Podcasts about The Lion Sleeps Tonight

Bubbel, babbel och intervjuer. Cilla har kommit till västkusten och i det här avsnittet står hon tillsammans med Malin på Bohusläns bokmässa. De pratar med varandra, träffar läsare och bjuder på fyra intervjuer med författarkollegor, mässgeneraler, hjärnforskare och tidningsredaktörer. Ett ovanligt speciellt avsnitt om författarskap, att skriva tillsammans, utbrändhet och att gömma sig i en bil med ett kollegieblock. Wimoweh!Intervjuer med Elinor Kapp, Tina Karlsson och Elisabeth Öhman, Hedvig Söderlund och Tobias Regnéll Hosted on Acast. See acast.com/privacy for more information.

Kristine Schuetze with the NEW Zoological Society joins the guys to talk about things to look forward to at the NEW Zoo. New projects and upgrades are on the way, and Kristine talks a bit about the need for community involvement to raise money for the upgrades and improvements. Kristine also brings Drew Dinehard, Curator of Animals at the NEW Zoo, to share information on one of the biggest stories to come out of the Zoo since its inception: The two otters that broke free and are currently on the lamb. The good news is that the animals are used to this type of weather and are likely thriving in the wild. (We also learn a lot about animals by John Maino, who, as one listener texted, "is no Marlin Perkins".) Then, Chad Janowski, Executive Director of the Brown County STEM Innovation Center, talks about the programs available at the center. He also promotes the STEM Family Day that's coming up on April 12th. Maino and the Mayor is a part of the Civic Media radio network and airs Monday through Friday from 6-9 am on WGBW in Green Bay and on WISS in Appleton/Oshkosh. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast lineup. Follow the show on Facebook and X to keep up with Maino and the Mayor! Guest: Drew Dinehart

Stand firm, Stay faithful, Watch God move!Need Prayer?

Wake up, see a lion, turn on this episode, then tell your friends. We'd do the same thing. Make sure to share this episode with all your family and friends! Share to your social media stories! Hit that 5* review button wherever you listen! Website: www.greysacademypod.com Patreon: https://www.patreon.com/Greysacademypod Social: @greysacademypod @carmen.gabriel.official @chaoticallykelcey Email us at greysacademypod@gmail.com *This podcast is not in any way connected with Grey's Anatomy or any of its affiliates. This is intended for comedic purposes only.*

More details emerge about Owen, the Lexie and Mark "will-they-won't-they" continues, and Zola is still cute as heck. Make sure to share this episode with all your family and friends! Share to your social media stories! Hit that 5* review button wherever you listen! Website: www.greysacademypod.com Patreon: https://www.patreon.com/Greysacademypod Social: @greysacademypod @carmen.gabriel.official @chaoticallykelcey Email us at greysacademypod@gmail.com *This podcast is not in any way connected with Grey's Anatomy or any of its affiliates. This is intended for comedic purposes only.*

In this special episode of Rock is Lit, veteran rocker and author Elliott Murphy talks about and shares an excerpt from his novel ‘Marty May'. Once a rising rock star in 1970s New York, virtuoso guitarist Marty May has lost it all—his career, his marriage, and his record deal. Now, at 33, he's alone, drowning in debt, and questioning his future. Should he return to his blues roots with his old mentor, Blind Red Rose? Set in the 1980s, when the music industry prioritized business over artistry, ‘Marty May' is a poignant tale of talent, temptation, and staying true to one's beliefs—elegant and tragic, like ‘The Great Gatsby' in the age of rock 'n' roll. Living in Paris for 30 years as an expatriate New Yorker, Elliott Murphy remains as active as ever in music and literature. With over 35 albums to his name, he continues to tour worldwide while earning critical acclaim. His debut album, ‘Aquashow' (1973), launched a celebrated career that includes ‘Lost Generation', ‘Night Lights' (featuring Billy Joel), and ‘Selling The Gold' (featuring Bruce Springsteen). In 2016, a biopic on his career, ‘The Second Act Of Elliott Murphy', won the Audience Award at the Dock of the Bay Film Festival. Born into a show business family, Elliott began his career as a troubadour in Europe before securing a U.S. record deal. Alongside his music, he is a prolific author, publishing four novels, including the rock trilogy ‘Marty May', ‘Tramps', and ‘Diamonds By The Yard', as well as ‘Poetic Justice'. His short story “The Lion Sleeps Tonight” was adapted into the 2020 film ‘Broken Poet', in which he stars alongside Michael O'Keefe, Marisa Berenson, and a rare cameo appearance by Bruce Springsteen and Patti Scialfa. In recognition of his artistic contributions, Elliott was named a Chevalier des Arts et Lettres by the French Minister of Culture in 2015 and inducted into the Long Island Music Hall of Fame in 2018. For more information on Elliott Murphy, see his website and watch the 2016 biopic of his career, ‘The Second Act of Elliott Murphy'.   PLAYLIST Rock is Lit theme music Sixties 60's music (free to use) “Last of the Rock Stars” by Elliott Murphy “You Never Know What You're In For” by Elliott Murphy “What the Fuck is Going On” by Elliott Murphy “A Touch of Kindness” by Elliott Murphy Sixties 60's music (free to use) Rock is Lit theme music   LINKS:  Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Elliott Murphy's website: https://elliottmurphy.com/ Elliott Murphy on Facebook: @ElliottMurphy Elliott Murphy on Instagram: @elliottmurphy ‘The Second Act of Elliott Murphy' biopic trailer: https://www.youtube.com/watch?v=RAfMyaanQmc Christy Alexander Hallberg's website: www.christyalexanderhallberg.com  Rock is Lit on Instagram & Bluesky: @rockislitpodcast Christy Alexander Hallberg on Instagram and YouTube: @christyhallberg Christy Alexander Hallberg on Facebook: @ChristyAlexanderHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

The boys discuss the David vs Goliath win over the Lions, biggest play of the Game, Unsung Heroes, and they answer fan questions!!Support the show

