A Change Is Gonna Come: Sam Cooke; Al Green; Beyonce | Tim's Cover Story
on Pinterest. | See more ideas about Kinds of music, Music and Music videos. Awesome karaoke tune - Sam Cooke - "Bring It On Home to Me" .. From here's the first queen of Mowtown, Mary Wells singing one of her top GREAT songs 'The One Who Really Loves You' Thousand Dollar Car-The Bottle Rockets. You See The Trouble With Me (We'll Be In Trouble Vocal Video Edit); Tracks of .. London Is The Place For Me; . The Golden Rocket; Lazy Mary; See more ideas about Rhythm and blues, Music and Soul Music. performed by the Darlin' Mr Sam Cooke "Bring It On Home to Me"."buried in my grave!.
The documentary debuted on BET. This was the grass roots of teaching. Shane Mack was there. Barry Larkin would come out, Kenny Williams. I was fortunate enough to go to scout school with Kenny. It helped us mature and grow to understand there were other young African-Americans going through the same struggles of trying to reach their goals. They kept pushing me to keep pushing forward. I still talk to Eric Davis three times a month. He played for Tony La Russa and I knew they had a relationship.
I told him I was interviewing so I called him and got some background information. So I contacted people I knew over the years for recommendations and De Jon was guys recommended quite a few times.
It was the first time I had been around him. I can see why he got all those recommendations. He has an extensive background from scouting director to player hard work. We want to make sure nobody beats us in hard work. And it probably still does. They just play basketball. He had moved to RCA Victor Records where he was having major commercial success, and he had hired the agent Allen Klein to represent him.
Allen Klein was a powerful agent who had a reputation for creating novel financial agreements that would provide artists with much greater returns for successful albums. Sure enough, Klein set up an arrangement that should have provided Cooke with a large and steady stream of income.
They found Sam Cooke shot to death by the night manager of the motel. The woman, believing that Cooke intended to rape her, fled from the motel room and then called the police. The night manager, Bertha Franklin, claimed that a nearly-naked Cooke had burst into the motel office, demanding to know where the woman in his room had gone.
The inquest report ruled that the shooting was justifiable homicide. They believed a much more likely scenario was that the woman at the motel and the night manager were in collusion to rob Cooke. However, no definitive evidence of such a plot has ever been uncovered. Regardless of the exact circumstances, Sam Cooke was dead at age A Change Is Gonna Come has been covered by over artists, including many of the greatest soul singers. This song has also been covered or sampled by a significant number of rap performers.
The legal wrangles meant that for nearly 40 years, the record was unavailable for inclusion in albums or Sam Cooke retrospectives. For example, even though A Change Is Gonna Come was featured in the movie Malcolm X, the song could not be included in the soundtrack for the movie. One remembers the prolonged struggle against the pernicious aspects of segregation in this country.
Looking over the disturbing trends that have arisen since our recent presidential election, one sees once again the rise of polarizing racial divisions.
Hate crimes are on the increase, and racist and nationalist sentiments are bubbling up from the alt-Right.
Even in our own relatively tolerant community in southern Indiana, we have seen swastikas spray-painted on synagogues and white supremacist flyers slipped under the doors of African-American faculty members. It would be absolutely terrible if, having worked so hard to move beyond those shameful times, we regressed back to the past. Sam Cooke was a brilliant singer and a great songwriter.
He was poised to be extremely successful in the music business. In addition, he was also active in the civil rights movement at the time of his death.
How sad that his brilliant career was snuffed out at a tragically early age. Al Green is an American singer, songwriter, producer and preacher. He was born Albert Leortes Greene inthe sixth son of a sharecropper in Arkansas.
When he was 10 years old, he and his brothers formed a musical group, the Greene Brothers. Unfortunately, when Albert was in his teens, his father caught him listening to pop artist Jackie Wilson. At that point, his religiously conservative dad kicked Al out of the family home.
Embed from Getty Images However, Albert continued his efforts at a career in music. He was hired by producer Willie Mitchell, who urged Green to develop his own individual singing style, instead of copying artists such as Sam Cooke or Wilson Pickett. The results were dramatic; Al Green created a style that highlighted his lovely high tenor voice. His finest recordings showcase a penchant for jazzy filigree and soulful possession rivaled by the likes of Marvin Gaye and Aretha Franklin.
Al Green had moderate success with his first album. His second album contained his first big single, Tired of Being Alone. That song reached 11 on the Billboard Hot pop charts inand 7 on the soul playlists.
What a powerful, moving tribute! Here, Al Green would be right at home in a black church. I found this a compelling element in a virtuoso performance. For a number of reasons, Al Green turned towards religion starting in the mids.
This was in part because of the suicide of his girlfriend Mary Woodson White in Despite the fact that she was already married, Ms. White was apparently angry that Green refused to marry her. Following an argument between the two, White threw a pan of boiling grits at Green while he was bathing. Unsurprisingly, Wendy was more concerned about conveying thanks to Bruce and the band for coming to Christchurch than the accolades that have come her way since Bruce's intro to "My City of Ruins" put a spotlight on her petition.
