, played by Paul Barton; “Begin the Beguine” by Cole Porter, performed by Artie Shaw and his orchestra; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer; “Happy” by Pharrell Williams, and traditional pygmy music, arranged by Erwan Rome.Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, listen closely to Alison Hird's story on the 26 January Spotlight on France podcast, or re-read her article “French women protesting pension reform say another way of working is possible” to help you with the answer.You have until 27 February to enter this week's quiz; the winners will be announced on the 4 March podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here.  

Songs include: Don't Be That Way, A-Tisket  A-Tasket, Two Sleepy People, Begin the Beguine, My Reverie, Nice Work If You Can Get It & Bei Mir Bist du Schoen. Performers include: Duke Ellington, Benny Goodman, the Andrews Sisters, Fats Waller, Artie Shaw, Larry Clinton and Fred Astaire. The show concludes with a tribute to Louise Tobin, who passed away this week at 104.

Performances - Jul 31, 1988

In loving memory. Played on the harmonica by Daniel Hoffer.

Today on the Almanac, we tell the story of a mysterious 14th-century Beguine with a silver chair. #1517 #churchhistory — SHOW NOTES are available: https://www.1517.org/podcasts/the-christian-history-almanac GIVE BACK: Support the work of 1517 today CONTACT: CHA@1517.org SUBSCRIBE: Apple Podcasts Spotify Stitcher Overcast Google Play FOLLOW US: Facebook Twitter Audio production by Christopher Gillespie (gillespie.media).

Daphne Koller joins Lexman to talk about her recent furlough from her job at the Antarctica Scaladiers ranch. They discuss the joys and hardships of life on the ranch, as well as the unique culture of the Antarctic.

Music by Dr. Thomas W. Smith

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------

Our Picks for the Preakness and the Black-eyed Susan Stakes! Timestamps with each horse's name in the post order. NOTE: If you're a beginner or casual horse racing fan who'd like to learn more, we've got the BASICS of Triple Crown races and wagering on three year-olds in a fun, illustrated conversation. https://youtu.be/xv14DhiF7RY We begin with the girls, 13 fillies for Friday's Black-eyed Susan: 2:38 Divine Huntress 1): Prat questions, post advantage 4:01 Missy Greer 2): Weej sees Surprise Potential! 5:07 Miss Yearwood 3): Same as Missy, but better, Trixie wonders? 6:57 Midnight Stroll 4): Rising Interest 7:53 Beguine 5): Needs to refresh earlier spark 8:58 Luna Belle 6): Weej really likes this fave. Trixie says

You know what they say, it's five o'clock somewhere in the world and thus time for the cocktail jazz. www.cocktailnation.net Tiki Delights- Cocktail Time Stanley Black- Ebb Tide. Stacey Kent- The Summer We Crossed Europe In the Rain Dexter Gordon- Willow Weep For Me Joe Pass- Only Have Eyes For You Bill Evans- Alice in Wonderland Marty Paich Trio- The New Soft Shoe Jim Buening-Prairie Calling Beegie Adair- Begin the Beguine          Jazz Lounge Zone- Relaxing Piano Music Carmen Cabello-A Very Precious Love Anne Phillips-When Sunny Gets Blue

durée : 00:57:23 - « Begin the beguine » (Cole Porter) 1935 - par : Laurent Valero - When they begin the beguine It brings back the sound of music so tender It brings back a night of tropical splendor It brings back a memory ever green ... - réalisé par : Patrick Lérisset

Dorothea Dickerman returns as Steven's guest to discuss why the 3649 lines of poetry in "Venus and Adonis" and "The Rape of Lucrece" are well worth the read for Quillers on the trail of the Shakespeare authorship mystery. Dorothea uses her background as a lawyer to delve into Tudor law, politics, and first and third party historical documents to explain the details of these two epic poems, and why the works were part of a high stakes personal and political battle over the family secrets behind the verses. Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com  Presented by the Shakespeare Oxford Fellowship. Learn more at www.shakespeareoxfordfellowship.org  Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

Begin the season! Hooray! Nothing can beat the adrenalin rush that comes with the start of a new season (no matter what went on the season before). Especially when your team begins the beguine with a win in the domestic cup. We discuss the hard-fought 1:0 at the Betzenberg, no mean feat when taking into account its infamous atmosphere, its braying fans and Kaiserslautern's traditional "robust" style of play. Other topics: what our boys did in their summer holidays (at Euro 2020, that is), new team members and possible developments on the transfer market, the first match of the season on Friday against Bayern Munich (a must-win, of course). We also go off on a few tangents and dwell on "failed players" and first matches of the season against Bayern Munich. This time around, the legendary goal was scored in Kaiserslautern and the ball defied the laws of physics (so it can only be by Juan Arango). In keeping with the wistfulness in the lyrics of the Cole Porter classic, we share our bitter-sweet memories of the match. "Oh yes, let them begin the beguine, make them play." Legendary goal: https://www.youtube.com/watch?v=202YBohR9vc Credit: Intro/Outro-Musik von Nomoredolls, Electric Sheep, http://www.jamendo.com/de/track/275278/electric-sheep Topic-Jingle: Apple/Garageband

