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People keep calling this a cute crossover. It isn’t. A 73 year old walks into someone else’s band and takes her song back. “Working 9 to 5.” New York, 2019. Dolly Parton with Nile Rodgers and CHIC. Rehearsal clothes. No sequins. She tightens the horns and the old factory...

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Endless

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53,949 просмотров • 16 дней назад •via X (Twitter)

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This is the song that dragged country Dolly onto pop radio and refused to let her go back. “Here you come again.” She sang it live on the MDA Telethon like it still surprised her. Barry Mann and Cynthia Weil wrote it. She made it sound like a knock on the door she already knew. That is the crossover. Not a costume change. A voice that would not stay in one format.
2:35

This is the song that dragged country Dolly onto pop radio and refused to let her go back. “Here you come again.” She sang it live on the MDA Telethon like it still surprised her. Barry Mann and Cynthia Weil wrote it. She made it sound like a knock on the door she already knew. That is the crossover. Not a costume change. A voice that would not stay in one format.

Endless

26,306 просмотров • 21 дней назад

Dean Martin and Dolly Parton should not have worked on the same song. He was the guy who made everything look easy. She was the girl who never pretended it was. They took a Kris Kristofferson song about leaving someone you still love and just… stood there and sang it. No big ending. No competing. Two people who already knew how much it costs. They don’t put voices like that in the same room anymore. Dolly didn’t just keep up with him. She made Dean Martin sound like he finally meant every word. Be honest. Who actually carried this song?
4:49

Dean Martin and Dolly Parton should not have worked on the same song. He was the guy who made everything look easy. She was the girl who never pretended it was. They took a Kris Kristofferson song about leaving someone you still love and just… stood there and sang it. No big ending. No competing. Two people who already knew how much it costs. They don’t put voices like that in the same room anymore. Dolly didn’t just keep up with him. She made Dean Martin sound like he finally meant every word. Be honest. Who actually carried this song?

Endless

133,501 просмотров • 17 дней назад

Few stars could light up a screen, tell a story through a song, or find their way into our hearts quite like Dolly Parton. Dolly brought something entirely her own to everything she did. She was radiant on screen and in song; she could put a lifetime of feeling into just a few words. And through it all, there was a warmth to Dolly that made her feel wonderfully close to us. A two-time Oscar nominee, Dolly was also honored by the Academy last year with the Jean Hersholt Humanitarian Award, which recognized the extraordinary compassion and generosity she shared so freely with others. We will always love you, Dolly. ❤️
0:35

Few stars could light up a screen, tell a story through a song, or find their way into our hearts quite like Dolly Parton. Dolly brought something entirely her own to everything she did. She was radiant on screen and in song; she could put a lifetime of feeling into just a few words. And through it all, there was a warmth to Dolly that made her feel wonderfully close to us. A two-time Oscar nominee, Dolly was also honored by the Academy last year with the Jean Hersholt Humanitarian Award, which recognized the extraordinary compassion and generosity she shared so freely with others. We will always love you, Dolly. ❤️

The Academy

149,780 просмотров • 28 дней назад

I don’t think Whitney Houston realized in the moment that she was giving the best Goodbye scene and song of ALL TIME. The fact that it was originally a country song that she sang totally different and made it her OWN !!!!!!!!!!!
2:06

I don’t think Whitney Houston realized in the moment that she was giving the best Goodbye scene and song of ALL TIME. The fact that it was originally a country song that she sang totally different and made it her OWN !!!!!!!!!!!

Bae

437,327 просмотров • 6 месяцев назад

February 21st 1981 Dolly Parton song 9 to 5 went to #1 on the billboard top 100 charts. In our film Still working 9 to 5 she reimaginined it and turned it into a new duet with Kelly Clarkson exclusively for our films end credits. Enjoy this Video to honor the history of a song that became the anthem for working women everywhere. Watch the film today on Apple TV Amazon prime and Google Play #dollyparton #KellyClarkson #9to5 #stillworking9to5 #appletv #amazonprime #billboardcharts billboardcharts The Kelly Clarkson Show
3:26

