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3 episodes with little prayer
6 episodes with little prayer
4 episodes with little prayer
2 episodes with little prayer
2 episodes with little prayer
2 episodes with little prayer
2 episodes with little prayer
4 episodes with little prayer
2 episodes with little prayer
Producer Lauren Vilchik talks about the love and hard work it took to make the movie A Little Prayer, currently in theaters.
Recorded - 9/1/2025 On Episode 337 of the Almost Sideways Movie Podcast, we look at an all time favorite and some highly anticipated movies. First, we review Todd's most anticipated film of the summer: Caught Stealing. Then, we review one of Terry's most anticipated films: The Roses. We finish it off with a deep dive of one of Zach's all time favorite films celebrating 25 years and a recent Criterion release: You Can Count on Me. Here are the highlights:What We've Been Watching(12:20) "A Little Prayer" & "The Kingdom" - Zach Reviews(19:40) "All Things Fall Apart" - Todd Liotta Meter Karen Review(23:30) "Winter on Fire: Ukraine's Fight for Freedom" - Terry Oscar Anniversary Review(26:30) "Caught Stealing" - Featured Review(43:30) "The Roses" - Featured Review"YOU CAN COUNT ON ME" 25TH ANNIVERSARY DEEP DIVE(57:10) "You Can Count on Me" Trivia(1:09:00) First Impressions(1:30:10) Mt. Rushmore: Directors With Minor Roles in Their Films(1:43:20) Recasting "You Can Count on Me"(2:08:00) Highest WAR, Worst Performance, Minor Character Triumvirate(2:20:10) Tripod of Depravity, Best Scene, Gripes and Conspiracies(2:38:00) LVP, MVP, Quote of the DayFind AlmostSideways everywhere!almostsideways.comhttps://www.facebook.com/AlmostSidewayscom-130953353614569/AlmostSideways Twitter: @almostsidewaysTerry's Twitter: @almostsideterryZach's Twitter: @pro_zach36Todd: Too Cool for TwitterAdam's Twitter: @adamsidewaysApple Podcasthttps://podcasts.apple.com/us/podcast/almostsideways-podcast/id1270959022Spotifyhttps://open.spotify.com/show/7oVcx7Y9U2Bj2dhTECzZ4m YouTubehttps://www.youtube.com/channel/UCfEoLqGyjn9M5Mr8umWiktA/featured?view_as=subscriber
Rachel and Olivia sit down with Jane Levy (Zoey's Extraordinary Playlist) to talk about her journey as a new mom, her role in the new movie A Little Prayer, and their take on what's buzzing in pop culture.Go to Dupe.com today and find similar products for less. It's 100% free to use. Stop wasting money on brand names and start saving with Dupe.com today.Watch this episode on YouTube!Like the show? Rate Broad Ideas 5-Stars on Apple Podcasts and SpotifyThis is a Headgum podcast. Follow Headgum on Twitter, Instagram, and Tiktok. Advertise on Hollywood Handbook via Gumball.fm See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
In this episode, MediaMaker Spotlight producer Brandon Ferry hosts behind-the-scenes interviews with two more illuminating artists – direct from the 2025 Ebertfest film festival. First, Brandon speaks with writer-director Angus MacLachlan of 2005's indie breakout film, JUNEBUG and the soon-to-be released A LITTLE PRAYER (starring David Strathairn, Jane Levy & Anna Camp). Prior to screening at this year's Ebertfest, MacLachlan's acclaimed drama debuted at the Sundance Film Festival, and follows a loving, but fractured family in Winston-Salem, North Carolina. Humble servant and small business owner, Bill (Strathairn) tries to protect his daughter-in-law, Tammy (Levy) when he suspects his son may secretly be having an affair. Angus touches upon his writing process, the quietly powerful performances of Jane Levy and the legendary David Strathairn, as well as the tough road traveled to get his film distributed (now scheduled for theatrical release in the U.S. on August 29th, 2025!)Next up, Brandon spotlights composer, concert organist, and specialist in silent film accompaniment, Dr. Steven Ball. As the official organist and composer at Ebertfest, Steven dazzled audiences with his own musical compositions and his takes on classic film scores leading into the festival's film screenings. In this conversation, Steven dives deep into the history of silent film accompaniment, his journey becoming a scholar in music composition, and stories of performing as a concert organist as an Artist in Residence at the Tampa Theatre.Learn more about Ebertfest Film FestivalWatch the trailer for Angus MacLachlan's award-winning A LITTLE PRAYER – planned for a limited U.S. theatrical release on August 29, 2025 through Music Box Films. Find showtimes in your area here.To learn more about Steven Ball's music compositions and view his silent film accompaniment performances, visit his website, his Facebook page and the Tampa Theatre Instagram page ---Subscribe to learn more about filmmaking, production, media makers, creator resources, visual storytelling, and every aspect that brings film, television, and video projects from concepts to our screens. Check out the MediaMakerSpotlight.com show page to find even more conversations with industry professionals that inspire, educate, and entertain!We on the Women in Film & Video (WIFV) Podcast Team work hard to make this show a great resource for our listeners, and we thank you for listening!
