American-born conductor and composer
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Hosted by Carl Davis
Hosted by Carl Davis
5 episodes with Carl Davis
6 episodes with Carl Davis
2 episodes with Carl Davis
2 episodes with Carl Davis
2 episodes with Carl Davis
2 episodes with Carl Davis
2 episodes with Carl Davis
Host Jeremy C. Park talks with Susan Deason, Executive Director, and Carl Davis, Managing Director of Operations with Memphis Allies, who both discuss the mission and efforts of Memphis Allies, a partnership of nonprofit organizations working together to reduce gun violence in Memphis and Shelby County. During the interview, Susan shares how Memphis Allies was launched in 2021 by the Memphis, Tennessee-based nonprofit, Youth Villages, in response to the significant increase in gun violence in Memphis during that time. Susan and Carl discuss their evidence-informed model, which focuses on community violence intervention and serves individuals at highest risk for involvement in gun violence ages 12 to 35. The model, called SWITCH - Support With Intention To Create Hope - involves a team of individuals, including outreach specialists, life coaches, case managers, and clinical specialists, who work collaboratively to help participants switch their mindset and achieve their goals. The program is typically 12 to 18 months long and has shown early indicators of success, with 90% of participants not receiving an additional gun charge while in service. The organization has over 200 staff members, most of whom have lived experiences that uniquely position them to help change someone's mindset.Susan and Carl emphasize the importance of community partnerships, support, and collaboration both locally and nationally. They discuss the importance of their work in the community and highlight the complexity of the issues faced, along with the need for empathy and understanding. Susan and Carl talk about the need for volunteers and how volunteers can help identify and engage with the individuals being supported. Carl highlights the daily changes he sees in participants and the importance of relentless effort in this work. They wrap up with how this work is saving lives and how the community can get involved and support their efforts.Visit https://memphisallies.org or call (901) 252-7900 to learn more and get involved with Memphis Allies.
Le podcast Jams Of The Year consacre à l'année 1967Janvier : Lowell Fulson – TrampLe vétéran du west coast blues revient avec ce classique aux accents proto-funk, qui inspirera Otis & Carla et bien d'autres.Février : The Four Tops – BernadetteUn sommet de soul dramatique signé Holland-Dozier-Holland, porté par la voix déchirante de Levi Stubbs.Mars : James & Bobby Purify – Shake A Tail FeatherReprise survitaminée de doo-wop funk, emblématique de la soul sudiste et de l'énergie des années 60.Avril : The Parliaments – (I Wanna) TestifyPremier vrai succès pour George Clinton, annonçant la révolution funk à venir avec Parliament-Funkadelic.Mai : Linda Jones – HypnotizedBallade bouleversante magnifiée par une des plus belles voix féminines de la soul, disparue trop tôt.Juin : James Brown & The Famous Flames – Cold SweatActe fondateur du funk moderne, entre pulsation rythmique brute et minimalisme harmonique.Juillet : Wilson Pickett – Funky BroadwayReprise musclée du groove de Dyke & The Blazers, enregistrée à Muscle Shoals, qui devient le hit de référence.Août : Jackie Wilson – (Your Love Keeps Lifting Me) Higher and HigherDernier grand succès de Mr. Excitement, porté par l'énergie de la soul de Chicago et la production de Carl Davis.Septembre : Otis Redding & Carla Thomas – Knock On WoodDuo iconique sur une reprise d'Eddie Floyd, extrait du dernier album studio d'Otis avant sa disparition.Octobre : Joe Tex – Skinny Legs And AllSoul rurale et prêche humoristique sur fond de groove sudiste : du Joe Tex pur jus.Novembre : Sly & The Family Stone – Dance To The MusicExplosion de couleurs sonores, manifeste de la psychedelic soul et tremplin vers la liberté artistique.Décembre : The Impressions – We're A WinnerCurtis Mayfield donne le ton de la soul militante avec cet hymne à la fierté noire et à l'émancipation.1967 est une année charnière, où le groove devient plus libre, les paroles plus politisées, et les expérimentations sonores plus audacieuses. Les tensions raciales, la guerre du Vietnam, le mouvement pour les droits civiques influencent les textes, pendant que le rythme s'affirme comme langage universel de résistance.À propos de Jams Of The YearCréé par Raphael Melki et Belkacem Meziane, Jams Of The Year est un podcast dédié aux amateurs de musique funk, soul, rap et r&b. Chaque épisode met en lumière une année spécifique, avec une sélection soignée de 12 morceaux qui illustrent l'évolution des genres. Aidez nous, en soutenant gratuitement ce podcast !Comment ? C'est très simple :1)
Strolling along the cobbled streets of Markhall, the team tries to beat the Yule Lads to finding Carl Davis, the scientist. Chase Sullivan is right at home in this cheery snowy town, but Tingle must face the memories he made in the city, enforcing the cheer in the bloodiest way possible. Should the team try to track down Carl's house and potentially lead the Yule Lads right to him? Or try a more circuitous route?Join the BCBP Patreon at patreon.com/bcbparty. Gift a subscription to our show at patreon.com/bcbparty/gift. Visit our DFTBA merch shop at bit.ly/jennamerch.Email us at BurntCookBookParty@gmail.com, or find us on Tumblr @BCBparty or Bluesky @BCBparty.Burnt Cook Book Party is a time-loop comedy actual play show, featuring an original campaign based on Pathfinder. Four heroes of varying skills, attractiveness, and stupidity, race to prevent a war - and to prevent a timeloop from resetting the whole game! Featuring the talents of host Jenna Stoeber, game master Justin Green, Caitlin Stayduhar, Andrew Hansen, and Paul Luetkemeyer. Sound edited by Akshay Balakrishnan. Produced by Jenna Stoeber. Support us on Patreon Hosted on Acast. See acast.com/privacy for more information.
What do, a confounding love triangle that occurs around the holiday season, and a meet-cute that turns into a test of fate, have in common? This week on THE MOVIE CONNECTION: KC Watched: "HOLIDAY AFFAIR" (6:41) (Directed by, Don Hartman. Starring, Janet Leigh, Robert Mitchum, Carl Davis...) Jacob Watched: "SERENDIPITY" (31:37) (Directed by, Peter Chelsom. Starring, John Cusack, Kate Beckinsale, Jeremy Piven...) Talking points include: Favorite Movie Christmas gifts Thoughts on fate Best Almost Christmas Movies and more!! Send us an email to let us know how we're doing: movieconnectionpodcast@gmail.com Follow us on Instagram Rate and Review on Apple Podcasts Check out more reviews from Jacob on Letterboxd Cover art by Austin Hillebrecht, Letters by KC Schwartz
In the race to find cleaner energy, Louisiana could soon host much of the country's production of ammonia. The gas is mostly used to produce the fertilizer used in gardens and on crops. Now, more companies want to turn it into a fuel.In St. Charles Parish, one such proposal for a so-called “blue ammonia” plant has faced mixed reactions from the community. Halle Parker joined us to explain where this project stands.When women in Louisiana die while pregnant, or after giving birth, the leading doctor who reviews their cases is maternal health expert, Dr. Veronica Gillispie-Bell. The New Orleans-based OB-GYN is one of 300 Louisiana doctors who oppose a new law that will reclassify two common pregnancy medications as controlled dangerous substancesIn her first interview with media about the law, Gillispie-Bell spoke with WWNO/WRKF's Rosemary Westwood about her concerns and the state of women's health in Louisiana.According to a new national study, undocumented immigrants in America contribute significantly to the nation's tax base. In Louisiana, they pay roughly $118 million in sales taxes, or 2.7% of the overall sales taxes collected in the state.Carl Davis, a research director at the Institute on Taxation and Economic Policy, tells us more about this data and why it's important. Today's episode of Louisiana Considered was hosted by Adam Vos. Our managing producer is Alana Schrieber. We get production support from Garrett Pittman and our assistant producer Aubry Procell.You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, Google Play and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!
Intro by: Gail NoblesEnding music by: Gail NoblesStory by: Gail NoblesToday's topic The Lost Generation. Got to bring back the music. The music of love. A time when music was great with soul and had the sound of smooth harmonies. And I'm thinking of a fabulous group known as the lost generation. With their silky vocals and that sweet R&B groove, they brought us tunes that made the world smile. They knew how to stir those emotions sending love notes through the airwaves straight to your heart. It's time to revive that love music. Whether it's their iconic hits or those deep cuts that made you feel like you were floating on a cloud, we owe it to ourselves to bring back the sounds that defined a generation. Now let me tell you about the group Lost Generation. The members Lowrell Simon, Fred Simon (brothers),Jesse Dean, Leslie Dean and Larry Brownlee began singing together in 1969. This was after Jesse Dean completed time in the United States Army. Shortly after forming, Lowrell Simon's childhood friend, Gus Redmond (who was by that time promotional head at Brunswick Records), had the group record with producer Carl Davis. The result of these sessions was the single "The Sly, Slick and the Wicked", which became a hit in the US, and whose sales earned Brunswick Records enough profits to buy itself out and dissociate itself from its parent company, Decca Records, that same year. Lowrell Simon was inspired for the song's title by the film title The Good, the Bad and the Ugly.The group scored a few further hits, and disbanded in 1974. Members Brownlee and Fred Simon later joining Mystique. Lowrell Simon embarked on a successful career as a songwriter and, in the late 70's, a solo artist. Larry Brownlee died in 1978. Fred Simon currently sings bass vocals with The Chi-Lites. Lowrell Simon died in 2018 of multiple health complications. They were a group that had great vocal arrangements. They were like a sweet potion blending powerful leads with silky background harmonies that transported you straight to the heart of the soul experience. The band sound was a perfect marriage of passion and skill. So as we reminisce about the year 1969, let's not forget The Lost Generation - the torch barriers of soul music keeping the flame alive in an ever-changing musical landscape. I'm Gail Nobles, and you're listening to the Cat Bear.