Podcast for a deep examination into the career and life choices of Eddie Murphy & Jim Carrey. Joe gets bio-hacked by the Red Menace (not that one). Patrick tries to find a cure but has trouble locating his co-host's internal mainframe. Lev, to better aid them, watches the seminal 90s film 'Hackers.' How well did 90s Hollywood understand the early internet? Find out on this week's episode of 'What the Hell Happened to Them?' Email the cast at whathappenedtothem@gmail.com Disclaimer: This episode was recorded in October 2024. References may feel confusing and/or dated unusually quickly. 'Ace Ventura: When Nature Calls' is available on Blu-ray, DVD, & VHS (for you hipsters out there): https://www.amazon.com/Ace-Ventura-Nature-Calls-Blu-ray/dp/B07PJ5K92F/   Music from "The Lion Sleeps Tonight" by Mango Groove   Artwork from BJ West   quixotic, united, skeyhill, vekeman, murphy, carrey, versus, vs, ace, ventura, pet, detective, nature, calls, ortega, ebert, legasequel, africa, bat

Nigel's guest today is Steve Grant. Steve is one of the most famous faces (and bodies) from the 80s UK pop scene. He was, and still continues to be, a member of Tight Fit whose pop tunes like The Lion Sleeps Tonight and Fantasy Island shot up the charts in the early 1980s. Steve's appearance in a loincloth and not much else on Top Of The Pops when The Lion Sleeps Tonight hit number one, was a homoerotic dream and gave me, and doubtless countless other young queer boys their first sexual awakening. But Steve had to hide his own queerness to the world and later deal with the band imploding, his partner dying and a devastating HIV diagnosis. This series is a celebration of a beautiful queer community; people of all ages, people who have had to tread their own path to live their real truth, who have fought with their emotions and emerged victorious, who inspire, who aspire and always entertain. Hosted by Nigel May. Every week, Nigel speaks to a person from the LGBTQ+ rainbow to hear their story; one person, one life, one conversation. And guaranteed, a Gay Old Time!Follow us on instagram @agayoldtimepodcast Produced by Pineapple Audio Production Hosted on Acast. See acast.com/privacy for more information.

Beautiful song alert! Canadian legend Joni MItchell's early classic "Both Sides Now" is the tune of the week, and it touches Erik and Weldon's Prairie souls. A wide-ranging discussion of Canadian accents, British Surrealists, Plato's Cave, and the journey of life ensues. Judy Collins had a hit with the tune in '68, and we dig the Baroque arrangement, and isn't the organ a little ... garagey? That same year, an obscure band called The Collection authored a psych-bubblegum version that has some modulation and icy princess vocals and a cool drone at the end. The final version we talk about is from The Tokens, of "The Lion Sleeps Tonight" fame. They really show the whim-o-way forward! Play this one right out loud!!

Jay Siegel is the original lead singer of The Tokens, the ‘60s band that had a massive worldwide hit with “The Lion Sleeps Tonight” and a follow up hit with “Portrait Of My Love”. The group formed in Brooklyn, New York and Neil Sedaka was an original member. Jay also had a parallel career producing hits for other artists including Tony Orlando and Dawn, The Chiffons and The Happenings.My featured song is my reimagined cover of Dobie Gray's hit “The ‘In' Crowd” from the album PGS 7 by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with Jay at:www.jaysiegelstokens.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Daily Dad Jokes (19 Mar 2024) Email Newsletter: Looking for more dad joke humour to share? Then subscribe to our new weekly email newsletter. It's our weekly round-up of the best dad jokes, memes, and humor for you to enjoy. Spread the laughs, and groans, and sign up today! Click here to subscribe ! Listen to the Daily Dad Jokes podcast here: https://dailydadjokespodcast.com/ or search "Daily Dad Jokes" in your podcast app. Interested in Business and Finance news? Then listen to our sister show: The Daily Business and Finance Show. Check out the website here or search "Daily Business and Finance Show" in your podcast app. Jokes sourced and curated from reddit.com/r/dadjokes. Joke credits: Gullible_Eagle4280, Upbeat_Ice1921, Audioman_Official, derppityd, jfshay, SteveTheBodyman, SteveTheBodyman, mal221, ChewyNutCluster, Silly_Zebra8634, mrl33602, Emergency-Hornet-594, bgva, brother_p, , Liquiddiscof_shit, CanMan417, SteveTheBodyman, natpatel01, Unicorn_Burrit0s, HeadFit2660, Ok-Dig3431, Genuine-Tigress25, Miss_SugarPot24, BiffMayhem, BryansBigHole, houndoom92 Subscribe to this podcast via: Spotify iTunes Google Podcasts Youtube Channel Social media: Instagram Facebook Twitter Tik Tok Discord Interested in advertising or sponsoring our show with +15k daily streams? Contact us at mediasales@klassicstudios.com Produced by Klassic Studios using AutoGen Podcast technology (http://klassicstudios.com/autogen-podcasts/) See omnystudio.com/listener for privacy information.

La correlazione tra calura e alto volume della voce e il live unplugged di "The Lion Sleeps Tonight" di The Tokens.See omnystudio.com/listener for privacy information.

Before the podcast leaves Mali, I will address two allegations of plagiarism leveled at Disney. The first and weaker of the two claims is that Disney stole large parts of Mali's national epic, "The Epic of Sundiata," in creating the plot of the mega-hit "The Lion King."The second is about one of the film's signature songs, "The Lion Sleeps Tonight." The original version was written in 1939 by a South African man named Solomon Linda, who was paid pennies for the recording and died destitute, while American renditions of his song brought in millions.The episode also highlights the battle against Disney that Linda's daughters have been waging to access missing royalties and have Solomon Linda's name recognized as the original composer. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

All hail Mama Mo! We are so delighted to welcome the effervescent Maureen Davis into the ATTT fold, as she nailed all of the things on our list. Fun? Check, Funny? Check. Great taste in music? Oh yeah. Maureen helps us bring it all home in Part 2 of our sleepy playlist of our favorite "Sleep" songs. Top Ten "Sleep" Songs is the latest in our patented "Songs That Have A Particular Word In Their Title" series, and our word this time around is "Sleep". We chose this particular word as a sneaky way to help us promote Maureen's excellent and GRAMMY-Nominee-In-Waiting children's music album Sleepyland Band Songs For Bedtime by her studio creation, the Sleepyland Band. It truly was a great hang and a super fun playlist. Thanks, Mo!If you somehow missed Part 1, please go back and start here:https://www.podomatic.com/podcasts/alltimetopten/episodes/2023-09-11T04_00_00-07_00Behold! THIS is what it's all about - the Top Ten "Sleep" Songs Spotify playlist, bumper songs included:https://open.spotify.com/playlist/2RDqSVPiOMT2gkx84i8g95?si=81d28a9257d54ebaMaureen is doing LA right, meaning she's got her artistic hand in a million things at once. Try to keep up with her on her social media:https://www.instagram.com/mnm5maureen/If you haven't heard the entire Sleepyland Band Songs For Bedtime album, get your ears on it:https://open.spotify.com/album/3eHrHaFSKEQzpBLTP5Y90d?si=71YT0t0PTiCAzVqrHAuHPg

