Podcasts about When I Fall in Love

Portugal-based producer Fran Garay is quietly becoming one of the underground's most compelling voices. With releases on tastemaker labels like Balance Series, Mango Alley, and Univack, his sound balances deep emotion with sleek, club-focused production. Once a dubstep-obsessed kid recording radio hits on his mom's phone, Garay has evolved into an artist with a clear sonic identity—shaped by mentors like Eze Arias and driven by a hunger to create music that sticks. “When I fall in love with an artist, I dive into their story,” he says—something clearly reflected in his own ever-evolving journey. On this Balance Selections podcast, Fran delivers a dense 60 minutes of progressive sounds squarely aimed at the dancefloor. Featuring tracks from Simón Vuarambon, Ric Niels, and a host of Fran's own productions, this is the sound of an artist with a truly singular sonic identity. @frangaraymusic

Un 8 de abril, en Harlem, nació Carmen Mc Rae, una de las mayores cantantes de jazz, contemporánea de Ella Fitzgerald y Sarah Vaughan. La recordamos con grabaciones de 'Like a lover', 'I have the feeling I´ve been here before', 'The man I love', 'A child is born', 'Too close for comfort', 'Dindi', 'Nice work if you can get it', 'Don´t you worry ´bout a thing', 'All in love is fair', 'Bésame mucho', 'Upside down', 'When I fall in love' y 'New York state of mind'. Escuchar audio

Intimacy Coordinator Nancy Lynch (@classintimacyacts) joins Jenn Tully to talk about the role of an intimacy coordinator and how music can deepen intimacy in all of our relationships from romance to friendships to family.https://open.spotify.com/playlist/0VHivNfFNJKh4kkvGSZA5X?si=288aa4fd4044425a1. As by Stevie Wonder2. Intimacy by Londrelle3. When I Fall In Love by Miles Davis4. Lovely Day by Bill Withers

De unas cintas que permanecieron más de 50 años guardadas en un garaje, un disco titulado 'In perfect harmony: The lost album' publicado hace unos meses y que se gestó en 1972 en California durante el encuentro de dos amigos, los trompetistas y vocalistas Chet Baker y Jack Sheldon, con grabaciones de 'Once I loved', de Jobim, clásicos del 'Great American songbook' como 'I´m old fashioned', 'When I fall in love', 'You fascinate me', 'Just friends', 'But not for me' o 'Too blue', y el bolero del panameño Carlos Eleta 'Historia de un amor'. Las guitarras del brasileño Fabiano do Nascimento y el japonés Shin Sasakubo en 'Ykitu', 'Rio Tapajós', 'Água e vinho' de Gismonti y 'Catharsis' de su disco a dúo 'Harmônicos'. Y del reciente disco sin título de Nyron Higor, 'Maravilhamento', 'Me vestir de você' y 'Ciranda'.Escuchar audio

Songs include: When I Fall In Love by Jeri Southern, My Foolish heart by Billy Ecksteine, Moon and Sand by Xavier Cugat, Some Enchanted Evening by Jo Stafford and Goodbye Sue by Perry Como. 

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Carmen McRae, una de las grandes cantantes de la historia del jazz, nos dejó el 10 de noviembre de 1994. La recordamos con grabaciones de 'When I fall in love', 'How long has this been going on?', 'Isn´t it romantic?', 'Just one of those things', 'Our love is here to stay', 'Good morning heartache', 'Don´t you worry ´bout a thing', 'All in love is fair', 'Bésame mucho', 'Upside down (Flor de lis)', 'Like a lover (O cantador)', 'Dindi', 'The man I love' y 'A child is born'.Escuchar audio

Unas grabaciones inéditas desde 1972 se publican ahora en el disco de los trompetistas y cantantes Chet Baker y Jack Sheldon 'In perfect harmony. The lost album': 'Just friends', 'Too blue', 'But not for me', 'Historia de un amor', 'Once I loved', 'I'm old fashioned' y 'When I fall in love'. Del nuevo disco de la pianista y vocalista Eliane Elias, 'Time and again', 'How many times', 'A volta' y 'At first sight'. Y del primer disco del multiinstrumentista Lau Ro, 'Cabana', las canciones 'Somewhere', 'Assim' y 'Casinha'. Para despedir, 'Libations: Omnyama', del pianista surafricano Nduduzo Makhathini.Escuchar audio

Hoy, 8 de mayo, Keith Jarrett cumple 79 años. Escuchamos al pianista en solitario en estudio ('I loves you Porgy', 'Someone to watch over me', 'Don´t ever leave me') y en concierto en el Municipal de Río de Janeiro ('Part V', 'Part VIII', 'Part IV'); en trío con Gary Peacock y Jack DeJohnette ('I thought about you', 'Summer night', 'When I fall in love') y a dúo con Charlie Haden ('No moon at all', 'One day I´ll fly away').Escuchar audio

Uno de los mayores 'crooners' de la historia, Nat King Cole, nació el 17 de marzo de 1919 en una pequeña población de Alabama, en el sur profundo de Estados Unidos. Le recordamos, también como excelente pianista, en grabaciones de 'You can depend on me', 'Candy', 'Don´t let it get to your head', 'Sometimes I´m happy', 'Blame it on my youth', 'Straighten up and flight', 'Don´t blame me', 'Two loves have I', 'I´m lost', 'Stardust', 'When I fall in love', 'Mona Lisa', 'Unforgettable', 'But beautiful', 'The very thought of you' y 'You´re looking at me'. Escuchar audio