Hey y'all! We've got a special treat for you—a bonus episode to wrap up our summer series on Lonesome Dove. Zach, Austin, and Glen sit down with Sonny Carl Davis, the man behind Burt Borum in the series. Sonny spent a good eight weeks out there on set with the cattle drive, and boy, does he have some tales to tell! We were all in stitches hearing his stories.Thanks for ridin' along with us on this journey through Lonesome Dove. Both parts of our series are now up and ready, so if you haven't moseyed on over to listen yet, go check ‘em out!Join the Extended Family on Patreon: https://www.patreon.com/FilmwithFamilyYouTube: https://www.youtube.com/@FilmwithFamilyInstagram: https://www.instagram.com/filmwithfamily/TikTok: https://www.tiktok.com/@film.with.familyTwitter: https://twitter.com/filmwithfamilyFacebook: https://www.facebook.com/profile.php?id=61551928799003Email us at filmwithfamilypodcast@gmail.comLetterboxd: Austin C. Pruett and zacharyzweifler
Nicci Wilks is a sharp and very physical actor and circus performer who has collaborated with major figures in Australian theatre, including Patricia Cornelius, Angus Cerini and Susie Dee. Her new show traces the life of a rodeo clown. The surprisingly heart-wrenching one-person show, called Rodeo Clown, is at this year's Darwin Festival.Also, having lost the support of their host university, the National Institute of Circus Arts (NICA) announces a new partnership with Collarts, Nadine Garner reads from Jane Austen's Pride and Prejudice with two superstar classical musicians, and we meet a couple with no dance experience planning an elaborate duet for their wedding day.
Hosts: Adam Gardiner & Rusty Cannon Jenkins’ petition over CD-2 GOP primary results rejected by Utah Supreme Court The Utah Supreme Court rejected the petition from CD-2 GOP challenger Colby Jenkins, just a day after the campaign filed it. The focus of the petition is on ballots that weren’t counted because they were postmarked late. The Jenkins team has already refiled the motion. KSL at Night hosts Adam Gardiner and Rusty Cannon discuss this lawsuit, the recount, and all things relating to this race. What’s going on with the presidential races right now? Each day brings updates and news for the Harris, Trump, and Kennedy campaigns. We take a moment to update listeners on where things stand now, focusing on campaigning and debating. Is Kamala Harris going through a honeymoon phase of support? Is Donald Trump purposefully being quiet? Where is Robert F. Kennedy, Jr.? Listen to find out. The road to SLC 2034 might get a little rocky, per federal lawmakers A last-minute addition to the contract with the IOC for the 2034 Salt Lake City Olympics says that the U.S. must recognize the authority of the World Anti-Doping Agency over doping investigations. It stems from a U.S. investigation into Chinese swimmers in 2020. Failure to do this could result in the 2034 Olympics being withdrawn from Utah and sent somewhere else. The KSL at Night hosts share how the agreement is angering federal lawmakers. Delta Airlines now seeking compensation over CrowdStrike IT outage Delta Airlines says it lost half a billion dollars in the aftermath of the CrowdStrike IT outage; the delays and cancellations lasted for several days and affected thousands of customers. Legally-speaking, is there anything CrowdStrike actually has to do to compensate Delta and other companies? Hosts Adam and Rusty give the latest updates on this technology nightmare. Biggest barriers to affordable housing in Utah: Residential opposition New research shows that while local officials in Utah are in favor of more affordable housing, local residents are generally opposed to those kinds of developments. Why is this? John Salevurakis, Research Analyst at the Utah Foundation authored a new report that delves into this issue. He joins the program to talk about the biggest barriers to creating more affordable housing in the Beehive State. Federal Reserve says they won’t lower interest rates yet Today, the Federal Reserve announced that even though inflation is easing, it’s still too high to reduce interest rates at this time. Fed Chair Jerome Powell says rate cuts could come as soon as September, but for now, no dice. The KSL at Night hosts discuss the political ramifications of lowering rates going into a presidential election this Fall. Study shows the tax contributions of undocumented immigrants in Utah A new study on tax contributions examines the impact of undocumented immigrants on tax income in Utah and the rest of the country. The study from the Institute on Taxation and Economic Policy says immigrants lacking legal status paid nearly $97 billion in federal, state, and local coffers in 2022. Carl Davis is the Research Director for the Institute, and joins the show to explain how the group came up with their conclusions. Feel-good news round-up: Apple Watches and the Olympics July has come and gone in the blink of an eye, and it was full of breaking news stories. We finish the show — and the month — by discussing some feel-good stories. First up, a personal experience host Rusty Cannon had with a lost Apple Watch. Then, a discussion of some of our favorite moments from Team USA so far in the 2024 Paris Olympics, including women’s rugby, swimming, and gymnastics.
Hosts: Adam Gardiner & Rusty Cannon A new study on tax contributions examines the impact of undocumented immigrants on tax income in Utah and the rest of the country. The study from the Institute on Taxation and Economic Policy says immigrants lacking legal status paid nearly $97 billion in federal, state, and local coffers in 2022. Carl Davis is the Research Director for the Institute, and joins the show to explain how the group came up with their conclusions.
Cinematic Sound Radio - Soundtracks, Film, TV and Video Game Music
Today we present our latest ALL REQUEST SHOW on THE ARCHIVE on the CINEMATIC SOUND RADIO PODCAST. Since launching the CINEMATIC SOUND RADIO PODCAST Patreon in April of 2021, we've offered our patrons exclusive perks based on the tier they signed up for. One of those perks is participating in all request programs. If you want to participate in future all-request shows, please head over to our Patreon page, and join the community in any tier that is $5 USD/month or above. Once you do so, you will be able to participate in all upcoming all-request programs. For this all-request program, Jason Drury stepped in once again as host and gave our wonderful patrons a choice between four themes to choose from: War Films, End Credits, British Film and TV Shows, and Box Office Blockbusters. A vote was held on our Patreon page, and End Credits won with 50% of the vote. Our participants today include Eldaly Morningstar, Glenn McDorman, Victor Field, Angela Rabatin, Don Mase, Lee Wileman, Will Welch, Stacy Livitsanis, Deniz Çağlar, Carl Wonders, Joe Wiles, Thomas Tinneny, Dave Willians, and Alan Rogers. They requested tracks from such composers as Johnny Costa, Michael Small, Henry Mancini, Ennio Morricone, Jerry Goldsmith, Debbie Wiseman, Keiki Kobayashi, Yoko Kanno, James Horner, John Williams, James Newton Howard, Carl Davis, and David Shire. Thanks to everyone who participated. For those who didn't get a chance to send in a request and want to be a part of the next all-request program, we'd love to have you join our wonderful CINEMATIC SOUND RADIO PODCAST Patreon family. Enjoy the show! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Sarah Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Rudy Amaya, Stacy Livitsanis, Rick Laird, Carl Wonders, Michael Poteet, Nathan Blumenfeld, Lee Wileman, Daniel Herrin, Mike Kohutich, Scott Bordelon, James Alexander —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com
Madeline Smith is an actress best known for playing Bond girl Miss Caruso in Live and Let Die with Rodger Moore but also had larger roles in the Hammer horror films The Vampire Lovers, Taste the Blood of Dracula, Tam-Lin, Theatre of Blood and Frankenstein and the Monster from Hell. She stared in comedy films including Up Pompeii, Up the Front and Carry On Matron and the musical film Take Me High with Cliff Richard. Her television credits include Doctor at Large, The Two Ronnies, His and Hers with Tim Brooke-Taylor, Casanova '73 with Leslie Phillips, Steptoe and Son and The Howerd Confessions with Frankie Howerd. She was a member of the regular cast of the BBC2 series The End of the Pier Show and In The Looking Glass alongside satirists John Wells and John Fortune and composer Carl Davis. Madeline also starred in The Passionate Pilgrim which was the final screen appearance of Eric Morecambe.Madeline Smith is guest number 397 on My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .Follow Madeline Smith on Twitter: @maddysmith007 . Follow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens and Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.
Lee and Leah are joined by friends and fellow podcasters Matt (from Movie Melt) and Vaughn (from Motion Picture Massacre) to talk about the last film Roger Corman directed, 1990's "Frankenstein Unbound", an adaptation of Brian Aldiss' 1973 novel. A box office failure at the time, is this a complete mess or is it unfairly overlooked? Hop into your AI-controlled DeLorean Tesla and load up this podcast to find out! "Frankenstein Unbound" IMDB. Watch a fan-made upscaling of the film. Listen to the abridged audio version of the source material, produced by the BBC. Matt's Podcast Vaughn's Podcast Featured Music: "The Monster's Rage" & "Main Titles" by Carl Davis.
The delicate tinkling of a pianoforte. The clash of cymbals. The soothing strains of a harp. Music in Austen film adaptations performs a variety of functions: it can set the scene, highlight a character's personality, make us laugh, and make us sigh. In this episode, music maven Ruth Mudge joins us to discuss the soundtracks of four screen adaptations we know and love. A cellist, faculty member at the String Academy of Chicago, and assistant principal in the Elmhurst Symphony, Mudge also has her own podcast, World of Soundtracks, where she offers in-depth explorations of famous movie and TV soundtracks.For a transcript, show notes, and guest bio: https://jasna.org/austen/podcast/ep11Visit our website: www.jasna.orgFollow us on Instagram and FacebookEmail: podcast@jasna.orgMusic clips included in this episode:"Pride and Prejudice"—Pride and Prejudice by Carl Davis, 1995"Dawn"—Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005"Mrs. Darcy"—Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005"Emma Woodhouse"—Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020"Celery Root"—Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996"Main Titles"—Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996
April is Archaeology Month in Montana! In honor of this, join Nancy and Crystal as they discuss a significant archaeological site located in southwest Montana called the Barton Gulch site. The oldest occupation of the Barton Gulch site is dated to 9400 BP. Nancy and Crystal discuss the remains of earth ovens found at Barton Gulch, and talk about the possibly uses for these ovens and the plant remains recovered during archaeological excavation. The presence of these ovens and other cooking features implies that the people who lived and cooked at this place had detailed procedures for preparing plant and animal remains. Join us for this discussion and to learn more about this important archaeological site and many others, read "Six Hundred Generations: An Archaeological History of Montana" by Carl Davis.