Nick teams up once again with film critics Erik Childress and Steve Prokopy for a round of reviews, including Austin Butler's wild crime thriller Caught Stealing, the dark comedy remake The Roses, Jane Levy's heartfelt drama A Little Prayer, and the outrageous reboot of The Toxic Avenger. Later, Esmeralda Leon joins Nick to celebrate the 50th anniversary of Jaws and its enduring place in pop culture. They also preview some big concerts coming to Chicago, including Oasis at Soldier Field, before diving into another lively trip through 90s nostalgia. [Ep 381]
An anthropologist and a psychiatrist weigh in on “AI psychosis,” following several recent, high-profile cases of users losing touch with reality during conversations with bots. The summer COVID spike is here, but new FDA vaccine restrictions limit who can get a booster, and CDC turmoil impacts U.S. public health policy. Critics review the latest film releases: “Caught Stealing,” “The Roses,” “The Toxic Avenger,” and “A Little Prayer.” Finger clapping — touching your thumb and middle finger together in a form of silent applause — may seem like a hot new thing on TikTok. But the queer ballroom scene has been doing it for years.
The latest film releases include Caught Stealing, The Roses, The Toxic Avenger, and A Little Prayer. Weighing in are William Bibbiani, film critic for The Wrap and co-host of the Critically Acclaimed Network podcast, and Katie Walsh, film reviewer for the Tribune News Service and The Los Angeles Times.
This week Megan and Evan took in director Rachel Abigail Holder's romantic drama LOVE, BROOKLYN (2:00), starring André Holland, Nicole Beharie, and DeWanda Wise. Short version: They liked it, with Megan revisiting it after seeing it at Sundance earlier this year. Next, Dave joins them for A LITTLE PRAYER (28:09), a quiet and understated Southern family drama from writer-director Angus MacLachlan, starring David Strathairn, Jane Lavy, and Celia Weston. Two of the three of us thought it was really well done, and one of us had hoped to like it more than they did. Such is life. Over on Patreon, we talk about Robert Altman's M*A*S*H, which turns 55 this year.
Send us a text4:10 Caught Stealing16:22 The Roses27:09 The Toxic Avenger38:04 The Thursday Murder Club44:03 A Little Prayer50:45 American Sweatshop57:39 Vice Is BrokeIt's a 7-movie week here on 'Roger (Ebert) & Me,' the only comprehensive 'Siskel & Ebert'-style review show out there! A film criticism podcast. Please rate and review on Apple Podcasts. Even if you're on Spotify or YouTube, jump over there and throw us 5 stars. We can't get on RottenTomatoes until 200 people rate it! 'Roger & Me' is a movie review podcast covering all new releases, both theatrical and streaming, every Friday, modeled after 'Siskel & Ebert.' Hosted by Mark Dujsik of markreviewsmovies.com & Brett Arnold of Yahoo Entertainment4Support the show
It is Labor Day weekend, the unofficial end of summer, and just before festival and awards season begins, Erik Childress and Steve Prokopy serve up 12 films to review and talk about. The wayback machine gets set to 2023 when they first reviewed the absolutely lovely new film with David Strathairn and Jane Levy from Sundance now in theaters (A Little Prayer). The machine goes back even further to reminisce upon Prince's concert film (Sign O' The Times) and the 50th anniversary Steven Spielberg's masterpiece (Jaws) both back in theaters. Can a cycle of revenge be explained to a newborn (The Workout) and can there be another family version of an old tale (Robin and the Hoods)? What happens when a toxic workplace is all about the toxic internet (American Sweatshop) and what happens when a toxic fan worms his way into a singer's entourage (Lurker)? A gaggle of British retirees team up to solve a crime and save their home (The Thursday Murder Club) and Peter Dinklage takes on Troma's iconic hero in a new update (The Toxic Avenger). Benedict Cumberbatch and Olivia Colman suffer the consequences of marriage in another 1980s remake (The Roses) while the makers of The Climb take on open relationships with Dakota Johnson (Splitsville). Finally, Darren Aronofsky puts Austin Butler through the ringer in a new action comedy (Caught Stealing).3:53 - A Little Prayer18:30 - Jaws (50th Anniversary)29:13 - Prince - Sign O' The Times36:35 - The Workout43:53 - Robin and the Hoods50:41 - American Sweatshop1:00:53 - The Thursday Murder Club1:11:33 - The Toxic Avenger1:21:31 - Lurker1:31:37 - The Roses1:46:50 - Splitsville1:54:15 - Caught StealingCLICK ON THE FILMS TO RENT OR PURCHASE AND HELP OUT THE MOVIE MADNESS PODCASTBe sure to check outErik's Weekly Box Office Column – At Rotten TomatoesCritics' Classics Series – At Elk Grove Cinema in Elk Grove Village, ILChicago Screening Schedule - All the films coming to theaters and streamingPhysical Media Schedule - Click & Buy upcoming titles for your library.(Direct purchases help the Movie Madness podcast with a few pennies.)Erik's Linktree - Where you can follow Erik and his work anywhere and everywhere.The Movie Madness Podcast has been recognized by Million Podcasts as one of the Top 100 Best Movie Review Podcasts as well as in the Top 60 Film Festival Podcasts and Top 100 Cinephile Podcasts. MillionPodcasts is an intelligently curated, all-in-one podcast database for discovering and contacting podcast hosts and producers in your niche perfect for PR pitches and collaborations. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit erikthemovieman.substack.com
Q&A on the film A Little Prayer with actor Jane Levy. Moderated by Mara Webster, In Creative Company. A man tries to protect his daughter-in-law when he finds out that his son is having an affair.
