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The Memphis sessions at the American Sound Studio were produced by Jerry Wexler, Tom Dowd and Arif Mardin;[61] with the back-up vocal band Sweet Inspirations; and the instrumental band Memphis Boys,[62] led by guitarist Reggie Young and bass guitarist Tommy Cogbill.[61] The producers recognized that Springfield's natural soul voice should be placed at the forefront, rather than competing with full string arrangements. At first, she felt anxious when compared with the soul greats who had recorded in the same studios.[63] She had never worked with just a rhythm track, and it was her first time with outside producers; many of her previous recordings had been self-produced, while not being credited.[64] Wexler felt Springfield had a "gigantic inferiority complex", and due to her pursuit of perfection, her vocals were re-recorded later, in New York.[30][65]
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[T]he finest white soul singer of her era, a performer of remarkable emotional resonance whose body of work spans the decades and their attendant musical transformations with a consistency and purity unmatched by any of her contemporaries; though a camp icon of glamorous excess in her towering beehive hairdo and panda-eye black mascara, the sultry intimacy and heartbreaking urgency of [her] voice transcended image and fashion, embracing everything from lushly orchestrated pop to gritty R&B to disco with unparalleled sophistication and depth.[99]
Most responses to her voice emphasise her breathy sensuality.[100][101] Another powerful feature was the sense of longing, in songs such as "I Just Don't Know What to Do with Myself" and "Goin' Back".[101][102] The uniqueness of Springfield's voice[102] was described by Bacharach: "You could hear just three notes and you knew it was Dusty".[103] Wexler declared, "[h]er particular hallmark was a haunting sexual vulnerability in her voice, and she may have had the most impeccable intonation of any singer I ever heard".[104] Greil Marcus of Rolling Stone captured Springfield's technique as "a soft, sensual box (voice) that allowed her to combine syllables until they turned into pure cream."[69] She had a finely tuned musical ear and extraordinary control of tone.[102] She sang in a variety of styles, mostly pop, soul, folk, Latin, and rock'n'roll.[30] Being able to wrap her voice around difficult material,[102] her repertoire included songs that their writers ordinarily would have offered to black vocalists.[69] In the 1960s, on several occasions, she performed as the only white singer on all-black bills.[30] Her soul orientation was so convincing that early in her solo career, US listeners who had only heard her music on radio or records sometimes assumed that she was black.[48][101] Later, a considerable number of critics observed that she sounded black and American or made a point of saying she did not.[105]
The movie's schizophrenia keeps it from greatness (this film has no firm idea of what it is about), but doesn't make it bad. It is, in fact, sort of fascinating: a film in the act of becoming, a field trial, an experiment in which a dreamy poet meditates on stark reality. It's like horror seen through the detachment of drugs or dementia. The soundtrack allows us to hear the thoughts of the characters, but there is no conviction that these characters would have these thoughts. They all seem to be musing in the same voice, the voice of a man who is older, more educated, more poetic and less worldly than any of these characters seem likely to be: the voice of the director.
The battle scenes themselves are masterful, in creating a sense of the geography of a particular hill, the way it is defended by Japanese bunkers, the ways in which the American soldiers attempt to take it. The camera crouches low in the grass, and as Malick focuses on locusts or blades of grass, we are reminded that a battle like this must have taken place with the soldiers' eyes inches from the ground. The Japanese throughout are totally depersonalized (in one crucial scene, their language is not even translated with subtitles); they aren't seen as enemies so much as necessary antagonists--an expression of nature's compulsion to "contend with itself." (One wonders what murky philosophical voice-over questions were floating above the Japanese soldiers in "The Thin Red Line." Were they also dreaming about nature, immortality, humanity and death?) Actors like Sean Penn, John Cusack, Jim Caviezel and Ben Chaplin find the perfect tone for scenes of a few seconds or a minute, and then are dropped before a rhythm can be established. We get the sense that we are rejoining characters in the middle of interrupted actions. Koteas and Nolte come the closest to creating rounded performances, and Woody Harrelson has a good death scene; actors like John Travolta and George Clooney are onscreen so briefly they don't have time to seem like anything other than guest stars.
The central intelligence in the film doesn't belong to any of the characters, or even to their voice-over philosophies. It belongs to Malick, whose ideas about war are heartfelt but not profound; the questions he asks are inescapable, but one wonders if soldiers in combat ever ask them (one guesses they ask themselves what they should do next, and how in the hell they can keep themselves from being shot). It's as if the film, long in pre-production, drifted away from the Jones novel (which was based on Jones' personal combat experience) and into a meditation not so much on war, as on film. Aren't most of the voice-over observations really not about war, but about war films? About their materials and rationales, about why one would make them, and what one would hope to say? Any film that can inspire thoughts like these is worth seeing. But the audience has to finish the work: Malick isn't sure where he's going or what he's saying. That may be a good thing. If a question has no answer, it is not useful to be supplied with one. Still, one leaves the theater bemused by what seems to be a universal law: While most war films are "anti-war," they are always anti-war from the point of view of the winning side. They say, "War is hell, and we won." Shouldn't anti-war films be told from the point of view of the losers? War was hell, and they lost.
Weatherspoon was a highly regarded voice in New Orleans, garnering immense praise and respect from franchise player Zion Williamson. She was also in the running for the Phoenix Mercury's head-coaching job in 2022 before she reportedly withdrew her name from consideration after the Pelicans successfully fought to keep her.
Definition in State Rule: Speech or Language Impairment Speech or language impairment means an impairment of speech or sound production, voice, fluency, or language that adversely affects educational performance or social, emotional or vocational development. PI 11.36 (5)(a), Wis. Admin. Code
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