Podcast appearances and mentions of bobby scott

The new Chesapeake VA Clinic will open with less than a third of the required staff. WHRO Military Reporter Steve Walsh says Sen.Tim Kaine and Rep. Bobby Scott blame staff cuts imposed by the VA.

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The 47th president of the United States was sworn in on January 20, 2025 and immediately began issuing executive orders that have left this country reeling. From the firing of thousands of federal workers, to the ending of all federal diversity, equity and inclusion efforts, to allowing a non-elected person to have access to sensitive data about Americans, to putting into motion the ending of the Department of Education, the Trump administration has touched just about every aspect of American life. Yet outside of the wringing of hands and exasperation of elected officials, nothing seems to be happening to stop the carnage. The question is "why"? We ask that question of Congressman Bobby Scott, who represents Virginia's third congressional district and serves as the Ranking Member of the Committee on Education and Workforce.

The federal workforce has lost as many as 100,000 employees since President Donald Trump took office. One of them is Alexzandria Hunt. Congressman Bobby Scott invited her to Trump's Joint Address to Congress tomorrow.

1/10/2025 PODCAST Episodes #1751 - #1750 GUESTS: Ford Stokes, Chris Rose, Dan “The Ox” Ochsner, Chap Petersen, Chris Saxman, Casey Norman, Coach Steve Sabins + YOUR CALLS! at 1-888-480-JOHN (5646) and GETTR Live! @jfradioshow #GodzillaOfTruth #TruckingTheTruth   Want more of today's show? Episode #1751 Yellen's Poison Pill, Chaos In MN General Assembly Episode #1752 Can Bobby Scott Send Spanberger Packing? Episode #1753 Zuckerberg Caves   https://johnfredericksradio.libsyn.com/

1/8/2025 PODCAST Episodes #1745 - #1747 GUESTS: Phill Kline, Rep. Rob Wittman, Rep. Tom Tiffany, Rep. Morgan Griffith, Patti Lyman, David Bossie + YOUR CALLS! at 1-888-480-JOHN (5646) and GETTR Live! @jfradioshow #GodzillaOfTruth #TruckingTheTruth   Want more of today's show? Episode #1745 We Need a 2 Bill Approach; Stealth Russian Submarines Episode #1746 Trump Plays Lefty Media Clowns Like a Fiddle Episode #1747 Fredericks & Lyman Debate Bobby Scott, Spanberger and Winsome Sears   https://johnfredericksradio.libsyn.com/

Reports from Capitol Hill have said Peninsula Congressman Bobby Scott is considering challenging fellow Congresswoman Abigail Spanberger for the Democratic nomination for Virginia governor. According to some reports, party members are concerned with Spanberger's ability to excite Black voters.

The House Republican Steering Committee has finished selecting chairs for the 119th Congress, a breakdown of the picks. Plus: Rep. Bobby Scott is eyeing a bid to be governor of Virginia. Want more in-depth daily coverage from Congress? Subscribe to our free Punchbowl News AM newsletter at punchbowl.news. Learn more about your ad choices. Visit megaphone.fm/adchoices

To see what Jesus' first advent would mean to the world, seeing it from Mary's perspective is a good starting point—it's such good news that she shares that perspective in the form of a Hebrew song. Guest preacher Bobby Scott preaches an Advent sermon from Luke 1:39-56.

LINKS:Pod Virginia | PatreonLearn more about Jackleg MediaIN THE NEWS:Earlier this year, Democrat Abigail Spanberger seemed to have cleared the field of opposition among Democrats, though Congressman Bobby Scott may still throw his hat into the ring. Last week, Republican Lieutenant Governor Winsome Earle-Sears was able to clear the field of Republican opposition, and now she stands alone as the Republican who will be running for governor. The race for attorney general is taking shape, and it's gonna be a doozy. Incumbent Attorney General Jason Miyares is unlikely to face opposition in the Republican primary, but the Democrats will have a VERY interesting primary. One of the candidates will be a founding member of the Progressive Prosecutors for Justice, Shannon Taylor, who will face former Delegate Jay Jones.Virginia is named for a Queen of England, the virgin Queen Elizabeth I. Now the Queen of Virginia is suing the attorney general and the Henrico prosecutor. That's because the skill game company that goes by that name, Queen of Virginia, is trying to stop the Republican attorney general from conducting an investigation and prevent the Henrico commonwealth's attorney from enforcing a ban on skill games.TRIVIA: Who was the senator who was censured by the Senate in 1987? (Hint: He was a senator from Norfolk, and he was censured for willingly violating the conflict-of-interest law by voting to kill a bill that would have harmed one of his legal clients.)Learn more at http://linktr.ee/JacklegMedia

I think Rainbow Connection would be a great name for a strain of psilocybin. Covers by: Bobby Scott, Kenny Loggins, Me First and the Gimme Gimmes, Weezer and Hayley Williams, Gwen Stefani, Death Blossoms, and Dan Stevens Tidal playlist here

Well, here's a milestone for you. I can't believe that I have reached 200 shows with no intent of stopping.  While I've played over 12 hundred songs on this show over those more than three and a three quarter years, I have several that have stuck in my brain or keep coming up in conversation and memories. They may not be the most popular of the songs I've played, the biggest hits or even necessarily among my favorites, but they had a catchy melody or rhythm that I couldn't get out of my head. So get ready to hear a dozen extra memorable tunes you've heard on this show before in Volume 200: Frank's Earworms Take 2. Listen to the Ted Alexander unedited phone interview. Read Frank's REO Speedwagon story.  Credits and copyrights The Lady Is A Tramp - Buddy Greco Written by Richard Rodgers, and Lorenz Hart Take the A Train - The Duke Ellington Orchestra Written by Duke Ellington Day-O - Harry Belafonte Written by Harry Belafonte, Lord Burgess, and Bill Attaway Java - Al Hirt Written by Allen Toussaint, Alvin Tyle, and Freddy Friday Let's Cha Cha - Tito Puente Written by Ray Coen Debbie Reynolds and the cast of the musical motion picture The Unsinkable Molly Brown - Belly up to the Bar, Boys Music And Lyrics written By Meredith Willson (Running Around in Circles) Getting Nowhere - Bing Crosby with John Scott Trotter and His Orchestra  Written by Irving Berlin Ye-Me-Le - Sergio Mendez & Brasil ‘66 Written by Chico Feitosa, and Luis Carlos Vinhas Sing, Sing, Sing - Henry Mancini Composed by Louis Prima Spinning Wheel - Sammy Davis Jr. Written by David Clayton-Thomas Che La Luna - Louis Prima With Sam Butera And The Witnesses  Written-By – Kopak, and Louis Prima Taste Of Honey - Herb Alpert & the Tijuana Brass  Written by Bobby Scott and Ric Marlow I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

Glick was joined by the super talented country singer Bobby Scott we talk about his love of music and enjoying where his music journey has taken him so far, he even surprised us with not 1 but 3 live songs on the show FOLLOW US EVERYWHERE Bio.link/nosensicalnetwork

The Second Gentleman stumped for Vice President Kamala Harris at Congressman Bobby Scott's annual Labor Day Cookout in Newport News.

durée : 01:59:54 - Bobby Scott, un trésor musical américain - par : Laurent Valero - Bobby Scott, pianiste, compositeur, arrangeur et chanteur : un trésor musical américain méconnu.

Happy fourth of July! This week we are joined by special guest, Pastor Bobby Scott. "Bible Bobby" is a friend of the ministry who has been on the podcast and has written for us several times. He has a particular interest in black history and all the ways our nation has failed to live up to its ideals in its treatment of black people. Despite this, Bobby is a proud military dad and a patriotic American. We talk through that tension and think about what it means to love an imperfect nation. We hope you are encouraged and that this spurs you to pray for our country. LINKS & SHOW NOTES:This UWP Podcast Episode was produced by Josh Deng with editing by Roshane Ricketts.Support the Show.To learn more about United? We Pray, follow us on Instagram and keep exploring our website. Please consider rating the podcast on Apple Podcasts, and subscribe using your favorite podcast client to hear more!

The House Committee on Education and the Workforce considers H.R.7227, the Truth and Healing Commission on Indian Boarding School Policies Act, on June 13, 2024. The bipartisan bill establishes a national commission to formally investigate, document, and report on the impact of Indian boarding school era. Following discussion, H.R.7227 was approved by a vote of 34-4, according to the committee. The bill can now be send to the full U.S. House of Representatives for consideration.

LINKS:Pod Virginia | PatreonLearn more about Jackleg MediaCheck out Black Virginia NewsIN THE NEWS:Lawmakers are weighing the odds about how to handle the governor's amendment to their legislation allowing skill games in convenience stores and truck stops.  The amendment says skill game machines cannot be within 35 miles of a casino or a historic horse racing facility--which knocks out a lot of possible locations. Now supporters have a choice: Do they want to accept a limited program now and try to expand in the future, or do they want to bag it for now and try again next year?Governor Youngkin now has the record for the most number of vetoes of any governor in recent memory, and he rolled out new abortion vetoes last weekend--including a bill that would have protected women and providers from being extradited to Tennessee or Texas, where abortion is much more restricted.Glenn Youngkin got the nomination to run as the Republican candidate for governor in a ranked-choice vote at a party convention. But now he's vetoing a bill that would have clarified how the process is supposed to work in local elections.TRIVIA: Which Senate Democrat had zero bills vetoed by the Governor this year?At the Watercooler:- The US House vote on FISA made strange bedfellows--Rep. Bobby Scott siding with Republicans on protecting warrant requirements for police surveillance, while Rep. Jen Kiggans sided with Democrats against it- Pro-Palestinian protestors are calling for a ceasefire in Gaza in public forums at the local, state, and federal level--and this is what the campaign season is likely to hinge on.Learn more at http://linktr.ee/JacklegMedia

durée : 01:00:25 - Banzzaï du vendredi 15 mars 2024 - par : Nathalie Piolé - ✨✨"Je suis né sous une étoile errante" chante Bobby Scott. Promenons-nous à ses côtés !

Near-death experience guest 857 is Bobby Scott intuitive empath who was given a choice during. near death experience. Besides his NDE experience Bobby has also had visions. --- Send in a voice message: https://podcasters.spotify.com/pod/show/jeffrey-s-reynolds/message Support this podcast: https://podcasters.spotify.com/pod/show/jeffrey-s-reynolds/support

This week on "Off The Cuff," Justin and Karen are joined by Jon Fansmith, the American Council on Education's senior vice president of government relations, to discuss this week's news that institutions and states will begin receiving Institutional Student Information Records (ISIRs) in the "first half of March." The team breaks down the announcement from the Department of Education, answers frequently asked questions, and shares NASFAA's efforts to advocate for financial aid offices. Additionally, the team debriefs two recent pieces of legislation, Rep. Virginia Foxx's College Cost Reduction Act and Rep. Bobby Scott's Roadmap to College Student Success.

U.S. Secretary of Education Miguel Cardona visited a Portsmouth elementary school with Senator Tim Kaine and U.S. Rep. Bobby Scott to highlight new federal infrastructure dollars for Virginia schools.

Thanksgiving show with Congressman Bobby Scott and Attorney Lem Howell.

Thanksgiving show with Congressman Bobby Scott and Attorney Lem Howell. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In his message at TGC's 2018 West Coast Conference, Bobby Scott teaches on 2 Timothy 3:10-17 and emphasizes the importance of being a bearer of the gospel and living a life centered on the Word of God. He challenges believers to consider whether our actions and words reflect the beautiful message of grace found in the gospel of Jesus.Scott focuses on how the Word of God leads to salvation, and that perseverance in the Word is crucial, especially in the face of fear and persecution. As we draw wisdom and strength from the Bible—God-breathed and profitable for teaching, reproof, correction, and training in righteousness—we can keep ministering and stay grounded in the Word of God, as it equips us for the work of God and empowers us to face the spiritual battles in the world. 

Bobby Scott's sermon on Genesis 37-50 from October 1, 2023.