Episode 122 of A History of Rock Music in Five Hundred Songs is a double-length (over an hour) look at “A Change is Gonna Come” by Sam Cooke, at Cooke's political and artistic growth, and at the circumstances around his death. This one has a long list of content warnings at the beginning of the episode, for good reason... Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "My Guy" by Mary Wells.   Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. For this episode, he also did the re-edit of the closing theme. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week due to the number of songs by one artist. My main source for this episode is Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick. Like all Guralnick's work, it's an essential book if you're even slightly interested in the subject. Information on Allen Klein comes from Fred Goodman's book on Klein. The Netflix documentary I mention can be found here. This is the best compilation of Sam Cooke's music for the beginner, and the only one to contain recordings from all four labels (Specialty, Keen, RCA, and Tracey) he recorded for. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, a brief acknowledgement --  Lloyd Price plays a minor role in this story, and I heard as I was in the middle of writing it that he had died on May the third, aged eighty-eight. Price was one of the great pioneers of rock and roll -- I first looked at him more than a hundred episodes ago, back in episode twelve -- and he continued performing live right up until the start of the coronavirus outbreak in March last year. He'll be missed. Today we're going to look at one of the great soul protest records of all time, a record that was the high point in the career of its singer and songwriter, and which became a great anthem of the Civil Rights movement. But we're also going to look at the dark side of its creator, and the events that led to his untimely death. More than most episodes of the podcast, this requires a content warning. Indeed, it requires more than just content warnings. Those warnings are necessary -- this episode will deal with not only a murder, but also sexual violence, racialised violence, spousal abuse, child sexual abuse, drug use and the death of a child, as well as being about a song which is in itself about the racism that pervaded American society in the 1960s as it does today. This is a story from which absolutely nobody comes out well, which features very few decent human beings, and which I find truly unpleasant to write about. But there is something else that I want to say, before getting into the episode -- more than any other episode I have done, and I think more than any other episode that I am *going* to do, this is an episode where my position as a white British man born fourteen years after Sam Cooke's death might mean that my perspective is flawed in ways that might actually make it impossible for me to tell the story properly, and in ways that might mean that my telling of the story is doing a grave, racialised, injustice. Were this song and this story not so important to the ongoing narrative, I would simply avoid telling it altogether, but there is simply no way for me to avoid it and tell the rest of the story without doing equally grave injustices. So I will say this upfront. There are two narratives about Sam Cooke's death -- the official one, and a more conspiratorial one. Everything I know about the case tells me that the official account is the one that is actually correct, and *as far as I can tell*, I have good reason for thinking that way. But here's the thing. The other narrative is one that is held by a lot of people who knew Cooke, and they claim that the reason their narrative is not the officially-accepted one is because of racism. I do not think that is the case myself. In fact, all the facts I have seen about the case lead to the conclusion that the official narrative is correct. But I am deeply, deeply, uncomfortable with saying that. Because I have an obligation to be honest, but I also have an obligation not to talk over Black people about their experiences of racism. So what I want to say now, before even starting the episode, is this. Listen to what I have to say, by all means, but then watch the Netflix documentary Remastered: The Two Killings of Sam Cooke, and *listen* to what the people saying otherwise have to say. I can only give my own perspective, and my perspective is far more likely to be flawed here than in any other episode of this podcast. I am truly uncomfortable writing and recording this episode, and were this any other record at all, I would have just skipped it. But that was not an option. Anyway, all that said, let's get on with the episode proper, which is on one of the most important records of the sixties -- "A Change is Gonna Come": [Excerpt: Sam Cooke, "A Change is Gonna Come"] It's been almost eighteen months since we last looked properly at Sam Cooke, way back in episode sixty, and a lot has happened in the story since then, so a brief recap -- Sam Cooke started out as a gospel singer, first with a group called the Highway QCs, and then joining the Soul Stirrers, the most popular gospel group on the circuit, replacing their lead singer.  The Soul Stirrers had signed to Specialty Records, and released records like "Touch the Hem of His Garment", written by Cooke in the studio: [Excerpt: The Soul Stirrers, "Touch the Hem of His Garment"] Cooke had eventually moved away from gospel music to secular, starting with a rewrite of a gospel song he'd written, changing "My God is so wonderful" to "My girl is so lovable", but he'd released that under the name Dale Cook, rather than his own name, in case of a backlash from gospel fans: [Excerpt: Dale Cook, "Lovable"] No-one was fooled, and he started recording under his own name. Shortly after this, Cooke had written his big breakthrough hit, "You Send Me", and when Art Rupe at Specialty Records was unimpressed with it, Cooke and his producer Bumps Blackwell had both moved from Specialty to a new label, Keen Records. Cooke's first appearance on the Ed Sullivan Show was a disaster -- cutting him off half way through the song -- but his second was a triumph, and "You Send Me" went to number one on both the pop and R&B charts, and sold over a million copies, while Specialty put out unreleased earlier recordings and sold over half a million copies of some of those. Sam Cooke was now one of the biggest things in the music business. And he had the potential to become even bigger. He had the looks of a teen idol, and was easily among the two or three best-looking male singing stars of the period. He had a huge amount of personal charm, he was fiercely intelligent, and had an arrogant selfishness that came over as self-confidence -- he believed he deserved everything the world could offer to him, and he was charming enough that everyone he met believed it too. He had an astonishing singing voice, and he was also prodigiously talented as a songwriter -- he'd written "Touch the Hem of His Garment" on the spot in the studio after coming in with no material prepared for the session. Not everything was going entirely smoothly for him, though -- he was in the middle of getting divorced from his first wife, and he was arrested backstage after a gig for non-payment of child support for a child he'd fathered with another woman he'd abandoned. This was a regular occurrence – he was as self-centred in his relationships with women as in other aspects of his life -- though as in those other aspects, the women in question were generally so smitten with him that they forgave him everything. Cooke wanted more than to be a pop star. He had his sights set on being another Harry Belafonte. At this point Belafonte was probably the most popular Black all-round entertainer in the world, with his performances of pop arrangements of calypso and folk songs: [Excerpt: Harry Belafonte, "Jamaica Farewell"] Belafonte had nothing like Cooke's chart success, but he was playing prestigious dates in Las Vegas and at high-class clubs, and Cooke wanted to follow his example. Most notably, at a time when almost all notable Black performers straightened their hair, Belafonte left his hair natural and cut it short. Cooke thought that this was very, very shrewd on Belafonte's part, copying him and saying to his brother L.C. that this would make him less threatening to the white public -- he believed that if a Black man slicked his hair back and processed it, he would come across as slick and dishonest, white people wouldn't trust him around their daughters. But if he just kept his natural hair but cut it short, then he'd come across as more honest and trustworthy, just an all-American boy. Oddly, the biggest effect of this decision wasn't on white audiences, but on Black people watching his appearances on TV. People like Smokey Robinson have often talked about how seeing Cooke perform on TV with his natural hair made a huge impression on them -- showing them that it was possible to be a Black man and not be ashamed of it. It was a move to appeal to the white audience that also had the effect of encouraging Black pride. But Cooke's first attempt at appealing to the mainstream white audience that loved Belafonte didn't go down well. He was booked in for a three-week appearance at the Copacabana, one of the most prestigious nightclubs in the country, and right from the start it was a failure. Bumps Blackwell had written the arrangements for the show on the basis that there would be a small band, and when they discovered Cooke would be backed by a sixteen-piece orchestra he and his assistant Lou Adler had to frantically spend a couple of days copying out sheet music for a bigger group. And Cooke's repertoire for those shows stuck mostly to old standards like "Begin the Beguine", "Ol' Man River", and "I Love You For Sentimental Reasons", with the only new song being "Mary, Mary Lou", a song written by a Catholic priest which had recently been a flop single for Bill Haley: [Excerpt: Bill Haley and the Comets, "Mary, Mary Lou"] Cooke didn't put over those old standards with anything like the passion he had dedicated to his gospel and rock and roll recordings, and audiences were largely unimpressed. Cooke gave up for the moment on trying to win over the supper-club audiences and returned to touring on rock and roll package tours, becoming so close with Clyde McPhatter and LaVern Baker on one tour that they seriously considered trying to get their record labels to agree to allow them to record an album of gospel songs together as a trio, although that never worked out. Cooke looked up immensely to McPhatter in particular, and listened attentively as McPhatter explained his views of the world -- ones that were very different to the ones Cooke had grown up with. McPhatter was an outspoken atheist who saw religion as a con, and who also had been a lifelong member of the NAACP and was a vocal supporter of civil rights. Cooke listened closely to what McPhatter had to say, and thought long and hard about it. Cooke was also dealing with lawsuits from Art Rupe at Specialty Records. When Cooke had left Specialty, he'd agreed that Rupe would own the publishing on any future songs he'd written, but he had got round this by crediting "You Send Me" to his brother, L.C.  Rupe was incensed, and obviously sued, but he had no hard evidence that Cooke had himself written the song. Indeed, Rupe at one point even tried to turn the tables on Cooke, by getting Lloyd Price's brother Leo, a songwriter himself who had written "Send Me Some Lovin'", to claim that *he* had written "You Send Me", but Leo Price quickly backed down from the claim, and Rupe was left unable to prove anything. It didn't hurt Cooke's case that L.C., while not a talent of his brother's stature, was at least a professional singer and songwriter himself, who was releasing records on Checker Records that sounded very like Sam's work: [Excerpt: L.C. Cooke, "Do You Remember?"] For much of the late 1950s, Sam Cooke seemed to be trying to fit into two worlds simultaneously. He was insistent  that he wanted to move into the type of showbusiness that was represented by the Rat Pack -- he cut an album of Billie Holiday songs, and he got rid of Bumps Blackwell as his manager, replacing him with a white man who had previously been Sammy Davis Jr.'s publicist. But on the other hand, he was hanging out with the Central Avenue music scene in LA, with Johnny "Guitar" Watson, Eugene Church, Jesse Belvin, and Alex and Gaynel Hodge. While his aspirations towards Rat Packdom faltered, he carried on having hits -- his own "Only Sixteen" and "Everybody Loves to Cha-Cha-Cha", and he recorded, but didn't release yet, a song that Lou Adler had written with his friend Herb Alpert, and whose lyrics Sam revised, "Wonderful World". Cooke was also starting a relationship with the woman who would become his second wife, Barbara. He'd actually had an affair with her some years earlier, and they'd had a daughter, Linda, who Cooke had initially not acknowledged as his own -- he had many children with other women -- but they got together in 1958, around the time of Cooke's divorce from his first wife. Tragically, that first wife then died in a car crash in 1959 -- Cooke paid her funeral expenses. He was also getting dissatisfied with Keen Records, which had been growing too fast to keep up with its expenses -- Bumps Blackwell, Lou Adler, and Herb Alpert, who had all started at the label with him, all started to move away from it to do other things, and Cooke was sure that Keen weren't paying him the money they owed as fast as they should.  