Bobby Hicks
Robert Caldwell Hicks (July 21, 1933 – August 16, 2024) was a Grammy Award-winning American bluegrass fiddler and musician with more than fifty years of experience. He was inducted into the International Bluegrass Music Hall of Fame in 2017.
Life and career.
Hicks was born in Newton, North Carolina, and learned to play the fiddle before he was 9 years old. He attended several fiddlers conventions and at the age of eleven, he won the "North Carolina State Championship" playing the tune "Black Mountain Rag". He joined Jim Eanes's band in the early 1950s.
In 1953, he was, through the bluegrass festival organizer Carlton Haney, hired as a bass player in Bill Monroe's Bluegrass Boys. He did not record with the Bluegrass Boys until December 31, 1954, by then he had switched to fiddle. During this period, he learned to play "Nashville swing" by the session fiddler Dale Potter, a style Hicks often used when playing with Bill Monroe on the road. Monroe dubbed Hicks "the truest fiddler he had ever heard". He recorded seven tunes with Monroe but left in 1956 to join the army. In 1958, after his discharge, he rejoined the Bluegrass Boys, recording ten more songs. He left in 1959 to join Porter Wagoner. Later in 1963, he moved to Las Vegas, Nevada and became a fixture on the Judy Lynn Show for the next seven years. In 1981, he joined Ricky Skaggs, a stint that would last for 23 years.
In the mid and late 1980s, he frequently performed with Bill Monroe on stage and on records. He was inducted into the "Fiddlers Hall of Fame" in 2002. He appeared as a member of "Jesse McReynolds and the Virginia Boys" in 2003. The next year, he performed with "Hazel Creek".
In 2004, he celebrated 50 years at the Grand Ole Opry. Bobby Hicks is a 10 time Grammy winner. His discography includes over 10 albums.
Hicks died from complications of heart disease on August 16, 2024, at the age of 91.
References.
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Newton, North Carolina
Newton is a city in Catawba County, North Carolina, United States. As of the 2010 census, the city had a population of 12,968. It is the county seat of Catawba County. Newton is part of the Hickory–Lenoir–Morganton Metropolitan Statistical Area.
History.
Newton was established in 1845 and incorporated in 1855.
Geography.
Newton is located at the center of Catawba County. It is bordered to the north by Conover and to the northwest by Hickory. Claremont is to the northeast, and Maiden is to the south.
According to the United States Census Bureau, the city has a total area of , of which is land and , or 0.37%, is water.
Demographics.
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2020 census.
As of the 2020 United States census, there were 13,148 people, 5,076 households, and 3,332 families residing in the city.
2000 census.
As of the census of 2000, there were 12,560 people, 5,007 households, and 3,314 families living in the city. The population density was . There were 5,368 housing units at an average density of . The racial composition of the city was: 77.58% White, 12.33% Black or African American, 9.52% Hispanic or Latino American, 3.40% Asian American, 0.43% Native American, 0.03% Native Hawaiian or Other Pacific Islander, 4.63% some other race, and 1.60% two or more races.
There were 5,007 households, out of which 29.4% had children under the age of 18 living with them, 47.2% were married couples living together, 14.4% had a female householder with no husband present, and 33.8% were non-families. 28.8% of all households were made up of individuals, and 13.6% had someone living alone who was 65 years of age or older. The average household size was 2.46 and the average family size was 3.00.
In the city, the population was spread out, with 23.8% under the age of 18, 8.8% from 18 to 24, 29.3% from 25 to 44, 21.4% from 45 to 64, and 16.8% who were 65 years of age or older. The median age was 37 years. For every 100 females, there were 91.8 males. For every 100 females age 18 and over, there were 88.6 males.
The median income for a household in the city was $36,696, and the median income for a family was $44,330. Males had a median income of $27,237 versus $22,963 for females. The per capita income for the city was $18,427. 12.1% of the population and 8.4% of families were below the poverty line. Out of the total population, 19.1% of those under the age of 18 and 13.2% of those 65 and older were living below the poverty line.
Places of interest.
Listings on the National Register of Historic Places for places in Newton, North Carolina:
References.
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Tony Hicks
English guitarist and singer (born 1945)
Anthony Christopher Hicks (born 16 December 1945) is an English guitarist and singer who has been a member of the British rock/pop band the Hollies since 1963, and as such was inducted into the Rock and Roll Hall of Fame in 2010. His main roles within the band are lead guitarist and backing singer.
Career.
Early years.
Hicks first had a taste of fame at age 12 as a member of Les Skifflettes when they were featured on the Carroll Levis talent show in 1957. By the early 1960s, he was a respected member of the Manchester music scene and had become the lead guitarist with Ricky Shaw and the Dolphins, while working as an apprentice electrician. When then local rivals the Hollies needed a replacement for their guitarist Vic Steele in February 1963, Hicks was immediately approached to join the band and although initially reluctant, he was finally persuaded to join after listening to The Hollies through the air vent of the Twisted Wheel club in Manchester. Hicks shrewdly negotiated an £18 per week wage to join, despite the other members being paid just £9 per week. They had by this time secured a test recording session with EMI's Parlophone label with staff producer Ron Richards, whom the band later credited with creating and choosing their greatest hits. Hicks duly attended the session as their new guitarist in April 1963 and the audition resulted in a recording contract with Parlophone.
With the Hollies.
The Hollies soon became one of the most successful bands in Britain; they had a distinctive, breezy pop style built around the three-part harmony of Hicks (lower harmony) and bandmates Allan Clarke (lead vocals) and Graham Nash (high harmony). Hicks contributed his first solo composition for the group ("When I'm Not There") to an EP release in 1964 and co-wrote a B-side ("Keep Off That Friend of Mine") with drummer Bobby Elliott that year. Hicks then joined Clarke and Nash as the group's in-house songwriting team, who from 1964 to mid-1966 wrote as "Chester Mann" and "L. Ransford" before adopting the Clarke-Hicks-Nash banner. By the mid-1960s the threesome had become responsible for writing most of their songs, including singles hits such as "Stop! Stop! Stop!", "On a Carousel", "Carrie Anne" and "King Midas in Reverse". Hicks rarely sang lead vocals on Hollies songs, but was featured on "Look Through Any Window" (1965), and sang verse leads on "Too Much Monkey Business" (1964), "Carrie Anne" (a song he began for the band in Stavanger, Norway in 1967) and "Open Up Your Eyes" (1968). Hicks took solo lead vocals on his song "Pegasus" (1967), the Clarke-Sylvester-penned "Look at Life" (1969), his "Born A Man" (1973), "Hillsborough" (1989) and Bobby Elliott's "Then, Now, Always (Dolphin Days)" (2009).
In 1966, with contributions from fellow Hollies Clarke and Nash, Hicks contributed guitar work alongside Yardbirds guitarist and session musician Jimmy Page to The Everly Brothers' album "Two Yanks in England" (which included cover versions of a number of Hollies songs co-written by Hicks).
In the 1960s, with Nash performing few guitar duties except for the occasional rhythm part and acoustic work, Hicks became an integral part of the Hollies sound. Apart from contributing distinctive lead-guitar parts, he could be relied on to add unusual instrumentation to their sessions—such as the banjo which was a key component of their hit "Stop! Stop! Stop!", Greek-type ("Tell Me to My Face"), electric sitar ("The Baby"), and fuzz guitar ("Have You Ever Loved Somebody"). When no original material was available, Hicks discovered demos of Hollies hits "Just One Look" (UK No. 2 in 1964), "I Can't Let Go" (UK No. 2 in 1966) and "He Ain't Heavy, He's My Brother" (UK No. 3 in 1969) (which became one of their biggest hits).
Hicks suggested the band do an album of Bob Dylan songs in late 1968; Nash disagreed, one of the reasons for his exit from the band (although he had already sung with David Crosby and Stephen Stills in the US). The Hollies replaced Nash with Terry Sylvester and "Hollies Sing Dylan" (1969) was No. 3 in the UK Albums Chart, although it failed to chart in the US. This was one of the first "tribute albums" devoted to a single artist by a vocal group.
After Nash's December 1968 departure from the group Hicks began to write more solo songs, which were used as either B-sides or album tracks (such as "Cos You Like To Love Me" and "Don't Give Up Easily" in 1969 and "Dandelion Wine" in 1970). He wrote much of The Hollies' 1970 album "Confessions of the Mind", including "Too Young To Be Married" (a No. 1 single in Australia and New Zealand).
Hicks also co-wrote songs with UK singer Kenny Lynch for The Hollies, such as "What A Life I've Led", "Look What We've Got", "Promised Land", the US hit single "Long Dark Road" (all 1971) and "Blue in the Morning" (1972) and "Faded Images", recorded by Cilla Black on her 1971 album "Images". He co-wrote Hollies songs between 1974 and 1978 with Allan Clarke and Terry Sylvester. In 1974, Hicks produced the eponymous group album "Taggett" on EMI Records in the UK.