I had my first chat with Jane Levy in March 2013. Twelve years and a slew of interviews later, she finally joins me in-studio for a Collider Ladies Night conversation in celebration of one of my favorite performances she's ever delivered, playing Tammy opposite David Strathairn in Angus MacLachlan's A Little Prayer.As many well know, I went quite hard covering 2013's Evil Dead and Zoey's Extraordinary Playlist. I adore those projects and love a considerable amount of the work that Levy's delivered over the years. Tammy in A Little Prayer, however, is different. As Levy explained, “I found her to be extraordinarily brave, like heroically brave, but also so kind.” Levy also joked the character doesn't have the “acerbic scary side” many of her other characters do. But it's more than that. Tammy is impossibly thoughtful and loving. She's the type of big screen character who'll leave you thinking, “I wish I had more people like Tammy in my life,” or, “I wish I was more like her.” In fact, Levy herself even noted, “I thought, ‘I want to be more like Tammy.' And I actually still think that.”A Little Prayer puts the spotlight on the next-level special bond between a man and his daughter-in-law, Strathairn's Bill and Levy's Tammy. Bill is a pillar of his community, a quietly authoritative veteran who leads his family and his business with kindness and warmth. However, after bringing his son David (Will Pullen) into that business, Bill questions David's ability to keep himself afloat at the office, and also if he's remained faithful to Tammy.With A Little Prayer now playing in select theaters, Levy swung by the studio to discuss the film's journey from Sundance 2023 to its 2025 theatrical release. She also looked back on working on Suburgatory, discussed the Zoey's Extraordinary Playlist cancellation, and teased her upcoming film with Josh Brolin and Austin Abrams, Whalefall. Hosted on Acast. See acast.com/privacy for more information.
CinemAddicts Episode 309 covers movies that are coming out the week of Friday, August 29, 2025. Timestamps 5:44 - The Toxic Avenger (Images: Photo courtesy ofYana Blajeva/Legendary Pictures). Theaters 8/29 15:18 - A Little Prayer (Images: Music Box Films). Theaters 8/29 25:21 - The Toxic Avenger (Bruce review) 34:32 - Disconnect (Patreon Assigned Pick - thx Mitch Burns!) 43:04 - Eddington 54:50 - Griffin In Summer (Vertical). Theaters 8/29 62:32 - 55 (Images: Quiver Distribution). Theaters 8/29 We receive a slight commission if you purchase items via our Amazon SiteStripe and/or affiliate links. CinemAddicts Facebook Page CinemAddicts Facebook Group CinemAddicts Patreon CinemAddicts YouTube Channel CinemAddicts Merch store Our Website is Find Your Films Thanks to our Patreon Community Ryan Smith Stephen Schrock Susan Charles Peterson Nelson B. McClintock Diana Van De Kamp Pete Abeyta Tyler Andula Stephen Mand Edmund Mendez Abbie Schmidt Jeff Tait Robert Prakash Kristen Chris M Jeremy Chappell Lewis Longshadow Iver Alex Clayton Daniel Hulbert Andrew Martin Angela Clark Myron Freeman Kayn Kalmbach Aaron Fordham Tracy Peters Grant Boston Ken Cunningham #TheToxicAvenger #ALittlePrayer #Eddington
This week, Eric and Josh discuss: The Rocky Horror Picture Show, Monty Python, Night Of The Living Dead, Sneakers, horror vs thriller, Rifftrax, Megadoc, Begotten, and more! They also mention the movies screening from Friday August 29 - Thursday September 4: A Little Prayer, Born Yesterday, Saturday Night Sinema, Oh Hi, and Shin Godzilla! They neglect to mention Superman, and Showgirls, because this episode was recorded extra early, and the full schedule wasn't booked yet. You can always check mayfairtheatre.ca for showtimes!
On this edition of The Arts Section, host Gary Zidek catches up renowned filmmaker Angus Maclachlan to talk about his new movie, A LITTLE PRAYER. Theater critic Jonathan Abarbanel joins Gary to review a new musical revue of Stephen Sondheim's work. Later in the show, Gary chats with guitarist Nathaniel Braddock about his upcoming performance at the Chicago Jazz Fest. And I'll look back at 50 years of the northshore's Marriott Theater.
Julia Roberts, a lobster claw, and a whole lotta chaos! This week, Steven and I sit down for a riff-filled watch of My Best Friend's Wedding (1997), the rom-com that dares to ask: what if the villain was actually the lead?Grab your popcorn and hit play as we laugh through Julianne's wildly unhinged sabotage tactics, marvel at Cameron Diaz's surprisingly killer karaoke scene, and try to make sense of that “I Say a Little Prayer” singalong that somehow became iconic.This is a watch-along track, so queue up your copy of the movie and get ready for some nostalgic chaos, 90s fashion breakdowns, and a sprinkle of unfiltered commentary. Let's get drenched… in delusion!
