Podcasts about Bridge over Troubled Water

A very special episode with a great guest on a brilliant, underrated classic LP of the 80's, one of my personal favourites, Hearts and Bones by Paul Simon (second only in his back catalogue to Bridge Over Troubled Water in my book...)NOT an audio commentary so no syncing up required so sit back, relax, close your eyes and indulge (unless driving) with the legendary producer, Russ Titelman, on the majestically beautiful Hearts and Bones by Paul Simon (yet intended for Simon & Garfunkel).TRACKS;Side ONEAllergiesHearts and BonesWhen Numbers Get SeriousThink Too Much (b)Song About The MoonSide TWOThink Too Much (a)Train In The DistanceRene and Georgette Magritte With Their Dog After The WarCars Are CarsThe Late Great Johnny AceTo help support the pod (I'm weakening to the idea of ads...)Paypal via 80sography@gmail.com. Thanks to those that have supported.I'm more grateful than you can imagine.                            Wash Your Hands In Dreams and Lightning xSend us a text

Episode 59: Jacob Collier. Today, I'm hyped to have one of my favorite artists on the podcast—Jacob Collier. Jacob is one of the brightest lights on Earth, and I always treasure our conversations. This time, you get to watch us! Jacob is nominated for 3 GRAMMYs this year, including Album of the Year, Best Arrangement, and Best Global Music Performance. With 6 GRAMMY wins and an incredible 15 nominations to his name, he's set a remarkable standard, being nominated for Best Arrangement for the past 6 consecutive years—winning both Arrangement GRAMMYs in two of those years.In this episode, we dive into Jacob's world-building approach to music and life. We discuss his album Djesse Vol. 4, which is up for Album of the Year, and how he brought the project to life. Jacob shares what it feels like to complete the ambitious Djesse series and the magic of conducting massive audiences on his current tour.We talk about his unmatched talent for arranging, crafting mind blowing versions of classics like "Bridge Over Troubled Water" with Tori Kelly and John Legend, to how he creates intricate layers that evolve from a single idea to a masterpiece.Jacob opens up about life, fame, and staying grounded while still living at home with his mom. We even touch on reincarnation, our dearly treasured Quincy Jones (which is how Jacob and I got connected) and his friendship with Herbie Hancock. Stick around to the end to hear Jacob's message to our homie, Zedd.There's so much to love in this episode—humor, depth, and the genius of one of the most inspiring musicians of our time.We hope you love our conversation! Please like, comment, and subscribe for more amazing stories from the world's most fascinating artists. Dropping new episodes weekly. Let's go!!#JacobCollier #GoWithElmoLovano #Podcast‘Go with Elmo Lovano' is a weekly podcast where Elmo interviews creatives and entrepreneurs in music on HOW they push forward every day, got where they are in their careers, manage their personal lives, and share lessons learned and their most important insights. Please SUBSCRIBE / FOLLOW this podcast to catch new episodes as soon as they drop! Your likes, comments and shares are much appreciated! Listen to the audio form of this podcast wherever you get your podcasts: https://rss.com/podcasts/gowithelmoFollow Jacob:https://www.instagram.com/jacobcollier/Follow Elmo Lovano:https://Instagram.com/elmolovanohttps://Twitter.com/elmolovano

Este é só um trecho da aula completa da música "Bridge Over Troubled Water" de Simon & Garfunkel, que você encontra aqui no podcast "Aprenda Inglês com Música". Use a lupa do podcast para encontrar a aula completa para ouvir ;) Quer dar aquele up no seu inglês com a Teacher Milena ?

Este é só um trecho da aula completa da música "Bridge Over Troubled Water" de Simon & Garfunkel, que você encontra aqui no podcast "Aprenda Inglês com Música". Use a lupa do podcast para encontrar a aula completa para ouvir ;) Quer dar aquele up no seu inglês com a Teacher Milena ?

Help our unhoused youth!

Este é só um trecho da aula completa da música "Bridge Over Troubled Water" de Simon & Garfunkel, que você encontra aqui no podcast "Aprenda Inglês com Música". Use a lupa do podcast para encontrar a aula completa para ouvir ;) Quer dar aquele up no seu inglês com a Teacher Milena ?

Este é só um trecho da aula completa da música "Bridge Over Troubled Water" de Simon & Garfunkel, que você encontra aqui no podcast "Aprenda Inglês com Música". Use a lupa do podcast para encontrar a aula completa para ouvir ;) Quer dar aquele up no seu inglês com a Teacher Milena ?

