The film aired on Lifetime on April 11, , and netted a viewership of 2. Blige , and starred Aunjanue Ellis in her critically acclaimed performance as Dr. Jones and Camille Tucker. Their first release in over a decade, features production from J. Since early in the group's development, Twinkie has been the chief songwriter, vocal arranger, and producer for the group.
The Clark Sisters as a whole are renowned for their group style, dubbed as "the Clark Sound. While they have been praised for their precise harmonies, The Clark Sisters are also known for their individual, distinctive vocal styles, and while there is no single lead vocalist in the group, each sister has lead a handful of songs over the years.
The Clark Sisters have cited Aretha Franklin , who also grew up in Detroit , as a major musical influence. Blige , and Mariah Carey. The Clark Sisters have received 2 nominations. The Clark Sisters have won 2 awards from 8 nominations. The Clark Sisters have won 2 awards from 7 nominations. The Clark Sisters have won 1 award from 3 nominations. The Soul Train Music Awards are awarded annually.
The Clark Sisters have received 3 nominations. The Clark Sisters have received 6 awards and 1 honorary award. From Wikipedia, the free encyclopedia. American gospel vocal group. This article is about the gospel group. Main article: BET Awards. Main article: Dove Awards. Main article: Grammy Awards. Recording Academy. Retrieved April 25, CCM Magazine. January 22, Retrieved May 4, November 1, Retrieved April 21, — via Google Books.
Retrieved May 1, — via Google Books. Apple Music. Half Price Books. September 7, Live in Detroit , CD ". Live in Detroit". August 28, September 4, Retrieved April 22, Retrieved May 12, Retrieved May 22, Spirit AM.
Moses Tyson, Jr. Retrieved April 25, — via YouTube. Retrieved May 9, CD Universe. Intersound Records published April 6, Anita and Bonnie's identification with country music resulted years later in the writing of the song "Fairytale. It won the Grammy award for Country and Western Vocal Performance Group or Duo and became a lightning rod for the racial politics surrounding country music. When the Pointer Sisters were invited to perform at the Grand Old Opry in , they were greeted by a country music fan base that was polarized over their race.
Some protested the performance, while others embraced the group. When we arrived at the Grand Old Opry, there were protesters carrying signs that said, 'Keep country, country! We had fought during the tumultuous civil rights era, which was still fresh in our minds. To see people protesting us because of our race was unsettling. As we took the stage a man screamed, "Hot damn. Them girls is black! I could feel the energy in the room. The audience was obviously taking a 'wait and see' attitude.
They expected us to earn their respect, and that's what we did. After we performed the song, the same man screamed again, "Sing it again, honey!
We sang it three more times that night. This experience and the crossover appeal of "Fairytale," serve as one example of how the Pointer Sisters during these early years challenged not only industry-based categorization of musical genre and concepts of racialized sound, but also the spatial politics of popular music that perpetuated a system of racial segregation that defined certain performance spaces as "white.
The presence of their Black voices and bodies in the "white" space of the Opry and the white soundscape of country was radical and similar to the disruptive nature of the types of embodied resistance e. The second component of the group's sound was gospel music, especially the gospel group aesthetic of the '50s and '60s. The dynamic that foregrounds both the Pointer Sisters' lead and background vocals were developed while singing in the junior choir at the West Oakland Church of God, where their father Elton Pointer served as pastor for many years.
They also reflected the sisters' engagement with the Bay area's gospel music scene. By the late s, the West Coast had become the epicenter of a new wave of music experimentation that would shift the sound and cultural context of Black sacred music during the latter part of the 20th century.
Much of this experimentation took place during the historic "Midnight Musicales" held at The Ephesus Church of God in Christ in Oakland, where musicians Billy Preston, Edwin Hawkins and Andrae Crouch — along with vocalists Tramaine Davis and Lynnette Hawkins — fused Black hymnody and gospel song traditions with the funk aesthetic of James Brown and the rhythms of bossa nova, salsa and progressive rock.