He also wanted to help some of his old friends out -- while Cooke was an incredibly selfish man, he was also someone who believed in not leaving anyone behind, so long as they paid him what he thought was the proper respect, and so he started his own record label, with his friends J.W. Alexander and Roy Crain, called SAR Records (standing for Sam, Alex, and Roy), to put out records by his old group The Soul Stirrers, for whom he wrote "Stand By Me, Father", a song inspired by an old gospel song by Charles Tindley, and with a lead sung by Johnnie Taylor, the Sam Cooke soundalike who had replaced Cooke as the group's lead singer: [Excerpt: The Soul Stirrers, "Stand By Me, Father"] Of course, that became, as we heard a few months back, the basis for Ben E. King's big hit "Stand By Me". Cooke and Alexander had already started up their own publishing company, and were collaborating on songs for other artists, too. They wrote "I Know I'll Always Be In Love With You", which was recorded first by the Hollywood Flames and then by Jackie Wilson: [Excerpt: Jackie Wilson, "I Know I'll Always Be in Love With You"] And "I'm Alright", which Little Anthony and the Imperials released as a single: [Excerpt: Little Anthony and the Imperials, "I'm Alright"] But while he was working on rock and roll and gospel records, he was also learning to tap-dance for his performances at the exclusive white nightclubs he wanted to play -- though when he played Black venues he didn't include those bits in the act. He did, though, perform seated on a stool in imitation of Perry Como, having decided that if he couldn't match the energetic performances of people like Jackie Wilson (who had been his support act at a run of shows where Wilson had gone down better than Cooke) he would go in a more casual direction.  He was also looking to move into the pop market when it came to his records, and he eventually signed up with RCA Records, and specifically with Hugo and Luigi. We've talked about Hugo and Luigi before, a couple of times -- they were the people who had produced Georgia Gibbs' soundalike records that had ripped off Black performers, and we talked about their production of "The Lion Sleeps Tonight", though at this point they hadn't yet made that record. They had occasionally produced records that were more R&B flavoured -- they produced "Shout!" for the Isley Brothers, for example -- but they were in general about as bland and middle-of-the-road a duo as one could imagine working in the music industry. The first record that Hugo and Luigi produced for Cooke was a song that the then-unknown Jeff Barry had written, "Teenage Sonata". That record did nothing, and the label were especially annoyed when a recording Cooke had done while he was still at Keen, "Wonderful World", was released on his old label and made the top twenty: [Excerpt: Sam Cooke, "Wonderful World"] Cooke's collaboration with Hugo and Luigi would soon turn into one that bore a strong resemblance to their collaboration with the Isley Brothers -- they would release great singles, but albums that fundamentally misunderstood Cooke's artistry; though some of that misunderstanding may have come from Cooke himself, who never seemed to be sure which direction to go in. Many of the album tracks they released have Cooke sounding unsure of himself, and hesitant, but that's not something that you can say about the first real success that Cooke came out with on RCA, a song he wrote after driving past a group of prisoners working on a chain gang. He'd originally intended that song to be performed by his brother Charles, but he'd half-heartedly played it for Hugo and Luigi when they'd not seen much potential in any of his other recent originals, and they'd decided that that was the hit: [Excerpt: Sam Cooke, "Chain Gang"] That made number two on the charts, becoming his biggest hit since "You Send Me". Meanwhile Cooke was also still recording other artists for SAR -- though by this point Roy Crain had been eased out and SAR now stood for Sam and Alex Records. He got a group of Central Avenue singers including Alex and Gaynel Hodge to sing backing vocals on a song he gave to a friend of his named Johnny Morisette, who was known professionally as "Johnny Two-Voice" because of the way he could sound totally different in his different ranges, but who was known to his acquaintances as "the singing pimp", because of his other occupation: [Excerpt: Johnny Morisette, "I'll Never Come Running Back to You"] They also thought seriously about signing up a young gospel singer they knew called Aretha Franklin, who was such an admirer of Sam's that she would try to copy him -- she changed her brand of cigarettes to match the ones he smoked, and when she saw him on tour reading William Shirer's The Rise and Fall of the Third Reich -- Cooke was an obsessive reader, especially of history -- she bought her own copy. She never read it, but she thought she should have a copy if Cooke had one.  But they decided that Franklin's father, the civil rights leader Rev. C.L. Franklin, was too intimidating, and so it would probably not be a good idea to get involved. The tour on which Franklin saw Cooke read Shirer's book was also the one on which Cooke made his first public stance in favour of civil rights -- that tour, which was one of the big package tours of the time, was meant to play a segregated venue, but the artists hadn't been informed just how segregated it was. While obviously none of them supported segregation, they would mostly accept playing to segregated crowds, because there was no alternative, if at least Black people were allowed in in roughly equal numbers. But in this case, Black people were confined to a tiny proportion of the seats, in areas with extremely restricted views, and both Cooke and Clyde McPhatter refused to go on stage, though the rest of the acts didn't join in their boycott. Cooke's collaboration with Hugo and Luigi remained hit and miss, and produced a few more flop singles, but then Cooke persuaded them to allow him to work in California, with the musicians he'd worked with at Keen, and with René Hall arranging rather than the arrangers they'd employed previously. While the production on Cooke's California sessions was still credited to Hugo and Luigi, Luigi was the only one actually attending those sessions -- Hugo was afraid of flying and wouldn't come out to the West Coast. The first record that came out under this new arrangement was another big hit, "Cupid", which had vocal sound effects supplied by a gospel act Cooke knew, the Sims twins -- Kenneth Sims made the sound of an arrow flying through the air, and Bobbie Sims made the thwacking noise of it hitting a target: [Excerpt: Sam Cooke, "Cupid"] Cooke became RCA's second-biggest artist, at least in terms of singles sales, and had a string of hits like "Twistin' the Night Away", "Another Saturday Night", and "Bring it On Home to Me", though he was finding it difficult to break the album market. He was frustrated that he wasn't having number one records, but Luigi reassured him that that was actually the best position to be in: “We're getting number four, number six on the Billboard charts, and as long as we get that, nobody's gonna bother you. But if you get two or three number ones in a row, then you got no place to go but down. Then you're competition, and they're just going to do everything they can to knock you off.” But Cooke's personal life had started to unravel. After having two daughters, his wife gave birth to a son. Cooke had desperately wanted a male heir, but he didn't bond with his son, Vincent, who he insisted didn't look like him. He became emotionally and physically abusive towards his wife, beating her up on more than one occasion, and while she had been a regular drug user already, her use increased to try to dull the pain of being married to someone who she loved but who was abusing her so appallingly. Things became much, much worse, when the most tragic thing imaginable happened. Cooke had a swim in his private pool and then went out, leaving the cover off. His wife, Barbara, then let the children play outside, thinking that their three-year-old daughter Tracey would be able to look after the baby for a few minutes. Baby Vincent fell into the pool and drowned. Both parents blamed the other, and Sam was devastated at the death of the child he only truly accepted as his son once the child was dead. You can hear some of that devastation in a recording he made a few months later of an old Appalachian folk song: [Excerpt: Sam Cooke, "The Riddle Song"] Friends worried that Cooke was suicidal, but Cooke held it together, in part because of the intervention of his new manager, Allen Klein. Klein had had a hard life growing up -- his mother had died when he was young, and his father had sent him to an orphanage for a while. Eventually, his father remarried, and young Allen came back to the family home, but his father was still always distant. He grew close to his stepmother, but then she died as well.  Klein turned up at Cooke's house two days after the baby's funeral with his own daughter, and insisted on taking Cooke and his surviving children to Disneyland, telling him "You always had your mother and father, but I lost my mother when I was nine months old. You've got two other children. Those two girls need you even more now. You're their only father, and you've got to take care of them." Klein was very similar to Cooke in many ways. He had decided from a very early age that he couldn't trust anyone but himself, and that he had to make his own way in the world. He became hugely ambitious, and wanted to reach the very top. Klein had become an accountant, and gone to work for Joe Fenton, an accountant who specialised in the entertainment industry.  One of the first jobs Klein did in his role with Fenton was to assist him with an audit of Dot Records in 1957, called for by the Harry Fox Agency. We've not talked about Harry Fox before, but they're one of the most important organisations in the American music industry -- they're a collection agency like ASCAP or BMI, who collect songwriting royalties for publishing companies and songwriters. But while ASCAP and BMI collect performance royalties -- they collect payments for music played on the radio or TV, or in live performance -- Harry Fox collect the money for mechanical reproduction, the use of songs on records. It's a gigantic organisation, and it has the backing of all the major music publishers. To do this audit, Klein and Fenton had to travel from New York to LA, and as they were being paid by a major entertainment industry organisation, they were put up in the Roosevelt Hotel, where at the time the other guests included Elvis, Claude Rains, and Sidney Poitier. Klein, who had grown up in comparative poverty, couldn't help but be impressed at the money that you could make by working in entertainment. The audit of Dot Records found some serious discrepancies -- they were severely underpaying publishers and songwriters. While they were in LA, Klein and Fenton also audited several other labels, like Liberty, and they found the same thing at all of them. The record labels were systematically conning publishing companies out of money they were owed. Klein immediately realised that if they were doing this to the major publishing companies that Harry Fox represented, they must be doing the same kind of thing to small songwriters and artists, the kind of people who didn't have a huge organisation to back them up.  Unfortunately for Klein, soon after he started working for Fenton, he was fired -- he was someone who was chronically unable to get to work on time in the morning, and while he didn't mind working ridiculously long hours, he could not, no matter how hard he tried, get himself into the office for nine in the morning. He was fired after only four months, and Fenton even recommended to the State of New Jersey that they not allow Klein to become a Certified Public Accountant -- a qualification which, as a result, Klein never ended up getting. He set up his own company to perform audits of record companies for performers, and he got lucky by bumping in to someone he'd been at school with -- Don Kirshner. Kirshner agreed to start passing clients Klein's way, and his first client was Ersel Hickey (no relation), the rockabilly singer we briefly discussed in the episode on "Twist and Shout", who had a hit with "Bluebirds Over the Mountain": [Excerpt: Ersel Hickey, "Bluebirds Over the Mountain"] Klein audited Hickey's record label, but was rather surprised to find out that they didn't actually owe Hickey a penny. It turned out that record contracts were written so much in the company's favour that they didn't have to use any dodgy accounting to get out of paying the artists anything.  