In this episode, Maya breaks down the hilarious and surprisingly deep YA novel Say a Little Prayer by Jenna Voris!Sierra Madre Golf https://sierramadregolf.com/?ref=mayag or use Code MAYAGSubscribe to the My Take newsletter that comes out every other friday: https://mytake.aweb.page/p/5c793f97-1177-42ff-a0a9-5c9f3b7313b1 My Take also has a Patreon, where every month there will be fun bonus content, including a book club, so it would mean the world if you could support us there! Connect with Maya:Instagram: https://www.instagram.com/_mytake/?hl=enPatreon: https://www.patreon.com/mytakepodWebsite: https://mytakepodcast.weebly.com/
In this Friday Feels episode of U Up?, Jordana and Jared dive into the chaotic brilliance of the 90s rom-com My Best Friend's Wedding. They unpack the iconic “Say a Little Prayer” scene and ask why George isn't the real lead?! George is loyal, hilarious, and flies to Chicago twice with zero expectations. Jared jokes he'd do the same for Jordana! The two debate who the true villain is: manipulative Julianne or emotionally unavailable Michael. They also question why everyone in the movie is kissing on the lips, including Kimberly and her dad. Through it all, they explore how the film's dated relationship norms still spark modern-day debates about friendship, insecurity, and love, especially through the performances of Julia Roberts, Dermot Mulroney, Cameron Diaz, and Rupert Everett. Learn more about your ad choices. Visit megaphone.fm/adchoices
In today's page of Talmud, Avodah Zarah 7, the sages discuss how a person should pray. Should a person first say the Amidah, and then issue their own personal requests, or should their personal prayers come first? And why does it matter? Listen and find out.
Beautiful Disaster by Jamie McGuireNicholas SparksFifty Shades by EL JamesIt Ends With Us by Colleen HooverBridgerton series by Julia QuinnEmily RathRed, White, and Royal Blue by Casey McQuistonMaxton Hall by Mona KastenIn Death Series by JD Robb (Nora Roberts)Dial A for Aunties by Jesse SutantoACOTAR by SJMFrom Blood and Ash by JLAJay CrownoverThe Idea of You by Robinne LeeRuby DixonLyla SageFive Feet ApartSay a Little Prayer by Jenna VorisTwisted Love by Ana HuangPlaying for Keeps series by Becka MackOut of the Woods by Hannah Bonam-Young#80 JLA X RRPassionFlixThe Man From Snowy River**Doctor Who is not based on a graphic novel. There are novelizations *of* the show.*
CNN, HBO MaxLegendary US singer Dionne Warwick 2025 Inductee Class in the Rock & Roll Hall of FameThe news came shortly after the 82-year-old star became one of the latest recipients of a Kennedy Center Honor, alongside comedian Billy Crystal and actor Queen Latifah.The Don't Make Me Over tour will begin its UK leg at Gateshead's The Glasshouse on Sunday 5 May, 2024, with tickets going on sale via Ticketmaster. In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS © 2025 Building Abundant Success!!2025 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
**Hi sweet peeps around the world❤
Kelly and Erica share their picks for the best YA books coming out in March and get into a little adaptation news and horror. Subscribe to the podcast via RSS, Apple Podcasts, or Spotify. To get even more YA news and recommendations, sign up for our What's Up in YA newsletter! Trust your reading list to the experts at Tailored Book Recommendations! The professional book nerds (aka bibliologists) at TBR have recommended over 160,000 books to readers of all kinds. Let TBR match you with your next favorite read! Simply fill out a quick survey about what you want more of in your reading life, and your bibliologist will scour their bookish knowledge to find three reads they think you'll love. Choose from receiving just the recommendations via email, or opt to have paperbacks or hardcovers delivered right to your door. Get started for only $18 at mytbr.co! This content contains affiliate links. When you buy through these links, we may earn an affiliate commission. News Summer Scares 2025! Forever...the adaptation will hit Netflix in May and it looks amazing Books Discussed They Bloom at Night by Trang Thanh Tran Movie mentioned: Beasts of the Southern Wild A Catalog of Burnt Objects by Shana Youngdahl Lovely Dark and Deep by Elisa A. Bonnin Red Car to Hollywood by Jennie Liu Kill Her Twice by Stacey Lee The Scorpion and the Night Blossom by Amélie Wen Zhao Say a Little Prayer by Jenna Voris Church Camp: Bad Skits, Cry Night, and How White Evangelicalism Betrayed a Generation by Cara Meredith The House No One Sees by Adina King Messy Roots: A Graphic Novel of a Wuhanese American by Laura Gao Kirby's Lessons for Falling (In Love) by Laura Gao Heartstopper by Alice Oseman Oathbound (The Legendborn Cycle) by Tracy Deonn Sunrise on the Reaping (A Hunger Games Novel) by Suzanne Collins Banned Together: Our Fight for Readers' Rights edited by Ashley Hope Pérez, illustrated by Debbie Fong Black on Both Sides: A Racial History of Trans Identity by C. Riley Snorton Wake the Wild Creatures by Nova Ren Suma Learn more about your ad choices. Visit megaphone.fm/adchoices
