Podcasts about when you wish upon

In this episode of Reeding Between the Lines, Sara sits down with bestselling author Gloria Chao, whose books—like American Panda, Rent a Boyfriend, and When You Wish Upon a Lantern—are beloved for their humor, heart, and honest exploration of cultural identity. Gloria shares her journey from dentistry to writing, how she brings complex characters to life, and what inspires the stories she tells.We also dive into her brand-new genre shift with her upcoming thriller, The Ex-Girlfriends' Murder Club, releasing on June 24, 2025! Gloria gives us a behind-the-scenes look at her first foray into mystery and suspense, while keeping the voice and heart that fans know and love.Plus: favorite reads, how she navigates family expectations, and advice for aspiring writers.

We're taking a short break between seasons, but that doesn't mean you have to stop Hangin' at the Hangar Bar! This week, Scott introduces one of our favorite episodes from March 2022: the Disney Songs Bracket. In this fun and lively debate, we pit some of Disney's most iconic songs against each other in a March Madness-style showdown. From beloved attraction tunes like "Yo Ho Yo Ho" and "It's a Small World," to timeless classics like "When You Wish Upon a Star" and "Circle of Life," the competition was fierce. Did your favorite Disney song make it to the final round? You'll have to listen to find out which song emerged victorious! Relive the magic, the laughs, and maybe even some friendly disagreements as we dive back into this unforgettable episode. Whether you're rooting for a park anthem or a cinematic masterpiece, there's something here for every Disney fan. Highlights from this Episode: A nostalgic look at Disney World attraction songs, including debates over "Grim Grinning Ghosts" and "Great Big Beautiful Tomorrow." Head-to-head matchups of classic Disney movie songs, from "Heigh-Ho" to "Once Upon a Dream." Heated discussions in the Sleeper Hits category, featuring underappreciated gems like "Go the Distance" and "The Unbirthday Song." Contemporary favorites face off, including "Circle of Life," "Friend Like Me," and "You're Welcome." Host's Note:Scott reflects on how much fun the team had recording this episode and shares a few updates on how these songs continue to resonate with Disney fans today. Call to Action:What's your favorite Disney song? Who would win in your Disney Songs Bracket? Let us know your thoughts by reaching out to us on Instagram, Facebook, or Twitter @HanginattheHangarBar. Tune in, reminisce, and get ready to sing along—it's time to crown the ultimate Disney song champion! --- Support this podcast: https://podcasters.spotify.com/pod/show/hanginatthehangarbar/support

Meet Tom Bancroft, the busiest man in animation whose illustrious career started at Disney in the late '80s, contributing to classics like Beauty and the Beast and Mulan. Beyond Disney, Tom has launched ventures like Taught by a Pro and Pencilish Animation Studios, while juggling teaching, podcasts, and countless projects. He's a wizard at time management, balancing his career, family, and a fear of losing personal connections. In a heartfelt and humorous chat, Tom shares tales of singing ‘When You Wish Upon a Star' to his kids and the significance of finishing projects, no matter how imperfect. He talks about the future of hand-drawn animation, the evolving role of AI, and teases exciting upcoming projects and a fun animation expo in Nashville. Join this insightful journey into the chaotic world of creativity, passion, and a love for the whimsical art of animation. Host: Mike Rosado (mrcraleigh.com) (instagram.com/ekimodasor) Post Production: Max Trujillo (instagram.com/trujillomedia) Sponsors: MRC (mrcraleigh.com) and Burny Wild's (burnywilds.com) 

The Jazz Session No.371 from RaidersBroadcast.com as aired in Jul 2024, featuring a varied collection of jazz tunes covering old and contemporary songs that definitely originated from outside of jazz! TRACK LISTING: Respect Yourself [Motown, Aretha Franklin] - Herbie Mann; This Guy's In Love With You [Bacharach/David] - Oscar Peterson; Ruby Ruby [Lieber & Stoller, The Drifters] - Donald Fagen; Jammin' [Bob Marley & The Wailers] - Grover Washington Jr.; Paint It Black [Rolling Stones] - Charlie Watts; Your Gold Teeth II [Steely Dan] - Herbie Hancock; Eleanor Rigby [Beatles, from Lighthouse '68] - The Crusaders ; Never Can Say Goodbye [Motown] - Roland Kirk; Smells Like Teen Spirit [Nirvana] - The Bad Plus; White Rabbit [Jefferson Airplane] - George Benson; A Case of You [Joni Mitchell] - Diana Krall; I've Grown Accustomed to Her Face - Stan Getz with Cal Tjader Sextet; And I Love Her [Beatles] - Brad Mehldau Trio; Routinely Denied (No Return) [Hendrix, Voodoo Chile] - Acoustic Ladyland; When You Wish Upon a Star - Dave Brubeck Quartet; Jazz Sabbath [Black Sabbath] - Sabbra Cadabra; Bloom {Radiohead] - Yazz Ahmed; Reckoner [Radiohead] - Robert Glasper; Also Sprach Zarathustra [Mozart] – Deodato.

We had the pleasure of interviewing Gina Alice over Zoom video!International star, accomplished pianist, and dynamic vocalist Gina Alice shares her debut single “Slo-Mo” available now. It stands out as her first release for Republic Records, following her recent signing to the label. Listen to “Slo-Mo” HERE. Known worldwide for her impressive instrumentation, the track illustrates another facet of her artistry for the first time as she leans into a seductive blend of pop, R&B and cinematic soul. Meanwhile, she showcases her range on “Slo-Mo.” Handclaps accent the synth-laden production, while her voice hovers over the soundscape. She opens up without filter, and she issues a flirty invitation on the chorus, “Turn the lights low, love me slo-mo.”About the song, she commented, “It started with me playing piano chords. I was vibing over the harmonies and finding the mood. It's more of a sexy and vibey song. It's about this feeling when you meet someone and connect. You really feel the good moments, but they pass too fast, so you want them in ‘Slo-Mo'. When you hear it, I hope you feel yourself and have fun in the moment.”Gina has made headlines throughout 2024. She collaborated with her husband and iconic pianist Lang Lang on his latest full-length album, Saint-Saëns. She notably contributed to 18 of the 32 total tracks.Now, she embarks on her biggest, boldest, and brightest chapter yet with more music to come, beginning with “Slo-Mo.”ABOUT GINA ALICE:Renowned for her virtuosic piano playing on stages around the globe, vibrant personality on television in Asia, and inimitable presence, Gina Alice has emerged as an international star on her own terms. Balancing classical prestige and fashion-forward panache, she's the rare force of nature to be selected as an official Steinway Artist and grace the pages of Vogue, Elle, and Harper's Bazaar in addition to locking down alliances with Dior, Guerlain, De Beers, and Roger Vivier. She shines in her mega-popular reality show Gina's Motel—which averages a weekly audience of 300 million-plus across China. Following widespread success in classical with her acclaimed Wonderworld album and more, Gina started to showcase her voice. Disney recruited her to bring “River of Memories” to life in the Chinese version of the blockbuster Frozen 2. Collaborating with husband Lang Lang on his The Disney Book LP, she notably performed “When You Wish Upon a Star” in Chinese, English, and Korean for the project. Not to mention, the couple co-starred in the Disney+ special, Lang Lang Plays Disney. Simultaneously, she performed on some of the most hallowed stages in the world, including Hollywood Bowl, Radio City Music Hall, Carnegie Hall, and Royal Albert Hall. As if sharing a secret she couldn't wait to disclose, she finally realizes one of her most intimate dreams, picking up the microphone and making her pop debut as a solo artist for Republic Records in 2024.Stay tuned for more news and announcements coming soon.We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #GinaAlice #LangLang#NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodBecome a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support.

This July 4th, COVID and Chemo spent a good chunk of time attempting to discover who tf has been in charge around here. Join us for a review of US Presidents past, present, and future, including discussions of what happens when you love iced milk and cherries too much and our observations about who looks like whom with guest appearances from Jiminy Cricket of "When You Wish Upon a Star" fame and Octavius "but we just call him 'Gus,'" one of Cinderella's mouse employees. Also, this read is brought to you by a visit from the spirit of the late, great, and loves-to-berate Joan Rivers; you've been warned.

In this episode of Ear and Loathing, your hosts Aaron, Damon and George (The Gitmo Bros) talk about Guitar Center: The Movie, a stick in the dick, studio cat Iffy Bowels, and put the dead cricket in the KISS coffin.  In the Torture Chamber segment, Damon and George compete for meaningless points by making Aaron listen to his most hated music. Will Aaron survive the Torture Chamber long enough to play one of his favorite songs? Tune in and find out! Songs featured in this episode: "When You Wish Upon a Star" (Gene Simmons), "L.A. Is My Lady" (Frank Sinatra), "Just a Job To Do" (Genesis)

We're done with Muppet Babies season 2! Only... six more seasons to go..................................... Episodes covered: The Great Muppet Cartoon Show, The Muppet Museum of Art, By the Book, and When You Wish Upon a Muppet Check out http://kermitmentstuff.com/ to get your Kermitment merch! Kermitment has a Patreon! Running a podcast is deceptively expensive work, so by becoming our Patron, you help us cover those costs and allow us to do funner, cooler stuff in the future! Find out more here! Visit our website to find a link to the Kermitment Patreon and more fun stuff at http://Kermitment.com! If you can't get enough Kermitment, follow @KermitmentPod, where we'll tweet fun stuff and interact with our listeners! And you can follow each of us individually: Matt: @MatthewGaydos Sam: @im_sam_schultz

Philip and Jodi review 'Wish', the 62nd animated feature from Walt Disney Animation Studios. 'Wish' continues a legacy that is currently being celebrated in the Walt Disney Company's 100-year anniversary as the foundation upon which the rest of the company is built. The Disney Empire has come a long way since its humble beginnings in 1923 as a company set up by Walt and Roy Disney to produce short cartoons. The role of animation as the core of the company has fluctuated significantly, from nearly seeing the animation division shut down in the mid-eighties to the highs of the nineties Renaissance. Despite a post-Covid, post-Disney+ cooling at the box office, Disney Animation continues its output of blockbuster-level films with a story inspired by the Wishing Star referenced in the company logo and theme song, "When You Wish Upon a Star." In 'Wish' we follow Asha, a new heroine who aspires to apprentice under the benevolent sorcerer-king Magnifico, who has power over wishes. The purity of one of Asha's wishes outshines Magnifico's power and makes him envious, sending an idyllic kingdom into a precarious state of discontent as it suffers under increasingly evil and despotic rule. Follow The ThawedCast: Conversations About Animation: twitter.com/thawedcast and instagram.com/thawedcast. instagram.com/jodipolasky, instagram.com/philipehlke. Visit thawedcast.com

As Disney celebrates its 100th birthday this month, a series of recent flops and gargantuan acquisitions has left people asking whether the shine is beginning to wear off. Plus, we look back at the studio's past - including the time when Donald Duck dressed up as a Nazi.This podcast was brought to you thanks to the support of readers of The Times and The Sunday Times. Subscribe today: thetimes.co.uk/storiesofourtimes. Guest: Ed Potton, Arts Commissioning Editor, The Times.Host: Manveen Rana. Get in touch: storiesofourtimes@thetimes.co.ukClips: Walt Disney Studios, Bloomberg, Rotten Tomatoes, Piers Morgan Uncensored, Talk TV, Walt Disney Productions, NBC, CBS.Music: Be Our Guest/Disney/Walt Disney Records, You've Got a Friend in Me/Randy Newman/ Walt Disney Records, Let It Go from “Frozen”/Multi Language Medley/Walt Disney Records, When You Wish Upon a Star/Cliff Edwards/Pinocchio (original motion picture soundtrack), Arabian Nights from “Aladdin”/Alan Menken/Walt Disney Records, Zip-A-Dee-Doo-Dah-From “Song of the South”/James Baskett/Walt Disney Records. Hosted on Acast. See acast.com/privacy for more information.