! What's Past - Is Prologue ! ! ! Callin' ALL The Boom Booms & The Zoom Zooms ! ! ! Turn On - Choon In - Zig Zag ! ! ! Hello World . . . Groovin' Blue Is On The Air ! ! . . . GROUND DOWN TO THE UNDERGROUND . . . * * * GROOVIN' BLUE 24 - 02 * * * Groovin' Blue is dedicated to Dr. Li Wenliang 1. (4:19) WAGRadio GB 24 - 02 Intro - Produced by WAGRadio Vinyl Librarian William "Fats Is Back" Reiter (formerly Bill Reiter - The All-Niter) 2. (4:37) "All About The Paper" - GENE CHANDLER [20th Century Fox Record Corporation Lp No. T-605 "Gene Chandler '80"] 1980 Prod. Carl Davis & Gene Chandler 3. ( :24) WAGRadio Back To Yard Id 4. (1:54) "We See You" - NLE CHOPPA [Warner] 5. ( :06) DJZZ Id 6. (3:15) "Samba Da Bahia (DJZigZag EdiT of the DJ Delivery Remix)" - LOSE ENDZ [TheBasement Discos] 7. ( :11) WAGRadio Id 8. (2:22) "Is It A Crime" - NO GUIDNCE [North West Sound] 9. (4:44) "Right On (DJZigZag High Cotton Music EdiT)" - PAVEL SVETLOVE [Moiss Music] 2021 10.(3:13) "The Nitty Gritty" - SHIRLEY ELLIS with the Hutch Davie Orch. & Chorus [Kapp Records 45rpm No. K 37] 1963 Prod. Hutch Davie 11.(2:27) "One Mint Julep" - THE CLOVERS [Atlantic 45rpm No. 45-963] 1952 12.( :29) WAGRadio Initialized Id 13.(3:16) "4 Me" - DON TOLIVER, KALI UCHIS [Atlantic] 14.(3:38) "Hall Of Fame (Instrumental)" - MICAL TEJA [Teja] 15.( :47) WAGRadio KomBo Id 16.(3:13) "Slow Low" - JASON DERULO [Atlantic] 17.( :17) WAGRadio Want It Id 18.(3:39) "Cake By The Ocean" - DNCE [North West Sound] 19.(3:31) "Silk" - P-LO, YMTK [Just Pan] 20.(3:07) "La Belleza De La Vida (DJZigZag EdiT of the Afro Tribute Mix)" - GABRIEL DOMINGUEZ [Dominguez Records VE] 21.(2:20) "Giving Up Dancing" - ARCHIE BELL & THE DRELLS [Atlantic 45rpm No. 45-2663] 1969 Arr. Martin & Bell, Prod. Gamble-Huff Productions Inc. 22.(3:51) "Legal Dreamers" - KEVANS [KTE Music] 23.( :20) DJZigZag Cold Id 24.(6:51) "Work Hard Play Hard (DJZigZag Lanky Crocka EdiT of the Original Mix)" - ALCOSTA BLVD [Embarcadero] 25.(2:21) "We're A Winner" - THE IMPRESSIONS [Curtom 45rpm No. CR-1966] 1971 Prod. Curtis Mayfield 26.(4:52) "Pyramid Breakfast" - BENNETT PASTER [self-released Cd "Radiance"] 27.( :32) WAGRadio Down Count Id 28.(2:57) "Hero" - MASTA ACE, MARCO POLO, INSPECTAH DECK [Fat Beats] 29.(4:54) "Get On You (DJZigZag Over U EdiT)" - WINNIE AMA [Wama Music] 30.(3:24) "There Was A Time" - GENE CHANDLER [Brunswick Lp No. BL 754131 "There Was A Time"] 1968 Arr. Sonny Saunders Prod. Carl Davis and Gene Chandler 31.( :07) Nu GB End 79:30
Months after the forgotten incident where he found on his secret security footage, Carl Davis's investigation leads him closer to the person it centers around the mysterious Erica Belfry, better known as Princess Crash. To uncover the truth, he researches a location closer to his target, Belfry's Garage—the business of Erica's father, Harold. However, a single mishap might turn an already complicated investigation into a disaster. Welcome to Theatre of Heels! For more information on Theatre of Heels and other stories by Christopher Chancy, please check out the links below. https://www.christopherchancy.com/ https://www.facebook.com/ChristopherChancyWriter https://www.instagram.com/chrischancy1/ Please consider supporting this channel by going to www.patreon.com/christopherchancy This story was written, illustrated, narrated, produced, and edited by Christopher Chancy. Musical Score: Intro and Credit's Music Intro Music Free Me (Instrumental Verison) by NEFFEX Recap Music Go Down Swinging (Instrumental Verison) by NEFFEX Next Episode's Promo Music Escape by Houses of Heaven Credits Birds by Corbyn Kites Episode Music Late Truth by Audio Hertz Please check out their awesome music! The Novel Version of Theatre of Heels Vol 1 is Available Here! --- Support this podcast: https://podcasters.spotify.com/pod/show/theatre-of-heels/support
Ever since Republicans took control of the North Carolina legislature in 2011, they've passed income tax cut after income tax cut and bragged repeatedly of the supposed enormous benefits this has afforded to average North Carolinians. A new report from the nonpartisan Institute on Taxation and Economic Policy, however, debunks such claims. As it turns […] The post ITEP's Carl Davis discusses a new report that offers a damning assessment of NC's tax structure appeared first on NC Newsline.
Jackie and Greg are joined by Lucé Tomlin-Brenner of Vidéothèque and the It's Always Halloween podcast in their discussion of Buster Keaton and Clyde Bruckman's THE GENERAL from 1926. Topics of discussion include the film's political views, the audacity of its storytelling, Carl Davis' rousing score, its massive influence on generations of filmmakers, and what made Buster Keaton unique among other silent comedians.#34 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#95 on Sight & Sound's 2022 "The Greatest Films of All Time" list. https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeFollow Vidéothèque:Instagram: https://www.instagram.com/videothequeX/Twitter: https://twitter.com/vidthequeFollow Lucé Tomlin-Brenner:Instagram: https://www.instagram.com/ltbcomedyX/Twitter: https://twitter.com/LTBcomedyLetterboxd: https://letterboxd.com/chachaheelsCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe
Interviews by Peter Jonathan Robertson in London in 1993 Hosted on Acast. See acast.com/privacy for more information.
Let's run through the latest batch of Cowboys news: Micah Parsons was frustrated by his 'lack of impact' against the Giants and DC Dan Quinn had to address it this week. We've now heard from Micah and we're gonna be ok everybody. Mike McCarthy is being asked if Rico Dowdle should get more carries and I have thoughts. Plus they signed a new defensive tackle! What you need to know about Carl Davis.
Bienvenidos a Podcastwood. El hogar de las estrellas, el podcast sobre los pilares del cine y donde solo las películas consideradas como obras maestras del séptimo arte son analizadas e invitadas a esta selecta hora de la podcastfera cinéfila española. 2️⃣✖0️⃣8️⃣ | EL MAQUINISTA DE LA GENERAL Protagonizada por Buster Keaton, quien además dirige este clásico junto a Clyde Bruckman producido por United Artists. Fotografía en blanco y negro de Bert Haines y J.D. Jennings. La música, importantísima en este clásico mudo, corrió a cargo de Carl Davis, Joe Hisaishi, Robert Israel y The Alloy Orchestra. La historia, también guionizada por los Buster Keaton y Clyde Bruckman, narra la aventura de Johnny Gray (Buster Keaton), maquinista en un estado del Sur y tiene dos grandes amores: una chica (Anabelle Lee) y una locomotora (La General). Todo esto en el contexto de La Guerra de Secesión Buster Keaton es una de las voces más importantes del cine mudo, quizá la más importante junto a Chaplin, y este film es una de sus obras más importantes. ¿Sabías que Keaton tuvo una infancia muy dura?. ¿Qué hay de cierto en los hechos acontecidos en la película?. ¿Conocías la historia de cómo la carrera de Keaton casi quedó condenada tras rodar este film?. Y, además debatimos y te preguntamos; ¿Chaplin o Keaton?. Camina junto a Fran Maestra y Gonzalo Cuélliga por El Paseo de la Fama escuchando este podcast de cine clásico que homenajea a El maquinista de la general. SECCIONES ▪️ Contexto ▪️ La infancia deprimente de Buster Keaton ▪️ Basada en Hechos Reales ▪️ Una Superproducción que Condenó a Keaton ▪️ ¿Chaplin o Keaton? ➖➖➖➖➖➖➖➖➖➖➖➖ LISTA DE PELÍCULAS CITADAS EN EL PROGRAMA: https://letterboxd.com/podcastwood/list/2x08-podcastwood-el-maquinista-de-la-general/ ➖➖➖➖➖➖➖➖➖➖➖➖ ⭐ ÚNETE AL PASEO DE LA FAMA DE PODCASTWOOD Si te gusta Podcastwood y quieres ayudarnos a seguir progresando con este proyecto convertirte en fan y parte de nuestra comunidad activando el botón "APOYAR" en ivoox. Con ello recibirás las siguientes ventajas: ▪️ Acceso al grupo privado de Telegram de Podcastwood ▪️ Acceso en ivoox a los programas exclusivos para fans ▪️ Capacidad para elegir contenidos para los programas exclusivos para fans ▪️ Enlaces privados para asistir a las grabaciones de los programas para fans ▪️ Críticas semanales de los estrenos de la semana en salas y/o servicios de streaming Comparte día a día tu pasión por el cine junto a nosotros y otros amigos cinéfilos enamorados del séptimo arte. Acomódate, ¡te estábamos esperando! ➖➖➖➖➖➖➖➖➖➖➖➖ SÍGUENOS EN TWITTER: @podcastwood @fran_maestra @gcuelliga INSTAGRAM: podcastwood BLOGGER: podcastwood.blogspot.com ✉ CONTACTANOS EN podcastwoodmail@gmail.com ➖➖➖➖➖➖➖➖➖➖➖➖ DISFRUTA DE LA BSO DE PODCASTWOOD EN SPOTIFY: https://open.spotify.com/playlist/2FYBsPmqMxvs9gtgrUtQ62 ➖➖➖➖➖➖➖➖➖➖➖➖ CREW ▪️Producción: Fran Maestra y Gonzalo Cuélliga ▪️ Redacción: Fran Maestra y Gonzalo Cuélliga ▪️ Sonido y grafismo: Fran Maestra ▪️ Entorno digital: Gonzalo Cuélliga ▪️ Conducción: Fran Maestra y Gonzalo Cuélliga ▪️ Locución: Marta Navas Podcastwood | 2023
Whitney Museum digital asset manager and restorationist David Neary joins us to discuss THE STUDENT PRINCE IN OLD HEIDELBERG. We discuss all things film preservation, including photochemical and digital restoration processes, stochastic film restoration, the dangers and benefits of nitrate film stocks, and the morality of piracy. Recorded live in New York City by Anna Citak-Scott. Edited by Griffin Sheel. This episode is dedicated to Carl Davis (1936–2023). NEXT WEEK: Returning guest David Cairns joins us to discuss THE PATRIOT and the works of Josef von Sternberg. For details as to where to find this film, check out our resources page. WORKS CITED: FilmColors - Timeline of Historical Film Colors The Carl Davis Collection Photoplay Productions
Harold Lloyd dangling from the hands of a clock on the side of a building is arguably the most famous single image from the silent-film era. The movie in which that scene appears, Safety Last, was made in 1923 and is being screened Sunday at 2pm at the Academy Museum, with a 27-piece orchestra playing the late Carl Davis's original score. Leonard and Jessie are delighted to welcome back Suzanne Lloyd, who was raised by her grandfather and grandmother, and her longtime friend Rich Correll, who as a teenager began the process of preserving Harold Lloyd's film collection. We owe them both a debt of thanks for keeping these movies safe for current and future generations to enjoy.
