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NEAL CONAN, host:

This is TALK OF THE NATION. Im Neal Conan in Washington.

Dionne Warwick comes from a musically gifted family in New Jersey. She broke into the big time when many African-American performers became more popular in Europe than they were at home. And even there, they put pictures of white people on the cover of her albums.

Her hits crossed over from R&B to pop, but amid her fame came controversy: her loves, her affiliation with the Psychic Friends Network and the tumultuous breakup with the songwriter-producers who helped launch her career.

In a new memoir, she writes that her career has been one overflowing with the type of excitement, travels and success that comes along with being an entertainer. In a moment, Dionne Warwick on her life as she sees it.

Later in the hour, Political Junkie Ken Rudin with a guide to what to watch for as the returns come in tonight. But first, call and tell us about your Dionne Warwick moment. Tell us your story.

Our phone number is 800-989-8255. Email us, talk@npr.org. You can also join the conversation on our website. Thats at npr.org. Click on TALK OF THE NATION.

Dionne Warwick joins us from NPR's bureau in New York City. Her new book is "My Life, As I See It," and it's a delight to have you on the program today.

Ms. DIONNE WARWICK (Musician; Author, "My Life, As I See It"): It's nice to be here.

CONAN: And can you tell us why Diahann Carroll calls you little girl?

(Soundbite of laughter)

Ms. WARWICK: Well, I guess she looks at me as if I'm a little girl. And I was quite young when I was sitting in the back of the room at the Persian watching her perform and taking notes. So from that moment to this, I'm still little girl.

CONAN: As you describe it in the book, you're sitting there taking notes, how she came onto stage, how she introduced each song, how she interacted with the audience. And as you're doing this, suddenly the spotlight caught you back there.

Ms. WARWICK: Yes, it did.

(Soundbite of laughter)

CONAN: And she said: What are you doing, little girl?

Ms. WARWICK: Exactly. She said young lady - and I had no idea she was speaking to me until I felt the light on me. And I looked up, and she was looking directly at me. I said: Are you talking to me?

(Soundbite of laughter)

Ms. WARWICK: She said: Yes, I'm speaking to you. What are you doing? And I held up my legal pad, and I showed her.

(Soundbite of laughter)

CONAN: Later, she asks to see your notes backstage, and said: You've been writing down everything I do. Why are you doing that?

Ms. WARWICK: I told her specifically, I said because you're doing something that I really want to do, and eventually, I intend to do it. And I want to know how to do it. So you're here doing it. You must be doing it right. So if I can learn from you, I can learn.

CONAN: You learned from some other great stars in show business...

Ms. WARWICK: Yes, I have.

CONAN: ...Sammy Davis Jr. and Frank Sinatra and others, as well.

Ms. WARWICK: Indeed, Lena Horne, Ella Fitzgerald, Sarah Vaughan. You know, I've been a truly blessed young lady.

CONAN: You write, though, that much of who you are, how you present yourself on stage and how you carry yourself comes not from watching these great performers but from watching your mother and your family.

Ms. WARWICK: That's right. My mom and my aunts were, and still are, the ones that are still with me, some of the most stylish women I've ever seen in my life. And they were very proud ladies. So I had it right in front of my face.

CONAN: Presenting yourself on stage, controlling your image throughout your career has been very important to you.

Ms. WARWICK: Absolutely.

CONAN: And how do you do it?

Ms. WARWICK: Well, I'm very comfortable being who I am, and that's very important, I think. And I think I've learned from the very best in our industry, the icons of music and those that are in film, as well.

When you sit and you watch a Marlene Dietrich walk onstage or Carol Burnett walk onstage or Lena Horne walk onstage, you know that's how you've got to walk onstage, and that's the way you're supposed to look when you walk onstage. So that's it.

CONAN: There was a moment where you tried a medley of your tunes. You decided I think you were playing the Copacabana.

Ms. WARWICK: Yes.

CONAN: And decided you weren't going to talk to the audience until you'd done a 15-minute medley.

Ms. WARWICK: I had just seen Johnny Mathis at the Waldorf Astoria. And he walked out onstage, and he started singing. And he must have sung what seemed like for an hour, nothing but hit after hit after hit. I was mesmerized. And I was with friends, and I said: You know what? One day, I'm going to be able to do that. I'm going to do exactly that. And finally the day came that I could put together a medley that ran about 15 minutes.