Emotive singer and cofounder of The Youngbloods talks about his musical and personal connection to Lightnin' Hopkins and producer Bobby Scott.

Thursday, August 31 on Urban Forum Northwest:*Congressman Bobby Scott (D) VA-03 is the ranking member, House Education and Labor Committee. In 1977 he was elected to Virginia House of Delegates as a Democrat and to the Senate of Virginia in 1982 and was elected to the U S Congress in 1993 after the US Justice Department directed the Virginia Legislature to draw a congressional district line that would create a Black Congressional District.*Congresswoman Maxine Waters (D) CA-43, ranking member House of Representatives, Financial Services Committee comments on her legislative priorities for the session that will begin in less than two weeks.*James Posey, President, Portland Oregon Branch, NAACP comments on the organization's Area Conference Alaska, Oregon, and Washington State Conference Annual Convention with the theme of Legacy:Reclaiming Our History, Building Our future. The event will be held in Seattle on September 9.*Maisha Barnett's family members first arrived in Washington State in 1883, she has been a long time organizer with the ROOTS Committee. She will share some history of her family lineage and comment on the Sunday, September 3 event at Jimi Hendrix Park.Urban Forum Northwest streams live at www.1150kknw.com. Visit us at www.urbanforumnw.com for archive programs and relevant information. Like us on facebook. Twitter@Eddie_Rye. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Thursday, August 31 on Urban Forum Northwest: *Congressman Bobby Scott (D) VA-03 is the ranking member, House Education and Labor Committee. In 1977 he was elected to Virginia House of Delegates as a Democrat and to the Senate of Virginia in 1982 and was elected to the U S Congress in 1993 after the US Justice Department directed the Virginia Legislature to draw a congressional district line that would create a Black Congressional District. *Congresswoman Maxine Waters (D) CA-43, ranking member House of Representatives, Financial Services Committee comments on her legislative priorities for the session that will begin in less than two weeks. *James Posey, President, Portland Oregon Branch, NAACP comments on the organization's Area Conference Alaska, Oregon, and Washington State Conference Annual Convention with the theme of Legacy:Reclaiming Our History, Building Our future. The event will be held in Seattle on September 9. *Maisha Barnett's family members first arrived in Washington State in 1883, she has been a long time organizer with the ROOTS Committee. She will share some history of her family lineage and comment on the Sunday, September 3 event at Jimi Hendrix Park. Urban Forum Northwest streams live at www.1150kknw.com. Visit us at www.urbanforumnw.com for archive programs and relevant information. Like us on facebook. Twitter@Eddie_Rye.

If you missed the Landing Ceremony, here are only SOME of the highlights. Stay tuned until the end when our host, Blair Durham, provides the perfect poem to send our businesses into the Stratosphere. Enjoy motivation from Portsmouth, Virginia Mayor Shannon Glover, Senator Bobby Scott, a live pitch competition, and touching messages from newly improved Black Business Owners. Interested in sponsoring the podcast? Want to contact Blair? Info@BlackBRAND.biz . The Black Wall Street Today (BWST) radio show is focused on all things Black entrepreneurship and hosted by Virginia Tech alumnae Blair Durham, co-founder and co-President of Black BRAND. The BWST podcast is produced by using selected audio from the radio show and other Black BRAND events. BWST is the media outlet for Black BRAND. Black BRAND is a 501(c)(3) organization that stands for Business Research Analytics Networking and Development. We are Hampton Roads Regional Black Chamber of Commerce. We promote group economics through professional development and community empowerment, and we unify the black dollar by providing financial literacy, entrepreneurship training, and networking resources! http://blackbrand.biz m.me/blackwallstreettoday + info@blackbrand.biz + (757) 541-2680 Instagram: www.instagram.com/blackbrandbiz/ + Facebook: www.facebook.com/blackbrandbiz/ Produced by Seko Varner for Positive Vibes Inc. http://www.PositiveVibes.net $20k - $90K of business funding - https://mbcapitalsolutions.com/positive-vibes-consulting/ Money for your business: https://davidallencapital.com/equipment-financing?u=&u=PositiveVibes Money for Real Estate Investments: https://PositiveVibesFinancial.com Purify yourself, house, and environment to remain safe: https://www.vollara.com/PositiveVibes Invest in stocks via STASH: https://get.stashinvest.com/sekosq72j Fix your credit: https://positivevibes.myecon.net/my-credit-system/ Raise money with Republic: https://republic.com/raise/i/jpdajr Melanin, Black History, B1, Black First, ADOS, Foundational Black American, African, Indigenous, Virginia, Underground Railroad, Slavery, America, Black Enterprise, Norfolk, Richmond, Africa, Cupid Shuffle, Gospel Music, Moorish, Negro Spirituals, Stay Woke, Black History Month, Christian, Noble Drew Ali, Malcolm X, Ebony, African American, Entrepreneur, #GetOnCode, Tone Talks, Black American, Afrisynergy News, Black People, Nubian, Empowerment Agenda, BlackWallStreet, Black Wall Street, theWE --- Send in a voice message: https://podcasters.spotify.com/pod/show/black-wall-street-today/message

Bill Siemental is a fishing legend. He catches the big ones and is noted for his tournament success. Bill Siemental can usually be found hanging out in “The Big Bass Zone,” which is also the name of his popular website. Bill is one of the top educators in the world of fishing and it would be nearly impossible to listen to this interview with Bill and not come away with the knowledge to help you catch more and bigger fish. Please give Bill a listen.Our buddy, Dan Johnston from St. Croix is taking the week off but is ably replaced by Alex Smay. Alex is the Regional Sales Manager for the company that makes “The best rods on Earth.” Alex Smay really knows his stuff!Bobby Scott joins us from Rabid Baits, one of the fastest growing bait companies on the market. Rabid's line of revolutionary soft plastics is extraordinary. Let Bobby Scott tell us all how we can catch more fish.

