Podcasts about This Girl

Part 1 Regretting You by Colleen Hoover Summary"Regretting You" by Colleen Hoover is a contemporary romance novel that explores themes of love, loss, and the complexities of family relationships. The story revolves around Morgan and her daughter Clara, who are both navigating their own struggles and emotional turmoil.Morgan's life is turned upside down when her husband dies in a tragic accident, leaving her to raise Clara alone. Clara, a teenager, is grappling with her own feelings of grief and rebellion. As the narrative unfolds, the bond between the mother and daughter is tested due to misunderstandings, secrets, and the introduction of new people into their lives.Clara starts to develop feelings for her mother's best friend, who offers support but comes with complications that create tension within their relationship. Morgan, in turn, has to face her own challenges as she attempts to find new love while also dealing with her responsibilities as a single mother.The novel dives deeply into the themes of regret, particularly the choices that both characters make and how these choices impact their relationship. As they both confront their pasts, learn to communicate with each other, and navigate their grief, they begin to re-establish their connection. Ultimately, "Regretting You" presents a poignant narrative about love in all its forms—romantic, familial, and self-love—illustrating that the path to healing is often fraught with challenges but also offers profound moments of growth and understanding.Part 2 Regretting You AuthorColleen Hoover is a bestselling American author known for her young adult and contemporary romance novels. Details about "Regretting You": Release Date: "Regretting You" was released on December 10, 2019. Other Books by Colleen Hoover: Colleen Hoover has written numerous novels, many of which have received critical acclaim and commercial success. Some of her notable works include: Slammed (2012) Point of Retreat (2012) This Girl (2013) Hopeless (2012) Losing Hope (2013) Confess (2015) November 9 (2015) It Ends with Us (2016) Verity (2018) Heart Bones (2020) Reminders of Him (2022) It Starts with Us (2022) (sequel to It Ends with Us)Best Editions: In terms of editions, several of her books have been released in both hardcover and paperback formats, as well as special editions. "It Ends with Us" is often considered her most impactful work and has been particularly praised for its themes and character development, making it one of her best books overall. Many readers also highly regard "Verity" for its gripping psychological thriller aspects.Summary: Colleen Hoover is a prolific author whose works resonate with readers of various genres, particularly in romance and emotional narratives. "Regretting You" reflects her signature writing style, blending deep emotional connections with compelling storylines.Part 3 Regretting You Chapters"Regretting You" by Colleen Hoover delves into themes of love, loss, family dynamics, and the complexity of relationships. The story centers around the lives of two women: Morgan, a mother, and her teenage daughter, Clara. The narrative unfolds as their relationship becomes strained and complicated following a tragic event that alters their lives. Overall Theme:The central theme revolves around the idea of regret and the impact of choices on relationships. It explores how love can be both a source of strength and a catalyst for heartache. The novel highlights the importance of communication and the struggle to forgive and understand one another amidst personal turmoil. Main Chapter Content:Introduction of Characters: The story begins by introducing Morgan and Clara, showcasing their contrasting personalities...

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

Are women better at crime-ing? Experts have noted that female serial killers are the least studied and possibly the most prolific. Joining us is debut author and Louisiana native, Emma C. Wells, here to discuss her novel, This Girl's A Killer, a USA Today bestseller, which follows Cordelia Black, a pharmaceutical rep with an affinity for Louboutin heels and killing the bad men of Baton Rouge. A true "girl's girl," she cares about her friends, she's organized, she has a "workstation" and a curated playlist, and she's been getting away with her crimes rather successfully. There's a lot to unpack here! *Be sure to purchase your copy of This Girl's A Killer . Also follow Emma on her website and socials! Instagram TikTok Facebook

This week, I got to talk with Emma C. Wells about her stunning debut serial killer thriller This Girl's a Killer! We dive into her inspiration for the book, how Cordelia was unavoidable for her, and the way women have to consider violence in ways men don't. This Girl's a Killer SynopsisAsk Cordelia Black why she did it. The answer will always be: He had it coming.Cordelia Black loves exactly three things: Her chosen family, her hairdresser (worth every penny plus tip), and killing bad men.By day she's an ambitious pharma rep with a flawless reputation and designer wardrobe. By night, she culls South Louisiana of unscrupulous men―monsters who think they've evaded justice, until they meet her. Sure, the evening news may have started throwing around phrases like "serial killer," but Cordelia knows that's absurd. She's not a killer, she is simply karma. And being karma requires complete and utter control.But when Cordelia discovers a flaw in her perfectly designed system for eliminating monsters, pressure heightens. And it only intensifies when her best friend starts dating a man Cordelia isn't sure is a good person. Someone who might just unravel everything she has worked for.Soon enough Cordelia has to come face to face with the choices she's made. The good, the bad, and the murderous. Both her family, and her freedom, depend on it. Check out Bitter Southerner where Emma got her Hell Hath No Fury shirt If you've enjoyed episode of Bookwild, an easy way to support ongoing episodes and content is to join the Bookwild Patreon.  Just $5 a month helps me spend more time on this content, and bring you more of it!  And if you're interested in Bookwild's Backlist Book Club, you can join the $10 tier and chat with the community at Book Club each month!

In this episode, I discuss summer songs, how to slow down, Stress Reduction Theory and why I am a good wingwoman :) Listen to me try to tie in all these themes to summer music. Hope you will listen and chill out.Songs in this episode:Please Please Please by Sabrina Carpenter*Feels Like Summer by Childish Gambino,Badfish by Sublime,This Girl by Kungs & Cookin' on 3 Burners,*explicit lyricsSay hi on Instagram @positively_chill

You guys, THIS GIRL!

Send us a Text Message.John Irizarry shares the deeply personal story behind his latest album "This Girl". John shares the story of his daughter Lauren, who he lost to suicide in 2020.  The resulting album "This Girl" is a raw, yet infinitely listenable collection of songs. If you or someone you know is struggling, dial 988 for immediate assistance. Trigger warning: This episode deals with suicide.  Purchase "This Girl"Visit John Irizarry Music .comArlene's Grocery in NYCSuicide HotlineSupport the Show.Follow us: Instagram Facebook Watch us on YouTube!

Andrea McLean is one of those people you already feel as though you know. Not least because she's been a familiar face on British television for two decades but because she has such an easy, warm, open and welcoming way with everyone she meets. And let me tell you, in the flesh, this magnetism is even more charming than you could imagine. She is also blessed with a dry wit and an excellent side-eye!After years anchoring the liveliest panel on TV, the prime-time show Loose Women, she is now focused on her website and app This Girl is On Fire, which focuses on supporting women (and soon men) through midlife. It's not just her day job, it's a calling. Having navigated her own mental health struggles, crises of confidence and a constant drive to want to do better and be better, Andrea is committed to passing on and sharing everything that has worked for her with those who feel the same.I open each podcast by asking my guest 'what's your relationship like with risk?' and, as you can imagine, Andrea's answer, as someone who walked away from one of the most coveted jobs for women in broadcasting, is an incredible one... We discuss being in bad relationships, trying to make a bad thing work, knowing when to listen to advice - and when to ignore it - and why admitting you're wrong can sometimes be the greatest gift.Andrea was so open and honest and I'm thrilled to share this conversation with you...To join the Facebook group for the podcast click here >> The Emma Guns Show Forum.To follow me on social media >> Twitter | Instagram.Watch clips from the podcast >> Youtube | The Emma Guns ShowSign up for my newsletter here >> Newsletter.Subscribe now. Hosted on Acast. See acast.com/privacy for more information.

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

 "This Girl is on Fire!" Iron Kingdoms: Requiem combines this fantastic setting with the newest edition of the world's most popular roleplaying game. Inside this book, players will find the history of the Iron Kingdoms and information describing the current state of the world following the Claiming. Alongside these chapters is an extensive gazetteer providing detailed information on the most notable of the world's unique and fascinating locations. When making a character, players will be able to choose from many of the familiar countries and cultures of the setting. Whether a player wants to be a human, gobber, trollkin, Rhulic dwarf, ogrun, Iosan, or Nyss elf, this book provides all the rules that make these different peoples unique. When choosing a class, there are options many players are already familiar with, from the stalwart man-at-arms fighter to the free-flowing monk of the Order of the Fist. Beyond these are brand-new rules for playing the characters that make the Iron Kingdoms such a memorable setting. These new classes include, among others, gun mages, arcane mechaniks, combat alchemists, and warcasters. Alongside these options are new feats, spells, and backgrounds to make characters feel even more a part of the world of the Iron Kingdoms. Our crew: Mia Brekker (aka Mia Valerianovna) (Played by Alexia), the Iosan (Elf) Kayazt (Modster) Warcaster (a very steampunk like magic tech caster and controller oof a warjack names "Gunny"); Callis Reyvas (Played by David), the Iosan (Elf) Kayazt (Modster) Gunfighter; Theodosia "Theo" Devereaux (Played by Kellie), the Cygnaran (Human) Aristocrat Alchemist (with a habit of blowing everything up ;)); and Gargosh Boomhowler (Played by Christopher) our Northkin Trollkin (Big Blue Scottish Troll) Pirate Bard (Or Fell Caaller as the Trolls call their warrior skalds). these guys will be the core of the Iron Kingdom Outlaws...or as they are called on the streets of Five Fingers: "The Forsaken". Please support our shows at www.patreon.com/cppn and even join us in some our upcoming 2024 games that have open seats! Also keep an eye at the new things on our now affiliated Twitch channel: https://www.twitch.tv/creativeplayandpodcast Also follow us on Facebook at https://www.facebook.com/CreativePlayandPodcastNetwork Would you be interested if we hosted D&D and Edge of Empire games on Roll20 for you to join? Email us at Creativeplaypodcastnet@Gmail.com