February 21st 1981 Dolly Parton song 9 to 5 went to #1 on the billboard top 100 charts. In our film Still working 9 to 5 she reimaginined it and turned it into a new duet with Kelly Clarkson exclusively for our films end credits. Enjoy this Video to honor the history of a song that became the anthem for working women everywhere. Watch the film today on Apple TV Amazon prime and Google Play #dollyparton #KellyClarkson #9to5 #stillworking9to5 #appletv #amazonprime #billboardcharts billboardcharts The Kelly Clarkson Show

stillworking9to5

12,772 просмотров • 1 год назад

Miley Cyrus explains Dolly Parton’s wild way of texting her. She says every time she communicates with Dolly, it’s still through fax. She adds that Dolly once made her a demo, which she voice memoed onto a flip phone, and someone then put it on an iPhone and it got to her. “She does a fax and then someone scans the fax, and then they put it into a text message, and then that gets sent to me, and it’s always signed”
1:30

Miley Cyrus explains Dolly Parton’s wild way of texting her. She says every time she communicates with Dolly, it’s still through fax. She adds that Dolly once made her a demo, which she voice memoed onto a flip phone, and someone then put it on an iPhone and it got to her. “She does a fax and then someone scans the fax, and then they put it into a text message, and then that gets sent to me, and it’s always signed”

Heron

493,141 просмотров • 21 дней назад

Dolly Parton told Tennessee years ago not to put a statue of her on the Capitol grounds while she was still here. “Perhaps after I’m gone,” she said, “if you feel I deserve it.” Now that time has come. She wasn’t just a country icon. She was one of the last figures almost everybody could love — humble roots, huge heart, unmatched talent, and a generosity that put books in millions of kids’ hands. There’s a push to name an airport after her. Dolly Parton International. That tracks. She spent her whole life lifting people up and sending them somewhere better. If President Trump went to the funeral and invited the living presidents to stand together for her, it would be one of the rare moments this country still knows how to honor someone who actually earned it. Rest easy, Dolly. Tennessee — and America — will remember.
0:40

Dolly Parton told Tennessee years ago not to put a statue of her on the Capitol grounds while she was still here. “Perhaps after I’m gone,” she said, “if you feel I deserve it.” Now that time has come. She wasn’t just a country icon. She was one of the last figures almost everybody could love — humble roots, huge heart, unmatched talent, and a generosity that put books in millions of kids’ hands. There’s a push to name an airport after her. Dolly Parton International. That tracks. She spent her whole life lifting people up and sending them somewhere better. If President Trump went to the funeral and invited the living presidents to stand together for her, it would be one of the rare moments this country still knows how to honor someone who actually earned it. Rest easy, Dolly. Tennessee — and America — will remember.