Carl Davis is an upcoming electronic dance music producer, songwriter, and performer based out of Omaha, Nebraska that has an insatiable passion for creating and performing all types of electronic dance music. He goes under the artist name BlackLight, is an avid dancer and lover of good vibes, and approaches songwriting, producing, and performing from this perspective. He also does his best to deliver good feels, good vibes, PLUR (Peace Love Unity & Respect) vibes, and dance-ability in each of his creations and performances. In addition, he owns and operates his own record label (Plurred Vision Records) which he currently releases music under.
NBA News, NFL News, MLB News, WNBA News, NHL News, CBS's fall schedule, CBS's FBI Most Wanted, Everybody Hates Chris, A Farewell to Mark Margolis, David Albert Pierce, Carl Davis, Melissa Elkas, Clifton Oliver, John Gosling, Sharon Farrell, Ken Saurez, Arthur Schmidt, William Friedkin, DJ Casper & Mel Roach. --- Support this podcast: https://podcasters.spotify.com/pod/show/on-the-radar/support
The former US president says his latest indictment amounts to "persecution of a political opponent". Also: Amazon deforestation falls to lowest level since 2017, and the award-winning American composer Carl Davis dies aged eighty-six.
The South African soprano Masabane Cecilia Rangwanasha talks to Front Row ahead of returning to the Proms this Saturday to sing Strauss's Four Last Songs with the National Youth Orchestra. Critics Sharlene Teo and Max Liu review Joy Ride, the feature film debut of Adele Lim, who also wrote Crazy Rich Asians - and also Ann Patchett's new novel Tom Lake, a story about how we tell the story of our lives – and how we fill the inevitable gaps. And the composer and conductor Carl Davis has died. His film and television successes include the themes for the BBC's 1995 adaptation of Pride and Prejudice, ITV's landmark history series the The World At War, and the TV adaptation of Far Pavilions. He wrote part of the Liverpool Oratorio with Paul McCartney to mark the Royal Liverpool Philharmonic's 150th anniversary. The composer and author Neil Brand joins us to celebrate the work of Carl Davis. Presenter: Tom Sutcliffe Producer: Paul Waters
After a quiet start to free agency Monday, Andrew breaks down why the Patriots' first moves were to re-sign Jonathan Jones and Carl Davis and trade Jonnu Smith. Then, he previews what comes next, their best available targets and answers your mailbag questions. This episode of the Pats Interference Football Podcast is brought to you by FanDuel, the exclusive wagering partner of the CLNS Media Network. New customers in Mass can get in on the action with $200 in Bonus Bets – guaranteed! - when you place your first $5 bet. Just sign up at FanDuel.com/BOSTON ! 21+ and present in MA. First online real money wager only. $10 first deposit required. Bonus issued as nonwithdrawable Bonus Bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Hope is here. Gamblinghelplinema.org or call (800)-327-5050 for 24/7 support. You can also listen and Subscribe to Pats Interference on iTunes, Spotify, Stitcher, and at CLNSMedia.com every Tuesday! READ all of Andrew's work at https://www.bostonherald.com/author/andrew-callahan Learn more about your ad choices. Visit megaphone.fm/adchoices
An in-depth conversation with Carl Davis, the author of a new East Carolina football book, 'My View From 20 Rows Up: One Pirate Fan's Story of ECU Football.' Rate and subscribe to Hoist the Colours on Apple Podcasts, Spotify or Google podcasts. Host: Stephen Igoe This is a podcast centered around East Carolina athletics and recruiting, hosted by Hoist The Colours publisher Stephen Igoe, bringing you game reactions, in-depth analysis, and breaking recruiting news. NOTE: Intro and outro music provided by Assassin's Creed Black Flag To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
Welcome back to the Boneyard Podcast, where 2 ECU Alumni, Jared Shafit and Artie Brower sit around, drink beer and talk about ECU sports. This week the boys are back doing their thing for Episode 132 of the Boneyard Podcast! Review College Football National Championship ECU Basketball is Embarrassing ECU Women's Basketball is on the Rise Interview With Carl Davis, Author of My View From 20 Rows Up: A Pirate Fans Story CJ Johnson Earns NFL Combine Invite Pirate Club Sets New Record Twitter Questions Catch us on Youtube! We hope you enjoy this episode of the Boneyard Podcast! Make sure to follow us on Twitter, Instagram, and Youtube @BoneyardPodcast, and subscribe to the podcast wherever you listen to your favorite podcasts, and also please rate us and let us know what you think! Become a #FriendOfThePodcast by leaving us a 5 STAR Review! Want to hear your voice on the Boneyard Podcast?! Leave us a message! --- Send in a voice message: https://anchor.fm/boneyard-podcast/message
PODCAST 2023 CARL DAVIS 1 - 13 - 23 by Pirate Radio 92.7FM Greenville
Carl Davis, who has seen more than 50 years of East Carolina Football, joined Bubba to discuss being a Pirate fan and writing his new book, "My View From 20 Rows Up--One Pirate Fan's Story of ECU Football. --- Support this podcast: https://anchor.fm/thesportsobj/support
Carl Davis, who has seen more than 50 years of East Carolina Football, joined Bubba to discuss being a Pirate fan and writing his new book, "My View From 20 Rows Up--One Pirate Fan's Story of ECU Football.
The structural engineer and author Roma Agrawal tells Michael Berkeley about her passions for tall buildings, bridges, concrete and Indian classical dance. Roma Agrawal is a highly successful woman operating in what is still very much a man's world. Her job is, essentially, to make sure that the buildings, bridges, roads and tunnels we use every day don't collapse. She spent six years working out the incredibly complex structure of the spire and foundations of the Shard in London, the tallest building in western Europe. As well as engineering, Roma has another passion: she tells Michael about her lifelong love of the ancient Bharata Natyam form of Indian Classical Dance, and we hear the first piece of music she danced to as a child in Mumbai. She chooses songs by Abida Parveen, Anoushka Shankar and Nitin Sawhney as well as pieces by Tchaikovsky and by Carl Davis which drew her to Western music. Roma tells Michael about her campaign to encourage more women to become engineers, why she decided to speak out about the emotional and physical strain of IVF and how working on the Shard helped her overcome her fear of heights. Producer: Jane Greenwood A Loftus Media production for BBC Radio 3
Synopsis Today's date marks the anniversary of the first performance of Jerome Kern's Show Boat, produced in 1927 at the National Theater in Washington, D.C. by Florenz Ziegfeld. Show Boat's book and lyrics were by Oscar Hammerstein II, adapted from Edna Ferber's novel, which had been published only the year before. It was a most unusual story for a musical, and dealt frankly with alcoholism and interracial marriage. Mixing tragic and comic elements was something simply unheard of in American musical theater of that time. Ziegfeld's secretary recalled that before the Washington premiere, he fretted that audiences would be disappointed that the girls on stage were wearing much too much clothing for a typical Ziegfeld show. There was little or no applause following the November 15th premiere, and Ziegfeld assumed that “Show Boat” was a flop. But the Washington audiences were simply too stunned to react. When Ziegfeld's secretary told his boss that there were long lines waiting to buy tickets for subsequent performances, at first Ziegfeld didn't believe it. But by the time Show Boat opened on Broadway the following month, even the Great Ziegfeld knew he had a hit on his hands—and one based on great music and a powerful book, with nary a scantily-glad show girl in sight! Music Played in Today's Program Jerome Kern (1885-1945) selections from Showboat Royal Liverpool Philharmonic; Carl Davis, cond. EMI 4573
Wealth inequality is at mind-boggling levels. A new report by the Oregon Center for Public Policy (OCPP) shows how much of Oregon's wealth is in the hands of a few billionaires. OCPP Policy Analyst Tyler Mac Innis explains just how extreme wealth inequality is in Oregon and the factors driving inequality. But how does Oregon compare to the rest of the country? Carl Davis, Research Director at the Institute on Taxation and Economic Policy, explains how Oregon stacks up in terms of wealth inequality and how federal tax policy is a key tool for reducing inequality.Read OCPP's report Wealth Inequality in Oregon Is Extreme.Read ITEP's report The Geographic Distribution of Extreme Wealth in the U.S.