Have you ever prepared impeccably for a big moment, and then something out of your control goes horribly wrong?Just a few weeks ago, I had the honor of being a Mega Session speaker at the 2023 CREW Network (women in construction) Convention in Atlanta, Georgia. The room of 500 was packed, super engaged audience.  Amazing!But what happened next was nothing short of terrifying AND magical. The audio, crucial for the interactive finale of my talk, failed. The A/V team came up, but could not fix it. Should I start singing Alicia Keys, ‘This Girl is On Fire'. Bad idea, considering my vocal ability. I decided to do the finale, an interactive visualization activity, without music. Not ideal, but the show must go on. Then, an attendee in the session came to the stage and handed me her phone, and said, ‘HOLD THIS TO YOUR MIC!'. She had pulled up ‘This Girl is On Fire' on Spotify.Everyone clapped and stood up as I led them through the visualization finale with a phone held to my lavalier!Honestly, this speaking event could not have turned out better. It was impactful, entertaining, and exemplified the topic that I covered ‘How to Defuse Emotionally Charged Situations and Remain Highly Influential'.I am forever grateful for the opportunity to partner with the CREW Network for their national conference, and of course to the quick thinking woman in the front row who handed me her phone!Whether a speaking event, a meeting, interview, or any other unexpected turn of events, there will be obstacles. If you can be open to the unexpected and stay emotionally agile, the outcome may be even better than you expected. Here are a few strategies that may help you do just that:Embrace the UnexpectedWe've all been there, right? The moment when something goes awry, and we're tempted to throw in the towel. But let's take a step back and think about the courage and resilience we've tapped into throughout our lives. The unexpected can be a gift, a chance to create something even more memorable. In my case, the absence of audio turned into an unforgettable, room-energizing experience.Leverage the Power of CommunityWhen the woman in the front row pulled up the missing Alicia Keys song on her phone and suggested I hold it to the mic on my shirt, I thought, "Why not!" and went for it. The room erupted with energy, transforming a potential hiccup into a highlight. It's a testament to the collective strength we often overlook. Your team, your community, they're not just spectators; they're potential problem-solvers and contributors.Stay Committed to Your VisionIt would have been easy to apologize and end the session, but I knew the value of that final segment. I had a vision, and I was committed to seeing it through. When you're clear about what you want to achieve, minor setbacks won't derail you. They become mere bumps on the road to your destination.Adapt and Overcome: Mental toughness is about resilience and ingenuity, qualities every leader needs. It's not about being perfect, it's about how you adapt to adversity. Rather than worry about something going wrong, use that energy to practice and prepare. When you've done your best preparation, learn to lean into any imperfections that may arise and commit to crossing the finish line with your best performance.So, the next time you find yourself in a less-than-ideal situation, remember these lessons. You're more resilient and resourceful than you give yourself credit for. And if you ever doubt it, just think back to this story. Take control of your narrative and tap into the best version of you.

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

Bianca Colclough's Empowering Journey: From Gambling Addiction to Creating a Supportive Community for WomenBianca Colclough, the founder of This Girl community, has opened up about her own struggles with gambling addiction. Despite being unknown to many close to her, this addiction stemmed from years of sexual abuse by a family member and dealing with her parents' difficult divorce. She has also experienced her own divorce and two miscarriages.In an effort to help other women share their own stories and overcome their traumas, Bianca now brings women together to build self-worth and businesses step by step. Her company offers consulting and networking to support wellness and development.Bianca's gambling problem started small and quickly became unmanageable as she sought to escape her own reality. Her hope is that by sharing her story, others will be inspired to come forward and seek help in overcoming their own addictions.No matter what the addiction may be - whether it's related to alcohol, food, drugs, sex, cleanliness, or gambling - asking for help is a courageous step towards healing. Remember that you are not alone on this journey, and there is great strength in seeking support. You can watch the full interview on the Second Chance Podcast YouTube channel.This Girl Community on InstagramThis Girl Community WebsiteThis Girl Consultancy on TikTok Second Chance Podcast on YouTube Raphael on Instagram Raphael's Website Second Chance on Facebook Raphael Rowe FoundationPodcastsecondchance on TikTok Hosted on Acast. See acast.com/privacy for more information.

Debby Kevin is a corporate refugee who turned her life around in an extraordinary way. Balancing a high-stress corporate life as a Six Sigma black belt and working 70 hours a week as a single mom, everything was “fine” until the pivotal moment her son was diagnosed with autism.Forced to pause her corporate career, Debby took a two-year sabbatical, diving headfirst into a world of self-discovery, exploring her own well-being and her son's needs. This period led her to uncover new interests and ultimately, a new career.Today, as the founder of Highlander Press, Debby helps change-makers share their stories through impactful books. Tune in as we delve into Debby's transformative journey, exploring the power of saying 'no', trusting intuition, and embracing life's challenges to find our true path.Debby's hype songs are This Girl is on Fire by Alicia Keys and You're F***ing Perfect by P!nkResources:Learn more at highlanderpressbooks.comConnect with Debby on LinkedIn: linkedin.com/in/deborah-kevinFollow Highlander Press on Facebook: facebook.com/highlanderpressFollow Highlander Press on Instagram: @highlanderpressOf course, you can go to Zen Rabbit.com to get your copy of the short guide to working less and living better - also known as The Five Easy Ways to Start Living a Sabbatical Life. You know what else you can get there? The newly revised and released How to Feel Comfortable, Confident & Courageous at Networking Events Book. Look for the link that says Networking at the top of the home page or go here.Produced by Nova Media

