#dionne foster

[shitcharlesknows]

Charles knows the way to San Jose.

[immoral-stranger]

Dear readers, ♡

I am welcoming you all to my writing project love letters – which will result in 12 little fics inspired by some of my favourite songs! They will be shorter than my usual writing (aiming for 2-10k max).

How to participate:

Read the prompts under the cut and pick your favourite.

Send me a request with the corresponding emoji and preferred driver to my ask box or through private message. Please feel free to write your own ideas for the fics as well ♡

They can be fluffly, smutty and/or angsty. No anonymous requests for anything explicitly sexual. I won't use the asks to post the fics so don't be scared to go off anon or send me a DM.

Join my taglist to never miss when a letter is posted!

XOXO, Ollie ♡

🎞️ “Two fools in a one-horse town.” – Sam Fender, Two People.

🪩 “With the exception of you, I dislike everyone in the room.” – Arctic Monkeys, Stop the world I wanna get off with you.

💋 “I can get a little drunk, I get into all the don’ts but on good days I am charming as fuck.” – Tove Lo, Moments.

🪐 “I like to stick to walls. Observing conversations, lifting them when they fall.” – Foster the People, Fire Escape.

🦢 “And I never was smart with love, I let the bad ones in and the good ones go.” – Robyn, Indestructible

🫀 “When I’m afraid, I lose my mind. It’s fine, it happens all the time.” – Yung Lean, Agony.

🥂 “I can’t remember when we met because she didn’t have a top on.” – The 1975, Me & You Together Song.

🧣 “I wanna be alone. Alone with you, does that make sense?” – Billie Eilish, Hostage.

🎲 “I know it’s not very sexy when somebody loves you this much and knows you this well. But it’s the way it is.” – The Japanese House, Dionne.

⌛️ “I know we said we shouldn't talk, but I lost a friend and maybe that's the hardest part.” – Léon, Die for you.

🍓 “You’ve never done me wrong, except for that one time we don’t talk about.” – Boygenius, True Blue.

🃏 “Oh, you can laugh it off, but you started a war.” – Mk.gee, Rockman.

[torchflies]

where did the quintuplets go after duke died? did they go into foster care or did viper manage to get custody of all of them?

If they went into foster care they prolly got separated and stuff...were they old enough to remember each other? Or did they forget until they somehow bumped into each other figured it out? Did viper manage to tell Pete and they tracked down the other four?

OR WHAT IF. what if viper managed to get custody of some of them but not Pete? Like he always tells them about their brother and they know he exists but Pete thinks he's alone...until he bumps into 4 copies of himself on base and then they manage to tell him about what happened. Pete needs time to process and goose holds him as he cries.

OR- viper gets custody of all of them and raises 5 boys and two girls (because he's a girl dad obvi) and they get up to all kinds of ridiculous stuff and they actually managed to get jester to loosen up around them as a kid and it's stressful parenting all of them but viper wouldn't have it any other way

AHHHHHH!!!! I love your headcanons for the Quints growing up!!! Viper does get them eventually! But their childhood followed the same sad trajectory as another set of miracle identical quintuplets born about a decade before them (the Dionne Quints).

The AU is called Quintland, because back in the ‘50s — five identical little girls were raised in what was a essentially a theme park fishbowl for people to gawk at them. The same way we do today with reality shows of multiple birth families (Jon & Kate + 8, Outdaughtered etc).

The Mitchell Quints spent the first couple years of their life living on a Kentucky farm in the middle of nowhere. But after their father died and their mother took her own life, the doctor who saved their lives and kept the secret of their birth — finally took custody of them and started selling their images to the public. They essentially grew up as a traveling sideshow act. They weren't loved, except by each other, they were just used to sell stuff, perform like toys and be harrassed by crowds.

Eventually, Viper found out what was happening and took custody of the boys at twelve. But so much damage had already been done. Still, they enjoyed a great life with the Metcalfs and so many of them went Navy because they love Viper so much.

Captain Lynden Henry “Lynds” is the oldest and is a flight surgeon, but spends a lot of time in and out of Navy Medical on the ground. He's the leader of the Quints, and his brothers complain about the massive stick that lives up his ass.

Theodore Payton “Teddy” is a much loved father of two, his wife’s name is Patty and he's a kindergarten teacher. He would not touch the Navy with a ten foot pole. His kids are named Madeline and Mickey.