**Hi sweet peeps around the world❤
**Hi sweet peeps around the world❤
“It's Rom-Complicated!” returns, helping you find love by watching rom-com movies. This time, dating coach Connell Barrett shares love lessons from the 1989 Cameron Crowe classic “Say Anything.” He's joined by special guest Cristina Nava, a Hollywood producer who specializes in making rom-coms! (Her latest movie, the very funny “Say a Little Prayer,” is now streaming on Amazon Prime and Apple TV.) Can a quirky nice guy like Lloyd Dobler (John Cusack) really win over his dream girl, Diane Court (Ione Skye)? Or does it take a boombox, a trench coat, and a questionable lack of boundaries? Let's break it down.Connell and Cristina Discuss:4:12: Why Women WANT to Date Nice Guys Like Lloyd Dobler5:59: Why “Say a Little Prayer” is a Great Date Movie16:30: Cristina Reveals Her Real-Life Rom-Com Moment: Surprise Roses in Eighth Grade24:53: The Rom-Commies—the Best, Worst, and Stalkiest Moments of “Say Anything”31:22: The Best Dating Move from the Movie that Actually Works36:35: The Worst Dating Advice in the Film—Avoid This!39:33: The Secret to Lloyd's Confidence (It's NOT His Looks)49:27: What Hasn't Aged Well: Boomboxes and Boundary Issues1:14:26: The Film's Biggest Love Lesson that Women Want You to KnowWATCH “SAY A LITTLE PRAYER” ON AMAZON PRIMEhttps://www.amazon.com/gp/video/detail/0OSRUJ1FSZXHSCDGXFZ23PMPUL/refFOLLOW THE MOVIE AND CRISTIONA ON INSTAGRAM@Sayalittleprayerfilm@IamcristinanavaFOR A FREE STRATEGY CALL WITH CONNELL TO LEARN HOW TO HAVE GREAT FIRST DATES:http://www.datingtransformation.com/contactTO GET FREE ACCESS TO “THE FLIRTY 30,” CHARMING QUESTIONS TO ASK WOMEN ON DATES, ON THE APPS, AND WHEN YOU APPROACH:http://www.datingtransformation.com/FLIRTY30WANT A FREE COPY OF CONNELL'S NO. 1 AMAZON BESTSELLING BOOK, “DATING SUCKS BUT YOU DON'T”? EMAIL CONNELL AND WRITE “FREE BOOK” IN THE SUBJECT LINE AND YOU'LL GET IT INSTANTLY:Connell@datingtransformation.com
Chapter 466 (This week) Indy lopez playing the best Soulful, Afro and Deep House from Patacona Beach, Valencia featuring tracks by: (Intro Herbert - Rude) 1. Detrás Del Vitral - Leave Me In Silence - Be Adult Music 2. Detrás Del Vitral - It´s All For You - Be Adult Music 3. Alfiya Glow - Cloudland - CosmycGlo Records 4. Eden Prince feat. Nat Slater - Loving You Now - Get Together Records 5. Elliot Starr - My Paradise - Gramophonedzie Remix - PHONO SOUNDS UK 6. Angie Brown & Twism & B3Rao - I Will Follow You - Discofied Gospel Mix - Soulful Legends 7. Jay Caruso - I Say a Little Prayer 4 U - Jays Prayer Mix 8. Discodumper & Noty feat. King Marino - The Groove - Kommandoerr Music 9. De Soffer - Waste No Time - Paraíso 10. Dubdogz, Rooftime - Crazy - PARADE Records 11. Revolucien & A-P Connection feat. Princess Fressia - Burn - Album As We Return 2025 - BPT Investment 12. Aaron Smith ft. Bridget Flowers - Good Day - Gods Of Madness Recordings 12+1. Skye Holland x Steve Kroeger - Dreams - Toucan Cove / Prodigy Records Thanks to all the Labels and Artists for their Music. All tracks selected and mixed by Indy Lopez. Indy Lopez (Producer,Dj & Artist) WWW.INDYLOPEZ.COM Send your Promos to:promo@indylopez.com ALL MY MUSIC CLICK HERE More info: INSTAGRAM FACEBOOK YOUTUBE Bookings Worldwide: Musiczone Records: bookings@indylopez.com Encoded by MUSICZONE PODCAST SERVICES
On this episode of #LatinosOutLoud, #RachelLaLoca and actresses Vivian Lamolli & Vanessa Vasquez open their hearts and engage in a deep conversation about the film, Say a Little Prayer, friendships, motherhood, and being a happy as you can with yourself. The film, which had its limited theatrical premiere over the holidays in more than 120 theaters across the U.S. and the Caribbean will be available on video-on-demand platforms, including Apple TV and Prime Video, this Valentine's Day, February 14. Directed by Patrick Perez Vidauri and written by Nancy De Los Santos, the film follows three best friends who recite an ancient prayer to St. Anthony, the patron saint of "all things lost," in their quest for love, unleashing chaos and testing their friendship. The film stars Vannessa Vásquez (Divorce Bait), Jackie Cruz (Orange is the New Black), Vivian Lamolli (Grease: Rise of the Pink Ladies), and Grammy Award-winning recording artist Luis Fonsi in his film debut. The supporting cast includes Angélica María, Pepe Serna, and Chris Kattan. Luis Fonsi makes his feature film debut in Say a Little Prayer, marking an exciting milestone for the Grammy Award-winning artist. Fonsi also lends his voice to the film's title track, "The Prayer In Your Eyes”. This English Language love ballad adds a poignant layer to the film, enhancing its characters' emotional journeys. Follow These Latinas! Rachel Vivian Vanessa #SayALittlePrayer #Movies #LatinosOutLoud #LOL #VanessaVasquez #VivianLamolli #RachelLaLoca #Latinas
What book releases are we looking forward to this year? So glad you asked! (Also, headphone wearers BE WARE)Books we recommend:Well, Actually by Mazey EddingsOut of the Woods, by Hannah Bonam-YoungZomromcom by Olivia DadeAt First Spite by Olivia DadeKilt Trip & Scot and Bothered by Alexandra KileySay a Little Prayer by Jenna VorisSay You'll Remember Me by Abby JimenezThe First Love Language by Stefany ValentineDream on, Ramona Riley by Ashley Herring BlakeKnight and the Moth by Rachel GilligWearing the Lion by John WiswellThe Ballad of Falling Dragons by Sarah ParkerGreat Big Beautiful Life by Emily HenryWild Side by Elsie SilverOnyx Storm by Rebecca YarrosA Crown so Silver by Lyra SeleneKatabasis by RF KuangScythe & Sparrow by Brynne WeaverHave any you want to recommend to us? Email us at ragingromantics@nopl.org.