November is National Homeless Youth Awareness Month, and here in Massachusetts, thousands of young people find themselves struggling to find a safe space to lay their head each night, something that's becoming even more difficult as we make our way into the winter months. Bridge Over Troubled Waters in Boston is a non-profit working with young people experiencing homelessness in Greater Boston to ensure they have a safer, brighter future ahead. President and CEO Elisabeth Jackson returns to the show to talk with Nichole about the factors fueling this trend, and how you can help them assist these young people as they turn their lives around.

Photo: John Mathew SmithUsage: Wikipedia CC BY-SA 2.0Both Whitney Houston and Natalie Cole has left us. Whitney left us in 2012 and Natalie left us in 2015. Whitney left first and I remember Natalie‘s hit song miss you like crazy released in 1989. Whenever I hear that song, I think of her and Whitney and I miss them like crazy. But they left us some singing memories together.There is an undeniable magic when Whitney Houston and Natalie Cole came together on stage. They left audiences breathless. Natalie Cole stood out as the perfect counterpart for Whitney, a true gem in a crown that also features Whitney‘s family, the Winans, and Mariah Carey.Their chemistry was electric, each glance and smile shared while singing spoke volumes. Who can forget that unforgettable night at the 2000 Grammy party? They were sharing a piece of their souls with us singing “This Will Be” by Natalie Cole.Their song choices were impeccable. They sang “I Say a Little Prayer” and “Bridge Over Troubled Water” back in the 1990s on stage together. The songs were experiences we relive whenever we hear them. Then of course Natalie gave a wonderful tribute to Whitney in 1990 at the 65th Academy Award Ceremony, now reminding us of Whitney‘s incredible legacy while showcasing the deep connection these two icons shared.Whitney and Natalie left  indelible mark in the hearts of their fans, giving memories that are both joyful and bittersweet.I'm Gail Nobles. Thank you for listening to the Whitney soul podcast.

Carol Geremia is president of MFS Investment Management® (MFS®) and head of Global Distribution. She leads the firm's worldwide client-facing teams as well as product and marketing strategy. Since joining MFS in 1984, Carol has held roles focused primarily on fiduciary responsibility, stewardship and sustainability, and she has actively engaged with clients at all levels to ensure that the firm builds products and services aligned with their needs. Carol is a member of the Investment Company Institute's Board of Governors, the City Year Seven Generations Board, the MFS Charitable Oversight Committee and as an Advisory Council member for Bridge Over Troubled Waters, Inc. Carol's career journey had an unconventional start in that she initially pursued a career in fashion.  We probe this intriguing fact and consider the similarities between the two worlds of fashion and investing. One aspect that is similar is the existence of trends and fads – and the importance of developing an eye to detect one forming and then of discerning which ones are likely to endure.  When we translate this into the world of investment products it is clear that investing also has cycles, fads and fashions and that “reading the room” or client appetite in this respect is a critical skill.  Carol charts her rise through MFS by referring back to a common touchstone – the importance of putting clients first.  She describes her mentors, and how she learned to overcome anxiety around performance in front of clients and how critical it was that she had found a home in which it was possible for her to be her authentic self.  This is a searing portrait of leadership through compassion and self-awareness.   This podcast is brought to you with the kind support of Longview Productions. 