But sometimes, the companies would rip the artists off anyway, if they were particularly unscrupulous. Kirshner had also referred the rockabilly singer/songwriter duo Buddy Knox and Jimmy Bowen to Klein. Their big hit, "Party Doll", had come out on Roulette Records: [Excerpt: Buddy Knox, "Party Doll"] Klein found out that in the case of Roulette, the label *were* actually not paying the artists what they were contractually owed, largely because Morris Levy didn't like paying people money. After the audit, Levy did actually agree to pay Knox and Bowen what they were owed, but he insisted that he would only pay it over four years, at a rate of seventy dollars a week -- if Klein wanted it any sooner, he'd have to sue, and the money would all be eaten up in lawyers' fees. That was still better than nothing, and Klein made enough from his cut that he was able to buy himself a car.  Klein and Levy actually became friends -- the two men were very similar in many ways -- and Klein learned a big lesson from negotiating with him. That lesson was that you take what you can get, because something is better than nothing. If you discover a company owes your client a hundred thousand dollars that your client didn't know about, and they offer you fifty thousand to settle, you take the fifty thousand. Your client still ends up much better off than they would have been, you've not burned any bridges with the company, and you get your cut. And Klein's cut was substantial -- his standard was to take fifty percent of any extra money he got for the artist. And he prided himself on always finding something -- though rarely as much as he would suggest to his clients before getting together with them. One particularly telling anecdote about Klein's attitude is that when he was at Don Kirshner's wedding he went up to Kirshner's friend Bobby Darin and told him he could get him a hundred thousand dollars. Darin signed, but according to Darin's manager, Klein only actually found one underpayment, for ten thousand copies of Darin's hit "Splish Splash" which Atlantic hadn't paid for: [Excerpt: Bobby Darin, "Splish Splash"] However, at the time singles sold for a dollar, Darin was on a five percent royalty, and he only got paid for ninety percent of the records sold (because of a standard clause in contracts at that time to allow for breakages). The result was that Klein found an underpayment of just four hundred and fifty dollars, a little less than the hundred thousand he'd promised the unimpressed Darin. But Klein used the connection to Darin to get a lot more clients, and he did significantly better for some of them. For Lloyd Price, for example, he managed to get an extra sixty thousand dollars from ABC/Paramount, and Price and Klein became lifelong friends. And Price sang Klein's praises to Sam Cooke, who became eager to meet him.  He got the chance when Klein started up a new business with a DJ named Jocko Henderson. Henderson was one of the most prominent DJs in Philadelphia, and was very involved in all aspects of the music industry. He had much the same kind of relationship with Scepter Records that Alan Freed had with Chess, and was cut in on most of the label's publishing on its big hits -- rights he would later sell to Klein in order to avoid the kind of investigation that destroyed Freed's career. Henderson had also been the DJ who had first promoted "You Send Me" on the radio, and Cooke owed him a favour. Cooke was also at the time being courted by Scepter Records, who had offered him a job as the Shirelles' writer and producer once Florence Greenberg had split up with Luther Dixon. He'd written them one song, which referenced many of their earlier hits: [Excerpt: The Shirelles, "Only Time Will Tell"] However, Cooke didn't stick with Scepter -- he figured out that Greenberg wasn't interested in him as a writer/producer, but as a singer, and he wasn't going to record for an indie like them when he could work with RCA. But when Henderson and Klein started running a theatre together, putting on R&B shows, those shows obviously featured a lot of Scepter acts like the Shirelles and Dionne Warwick, but they also featured Sam Cooke on the top of the bill, and towards the bottom of the bill were the Valentinos, a band featuring Cooke's touring guitarist, Bobby Womack, who were signed to SAR Records: [Excerpt: The Valentinos, "It's All Over Now"] Klein was absolutely overawed with Cooke's talent when he first saw him on stage, realising straight away that this was one of the major artists of his generation. Whereas most of the time, Klein would push himself forward straight away and try to dominate artists, here he didn't even approach Cooke at all, just chatted to Cooke's road manager and found out what Cooke was like as a person. This is something one sees time and again when it comes to Cooke -- otherwise unflappable people just being absolutely blown away by his charisma, talent, and personality, and behaving towards him in ways that they behaved to nobody else. At the end of the residency, Cooke had approached Klein, having heard good things about him from Price, Henderson, and his road manager. The two had several meetings over the next few months, so Klein could get an idea of what it was that was bothering Cooke about his business arrangements. Eventually, after a few months, Cooke asked Klein for his honest opinion. Klein was blunt. "I think they're treating you like a " -- and here he used the single most offensive anti-Black slur there is -- "and you shouldn't let them." Cooke agreed, and said he wanted Klein to take control of his business arrangements. The first thing Klein did was to get Cooke a big advance from BMI against his future royalties as a songwriter and publisher, giving him seventy-nine thousand dollars up front to ease his immediate cash problems. He then started working on getting Cooke a better recording contract. The first thing he did was go to Columbia records, who he thought would be a better fit for Cooke than RCA were, and with whom Cooke already had a relationship, as he was at that time working with his friend, the boxer Muhammad Ali, on an album that Ali was recording for Columbia: [Excerpt: Muhammad Ali, "The Gang's All Here"] Cooke was very friendly with Ali, and also with Ali's spiritual mentor, the activist Malcolm X, and both men tried to get him to convert to the Nation of Islam. Cooke declined -- while he respected both men, he had less respect for Elijah Mohammed, who he saw as a con artist, and he was becoming increasingly suspicious of religion in general. He did, though, share the Nation of Islam's commitment to Black people pulling themselves up by their bootstraps and presenting themselves in a clean-cut way, having the same vision of Black capitalism that many of his contemporaries like James Brown shared. Unfortunately, negotiations with Columbia quickly failed. Klein believed, probably correctly, that record labels didn't have to do anything to sell Sam Cooke's records, and that Cooke was in a unique position as one of the very few artists at that time who could write, perform, and produce hit records without any outside assistance. Klein therefore thought that Cooke deserved a higher royalty rate than the five percent industry standard, and said that Cooke wouldn't sign with anyone for that rate. The problem was that Columbia had most-favoured-nations clauses written into many other artists' contracts. These clauses meant that if any artist signed with Columbia for a higher royalty rate, those other artists would also have to get that royalty rate, so if Cooke got the ten percent that Klein was demanding, a bunch of other performers like Tony Bennett would also have to get the ten percent, and Columbia were simply not willing to do that. So Klein decided that Cooke was going to stay with RCA, but he found a way to make sure that Cooke would get a much better deal from RCA, and in a way which didn't affect any of RCA's own favoured-nations contracts.  Klein had had some involvement in filmmaking, and knew that independent production companies were making films without the studios, and just letting the studios distribute them. He also knew that in the music business plenty of songwriters and producers like Leiber and Stoller and Phil Spector owned their own record labels. But up to that point, no performers did, that Klein was aware of, because it was the producers who generally made the records, and the contracts were set up with the assumption that the performer would just do what the producer said. That didn't apply to Sam Cooke, and so Klein didn't see why Cooke couldn't have his own label. Klein set up a new company, called Tracey Records, which was named after Cooke's daughter, and whose president was Cooke's old friend J.W. Alexander. Tracey Records would, supposedly to reduce Cooke's tax burden, be totally owned by Klein, but it would be Cooke's company, and Cooke would be paid in preferred stock in the company, though Cooke would get the bulk of the money -- it would be a mere formality that the company was owned by Klein. While this did indeed have the effect of limiting the amount of tax Cooke had to pay, it also fulfilled a rule that Klein would later state -- "never take twenty percent of an artist's earnings. Instead give them eighty percent of yours". What mattered wasn't the short-term income, but the long-term ownership. And that's what Klein worked out with RCA. Tracey Records would record and manufacture all Cooke's records from that point on, but RCA would have exclusive distribution rights for thirty years, and would pay Tracey a dollar per album. After thirty years, Tracey records would get all the rights to Cooke's recordings back, and in the meantime, Cooke would effectively be on a much higher royalty rate than he'd received before, in return for taking a much larger share of the risk. There were also changes at SAR. Zelda Sands, who basically ran the company for Sam and J.W., was shocked to receive a phone call from Sam and Barbara, telling her to immediately come to Chicago, where Sam was staying while he was on tour. She went up to their hotel room, where Barbara angrily confronted her, saying that she knew that Sam had always been attracted to Zelda -- despite Zelda apparently being one of the few women Cooke met who he never slept with -- and heavily implied that the best way to sort this would be for them to have a threesome. Zelda left and immediately flew back to LA. A few days later, Barbara turned up at the SAR records offices and marched Zelda out at gunpoint. Through all of this turmoil, though, Cooke managed to somehow keep creating music. And indeed he soon came up with the song that would be his most important legacy. J.W. Alexander had given Cooke a copy of The Freewheelin' Bob Dylan, and Cooke had been amazed at "Blowin' in the Wind": [Excerpt: Bob Dylan, "Blowin' in the Wind"] But more than being amazed at the song, Cooke was feeling challenged. This was a song that should have been written by a Black man. More than that, it was a song that should have been written by *him*. Black performers needed to be making music about their own situation. He added "Blowin' in the Wind" to his own live set, but he also started thinking about how he could write a song like that himself. As is often the case with Cooke's writing, he took inspiration from another song, this time "Ol' Man River", the song from the musical Showboat that had been made famous by the actor, singer, and most importantly civil rights activist Paul Robeson: [Excerpt: Paul Robeson, "Ol' Man River"] Cooke had recorded his own version of that in 1958, but now in early 1964 he took the general pace, some melodic touches, the mention of the river, and particularly the lines "I'm tired of livin' and scared of dyin'", and used them to create something new. Oddly for a song that would inspire a civil rights anthem -- or possibly just appropriately, in the circumstances, "Ol' Man River" in its original form featured several racial slurs included by the white lyricist, Oscar Hammerstein, and indeed Robeson himself in later live performances changed the very lines that Cooke would later appropriate, changing them as he thought they were too defeatist for a Black activist to sing: [Excerpt: Paul Robeson, "Ol' Man River (alternative lyrics)"] Cooke's song would keep the original sense, in his lines "It's been too hard livin' but I'm afraid to die", but the most important thing was the message -- "a change is gonna come". The session at which he recorded it was to be his last with Luigi, whose contract with RCA was coming to an end, and Cooke knew it had to be something special. Rene Hall came up with an arrangement for a full orchestra, which so overawed Cooke's regular musicians that his drummer found himself too nervous to play on the session. Luckily, Earl Palmer was recording next door, and was persuaded to come and fill in for him.  