How much better would a Christian serve his nation if he spent less time complaining about society and more time pleading for it in prayer? Today, Sinclair Ferguson contrasts wasteful and fruitful ways of dealing with political concerns. Read the transcript: https://ligonier.org/podcasts/things-unseen-with-sinclair-ferguson/loud-opinions-and-little-prayer/ A donor-supported outreach of Ligonier Ministries. Donate: https://donate.ligonier.org/ Explore all of our podcasts: https://www.ligonier.org/podcasts
Sabrina and Torsten join in for a sing-along to “I Say a Little Prayer” at a seafood restaurant with Rupert Everett, Julia Roberts, Dermot Mulroney, and Cameron Diaz in this unorthodox late 90s classic romcom that stars all your favorite actors who got famous later on. (Including Carrie Preston and Paul Giamatti.) They talk about a few things you may want to check out: – The likeability of the Jules character: https://www.refinery29.com/en-us/my-best-friends-wedding-julia-roberts-25-year-anniversary – The “gay best friend” trope: https://www.advocate.com/media/2020/11/20/history-gay-best-friend-film-and-tv#rebelltitem15 Welcome to “In Front of Ira,” the podcast in which historians, friends, and lovers… of romcoms Sabrina Mittermeier and Torsten Kathke discuss how the romantic comedy genre has evolved, what it can tell us about society, and whether this movie is worth watching. Find us @infrontofira on various social media apps and drop us a line at infrontofirapod@gmail.com Our music is “Night in Venice” by Kevin MacLeod.
Hoy en Jueves de Películas y Streaming, hablamos con Gabriela Acevedo Gándara sobre los nuevos estrenos en salas y tus aplicaciones favoritas: Wicked, Gladiator II, Bonhoeffer, Say a Little Prayer, Moana 2, Blitz, Joy, The Merry Gentlemen, The Piano Lesson y Alien: Romulus. Para lo último en noticias, síguenos en Facebook, Instagram, X y Threads @radioislatv. ¡Baja nuestra aplicación en el App Store o Google Play y sintoniza nuestra programación donde quieras!
The Soul Cafe: New Beginnings Catch Chris Clay Mon - Fri 2p-6pm EST On www.soulcaferadio.com Produced By Heather Whitley and C.Clay Hour 1 Elmiene - Light Work Joe - Soon Ill Be Loving You Jake Freeman - U stories - I Say a Little Prayer (feat. Arlissa) Shae Universe - Passenger Princess (feat. Aqyila) H.E.R. - Any Worse The Double Down India.Arie India.Arie-in_my_head India.Arie - Ready For Love Savannah Ré - Wake Up Interpretation Track: Say You Love Me Jamison Ross - Say You Love Me Jennifer Holliday - Say You Love Me Sinéad Harnett - Downtown Jon Vinyl - Fold Johnny Gill - There U Go Hour 2 Kenny G with Toni Braxton - That Somebody Was You Tyrese & October London - Bedroom Bully (with October London) Maze & Frankie Beverly - I Love You Much Too Much Elmiene - Charlene Luther Vandross - Promise Me Rare Hard To Find Throwback Rachelle Ferrell - Til You Come Back To Me (1994) Jaz Karis - CHILL ON ME Kenyon Dixon - Good Love Blue Eyed Soul Corner Lee Ritenour - IS IT YOU Feat Phil Perry Demi Lovato - Lonely Michael McDonald - Distant Lover Jessie J - Not My Ex Justin Guarini - Doin things We're Not Supposeed To Joss Stone - Drive All Night Donald Lawrence - Ultimate Relationship feat. Lalah Hathaway End Of Show
Step into a time machine of grooves and nostalgia with this electrifying mix: "70s 80s 90s 00s Classics Mashups & Remixes"! Get ready to dance through the decades with a blend of the best disco, nu disco, disco house, funky house, and garage into a euphoric sonic journey. Kicking off the festivities is a sensational remix of Indeep's timeless anthem "Last Night a DJ Saved My Life," revamped by the legendary Louie Vega, alongside Anane and Tony Touch, setting the stage for an unforgettable experience. As the mix unfolds, prepare to be captivated by irresistible beats and infectious rhythms. Dr. Packer works his magic on the Brothers Johnson's "Strawberry Letter 23," infusing it with modern flair while preserving its soulful essence. Block & Crown breathe new life into Aretha Franklin's iconic "I Say a Little Prayer," transporting you back to the golden age of soul with a contemporary twist. But the journey doesn't stop there! DJ Aiblo delivers a sensational remix of Toto's "Georgy Porgy," elevating the classic with pulsating energy and irresistible vibes. And who could forget the Dubby Disco Boyz's electrifying reimagining of Shalamar's "A Night to Remember," ensuring that the dance floor stays packed all night long. As the mix reaches its crescendo, get ready for the ultimate finale: a stunning remix of Elton John & Dua Lipa's "Cold Heart" by PNAU. This modern masterpiece seamlessly blends old and new, culminating in a euphoric celebration of music's timeless power to unite and uplift. So whether you're a disco diva, a funk aficionado, or simply someone who loves to groove, "70s 80s 90s 00s Classics Mashups & Remixes" promises an exhilarating ride through decades of musical magic. Get ready to lose yourself in the rhythm and rediscover the classics like never before! Cover Art