Candace Bazemore and Gabby Leon Spatt, authors of the award-winning children's book Shabbat and Sunday Dinner, are traveling to Washington, D.C. this week to help AJC, the National Urban League, and ADL relaunch the bipartisan Congressional Caucus on Black-Jewish Relations. Together with Dov Wilker, AJC's Director of Black-Jewish Relations, they discuss what can be accomplished through building stronger bridges between the Black and Jewish communities and how our diversity is a source of connection, not division. More on the authors: Bazemore and Leon Spatt are members of AJC Atlanta's Black/Jewish Coalition. They are also participants of AJC's Project Understanding, which is a signature achievement of the coalition. *The views and opinions expressed by guests do not necessarily reflect the views or position of AJC.  Episode Lineup:  (0:40) Candace Bazemore and Gabby Leon Spatt Show Notes: Listen: Meet 3 Women Who are Driving Change in the Middle East Watch: Learn more about the Congressional Black-Jewish Caucus relaunch Learn: Launch of Congressional Black-Jewish Caucus (2019) Project Understanding Shabbat and Sunday Dinner by Candace Bazemore and Gabby Leon Spatt Follow People of the Pod on your favorite podcast app, and learn more at AJC.org/PeopleofthePod You can reach us at: peopleofthepod@ajc.org If you've enjoyed this episode, please be sure to tell your friends, tag us on social media with #PeopleofthePod, and hop onto Apple Podcasts to rate us and write a review, to help more listeners find us. __ Transcript of Interview with Candace Bazemore and Gabby Leon Spatt: Manya Brachear Pashman: This week, American Jewish Committee is helping to relaunch the bipartisan Congressional Caucus on Black-Jewish Relations. Congresswoman Debbie Wasserman Schultz of Florida will join some new House leaders including Congressman Wesley Hunt of Texas and Congresswoman Nikema Williams of Georgia. The caucus aims to raise awareness of sensitivities in both the Black and Jewish communities, combat stereotypes, and showcase commonalities. And with us this week to talk about their efforts to do the same are Candace Bazemore and Gabby Leon Spatt, co-authors of the children's book Shabbat and Sunday Dinner, which was honored with the Award of Excellence from the Religion Communicators Council. Both are members of the Black/Jewish Coalition and participants in AJC's Project Understanding, a biannual weekend of dialogue to develop understanding and friendships between leaders of the Black and Jewish communities. Our guest host this week is Dov Wilker, AJC's Director of Black Jewish Relations. Dov, the mic is yours. Dov Wilker: Thank you, Manya. Candace and Gabby, welcome to People of the Pod. Candace Bazemore: Thank you. We're excited to be here. Gabby Leon Spatt: It's a great opportunity. We're really excited to chat with you.  Dov Wilker:   Well, wonderful, we're just gonna jump right on in. And so I'm curious, Gabby, Candace, how did y'all meet? And how did you go from being friends to co-authors? Gabby Leon Spatt: Candace and I are both transplants to Atlanta, growing up in Florida, Virginia, both moving here for college or after college. And our original meeting actually was through the Junior League of Atlanta. We served on a committee together and launched a leadership program that was trading opportunities for Junior League members. But when we really met and realized how much we really adore each other, love each other, learn from each other, was from our shared experience of both attending Project Understanding, which is a program of Atlanta's AJC office, the Black-Jewish Coalition. And once we realized we both had that experience, our conversations changed, our friendship deepened, we really had the opportunity to share to learn to have meaningful conversations. And one day, we were planning an alumni event for Project Understanding participants, and we kind of talked about writing a book. And I'll let Candace share a little bit more about that. Candace Bazemore: Yeah, well, first of all, knowing how we met is like a very cool thing, because it just showcases some of the great ways that Atlanta already has great systems and organizations in place to help people look for ways to build across different community lines. I probably would have never met Gabby otherwise, which means that the book that we wrote together would have never happened. And the way the book came about was actually really cool. During the pandemic, we got tapped to help be on a planning committee for the Project Understanding's alumni New Year's Day brunch, which was going to be virtual, since no one could go anywhere, because of COVID. In the middle of one of the planning sessions, actually, at the start of one of the planning sessions, we were waiting for the two guys to join, of course, all the ladies got on first. And... Dov Wilker:   I take offense to that.  Candace Bazemore: It's fine. It's okay. It's true, though. And so we were discussing what we were planning on having for the brunch, because we were encouraging everyone to find a traditional meal to have for the brunch so people could be eating and talking, even though we couldn't be in the same place. And Gabby shared, she was going to have bagels and lox and I said chicken and waffles. But I didn't know like, what's bagels and lox? And we're like, Wouldn't it be a great idea to share recipes as a way to unite people? And then that led to us to kind of discussing like, you know, well, there's tons of recipe books out there. But what if we tried to get people earlier to start thinking about it. And so that's how we got to the idea of a children's book.  Dov Wilker:   Wait, I have to ask, have either of you written a children's book before? Gabby Leon Spatt: Definitely not, no. Candace Bazemore: No, this is our first children's book. I've written a ton of blogs. Dov Wilker:   Have you ever written a book before? Candace Bazemore: No, not since being like a little, no. Everybody does, like young authors or something like that in school, but not a book book. This is our first. Gabby Leon Spatt: We like stretch projects. We like to try new things in between taking care of our friends, our families, our full time jobs, you know. Dov Wilker:   You've got boundless energy, the two of you.  Gabby Leon Spatt: Yes we do. Dov Wilker:   What do you hope that readers are gonna gain from the book? I mean, in the year or so since it's been released, what's been the response? Gabby Leon Spatt: The experience, the stories we hear, I mean, I'll be sitting in a meeting, and somebody says, I read that book to my granddaughter, and it's the only one she wants to read now, and she just took so much away from it. But for us, I think the big picture is when you open your stomach at a dinner table, there's a way to start to open your heart and your mind. And Candace and I have shared so many life events together, holiday dinners, Shabbat dinners, Sunday dinners, just real times, where we've had that opportunity to kind of dive in and when you taste something new or something different, and you're at someone's home or their family member cooks it–there's always a story that goes behind it.  And that's really the inspiration of this book is that the dinner table is a special place that brings people, ideas, and cultures together. And we thought, how do we tell this story, and the story was about telling our own family traditions, and what we typically do when we celebrate a Friday night Shabbat dinner, or a Sunday dinner.  And so the characters, you know, are loosely mirrored after us and our families, and what the dinner means to us. And so the story follows two friends through their class presentations, as they learn more about each other's family traditions. And the hope is that the book introduces readers to other cultures and communities, and that we pique some interest in learning about other traditions. And the book is a great, you know, conversation starter, not just for children, but even for adults who maybe haven't had some of those unique experiences. For us, it was really important to be able to tell them more than just the story within the book. But we tell a little bit of the history of Black-Jewish relations. And we also have a page that is continuing the conversation. Dov Wilker:   I'm curious, Candace, has that been your experience as well, I mean, you sit in a meeting, and someone tells you about the book that they've read that their grandchild only wants to only wants to read that, or you got another story?  Candace Bazemore: Yeah, actually, I have a couple of stories like that, I actually had an opportunity to speak at a children's center here in Virginia. And the kids were so excited, they were sharing their family dinner traditions, and things like that. So that was very cool that came from the book reading. And we've had, I was actually in a meeting last night and a program associated with AJC, and we were all talking about some plans for a program for young people. And one of the organizers mentioned about our book, and two of the people in the meeting had the book that they read to their young kids. And that's their favorite book. So it was like, very cool. I was like, Oh, my god, yeah, that's great.  But one of the coolest things, I'm in a friend's group with Gabby and some other black and Jewish women. And one of the members, when we first launched the book, she ordered it on Amazon, and it got delivered to her neighbor's house by accident. And she had never met the neighbor, the neighbor just opened, because of course, it was during the pandemic,  the height of everybody getting Amazon orders. And so she just was like, Oh, this must be my order. She opens it up. It's a book, she doesn't know what it is. But it's, you know, the cover was inviting, she opened it up, she read the whole book, and then she put it back in the envelope with a personal note to our friend, and said, hey, you know, I got this book by mistake, I was really excited and really love this story. The images inside, the message, and I read some of the questions at the end. I'd love to get together with you over dinner, to talk more about it, because I'd love to learn more about your community. So that's how she became friends with her neighbor through the book. So it's very cool.  Dov Wilker:   That's really an incredible story for so many reasons. So this Thursday, July 13, AJC's marking the relaunch of the Congressional Caucus on Black-Jewish Relations, where the two of you will be sharing your story. What do you hope our nation's leaders will gain from hearing about your experience? Gabby Leon Spatt: So we're really excited to be at the relaunch of the Congressional Caucus. I think, for us, the hope is for people to know that this work is happening, these communities are engaging already, revisiting the past, this is not a new relationship. This is one that is rooted in many, many, many years of friendship, of teaching, of learning. And it's still happening. It's just maybe happening, you know, in a new way. I hope that we're able to inspire those that are in the room, including the congressmen and the congresswomen to really make this part of the agenda, to really celebrate the relationship and show the impact we can make and that we are making. Dov Wilker:   I love that. I couldn't agree more. So the goals of the caucus are to raise awareness, provide resources and unite black and Jewish, and black-Jewish communities to combat hate and stereotypes. How do you think the caucus can achieve that? Big picture here. Candace Bazemore: First of all, it's a great question. I'm gonna give you a little bit of background about myself. And the fact that I actually was in college, a Congressional Black Caucus Foundation congressional intern. So I spent a summer working on the hill, in Congressman Scott, Robert C. Scott's office, Bobby Scott, from the Third District of Virginia. And it was very cool to see some of the great things they were doing to help shape young minds and future leaders. And I think that the caucus and the role of congressional leaders and just leadership in general requires you to look at ways to unite and to get your constituents and your communities that you touch, to look for ways to work together.  I mean, the goal of a congressperson is to take their district and help make it better. I know in recent years, we've seen leadership go in the wrong direction. But these leaders have the opportunity to build bridges instead of tear them down. And so they can be the catalyst for change in their communities, they have the ability to direct resources and to direct attention, as well as to put their time on these topics. So they're already doing it by obviously relaunching the program and the caucus. And so the next step is then to empower their constituents to start these dialogues, start these conversations. And, and I think this gives them a reason, and also the organizations that they touch, a reason to start looking for ways to unite these communities. Dov Wilker:   Excellent. So, you know, I want to take it a little more local, before we go back to the macro national level. Can you tell us more about your experience with Project Understanding? So for those that don't know, our listeners, AJC's Atlanta office has been running this, Marvin C. Goldstein Project Understanding Black Jewish retreat, every other year, since 1990-ish. We bring together 18 black and Jewish and some black-Jewish leaders to be a part of the conversation. So 36, in total. For 24 hours of intense dialogue. So I'm wondering if you could tell us a little bit more about that experience for you. And if you've been involved since then, beyond writing this book together, and I think Candace, you even referenced a new initiative that you're a part of, so I was wondering, if you could share a little bit more about that, too. Gabby Leon Spatt: Yes. So, you know, I mentioned earlier, the retreat was just eye opening, really moving. You know, I grew up, the granddaughter of Holocaust survivors, we were told, you always love everybody. The idea in my family of not liking somebody just because of their skin color, or their culture or their religion. It just didn't exist. And I don't know that I noticed, you know, growing up, I was already kind of doing some of this work.  And I had a mentor of mine in college, who was my Greek advisor. And we talked a lot about black and Jewish relations at the time, he asked me to make him, challah French toast because he always associated challah with Jewish. And I said, Sure. And I went to church with him, actually, here in Atlanta, we were here for a conference. And, you know, it just kind of happened authentically. And coming to Atlanta and getting connected with AJC, and the Black-Jewish Coalition. And then Project Understanding. I think I realized how powerful the experiences I had in the past were, and this just felt like home for me. And it's also, Dov, it's incredible to see how you've invested more into the program and opened it up to a generation above, reaching 40 to 55 year olds, but also this year, launching a high school program. And so I think the impact of the retreat, that happens immediately, but also has a long lasting impact, we've really been able to make change within the Atlanta community. Dov Wilker:   Candace, how about for you? Candace Bazemore: Yeah. Well, you know, first of all, Gabby touched on all the things that are dear to my heart about, you know, what we've learned along the way in our journey together. I kind of like listening to her talk about some of the programs were a part of. I mean, to see people from Project Understanding, the Black Jewish Coalition at events for the United Way or for the Junior League. I recently hosted a fundraiser for the Amario's Art Academy, which was a sneaker ball to help this, this program that helps young kids connect with arts and art opportunities that they wouldn't normally have, because they don't have the access to afford expensive art programs. And to have Gabby and her husband show up and have such a great time, and other people from other programs that were associated. So it's great to see how much the community building how it blends across everything that helps the community grow and be more diverse. And she even mentioned the the team program, through Project Understanding, it's the Black Jewish Teen Initiative is what it's called. So applications are open for this great program where the teens get to participate, they're high school juniors and seniors from across Greater Atlanta, coming together to learn about, black Jewish relationships, to learn about, like the impact of racism, antisemitism, to learn about diversity within the black and Jewish communities. So I mean, I'm just super excited about some of the things that have come from these programs. And, and the fact that we're more forward thinking. So the idea of the book is a way to get in front of young minds, the idea of this program is to get in front of teen minds, the Project Understanding traditional program is for those emerging leaders. And now the new programs that are for people who maybe weren't around when these programs existed to instill, learn and build communities as they get older. We're looking at the whole life of people, how do you build relationships your whole life, so that those communities when you need them already there, you already know someone you can pick up the phone and say, Hey, how do I do this? What's the best way to do this? Or I made a mistake? How do I improve? How do I correct this? By having these relationships, there's more opportunity for grace. So, you know, gaps may happen, mistakes can happen. But if you have relationships, you have something that you can, dip into and say, Hey, how do we do things better? How do we do things differently?  Gabby Leon Spatt: I think it's also, you know, special to point out, we're one story, we're one outcome, right? There have been other individuals who have participated in Project understanding, who have started a barbecue team at the Atlanta Kosher BBQ Festival, which happens to be the largest kosher barbecue festival in the entire country. And that, you know, became a learning experience, just for themselves to be on the team, you had to go through Project Understanding, you know, and there's this cultural experience of explaining what kosher meat is. And you don't want to put extra salt in the rub, because it's already salted right. And when you like, the, you know, the barbecue, that has to be after Shabbat on sundown on Saturday, and the mashgiach has to light it. And then it's like, Who is that, right? And so the stuff that's happening in our community is so authentic, it just is happening, and it's so nice to see people just wanting to learn and continue the conversation past just the retreat. Dov Wilker:   I can also share that as an attendee of the BBQ Festival. It's not just that they're there together,they're grilling good meat. It's a very tasty experience to attend. Alright, so one final question. What are ways that we can highlight the positive worker interactions between our two communities? Candace Bazemore: Well, that's a great question. I always say the best way to highlight it is to ask people to share their individual stories. And me being a digital person, definitely utilize social media in order to get the word out about the ways that you know you're working together. If you're in a room with someone who doesn't look like you, and you're working on these tough problems and coming up with great solutions. share a post about that, encourage someone else to do that, too. If you have an event coming up, invite someone else out to come with it, that normally wouldn't be in the room. So I don't know how many times me and Gabby have been the only ones of us in a room before. A great example. I was in town during the great challah bake. And 300 Jewish women at the-was it at the Bernie Marcus center?  Gabby Leon Spatt: Yes, the Jewish Community Center.  Candace Bazemore: Jewish Community Center. Yeah. And so I was the only black woman or maybe one or two in the whole room?  Gabby Leon Spatt: It was just you. Candace Bazemore: It was just me, okay. And was having a good old time making some challah bread. Because challah's my thing. Obviously, Gabby has shown me how to make challah bread. So I'm actually pretty good at it. She's getting good at deep fried cornbread as a matter of fact as well.  Gabby Leon Spatt: Oh it's so good. I think it's opportunities like this, being able to be invited to share your story. And I think the caucus is really going to highlight a lot of what is happening across the country already, and give, you know, local advocates on the ground doing the work the opportunity to shine and to tell their story, because I think more than anything, storytelling is impactful, and it hits, at people's hearts and people's minds, and in our case, people's stomachs. Dov Wilker:   Well, thank you, Gabby, and Candice, Candice and Gabby, we are so grateful for the book that you've written for the delicious food, that you're helping to inspire being made across this beautiful country, and to your participation in the relaunch of the Congressional Caucus on Black-Jewish relations.  Candace Bazemore: Thank you. Dov.  Gabby Leon Spatt: Thanks. Manya Brachear Pashman: If you missed last week's episode, tune in for an exclusive conversation between three women leading transformation in the Middle East and AJC Abu Dhabi Program Director Reva Gorelick onstage at AJC Global Forum 2023 in Tel Aviv.  

Bill Siemental is a fishing legend. He catches the big ones and is noted for his tournament success. Bill Siemental can usually be found hanging out in “The Big Bass Zone,” which is also the name of his popular website. Bill is one of the top educators in the world of fishing and it would be nearly impossible to listen to this interview with Bill and not come away with the knowledge to help you catch more and bigger fish. Please give Bill a listen.Our buddy, Dan Johnston from St. Croix is taking the week off but is ably replaced by Alex Smay. Alex is the Regional Sales Manager for the company that makes “The best rods on Earth.” Alex Smay really knows his stuff! Bobby Scott joins us from Rabid Baits, one of the fastest growing bait companies on the market. Rabid's line of revolutionary soft plastics is extraordinary. Let Bobby Scott tell us all how we can catch more fish. 