In 1990, Hicks co-wrote "Naomi" for The Hollies with his son Paul. In 1993 he added new guitar parts and harmony vocals (with Clarke and Nash) to an "alternate" version of "Peggy Sue Got Married" by Buddy Holly (credited to "Buddy Holly and The Hollies"), which led off the "Not Fade Away" tribute album to Holly by various artists.
The Hollies continued to have hits beyond the 1970s, including a UK chart hit with the medley "Holliedaze" in 1981, a US Top 30 hit cover of "Stop! In the Name of Love" in 1983, a UK No. 1 single in 1988 (a re-issue of "He Ain't Heavy, He's My Brother"), and in 1993 "The Woman I Love". The group still performs and records today; however, with the retirement of Allan Clarke in 1999, only Hicks and drummer Bobby Elliott remain from the band's 1960s heyday.
Awards and honours.
In 2010, The Hollies (who had already won an Ivor Novello Award in 1995 for outstanding contribution to British popular music and were inducted into the Vocal Group Hall of Fame in 2006) were inducted into the Rock and Roll Hall of Fame. Hicks and Elliott were absent from the induction ceremony because of UK touring commitments with the current Hollies band.
Personal life.
Hicks dated model Jane Lumb in the mid-Sixties. Hicks has been married to Jane Dalton since 1974.
References.
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Hearts in Atlantis (film)
2001 film by Scott Hicks
Hearts in Atlantis is a 2001 American mystery drama film directed by Scott Hicks and starring Anthony Hopkins and Anton Yelchin. It is loosely adapted from Stephen King's "Dark Tower" tie-in "Low Men in Yellow Coats," a novella in the 1999 collection "Hearts in Atlantis" after which the film was named.
The film is dedicated to the memory of its cinematographer, Piotr Sobociński, who died of a heart attack a few months before its release.
Plot.
Middle-aged photographer and businessman Robert "Bobby" Garfield returns to his old hometown upon learning that his best friend, decorated soldier John "Sully" Sullivan, has died in a traffic accident and begins recollecting his past when he visits his childhood home which has long since been abandoned. During a summer in the 1960s, an eleven-year-old Bobby lives with his widowed mother, self-centered Liz Garfield, and has two friends, Carol Gerber and Sully. They experienced many things together, the most mysterious of which was meeting an older gentleman named Ted Brautigan, whom Liz takes in as a boarder.
Ted takes the lonely Bobby under his wing, while his mother is busy with her job. The two form a father-son bond, and it slowly becomes evident that Ted has some psychic and telekinetic powers, which are the reason he has come to this sleepy town. In due course Ted explains that he has escaped the grasp of the "Low Men", strange people who would stop at nothing to get him back in their control.
After reading Bobby's mind and realizing that the boy dreams of owning a bicycle, Ted kindly offers Bobby $1 a week in exchange for his reading a newspaper out loud. Bobby quickly figures out that Ted has some other purpose in mind. Mysteriously, Ted asks Bobby to keep an eye on the neighborhood looking for any signs of the "low men", like announcements about missing pets. Bobby sees one, but does not tell Ted, afraid to lose his new friend.
Bobby, Carol and John have frequent conflicts with the local town bully, Harry Doolin, whom Ted scares away by looking into his mind and finding out that his violence is used to cover up his secret cross-dressing. However, at one point, Harry harasses and injures Carol, and when Ted manipulates her dislocated shoulder into place, Liz arrives, after being raped by her boss, and mistakenly believes that Ted is a child molester. She is confronted by Ted's ability to tell her the truth about what she has been through, and how her behavior is affecting her relationship with her son, providing another reason that Ted must leave.
Ted is eventually captured with the help of a tip from Liz. As some form of closure, Ted yells to Bobby as he is being driven away that he would not have missed a moment "not for all the world", and later Bobby mirrors the same feelings. Bobby is later confronted by Harry, but Bobby grabs the latter's baseball bat and beats him with it. Liz finds a new job in Boston and moves the family there. Before he leaves, Bobby and Carol say their goodbyes and share a final kiss.
Returning to the present, Bobby turns to leave his old home wherein he meets a young girl named Molly. The two strike up a conversation wherein Molly reveals that she is Carol's daughter and that Carol died in recent years. Bobby gives Molly a photograph of a young Carol and the two become friends.
Production.
Director Scott Hicks stated that, after reviewing casting tapes, Anton Yelchin was his top choice to play Bobby Garfield. Hicks then brought Yelchin to Charleston, where Anthony Hopkins was filming "Hannibal", to read with Hopkins. Hopkins was impressed with Yelchin and was in agreement with Hicks about casting him in the film. "Hearts in Atlantis" was Yelchin's feature film debut.
The film was shot in Richmond and Staunton, Virginia.
Release.
Box office.
"Hearts in Atlantis" opened at #3, earning $9,021,494 in its opening weekend at the U.S. box office. The film would eventually gross a domestic total of $24,185,781, somewhat short of its $31 million budget, but with an international $6,733,634, it would total $30,919,415.
Reception.
"Hearts in Atlantis" received mixed reviews. On Rotten Tomatoes, it has an approval rating of 49% based on reviews from 137 critics, with an average score of 5.8/10 and the consensus states ""Hearts in Atlantis" is well-acted and beautiful to look at, but the movie is nothing more than a mood piece." According to Metacritic, which sampled the opinions of 30 critics and calculated a score of 55 out of 100, the film received "mixed or average reviews".
Roger Ebert gave it three and a half out of four stars.
References.
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The Hollies
English rock and pop band
The Hollies are an English rock and pop band formed in Manchester in 1962. One of the leading British groups of the 1960s and into the mid-1970s, they are known for their distinctive three-part vocal harmony style. Singer Allan Clarke and rhythm guitarist/singer Graham Nash founded the band as a Merseybeat-type group in Manchester, although some of the band members came from towns further north, in east Lancashire. Nash left the group in 1968 to co-form Crosby, Stills & Nash, though he has reunited with the Hollies on occasion. As well as Clarke and Nash other members have included lead guitarist Tony Hicks, rhythm guitarist Terry Sylvester (who replaced Nash), bassists Eric Haydock and Bernie Calvert, and drummers Don Rathbone and Bobby Elliott.
The Hollies enjoyed considerable popularity in the UK and Europe during the mid-1960s with a string of hits that included "Just One Look", "Here I Go Again" (both 1964), "I'm Alive" (1965; their first of two UK number ones), "Look Through Any Window" (1965) and "I Can't Let Go" (1966), although they did not achieve US chart success until "Bus Stop" was released in 1966. The group went on to have periodic success on both sides of the Atlantic Ocean over the next decade with hits such as "Stop Stop Stop" (1966), "On a Carousel", "Carrie Anne" (both 1967), "He Ain't Heavy, He's My Brother" (1969), "Long Cool Woman in a Black Dress" (1972) and "The Air That I Breathe" (1974). "He Ain't Heavy" reached number one on the UK Singles Chart following a 1988 re-release. Overall, the Hollies had over 30 charting singles reach the UK Singles Chart, 22 on the US "Billboard" Hot 100, and 21 on the chart of "RPM" magazine in Canada.
The Hollies are one of the few UK groups of the early 1960s, along with the Rolling Stones, who have never disbanded and continue to record and perform. In recognition of their achievements, the Hollies were inducted into the Rock and Roll Hall of Fame in 2010.
Origin.
The Hollies originated as a duo formed by Allan Clarke and Graham Nash, who were best friends from primary school and began performing together during the skiffle craze of the late 1950s. Eventually Clarke and Nash became a vocal-and-guitar duo modelled on American duo the Everly Brothers, working as "Ricky and Dane Young"; under this name they teamed up with a local band, the Fourtones, consisting of Pete Bocking on guitar, John 'Butch' Mepham on bass, Keith Bates on drums, and Derek Quinn on guitar. When Quinn quit to join Freddie and the Dreamers in 1962, Clarke and Nash also quit and joined another Manchester band, the Deltas, consisting of Vic Steele on lead guitar, Eric Haydock on bass guitar, and Don Rathbone on drums, which had just lost two members including Eric Stewart, who left to join a "professional" band, the Mindbenders. During these periods the group were managed and promoted by Michael Cohen, a music enthusiast and clothing retailer from Oldham.
The Deltas first called themselves the Hollies for a December 1962 gig at the Oasis Club in Manchester. It has been suggested that Eric Haydock named the group in relation to a Christmas holly garland, though in a 2009 interview Graham Nash said that the group decided just prior to a performance to call themselves the Hollies because of their admiration for Buddy Holly. In 2009, Nash wrote, "We called ourselves The Hollies, after Buddy and Christmas."