And I was at the Copacabana, and I walked out but I did something different. I did an opening song. I said good evening, and then I sat down on the stool, and I sang 15 minutes straight.

After, I received a wonderful standing ovation, it was beautiful. After the show was over, I was up in my dressing room, and one of my agents brought back a young man that immediately said to me: You know you can't do that.

And I looked at him. I said, well, first of all, who are you? Well, I manage Barbra Streisand. I said oh, do you? And he said, well, yes, and you cannot do that. You cannot just sit on a stool and sing for 15 minutes and not say anything to an audience. And I looked at him, and I said: Well, I just did.

(Soundbite of laughter)

CONAN: And got a standing ovation.

Ms. WARWICK: Yes.

CONAN: I want to take you back to your start in show business. You were well, your family members, who we mentioned, they were members of a gospel group that was very important in the East Coast and up and down the East Coast of the United States. Your mother was part of that group and of course worked in a factory weekdays and then performed on weekends.

But you were also a member of a gospel group that you and some other young people were starting up and eventually found yourself doing backup for, well, just about all the great R&B acts in New York City that were recording in those days.

Ms. WARWICK: Yes, indeed. The gospel group that was our group was called the Gospelaires. And it consisted of my sister, my cousins Myrna and John Utley and Carol Slade. And we happened to be at the Apollo Theater during a gospel caravan festival.

And my mom's group was on the show. My mother's group was my mother, my aunts and uncles, her sisters and brothers. And a young man was backstage, and he was, I mean, having a hissy fit. And he finally said: I need singers. I need somebody to do some background work for me at Savoy Records tomorrow night behind Nappy Brown and Sam The Man Taylor.

And of course, no one could leave the theater because they were performing, and old big mouth here said: We can do it. And he said: We who? I said: my group. He said: Okay, meet me at 8 o'clock, Savoy Records, and you will be singing background behind Sam The Man Taylor and Nappy Brown.

And we showed up and did the background session, and on this session was a guitarist, his name was Bill Sykes(ph), who eventually was on every single one of my recordings. He said, you know, you've got to have something really special. I'm going to speak to a couple of producers in New York and throw your names in the hat. And I'm sure that you're going to get a lot of work.

Well, lo and behold, I got a (unintelligible) phone call about a week later from Lieber and Stoller, and that started our background sessions.

CONAN: Jerry Lieber and Mike Stoller, of course famous for The Coasters but did a lot of work with other people, as well.

Ms. WARWICK: Oh yes, they did.

CONAN: Let's see if we can get some callers in on the conversation. We're lucky enough today to have Dionne Warwick with us from our bureau in New York. We're talking about her new memoir, "My Life, As I See It: An Autobiography." 800-989-8255. Tell us your Dionne Warwick moment. Email us, too. That's talk@npr.org. And Eric's(ph) on the line calling form St. Louis.

ERIC (Caller): Hello.

Ms. WARWICK: Hi.

ERIC: Thank you for taking my call. It's a real privilege to speak with you, Ms. Warwick.

Ms. WARWICK: Thank you.

ERIC: I recall being in high school just at the time that "Walk On By" broke, and I fixated on that song. I bought the record and played it endless times, over and over and over, just sort of wallowing in my misery, having been dumped by a girl.

(Soundbite of laughter)

Ms. WARWICK: Oh...

ERIC: I could not tell you the name of the girl. There may have been too many over time. But I can certainly tell you that that song and the other great songs, almost too many to count, have brought me endless hours of joy. I still listen to them. I think your phrasing and your timing, the emotion that you put into those songs and their great arrangements and production are just some of the great achievements of pop music.

Ms. WARWICK: Well, thank you so very much.

CONAN: Eric, thanks very much for the phone call.

ERIC: You're very welcome.

CONAN: That and your other early songs were of course the product of Hal David and Burt Bacharach, as well as of course yourself. But those - there was a moment when you were at Scepter Records, and this was I guess shortly after you were doing all those backup tunes for The Drifters and other people, and got signed by Florence Greenberg at Scepter Records and became a great star working with David and Bacharach.

Florence Greenberg, you decide at one point you talk about how important she was to you and what, you know, how parental she was really. You were a part of her family. At another point, though, you talk about the slave contracts that you and other particularly African-Americans worked for, and presumably, she was the author of one and the same, making you a member of her family and, well, taking money that belonged to you.