Jake on IG: @jakerosephoto   The music documentary series we referenced is on Netflix and is called ReMastered. The series includes episodes on Robert Johnson, Sam Cooke, Jam Master Jay, Bob Marley, Johnny Cash, The Miami Showband Massacre, Victor Jara and the history behind “The Lion Sleeps Tonight” how it evolved from an original tune by Solomon Linda and his family's struggle for copyright recognition.   The entries for the album cover contest we discussed can be seen here - https://embracethegrain.com/2022/01/21/music-feeds-the-soul-entries/   Be sure to subscribe to Embrace The Grain, join the Facebook group and be on the lookout for new episodes - https://podcasts.apple.com/us/podcast/embrace-the-grain-photography-podcast/id1459043812   Theme song “Timeless” by Mike Gutterman via mikegutterman.bandcamp.com   Get in touch with Sunny 16 at sunny16presents@gmail.com   The show on IG: @musicandphotographypodcast The show on Twitter: @musicnphotopod

What do a theme park designer, an illegal drone camera, and a WHOLE lot of giraffes have in common? In their latest episode, Jennifer + Josh punch their passports and head to South Africa to recap and review Hallmark's new made-for-TV flick, 'A Safari Romance.' Is it worth the watch? Check out our 'Gold or Coal' segment, where we will tell you if it's a 'Walk On The Wild Side' or if 'The Lion Sleeps Tonight... And So Do We'! Stay connected with us on our social media channels and check out our new Etsy shop for official DYWWIW merch! Also, subscribe to our YouTube channel to get first notification of new episodes! www.DoYouWatchWhatIWatch.com

The 40 year journey of how a tune from a South African Zulu singer Solomon Linda became a worldwide hit for the teenage Jay Seigal and the group The Tokens in 1960's rock n roll.

(00:58) De staat Israël bestaat deze zondag precies 75 jaar. Een goed moment om ook eens te kijken naar de rol van Nederland, meent historicus David Wertheim. Want hoe werd Israël van natie-breed knuffeldier tot politieke splijtzwam? En welke consequenties heeft dat voor het huidige Israël?    (13:35) The Lion Sleeps Tonight is een lied met een rollend refrein dat je maar niet uit je hoofd krijgt. Componist en zanger Solomon Linda werkte in 1939 in het magazijn van de enige platenzaak in Johannesburg en ontving twee dollar voor de rechten van het lied. Wat is er bekend over Linda en hoe is het lied de wereld overgegaan? Joep Pelt, gitarist en deel van het muziekcollectief Soweto Soul, werkt nauw samen met Zuid-Afrikaanse artiesten in de townships en vertelt meer.   (25:00) De column van Abdelkader Benali.   (29:05) Led Zeppelin en the Doors galmen stiekem uit de radiootjes van Roemeense jongeren. De speelfilm Metronom toont de onderdrukking in communistisch Roemenië. Maar wat betekende Metronom, en hoe gevaarlijk was het om ernaar te luisteren in het Roemenië van Ceausescu en de beruchte geheime dienst de Securitate? Te gast is schrijver en dichter Mira Feticu, net als de hoofdpersoon uit de film, een indertijd opgroeiend meisje in een meedogenloze dictatuur.   (39:50) Historische boeken met Lotfi el Hamidi. Hij bespreekt:    - De honderdjarige oorlog tegen Palestina. Een geschiedenis van kolonialisme en verzet vanRashid Khalidi - Ms. Davis: A Graphic Biography van Amazing Ameziane en Sybille Titeux de la Croix - Alleen door Afrika. De opzienbare reis van Kazimierz Nowak van Tom Ysewijn   Meer info: https://www.vpro.nl/programmas/ovt/luister/afleveringen/2023/14-05-2023.html#

The Lion Sleeps Tonight is een lied met een rollend refrein dat je maar niet uit je hoofd krijgt. De wereldberoemde hit werd maar liefst 150 keer gecovered. Componist en zanger Solomon Linda werkte in 1939 in het magazijn van een platenzaak in Johannesburg en ontving het equivalent van twee dollar voor de rechten van het lied. Wat is er bekend over Linda en het Johannesburg van zijn tijd? Hoe is het lied de wereld overgegaan, en waarom is in hedendaags Zuid-Afrika postume erkenning van Solomon Linda zo belangrijk? Joep Pelt, gitarist en initiatiefnemer van het muziekcollectief Soweto Soul, werkt nauw samen met Zuid-Afrikaanse artiesten in de townships en vertelt meer.

It's was more Launa Drama this morning. Today involved the song "The Lion Sleeps Tonight".  