Captain Kiffin Roosevelt “Kiff” is obsessed with how things work and that's why he's an EDO, an engineering duty officer. He spends most of his days working on something, so he's either sleep-deprived, sticky or both. His brothers can tell what he's thinking by the look on his face.

Lt. Michael Mallory “Mal” is next and he's a priest turned Navy Chaplain. He and Mav annoy the shit out of each other and will actively try to gore each others’ eyes out on sight 😅

Then comes our favorite boy Peter Bradley!

[rpfofficial]

the soundtrack to nope is so crazy i mean it has la vie c'est chouette a pretty controversial recording of 15 year old jodie foster singing a sleazy love song and then walk on by dionne warwick which literally has the lyrics "Just let me grieve in private" and then the absolute banger that is exuma the obeah man which says "I got the voices of many in my throat" and "I can make the sun fall from the sky". jordan peele was THOROUGH with this shit please mr peele i just wanna talk please  

[thesinglesjukebox]

DOJA CAT - "PAINT THE TOWN RED"

Spooky season lasting a little longer than anticipated...

[4.75]

Jacob Sujin Kuppermann: Doja Cat's music and Doja Cat's public image are in this weird inverse dynamic where the more outré and provocative she gets the more boring her work gets. This has no distinguishing features at all, an expensive sample wrapped around a platonic solids. For an artist that, at her best, could be either an exquisite pop-rap irritant or an effortlessly charming hook machine, here she seemingly intentionally choses to be neither. At this point, she's an empty retread of her empty retreads. [3]

Michelle Myers: Massive, obvious samples like this are actually quite bold if you consider how easy they are to do poorly. Helps that the selection isn't arbitrary. "Paint the Town Red" channels the same refined resentment that Dionne Warwick mastered in the '60s. The raps are flowy and villainous with some genuinely weird phrasing. Euch! [7]

Jackie Powell: I couldn't be more glad that Dionne Warwick, an underrated legacy artist, once again gets her mainstream due. First she was the queen of Twitter before Elon Musk turned it into a dumpster fire, second she was impersonated by Ego Nwodim on SNL, and now she's been included in a Billboard Hot 100 No. 1 hit. Unfortunately "Walk On By" didn't have a random revival cover, but rather Doja Cat took Warwick's hook followed by the two bar trumpet riff that follows it to serve as the heart and soul of her diss track "Paint the Town Red." Warwick's original song is about getting over heartbreak, but Doja Cat uses Warwick's vulnerable hook as a chiller means to say buzz off. That's why "Paint the Town Red" feels lyrically out of place. Doja is trying to emulate an I-don't-give-a-fuck type of attitude alongside one of the more vulnerable hooks of the 1960's. That contrast leads me to believe that Doja Cat actually does care about the droves of people on the internet that have a problem with her. Using the phrase "walk on by" to dispel haters might make sense initially, but writers Burt Bacharach and Hal David intended for it to be much more introspective and about some personal accountability. That doesn't happen in "Paint the Town Red." [5]

Harlan Talib Ockey: Every time I hear this song, I immediately cue up its slowed and reverb remix, and then I am at peace. I'm going to avoid engaging in Doja Discourse (you hate your old music and your fans, okay), but for something that's supposed to be a demonic clapback, this ends up feeling a little too bouncy and endearing. The snaps in the percussion leave the trumpet sample sounding oddly jaunty. Even the title is quaint, more "pleasant carousing" than scaring the haters into submission. (Unless the implication is she's painting the town red WITH BLOOD, but that's just funny.) The one element that is genuinely intimidating is the vocal harmonies, and I think what keeps dragging me back to the slowed and reverb remixes is the extra depth and menace they gain. [6]

Wayne Weizhen Zhang: Tik Tok background music that dissipates into invisible wisps of smoke when it's asked to foster any IRL connection. [3]

Tim de Reuse: I do not like Doja Cat. There's a featheriness in her aesthetic that itches at me. At high enough energies her delivery is like being caught on the kiddie coaster at the fair malfunctioning at sixty miles an hour. I [1]'ed her breakout hits on this very site back in the day. I hate fun; My poptimist card has long lapsed; I'm never here to have a good time. But here, there's a heaviness to her delivery. No longer failing to seduce, now proudly misanthropic, her style -- finally, finally! -- clicks into place, immune to my curmudgeonly nitpicks. If I dug in, I might find insincerity, awkward rhymes, lazy lyrics, but that's not a fight I can win. She is not here for me to have a good time. Finally, we agree on something. [7]