The United States House Committee on Education and the Workforce plays a key role in guiding education policy in our country. As schools face the challenges of the COVID-19 pandemic and other issues, federal policy will be an important factor in determining how we build the future of education. What role does federal policy play in K-12 education?  How can the federal government best support all types of K-12 schools? And… what is the future of education policy in the United States?   In this episode, Kevin discusses the federal role in education with Congressman Bobby Scott of Virginia  

* Naked Voice Series * Violet * American Holly * Whale Song * Samsara * Ocean * Creativity * Vulnerability * Self Expression * Open Heart * Speaking from the Heart * Naked and Unashamed * Visibility * Poetry * Singing * Songwriting * Art * Plant Allies * Emerging Artists | South Carolina Arts Commission * CREATIVE RESIDENCY | alchemillas * 1:1 OFFERINGS | alchemillas * Flowers for a Girl: BOOK | alchemillas * (757) A Plant for When You Need a Good Cry - YouTube * (31) The Liriodendress | amanda nicole | Substack * Amanda Nicole (@alchemillasplantmedicine) • Instagram photos and videos * Song arranged & produced by Bobby Scott and the Nuclear Warehouse, Chapin, SC * This project is funded in part by the South Carolina Arts Commission which receives support from the National Endowment for the Arts. --- Support this podcast: https://podcasters.spotify.com/pod/show/amanda-dilday/support

This week on a special episode of “Off the Cuff,” Justin is joined by Rep. Bobby Scott (D-Va.), ranking member of the House Committee on Education and the Workforce, for a discussion on the latest issues impacting the higher education policymaking landscape. The discussion dives into the Pell Grant program and the prospect of short-term Pell, Scott's bill aiming to address the student loan system, the rollout of FAFSA simplification, and much more. Justin also spoke with Scott about his educational background, his time on the education committee as previous chair and current ranking member, as well as his legislative outlook for this session.

For 30 years Congressman Bobby Scott has represented the citizens of Virginia's third congressional district. He is the Ranking Member of the Committee on Education and Workforce, his fifth term as the Committee's Democratic leader, advancing legislation that improves equity in education, frees students from the burdens of debt, protects and expands access to affordable health care, ensures workers have a safe workplace where they can earn a living wage free from discrimination, and guarantees seniors have a secure and dignified retirement. Congressman Scott talks about his congressional work, gives insight on the historic vote of Speaker Kevin McCarthy, and answers your questions.

Congressman Bobby Scott (D-VA 3rd) returns to the show to discuss his time spent as chairman of the House Education and Labor Committee, his work on the American Rescue Plan and the Inflation Reduction Act helping to protect worker pensions and reduce drug costs, as well as investments in historically Black colleges and school meal plans.Learn more at http://linktr.ee/JacklegMediaSponsored by the Substance Abuse and Addiction Recovery Alliance of Virginia

MSNBC's Katie Phang hosts "The Beat" on Wednesday, November 23 and reports on mass shootings rising in the U.S. as an employee in a Virginia Walmart kills 6. Rep. Bobby Scott and Shannon Watts join on the gun violence issue. Plus, former federal prosecutor Renato Mariotti and "The Guardian's" Hugo Lowell join on Mike Pence reportedly "considering" speaking to the DOJ regarding January 6 and as Donald Trump's tax returns are set to go to Congress.

Welcome back to The Stoop Sessions where we have casual conversations about ministry on the Baltimore stoop. In each episode, Joel, Stephanie, and Eric talk through different topics and occasionally bring on a friend. Today, Bobby Scott joins the conversation. Bobby is serves as pastor at Community of Faith Bible Church. In this episode, Stephanie and Joel meet with Bobby Scott in California. The conversation begins as Stephanie shares her own background at Community of Faith Bible Church and her appreciation for Bobby's ministry. Bobby shares his own background and heart for raising up leaders in the local church. As the episode continues, Bobby speaks on best practices, lessons learned, and tips on training Bible teachers. Listen and learn from an experienced pastor with a long track record of faithful Gospel ministry and raising up leaders. Joel Kurz serves as the pastor of The Garden Church and director of ONE HOPE. Stephanie Greer is a Gospel Worker funded through ONE HOPE serving with The Garden Church. Learn more about ONE HOPE: www.onehope.gives Support the show: www.onehope.gives/donate Learn More about Bobby Scott: https://twitter.com/pastorbscott?lang=en Learn More About Community of Faith Bible Church: http://cfbcla.org

Mark Dever, Jonathan Leeman, Bobby Scott, and PJ Tibayan take questions from attendees at the 9Marks/Shepherd LA Conference.

Mark Dever, Jonathan Leeman, Bobby Scott, and PJ Tibayan take questions from attendees at the 9Marks/Shepherd LA Conference.

Who was Bob Delaney as a child? Learn about Bob as an athlete. Why he decided to take the NJ Trooper exam in 1972 and how he was chosen to go undercover? What sports taught him that he could use undercover and how he earned the trust of the mafia guys? We speak about the times his cover was almost blown and the wires that were placed. The stress of being undercover and having a threat made on his life after the undercover was over. How Bob was diagnosed with Post Traumatic Stress Disorder (PTSD), the number of the times he denied it and how he came to grips with it? Can PTSD affect someone indirectly along with symptoms to know? Being a NBA referee in large arenas with a threat on your life, his road to becoming a NBA referee and if wearing uniform #26 had any significance.The demands of being a NBA referee, a story about how the NBA and Bob made an impact on firefighters and policeman during 9/11 and finally how long it took for him to get back to normal. Links:Pre-Order-Heroes Are Human: https://www.heroesarehuman.com/Covert-My Life Infiltrating the Mob: https://www.amazon.com/Covert-My-Years-Infiltrating-Mob/dp/1402754434Surviving the Shadows- A Journey of Hope Into Post Traumatic Stress: https://www.amazon.com/Surviving-Shadows-Journey-Post-Traumatic-Stress/dp/1402263554HBO Real Sports: https://www.youtube.com/watch?v=_tUAq39Dmz4Follow us on Instagram: https://www.instagram.com/beforethelightspodcast/Docuseries: https://www.beforethelightspod.com/bittertearsSupport the Show: https://www.beforethelightspod.com/support Extra 5Story with former partner Bobby Scott that he could not tell he was undercoverNumber of arrests from spinoff investigations due to Project AlphaDonnie Brasco and Bobby Covert storySupport the show

A live audience interviews Rep. Bobby Scott (D-VA), Chairman of the House Education and Labor Committee, about inequality in U.S. public education. Find more (including how to join us live) at PM101.live or on Twitter at @PoliticsNMedia.Subscribe, rate, and review if you like what you hear.Join our e-mail list for "best of" delivered directly to your inbox, twice per month, at PM101.live.This interview comes from our archive of past conversations, and was recorded in October, 2021.