Ms. WARWICK: Well, she was like every other recording company in the entire world. We were all subjected to those and I do refer to them as slave contracts based on the fact that the amount of money that we should have been earning was never given to us until later on in life, when we were smart enough to sue.

(Soundbite of laughter)

Ms. WARWICK: But until that point in time, all we really were concerned about was singing some great music and touring the entire United States, as well as other parts of the world.

So it didn't become apparent that we were really being cheated until my daddy, actually, was the one who decided to take a look at the books. And I don't know which set of books he got to see, but he did get a chance to see a set of books that showed there was a little bit more money due Dionne.

CONAN: Did you ever get it?

Ms. WARWICK: Yes, I did.

CONAN: We'll talk more with Dionne Warwick in a moment. Her book is titled "My Life, As I See It." Tell us your Dionne Warwick moment, 800-989-8255. You can also email us, talk@npr.org. Stay with us. I'm Neal Conan. It's the TALK OF THE NATION from NPR News.

(Soundbite of song, "Do You Know the Way to San Jose")

Ms. WARWICK: (Singing) ...the way to San Jose. Oh. Do you know the way to San Jose? Mmm. Can't wait to get back to San Jose.

(Soundbite of music)

CONAN: This is TALK OF THE NATION from NPR News. Im Neal Conan.

Dionne Warwick is our guest today. Before the presidential election two years ago, then-candidate Barack Obama visited her hometown of East Orange, New Jersey, for a campaign rally, where he called her out.

(Soundbite of archived audio)

(Soundbite of applause)

Senator BARACK OBAMA (Democratic Presidential Nominee; Senator, Illinois): You know, when I was young, if I wanted to, like, really be smooth, you know...

(Soundbite of laughter)

Sen. OBAMA ...15, 16, and everybody's got Ohio Players, Earth, Wind and Fire and all that. But if you wanted to show you were real smooth, you'd slip in the Dionne Warwick cassette.

(Soundbite of laughter)

(Soundbite of applause)

Sen. OBAMA: That's it. (Singing) When you see me walking down...

(Soundbite of laughter)

CONAN: Then-Senator Barack Obama with an impromptu version of Dionne Warwick's "Walk On By." Dionne Warwick, you must have expected him to say something nice. Did you ever expect that he would sing?

Ms. WARWICK: No.

(Soundbite of laughter)

Ms. WARWICK: That is the last thing, I expected him to sing.

CONAN: He's not bad, either.

Ms. WARWICK: Not at all. He was in tune, had all the right time, and he was swaying, carrying on.

CONAN: Dionne Warwick's memoir is titled "My Life, As I See It." You can read about her first performance at the Apollo Theater amateur hour in an excerpt from the book at our website. That's at npr.org. Click on TALK OF THE NATION.

We want to hear your Dionne Warwick moment, 800-989-8255. Email talk@npr.org. Let's get Toby on the line, Toby with us from Maysville in Kentucky.

TOBY (Caller): Yes. I hate to put Kentucky back in the news, but here goes. Dionne, I saw you when I was a freshman in college at Morehead, which also gave us Steve Inskeep. So that makes up for a lot.

(Soundbite of laughter)

TOBY: You were singing, and there were hecklers in the back of the auditorium, and they kept screaming out: Sing "Dixie." Sing "Dixie." And I was mortified, as a lot of people around me were.

Finally, you stopped, and you looked up there, and you put your hand on your hip, and you said: When they told me I was coming to Morehead, I said More who? And the place was dead silent for about a split second, and it roared. Everyone was just and after that, you sang your concert, and people left you alone.

(Soundbite of laughter)

TOBY: But anyway, that's my Dionne Warwick memory.

Ms. WARWICK: Well, I hope you have a wonderful, wonderful day, and I hope you're smiling now.

TOBY: I am. I am. And you take care. Thank you very much.

Ms. WARWICK: I will, honey. You, too.

CONAN: Thank you, Toby. Here's an email from Kim(ph) in Reno: I had the pleasure of working with Dionne many times when I was the sound guy in the old headliner room at Harrah's Reno. Not only is she one of the best girl singers ever, she's a charming, funny, smart and all-around really neat lady. Thanks for some great memories.

Would you still describe yourself as a girl singer?

Ms. WARWICK: I do.