The walls at EPCOT have been there for so long that we forget what it was like to wander freely without them. But that will be coming to an end soon. So what will it be like when the walls come down at EPCOT? This story and more Disney travel news.Here's What Will Happen When the Walls Come Down at EPCOTEPCOT will be the center of the Disney100 celebration at Walt Disney World and when the walls come down around September 22, here's what you'll find. Was it all worth the wait and inconvenience?Take a photo with the new platinum Mickey Mouse sculpture in World Celebration, with Spaceship Earth as the backdrop. See the new mural at the heart of World Celebration and try to find as many Disney characters as you can (there are, of course, 100 of them). The large mural will be located along the walkway to World Showcase and will feature favorite Disney characters hidden throughout the various neighborhoods of EPCOT. The rest of World Celebration will also be decked out in Disney100 platinum banners and décor.Meet and greet Mickey Mouse and Minnie Mouse in their platinum best in the Imagination! pavilion. Also, Spaceship Earth will light up each night with special colors and lights accompanied by the Disney100 anthem, a unique rendition of When You Wish Upon a Star. The Disney100 celebration will have four limited-time food and beverage locations during both the EPCOT International Food & Wine Festival and the EPCOT International Festival of the Holidays! If you collect Disney popcorn buckets, there's a new purple metallic Mickey Balloon Premium Popcorn Bucket available only at EPCOT during Disney100.All of the Disney100 celebrations will have a limited time run from September 22 to December 31, 2023. --New ‘Disney Junior & Friends Playdate' Event Coming to Disneyland Resort August 18-20“Disney Junior & Friends Playdate,” is a three-day event celebrating the stories of Disney Junior's hit series created for preschoolers and their families at Disney California Adventure park on Friday, August 18, and at Downtown Disney on Saturday, August 19 and Sunday, August 20.  August 18 at Disney California Adventure park will feature: A Playdate Party Parade featuring Disney Junior characters, including Mickey Mouse, Minnie Mouse, Doc McStuffins, Sofia the First, Elena of Avalor, Donald Duck, Daisy Duck, Vampirina, Winnie the Pooh, Tigger, Goofy, Pluto, and Mira, Royal Detective. A special “Disney Junior Live! Playdate” stage show with the world-premiere of the new Disney Junior short-form series “Playdate with Winnie the Pooh.”  “Alice's Wonderland Bakery Unbirthday Party” will offer a hands-on cupcake decorating course inspired by the Disney Junior series.  A “Spidey and his Amazing Friends” photo wall be at the Hollywood Backlot Downtown Disney on Saturday, August 19 and Sunday, August 20: Disney Junior-themed treats at Marceline's Confectionary.  A “Star Wars: Young Jedi Adventures” photo wall at Downtown Disney. Throughout the weekend, there will also be scavenger hunt featuring Disney Junior-themed clues around Disney California Adventure park on Friday and Downtown Disney on Saturday and Sunday.--Filling the Fantasmic Void in Disneyland ParkJambalaya Jazz has taken their show to a river barge to fill the void left by Fantasmic. Queenie anchors the band for a New Orleans-inspired jazz show to add a little magic to evenings along Rivers of America.  Queenie and the Jambalaya Jazz Band perform a musical tribute to New Orleans each evening on a themed raft as they float down the Rivers of America. There are three shows nightly starting at 7:35 p.m. Check the Disneyland app for show times and details. Disney will also be adding more entertainment soon to New Orleans Square.--Thank You for Listening to the Disney Travel PodcastThank you very much for listening to this episode, Amelia and I hope that you enjoyed it. If you did, we would be very grateful if you could rate, review and subscribe to the show on Apple Podcasts/iTunes (or on whichever app you choose to listen). A brief review about what you liked most about an episode truly helps to keep the show going by exposing it to new listeners. We look forward to continue producing new episodes each week.Sharing the podcast with your friends and on social media is also extremely helpful and very much appreciated.Contact 1923 Main StreetThank you for listening to the Disney Travel News Podcast at 1923MainStreet.com. As always, we love to get feedback and questions from our listeners and to hear your suggestions and ideas for future episodes.Please be sure to follow along on Twitter, Instagram, Pinterest and Facebook.Thank you for listening and have a magical day!Mike Belobradic and Amelia Belobradic--Media provided by Jamendo

Cosa succede quando il mondo delle favole e dell’infanzia si scontra con la realtà del mondo degli adulti? È la fine delle illusioni con cui tutti, prima o poi, dobbiamo fare i conti. Ed è quello che hanno cercato di raccontare i creatori del corto “When You Wish Upon a Star” in concorso al NaNo […]

Welcome to Tooning Japanese, a podcast where three dudes talk about Japanese anime! This week is another double review! We start by jumping right into Episode 9 of The Irresponsible Captain Tylor, "When You Wish Upon a Flower," and finish up with Episode 10, "Mind's Eyes Half Blind, Headed For a Rough Ride." While both episodes are lacking in depth, they do give us a better understanding of some of the side characters! And the crew generally has a ton of laughs. Oh, and check out the Break Card segment for an announcement on upcoming content! Watch The Irresponsible Captain Tylor on Crunchyroll or YouTube. If you enjoy this episode, go visit our website, and more importantly, become a Patron today! Speaking of our Patreon, please listen to our newest Patron-only series, Tooning In!

durée : 00:06:50 - When You Wish Upon a Star - The King's Singers - Les King's Singers célèbrent le centième anniversaire de Disney avec When you wish upon a star , un joyeux album de vingt-cinq chansons à succès tirées de la bande originale du siècle passé.

[  Dzień Dziecka ] muzyka z czołówek bajek i animacjilubię filmy / lubię je oglądać i je robić / ale ten podcast przede wszystkim jest o muzyce filmowej / bo to taka szczególna forma, która powstaje po to żeby wspierać film / ale czasem, naprawdę rzadko, nagle taki soundtrack staje się dziełem samodzielnym  i wtedy ma się do czynienia z prawdziwą sztuką / a to jest dokładnie to - czego szukam w życiu.utwory wykorzystane w dzisiejszym podcaście:1. Lato Muminków - Za siedmioma marzeniami2. Dziwne przygody Koziołka Matołka3. Reksio4. Gumisie5. Kapitan Planeta6. Inspektor Gadget7. Pat i Mat (w Polsce: Sąsiedzi)8. Wyprawa Profesora Gąbki9. Pszczółka Maja10. When You Wish Upon a Star - Leigh Harline i Ned Washington | DisneyWSPIERAJ NAS NAS NA PATRONITEhttps://patronite.pl/www.ensofilm.plwszystkie utwory wykorzystane legalnie na mocy umowy z ZAiKS. 

Join us for the collection edition of our podcast. Team Ashley will give you the scoop on what's happening in the library collection. Tune in to hear about new books and featured items at your library! Introduction: 00:00-00:34 Young Adult Titles: 00:35-06:53 1) "Spell Bound" by F.T. Lukens https://plymc.bibliocommons.com/v2/record/S131C1658632 2) "The Cherished" by Patrica Ward https://plymc.bibliocommons.com/v2/record/S131C1658619 3) "Blood Debts" by Terry J. Benton-Walker https://plymc.bibliocommons.com/v2/record/S131C1657490 4) "When You Wish Upon a Star: A Twisted Tale" by Elizabeth Lim https://plymc.bibliocommons.com/v2/record/S131C1658526 5) "Big Tree" Brian Selznick https://plymc.bibliocommons.com/v2/record/S131C1657011 6) "Once There Was" by Kiyash Monsef https://plymc.bibliocommons.com/v2/record/S131C1658117 7) "Nic Blake and the Remarkables: The Manifestor Prophecy" by Angie Thomas https://plymc.bibliocommons.com/v2/record/S131C1656994 8) "School Trip: A Graphic Novel" by Jerry Craft https://plymc.bibliocommons.com/v2/record/S131C1656367 9) "The Loud Librarian" by Jenna Beatrice https://plymc.bibliocommons.com/v2/record/S131C1655424 Adult Titles Fiction: 07:12-12:19 1) "Wings Once Cursed & Bound" by Piper J. Drake https://plymc.bibliocommons.com/v2/record/S131C1657162 2) "The Lonely Hearts Book Club" by Lucy Gilmore https://plymc.bibliocommons.com/v2/record/S131C1657643 3) "The Donut Legion" by Joe R. Lansdale https://plymc.bibliocommons.com/v2/record/S131C1657241 4) "The Fake" by Zoe Whittall https://plymc.bibliocommons.com/v2/record/S131C1657157 5) "Strangers in the Night" by Heather Webb https://plymc.bibliocommons.com/v2/record/S131C1657638 6) "Symphony of Secrets" by Brendan Slocumb https://plymc.bibliocommons.com/v2/record/S131C1656801 7) "Jasmine and Jake Rock the Boat" by Sonya Lalli https://plymc.bibliocommons.com/v2/record/S131C1658340 8) "Something Spectacular" by Alexis Hall https://plymc.bibliocommons.com/v2/record/S131C1658322 9) "The Audrey Hepburn Estate" by Brenda Janowitz https://plymc.bibliocommons.com/v2/record/S131C1658370 Adult Titles Non-Fiction: 12:19-15:54 1) "Hello GriefHello Grief: I'll Be Right With You" by Alessandra Olanow https://plymc.bibliocommons.com/v2/record/S131C1657656 2) "The Status Revolution: The Improbable Story of How the Lowbrow Became the Highbrow" by Chuck Thompson https://plymc.bibliocommons.com/v2/record/S131C1657617 3) "Noodle Worship: Easy Recipes for All the Dishes You Crave From Asian, Italian and American Cuisines" by Larone Thompson https://plymc.bibliocommons.com/v2/record/S131C1653094 4) "Eating From Our Roots" by Maya Feller https://plymc.bibliocommons.com/v2/record/S131C1657658 5) "The Teachers: A Year Inside America's Most Vulnerable, Important Profession" by Alexandra Robbins https://plymc.bibliocommons.com/v2/record/S131C1658359 6) "The Daddy Diaries: The Year I Grew Up" by Andy Cohen https://plymc.bibliocommons.com/v2/record/S131C1658273 7) "The Windsors at War: The King, His Brother, and a Family Divided" by Alexander Larman https://plymc.bibliocommons.com/v2/record/S131C1658270 8) "Hot and Bothered: What No One Tells You About Menopause and How to Feel Like Yourself Again" by Jancee Dunn https://plymc.bibliocommons.com/v2/record/S131C1658331 Library materials spotlight: 16:54-17:53 End: 18:43-19:19

This week, Robin, Brooke, and Shannon are recommending more books by authors of color. Titles mentioned include: Kosoko Jackson, Yesterday Is History Gloria Chao, When You Wish Upon a Lantern Nisha Sharma, Dating Dr. Dil (If Shakespeare was an Auntie #1) Sangu Mandanna, The Very Secret Society of Irregular Witches S.L. Choi, Bad Girls Drink Blood (Blood Fae Druid #1) Balli Kaur Jaswal, Now You See Us Joshua Whitehead, Jonny Appleseed Kyla Zhao, The Fraud Squad Jumata Emill, The Black Queen Cole McCade, The Cardigans (Criminal Intentions #1) Jessica Khoury, The Forbidden Wish Sarah Lyu, I Will Find You Again You can always contact the Book Bistro team by searching @BookBistroPodcast on facebook, or visiting: https://www.facebook.com/BookBistroPodcast/ You can also send an email to: TheBookBistroPodcast@gmail.com For more information on the podcast and the team behind it, please visit: http://anchor.fm/book-bistro

For this author chat episode, we chat with author Gloria Chao about her latest novel, When You Wish Upon a Lantern, a YA rom-com about a girl who tries to save her family's lantern business by granting her Chinese American community's wishes, and has to rely on her ex-best friend for help. We chat with Gloria about her long journey to becoming a prolific author of Asian American YA romances, as well as her inspirations for her new book.Follow Gloria on instagram at @gloriacchao and check out her novel When You Wish Upon a Lantern on sale now!*Support the podcast by purchasing books at our bookshop *Follow our hosts:Reera Yoo (@reeraboo)Marvin Yueh (@marvinyueh)Follow us:FacebookTwitterGoodreads GroupThe Books & Boba February 2023 pick is The Charmed List by Julie AbeThis podcast is part of Potluck: An Asian American Podcast CollectiveMentioned in this episode:Shoes Off: A Sexy Asians Podcast from WBEZIf you're looking for a new Asian American centric podcast, check out Shoes Off: A Sexy Asians Podcast from WBEZ Chicago: Asians have long been ignored, fetishized or made the butt of the joke in America. Shoes Off: A Sexy Asians Podcast wants to put that to rest. Each week, we celebrate badass Asians who are making a mark on pop culture and entertainment. Co-hosts Esther Yoon-Ji Kang and Susie An hang out with trailblazers in comedy, film, music and other fields—inviting them to reflect on their identities and redefine “sexy” on their own terms.Shoes Off: A Sexy Asians Podcast

Happy Sunday! We hope you all had a fabulous week! This week we are talking about When You Wish Upon a Lantern by Gloria Chao.  We hope that you enjoy the episode. Don't forget to rate us wherever you listen to us as it helps out the podcast immensely!  Follow us on all our socials here!!   Acclaimed author Gloria Chao creates real-world magic in this luminous romance about teens who devote themselves to granting other people's wishes, but are too afraid to let themselves have their own hearts' desires—each other. Liya and Kai had been best friends since they were little kids, but all that changed when a humiliating incident sparked The Biggest Misunderstanding Of All Time—and they haven't spoken since. Then Liya discovers her family's wishing lantern store is struggling, and she decides to resume a tradition she had with her beloved late grandmother: secretly fulfilling the wishes people write on the lanterns they send into the sky. It may boost sales and save the store, but she can't do it alone . . . and Kai is the only one who cares enough to help. While working on their covert missions, Liya and Kai rekindle their friendship—and maybe more. But when their feuding families and their changing futures threaten to tear them apart again, can they find a way to make their own wishes come true?

