Podcast appearances and mentions of Aaron Cohen

Aaron Cohen, Founder, GIDEON – AI Threat Detection for Law Enforcement Israeli Special Ops Veteran;  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Mike and Laureen reflect on the tragic and senseless shootings of Israeli Embassy diplomats Yaron Lischinsky and Sarah Milgrim, gunned down outside the Capital Jewish Museum in Washington, D.C. The episode also features interviews with Yechiel Leiter, Israeli Ambassador to the U.S., discussing concerns of Iran's nuclear ambitions, and Aaron Cohen, Israeli Special Operations veteran, shedding light on the networks funding the radicalization of college students. Thank you for listening, sharing, and subscribing to The Third Opinion Podcast.

With the NASCAR season fully on the go, Donnovan takes a look at Season 2 of Full Speed, a sports docu-series that focuses on drivers and their hunt for the NASCAR Cup - he chats with executive producer Aaron Cohen and NASCAR's Senior VP of Content John Dahl on what the series entails and how they are aiming to continually broaden the sports scope around North America and the world at-large. Afterwards, Donnovan chats with Vancouver filmmaker Manny Mahal about CBC's cop show Allegiance, as it tackles a variety of systemic issues within the world of hockey. The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Sports & Media or any affiliates.

Aaron Cohen, Israeli Special Ops veteran on Trump's successful middle east trip Learn more about your ad choices. Visit megaphone.fm/adchoices

Esteemed friend of Israel, Douglas Murray, recently appeared on the Joe Rogan Experience and had an intense showdown with comedian Dave Smith over the Israel-Palestine conflict. The conversation made waves across the media world, sparking follow-up videos from figures like Sam Harris, Aaron Cohen, the Triggernometry channel, and many others.In this episode of the HumbleBrag podcast, Nate — a Jew currently living near Gaza — reviews Dave's remarks and critiques the logic behind them. Although Dave believes he presented an irrefutable, morality-based argument, this episode exposes the flaws in his understanding of morality and digs into the heart of the matter.Tune in to hear from those actually living on the land — those who don't have the luxury of underestimating or miscalculating our enemies.

Aaron Cohen, Israeli Special Ops Veteran;  Founder of “Cherries”: Specializing in  Counterterrorism Training for Law Enforcement Learn more about your ad choices. Visit megaphone.fm/adchoices

Americans under 30 years old have been through a lot in their young lives. Perhaps living through and witnessing the volatile political moment that was Donald Trump's presidency, a global pandemic, a violent attack on the U.S. Capitol, and growing devastation due to war in the Middle East, has led to their reported lack of trust in several key political and social institutions. And yet, as we hear in this episode, Gen Z is deeply engaged with the issues and ideas that will improve their experiences as young adults who want their personal rights protected, and the ability to have safe communities and economic security. Gen Z voter voices are at the center of this conversation, hosted live by Kai Wright at the New Jersey Performing Arts Center in Newark. We hear from journalist Rachel Janfaza, who covers the political culture of the Gen Z generation; Askar Mirza, commissioner of Ridgefield, N.J.; and Alexis Williams, who is a coder and a political and social justice content creator. They join Kai for a conversation about how they became engaged themselves and what they know about their peers' political priorities this election year.Special thanks to the entire staff at NJPAC, especially Donna Walker Kuhne, Kitab Rollins, Megan Barry and Shira Vickar-Fox. Thanks also to the following colleagues at WNYC: Brenda Williams Butts, Kristina Newman-Scott, Ed Haber, George Wellington, Aaron Cohen, Bill O'Neill, Jim Stagnitto, Robin Bilinkoff and Matthew Marando. Tell us what you think. We're @noteswithkai on Instagram and X (Twitter). Email us at notes@wnyc.org. Send us a voice message by recording yourself on your phone and emailing us, or record one here.Notes from America airs live on Sundays at 6 p.m. ET. The podcast episodes are lightly edited from our live broadcasts.

Host and producer Aaron Cohen talks about the upcoming Season 4 and shares excerpts.SUPPORT US ON PATREON:https://www.patreon.com/user?u=91819874

The Music Of America Podcast begins the week in Illinois with a unique sort of guest...Aaron Cohen is our first guest today with some interesting stories which have led him to write 3 books.

Aaron Cohen, Israeli Special Ops Veteran; Founder of “Cherries”: Specializing in Counterterrorism Training for Law Enforcement Learn more about your ad choices. Visit megaphone.fm/adchoices

Season 2 of The Music Of America Podcast has us in Illinois all next week with a variety of music folks. Meet author Aaron Cohen, Singer/ Songwriter Jefferson Alan Massie, Rock band Ignescent, Blues man Travis Ried and Producer Shane McCosky

Kelly talks to Aaron Cohen, Charles Brid and Moshe Lander. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this edition of The Arts Section, host Gary Zidek catches up with muralist Rafael Blanco. A new exhibit of his vibrant work just opened in the west suburbs. The Dueling Critics, Kelly Kleiman and Jonathan Abarbanel, join Gary to preview all the productions they're looking forward to seeing this autumn. And we'll revisit a conversation with author Aaron Cohen where we talked about his Ramsey Lewis biography.