I'll let her words finish this report, as they not only perfectly summarize a special evening but capture her no-bullshit, brilliantly genuine spirit in a city where spirits have been tested but hope, however far-flung, hangs on. When I asked what she'd say to Springsteen if she had his ear, she rubbed her eyes, glanced out the window and looked me straight in the eye.
But you haven't seen it like this. For the 30th anniversary of Orbison's comeback special — which featured seriously overqualified sideplayers including, of course, Bruce Springsteen — the much-lauded concert film has gotten a major overhaul.
A brand new minute mini-documentary consists of rehearsal footage as well as pre- and post-show interviews with players Springsteen, Elvis Costello, k. All audio has been remastered by Richard Dodd. The two-disc set, with liner notes by Roy Orbison, Jr. Struggling for balance, he was startled to see the door of his microwave oven fly open and the circular dish inside come flying out. Sidestepping the airborne implement he made his way to the street as dust swirled from collapsed buildings and people around him cried.
Three years in the New Zealand military settled his mind and got him thinking about helping others, but tears came nonetheless as the ground cracked and began oozing grey, silt-filled water.
Deon was soon knee-deep in a river running down his CBD street, the sinister product of severe liquefaction that would turn everything underground "jelly" and leave large chunks of Christchurch and the greater Canterbury region uninhabitable for years.
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That earthquake also killed people. Tuesday night, a day short of the sixth anniversary of the third-worst natural disaster in New Zealand history, Bruce Springsteen plays his first-ever concert in Christchurch.
It comes only days after a fire that raged in the Port Hills section of the city was brought under control, a fire that took the life of a war-decorated helicopter pilot, destroyed 11 homes, saw more than 1, residents evacuated, and sent plumes of smoke over the residents of a region who last November experienced an all-night tsunami warning after a 7. To say Christchurch has earned its ride down E Street is a callous understatement.
They've endured catastrophic loss, come together to rebuild, and according to Swiggs, who followed up his creation of the non-profit Rebuild Christchurch community group with a successful run for City Councillor last year, are beyond ready to celebrate with Springsteen.
Home to just underpeople, it's called the Garden City due to a plethora of public parks and tree-lined streets. It's long been a distinctly English city but after the quake experienced a cultural shift, as workers who'd descended on Christchurch from around the world to contribute to the rebuild chose to remain and add to a nascent immigrant boom.
I have no idea what this city will look like in five years, but the opportunities to create something new will be boundless. Everywhere — literally everywhere — cyclone fences line sidewalks, demolition crews tear at hacked buildings, and construction runs amok throughout what locals call the "four avenues" area of the city.
It's an area once densely packed but now mostly home to parking lots where there was once nonecondemned buildings, and businesses struggling to survive through a long, frustrating rebuilding phase of the city's year history.
Driving through one of Christchurch's residential red zones was one of the more surreal experiences of my life: Imagine block after block of a once-thriving neighborhood stripped bare of human habitation. Massive liquefaction destroyed many properties after the quake, and those that remained were bought by the government. The resultant demolition removed every brick, every remnant of hundreds of homes and the history of those who lived within them.
Devastating to see, unimaginable to live through. The symbolic heart of Christchurch, its beloved cathedral, was devastated by the quake and remains what Bishop of Christchurch Victoria Matthews recently called both an icon and eyesore. Its future is being decided in a public feud between a public wanting a visual link to its past and a church looking to turn the page. Like the giant hole that once represented the place where the Twin Towers stood in Lower Manhattan, the Christchurch Cathedral reminds locals of a moment in time they'd give anything to forget but are unable to leave behind due to squabbling and inaction.
Swiggs called Cathedral Square the most critical piece of the reconstruction effort and a place where citizens have long gathered and felt most connected to their city. Its sad, protracted state of decay has kept many from traveling into Central City and feeling like it still belongs to them.
When Bruce undoubtedly plays "My City of Ruins" tonight, many in the sold-out crowd of 18, will think of the cathedral and pray that it does, in fact, rise up. As for Springsteen's first visit to Christchurch, confirmation of the show's resonance came from the very first person I spoke to after disembarking from an overnight flight from Melbourne.
As I handed my U. I gave him a two-word answer: When I asked if he was going to the show he gave me a look of quiet confidence so common to Kiwis before saying, "Why wouldn't you? By far my best-ever interaction with border security — another unexpected but unsurprising benefit of tracking the greatest rock 'n' roll show on Earth throughout Australia and New Zealand this summer.