Nortey Dowuona: Doja Cat deciding to embrace her super serious Little Brother side proves that some folks need to stop running from liking browbeating purist rap. We've been doing it for years now, and whenever this happens. it's dispiriting to the actual true schoolers who won't switch up and chose to continue making purist rap and the cynicism by certain pop rappers who wish to escape the scrutiny and hype caused by their own actions and sharpen their hooks, pick more important and complimentary beats, get makeovers, then chafe at the restrictions and try to become serious without undertaking the necessary effort to make oneself -- at this point, the writer realized he was in this picture and ragequit. [6]

Ian Mathers: An earworm of a chorus deployed over a lovely use of the Warwick "Walk on By" and maybe the only song I've heard to make me think of both Kendrick and "212," but ultimately with this kind of power move it comes down to: when she starts off with "bitch, I said what I said," does it signify? I discounted this one on first listen and then came back a few days later and rewrote this blurb after I couldn't get it out of my head, so you tell me. [8]

Oliver Maier: Boring, mostly because Doja is entertaining as a rapper when she's being a weird little sex gremlin, not brandishing a huge inexplicable chip on her shoulder about being one of the most successful musicians on the planet. Even the touches of whimsy -- like the breathy, higher register she brings out on the god-awful chorus -- feel perfunctory, like they're only there to remind you who you're listening to. More whole lotta nothing than whole lotta red. [3]

Brad Shoup: A jaw-dropping heel display here, a weapons-grade blister agent: like prime Eminem without the self-thinkpiecing. She makes one feeble attempt to sort the fans from the freaks--otherwise, it's omnidirectional menace. The jokes are great; the image she inhabits is too. To sound famous, Doja Cat risks looking ridiculous ("ain't no sign I can't smoke here"), getting so deep into her lore I'm honestly surprised she didn't threaten to show feet. The sophistipop sample is big and obvious, but she doesn't interact with it like on "Vegas". In fact, listen hard enough and Warwick becomes a beleaguered member of Doja Cat's team, pleading with her to drop it already. [9]

Katherine St Asaph: At the risk of engaging in the sort of parasocial shit Doja Cat openly despises, including on this song: What demon lord are we talking here? Lamashtu? Oublivae? What is the Doja Cat lore? (Besides an Internet history of far-right chat rooms and a present history of working with Dr. Luke. Just pretend the "Walk on By" sample is siphoning more of the proceeds to Burt Bacharach than it probably actually is.) [7]

Michael Hong: Explained Doja Cat lore to my friend under the dim lighting of a restaurant, from "she was showing feet! in the racial chatroom!" to her berating her fans for acting like they know her. Knowing that, it's incredible how little bite, or anything resembling weirdness, her music has. [3]

Taylor Alatorre: For most people under the age of 60, "paint the town red" is not a phrase that immediately calls forth any specific, tangible emotions or experiences, if indeed it ever did. That doesn't mean it can't be used as the basis for a contemporary song, but it should ideally be expanded upon, with some sturdier reference points brought in to help with the heavy lifting, rather than left to fend for itself in an ocean of tetchy self-justifications. Name-drop Carti or Trippie, claim a tenuous connection to the Bloods if you have to, just do something. Maybe the Dionne Warwick nod is meant to do that -- an old-timey phrase paired with an old-timey tune -- but I doubt it. If that were the case, they probably would've done something with the sample beyond giving it the most basic Pro Tools treatment imaginable. [1]

Aaron Bergstrom: It sure doesn't take long for that sample to go from pleasantly hypnotic to painfully tedious, which is a problem since it's the most interesting part of the song. [3]