This episode of "The Other Side of The Bell" is brought to you by Bob Reeves Brass. Please enjoy this conversation with John and world-renowned trumpeter, Chris Botti. Chris was featured back in  Episode #24, and now again in Episode #113 with the release of his first album in over 10 years.  A video version of this episode is also available on YouTube. About Chris Botti Trumpeter Chris Botti s renowned for his versatility in both jazz and pop music. His mother, a pianist and teacher, was his first musical influence. Botti began playing trumpet at nine and fully committed to it at 12 after hearing Miles Davis. His early achievements include performing at Carnegie Hall with the McDonald's All American High School Jazz band. During his formative years, Botti was significantly influenced by his time at Indiana University, where he studied under renowned jazz educators David Baker and William Adam. This period was crucial in shaping his musical style and approach. Botti's career took off with short touring stints with Frank Sinatra and Buddy Rich, and his relationship with Paul Simon in the 1990s further expanded his musical collaborations. Additionally, Botti's association with Sting, particularly touring as a featured soloist in Sting's "Brand New Day" tour, played a pivotal role in his career. This collaboration not only broadened his musical exposure but also significantly influenced the trajectory of his career, marking a key phase in his development as a musician​​.His solo debut album, "First Wish," was released in 1995, marking the start of a successful solo career. Botti's work often bridges jazz and pop, demonstrated in albums like "A Thousand Kisses Deep" and "When I Fall in Love." His album "Impressions" won a Grammy in 2013 for Best Pop Instrumental Album, a category for which he had received several nominations. Chris Botti's current projects showcase his enduring creativity and versatility as a musician, including his Blue Note Records debut, "Vol. 1," released on October 20th. This album marks a fresh start for Botti, emphasizing a return to the jazz essence of his artistry. "Vol. 1" features beautiful new ballad renditions of standards, including “Old Folks,” “My Funny Valentine,” “Someday My Prince Will Come,” and “Blue In Green.” This project signifies Botti crossing back to acoustic jazz and classic standards after achieving crossover success in both jazz and pop arenas​​​​​​​​. In addition to his new album, Botti is embarking on an innovative venture, "Botti at Sea." This luxury cruise, personally curated by Botti, promises an exceptional experience of ensemble entertainment and showmanship. Scheduled to sail from February 8 to 15, 2024, the cruise departs from Miami with stops in Aruba and Curaçao. "Botti at Sea" is set to offer a unique blend of music and luxury, further highlighting Botti's flair for combining artistic pursuits with novel experiences​​​​​​. Jump Ahead [0:04:16] Changes since the last podcast, focusing on Botti's decision to record a new album despite previous reservations. [0:06:22] Botti talks about his switch to Blue Note Records and working with David Foster [0:08:00] Details on the production and concept of the "Vol. One" album. [0:09:37] Conversation about the recording process of the album. [0:12:32] Botti's approach to choosing the song "Fix You" for the album. [0:14:24] Discussion on the dynamics of recording in a studio with live musicians. [0:17:22] Plans for future volumes following "Volume One." [0:20:14] Botti's live shows and the contrast between studio and live performances. [0:21:39] Chris Botti's routine and practice habits while touring. [0:24:07] Botti discusses his musical approach and practice techniques. [0:26:53] Insights into Botti's process of learning and transcribing solos. [0:29:37] Botti talks about current musicians he admires and learns from. [0:31:04] Botti's stage presence and preparation for live performances. [0:33:00] The mental and physical aspects of playing the trumpet in live shows. [0:34:07] Botti discusses the challenges and rewards of maintaining a touring schedule. [0:35:22] Reflections on Botti's decision to study at Indiana University. [0:36:50] Botti recounts his experience with Buddy Rich's band and his decision not to play in big bands. [0:39:15] Botti's career choices, including the decision not to tour with the Rolling Stones. [0:41:46] Story of how Botti started his first horn section in New York. [0:47:08] Anecdote about forming a horn section with Michael Davis and the importance of seizing opportunities. [0:52:29] Discussion about Botti's approach to live performances and audience engagement. [0:56:36] Insights into Botti's continuous inspiration for touring and performing. [0:58:55] Botti talks about his choice of musical instruments and equipment. [1:01:09] Botti reflects on his admiration for Wynton Marsalis and their meeting post-pandemic. Links chrisbotti.com bottiatsea.com Other Places to Listen trumpetpodcast.com bobreeves.com/spotify bobreeves.com/itunes Podcast Credits “A Room with a View“ – composed and performed by Howie Shear Audio Engineer – Preston Shepard Podcast Logo – Phil Jordan Video Production - Paul Peltekian Podcast Host – John Snell

El trompetista estadounidense Chris Botti tocando con una London Session Orchestra 'La belle dame sans regrets' -con la voz de Sting-, y clásicos del cancionero estadounidense como 'When I fall in love', 'My romance', 'Let´s fall in love' o 'Here´s that rainy day' -con Rosa Passos-, y en concierto en Boston, también con orquesta y el violonchelo de Yo-Yo Ma, 'Cinema Paradiso'. La cantante italiana Mafalda Minnozzi con 'Águas de março', 'E penso a te' y 'Estamos aí' y la cantante, compositora y acordeonista brasileña Lívia Mattos con 'Apneia' y 'Coração é um músculo'. Despide el pianista portugués Julio Resende con 'Fado poinciana. Para Ahmad Jamal' de su próximo disco 'Sons of revolution'. Escuchar audio

Tres canciones del nuevo disco de la cantante y compositora estadounidense, de raíces panameñas y caribeñas, Lauren Henderson que se titula 'Conjuring': 'Spells', 'That old black magic' y 'I wish you love'. Y del nuevo disco de Ivan Lins, 'My heart speaks', grabado con la Sinfónica de Tbilisi, 'Renata María', 'Não há porque', 'Rio' -con la voz de Jane Monheit- y 'The heart speaks' -con la de Dianne Reeves-. Abre el guitarrista Torcuato Mariano con 'Calçadão', 'Ouro de Minas' y 'Cansei de dor', de su disco 'Escola Brasil', y cierra el trompetista Chris Botti con 'La belle dame sans regrets' -cantada por Sting- de su disco 'When I fall in love'. Escuchar audio

After being critically acclaimed and universally loved as one of the UK's finest soul voices and following on from a Grammy nominated David Foster production duetting with Celine Dion on 'When I Fall In Love" from "Sleepless In Seattle" Clive Griffin withdrew from being an artist. 30 years later he's back to tell his story and celebrating his three incredible albums finally available on all streaming platforms now. From humble beginnings at stage school , through being discovered by maestro Richard Niles and onto a catalogue of much loved material including the classic "I'll Be Waiting". Clive talks about his love of incredible musicians , supporting Eric Clapton, finding audio treasures in his loft (soon to be released) , his struggles but most of all his joy and love of everything he achieved. As well as producing his third album for Sony, he's my truly wonderful friend and I hope you enjoy listening to him talk as much as we did recording this. Listen to Clive's albums here https://open.spotify.com/artist/7piYJtFSV6vtj2pK5TyHJI?si=8xYjzdBfT6GGic25whMR-Q

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Frank Sinatra cantó «I Fall in Love Too Easily» en Levando anclas que luego formó parte del repertorio de Miles Davis. Escuchamos al genio de la trompeta también con su quinteto; con John Coltrane y Bill Evans o con Gil Evans. Seguimos en el Warfield de San Francisco con Al di Meola, John McLaughlin y Paco de Lucía. Tras ellos, Tomatito a la guitarra, con George Benson o Michel Camilo y el gaditano Antonio Lizana con Airegría. I fall in love too easily, Miles Davis When I fall in love, Miles Davis Quintet Stella by Starlight, Miles Davis, John Coltrane & Bill Evans Flamenco Sketches, Miles Davis Soleá, Gil Evans y Miles Davis Mediterranean Sundance Río Ancho Al Di Meola, John McLaughling y Paco de Lucía La Vacilona, Tomatito y George Benson La Vacilona, Michel Camilo y Tomatito Airegría, Antonio Lizana Escuchar audio

在梦里，我只身来到大海边，在天空的一角，仿佛看到了那张我深爱的脸，我永远不会忘记那些吻，和曾经爱你的决心。在Portofino，我的心紧紧抓住，在Portofino，我找到了爱。本期歌单1.Il nostro incontro (feat. Chris Botti) – Andrea Bocelli2.Senza fine - Andrea Bocelli3.Roma Nun Fa' La Stupida Stasera - Andrea Bocelli4.Tristeza - Andrea Bocelli5.Corcovado (feat. Sandy Lima) - Andrea Bocelli6.La vie en rose (feat. Edith Piaf) - Andrea Bocelli7.Quizàs, Quizàs, Quizàs - Andrea Bocelli8.When I Fall in Love (feat. Helene Fischer / Chris Botti) - Andrea Bocelli9.Love In Portofino - Andrea Bocelli10.Every Time We Say Goodbye – Ella Fitzgerald