CNN, HBO Max, Amazon Prime She's BACK!!  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. You can see it now on HBO Max, & Amazon Prime. She is making stops in Hawaii and Vancouver on her One Last Time tour — she won't say whether it's truly her last — tweeting (or “twoting,” as she calls it) to her more than half a million followers,On a Saturday Night LIVE's spoof "The Dionne Warwick Show", with  NEW Compilations of Music. It includes collaborations with Kenny Lattimore & Musiq SoulChild along with new versions of her classics & some original classics. She's also touring again Worldwide!! On November 26, 2021, Warwick released the single "Nothing's Impossible" a duet featuring Chance the Rapper. Two charities are being supported by the duet: SocialWorks, a Chicago-based nonprofit that Chance founded to empower the youth through the arts, education and civic engagement, and Hunger: Not Impossible, a text-based service connecting kids and their families in need with prepaid, nutritious, to-go meals from local restaurants.Dionne was also named Smithsonian Ambassador of Music!!Additionally, Warwick  began a highly anticipated concert residency in Las Vegas on April 4, 2019Scintillating, soothing and sensual best describe the familiar and legendary voice of five-time GRAMMY® Award winning music legend, DIONNE WARWICK, 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 international music icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records.Marie Dionne Warwick, an American singer, actress, and television show host who became a United Nations Global Ambassador for the Food and Agriculture Organization and a United States Ambassador of Health.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.Other African-American female recording artists certainly earned their share of crossover pop and R&B hits during the 1960′s, however, Warwick preceded the mainstream success of her musical peers by becoming the first such artist to rack up a dozen consecutive Top 100 hit singles from 1963-1966.Warwick's performance at the Olympia Theater in Paris, during a 1963 concert starring the legendary Marlene Dietrich, skyrocketed her to international stardom. As Warwick established herself as a major force in American contemporary music, she gained popularity among European audiences as well. In 1968, she became the first solo African-American artist among her peers to sing before the Queen of England at a Royal Command Performance. Since then, Warwick has performed before numerous kings, queens, presidents and heads of state.Warwick's recordings of songs such as “A House is not a Home,” “Alfie,” ”Valley of the Dolls,” and “The April Fools,” made her a pioneer as one of the first female artists to popularize classic movie themes.Warwick began singing during her childhood years in East Orange, New Jersey, initially in church. Occasionally, she sang as a soloist and fill-in voice for the renowned Drinkard Singers, a group comprised of her mother Lee, along with her aunts, including Aunt Cissy, Whitney Houston's mom, and her uncles. During her teens, Warwick and her sister Dee Dee started their own gospel group, The Gospelaires.Warwick attended The Hartt College of Music in Hartford, Connecticut, and during that time, began making trips to New York to do regular session work. She sang behind many of the biggest recording stars of the 1960′s including Dinah Washington, Sam Taylor, Brook Benton, Chuck Jackson, and Solomon Burke, among many others. It was at this time that a young composer named Burt Bacharach heard her sing during a session for The Drifters and asked her to sing on demos of some new songs he was writing with his new lyricist Hal David. In 1962, one such demo was presented to Scepter Records, which launched a hit-filled 12 -year association with the label.Known as the artist who “bridged the gap,” Warwick's soulful blend of pop, gospel and R&B music transcended race, culture, and musical boundaries. 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. She recorded half a dozen albums, with top producers such as Thom Bell, Holland-Dozier-Holland, Jerry Ragavoy, Steve Barri, and Michael Omartian. 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 cause in support of AMFAR, which Warwick continues to support.Throughout the 1980′s and 1990′s, Warwick collaborated with many of her musical peers, including Johnny Mathis, Smokey Robinson, Luther Vandross, Jeffrey Osborne, Kashif and Stevie Wonder. Warwick was also host of the hit television music show, “Solid Gold.” In addition, she recorded several theme songs, including “Champagne Wishes & Caviar Dreams,” for the popular television series “Lifestyles of the Rich & Famous,” and “The Love Boat,” for the hit series from Aaron Spelling. In November, 2006 Warwick recorded an album of duets, “My Friends & Me,” for Concord Records, a critically acclaimed Gospel album, “Why We Sing,” for Rhino/Warner Records, and a new jazz album, ”Only Trust Your Heart,” a collection of standards, celebrating the music of legendary composer Sammy Cahn for Sony Red/MPCA Records. Additionally, in September 2008, Warwick added “author” to her list of credits with two best-selling children's books, “Say A Little Prayer,” and “Little Man,” and her first best-selling autobiography, “My Life As I See It” for Simon & Schuster.Always one to give back, Warwick has supported and campaigned for many causes and charities close to her heart, including AIDS, The Starlight Foundation, children's hospitals, world hunger, disaster relief and music education for which she has been recognized and honored and has raised millions of dollars. In 1987, she was appointed the first United States Ambassador of Health by President Ronald Reagan and in 2002, served as Global Ambassador for Health and Ambassador for the United Nations' Food & Agriculture Organization (FAO), and she continues to serve as Ambassador today. In recognition of her accomplishments and support of education, a New Jersey school was named in her honor, the Dionne Warwick Institute for Economics and Entrepreneurship. Warwick was also a key participating artist in the all-star charity single, “We Are the World,” and in 1984, performed at “Live Aid.”Celebrating 50 years in entertainment, and the 25th Anniversary of “That's What Friends Are For,” Warwick 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 was inducted into the 2013 New Jersey Hall of Fame.On March 26, 2012, Warwick was inducted into the GRAMMY® Museum in Los Angeles, where a special 50th Anniversary exhibit was unveiled and a historic program and performance was held in the Clive Davis Theater. Additionally, a panel discussion with Clive Davis and Burt Bacharach was hosted by GRAMMY® Museum Executive Director, Bob Santelli.Commemorating her 50th Anniversary, Warwick released a much-anticipated studio album in 2013, entitled “NOW.” Produced by the legendary Phil Ramone, the anniversary album was nominated for a 2014 GRAMMY® Award for Best Traditional Pop Vocal Album. “NOW” featured special never-before-released material written by her longtime friends and musical collaborators, Burt Bacharach and Hal David.Most recently, Warwick released a much anticipated star-studded duets album titled “Feels So Good,” featuring collaborations with some of today's greatest artists including Alicia Keys, Jamie Foxx, Billy Ray Cyrus, Ne-Yo, Gladys Knight, Cee Lo Green, Cyndi Lauper and many more. “Feels So Good” was released through Bright Music Records, Caroline and Capitol.Warwick's pride and joy are her two sons, singer/recording artist David Elliott and award-winning music producer Damon Elliott, and her family. ~ DionneWarwickonLine.com© 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Join this channel to get access to perks: https://www.youtube.com/channel/UCzqqRXS3Der0akViaQE-KVg/join Welcome to my Channel! You are watching : This Girl by Colleen Hoover (3/3 in the Slammed Series) Book Review www.Road2RedemptionPodcast.com for past episodes & merch ►►SUBSCRIBE: https://cutt.ly/CamWilliamson [Insert VIDEO DESCRIPTION with SEO keywords (Edit before post.)] Watch more videos Confess by Colleen Hoover Book Review | Valentine's Day Reading - https://youtu.be/MXhNQSYGMW0 Point of Retreat by Colleen Hoover Book Review - https://youtu.be/40af-6BuLDk Slammed by Colleen Hoover | Book Review + Spoilers - https://youtu.be/bpXx20E4Vzk My Channel features podcast's about mental health, and self-improvement tips to end the stigma and promote awareness. Also, my videos include vlogs, reviews, and a lot more. Please LIKE, SUBSCRIBE, and COMMENT so that I can continue to create valuable content for YOU! ►►SUBSCRIBE: https://cutt.ly/CamWilliamson #ThisGirl #ColleenHoover #BookReview

Andrea McLean is one of those people you already feel as though you know. Not least because she's been a familiar face on British television for two decades but because she has such an easy, warm, open and welcoming way with everyone she meets. And let me tell you, in the flesh, this magnetism is even more charming than you could imagine. She is also blessed with a dry wit and an excellent side-eye!After years anchoring the liveliest panel on TV, the prime-time show Loose Women, she is now focused on her website and app This Girl is On Fire, which focuses on supporting women (and soon men) through midlife. It's not just her day job, it's a calling. Having navigated her own mental health struggles, crises of confidence and a constant drive to want to do better and be better, Andrea is committed to passing on and sharing everything that has worked for her with those who feel the same.I open each podcast by asking my guest 'what's your relationship like with risk?' and, as you can imagine, Andrea's answer, as someone who walked away from one of the most coveted jobs for women in broadcasting, is an incredible one... We discuss being in bad relationships, trying to make a bad thing work, knowing when to listen to advice - and when to ignore it - and why admitting you're wrong can sometimes be the greatest gift. Andrea was so open and honest and I'm thrilled to share this conversation with you...To join the closed Facebook group for the podcast click here >> The Emma Guns Show Forum.To follow me on social media >> Twitter | Instagram.Sign up for my newsletter here >> Newsletter. Hosted on Acast. See acast.com/privacy for more information.

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

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

It is the beginning of the year, and as you create your goals for the year, most people are seeking ways to grow their wealth towards financial freedom; and women need to be in these conversations! While there are many women as real estate agents, there are relatively few females as real estate investors, and Daisy wants to change that! This Girl, Daisy brings you some very interesting insight into the vast opportunities women have in real estate investments.  In episode 66, Daisy has an informative conversation with Natasha Falconi, Founder & President of Falconi Capital, a real estate investment firm specializing in multi-family real estate. With over 20 years of experience as an investor, property manager, Chair of a bank and most recently Founder of her own real estate company, Natasha is in a position to empower women to participate as investors in real estate.  Natasha is on a mission to get more women to invest in real estate, given that only 3% of women currently invest in commercial real estate, so much room for growth!  She highly recommends that woman need to simply get informed and get started; and the mulit-family investments is an easy way to begin diversifying your portfolio. Best advice: Just get started.  Get her free download at https://www.falconi-capital.comor just pick up the phone and call her. Natasha is offering a FREE download to get you started:  An Insider's Look at Multifamily Real Estate Investment: A 5-Step Plan to Minimize Risk and Maximize Return Girls we all need to start investing in real estate! When investing in real estate Natasha reminds us: Do not WAIT to invest in Real Estate, Invest in Real Estate and then wait! If this podcast was helpful to you and inspired you –  write Daisy a 5-star review so that she can grow in the ranks!  Rate & Review it is simple and that's how This Girl podcast continues to bloom and bring you the stories that matter to YOU! For More details about This Girl podcast, visit Daisy Blanchard or check out her "Dose of Daisy" on Instagram @pocketfulofdaisy   

This GIRL knows her stuff.She has been in the fitness industry for over 18 years! I live with a chronic illness every day.Real-life experience that is invaluable when you are trying to improve your wellbeing on an UP HILL CLIMB. I get it. Been there. Done that. Live it every day. Every day I struggle. Every day I am faced with new challenges. But I know. I need goals. I need to take care of my body. THIS IS MY SUPERPOWER. AND IT IS YOURS. Are you ready for PROGRESS NOT PERFECTION? Get PICKLED WITH ME in 2023. I will be there EVERY STEP OF THE WAY. ONLINE FAMILY PICKLE MEMBERSHIP 5 LIVE STREAM sessions per week – resistance training, yoga, abs and Jill's signature 15:10:5 session Unlimited access to pre-recorded session library Unlimited access to our INSPIRE and COMFORT website providing you with the support you need nutritionally and mentally. Exclusive BIG PICKLE V-LOG – recipes, nutrition and more Monthly pickle family zoom session for those seeking extra accountability NEW YEAR'S LIMITED-TIME OFFER December 31 to January 1st Only $40 for the month Save $15 COUPON CODE: PICKLEME23 Learn more https://chronicallyfitcanada.com/picklefamily/ To register https://chronicallyfitcanada.com/registration/ PICKLE PARTNERSHIP Pickle Partnership is about YOU and I joining forces in your wellness. Identifying where you are struggling, where are excelling and what are the next steps to improve your quality of life. All guided by my PICKLE PARTNERSHIP PROGRAM. If you are ready to move FORWARD in your wellness. If you are ready to take back your power….the PICKLE PARTNERSHIP is for you! The Salty Details 3 ONE HOUR – one on one PICKLE POWER sessions via ZOOM. HOUR 1 – PICKLE POWER HOUR – One hour more in-depth chat together where together we set realistic goals, and the logical next steps in your wellness. A laid-out plan that you are EMPOWERED by to make strives in your health. HOUR 2 – PICKLE POWR HOUR 2. – 60 min scheduled follow to keep you on track. Together we make changes to your goals and ensure you are making the progress you want. Recommended 7 to 10 after our first PICKLE POWER HOUR. HOUR 3 – PICKLE POWER HOUR 3 – we do it again together. Dive into the pickle jar together one more time, to revisit, revise and keep moving forward with your success. 40-page PICKLE PARTNERSHIP GUIDE including meal plans, track sheets, workouts and more 6 weeks of access to Jill's 100% unconditional, non-judgemental support NEW YEAR'S BONUS Includes TWO complimentary months of the ONLINE PICKLE FAMILY NEW YEAR'S LIMITED-TIME OFFER December 31 to January 1st Only $180 for the entire program. Regular $225. Over $120 in BONUS. Only 3 spots are available so I can give you my full support! You must EMAIL me directly to get a spot. chronicallyfit@rogers.com