Aaron Cohen is co-author of Gentleman of Jazz, the autobiography of pianist Ramsey Lewis, nominated for a Book of the Year award in the 29th annual JJA Jazz Awards. He speaks with Brad Stone. 

From serving on one of Israel's elite special forces units and training U.S. law enforcement personnel in counterterrorism tactics to providing instruction to Keanu Reeves for the John Wick film franchise, Aaron Cohen has a unique set of skills and a vital perspective that has made him a formidable expert in dealing with the dangers in our world. He has consulted for media outlets on issues in the Middle East, and today Erick sits down with him to hear more about his life, his undercover missions, what it will take to defeat terrorist groups like Hamas and Hezbollah and the global threat that is Iran, and what the world could learn from Israel on what navigating such extremist threats. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's Watchman Newscast, host Erick Stakelbeck is joined by Israel Special Forces veteran and counterterrorism expert Aaron Cohen, who breaks down why Americans should be concerned about the growing threat posed by Iran and its proxies inside U.S. borders. Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen to this week's No Spin News interview with Law professor John Acevedo of Emory University, Law enforcement expert Aaron Cohen, and The DailyChatter's Philip Balboni. We also visit the No Spin News archives and Bill's conversation with Author and Fox News legal analyst, Gregg Jarrett. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey BillOReilly.com Premium and Concierge Members, welcome to the No Spin News for Tuesday, February 20, 2024. Stand Up for Your Country. Tonight's rundown: Talking Points Memo: Bill dissects controversial rankings of America's Presidents by scholars, including Joe Biden and Donald Trump. President Biden continues to rake in the campaign cash, and Bill tells you what to expect from the upcoming State of the Union. Why are police and the media refusing to release information on criminal acts perpetrated on Black Americans? Law enforcement expert Aaron Cohen joins the No Spin News. 4.1 million Americans are turning 65 this year. This Day in History: Ross Perot Final Thought: Election change. In Case You Missed It: Read Bill's latest column, "Can Trump Win?" Election season is here! Now's the time to get a Premium or Concierge Membership to BillOReilly.com, the only place for honest news analysis. Preorder Bill's latest book CONFRONTING THE PRESIDENTS, a No Spin assessment of every president from Washington to Biden. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we chat with Aaron and talk about: Greensboro hockey 2002 vs 2006 return of Marty Necas Spencer Martin J Willy HoF game Roy coaching for Lou? Is this the Onion? and a Storm Report

This immersive new autobiography provides insight into the early life and illustrious career of the late great Ramsey Lewis, one of the most popular jazz pianists of all time. Beginning with his childhood growing up in Chicago's Cabrini Green neighborhood, Ramsey Lewis recounts his memories of the music in his parents' church and his early piano lessons. As he learned classical technique, Lewis also absorbed countless jazz records and heard gospel music weekly, finally becoming a performer himself in his teenage years. With his coauthor and collaborator, Aaron Cohen, Lewis describes his early steps in jazz from joining the Clefs in the '50s, to eventually establishing the Ramsey Lewis Trio. This memoir provides an evocative tour of Lewis's life from the club circuit of the early 1960s and recording with Chess Records to working with producer Maurice White and musicians such as Stevie Wonder. In this deep dive into an exceptional life and expansive career, Lewis takes us through his artistic challenges, offers insight and perspective on his own musical growth and the creative process, and describes his eventual foray into symphonic composition and performance. Gentleman of Jazz: A Life in Music (Blackstone, 2023) is an inspiration to young musicians eager to follow in his footsteps and a tribute to the legacy of Ramsey Lewis and is sure to appeal to longtime fans as well as those new to the jazz scene. Ramsey Lewis (1935-2022) was one of the most popular jazz pianists of all time, with more than eighty albums to his name. A National Endowment for the Arts Jazz Master, Top 10 hitmaker, and winner of three Grammys, Lewis also hosted popular television and radio shows that honored the history of jazz music. He was not only influential for many modern jazz artists but beats he created decades ago can be heard across R&B and hip-hop. Through it all, Lewis remained grounded, never leaving behind his roots in Chicago. Aaron Cohen covers the arts for numerous publications and teaches English, journalism, and humanities at the City Colleges of Chicago. He is the author of Aretha Franklin's "Amazing Grace" and Move on Up: Chicago Soul Music and Black Cultural Power. Aaron Cohen on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