GGACP celebrates the 40th Anniversary of the acclaimed comedy “Local Hero” (released February 17, 1983) by revisiting this 2018 interview with one of Gilbert and Frank's favorite actors, Peter Riegert. In this episode, Peter discusses the fleeting nature of fame, the contrivances of romantic comedies, the randomness of on-screen chemistry and the profound influence of Charlie Chaplin, Buster Keaton and the Marx Brothers. Also, James Garner lays down the law, Burt Lancaster marches on Washington, Maurice Micklewhite becomes Michael Caine and Peter remembers the late, great James Gandolfini. PLUS: The Firesign Theater! “The Million Dollar Movie”! “When You Wish Upon a Weinstein”! Gilbert bonds with Chico's daughter! And Peter “kisses” Humphrey Bogart and Jimmy Stewart! Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 62 of the Stories to Love podcast is up! Here with me today is Gloria ChaoGloria Chao is an acclaimed author and screenwriter. Her novels include American Panda, Our Wayward Fate, Rent a Boyfriend, and When You Wish Upon a Lantern. Her award-winning books have received starred trade reviews; were Junior Library Guild, Indie Next List, YALSA Teens' Top 10, and Amelia Bloomer List selections; and were featured on the “Best of” lists of Seventeen, Bustle, Barnes & Noble, PopSugar, Paste Magazine, Booklist, Chicago Public Library, Bank Street, and more.After a brief detour as a dentist, she is now grateful to spend her days in fictional characters' heads instead of real people's mouths. When she's not writing, you can find her on the curling ice, where she and her husband are world-ranked in mixed doubles.Visit her tea-and-book-filled world at GloriaChao.wordpress.com and find her on Twitter and Instagram @GloriacChao.In this episode we discussed how Gloria set out to write a hopeful book in WHEN YOU WISH UPON A LANTERN balancing writing grief and hope. She talked about the sense of belonging while writing her small town setting. We dipped into her transition from health care to authoring, her involvement in NaNoWriMo writers board. And we even talked about her current hybrid system of drafting, and writing college stories within the YA space. Links discussed:First year Orientation - anthology This Time it's Real by Ann LiangIf You Could See the Sun by Ann LiangJulian Winters  - As You Walk On ByNever Vacation With Your Ex - Emily Wibberley and Austin Siegemund-Broka***Preorder Tif's next book WHEN JASMINE BLOOMS, a contemporary fiction inspired by Marmee of Little Women, about a woman who suffers a great tragedy, wonders 'what if' and it comes true.Note: some links are affiliate linksContact Tif at tif@tifmarcelo.comPlease check out her website for podcast submissions

Rachel and Mary can help you celebrate Valentine's Day with some books that are romantic and others that are just a little...sinister. Check out what we talked about: Books mentioned: "The Highlander Takes a Bride" from the "Highland Brides" series by Lynsay Sands. “You” by Caroline Kepnes with readalike "Normal" by Graeme Cameron. "Meet Me in Another Life" by Catriona Silvey. "Gone Girl" by Gillian Flynn with readalikes "Sharp Objects" and "Dark Places" by the same author. "When You Wish Upon a Rogue" from the "Debutante Diaries" series by Anna Bennett. "The Kind Worth Killing" by Peter Swanson with readalike "Strangers on a Train" by Patricia Highsmith. Movies and TV shows mentioned: You, Lifetime & Netflix Gone Girl, Se7en, and Panic Room, Director David Fincher Strangers on a Train, Director Alfred Hitchcock Follow us on some of our socials: Instagram: https://www.instagram.com/oakcreeklibrary TikTok: https://www.tiktok.com/@oakcreeklibrary To access complete transcripts for all episodes of Not Your Mother's Library, please visit: oakcreeklibrary.org/podcast Check out books, movies, and other materials through the Milwaukee County Federated Library System: countycat.mcfls.org hoopladigital.com wplc.overdrive.com oakcreeklibrary.org

In this month's episode, we spoke with Gloria Chao, the critically acclaimed author of American Panda, Our Wayward Fate, and Rent a Boyfriend. Her upcoming novel, When You Wish Upon a Lantern, will be released on February 14th, 2023. Tune in to hear Gloria Chao talk about how she writes realistic dialogue in a way that makes her character relationships feel even more authentic, and how she plots her romances so that her characters get together at the perfect time. Gloria Chao also talks about how she writes about the experiences of young adults who feel pressure from their parents in a way that shows where both her main characters and their parents are coming from, and details the nuance of that conflict. At the end, Gloria Chao gives us a few behind-the-scenes details about her upcoming release, When You Wish Upon a Lantern! Pre-order When You Wish Upon a Lantern here: https://bookshop.org/p/books/when-you-wish-upon-a-lantern-gloria-chao/18539886?ean=9780593464359 Check out American Panda at the library here: https://princetonlibrary.bibliocommons.com/v2/record/S57C1394787 Check out Our Wayward Fate at the library here: https://princetonlibrary.bibliocommons.com/v2/record/S57C1413366 Check out Rent a Boyfriend at the library here: https://princetonlibrary.bibliocommons.com/v2/record/S57C1433816 Purchase American Panda here: https://bookshop.org/p/books/american-panda-gloria-chao/424774?ean=9781481499101 Purchase Our Wayward Fate here: https://bookshop.org/p/books/our-wayward-fate-gloria-chao/6692167?ean=9781534427617 Purchase Rent a Boyfriend here: https://bookshop.org/p/books/rent-a-boyfriend-gloria-chao/16263666?ean=9781534462465 Visit Gloria Chao's website: https://gloriachao.wordpress.com/ Follow Gloria Chao on Instagram: https://www.instagram.com/gloriacchao/ Follow Gloria Chao on Twitter: https://twitter.com/gloriacchao?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor Follow us on Instagram: https://www.instagram.com/keeping.tabs.podcast/ Follow us on TikTok: https://www.tiktok.com/@keepingtabspodcast Subscribe to our Youtube: https://www.youtube.com/@keepingtabspodcast Write a review: https://podcasts.apple.com/us/podcast/keeping-tabs/id1535177567

Stian Åkvik lover fortryllende julestemning i Kirkelandet kirke, lørdag 10. desember, klokken 17.00. Med seg har han gitarist Mads Visnes, kantor Paul-André Nilsen Grande, trompetist Odd Arne Brandvik, Sølvi Tollefsen, og medlemmer av Kristiansund operakor. Åkvik og Visnes besøkte Musikklikartorsdag, 8. desember, og fortalte om konserten og om julestemning. Og jammen var ikke vi så heldig å få deres versjon av "When You Wish Upon a Star", live i studio!

Remember Disney's theme song, When You Wish Upon a Star? Nowadays the words could go like this; "When you wish upon a star makes no difference who you are. Anything your wicked heart desires will come to you." Excellent episode about the Christian and Disney and being a godly steward. www.onelittlecandlepodcast.com www.christianpodcastcommunity.org

Remember Disney's theme song, When You Wish Upon a Star? Nowadays the words could go like this; "When you wish upon a star makes no difference who you are. Anything your wicked heart desires will come to you." Excellent episode about the Christia...

Remember Disney's theme song, When You Wish Upon a Star? Nowadays the words could go like this; "When you wish upon a star makes no difference who you are. Anything your wicked heart desires will come to you." Excellent episode about the Christian and Disney and being a godly steward. www.onelittlecandlepodcast.com www.christianpodcastcommunity.org

Remember Disney's theme song, When You Wish Upon a Star? Nowadays the words could go like this; "When you wish upon a star makes no difference who you are. Anything your wicked heart desires will come to you." Excellent episode about the Christian and Disney and being a godly steward. www.onelittlecandlepodcast.com www.christianpodcastcommunity.org

(Honks in the sound of "When You Wish Upon a Star") Wanna send us a question, comment, or suggestion? Email us at: elpodcastsmz@gmail.com Youtube Channel: http://youtube.com/channel/UCPOo-ZX8xWs2pRvVKUBAwug We are Disney Cast Members so we do not speak for the brand or the Company known as the Walt Disney Company or any of its affiliates. Our thoughts and opinions are our own. “Excellent Little Rhapsody (Podcast Theme)” created by concept_mix Logo created by Derek Czerwonka Little Movie Podcast is brought to you by Excellent Little Podcasts This podcast is hosted by ZenCast.fm