Hall's arrangement starts with an overture played by the whole orchestra: [Excerpt: Sam Cooke, "A Change is Gonna Come"] And then each verse features different instrumentation, with the instruments changing at the last line of each verse -- "a change is gonna come". The first verse is dominated by the rhythm section: [Excerpt: Sam Cooke, "A Change is Gonna Come"] Then for the second verse, the strings come in, for the third the strings back down and are replaced by horns, and then at the end the whole orchestra swells up behind Cooke: [Excerpt: Sam Cooke, "A Change is Gonna Come"] Cooke was surprised when Luigi, at the end of the session, told him how much he liked the song, which Cooke thought wouldn't have been to Luigi's taste, as Luigi made simple pop confections, not protest songs. But as Luigi later explained, "But I did like it. It was a serious piece, but still it was him. Some of the other stuff was throwaway, but this was very deep. He was really digging into himself for this one." Cooke was proud of his new record, but also had something of a bad feeling about it, something that was confirmed when he played the record for Bobby Womack, who told him "it sounds like death". Cooke agreed, there was something premonitory about the record, something ominous. Allen Klein, on the other hand, was absolutely ecstatic. The track was intended to be used only as an album track -- they were going in a more R&B direction with Cooke's singles at this point. His previous single was a cover version of Howlin' Wolf's "Little Red Rooster”: [Excerpt: Sam Cooke, "Little Red Rooster"] And his next two singles were already recorded -- a secularised version of the old spiritual "Ain't That Good News", and a rewrite of an old Louis Jordan song. Cooke was booked on to the Johnny Carson show, where he was meant to perform both sides of his new single, but Allen Klein was so overwhelmed by "A Change is Gonna Come" that he insisted that Cooke drop "Ain't That Good News" and perform his new song instead. Cooke said that he was meant to be on there to promote his new record. Klein insisted that he was meant to be promoting *himself*, and that the best promotion for himself would be this great song. Cooke then said that the Tonight Show band didn't have all the instruments needed to reproduce the orchestration. Klein said that if RCA wouldn't pay for the additional eighteen musicians, he would pay for them out of his own pocket. Cooke eventually agreed. Unfortunately, there seems to exist no recording of that performance, the only time Cooke would ever perform "A Change is Gonna Come" live, but reports from people who watched it at the time suggest that it made as much of an impact on Black people watching as the Beatles' appearance on the Ed Sullivan Show two days later made on white America. "A Change is Gonna Come" became a standard of the soul repertoire, recorded by Aretha Franklin: [Excerpt: Aretha Franklin, "A Change is Gonna Come"] Otis Redding: [Excerpt: Otis Redding, "A Change is Gonna Come"] The Supremes and more. Cooke licensed it to a compilation album released as a fundraiser for Martin Luther King's campaigning, and when King was shot in 1968, Rosa Parks spent the night crying in her mother's arms, and they listened to "A Change is Gonna Come". She said ”Sam's smooth voice was like medicine to the soul. It was as if Dr. King was speaking directly to me.” After his Tonight Show appearance, Cooke was in the perfect position to move into the real big time. Allen Klein had visited Brian Epstein on RCA's behalf to see if Epstein would sign the Beatles to RCA for a million-dollar advance. Epstein wasn't interested, but he did suggest to Klein that possibly Cooke could open for the Beatles when they toured the US in 1965.  And Cooke was genuinely excited about the British Invasion and the possibilities it offered for the younger musicians he was mentoring. When Bobby Womack complained that the Rolling Stones had covered his song "It's All Over Now" and deprived his band of a hit, Cooke explained to Womack first that he'd be making a ton of money from the songwriting royalties, but also that Womack and his brothers were in a perfect position -- they were young men with long hair who played guitars and drums. If the Valentinos jumped on the bandwagon they could make a lot of money from this new style. But Cooke was going to make a lot of money from older styles. He'd been booked into the Copacabana again, and this time he was going to be a smash hit, not the failure he had been the first time. His residency at the club was advertised with a billboard in Times Square, and he came on stage every night to a taped introduction from Sammy Davis Jr.: [Excerpt: Sammy Davis Jr. introducing Sam Cooke] Listening to the live album from that residency and comparing it to the live recordings in front of a Black audience from a year earlier is astonishing proof of Cooke's flexibility as a performer. The live album from the Harlem Square Club in Florida is gritty and gospel-fuelled, while the Copacabana show has Cooke as a smooth crooner in the style of Nat "King" Cole -- still with a soulful edge to his vocals, but completely controlled and relaxed. The repertoire is almost entirely different as well -- other than "Twistin' the Night Away" and a ballad medley that included "You Send Me", the material was a mixture of old standards like "Bill Bailey" and "When I Fall In Love" and new folk protest songs like "If I Had a Hammer" and "Blowin' in the Wind", the song that had inspired "A Change is Gonna Come": [Excerpt: Sam Cooke, "Blowin' in the Wind"] What's astonishing is that both live albums, as different as they are, are equally good performances. Cooke by this point was an artist who could perform in any style, and for any audience, and do it well. In November 1964, Cooke recorded a dance song, “Shake”, and he prepared a shortened edit of “A Change is Gonna Come” to release as its B-side. The single was scheduled for release on December 22nd. Both sides charted, but by the time the single came out, Sam Cooke was dead. And from this point on, the story gets even more depressing and upsetting than it has been. On December the eleventh, 1964, Sam Cooke drove a woman he'd picked up to an out-of the-way motel. According to the woman, he tore off most of her clothes against her will, as well as getting undressed himself, and she was afraid he was going to rape her. When he went to the toilet, she gathered up all of her clothes and ran out, and in her hurry she gathered up his clothes as well. Some of Cooke's friends have suggested that she was in fact known for doing this and stealing men's money, and that Cooke had been carrying a large sum of money which disappeared, but this seems unlikely on the face of it, given that she ran to a phone box and called the police, telling them that she had been kidnapped and didn't know where she was, and could they please help her? Someone else was on the phone at the same time. Bertha Lee Franklin, the motel's manager, was on the phone to the owner of the motel when Sam Cooke found out that his clothes were gone, and the owner heard everything that followed. Cooke turned up at the manager's office naked except for a sports jacket and shoes, drunk, and furious. He demanded to know where the girl was. Franklin told him she didn't know anything about any girl. Cooke broke down the door to the manager's office, believing that she must be hiding in there with his clothes. Franklin grabbed the gun she had to protect herself. Cooke struggled with her, trying to get the gun off her. The gun went off three times. The first bullet went into the ceiling, the next two into Cooke. Cooke's last words were a shocked "Lady, you shot me".  Cooke's death shocked everyone, and immediately many of his family and friends started questioning the accepted version of the story. And it has to be said that they had good reason to question it. Several people stood to benefit from Cooke's death -- he was talking about getting a divorce from his wife, who would inherit his money; he was apparently questioning his relationship with Klein, who gained complete ownership of his catalogue after his death, and Klein after all had mob connections in the person of Morris Levy;  he had remained friendly with Malcolm X after X's split from the Nation of Islam and it was conceivable that Elijah Muhammad saw Cooke as a threat; while both Elvis and James Brown thought that Cooke setting up his own label had been seen as a threat by RCA, and that *they* had had something to do with it. And you have to understand that while false rape accusations basically never happen -- and I have to emphasise that here, women just *do not* make false rape accusations in any real numbers -- false rape accusations *had* historically been weaponised against Black men in large numbers in the early and mid twentieth century. Almost all lynchings followed a pattern -- a Black man owned a bit of land a white man wanted, a white woman connected to the white man accused the Black man of rape, the Black man was lynched, and his property was sold off at far less than cost to the white man who wanted it. The few lynchings that didn't follow that precise pattern still usually involved an element of sexualising the murdered Black men, as when only a few years earlier Emmett Till, a teenager, had been beaten to death, supposedly for whistling at a white woman. So Cooke's death very much followed the pattern of a lynching. Not exactly -- for a start, the woman he attacked was Black, and so was the woman who shot him -- but it was close enough that it rang alarm bells, completely understandably. But I think we have to set against that Cooke's history of arrogant entitlement to women's bodies, and his history of violence, both against his wife and, more rarely, against strangers who caught him in the wrong mood. Fundamentally, if you read enough about his life and behaviour, the official story just rings absolutely true. He seems like someone who would behave exactly in the way described. Or at least, he seems that way to me. But of course, I didn't know him, and I have never had to live with the threat of murder because of my race. And many people who did know him and have had to live with that threat have a different opinion, and that needs to be respected. The story of Cooke's family after his death is not one from which anyone comes out looking very good. His brother, L.C., pretty much immediately recorded a memorial album and went out on a tribute tour, performing his brother's hits: [Excerpt: L.C. Cooke, "Wonderful World"] Cooke's best friend, J.W. Alexander, also recorded a tribute album. Bertha Franklin sued the family of the man she had killed, because her own life had been ruined and she'd had to go into hiding, thanks to threats from his fans. Cooke's widow, Barbara, married Bobby Womack less than three months after Cooke's death -- and the only reason it wasn't sooner was that Womack had not yet turned twenty-one, and so they were not able to get married without Womack's parents' permission. They married the day after Womack's twenty-first birthday, and Womack was wearing one of Sam's suits at the ceremony. Womack was heard regularly talking about how much he looked like Sam. Two of Cooke's brothers were so incensed at the way that they thought Womack was stepping into their brother's life that they broke Womack's jaw -- and Barbara Cooke pulled a gun on them and tried to shoot them. Luckily for them, Womack had guessed that a confrontation was coming, and had removed the bullets from Barbara's gun, so there would be no more deaths in his mentor's family. Within a few months, Barbara was pregnant, and the baby, when he was born, was named Vincent, the same name as Sam and Barbara's dead son.  Five years later, Barbara discovered that Womack had for some time been sexually abusing Linda, her and Sam's oldest child, who was seventeen at the time Barbara discovered this. She kicked Womack out, but Linda sided with Womack and never spoke to her mother again. Linda carried on a consensual relationship with Bobby Womack for some time, and then married Bobby's brother Cecil (or maybe it's pronounced Cee-cil in his case? I've never heard him spoken about), who also became her performing and songwriting partner. They wrote many songs for other artists, as well as having hits themselves as Womack and Womack: [Excerpt: Womack and Womack, "Teardrops"] The duo later changed their names to Zek and Zeriiya Zekkariyas, in recognition of their African heritage. Sam Cooke left behind a complicated legacy. He hurt almost everyone who was ever involved in his life, and yet all of them seem not only to have forgiven him but to have loved him in part because of the things he did that hurt them the most. What effect that has on one's view of his art must in the end be a matter for individual judgement, and I never, ever, want to suggest that great art in any way mitigates appalling personal behaviour. But at the same time, "A Change is Gonna Come" stands as perhaps the most important single record we'll look at in this history, one that marked the entry into the pop mainstream of Black artists making political statements on their own behalf, rather than being spoken for and spoken over by well-meaning white liberals like me. There's no neat conclusion I can come to here,  no great lesson that can be learned and no pat answer that will make everything make sense. There's just some transcendent, inspiring, music, a bunch of horribly hurt people, and a young man dying, almost naked, in the most squalid circumstances imaginable.