Leah Isobel: This year, Kim Petras released an album called Problématique, a title that petulantly nods to her association with Dr. Luke and the aura of controversy that has consequently clung to her work. Earlier that week, "Paint The Town Red" hit number one. While Doja's association with Luke hasn't impacted her career in precisely the same way as it has Kim's, his presence has undoubtedly shaped the discourse around her. "Paint The Town Red," and the whole Scarlet album cycle, demonstrates how that discourse has, in turn, shaped Doja right back. The needling repetition of the line "Bitch, I said what I said" has big I'm-not-bothered-you're-bothered energy, turning the laid-back bounce of the sample into something testy and passive-aggressive; the post-chorus slide into the third person is like she's psyching herself up, trying to summon her persona in order to escape her own emotions. I'm very sympathetic to Doja -- her work is admirably honest about how dehumanizing it is to be a woman who makes pop. This feels more and more vital as the industry contracts around the demands of major labels, who have a habit of hiring dudes like Luke to flatten out creative and talented women. In this light, Doja's edgelord heel turn isn't surprising; it's just sad, and predictable. [4]

Joshua Minsoo Kim: Becomes tiresome with every passing minute. Everyone who complained about TikTok songs being 90 seconds was wrong. [1]

[Read, comment and vote on The Singles Jukebox ]

[noah-blake-journey]

Dionne Warwick: A Life of Music, Charity, and Impact

By Noah Blake

Today, we celebrate the incredible Dionne Warwick on her 84th birthday—a woman whose life has been a symphony of extraordinary talent, unwavering generosity, and boundless compassion. Known for her timeless music that has soothed and inspired millions, Dionne Warwick’s legacy extends far beyond her Grammy-winning career. She is, at her core, a force for good, a giver of herself, and a beacon of hope.

The Voice That Raised Millions

In the height of the AIDS epidemic, when stigma was at its peak, Dionne Warwick lent her voice to a cause that desperately needed champions. Her rendition of “That’s What Friends Are For” alongside Elton John, Gladys Knight, and Stevie Wonder raised millions of dollars for AIDS research and support. It wasn’t just a song; it was a lifeline to those struggling for recognition, dignity, and hope.

Advocate for Health and Hunger Relief

Warwick’s compassion didn’t stop there. As the U.S. Ambassador of Health under President Reagan and later a UN Global Ambassador, she worked tirelessly to educate communities about disease prevention and hunger. Her advocacy efforts have saved lives and inspired action across the globe.

A Champion for Equality

Growing up during the civil rights movement, Dionne Warwick was never silent in the face of injustice. Using her platform, she actively supported desegregation efforts and became a voice for racial equality—long before it was a comfortable or popular stance for someone in her position.

Bringing It Home

In her hometown of East Orange, New Jersey, Warwick’s commitment to community is immortalized in the Dionne Warwick Institute, an elementary school named in her honor. Through this, she ensures that future generations have the tools and inspiration to achieve greatness. Her pride in her roots reminds us all of the power of giving back to where we came from.

A Lesson for All of Us

Dionne Warwick doesn’t just sing about love and friendship—she embodies these values. As we celebrate her today, let us also reflect on how we, as a community, can follow her example. We may not have her platform or her resources, but we can all take small, meaningful steps. Let’s foster goodwill in our neighborhoods. Let’s invest in the education and well-being of our youth. Let’s engage in causes that uplift others. Together, we can honor her legacy by making our own difference in the world.

Celebrate Her While She’s Here

Let us pay homage to Dionne Warwick now—while she’s here to feel our love and appreciation. Let us revel in her sacrifices and her achievements. God is good all the time, and through her talent, her charity, and her tireless efforts, Dionne Warwick has blessed us all.

A Song for the Soul

As we reflect on her life and legacy, let’s listen to “What the World Needs Now Is Love,” a timeless anthem that reminds us of her enduring message of unity, compassion, and hope.

Happy birthday, Dionne Warwick. May we wear your achievements with pride and strive to walk alongside your example. You’ve shown us the way—now let’s keep it going.

#BlackVoices #ReflectionsByNoahBlake #SoulJourney

#JourneyWithin #OurStoriesMatter #UnityThroughWords

#BlackLegacy #VoiceAndVision

[mikeross01]

CARA-C is a multi-genre, Grammy-balloted, Pop Violinist.

CARA-C is a multi-genre, Grammy-balloted, Pop Violinist. A Juilliard graduate and winner of the LA Music Awards, Cara has graced many of the world’s top stages, including Carnegie Hall and PBS.

She has performed with some of the music industry’s giants: Whitney Houston, Bono, David Foster, Barry Manilow, Burt Bacharach, Dionne Warwick, N-Sync, and Kenny Loggins.