In a taxi driving to my hotel in Christchurch's CBD a barnacled Kiwi driver named Ian provided a laundry list of rebuild villainy — inept and uncaring politicians, insurance company malfeasance, developer greed — that had me staring at long stretches of green suburban streets for diversion. When I finally looked back at him, however, the old man's eyes were moist and I realized he was lost in thoughts of the days immediately following the quake. He needed no compassion from me; he could have been driving alone having the same thoughts and reaction.
There's nothing to say or do beside listen and respect pain you'll never understand unless you've lived through it. As Ian turned his taxi onto Manchester Street, which runs the length of Christchurch City Central, I found myself lost in thought as well. I hesitate to share because it may come off as pretentious or forced, but the simple truth is my first glimpse at the vast stretches of empty lots and buildings seemingly left to rot reminded me of turning onto Ocean Avenue in Asbury Park back in the s when I moved back to the Jersey shore.
Broad expanses of crumbling concrete, ghost signage, partially demolished buildings, skeletal frames of new ones, broad avenues without traffic. It was very early on a Sunday morning, so the lack of human activity wasn't unusual — come Monday the sound of construction crews bombarded from all directions — but the lifeless streets starkly recalled the days when Asbury Park's waterfront was devoid of life of any discernible kind.
Later in the day while walking the city I glimpsed the terribly wounded cathedral at the end of a long street. This immediately conjured the image of the Palace Amusements faded facade sitting at the southern end of Asbury Park's Kingsley Avenue 20 years ago: The ruins of Christchurch Cathedral stand, barely, in similar fashion. It's genuinely heart-warming to realize in that Asbury Park — long-downtrodden, bastard stepchild Asbury Park — is now a shining example of urban renewal and offers a hopeful, if smaller-scale, example of how to "rise up" to the good people of Christchurch.
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There's no doubt tonight's show by Bruce and the band will provide a shot of rock 'n' roll righteousness to those lucky enough to be inside AMI Stadium. It always does, no matter the place. But tonight's dose will be shared with people craving, absolutely craving, redemption and hope. What better place to find it than on E Street? Coming off the scintillating pair of shows in Brisbane, one of the best pairs of shows I've seen this decade, it seemed unlikely that Bruce would match those setlists or performances, considering the Hope show was more of a festival setting.
He didn't — but what he did deliver was a totally different show that was excellent and just the right one for the circumstances. The shows in Brisbane or the Philly of the Southern Hemisphere, as some are now calling it were played in a tiny arena, whereas Hope Estate is a huge temporary amphitheater with much of the crowd far away on the lawn.
And the place is a winery, so there's a fair amount of drinking going on. Throw in not one but two opening acts, Diesel and Jet, and you could not have a more different setting for a show. It was a unique night.
Adding to the atmosphere was the good ol' fashioned Australian rainstorm, which not only showered the waiting crowd with a torrential downpour but later pelted us with large hail! Fortunately, the weather cleared up, and Jet was able to play their set after a brief delay. And then it was Boss time. With the strings having played their final show in Brisbane, a crisp and appropriate "Who'll Stop the Rain" opened the show. The difference in the type of night it would be was defined immediately when Bruce launched into "Badlands" and then "Out in the Street" to get the crowd going.
A sign request followed for "I Fought the Law," played a little tentatively but still a very nice nugget for the diehards. A few minutes later another sign from the crowd brought us "Waitin' on a Sunny Day," the second of three weather-appropriate songs for the evening. It was a beautiful performance of the song, the first ever in Australia… and it was met with absolute dead silence from the crowd.
So that would be the last rarity of the evening, and from there the show went into a string of big rockers, which were completely effective in getting the crowd up and dancing.
The apex of this sequence was the Born in the U. The encores opened with one last sign request. Bill Walsh, all the way from Point Pleasant, NJ, was pulled out of the crowd to play "No Surrender," which was dedicated to Bill's dad — also Bill — who had surgery over the weekend. The crowd ate it up. The audience frenzy built through the regular encore sequence of "Born to Run," "Dancing," "Tenth Avenue," and "Shout" before Bruce launched into "Bobby Jean" to say "good luck, goodbye" to his Australian fans.
The band left the stage, and Bruce returned alone with his acoustic guitar and harmonic rack for a lovely solo "Thunder Road. It's clear he has developed quite an attachment with his Australian audiences after these repeated trips Down Under the past five years, and the feeling is mutual. From this American, I say with deep gratitude: Let's do it again soon. Brisbane has been sizzling through a heatwave for months, and tonight it got a little hotter.
The final night of a terrific two-night stand, the show again began with "New York City Serenade. Roy Bittan's stunning piano work sets the mood as one of Springsteen's most powerful narratives unfolds.
Four years ago, as the Wrecking Ball Tour began, Springsteen crouched at the foot of the same stage and told assembled media that his ticket was his handshake and he would never rely on a show becoming rote.
On three tours over four years he has delivered on his promise… and then some. And when they did — boom, the magic happened. Calling for E-flat, Bruce was back on the telecaster as the band, with terrific backing vocals from all, kicked into "Jole Blon.