Do you feel like you are all over the place with an endless to do list? Or are you frustrated that your child leaves things at school and you have to remind him to do his work 100 times?  Then this episode is for you… This Girl podcast host Daisy has a REAL informative conversation with Nicole Santamaria, Founder, OT for Real Life about what is Executive Functioning (EF) and how-to best to approach this in order to get things done! Nicole has more than 20 year's experience with a no nonsense – straightforward approach helping parents, kids and teachers providing them the “real life” strategies and right intervention – since she is a true believer that we can all DEVELOP these skills!  Daisy and Nicole have a very candid conversation since Daisy very vulnerably shares her personal struggles with EF, so their conversation hit home.  Nicole offers unique approach to finding EF solutions since she believes in looking for the strengths before the weakness. Nicole suggests a strengths-based approach that helps identify the individual's natural talents vs. depicting all their faults. In this episode, Nicole summarizes 3 ways you can begin to improve Executive Function in your life or your child's.  She discusses the first step is to know your EF profile and provides a FREE cheat sheet - find out your EF strengths with this EF Guide https://learn.nicolesantamaria.com/ef Nicole's resources are fun and user friendly, log on today: EXECUTIVE FUNCTIONING HELPS YOU LAUNCH TO INDEPENDNCE Hop over to my website: All the tips, tricks, and strategies to guide you through your child's developmental journey.  Follow me on YouTube:  Weekly video content with interviews, inside scoops, and helpful actionable and easy-to-follow tips.  Check out the Organization Strategies Workshop:If you want to hit the EASY button on this executive functioning skill, so that your child can get things done, save time and chill out!  Follow Nicole for updates: Facebook - https://www.facebook.com/miamihandwri... Instagram - https://www.instagram.com/OTforRealLife Or

In this episode, Daisy invites you to tap into your spirit and join a movement of sacred sisterhood that will promise to awaken the goddess within.  Daisy hosts Maria Marshall, CEO & Founder of Gaia Goddess Lifestyle.  Daisy and Maria share an intuitive conversation reminding women the importance of self-care and nourishing their spirit. Besides Maria being a Reiki Master and holistic healer, she is a conscious creative who utilizes social entrepreneurism, storytelling, and community building to inspire, heal and empower women.  Her spiritual journey has led her to the launch of Gaia Goddess Lifestyle, a movement where women can come together to nourish their souls.  Gaia Goddess Lifestyle is built on 4 pillars: education, healing, community, and empowerment.  This spirited led movement invites women to let go of ancestral narratives and paradigms in order to release the past, and elevate their souls.  Maria shares with Daisy that her spiritual journey was not without pain, in fact, she says… “you got to feel it to heal it!”  They both give insight into hard times in their lives where it was spiritual awakenings and community that were the elixirs to healing.  She shares that during this process of healing, one of the modalities that she really found effective was Barbara Carrellas' guided meditation, breath and energy orgasm. (spoiler alert! not sexual but spiritual release) https://barbaracarrellas.com/breath-and-energy-orgasms-meditation/ Daisy reminds us that your “vibe attracts your tribe”, and invites you to join Gaia Goddess movement. For a limited time, FREE MEMBERSHIP, sign up today to elevate your spirit: https://gaiagoddesslifestyle.com/pages/memberships Gaia Goddess membership is designed to sustain lasting connections and provide on-going support. Join the Gaia Goddess ever evolving sacred Sisterhood community. You will enjoy access to our free library featuring a wide array of exclusive online content: https://gaiagoddesslifestyle.com Instagram @gaiagoddesslifestyleyou will enjoy access to our free library featuring a wide array of exclusive online content. If this podcast was helpful to you and inspired you –  write Daisy a 5-star review so that she can grow in the ranks!  Rate & Review it is simple and that's how This Girl podcast continues to bloom and bring you the stories that matter to YOU! For More details about This Girl podcast, visit Daisy Blanchard or check out her Dose of Daisy on Instagram @pocketfulofdaisy  

Bank of America's Patricia Pacheco De Baez has grit. She learned it from her fierce Latina mother, who taught her to work hard and strive for excellence – something Patricia has carried with her throughout her career journey. Patricia started as a temp in the financial industry, always grateful for every opportunity she was given – whether big or small. All she needed was a “foot in the door.” Once there, she began to stand out and advocate for herself early in her career. At the age of 25, she did her research, gathered up the courage to ask for pay equity, and got it. It's easy to see how she's moved up the career ladder. Patricia currently holds the title of Managing Director for NYC Private Bank, Market Leader & Diverse Segment Champion at Bank of America. Listen as Patricia walks us through her professional journey and how she learned not to give up on her dream. She's a big proponent of mentors and sponsors and practices being open and honest with them, so they get the most out of their time together. Patricia is a risk taker and isn't afraid to make big moves, and she shares with us why she thinks working hard and striving for excellence are the keys to success.  Visit https://www.iambeyondbarriers.com where you will find show notes and links to all the resources in this episode, including the best way to get in touch with Patricia. Highlights:  [02:46] Patricia's background and key lessons she's learned[10:37] Patricia's diverse career path[15:41] What Patricia looks for in a position[22:04] How to be direct about your ask[25:17] Advocating for yourself[32:33] Being honest with your mentors[40:12] Finding confidence to make bold moves[43:26] Patricia's move into management[52:28] The importance of working hard[55:00] Striving for excellence[58:54] Lightning round questions Quotes: “Education is the instrument for us to break the cycle of poverty and accomplish our dreams.” – Patricia Pacheco De Baez  “Every time I'm very comfortable in a role, I ask myself, ‘What else can I do?'” – Patricia Pacheco De Baez  “If you don't advocate for yourself, who will?” – Patricia Pacheco De Baez  “Every one of us has something to bring to the table that differentiates us and makes us unique.” – Patricia Pacheco De Baez    Lightning Round Questions: What book has greatly influenced you?  “Extreme Ownership” by Jocko Willink and Leif Babin and Maya Angelou's poem, “Still I Rise”.  What is your favorite inspiring quote or saying?  “In the moment of turbulence and darkness, just remember… it's not just about You.” What is one word or moniker you would use to describe yourself?  Grit What is one change you've implanted that made your life better?  Meditation What power song would you want playing as you walk out onto a stage?  “This Girl is on Fire” by Alicia Keys   About Patricia Pacheco De Baez:   Patricia Pacheco is a Market Leader & Diverse Segment Lead in NYC Private Bank. In this role she drives business development strategies focusing on the wealth management needs of high net worth families in the areas of investment management, estate planning, banking and credit.   Prior to this role, she was responsible for Latin America and European large corporate subsidiaries in Global Corporate Investment Bank. In this role, she drove more than 316% growth in revenues since 2014 when she joined the firm. Some of her clients included Bimbo, Cemex, Diageo, EssilorLuxottica, Gerdau and Unilever. Pacheco was also a member of Bank of America's Global Corporate Banking Subsidiaries Management Committee.   Prior to joining Bank of America, Pacheco worked at J.P. Morgan Treasury Services for seven years where she was responsible for coverage of financial institutions (FIs), public sector and non-bank FIs operating in Mexico City. Previously she led the strategy and execution of cash management product sales for Latin America and served as the relationship manager for Latin America FIs subsidiaries and branches in the United States. Before working at J.P. Morgan, Pacheco spent six years at American Express Bank as a relationship manager covering FIs in the United States and Canada.   Pacheco has been actively involved in leading many Hispanic and employee network initiatives throughout the course of her career. She currently serves as co- chair of Bank of America's Hispanic Latino Executive Council and emeritus chair of the firm's Hispanic Network Executive Advisory Board (HOLA NY). Pacheco also serves as a member of the YMCA USA National Board & ALPFA NY Senior Leadership Council. Pacheco has received numerous awards for her business experience and volunteerism including Bank of America's “Outstanding Employee Network Leader Award” (2015), as well as Bank of America's “Global Diversity & Inclusion Team Award” (2017) and “Global Diversity & Inclusion Individual Award” (2018) – two of the firm's most prestigious employee honors. She also was the recipient of the “Young Hispanic Corporate Achiever Award” (2016) from the Hispanic Association of Corporate Responsibility and was recognized as a “Women's of ALPFA (Association of Latino Professionals for America) Rising Star” (2018-2019). Pacheco holds an M.B.A. from the Kellogg School of Management at Northwestern University. She graduated with a bachelor's degree in business administration from Manhattanville College with dual majors in international business and Latin America studies.