EPISODE 85: Living in Paris for over 30 years as an expatriate New Yorker, veteran rocker and author Elliott Murphy's career in music and literature is more active than ever. He has released over 35 albums, still performs shows all over Europe as well as the U.S. and Japan, is a prolific author of fiction (as well as his autobiography JUST A STORY FROM AMERICA) and most recently starring in the feature length film BROKEN POET. Nearly five decades have passed since the release of Elliott's classic first album AQUASHOW (1973) and fans continue to fill his concerts while critics praise his albums. In 2016 a bio-pic of his career THE SECOND ACT OF ELLIOTT MURPHY featuring interviews with Billy Joel and Bruce Springsteen was released all over Europe and won the Audience award at the Dock of the Bay Film Festival in Spain. Born on Long Island to a show business family, Elliott began his music career with a troubadour like odyssey in Europe in 1971 including a bit part in Federico Fellini's film Roma. Returning to the US he quickly secured a recording contract and following the success of his first album AQUASHOW came LOST GENERATION (Produced by Doors producer Paul Rothschild), NIGHT LIGHTS (featuring Billy Joel), JUST A STORY FROM AMERICA (featuring Phil Collins and Mick Taylor), and SELLING THE GOLD (featuring Bruce Springsteen) all the way to his most current releases PRODIGAL SON (2017), ELLIOTT MURPHY IS ALIVE! (2018) and RICOCHET (2019), these latest albums produced and mixed by his son Gaspard Murphy. Elliott Murphy is also a published author of numerous collections of short stories, most recently PARIS STORIES and GARDEN CITY STORIES, and four novels: the rock trilogy MARTY MAY, TRAMPS and DIAMONDS BY THE YARD and the neo-western POETIC JUSTICE. His writing has appeared in Rolling Stone (U.S.), Vanity Fair (France) and other international publications and his 1985 short story The Lion Sleeps Tonight was the basis for the feature film BROKEN POET by acclaimed Spanish director Emilio J. Ruiz. Elliott stars in the film along with noted actors Marisa Berenson (Cabaret), Michael O'Keefe (The Great Santini), Joanna Preiss (Paris Stories), Françoise Viallon (Dissonances) and a rare cameo appearance by Bruce Springsteen and Patti Scialfa. elliottmurphy.comContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Twitter: @JannKloseBandJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

We have another guest Robert Denton!!! In which we talk about the Lion Clan. CW: Talks about suicide and suicide ideation and the Cambodian Killing Fields. Twitter @sojpodrpg  Email: sojpodrpg@gmail.com   Discord: https://discord.gg/bpme5NJ Facebook: https://facebook.com/sojpodrpg Also Bobby has a new book for his Tiny Tavern's RPG!!! https://www.drivethrurpg.com/product/430663/The-Extremely-Necessary-Fishing-Minigame--A-Tiny-Taverns-DLC

We look at the complivated story of one of the world's most well-known songs from an illiterate Zulu singer, Solomon Linda to the Lion King and everything in between.

David Libert is our guest. And he's got such a wild story to tell that he actually did write a book about it! His career in music began singing doo-wop with his friends just to be able to hang out and meet girls. But his band, The Happenings, were good. So David went to Tin Pan Alley to convince the industry. He and his partner, Bob Miranda eventually got jobs writing music for a label run by The Tokens of The Lion Sleeps Tonight fame. The took the job with the stipulation that The Tokens would help The Happenings with their music. Sometime after the band's biggest hit, See You In September, David saw the writing on the wall and left The Happenings (which he was managing) to manage other bands like Rare Earth. His success there led to him working with the legendary Shep Gordon and Alice Cooper. And what a baptism of fire that was! After feeling burnt out, David started his own agency which ended with David in prison. But it was OK, he started playing in the prison jazz trio.After prison, David had to start from the ground up again. But he did it, eventually working with George Clinton, Parliament/Funkadelic, Prince, and one of my personal favorites, Living Colour.Pick up his book through Amazon or his website rockandrollwarrior.com. Follow him on social media to see what he's up to. Follow us @PerformanceAnx on Twitter & Instagram. You can help us manage this podcast through merch purchases at performanceanx.threadless.com or with some coffee at ko-fi.com/performanceanxiety. Now saddle up for a wild ride with David Libert on Performance Anxiety on the Pantheon Podcast Network.

In which Robert & Amy talk Christmas Favorites ... and share yours, too! Also, The Mayflower Docks, Slavery is Abolished, Hanukkah, Richards, Spielberg, Holmes, and The Lion Sleeps Tonight!

Elliott is a legendary singer/songwriter from Garden City, now living in Paris. Join your host Steve Yusko as he explores Elliott's music, career and collaborations with the artists Bruce Springsteen, Billy Joel and David Johansen just to name a few.Connect with The Long Island Sound Podcast  Intro/Outro song in this episode: “Fading out Fast” from Mike Nugent's album, Mike Nugent and the Blue Moon Band  Opening Narration by Faith Yusko. All songs in this podcast episode have been used with prior permission by the artists. Remember to Rate & Review the show!    Living in Paris for 30 years as an expatriate New Yorker, veteran rocker and author Elliott Murphy's career in music and literature is more active than ever. He has released over 35 albums, still performs shows all over Europe as well as the U.S. and Japan and is a prolific author of fiction. Four decades have passed since the release of Elliott's classic first album Aquashow (1973) and fans continue to fill his shows while critics praise his albums. In 2016 a bio-pic of his career The Second Act Of Elliott Murphy featuring interviews with Billy Joel and Bruce Springsteen was released all over Europe and won the Audience award at the Dock of the Bay Film Festival in Spain.  Returning to the US he quickly secured a recording contract and following the success of his first album Aquashow came Lost Generation (Produced by Doors producer Paul Rothschild), Night Lights (featuring Billy Joel), Just A Story From America (featuring Phil Collins and Mick Taylor), and Selling The Gold (featuring Bruce Springsteen) all the way to his most current releases Prodigal Son (2017), Elliott Murphy Is Alive! (2018) and Ricochet (2019), all produced and mixed by his son Gaspard Murphy. Elliott Murphy is also a published author of numerous collections of short stories, most recently Garden City Stories, and four novels: the rock trilogy Marty May, Tramps and Diamonds By The Yard and the neo-western Poetic Justice. His writing has appeared in Rolling Stone (U.S.), Vanity Fair (France) and other publications and his 1985 short story “The Lion Sleeps Tonight” was recently made into the feature film Broken Poet by acclaimed Spanish director Emilio J. Ruiz (to be released in Winter 2020). Elliott makes his acting debut, starring in the film along with Marisa Berenson, Michael O'Keefe and a rare cameo appearance by Bruce Springsteen and Patti Scialfa. In 2015 Elliott Murphy was awarded the Chevalier des Arts et Lettres by the French Minister of Culture and in 2018 he was inducted into the Long Island Music Hall of Fame by Billy Joel.Call the Listener Line (631) 800-3579 and leave your comments for our host and guests.Please Subscribe Here: Https://linktr.ee/thelongislandsoundpodcast Call the Listener Line and leave us your impressions (631) 800-3579Support the showConnect with us here: Https://linktr.ee/thelongislandsoundpodcast If you like what you hear,click the link below to support us with a secure donation. https://www.paypal.com/donate?token=lg4LOxiWjgFS8z75NJpziIIRYXvpvtm6oZ2VlYE5eedpGDcJ-YD1ybtpJZiAWaSa1HKHDPX7IFp9uisz