(Soundbite of laughter)

Ms. WARWICK: I do. You know, people ask me: Do you think you can get tickets for me? I say yeah, I know the girl singer.

CONAN: Here's an email from Millie(ph) in Oklahoma City: My aunt took me to an outdoor show in Washington, D.C., in 1966, when a very young black man opened for Dionne Warwick. His name was Stevie Wonder. It was a magical evening when I was 13 that I have never forgotten.

Ms. WARWICK: Wow, that's been a long time ago.

CONAN: Long time. You tell, though, a story about - you were working on the film of "The Lady in Red."

Ms. WARWICK: That's right.

CONAN: As the musical director. And you hired Stevie Wonder.

Ms. WARWICK: Yes, I did. And Gene Wilder thought I'd lost my mind. But in the end, he said he trusted me. And I in turn said I trusted Stevie. And when we I had the opportunity to bring Stevie in to see the film, and when I say see the film, he saw it through my eyes. I told him what was going on because there was a multitude of points where there is a lot of laughter. And he would ask me what is happening, and I'd explain to him what was going on, what she was wearing, how she looked, you know, and all the parameters that would give him an idea as to what kind of music he might want to throw in.

Well, I've got to tell you. After that, he went home, and I did, too, and about 4 o'clock the next morning, I got a phone call from him. He was so excited. He played for me this. He said listen, listen: (Singing) I just called to say I love you.

I said Stevie. He said wait, I'm not finished. I'm not finished. Then he played the actual title song, "The Woman in Red," and he played a couple of interludes for me. He went - and he left the studio and went directly to his studio and started work. He had most of the songs done within a matter of three days.

CONAN: Yet when he was scheduled to show up for the recording session, it turned out he was a little late.

Ms. WARWICK: A little late?

(Soundbite of laughter)

I mean, it was completely insane. The session was set for a certain time. Stevie showed up about, oh, nine, 10 hours later, and I had the musicians sitting in the studio, waiting for him to get there and finally had to release the studio musicians. And when he finally showed up, I had to let him know: You know what? Time is money, and it is not dark outside to everybody all the time. Now, you will not do this anymore, will you, Stevie?

He said: You didn't say that, did you? I said yes, I did. I said it, and I mean it. And now we're going to get on our horses, and we're going to ride them properly. You're going to be on time. When the session is set, that's when you've got to be there, okay? And from that moment to this, he was on time.

CONAN: Here's an email from Inger(ph), Inger, rather, in Minneapolis: My best past and present memory of Dionne is the theme from "The Valley of the Dolls." The jingles at the start of the song puts me in a place of nostalgia. I'm 46 now and started watching the movie when I was around seven or eight years old, and I watched it every year then after, until I was in my teens. The song reminds me of a time when I dreamed of how my life would be.

Ms. WARWICK: Wow.

CONAN: That's nice.

Ms. WARWICK: That is nice, you know, and I'm happy that she loved the song as I did.

CONAN: Let's go to Sherry(ph), Sherry calling us from Tucson.

SHERRY (Caller): Yes, thank you for taking my call. What a pleasure and a privilege to talk to Dionne Warwick.

Ms. WARWICK: Thank you.

SHERRY: My best memory, and I have millions of them, and of course, every song you sing brings up memories. But in 1970 or '71, you played at Lubbock, Texas, and you came out on stage. It was a completely empty stage except for the stool.

And you came out in a pair of camel-colored slacks and a cashmere sweater and looked absolutely stunning - and I wished I could look that good - and apologized to us because your luggage had been lost, and your beautiful, flowing, you know, full-length gown that we expected you to be in was missing, and you begged forgiveness and asked that we listen to you in your pair of slacks.

And of course, the crowd absolutely adored you, and I just kept thinking if I could just find myself a pair of slacks to make me look that good.

(Soundbite of laughter)

Ms. WARWICK: Oh, thank you.

CONAN: Did you ever find them, Sherry?

SHERRY: I never no, and believe me, I never found them. And I just hope you found your luggage. I don't know whether that happened or not.

Ms. WARWICK: It finally showed up, yes it did, well after the concert, of course.

SHERRY: Well, it was wonderful. It was truly a wonderful concert. And my very favorite song, which didn't make number one, was "Silent Voices."

Ms. WARWICK: Oh my.

SHERRY: Just a gorgeous, haunting song that is always in my head when I drive alone at night.