Gunther Eagleman™

71,130 просмотров • 27 дней назад

I Will Always Love You: When a Song Left Dolly Parton’s Hands There’s a small moment in the history of “I Will Always Love You” that I’ve always found more beautiful than any of the record-breaking numbers. Dolly Parton was driving when Whitney Houston’s version of her own song came on the radio. At one point the emotion hit so hard she had to pull over because she was afraid she’d crash. “I couldn’t believe how she did that,” Dolly later said. She wasn’t just hearing another singer cover her song. She was hearing something familiar become something she no longer fully recognized. What’s worth remembering is that “I Will Always Love You” was never written to be a pop power ballad. Dolly wrote it in the early 1970s, at the moment she decided to leave *The Porter Wagoner Show* and step out on her own. The song was a farewell to Wagoner—painful, but deliberately free of bitterness. Dolly’s own recording went to No. 1 on the country charts. And one detail shows how clearly Dolly already understood the song’s value. Elvis Presley wanted to record it. Dolly was thrilled at the thought of Elvis singing her song. Then Colonel Tom Parker demanded half the publishing. Dolly said no, even though the decision broke her heart. She knew she wasn’t just selling a song—she was giving away ownership of the most important copyright in her publishing company. Looking back, that may have been one of the most important decisions in the song’s history. Because nearly twenty years later, Whitney Houston arrived. Kevin Costner pushed for “I Will Always Love You” in *The Bodyguard*, and the most important idea turned out to be the one that looked like the least: letting Whitney begin almost alone, with no band behind her. David Foster initially wanted to cut the a cappella opening. After hearing Whitney sing it, he realized there was no other way to start the song. This is where the cover becomes a masterclass in arrangement. That opening silence doesn’t just spotlight Whitney’s voice. It strips away everything that could protect or cushion the singer. No drums. No strings. No piano to create a sense of safety. Only tone, breath, pitch, and space. Then the layers enter one by one. The vocal moves from restraint into power. A saxophone opens a different color. Then comes the key change near the end. According to analysis from Berklee, that modulation lifts the song a whole step, and it’s especially effective because Whitney’s voice almost leads the listener into the new key before the instruments fully follow. It’s a familiar pop device—but here it never feels like a cheap trick designed to get a reaction. It feels like the emotion has simply outgrown the old key. And that, more than anything, is the difference between Dolly and Whitney. Dolly sings the song like a goodbye someone might speak very quietly. Whitney sings it as if that same goodbye has been growing inside for years and can no longer stay contained. Same melody. Same story. Two completely different emotional rooms. Whitney didn’t erase Dolly from the song. She made listeners go back to Dolly. The more you hear Whitney’s version, the more you appreciate the strength of the original writing: a melody simple enough to survive a total rebirth, and lyrics precise enough to keep their meaning when carried from country into soul, pop, and gospel. In 1992, Whitney’s version spent 14 consecutive weeks at No. 1 on the Billboard Hot 100—a record at the time. But its success went far beyond the charts. It turned a song Dolly wrote as a professional goodbye into one of the definitive recordings of the person who sang it. Then the story returned to Nashville. Dolly has said that the money she made from Whitney’s version—estimated by Forbes at around $10 million in the 1990s—went toward buying a commercial complex in a predominantly Black neighborhood outside the familiar Music Row area. She gave it a name that almost summarizes the entire story: “the house that Whitney built.” I like how the story ends there. Not with a luxury car. Not with a mansion named after a hit. But with a piece of real estate in Nashville where Dolly said she wanted to be “with Whitney’s people,” people she also considered her own. A song begins when one woman says goodbye to the man who helped shape her career. Another woman takes it, changes the way the song breathes, expands its scale, and carries it to millions of listeners. And in the end, the rewards of that version circle back to the city where Dolly first wrote the song. Maybe that’s what makes “I Will Always Love You” special to me. A great songwriter knows how to write a song. A great artist knows how to make it her own. But sometimes the real miracle comes afterward: the song becomes large enough that the writer can stand outside it, listen to someone else sing it, and still find herself inside it. Dolly once said she wished she could have sung the song with Whitney. She also joked that Whitney would have outsung her for sure. That comment feels pure Dolly. No claim of ownership. No attempt to reclaim the spotlight. Just a quiet smile at a song that traveled farther than anyone could have planned—and the recognition that, somewhere, it was still her little song.
5:36