Innan podden lämnar Mali tar jag i det här avsnittet upp två anklagelser om plagiat som riktats mot Disney. Den första och mer skakiga av dom två hävdar att Disney har lånat stora delar av Malis nationalepos ”The Epic of Sundiata” i skapandet av handlingen i supersuccén ”Lejonkungen”. Den andra handlar om en av filmens signaturlåtar, ”The Lion Sleeps Tonight”, eller ”Mitt i djungeln” som den heter på svenska. Originalversionen skrevs 1939 av en sydafrikansk man vid namn Solomon Linda, som fick några ören i betalt för inspelningen och dog urfattig, samtidigt som amerikanska tolkningar av hans låt drog in miljonbelopp. Avsnittet tar upp kampen mot Disney som hans döttrar har fört för att få tillgång till utebliven royalty samt Solomon Lindas namn erkänt som originalkompositör. Hosted on Acast. See acast.com/privacy for more information.

Innan podden lämnar Mali tar jag i det här avsnittet upp två anklagelser om plagiat som riktats mot Disney. Den första och mer skakiga av dom två hävdar att Disney har lånat stora delar av Malis nationalepos ”The Epic of Sundiata” i skapandet av handlingen i supersuccén ”Lejonkungen”. Den andra handlar om en av filmens signaturlåtar, ”The Lion Sleeps Tonight”, eller ”Mitt i djungeln” som den heter på svenska. Originalversionen skrevs 1939 av en sydafrikansk man vid namn Solomon Linda, som fick några ören i betalt för inspelningen och dog urfattig, samtidigt som amerikanska tolkningar av hans låt drog in miljonbelopp. Avsnittet tar upp kampen mot Disney som hans döttrar har fört för att få tillgång till utebliven royalty samt Solomon Lindas namn erkänt som originalkompositör. Hosted on Acast. See acast.com/privacy for more information.

After discovering the family of Solomon Linda, the original writer of the iconic song  "The Lion Sleeps Tonight," a reporter tries to help them fight for fair compensation.Join The Patreon today and become a golden spoon!patreon.com/user?u=70388509Follow Us! Instagram and TikTok @SerialSistaaas MERCH AND STICKERS www.sistaaas.comFollow the host of the show!Audie - @AwkwardAudie Devin - DevinDennisXoX

At Samaritans, they call it compassion fatigue. When you've climbed into that hole, shared that load, walked in those shoes one too many times then realise you don't care anymore. Beth thinks she doesn't, but there's one caller out there who needs her and no one else will do. Starring Natalie Jones, Christopher Everett, Jess Gough and Lee Petcher. Written by Mark Jackson Produced & Directed by Paul Ludden Learn more about your ad choices. Visit megaphone.fm/adchoices

Mit "Automatic for the People" haben Michael Stipe und R.E.M. 1992 versucht, an den unglaublichen Erfolg ihres Vorgängeralbums "Out Of Time" anzuknüpfen. "Automatic for the People" hat sich zwar nicht ganz so gut verkauft wie ihr Durchbruchsalbum, wurde aber dennoch mit Gold- und Platinauszeichnungen überschüttet und hat den Stand der Band – auch international – gefestigt. Beeindruckend ist dabei vor allem, dass "Automatic for the People" nur ein Jahr nach "Out Of Time" rauskam, auf dem die Band einen ziemlichen Stilbruch vollzogen hatte. Von einer Alternative Rockband zu einer eher poppigen Band. Mit "Automatic for the People" sollte dann der Kurs ein bisschen Richtung Ursprung und Alternative Rock wieder korrigiert werden – so der Plan der Band. Aber wie so oft bei R.E.M. hatte das Album seine eigene Dynamik entwickelt und es wurde ein großartiges Album, aber keine Rockplatte. Thematisch gesehen ist "Automatic for the People" deutlich düsterer als der Vorgänger. Während "Out Of Time" noch Songs wie "Shiny Happy People" hatte, geht's auf dem neuen Album eher um harte und finstere Themen, wie zum Beispiel den Tod. Klanglich jedoch haben R.E.M. es geschafft, hier ein Album zu machen, das wirklich zeitlos klingt. Was Kurt Cobain, ein Nachtwächter, Nirvana und 56 "Yeahs" mit dem Album zu tun haben, das erfahren Sie in unserem Podcast. __________ Über diese Songs vom Album "Automatic for the People" wird im Podcast gesprochen 06:17 Mins – "Drive" 11:21 Mins – "The Sidewinder Sleeps Tonide" 16:48 Mins – "Everybody Hurts" 20:47 Mins – "Man On The Moon" 23:25 Mins – "Nightswimming" __________ Über diese Songs wird außerdem im Podcast gesprochen 07:31 Mins – "Rock On" von David Essex 11:58 Mins – "The Lion Sleeps Tonight" von The Tokens 22:00 Mins – "Lithium" von Nirvana __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

You want One Hit Wonders? We Got 'Em. In our first-ever Bracket Challenge we put 16 of the biggest hits from the last 50 years head-to-head in a cutthroat single-elimination tournament. The catch? YOU decided our winners! We recorded this episode LIVE on our Twitch and let the chat choose the outcome! Connor and James made their own brackets and are competing for accuracy... Who will win? Can we even compare The Lion Sleeps Tonight with Gangnam Style? And where did the Mixtaper get a blimp?! Only one way to find out, on this week's unique take on a Spin It Singles Episode!Listen along:Youtube - https://youtube.com/playlist?list=PLYumnChiw_I9lsOg5AdSXNqNgUrcuCN1y Spotify - https://open.spotify.com/playlist/1Q4RR8BB2CcHRuuvyf0FjM?si=3a060ca04c2f4e4d Keep Spinning at www.SpinItPod.com! Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Daniel and the Lions Den is one of the most famous stories in the bible, but it's also a story of faithful courage. Daniel shows us how everyday habits will help us remain steadfast in our faith when intimidating circumstances arise. We hope this sermon blesses you!