El 15 de febrero de 1965, con solo 45 años, fallecía en Santa Bárbara, California, Nat King Cole. Recordamos al cantante y pianista en 'The very thought of you', 'But beautiful', 'Impossible', 'Making believe you´re here', 'For all we know', 'This ain´t right', 'All for you', 'Straighten up and fly right', 'Mona Lisa', 'Unforgettable', 'Tenderly', 'It happens to be me', 'When I fall in love' 'Stardust', 'Nature boy', 'Little girl' y 'I´m in the mood for love'. Escuchar audio

www.thecocreatorsmusic.com Love Is The Answer playlist 26 Nov 1 Song for O (Original Mix) Purple Disco Machine 2 Keep Pushin. Boris Dlugosch, Purple Disco Machine 3 Something About You (Phaze Dee Remix) Tsalikee & Kathy Brown, 4 If I Can't Get Down (Mousse T.'s Funky Shizzle Extended Mix) Mike Dunn 5 Let's Talk About It (Extended Mix) Kormak 6 Pump The Boogie (Seamus Haji Extended Remix) Mark Picchiotti 7 One Man (Michael Gray Extended Remix) Chanelle & Eric Kupper 8 Weekend (David Penn remix) Haji & Emanuel 9 Movin On (Correct House Mix) Roach Motel 10 When I Fall In Love (feat. Sybil) [Knee Deep Disco Club Mix] 11 You've Been Gone Too Long (Mattei & Omich Extended Remix) 12 Erotic Soul (Crimsen Mix) Gorge, Crimsen

For VIdeo Edition, Please Click and Subscribe Here: https://youtu.be/1IJ4haOjRdo Dubbed "America's new romantic singing sensation," tenor Anthony Nunziata is the Brooklyn-born, Nashville-based singer and songwriter who brings his soulful voice to classic jazz, pop standards, classical-crossover and his timeless original music. The way Nunziata feels, "I'm in the business of making people feel good, making people happy, moving people in some way. We all are on this life's journey in search of that feeling of being moved, to feel alive. If I can have a small part in moving you in some way during my live concerts or through my music, this is the greatest gift I can give. To make people laugh, cry, feel something -- there's nothing like it." His songs have recently been featured on MTV, Comedy Central, CBS News, NBC News and Good Day NY. His original pop song "The Gift Is You" - which he wrote honoring his mother's battle with breast cancer (she is now cancer-free) - is currently being used as an anthem for The Susan G. Komen Foundation. Anthony recently released his debut jazz/pop release "THE LOVE ALBUM," now available on all streaming services and autographed CD's available for purchase at www.anthonynunziata.com. He and his Grammy-winning team of musicians re-imagine “Unchained Melody,” “Can't Take My Eyes Off Of You,” “Can't Help Falling In Love With You,” “When I Fall In Love,” “Somewhere,” originals including “Will You Be My Everyday?” and many more.

I've been really crunching on something over the past few days.On a short break from my last boyfriend, I started dating another guy from high school (I know - I know…but it's me and you love me just the way I am, right???) and I was really struck by the response I got from several women I knew from childhood.Are you ready?“Congratulations!”Is that fucking weird to you, too?Congratulations??Did I just win a stuffed animal at a carnival?Congratulations.This guy (a wonderful guy, to be clear) was our Homecoming King…but I don't think that's why they were congratulating me. Can you imagine? Congratulations! You finally snagged the Homecoming King…at age 50!