In this episode, Daisy welcomes once again, Caroline De Posada, life coach & motivational speaker focused on all things wellness, mindset and relationships.  They engage in lively conversation about fasting and the importance that this “reset” can have on your body, mind and spirit.  With the holiday season upon us and the temptations increasing, both Caroline aka “Caro” and Daisy want to equip you with the right mindset.  Caro explains what is fasting? Why fasting is beneficial and the different types of fasting.  In particular, Caroline takes a deep dive into “Rejuvafast” a 5-day fast which is a whole-body approach that incorporates the latest scientific research on fasting and anti-aging, fundamental lifestyle principles; along with a supportive community to improve your health and wellness.  Caroline shares the story how she partnered with Dr. Virgilio Sanchez, Board certified Family physician with a deep passion for natural and integrative medicine.  Together they developed a 5-day fast challenge that they administer quarterly throughout the year.  Rejuvafast was created to scientifically activate autophagy in your cells, rejuvenate internal system and reset healthy habits. Caroline outlines the offerings of Rejuvafast: o   5-day fast scientifically designed to renew cells  o   Live access to experts - Personal Development Life Coach & Integrative Medicine Doctor o   Grocery List o   Supplements o   Bonus: RejuvaHacks Masterclass on how to protect yourself from junky foods. This Masterclass will teach participants how to minimize indulgences and stay super intentional through the holidays and beyond. Caro will be offering the final Rejuvafast of 2022 – Oct. 23- 28 Sign up - https://rejuvafast.com Looking for a life coach, wellness community or motivational speaker – Get to know Caro:  https://carolinedeposada.com If this podcast was helpful to you and inspired you –  write Daisy a 5-star review so that she can grow in the ranks!  Rate & Review it is simple and that's how This Girl podcast continues to bloom and bring you the stories that matter to YOU! For More details about This Girl podcast, visit Daisy Blanchard on Instagram @pocketfulofdaisy or http://www.pocketfulofdaisy.com

In this episode, Daisy makes sure you add more "tools" in your branding toolbox as she invites branding expert and communications strategist, Katie Cabanas to not only “talk shop” since communications are both their “jam” and expertise; but more important to inspire other women and entrepreneurs to invest in themselves in order to make a greater impact with the POWER of their words and messaging. With more than 25 years of branding and communication experience, Founder & CEO, Cabanas Consulting, Katie Cabanas, share her tips and outlines her easy to implement communications framework to master your message. Daisy and Katie have a straight-to-the-point but insightful conversation about guiding you on some simple steps to improving your messaging and communicating your brand.  In today's digital era and constant instant gratification, you only have a few minutes or seconds to send a message… so it is critical that you know how best what to say and how to say it! Tune in and hear all about Katie's top 3 C's in communicating your brand: Clarity - clarify the goal and or the issue at hand Craft - the strategy based on your target audience Connect - brand strategy is all about connecting with your community  Daisy has no doubt you are going to want MORE, so Katie generously offered for the first listener that DMs her, that she would gift a consulting session.  Katie is one of Daisy's favorite “Girls” since Katie also believes in #womencollaboratingwithwoman! Both Daisy and Katie want you to SHINE at your next interview, podcast or presentation, therefore, visit her at her website to get FREE worksheet on how to master your message, visit:https://www.cabanas-consulting.com/gift Katie will also be hosting a FREE webinar on October 19th at 1PM (Est): Be a "WOW-WORTHY” presenter: 5 keys to prepare your next powerful panle, podcast or presentation  Follow Katie on her instagram: @cabanasconsullting Stay connected, informed and inspired – Rate & review  If this podcast was helpful to you and inspired you –  write Daisy a 5-star review so that she can grow in the ranks!  Rate & Review it is simple and that's how This Girl podcast continues to bloom and bring you the stories that matter to YOU! For More details about This Girl podcast, visit Daisy Blanchard on instagram @pocketfulofdaisy or new website: https://www.daisyblanchard.com

Since This Girl podcast always searches for stories that nourish the soul, Daisy knew she had to share one of favorite self-care outlets which is going to her Videosync hip-hop dance class – but it is so much more than a dance class! Honoring J.Marcos, Creator of Videosync, in this episode, Daisy spotlights one of her passions for dance, and brings you Dr. Andrea Assantes which is an “Angel on earth”, driven by her passions as Head Pediatrician and Medical Director at University of Miami by day and Videosync Dance Captain, aka Dr. Drea on weekends at Body & Soul fitness studio. Daisy & Andrea share an inspirational and bit emotional conversation about how Videosync started, and how they are paying tribute to the J. Marcos, creator of Videosync.  This Girl, Dr. Drea, tells her personal journey of how her passion for dance became her purpose when unexpectedly in 2017, J. Marcos passed away; and she along with four other Videosync “Angels” answered to a calling to keep the Videosync's legacy alive. The fitness dance class is led by 4 “Angels” each with their particular vibe and style: Captain, @dr_drea_a, @Crissy_vs, @Mariawuerl, @Addibelvedere . Andrea so beautifully explains how Videosync is a well-being concept where creator, J. Marcos, wanted to incorporate music video choreography with high intensity cardio designed to get an athletic workout that would be entertaining, leaving you with a feeling to want more.  At Videosync, everyone feels like a ROCKSTAR!  You burn hundreds of calories in a 60-minute high-energy, high-intensity, easy-to-follow- choreographed cardio-dance class that is guaranteed to leave you sweating.  Every class welcomes all ages and it surpasses everyone's music jam since it plays Top 40, Hip-Hop, R&B, Island tunes, Latin, Reggaetón and even a little country.  The playlist is meticulously curated for every class depending on the season and the vibe. With lots of booty shaking and disco light spinning (check out her IG: @@dr_drea_a) Andrea welcomes all and explains that you do not have to be an experienced dancer, all you need to have is a need to move your body and get to dance like no one is watching!  She further explains, that this class is almost considered “dance church” where you will find community and it has created a Videosync dance family. Andrea and Daisy both extend invitation to join "the party" Sunday, Oct. 2 at 9am for Annual Tribute to J. Marcos, Creator, Videosync:  Special 90 minute Master Class Sunday – Oct 2, 2022 @ Body&Soul fitness Studio Buy tickets at http://bodyandsoulmiami.com Live DJ Raffle |Offering Classes and Gym membership Collectible Limited-edition tribute merchandise Proceeds will benefit the Breakthrough Miami https://breakthroughmiami.org Breakthrough Miami provides an academic enrichment program that uses a student-teaching-students model to ensure that motivated, under-resourced 5th – 12th grade students have access to excellent educational opportunities, graduate from high school on time, and attend college. If this podcast was helpful to you and inspired you –  write Daisy a 5-star review so that she can grow in the ranks!  Rate & Review it is simple and that's how This Girl podcast continues to bloom and bring you the stories that matter to YOU! For More details about This Girl podcast, visit Daisy Blanchardon Instagram @pocketfulofdaisy or http://www.pocketfulofdaisy.com

Marking a historical day, This Girl podcast host, Daisy pays tribute to Her Royal Majesty, Queen Elizabeth II by sharing a BONUS episode highlighting the power of obituaries (obits).  Contrary to what most might believe that obits are about death, obituaries happen to be all about a life well lived. In fact, the obit is a story depicting the person's life providing the individual an opportunity to live once more.   Since you all know that Daisy does not believe in coincidences, a few years ago on several occasions she was exposed to the topic of obituaries by being recommended to see the HBO documentary "If you're not in the obit, eat breakfast" hosted by Carl Reiner - a must see.  Then in the same week, she stumbled across the movie with Shirley MacLaine, "The Last Word", which illustrated the significance of this section in a newspaper.  This peeked her interest even more and she went down the rabbit hole on the impact of obits.  Daisy spent a few weeks exploring this topic. In particular, she researched how people make it into the New York Times obit pages.  As life should have it,  there is actually a documentary dedicated to the New York Times obit section department since it happens to be a dying art, "The Obit: The Last Deadline".  Daisy's inspiration is an invitation to her listeners to take the time to write their obit, since you still have time to change or add to your story! What would it say?  

Rhydon and Dennis enjoy a great conversation with one of the industry's up and coming Leading Ladies, the blue collar bougie herself, Rachel Sylvain from AGS Home Services. An owner with a seat at the table with her company as well as a member of the Bryant Women in HVAC movement, there is more than meets the eye with this one. Don't let the heels and manicured nails fool you, she ain't just any girl. This Girl is on Fire.

there is a reason we had Shelby on tonight and you're about to find out why. THIS GIRL can truly stand to speak on perseverance and how to mentally come up against hard, obsessed with this conversation. & if you haven't read The Slight Edge by Jeff Olson, order that today!!!

Are you ready for Season 4, everyone loves a comeback and this season promises to deliver stories of transformation and inspiration.  This season brings a central theme of  “Where are you now?”, the world took a pause in 2020 and there has been much change and renewal.  This Girl Daisy continues to show up and bring you STORIES that will inspire, educate and at the very least SPARK CONVERSATION!  In this episode, This Girl Daisy welcomes back Dr. Betsy Guerra, licensed psychotherapist with a PhD in Clinical Psychology and over 20 years of experience; author of Hurt 2 Hope: Healing the Pain of Loss, Grief, and Adversity, and Founder & CEO of Better with Betsy and the BWB Coaching Academy.  With Betsy you never know where the story will go because she is a woman of Faith and Divine inspiration is always present. Get ready for some insightful storytelling and lots of practical tools that Dr. Betsy Guerra AKA “Better with Betsy” shares with Daisy about transforming pain into purpose.  Daisy and Betsy can talk for hours, but they intentionally shared with you the importance of listening to your intuition and calling. In a time where many people are reinventing themselves or looking for purpose, Daisy is so excited to announce Betsy's life coaching academy – BWB Life Coaching Academy. The BWB Coaching Academy certifies service-oriented leaders using psychology, spirituality, and experiential tools to elevate humanity, while creating a life and business of significance. Unlike traditional coaches, the BWB Coaching Academy has a strong spiritual component and is based on 3 pillars: Clinical Competence. Spirituality. Embodiment. Nothing motivates more than a deadline – Apply today! BWB Life Coaching Begins August 17, 2022 https://bwbcoaching.com/application/ https://bwbcoaching.com/certification/ Follow Betsy on her Instagram, and visit her website and social media: https://betterwithbetsy.com https://www.instagram.com/betterwithbetsy https://www.youtube.com/channel/UCOp5gCdGy3qQ_lIfjwAy21g https://www.youtube.com/watch?v=SdxkemBqbg8 https://www.instagram.com/betterwithbetsy If this podcast was helpful to you and inspired you – write Daisy a 5-star review so that she can grow in the ranks!  Rate & Review it is simple and that's how This Girl podcast continues to bloom and bring you the stories that most matter to YOU! For More details about This Girl podcast, visit Daisy Blanchard on Instagram @pocketfulofdaisy or  website: http://www.pocketfulofdaisy.com