This immersive new autobiography provides insight into the early life and illustrious career of the late great Ramsey Lewis, one of the most popular jazz pianists of all time. Beginning with his childhood growing up in Chicago's Cabrini Green neighborhood, Ramsey Lewis recounts his memories of the music in his parents' church and his early piano lessons. As he learned classical technique, Lewis also absorbed countless jazz records and heard gospel music weekly, finally becoming a performer himself in his teenage years. With his coauthor and collaborator, Aaron Cohen, Lewis describes his early steps in jazz from joining the Clefs in the '50s, to eventually establishing the Ramsey Lewis Trio. This memoir provides an evocative tour of Lewis's life from the club circuit of the early 1960s and recording with Chess Records to working with producer Maurice White and musicians such as Stevie Wonder. In this deep dive into an exceptional life and expansive career, Lewis takes us through his artistic challenges, offers insight and perspective on his own musical growth and the creative process, and describes his eventual foray into symphonic composition and performance. Gentleman of Jazz: A Life in Music (Blackstone, 2023) is an inspiration to young musicians eager to follow in his footsteps and a tribute to the legacy of Ramsey Lewis and is sure to appeal to longtime fans as well as those new to the jazz scene. Ramsey Lewis (1935-2022) was one of the most popular jazz pianists of all time, with more than eighty albums to his name. A National Endowment for the Arts Jazz Master, Top 10 hitmaker, and winner of three Grammys, Lewis also hosted popular television and radio shows that honored the history of jazz music. He was not only influential for many modern jazz artists but beats he created decades ago can be heard across R&B and hip-hop. Through it all, Lewis remained grounded, never leaving behind his roots in Chicago. Aaron Cohen covers the arts for numerous publications and teaches English, journalism, and humanities at the City Colleges of Chicago. He is the author of Aretha Franklin's "Amazing Grace" and Move on Up: Chicago Soul Music and Black Cultural Power. Aaron Cohen on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This immersive new autobiography provides insight into the early life and illustrious career of the late great Ramsey Lewis, one of the most popular jazz pianists of all time. Beginning with his childhood growing up in Chicago's Cabrini Green neighborhood, Ramsey Lewis recounts his memories of the music in his parents' church and his early piano lessons. As he learned classical technique, Lewis also absorbed countless jazz records and heard gospel music weekly, finally becoming a performer himself in his teenage years. With his coauthor and collaborator, Aaron Cohen, Lewis describes his early steps in jazz from joining the Clefs in the '50s, to eventually establishing the Ramsey Lewis Trio. This memoir provides an evocative tour of Lewis's life from the club circuit of the early 1960s and recording with Chess Records to working with producer Maurice White and musicians such as Stevie Wonder. In this deep dive into an exceptional life and expansive career, Lewis takes us through his artistic challenges, offers insight and perspective on his own musical growth and the creative process, and describes his eventual foray into symphonic composition and performance. Gentleman of Jazz: A Life in Music (Blackstone, 2023) is an inspiration to young musicians eager to follow in his footsteps and a tribute to the legacy of Ramsey Lewis and is sure to appeal to longtime fans as well as those new to the jazz scene. Ramsey Lewis (1935-2022) was one of the most popular jazz pianists of all time, with more than eighty albums to his name. A National Endowment for the Arts Jazz Master, Top 10 hitmaker, and winner of three Grammys, Lewis also hosted popular television and radio shows that honored the history of jazz music. He was not only influential for many modern jazz artists but beats he created decades ago can be heard across R&B and hip-hop. Through it all, Lewis remained grounded, never leaving behind his roots in Chicago. Aaron Cohen covers the arts for numerous publications and teaches English, journalism, and humanities at the City Colleges of Chicago. He is the author of Aretha Franklin's "Amazing Grace" and Move on Up: Chicago Soul Music and Black Cultural Power. Aaron Cohen on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

This immersive new autobiography provides insight into the early life and illustrious career of the late great Ramsey Lewis, one of the most popular jazz pianists of all time. Beginning with his childhood growing up in Chicago's Cabrini Green neighborhood, Ramsey Lewis recounts his memories of the music in his parents' church and his early piano lessons. As he learned classical technique, Lewis also absorbed countless jazz records and heard gospel music weekly, finally becoming a performer himself in his teenage years. With his coauthor and collaborator, Aaron Cohen, Lewis describes his early steps in jazz from joining the Clefs in the '50s, to eventually establishing the Ramsey Lewis Trio. This memoir provides an evocative tour of Lewis's life from the club circuit of the early 1960s and recording with Chess Records to working with producer Maurice White and musicians such as Stevie Wonder. In this deep dive into an exceptional life and expansive career, Lewis takes us through his artistic challenges, offers insight and perspective on his own musical growth and the creative process, and describes his eventual foray into symphonic composition and performance. Gentleman of Jazz: A Life in Music (Blackstone, 2023) is an inspiration to young musicians eager to follow in his footsteps and a tribute to the legacy of Ramsey Lewis and is sure to appeal to longtime fans as well as those new to the jazz scene. Ramsey Lewis (1935-2022) was one of the most popular jazz pianists of all time, with more than eighty albums to his name. A National Endowment for the Arts Jazz Master, Top 10 hitmaker, and winner of three Grammys, Lewis also hosted popular television and radio shows that honored the history of jazz music. He was not only influential for many modern jazz artists but beats he created decades ago can be heard across R&B and hip-hop. Through it all, Lewis remained grounded, never leaving behind his roots in Chicago. Aaron Cohen covers the arts for numerous publications and teaches English, journalism, and humanities at the City Colleges of Chicago. He is the author of Aretha Franklin's "Amazing Grace" and Move on Up: Chicago Soul Music and Black Cultural Power. Aaron Cohen on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