You are being watched. What does it feel like? Do you enjoy know that someone can see everything about you?----------Episode 48: “We See Your Face.”Those who know me, know that I love technology.I am absolutely fascinated with the things that man has created through the years.Cars, planes, phones, refrigerators, radio, TV, spaceships, and even social media.I can remember watching TV as Neil Armstrong walked around on the moon. It was a live broadcast! Of course it was delayed a few seconds because of the distance and because it had to be relayed from earth stations that had massive antennas. But it was live!In my lifetime, I've seen the development of microwave ovens, wireless phones (which are more powerful than the computers NASA used for the moon missions), heart transplants, and …The list could go on and on.In case you don't know, man did not evolve from a primordial soup (I'll save my evolution talk for another day).The Bible clearly teaches that man was created in God's image and he was intelligent from the beginning.If you know the story of the Tower of Babel, you'll know that God chose to confuse the languages and scatter the people around the world because man was so intelligent.“And the LORD said, “Behold, they are one people, and they have all one language, and this is only the beginning of what they will do. And nothing that they propose to do will now be impossible for them. Come, let us go down and there confuse their language, so that they may not understand one another's speech.”Genesis 11:6-7Think about that.God said since they could speak the same language “nothing that they propose to do will now be impossible for them.”We've seen that demonstrated through the centuries of human history.ARTIFICIAL BODY PARTS“… nothing that they propose to do will now be impossible for them.”I am reminded of that truth with every step I take.Walking was almost an impossibility for me because my knees hurt so much.Then a doctor put me to sleep, cut out my bad knees, and put in new ones.Now I walk without pain.I love technology.HOME SECURITY SYSTEMS“… nothing that they propose to do will now be impossible for them.”I am also reminded of that truth every time I leave my house.Before I go out the door, I turn on my home security system.It can tell if someone opens a door or breaks a window.Its motion detector can even tell if someone just moves inside my house.And if my system detects an intrusion, my security system will contact the police.I know the system works because I was taking care of my daughter's dog one day and I left the house, forgetting to set system to allow for the dog's presence.Well, my security system's motion detector picked up on the dog's movement and when I returned home there were a couple of police officers at my door.They wouldn't even let me enter the premises until they had checked the house.Still, I love technology.TALKING TO ALEXA“… nothing that they propose to do will now be impossible for them.”And then there's my personal assistant — Alexa.I think Alexa is a “she” because she sounds like a she, but then I'm not very woke so I could be terribly wrong and needing to grovel before the truly woke and beg for forgiveness … which probably wouldn't be given, but that's another story.Not wanting to become a phobic something or other, I asked Alexa what her personal pronoun was and she responded, “I'm an AI so I don't have a preference.”Since she doesn't have a preference and since I bought her … she is a she.Back to Alexa and how I use her.If I wonder what the definition of a word is, I just ask Alexa and she tells me.If I want to translate a phrase into another language, I just ask Alexa and she gives me the translation.If I want to know if a local store is open, I just ask Alexa and she tells me the hours of operation and offers to call the store for me.My wife and I have devotions each morning and one of the things we do is read a section from the Bible. We have our Bibles open and then I ask Alexa to read aloud to us. She does.One script I am working on is set in the 1920's and 30's. To help get me get a feel for the time period, I ask to Alexa play songs from those years. It's the music my characters would have listened to.During the day I often ask Alexa to play “inspirational hymns.”Sometimes I just run through a list of songs I remember from my younger days — classics like “Purple People Eater,” “Beep, Beep,” “Love Letters in the Sand,” “When I Fall in Love,” “Itsy, Bitsy, Teenie Weenie Yellow Polkadot Bikini.”You know, the really good stuff.And sometimes I'll ask Alexa to play the songs from a musical — Oklahoma, Man of La Mancha, Fiddler on the Roof, or one of the other musicals I remember from my youth – back in the time when I was considering acting as a possible career.At night, my wife and I like to read a book together. We get comfortable and I ask Alexa to read the current Audible selection we are working through. Alexa picks right up where she left off the previous night.Before I go to bed, I ask Alexa to turn off the lights in the house and set the alarm for the next day. When the alarm goes off in the morning, Alexa gives me an encouraging phrase and tells me the weather report for the day.It's amazing.Yep. I love technology.But … there are some concerns with Alexa.She listens all the time. To everything.Now Amazon promises that she only listens when she “hears” the keyword. But that means she has to be listening all the time to hear the keyword.Which begs the question, what does she do with what she hears?Amazon says not to worry. And I can trust Amazon … can't I?Which brings me to today's topic.WE SEE YOUR FACE“… nothing that they propose to do will now be impossible for them.”You've probably heard of facial recognition, but it is amazing how far that technology has come in recent years.A camera — and there are cameras everywhere — captures a picture of you and almost immediately knows who you are and a lot of stuff about you, some of it very personal.Perhaps your phone requires you to take a picture of yourself so you can access its features.Perhaps you have to take a picture of yourself and submit it online in order to use certain products, especially those dealing with your finances.Perhaps you work in a place where facial recognition is used to allow you to enter certain parts of the building.Some of the uses of facial recognition seem helpful.WE SEE YOU COMINGOne company, Cloudastructure, has a product that was particularly useful during the pandemic. Not only would it recognize who was heading into a business, it also would detect if the individual was wearing a mask, maintaining social distancing, and it also used a thermal camera to detect the individual's temperature.Pretty nifty, huh?(NOTE: I did invest in the company.)GOTTCHA!“… nothing that they propose to do will now be impossible for them.”Another company, Clearview AI, has used it's tools to scrape more than 20 billion images from the internet and tied them to names of individuals. The company sells its services to several thousand agencies - mostly law enforcement - around the world.In the U.S. that includes the FBI and the U.S. Department of Homeland Security.Suppose a local police department has a fuzzy picture of a crime being committed that was captured on a business' security camera.If the department is a user of Clearview AI, they submit the image and, if the individual in the picture is in one of those 20 billion images it gathered from the internet, the police department would receive back information about the person in the picture.You can see why law enforcement agencies like this product, but some people are concerned this technology puts our individual privacy at great risk.If you would like to find out more about this company, there is an interview with the founder on YouTube, “Controversial Facial Recognition Founder Opens Up - Clearview A.I.” It's about an hour and one-half, so it's only for those of you who have a lot of time.MAKING TRAVEL EASIER“… nothing that they propose to do will now be impossible for them.”And it's not just identifying bad guys.In Moscow's Metro system, they are testing a face recognition system to pay for a ride. All a traveler has to do is look at the camera near the entry gate, their credit card is charged, and they can board the Metro.Check out the 7 minute video below.Convenient isn't it?No credit cards to pull out of your pocket, or passes that you have to display. Just look at the camera and board the Metro.Isn't technology wonderful?Which brings up the question.WHAT COULD POSSIBLY GO WRONG?Well, China is using the technology to monitor their entire population. Check out the 6 minute video below. This video is almost four years old so you can be certain the technology has become much more powerful.Notice what kind of control facial recognition gives to a government.“… nothing that they propose to do will now be impossible for them.”They know when you leave your house, who you hang around with, if you leave an area where you have been told to stay, if you belong to a certain group, when you go to the market.The technology has developed so it can even read a person's emotions.The citizens are under constant surveillance.“If you have nothing to hide, you have nothing to fear,” the government reassures its citizens.But one writer who was fired from his job says, “You can't do anything the government dislikes.”The government even uses the technology to name and shame individuals who break any law.How would you like your name and photo displayed on a large monitor on a building for everyone to see because you took more toilet paper than you were allowed to use at a restroom, or if you jay walked?That's one of the ways the government tries to discourage crime.STOP AND THINKIt's time to stop and think now.If a government, any government, has access to facial recognition technology, do you think it would use the technology to control the population?“Population” is just another word for you.I don't care if you are Republican or Democrat or Independent.Would the government use such a tool against you?I may have mentioned that I love technology.But I am also terrified about technology as I see the power it can give to a government.TRANSITION for ReviewsI have a recommendation for you. “Created Equal” is a documentary about Clarence Thomas. Most people only know what the media has told them about Clarence Thomas, which is just another way of saying they know very little that is true, if anything at all.Whether you like or dislike Justice Thomas, I would encourage you to watch the movie or read the book or listen to the audible book and learn from Clarence Thomas' own words what it was like for him to grow up in a poor neighborhood, what it was like to experience racism, and many of the experiences that helped him develop as a young man, a lawyer, and eventually a Supreme Court Justice.I love to share some of the articles I read with you. Here are some stories I found interesting recently. I have links to the original sources in the show notes.“War on words: Left seeks to redefine terms like female, pedophile and even recession” by Natalia Mittelstadt. We see this almost daily. If a word makes a “politically correct” action look disgusting, you can solve the problem by changing the definition of the word.“Multiple-Abortion Survivor Says God Helped Her Forgive Birth Parents Who Did Everything to Abort Her” by Louise Chambers. An adopted girl sets out to find her birth parents and why they didn't want her.“Why College Degrees Are Working Against Many Job-Seekers” by Isaac Morehouse. As a former high school administrator, I've counseled many students about their post-high school plans. If you or a friend or family member is considering college, you might want to read this article.Before I go I'd like to share a blessing with you from the Old Testament.“May the Lord bless and protect you; may the Lord's face radiate with joy because of you; may he be gracious to you, show you his favor, and give you his peace.”Numbers 6:24-26 (The Living Bible)Until next time … be the reason someone smiles today!Clint This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit clintmorey.substack.com

We had the pleasure of interviewing Erika Ender over Zoom video.Panamanian singer, songwriter, producer, communicator, and philanthropist Erika Ender is celebrating 30 years in the business by sharing a video for her breath-taking version of “Abrázame,” a song from her ambitious MP3-45 album. The visual functions as a salute of her past while looking into the future, as we see her vision of a romantic vintage era delivered in her unique style.Originally by Julio Iglesias, Ender picked “Abrázame” as one of the three cover versions that makes up the Side B portion of her album MP3-45; produced by Moogie Canazio, this selection is a way of acknowledging some of the music that made an impact on her as a young person. Although Ender has excelled as a songwriter for most of her career, we now focus on her performing abilities which are just as impressive, taking the broken-hearted feelings of the lyrics and delivering them with poise and subtleness. Of her choice, Ender says, “When I was about two years old, I used to refer to Julio Iglesias as ‘Mi Novio'. I wasn't supposed to be playing vinyl records myself, because I would scratch them—but I did anyway.” Her admiration for the crooner shines through on her version.Erika Ender is an artist that is hard to pigeonhole yet there's one thing that shines through all her different facets—her big-hearted emotions. As a songwriter, she has more than 200 albums under her belt and more than 40 top singles; perhaps her biggest achievement was co-writing “Despacito,” the chart-smashing hit that managed to stay a record number 16 weeks on the number one spot of the Billboard Hot 100, earning Ender awards, accolades, and nominations to some of the biggest recognitions from the industry, including Latin Grammys for Record of the Year and Song of the Year, as well as nominations at the 2018 Grammys, making her the only Latina woman to be nominated for Record and Song of the Year. She has also written hit singles for the likes of Marc Anthony, Jenni Rivera, Los Tigres Del Norte, Chayanne, and many others. As a solo artist, she has been releasing albums since 2007's Ábreme La Puerta, making the top of the Billboard Latin charts with some of her own hits.Released in 2020, MP3-45 is composed of six original songs and three covers. Along with “Abrázame,” there's also “When I Fall In Love” by Nat King Cole and “Só Louco” by Gal Costa. With this, Erika Ender delivers a part of her history with a hint of what's to come.We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod #ErikaEnder #Despacito #MP345 #Abrázame #NewMusic #zoom Listen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