Ms. WARWICK: Wow, that's amazing how people find those songs that seem to be (unintelligible) buried in the albums. Well, thank you for enjoying it.

SHERRY: Well, thank you. Thank you for many, many hours of enjoyment.

CONAN: Thanks for the call, Sherry. Email from Barbara(ph) in Kalamazoo: Back in the late '70s or early '80s, a friend and I bought the least expensive ticket to Dionne's show one very cold evening in January at Chanhassen, Minnesota, dinner theater.

After a song or two, she invited the whole audience to move in closer, even those of us in the cheap seats, and performed a beautifully intimate concert that warmed us all.

Ms. WARWICK: Oh, that's great.

CONAN: Susan's(ph) on the line, calling from Ithaca in New York. Susan, are you there?

SUSAN (Caller): Yes.

CONAN: Go ahead, please.

SUSAN: I managed a recording studio, Camden Recorders in Burbank, California. And Dionne recorded there in let's say the late '80s. She probably recorded there more than once.

But we had many famous people coming through there. Recording time was very expensive then, maybe $260, $300 an hour. And Dionne was absolutely a pragmatist. She came in fully rehearsed, backup singers were rehearsed. She packed a bagged lunch, and she was the most down-to-earth professional woman that I ever saw come through. There wasn't an ounce of diva when she was about the business of recording.

(Soundbite of laughter)

Ms. WARWICK: Well, I'm still not an ounce of diva. That's a word that I don't relegate to me or any other pop singer. That's a word that was really derived for opera singers, and that's where it belongs. And the young ladies who are now deciding that they are divas, I refer to them as divettes.

CONAN: You also describe in your book the, well, I guess the maturation of one who might be described that way. You encountered Mary J. Blige first when you describe her as having some rough edges.

Ms. WARWICK: Yeah, she was pretty rough around the edges when I first met her. It was the beginning of her career. And she had the hat cocked to the side and in fatigues and army boots and, you know, tattoos were showing very, very vividly. And she was just, you know, a real rapper. I am so pleased to see the transformation that this young lady has made. She has just pulled up those boot straps and threw them away and now wears (unintelligible) has gone, she wears her clothing like that. You know, she's into every designer that exists. She is - her jewelry is now what it should be, from Harry Winston and Cartier and those places. And you know, she's grown up. She's become a beautiful, exciting young woman.

CONAN: Let's go to Richard, Richard calling us from Cleveland. Richard, are you there?

RICHARD (Caller): Yeah.

CONAN: You're on the air. Go ahead.

RICHARD: Am I on the air?

CONAN: Yes.

RICHARD: Okay, yes. Oh, what a pleasure it is to speak with Dionne Warwick.

Ms. WARWICK: Thank you.

RICHARD: You're one of my favorites. And I truly love that song, "San Jose."

Ms. WARWICK: Oh, I'm glad you do.

(Soundbite of laughter)

RICHARD: I wanted to ask you - Karen Carpenter was one of my idols.

Ms. WARWICK: Yes.

RICHARD: And I know that she did some of your songs.

Ms. WARWICK: Mm-hmm.

RICHARD: How close were you to her?

Ms. WARWICK: Karen and I were very different. Karen, Richard and I, as a matter of fact.

RICHARD: Is he doing any recording now still?

Ms. WARWICK: Well, he's still - he's writing, I'm certain of that. I'm not quite sure if he's recording. But he was a part of my special about four or five years ago.

RICHARD: Yeah.

Ms. WARWICK: And so he's still very active musically, yes.

RICHARD: Is he still very active?

Ms. WARWICK: Yes, he is.

RICHARD: Hmm. Okay.

Ms. WARWICK: Okay?

CONAN: Thanks, Richard.

RICHARD: It was such a pleasure to speak with you, Dionne.

Ms. WARWICK: Thank you, darling. You take care.

RICHARD: Bye.

CONAN: Of course, Karen Carpenter eventually succumbed to anorexia.

Ms. WARWICK: Yes.

CONAN: People forget that. But you have been involved in the cause of HIV/AIDS for many years. And it's interesting, you were at one point an ambassador for health back in the Reagan administration.

Ms. WARWICK: Yes.

CONAN: You tell a story in your book about President Reagan. At the time you noticed, or it was pointed out to you, that he was reluctant to actually say the word AIDS.