Episode one hundred and fifty-six of A History of Rock Music in Five Hundred Songs looks at “I Was Made to Love Her", the early career of Stevie Wonder, and the Detroit riots of 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Groovin'" by the Young Rascals. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. The best value way to get all of Stevie Wonder's early singles is this MP3 collection, which has the original mono single mixes of fifty-five tracks for a very reasonable price. For those who prefer physical media, this is a decent single-CD collection of his early work at a very low price indeed. As well as the general Motown information listed below, I've also referred to Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder by Mark Ribowsky, which rather astonishingly is the only full-length biography of Wonder, to Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner, and to Detroit 67: The Year That Changed Soul by Stuart Cosgrove. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson by "Dr Licks" is a mixture of a short biography of the great bass player, and tablature of his most impressive bass parts. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode deals with disability and racism, and also deals from the very beginning with sex work and domestic violence. It also has some discussion of police violence and sexual assault. As always I will try to deal with those subjects as non-judgementally and sensitively as possible, but if you worry that anything about those subjects might disturb you, please check the transcript. Calvin Judkins was not a good man. Lula Mae Hardaway thought at first he might be, when he took her in, with her infant son whose father had left before the boy was born. He was someone who seemed, when he played the piano, to be deeply sensitive and emotional, and he even did the decent thing and married her when he got her pregnant. She thought she could save him, even though he was a street hustler and not even very good at it, and thirty years older than her -- she was only nineteen, he was nearly fifty. But she soon discovered that he wasn't interested in being saved, and instead he was interested in hurting her. He became physically and financially abusive, and started pimping her out. Lula would eventually realise that Calvin Judkins was no good, but not until she got pregnant again, shortly after the birth of her second son. Her third son was born premature -- different sources give different numbers for how premature, with some saying four months and others six weeks -- and while he apparently went by Stevland Judkins throughout his early childhood, the name on his birth certificate was apparently Stevland Morris, Lula having decided not to give another child the surname of her abuser, though nobody has ever properly explained where she got the surname "Morris" from. Little Stevland was put in an incubator with an oxygen mask, which saved the tiny child's life but destroyed his sight, giving him a condition called retinopathy of prematurity -- a condition which nowadays can be prevented and cured, but in 1951 was just an unavoidable consequence for some portion of premature babies. Shortly after the family moved from Saginaw to Detroit, Lula kicked Calvin out, and he would remain only a peripheral figure in his children's lives, but one thing he did do was notice young Stevland's interest in music, and on his increasingly infrequent visits to his wife and kids -- visits that usually ended with violence -- he would bring along toy instruments for the young child to play, like a harmonica and a set of bongos. Stevie was a real prodigy, and by the time he was nine he had a collection of real musical instruments, because everyone could see that the kid was something special. A neighbour who owned a piano gave it to Stevie when she moved out and couldn't take it with her. A local Lions Club gave him a drum kit at a party they organised for local blind children, and a barber gave him a chromatic harmonica after seeing him play his toy one. Stevie gave his first professional performance when he was eight. His mother had taken him to a picnic in the park, and there was a band playing, and the little boy got as close to the stage as he could and started dancing wildly. The MC of the show asked the child who he was, and he said "My name is Stevie, and I can sing and play drums", so of course they got the cute kid up on stage behind the drum kit while the band played Johnny Ace's "Pledging My Love": [Excerpt: Johnny Ace, "Pledging My Love"] He did well enough that they paid him seventy-five cents -- an enormous amount for a small child at that time -- though he was disappointed afterwards that they hadn't played something faster that would really allow him to show off his drumming skills. After that he would perform semi-regularly at small events, and always ask to be paid in quarters rather than paper money, because he liked the sound of the coins -- one of his party tricks was to be able to tell one coin from another by the sound of them hitting a table. Soon he formed a duo with a neighbourhood friend, John Glover, who was a couple of years older and could play guitar while Stevie sang and played harmonica and bongos. The two were friends, and both accomplished musicians for their age, but that wasn't the only reason Stevie latched on to Glover. Even as young as he was, he knew that Motown was soon going to be the place to be in Detroit if you were a musician, and Glover had an in -- his cousin was Ronnie White of the Miracles. Stevie and John performed as a duo everywhere they could and honed their act, performing particularly at the talent shows which were such an incubator of Black musical talent at the time, and they also at this point seem to have got the attention of Clarence Paul, but it was White who brought the duo to Motown. Stevie and John first played for White and Bobby Rodgers, another of the Miracles, then when they were impressed they took them through the several layers of Motown people who would have to sign off on signing a new act. First they were taken to see Brian Holland, who was a rising star within Motown as "Please Mr. Postman" was just entering the charts. They impressed him with a performance of the Miracles song "Bad Girl": [Excerpt: The Miracles, "Bad Girl"] After that, Stevie and John went to see Mickey Stevenson, who was at first sceptical, thinking that a kid so young -- Stevie was only eleven at the time -- must be some kind of novelty act rather than a serious musician. He said later "It was like, what's next, the singing mouse?" But Stevenson was won over by the child's talent. Normally, Stevenson had the power to sign whoever he liked to the label, but given the extra legal complications involved in signing someone under-age, he had to get Berry Gordy's permission. Gordy didn't even like signing teenagers because of all the extra paperwork that would be involved, and he certainly wasn't interested in signing pre-teens. But he came down to the studio to see what Stevie could do, and was amazed, not by his singing -- Gordy didn't think much of that -- but by his instrumental ability. First Stevie played harmonica and bongos as proficiently as an adult professional, and then he made his way around the studio playing on every other instrument in the place -- often only a few notes, but competent on them all. Gordy decided to sign the duo -- and the initial contract was for an act named "Steve and John" -- but it was soon decided to separate them. Glover would be allowed to hang around Motown while he was finishing school, and there would be a place for him when he finished -- he later became a staff songwriter, working on tracks for the Four Tops and the Miracles among others, and he would even later write a number one hit, "You Don't Have to be a Star (to be in My Show)" for Marilyn McCoo and Billy Davis Jr -- but they were going to make Stevie a star right now. The man put in charge of that was Clarence Paul. Paul, under his birth name of Clarence Pauling, had started his career in the "5" Royales, a vocal group he formed with his brother Lowman Pauling that had been signed to Apollo Records by Ralph Bass, and later to King Records. Paul seems to have been on at least some of the earliest recordings by the group, so is likely on their first single, "Give Me One More Chance": [Excerpt: The "5" Royales, "Give Me One More Chance"] But Paul was drafted to go and fight in the Korean War, and so wasn't part of the group's string of hit singles, mostly written by his brother Lowman, like "Think", which later became better known in James Brown's cover version, or "Dedicated to the One I Love", later covered by the Shirelles, but in its original version dominated by Lowman's stinging guitar playing: [Excerpt: The "5" Royales, "Dedicated to the One I Love"] After being discharged, Clarence had shortened his name to Clarence Paul, and had started recording for all the usual R&B labels like Roulette and Federal, with little success: [Excerpt: Clarence Paul, "I'm Gonna Love You, Love You Til I Die"] He'd also co-written "I Need Your Lovin'", which had been an R&B hit for Roy Hamilton: [Excerpt: Roy Hamilton, "I Need Your Lovin'"] Paul had recently come to work for Motown – one of the things Berry Gordy did to try to make his label more attractive was to hire the relatives of R&B stars on other labels, in the hopes of getting them to switch to Motown – and he was the new man on the team, not given any of the important work to do. He was working with acts like Henry Lumpkin and the Valladiers, and had also been the producer of "Mind Over Matter", the single the Temptations had released as The Pirates in a desperate attempt to get a hit: [Excerpt: The Pirates, "Mind Over Matter"] Paul was the person you turned to when no-one else was interested, and who would come up with bizarre ideas. A year or so after the time period we're talking about, it was him who produced an album of country music for the Supremes, before they'd had a hit, and came up with "The Man With the Rock and Roll Banjo Band" for them: [Excerpt: The Supremes, "The Man With The Rock and Roll Banjo Band"] So, Paul was the perfect person to give a child -- by this time twelve years old -- who had the triple novelties of being a multi-instrumentalist, a child, and blind. Stevie started spending all his time around the Motown studios, partly because he was eager to learn everything about making records and partly because his home life wasn't particularly great and he wanted to be somewhere else. He earned the affection and irritation, in equal measure, of people at Motown both for his habit of wandering into the middle of sessions because he couldn't see the light that showed that the studio was in use, and for his practical joking. He was a great mimic, and would do things like phoning one of the engineers and imitating Berry Gordy's voice, telling the engineer that Stevie would be coming down, and to give him studio equipment to take home. He'd also astonish women by complimenting them, in detail, on their dresses, having been told in advance what they looked like by an accomplice. But other "jokes" were less welcome -- he would regularly sexually assault women working at Motown, grabbing their breasts or buttocks and then claiming it was an accident because he couldn't see what he was doing. Most of the women he molested still speak of him fondly, and say everybody loved him, and this may even be the case -- and certainly I don't think any of us should be judged too harshly for what we did when we were twelve -- but this kind of thing led to a certain amount of pressure to make Stevie's career worth the extra effort he was causing everyone at Motown. Because Berry Gordy was not impressed with Stevie's vocals, the decision was made to promote him as a jazz instrumentalist, and so Clarence Paul insisted that his first release be an album, rather than doing what everyone would normally do and only put out an album after a hit single. Paul reasoned that there was no way on Earth they were going to be able to get a hit single with a jazz instrumental by a twelve-year-old kid, and eventually persuaded Gordy of the wisdom of this idea. So they started work on The Jazz Soul of Little Stevie, released under his new stagename of Little Stevie Wonder, supposedly a name given to him after Berry Gordy said "That kid's a wonder!", though Mickey Stevenson always said that the name came from a brainstorming session between him and Clarence Paul. The album featured Stevie on harmonica, piano, and organ on different tracks, but on the opening track, "Fingertips", he's playing the bongos that give the track its name: [Excerpt: Little Stevie Wonder, "Fingertips (studio version)"] The composition of that track is credited to Paul and the arranger Hank Cosby, but Beans Bowles, who played flute on the track, always claimed that he came up with the melody, and it seems quite likely to me that most of the tracks on the album were created more or less as jam sessions -- though Wonder's contributions were all overdubbed later. The album sat in the can for several months -- Berry Gordy was not at all sure of its commercial potential. Instead, he told Paul to go in another direction -- focusing on Wonder's blindness, he decided that what they needed to do was create an association in listeners' minds with Ray Charles, who at this point was at the peak of his commercial power. So back into the studio went Wonder and Paul, to record an album made up almost entirely of Ray Charles covers, titled Tribute to Uncle Ray. (Some sources have the Ray Charles tribute album recorded first -- and given Motown's lax record-keeping at this time it may be impossible to know for sure -- but this is the way round that Mark Ribowsky's biography of Wonder has it). But at Motown's regular quality control meeting it was decided that there wasn't a single on the album, and you didn't release an album like that without having a hit single first. By this point, Clarence Paul was convinced that Berry Gordy was just looking for excuses not to do anything with Wonder -- and there may have been a grain of truth to that. There's some evidence that Gordy was worried that the kid wouldn't be able to sing once his voice broke, and was scared of having another Frankie Lymon on his hands. But the decision was made that rather than put out either of those albums, they would put out a single. The A-side was a song called "I Call it Pretty Music But the Old People Call it the Blues, Part 1", which very much played on Wonder's image as a loveable naive kid: [Excerpt: Little Stevie Wonder, "I Call it Pretty Music But the Old People Call it the Blues, Part 1"] The B-side, meanwhile, was part two -- a slowed-down, near instrumental, version of the song, reframed as an actual blues, and as a showcase for Wonder's harmonica playing rather than his vocals. The single wasn't a hit, but it made number 101 on the Billboard charts, just missing the Hot One Hundred, which for the debut single of a new artist wasn't too bad, especially for Motown at this point in time, when most of its releases were flopping. That was good enough that Gordy authorised the release of the two albums that they had in the can. The next single, "Little Water Boy", was a rather baffling duet with Clarence Paul, which did nothing at all on the charts. [Excerpt: Clarence Paul and Little Stevie Wonder, "Little Water Boy"] After this came another flop single, written by Brian Holland, Lamont Dozier, and Janie Bradford, before the record that finally broke Little Stevie Wonder out into the mainstream in a big way. While Wonder hadn't had a hit yet, he was sent out on the first Motortown Revue tour, along with almost every other act on the label. Because he hadn't had a hit, he was supposed to only play one song per show, but nobody had told him how long that song should be. He had quickly become a great live performer, and the audiences were excited to watch him, so when he went into extended harmonica solos rather than quickly finishing the song, the audience would be with him. Clarence Paul, who came along on the tour, would have to motion to the onstage bandleader to stop the music, but the bandleader would know that the audiences were with Stevie, and so would just keep the song going as long as Stevie was playing. Often Paul would have to go on to the stage and shout in Wonder's ear to stop playing -- and often Wonder would ignore him, and have to be physically dragged off stage by Paul, still playing, causing the audience to boo Paul for stopping him from playing. Wonder would complain off-stage that the audience had been enjoying it, and didn't seem to get it into his head that he wasn't the star of the show, that the audiences *were* enjoying him, but were *there* to see the Miracles and Mary Wells and the Marvelettes and Marvin Gaye. This made all the acts who had to go on after him, and who were running late as a result, furious at him -- especially since one aspect of Wonder's blindness was that his circadian rhythms weren't regulated by sunlight in the same way that the sighted members of the tour's were. He would often wake up the entire tour bus by playing his harmonica at two or three in the morning, while they were all trying to sleep. Soon Berry Gordy insisted that Clarence Paul be on stage with Wonder throughout his performance, ready to drag him off stage, so that he wouldn't have to come out onto the stage to do it. But one of the first times he had done this had been on one of the very first Motortown Revue shows, before any of his records had come out. There he'd done a performance of "Fingertips", playing the flute part on harmonica rather than only playing bongos throughout as he had on the studio version -- leaving the percussion to Marvin Gaye, who was playing drums for Wonder's set: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] But he'd extended the song with a little bit of call-and-response vocalising: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] After the long performance ended, Clarence Paul dragged Wonder off-stage and the MC asked the audience to give him a round of applause -- but then Stevie came running back on and carried on playing: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] By this point, though, the musicians had started to change over -- Mary Wells, who was on after Wonder, was using different musicians from his, and some of her players were already on stage. You can hear Joe Swift, who was playing bass for Wells, asking what key he was meant to be playing in: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] Eventually, after six and a half minutes, they got Wonder off stage, but that performance became the two sides of Wonder's next single, with "Fingertips Part 2", the part with the ad lib singing and the false ending, rather than the instrumental part one, being labelled as the side the DJs should play. When it was released, the song started a slow climb up the charts, and by August 1963, three months after it came out, it was at number one -- only the second ever Motown number one, and the first ever live single to get there. Not only that, but Motown released a live album -- Recorded Live, the Twelve-Year-Old Genius (though as many people point out he was thirteen when it was released -- he was twelve when it was recorded though) and that made number one on the albums chart, becoming the first Motown album ever to do so. They followed up "Fingertips" with a similar sounding