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Our journey reaches the end of 1987 with Stock Aitken Waterman's bid for the UK Christmas number 1 slot: a double A-side release from Rick Astley that combined his cover of "When I Fall In Love" with a brand new song, "My Arms Keep Missing You". We explain the factors that prevented the single from taking out top honours that year. Plus, it was the end of an era for Bananarama as the original line-up's final single together, "I Can't Help It", was released. Phil Harding and Karen Hewitt share their memories of Siobhan Fahey's time in the group. Sinitta released her latest pop tune, "G.T.O", but she explains why she wasn't that thrilled about the song's subject matter. Meanwhile, SAW worked with DJ Steve Walsh on "Let's Get Together Tonite" and released their own follow-up to "Roadblock" called "Packjammed (With The Party Posse)". 

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Maggie and extraordinary pianist and arranger,  Alan Broadbent discuss the 30th Anniversary of Unforgettable… with Love, the legendary singer and songwriter Natalie Cole's biggest album to date. Since its initial release in 1991, it has sold over seven million copies and also won Cole seven GRAMMY© Awards. The album features Cole singing several songs her father Nat King Cole recorded, nearly 20 years after she initially refused to cover her father's songs during live concerts. Cole produced vocal arrangements for the songs, with piano accompaniment by her uncle Ike Cole and many other first rate pianists and arrangers. The album's title track, an interactive duet with her father, would go on to be one of her most memorable recordings.Alan Broadbent was born in Auckland, New Zealand and in 1966, at the age of 19, received a Downbeat Magazine scholarship to attend Berklee College of Music in Boston. In 1969 he was asked to join Woody Herman's band as his pianist and arranger for 3 years. In 1972 he settled in Los Angeles, beginning a musical relationship with the legendary singer Irene Kral (no relation to Diana Krall). Soon he was also invited into the studio scene as a pianist for the great Nelson Riddle, David Rose and Johnny Mandel. In the early 90s he was asked to be a part of Natalie Cole's famous “Unforgettable” cd, at which time he toured as her pianist and, a little while later, as her conductor. At this time he wrote an orchestral arrangement for her second video with her dad, “When I Fall In Love”, which won him his first Grammy Award for “best orchestral arrangement accompanying a vocal”.Turning PointsShortly after, he became a member of Charlie Haden's Quartet West, touring the festivals of Europe, UK and the USA. It was while with this group that he won his second Grammy, an orchestral accompaniment written for Shirley Horn of Leonard Bernstein's “Lonely Town”.As a soloist and with his jazz trio, Broadbent has been nominated for Grammys twice for best instrumental performance, in the company of such artists as Herbie Hancock, Sonny Rollins and Keith Jarrett. In 2007 he was awarded the New Zealand Order of Merit, an honor he holds in high regard.The NowBroadbent is Diana Krall's conductor for her occasional orchestra concerts and is the conductor on her “Live in Paris” DVD. Recently he has been the arranger on Glenn Frey's cd with strings, “After Hours”, and wrote six string arrangements for Sir Paul McCartney's “Kisses On The Bottom” with the London Symphony. He has just returned from solo piano concerts in the UK, Poland and France.It has been his lifelong goal, through his orchestral arrangements and jazz improvisations, to discover, in popular music and standard songs, deeper feelings of communication and love.Source: https://craftrecordings.com/products/natalie-cole-unforgettable-with-love-30th-anniversary-edition-cdSource: https://www.alanbroadbent.comThis episode is from an archive from the KPFK program Profiles adapted for podcast. Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994. Support the show

#65-61Intro/Outro: I Wonder Why by Dion & the Belmonts65. Chances Are by Johnny Mathis64. (I'm Your) Hoochie Coochie Man by Muddy Waters63. When I Fall in Love by Nat "King" Cole62. Lucille by Little Richard61. Smokestack Lightning by Howlin' WolfVote on your favorite song from today's episodeVote on your favorite song from Week 1

It is fitting that our longest episode to date features an icon of Guilt-Free Pleasureverse. In this episode, we examine the big hits from Rick Astley's debut album, "Whenever You Need Somebody." We examine "Never Gonna Give You Up," "Together Forever," "When I Fall in Love," and "It Would Take a Strong Strong Man." We discuss the Rickrolling phenomenon and discuss our own personal connections to the man and his music. Get ready for a lot of "walk-on" home runs in this episode!

El guitarrista brasileño Daniel Murray en su disco 'Universo musical de Egberto Gismonti' ('A fala da paixao', 'Água e vinho', 'Saudaçoes') y la pianista y vocalista brasileña Delia Fischer en 'H.O.J.E.' ('Nascente', 'O amor é o meu pais', 'Hoje'). De 'Solo ballads', disco del guitarrista italiano Pasquale Grasso, los 'standards' 'When I fall in love' y 'These foolish things'. Con 78 años, para 'Sometime ago', la cantante estadounidense Meredith D´Ambrosio grabó canciones como su 'Feast your eyes' o como 'May I come in?' o 'If I should lose you'. Despide el saxofonista puertorriqueño David Sánchez con 'The land of hills' de su disco 'Carib'. Escuchar audio

Del disco 'Solo ballads', del guitarrista italiano Pasquale Grasso, clásicos estadounidenses como 'Embraceable you', 'Someone to watch over me', 'Darn that dream', 'When I fall in love' y 'Every time we say goodbye'. Del disco homenaje a Bill Evan,s del contrabajista Diego Imbert y el pianista Alain Jean-Marie, 'Interplay' y 'Turn out the stars'. Y del nuevo disco de Marisa Monte, 'Portas', 'Vagalumes', 'Elegante amanhecer', 'Você não liga', 'Totalmente seu', 'Em qualquer tom', 'Espaçonaves' y 'Fazendo cena'. Despide el trompetista italiano Paolo Fresu con 'Del viaggio'. Escuchar audio

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

Subscribe to the show "When I fall in love, it will be forever." - When I Fall in Love, Nat King Cole (lyrics by Edward Heyman and music by Victor Young) Stocks aren't women (or whoever you're attracted to). Don't fall in love with them. Click here to get your free copy of The Inner Voice of Trading audiobook.

Subscribe to the show   "When I fall in love, it will be forever." - When I Fall in Love, Nat King Cole (lyrics by Edward Heyman and music by Victor Young)   Stocks aren't women (or whoever you're attracted to).   Don't fall in love with them.   Click here to get your free copy of The Inner Voice of Trading audiobook.

Is the Jazz standard "When I Fall In Love" actually Jazz, or is it merely a Pop song done by Jazz artists? Join AJ and Johnny as they examine various versions of this Nat King Cole classic in an effort to answer this most challenging question!