#737 - Luigi Creatore The Luigi Creatore Interview is featured on The Paul Leslie Hour. The major motion picture “Elvis” is going to be out any day now. Paul plans to see it with Miss Paul as soon as possible. Do you have a favorite song that Elvis Presley sang? We've got a few, but everyone knows “Can't Help Falling in Love.” Which brings to mind this interview that Paul Leslie had with the late Luigi Creatore, one of the most imaginative, kindest people around. Luigi Creatore was born December 21, 1921 and passed away December 13, 2015. He was a songwriter and record producer born in New York City. He was mostly known for co-writing the song "Can't Help Falling in Love" for Elvis Presley. Luigi Creatore also wrote English lyrics for the song "The Lion Sleeps Tonight" recorded by the Tokens. As a record producer, Creatore produced major hits for pop singer Jimmie Rodgers, and went on to work with Perry Como, Sam Cooke, Ray Peterson, just to name a few. A creative writer, Creatore wrote a book and collaborated in a Broadway musical titled "Maggie Flynn." One of his last projects was the off-Broadway play "An Error of the Moon." This interview was conducted at Luigi Creatore's condominium in Boca Raton, Florida and features a surprise appearance from Luigi's wife Claire Weiss Creatore. It is one of Paul's top interviews that he likes to remember. Can you help us in our efforts to get these historical interview artifacts out there? Please consider going to http://www.thepaulleslie.com/support It only takes a moment and makes a big difference. And now, we're going to start the interview. It's a good one folks. Join us as we remember, Luigi Creatore. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture. This podcast is powered by Pinecast.

It's another music-filled episode as the band gets back together to crown a winner of the Best Disney Movie Playlist bracket! Which collection of slaps will "Bop to the Top"? - Welcome back to the show, Elizabeth S.! - WE are the therapists in "We Don't Talk About Bruno" - Timon's hula shoulda been on the playlist. - A Randy Newman variant. - Kyle doesn't remember a damn thing about this show. - Supercali is no Orlando Brown. - Chris's love and appreciation for Nathan Lane. - Disney stole "The Lion Sleeps Tonight" - Julie Andrews is so hot. - Disney+ George Banks prequel? Got a rebuttal? Want to be a tiebreaker host? We'd love to hear from you: Support us on Patreon: cutt.ly/GerisGang Email us at mousemadnesspodcast@gmail.com Tweet us @MouseMadnessPod Follow us on Instagram @MouseMadnessPod Chat with us on Discord: discord.gg/qwpqAWA Join our Facebook Community: fb.me/MouseMadnessPodcast

On this episode Tony, G, and Rush take a trip to the amazon rain forest, they talk Tony's bass performance, Rush's trips to Kenya, and the new Batman movie....ENJOY!! Follow Everyone: @tonytalkspc (IG & Twitter) @elementgmedia (IG) @rushgs.goldenremedies (IG) @tony_mcbadluck (IG) @gera.dejesus (IG) @ru5hx_ (IG)

Anyone living in 1982 couldn't possible avoid signing, no dancing (well in my case anyway), to the iconic tune The Lion Sleeps Tonight by pop sensation Tight Fit. O-whim, o-whay! Lol Famed for their skimpy jungle outfits, the single reached number one in the UK charts where it fought off competition for three weeks. More chart success followed with Fantasy Island and Secret Heart before Denise Waterman, Steve Grant and Julie Harris went their separate ways.  But fast forward to 2010 and the original line-up responded to requests to perform again and have been singing live up and down the UK and in Europe ever since. Fast forward even further to the present day, the band have released a long-awaited third album with the debut single Fallout, which has already been hailed by their loyal fans as a fantastic nod to yesteryear. The tracks featured are: The Lion Sleeps Tonight and Fallout. Visit Tight Fit fan page on Facebook for more information, to vote for Tight Fit in the Heritage Chart on www.heritagechart.co.uk .

Welcome back Blue Flaggers! The crew is back to cover the fall out of the Lewis and Max incident in Brazil... and maybe the Qatar GP.  Sara catches us up on the reality TV drama between Horner and Toto and the Housewives of Salt Lake City! Breno takes exception with snack stealing! Sara mildly defends Red Bull while throwing Breno in the Mercedes camp. The crew leaves no stone unturned with deep dive into a moment that will live on in the annals of F1 history, the vaunted Ocon defense! Sara psychoanalyzes Verstappen, and Breno forgets which race is next on the calendar.  Kimi moments and more!So lets bone up on all FIA regulations and get ready to  adjudicate the Qatar GP!!!The Blue Flagopedia:HLS arrest of Jen ShahFerrari charadesCarlando lives on!Norris admits fault for BrazilCarlando golfs with Damon HillMax draws a... what?Breno's Kimi moment Kimi's press conferenceSara's Kimi momentRed Bull's flappy wingFIA press conferenceStewards ruling on yellow flagsStewards reference soccer when making decision on MaxMongolian government and MaxMax says Leclerc will be faster than Kimi

The rewatch resumes with a review of Season 3 Episode 3 "The Lion Sleeps Tonight". Featuring epic feedback from Travis! Email: dissectingdexter(at)gmail(dot)com Twitter: @dissectdexter

Munyaradzi (Munya) Chanetsa has dedicated his professional life to the business of music and entertainment. He is currently employed as A&R Manager: Africa for Sony ATV Music Publishing South Africa. With over 10 years experience in the music and entertainment space in the sourcing, licensing, curation, creation, monetization and distribution of audio and visual content Munya has decided to launch his own online education music platform called Masters Of The Industry (M.O.T.I) Africa. He has extensive experience across the continent due to directly engaging with mobile and online platforms, independent record labels, artists and publishers. Masters Of The Industry (M.O.T.I) AfricaWebsite: www.motiafrica.comInstagram: https://www.instagram.com/moti_africaInstagram: https://www.instagram.com/munyachanetsaFacebook: https://www.facebook.com/MotiAfricaYouTube: https://www.youtube.com/channel/UCaM9HaX8bBIE49Lq1EN04QwM.O.T.I Theme Song  Spotify :  https://open.spotify.com/album/526r2VBGxoPy7l9jpRsMedAppleMusic : https://music.apple.com/ca/artist/moti/1480872847Seeking justice for Lion Sleeps Tonight composer (BBC News Article) https://www.bbc.com/news/world-africa-55333535ReMastered: The Lion's Share | Netflix Official SiteHappy Endings : The Mbube Story https://www.youtube.com/watch?v=8JWGPv3HsqoResources mentioned: Podcasts Music Business PodcastTrapetable with Dan RuncieWater and Music with Sherry Hu (Patreon)Africa Music Law Set List CertificationAcademy of Sound Engineering – Masterclass in Music Business Music Business Worldwide (newsletter)BookMake Yourself Unforgettable by Dale Carnegie Training*Amazon* : https://amzn.to/34B6Wim *The following is an affiliate link. If you decide to make a purchase using it, I may receive a commission that helps support the show. ThanIf you're interested in how learning how I launched ZimExcellence then you're in luck. Sign up for my podcast workshop and learn how it's easier and more affordable than ever to start a podcast. Also, get a copy of my podcast resource guide which covers industry terminology, and suggested tech setup in addition to countless online resources to support your podcast journey. Just head to vongai.com/podcastcreation. Buzzsprout - Let's get your podcast launched! Start for FREESupport the show>> Sign up for Vongai's podcast workshop Buy ZimExcellence Merch