Ms. WARWICK: Yes. He would never say AIDS. He would say the disease, the devastation, but never the word. And we were at a press conference and he was making a speech about how proud he was to have me as his ambassador of health and the marvelous job that I was doing and that (unintelligible) mandate was a devastating disease.

I said, President Reagan, what is that disease you're talking about? And as he turned a couple of shades of red, he looked at me - I know he wanted to kill me. I said, well, what are we talking about, President Reagan? He then says, well, we're talking about AIDS. I said, see? It's easy. You can say it.

CONAN: We're talking with Dionne Warwick about her book, "My Life, As I See It: An Autobiography."

You're listening to TALK OF THE NATION from NPR News.

An email from Rebecca in San Francisco. My favorite ultimate penultimate Dionne Warwick happened before any of those pop hits. My dad took us to the Newport Jazz Festival for Gospel Music Day. My favorite was a group called The Drinkard Singers. You just couldn't take your eyes off this incredibly beautiful young woman with a voice like a silver clarion. It was thrilling, spine-tingling when that pure and mighty voice hit the air. I've been looking for the record "Gospel Singing at Newport" ever since.

Ms. WARWICK: Wow. How nice. That's wonderful. Well, whoever you are, thank you so much.

CONAN: There is a moment in your book you call - when you write about passing the torch. And you say that, indeed, the torch of, well, some of the people you've been talking about earlier, Ella Fitzgerald and people like that, was passed to you, and you feel that you've passed the torch as well, in this case to your cousin.

Ms. WARWICK: Yes, to Whitney. And I think I made a good choice.

(Soundbite of laughter)

CONAN: You were very much involved with her life when she was very young.

Ms. WARWICK: Oh, definitely. You know, our family is very, very close, and we still are very much involved with each other. That goes without saying, I mean, that's what families are about, I think, and it will always be. She, at a very, very young age - her mom, Cissy, was on the road with me for a minute or two to do background work for me. And, of course, during the summer vacations is when we had all the kids out on the road with us, so Whitney - I almost called her Nippy.

(Soundbite of laughter)

Ms. WARWICK: We refer to her as Nippy. She was a part of the children's brigade. And quite a young lady at that time, let me tell you.

CONAN: Let's see if we can get another caller in. This is David, David with us from Trussville in Alabama.

DAVID (Caller): Hi, Dionne. How are you today?

Ms. WARWICK: I'm fine. How are you doing?

DAVID: Good. I just want to thank you for the extreme value you brought to me over the years. I'm 54 years old. And I'm just the biggest fan, and I go back to West Point. I believe it was late 1974 or early '75 when you walked on stage and you started singing "Welcome to My World." And then you told a little story about how you had come to the United States Military Academy previously and sang in an old field house that smelled like dirty socks.

(Soundbite of laughter)

Ms. WARWICK: And it did.

DAVID: And you said now that we have such a beautiful place in the Eisenhower Hall, you'd tell all your friends to come sing for us too.

Ms. WARWICK: Exactly.

DAVID: Do you remember that?

Ms. WARWICK: What a wonderful memory. Of course I do. Yes, I do.

DAVID: Well, and I want to thank you. The fact that you were coming helped me stay and end up having a 28 career in the United States Army. I wasn't going to leave that place as tough as it was because I was not going to give up the chance to hear Dionne Warwick sing.

(Soundbite of laughter)

Ms. WARWICK: Oh, that's fabulous. Well, congratulations and thank you so very much for serving.

DAVID: Well, thank you for saying so and bless your heart. I listen to the song "What's It's All About, Alfie?" No one ever did it better. And I just listen to it again and again and again.

CONAN: David...

Ms. WARWICK: Thank you, darling.

CONAN: ...thanks very much for the call. We'll end with this email from Karen(ph). I can't tell you what your music means to me and my siblings. You are our late mother's favorite all-time vocalist and artist. Your strong character and incredible sense of confidence and amazing style truly inspired my mother. She struggled with self-confidence as a young single woman moving to the U.S. in 1956 from the Philippines. She experienced a lot of racism and struggled with finding her identity and her confidence during that time. Your music and strength of character inspired her more than I can tell you. Thank you for what you do.

Ms. WARWICK: (Unintelligible) cry. Wow. Oh, that's beautiful.

CONAN: Dionne Warwick's book is "My Life, As I see it: An Autobiography." Thanks very much for coming in today.

Ms. WARWICK: Thank you.

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