24.11.17 Bridge Over Troubled Waters By Rev. Kyle Roggenbuck by First Congregational Church of Glen Ellyn

241114PC: Bridge over troubled Water Mensch Mahler am 14.11.2024Die Hits von Simon & Garfunkel „The Sound of Silence“, „Mrs. Robinson“ oder „Bridge Over Troubled Water“ sind legendär. Auch ihre wechselhafte Freundschaft. Kennengelernt in der Schule, eroberten sie die Charts, trennten sich erstmals 1970. Mehrfach schloss das Duo Frieden, gab Konzerte und entzweite sich erneut. Die Gründe für die Dauer-Fehde sind vielschichtig. Doch der entscheidende Punkt war immer, dass beide auf den anderen eifersüchtig wegen dessen Können waren. Simon beneidete Garfunkel um dessen Stimme und die Aufmerksamkeit des Publikums. Umgekehrt hätte der gerne Simons Songwriter-Talent.Als aber 1993 bei einem ihrer Comeback-Konzerte ein Kritiker einmal Simons Stimme lobte, flippte Garfunkel aus. Ihr damaliger Manager musste sich zwischen beiden aufbauen, damit sie nicht aufeinander losgehen. „Ich habe wirklich geglaubt, dass, wenn ein Messer auf dem Tisch gewesen wäre, einer von ihnen es benutzt hätte“, sagt dieser später.2015 bezeichnete Garfunkel seinen einstigen Schulkumpel im „Telegraph“ sogar als „Idioten“. „Ich konnte Paul jetzt endlich sagen, wie schlecht ich mich wegen dieses Interviews fühle. Ich habe mich über sein Image lustig gemacht. Er antwortete: ,Ich hatte das Gefühl, du wolltest mir schaden.‘“Nun sei der Streit endgültig beendet, sagt Garfunkel. „Ich bin froh, dass meine Seele jetzt Frieden finden wird. Ich möchte meine Wut nicht mit ins Grab nehmen.“ Jetzt haben sie endlich die Brücke über das unruhige Wasser überquert – gemeinsam. „Nach vielen Jahren der absoluten Funkstille saßen wir uns wieder gegenüber und ich brach in Tränen aus“, sagt Garfunkel. „Pauls Frau hat das Treffen eingefädelt. Wir haben geredet und gelacht und natürlich sind viele Tränen geflossen.“ Hosted on Acast. See acast.com/privacy for more information.

Hello, Darkness, my old friend.. This week we'll hear everything BUT the Sound Of Silence as we journey across a Bridge Over Troubled Water with Simon & Garfunkel! They wrote and recorded their final album while the breakup was imminent. We'll talk about this career retrospective and try to count all the times these childhood best friends quit speaking (spoiler alert, it's a LOT). Then the Mixtaper has a golden ticket as he takes us from Jasper and Jinx to a worldwide boycott! Learn about the Peruvian anthem Paul Simon accidentally stole, the tape recorder party that birthed Cecilia, and the hundred hours the duo poured into The Boxer with us!Keep Spinning at www.SpinItPod.com!Thanks for listening!0:00 Intro4:11 Hello Darkness, My Old Friend...5:41 About Simon & Garfunkel21:32 About Bridge Over Troubled Water24:14 Breakup & Aftermath30:03 Awards & Accolades31:27 Fact Or Spin32:25 Jasper & Jinx36:16 Garfunkel Almost Won The Golden Ticket39:26 Garfunkel Went 4 Years Without Speaking42:34 Paul Simon Was Boycotted By The World47:23 Album Art48:42 Bridge Over Troubled Water53:30 El Condor Pasa (If I Could)56:34 Cecilia58:37 Keep The Customer Satisfied59:55 So Long, Frank Lloyd Wright1:02:03 The Boxer1:07:51 Baby Driver1:09:27 The Only Living Boy In New York1:11:22 Why Don't You Write Me1:12:26 Bye Bye Love (Live At Memorial Auditorium)1:14:38 Song For The Asking1:16:05 Final Spin Hosted on Acast. See acast.com/privacy for more information.

Today:Trump's fascistic comments on the campaign trail are raising critical questions about what could happen if he loses the election, again. We talk it through with former Massachusetts public safety secretary Andrea Cabral.And, homelessness in Boston is on the rise – affecting about 11,000 young people in this city. We'll talk with Elisabeth Jackson, president and CEO of the nonprofit Bridge Over Troubled Waters, and Richard Brunson, a retired clinical coordinator, about the challenges – and services available – to homeless youth.

"Bridge Over Troubled Water" by Simon & Garfunkel, released in 1970, is a timeless masterpiece that blends folk rock with rich orchestration and soulful harmonies. The album, featuring Paul Simon's poetic songwriting and Art Garfunkel's ethereal vocals, explores themes of love, loss, and redemption. The title track, with its soaring gospel-inspired arrangement, became an anthem of comfort and solidarity, while other tracks like "The Boxer" and "Cecilia" showcase the duo's storytelling prowess and musical versatility. As their final studio album together, it stands as a poignant farewell, capturing the peak of their creative synergy and leaving a lasting impact on the music world.Listen to the album: ⁠SpotifyApple MusicLinks:Official websiteContactSupport us on PatreonDISCLAIMER: Due to copyright restrictions, we are unable to play pieces of the songs we cover in these episodes. Playing clips of songs are unfortunately prohibitively expensive to obtain the proper licensing. We strongly encourage you to listen to the album along with us on your preferred format to enhance the listening experience. 