track, "Workout, Stevie, Workout", which made number thirty-three. After that, his albums -- though not yet his singles -- started to be released as by "Stevie Wonder" with no "Little" -- he'd had a bit of a growth spurt and his voice was breaking, and so marketing him as a child prodigy was not going to work much longer and they needed to transition him into a star with adult potential. In the Motown of 1963 that meant cutting an album of standards, because the belief at the time in Motown was that the future for their entertainers was doing show tunes at the Copacabana. But for some reason the audience who had wanted an R&B harmonica instrumental with call-and-response improvised gospel-influenced yelling was not in the mood for a thirteen year old singing "Put on a Happy Face" and "When You Wish Upon a Star", and especially not when the instrumental tracks were recorded in a key that suited him at age twelve but not thirteen, so he was clearly straining. "Fingertips" being a massive hit also meant Stevie was now near the top of the bill on the Motortown Revue when it went on its second tour. But this actually put him in a precarious position. When he had been down at the bottom of the bill and unknown, nobody expected anything from him, and he was following other minor acts, so when he was surprisingly good the audiences went wild. Now, near the top of the bill, he had to go on after Marvin Gaye, and he was not nearly so impressive in that context. The audiences were polite enough, but not in the raptures he was used to. Although Stevie could still beat Gaye in some circumstances. At Motown staff parties, Berry Gordy would always have a contest where he'd pit two artists against each other to see who could win the crowd over, something he thought instilled a fun and useful competitive spirit in his artists. They'd alternate songs, two songs each, and Gordy would decide on the winner based on audience response. For the 1963 Motown Christmas party, it was Stevie versus Marvin. Wonder went first, with "Workout, Stevie, Workout", and was apparently impressive, but then Gaye topped him with a version of "Hitch-Hike". So Stevie had to top that, and apparently did, with a hugely extended version of "I Call it Pretty Music", reworked in the Ray Charles style he'd used for "Fingertips". So Marvin Gaye had to top that with the final song of the contest, and he did, performing "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] And he was great. So great, it turned the crowd against him. They started booing, and someone in the audience shouted "Marvin, you should be ashamed of yourself, taking advantage of a little blind kid!" The crowd got so hostile Berry Gordy had to stop the performance and end the party early. He never had another contest like that again. There were other problems, as well. Wonder had been assigned a tutor, a young man named Ted Hull, who began to take serious control over his life. Hull was legally blind, so could teach Wonder using Braille, but unlike Wonder had some sight -- enough that he was even able to get a drivers' license and a co-pilot license for planes. Hull was put in loco parentis on most of Stevie's tours, and soon became basically inseparable from him, but this caused a lot of problems, not least because Hull was a conservative white man, while almost everyone else at Motown was Black, and Stevie was socially liberal and on the side of the civil rights and anti-Vietnam movements. Hull started to collaborate on songwriting with Wonder, which most people at Motown were OK with but which now seems like a serious conflict of interest, and he also started calling himself Stevie's "manager" -- which did *not* impress the people at Motown, who had their own conflict of interest because with Stevie, like with all their artists, they were his management company and agents as well as his record label and publishers. Motown grudgingly tolerated Hull, though, mostly because he was someone they could pass Lula Mae Hardaway to to deal with her complaints. Stevie's mother was not very impressed with the way that Motown were handling her son, and would make her opinion known to anyone who would listen. Hull and Hardaway did not get on at all, but he could be relied on to save the Gordy family members from having to deal with her. Wonder was sent over to Europe for Christmas 1963, to perform shows at the Paris Olympia and do some British media appearances. But both his mother and Hull had come along, and their clear dislike for each other was making him stressed. He started to get pains in his throat whenever he sang -- pains which everyone assumed were a stress reaction to the unhealthy atmosphere that happened whenever Hull and his mother were in the same room together, but which later turned out to be throat nodules that required surgery. Because of this, his singing was generally not up to standard, which meant he was moved to a less prominent place on the bill, which in turn led to his mother accusing the Gordy family of being against him and trying to stop him becoming a star. Wonder started to take her side and believe that Motown were conspiring against him, and at one point he even "accidentally" dropped a bottle of wine on Ted Hull's foot, breaking one of his toes, because he saw Hull as part of the enemy that was Motown. Before leaving for those shows, he had recorded the album he later considered the worst of his career. While he was now just plain Stevie on albums, he wasn't for his single releases, or in his first film appearance, where he was still Little Stevie Wonder. Berry Gordy was already trying to get a foot in the door in Hollywood -- by the end of the decade Motown would be moving from Detroit to LA -- and his first real connections there were with American International Pictures, the low-budget film-makers who have come up a lot in connection with the LA scene. AIP were the producers of the successful low-budget series of beach party films, which combined appearances by teen heartthrobs Frankie Avalon and Annette Funicello in swimsuits with cameo appearances by old film stars fallen on hard times, and with musical performances by bands like the Bobby Fuller Four. There would be a couple of Motown connections to these films -- most notably, the Supremes would do the theme tune for Dr. Goldfoot and the Bikini Machine -- but Muscle Beach Party was to be the first. Most of the music for Muscle Beach Party was written by Brian Wilson, Roger Christian, and Gary Usher, as one might expect for a film about surfing, and was performed by Dick Dale and the Del-Tones, the film's major musical guests, with Annette, Frankie, and Donna Loren [pron Lorren] adding vocals, on songs like "Muscle Bustle": [Excerpt: Donna Loren with Dick Dale and the Del-Tones, "Muscle Bustle"] The film followed the formula in every way -- it also had a cameo appearance by Peter Lorre, his last film appearance before his death, and it featured Little Stevie Wonder playing one of the few songs not written by the surf and car writers, a piece of nothing called "Happy Street". Stevie also featured in the follow-up, Bikini Beach, which came out a little under four months later, again doing a single number, "Happy Feelin'". To cash in on his appearances in these films, and having tried releasing albums of Little Stevie as jazz multi-instrumentalist, Ray Charles tribute act, live soulman and Andy Williams-style crooner, they now decided to see if they could sell him as a surf singer. Or at least, as Motown's idea of a surf singer, which meant a lot of songs about the beach and the sea -- mostly old standards like "Red Sails in the Sunset" and "Ebb Tide" -- backed by rather schlocky Wrecking Crew arrangements. And this is as good a place as any to take on one of the bits of disinformation that goes around about Motown. I've addressed this before, but it's worth repeating here in slightly more detail. Carol Kaye, one of the go-to Wrecking Crew bass players, is a known credit thief, and claims to have played on hundreds of records she didn't -- claims which too many people take seriously because she is a genuine pioneer and was for a long time undercredited on many records she *did* play on. In particular, she claims to have played on almost all the classic Motown hits that James Jamerson of the Funk Brothers played on, like the title track for this episode, and she claims this despite evidence including notarised statements from everyone involved in the records, the release of session recordings that show producers talking to the Funk Brothers, and most importantly the evidence of the recordings themselves, which have all the characteristics of the Detroit studio and sound like the Funk Brothers playing, and have absolutely nothing in common, sonically, with the records the Wrecking Crew played on at Gold Star, Western, and other LA studios. The Wrecking Crew *did* play on a lot of Motown records, but with a handful of exceptions, mostly by Brenda Holloway, the records they played on were quickie knock-off album tracks and potboiler albums made to tie in with film or TV work -- soundtracks to TV specials the acts did, and that kind of thing. And in this case, the Wrecking Crew played on the entire Stevie at the Beach album, including the last single to be released as by "Little Stevie Wonder", "Castles in the Sand", which was arranged by Jack Nitzsche: [Excerpt: Little Stevie Wonder, "Castles in the Sand"] Apparently the idea of surfin' Stevie didn't catch on any more than that of swingin' Stevie had earlier. Indeed, throughout 1964 and 65 Motown seem to have had less than no idea what they were doing with Stevie Wonder, and he himself refers to all his recordings from this period as an embarrassment, saving particular scorn for the second single from Stevie at the Beach, "Hey Harmonica Man", possibly because that, unlike most of his other singles around this point, was a minor hit, reaching number twenty-nine on the charts. Motown were still pushing Wonder hard -- he even got an appearance on the Ed Sullivan Show in May 1964, only the second Motown act to appear on it after the Marvelettes -- but Wonder was getting more and more unhappy with the decisions they were making. He loathed the Stevie at the Beach album -- the records he'd made earlier, while patchy and not things he'd chosen, were at least in some way related to his musical interests. He *did* love jazz, and he *did* love Ray Charles, and he *did* love old standards, and the records were made by his friend Clarence Paul and with the studio musicians he'd grown to know in Detroit. But Stevie at the Beach was something that was imposed on Clarence Paul from above, it was cut with unfamiliar musicians, Stevie thought the films he was appearing in were embarrassing, and he wasn't even having much commercial success, which was the whole point of these compromises. He started to get more rebellious against Paul in the studio, though many of these decisions weren't made by Paul, and he would complain to anyone who would listen that if he was just allowed to do the music he wanted to sing, the way he wanted to sing it, he would have more hits. But for nine months he did basically no singing other than that Ed Sullivan Show appearance -- he had to recover from the operation to remove the throat nodules. When he did return to the studio, the first single he cut remained unreleased, and while some stuff from the archives was released between the start of 1964 and March 1965, the first single he recorded and released after the throat nodules, "Kiss Me Baby", which came out in March, was a complete flop. That single was released to coincide with the first Motown tour of Europe, which we looked at in the episode on "Stop! In the Name of Love", and which was mostly set up to promote the Supremes, but which also featured Martha and the Vandellas, the Miracles, and the Temptations. Even though Stevie had not had a major hit in eighteen months by this point, he was still brought along on the tour, the only solo artist to be included -- at this point Gordy thought that solo artists looked outdated compared to vocal groups, in a world dominated by bands, and so other solo artists like Marvin Gaye weren't invited. This was a sign that Gordy was happier with Stevie than his recent lack of chart success might suggest. One of the main reasons that Gordy had been in two minds about him was that he'd had no idea if Wonder would still be able to sing well after his voice broke. But now, as he was about to turn fifteen, his adult voice had more or less stabilised, and Gordy knew that he was capable of having a long career, if they just gave him the proper material. But for now his job on the tour was to do his couple of hits, smile, and be on the lower rungs of the ladder. But even that was still a prominent place to be given the scaled-down nature of this bill compared to the Motortown Revues. While the tour was in England, for example, Dusty Springfield presented a TV special focusing on all the acts on the tour, and while the Supremes were the main stars, Stevie got to do two songs, and also took part in the finale, a version of "Mickey's Monkey" led by Smokey Robinson but with all the performers joining in, with Wonder getting a harmonica solo: [Excerpt: Smokey Robinson and the Motown acts, "Mickey's Monkey"] Sadly, there was one aspect of the trip to the UK that was extremely upsetting for Wonder. Almost all the media attention he got -- which was relatively little, as he wasn't a Supreme -- was about his blindness, and one reporter in particular convinced him that there was an operation he could have to restore his sight, but that Motown were preventing him from finding out about it in order to keep his gimmick going. He was devastated about this, and then further devastated when Ted Hull finally convinced him that it wasn't true, and that he'd been lied to. Meanwhile other newspapers were reporting that he *could* see, and that he was just feigning blindness to boost his record sales. After the tour, a live recording of Wonder singing the blues standard "High Heeled Sneakers" was released as a single, and barely made the R&B top thirty, and didn't hit the top forty on the pop charts. Stevie's initial contract with Motown was going to expire in the middle of 1966, so there was a year to get him back to a point where he was having the kind of hits that other Motown acts were regularly getting at this point. Otherwise, it looked like his career might end by the time he was sixteen. The B-side to "High Heeled Sneakers" was another duet with Clarence Paul, who dominates the vocal sound for much of it -- a version of Willie Nelson's country classic "Funny How Time Slips Away": [Excerpt: Stevie Wonder and Clarence Paul, "Funny How Time Slips Away"] There are a few of these duet records scattered through Wonder's early career -- we'll hear another one a little later -- and they're mostly dismissed as Paul trying to muscle his way into a revival of his own recording career as an artist, and there may be some truth in that. But they're also a natural extension of the way the two of them worked in the studio. Motown didn't have the facilities to give Wonder Braille lyric sheets, and Paul didn't trust him to be able to remember the lyrics, so often when they made a record, Paul would be just off-mic, reciting the lyrics to Wonder fractionally ahead of him singing them. So it was more or less natural that this dynamic would leak out onto records, but not everyone saw it that way. But at the same time, there has been some suggestion that Paul was among those manoeuvring to get rid of Wonder from Motown as soon as his contract was finished -- despite the fact that Wonder was the only act Paul had worked on any big hits for. Either way, Paul and Wonder were starting to chafe at working with each other in the studio, and while Paul remained his on-stage musical director, the opportunity to work on Wonder's singles for what would surely be his last few months at Motown was given to Hank Cosby and Sylvia Moy. Cosby was a saxophone player and staff songwriter who had been working with Wonder and Paul for years -- he'd co-written "Fingertips" and several other tracks -- while Moy was a staff songwriter who was working as an apprentice to Cosby. Basically, at this point, nobody else wanted the job of writing for Wonder, and as Moy was having no luck getting songs cut by any other artists and her career was looking about as dead as Wonder's, they started working together. Wonder was, at this point, full of musical ideas but with absolutely no discipline. He's said in interviews that at this point he was writing a hundred and fifty songs a month, but these were often not full songs -- they were fragments, hooks, or a single verse, or a few lines, which he would pass on to Moy, who would turn his ideas into structured songs that fit the Motown hit template, usually with the assistance of Cosby. Then Cosby would come up with an arrangement, and would co-produce with Mickey Stevenson. The first song they came up with in this manner was a sign of how Wonder was looking outside the world of Motown to the rock music that was starting to dominate the US charts -- but which was itself inspired by Motown music. We heard in the last episode on the Rolling Stones how "Nowhere to Run" by the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] had inspired the Stones' "Satisfaction": [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] And Wonder in turn was inspired by "Satisfaction" to come up with his own song -- though again, much of the work making it into an actual finished song was done by Sylvia Moy. They took the four-on-the-floor beat and basic melody of "Satisfaction" and brought it back to Motown, where those things had originated -- though they hadn't originated with Stevie, and this was his first record to sound like a Motown record in the way we think of those things. As a sign of how, despite the way these stories are usually told, the histories of rock and soul were completely and complexly intertwined, that four-on-the-floor beat itself was a conscious attempt by Holland, Dozier, and Holland to appeal to white listeners -- on the grounds that while Black people generally clapped on the backbeat, white people didn't, and so having a four-on-the-floor beat wouldn't throw them off. So Cosby, Moy, and Wonder, in trying to come up with a "Satisfaction" soundalike were Black Motown writers trying to copy a white rock band trying to copy Black Motown writers trying to appeal to a white rock audience. Wonder came up with the basic chorus hook, which was based around a lot of current slang terms he was fond of: [Excerpt: Stevie Wonder, "Uptight"] Then Moy, with some assistance from Cosby, filled it out into a full song. Lyrically, it was as close to social comment as Motown had come at this point -- Wonder was, like many of his peers in soul music, interested in the power of popular music to make political statements, and he would become a much more political artist in the next few years, but at this point it's still couched in the acceptable boy-meets-girl romantic love song that Motown specialised in. But in 1965 a story about a boy from the wrong side of the tracks dating a rich girl inevitably raised the idea that the boy and girl might be of different races -- a subject that was very, very, controversial in the mid-sixties. [Excerpt: Stevie Wonder, "Uptight"] "Uptight" made number three on the pop charts and number one on the R&B charts, and saved Stevie Wonder's career. And this is where, for