This week, the Geeks finally catch up with the rest of Geekdom and review a movie that was released months ago, 2022's The Batman! The World Famous Top 3 List features sci-fi/horror movies from the 1950/60s that deserve a remake! The Worst Movie Ever This Week is the horrible The Creeping Terror! Sunday Afternoon Kung Fu Theater is the weirdly awesome This Girl is Badass! Thanks for listening and Keep On Geekin' On! TImestamps 5:12 Top 3 50s/60s Sci Fi/Horror Movies That Deserve a Remake 20:26 The Creeping Terror 33:01 This Girl is Badass 42:09 The Batman --- Send in a voice message: https://anchor.fm/3oldgeeks/message

Andrea was born in Scotland and grew up in Trinidad in the Caribbean. After moving to England, she finished her education, backpacked around the world then moved to London with everything she owned on the back seat of her car, sleeping on floors to pursue her dream of becoming a writer… Her persistence paid off; she is now the #1 Sunday Times Best-Selling author of: ‘Confessions of a Good Girl', ‘Confessions of a Menopausal Woman', ‘This Girl Is On Fire, and ‘You Just Need to Believe It'. She is also an award-winning TV broadcaster, journalist, radio presenter and CEO / Co-Founder of the female personal growth app This Girl Is On Fire. In her 23-year career as a broadcaster Andrea has interviewed some of the biggest names in the business, including Oprah Winfrey, Beyoncé, Drew Barrymore, Michael Bublé, Dustin Hoffman and Amy Schumer. Working alongside stellar guest panellists such as Goldie Hawn and Eva Longoria, Andrea hosted ITV's ratings and multi award-winning live national Daytime chat show Loose Women (the British equivalent of The View) for 13 years, bringing her warmth, humour and journalistic skill to the small screen every lunchtime. In December 2020, after serving as the longest reigning host of Loose Women, Andrea decided to pivot career-wise, leaving behind her role as a national television anchor to pursue her passion for service and devote her time to empowering women through personal growth. Andrea is now an accredited Life Coach, and has brought her years of anchoring TV shows, journalism and writing skills together into her business. She does this through her mindset membership app This Girl Is On Fire (available in the App Store and Google Play) which puts personal growth into the palm of your hand helping you to Get Brave, Get Confident and Get Going. The This Girl Is On Fire app is a gym for the mind with its own private social media platform, where Andrea hosts masterclasses with experts, podcast interviews with inspiring women, live events with her community and twice-monthly live coaching sessions with accredited Life Coaches. For non-members she offers Online Courses and FREE monthly Magazine Newsletters. Visit Andrea's website andreamclean.com Find Andrea on Instagram at @andreamclean1 Find out more about This Girl is On Fire on Instagram at @officialthisgirlisonfire Thank you for listening. This show is brought to you by Dance Business Lab. Dance Business Labs founder Deborah Laws is a multi-passionate dancepreneur, dance business expert and number one best selling author of The Ultimate Dance Business Planner. Deborah's sole purpose is to help facilitate the personal journey and growth of dance business owners like you. To find out more about Dance Business Lab and work with Deborah head to https://dancebusinesslab.com To find out more about working with Deborah through her exclusive Dance Business Lab membership programs follow the links below. Sparks membership - https://dancebusinesslab.com/memberships/sparks Ignite membership - https://dancebusinesslab.com/memberships/ignite Illuminate membership - https://dancebusinesslab.com/memberships/illuminate This episode of The Ultimate Dance Business Podcast is brought to you by DanceBiz from ThinkSmart Software. Take your studio to the next level. DanceBiz is a state of the art software package that takes the headache out of admin. Automate all those business tasks you hate, and spend more time on what matters - teaching. Try it today and regain control of your business. To get an exclusive code to give you access to 2 months of DanceBiz for free drop me a message at https://dancebusinesslab.com/contact

1. Marshmello Vs Alice Deejay - Before U vs Better Off Alone (SABER Trap Bootleg)2. ARMNHMR vs Afrojack - Everybody Feels vs Take Over Control (SABER Trap Bootleg)3. Jay-Z ft Rihanna & Kanye West - Run This Town4. Snoop Dogg & Wiz Khalifa ft Bruno Mars - Young, Wild & Free5. Aretha Franklin  - Respect6. Talking Heads - Once In A Lifetime7. The Weeknd - Sacrifice8. Black Box vs Kungs - I Don't Know Anybody Else vs Never Going Home (Rosario Marafini Bootleg)9. Block & Crown - Comin' Out10. Nari - That's The Way11. Duke Dumont vs. Topic ft A7S - Ocean Drive vs. Breaking Me12. Steff da Campo vs. Chico Rose - 5 On It (Extended Club Mix) 13. Shouse vs. Bronski Beat vs. Mike Westwood - Love Tonight In A Smalltown Car14. Dev vs Felguk - Dancing In The Dark vs. Train (Danny Diggz Then & Now Bootleg)15. Tones And I - Cloudy Day (Charlie Lane Remix) 16. Red Hot Chili Peppers - Otherside17. Suzanne Vega vs. Regard - Tom's Diner vs. Hallucination 18. Kungs vs David Guetta  - This Girl vs. Remember (Arman Aveiru Bootleg)19. Sofi Tukker - Drinkee20. Ellis Moss - The Shake21. Montell Jordan - This Is How We Do It (Koltens Remix)22. ACRAZE ft Cherish vs Onderkoffer - Do It To It (PeteDown Hybrid Bootleg)23. Afrojack & Steve Aoki ft Miss Palmer - No Beef (DLMT Remix) 24. Kevin McKay - Move Your Body (Elevation) (Kevin's Extended ViP)www.djroyski.comwww.patreon.com/royskiwww.mixcloud.com/djroyskiwww.facebook.com/djroyskiwww.twitter.com/djroyski

1. Marshmello Vs Alice Deejay - Before U vs Better Off Alone (SABER Trap Bootleg)2. ARMNHMR vs Afrojack - Everybody Feels vs Take Over Control (SABER Trap Bootleg)3. Jay-Z ft Rihanna & Kanye West - Run This Town4. Snoop Dogg & Wiz Khalifa ft Bruno Mars - Young, Wild & Free5. Aretha Franklin  - Respect6. Talking Heads - Once In A Lifetime7. The Weeknd - Sacrifice8. Black Box vs Kungs - I Don't Know Anybody Else vs Never Going Home (Rosario Marafini Bootleg)9. Block & Crown - Comin' Out10. Nari - That's The Way11. Duke Dumont vs. Topic ft A7S - Ocean Drive vs. Breaking Me12. Steff da Campo vs. Chico Rose - 5 On It (Extended Club Mix) 13. Shouse vs. Bronski Beat vs. Mike Westwood - Love Tonight In A Smalltown Car14. Dev vs Felguk - Dancing In The Dark vs. Train (Danny Diggz Then & Now Bootleg)15. Tones And I - Cloudy Day (Charlie Lane Remix) 16. Red Hot Chili Peppers - Otherside17. Suzanne Vega vs. Regard - Tom's Diner vs. Hallucination 18. Kungs vs David Guetta  - This Girl vs. Remember (Arman Aveiru Bootleg)19. Sofi Tukker - Drinkee20. Ellis Moss - The Shake21. Montell Jordan - This Is How We Do It (Koltens Remix)22. ACRAZE ft Cherish vs Onderkoffer - Do It To It (PeteDown Hybrid Bootleg)23. Afrojack & Steve Aoki ft Miss Palmer - No Beef (DLMT Remix) 24. Kevin McKay - Move Your Body (Elevation) (Kevin's Extended ViP)www.djroyski.comwww.patreon.com/royskiwww.mixcloud.com/djroyskiwww.facebook.com/djroyskiwww.twitter.com/djroyski