Carl Davis' path to Youth Villages can be outlined through several significant figures: two drug-addicted parents, four siblings who became involved with the justice system, 11 funerals attended for victims of gun violence and countless times when he chose a different path for his life than that of the people he loved. Now, 14 years later, Carl is the Director of Operations for Memphis Allies, a collaborative initiative launched by Youth Villages to reduce gun violence. He still relies upon lessons learned from one of the first young people he helped: consistency, connection and a conscious choice to see the good in people are all things that ignite change and create opportunities for a better future. What takes form is different for each relationship – and his decision to invest in the lives of children and youth at every stage of his career is what saw him move from an overnight teacher counselor to a director of operations. Links from the show: Join the force for families. View open positions with Memphis Allies and Residential Helping Young Men Choose a Different Path Full show description: www.youthvillages.org/podcast Social Media LinkedIn – linkedin.com/school/youth-villages Instagram - @youthvillages Facebook - @youthvillages YouTube - youtube.com/youthvillages Privacy Policy All rights reserved. “Youth Villages” is a registered service mark owned by Youth Villages®, a tax-exempt 501(c)(3) nonprofit organization (EIN: 58-1716970). Your gift is tax-deductible as allowed by law. Youth Villages® is an equal opportunity employer and provides equal employment opportunities to all employees and applicants for employment and prohibits discrimination and harassment of any type without regard to race, color, religion, age, sex, national origin, disability status, genetics, protected veteran status, sexual orientation, gender identity or expression, or any other characteristic protected by federal, state or local laws. youthvillages.org/privacy-statement/
On Episode 110 of the RETROZEST podcast, Curtis conducts an exclusive interview with SONNY CARL DAVIS (aka the angry customer at The All American Burger restaurant who wants his money back for his 100% Guaranteed Breakfast) in the second of three RetroZest podcast episodes celebrating the 40th Anniversary of FAST TIMES AT RIDGEMONT HIGH! The film was released in theaters on August 13, 1982 (the same day as Curtis' 16th Birthday!). In addition to Sonny, the film starred Sean Penn, Jennifer Jason Leigh, Judge Reinhold, Robert Romanus, Brian Backer, Phoebe Cates, Vincent Schiavelli and Ray Walston. Other aspects of Sonny's career are discussed as well; including his time with the comedy music group The Uranium Savages, and his appearances in films like The Whole Shootin' Match, Where the Buffalo Roam, Roadie, Melvin and Howard, Wacko, TerrorVision and Trial By Fire! Check out Sonny on Facebook! Incidentally, you may help the podcast by purchasing a FAST TIMES T-Shirt or two (many different designs and colors!) from our store at store.retrozest.com/fasttimes. You may also help the RetroZest Podcast by purchasing a Celebrity Video Message gift for a friend/family member from CelebVM! Choose from celebrities like Barry Williams, Gary Busey, Ernie Hudson, Robert Fripp, Right Said Fred, etc.! Simply enter their website through our portal at store.retrozest.com/celebvm, and shop as you normally would; it's no extra cost to you at all! Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!
This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Today we're going to look at a record which I actually originally intended to do a full episode on, but by an artist about whom there simply isn't enough information out there to pull together a full episode -- though some of this information will show up in other contexts in future episodes. So we're going to have a Patreon bonus episode on one of the great soul-pop records of the mid 1960s -- "Rescue Me" by Fontella Bass: [Excerpt: Fontella Bass, "Rescue Me"] Fontella Bass was actually a second-generation singer. Her mother, Martha Bass, was a great gospel singer, who had been trained by Willie Mae Ford Smith, who was often considered the greatest female gospel singer of the twentieth century but who chose only to perform live and on the radio rather than make records. Martha Bass had sung for a short time with the Clara Ward Singers, one of the most important and influential of gospel groups: [Excerpt: The Clara Ward Singers, "Wasn't It A Pity How They Punished My Lord?"] Fontella had been trained by her mother, but she got her start in secular music rather than the gospel music her mother stuck to. She spent much of the early sixties working as a piano player and singer in the band of Little Milton, the blues singer. I don't know exactly which records of his she's on, but she was likely on his top twenty R&B hit "So Mean to Me": [Excerpt: Little Milton, "So Mean to Me"] One night, Little Milton didn't turn up for a show, and so Bass was asked to take the lead vocals until he arrived. Milton's bandleader Oliver Sain was impressed with her voice, and when he quit working with Milton the next year, he took Bass with him, starting up a new act, "The Oliver Sain Soul Revue featuring Fontella and Bobby McClure". She signed to Bobbin Records, where she cut "I Don't Hurt Any More", a cover of an old Hank Snow country song, in 1962: [Excerpt: Fontella Bass, "I Don't Hurt Any More"] After a couple of records with Bobbin, she signed up with Ike Turner, who by this point was running a couple of record labels. She released a single backed by the Ikettes, "My Good Loving": [Excerpt: Fontella Bass, "My Good Loving"] And a duet with Tina Turner, "Poor Little Fool": [Excerpt: Fontella Bass and Tina Turner, "Poor Little Fool"] At the same time she was still working with Sain and McClure, and Sain's soul revue got signed to Checker records, the Chess subsidiary, which was now starting to make soul records, usually produced by Roquel Davis, Berry Gordy's former collaborator, and written or co-written by Carl Smith. These people were also working with Jackie Wilson at Brunswick, and were part of the same scene as Carl Davis, the producer who had worked with Curtis Mayfield, Major Lance, Gene Chandler and the rest. So this was a thriving scene -- not as big as the scenes in Memphis or Detroit, but definitely a group of people who were capable of making big soul hits. Bass and McClure recorded a couple of duo singles with Checker, starting with "Don't Mess Up a Good Thing": [Excerpt: Fontella Bass and Bobby McClure, "Don't Mess Up a Good Thing"] That made the top forty on the pop charts, and number five on the R&B charts. But the follow-up only made the R&B top forty and didn't make the pop charts at all. But Bass would soon release a solo recording, though one with prominent backing vocals by Minnie Ripperton, that would become one of the all-time soul classics -- a Motown soundalike that was very obviously patterned after the songs that Holland, Dozier, and Holland were writing, and which captured their style perfectly: [Excerpt: Fontella Bass, "Rescue Me"] There's some dispute as to who actually wrote "Rescue Me". The credited songwriters are Carl Smith and Raynard Miner, but Bass has repeatedly claimed that she wrote most of the song herself, and that Roquel Davis had assured her that she would be fairly compensated, but she never was. According to Bass, when she finally got her first royalty cheque from Chess, she was so disgusted at the pitiful amount of money she was getting that she tore the cheque up and threw it back across the desk. Her follow-up to "Rescue Me", "Recovery", didn't do so well, making the lower reaches of the pop top forty: [Excerpt: Fontella Bass, "Recovery"] Several more singles were released off Bass' only album on Chess, but she very quickly became disgusted with the whole mainstream music industry. By this point she'd married the avant-garde jazz trumpeter Lester Bowie, and she started performing with his group, the Art Ensemble of Chicago. The music she recorded with the group is excellent, but if anyone bought The Art Ensemble of Chicago With Fontella Bass, the first of the two albums she recorded with the group, expecting something like "Rescue Me", they were probably at the very least bemused by what they got -- two twenty-minute-long tracks that sound like this: [Excerpt: The Art Ensemble of Chicago with Fontella Bass: "How Strange/Ole Jed"] In between the two albums she recorded with the Art Ensemble of Chicago, Bass also recorded a second solo album, but after it had little success she largely retired from music to raise her four children, though she would make the odd guest appearance on her husband's records. In the 1990s she made a few gospel records with her mother and her younger brother, the R&B singer David Peaston, and toured a little both on the nostalgia circuit and performing gospel, but she never returned to being a full-time musician. Both she and her brother died in 2012, Peaston from complications of diabetes, Bass from a heart attack after a series of illnesses. "Rescue Me" was her only big hit, and she retired at a point when she was still capable of making plenty of interesting music, but Fontella Bass still had a far more interesting, and fulfilling, career than many other artists who continue trying to chase the ghost of their one hit. She made music on her own terms, and nobody else's, right up until the end.
Carlos Iribarren | Hoy Toca se adentra en el verano con una sesión preciosa de cine al aire libre. Carlos, con su proverbial generosidad, ha invitado al bueno de Mario a ver 6 películas que tienen una banda sonora de primer nivel y queremos que escuchéis con nosotros algunas de sus piezas más destacadas. Empezamos homenajeando a Vangelis, recientemente fallecido y terminamos con la maravillosa creación del gran Mark Knopfler para la poco recordada “Un tipo genial”. Además, podremos disfrutar de momentos muy emotivos concebidos por compositores como James Newton Howard, Elmer Bernstein, Carl Davis y Scott Joplin con uno de sus enormes rags para piano revisitado para orquesta por Marvin Hamlisch. Vente con nosotros a esta sesión continua y disfruta de música maravillosa en la edición veraniega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.
Carl Davis, Last Train to Tomorrow and Bach Brandenburg concerto, Number 5.
Primer programa dedicado al género documental, tanto para el cine como para la televisión. En él se dan citas cuatro genios: Lee Holdridge, Aaron Copland, Alex North y Carl Davis, en las bandas sonoras siguientes: Suite de Lee Holdridge: El Pueblo del Sol/In search for peace/Unlikely heroes/The long way home/Winston Churchill: Walking with destiny. Suite de Aaron Copland: The city/The Cummington story. África (Movement IV). Suite de Carl Davis: El mundo en guerra/Anna Frank remembered/Hollywood. Sintonía compuesta por Curro Martín. Voz de Pablo Silicato.