all that I've criticised Motown in this episode, their strategy paid off. Mickey Stevenson talked a lot about how in the early sixties Motown didn't give up on artists -- if someone had potential but was not yet having hits or finding the right approach, they would keep putting out singles in a holding pattern, trying different things and seeing what would work, rather than toss them aside. It had already worked for the Temptations and the Supremes, and now it had worked for Stevie Wonder. He would be the last beneficiary of this policy -- soon things would change, and Motown would become increasingly focused on trying to get the maximum returns out of a small number of stars, rather than building careers for a range of artists -- but it paid off brilliantly for Wonder. "Uptight" was such a reinvention of Wonder's career, sound, and image that many of his fans consider it the real start of his career -- everything before it only counting as prologue. The follow-up, "Nothing's Too Good For My Baby", was an "Uptight" soundalike, and as with Motown soundalike follow-ups in general, it didn't do quite as well, but it still made the top twenty on the pop chart and got to number four on the R&B chart. Stevie Wonder was now safe at Motown, and so he was going to do something no other Motown act had ever done before -- he was going to record a protest song and release it as a single. For about a year he'd been ending his shows with a version of Bob Dylan's "Blowin' in the Wind", sung as a duet with Clarence Paul, who was still his on stage bandleader even though the two weren't working together in the studio as much. Wonder brought that into the studio, and recorded it with Paul back as the producer, and as his duet partner. Berry Gordy wasn't happy with the choice of single, but Wonder pushed, and Gordy knew that Wonder was on a winning streak and gave in, and so "Blowin' in the Wind" became Stevie Wonder's next single: [Excerpt: Stevie Wonder and Clarence Paul, "Blowin' in the Wind"] "Blowin' in the Wind" made the top ten, and number one on the R&B charts, and convinced Gordy that there was some commercial potential in going after the socially aware market, and over the next few years Motown would start putting out more and more political records. Because Motown convention was to have the producer of a hit record produce the next hit for that artist, and keep doing so until they had a flop, Paul was given the opportunity to produce the next single. "A Place in the Sun" was another ambiguously socially-aware song, co-written by the only white writer on Motown staff, Ron Miller, who happened to live in the same building as Stevie's tutor-cum-manager Ted Hull. "A Place in the Sun" was a pleasant enough song, inspired by "A Change is Gonna Come", but with a more watered-down, generic, message of hope, but the record was lifted by Stevie's voice, and again made the top ten. This meant that Paul and Miller, and Miller's writing partner Bryan Mills, got to work on his next  two singles -- his 1966 Christmas song "Someday at Christmas", which made number twenty-four, and the ballad "Travellin' Man" which made thirty-two. The downward trajectory with Paul meant that Wonder was soon working with other producers again. Harvey Fuqua and Johnny Bristol cut another Miller and Mills song with him, "Yester-Me, Yester-You, Yesterday": [Excerpt: Stevie Wonder, "Yester-Me, Yester-You, Yesterday"] But that was left in the can, as not good enough to release, and Stevie was soon back working with Cosby. The two of them had come up with an instrumental together in late 1966, but had not been able to come up with any words for it, so they played it for Smokey Robinson, who said their instrumental sounded like circus music, and wrote lyrics about a clown: [Excerpt: The Miracles, "The Tears of a Clown"] The Miracles cut that as album filler, but it was released three years later as a single and became the Miracles' only number one hit with Smokey Robinson as lead singer. So Wonder and Cosby definitely still had their commercial touch, even if their renewed collaboration with Moy, who they started working with again, took a while to find a hit. To start with, Wonder returned to the idea of taking inspiration from a hit by a white British group, as he had with "Uptight". This time it was the Beatles, and the track "Michelle", from the Rubber Soul album: [Excerpt: The Beatles, "Michelle"] Wonder took the idea of a song with some French lyrics, and a melody with some similarities to the Beatles song, and came up with "My Cherie Amour", which Cosby and Moy finished off. [Excerpt: Stevie Wonder, "My Cherie Amour"] Gordy wouldn't allow that to be released, saying it was too close to "Michelle" and people would think it was a rip-off, and it stayed in the vaults for several years. Cosby also produced a version of a song Ron Miller had written with Orlando Murden, "For Once in My Life", which pretty much every other Motown act was recording versions of -- the Four Tops, the Temptations, Billy Eckstine, Martha and the Vandellas and Barbra McNair all cut versions of it in 1967, and Gordy wouldn't let Wonder's version be put out either. So they had to return to the drawing board. But in truth, Stevie Wonder was not the biggest thing worrying Berry Gordy at this point. He was dealing with problems in the Supremes, which we'll look at in a future episode -- they were about to get rid of Florence Ballard, and thus possibly destroy one of the biggest acts in the world, but Gordy thought that if they *didn't* get rid of her they would be destroying themselves even more certainly. Not only that, but Gordy was in the midst of a secret affair with Diana Ross, Holland, Dozier, and Holland were getting restless about their contracts, and his producers kept bringing him unlistenable garbage that would never be a hit. Like Norman Whitfield, insisting that this track he'd cut with Marvin Gaye, "I Heard it Through the Grapevine", should be a single. Gordy had put his foot down about that one too, just like he had about "My Cherie Amour", and wouldn't allow it to be released. Meanwhile, many of the smaller acts on the label were starting to feel like they were being ignored by Gordy, and had formed what amounted to a union, having regular meetings at Clarence Paul's house to discuss how they could pressure the label to put the same effort into their careers as into those of the big stars. And the Funk Brothers, the musicians who played on all of Motown's hits, were also getting restless -- they contributed to the arrangements, and they did more for the sound of the records than half the credited producers; why weren't they getting production credits and royalties? Harvey Fuqua had divorced Gordy's sister Gwen, and so became persona non grata at the label and was in the process of leaving Motown, and so was Mickey Stevenson, Gordy's second in command, because Gordy wouldn't give him any stock in the company. And Detroit itself was on edge. The crime rate in the city had started to go up, but even worse, the *perception* of crime was going up. The Detroit News had been running a campaign to whip up fear, which it called its Secret Witness campaign, and running constant headlines about rapes, murders, and muggings. These in turn had led to increased calls for more funds for the police, calls which inevitably contained a strong racial element and at least implicitly linked the perceived rise in crime to the ongoing Civil Rights movement. At this point the police in Detroit were ninety-three percent white, even though Detroit's population was over thirty percent Black. The Mayor and Police Commissioner were trying to bring in some modest reforms, but they weren't going anywhere near fast enough for the Black population who felt harassed and attacked by the police, but were still going too fast for the white people who were being whipped up into a state of terror about supposedly soft-on-crime policies, and for the police who felt under siege and betrayed by the politicians. And this wasn't the only problem affecting the city, and especially affecting Black people. Redlining and underfunded housing projects meant that the large Black population was being crammed into smaller and smaller spaces with fewer local amenities. A few Black people who were lucky enough to become rich -- many of them associated with Motown -- were able to move into majority-white areas, but that was just leading to white flight, and to an increase in racial tensions. The police were on edge after the murder of George Overman Jr, the son of a policeman, and though they arrested the killers that was just another sign that they weren't being shown enough respect. They started organising "blu flu"s -- the police weren't allowed to strike, so they'd claim en masse that they were off sick, as a protest against the supposed soft-on-crime administration. Meanwhile John Sinclair was organising "love-ins", gatherings of hippies at which new bands like the MC5 played, which were being invaded by gangs of bikers who were there to beat up the hippies. And the Detroit auto industry was on its knees -- working conditions had got bad enough that the mostly Black workforce organised a series of wildcat strikes. All in all, Detroit was looking less and less like somewhere that Berry Gordy wanted to stay, and the small LA subsidiary of Motown was rapidly becoming, in his head if nowhere else, the more important part of the company, and its future. He was starting to think that maybe he should leave all these ungrateful people behind in their dangerous city, and move the parts of the operation that actually mattered out to Hollywood. Stevie Wonder was, of course, one of the parts that mattered, but the pressure was on in 1967 to come up with a hit as big as his records from 1965 and early 66, before he'd been sidetracked down the ballad route. The song that was eventually released was one on which Stevie's mother, Lula Mae Hardaway, had a co-writing credit: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] "I Was Made to Love Her" was inspired by Wonder's first love, a girl from the same housing projects as him, and he talked about the song being special to him because it was true, saying it "kind of speaks of my first love to a girl named Angie, who was a very beautiful woman... Actually, she was my third girlfriend but my first love. I used to call Angie up and, like, we would talk and say, 'I love you, I love you,' and we'd talk and we'd both go to sleep on the phone. And this was like from Detroit to California, right? You know, mother said, 'Boy, what you doing - get off the phone!' Boy, I tell you, it was ridiculous." But while it was inspired by her, like with many of the songs from this period, much of the lyric came from Moy -- her mother grew up in Arkansas, and that's why the lyric started "I was born in Little Rock", as *her* inspiration came from stories told by her parents. But truth be told, the lyrics weren't particularly detailed or impressive, just a standard story of young love. Rather what mattered in the record was the music. The song was structured differently from many Motown records, including most of Wonder's earlier ones. Most Motown records had a huge amount of dynamic variation, and a clear demarcation between verse and chorus. Even a record like "Dancing in the Street", which took most of its power from the tension and release caused by spending most of the track on one chord, had the release that came with the line "All we need is music", and could be clearly subdivided into different sections. "I Was Made to Love Her" wasn't like that. There was a tiny section which functioned as a middle eight -- and which cover versions like the one by the Beach Boys later that year tend to cut out, because it disrupts the song's flow: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] But other than that, the song has no verse or chorus, no distinct sections, it's just a series of lyrical couplets over the same four chords, repeating over and over, an incessant groove that could really go on indefinitely: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] This is as close as Motown had come at this point to the new genre of funk, of records that were just staying with one groove throughout. It wasn't a funk record, not yet -- it was still a pop-soul record, But what made it extraordinary was the bass line, and this is why I had to emphasise earlier that this was a record by the Funk Brothers, not the Wrecking Crew, no matter how much some Crew members may claim otherwise. As on most of Cosby's sessions, James Jamerson was given free reign to come up with his own part with little guidance, and what he came up with is extraordinary. This was at a time when rock and pop basslines were becoming a little more mobile, thanks to the influence of Jamerson in Detroit, Brian Wilson in LA, and Paul McCartney in London.  But for the most part, even those bass parts had been fairly straightforward technically -- often inventive, but usually just crotchets and quavers, still keeping rhythm along with the drums rather than in dialogue with them, roaming free rhythmically. Jamerson had started to change his approach, inspired by the change in studio equipment. Motown had upgraded to eight-track recording in 1965, and once he'd become aware of the possibilities, and of the greater prominence that his bass parts could have if they were recorded on their own track, Jamerson had become a much busier player. Jamerson was a jazz musician by inclination, and so would have been very aware of John Coltrane's legendary "sheets of sound", in which Coltrane would play fast arpeggios and scales, in clusters of five and seven notes, usually in semiquaver runs (though sometimes in even smaller fractions -- his solo in Miles Davis' "Straight, No Chaser" is mostly semiquavers but has a short passage in hemidemisemiquavers): [Excerpt: Miles Davis, "Straight, No Chaser"] Jamerson started to adapt the "sheets of sound" style to bass playing, treating the bass almost as a jazz solo instrument -- though unlike Coltrane he was also very, very concerned with creating something that people could tap their feet to. Much like James Brown, Jamerson was taking jazz techniques and repurposing them for dance music. The most notable example of that up to this point had been in the Four Tops' "Bernadette", where there are a few scuffling semiquaver runs thrown in, and which is a much more fluid part than most of his playing previously: [Excerpt: The Four Tops, "Bernadette"] But on "Bernadette", Jamerson had been limited by Holland, Dozier, and Holland, who liked him to improvise but around a framework they created. Cosby, on the other hand, because he had been a Funk Brother himself, was much more aware of the musicians' improvisational abilities, and would largely give them a free hand. This led to a truly remarkable bass part on "I Was Made to Love Her", which is somewhat buried in the single mix, but Marcus Miller did an isolated recreation of the part for the accompanying CD to a book on Jamerson, Standing in the Shadows of Motown, and listening to that you can hear just how inventive it is: [Excerpt: Marcus Miller, "I Was Made to Love Her"] This was exciting stuff -- though much less so for the touring musicians who went on the road with the Motown revues while Jamerson largely stayed in Detroit recording. Jamerson's family would later talk about him coming home grumbling because complaints from the touring musicians had been brought to him, and he'd been asked to play less difficult parts so they'd find it easier to replicate them on stage. "I Was Made to Love Her" wouldn't exist without Stevie Wonder, Hank Cosby, Sylvia Moy, or Lula Mae Hardaway, but it's James Jamerson's record through and through: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] It went to number two on the charts, sat between "Light My Fire" at number one, and "All You Need is Love" at number three, with the Beatles song soon to overtake it and make number one itself. But within a few weeks of "I Was Made to Love Her" reaching its chart peak, things in Detroit would change irrevocably. On the 23rd of July, the police busted an illegal drinking den. They thought they were only going to get about twenty-five people there, but there turned out to be a big party on. They tried to arrest seventy-four people, but their wagon wouldn't fit them all in so they had to call reinforcements and make the arrestees wait around til more wagons arrived. A crowd of hundreds gathered while they were waiting. Someone threw a brick at a squad car window, a rumour went round that the police had bayonetted someone, and soon the city was in flames. Riots lasted for days, with people burning down and looting businesses, but what really made the situation bad was the police's overreaction. They basically started shooting at young Black men, using them as target practice, and later claiming they were snipers, arsonists, and looters -- but there were cases like the Algiers Motel incident, where the police raided a motel where several Black men, including the members of the soul group The Dramatics, were hiding out along with a few white women. The police sexually assaulted the women, and then killed three of the men for associating with white women, in what was described as a "lynching with bullets". The policemen in question were later acquitted of all charges. The National Guard were called in, as were Federal troops -- the 82nd Airborne Division, and the 101st Airborne from Clarksville, the division in which Jimi Hendrix had recently served. After four days of rioting, one of the bloodiest riots in US history was at an end, with forty-three people dead (of whom thirty-three were Black and only one was a policeman). Official counts had 1,189 people injured, and over 7,200 arrests, almost all of them of Black people. A lot of the histories written later say that Black-owned businesses were spared during the riots, but that wasn't really the case. For example, Joe's Record Shop, owned by Joe Von Battle, who had put out the first records by C.L. Franklin and his daughter Aretha, was burned down, destroying not only the stock of records for sale but the master tapes of hundreds of recordings of Black artists, many of them unreleased and so now lost forever. John Lee Hooker, one of the artists whose music Von Battle had released, soon put out a song, "The Motor City is Burning", about the events: [Excerpt: John Lee Hooker, "The Motor City is Burning"] But one business that did remain unburned was Motown, with the Hitsville studio going untouched by flames and unlooted. Motown legend has this being down to the rioters showing respect for the studio that had done so much for Detroit, but it seems likely to have just been luck. Although Motown wasn't completely unscathed -- a National Guard tank fired a shell through the building, leaving a gigantic hole, which Berry Gordy saw as soon as he got back from a business trip he'd been on during the rioting. That was what made Berry Gordy decide once and for all that things needed to change. Motown owned a whole row of houses near the studio, which they used as additional office space and for everything other than the core business of making records. Gordy immediately started to sell them, and move the admin work into temporary rented space. He hadn't announced it yet, and it would be a few years before the move was complete, but from that moment on, the die was cast. Motown was going to leave Detroit and move to Hollywood.