1963–1968.
In January 1963, the Hollies performed at the Cavern Club in Liverpool, where they were seen by Parlophone assistant producer Ron Richards, who had been involved in producing the first Beatles session. Richards offered them an audition with Parlophone, but Steele did not want to be a "professional" musician and left the band in April 1963. For the audition, they brought in Tony Hicks to replace the departing Steele. Hicks played in a Nelson band called the Dolphins, which also featured Bobby Elliott on drums and Bernie Calvert on bass. Not only were the Hollies signed by Richards, who continued to produce the band until 1976 and once more in 1979, but a song from the audition, a cover of the Coasters' 1961 single "(Ain't That) Just Like Me", was released as their debut single in May 1963 and hit No. 25 on the UK Singles Chart.
Their second single, another Coasters cover, this time 1957's "Searchin'", hit No. 12. At this point, after recording only eight songs for Parlophone, Rathbone also decided to leave the band, and Hicks was able to arrange for his Dolphins bandmate Bobby Elliott to replace him as the Hollies' new drummer in August 1963. They then scored their first British Top 10 hit in early 1964 with a cover of Maurice Williams and the Zodiacs' "Stay", which reached No. 8 in the UK. It was lifted from the band's Parlophone debut album, "Stay with the Hollies", released on 1 January 1964, which went to No. 2 on the UK album chart.
The Hollies became known for making cover versions, and they followed up with "Just One Look" (February 1964, UK No. 2), a song that had already had top 10 success in the US for Soul star Doris Troy. The hits continued with "Here I Go Again" (May 1964, UK No. 4). At this point, there was some North American interest in the group, and versions of "Stay with the Hollies", with these two singles added, were issued in both Canada (by Capitol Records) and the US (by Imperial Records), with the title changed to "Here I Go Again". Like their Parlophone labelmates the Beatles, the Hollies' albums released in North America remained very different from their UK counterparts.
By this time, the Hollies were writing and performing a substantial amount of original material, written by the group's songwriting team of Clarke, Nash, and Hicks, and producer Richards finally permitted the group to release its first self-penned hit, "We're Through" (Sep. 1964, UK No. 7) (credited to a pseudonym, "L. Ransford", the name of Graham Nash's grandfather, as were all their early compositions). This was followed by two more cover versions, "Yes I Will" (Jan. 1965, UK No. 9) and finally the Clint Ballard, Jr.-penned "I'm Alive" (May 1965, the band's first UK No. 1, US No. 103, Canada No. 11). Their second album, "In the Hollies Style" (1964), did not feature in the "Record Retailer" top ten album chart, although it did reach the top ten of the "New Musical Express" chart. None of the tracks from the album were released in the US, although a version of it was released in Canada, with the addition of the British singles.
Finally, the Hollies broke through in North America with an original song that they requested from Manchester's Graham Gouldman. "Look Through Any Window" (September 1965, UK No. 4) broke the Hollies into the US Top 40 (No. 32, Jan. 1966) and into the Canadian top 10 (No. 3, Jan. 1966), both for the first time. Their follow-up single, an original recording of George Harrison's new song "If I Needed Someone" (December 1965), was undercut when the Beatles decided to release their own version on the UK album "Rubber Soul"; it only reached No. 20 in the UK and was not released in North America. Their third album, simply called "Hollies", hit No. 8 in the UK in 1965 but, under the name "Hear! Here!", failed to chart in the US despite its inclusion of "Look Through Any Window" and "I'm Alive".
The Hollies then returned to the UK Top 10 with "I Can't Let Go" (Feb. 1966, UK No. 2, US No. 42). Their fourth album, "Would You Believe?" which included the hit, made it to No. 16 in 1966. Released in the US as "Beat Group!", it also failed to crack the US top 100.
At this point, a dispute between the Hollies and their management broke out over what bass guitarist Eric Haydock contended were excessive fees being charged to the group by management. As a result, Haydock decided to take a leave of absence from the group. While he was gone, the group brought in the Beatles' good friend Klaus Voormann to play on a few gigs and recorded two singles with fill-ins on bass: the Burt Bacharach-Hal David song "After the Fox" (Sep. 1966), which featured Peter Sellers on vocals, Jack Bruce on electric bass and Burt Bacharach himself on keyboards, and was the theme song from the Sellers film of the same name (which failed to chart), and "Bus Stop" (UK No. 5, US No. 5, June 1966), another Gouldman song, which featured Bernie Calvert, a former bandmate of Hicks and Elliott in the Dolphins, on bass. Calvert also played a tour of Yugoslavia with the band in May 1966.
"Bus Stop" gave the Hollies their first US top ten single. As a result, a US/Canadian "Bus Stop" album, made of the single mixed with unreleased songs from earlier in the band's career, climbed to No. 75—the group's first album to enter the US Top 100. Although Haydock ultimately proved to be correct about the fee dispute, he was sacked in early July 1966 in favour of Calvert after "Bus Stop" became a huge hit.
At the time of Haydock's departure, Clarke, Nash and Hicks participated (along with session guitarist Jimmy Page, bass guitarist John Paul Jones and pianist Elton John) in the recording of the Everly Brothers' 1966 album "Two Yanks in England", which consisted largely of covers of "L. Ransford" compositions. After the Everly Brothers album, the Hollies stopped publishing original songs under a pseudonym, and from this point until Nash's last single with the Hollies in 1968, all of their single A-sides were original compositions, except the final Nash era single 'Listen To Me' (1968) which was written by Tony Hazzard.
In October 1966, the group's fifth album, "For Certain Because" (UK No. 23, 1966), became their first album consisting entirely of original compositions by Clarke, Nash and Hicks. Released in the US as "Stop! Stop! Stop!", it reached No. 91 there and spawned a US release-only single, "Pay You Back with Interest", which was a modest hit, peaking at No. 28. Another track, "Tell Me to My Face", was a moderate hit by Mercury artist Keith, and was also covered a decade later by Dan Fogelberg and Tim Weisberg on their "Twin Sons of Different Mothers" album.
Meanwhile, the Hollies continued to release a steady stream of international hit singles: "Stop Stop Stop" (Oct. 1966, UK No. 2, US No. 7) from "For Certain Because", known for its distinctive banjo arrangement; "On a Carousel" (Feb. 1967; UK No. 4, 1967, US No. 11, Australia No. 14); "Carrie Anne" (May 1967, UK No. 3, US No. 9, Australia No. 7).
In mid-February 1967, Bobby Elliott collapsed on stage due to an inflamed appendix. The Hollies were forced to continue their touring commitments without him, using Tony Mansfield, Dougie Wright and Tony Newman as stand-ins for further live dates, and Wright, Mitch Mitchell and Clem Cattini when they began recording for their next album, "Evolution", which was released on 1 June 1967, the same day as the Beatles' "Sgt. Pepper's Lonely Hearts Club Band". It was also their first album for their new US label Epic, and reached No. 13 in the UK and No. 43 in the US. The US version included the single "Carrie Anne". In addition, the Searchers and Paul & Barry Ryan each had a minor UK chart hit covering the "Evolution" song "Have You Ever Loved Somebody" in 1967.
Also in 1967, the Hollies participated in the Festival di San Remo with the song "Non prego per me", written by Italian songwriter Lucio Battisti and Italian lyricist Mogol.
Nash's attempt to expand the band's range with a more ambitious composition, "King Midas in Reverse", only reached No. 18 in the UK charts. The Hollies then released the ambitious, psychedelic album "Butterfly", retitled for the US market as "King Midas in Reverse/Dear Eloise", but it failed to chart. In response, Clarke and Nash wrote a more conventional pop song, "Jennifer Eccles" (named after their wives) (Mar. 1968, UK No. 7, US No. 40, Australia No. 13), which was a hit. The Hollies donated a Clarke-Nash song, "Wings", to "No One's Gonna Change Our World", a charity album in aid of the World Wildlife Fund, in 1969.
Graham Nash departure.
In addition to his Hollies work, Graham Nash co-wrote John Walker's first solo hit "Annabella" in 1967, and the following year sang on the Scaffold's UK chart-topper, "Lily the Pink" (which referenced "Jennifer Eccles"). The failure of "King Midas in Reverse" had increased tension within the band, with Clarke and Hicks wanting to record more "pop" material than Nash did. Matters reached a head when the band rejected Nash's "Marrakesh Express" and then decided to record an album made up entirely of Bob Dylan covers. Nash did take part in one Dylan cover, "Blowin' in the Wind", but made no secret of his disdain for the idea and repeatedly clashed with producer Ron Richards.