CNN, HBO MaxLegendary US singer Dionne Warwick has announced she will perform at eight special shows in the UK.The news came shortly after the 82-year-old star became one of the latest recipients of a Kennedy Center Honor, alongside comedian Billy Crystal and actor Queen Latifah.The Don't Make Me Over tour will begin its UK leg at Gateshead's The Glasshouse on Sunday 5 May, 2024, with tickets going on sale via Ticketmaster. In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS © 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
"The Shortest Route to a Life of Joy, Abundance, and Peace of Mind"
How much better would a Christian serve his nation if he spent less time complaining about society and more time pleading for it in prayer? Today, Sinclair Ferguson contrasts wasteful and fruitful ways of dealing with political concerns. Read the transcript: https://ligonier.org/podcasts/things-unseen-with-sinclair-ferguson/loud-opinions-and-little-prayer A donor-supported outreach of Ligonier Ministries. Donate: https://www.ligonier.org/donate/ Explore all of our podcasts: https://www.ligonier.org/podcasts
Este é só um trechinho da aula de número 5 da série "Aprenda Inglês com Música" com a canção "I Say a Little Prayer" do filme "O Casamento do Meu Melhor Amigo", que você encontra aqui no podcast ❤️! Quer dar aquele up no seu inglês com a Teacher Milena ?
Este é só um trechinho da aula de número 5 da série "Aprenda Inglês com Música" com a canção "I Say a Little Prayer" do filme "O Casamento do Meu Melhor Amigo", que você encontra aqui no podcast ❤️! Trecho estudado: "While riding I think of us, dear" Quer dar aquele up no seu inglês com a Teacher Milena ?
We have more updates on the Israeli/Hamas war and I have the feeling I need to clarify something. A national U.S. sports heroine is fighting for her life. And is a war going to be enough for parents to get TikTok off their children's phones?
Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off. Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations. Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes. And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level. That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title. King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before. The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject. Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the
Peter first came to prominence with Stylus in 1975, releasing four albums with hits such as ‘Summer Breeze' and ‘World of Make Believe' before the band split in 1980. A successful solo career followed throughout the 80's, with a top 20 hit for his first release, ‘Fear of Thunder', and success with the song ‘Blame it on the Weather' – not only for Peter but also for John Farnham, whose voice, incidentally, Peter's soaring vocals are often compared to. Peter also became a regular on TV shows such as The Midday Show, Hey Hey It's Saturday, Tonight Live, and Carols by Candlelight at the Myer Music Bowl. Other albums released include ‘Still Alive' (with a reformed Stylus); ‘Changes', ‘Bac2basix' – a roots album filled with wonderful storytelling songs such as ‘Pioneers', ‘Family' and the ‘Poor Man's Al Jolson; a jazz standards album, ‘About Time'; and ‘Home Grown' – Peter's own tribute to some of his favourite Aussie artists. Over the last decade, Peter has toured both solo and with Stylus, and with his close friend, Australian rock legend, the late Jon English. Their collaborative show, Uncorked', filled with nostalgia and good humoured banter, delighted audiences everywhere throughout Australia. Peter works with many charities and has written songs for the ‘Make a Wish Foundation' and the ‘Sacred Heart Foundation'. His album, ‘OBSERVATIONS' – which he describes as ‘a collection of songs that look at the heart of our everyday existence, some personal, some not' – was released in October 2016. “I am extremely proud of this album,' says Cupples. “I truly believe it is probably one of the best things I've ever done.” He is now bringing a night of great entertainment to the Taphouse with the songs of Burt Bacharach. From 'Say a Little Prayer' to 'What the World Needs Now' enjoy the songs you know and love.