221010 2화 선곡표 1) When You Wish Upon a Star (Soundtrack Version) - Cliff Edwards, Disney Studio Chorus 2) Belle (Soundtrack Version) - Emma Watson, Luke Evans, Ensemble 3) Be Our Guest (Soundtrack Version) - Ewan McGregor, Emma Thompson 등 4) Something There (Soundtrack Version) - Emma Watson, Dan Stevens 등 5) Beauty and the Beast - Peabo Bryson, Celine Dion

Pianist Lang Lang talks about "The Disney Book," which contains piano versions of classic Disney songs such as "Let it Go" and "When You Wish Upon a Star." And, Yvon Chouinard, the eccentric rock-climbing billionaire and founder of popular brand Patagonia, is giving away the company. MSNBC's Ali Velshi talks about how the company's $100 million yearly profits will be used to combat climate change.

Welcome to the Instant Trivia podcast episode 560, where we ask the best trivia on the Internet. Round 1. Category: You Just Saved My Blank 1: Similar to but smaller than a mesa, it's also a city in Montana. butte. 2: It's a foot covering for skiers, or a trunk on a British car. a boot. 3: From an old word meaning "exchange", it's a pirate's ill-gained loot. booty. 4: It's the group of football players whose positions are behind the line of scrimmage; they may go into "motion". backfield. 5: When your movie's been shot, it's in this container. the can. Round 2. Category: Underwater 1: This legendary spirit of the sea keeps dead sailors, not gym shoes, in his "locker". Davy Jones. 2: These fabled creatures who are part fish lure men to live with them underwater. mermaids. 3: You have to use this sporting equipment to get to your room at Jules' Undersea Lodge in Key Largo. scuba diving gear. 4: After WWII this man and Philippe Taillez co-founded the Undersea Research Group at Toulon. Jacques Cousteau. 5: In "Le Morte d'Arthur" a mysterious arm hands this to King Arthur, then disappears underwater. Excalibur. Round 3. Category: Oscar Songs 1: As Dr. Dolittle, Rex Harrison sang this 1967 Oscar-winner to people too. "Talk To The Animals". 2: Only Oscar winner sung by a cricket, it's Disney's theme. "When You Wish Upon a Star". 3: 1942 Irving Berlin classic that's sold more records than any other. "White Christmas". 4: '38 winner that became Bob Hope's theme song. "Thanks for the Memory". 5: This 1st winner, from "Gay Divorcee", is also a luxury car. The Continental. Round 4. Category: Folk Singers 1: During a brief stint at the university of Minnesota, Robert Zimmerman began using this name. Bob Dylan. 2: In Steve Goodman's song, "The City Of New Orleans" was one of these. a train. 3: More formally, this trio could be called Yarrow, Stookey and Travers. Peter, Paul and Mary. 4: Her rendition of "The Night They Drove Old Dixie Down" went to No. 3 on the pop charts in 1971. Joan Baez. 5: Lee Hays wrote "If I Had A Hammer" with this other member of the Weavers. Pete Seeger. Round 5. Category: Noted Pussycats 1: When talking about Sylvester, this character calls him a "Puddy Tat". Tweety Bird. 2: In the 1970 hit comedy "The Owl and the Pussycat", she was the title feline to George Segal's owl. Barbra Streisand. 3: Tom Jones' 1965 hit single "What's New Pussycat" was written by Hal David and this partner. Burt Bacharach. 4: Some Mother Goose scholars believe that this was the real queen visited by "Pussycat, Pussycat". Queen Elizabeth. 5: 3 years after playing "A Kitten With A Whip", she grew up as the title kitty in "The Tiger and the Pussycat". Ann-Margret. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

It's Episode 572 and we have plugins for No Auto Updates, Wall, Worker List, Forming Contacts, Bellhop, Tarot Reading... and ClassicPress Options. It's all coming up on WordPress Plugins A-Z! For more articles visit WordPress Specialist with a focus on... - WordPress Training, Classes and Emergency Support... for more articles like When You Wish Upon a WordPress Plugin.

Isobel Tinker believes big adventures are behind her until Jason Beckett starts lurking around her workplace in “When You Wish Upon a Duke” by Charis Michaels, book two of the Awakened by a Kiss series!Isobel lived a wildly adventurous teenage life throughout Europe.  Her last adventure left her separating herself from her crowd, “the lost boys.”  She uses her knowledge and language skills in a travel agency hoping to one day start her own business.The Duke of Northumberland aka North will fulfill one last unauthorized mission to rescue his cousin and other Englishmen before retiring his spy skills.  His family awaits his presence as the new duke, a daunting role for his restless self.North seeks Isobel's expertise to learn about Iceland and a band of pirates.  She resists helping him so she does not conjure up the past.  However, he gives her an offer she cannot refuse, but she needs to go to a land she never wants to visit again.Join us as we discuss Isobel believing in love again and North believing in possibilities!DRAWING ROOM DISCUSSIONS –This episode is brought to you by Kensington's newest title Twice a Quinceanera by Yamile Saied Mendez wherever books are sold.  Find out more at Kensingtonbooks.com.Dreams do come true… Toni's Belle momentWho's your daaaaddy?“OFFICIAL, UNOFFICIAL BOOK REVIEW”– 11:11 Charis MichaelsWhen You Wish Upon a DukeAwakened by a Kiss, book twohttps://charismichaels.com/https://www.facebook.com/charismichaelsauthor/https://www.goodreads.com/author/show/14174160.Charis_Michaelshttps://www.instagram.com/charismichaels/“POT-TAIL PONDERING” – 39:50The Singleton Aged 12 Yearswww.thesingleton.comThe Singleton Scottish Cooler recipeHow to make a whiskey-infused chocolate magic shell for ice creamAgain the Magic by Lisa KleypasA Court of Thorns and Roses by Sarah J Maas – Beauty and the Beast retelling#SummerofSarahMacLeanNext – A Duchess by Midnight by Charis MichaelsHosts - Toni Rose & Wendy Woo Email - litwallflowerspodcast@gmail.com Follow on www.instagram.com/litwallflowerspodcast Shop at https://www.zazzle.com/store/lit_wallflowers/products Social Media https://linktr.ee/litwallflowers Lit Wallflowers is part of the Frolic Podcast Network.  You can find more outstanding podcasts to subscribe to at Frolic.media/podcasts!

“Season 4 Theme — 2nd Anniversary Opening Version” (@ 0:00) — Two years from recording the first episode at Hótel Vellir in Iceland — My mother's passing — My parents — “2nd Anniversary Lyre” (@ 1:52) — New leather couch from Denmark — “Passages Dark and Light — Part 1” (@ 2:40) — Note regarding earlier symphony discussion — At Dawn: Early Short Stories for a later episode — The three first Psycho films — Anthony Perkins — Lasting use of language — David Lynch and Ray Bradbury — Henry Purcell: “What Power Art Thou” from his opera King Arthur (1691) — David Lynch swearing — The music of Ron Jones — Sleeve notes from Film Score Monthly — What Star Trek was originally meant to be — Once upon a time — A person like a dragon — Philip K. Dick quote from his novel VALIS (1981) — Ideas — Intuition — Everything connects — Authentic and right — Don't fake it until you make it or you may break it — Negative space — A novel can be any length — Freshness from leaving out all the extraneous things — The Hours (2002) — The Elephant Man (1980) — Twin Peaks: Fire Walk with Me (1992) — INLAND EMPIRE (2006) — Healing devastation — Best possible advice for dealing with trauma — Readings of Ray Bradbury — “The April Witch” (1952) — How can we forget beauty? — Close Encounters of the Third Kind (1977) — The suburb scenes — Roy Neary played by Richard Dreyfuss — Metaphor for creativity — Artists can eat their cake and have it too — Northern Exposure did that often and well — John Williams quoting from “When You Wish Upon a Star” from Pinocchio (1940) — Happy ending? I think not — Immature vs. mature — Field of Dreams (1989) — Dignity — Actors with dignity often get exploited for undeserving stories — Bryan Cranston — Jonathan Banks — The emotional toll this takes on the makers and viewers — I must speak my own convictions — Breaking Bad and Game of Thrones as examples of immature storytelling — Modularity as a creative principle — Quote about good teachers — Paul Chadwick's Concrete — Melissa Strangehands — Art commenting on art — Drawing from life itself — Art in your favourite TV series — A rock garden — Fragmentation — More on art in story worlds — Do comedians exist? — Moments that would shatter the psychotic intensity of many series — “C'mon, man. Don't be stupid.” — Twin Peaks, Northern Exposure, Seinfeld — Dreams of Norm Macdonald, Philip Glass, and David Lynch — All the things stories are — One thing, two things, three… — A series for the young at heart — Dear listener of the future — Drink cans — H. P. Lovecraft poem: “The Garden” — “Lovecraft's Garden” (@ 42:41) — “Passages Dark and Light — Part 2” (@ 43:49) — Fake drinking in films and TV series — Imagine a world without potatoes — I had a dream of you today — About half done with the remaining notes — Cheering anecdote — All the music has been composed and performed by me — The future of my music — A video can give the best possible sense of how a book looks and feels — Good wishes to good people — Much love — “Season 4 Theme — 2nd Anniversary Closing Version” (@ 53:20)

The 12 Days of Disney Music: Day 8Intro/Outro: Monster's Inc. from Monsters Inc.13. When You Wish Upon a Star from Pinocchio (Andrew)12. You're Welcome from Moana (Aaron)12. Let It Go from Frozen (Andrew)11. I Wan'na Be Like You from The Jungle Book (Aaron)11. Two Worlds from Tarzan (Andrew)Vote on your favorite Disney song from today's episode

The 40th Anniversary of the Student Open Recital will take place on Sunday, February 27 at 3 p.m. in the Meeting House of the Salisbury Congregational Church, 30 Main St., Salisbury, Ct. After taking a year off due to the pandemic, we are so pleased to have the Recital again. Featured will be very talented young artists, ages 8 – 18, chosen by their teachers based on technique at his/her age, musicality and promise, all to encourage them to continue and pursue their musical studies. You will hear six pianists ranging from beginner to advanced. Among them is a pianist playing his own composition, a first for the Recital, and a Jazz pianist playing “When You Wish Upon a Star” and “It's Almost Like Being in Love”. Also included is a classical guitarist, a cellist, the seven-member Salisbury School Classical Music Ensemble and the five-member Salisbury School Jazz Ensemble. Imagine! You will hear music from Telemann to Mozart to Calatuyud to Lerner and Lowe and John Coltrane! The afternoon will be great music for the soul. Bring your family, especially your children. The Recital is free and open to the public, underwritten by the Special Music Fund. Covid safety protocols will be observed: Masks and social distancing.