In August 1968, the Hollies recorded "Listen to Me" (written by Tony Hazzard) (Sept. 1968, UK No. 11), which featured Nicky Hopkins on piano. That proved to be Nash's last recording session with the Hollies; he officially left the group to move to Los Angeles, where he tentatively planned to become primarily a songwriter, after a performance in a charity concert at the London Palladium on 8 December 1968. Nash told "Disc" magazine, "I can't take touring any more. I just want to sit at home and write songs. I don't really care what the rest of the group think." After relocating to Los Angeles, he joined with former Buffalo Springfield guitarist Stephen Stills and ex-Byrds singer and guitarist David Crosby to form one of the first supergroups, Crosby, Stills & Nash, which released "Marrakesh Express" as its debut single.
The B-side of "Listen to Me" was "Do the Best You Can", the last original recording of a Clarke-Hicks-Nash song to appear on a Hollies record (although "Survival of the Fittest", written by Clarke-Hicks-Nash, was re-cut with Terry Sylvester and issued as a US single in 1970).
Graham Nash was replaced in the Hollies in January 1969 by Terry Sylvester, formerly of the Escorts and the Swinging Blue Jeans. Sylvester also substituted for Nash as part of the group's songwriting team, with Clarke and Hicks. As planned before Nash's departure, the group's next album was "Hollies Sing Dylan", which reached No. 3 on the UK chart, while the US version, "Words and Music by Bob Dylan", was ignored.
Nash's departure saw the Hollies again turn to outside writers for their single A-sides, but the group's British chart fortunes rallied during 1969 and 1970, and they scored four consecutive UK Top 20 hits (including two consecutive Top 5 placings) in this period, beginning with the Geoff Stephens/Tony Macaulay song, "Sorry Suzanne" (Feb. 1969), which reached No. 3 in the UK. The follow-up was the emotional ballad "He Ain't


The Greatest Love of All
Popular song by Michael Masser and Linda Creed
"The Greatest Love of All" is a song written by Michael Masser, who composed the music, and Linda Creed, who wrote the lyrics. It was originally recorded in 1977 by George Benson, who made the song a substantial hit, peaking at number two on the US Hot Soul Singles chart that year, the first R&B chart top-ten hit for Arista Records. The song was written and recorded to be the main theme of the 1977 film "The Greatest," a biopic of the boxer Muhammad Ali, and is performed during the opening credits.
Benson's original recording was released in 1977 in the United States, Japan, France, Germany, New Zealand, Australia, Italy, Brazil, Netherlands, the United Kingdom and Thailand, on an extended play (EP). He officially recorded the song four times; in addition to the studio single, Benson also recorded three live versions, the last time in a duet with Luciano Pavarotti in 2001. Since 1977, a great number of artists have recorded this song, including Shirley Bassey, Oleta Adams, Alexandra Burke, Deborah Cox, Ferrante & Teicher and Kevin Rowland.
Eight years after Benson's original recording, the song became even more well known when Whitney Houston's 1985 cover (with the slightly amended title "Greatest Love of All") eventually topped the charts, peaking at number one in the United States, Australia, Canada and on the US R&B chart in early 1986.
Background and composition.
The song's music was composed by Michael Masser, and its lyrics were written by Linda Creed, in 1976 for "The Greatest". According to the "Los Angeles Times", after he had been asked to write the song for the movie, Masser felt drawn to Jerusalem, even though he was not a religious man, "to get the feelings—not just my own." Masser also told the "Los Angeles Times" his special feelings about Ali:
Here was a man who wanted to change his name and religion. That's all. Ali hadn't believed in the war in Vietnam and had refused to fight in it. He won that battle through the legal system. Still, he lost everything—including his title. But Ali retained the most important thing of all—his dignity.
In an interview with the "Ocala Star-Banner" in 1988, similarly, Masser said that "He (Ali) represented to me a tremendous athlete who suffered prejudice from the white man's world. He didn't give up what he believed even though he lost his title." Masser also told the "Los Angeles Times" that the song had another personal meaning for him to give up a legal career to pursue his interest in music, adding, "People thought I was crazy. I had to starve. Had no money. Marriage broke up. But I had to do what I'd wanted to do since I was 6... write music." Upon his return from Jerusalem, he contracted with lyricist Creed to work on the song and wrote it right from the heart, with Creed drawing inspiration from her family. Then Masser had George Benson perform the song for the soundtrack. He said, "The record came out and the song became an underground theme for black people."
Benson recorded "The Greatest Love of All" for the soundtrack album of "The Greatest." The song was released as a single in the same year and was a substantial hit, reaching number 2 on the "Billboard" R&B chart, the first R&B Top Ten hit for Arista Records, and ended the year at position 33. The single also reached positions number 3 on the "Cash Box" Top 100 R&B and number 4 on the "Record World" R&B Singles. In other charts, the single was between positions number 22 and number 29 in the US, number 27 in the UK, and number 25 and 42 in Canada. "The Greatest Love of All" is one of George Benson's most successful hits, and for this reason was included in two of his many collections, "The Greatest Hits of All" and "".
Charts.
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Whitney Houston version.
The song was further popularized by American singer Whitney Houston under the title "Greatest Love of All", without the definite article "The". The song was recorded in December 1984 for her 1985 self-titled debut studio album. The song became a major hit, topping the charts in Australia, Canada and the US, while reaching the top 20 in most countries, including Italy, Sweden and the UK. It remains her third biggest US hit, after "I Will Always Love You" and "I Wanna Dance with Somebody (Who Loves Me)". All three songs, in order of their former popularity, re-entered the "Billboard" Hot 100 chart, after Houston's death in 2012, debuting the same week at numbers 7, 35 and 41, respectively, giving Houston three posthumous chart hits.
Clive Davis, founder of Houston's label Arista Records, was initially against Houston recording the song for her debut studio album, "Whitney Houston", but he eventually gave in after persuasion from Houston and Masser. It was released as the B-side to the single "You Give Good Love", a previous Top 5 hit by Houston. The song, eventually released as a single in its own right on March 18, 1986, was the seventh release from Houston's debut album, and spent three weeks at No. 1 on the "Billboard" Hot 100 chart in May of that year. The single cemented Houston’s status as a global pop star.
Her live performance in 1990 in "the 15th anniversary of Arista Records" concert in Radio City Music Hall was included in the 25th anniversary deluxe edition of "Whitney Houston" and the 2014 CD/DVD release, "".
Background.
Masser said, "When I first met Whitney in 1981–82, she was about 19 or 20 and unknown. I went into Sweetwater's, and I thought I must be totally out of it—I said, 'I must be going crazy, I think I'm hearing one of my songs.' She was singing 'The Greatest Love of All' just as I walked in, and that meant something to me. Two and a half years later when I was doing Teddy Pendergrass there was a duet and everybody wanted me to use this or that known person. Only because I had heard Whitney singing 'The Greatest Love of All'. I chose her."
Music video.
Houston's music video was filmed at Harlem's Apollo Theater in New York City. In the video, she is a successful singer who is about to perform in front of an audience. She reminisces about the time when she was a child performing in a talent competition and receiving encouragement from her mother. The video features Houston's mother Cissy Houston playing herself, supporting a young Houston, as well as hugging present Houston at the end of the video. It was directed by Peter Israelson, filmed with James Contner as DP and Steadicam operator Robin Buerki shooting 35mm film. In February 2020, the music video was restored in 4K.
Reception.
Critical reception.
Many critics called the song the centerpiece of Houston's debut album. Stephen Holden of "The New York Times" wrote that "Houston sings it with a forceful directness that gives its message of self-worth an astounding resonance and conviction" and called the song a compelling assertion of spiritual devotion, black pride, and family loyalty, all at once. Don Shewey of "Rolling Stone" wrote that as the song builds, Houston "slowly pours on the soul, slips in some churchy phrasing, holds notes a little longer and shows off her glorious voice."
Chart performance.
Benson's 1977 version was an R&B hit, reaching number 2 on the R&B chart. It was a moderate pop hit, making the top 40 on the "Billboard" Hot 100. Houston's version reached number one on the Hot 100 chart for three weeks in 1986. The single was the fourth hit (and third number 1) from her debut album, she became the first female artist to score three number ones from one album.
To date, this song was her second longest stay atop this chart, behind 1992's "I Will Always Love You". The song also reached number one on both component charts, the Hot 100 Singles Sales and the Hot 100 Airplay, her second consecutive release to do so, and stayed for 14 weeks inside the top 40. On other "Billboard" charts, Houston also performed well, reaching number three on the R&B chart. The song topped the adult contemporary chart for five weeks, Houston's longest stay at the top of that chart at the time. The song ranked No. 11 on "Billboard's" year end pop singles chart.
After her death, the single returned to the "Billboard" Hot 100, debuting at number 41.
Usage in media.