Bae outs Fidel as a literal mosquito, Fidel does an awful impression of the ‘southern West Virginia dialect’ of his youth, and Sigmund guides us through a cursed episode on the history of every medical student’s favorite gameshow: “The Match!” …apologies for the shaky audio quality on this one. it’s the internet. they’re racistintro: created by fidel cashthomusic:@21:34 Begin the Beguine by Artie Shaw (original artist Cole Porter)@26:04 Pennsylvania 6-5000 - Adios - Little Brown Jugoutro: Provider by N*E*R*DErving Goffman's Presentation of Self in Every Day Life This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.marxismandmedicine.com

It's Part 2 of our take on the jam-packed Season 2 premiere, “May the Giant Be With You”!! Colin shows up at the Sheriff's station and haunts the hospital; Back at the Double R, Jonathan eavesdrops on Major Briggs and son Bobby; Damon is there for Pete Martell's memories of Catherine; and Jennifer confronts the Horne Brothers' demonic glee, then brings us home for action-packed conclusion of an episode brimming with poetry, dreams, visions, and a terrifying nightmare!LISTEN: BuzzSprout | Google Podcasts | Spotify | RSS | and more!S2, E1 PART 2 NOTES: Mark Frost (Cyril Pons, newscaster)The Third Man (1949, film, dir. by Carol Reed)Alicia Witt (Gersten Hayward)Get Happy (1930, song, by Harold Arlen and Ted Koehler)Jessica Wallenfels (Harriet Hayward)“The Sad, Ironic History Behind Judy Garland's ‘Get Happy'” (2019 article at NewNowNext by Lester Fabian Brathwaite)Rufus Wainwright, “Get Happy” (2007, Glastonbury Festival)Begin the Beguine (1935, song, by Cole Porter)