This immersive new autobiography provides insight into the early life and illustrious career of the late great Ramsey Lewis, one of the most popular jazz pianists of all time. Beginning with his childhood growing up in Chicago's Cabrini Green neighborhood, Ramsey Lewis recounts his memories of the music in his parents' church and his early piano lessons. As he learned classical technique, Lewis also absorbed countless jazz records and heard gospel music weekly, finally becoming a performer himself in his teenage years. With his coauthor and collaborator, Aaron Cohen, Lewis describes his early steps in jazz from joining the Clefs in the '50s, to eventually establishing the Ramsey Lewis Trio. This memoir provides an evocative tour of Lewis's life from the club circuit of the early 1960s and recording with Chess Records to working with producer Maurice White and musicians such as Stevie Wonder. In this deep dive into an exceptional life and expansive career, Lewis takes us through his artistic challenges, offers insight and perspective on his own musical growth and the creative process, and describes his eventual foray into symphonic composition and performance. Gentleman of Jazz: A Life in Music (Blackstone, 2023) is an inspiration to young musicians eager to follow in his footsteps and a tribute to the legacy of Ramsey Lewis and is sure to appeal to longtime fans as well as those new to the jazz scene. Ramsey Lewis (1935-2022) was one of the most popular jazz pianists of all time, with more than eighty albums to his name. A National Endowment for the Arts Jazz Master, Top 10 hitmaker, and winner of three Grammys, Lewis also hosted popular television and radio shows that honored the history of jazz music. He was not only influential for many modern jazz artists but beats he created decades ago can be heard across R&B and hip-hop. Through it all, Lewis remained grounded, never leaving behind his roots in Chicago. Aaron Cohen covers the arts for numerous publications and teaches English, journalism, and humanities at the City Colleges of Chicago. He is the author of Aretha Franklin's "Amazing Grace" and Move on Up: Chicago Soul Music and Black Cultural Power. Aaron Cohen on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

This immersive new autobiography provides insight into the early life and illustrious career of the late great Ramsey Lewis, one of the most popular jazz pianists of all time. Beginning with his childhood growing up in Chicago's Cabrini Green neighborhood, Ramsey Lewis recounts his memories of the music in his parents' church and his early piano lessons. As he learned classical technique, Lewis also absorbed countless jazz records and heard gospel music weekly, finally becoming a performer himself in his teenage years. With his coauthor and collaborator, Aaron Cohen, Lewis describes his early steps in jazz from joining the Clefs in the '50s, to eventually establishing the Ramsey Lewis Trio. This memoir provides an evocative tour of Lewis's life from the club circuit of the early 1960s and recording with Chess Records to working with producer Maurice White and musicians such as Stevie Wonder. In this deep dive into an exceptional life and expansive career, Lewis takes us through his artistic challenges, offers insight and perspective on his own musical growth and the creative process, and describes his eventual foray into symphonic composition and performance. Gentleman of Jazz: A Life in Music (Blackstone, 2023) is an inspiration to young musicians eager to follow in his footsteps and a tribute to the legacy of Ramsey Lewis and is sure to appeal to longtime fans as well as those new to the jazz scene. Ramsey Lewis (1935-2022) was one of the most popular jazz pianists of all time, with more than eighty albums to his name. A National Endowment for the Arts Jazz Master, Top 10 hitmaker, and winner of three Grammys, Lewis also hosted popular television and radio shows that honored the history of jazz music. He was not only influential for many modern jazz artists but beats he created decades ago can be heard across R&B and hip-hop. Through it all, Lewis remained grounded, never leaving behind his roots in Chicago. Aaron Cohen covers the arts for numerous publications and teaches English, journalism, and humanities at the City Colleges of Chicago. He is the author of Aretha Franklin's "Amazing Grace" and Move on Up: Chicago Soul Music and Black Cultural Power. Aaron Cohen on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