She's BACK!!  On Saturday Night LIVE's spoof "The Dionne Warwick Show", with  NEW Compilations of Music. It includes collaborations with Kenny Lattimore & Musiq SoulChild along with new versions of her classics & some original classics. She's also touring again Worldwide!! On November 26, 2021, Warwick released the single "Nothing's Impossible" a duet featuring Chance the Rapper. Two charities are being supported by the duet: SocialWorks, a Chicago-based nonprofit that Chance founded to empower the youth through the arts, education and civic engagement, and Hunger: Not Impossible, a text-based service connecting kids and their families in need with prepaid, nutritious, to-go meals from local restaurants.Dionne was also named Smithsonian Ambassador of Music!!Additionally, Warwick  began a highly anticipated concert residency in Las Vegas on April 4, 2019Scintillating, soothing and sensual best describe the familiar and legendary voice of five-time GRAMMY® Award winning music legend, DIONNE WARWICK, 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 international music icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records.Marie Dionne Warwick, an American singer, actress, and television show host who became a United Nations Global Ambassador for the Food and Agriculture Organization and a United States Ambassador of Health.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.Other African-American female recording artists certainly earned their share of crossover pop and R&B hits during the 1960′s, however, Warwick preceded the mainstream success of her musical peers by becoming the first such artist to rack up a dozen consecutive Top 100 hit singles from 1963-1966.Warwick's performance at the Olympia Theater in Paris, during a 1963 concert starring the legendary Marlene Dietrich, skyrocketed her to international stardom. As Warwick established herself as a major force in American contemporary music, she gained popularity among European audiences as well. In 1968, she became the first solo African-American artist among her peers to sing before the Queen of England at a Royal Command Performance. Since then, Warwick has performed before numerous kings, queens, presidents and heads of state.Warwick's recordings of songs such as “A House is not a Home,” “Alfie,” ”Valley of the Dolls,” and “The April Fools,” made her a pioneer as one of the first female artists to popularize classic movie themes.Warwick began singing during her childhood years in East Orange, New Jersey, initially in church. Occasionally, she sang as a soloist and fill-in voice for the renowned Drinkard Singers, a group comprised of her mother Lee, along with her aunts, including Aunt Cissy, Whitney Houston's mom, and her uncles. During her teens, Warwick and her sister Dee Dee started their own gospel group, The Gospelaires.Warwick attended The Hartt College of Music in Hartford, Connecticut, and during that time, began making trips to New York to do regular session work. She sang behind many of the biggest recording stars of the 1960′s including Dinah Washington, Sam Taylor, Brook Benton, Chuck Jackson, and Solomon Burke, among many others. It was at this time that a young composer named Burt Bacharach heard her sing during a session for The Drifters and asked her to sing on demos of some new songs he was writing with his new lyricist Hal David. In 1962, one such demo was presented to Scepter Records, which launched a hit-filled 12 -year association with the label.Known as the artist who “bridged the gap,” Warwick's soulful blend of pop, gospel and R&B music transcended race, culture, and musical boundaries. 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. She recorded half a dozen albums, with top producers such as Thom Bell, Holland-Dozier-Holland, Jerry Ragavoy, Steve Barri, and Michael Omartian. 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 cause in support of AMFAR, which Warwick continues to support.Throughout the 1980′s and 1990′s, Warwick collaborated with many of her musical peers, including Johnny Mathis, Smokey Robinson, Luther Vandross, Jeffrey Osborne, Kashif and Stevie Wonder. Warwick was also host of the hit television music show, “Solid Gold.” In addition, she recorded several theme songs, including “Champagne Wishes & Caviar Dreams,” for the popular television series “Lifestyles of the Rich & Famous,” and “The Love Boat,” for the hit series from Aaron Spelling. In November, 2006 Warwick recorded an album of duets, “My Friends & Me,” for Concord Records, a critically acclaimed Gospel album, “Why We Sing,” for Rhino/Warner Records, and a new jazz album, ”Only Trust Your Heart,” a collection of standards, celebrating the music of legendary composer Sammy Cahn for Sony Red/MPCA Records. Additionally, in September 2008, Warwick added “author” to her list of credits with two best-selling children's books, “Say A Little Prayer,” and “Little Man,” and her first best-selling autobiography, “My Life As I See It” for Simon & Schuster.Always one to give back, Warwick has supported and campaigned for many causes and charities close to her heart, including AIDS, The Starlight Foundation, children's hospitals, world hunger, disaster relief and music education for which she has been recognized and honored and has raised millions of dollars. In 1987, she was appointed the first United States Ambassador of Health by President Ronald Reagan and in 2002, served as Global Ambassador for Health and Ambassador for the United Nations' Food & Agriculture Organization (FAO), and she continues to serve as Ambassador today. In recognition of her accomplishments and support of education, a New Jersey school was named in her honor, the Dionne Warwick Institute for Economics and Entrepreneurship. Warwick was also a key participating artist in the all-star charity single, “We Are the World,” and in 1984, performed at “Live Aid.”Celebrating 50 years in entertainment, and the 25th Anniversary of “That's What Friends Are For,” Warwick 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 was inducted into the 2013 New Jersey Hall of Fame.On March 26, 2012, Warwick was inducted into the GRAMMY® Museum in Los Angeles, where a special 50th Anniversary exhibit was unveiled and a historic program and performance was held in the Clive Davis Theater. Additionally, a panel discussion with Clive Davis and Burt Bacharach was hosted by GRAMMY® Museum Executive Director, Bob Santelli.Commemorating her 50th Anniversary, Warwick released a much-anticipated studio album in 2013, entitled “NOW.” Produced by the legendary Phil Ramone, the anniversary album was nominated for a 2014 GRAMMY® Award for Best Traditional Pop Vocal Album. “NOW” featured special never-before-released material written by her longtime friends and musical collaborators, Burt Bacharach and Hal David.Most recently, Warwick released a much anticipated star-studded duets album titled “Feels So Good,” featuring collaborations with some of today's greatest artists including Alicia Keys, Jamie Foxx, Billy Ray Cyrus, Ne-Yo, Gladys Knight, Cee Lo Green, Cyndi Lauper and many more. “Feels So Good” was released through Bright Music Records, Caroline and Capitol.Warwick's pride and joy are her two sons, singer/recording artist David Elliott and award-winning music producer Damon Elliott, and her family. ~ DionneWarwickonLine.com© 2022 Building Abundant Success!!2022 All Rights ReservedJoin Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBAS

Bienvenue dans La Leçon, le podcast sur l'art d'échouer. Cette semaine, je suis ravie de recevoir le DJ Kungs. Évidemment, comme tout le monde j'ai dansé sur ses sons, parce qu'ils sont aussi géniaux qu'incontournables. Imaginez que son titre This Girl, par exemple, numéro 1 dans 45 pays a été écouté des centaines de MILLIONS de fois. En attendant de danser sur son nouvel album Club Azur sorti le 18 mars dernier, Kungs est venu me raconter une collab avec Martin Solveig... râtée !Bonne écoute

An ARIA and APRA nominated songwriter, member of the Music Victoria Artist Advisory Panel and Guild of Screen Composers, Jake Mason is a 20-year quiet achiever of the Australian music industry.Jake's co-write ‘This Girl' (Kungs Vs Cookin' On 3 Burners) which charted at number 1 in 10 countries, has over one billion streams and was the most shazamed dance track worldwide in 2016.Bridging jazz/soul and pop, Jake has released 15 albums and established his own label and studio Soul Messin' Records. He manages the business affairs of Cookin' On 3 Burners.Jake has worked with artists including Tex Perkins, Richard Clapton, Josh Teskey, Kate Ceberano and Eric McCusker and develops the next generation of songwriters through mentoring initiatives including APRA's ‘Melbourne Sessions' and long-term association with Caulfield Grammar.Jake's screen work spans TV (Love Island, A Million Little Things, MacGyver, My Life Is Murder) and advertising/sync – Just Jeans, Westpac (Australia), Peugeot (Europe), Samsung (USA, played at the Superbowl), Vogue, Victoria's Secret and the Ellen Degeneres Show.Jake is a graduate of the Victorian College of the Arts, is deeply engaged with the Victorian music scene and is excited to contribute to the dynamic momentum of Australian music. See acast.com/privacy for privacy and opt-out information.

SEND IN YOUR QUESTIONS HERE: https://www.instagram.com/downbadshow/ 0:00 Hook 0:025 Intro 1:07 First Caller 2:26 Jimmy challenges the Introvert 3:28 What to do when the convo gets dry 4:31 How to be Extroverted as an Introvert 5:38 What if girls don't like Asian guys 7:00 Everyone needs a friend like this 7:40 The important skill school doesn't teach you 9:00 Jimmy's advice to College Introverts 9:35 5,000 Like Goal for me to fly out 11:04 How to improve your appearance 12:20 The Down Bad Twins 13:07 Second Caller 13:12 The WORST Hand Job in History 15:41 This Girl just doesn't stop 16:51 Talking to any Girls? 17:22 Down Bad Moments 18:44 THE DOWN BAD QUIZ 23:02 His date Never showed up 24:33 The reason Girls cancel dates with you 26:50 The WORST place to find Girls 29:00 Biggest Takeaways 30:00 The BEST place to find Girls 30:36 Outro

SassafrasCast Episode 18: Caitlin Liz Fisher and the Emerald Deck of Intuition In which we encourage you to choose self care over hustle, and celebrate our hiccups.   In today's episode I interviewed Caitlin Liz Fisher, a coach, podcaster, and oracle deck creator. We talk about Caitlin's calling as a coach for creative humans, especially humans who are queer, neurodivergent and disabled. We discuss their journey from a toxically restrictive 9-5 job, to creativity coach and creator of many things. And we discuss their oracle deck, The Emerald Deck of Intuition, which they developed to aid in their coaching programs. The Emerald Deck of Intuition is based on role-playing game archetypes and ideas and connects this framework with our day to day needs to care for ourselves, set boundaries and expand our horizons. This episode was recorded live with a (virtual) studio audience - thanks for tuning in, Sassafras Patrons! Sign up and claim this and other perks at patreon.com/sassafrastarot.   Caitlin Liz Fisher Links: Level Up Your Creativity Workbook: https://py.pl/KwJQo Emerald Deck of Intuition: https://py.pl/KwJQo   Socials:  instagram.com/caitlinlizfisher facebook.com/groups/runlikehelltowardhappy   Passion Pacers Creative Membership: passionpacers.com    Take their free 8 question creative block quiz: bit.ly/CreativeBlockQuiz   Find Sassafras Tarot online: http://www.patreon.com/sassafrastarot http://www.facebook.com/sassafrastarot http://www.Twitter.com/sassafrastarot http://www.Instagram.com/sassafrastarot http://www.twitch.tv/sassafrastarot   Order a reading from the Etsy Shop: http://www.etsy.com/shop/Sassafrastarot   Today's song, This Girl https://roriekelly.bandcamp.com/track/this-girl (Or search "Rorie Kelly This Girl" on your favorite streaming service)   Find Rorie Kelly music online: http://www.roriekelly.com http://www.twitch.tv/roriekelly http://www.youtube.com/roriekelly https://open.spotify.com/artist/0ZebTvtqcaR8g1QEJzvzgd   Official Video for the theme song, Magick Comin': https://www.youtube.com/watch?v=SIluF4mjQS0 Link to the track for download or purchase: https://roriekelly.bandcamp.com/track/magick-comin (You can also find it on your favorite streaming site by searching "Rorie Kelly Magick Comin")