The one where Bradley and James don't talk about… well, you know…. Non-Spoiler Title: “James Drove to Disney World to get a Figment Popcorn Bucket”. Disney College Podcast is hosted and created by Bradley Robinson & James Taurasi. It is not affiliated with the Walt Disney Company. This is number #2/#60 in our quest to watch ever Disney Animation Studios journey. Keep up with our journey: https://letterboxd.com/dcollegepod/list/the-disney-college-podcast-ranking/ Our theme song, “When You Wish Upon a D” is performed by Daniel Fallon. Follow us on Instagram at instagram.com/dcollegepod Check out Bradley's band, THE AWAY TEAM at: www.Instagram.com/awayteamband Check out James' channel, TogeTips. --- 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/dcollegepod/message

I got caught up playing in the kitchen and lost track of time. Oops! But my poor planning is a great opportunity to catch up on this oldie but goodie, When You Wish Upon a Thai Constellation. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thehealthofthepeople/support

We've decided to change things up for season three. Each month we will be throwing one of the sixty Disney Animation Studios films into a randomizing generator and trying to watch all sixty. This month we let you choose… Disney College Podcast is hosted and created by Bradley Robinson & James Taurasi. It is not affiliated with the Walt Disney Company. This is number #1/#60 in our quest to watch ever Disney Animation Studios journey. Keep up with our journey: https://letterboxd.com/dcollegepod/list/the-disney-college-podcast-ranking/ Our theme song, “When You Wish Upon a D” is performed by Daniel Fallon. Follow us on Instagram at instagram.com/dcollegepod Check out Bradley's band, THE AWAY TEAM at: www.Instagram.com/awayteamband Check out James' channel, TogeTips. --- 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/dcollegepod/message

This month we festively talk “Spider-Man: No Way Home”, “Encanto”, Disney firing a dog, COVID, Wage War, Christmas and Magic Kingdom going up in flames. Disney College Podcast is hosted and created by Bradley Robinson & James Taurasi. It is not affiliated with the Walt Disney Company. Our theme song, “When You Wish Upon a D” is performed by Daniel Fallon. Follow us on Instagram at instagram.com/dcollegepod Check out this weird new band we found: https://www.instagram.com/ex.esofficial/ Check out Bradley's band, THE AWAY TEAM at: www.Instagram.com/awayteamband Check out Bradley's show, “Cinema Is Dead” at: https://anchor.fm/cinema-is-dead Check out James' channel, TogeTips, on Youtube. --- 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/dcollegepod/message

James went to Disney and we talk about it. We also talk about “Home Sweet Home Alone”, Disney+ day, "Eternals", our ranking in Nigeria and a mysterious new band called Ex//Es. Disney College Podcast is hosted and created by Bradley Robinson & James Taurasi. It is not affiliated with the Walt Disney Company. Our theme song, “When You Wish Upon a D” is performed by Daniel Fallon. Follow us on Instagram at instagram.com/dcollegepod Check out this weird new band we found: https://www.instagram.com/ex.esofficial/ Check out Bradley's band, THE AWAY TEAM at: www.Instagram.com/awayteamband Check out Bradley's show, “Cinema Is Dead” at: https://anchor.fm/cinema-is-dead Check out James' channel, TogeTips, on Youtube. --- 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/dcollegepod/message

This started as a Music Talk about Taylor Swift's re=recording of "Red" with our Taylor Swift expert Emmie Dill... and quickly turned into our first episode of "sleepytime" seven months. We talk about everything from "Red (Taylor's Version)" to Bradley trying to explain what the difference between SD and HD is (while providing examples that the audience can't see). James and Bradley will return to discuss James' Disney adventure on 11/28/21. Bradley will be appearing on "No Highway Option" on 11/23/21. Disney College Podcast is hosted and created by Bradley Robinson & James Taurasi. It is not affiliated with the Walt Disney Company. Our theme song, “When You Wish Upon a D” is performed by Daniel Fallon. Follow us on Instagram at instagram.com/dcollegepod Check out Bradley's band, THE AWAY TEAM at: www.Instagram.com/awayteamband Check out Bradley's show, “Cinema Is Dead” at: https://anchor.fm/cinema-is-dead Check out James' channel, TogeTips, on Youtube. --- 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/dcollegepod/message

This week we discuss our hiatus and it's current status, what we've been up to and our take on all the Disney news we missed. But don't worry, we don't forget to get spoooookkkkyyyyy. You'll also be subjected to us reviewing the new “Muppets Haunted Mansion” and “Lego Star Wars Terrifying Tales”… torturous… I know. Disney College Podcast is hosted and created by Bradley Robinson & James Taurasi. It is not affiliated with the Walt Disney Company. Our theme song, “When You Wish Upon a D” is performed by Daniel Fallon. Follow us on Instagram at instagram.com/dcollegepod Check out Bradley's band, THE AWAY TEAM at: www.Instagram.com/awayteamband Check out Bradley's show, “Cinema Is Dead” at: https://anchor.fm/cinema-is-dead Check out James' channel, TogeTips, on Youtube. --- 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/dcollegepod/message

Jean-Yves Thibaudet – Carte Blanche (Decca) Jump to giveaway form French pianist Jean-Yves Thibaudet celebrated his 60th birthday with a trip to Hawaii in September. He also marked the occasion with the release of his new recording, Carte Blanche. “This was an album where I was given literally carte blanche,” Thibaudet said. “I could choose whatever. It might not have happened without the pandemic, and I did it with the greatest love and joy. I had such a good time doing it. The variety and choice of pieces on this album shows my personality.” The recording opens with the suite from Pride and Prejudice, and it features important moments. How did you decide which ones to highlight? “This is something I did with Dario Marianelli. He is an extraordinary composer, and that score is very important and special in my life. That is why I wanted it not only to be on the record, but also start it. “That piece has opened many doors in my life. It has reached so many people in the world, and I cannot tell you how many people still go to my concerts because of it. I also have people coming to me at the end of the concert to say hi and tell me that that was their first concert. They would say, ‘I just came because I saw your name and your the guy from Pride and Prejudice. I love that score so much.'” Why did you choose The Lady and the Nightingale, by Enrique Granados, to honor Spanish pianist Alicia de Larrocha? “She owned that repertoire completely. It's such beautiful music. The chords are so wonderful. I love the effects of trills mimicking birds. I think it's really beautiful and fun to play. I had to do something from Larrocha because I have such great admiration for her.” Did you dedicate a piece to Renée Fleming? “My playing is in honor of her, because I've learned so much as a an artist from Fleming. It has been the greatest lesson playing with all the other wonderful singers. She has beautiful control of breathing, the legato and of phrasing. “There is a little story to one of the pieces — my transcription of ‘When You Wish Upon a Star' from Disney's Pinocchio. We actually did a PBS program for New Year's Eve, United in Song: The Resilience of American People. She chose to do ‘When You Wish Upon a Star,' which has the most touching and beautiful theme. “I just adore that piece so much. I was thinking, ‘God, I need to play it just for my own pleasure.' I started incorporating, yet again, the singing line into the piano. I was making progress and I finally came up with the arrangement on this album. It gave me so much joy that I wanted to share it, and that certainly is a special gift for Fleming.” Watch now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Jean-Yves Thibaudet – Carte Blanche (Amazon) Jean-Yves Thibaudet – Carte Blanche (Decca Store) Jean-Yves Thibaudet (official site)

When You Wish Upon a Pod...On this week's episode, and in honor of Walt Disney World's 50th anniversary, we're asking the toughest question yet: Which ride in WDW is the best ride in WDW. We're joined by Michael and Kelsey D'Emilio, Nia's brother and sister-in-law, to talk about the rankings, personal picks, and ultimate predictions. Tangents include but are not limited to: Michael's Greatest Prank Ever (that took place on the TTA: Peoplemover), how Kelsey didn't know that Space Mountain was a rollercoaster, and Bob Iger's greatest betrayal to WDW fans everywhere (hint: it's replacing Maelstrom).Voting Schedule:Monday 9/27: Opening Round VotingTuesday 9/28: Sweet Sixteen VotingWednesday 9/29: Elite Eight VotingThursday 9/30: Final Four VotingFriday 10/1: Championship VotingSaturday: Winner Reveal on a brand new episode!Link to vote is right here, bbs. ★ Support this podcast on Patreon ★

The first ever episode, in which the brothers introduce themselves and then jump into the sprawling subject at the center of their lives: capital-G God. Recommended and Referenced Resources include: Lectures: "On Not Being C.S. Lewis" (https://www.youtube.com/watch?v=gh4lrpBj3I8) by Francis Spufford Books: The Harrowing of Hell by Evan Daum, Dangerous Journey by John Bunyan, PZ's Panopticon by Paul Zahl Songs: "God Knows" by Donna Eyes, "Stand Back" by Stevie Nicks, "Shot Down in Denver" by Chalice, "When You Wish Upon a Star" by Gene Simmons, "Son of the Father" by Elton John, "More Than Molecules" by Fox, "Funky Funky Beat" by Jean-Michelle Navarre Click here (https://open.spotify.com/playlist/1avwpuAHwUIVqM2BaNtMQ4?si=euSMGQIgQhiKb0l8vYXgWA) to listen to a playlist of the available tracks on Spotify.

ESCUCHAR CON CASCOS/AURICULARES Bienvenid@, en esta ocasión te presento esta hermosa lista de reproducción de canciones de Disney con piano y en formato 8D multisensorial. Cierra los ojos y déjate llevar por estas hermosas canciones de Disney. Recuerda que en mi canal MIXER puedes escuchar música relajante las 24 horas del día. https://mixer.com/SoundsGo 1. A Whole New World- Alladin - (Menken/Rice) 2. Part of Your World -The Little Mermaid- (Ashman/Menken) 3. Beauty and the Beast - Same as title- (Ashman/Menken) 4. Can You Feel the Love Tonight? - Lion King- (John/Rice) 5. Colors of the Wind - Pocahontis - (Menken/Schwartz) 13:16 SHEET MUSIC AVAILABLE! http://mnot.es/2GUeOuX 6. Bella Notte - Lady and the Tramp - (Lee/Burke) 7. A Dream is a Wish - Cinderella - (David/Hoffman/Livingston) 8. Someday My Prince Will Come - Snow White - (Morey/Churchill) 9. So This is Love - Cinderella - (David/Hoffman/Livingston) 10. Once Upon a Dream - Sleeping Beauty - (Fain/Lawrence) 11. Winnie the Pooh - The Many Adventures of Winnie the Pooh - (Sherman/Sherman) 12. Cruella De Vil - 101 Dalmations - (Leven) 13. It's a Small World - Attraction at the Magic Kingdom and Disneyland - (Sherman/Sherman) 14. When You Wish Upon a Star - Pinocchio - (Washington/Harline) 15. Mickey Mouse March - Mickey Mouse Club TV Show - (Dodd)

Show Notes The last thing we need are more mothers. “Peter Pan” (1953) Disney http://www.imdb.com/title/tt0046183/ “Musak” Stimulus Progression http://en.wikipedia.org/wiki/Muzak_%28brand%29 “When You Wish Upon a Star” (1940) http://en.wikipedia.org/wiki/When_You_Wish_upon_a_Star  “Flamenco Sketches” Miles Davis (1959) http://en.wikipedia.org/wiki/Flamenco_Sketches “Oliver Twist” (1948) http://www.imdb.com/title/tt0040662/ “Intergalactic Space Crusaders” Arjen A. Lucassen's Star One https://www.youtube.com/watch?v=KD0JuJr0a4I “How to See Multi-Dimensional Beings” https://www.youtube.com/watch?v=6V3I2eD0gWc “The End” The Doors http://en.wikipedia.org/wiki/The_End_%28The_Doors_song%29 “Apocalypse Now” (1979) http://www.imdb.com/title/tt0078788/