This week on THE ONE-INCH BARRIER, we talk about Spain's romantic drama about longing and regret that won at the 55th Academy Awards: José Luis Garcí's VOLVER A EMPEZAR (To Begin Again/Begin the Beguine). This week's guest is Carla Manalo, a filmmaker currently specializing in color grading. She was also the guest on the episode discussing NOWHERE IN AFRICA and the films of 2002. Find us on the internet! Carla Manalo: @isleofhues (Instagram) Juan Carlos Ojano: @carlosojano The One-Inch Barrier: @OneInchBarrier You can now support this podcast via Patreon! Click here: https://www.patreon.com/TheOneInchBarrier Music Credits Opening: "Canon in D Major" - Johann Pachelbel Ending: "Oh Lord, Why Lord?" - Pop-Tops

As a musician, Art Tatum was a true original – if a recording sounds like Tatum's…it almost certainly IS Tatum's.

Sisters of The Valley are on a mission to heal the world through plant-based medicine. Like their Beguine ancestors, they are scholars who work together, pray together, and are dressed to identify their enclave. Nestled in the impoverished but agriculturally rich Central Valley, their order makes honorable jobs to support their community through organic health products. All products are hand-made by women; saged to the moon cycles, set on the new moon, and bottled under the full moon. The Sisters Of The Valley's medicine-making is guided by ancient tradition, with care and respect for the Earth's plants. Their mission is to find new ways of helping people get the treatment that they need through plant-based medicine.