This immersive new autobiography provides insight into the early life and illustrious career of the late great Ramsey Lewis, one of the most popular jazz pianists of all time. Beginning with his childhood growing up in Chicago's Cabrini Green neighborhood, Ramsey Lewis recounts his memories of the music in his parents' church and his early piano lessons. As he learned classical technique, Lewis also absorbed countless jazz records and heard gospel music weekly, finally becoming a performer himself in his teenage years. With his coauthor and collaborator, Aaron Cohen, Lewis describes his early steps in jazz from joining the Clefs in the '50s, to eventually establishing the Ramsey Lewis Trio. This memoir provides an evocative tour of Lewis's life from the club circuit of the early 1960s and recording with Chess Records to working with producer Maurice White and musicians such as Stevie Wonder. In this deep dive into an exceptional life and expansive career, Lewis takes us through his artistic challenges, offers insight and perspective on his own musical growth and the creative process, and describes his eventual foray into symphonic composition and performance. Gentleman of Jazz: A Life in Music (Blackstone, 2023) is an inspiration to young musicians eager to follow in his footsteps and a tribute to the legacy of Ramsey Lewis and is sure to appeal to longtime fans as well as those new to the jazz scene. Ramsey Lewis (1935-2022) was one of the most popular jazz pianists of all time, with more than eighty albums to his name. A National Endowment for the Arts Jazz Master, Top 10 hitmaker, and winner of three Grammys, Lewis also hosted popular television and radio shows that honored the history of jazz music. He was not only influential for many modern jazz artists but beats he created decades ago can be heard across R&B and hip-hop. Through it all, Lewis remained grounded, never leaving behind his roots in Chicago. Aaron Cohen covers the arts for numerous publications and teaches English, journalism, and humanities at the City Colleges of Chicago. He is the author of Aretha Franklin's "Amazing Grace" and Move on Up: Chicago Soul Music and Black Cultural Power. Aaron Cohen on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

“I call the act a poison pill, because really, what it is, is if it ever gets inserted into the farm bill or if it gets passed on its own, it prevents all of the animal centered organizations, all the environmental organizations, all the family farm and rural community organizations that push back against factory farming. It wipes out all of the progress that they've made.”   Aaron Cohen is the senior director of advocacy at Farm Sanctuary. I asked Aaron to come on the show because I wanted to talk about some important things happening in our government right now. Starting with the delayed passage of the Farm Bill.   The Farm Bill covers laws that govern food and farming and has a tremendous impact on farming livlihoods, how food is grown, and what kinds of food are grown.    A group of Congressional lawmakers are pushing to include the Ending Agricultural Trade Suppression (EATS) Act as part of the 2023 Farm Bill. If passed, the EATS Act would have serious implications for animal welfare and every ounce of progress that the animal protection movement has made against factory farming. It could also have a huge effect on farmer well-being, worker safety, the spread of zoonotic diseases and pollution. It'd be disastrous.  

We have the privilege of speaking with Eliza Aaron Cohen, a renowned channeler, Akashic Reader, Medium, and intuitive life coach. Eliza's unique blend of psychological expertise from NYU and her psychic studies at the prestigious Arthur Findlay College in Stansted, UK, has made her a sought-after guide for individuals around the globe. Join us as we delve into the depths of ancient wisdom, exploring how Eliza bridges the gap between the spiritual and the psychological realms. We'll gain insights into her extraordinary abilities as she discusses channeling spirit for emotional growth, healing deep-seated wounds and trauma, aiding in critical business decisions, and helping individuals break free from recurring relationship patterns. Whether you're a believer in the mystical or a skeptic of the supernatural, Eliza's story and her work may just inspire you to consider the profound ways in which ancient wisdom can be applied in our modern lives. Tune in to this thought-provoking conversation as we journey through the intersection of spirituality and psychology. Resources: website: elizaaaroncohen.com instagram:@elizaachoen Advertisers + Sponsors: Shaman School: shamandurek.com/the-shaman-school Lit Verified Store: shamandurek.com/lit-verified-shop Healing Temple: shamandurek.com/the-healing-temple Learn more about your ad choices. Visit megaphone.fm/adchoices

Israeli Special Operations Veteran Aaron Cohen joins the program to discuss the Israeli AND American hostages being held by Hamas right now and how it is feasible for some to be brought home alive before the IDF completely levels Gaza and Hamas. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this Tuesday edition of Sid & Friends in the Morning, Sid's frustration grows as the ground invasion of Gaza on the part of the IDF in Israel hasn't yet begun. This probably has a lot to do with President Biden's planned trip to Israel tomorrow during which he'll try to stall the boots on the ground initiative which Israel can absolutely not afford to slow down on. In other news of the day, the vote for the new Speaker of the House is set for noon today where the GOP expects to vote in Rep. Jim Jordan, and a judge in D.C. has put a partial gag order on former President Trump regarding his January 6th related trial. Joann Ariola, Curtis Sliwa, Alex Traiman, Diane Di Stasio, Rachelle Di Stasio, Aaron Cohen and Nicole Malliotakis join Sid on this Tuesday installment of NYC's best morning show. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

US Secretary of State Antony Blinken meets one-on-one with Israeli Prime Minister Benjamin Netanyahu, and also delivers a support-bolstering speech in Israel, as the IDF conducts large-scale attacks on Hamas targets. Plus, the Israeli military says it is preparing for the 'next stage' of war, and that Hamas' hostages could be held underground in scattered areas. Israeli special operations veteran Aaron Cohen joins to give his insight. And, a woman who survived a 2010 Hamas attack speaks out on the massacre in Israel. For daily information on the Israel-Gaza conflict, check out CNN's podcast ‘Tug of War: Attack on Israel'. To learn more about how CNN protects listener privacy, visit cnn.com/privacy Learn more about your ad choices. Visit megaphone.fm/adchoices

War has broken out in Israel as the terrorist organization Hama launched a large attack against Israel. Aaron Cohen comes on the show to talk about how Israel is going to handle their hostage situation as Hamas has taken many hostages. More on the war in Israel. Pres. Biden's brother admits nude selfie is real.See omnystudio.com/listener for privacy information.