8月1日（土）「LOVE」特集 後半にお届けした作品： 8 Akiko Tsuruga #敦賀明子 / Love（2014年のアルバム「Commencement」から） 9 Erika #ERIKA / Listen Love（2015年のアルバム「Nostalgia」から） 10 Daiki Yasukagwa #安ヵ川大樹 / When I Fall In Love（2010年のアルバム「Trios」から） 11 Mamiko Taira #平麻美子 / Falling In Love With Love（2015年のアルバム「Haert’s Calling」から） 12 Satoshi Inoue & Kiyoshi … Continue reading →

Hello from the inside, listeners! Join us and our guest, Maxine Lopez, as we discuss our new normal in quarantine. We explore how things have changed for each of us and our concerns regarding the antics of Miss Rona and global governments. A special thank you to Luke Murgatroyd for allowing us to use his tribute to COVID-19 as our closing piece for this episode. Stay safe and healthy! P.S. Since we are practicing social distancing, we've recorded remotely from individual locations. Please don't mind the audio! :) Chatter-box Twitter/IG/Facebook: @thechatterboxpc Songs: Feel by Revolutionary & When I Fall in Love by Axus ft. Aesthero Mixes by DJ Soulrane: www.soundcloud.com/soulrane | www.mixcloud.com/soulrane Song: Beauty & The Beast Parody Cover - It's Covid 19 by Kerrie Leonard, Luke Murgatroyd & Ben Hartwell: https://www.youtube.com/channel/UCaSKNt6hT-zTIhR_y4z-t9w --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thechatterboxpc/message Support this podcast: https://anchor.fm/thechatterboxpc/support

Ladies and Gentlemen, thank you for boarding the Mickey and Friends tram! Join us as we dive into our favorite (and possibly worst) Disney experiences and the Disney characters that have inspired us for better or worse. We are so glad to be back after our hiatus! Thank you again for listening and we hope you have a magical day! Chatter-box Twitter/IG/Facebook: @thechatterboxpc Songs: Feel by Revolutionary & When I Fall in Love by Axus ft. Aesthero Mixes by DJ Soulrane: www.soundcloud.com/soulrane | www.mixcloud.com/soulrane Song: We Know the Way (Wayno Remix) by DJ Bacc Artist YouTube: : https://www.youtube.com/watch?v=SeLGjbhG0Ns --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thechatterboxpc/message Support this podcast: https://anchor.fm/thechatterboxpc/support

Anthony Nunziata is the New York City-based, internationally-acclaimed singer and songwriter who brings his soulful voice to classic jazz, pop standards and his original music. Anthony has performed over 400 concerts over the past few years headlining major performing arts centers, theaters, symphony concert halls and private events across the country and around the world. The Brooklyn-born, classically trained singer is hailed by Broadwayworld as “an explosion of love and entertainment.” Anthony recently co-headlined Carnegie Hall for two sold-out concerts with the New York Pops Symphony Orchestra. Anthony recently appeared in the Netflix film "The Last Laugh" opposite Chevy Chase and Richard Dreyfuss. Anthony's original songs include co-write collaborations with Victoria Shaw (No. 1 hits for Garth Brooks, Lady Antebellum) Jim Brickman (21 No. 1 Albums) Jeff Franzel (Josh Groban, Justin Timberlake, Taylor Dayne), Tom Kimmel (Linda Ronstadt, Johnny Cash, Art Garfunkel) Maria Christensen (Celine Dion, Jennifer Lopez), and Nina Ossoff and Porter Carroll Jr. (Daughtry, Patti Austin, The Temptations). His original pop song "The Gift Is You" - which he wrote honoring his mother's battle with breast cancer (she is now cancer-free) - is currently being used as an anthem for The Susan G. Komen Foundation. His music is featured on his upcoming solo album released in the Fall 2019 which will coincide with his concert tour. Anthony has brought his fresh take on classic & contemporary songs as well as his movie-bound original tunes across the United States and around the world to performing arts centers, theaters and private events, as well as intimate jazz clubs and symphony concerts with orchestras such as the New York Pops, Detroit Symphony, Cleveland Pops, Colorado Symphony, Lancaster Symphony, Annapolis Symphony, Plymouth Symphony, Cape Cod Symphony, Toledo Symphony, Edmonton Symphony Orchestra and more. He has performed at private events across the United States and recently in England, Spain, Italy and Singapore. In his 2019-2020 concert tour Anthony brings his soulful and lyrical tenor voice to the greatest love songs ever written. He and his Grammy-winning musicians re-imagine “Unchained Melody,” “Can't Take My Eyes Off Of You,” “Can't Help Falling In Love With You,” “When I Fall In Love,” “The Prayer,” “O Sole Mio,” “Somewhere,” originals including “Will You Be My Everyday?” and many more. Anthony studied music, acting and directing at Boston College, and trained in improv comedy at the famed Upright Citizens Brigade in New York City. Featured on Good Morning America and The Rachael Ray Show, Anthony is most proud of his "ARTS MATTER!" Educational Outreach Initiative and Master Class Workshops that educate and inspire students to fearlessly pursue their passions. Anthony is an avid tennis player, a two-time jr. National Platform Tennis Champion, and can cook up a delicious chicken parmesan. Artist website: www.AnthonyNunziata.com. On this episode, Anthony returns to The One Way Ticket Show where he's Steven's first Weekend Special guest! Anthony shares tunes off his "The Love Album" and talks about his music and more.  Anthony is just one of the dynamic personalities featured on The One Way Ticket Show,  where Steven's guests have included: Nobel Peace Prize Winner, President Jose Ramos-Horta; Legendary Talk Show Host, Dick Cavett; Law Professor, Alan Dershowitz; Fashion Expert, Tim Gunn; Broadcast Legend, Charles Osgood; International Rescue Committee President & CEO, David Miliband; Playwright, David Henry Hwang; Journalist-Humorist-Actor, Mo Rocca; SkyBridge Capital Founder & Co-Managing Partner, Anthony Scaramucci; Abercrombie & Kent Founder, Geoffrey Kent; Travel Expert, Pauline Frommer, as well as leading photographers, artists, chefs, writers, intellectuals and more.

Ouça os destaques do suplemento Divirta-se desta sexta-feira (03/01/20)See omnystudio.com/listener for privacy information.

Episode 29 : The co-authors of a new book called, EYES WIDE SHUT Stanley Kubrick and the Making of His Final Film, have created an archeology of the film from its origin to its creation and beyond. Robert P. Kolker is Professor Emeritus, University of Maryland, and taught cinema studies for almost 50 years. He is the author of A Cinema of Loneliness, The Altering Eye, Film, Form, and Culture, The Extraordinary Image: Welles, Hitchcock, Kubrick and the Reimagination of Cinema. His current project is Triumph Over Containment: American Film in the 1950s. Nathan Abrams is Professor in Film at Bangor University in Wales. He is founding co-editor of Jewish Film and New Media: An International Journal, as well as the author of The New Jew in Film: Exploring Jewishness and Judaism in Contemporary Cinema and Stanley Kubrick: New York Jewish Intellectual. Using new interviews conducted with key cast and crew members and studying archive material at the Stanley Kubrick Archive, the authors have managed to create not only a timeline of the project but an appreciation of the film and its director. We spoke with Robert and Nathan in October 2019. Production Credits : Hosted by Jason Furlong / Written by Stephen Rigg and Jason Furlong / Theme and original music written and performed by Jason Furlong / Produced and edited by Stephen Rigg Audio Clips : Eyes Wide Shut Clips - Youtube / Brian Aldiss Excerpt - Youtube / Joe Turkel Lecture Excerpt - Youtube Music : "I Got It Bad (And That Ain't Good)" performed by Oscar Peterson Trio - written by Duke Ellington & Paul Francis Webster / "When I Fall In Love" performed by Victor Silvester - written by Edward Heyman & Victor Young / "Fidelio" performed and written by Festen Links : Watch Eyes Wide Shut (iTunes) : https://itunes.apple.com/us/movie/eyes-wide-shut/id272819260 Listen to Eyes Wide Shut Soundtrack (iTunes) : https://music.apple.com/us/album/eyes-wide-shut-music-from-the-motion-picture/378854658 Festen Website : https://www.festenmusic.com Kubrick’s Universe Podcast (KUP) - Facebook Group : https://www.facebook.com/KubricksUniverse/ The Stanley Kubrick Appreciation Society (SKAS) - Facebook Group : https://www.facebook.com/groups/TSKAS/ The Stanley Kubrick Appreciation Society (SKAS) - YouTube Channel : https://www.youtube.com/channel/UCRdeqrFNoOrYtWbxwR_GXPA The Stanley Kubrick Appreciation Society (SKAS) - Twitter Page : https://twitter.com/KubrickAS Contact us : stephenrigg.skas@gmail.com