One of the most successful and enduring songs of the century had an unusual pedigree See omnystudio.com/listener for privacy information.

Mechthild had her first mystical vision at age 12 and later joined the lay Beguine movement. She became a Dominican tertiary and with the encouragement of the Dominicans, composed the spiritual classic The Flowing Light of the Godhead. Contemplative Light offers classes in spirituality.

¿Qué relación existe entre Cole Porter y el Bolero? ¿Cuando surge el Beguine? ¿Es afroantillano o proviene de las místicas y exóticas islas del Asia Suroriental? ¿Cuáles son sus características más importantes? En esta ocasión Los Bohemios Necios nos dedicamos al Bolero Beguine, y para ello contamos con la colaboración del investigador Pável Granados quien ha dedicado parte de su ardua labor a las raíces de esta variante del bolero. Acompaña a Dionicio Sánchez Alvarado, Rodrigo de la Cadena y Omar Carmona X a este intercambio de opiniones y datos históricos en un episodio especial de Nuevamente Bolero.Síguenos en https://www.facebook.com/pages/RODRIGO-DE-LA-CADENA/315036231927?ref=hl Descarga este y todos los podcast anteriores automáticamente a través de tu suscripción en iTunes: https://itunes.apple.com/mx/podcast/nuevamente...-bolero/id676887804?mt=2 www.rodrigodelacadena.com

Summary The scene is the ballroom of the South Seas Club. The bandleader, clarinet in hand, is playing the opening notes of Cole Porter’s “Beguine the Beguine.” Patrons begin to fill the dance floor.  The band is arrayed behind a multilayered pool at the edge of the dance floor. Behind the bandleader,  a giant scallop […]

Welcome to The Diad Presents! This week we go old school. Actually, we kinda do. Like 1930's old school. Check it out! The show can be downloaded here, or streamed here: Also, the Uproxx article on terrible Superman games I referenced during the episode can be found: here And the track list below: # - Game - Track - System - Composer 1 - Indiana Jones and the Last Crusade - "Coronado - Ship Battle" - NES - Tim Follin 1B -  - Begin the Beguine -  - Artie Shaw 2 - Magical Tetris Challenge - Minnie Battle - N64 - Masato Kouda 3 - Star Cruiser - Sirius System - X68000 - Toshiya Yamanaka 4 - Superman - Stage 2 - Genesis / MD - Kenji Yamazaki, Junichi Ueda & Hiroshi Tsukamoto 5 - "Xak - The Art of Visual Stage" - Battle Field - MSX2 - Tadahiro Nitta and Ryuji Sasai 6 - Desire - Reflector (YM-2608,1995ver) - PC-98 - Ryu Umemoto