I Will Always Love You: When a Song Left Dolly Parton’s Hands There’s a small moment in the history of “I Will Always Love You” that I’ve always found more beautiful than any of the record-breaking numbers. Dolly Parton was driving when Whitney Houston’s version of her own song came on the radio. At one point the emotion hit so hard she had to pull over because she was afraid she’d crash. “I couldn’t believe how she did that,” Dolly later said. She wasn’t just hearing another singer cover her song. She was hearing something familiar become something she no longer fully recognized. What’s worth remembering is that “I Will Always Love You” was never written to be a pop power ballad. Dolly wrote it in the early 1970s, at the moment she decided to leave *The Porter Wagoner Show* and step out on her own. The song was a farewell to Wagoner—painful, but deliberately free of bitterness. Dolly’s own recording went to No. 1 on the country charts. And one detail shows how clearly Dolly already understood the song’s value. Elvis Presley wanted to record it. Dolly was thrilled at the thought of Elvis singing her song. Then Colonel Tom Parker demanded half the publishing. Dolly said no, even though the decision broke her heart. She knew she wasn’t just selling a song—she was giving away ownership of the most important copyright in her publishing company. Looking back, that may have been one of the most important decisions in the song’s history. Because nearly twenty years later, Whitney Houston arrived. Kevin Costner pushed for “I Will Always Love You” in *The Bodyguard*, and the most important idea turned out to be the one that looked like the least: letting Whitney begin almost alone, with no band behind her. David Foster initially wanted to cut the a cappella opening. After hearing Whitney sing it, he realized there was no other way to start the song. This is where the cover becomes a masterclass in arrangement. That opening silence doesn’t just spotlight Whitney’s voice. It strips away everything that could protect or cushion the singer. No drums. No strings. No piano to create a sense of safety. Only tone, breath, pitch, and space. Then the layers enter one by one. The vocal moves from restraint into power. A saxophone opens a different color. Then comes the key change near the end. According to analysis from Berklee, that modulation lifts the song a whole step, and it’s especially effective because Whitney’s voice almost leads the listener into the new key before the instruments fully follow. It’s a familiar pop device—but here it never feels like a cheap trick designed to get a reaction. It feels like the emotion has simply outgrown the old key. And that, more than anything, is the difference between Dolly and Whitney. Dolly sings the song like a goodbye someone might speak very quietly. Whitney sings it as if that same goodbye has been growing inside for years and can no longer stay contained. Same melody. Same story. Two completely different emotional rooms. Whitney didn’t erase Dolly from the song. She made listeners go back to Dolly. The more you hear Whitney’s version, the more you appreciate the strength of the original writing: a melody simple enough to survive a total rebirth, and lyrics precise enough to keep their meaning when carried from country into soul, pop, and gospel. In 1992, Whitney’s version spent 14 consecutive weeks at No. 1 on the Billboard Hot 100—a record at the time. But its success went far beyond the charts. It turned a song Dolly wrote as a professional goodbye into one of the definitive recordings of the person who sang it. Then the story returned to Nashville. Dolly has said that the money she made from Whitney’s version—estimated by Forbes at around $10 million in the 1990s—went toward buying a commercial complex in a predominantly Black neighborhood outside the familiar Music Row area. She gave it a name that almost summarizes the entire story: “the house that Whitney built.” I like how the story ends there. Not with a luxury car. Not with a mansion named after a hit. But with a piece of real estate in Nashville where Dolly said she wanted to be “with Whitney’s people,” people she also considered her own. A song begins when one woman says goodbye to the man who helped shape her career. Another woman takes it, changes the way the song breathes, expands its scale, and carries it to millions of listeners. And in the end, the rewards of that version circle back to the city where Dolly first wrote the song. Maybe that’s what makes “I Will Always Love You” special to me. A great songwriter knows how to write a song. A great artist knows how to make it her own. But sometimes the real miracle comes afterward: the song becomes large enough that the writer can stand outside it, listen to someone else sing it, and still find herself inside it. Dolly once said she wished she could have sung the song with Whitney. She also joked that Whitney would have outsung her for sure. That comment feels pure Dolly. No claim of ownership. No attempt to reclaim the spotlight. Just a quiet smile at a song that traveled farther than anyone could have planned—and the recognition that, somewhere, it was still her little song.

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22,064 просмотров • 27 дней назад

Dolly Parton built a remarkable life from humble beginnings, but she never measured her success by money or awards. She told @TonyDokoupil in 2019 that she measured it by the work she loved, the people she inspired and the lives she touched.
1:46

Dolly Parton built a remarkable life from humble beginnings, but she never measured her success by money or awards. She told @TonyDokoupil in 2019 that she measured it by the work she loved, the people she inspired and the lives she touched.

CBS Evening News with Tony Dokoupil

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This is the performance people keep coming back to. “He’s alive.” Dolly Parton sang it at the 1990 GMA Dove Awards, telling the story of the resurrection with the same clarity she brought to everything else. No spectacle. Just the song, and her voice filling the room. It still stops people in their tracks.
5:33

This is the performance people keep coming back to. “He’s alive.” Dolly Parton sang it at the 1990 GMA Dove Awards, telling the story of the resurrection with the same clarity she brought to everything else. No spectacle. Just the song, and her voice filling the room. It still stops people in their tracks.

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448,792 просмотров • 24 дней назад

The song is considered to be one of the most difficult arias ever written for a soprano. And yet she makes it look so easy, and with such power. And she was only 17 years old when she performed it.
6:59

The song is considered to be one of the most difficult arias ever written for a soprano. And yet she makes it look so easy, and with such power. And she was only 17 years old when she performed it.