PART 2.  LISTEN TO PART 1 FIRSTMunyaradzi (Munya) Chanetsa has dedicated his professional life to the business of music and entertainment. He is currently employed as A&R Manager: Africa for Sony ATV Music Publishing South Africa. With over 10 years experience in the music and entertainment space in the sourcing, licensing, curation, creation, monetization and distribution of audio and visual content Munya has decided to launch his own online education music platform called Masters Of The Industry (M.O.T.I) Africa. He has extensive experience across the continent due to directly engaging with mobile and online platforms, independent record labels, artists and publishers. Masters Of The Industry (M.O.T.I) AfricaWebsite: www.motiafrica.comInstagram: https://www.instagram.com/moti_africaInstagram: https://www.instagram.com/munyachanetsaFacebook: https://www.facebook.com/MotiAfricaYouTube: https://www.youtube.com/channel/UCaM9HaX8bBIE49Lq1EN04QwM.O.T.I Theme Song  Spotify :  https://open.spotify.com/album/526r2VBGxoPy7l9jpRsMedAppleMusic : https://music.apple.com/ca/artist/moti/1480872847Seeking justice for Lion Sleeps Tonight composer (BBC News Article) https://www.bbc.com/news/world-africa-55333535ReMastered: The Lion's Share | Netflix Official SiteHappy Endings : The Mbube Storyhttps://www.youtube.com/watch?v=8JWGPv3HsqoResources mentioned: Podcasts Music Business PodcastTrapetable with Dan RuncieWater and Music with Sherry Hu (Patreon)Africa Music Law Set List CertificationAcademy of Sound Engineering – Masterclass in Music Business Music Business Worldwide (newsletter)BookMake Yourself Unforgettable by Dale Carnegie Training*Amazon* : https://amzn.to/34B6Wim*The following is an affiliate link. If you decide to make a purchase using it, I may receive a coIf you're interested in how learning how I launched ZimExcellence then you're in luck. Sign up for my podcast workshop and learn how it's easier and more affordable than ever to start a podcast. Also, get a copy of my podcast resource guide which covers industry terminology, and suggested tech setup in addition to countless online resources to support your podcast journey. Just head to vongai.com/podcastcreation. Buzzsprout - Let's get your podcast launched! Start for FREESupport the show>> Sign up for Vongai's podcast workshop Buy ZimExcellence Merch

Why did REM have to cover The Lion Sleeps Tonight? Who recorded the original version of Moonage Daydream? What is the name of Cat Power's cover of All I Have To Do Is Dream? Join Stevie Nix as he answers all of these questions and more on this episode that looks at songs related to sleep and their dreamy covers.WARNING: This episode contains traces of  Aerosmith.Featured songs [in chronological order]:The Lion Sleeps Tonight [REM]Dreams [Lissie, The Kills]Dreaming [Yo La Tengo]Dream On [Peg Carrothers]Moonage Daydream [Milky Edwards & The Chamberlings]If I Can Dream [Mojo Nixon]Don't Dream It's Over [Lauren Daigle]Boulevard Of Broken Dreams [Radius]All I Have To Do Is Dream [Cat Power]Last Night I Dreamt That Somebody Loved Me [Grant-Lee Phillips]Girlfriend In A Coma [Janice Whaley]Golden Slumbers [Dua Lipa]Good Night [Sara Watkins]Sweet Dreams (Are Made Of This) [Yo La Tengo, Pomplamoose ft Sarah Dugas]Feelin' Good [Lou Rawls]Hidden track: In Dreams [Roy Orbison]20 Songs That Have Things Covered #13Join Stevie on Spotifywww.songsungnew.com

Join Jon and May as they continue their Dexter Series Rewatch, as they prepare for Season 9, by delve into the 3rd episode of Season 3, "The Lion Sleeps Tonight." We encourage everyone to listen to our Dexter Series Rewatch as we keep things relatively spoiler free until our occasional spoiler section, "Dexter Secrets." You can get in contact with us at tildeathdouswatch@gmail.com. Thanks for listening!