Yo yo! It's Episode 3! Join us for part 2 of our look into women in gaming. We explore how our family and relationships have grown through gaming as well as how we've integrated gaming strategies into our lives. Drop your gamer tags in the comments if you wanna play! --- Chatter-Box Twitter/IG/Facebook: @thechatterboxpc Youtube Channel: www.youtube.com/channel/UCPx-jBzuXUWx3bzX2u8EKoA Songs: Feel by Revolutionary & When I Fall in Love by Axus ft. Aesthero. Mixes by DJ Soulrane: www.soundcloud.com/soulrane | www.mixcloud.com/soulrane --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thechatterboxpc/message Support this podcast: https://anchor.fm/thechatterboxpc/support

Kvartett Henrik Metz spilar lögin I Got It Bad, Prelude To A Kiss, When I Fall In Love, Easy Living, All My Tomorrows, For Heaven's Sake og Silhouettes. Sextett Donald Byrd leikur lögin Alter Ego, Blue Monk, Fly Little Bird Fly, Sir Master Kool Guy, Voyage a deux og Hi Fly. Kvintett Woody Shaw leikur lögin If I Were A Bell, Stormy Weather, Dat Dere og Imagination.

Carmen McRae syngur My Funny Valentine, My Romance, When I Fall In Love, How Long Has This Been Going On, Nice Work If You Can Get It, I Get A Kick Out Of You eftir Cole Porter og All The Things You Are. Tríó Mulgrew Miller leikur lögin Every Time You Say Goodbye, Milestones, Inner Urge, Song For Darnell, Portrait Of A Mountain og Saud's Run. Tríó Yuri Honing flytur lögin Isobel, Walking On The Moon, True Colors, Waterloo og Some Unexpected Visitors. Kvartett Francesco Cafisco leikur lögin Seven Steps To Heaven, Green Chimneys og Skylark.

这首歌的原唱是“Nat King Cole”，对于中国多数知道他的人来说，是王家卫的《花样年华》给了我们认识他的机会。“Nat King Cole”的《Quizas quizas quizas》与《花样年华》的风格配合的天衣无缝，为其增加了不少色彩，这首歌也成了很多人的最爱。这支单曲于1957年在英国发行，并且登上了英国单曲榜（UK single chart）的第二位。这首歌在1987年再版发行，也排到了当时榜上第四位。 改歌曲最著名的翻唱版本当属1993年，由汤姆·汉克斯、梅格·瑞安主演的美国电影《西雅图夜未眠》(Sleepless in Seattle)，以此歌曲作为电影主题曲，由CelineDion(席琳迪翁)和CliveGriffin(克里夫格里芬)演唱，收录在专辑《Sleepless in Seattle》电影原声带、和CelineDion个人专辑《The colour of my love》之中。该曲曾在1994年第三届MTV电影奖(MTV Movie Awards)中，获该届“MTV电影奖-最佳电影歌曲”提名。歌词：When I fall in love it will be forever or I I never fall in love，当我坠入爱河 我将追求永恒 所以我决不会坠入爱河In a restless world like this is在这个忙碌的无止境的世界里Love is ended before it begun爱还没开始就已被湮没And too many moonlight kisses那么多如月光般浪漫的亲吻Seem to cool in the warmth of the sun似乎在温暖的阳光中也变的冰冷When I give my heart，it will be completely or I never give my heart当我付出真心，那将会是不遗余力，或者我一点也不付出And the moment I can feel that you feel that way too当某一时刻，你我心灵相通is when I fall in love with you这就是当我爱上你的时候when I fall in love当我坠入爱河when I fall in love当我坠入爱河And the moment I can feel that you feel that way too当某一时刻，你我心灵相通is when I fall in love with you这就是当我爱上你的时候

The Legendary Ken Boothe, O.D Boothe began his recording career with Winston 'Stranger' Cole in the duo Stranger And Ken, releasing titles including 'World's Fair', 'Hush', 'Artibella' and 'All Your Friends' during 1963-65. Thereafter he released a series of hits on Clement Dodd's Studio One Label. When the rocksteady rhythm began to evolve during 1966 Boothe recorded 'Feel Good'. In 1968 at the age of 17, Ken Boothe released his first album "Mr. Rock Steady", which included numerous hits such as "The Girl I Left Behind", "When I Fall In Love", "I Don't Want to See You Cry", "Home, Home, Home", and the title many regard as one of Boothe's best exponents of song, "Puppet On A String". He recorded the local hit 'Say You" and "Lady With the Starlight". in 1968. In 1971, he inspired the world with his hit song "Freedom Street" on Leslie Kong's Beverley's label. This classic was co-written with BB Seaton, whom Ken had worked with from their Studio One days Derrick Harriott (born Derrick Clinton Harriott, 6 February 1939, Jamaica) is a singer and record producer. He has produced recordings by Big Youth, Chariot Riders, The Chosen Few, Dennis Brown, The Ethiopians, Harriott embarked on a solo career and later formed his own record label, Crystal. His first solo release, "I Care", was a hit, with further hits following with "What Can I Do" (1964), "The Jerk" (1965) and "I'm Only Human" (1965), all of which were included on his debut album, The Best of Derrick Harriott. In 1967 he had further solo hits with "The Loser" and "Solomon", as well as with productions of other artists, including The Ethiopians' "No Baptism", and Keith And Tex's "Tonight" and "Stop That Train