Episode 149 of A History of Rock Music in Five Hundred Songs looks at “Respect", and the journey of Aretha Franklin from teenage gospel singer to the Queen of Soul. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "I'm Just a Mops" by the Mops. 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/ Also, people may be interested in a Facebook discussion group for the podcast, run by a friend of mine (I'm not on FB myself) which can be found at https://www.facebook.com/groups/293630102611672/ Errata I say "Rock-a-Bye Your Baby to a Dixie Melody" instead of "Rock-a-Bye Your Baby With a Dixie Melody". Also I say Spooner Oldham co-wrote "Do Right Woman". I meant Chips Moman. Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. 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. I also relied heavily on I Never Loved a Man the Way I Loved You by Matt Dobkin. 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. Rick Hall's The Man From Muscle Shoals: My Journey from Shame to Fame contains his side of the story. 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. And the I Never Loved a Man 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 Before I start this episode,  I have to say that there are some things people may want to be aware of before listening to this. This episode has to deal, at least in passing, with subjects including child sexual abuse, intimate partner abuse, racism, and misogyny. I will of course try to deal with those subjects as tactfully as possible, but those of you who may be upset by those topics may want to check the episode transcript before or instead of listening. Those of you who leave comments or send me messages saying "why can't you just talk about the music instead of all this woke virtue-signalling?" may also want to skip this episode. You can go ahead and skip all the future ones as well, I won't mind. And one more thing to say before I get into the meat of the episode -- this episode puts me in a more difficult position than most other episodes of the podcast have. When I've talked about awful things that have happened in the course of this podcast previously, I have either been talking about perpetrators -- people like Phil Spector or Jerry Lee Lewis who did truly reprehensible things -- or about victims who have talked very publicly about the abuse they've suffered, people like Ronnie Spector or Tina Turner, who said very clearly "this is what happened to me and I want it on the public record". In the case of Aretha Franklin, she has been portrayed as a victim *by others*, and there are things that have been said about her life and her relationships which suggest that she suffered in some very terrible ways. But she herself apparently never saw herself as a victim, and didn't want some aspects of her private life talking about. At the start of David Ritz's biography of her, which is one of my main sources here, he recounts a conversation he had with her: "When I mentioned the possibility of my writing an independent biography, she said, “As long as I can approve it before it's published.” “Then it wouldn't be independent,” I said. “Why should it be independent?” “So I can tell the story from my point of view.” “But it's not your story, it's mine.” “You're an important historical figure, Aretha. Others will inevitably come along to tell your story. That's the blessing and burden of being a public figure.” “More burden than blessing,” she said." Now, Aretha Franklin is sadly dead, but I think that she still deserves the basic respect of being allowed privacy. So I will talk here about public matters, things she acknowledged in her own autobiography, and things that she and the people around her did in public situations like recording studios and concert venues. But there are aspects to the story of Aretha Franklin as that story is commonly told, which may well be true, but are of mostly prurient interest, don't add much to the story of how the music came to be made, and which she herself didn't want people talking about. So there will be things people might expect me to talk about in this episode, incidents where people in her life, usually men, treated her badly, that I'm going to leave out. That information is out there if people want to look for it, but I don't see myself as under any obligation to share it. That's not me making excuses for people who did inexcusable things, that's me showing some respect to one of the towering artistic figures of the latter half of the twentieth century. Because, of course, respect is what this is all about: [Excerpt: Aretha Franklin, "Respect"] One name that's come up a few times in this podcast, but who we haven't really talked about that much, is Bobby "Blue" Bland. We mentioned him as the single biggest influence on the style of Van Morrison, but Bland was an important figure in the Memphis music scene of the early fifties, which we talked about in several early episodes. He was one of the Beale Streeters, the loose aggregation of musicians that also included B.B. King and Johnny Ace, he worked with Ike Turner, and was one of the key links between blues and soul in the fifties and early sixties, with records like "Turn on Your Love Light": [Excerpt: Bobby "Blue" Bland, "Turn on Your Love Light"] But while Bland was influenced by many musicians we've talked about, his biggest influence wasn't a singer at all. It was a preacher he saw give a sermon in the early 1940s. As he said decades later: "Wasn't his words that got me—I couldn't tell you what he talked on that day, couldn't tell you what any of it meant, but it was the way he talked. He talked like he was singing. He talked music. The thing that really got me, though, was this squall-like sound he made to emphasize a certain word. He'd catch the word in his mouth, let it roll around and squeeze it with his tongue. When it popped on out, it exploded, and the ladies started waving and shouting. I liked all that. I started popping and shouting too. That next week I asked Mama when we were going back to Memphis to church. “‘Since when you so keen on church?' Mama asked. “‘I like that preacher,' I said. “‘Reverend Franklin?' she asked. “‘Well, if he's the one who sings when he preaches, that's the one I like.'" Bland was impressed by C.L. Franklin, and so were other Memphis musicians. Long after Franklin had moved to Detroit, they remembered him, and Bland and B.B. King would go to Franklin's church to see him preach whenever they were in the city. And Bland studied Franklin's records. He said later "I liked whatever was on the radio, especially those first things Nat Cole did with his trio. Naturally I liked the blues singers like Roy Brown, the jump singers like Louis Jordan, and the ballad singers like Billy Eckstine, but, brother, the man who really shaped me was Reverend Franklin." Bland would study Franklin's records, and would take the style that Franklin used in recorded sermons like "The Eagle Stirreth Her Nest": [Excerpt: C.L. Franklin, "The Eagle Stirreth Her Nest"] And you can definitely hear that preaching style on records like Bland's "I Pity the Fool": [Excerpt: Bobby "Blue" Bland, "I Pity the Fool"] But of course, that wasn't the only influence the Reverend C.L. Franklin had on the course of soul music. C.L. Franklin had grown up poor, on a Mississippi farm, and had not even finished grade school because he was needed to work behind the mule, ploughing the farm for his stepfather. But he had a fierce intelligence and became an autodidact, travelling regularly to the nearest library, thirty miles away, on a horse-drawn wagon, and reading everything he could get his hands on. At the age of sixteen he received what he believed to be a message from God, and decided to become an itinerant preacher. He would travel between many small country churches and build up audiences there -- and he would also study everyone else preaching there, analysing their sermons, seeing if he could anticipate their line of argument and get ahead of them, figuring out the structure. But unlike many people in the conservative Black Baptist churches of the time, he never saw the spiritual and secular worlds as incompatible. He saw blues music and Black church sermons as both being part of the same thing -- a Black culture and folklore that was worthy of respect in both its spiritual and secular aspects. He soon built up a small circuit of local churches where he would preach occasionally, but wasn't the main pastor at any of them. He got married aged twenty, though that marriage didn't last, and he seems to have been ambitious for a greater respectability. When that marriage failed, in June 1936, he married Barbara Siggers, a very intelligent, cultured, young single mother who had attended Booker T Washington High School, the best Black school in Memphis, and he adopted her son Vaughn. While he was mostly still doing churches in Mississippi, he took on one in Memphis as well, in an extremely poor area, but it gave him a foot in the door to the biggest Black city in the US. Barbara would later be called "one of the really great gospel singers" by no less than Mahalia Jackson. We don't have any recordings of Barbara singing, but Mahalia Jackson certainly knew what she was talking about when it came to great gospel singers: [Excerpt: Mahalia Jackson, "Precious Lord, Take My Hand"] Rev. Franklin was hugely personally ambitious, and he also wanted to get out of rural Mississippi, where the Klan were very active at this time, especially after his daughter Erma was born in 1938. They moved to Memphis in 1939, where he got a full-time position at New Salem Baptist Church, where for the first time he was able to earn a steady living from just one church and not have to tour round multiple churches. He soon became so popular that if you wanted to get a seat for the service at noon, you had to turn up for the 8AM Sunday School or you'd be forced to stand. He also enrolled for college courses at LeMoyne College. He didn't get a degree, but spent three years as a part-time student studying theology, literature, and sociology, and soon developed a liberal theology that was very different from the conservative fundamentalism he'd grown up in, though still very much part of the Baptist church. Where he'd grown up with a literalism that said the Bible was literally true, he started to accept things like evolution, and to see much of the Bible as metaphor. Now, we talked in the last episode about how impossible it is to get an accurate picture of the lives of religious leaders, because their life stories are told by those who admire them, and that's very much the case for C.L. Franklin. Franklin was a man who had many, many, admirable qualities -- he was fiercely intelligent, well-read, a superb public speaker, a man who was by all accounts genuinely compassionate towards those in need, and he became one of the leaders of the civil rights movement and inspired tens of thousands, maybe even millions, of people, directly and indirectly, to change the world for the better. He also raised several children who loved and admired him and were protective of his memory. And as such, there is an inevitable bias in the sources on Franklin's life. And so there's a tendency to soften the very worst things he did, some of which were very, very bad. For example in Nick Salvatore's biography of him, he talks about Franklin, in 1940, fathering a daughter with someone who is described as "a teenager" and "quite young". No details of her age other than that are given, and a few paragraphs later the age of a girl who was then sixteen *is* given, talking about having known the girl in question, and so the impression is given that the girl he impregnated was also probably in her late teens. Which would still be bad, but a man in his early twenties fathering a child with a girl in her late teens is something that can perhaps be forgiven as being a different time. But while the girl in question may have been a teenager when she gave birth, she was *twelve years old* when she became pregnant, by C.L. Franklin, the pastor of her church, who was in a position of power over her in multiple ways. Twelve years old. And this is not the only awful thing that Franklin did -- he was also known to regularly beat up women he was having affairs with, in public. I mention this now because everything else I say about him in this episode is filtered through sources who saw these things as forgivable character flaws in an otherwise admirable human being, and I can't correct for those biases because I don't know the truth. So it's going to sound like he was a truly great man. But bear those facts in mind. Barbara stayed with Franklin for the present, after discovering what he had done, but their marriage was a difficult one, and they split up and reconciled a handful of times. They had three more children together -- Cecil, Aretha, and Carolyn -- and remained together as Franklin moved on first to a church in Buffalo, New York, and then to New Bethel Church, in Detroit, on Hastings Street, a street which was the centre of Black nightlife in the city, as immortalised in John Lee Hooker's "Boogie Chillun": [Excerpt: John Lee Hooker, "Boogie Chillen"] Before moving to Detroit, Franklin had already started to get more political, as his congregation in Buffalo had largely been union members, and being free from the worst excesses of segregation allowed him to talk more openly about civil rights, but that only accelerated when he moved to Detroit, which had been torn apart just a couple of years earlier by police violence against Black protestors. Franklin had started building a reputation when in Memphis using radio broadcasts, and by the time he moved to Detroit he was able to command a very high salary, and not only that, his family were given a mansion by the church, in a rich part of town far away from most of his congregation. Smokey Robinson, who was Cecil Franklin's best friend and a frequent visitor to the mansion through most of his childhood, described it later, saying "Once inside, I'm awestruck -- oil paintings, velvet tapestries, silk curtains, mahogany cabinets filled with ornate objects of silver and gold. Man, I've never seen nothing like that before!" He made a lot of money, but he also increased church attendance so much that he earned that money. He had already been broadcasting on the radio, but when he started his Sunday night broadcasts in Detroit, he came up with a trick of having his sermons run long, so the show would end before the climax. People listening decided that they would have to start turning up in person to hear the end of the sermons, and soon he became so popular that the church would be so full that crowds would have to form on the street outside to listen. Other churches rescheduled their services so they wouldn't clash with Franklin's, and most of the other Black Baptist ministers in the city would go along to watch him preach. In 1948 though, a couple of years after moving to Detroit, Barbara finally left her husband. She took Vaughn with her and moved back to Buffalo, leaving the four biological children she'd had with C.L. with their father.  But it's important to note that she didn't leave her children -- they would visit her on a regular basis, and stay with her over school holidays. Aretha later said "Despite the fact that it has been written innumerable times, it is an absolute lie that my mother abandoned us. In no way, shape, form, or fashion did our mother desert us." Barbara's place in the home was filled by many women -- C.L. Franklin's mother moved up from Mississippi to help him take care of the children, the ladies from the church would often help out, and even stars like Mahalia Jackson would turn up and cook meals for the children. There were also the women with whom Franklin carried on affairs, including Anna Gordy, Ruth Brown, and Dinah Washington, the most important female jazz and blues singer of the fifties, who had major R&B hits with records like her version of "Cold Cold Heart": [Excerpt: Dinah Washington, "Cold Cold Heart"] Although my own favourite record of hers is "Big Long Slidin' Thing", which she made with arranger Quincy Jones: [Excerpt: Dinah Washington, "Big Long Slidin' Thing"] It's about a trombone. Get your minds out of the gutter. Washington was one of the biggest vocal influences on young Aretha, but the single biggest influence was Clara Ward, another of C.L. Franklin's many girlfriends. Ward was the longest-lasting of these, and there seems to have been a lot of hope on both her part and Aretha's that she and Rev. Franklin would marry, though Franklin always made it very clear that monogamy wouldn't suit him. Ward was one of the three major female gospel singers of the middle part of the century, and possibly even more technically impressive as a vocalist than the other two, Sister Rosetta Tharpe and Mahalia Jackson. Where Jackson was an austere performer, who refused to perform in secular contexts at all for most of her life, and took herself and her music very seriously, and Tharpe was a raunchier, funnier, more down-to-earth performer who was happy to play for blues audiences and even to play secular music on occasion, Ward was a *glamorous* performer, who wore sequined dresses and piled her hair high on her head. Ward had become a singer in 1931 when her mother had what she later talked about as a religious epiphany, and decided she wasn't going to be a labourer any more, she was going to devote her life to gospel music. Ward's mother had formed a vocal group with her two daughters, and Clara quickly became the star and her mother's meal ticket -- and her mother was very possessive of that ticket, to the extent that Ward, who was a bisexual woman who mostly preferred men, had more relationships with women, because her mother wouldn't let her be alone with the men she was attracted to. But Ward did manage to keep a relationship going with C.L. Franklin, and Aretha Franklin talked about the moment she decided to become a singer, when she saw Ward singing "Peace in the Valley" at a funeral: [Excerpt: Clara Ward, "Peace in the Valley"] As well as looking towards Ward as a vocal influence, Aretha was also influenced by her as a person -- she became a mother figure to Aretha, who would talk later about watching Ward eat, and noting her taking little delicate bites, and getting an idea of what it meant to be ladylike from her. After Ward's death in 1973, a notebook was found in which she had written her opinions of other singers. For Aretha she wrote “My baby Aretha, she doesn't know how good she is. Doubts self. Some day—to the moon. I love that girl.” Ward's influence became especially important to Aretha and her siblings after their mother died of a heart attack a few years after leaving her husband, when Aretha was ten, and Aretha, already a very introverted child, became even more so. Everyone who knew Aretha said that her later diva-ish reputation came out of a deep sense of insecurity and introversion -- that she was a desperately private, closed-off, person who would rarely express her emotions at all, and who would look away from you rather than make eye contact. The only time she let herself express emotions was when she performed music. And music was hugely important in the Franklin household. Most preachers in the Black church at that time were a bit dismissive of gospel music, because they thought the music took away from their prestige -- they saw it as a necessary evil, and resented it taking up space when their congregations could have been listening to them. But Rev. Franklin was himself a rather good singer, and even made a few gospel records himself in 1950, recording for Joe Von Battle, who owned a record shop on Hastings Street and also put out records by blues singers: [Excerpt: C.L. Franklin, "I Am Climbing Higher Mountains" ] The church's musical director was James Cleveland, one of the most important gospel artists of the fifties and sixties, who sang with groups like the Caravans: [Excerpt: The Caravans, "What Kind of Man is This?" ] Cleveland, who had started out in the choir run by Thomas Dorsey, the writer of “Take My Hand Precious Lord” and “Peace in the Valley”, moved in with the Franklin family for a while, and he gave the girls tips on playing the piano -- much later he would play piano on Aretha's album Amazing Grace, and she said of him “He showed me some real nice chords, and I liked his deep, deep sound”. Other than Clara Ward, he was probably the single biggest musical influence on Aretha. And all the touring gospel musicians would make appearances at New Bethel Church, not least of them Sam Cooke, who first appeared there with the Highway QCs and would continue to do so after joining the Soul Stirrers: [Excerpt: The Soul Stirrers, "Touch the Hem of his Garment"] Young Aretha and her older sister Erma both had massive crushes on Cooke, and there were rumours that he had an affair with one or both of them when they were in their teens, though both denied it. Aretha later said "When I first saw him, all I could do was sigh... Sam was love on first hearing, love at first sight." But it wasn't just gospel music that filled the house. One of the major