This Episode focuses on the music from the 1995 mini-series Pride and Prejudice written by Carl Davis. Featured music: Andante Favori in F Major, WoO 57 by Ludwig van Beethoven, performed by Peter Schmalfuss "Thinking About Lizzy" - Pride and Prejudice by Carl Davis Mr Beveridge's Magot - Performed by The Broadside Band "Jane Fairfax Plays Mozart Sonata in F" - Emma, performed by Amber Anderson Septet in E-flat, Op. 20: V. Scherzo (Allegro molto e Vivace) by Ludwig van Beethoven, performed by Berlin Philharmonic Octet "Pride and Prejudice" - Pride and Prejudice by Carl Davis "Return of Bingley" - Pride and Prejudice by Carl Davis "Lydia's Elopement" - Pride and Prejudice by Carl Davis "Parting" - Pride and Prejudice by Carl Davis "Darcy Returns" - Pride and Prejudice by Carl Davis "Double Wedding" - Pride and Prejudice by Carl Davis "Elizabeth Observed" - Pride and Prejudice by Carl Davis "Pemberley" - Pride and Prejudice by Carl Davis "Darcy's Second Proposal" - Pride and Prejudice by Carl Davis "Canon Collins" - Pride and Prejudice by Carl Davis 'The Gardiners" - Pride and Prejudice by Carl Davis Atys: Overture - by Jean-Baptiste Lully, performed by Capriccio Basel Baroque Orchestra and Dominik Kiefer "Rosings" - Pride and Prejudice by Carl Davis "Winter into Spring" - Pride and Prejudice by Carl Davis "Farewell to the Regiment" - Pride and Prejudice by Carl Davis "Telling the Truth" - Pride and Prejudice by Carl Davis "World of Soundtracks" theme by Edith Mudge
With a subtitle like "Love's Struggle Throughout the Ages" you know you're in for something huge. This week Jackie and Greg sit down with D. W. Griffith's silent epic from 1916. Topics of discussion include the film's massive scope, Carl Davis' rousing score, how the theme of intolerance isn't as well integrated as Griffith intended, the film's immersive intertitles, and plenty of waxing over the famous Babylon set. Ah, the extent someone will go to prove they're not a racist. Tune in and join them as they tackle one of Hollywood's most monumental movies.#93 on Sight & Sound's "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxSpecial Thanks: Kathryn Ferentchak
New Mexico, a national vacation destination, has a serious housing shortage: over half of the workforce in Santa Fe commutes from out of town. Additionally, the desert state's frequent droughts and high solar power potential create a strong case for climate resilient development. How can green building address housing affordability, community stability, and climate? This episode of Green in Action follows Homewise, a Santa-Fe-based non-profit housing organization, and learns how it grew to meet these challenges in New Mexico. Host Kimberly Vermeer spoke with Daniel Slavin, the Senior Director of Real Estate Development, and Carl Davis, Construction Manager for the Community Development Department, about how this Community Development Financial Institution's commitment to sustainability guided their approach. Tune in for the story of Homewise's organizational transformation from focusing on mortgage financing and education to building community wealth through developing housing and commercial space – and all of it informed by Homewise's commitment to sustainability and climate resilience. This episode includes a close look at Homewise's project El Camino Crossing in Santa Fe, (a case study from Blueprint for Greening Affordable Housing, Revised Edition), its Ruppe B. Drugstore commercial development in Albuquerque, and its anti-displacement efforts. For episode show notes, visit https://urbanhabitatinitiatives.com/podcast/sustainable-homeownership-transforming-communities/. Follow us on Twitter www.twitter.com/UHIPodcast
Episode 124 of A History of Rock Music in Five Hundred Songs looks at “People Get Ready", the Impressions, and the early career of Curtis Mayfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "I'm Henry VIII I Am" by Herman's Hermits. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. A lot of resources were used for this episode. Sing for Freedom: The Story of the Civil Rights Movement Through Its Songs by Guy and Candie Carawan is a combination oral history of the Civil Rights movement and songbook. Move On Up: Chicago Soul Music and Black Cultural Power by Aaron Cohen is a history of Chicago soul music and the way it intersected with politics. Traveling Soul: The Life of Curtis Mayfield by Todd Mayfield with Travis Atria is a biography of Mayfield by one of his sons, and rather better than one might expect given that. Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner looks at the parallels and divergences in the careers of its three titular soul stars. This compilation has a decent selection of recordings Mayfield wrote and produced for other artists on OKeh in the early sixties. This single-CD set of Jerry Butler recordings contains his Impressions recordings as well as several songs written or co-written by Mayfield. This double-CD of Major Lance's recordings contains all the hits Mayfield wrote for him. And this double-CD collection has all the Impressions' singles from 1961 through 1968. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A couple of episodes ago we had a look at one of the first classic protest songs of the soul genre. Today we're going to look at how Sam Cooke's baton was passed on to another generation of soul singer/songwriters, and at one of the greatest songwriters of that generation. We're going to look at the early career of Curtis Mayfield, and at "People Get Ready" by the Impressions: [Excerpt: The Impressions, "People Get Ready"] A quick note before I start this one -- there is no way in this episode of avoiding dealing with the fact that the Impressions' first hit with a Curtis Mayfield lead vocal has, in its title, a commonly used word for Romany people beginning with "g" that many of those people regard as a slur -- while others embrace the term for themselves. I've thought long and hard about how to deal with this, and the compromise I've come up with is that I will use excerpts from the song, which will contain that word, but I won't use the word myself. I'm not happy with that compromise, but it's the best I can do. It's unfortunate that that word turns up a *lot* in music in the period I'm covering -- it's basically impossible to avoid. Anyway, on with the show... Curtis Mayfield is one of those musicians who this podcast will almost by definition underserve -- my current plan is to do a second episode on him, but if this was a thousand-song podcast he would have a *lot* more than just two episodes. He was one of the great musical forces of the sixties and seventies, and listeners to the Patreon bonus episodes will already have come across him several times before, as he was one of those musicians who becomes the centre of a whole musical scene, writing and producing for most of the other soul musicians to come out of Chicago in the late fifties and early 1960s. Mayfield grew up in Chicago, in the kind of poverty that is, I hope, unimaginable to most of my listeners. He had to become "the man of the house" from age five, looking after his younger siblings as his mother went out looking for work, as his father abandoned his family, moved away, and changed his name. His mother was on welfare for much of the time, and Mayfield's siblings have talked about how their special Christmas meal often consisted of cornbread and syrup, and they lived off beans, rice, and maybe a scrap of chicken neck every two weeks. They were so hungry so often that they used to make a game of it -- drinking water until they were full, and then making sloshing noises with their bellies, laughing at them making noises other than rumbling. But while his mother was poor, Mayfield saw that there was a way to escape from poverty. Specifically, he saw it in his paternal grandmother, the Reverend A.B. Mayfield, a Spiritualist priest, who was the closest thing to a rich person in his life. For those who don't know what Spiritualism is, it's one of the many new religious movements that sprouted up in the Northeastern US in the mid to late nineteenth centuries, like the Holiness Movement (which became Pentecostalism), the New Thought, Christian Science, Mormonism, and the Jehovah's Witnesses. Spiritualists believe, unlike mainstream Christianity, that it is possible to communicate with the spirits of the dead, and that those spirits can provide information about the afterlife, and about the nature of God and angels. If you've ever seen, either in real life or in a fictional depiction, a medium communicating with spirits through a seance, that's spiritualism. There are numbers of splinter spiritualist movements, and the one Reverend Mayfield, and most Black American Spiritualists at this time, belonged to was one that used a lot of elements of Pentecostalism and couched its teachings in the Bible -- to an outside observer not conversant with the theology, it might seem no different from any other Black church of the period, other than having a woman in charge. But most other churches would not have been funded by their presiding minister's winnings from illegal gambling, as she claimed to have the winning numbers in the local numbers racket come to her in dreams, and won often enough that people believed her. Reverend Mayfield's theology also incorporated elements from the Nation of Islam, which at that time was growing in popularity, and was based in Chicago. Chicago was also the home of gospel music -- it was where Sister Rosetta Tharpe had got her start and where Mahalia Jackson and Thomas Dorsey and the Soul Stirrers were all based -- and so of course Reverend Mayfield's church got its own gospel quartet, the Northern Jubilee Singers. They modelled themselves explicitly on the Soul Stirrers, who at the time were led by Sam Cooke: [Excerpt: The Soul Stirrers, "Jesus Gave Me Water"] Curtis desperately wanted to join the Northern Jubilee Singers, and particularly admired their lead singer, Jerry Butler, as well as being a huge fan of their inspiration Sam Cooke. But he was too young -- he was eight years old, and the group members were twelve and thirteen, an incommensurable gap at that age. So Curtis couldn't join the Jubilee singers, but he kept trying to perform, and not just with gospel -- as well as gospel, Chicago was also the home of electric blues, being where Chess Records was based, and young Curtis Mayfield was surrounded by the music of people like Muddy Waters: [Excerpt: Muddy Waters, "Rollin' and Tumblin'"] And so as well as singing gospel songs, he started singing and playing the blues, inspired by Waters, Little Walter, and other Chess acts. His first instrument was the piano, and young Curtis found that he naturally gravitated to the black keys -- he liked the sound of those best, and didn't really like playing the white keys. I won't get into the music theory too much here, but the black keys on a piano make what is called a pentatonic scale -- a five-note scale that is actually the basis for most folk music forms, whether Celtic folk, Indian traditional music, the blues, bluegrass, Chinese traditional music... pentatonic scales have been independently invented by almost every culture, and you might think of them as the "natural" music, what people default to. The black notes on the piano make that scale in the key of F#: [Excerpt: pentatonic scale in F#] The notes in that are F#, G#, A#, C#, and D#. When young Curtis found a guitar in his grandmother's closet, he didn't like the way it sounded -- if you strum the open strings of a guitar they don't make a chord (well, every combination of notes is a chord, but they don't make one most people think of as pleasant) -- the standard guitar tuning is E, A, D, G, B, E. Little Curtis didn't like this sound, so he retuned the guitar to F#, A#, C#, F#, A#, F# -- notes from the chord of F#, and all of them black keys on the piano. Now, tuning a guitar to open chords is a fairly standard thing to do -- guitarists as varied as Keith Richards, Steve Cropper, and Dolly Parton tune their guitars to open chords -- but doing it to F# is something that pretty much only Mayfield ever did, and it meant his note choices were odd ones. He would later say with pride that he used to love it when other guitarists picked up his guitar, because no matter how good they were they couldn't play on his instrument. He quickly became extremely proficient as a blues guitarist, and his guitar playing soon led the Northern Jubilee Singers to reconsider having him in the band. By the time he was eleven he was a member of the group and travelling with them to gospel conventions all over the US. But he had his fingers in multiple musical pies -- he formed a blues group, who would busk outside the pool-hall where his uncle was playing, and he also formed a doo-wop group, the Alphatones, who became locally popular. Jerry Butler, the Jubilee Singers' lead vocalist, had also joined a doo-wop