On this Monday edition of Sid & Friends in the Morning, we're praying for Israel as the country and its Jewish residents are targeted in a surprise attack from the terrorist organization Hamas. Innocent civilians are gunned down at a music festival, before hostages from a number of Israeli villages are taken by Hamas. War is declared by Israel as it prepares to fight back for its freedom, and we as a country need to wholeheartedly get behind our closest ally. Sid denounces the elected officials who continue to allow an antisemitic rhetoric to persist around the country, especially in New York City, where a pro-Palestinian rally broke out in Times Square yesterday celebrating the mass murder of Jews in Israel. Sid makes sure listeners know where he stands on the issue, making it clear that he supports any measures Israel chooses to take in retaliation. In other news of the day, we recognize the day-long celebration of Columbus Day her on 77 WABC Radio. Alex Traiman, Curtis Sliwa, Joe Piscopo, Rich Lowry, Dov Hikind, Angelo Vivolo, Chazz Palminteri and Aaron Cohen join Sid on this Monday installment of Sid & Friends in the Morning. Learn more about your ad choices. Visit megaphone.fm/adchoices

Israeli Special Operations Vet Aaron Cohen calls in to discuss the war in Israel and what's to come regarding the hostages taken both within Israel and in Gaza. Cohen reports that Israel's Special Ops team should have an easier time retrieving hostages within the country, and how they can remove the hostages from Gaza before they are scattered further.   Learn more about your ad choices. Visit megaphone.fm/adchoices

John and Ken talk with Aaron Cohen, a national counterterrorism expert and Israeli special operations veteran about the emerging war between Israel and Palestine. He talks about the latest including info about hostages and casualties of the war, and where he sees this conflict heading in the near future.

Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off.  Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations.  Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes.  And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level.  That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title.  King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before.  The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject.  Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the

Dion Graham's brisk pacing works well to invite listeners into the energetic life and career of jazz icon Ramsey Lewis. Host Jo Reed and AudioFile's Robin Whitten discuss this delightful memoir for jazz lovers and newcomers alike. Graham has once again captured the essence of a great jazz musician in this audiobook, and his deftly modulated performance celebrates the musician's remarkable story and long career. This audiobook defines an important American musician who made major contributions to twentieth-century jazz. His memoir was completed just before his death in 2022. Read the full review of the audiobook on AudioFile's website. Published by Blackstone Audio. Find more audiobook recommendations at audiofilemagazine.com Support for AudioFile's Behind the Mic comes from BOLINDA. A world-leading audiobook and technology company, Bolinda publishes the greatest books you'll ever hear and inspire people to live their best lives through the power of storytelling. Learn more about your ad choices. Visit megaphone.fm/adchoices

Movies discussed: Wither, Consecration, Isolation, Everybody Goes to the Hospital (short) We had a great trio of movies this time around. There's the Evil-Dead-inspired (but its own neat thing) Wither, Rural Irish monster movie Isolation, and Jena Malone-starring religious thriller Consecration. Next episodes assignments: Brooklyn 45 Influencer The Unheard And Then! He Kissed Me (short) And Then! He Kissed Me (А ПОТОМ! ОН МЕНЯ ПОЦЕЛОВАЛ) from Aaron Cohen on Vimeo. Watch along with us if you like and we'll see you next episode. The post Episode 458 – My Little Human Collection appeared first on Horror Show Hot Dog.

With a career spanning six decades and over 80 albums to his credit, NEA Jazz Master and multiple GRAMMY® winner Ramsey Lewis is one of the most distinguished artists of our time. His crossover success as a mainstream artist made him a household name with hits like "The In Crowd" and "Sun Goddess." Yet it is through his last great offering to the world that we learn the depth of this tremendous figure. Published this month, Gentleman of Jazz: My Life In Music is Lewis' posthumously released autobiography which chronicles his incredible journey from the Cabrini-Green Homes of Chicago with a family devoted to music, to his rise to stardom with The Ramsey Lewis Trio and beyond. On the week of Lewis' 88th birthday, Gentleman of Jazz co-author Aaron Cohen and Lewis' wife and closest confidant Jan join Milestones to discuss everything from Lewis' activism and mentorship, to his exceptional work in media. From his connection to artists like Charles Stepney, Minnie Riperton, Maurice White and Stevie Wonder, to his unyielding love for the city of Chicago and the unprecedented breadth of music he produced that helped expand the landscape of jazz forever.  Milestones theme produced by Riley K. GlasperProduction Assistance: Corey Goldberg Millennium Park Summer Music Series Tribute to Ramsey Lewis: A Gentleman of Jazz on June 22 at 6:30PM: https://www.chicago.gov/city/en/depts/dca/supp_info/millennium_park9.html