ways that C.L. Franklin's liberalism showed was in his love of secular music, especially jazz and blues, which he regarded as just as important in Black cultural life as gospel music. We already talked about Dinah Washington being a regular visitor to the house, but every major Black entertainer would visit the Franklin residence when they were in Detroit. Both Aretha and Cecil Franklin vividly remembered visits from Art Tatum, who would sit at the piano and play for the family and their guests: [Excerpt: Art Tatum, "Tiger Rag"] Tatum was such a spectacular pianist that there's now a musicological term, the tatum, named after him, for the smallest possible discernible rhythmic interval between two notes. Young Aretha was thrilled by his technique, and by that of Oscar Peterson, who also regularly came to the Franklin home, sometimes along with Ella Fitzgerald. Nat "King" Cole was another regular visitor. The Franklin children all absorbed the music these people -- the most important musicians of the time -- were playing in their home, and young Aretha in particular became an astonishing singer and also an accomplished pianist. Smokey Robinson later said: “The other thing that knocked us out about Aretha was her piano playing. There was a grand piano in the Franklin living room, and we all liked to mess around. We'd pick out little melodies with one finger. But when Aretha sat down, even as a seven-year-old, she started playing chords—big chords. Later I'd recognize them as complex church chords, the kind used to accompany the preacher and the solo singer. At the time, though, all I could do was view Aretha as a wonder child. Mind you, this was Detroit, where musical talent ran strong and free. Everyone was singing and harmonizing; everyone was playing piano and guitar. Aretha came out of this world, but she also came out of another far-off magical world none of us really understood. She came from a distant musical planet where children are born with their gifts fully formed.” C.L. Franklin became more involved in the music business still when Joe Von Battle started releasing records of his sermons, which had become steadily more politically aware: [Excerpt: C.L. Franklin, "Dry Bones in the Valley"] Franklin was not a Marxist -- he was a liberal, but like many liberals was willing to stand with Marxists where they had shared interests, even when it was dangerous. For example in 1954, at the height of McCarthyism, he had James and Grace Lee Boggs, two Marxist revolutionaries, come to the pulpit and talk about their support for the anti-colonial revolution in Kenya, and they sold four hundred copies of their pamphlet after their talk, because he saw that the struggle of Black Africans to get out from white colonial rule was the same struggle as that of Black Americans. And Franklin's powerful sermons started getting broadcast on the radio in areas further out from Detroit, as Chess Records picked up the distribution for them and people started playing the records on other stations. People like future Congressman John Lewis and the Reverend Jesse Jackson would later talk about listening to C.L. Franklin's records on the radio and being inspired -- a whole generation of Black Civil Rights leaders took their cues from him, and as the 1950s and 60s went on he became closer and closer to Martin Luther King in particular. But C.L. Franklin was always as much an ambitious showman as an activist, and he started putting together gospel tours, consisting mostly of music but with himself giving a sermon as the headline act. And he became very, very wealthy from these tours. On one trip in the south, his car broke down, and he couldn't find a mechanic willing to work on it. A group of white men started mocking him with racist terms, trying to provoke him, as he was dressed well and driving a nice car (albeit one that had broken down). Rather than arguing with them, he walked to a car dealership, and bought a new car with the cash that he had on him. By 1956 he was getting around $4000 per appearance, roughly equivalent to $43,000 today, and he was making a *lot* of appearances. He also sold half a million records that year. Various gospel singers, including the Clara Ward Singers, would perform on the tours he organised, and one of those performers was Franklin's middle daughter Aretha. Aretha had become pregnant when she was twelve, and after giving birth to the child she dropped out of school, but her grandmother did most of the child-rearing for her, while she accompanied her father on tour. Aretha's first recordings, made when she was just fourteen, show what an astonishing talent she already was at that young age. She would grow as an artist, of course, as she aged and gained experience, but those early gospel records already show an astounding maturity and ability. It's jaw-dropping to listen to these records of a fourteen-year-old, and immediately recognise them as a fully-formed Aretha Franklin. [Excerpt: Aretha Franklin, "There is a Fountain Filled With Blood"] Smokey Robinson's assessment that she was born with her gifts fully formed doesn't seem like an exaggeration when you hear that. For the latter half of the fifties, Aretha toured with her father, performing on the gospel circuit and becoming known there. But the Franklin sisters were starting to get ideas about moving into secular music. This was largely because their family friend Sam Cooke had done just that, with "You Send Me": [Excerpt: Sam Cooke, "You Send Me"] Aretha and Erma still worshipped Cooke, and Aretha would later talk about getting dressed up just to watch Cooke appear on the TV. Their brother Cecil later said "I remember the night Sam came to sing at the Flame Show Bar in Detroit. Erma and Ree said they weren't going because they were so heartbroken that Sam had recently married. I didn't believe them. And I knew I was right when they started getting dressed about noon for the nine o'clock show. Because they were underage, they put on a ton of makeup to look older. It didn't matter 'cause Berry Gordy's sisters, Anna and Gwen, worked the photo concession down there, taking pictures of the party people. Anna was tight with Daddy and was sure to let my sisters in. She did, and they came home with stars in their eyes.” Moving from gospel to secular music still had a stigma against it in the gospel world, but Rev. Franklin had never seen secular music as sinful, and he encouraged his daughters in their ambitions. Erma was the first to go secular, forming a girl group, the Cleo-Patrettes, at the suggestion of the Four Tops, who were family friends, and recording a single for Joe Von Battle's J-V-B label, "No Other Love": [Excerpt: The Cleo-Patrettes, "No Other Love"] But the group didn't go any further, as Rev. Franklin insisted that his eldest daughter had to finish school and go to university before she could become a professional singer. Erma missed other opportunities for different reasons, though -- Berry Gordy, at this time still a jobbing songwriter, offered her a song he'd written with his sister and Roquel Davis, but Erma thought of herself as a jazz singer and didn't want to do R&B, and so "All I Could Do Was Cry" was given to Etta James instead, who had a top forty pop hit with it: [Excerpt: Etta James, "All I Could Do Was Cry"] While Erma's move into secular music was slowed by her father wanting her to have an education, there was no such pressure on Aretha, as she had already dropped out. But Aretha had a different problem -- she was very insecure, and said that church audiences "weren't critics, but worshippers", but she was worried that nightclub audiences in particular were just the kind of people who would just be looking for flaws, rather than wanting to support the performer as church audiences did. But eventually she got up the nerve to make the move. There was the possibility of her getting signed to Motown -- her brother was still best friends with Smokey Robinson, while the Gordy family were close to her father -- but Rev. Franklin had his eye on bigger things. He wanted her to be signed to Columbia, which in 1960 was the most prestigious of all the major labels. As Aretha's brother Cecil later said "He wanted Ree on Columbia, the label that recorded Mahalia Jackson, Duke Ellington, Johnny Mathis, Tony Bennett, Percy Faith, and Doris Day. Daddy said that Columbia was the biggest and best record company in the world. Leonard Bernstein recorded for Columbia." They went out to New York to see Phil Moore, a legendary vocal coach and arranger who had helped make Lena Horne and Dorothy Dandridge into stars, but Moore actually refused to take her on as a client, saying "She does not require my services. Her style has already been developed. Her style is in place. It is a unique style that, in my professional opinion, requires no alteration. It simply requires the right material. Her stage presentation is not of immediate concern. All that will come later. The immediate concern is the material that will suit her best. And the reason that concern will not be easily addressed is because I can't imagine any material that will not suit her." That last would become a problem for the next few years, but the immediate issue was to get someone at Columbia to listen to her, and Moore could help with that -- he was friends with John Hammond. Hammond is a name that's come up several times in the podcast already -- we mentioned him in the very earliest episodes, and also in episode ninety-eight, where we looked at his signing of Bob Dylan. But Hammond was a legend in the music business. He had produced sessions for Bessie Smith, had discovered Count Basie and Billie Holiday, had convinced Benny Goodman to hire Charlie Christian and Lionel Hampton, had signed Pete Seeger and the Weavers to Columbia, had organised the Spirituals to Swing concerts which we talked about in the first few episodes of this podcast, and was about to put out the first album of Robert Johnson's recordings. Of all the executives at Columbia, he was the one who had the greatest eye for talent, and the greatest understanding of Black musical culture. Moore suggested that the Franklins get Major Holley to produce a demo recording that he could get Hammond to listen to. Major Holley was a family friend, and a jazz bassist who had played with Oscar Peterson and Coleman Hawkins among others, and he put together a set of songs for Aretha that would emphasise the jazz side of her abilities, pitching her as a Dinah Washington style bluesy jazz singer. The highlight of the demo was a version of "Today I Sing the Blues", a song that had originally been recorded by Helen Humes, the singer who we last heard of recording “Be Baba Leba” with Bill Doggett: [Excerpt: Helen Humes, "Today I Sing the Blues"] That original version had been produced by Hammond, but the song had also recently been covered by Aretha's idol, Sam Cooke: [Excerpt: Sam Cooke, "Today I Sing the Blues"] Hammond was hugely impressed by the demo, and signed Aretha straight away, and got to work producing her first album. But he and Rev. Franklin had different ideas about what Aretha should do. Hammond wanted to make a fairly raw-sounding bluesy jazz album, the kind of recording he had produced with Bessie Smith or Billie Holiday, but Rev. Franklin wanted his daughter to make music that would cross over to the white pop market -- he was aiming for the same kind of audience that Nat "King" Cole or Harry Belafonte had, and he wanted her recording standards like "Over the Rainbow". This showed a lack of understanding on Rev. Franklin's part of how such crossovers actually worked at this point. As Etta James later said, "If you wanna have Black hits, you gotta understand the Black streets, you gotta work those streets and work those DJs to get airplay on Black stations... Or looking at it another way, in those days you had to get the Black audience to love the hell outta you and then hope the love would cross over to the white side. Columbia didn't know nothing 'bout crossing over.” But Hammond knew they had to make a record quickly, because Sam Cooke had been working on RCA Records, trying to get them to sign Aretha, and Rev. Franklin wanted an album out so they could start booking club dates for her, and was saying that if they didn't get one done quickly he'd take up that offer, and so they came up with a compromise set of songs which satisfied nobody, but did produce two R&B top ten hits, "Won't Be Long" and Aretha's version of "Today I Sing the Blues": [Excerpt: Aretha Franklin, "Today I Sing the Blues"] This is not to say that Aretha herself saw this as a compromise -- she later said "I have never compromised my material. Even then, I knew a good song from a bad one. And if Hammond, one of the legends of the business, didn't know how to produce a record, who does? No, the fault was with promotion." And this is something important to bear in mind as we talk about her Columbia records. Many, *many* people have presented those records as Aretha being told what to do by producers who didn't understand her art and were making her record songs that didn't fit her style. That's not what's happening with the Columbia records. Everyone actually involved said that Aretha was very involved in the choices made -- and there are some genuinely great tracks on those albums. The problem is that they're *unfocused*. Aretha was only eighteen when she signed to the label, and she loved all sorts of music -- blues, jazz, soul, standards, gospel, middle-of-the-road pop music -- and wanted to sing all those kinds of music. And she *could* sing all those kinds of music, and sing them well. But it meant the records weren't coherent. You didn't know what you were getting, and there was no artistic personality that dominated them, it was just what Aretha felt like recording. Around this time, Aretha started to think that maybe her father didn't know what he was talking about when it came to popular music success, even though she idolised him in most areas, and she turned to another figure, who would soon become both her husband and manager. Ted White. Her sister Erma, who was at that time touring with Lloyd Price, had introduced them, but in fact Aretha had first seen White years earlier, in her own house -- he had been Dinah Washington's boyfriend in the fifties, and her first sight of him had been carrying a drunk Washington out of the house after a party. In interviews with David Ritz, who wrote biographies of many major soul stars including both Aretha Franklin and Etta James, James had a lot to say about White, saying “Ted White was famous even before he got with Aretha. My boyfriend at the time, Harvey Fuqua, used to talk about him. Ted was supposed to be the slickest pimp in Detroit. When I learned that Aretha married him, I wasn't surprised. A lot of the big-time singers who we idolized as girls—like Billie Holiday and Sarah Vaughan—had pimps for boyfriends and managers. That was standard operating procedure. My own mother had made a living turning tricks. When we were getting started, that way of life was part of the music business. It was in our genes. Part of the lure of pimps was that they got us paid." She compared White to Ike Turner, saying "Ike made Tina, no doubt about it. He developed her talent. He showed her what it meant to be a performer. He got her famous. Of course, Ted White was not a performer, but he was savvy about the world. When Harvey Fuqua introduced me to him—this was the fifties, before he was with Aretha—I saw him as a super-hip extra-smooth cat. I liked him. He knew music. He knew songwriters who were writing hit songs. He had manners. Later, when I ran into him and Aretha—this was the sixties—I saw that she wasn't as shy as she used to be." White was a pimp, but he was also someone with music business experience -- he owned an unsuccessful publishing company, and also ran a chain of jukeboxes. He was also thirty, while Aretha was only eighteen. But White didn't like the people in Aretha's life at the time -- he didn't get on well with her father, and he also clashed with John Hammond. And Aretha was also annoyed at Hammond, because her sister Erma had signed to Epic, a Columbia subsidiary, and was releasing her own singles: [Excerpt: Erma Franklin, "Hello Again"] Aretha was certain that Hammond had signed Erma, even though Hammond had nothing to do with Epic Records, and Erma had actually been recommended by Lloyd Price. And Aretha, while for much of her career she would support her sister, was also terrified that her sister might have a big hit before her and leave Aretha in her shadow. Hammond was still the credited producer on Aretha's second album, The Electrifying Aretha Franklin, but his lack of say in the sessions can be shown in the choice of lead-off single. "Rock-a-Bye Your Baby With a Dixie Melody" was originally recorded by Al Jolson in 1918: [Excerpt: Al Jolson, "Rock-a-Bye Your Baby With a Dixie Melody"] Rev. Franklin pushed for the song, as he was a fan of Jolson -- Jolson, oddly, had a large Black fanbase, despite his having been a blackface performer, because he had *also* been a strong advocate of Black musicians like Cab Calloway, and the level of racism in the media of the twenties through forties was so astonishingly high that even a blackface performer could seem comparatively OK. Aretha's performance was good, but it was hardly the kind of thing that audiences were clamouring for in 1961: [Excerpt: Aretha Franklin, "Rock-a-Bye Your Baby With a Dixie Melody"] That single came out the month after _Down Beat_ magazine gave Aretha the "new-star female vocalist award", and it oddly made the pop top forty, her first record to do so, and the B-side made the R&B top ten, but for the next few years both chart success and critical acclaim eluded her. None of her next nine singles would make higher than number eighty-six on the Hot One Hundred, and none would make the R&B charts at all. After that transitional second album, she was paired with producer Bob Mersey, who was precisely the kind of white pop producer that one would expect for someone who hoped for crossover success. Mersey was the producer for many of Columbia's biggest stars at the time -- people like Barbra Streisand, Andy Williams, Julie Andrews, Patti Page, and Mel Tormé -- and it was that kind of audience that Aretha wanted to go for at this point. To give an example of the kind of thing that Mersey was doing, just the month before he started work on his first collaboration with Aretha, _The Tender, the Moving, the Swinging Aretha Franklin_, his production of Andy Williams singing "Moon River" was released: [Excerpt: Andy Williams, "Moon River"] This was the kind of audience Aretha was going for when it came to record sales – the person she compared herself to most frequently at this point was Barbra Streisand – though in live performances she was playing with a small jazz group in jazz venues, and going for the same kind of jazz-soul crossover audience as Dinah Washington or Ray Charles. The strategy seems to have been to get something like the success of her idol Sam Cooke, who could play to soul audiences but also play the Copacabana, but the problem was that Cooke had built an audience before doing that -- she hadn't. But even though she hadn't built up an audience, musicians were starting to pay attention. Ted White, who was still in touch with Dinah Washington, later said “Women are very catty. They'll see a girl who's dressed very well and they'll say, Yeah, but look at those shoes, or look at that hairdo. Aretha was the only singer I've ever known that Dinah had no negative comments about. She just stood with her mouth open when she heard Aretha sing.” The great jazz vocalist Carmen McRea went to see Aretha at the Village Vanguard in New York around this time, having heard the comparisons to Dinah Washington, and met her afterwards. She later said "Given how emotionally she sang, I expected her to have a supercharged emotional personality like Dinah. Instead, she was the shyest thing I've ever met. Would hardly look me in the eye. Didn't say more than two words. I mean, this bitch gave bashful a new meaning. Anyway, I didn't give her any advice because she didn't ask for any, but I knew goddamn well that, no matter how good she was—and she was absolutely wonderful—she'd have to make up her mind whether she wanted to be Della Reese, Dinah Washington, or Sarah Vaughan. I also had a feeling she wouldn't have minded being Leslie Uggams or Diahann Carroll. I remember thinking that if she didn't figure out who she was—and quick—she was gonna get lost in the weeds of the music biz." So musicians were listening to Aretha, even if everyone else wasn't. The Tender, the Moving, the Swinging Aretha Franklin, for example, was full of old standards like "Try a Little Tenderness": [Excerpt: Aretha Franklin, "Try a Little Tenderness"] That performance inspired Otis Redding to cut his own version of that song a few years later: [Excerpt: Otis Redding, "Try a Little Tenderness"] And it might also have inspired Aretha's friend and idol Sam Cooke to include the song in his own lounge sets. The Tender, the Moving, the Swinging Aretha Franklin also included