group -- a group called the Roosters, who had moved up to Chicago from Chattanooga. Butler was convinced that to make the Roosters stand out, they needed a guitarist like Mayfield, but Mayfield at first remained uninterested -- he already had his own group, the Alphatones. Butler suggested that Mayfield should rehearse with both groups, three days a week each, and then stick with the group that was better. Soon Mayfield found himself a full-time member of the Roosters. In 1957, when Curtis was fifteen, the group entered a talent contest at a local school, headlined by the Medallionaires, a locally-popular group who had released a single on Mercury, "Magic Moonlight": [Excerpt: The Medallionaires, "Magic Moonlight"] The Medallionaires' manager, Eddie Thomas, had been around the music industry since he was a child – his stepfather had been the great blues pianist Big Maceo Merriweather, who had made records like "Worried Life Blues": [Excerpt: Big Maceo Merriweather, "Worried Life Blues"] Thomas hadn't had any success in the industry yet, but at this talent contest, the Roosters did a close-harmony version of Sam Cooke's "You Send Me", and Thomas decided that they had potential, especially Mayfield and Butler. He signed them to a management contract, but insisted they changed their name. They cast around for a long time to find something more suitable, and eventually decided on The Impressions, because they'd made such an impression on Thomas. The group were immediately taken by Thomas on a tour of the large indie labels, and at each one they sang a song that members of the group had written, which was inspired by a song called "Open Our Eyes" by the Gospel Clefs: [Excerpt: The Gospel Clefs, "Open Our Eyes"] Herman Lubinsky at Savoy liked the song, and suggested that Jerry speak-sing it, which was a suggestion the group took up, but he passed on them. So did Ralph Bass at King. Mercury Records gave them some session work, but weren't able to sign the group themselves -- the session was with the big band singer Eddie Howard, singing backing vocals on a remake of "My Last Goodbye", a song he'd recorded multiple times before. Unfortunately, I haven't been able to track down a copy of that recording, the Impressions' first, only Howard's other recordings of the song. Eventually, the group got the interest of a tiny label called Bandera, whose owner Vi Muszynski was interested -- but she had to get the approval of Vee-Jay Records, the larger label that distributed Bandera's records. Vee-Jay was a very odd label. It was one of a tiny number of Black-owned record labels in America at the time, and possibly the biggest of them, and it's interesting to compare them to Chess Records, which was based literally across the road. Both put out R&B records, but Chess was white-owned and specialised in hardcore Chicago electric blues -- Muddy Waters, Howlin' Wolf, Little Walter and so on. Vee-Jay, on the other hand, certainly put out its fair share of that kind of music, but they also put out a lot of much smoother doo-wop and early soul, and they would have their biggest hits a few years after this, not with blues artists, but with the Four Seasons, and with their licensing of British records by Frank Ifield and the Beatles. Both Vee-Jay and Chess were aiming at a largely Black market, but Black-owned Vee-Jay was much more comfortable with white pop acts than white-owned Chess. Muszynski set up an audition with Calvin Carter, the head of A&R at Vee-Jay, and selected the material the group were to perform for Carter -- rather corny songs the group were not at all comfortable with. They ran through that repertoire, and Carter said they sounded good but didn't they have any originals? They played a couple of originals, and Carter wasn't interested in those. Then Carter had a thought -- did they have any songs they felt ashamed of playing for him? Something that they didn't normally do? They did -- they played that song that the group had written, the one based on "Open Our Eyes". It was called "For Your Precious Love", and Carter immediately called in another group, the Spaniels, who were favourites of the Impressions and had had hits with records like "Goodnite Sweetheart Goodnite": [Excerpt: The Spaniels, "Goodnite, Sweetheart, Goodnite"] Carter insisted on the Impressions singing their song for the Spaniels, and Butler in particular was very worried -- he assumed that Carter just wanted to take their song and give it to the bigger group. But after they played the song again, the Spaniels all enthused about how great the Impressions were and what a big hit the Impressions were going to have with the song. They realised that Carter just *really liked* them and the song, and wanted to show them off. The group went into the studio, and recorded half a dozen takes of "For Your Precious Love", but none of them came off correctly. Eventually Carter realised what the problem was -- Mayfield wasn't a member of the musicians' union, and so Carter had hired session guitarists, but they couldn't play the song the way Mayfield did. Eventually, Carter got the guitarists to agree to take the money, not play, and not tell the union if he got Mayfield to play on the track instead of them. After that, they got it in two takes: [Excerpt: Jerry Butler and the Impressions, "For Your Precious Love"] When it came out, the record caused a major problem for the group, because they discovered when they saw the label that it wasn't credited to "The Impressions", but to "Jerry Butler and the Impressions". The label had decided that they were going to follow the strategy that had worked for so many acts before -- put out records credited to "Singer and Group", and then if they were successful develop that into two separate acts. To his credit, Butler immediately insisted that the record company get the label reprinted, but Vee-Jay said that wasn't something they could do. It was too late, the record was going out as Jerry Butler and the Impressions and that was an end to it. The group were immediately put on the promotional circuit -- there was a rumour that Roy Hamilton, the star who had had hits with "Unchained Melody" and "Ebb Tide", was going to put out a cover version, as the song was perfectly in his style, and so the group needed to get their version known before he could cut his cover. They travelled to Philadelphia, where they performed for the DJ Georgie Woods. We talked about Woods briefly last episode -- he was the one who would later coin the term "blue-eyed soul" to describe the Righteous Brothers -- and Woods was also the person who let Dick Clark know what the important Black records were, so Clark could feature them on his show. Woods started to promote the record, and suddenly Jerry Butler and the Impressions were huge -- "For Your Precious Love" made number three on the R&B charts and number eleven on the pop charts. Their next session produced another hit, "Come Back My Love", although that only made the R&B top thirty and was nowhere near as big a hit: [Excerpt: Jerry Butler and the Impressions, "Come Back My Love"] That would be the last time the original lineup of the Impressions would record together. Shortly afterwards, before a gig in Texas, Jerry Butler called the President of the record label to sort out a minor financial problem. Once the problem had been sorted out, the president put the phone down, but then one of the other Impressions, Arthur Brooks, asked if he could have a word. Butler explained that the other person had hung up, and Brooks went ballistic, saying that Butler thought he was in charge, and thought that he could do all the talking for the group. Well, if he thought that, he could do all the singing too. Brooks and his brother Richard weren't going on stage. Sam Gooden said he wasn't going on either -- he'd been an original Rooster with the Brooks brothers before Butler had joined the group, and he was siding with them. That left Curtis Mayfield. Mayfield said he was still going on stage, because he wanted to get paid. The group solidarity having crumbled, Gooden changed his mind and said he might as well go on with them, so Butler, Mayfield, and Gooden went on as a trio. Butler noticed that the audience didn't notice a difference -- they literally didn't know the Brooks brothers existed -- and that was the point at which he decided to go solo. The Impressions continued without Butler, with Mayfield, Gooden, and the Brooks brothers recruiting Fred Cash, who had sung with the Roosters when they were still in Tennessee. Mayfield took over the lead vocals and soon started attracting the same resentment that Butler had. Vee-Jay dropped the Impressions, and they started looking round for other labels and working whatever odd jobs they could. Mayfield did get some work from Vee-Jay, though, working as a session player on records by people like Jimmy Reed. There's some question about which sessions Mayfield actually played -- I've seen conflicting information in different sessionographies -- but it's at least possible that Mayfield's playing on Reed's most famous record, "Baby What You Want Me to Do": [Excerpt: Jimmy Reed, "Baby What You Want Me to Do"] And one of Mayfield's friends, a singer called Major Lance, managed to get himself a one-off single deal with Mercury Records after becoming a minor celebrity as a dancer on a TV show. Mayfield wrote that one single, though it wasn't a hit: [Excerpt: Major Lance, "I Got a Girl"] Someone else who wasn't having hits was Jerry Butler. By late 1960 it had been two years since "For Your Precious Love" and Butler hadn't made the Hot One Hundred in that time, though he'd had a few minor R&B hits. He was playing the chitlin' circuit, and in the middle of a tour, his guitarist quit. Butler phoned Mayfield, who had just received a four hundred dollar tax bill he couldn't pay -- a lot of money for an unemployed musician in 1960. Mayfield immediately joined Butler's band to pay off his back taxes, and he also started writing songs with Butler. "He Will Break Your Heart", a collaboration between the two (with Calvin Carter also credited), made the top ten on the pop chart and number one on the R&B chart: [Excerpt: Jerry Butler, "He Will Break Your Heart"] Even more important for Mayfield than writing a top ten hit, though, was his experience playing for Butler at the Harlem Apollo. Not because of the shows themselves, but because playing a residency in New York allowed him to hang out at the Turf, a restaurant near the Brill Building where all the songwriters would hang out. Or, more specifically, where all the *poorer* songwriters would hang out -- the Turf did roast beef sandwiches for fifty cents if you ate standing at the counter rather than seated at a table, and it also had twenty payphones, so all those songwriters who didn't have their own offices would do their business from the phone booths. Mayfield would hang out there to learn the secrets of the business, and that meant he learned the single most important lesson there is -- keep your own publishing. These writers, some of whom had written many hit songs, were living off twenty-five-dollar advances while the publishing companies were making millions. Mayfield also discovered that Sam Cooke, the man he saw as the model for how his career should go, owned his own publishing company. So he did some research, found out that it didn't actually cost anything to start up a publishing company, and started his own, Curtom, named as a portmanteau of his forename and the surname of Eddie Thomas, the Impressions' manager. While the Impressions' career was in the doldrums, Thomas, too, had been working for Butler, as his driver and valet, and he and Mayfield became close, sharing costs and hotel rooms in order to save money. Mayfield not only paid his tax bill, but by cutting costs everywhere he could he saved up a thousand dollars, which he decided to use to record a song he'd written specifically for the Impressions, not for Butler. (This is the song I mentioned at the beginning with the potential slur in the title. If you don't want to hear that, skip forward thirty seconds now): [Excerpt: The Impressions, "Gypsy Woman"] That track got the Impressions signed to ABC/Paramount records, and it made the top twenty on the pop charts and sold half a million copies, thanks once again to promotion from Georgie Woods. But once again, the follow-ups flopped badly, and the Brooks brothers quit the group, because they wanted to be doing harder-edged R&B in the mould of Little Richard, Hank Ballard, and James Brown, not the soft melodic stuff that Mayfield was writing. The Impressions continued as a three-piece group, and Mayfield would later say that this had been the making of them. A three-part harmony group allowed for much more spontaneity and trading of parts, for the singers to move freely between lead and backing vocals and to move into different parts of their ranges, where when they had