Aaron Cohen talks all things Ramsey Lewis. To celebrate the recent publication of Gentleman of Jazz, the Ramsey Lewis autobiography, which Aaron co-wrote.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this edition of The Arts Section, host Gary Zidek sits down with author Aaron Cohen to talk about his experience co-writing jazz legend Ramsey Lewis' memoir. The Dueling Critics, Kerry Reid and Jonathan Abarbanel, join Gary to talk about Goodman Theater's new production of ANTONIO'S SONG/I WAS DREAMING OF A SON. And later in the show, Gary checks in with the executive director of the Jazz Institute of Chicago to hear how life after the pandemic is coming along and learn more about a prestigious award that's being given to WDCB's own Al Carter Bey. Plus, a segment on something called SoFar Sounds.

In this interview edition of the Daily Job Hunt, we're speaking with Aaron and Rachel Cohen. Aaron Cohen is Back End Developer at Ellucian and recent alum of BloomTech. Rachel Cohen is Director of Operations and Coaching at BloomTech. Start a risk-free, 3-week trial with BloomTech: https://bit.ly/3XTbIxm Connect w/ Aaron and Rachel: https://www.linkedin.com/in/aaronmcohen1/ https://www.linkedin.com/in/rachelfuldcohen/ Find companies on Crunchbase: https://careerhackers.com/how-to-discover-tech-companies-with-crunchbase-2/ Passion vs. Paycheck. How Aaron Got Clear to Change Careers https://careerhackers.com/clear-to-change-careers/

Tori Knix is an African American Hip Hop Artist from the midwest and is best known as a melodic heavy hitter specializing in Hip Hop/Rap/Trap music. Tori Knix has collaborated and performed with CHXPO, Ace Shadows, Aaron Cohen, Dave East, Eddie Fresco, Marty Baller, and more. He has released 1 mixtape “The Rona Relief Package” on SoundCloud and plenty of singles across each platform which has spread to the ears of hundreds of thousands of people across the internet. He has been a recording artist/mixing engineer since 2016 when Tori Knix first decided to take making music serious. Tori Knix also has been on 2 self-start mini-tours, 3 music festivals, and countless other shows and showcases. Tori Knix believes in making music that connects people and inspires them. Whether that be the college student going through a breakup, someone deep in contemplation about life or current events, or even someone who wants to just let go and enjoy the moment as it is. No matter how small, Tori Knix has a vibe suitable for most occasions and his music lives in those moments with you. Tap into the VIBEZ with us because you know they are set and unmatched. Tune into the high frequency now, with the P.E.G Family on iHeartradio and all major platforms ‼️‼️‼️‼️ #pegpodcast #positive #positivity #growth #iheartradio #lasttime #last #time

Esther y Aaron Cohen, dirigieron el documental “Murmullos del Silencio”, que reúne los testimonios de los hijos de los sobrevivientes del holocausto y cómo este suceso histórico los ha impactado generación tras generación. “Murmullos del silencio” es un documental de 6 capítulos, grabado durante 4 años, que reúne los testimonios de los hijos de sobrevivientes del Holocausto que se establecieron en México.

This episode —first released in 2009 and then again in 2015, with an update — asks, what is “normal”? Maybe it exists, maybe not. We examine peace-loving baboons with Stanford neuroscientist Robert Sapolsky, talk to Stu Rasmussen, whose preferred pronouns were he/him (https://zpr.io/nUdsZawNmhwt), and his neighbors in Silverton, Oregon about how a town chooses its community over outsider opinions. And lastly, we speak with an evolutionary anthropologist, Duke University's own Brian Hare, and an evolutionary biologist Tecumseh Fitch, then at the University of St. Andrews, Scotland, now at the University of Vienna, Austria, about foxes who love to snuggle.And what we find is that normal — maybe the only normal — is change. EPISODE CREDITS Reported by - Aaron CohenProduced by - Soren Wheelerwith help from - Annie McEwenCITATIONSArticles -Stu Rasmussen's NYT Obituary (https://zpr.io/nUdsZawNmhwt). Theater - Andrew Russel's “Stu for Silverton” (https://zpr.io/Jn5JP276pwhj) the play based on Stu Rasmussen's life.    Our newsletter comes out every Wednesday. It includes short essays, recommendations, and details about other ways to interact with the show. Sign up (https://radiolab.org/newsletter)! Radiolab is supported by listeners like you. Support Radiolab by becoming a member of The Lab (https://members.radiolab.org/) today.Follow our show on Instagram, Twitter and Facebook @radiolab, and share your thoughts with us by emailing radiolab@wnyc.org Leadership support for Radiolab's science programming is provided by the Gordon and Betty Moore Foundation, Science Sandbox, a Simons Foundation Initiative, and the John Templeton Foundation. Foundational support for Radiolab was provided by the Alfred P. Sloan Foundation.