Aretha's first original composition, but in general it wasn't a very well-received album. In 1963, the first cracks started to develop in Aretha's relationship with Ted White. According to her siblings, part of the strain was because Aretha's increasing commitment to the civil rights movement was costing her professional opportunities. Her brother Cecil later said "Ted White had complete sway over her when it came to what engagements to accept and what songs to sing. But if Daddy called and said, ‘Ree, I want you to sing for Dr. King,' she'd drop everything and do just that. I don't think Ted had objections to her support of Dr. King's cause, and he realized it would raise her visibility. But I do remember the time that there was a conflict between a big club gig and doing a benefit for Dr. King. Ted said, ‘Take the club gig. We need the money.' But Ree said, ‘Dr. King needs me more.' She defied her husband. Maybe that was the start of their marital trouble. Their thing was always troubled because it was based on each of them using the other. Whatever the case, my sister proved to be a strong soldier in the civil rights fight. That made me proud of her and it kept her relationship with Daddy from collapsing entirely." In part her increasing activism was because of her father's own increase in activity. The benefit that Cecil is talking about there is probably one in Chicago organised by Mahalia Jackson, where Aretha headlined on a bill that also included Jackson, Eartha Kitt, and the comedian Dick Gregory. That was less than a month before her father organised the Detroit Walk to Freedom, a trial run for the more famous March on Washington a few weeks later. The Detroit Walk to Freedom was run by the Detroit Council for Human Rights, which was formed by Rev. Franklin and Rev. Albert Cleage, a much more radical Black nationalist who often differed with Franklin's more moderate integrationist stance. They both worked together to organise the Walk to Freedom, but Franklin's stance predominated, as several white liberal politicians, like the Mayor of Detroit, Jerome Cavanagh, were included in the largely-Black March. It drew crowds of 125,000 people, and Dr. King called it "one of the most wonderful things that has happened in America", and it was the largest civil rights demonstration in American history up to that point. King's speech in Detroit was recorded and released on Motown Records: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech”] He later returned to the same ideas in his more famous speech in Washington. During that civil rights spring and summer of 1963, Aretha also recorded what many think of as the best of her Columbia albums, a collection of jazz standards  called Laughing on the Outside, which included songs like "Solitude", "Ol' Man River" and "I Wanna Be Around": [Excerpt: Aretha Franklin, "I Wanna Be Around"] The opening track, "Skylark", was Etta James' favourite ever Aretha Franklin performance, and is regarded by many as the definitive take on the song: [Excerpt: Aretha Franklin, "Skylark"] Etta James later talked about discussing the track with the great jazz singer Sarah Vaughan, one of Aretha's early influences, who had recorded her own version of the song: "Sarah said, ‘Have you heard of this Aretha Franklin girl?' I said, ‘You heard her do “Skylark,” didn't you?' Sarah said, ‘Yes, I did, and I'm never singing that song again.” But while the album got noticed by other musicians, it didn't get much attention from the wider public. Mersey decided that a change in direction was needed, and they needed to get in someone with more of a jazz background to work with Aretha. He brought in pianist and arranger Bobby Scott, who had previously worked with people like Lester Young, and Scott said of their first meeting “My first memory of Aretha is that she wouldn't look at me when I spoke. She withdrew from the encounter in a way that intrigued me. At first I thought she was just shy—and she was—but I also felt her reading me...For all her deference to my experience and her reluctance to speak up, when she did look me in the eye, she did so with a quiet intensity before saying, ‘I like all your ideas, Mr. Scott, but please remember I do want hits.'” They started recording together, but the sides they cut wouldn't be released for a few years. Instead, Aretha and Mersey went in yet another direction. Dinah Washington died suddenly in December 1963, and given that Aretha was already being compared to Washington by almost everyone, and that Washington had been a huge influence on her, as well as having been close to both her father and her husband/manager, it made sense to go into the studio and quickly cut a tribute album, with Aretha singing Washington's hits: [Excerpt: Aretha Franklin, "Cold Cold Heart"] Unfortunately, while Washington had been wildly popular, and one of the most important figures in jazz and R&B in the forties and fifties, her style was out of date. The tribute album, titled Unforgettable, came out in February 1964, the same month that Beatlemania hit the US. Dinah Washington was the past, and trying to position Aretha as "the new Dinah Washington" would doom her to obscurity. John Hammond later said "I remember thinking that if Aretha never does another album she will be remembered for this one. No, the problem was timing. Dinah had died, and, outside the black community, interest in her had waned dramatically. Popular music was in a radical and revolutionary moment, and that moment had nothing to do with Dinah Washington, great as she was and will always be.” At this point, Columbia brought in Clyde Otis, an independent producer and songwriter who had worked with artists like Washington and Sarah Vaughan, and indeed had written one of the songs on Unforgettable, but had also worked with people like Brook Benton, who had a much more R&B audience. For example, he'd written "Baby, You Got What It Takes" for Benton and Washington to do as a duet: [Excerpt: Brook Benton and Dinah Washington, "Baby, You Got What it Takes"] In 1962, when he was working at Mercury Records before going independent, Otis had produced thirty-three of the fifty-one singles the label put out that year that had charted. Columbia had decided that they were going to position Aretha firmly in the R&B market, and assigned Otis to do just that. At first, though, Otis had no more luck with getting Aretha to sing R&B than anyone else had. He later said "Aretha, though, couldn't be deterred from her determination to beat Barbra Streisand at Barbra's own game. I kept saying, ‘Ree, you can outsing Streisand any day of the week. That's not the point. The point is to find a hit.' But that summer she just wanted straight-up ballads. She insisted that she do ‘People,' Streisand's smash. Aretha sang the hell out of it, but no one's gonna beat Barbra at her own game." But after several months of this, eventually Aretha and White came round to the idea of making an R&B record. Otis produced an album of contemporary R&B, with covers of music from the more sophisticated end of the soul market, songs like "My Guy", "Every Little Bit Hurts", and "Walk on By", along with a few new originals brought in by Otis. The title track, "Runnin' Out of Fools", became her biggest hit in three years, making number fifty-seven on the pop charts and number thirty on the R&B charts: [Excerpt: Aretha Franklin, "Runnin' Out of Fools"] After that album, they recorded another album with Otis producing, a live-in-the-studio jazz album, but again nobody involved could agree on a style for her. By this time it was obvious that she was unhappy with Columbia and would be leaving the label soon, and they wanted to get as much material in the can as they could, so they could continue releasing material after she left. But her working relationship with Otis was deteriorating -- Otis and Ted White did not get on, Aretha and White were having their own problems, and Aretha had started just not showing up for some sessions, with nobody knowing where she was. Columbia passed her on to yet another producer, this time Bob Johnston, who had just had a hit with Patti Page, "Hush, Hush, Sweet Charlotte": [Excerpt: Patti Page, "Hush, Hush, Sweet Charlotte"] Johnston was just about to hit an incredible hot streak as a producer. At the same time as his sessions with Aretha, he was also producing Bob Dylan's Highway 61 Revisited, and just after the sessions finished he'd go on to produce Simon & Garfunkel's Sounds of Silence album. In the next few years he would produce a run of classic Dylan albums like Blonde on Blonde, John Wesley Harding, and New Morning, Simon & Garfunkel's follow up Parsley, Sage, Rosemary & Thyme, Leonard Cohen's first three albums, and Johnny Cash's comeback with the Live at Folsom Prison album and its follow up At San Quentin. He also produced records for Marty Robbins, Flatt & Scruggs, the Byrds, and Burl Ives during that time period. But you may notice that while that's as great a run of records as any producer was putting out at the time, it has little to do with the kind of music that Aretha Franklin was making then, or would become famous with. Johnston produced a string-heavy session in which Aretha once again tried to sing old standards by people like Oscar Hammerstein and Jerome Kern. She then just didn't turn up for some more sessions, until one final session in August, when she recorded songs like "Swanee" and "You Made Me Love You". For more than a year, she didn't go into a studio. She also missed many gigs and disappeared from her family's life for periods of time. Columbia kept putting out records of things she'd already recorded, but none of them had any success at all. Many of the records she'd made for Columbia had been genuinely great -- there's a popular perception that she was being held back by a record company that forced her to sing material she didn't like, but in fact she *loved* old standards, and jazz tunes, and contemporary pop at least as much as any other kind of music. Truly great musicians tend to have extremely eclectic tastes, and Aretha Franklin was a truly great musician if anyone was. Her Columbia albums are as good as any albums in those genres put out in that time period, and she remained proud of them for the rest of her life. But that very eclecticism had meant that she hadn't established a strong identity as a performer -- everyone who heard her records knew she was a great singer, but nobody knew what "an Aretha Franklin record" really meant -- and she hadn't had a single real hit, which was the thing she wanted more than anything. All that changed when in the early hours of the morning, Jerry Wexler was at FAME Studios in Muscle Shoals recording a Wilson Pickett track -- from the timeline, it was probably the session for "Mustang Sally", which coincidentally was published by Ted White's publishing company, as Sir Mack Rice, the writer, was a neighbour of White and Franklin, and to which Aretha had made an uncredited songwriting contribution: [Excerpt: Wilson Pickett, "Mustang Sally"] Whatever the session, it wasn't going well. Percy Sledge, another Atlantic artist who recorded at Muscle Shoals, had turned up and had started winding Pickett up, telling him he sounded just like James Brown. Pickett *hated* Brown -- it seems like almost every male soul singer of the sixties hated James Brown -- and went to physically attack Sledge. Wexler got between the two men to protect his investments in them -- both were the kind of men who could easily cause some serious damage to anyone they hit -- and Pickett threw him to one side and charged at Sledge. At that moment the phone went, and Wexler yelled at the two of them to calm down so he could talk on the phone. The call was telling him that Aretha Franklin was interested in recording for Atlantic. Rev. Louise Bishop, later a Democratic politician in Pennsylvania, was at this time a broadcaster, presenting a radio gospel programme, and she knew Aretha. She'd been to see her perform, and had been astonished by Aretha's performance of a recent Otis Redding single, "Respect": [Excerpt: Otis Redding, "Respect"] Redding will, by the way, be getting his own episode in a few months' time, which is why I've not covered the making of that record here. Bishop thought that Aretha did the song even better than Redding -- something Bishop hadn't thought possible. When she got talking to Aretha after the show, she discovered that her contract with Columbia was up, and Aretha didn't really know what she was going to do -- maybe she'd start her own label or something. She hadn't been into the studio in more than a year, but she did have some songs she'd been working on. Bishop was good friends with Jerry Wexler, and she knew that he was a big fan of Aretha's, and had been saying for a while that when her contract was up he'd like to sign her. Bishop offered to make the connection, and then went back home and phoned Wexler's wife, waking her up -- it was one in the morning by this point, but Bishop was accustomed to phoning Wexler late at night when it was something important. Wexler's wife then phoned him in Muscle Shoals, and he phoned Bishop back and made the arrangements to meet up. Initially, Wexler wasn't thinking about producing Aretha himself -- this was still the period when he and the Ertegun brothers were thinking of selling Atlantic and getting out of the music business, and so while he signed her to the label he was originally going to hand her over to Jim Stewart at Stax to record, as he had with Sam and Dave. But in a baffling turn of events, Jim Stewart didn't actually want to record her, and so Wexler determined that he had better do it himself. And he didn't want to do it with slick New York musicians -- he wanted to bring out the gospel sound in her voice, and he thought the best way to do that was with musicians from what Charles Hughes refers to as "the country-soul triangle" of Nashville, Memphis, and Muscle Shoals. So he booked a week's worth of sessions at FAME studios, and got in FAME's regular rhythm section, plus a couple of musicians from American Recordings in Memphis -- Chips Moman and Spooner Oldham. Oldham's friend and songwriting partner Dan Penn came along as well -- he wasn't officially part of the session, but he was a fan of Aretha's and wasn't going to miss this. Penn had been the first person that Rick Hall, the owner of FAME, had called when Wexler had booked the studio, because Hall hadn't actually heard of Aretha Franklin up to that point, but didn't want to let Wexler know that. Penn had assured him that Aretha was one of the all-time great talents, and that she just needed the right production to become massive. As Hall put it in his autobiography, "Dan tended in those days to hate anything he didn't write, so I figured if he felt that strongly about her, then she was probably going to be a big star." Charlie Chalmers, a horn player who regularly played with these musicians, was tasked with putting together a horn section. The first song they recorded that day was one that the musicians weren't that impressed with at first. "I Never Loved a Man (the Way I Love You)" was written by a songwriter named Ronnie Shannon, who had driven from Georgia to Detroit hoping to sell his songs to Motown. He'd popped into a barber's shop where Ted White was having his hair cut to ask for directions to Motown, and White had signed him to his own publishing company and got him to write songs for Aretha. On hearing the demo, the musicians thought that the song was mediocre and a bit shapeless: [Excerpt: Aretha Franklin "I Never Loved a Man (the Way I Love You) (demo)"] But everyone there was agreed that Aretha herself was spectacular. She didn't speak much to the musicians, just went to the piano and sat down and started playing, and Jerry Wexler later compared her playing to Thelonius Monk (who was indeed one of the jazz musicians who had influenced her). While Spooner Oldham had been booked to play piano, it was quickly decided to switch him to electric piano and organ, leaving the acoustic piano for Aretha to play, and she would play piano on all the sessions Wexler produced for her in future. Although while Wexler is the credited producer (and on this initial session Rick Hall at FAME is a credited co-producer), everyone involved, including Wexler, said that the musicians were taking their cues from Aretha rather than anyone else. She would outline the arrangements at the piano, and everyone else would fit in with what she was doing, coming up with head arrangements directed by her. But Wexler played a vital role in mediating between her and the musicians and engineering staff, all of whom he knew and she didn't. As Rick Hall said "After her brief introduction by Wexler, she said very little to me or anyone else in the studio other than Jerry or her husband for the rest of the day. I don't think Aretha and I ever made eye contact after our introduction, simply because we were both so totally focused on our music and consumed by what we were doing." The musicians started working on "I Never Loved a Man (the Way I Love You)", and at first found it difficult to get the groove, but then Oldham came up with an electric piano lick which everyone involved thought of as the key that unlocked the song for them: [Excerpt: Aretha Franklin, "I Never Loved a Man (the Way I Love You)"] After that, they took a break. Most of them were pleased with the track, though Rick Hall wasn't especially happy. But then Rick Hall wasn't especially happy about anything at that point. He'd always used mono for his recordings until then, but had been basically forced to install at least a two-track system by Tom Dowd, Atlantic's chief engineer, and was resentful of this imposition. During the break, Dan Penn went off to finish a song he and Spooner Oldham had been writing, which he hoped Aretha would record at the session: [Excerpt: Dan Penn and Spooner Oldham, "Do Right Woman, Do Right Man"] They had the basic structure of the song down, but hadn't quite finished the middle eight, and both Jerry Wexler and Aretha Franklin chipped in uncredited lyrical contributions -- Aretha's line was "as long as we're together baby, you'd better show some respect to me". Penn, Oldham, Chips Moman, Roger Hawkins, and Tommy Cogbill started cutting a backing track for the song, with Penn singing lead initially with the idea that Aretha would overdub her vocal. But while they were doing this, things had been going wrong with the other participants. All the FAME and American rhythm section players were white, as were Wexler, Hall, and Dowd, and Wexler had been very aware of this, and of the fact that they were recording in Alabama, where Aretha and her husband might not feel totally safe, so he'd specifically requested that the horn section at least contain some Black musicians. But Charlie Chalmers hadn't been able to get any of the Black musicians he would normally call when putting together a horn section, and had ended up with an all-white horn section as well, including one player, a trumpet player called Ken Laxton, who had a reputation as a good player but had never worked with any of the other musicians there -- he was an outsider in a group of people who regularly worked together and had a pre-existing relationship. As the two outsiders, Laxton and Ted White had, at first, bonded, and indeed had started drinking vodka together, passing a bottle between themselves, in a way that Rick Hall would normally not allow in a session -- at the time, the county the studio was in was still a dry county. But as Wexler said, “A redneck patronizing a Black man is a dangerous camaraderie,” and White and Laxton soon had a major falling out. Everyone involved tells a different story about what it was that caused them to start rowing, though it seems to have been to do with Laxton not showing the proper respect for Aretha, or even actually sexually assaulting her -- Dan Penn later said “I always heard he patted her on the butt or somethin', and what would have been wrong with that anyway?”, which says an awful lot about the attitudes of these white Southern men who thought of themselves as very progressive, and were -- for white Southern men in early 1967. Either way, White got very, very annoyed, and insisted that Laxton get fired from the session, which he was, but that still didn't satisfy White, and he stormed off to the motel, drunk and angry. The rest of them finished cutting a basic track for "Do Right Woman", but nobody was very happy with it. Oldham said later “She liked the song but hadn't had time to practice it or settle into it I remember there was Roger playing the drums and Cogbill playing the bass. And I'm on these little simplistic chords on organ, just holding chords so the song would be understood. And that was sort of where it was left. Dan had to sing the vocal, because she didn't know the song, in the wrong key for him. That's what they left with—Dan singing the wrong-key vocal and this little simplistic organ and a bass and a drum. We had a whole week to do everything—we had plenty of time—so there was no hurry to do anything in particular.” Penn was less optimistic, saying "But as I rem