Cara supports the aerospace and aviation industry, environment, and music education. She has performed at the Living Legends of Aviation Awards, Independent Spirit Awards, LA Galaxy, American Idol, America’s Got Talent, and Dancing with the Stars.

She is a creator and a communicator. “I aim to be the messenger of harmony and creativity through the sound of my violin,” Cara says. She has an impact on every soul who embraces her spirit. Her powerful artistic expression captivates three generations of audiences worldwide.

[booksbydlwhite]

#SampleSunday- The Pearl: "It's time to make a move for yourself."

Welcome back to Sample Sunday! I am sharing snips of THE PEARL, my upcoming Black Diamond romance. Pick up last week’s sample to meet our hero, Davis Scott. Today we meet our heroine, Kari Savoy.

Interested in my inspirations for this novel? Follow The Pearl’s Pinterest board.

As usual, I am tracking progress and revelations of writing this book on my author podcast The Bookcast. Catch up with Episode 77 to hear how the writing is going.

“What do you think the kids will say about you leaving Austin and moving to Black Diamond?”

“Well,” I mused, thoughtfully. “Since the kids are nineteen and twenty-one, I’m not sure they care. They’re probably happy to be rid of me.”

“Nonsense. Where would Reyna and Moses would be without you? Literally, where?”

I rolled my answer around my head before giving it air and sounds. It was time, but I knew leaving my siblings would be harder than I told myself it would be.

“They got to stay in the house they’ve always known,” I parsed out, thoughtfully. “They kept a semblance of normal life. They don’t see the sacrifice it took to make that happen. Moses gets some of it, but Reyna has blinders on. They don’t know what parts of my life I put on hold to make sure they stayed together, finished school, became productive members of society. They’re used to me being there, taking care of everything, being the adult. The authority figure. I’m afraid they’ll see me moving away as abandonment. And after losing their parents, I don’t want to make them feel that.”

“You’re not abandoning them, though. You’re four hours from Austin. Phones and Face time and planes exist. And they’re both away at school. They hardly come home, anyway. It’s time to make a move for yourself, Kari.”

“True.” I raised my head and shot a sad smile across the table. “I hope they see it as me making a move for myself, and not me running away from them the first chance I got. I know that’s going to be Rey’s reaction.”

Dionne huffed, peeling away a layer of the cinnamon roll we were supposed to be sharing, but I was full from the milkshake, and talking about the difficulties of raising my siblings always sapped my appetite. “Let’s not talk about how you could have run away from them when you had to choose between staying in Houston or moving back home so they wouldn’t be split up in foster care. As for Reyna, she’s a… what are they called? Millennial? That age group that people say are self absorbed and need to be winning all the time or the earth will tilt off its axis?”

I giggled. “No, Dionne, you and I are millennials. And thank you for that unflattering description of our generation, by the way. Rey and Mo don’t like to be put in socially constructed boxes.”

“Of course. They want to be individuals. Just like everyone else.”

Dionne smiled up at the waitress as she set our bill at the corner of the table. I snatched it up and dropped it into my lap.

“Other than school and grades and attitudes… how are they? Emotionally.” She asked, going back to the cinnamon roll.

“Well, Mo has always been better than Rey, but even he has rough times, especially around the anniversary of the accident. Some days it’s like it just happened. Some days they act like everyone should be over it, and want to know why people are concerned about their mental health.”

“Do you think they’re ready to be out there on their own?” Dionne questioned, concerned.

I let out a sigh, leaning back in my chair. “Honestly, I don’t think anyone is ever really ready. We just jump. I did my best to prepare them, so we’ll see.”

Dionne nodded, understanding the weight of my words. She reached over and placed her hand on top of mine, giving it a reassuring squeeze. “I’m glad you’re moving here,” she said softly. “You need a fresh start and new opportunities. Speaking of…”

She rolled her eyes up so they met mine. I already knew what she was about to ask. “Noah is still in the past. Right?”

“Girl, yes. Noah has been history.” 

“Does he know you’re leaving Austin, though?”

“Not from me. We haven’t spoken in months.”

“Not at all? He just stopped calling one day and…” Dionne shrugged.

“And nothing. Five years of on, then off, then on again because he was bored and between girlfriends, then disappearing into thin air. Then I see him parading other woman around town, without even having the relationship ending conversation.” I twisted my lips into a surly frown. “I can take a hint.”