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This woman was cleaning up her 5 year old daughter’s room while she was spending time at her dad’s house. She finds a little container that has money in it, she counts it all up and it was $247. She claims she doesn’t know where her daughter got the money from, considering she visits her father often, it’s easy to think that her father gave it to her, either way the mom is trying to justify a 5 year old having money and wants to take it. Would it be justified for the mom to take it since she’s primarily raising her?
0:42

This woman was cleaning up her 5 year old daughter’s room while she was spending time at her dad’s house. She finds a little container that has money in it, she counts it all up and it was $247. She claims she doesn’t know where her daughter got the money from, considering she visits her father often, it’s easy to think that her father gave it to her, either way the mom is trying to justify a 5 year old having money and wants to take it. Would it be justified for the mom to take it since she’s primarily raising her?

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💕Ebb and flow was originally supposed to be a love song for pearl.. but the day marina was going to show it to her she panicked thinking it was too sudden so she made it into a battle song. 💞 but somewhere on her hardrive is the original ebb and flow..❤️ 💝HAPPY VALENTINESS💌
0:57

💕Ebb and flow was originally supposed to be a love song for pearl.. but the day marina was going to show it to her she panicked thinking it was too sudden so she made it into a battle song. 💞 but somewhere on her hardrive is the original ebb and flow..❤️ 💝HAPPY VALENTINESS💌

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Alina Lopez explained that although she loves an6l, she’s never done it on camera because she prefers to keep it private. She said she didn’t try an6l until she was around 19 or 20, and the first thing she ever put in her butt was a pen1s. According to her, the experience was completely spontaneous with no preparation, and she orgasmed almost immediately. She said that experience made her realize how much she enjoyed it, but she still prefers to keep that part of her sex life off camera because it feels more intimate in private. “I’ve never done anal on camera… I love anal, but I don’t do it on camera…..The first time I stuck anything in my butt, it was a penis.”
2:14

Alina Lopez explained that although she loves an6l, she’s never done it on camera because she prefers to keep it private. She said she didn’t try an6l until she was around 19 or 20, and the first thing she ever put in her butt was a pen1s. According to her, the experience was completely spontaneous with no preparation, and she orgasmed almost immediately. She said that experience made her realize how much she enjoyed it, but she still prefers to keep that part of her sex life off camera because it feels more intimate in private. “I’ve never done anal on camera… I love anal, but I don’t do it on camera…..The first time I stuck anything in my butt, it was a penis.”

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He takes her out on a first date in his 2005 car. Somewhere between the small talk and the ride, she starts picking at the dashboard, thinking the plastic film was never removed—only to break the actual cover instead. 😬 On top of that, she’s mocking the car, calling it old junk like it’s some kind of joke, not someone else’s property. How should he handle this? Do you address it on the spot, laugh it off, or see it as a red flag and end the date early?
0:36

He takes her out on a first date in his 2005 car. Somewhere between the small talk and the ride, she starts picking at the dashboard, thinking the plastic film was never removed—only to break the actual cover instead. 😬 On top of that, she’s mocking the car, calling it old junk like it’s some kind of joke, not someone else’s property. How should he handle this? Do you address it on the spot, laugh it off, or see it as a red flag and end the date early?

TheRealCherokeeOwl 🦉

1,717,887 просмотров • 8 месяцев назад

I dated a girl once and she was extremely beautiful. She worked for DNA models. She ate a terrible diet that horrified me. She thought she had to. By far the strangest thing about her was that she would listen to the same song for over 4 hours in a row, every day She'd come home exhausted, climb into bed and put on her huge expensive headphones and start playing her song. It was this song. It was no secret, I could always hear it through the headphones. In her music app she only had this song and she put it on a permanent loop. Some days she'd listen to it for 4 hours. Other days for more. Occasionally at the weekends if she really needed to recover in bed, she'd listen for 8 hours or more When I was around her, I'd listen too. Not because I wanted to, but you could always hear it a little from her headphones, in the background. At a certain point, it started to feel normal. At the start, I asked her why she did it and she said "I just love this song, why would I listen to anything else". I really liked her answer. So I didn't challenge it. She said she'd been doing it for years Sometimes I'd pick her up from shoots in the city and the moment she met me she'd ask if she could please put her headphones on and listen to music. Then she'd start. She wouldn't do it in public without me there, because she wanted to stay aware of her surroundings. But if I was there, she could put her headphones on straight away and just trust she was safe. She'd listen to her song and rest on my shoulder and close her eyes as we rode the subway home Throughout our relationship we didn't talk much, really. It was more of a physical thing. Not in a superficial way. Not just lust. I mean that we were both completely satisfied just resting on each other, without speaking. We liked physical contact, or a sense of shared physical beingness. But neither of us needed to talk like most people do and we really savored that about each other I actually really loved it when she put her headphones on and entered her cosy,safe space. It was like she was entering into a little coccoon. With time, I realized it was a kind of recovery protocol and a meditative trance. It anchored a state of rest for her that she desperately needed. She didn't have OCD or any other compulsions. It was just this one thing. This one particular song. It was like a little cave she entered to heal from the stress of the day and burdens of existence. I dated her for 2 years and she did it every single day, up until the end. When I kissed her goodbye on the final day, she had her big headphones hanging around her neck and the song was playing through them. It was the last thing I heard, on the last day I looked into her eyes
3:37