Houston's version of the song was featured in the first season of "RuPaul's Drag Race", being performed by contestants Akashia and Shannel in a "lipsync for your life".
Accolades.
Houston won the American Music Award for Favorite Soul/R&B Video Single, and was nominated for a Grammy Award for Record of the Year and a Soul Train Music Award for Single of the Year.
Track listings.
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Charts.
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Other versions.
A number of other artists have covered this song, including Shirley Bassey, Oleta Adams, Alexandra Burke, Deborah Cox, Lea Salonga, Ferrante & Teicher, Kevin Rowland and Jane Olivor.
On May 29, 2001, the Italian operatic tenor Luciano Pavarotti performed the concert "Pavarotti & Friends" in his hometown of Modena, Italy. Intended to raise money for refugees from Afghanistan under the United Nations High Commissioner for Refugees, this concert was called "Pavarotti & Friends for Afghanistan" and featured various guest artists, one of them being his friend George Benson. The song performed in duet by the two was Benson's song "The Greatest Love of All", sung in parts by Benson in English and elsewhere by Pavarotti in Italian. This complete concert "Pavarotti & Friends for Afghanistan" raised $3.3 million for its cause, and was recorded and released in CD in 2001. The song was credited with the original title "The Greatest Love of All" recorded by Benson.
Copyright infringement lawsuit and settlement.
In April 1987, Gordon Lightfoot filed a lawsuit against Michael Masser, alleging that Masser's song "The Greatest Love of All" stole twenty-four bars from Lightfoot's 1970 hit "If You Could Read My Mind". According to "Maclean's", Lightfoot commented, "It really rubbed me the wrong way. I don't want the present-day generation to think that I stole my song from him." Lightfoot has stated that he dropped the suit when he felt it was having a negative effect on Houston, as the suit was about Masser and not her. Ultimately the case was settled out of court and Masser issued a public apology.
References.
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I Will Always Love You
1974 single by Dolly Parton
"I Will Always Love You" is a song written and originally recorded in 1973 by American singer-songwriter Dolly Parton. Written as a farewell to her business partner and mentor Porter Wagoner, expressing Parton's decision to pursue a solo career, the country single was released in 1974. The song was a commercial success for Parton, twice reaching the top spot of the US "Billboard" Hot Country Songs chart: first in June 1974, then again in October 1982, with a re-recording for "The Best Little Whorehouse in Texas" soundtrack.
Whitney Houston recorded a Pop-ballad arrangement of the song for the 1992 film "The Bodyguard". Houston's version peaked at number one on the "Billboard" Hot 100 for a then-record-breaking 14 weeks. The single was certified diamond by the RIAA, making Houston's first diamond single, the third female artist who had both a diamond single and a diamond album, and becoming the best-selling single by a woman in the U.S. The song was an enormous success worldwide, going number one in 34 official singles charts. With over 24 million copies sold worldwide, it became the best-selling single of all time by a female solo artist. It was also the world's best-selling single of 1992. Houston won the Grammy Award for Record of the Year and the Grammy Award for Best Pop Vocal Performance, Female in 1994 for "I Will Always Love You". Houston also won a Grammy Award for Album of the Year for "The Bodyguard - Original Soundtrack Album".
The song has been recorded by many other artists including Linda Ronstadt, John Doe, Amber Riley, Kenny Rogers, LeAnn Rimes, and Sarah Washington, whose dance version reached number 12 on the UK Singles Chart. "I Will Always Love You" has been recognized by BMI for over ten million broadcast performances.
Background and composition.
Country music singer-songwriter Dolly Parton wrote the song in 1973 for her one-time partner and mentor Porter Wagoner, from whom she was separating professionally after a seven-year partnership. She recorded it in RCA Studio B in Nashville on June 12, 1973.
Author Curtis W. Ellison stated that the song "speaks about the breakup of a relationship between a man and a woman that does not descend into unremitting domestic turmoil, but instead envisions parting with respect – because of the initiative of the woman". The country love track is set in a time signature of common time with a tempo of 66 beats per minute. (Larghetto/Adagio) Although Parton found much success with the song, many people are unaware of its origin; during an interview, Parton's manager Danny Nozel said that "one thing we found out from "American Idol" is that most people don't know that Dolly Parton wrote [the track]". During an interview on "The Bobby Bones Show", Dolly Parton revealed that she wrote her signature song "Jolene" on the same day that she wrote "I Will Always Love You." Parton clarified later, "I don’t really know if they were written in the same night."
Several times (long before Whitney Houston recorded the song), Dolly Parton suggested to singer Patti LaBelle that she record "I Will Always Love You" because she felt LaBelle could have sung it so well. However, LaBelle admitted she kept putting off the opportunity to do so and later deeply regretted it after she heard Whitney Houston's rendition.
1974 version.
"I Will Always Love You" was issued on March 18, 1974, as the second single from Parton's thirteenth solo studio album, "Jolene" (1974). During its original release in 1974, "I Will Always Love You" reached number four in Canada on the Canadian "RPM" Country Tracks chart and peaked at number one on the "Billboard" Hot Country Songs chart, becoming one of the best selling singles of 1974.
When the 1974 recording of the song reached number one on the country charts, Elvis Presley indicated that he wanted to record the song. Parton was interested until Presley's manager, Colonel Tom Parker, told her that it was standard procedure for the songwriter to sign over half of the publishing rights to any song Elvis recorded. Parton refused. She recalls:I said, 'I'm really sorry,' and I cried all night. I mean, it was like the worst thing. You know, it's like, Oh, my God… Elvis Presley.' And other people were saying, 'You're nuts. It's Elvis Presley.' …I said, 'I can't do that. Something in my heart says, 'Don't do that. And I just didn't do it… He would have killed it. But anyway, so he didn't. Then when Whitney [Houston's version] came out, I made enough money to buy Graceland.
The song won Parton Female Vocalist of the Year at the 1975 CMA Awards.
Critical reception.
In Curtis W. Ellison's book, "Country Music Culture: From Hard Times to Heaven" (1995), he stated: "In the early 1990s, when ambiguity in romantic relationships accompanies changing expectations for both men and women, this song demonstrates Dolly Parton's appeal as a songwriter in the pop music market." Writer Paul Simpson criticized the singer, stating that the track was only written to "soften the blow" of Parton and Wagoner's split.
Credits and personnel.
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Charts.
Weekly
Year-End
1982 version.
Parton re-recorded the song for "The Best Little Whorehouse in Texas", released July 12, 1982, as the first single from the soundtrack album. The single eventually hit number one on the "Billboard" Hot Country Singles chart, earning Parton a rare distinction: reaching the number one position twice with the same song.
Critical reception.
"Billboard" gave a positive review which said, "The first single from "The Best Little Whorehouse in Texas" isn't the sort of brassy main theme normally used to launch a major movie musical: here Parton reinterprets one of her earliest exercises in pure pop writing, and while older fans may be divided over the breathier, more stylized reading she offers here, the song itself is still a lovely ballad with a soaring chorus." "Cashbox" also reviewed the single favorably, saying that "hoisted over a building arrangement, Parton's vocals have never been more convincing or moving. The single choice from her Hollywood flick, "The Best Little Whorehouse in Texas", the tune is sentiment wrapped in an appropriate package replete with strings, oboe and harp in addition to a delicate rhythm section."
1995 version.
Parton recorded "I Will Always Love You" in 1995 as a duet with Vince Gill for her album, "Something Special". Following an August 26 performance of the duet at the Grand Ole Opry which aired on TNN, radio stations began giving the duet unsolicited airplay, causing it to debut on the "Billboard" Hot Country Singles & Tracks chart at number 53. After a performance at the 29th Annual CMA Awards, the song was officially released as a single in November 1995, peaking at number 15. This marked the third time Parton had a top 20 hit with the song. The song was nominated at the 38th Annual Grammy Awards for Best Country Collaboration with Vocals and was named Vocal Event of the Year at the 30th Annual CMA Awards.
Personnel.
Adapted from the album liner notes.
Whitney Houston version.
In 1992, American singer and actress Whitney Houston recorded a new arrangement of "I Will Always Love You" for the soundtrack to "The Bodyguard", her film debut. Houston's cover of "I Will Always Love You" received widespread acclaim from music critics, being now regarded as one of her "signature" songs. The single spent 14 weeks at the top of the US "Billboard" Hot 100, which at the time was a record. Houston's "I Will Always Love You" was also a massive international hit, topping the singles charts in almost every country, including the Eurochart Hot 100 Singles, where it spent 13 weeks at the top. The single ruled the summit position for ten weeks in Australia, five weeks in Austria, seven weeks for Belgium, eight weeks in France, six weeks in Germany, eight weeks in Ireland, six weeks in the Netherlands, fourteen weeks in New Zealand, nine weeks in Norway, one week in Spain and Uruguay, six weeks in Sweden, eight weeks in Switzerland, and ten weeks in the UK.