Overview: We're sorry for the audio quality on this one. We recorded this on the road and one of our mics malfunctioned. We decided to post the interview despite the sub-par audio because Bobby is just so good. “Bible Bobby” as he is known, has been a faithful minister for decades in California. He has seen times changes and offers his perspective on where we've come from and how far we have yet to go, in regards to racism. Links & Show Notes:You can read Bobby's articles he wrote for us hereTo learn more about United? We Pray follow us on Twitter or our website. Please consider rating the podcast on Apple Podcasts, and subscribe using your favorite podcast client to hear more!Produced by Josh Deng with editing by Roshane Ricketts.

Jon finishes his analysis of T4G's CRT panel between Kevin Deyoung, Mark Dever, and Bobby Scott. Support this podcast at — https://redcircle.com/conversations-that-matter8971/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

1.6.2022 #RolandMartinUnfiltered: Remembering Jan. 6, N.C. Gerrymandering, Mastering Your Peace w/Iyanla Vanzant, RMU Studio Reveal It's Thursday, January 6, 2022, and here's what's coming Up on Roland Martin Unfiltered streaming live on the Black Star Network. One year ago today, thousands swarmed the U.S. Capitol to interrupt the presidential vote certification. President Joe Biden, Vice President Kamala Harris, and others on Capitol Hill took time to reflect and remember the real reason the insurrection happened. We'll have a recap of today's events and talk to CBC member Rep. Bobby Scott and Retired Army Lt. General Russel Honore about the ongoing lack of accountability about what happened that day. In North Carolina, the legal battle over the state's new congressional map that illegally favors Republicans over Democrats is now in the hands of a panel of judges. We have a North Carolina State Representative here to explain how this ruling could influence who controls Congress after this year's midterm elections. The first mayor of Georiga city, incorporated in 2017, pleads guilty to federal fraud charges a day after resigning from office. Plus, we'll tell you why Michael Carvajal, the federal Bureau of Prisons director, is resigning. She has the key to mastering your peace, acclaimed best-selling author and spiritual teacher Iyanla Vanzant will give us some tips on doing just that. #RolandMartinUnfiltered partners: Verizon | Verizon 5G Ultra Wideband, now available in 50+ cities, is the fastest 5G in the world.* That means that downloads that used to take minutes now take seconds.