June and Bonnie's participation in the COGIC-sponsored Northern California Youth Choir, the ensemble that also produced the Edwin Hawkins Singers' best-selling and influential recording "Oh Happy Day" in , is evidence of how the expansive musical circles that blurred denominational lines and practices during this period ultimately led to the emergence of what would be called Black contemporary gospel.
Through these encounters the sisters enhanced the blending of their voices, developed an ear for intricate harmonies and an awareness of how to interpret and perform song lyrics in a manner that provoked a response from listeners. The last core element of the Pointer Sisters' sound came from the vocal jazz group aesthetic popularized by The Andrews Sisters and the group Lambert, Hendricks and Ross. The former was one of a number of female vocal jazz groups that were associated with the growing popularity of boogie woogie and swing during the s.
Vocalese represented how jazz vocalists stretched beyond the conventions of the standard popular song repertory. Often confused with scat, vocalese differed in that it focused on intricate vocal improvisations that were based on pre-existing instrumental solos.
Unlike scat, which is defined by its use of vocables, vocalese used identifiable words. The Pointer Sisters' connection to these groups went beyond mirroring their sounds. The Andrew Sisters and Lambert, Hendricks and Ross represented how jazz vocalists untethered their identities from the instrumentalists that provided accompaniment and advanced ways in which vocal jazz began to exemplify the notion of freedom and self-actualization that is projected in jazz through the improvised solo.
This same spirit was personified in the Pointer Sisters' studio recordings and live performances. After years of singing background for an array of artists that included Sylvester, Boz Skaggs, Esther Phillips, Cold Blood and Grace Slick, the Pointer Sisters entered the mainstream spotlight with their self-titled debut album in The Pointer Sisters embodied the radicalness and uncertainty that defined Nixon-era America.
The songs were eclectic in style and origin ranging from covers of Jon Hendricks' bebop-influenced "Cloudburst" and Koko Taylor's gritty, dance-oriented blues song "Wang Dang Doodle" to original songs like "Jada," which reflected the type of group vocal jazz aesthetic popularized by the Andrews Sisters during the s.
It was one of many songs written by Anita and Bonnie during the group's early years. The cover art, which featured the four biological sisters — Anita, Bonnie, June and Ruth — dressed in vintage dresses and hats, also rejected the uniformity projected through the girl group.
It was clear that the Pointer Sisters were different, and that difference was not just by chance or the product of a marketing strategy. He signed the New York group to a recording contract and issued the album as "Ruth Davis and the Davis Sisters - On The Right Road", Savoy MG, thinking an enthusiastic but unsophisticated record-buying public would not notice the discrepancy in the product despite its misleading billing.
However, this little bit of treachery did not endear Lubinsky to the Sisters and they all left his label the next year for good. Ruth made up with her sisters and they began touring together again as a family, just like in the old days. The RCA album was their first recording in stereo because Savoy's studio did not have the technical capability at that time to engineer dual-channel stereo products.
Personnel changes occurred in the group in the s also and all later recordings were made on regional labels about every five years up until around sometimes a single 45 rpm and sometimes an entire album, and sometimes not with the full group. Their last full album in the s was so popular that they re-pressed it to meet demand but they issued it with a different cover: one shows the group standing under a rainbow; the other album cover is a photograph of the Davis Sisters in front of a grand piano.
Several television appearances are still available to the public on video websites and some older recordings are now reissued on compact disc. As of , all of the Davis Sisters, their parents and siblings are deceased: only children and grandchildren and three inlaws survive.
From Wikipedia, the free encyclopedia. Redirected from Davis Sisters. Not to be confused with the non-family linked country music duo, The Davis Sisters. This article is written like a personal reflection, personal essay, or argumentative essay that states a Wikipedia editor's personal feelings or presents an original argument about a topic.
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