Ken Boothe's musical career began in the early sixties. When Ken Boothe was only eight years old he won his first singing contest and has never looked back. He has never lost his focus, even if it may have appeared blurred at times to the outside world. His aim has always been to sing and perform to the best of his ability.  Boothe began his recording career with Winston 'Stranger' Cole in the duo Stranger And Ken, releasing titles including 'World's Fair', 'Hush', 'Artibella' and 'All Your Friends' during 1963-65. Thereafter he released a series of hits on Clement Dodd's Studio One Label. When the rocksteady rhythm began to evolve during 1966 Boothe recorded 'Feel Good'. In 1968 at the age of 17, Ken Boothe released his first album "Mr. Rock Steady", which included numerous hits such as "The Girl I Left Behind", "When I Fall In Love", "I Don't Want to See You Cry", "Home, Home, Home", and the title many regard as one of Boothe's best exponents of song, "Puppet On A String". Journalist Alphea Saunders, in writing about Boothe and this song said, "He is one of the best of the very best". During this period he was often referred to as the Wilson Pickett of Jamaican music. He continued recording with Dodd until 1970, releasing some of his best and biggest local hits. He also made records for other producers at the same time, including Sonia Pottinger's Gayfeet label, for which he recorded the local hit 'Say You" and "Lady With the Starlight". in 1968. In 1971, he inspired the world with his hit song "Freedom Street" on Leslie Kong's Beverley's label. This classic was co-written with BB Seaton, whom Ken had worked with from their Studio One days. www.crsradio.com www.caribbeanradioshow.com 661- 467 -2407

LOTL Welcomes The Legendary Eloise Laws Debut her new EP "Favorites" Is a 5 songs EP of Eloise's favorite songs. EP includes: I Fall So Deep, When I Fall In Love, The Key, My Ship, and A Christmas Lullaby -- "Sweet Little Jesus Boy" The incomparable world-renown, award-winning vocalist and Broadway actress Eloise Laws . Some families just have music in their genes, and Eloise Laws happens to belong to one. As well as being a talented vocalist and an "evocative arranger for piano, hand drums, violin and the Kalimba" in her own right, she is also the sister of the world renowned flutist Hubert and saxophonist Ronnie, who produced this sweet little Christmas goody of an album called, "Favorites." The 5 track CD is beautiful, and is so welcome this special time of year, breaking away from some of the traditional songs and incorporating a jazzy vocal spin to the season. Eloise has a voice that is strong, beautiful, and passionate, and those qualities come across loud and clear on each track, which are also wonderfully arranged. "The Key" is probably my favorite song, as I absolutely love the lyrics and her vocal performance is superb. She digs deep and makes you feel what she's singing. Great background vocals that are not overdone, along with some lovely, colorful, and enchanting flute playing really makes this a standout song. Eloise's vocals on the title track, "I Fall So Deep"

This program continues the 6/8/88 session with Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), Paul Meymaris (clarinet), Don Frothingham (piano), and John Kafalas (tuba). The selections are “Sweet Georgia Brown,” “River, Stay Away From My Door,” “When I Fall In Love,” and “Get Out and Get Under the Moon.”  The vocal on “When I Fall In … Continue reading Program #57: June 8, 1988 Part VI →

It was your stereotypical chick-flick, "Sleepless In Seattle" starring Tom Hanks and Meg Ryan. But let's be honest. Even though there were no explosions, no car chases and no fights, most of us still enjoyed the movie. To this day something inside me gets a little mushy when I hear the movie's signature song, "When I Fall In Love." Do you remember how that song goes? "When I fall in love, it will be forever. Or I'll never fall in love. In a restless world like this is, love is ended before it's begun. And too many moonlight kisses seem to cool in the warmth of the sun. When I give my heart, it will be completely, or I'll never give my heart. And the moment I can feel that you feel that way too, is when I fall in love with you."

It was your stereotypical chick-flick, "Sleepless In Seattle" starring Tom Hanks and Meg Ryan. But let's be honest. Even though there were no explosions, no car chases and no fights, most of us still enjoyed the movie. To this day something inside me gets a little mushy when I hear the movie's signature song, "When I Fall In Love." Do you remember how that song goes? "When I fall in love, it will be forever. Or I'll never fall in love. In a restless world like this is, love is ended before it's begun. And too many moonlight kisses seem to cool in the warmth of the sun. When I give my heart, it will be completely, or I'll never give my heart. And the moment I can feel that you feel that way too, is when I fall in love with you."

Amy penciled in the words to this song in my fake book back last century, and they have been preserved through countless xeroxes in every binder I've put together over the past five years or so.When I Fall In Love

Kirsty Young's castaway this week is the actor David Suchet. He has won armfuls of awards for his work - most recently an Emmy for his portrayal of Robert Maxwell - but he is best known for the character he has been associated with for 20 years, Hercule Poirot.His approach to his work is meticulous and he says he has to inhabit each role he takes on. In this illuminating interview he recalls how, early in his career, a psychologist showed him how to shed his character at the end of each performance otherwise, he found, the edges between his own life and those of the person he was playing became blurred.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: When I Fall In Love by Nat King Cole Book: Magnum Magnum by Brigitte Lardinois Luxury: His clarinet and an unlimited supply of reeds.

Kirsty Young's castaway this week is the actor David Suchet. He has won armfuls of awards for his work - most recently an Emmy for his portrayal of Robert Maxwell - but he is best known for the character he has been associated with for 20 years, Hercule Poirot. His approach to his work is meticulous and he says he has to inhabit each role he takes on. In this illuminating interview he recalls how, early in his career, a psychologist showed him how to shed his character at the end of each performance otherwise, he found, the edges between his own life and those of the person he was playing became blurred. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: When I Fall In Love by Nat King Cole Book: Magnum Magnum by Brigitte Lardinois Luxury: His clarinet and an unlimited supply of reeds.

The castaway in Desert Island Discs this week is the playwright Jimmy McGovern. He'll be talking to Sue Lawley about the TV series Cracker - one of the top television series of the 1990s - about how much of the central character, Fitz, is modelled on himself, how he feels about the violent world it portrays and about why we are fascinated by criminal psychology. For seven years a writer on Brookside, he'll be describing how the phenomenal success of Cracker led to the reviving of his previously-rejected scripts for films like Priest and Hearts and Minds. He'll also be relating how the man who has since made a living out of words had such a bad stammer as a child that he was largely unintelligible. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: When I Fall In Love by Nat King Cole Book: Ulysses by James Joyce Luxury: Haemorrhoid ointment

The castaway in Desert Island Discs this week is the playwright Jimmy McGovern. He'll be talking to Sue Lawley about the TV series Cracker - one of the top television series of the 1990s - about how much of the central character, Fitz, is modelled on himself, how he feels about the violent world it portrays and about why we are fascinated by criminal psychology. For seven years a writer on Brookside, he'll be describing how the phenomenal success of Cracker led to the reviving of his previously-rejected scripts for films like Priest and Hearts and Minds. He'll also be relating how the man who has since made a living out of words had such a bad stammer as a child that he was largely unintelligible. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: When I Fall In Love by Nat King Cole Book: Ulysses by James Joyce Luxury: Haemorrhoid ointment

Suzi Quatro is an enormous success in her first acting role in the theatre, the lead in Annie Get Your Gun. In conversation with Michael Parkinson, she talks about her upbringing in Detroit, where she played bongos in her father's band, her all-girl rock band, her great success in England as a leather-clad rocker with a string of hit records and her acting ambitions.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: When I Fall In Love by Nat King Cole Book: Atlas Shrugged by Ayn Rand Luxury: Piano

Suzi Quatro is an enormous success in her first acting role in the theatre, the lead in Annie Get Your Gun. In conversation with Michael Parkinson, she talks about her upbringing in Detroit, where she played bongos in her father's band, her all-girl rock band, her great success in England as a leather-clad rocker with a string of hit records and her acting ambitions. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: When I Fall In Love by Nat King Cole Book: Atlas Shrugged by Ayn Rand Luxury: Piano