My lovers, my besties, my hate listeners and my girls, gays and theys—WELCOME BACK TO ANOTHER EPISODE. Let's dive into a round of crazy updates, and all about how we can become THIS GIRL instead of forcing ourselves to try and be THAT GIRL. Also we add in some new segments (the deep segment, the funny segment and the pop culture segment). Sending big love! Music: @domenicosounds

Today, we briefly discuss how to get out of our own way when it comes to our personal goals, and why we often get stuck. Stay encouraged, and remember that THIS GIRL (or guy) CAN. Be sure to pass this episode along to someone else who you think needs to hear it. If you'd like to take the time to leave a rate and review, I would SO appreciate it! Til next time, head to my insta @TheUncensoredSelf for more inspiration and ideas. Can't wait to chat next Sunday! XoXo, Emily

It seems as though this years has really blessed us with so much Cynthia content, I had the honor of Interviewing Jessie Turton and Mark Reader who are playing John and Cynthia in "This Girl" playing at the hope street theater in Liverpool. i had the chance of seeing it when it first premiered a few years ago, so i'm so happy to see it has come back! with these fresh new faces. We talked about what its like to play such important people, as well as Cynthia's legacy and just how important their love story is, and how this play is helping in cement that legacy.

Business in the morning, afternoon, evening and party on the weekend! This Girl does it all! Ciara Coleman is the founder of The Purposeful Project, Geaux Girl Giving and Meet Me at the Bar AND she works for the Kellogg Foundation full time! Ciara has done great things in New Orleans! She serves her community through her foundation and is working on continuing her grandmother's legacy that impacts others in a positive way. Go check her story out wherever you hear podcasts! Connect with Ciara!Geaux Girl Giving:  https://www.grapevine.org/donate/pool/8W6I7n?amount=25Personal Instagram: https://www.instagram.com/cece_coleman18Purposeful Instagram: https://www.instagram.com/the_purposefulprojectMeet Me at the Bar Instagram: https://www.instagram.com/_meetmeatthebarFacebook: https://www.facebook.com/thepurposefulproject/Resources Mentioned in this Episode:Is Philanthropy the Solution or Part of the Problem | SkollWF 2019: https://youtu.be/RgMe13-qH-gGuide Star Reporting: https://www.guidestar.org/She Loves: www.youareperfect.org The Water Collaborative: www.nolawater.org Project Butterfly: projectbutterflynola.orgThe Beautiful Foundation: https://givenola.org/thebeautifulfoundationYou can connect with me as well! Website: https://www.jennextdoorpodcast.com/aboutInstagram: https://www.instagram.com/jennextdoorpodcast/Facebook: https://www.facebook.com/jennextdoorpodcastWe all have our time, talent, and treasure to give! 

Andrea Mclean is an award-winning TV broadcaster, journalist, radio presenter and CEO/Co-Founder of the female personal growth site, This Girl is on Fire. Andrea was born in Scotland and grew up in Trinidad. After moving to England, she pursued her dream of becoming a writer, which turned into an amazing 26-year career in broadcasting! Best known as the host of Loose Women for 13 years, she has interviewed some of the biggest names in the business including Beyonce and Oprah. She is also now a number one Sunday Times Best Selling author and hosts Hello! Magazines, High Street Hits. In this episode Andrea tells us about the incredible moments and puzzle pieces that led to her successful career in broadcasting. We chat about her taking the plunge when she put everything she owned in the back of her car and moved to London to pursue her dream. Plus, the pivotal moment she misread a job advert, which ended up being the catalyst to her whole career. When the pressure is off for Andrea she actually lands where she is meant to be! As well as the time she pushed herself to go on a blind date, that turned out to be the best decision she ever made! @slidingdoorspod Hosted by: @jenbecks28 Guest: @andreamclean1

Alexa- Play Lee Greenwood's "Proud to Be an American" & Alicia Key's "This Girl is On Fire".... Yall that's the best way I know to describe this episode with 5th generation rancher & Kansas Legislator Tatum Lee. She speaks with passion, empathy, grit, patriotism & determination as she shares her story. Most recently, Tatum has received much attention for a letter she wrote addressing the need for a referendum to the National Beef Checkoff Program. Even if you don't live in rural America or have close ties to the cattle industry, it is extremely interesting as she unpacks the facts & politics surrounding the need for this referendum. From sharing her Esther moment to how she determines if a challenge is worth leaning into, you don't want to miss a second of this episode with Tatum Lee for Kansas District 117. To connect with Tatum Lee for Kansas 117: FACEBOOK: https://www.facebook.com/TatumForKansas EMAIL: TatumForKansas@gmail.com LINKS MENTIONED IN PODCAST: www.CheckOffVote.com https://fb.watch/6ry54JxpIT/ https://sunflowerstatejournal.com/wp-content/uploads/2021/06/May-17-Vilsack-letter-1.pdf https://sunflowerstatejournal.com/__trashed/?rcp_w=23de77e0bebc7a6c1412e7939bc34506 https://www.youtube.com/watch?v=LjvI7buaJ5Y https://www.dodgeglobe.com/story/news/2021/06/28/kansas-cattlemens-association-alleges-secret-meeting-capitol-kansas-house-speaker-ryckman/7789851002/?fbclid=IwAR1rUfvY6Nv5c_rESRY2G6PprJRzhVX6PYjyWTmA0ARInOKhKB2ZaVnmVY0 ********************************************************************************************************************************* INSTAGRAM: @CowgirlConfessionsPodcast EMAIL: CowgirlConfessionsPodcast@gmail.com Follow your host INSTAGRAM: @DakotaDawnJohnson FACEBOOK: https://www.facebook.com/DakotaDawnJohnson/ *********************************************************************************************************** Thank you for spending your time with me on the Cowgirl Confessions podcast. I am so glad you stopped by. If you could take a moment to share this episode and tag us on social media- I'd be happier than a cowgirl in a sea of BOGO vintage turquoise. Subscribe to make sure you don't miss an episode. New episodes will be released bimonthly. Please leave us a review if you feel so led by going to I tunes. Your feedback will really help us breath the idea of grabbing life by the horns with a COWGIRL STATE OF MIND into women across the globe, some that may have never even had the privilege to throw their leg over a horse but could most certainly use the cowgirl state of mind while navigating life. Until next time, keep pursuing your dreams with that All Go & No Whoa mentality. Remember- You're writing a story that's worth saddling up for sister. God Bless, Dakota

This week I am thrilled to be joined by Andrea McLean, the former queen of Loose Women, award-winning TV broadcaster, journalist, radio presenter, a best-selling author and the CEO of the female empowerment site, This Girl is On Fire. In this episode, we talk about her impulsive decision to quit her TV career in lockdown and to start an online space supporting women in mind, body and business. We also speak about her struggles with anxiety and how she overcame a nervous breakdown. She explains that she now knows when to prioritise herself, how to identify her triggers and has finally learnt how important it is to ask for help. Andrea is one of the realest people I know and I'm so glad her online platform is such a success as it's truly deserved! *** Life and Soul is hosted by Emma Forbes, produced by Georgie Rutherford and edited by Steve Campen. If you're looking for more content by Emma, please take a look at her new website which is a curation of everything she loves in life - from fashion and food to health & wellbeing:  https://www.byemma.co/ Follow us: @byemma.forbes @emmaforbeslifestyle Follow Andrea: @andreamclean1 Buy Andrea's brilliant book here. Join the waiting list for Andrea's This Girl is On Fire Membership here   We would also love to hear from you so feel free to send us an email if you enjoyed this episode to hello@byemma.co

This week's session: Geoff plays a selection of popular rock tunes that Ella recorded in the 1960s and early 1970s, including a cover of The Beatles song "Can't Buy Me Love," arranged by Johnnie Spence, that she recorded in 1964. Play list for this show includes: Can't Buy Me Love, Knock on Wood, Spinning Wheel (Live in Budapest), Sunshine of Your Life, Open Your Window, Sunny, This Girl's in Love with You, I Heard it Through the Grapevine, Ooo Baby Baby, A Hard Day's Night, What's Goin' On, Blue Moon Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: Ella Fitzgerald rocks the now sounds of the 1960s and early 1970s. Play list for this show includes: Can't Buy Me Love, Knock on Wood, Spinning Wheel (Live in Budapest), Sunshine of Your Life, Open Your Window, Sunny, This Girl's in Love with You, I Heard it Through the Grapevine, Ooo Baby Baby, A Hard Day's Night, What's Goin' On, Blue Moon Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Geoff plays a selection of contemporary rock songs that Ella recorded in the 1960s and early 1970s, Play list for this show includes: Can't Buy Me Love, Knock on Wood, Spinning Wheel (Live in Budapest), Sunshine of Your Life, Open Your Window, Sunny, This Girl's in Love with You, I Heard it Through the Grapevine, Ooo Baby Baby, A Hard Day's Night, What's Goin' On, Blue Moon Learn more about your ad choices. Visit megaphone.fm/adchoices