When Times Are Rough, Who Is On Your Side? When You're Down and Out, Who Will Comfort You? In this session, Pastor Karen will teach some truths about how we can make it through troubled times and still carry peace. Join us as we head into the sixth session of our Teaching Series, "Summer Mixed Tape." New Here: Visit https://linktr.ee/ctbrandon and click "New to CT?" Online Giving: https://www.ctbrandon.com/give Ask for Prayer: https://www.ctbrandon.com/prayer Instagram: https://www.instagram.com/ctbdn/ Facebook: https://www.facebook.com/CTBDN Website: https://www.ctbrandon.com/

How can we use our practice to see us through troubled times and remain a light against the darkness? Laura Burges encourages us to see Buddhist practice as a laboratory, a place to experiment with our own experience. Drawing from the book, "Buddhism Without Beliefs" by Stephen Batchelor, she likens the Four Noble Truths to a diagnosis, prognosis, and treatment for the challenges facing us and the world. If they were contained in bottles, each would come with a simple instruction label:Life is marked by suffering or anguish - "Recognize Me"  The cause of suffering is desire - "Understand Me"There can be an end to suffering - "Realize Me"The Noble 8-Fold Path is the prescription - "Cultivate Me" To approach our practice as an experiment, she encourages us to develop an agnostic curiosity rather than hardening the teachings into firm beliefs. In this way, we can practice with an open mind and heart. ______________ Ryuko Laura Burges, a lay entrusted dharma teacher in the Soto Zen tradition, teaches classes, lectures, and leads retreats in Northern California. She received monastic training at Tassajara Zen Mountain Center. Laura co-founded the Sangha in Recovery Program at the San Francisco Zen Center and is the abiding teacher at Lenox House Meditation Group in Oakland. Shambhala Publications offers her Buddhist children's books, Buddhist Stories for Kids and Zen for Kids. Her most recent book from Shambhala is The Zen Way of Recovery: An Illuminated Path Out of the Darkness of Addiction. Laura lives in San Francisco. ______________ To support our efforts to share these talks with LGBTQIA audiences worldwide, please visit https://gaybuddhist.org/There you can: Donate Learn how to participate live Find our schedule of upcoming speakers Join our mailing list or discussion forum Enjoy many hundreds of these recorded talks dating back to 1996 CREDITSAudio Engineer: George HubbardProducer: Tom BrueinMusic/Logo/Artwork: Derek Lassiter

Send us a Text Message.What if you discovered that some of the most heartfelt songs come from the most unexpected places? Join us as we uncover the incredible journey of songwriter Bruce Tarletsky and his Nashville supergroup, High Mountain Breezes. Bruce, who took up songwriting later in life, found inspiration in a loyal group of session musicians. With producer Bob Bullock by his side, Bruce created a unique musical space that emphasizes friendship, collaboration, and personal expression. Together, they've crafted a legacy that goes far beyond the notes on a page.Ever wondered how a classic like "Bridge Over Troubled Water" could be reimagined to top charts in Europe? Bruce and his team did just that, with Melissa Duvall, Gwen Sebastian, and Heather Beckett bringing a fresh, innovative rendition to life. They dive into the creative process behind this and other hits, revealing how real-life experiences and co-writing shape their music. With insights from Michael Spriggs and contributions from songwriters like Jan Buckingham and Monty Lane Allen, they discuss the profound impact of collaboration on their success.From the grief-stricken "Daddy's Margarita Rose" to the poignant "Stars in Lahaina Tonight," they explore the emotional depth that fuels their music. Hear stories of how personal loss transforms into powerful lyrics and learn timeless advice from legends like John Denver. They wrap up by highlighting the unsung heroes behind the scenes, including Deborah's soulful touch on "Will the Circle Be Unbroken?" and Dustin's marketing prowess. Tune in to discover the heart and soul of High Mountain Breezes and the team that makes it all possible.Contributing HMB Players:Bruce Tarletsky – Founder, SongwriterMonty Lane Allen – Player, Artist, SongwriterBob Bullock – Producer/EngineerChris Leuzinger – Musician, SongwriterMichael Spriggs – MusicianDuncan Mullins – MusicianCatherine Marx – MusicianTim Crouch – MusicianGwen Sebastian – ArtistDarrell Cole – Artist, SongwriterJan Buckingham – SongwriterJanie West – Song Pitch MentorMark Beckett – MusicianJermaine Mondine – MusicianDustin Soper – Marketing, BrandingEd Gertler – Digital DistributionKyle Hershman – EngineerChris Latham – Producer, EngineerSam Levine – MusicianBlair Masters – MusicianAmanda Raye – ArtistMinnie Murphy – ArtistMark Nicolosi – VideographerGary Graziano – MusicianConrad Reeder – Artist, SongwriterJimmy Mattingly - MusicianFriends of the HMB:Deborah Allen, ArtistBenita Hill, ArtistRobert Bailey, ArtistVicki Hampton, ArtistLarry Chaney, ProducerJay Franze, Media PersonalityLinksJay Franze: https://JayFranze.comHigh Mountain Breezes: https://www.highmountainbreezes.com/ Support the Show.