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

Abstract In this special, Elizabeth and Karin have Brice Najar as a guest. They discuss the album Xscape on various levels. A discussion about Copyright, the integrity to finish the art of an artist, and if so do you put it out as an original Michael Jackson or not and much more. In this lovely, challenging and sometimes bold discussion they agree on one thing. Teach young Michael Jackson fans from his work and not from mixes. REFERENCE AS: Merx, Karin, and Elizabeth Amisu. “Episode 46 – Xscape: Insights In The Working Brain Of An Artist.” Podcast, Michael Jackson's Dream Lives On: An Academic Conversation 7, no. 6 (2021). Published electronically 04/04/2021. https://sya.rqu.mybluehost.me/website_94cbf058/episode46-xscape/. The Journal of Michael Jackson Academic Studies asks that you acknowledge The Journal of Michael Jackson Academic Studies as the source of our Content; if you use material from The Journal of Michael Jackson Academic Studies online, we request that you link directly to the stable URL provided. If you use our content offline, we ask that you credit the source as follows: “Courtesy of The Journal of Michael Jackson Academic Studies.” Episode 46 – MJAS Exclusive: Escape By Karin Merx & Elizabeth Amisu and guest Brice Najar Karin Merx BMus, MA, is editor of The Journal of Michael Jackson Academic Studies, and author of  ‘A festive parade of highlights. La Grande Parade as evaluation of the museum policy of Edy De Wilde at the Stedelijk Museum Amsterdam'. Find out more about Karin here. Elizabeth Amisu, PGCE, MA, is editor of The Journal of Michael Jackson Academic Studies and author of The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife. Find out more about Elizabeth here. References Wealth dynamics test online: www.wealthdynamics.com/Brice Najar, Book on the Dance Floor, 2020 https://www.amazon.co.uk/Book-Dance-Floor-Lets-HIStory/dp/B08QBRJBWRDamien Shields, Michael Jackson: Songs & Stories Of The Vault (Modegy, LLC.: 3rd edition, 2018).Joseph Vogel, ‘Linernotes', Xscape (Deluxe album) 2014. https://www.amazon.co.uk/s?k=michael+jackson+xscape+deluxe&i=popular&crid=3N14FTNBCK3W9&sprefix=xscape+deluxe+michael+jackson%2Cpopular%2C168&ref=nb_sb_ss_ts-doa-p_1_29.Elizabeth Amisu ed., Oroonoko, Aphra Behn (1640–1689) (See Image)Elizabeth Amisu, ‘The Power Of The Editor: Michael Jackson's Posthumous Releases', The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and his Afterlife (Preager, 2016) p179.Rian Malan, The Lion Sleeps Tonight, Netflix https//www.latimes.com/entertainment/music/la-et-ms-lion-sleeps-tonight-netflix-documentary-20190515-story.htmJoseph Vogel, ‘Invincible', Man in The Music (Dutton / Signet; Reprint edition, 2019) p 351.Karin Merx, ‘Episode 37 Interview with Dr Susan Rogers' vol. 5 season 6, The Journal Of Michael Jackson Academic Studies (21/07/18). https://sya.rqu.mybluehost.me/website_94cbf058/episode-37/Karin Merx & Elizabeth Amisu, ‘Episode 44 ‘Earth Song', Vol. 6 Season 7, The Journal Of Michael Jackson Academic Studies (21/01/21). https://sya.rqu.mybluehost.me/website_94cbf058/episode-44-earthsong/Clint Smith, ‘How To Raise A Black Son in America' Ted Talk (March 2015) https://www.ted.com/talks/clint_smith_how_to_raise_a_black_son_in_america?language=mgPaulo Freire, Pedagogy of the Oppressed (Penguin Classics, 2017) https://www.amazon.co.uk/Pedagogy-Oppressed-Penguin-Modern-Classics/dp/0241301114/ref=sr_1_1?crid=1HK6GHL5HUU&dchild=1&keywords=the+pedagogy+of+the+oppressed&qid=1617555743&sprefix=the+pedagogy+of+the+oppressed%2Caps%2C161&sr=8-1Brice Najar, Interview with Kathy Wakefield https://bricenajar.com/en/kathy-wakefield-en/Karin Merx & Elizabeth Amisu, ‘Episode 15 MJAS Exclusive – Live from Kingvention', vol. 3 season 3 The Journal Of Michael Jackson Academic Studies (13/9/16).https://sya.rqu.mybluehost.me/website_94cbf058/episode-15/You can find Brice Najar https://bricenajar...

Traveling the world of Indigenous Music. Indigenous Cafe brings you music, conversation and inspiration from the Indigenous People of North America and all over the world. Artist's you will hear on this weeks show: Jay Begaye (Happy Birthday Little One), Southern Scratch (Las Mañanitas), Freddie Kaydahzinne (Guuzhu Jindi (They Say it's Good)), R. Carlos Nakai & Keola Beamer (la 'ole E ka La (For You, O Glittering Sun)), Young Spirit (Christmas Is Here), Men's Chorus From The Village of Mustrak Bulgaria ( Christmas Song), Randall Paskemin (Dreaming Of A Christmas), Los Lobos (Feliz Navidad), Rhonda Head (Silent Night (In Cree)), Keith Secola (Christmas Time), Mehmet Atli (Pisik), Nawang Khechog (Starting a Kindness Course), Fawn Wood (Mommy;s Little Boy), Mesa Verde National Park Team (Circle Dance Songs), and Lebo M. (The Lion Sleeps Tonight).  Indigenous Cafe is hosted by Roman Orona and brought to you by iamHUMAN Media. iamHUMAN Media is a non-profit 501(c)(3) focused on raising the awareness of social discourse to all humans through development of programs and artistic ventures (music, movies, stage performances, books, workshops, concerts, film festivals, community outreach, community building, panel discussions, etc.)  to  foster and promote unity in diversity and community fellowship acknowledging that all HUMANs are related simply by being HUMAN. Below are ways to help us continue our programming or to learn more about us: https://paypal.me/iamHUMANmedia?locale.x=en_US Website: www.iamHUMANmedia.com Email: indigenouscafe1@gmail.com

Dexter season 3 continues to chug along and Eric and Daniel are...really enjoying themselves overall? Oh sweet, sweet relief. Daniel thinks Rita isn't concerned enough that Dexter might be having a stroke during long voice-over pauses. Eric loves Dexter "performing normalcy." They are both dumbfounded by how fundamentally sad Angel "The Hat" Batista is. They passionately fight over, of all things, whether or not Vince Masuka intentionally made a sex joke.If you enjoyed the show, please leave us a review wherever you listen to it! You can also follow us on Twitter @AutopsyDexter or email us at TheAutopsyOfDexterMorgan@gmail.comTheme Song:Aquarium by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5738-aquariumLicense: http://creativecommons.org/licenses/by/4.0/

The group continues doing tasks to endear themselves to their elven hosts. Peppers are eaten. Boars are hunted in the forest (but not in order to farm XP). Game and Adventure Path by Paizo Publishing- www.paizo.com Background music provided by Tabletop Audio - https://tabletopaudio.com/ Theme music by Angelo Di Loreto - https://angelodiloreto.com/ Visit us at www.thecrackeddiepodcast.com or email us at show@thecrackeddiepodcast.com **Please consider supporting us on Patreon! https://www.patreon.com/crackeddiepodcast** Follow us on Twitch! - www.Twitch.tv/TheCrackedDie Grab a shirt to support the cast https://teespring.com/stores/thecrackeddiepodcast

The 40 year journey of how a tune from a South African Zulu singer Solomon Yonda became a worldwide hit for the teenage Jay Seigal and the group The Tokens in 1960's rock n roll...