"I Will Always Love You" won the 1994 Grammy Awards for Record of the Year and Best Female Pop Vocal Performance, Houston's third win in the latter category after earlier wins in 1986 and 1988. In addition, it received Favorite Pop/Rock Single and Favorite Soul/R&B Single awards at the 21st American Music Awards, which was the first record by a solo female artist to win both categories. "I Will Always Love You" won two Japan Gold Disc Awards in 1993 for International Song of the Year, and a 1994 International Song of the Year Special Award for Japanese sales of over one million units. In 2020, "I Will Always Love You" was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant". In 2021, "I Will Always Love You" was listed at number 94 on the updated list of "Rolling Stone"'s 500 Greatest Songs of All Time. In 2023, "I Will Always Love You" was listed at number 60 on "Billboard's" list of the 500 Best Pop Songs of All Time, Houston's second highest-ranked song on the list.
Sarah Washington version.
British singer Sarah Washington released a dance-cover of "I Will Always Love You" in August 1993. It became her highest-charting hit, reaching number three in Spain, number 12 in the UK, number 15 in Ireland, and number 32 in Sweden. On the Eurochart Hot 100, it peaked at number 44 in September 1993. It was released on Almighty Records, which described Washington as "an eager young hopeful" and cited her "sensational studio performance" as being key to the ultimate success of the track, also giving credit to London radio station 95.8 Capital FM and its heavy rotation of the song. A black-and-white music video was produced to promote the single. In 2006, Almighty Records released an 11-mixes package of "I Will Always Love You".
Critical reception.
Larry Flick from "Billboard" commented, "There are no less than nine dance music covers of the Whitney Houston megahit "I Will Always Love You". So far, only Sarah Washington's hi-NRG rendering on Almighty Records is worth a spin." In his weekly UK chart commentary, James Masterton wrote, "If anything this new version adds a little more to the song, and at least proves it had genuine soul to start with. Top 10 for sure." Chris Roberts from "Melody Maker" added, "And now you can shake a tailfeather to it as well." Alan Jones from "Music Week" gave it four out of five, complimenting "a sinewy garage groove with a powerful vocal from the Donna Summer school of disco divas." Stephen Dalton from "NME" felt the record "hop, skip and pump along with a breezy, good-natured charm." James Hamilton from the "Record Mirror" Dance Update described it as a "I Will Survive-ish" remake.
Rik Waller version.
In 2002, English pop singer Rik Waller took his own version of "I Will Always Love You" into the top ten of the UK Singles Chart, peaking at number 6. It was his debut single and the first released from his debut studio album "From Now...", after his taking part in the "Pop Idol" series.
Kristin Chenoweth version.
"I Will Always Love You" was covered by American actress and singer Kristin Chenoweth as a duet with Dolly Parton. It was released on August 9, 2019, as the first single from Chenoweth's album, "For the Girls".
Background.
Chenoweth reflected on recording "I Will Always Love You" with ET Online, saying "it is a song I've loved since I was a child." She went on to say, "I used to think, 'One day I'm gonna sing that song.' Little did I know that I'd get to sing it with the queen herself."
"Forever Country".
The song found further chart success as part of the "Forever Country" medley, created in 2016 to celebrate the 50th anniversary of the Country Music Association Awards. The medley also features "Take Me Home, Country Roads" and "On the Road Again". Parton performs on the medley, along with 29 other country music artists. The medley debuted at number one on the "Billboard" US Hot Country Songs chart and number 21 on the "Billboard" Hot 100 chart on October 8, 2016.
Dolly Said No To Elvis.
In February 2018, Fairground Attraction member Mark Nevin released "Dolly Said No To Elvis", a single that recounts Parton's refusal to let Presley cover "I Will Always Love You", yet allowing Houston to sing it for "The Bodyguard". A few days prior, the official stop motion animated music video for "Dolly Said No To Elvis" was uploaded on Nevin's YouTube channel and the director Heather Colbert's Vimeo channel.
See also.
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References.
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The Bodyguard (soundtrack)
1992 soundtrack album by Whitney Houston / various artists
The Bodyguard: Original Soundtrack Album is the first soundtrack album by American singer Whitney Houston. It was released on November 17, 1992, by Arista Records to promote the film of the same name. It also contains songs by her label mates Lisa Stansfield, Kenny G, The S.O.U.L. S.Y.S.T.E.M. and Curtis Stigers as well as artists such as Aaron Neville and Joe Cocker. The album is credited as a Whitney Houston album because she recorded the majority of the tracks. "The Bodyguard" was Houston's first box office film, after turning down offers from film producers such as Robert Townsend, Spike Lee and Robert De Niro in the past. Initially, Houston was reluctant to take on the role and was convinced by co-producer and co-star Kevin Costner to pursue it, to which she agreed. Arista Records president Clive Davis had apprehensions of Houston's role in the film without much music from the script, convincing Costner and the film's distributor Warner Bros Pictures to add songs to the film, in which Houston made a deal for back royalties for its music and attained creative control. Houston agreed to record six tracks, four of which were featured in the film.
Houston began working on the soundtrack in November 1991, and contacted previous producers of her work, including Babyface, Antonio "L.A." Reid, BeBe Winans and Narada Michael Walden, to participate in the album. It also marked the first time Houston worked with renowned producer David Foster, who would produce three of the six Houston tracks, as well as the production duo of Clivillés and Cole, while Houston herself co-produced two songs. Both Houston and Clive Davis were listed as executive producers on the album.
Upon its release in November 1992, "The Bodyguard" was praised by music critics for Houston's vocal performance and its production. The album was a global success, topping the charts in 21 countries, including the United States, the United Kingdom, Australia, Canada, New Zealand, Germany, Austria, Belgium, France, Italy and Japan as well as the European album chart. In the United States, the album debuted at number two on the "Billboard" 200, before climbing to number one in its second week of release, remaining there for 20 non-consecutive weeks, making it the first album by a female artist to top the charts for that many weeks. In its sixth week, it sold one million copies within a single week, making Houston the first artist to accomplish this following verification by Nielsen SoundScan. It would continue to sell a million copies per week for several weeks in a row and would eventually be certified Diamond by the Recording Industry Association of America for sales of ten million copies in November 1993, becoming the first female album to sell that many copies in the United States and would be one of three Houston albums to receive that milestone, eventually selling 18 million in the country alone. Overall, the album would sell 45 million copies worldwide, becoming the best-selling soundtrack album of all time, the best-selling album by a woman in music history, and the best-selling album of the decade.
The soundtrack resulted in several awards and accolades for Houston, including seven American Music Awards, a Brit Award, a Juno Award and the Grammy Award for Album of the Year, marking only the second time in Grammy history that an African American woman won the Grammy in that category. Two of the tracks on the soundtrack, "Run to You" and "I Have Nothing" were each nominated for an Academy Award for Best Original Song, while Houston herself won the MTV Movie Award for Best Song for the soundtrack's leading single and its biggest hit, "I Will Always Love You".
Five of the Houston tracks were released as singles. "I Will Always Love You" became Houston's tenth number one single on the "Billboard" Hot 100, matching the number for most number one singles by a female artist at the time and eventually topped the charts in 34 countries entirely and went on to sell more than 24 million copies worldwide, becoming the best-selling single by a female artist of all time. "I'm Every Woman" was released as the second single and became another international top ten hit and peaked inside the top five of the "Billboard" Hot 100, as did its third single, "I Have Nothing". In March 1993, the three aforementioned singles were placed inside the top 11 for two consecutive weeks, marking the first time in the Nielsen SoundScan era that an artist had three singles simultaneously chart at the same time. "Run to You" was the fourth single released from the album and became a modest hit globally, reaching the top 40 in the United States and the top 20 in the United Kingdom. "Queen of the Night" was a European market only release and reached the top 20 in the United Kingdom while a dance remix of the song topped the "Billboard" dance chart. In Europe, the only non-Houston single to be released was Lisa Stansfield's "Someday (I'm Coming Back)", while in the United States and Canada, the dance group, The S.O.U.L. S.Y.S.T.E.M., released the tune, "It's Going to Be a Lovely Day". "The Bodyguard" received further promotion from the successful Bodyguard World Tour. In 2017, a 25th anniversary re-release, "", was issued. In 2024, "The Bodyguard" was included in "Rolling Stone's" list of the 101 Greatest Soundtracks of All Time. The album and film cemented Houston’s status as a pop culture icon.
Background.