MAGA gubernatorial candidate Darren Bailey has been calling Chicago a hell hole. Now, he's moved here. Ben riffs. And Monroe Anderson returns to explain the behavior of Robert Sarver, the billionaire owner of the Phoenix Suns basketball team who thinks it's okay to use the N word. And writer Aaron Cohen returns with a tribute to the great Ramsey Lewis, who died a few weeks ago. It was just a few weeks ago that Aaron was on the show, talking about the memoir he was helping Ramsey write. The conversation starts with a mini-debate between Monroe and Aason on the difference between AME and Baptist churches. And much more...See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Writer Aaron Cohen returns to talk about the greatest music ever made--soul, r & b and jazz from the `60s and `70. Specifically, he talks about the book he's writing with Ramsey Lewis. His upcoming show with Ava Cherry, who sang with David Bowie and Luther Vandross. And Aaron offers tributes to the recently departed--William Hart of the Delfonics, Sam Gooden of the Impressions and Lamont Dozier, the great Motown song writer. As a bonus, a tale or two about Charles Earland. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Curtis Mayfield. The Chi-Lites. Chaka Khan. Chicago's place in the history of soul music is rock solid. But for Chicagoans, soul music in its heyday from the 1960s to the 1980s was more than just a series of hits: it was a marker and a source of black empowerment.  In Move On Up: Chicago Soul Music and Black Cultural Power (U Chicago Press, 2019), Aaron Cohen tells the remarkable story of the explosion of soul music in Chicago. Together, soul music and black-owned businesses thrived. Record producers and song-writers broadcast optimism for black America's future through their sophisticated, jazz-inspired productions for the Dells and many others. Curtis Mayfield boldly sang of uplift with unmistakable grooves like “We're a Winner” and “I Plan to Stay a Believer.” Musicians like Phil Cohran and the Pharaohs used their music to voice Afrocentric philosophies that challenged racism and segregation, while Maurice White of Earth, Wind, and Fire and Chaka Khan created music that inspired black consciousness. Soul music also accompanied the rise of African American advertisers and the campaign of Chicago's first black mayor, Harold Washington, in 1983. This empowerment was set in stark relief by the social unrest roiling in Chicago and across the nation: as Chicago's homegrown record labels produced rising stars singing songs of progress and freedom, Chicago's black middle class faced limited economic opportunities and deep-seated segregation, all against a backdrop of nationwide deindustrialization. Drawing on more than one hundred interviews and a music critic's passion for the unmistakable Chicago soul sound, Cohen shows us how soul music became the voice of inspiration and change for a city in turmoil. Aaron Cohen covers the arts for numerous publications and teaches English, journalism, and humanities at City Colleges of Chicago. He is the author of Aretha Franklin's "Amazing Grace." Aaron Cohen on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Curtis Mayfield. The Chi-Lites. Chaka Khan. Chicago's place in the history of soul music is rock solid. But for Chicagoans, soul music in its heyday from the 1960s to the 1980s was more than just a series of hits: it was a marker and a source of black empowerment.  In Move On Up: Chicago Soul Music and Black Cultural Power (U Chicago Press, 2019), Aaron Cohen tells the remarkable story of the explosion of soul music in Chicago. Together, soul music and black-owned businesses thrived. Record producers and song-writers broadcast optimism for black America's future through their sophisticated, jazz-inspired productions for the Dells and many others. Curtis Mayfield boldly sang of uplift with unmistakable grooves like “We're a Winner” and “I Plan to Stay a Believer.” Musicians like Phil Cohran and the Pharaohs used their music to voice Afrocentric philosophies that challenged racism and segregation, while Maurice White of Earth, Wind, and Fire and Chaka Khan created music that inspired black consciousness. Soul music also accompanied the rise of African American advertisers and the campaign of Chicago's first black mayor, Harold Washington, in 1983. This empowerment was set in stark relief by the social unrest roiling in Chicago and across the nation: as Chicago's homegrown record labels produced rising stars singing songs of progress and freedom, Chicago's black middle class faced limited economic opportunities and deep-seated segregation, all against a backdrop of nationwide deindustrialization. Drawing on more than one hundred interviews and a music critic's passion for the unmistakable Chicago soul sound, Cohen shows us how soul music became the voice of inspiration and change for a city in turmoil. Aaron Cohen covers the arts for numerous publications and teaches English, journalism, and humanities at City Colleges of Chicago. He is the author of Aretha Franklin's "Amazing Grace." Aaron Cohen on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network