“I heard that,” Dionne said. “All the way to a beachside resort.” 

[independentartistbuzz]

Multifaceted talent, sustainability activist, and United Nations SDG champion Ay Young launches the next phase of his Battery Tour with a new climate anthem "Goals."

There's something to be said about the power of being called to make music. But when that power combines with an unshakeable mission to change the world for the better, what you get is the tour de force known as AY Young. 

A UN-recognized sustainability advocate and SDG Champion who's devoted his music to activism since his teens, Young launches the next phase of his Battery Tour with a historic renewable-poweredTimes Square concert on September 21st (the UN International Day of Peace). 

The event is free and open to the public and features virtual messages from Paul McCartney, Stevie Wonder, Dionne Warwick, Shakira, Jane Goodall, Michael Douglas, Leonardo DiCaprio, and more. 

Event begins at noon. Info here. Livestream the performance here.  

With more than 900 performances to date, AY’s globe-spanning Battery Tour has pioneered a unique approach to live music. Powered entirely by renewable energy, the Battery Tour seamlessly blends music with education, community upliftment, and humanitarian initiatives.The Battery Tour has also revolutionized musical performance by introducing collaborative solutions to the global energy crisis. To advance his cause, AY has fostered international cooperation, forging partnerships with corporate brands like Samsung, General Motors and BNP Paribas and civil society organizations like the Joint SDG Fund, Global Resilience Partnership, National Wildlife Foundation, We Don’t Have Time, New Use Energy, Sauntr, Plastic Pollution Coalition, Ideas for Us, Faraday Foundation and Clever Carbon.

It's not difficult to see why: "GOALS" bumps with a sense of hope that's impossible to resist. 

LISTEN - https://ffm.to/goalsayyoung

WATCH - 

CONNECT WITH AY YOUNG:

WEBSITE | FACEBOOK | INSTAGRAM | TIKTOK | TWITTER | YOUTUBE

As much as AY's music rouses a feeling of duty towards our collective stewardship of the earth, he also understands that hope is the greatest motivator. It also doesn't hurt to have one of the year's catchiest hooks in your back pocket — which could just as easily be said about previous single "2030." 

"GOALS" is the title track from AY's new EP due on March 16th. TheEP sets the stage for AY's upcoming full-length Project 17, which features a track dedicated to each of the United Nations' 17 Sustainable Development Goals. 

[vickiabelson]

Today, Live! I had the thrill of watching drummer extraordinaire Walfredo Reyes in action last month killing it with Chicago. A highlight of the show was when Walfredo jumped out from behind the kit and switched places with percussionist Ray Ray Yslas. Wow, just wow! Wallfredo has been with Chicago for 11 years, starting out as the percussionist and then taking over the drum seat. Meeting Wally in the green room was almost as thrilling––he’s passionate, exuberant with stunning credits.

A long-time member of Santana, Wally has toured and/or recorded with Carlos Santana, Traffic, Steve Winwood, Jackson Browne, Celia Cruz, Gloria Estefan, David Lindley, Ricki Lee Jones, Richard Marx, Sergio Mendes, Smokey Robinson, Robbie Robertson, Joe Sample, Boz Scaggs, Christina Aguilera, Ricky Martin, Johnny Hallyday, Khaled, Lindsey Buckingham, and many others.

Wally’s family is music royalty. His father, Alfredo Reyes Sr, played with Josephine Baker, Louie Bellson. Bobby Darin, Dionne Warwick, Juliet Prowse, and Debbie Reynolds, to name some. His daughter, Lilliana de los Reyes is on tour with George Benson, his brother, Daniel Del Los Reyes, is the percussionist with the Zach Brown Band, his actor brother, Kamar de los Reyes and his wife Sherri Saum are on The Fosters, and both of his sons, Joseph and Gabriel de los Reyes are musicians on the rise. Sounds like a dynasty to me. 

There’s lots to talk about and with Wally, we’ll have big fun doing it. Can’t wait.

Walfredo Reyes Jr. Live on Game Changers With Vicki Abelson

Wed, March 29, 5 pm PT, 8 pm ET

Streaming Live on The Facebook

Daily by Toni Vincent & @peter_and_paul_ Cartoons

[graemepark]

THIS IS GRAEME PARK: LONG LIVE HOUSE RADIO SHOW 13JAN23

LONG LIVE HOUSE RADIO SHOW 13JAN23

In this week’s Long Live House Radio Show:

Kyodai

Lovebirds feat. Declam McDermott

Third Attempt

Angelo Ferreri & Hatiras

Lonely C feat. Kendra Foster

Joy Orbison & Léa Sen

Fingers Inc.