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I got a call saying that there is a script that Kevin Costner has, called "The Bodyguard", that he wanted me to do. He wanted me to costar with him. I went, “Yeah, sure.” Then I called my agent, and she said, “Yeah, it’s true.” So I read the script. I liked the story, but in the beginning Rachel was very rough, very hard – a little bitch. - Whitney Houston to "Rolling Stone" (1993)
By the late summer of 1990, Houston had become a commercially successful recording artist. Her first two albums, "Whitney Houston" and "Whitney", sold 25 and 20 million copies worldwide respectively. Houston was planning on releasing her third album, "I'm Your Baby Tonight", when Houston received a call from actor Kevin Costner to accept a leading role in a film titled "The Bodyguard". Back in December 1986, "Billboard" magazine mentioned that Houston would take part in the film, only with Clint Eastwood as the co-lead. Costner convinced "Silverado" director and friend Lawrence Kasdan to let him be a co-producer for the project. Kasdan had originally written the script for the film back in 1975 and after his script was sold off to Warner Bros. Pictures, the film had originally been pegged as a project for Diana Ross and Steve McQueen in 1977, but stalled.
A year later, in November 1978, Ross rejoined the project after Warner brought in Ryan O'Neal, only for the film to return to development hell a year later. Following Houston's rise, she had been sought after for film roles by the likes of Robert Townsend, Spike Lee and Robert De Niro. It's claimed Costner was convinced Houston was right for the role after viewing her concert at the Assembly Hall in Champaign, Illinois in September 1987. Another claim was that after watching her music video for her 1988 hit, "Where Do Broken Hearts Go", was Costner convinced that Houston was the one to play the role of Rachel Marron. Still, it took three years before Houston was contacted for the film. When Costner finally reached Houston, the singer, who had only took brief acting cameos on television shows such as "Silver Spoons", was reluctant but agreed to read the script. A nervous Houston still held off on the film until Costner convinced the singer in another phone call that he will "not let [her] fall".
The film's director Mick Jackson initially was unsure of Houston's chances of leading a film and, according to Costner, suggested veteran actresses such as Michelle Pfeiffer or Kim Basinger for the role, to which Costner flatly turned down. Jackson then agreed to give Houston a screen test in January 1991, to which she passed. In April 1991, Houston and Costner announced that they would co-star in "The Bodyguard". Costner delayed production on the film until Houston finished her world tour that year to late November 1991.
Recording.
Prior to shooting the film, Arista Records CEO Clive Davis wasn't sure about the film that, at the time, had little music attached to it and didn't understand why Houston's character, Rachel Marron, "needed a bodyguard". Davis admitted later he was "nervous" of Houston's acting aspirations. After reading the initial script, Davis wrote a letter to Costner and the film's director Mick Jackson, arguing to them that the film "is nowhere near fulfilling the potential of what Whitney could contribute to the role". Costner agreed with Davis and Houston, in a deal with Warner Bros Pictures, signed a deal for rights to the soundtrack's back royalties and agreed to record at least six tracks, with four of them to be featured on the film. Maureen Crowe became the film's music supervisor and worked with Houston and Costner on finding songs for the film; once Davis learned of Houston's deal, he joined the team in assembling songs, to which he and Houston would then spend days alone at Davis' hotel suite going over the material. Though Davis and Houston went over the songs together, Houston was the one to attain full creative control over the project, continuing her career as an executive producer on the album.
Two weeks before filming commenced, Houston began working on the album. Unlike her previous first two albums, Houston sought after the producers herself after years of Davis picking the producers, something that had started with the production of "I'm Your Baby Tonight" (1990). According to collaborator BeBe Winans, Houston "was truly in control. She grew into that confidence. She was playing catch-up for the first and second album, and then she caught up to how to become immune to what people would do or say... For the "Bodyguard" soundtrack, she was who she was." Winans added that by the time Houston began working on the soundtrack, she had become "more understanding of a song, more so than just singing the song, and was part of those decisions of what songs she was going to sing. Now if she trusted you, as she did other musicians and songwriters, she would allow you to do what you do, and again take that song and make it her own." According to session dates, the first song to be recorded was the rock song "Queen of the Night", to which Houston played a part in composing after the song's original writers Kenneth "Babyface" Edmonds and Daryl Simmons struggled to compose the song themselves. Longtime collaborator Antonio "L.A." Reid became


Gmina Ryki
Gmina Ryki is an urban-rural gmina (administrative district) in Ryki County, Lublin Voivodeship, in eastern Poland. Its seat is the town of Ryki, which lies approximately north-west of the regional capital Lublin.
The gmina covers an area of , and as of 2006 its total population is 20,504 (out of which the population of Ryki amounts to 9,716, and the population of the rural part of the gmina is 10,788).
Villages.
Apart from the town of Ryki, Gmina Ryki contains the villages and settlements of Bobrowniki, Brusów, Budki-Rososz, Chrustne, Chudów, Edwardów, Falentyn, Janisze, Karczmiska, Kazimierzyn, Kleszczówka, Krasnogliny, Kruków, Lasocin, Lasoń, Moszczanka, Niwa Babicka, Nowa Dąbia, Nowiny, Nowy Bazanów, Nowy Dęblin, Ogonów, Oszczywilk, Ownia, Podwierzbie, Potok, Rososz, Sędowice, Sierskowola, Stara Dąbia, Stary Bazanów, Swaty, Zalesie and Zalesie-Kolonia.
Neighbouring gminas.
Gmina Ryki is bordered by the town of Dęblin and by the gminas of Kłoczew, Nowodwór, Puławy, Stężyca, Trojanów, Ułęż and Żyrzyn.
References.
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Gmina Stężyca, Lublin Voivodeship
Gmina Stężyca is a rural gmina (administrative district) in Ryki County, Lublin Voivodeship, in eastern Poland. Its seat is the village of Stężyca, which lies approximately west of Ryki and north-west of the regional capital Lublin.
The gmina covers an area of , and as of 2006 its total population is 5,473.
Villages.
Gmina Stężyca contains the villages of Brzeźce, Brzeziny, Długowola, Drachalica, Kletnia, Krukówka, Nadwiślanka, Nowa Rokitnia, Paprotnia, Pawłowice, Piotrowice, Prażmów, Stara Rokitnia, Stężyca and Zielonka.
Neighbouring gminas.
Gmina Stężyca is bordered by the town of Dęblin and by the gminas of Kozienice, Maciejowice, Ryki, Sieciechów and Trojanów.
References.
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Stężyca, Lublin Voivodeship
Stężyca is a village in Ryki County, Lublin Voivodeship, in eastern Poland. It is the seat of the gmina (administrative district) called Gmina Stężyca. It lies approximately west of Ryki and north-west of the regional capital Lublin.
History.
The village is located in northeastern corner of the historic region of Lesser Poland. The settlement was first mentioned in the 12th century, for hundreds of centuries it was the center of the Stężyca Land. It was granted Magdeburg rights in 1330 from King Casimir the Great. In the early Kingdom of Poland and the Polish–Lithuanian Commonwealth, Stężyca was a major urban center and royal town in the Sandomierz Voivodeship in the Lesser Poland Province, and the seat of a "powiat" (county).
Following the Third Partition of Poland, it was annexed by Austria. After the Polish victory in the Austro-Polish War of 1809, it was regained by Poles and included within the short-lived Duchy of Warsaw, and after its dissolution, from 1815 to 1918 it was part of Russian-controlled Congress Poland. It lost its town charter in 1875, as a punishment for the unsuccessful Polish January Uprising.
In the late Middle Ages, Stężyca was spelled as "Stanzitia" (1325–1327), "Stazicza" (1365), "Stanzicza" (1441), and "Sthezicza" (1569). The early settlement was founded near a fortified gord, which guarded the Vistula river crossing. Its name probably comes from ancient Polish word "stężyć", which means "to strengthen". In the spring of 1575, after the escape of King Henry of Poland and France, the town was the seat of the so-called "Stężyca Sejm" from 12 May to 4 June 1575. The village has a Gothic church of St. Martin (1434).
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Gmina Stężyca, Pomeranian Voivodeship
Gmina Stężyca () is a rural gmina (administrative district) in Kartuzy County, Pomeranian Voivodeship, in northern Poland. Its seat is the village of Stężyca, which lies approximately south-west of Kartuzy and west of the regional capital Gdańsk.
The gmina covers an area of , and as of 2006 its total population is 8,695.
Villages.