been a five-piece group everything had been much more rigid, as if a singer moved away from his assigned part, he would find himself clashing with another singer's part. But as the group were not having hits, Mayfield was still looking for other work, and he found it at OKeh Records, which was going through something of a boom in this period thanks to the producer Carl Davis. Davis took Mayfield on as an associate producer and right-hand man, primarily in order to get him as a guitarist, but Mayfield was also a valuable talent scout, backing vocalist, and especially songwriter. Working with Davis and arranger Johnny Pate, between 1963 and 1965 Mayfield wrote and played on a huge number of R&B hits for OKeh, including "It's All Over" by Walter Jackson: [Excerpt: Walter Jackson, "It's All Over"] "Gonna Be Good Times" for Gene Chandler: [Excerpt: Gene Chandler, "Gonna Be Good Times"] And a whole string of hits for Jerry Butler's brother Billy and his group The Enchanters, starting with "Gotta Get Away": [Excerpt: Billy Butler and the Enchanters, "Gotta Get Away"] But the real commercial success came from Mayfield's old friend Major Lance, who Mayfield got signed to OKeh. Lance had several minor hits written by Mayfield, but his big success came with a song that Mayfield had written for the Impressions, but decided against recording with them, as it was a novelty dance song and he didn't think that they should be doing that kind of material. The Impressions sang backing vocals on Major Lance's "The Monkey Time", written by Mayfield, which became a top ten pop hit: [Excerpt: Major Lance, "The Monkey Time"] Mayfield would write several more hits for Major Lance, including the one that became his biggest hit, "Um Um Um Um Um Um", which went top five pop and made number one on the R&B charts: [Excerpt: Major Lance, "Um Um Um Um Um Um (Curious Mind)"] So Mayfield was making hits for other people at a furious rate, but he was somehow unable to have hits with his own group. He was still pushing the Impressions, but they had to be a weekend commitment -- the group would play gigs all over the country at weekends, but Monday through Friday Mayfield was in the studio cutting hits for other people -- and he was also trying to keep up a relationship not only with his wife and first child, but with the woman who would become his second wife, with whom he was cheating on his first. He was young enough that he could just about keep this up -- he was only twenty at this point, though he was already a veteran of the music industry -- but it did mean that the Impressions were a lower priority than they might have been. At least, they were until, in August 1963, between those two huge Major Lance hits, Curtis Mayfield finally wrote another big hit for the Impressions -- their first in their new three-piece lineup. Everyone could tell "It's All Right" was a hit, and Gene Chandler begged to be allowed to record it, but Mayfield insisted that his new song was for his group: [Excerpt: The Impressions, "It's All Right"] "It's All Right" went to number four on the pop chart, and number one R&B. And this time, the group didn't mess up the follow-up. Their next two singles, "Talking About My Baby" and "I'm So Proud", both made the pop top twenty, and the Impressions were now stars. Mayfield also took a trip to Jamaica around this time, with Carl Davis, to produce an album of Jamaican artists, titled "The Real Jamaica Ska", featuring acts like Lord Creator and Jimmy Cliff: [Excerpt: Jimmy Cliff, "Ska All Over the World"] But Mayfield was also becoming increasingly politically aware. As the Civil Rights movement in the US was gaining steam, it was also starting to expose broader systemic problems that affected Black people in the North, not just the South. In Chicago, while Black people had been able to vote for decades, and indeed were a substantial political power block, all that this actually meant in practice was that a few powerful self-appointed community leaders had a vested interest in keeping things as they were. Segregation still existed -- in 1963, around the time that "It's All Right" came out, there was a school strike in the city, where nearly a quarter of a million children refused to go to school. Black schools were so overcrowded that it became impossible for children to learn there, but rather than integrate the schools and let Black kids go to the less-crowded white schools, the head of public education in Chicago decided instead to make the children go to school in shifts, so some were going ridiculously early in the morning while others were having to go to school in the evening. And there were more difficult arguments going on around segregation among Black people in Chicago. The issues in the South seemed straightforward in comparison -- no Black person wanted to be lynched or to be denied the right to vote. But in Chicago there was the question of integrating the two musicians' union chapters in the city. Some Black proponents of integration saw merging the two union chapters as a way for Black musicians to get the opportunity to play lucrative sessions for advertising jingles and so on, which only went to white players. But a vocal minority of musicians were convinced that the upshot of integrating the unions would be that Black players would still be denied those jobs, but white players would start getting some of the soul and R&B sessions that only Black players were playing, and thought that the end result would be that white people would gentrify those areas of music and culture where Black people had carved out spaces for themselves, while still denying Black people the opportunity to move into the white spaces. Mayfield was deeply, deeply, invested in the Civil Rights movement, and the wider discourse as more radical voices started to gain strength in the movement. And he was particularly inspired by his hero, Sam Cooke, recording "A Change is Gonna Come". As the rhetoric of the Civil Rights movement was so deeply rooted in religious language, it was natural that Mayfield would turn to the gospel music he'd grown up on for his own first song about these issues, "Keep on Pushing": [Excerpt: The Impressions, "Keep on Pushing"] That became another huge hit, making the top ten on the pop chart and number one on the R&B chart. It's instructive to look at reactions to the Impressions, and to Mayfield's sweet, melodic, singing. White audiences were often dismissive of the Impressions, believing they were attempting to sell out to white people and were therefore not Black enough -- a typical reaction is that of Arnold Shaw, the white music writer, who in 1970 referred to the Impressions as Oreos -- a derogatory term for people who are "Black on the outside, white inside". Oddly, though, Black audiences seem not to have recognised the expertise of elderly white men on who was Black enough, and despite white critics' protestations continued listening to and buying the Impressions' records, and incorporating Mayfield's songs into their activism. For example, Sing For Freedom, a great oral-history-cum-songbook which collects songs sung by Civil Rights activists, collected contemporaneously by folklorists, has no fewer than four Impressions songs included, in lightly adapted versions, as sung by the Chicago Freedom Movement, the group led by Martin Luther King, Jesse Jackson and others, who campaigned for an end to housing segregation in Chicago. It quotes Jimmy Collier, a Black civil rights activist and folk singer, saying "There's a rock 'n' roll group called the Impressions and we call them ‘movement fellows' and we try to sing a lot of their songs. Songs like ‘Keep On Pushin',' ‘I Been Trying,' ‘I'm So Proud,' ‘It's Gonna Be a Long, Long Winter,' ‘People Get Ready, There's a Train a-Comin',' ‘There's a Meeting Over Yonder' really speak to the situation a lot of us find ourselves in." I mention this discrepancy because this is something that comes up throughout music history -- white people dismissing Black people as not being "Black enough" and trying to appeal to whites, even as Black audiences were embracing those artists in preference to the artists who had white people's seal of approval as being authentically Black. I mention this because I am myself a white man, and it is very important for me to acknowledge that I will make similar errors when talking about Black culture, as I am here. "Keep on Pushing" was the Impressions' first political record, but by no means the most important. In 1965 the Civil Rights movement seemed to be starting to unravel, and there were increasing ruptures between the hardliners who would go on to form what would become the Black Power movement and the more moderate older generation. These ruptures were only exacerbated by the murder of Malcolm X, the most powerful voice on the radical side. Mayfield was depressed by this fragmentation, and wanted to write a song of hope, one that brought everyone together. To see the roots of the song Mayfield came up with we have to go all the way back to episode five, and to "This Train", the old gospel song which Rosetta Tharpe had made famous: [Excerpt: Sister Rosetta Tharpe, "This Train (live)"] The image of the train leading to freedom had always been a powerful one in Black culture, dating back to the Underground Railroad -- the network of people who helped enslaved people flee their abusers and get away to countries where they could be free. It was also a particularly potent image for Black people in the northern cities, many of whom had travelled there by train from the South, or whose parents had. Mayfield took the old song, and built a new song around it. His melody is closer than it might seem to that of "This Train", but has a totally different sound and feeling, one of gentle hope rather than fervent excitement. And there's a difference of emphasis in the lyrics too. "This Train", as befits a singer like Tharpe who belonged to a Pentecostal "holiness" sect which taught the need for upright conduct at all times, is mostly a list of those sinners who won't be allowed on the train. Mayfield, by contrast, had been brought up in a Spiritualist church, and one of the nine affirmations of Spiritualism is "We affirm that the doorway to reformation is never closed against any soul here or hereafter". Mayfield's song does talk about how "There ain't no room for the hopeless sinner, Whom would hurt all mankind just to save his own", but the emphasis is on how "there's hope for *all*, among those loved the most", and how "you don't need no baggage", and "don't need no ticket". It's a song which is fundamentally inclusive, offering a vision of hope and freedom in which all are welcome: [Excerpt: The Impressions, "People Get Ready"] The song quickly became one of the most important songs to the Civil Rights movement -- Doctor King called it "the unofficial anthem of the Civil Rights movement" -- as well as becoming yet another big hit. We will continue to explore the way Mayfield and the Impressions reacted to, were inspired by, and themselves inspired Black political movements when we look at them again, and their political importance was extraordinary. But this is a podcast about music, and so I'll finish with a note about their musical importance. As with many R&B acts, the Impressions were massive in Jamaica, and they toured there in 1966. In the front row when they played the Carib Theatre in Kingston were three young men who had recently formed a group which they had explicitly modelled on the Impressions and their three-part harmonies. That group had even taken advantage of Jamaica's nonexistent copyright laws to incorporate a big chunk of "People Get Ready" into one of their own songs, which was included on their first album: [Excerpt: The Wailers, "One Love (1965 version)"] Bob Marley and the Wailers would soon become a lot more than an Impressions soundalike group, but that, of course, is a story for a future episode...
On Ep. 45, New England Patriots DT Carl Davis jumped on the show to discuss navigating an entire NFL season with Covid-19 protocols, current events plaguing the world right now and growth during unprecedented times. The Detroit native took a deep dive into his childhood growing up on the West side of Detroit, being a top recruit in the area, choosing the University of Iowa to further his playing career, personal experiences at the University, being drafted 90th overall in the 2015 NFL Draft and just completing Year 6 in the NFL. One of the most authentic episodes to date, leave and comment and download this episode!
Join us for our engaging conversation with retired U.S. Forest Service Archaeologist, Carl Davis. We discuss his new book, "Six Hundred Generations: An Archaeological History of Montana." We cover all things archaeological and why they matter today!
In Episode 8 of the Commentary Track, Frank Thompson talks with Carl Davis
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