The Richard Syrett Show, June 26th, 2024 Can Trudeau Survive Loss of Toronto Safe Seat? https://globalnews.ca/video/10588298/can-trudeau-survive-liberals-stunning-toronto-byelection-loss Conservative Candidate DQ'd from Race in Calgary-Signal Hill https://www.westernstandard.news/alberta/exclusive-calgary-conservative-nomination-candidates-disqualified-from-race/55104  Wyatt Claypool – Senior Correspondent with The National Telegraph KEEPING AN EYE ON YOUR MONEY Carbon tax costs Ontario economy $4.1 billion this year https://www.taxpayer.com/newsroom/carbon-tax-costs-ontario-economy-4.1-billion-this-year Jay Goldberg, Ontario Director of The Canadian Taxpayers Federation https://www.taxpayer.com Top Climate Scientist Sums Up Second Donald Trump Term With 2 Chilling Words https://www.huffpost.com/entry/climate-expert-donald-trump-second-term-warning_n_667939fae4b0bd985dc51f69  Fifty Years Ago Scientists Were Predicting Another Ice Age https://realclimatescience.com/2024/06/another-ice-age-2/#gsc.tab=0  Tony Heller, Geologist, Weather Historian, Founder of Real Climate Science dot com Julian Assange Finally a Free Man https://www.nbcnews.com/politics/justice-department/julian-assange-reached-plea-deal-us-allowing-go-free-rcna158695  Leighton Grey, a Senior Fellow with the Frontier Centre for Public Policy and Host of The Grey Matter Podcast 'Surreal to watch': With Trump ahead, stolen election seen 'in crystal clarity' https://www.wnd.com/2024/06/surreal-watch-trump-ahead-stolen-election-seen-crystal-clarity/  Joe Kovacs, Executive News Editor, WND.com Author of “Reaching God Speed: Unlocking the Secret Broadcast Revealing the Mystery of Everything.” THIS DAY IN ROCK HISTORY Audio: The Byrds “Mr. Tambourine Man” Keith Richards “Happy” Cher “Gypsies, Tramps, and Thieves” Elvis Presley “Unchained Melody” 26 Jun 1965 The Byrds went to No.1 on the US singles chart with their version of Bob Dylan's 'Mr Tambourine Man'. Only Roger McGuinn from the band played on the song, the drummer Hal Blaine who played on the track also played on 'Bridge Over Troubled Water'. 26 Jun 1973 Rolling Stone Keith Richards and his girlfriend Anita Pallenberg were arrested at their home in Chelsea, London on drugs and gun charges. 26 Jun 1974 Cher divorced Sonny Bono after 10 years of marriage. Four days later, Cher married guitarist Gregg Allman, the couple split 10 days after that, got back together and split again. They stayed married for three years, producing Elijah Blue Allman. June 26th 1977 On this day in music, June 26, 1977, 42-year-old Elvis Presley played his final concert at Indianapolis' Market Square Arena, just seven weeks before his sudden death. Donning his signature white-and-gold suit, The King performed classics like “Can't Help Falling in Love,” “Jailhouse Rock,” and “Don't Be Cruel,” plus covers of “Unchained Melody” and “Bridge Over Troubled Water.” While the subsequent CBS TV special, Elvis in Concert, was often touted as capturing this particular show, it actually featured footage from two earlier dates on the tour (Omaha, NE on June 19 and Rapid City, SD on June 21). Jeremiah Tittle, Co-Host of "The 500 with Josh Adam Myers" podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Gen and Jette go into investigator mode with Haley once she realizes Dan is missing. Brooke heads to New York. Peyton gets a surprise in the form of a famous musician in her studio. Nathan continues to deal with Deb and Skills' relationship. Don't forget to follow us on Instagram @teenagedaydreampodcast and on Twitter @teendreampod.