What's new, Pussycat?!! This latest episode of Fire and Water Records pays tribute to the countless, popular hits of the late, great music composer and producer Burt Bacharach. Join Ryan Daly and special guest host Shawn Myers from Batman Family Reunion as they share their favorite Bacharach-composed songs from the scores of successful collaborations with legendary singers such as Dionne Warwick, Dusty Springfield, Elvis Costello, and more! Track list "Close to You" performed by The Carpenters "The Look of Love" performed by Dusty Springfield "Twenty-Four Hours from Tulsa" performed by Gene Pitney "Always Something There to Remind Me" performed by Naked Eyes "There's Always Something There to Remind Me" performed by Sandie Shaw "A House is Not a Home" performed by Dame Shirley Bassey "Don't Make Me Over" performed by Dionne Warwick "Are You There (With Another Girl)?" performed by Deacon Blue "Arthur's Theme (Best That You Can Do)" performed by Christopher Cross "I Say a Little Prayer (Love to Infinity Radio Mix)" performed by Diana King "God Give Me Strength" performed by Elvis Costello and Burt Bacharach "Do You Know the Way to San Jose?" performed by Dionne Warwick "I Say a Little Prayer" performed by Dionne Warwick Check out Dionne Warwick performing "I Say a Little Prayer" with Boy George right here. Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER – https://twitter.com/FWPodcasts Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!
As unfathomable as it may seem, God allows our prayers to impact the world. We see the significance of prayers offered on behalf of others over and over again in the Bible. Even, Jesus modeled the importance of praying for others when he interceded for his disciples, for children, and for us as future believers (John 17). In fact, Jesus is still interceding for us at the right hand of God, advocating on our behalf (Romans 8:34). If we know God's power is infinitely greater than ours, it only makes sense to rely on it, right? So, whether in public or in private, with many words or with few, with eyes closed or with eyes wide open, at morning or at night, we simply must talk to God and leave the results up to him. Niki Hardy is on the show today sharing her cancer story and the value of prayer to help women cope with the fear, anxiety, and uncertainty. Join us to experience God's peace and provision through a little prayer. Connect with Niki: Nikihardy.com @niki.hardy
We remember composer and arranger Burt Bacharach, who died last week at 94. Bacharach, along with lyricist Hal David, created dozens of pop hits of the '60s and early '70s. He was known for his rhythmically sophisticated and catchy pop songs, like The Look of Love, Do You Know the Way to San Jose, Walk on By, Anyone Who Had a Heart, Don't Make Me Over, Raindrops Keep Falling on My Head, I Say a Little Prayer, and Alfie. We'll listen back to two of our interviews. One with Bacharach and lyricist Hal David. The other with Bacharach and Elvis Costello. They wrote many songs together.
Popular composer Burt Bacharach died Wednesday at the age of 94. The hit-maker won six Grammys, three Oscars and is known for such melodies as "Walk on By," "I Say a Little Prayer," and dozens of others. Jeffrey Brown has a look at Bacharach's life and career. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders
What Is This Episode - Top of Show . ALSOMIKE'S SUNDANCE 2023 REVIEW: Sundance Online Dips in Quality - 1:53 Grade Breakdown of AM's 32 Sundance Films - 6:28 . Beloved Sundance Films AM Didn't Love - 8:22 (The Persian Version, Fair Play) Oscars-Level Production Values - 13:02 (incl Mami Wata; A Little Prayer; Going to Mars) Possible Oscar-y Performances - 15:24 (incl Zar Amir Ibrahimi; Teyana Taylor, Jonathan Majors) . Infinity Pool Review - 22:44 . ALSOMIKE'S SUNDANCE TOP 10: #10 - #7 - 27:07 #6 - #4 - 36:06 #3 - #1 - 43:42 . REVIEWING THE REVIEWERS: SUNDANCE 2023: Past Lives, Polite Society, Passages - 53:56 Flora and Son, Radical, Eileen - 57:36 . The Most Authentic MMO Experience Ever - 1:02:04 . THE FINAL SUNDANCE CRITIQUE - 1:04:31 . . Your Homework/LEAVE US 5 STARS! - 1:08:54 Words of Wisdom/What's Coming Next - 1:09:56
DIONNE WARWICK is a five-time GRAMMY® Award winning music legend, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an internationalmusic icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records. She began singing professionally in 1961after being discovered by a young songwriting team (Burt Bacharach and Hal David) and had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” “Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ” Together, Warwick and the songwriting team of Bacharach & David accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together. She received her first GRAMMY® Award in1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” Warwick was also a key participating artist in the all-star charity smash hit single, “We Are the World,” and in 1984, performed at “Live Aid” and hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York…and she became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance—an award only presented to one other legend, Miss Ella Fitzgerald. --- Support this podcast: https://anchor.fm/industry-standard-w-barry-katz/support
How much better would a Christian serve his nation if he spent less time complaining about society and more time pleading for it in prayer? Today, Sinclair Ferguson contrasts wasteful and fruitful ways of dealing with political concerns. Read the transcript: https://www.ligonier.org/podcasts/things-unseen-with-sinclair-ferguson/loud-opinions-and-little-prayer
DIONNE WARWICK is a five-time GRAMMY® Award winning music legend, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an internationalmusic icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records. She began singing professionally in 1961after being discovered by a young songwriting team (Burt Bacharach and Hal David) and had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” “Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ” Together, Warwick and the songwriting team of Bacharach & David accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together. She received her first GRAMMY® Award in1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” Warwick was also a key participating artist in the all-star charity smash hit single, “We Are the World,” and in 1984, performed at “Live Aid” and hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York…and she became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance—an award only presented to one other legend, Miss Ella Fitzgerald. --- Support this podcast: https://anchor.fm/industry-standard-w-barry-katz/support
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