I dated a girl once and she was extremely beautiful. She worked for DNA models. She ate a terrible diet that horrified me. She thought she had to. By far the strangest thing about her was that she would listen to the same song for over 4 hours in a row, every day She'd come home exhausted, climb into bed and put on her huge expensive headphones and start playing her song. It was this song. It was no secret, I could always hear it through the headphones. In her music app she only had this song and she put it on a permanent loop. Some days she'd listen to it for 4 hours. Other days for more. Occasionally at the weekends if she really needed to recover in bed, she'd listen for 8 hours or more When I was around her, I'd listen too. Not because I wanted to, but you could always hear it a little from her headphones, in the background. At a certain point, it started to feel normal. At the start, I asked her why she did it and she said "I just love this song, why would I listen to anything else". I really liked her answer. So I didn't challenge it. She said she'd been doing it for years Sometimes I'd pick her up from shoots in the city and the moment she met me she'd ask if she could please put her headphones on and listen to music. Then she'd start. She wouldn't do it in public without me there, because she wanted to stay aware of her surroundings. But if I was there, she could put her headphones on straight away and just trust she was safe. She'd listen to her song and rest on my shoulder and close her eyes as we rode the subway home Throughout our relationship we didn't talk much, really. It was more of a physical thing. Not in a superficial way. Not just lust. I mean that we were both completely satisfied just resting on each other, without speaking. We liked physical contact, or a sense of shared physical beingness. But neither of us needed to talk like most people do and we really savored that about each other I actually really loved it when she put her headphones on and entered her cosy,safe space. It was like she was entering into a little coccoon. With time, I realized it was a kind of recovery protocol and a meditative trance. It anchored a state of rest for her that she desperately needed. She didn't have OCD or any other compulsions. It was just this one thing. This one particular song. It was like a little cave she entered to heal from the stress of the day and burdens of existence. I dated her for 2 years and she did it every single day, up until the end. When I kissed her goodbye on the final day, she had her big headphones hanging around her neck and the song was playing through them. It was the last thing I heard, on the last day I looked into her eyes

asparagoid

599,752 просмотров • 1 месяц назад

Dolly Parton turned down Elvis Presley when his manager demanded 50% of the publishing rights to her song. "Elvis reached out and wanted to record it. Elvis's manager called Dolly with a condition: Elvis generally wouldn't record a song unless he received publishing rights, in this case, at least 50% of the publishing." "Dolly refused. That was incredibly difficult because having Elvis record your song in the '70s could transform a songwriter's career. Dolly later said she cried all night because she desperately wanted to hear Elvis sing it." "She considered the song one of the most valuable copyrights in her publishing company and wanted to preserve it for herself."
1:45

Dolly Parton turned down Elvis Presley when his manager demanded 50% of the publishing rights to her song. "Elvis reached out and wanted to record it. Elvis's manager called Dolly with a condition: Elvis generally wouldn't record a song unless he received publishing rights, in this case, at least 50% of the publishing." "Dolly refused. That was incredibly difficult because having Elvis record your song in the '70s could transform a songwriter's career. Dolly later said she cried all night because she desperately wanted to hear Elvis sing it." "She considered the song one of the most valuable copyrights in her publishing company and wanted to preserve it for herself."

PBD Podcast

48,101 просмотров • 25 дней назад