Farley “Jackmaster” Funk

Ragtyme feat. Byron Stingily

Cultural Vibe

Loleatta Holloway

Inner City and more.

LONG LIVE HOUSE RADIO SHOW 13JAN23

Title (Mix), Artist

Mimoun Marhaba, Maalem Mahmoud Guinia & Floating Points

4U, Kyodai

Mar-A-Lago, Lovebirds feat. Declam McDermott

Love Star, Third Attempt

I Can Be Your Love, Angelo Ferreri & Hatiras

I Ain't Worried (Zopelar Remix), Lonely C feat. Kendra Foster

Better, Joy Orbison & Léa Sen

Believe in Love, Mr. Root

It's Not Over, Tuccillo

Remember The Funk, Scotty Boy

I Am One, I Am Many (Adelphi Music Factory Remix), James Curd

Come Get My Lovin' (Remix), Dionne

Da Bango, Todd Terry Project

House Of Love (The Raise Your House Mix), Smooth Touch

It's Over (Dub), Fingers Inc.

U Ain't Really House (Really Instrumental), Farley "Jackmaster" Funk

I Can't Stay Away (Powerhouse Mix), Ragtyme feat. Byron Stingily

Ma Foom Bey (Love Chant Version), Cultural Vibe

The Morning After (Club Mix), Fallout

Let's Get Brutal (Cotto AIM Mix), Nitro Deluxe

Love Sensation (Dr Packer Remix), Loleatta Holloway

Share My Life (Graeme Park Vocal Mix), Inner City

[danbenzvi]

Just listened to: “Nope (Original Motion Picture Soundtrack)”

Original music composed by Michael Abels.  Featuring the following tracks:

Jodie Foster (yup, *that* Jodie Foster) - “La Vie C’est Chouette”

Dionne Warwick - “Walk On By”

The Lost Generation - “This Is The Lost Generation”

Corey Hart - “Sunglasses At Night (Jean Jacket Mix)” [Kudos to Jean Jacket.  I did not think there was a way to make “Sunglasses At Night” creepy.  You have proven me wrong.]

Michael Abels & Michael Wincott - “Purple People Reader”

Exuma - “Exuma, The Obeah Man”

[mitjalovse]

I have discussed the notion of an imperial phase and asked myself on the when of them with some musicians. For instance, Elton John did a lot of great work during the 70's, his opus back then rival David Bowie's from the same period, but he has an incredible streak over the entire career. Look, he achieved two number one singles this year, which is an incredible feat for someone of his stature. Then again, we have to check his 80's that followed his great era, since they do provide us with some clues to his longevity. One of them would be his incredible generosity as a collaborator. For instance, he cooperated with Dionne Warwick, Stevie Wonder and Gladys Knight on the single on the link, which might sound like a bit of a pablum, yet no one of them does half-ass throughout the piece.

[omegaplus]

# 2,653

James & Bobby Purify “I’m Your Puppet” b/w “Lay Me Down Easy” Mercury / Phonogram UK label sleeve (1976)

We at Ω+ still are running our “I’m Your Puppet” clearance sale. Dan Penn and Spooner Oldham were the original writers of this hit which made The Purify’s famous the following year, and vice versa. Sam & Dave, Marvin Gaye & Tammi Terrell, Donny Osmond, Dionne Warwick, Foster Sylvers, Elton John & Paul Young, Yo La Tengo, Joe Pernice, and Cliff Richard & Percy Sledge all had covered "I'm Your Puppet" since its' 1965 inception. And we didn't forget this, but Grand Daddy I.U. sampled this for "Something New" (1990), Tragedy Khadafi for "Live & Direct From The House Of Hits (1990), and Hi-C for...drumroll, please..."I'm Not Your Puppet" (1991).

Shown here is based on the 1976 re-recording released in the United Kingdom via the Mercury and Phonogram labels, well after Ben Moore took Bobby Purify’s place. That version was produced through Papa Don Enterprises by Penn and Don Schroeder.