Gmina Stężyca contains the villages and settlements of Betlejem, Bolwerk, Borucino, Chróstowo, Czapielski Młyn, Czysta Woda, Dąbniak, Dąbrowa, Danachowo, Delowo, Drozdowo, Dubowo, Gapowo, Gołubie, Gołubie-Wybudowanie, Kamienica Szlachecka, Kamienny Dół, Klukowa Huta, Kolano, Krzeszna, Krzeszna-Stacja, Kucborowo, Kukówka, Łączyno, Łączyński Młyn, Mała Krzeszna, Malbork, Mestwin, Niebo, Niesiołowice, Nowa Sikorska Huta, Nowa Wieś, Nowe Czaple, Nowe Łosienice, Nowy Ostrów, Ostrowo, Pażęce, Piekło, Pierszczewko, Pierszczewo, Potuły, Przyrowie, Pustka, Pypkowo, Rzepiska, Sikorzyno, Smokowo, Stara Sikorska Huta, Stare Czaple, Stare Łosienice, Stężyca, Stężyca-Wybudowanie, Stężycka Huta, Szczukowo, Szymbark, Teklowo, Uniradze, Wieżyca, Wygoda Łączyńska, Zdrębowo, Zgorzałe and Żuromino.
Neighbouring gminas.
Gmina Stężyca is bordered by the gminas of Chmielno, Kartuzy, Kościerzyna, Sierakowice, Somonino and Sulęczyno.

Stężyca, Pomeranian Voivodeship
Stężyca is a village in Kartuzy County, Pomeranian Voivodeship, in northern Poland. It is the seat of the gmina (administrative district) called Gmina Stężyca. It lies approximately south-west of Kartuzy and west of the regional capital Gdańsk. It is located between the Stężyckie and Raduńskie Górne lakes within the ethnocultural region of Kashubia in the historic region of Pomerania.
History.
Stężyca was a royal village of the Polish Crown, administratively located in the Tczew County in the Pomeranian Voivodeship.
During the Nazi occupation of Poland (World War II), several Poles from Stężyca, including the local Catholic priest, were murdered in 1939 by the Germans in large massacres in the Kaliska forest (see "Intelligenzaktion"). Several Polish families were expelled from the village in 1941, and the entire remaining Polish population was expelled in 1943, while their farms were handed over to German colonists as part of the "Lebensraum" policy.
Sport.
The village is home to the football club Radunia Stężyca.
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Gmina Krasnystaw
Gmina Krasnystaw is a rural gmina (administrative district) in Krasnystaw County, Lublin Voivodeship, in eastern Poland. Its seat is the town of Krasnystaw, although the town is not part of the territory of the gmina.
The gmina covers an area of , and as of 2006 its total population is 9,142.
The gmina contains part of the protected area called Skierbieszów Landscape Park.
Villages.
Gmina Krasnystaw contains the villages and settlements of Bzite, Czarnoziem, Jaślików, Józefów, Kasjan, Krupe, Krupiec, Krynica, Latyczów, Małochwiej Duży, Małochwiej Mały, Niemienice, Niemienice-Kolonia, Ostrów Krupski, Rońsko, Siennica Nadolna; Białka, Łany, Stężyca Łęczyńska, Stężyca Nadwieprzańska, Stężyca-Kolonia, Tuligłowy, Widniówka, Wincentów, Zakręcie, Zastawie-Kolonia and Zażółkiew.
Neighbouring gminas.
Gmina Krasnystaw is bordered by the town of Krasnystaw and by the gminas of Gorzków, Izbica, Kraśniczyn, Łopiennik Górny, Rejowiec and Siennica Różana.

Kukówka, Gmina Stężyca
Kukówka is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Stężyca-Wybudowanie
Stężyca-Wybudowanie is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north-east of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Gmina Stężyca
Gmina Stężyca may refer to either of the following rural administrative districts in Poland:
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 Topics referred to by the same termThis page lists articles about distinct geographical locations with the same name.

Brzeziny, Ryki County
Brzeziny is a village in the administrative district of Gmina Stężyca, within Ryki County, Lublin Voivodeship, in eastern Poland. It lies approximately east of Stężyca, west of Ryki, and north-west of the regional capital Lublin.
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Piotrowice, Ryki County
Piotrowice is a village in the administrative district of Gmina Stężyca, within Ryki County, Lublin Voivodeship, in eastern Poland. It lies approximately east of Stężyca, west of Ryki, and north-west of the regional capital Lublin.
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Ostrowo, Kartuzy County
Ostrowo is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Dąbrowa, Kartuzy County
Dąbrowa is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Drozdowo, Kartuzy County
Drozdowo is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately east of Stężyca, south of Kartuzy, and south-west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Gapowo, Kartuzy County
Gapowo is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Malbork, Kartuzy County
Malbork is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Pustka, Kartuzy County
Pustka is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Nowy Ostrów, Kartuzy County
Nowy Ostrów is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Piekło, Kartuzy County
Piekło is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately east of Stężyca, south-west of Kartuzy, and south-west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Wieżyca, Kartuzy County
Wieżyca is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately east of Stężyca, south-west of Kartuzy, and south-west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Nowa Wieś, Kartuzy County
Nowa Wieś is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Stężyca Łęczyńska
Stężyca Łęczyńska is a village in the administrative district of Gmina Krasnystaw, within Krasnystaw County, Lublin Voivodeship, in eastern Poland.
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Stężyca-Kolonia
Stężyca-Kolonia is a village in the administrative district of Gmina Krasnystaw, within Krasnystaw County, Lublin Voivodeship, in eastern Poland.
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Stężyca Nadwieprzańska
Stężyca Nadwieprzańska is a village in the administrative district of Gmina Krasnystaw, within Krasnystaw County, Lublin Voivodeship, in eastern Poland. It lies approximately north of Krasnystaw and south-east of the regional capital Lublin.
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Długowola, Lublin Voivodeship
Długowola is a village in the administrative district of Gmina Stężyca, within Ryki County, Lublin Voivodeship, in eastern Poland. It lies approximately east of Stężyca, west of Ryki, and north-west of the regional capital Lublin.
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Pawłowice, Lublin Voivodeship
Pawłowice is a village in the administrative district of Gmina Stężyca, within Ryki County, Lublin, Poland, in eastern Poland. It lies approximately east of Stężyca, west of Ryki, and north-west of the regional capital Lublin.
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Stężyca, Greater Poland Voivodeship
Stężyca is a village in the administrative district of Gmina Gostyń, within Gostyń County, Greater Poland Voivodeship, in west-central Poland. It lies approximately north-west of Gostyń and south of the regional capital Poznań.
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Betlejem, Pomeranian Voivodeship
Village in Poland
Betlejem is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
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Gołubie-Wybudowanie
Village in Poland
Gołubie-Wybudowanie is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately east of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
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Bolwerk
Bolwerk is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Przyrowie
Przyrowie is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Dąbniak
Dąbniak is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see "History of Pomerania".
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Pierszczewo
Pierszczewo is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately east of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Szczukowo
Szczukowo is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Żuromino
Żuromino is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Danachowo
Danachowo is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north-west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Gołubie
Gołubie is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately east of Stężyca, south-west of Kartuzy, and south-west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Krzeszna
Krzeszna is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately east of Stężyca, south-west of Kartuzy, and south-west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Kucborowo
Kucborowo is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately south of Stężyca, south-west of Kartuzy, and south-west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Łączyno
Łączyno is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north-east of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Pażęce
Pażęce is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately south-west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Pierszczewko
Pierszczewko is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north-east of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Pypkowo
Pypkowo is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately south of Stężyca, south-west of Kartuzy, and south-west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Sikorzyno
Sikorzyno is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately east of Stężyca, south-west of Kartuzy, and south-west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Stare Łosienice
Stare Łosienice is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Teklowo
Teklowo is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north-east of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Uniradze
Uniradze is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north-east of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Wygoda Łączyńska
Wygoda Łączyńska () is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Zdrębowo
Zdrębowo is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately south of Stężyca, south-west of Kartuzy, and south-west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Borucino, Pomeranian Voivodeship
Borucino is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Chróstowo, Pomeranian Voivodeship
Chróstowo is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Czysta Woda
Czysta Woda is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Delowo
Delowo is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately south-west of Stężyca, south-west of Kartuzy, and south-west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Kamienica Szlachecka
Kamienica Szlachecka is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Krzeszna-Stacja
Krzeszna-Stacja is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately east of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see "History of Pomerania".
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Niesiołowice, Pomeranian Voivodeship
Niesiołowice is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Nowe Łosienice
Nowe Łosienice is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north-west of Stężyca, west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Rzepiska, Pomeranian Voivodeship
Rzepiska is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Mestwin, Poland
Mestwin is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately east of Stężyca, south-west of Kartuzy, and south-west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Czapielski Młyn
Czapielski Młyn is a settlement in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north-east of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of the region, see History of Pomerania.
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Dubowo, Pomeranian Voivodeship
Dubowo is a village in the administrative district of Gmina Stężyca, within Kartuzy County, Pomeranian Voivodeship, in northern Poland. It lies approximately north-west of Stężyca, south-west of Kartuzy, and west of the regional capital Gdańsk.
For details of the history of