Label: Columbia 45133Year: 1970Condition: M-Price: $12.00Found one! This is a beautiful, Near Mint copy of the duo's second big hit from their best and, sadly, final album, Bridge Over Troubled Water. What the heck is that rhythm section doing, by the way? Anybody ever figure it out (without looking at the session notes)? By the way, it's not your imagination — the 45 rpm version of "Cecilia" is speeded up from the LP version, which probably explains why the track is only 2:40 on the 45 but 2:55 on the LP. (!) I actually measured it by recording a snippet of the 45 (have a listen!). That segment is 2 seconds shorter from the 45 (1:43:66) than from the LP (1:45:713). Another reason why collecting 45s is so rewarding. Maybe you wondered if the LP version of "Cecilia" sounded slow all these years, but couldn't figure out why. Now you know... and you weren't imagining it! It's also worth noting that "Cecilia" was really the first recording that showed how much in love with complex rhythms Paul Simon had become. (And what a master producer as well!) Many of his solo releases demonstrate that passion, starting with his first single, "Mother And Child Reunion," which was one of the first hits with a reggae/ska rhythm by someone not from Jamaica. But in particular I think of his great single Late In The Evening (from the failed album/movie, One Trick Pony), and his entire Graceland and Rhythm of the Saints albums.Note: This copy comes in a vintage Columbia Records factory sleeve. The labels and vinyl (styrene) grade very close to Mint in appearance, and the Audio sounds likewise.

SIMON & GARFUNKEL Demos, Alternate Takes of their 1960's output, PLUS a RARE live concert at the Hollywood Bowl from 1968 highlight this edition of Steve Ludwig's Classic Pop Culture # 189. Host Steve Ludwig presents demos & alternate takes from their albums WEDNESDAY MORNING 3 AM, SOUNDS OF SILENCE, PARSLEY SAGE ROSEMARY & THYME, BOOKENDS, BRIDGE OVER TROUBLED WATER, & THE GRADUATE Movie Soundtrack album, followed by an uninterrupted rare recording of their 23-song August 23, 1968 concert from the Hollywood Bowl. Enjoy!

Ein Minenarbeiter pflanzt im Kopf von Paul Simon einen Keim. Kurz darauf wächst daraus der größte Song, der ihm je eigenfallen ist: Simon & Garfunkels Trost-Hymne "Bridge Over Troubled Water".

Audio Sermon for Sunday June 2, 2024

In this week's episode we discuss JoJo Siwa's wild 21st birthday at Disneyland, we cast the Psychobabble Mount Rushmore, and we pitch our new show Brand Baby. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In the latest episode of Jagbags, Len and Beave try to discuss the music of Paul Simon (and his music for Simon & Garfunkel), but instead wind up devoting at least a quarter of the episode to the 1980 Art Garfunkel stone classic film "Bad Timing". Tune in for 45-minute playlists, discussions of our favorite Simon and Garfunkel LPs and songs, favorite Paul Simon albums, a discussion of various books and documentaries on Paul Simon's storied career -- and all the "Bad Timing" you can handle! ULTIMATE JAGBAGS!

This episode focuses on the development of an expected valuation to help a shareholder understand selling their shares to an ESOP.  When the historical average cash flow is much lower than the forecasted cash flow, the negotiated fair market value or adequate consideration can be much lower than desired.  This is what the podcast refers to as “bridge over troubled water.”  Where the bridge is historical to forecasted cash flow.

This version is without music Guided Meditation inspired by 'Bridge Over Troubled Water'" by Simon and Garfunkel. Begin by finding a comfortable position, either sitting or lying down. Eyes may be  closed or soft gaze. Settling in. Lengthening the spine.  Feeling the connection of the earth beneath you.  Knowing you are supported.   Envision yourself standing at the edge of a magnificent bridge, stretching over a tranquil body of water. This bridge is your sanctuary, a symbol of hope and calmness in times of trouble. Please do not listen to this meditation while operating a motor vehicle or doing anything that requires your full attention. This meditation may make you drowsy. With much gratitude, Anita

This version is with music Guided Meditation inspired by 'Bridge Over Troubled Water'" by Simon and Garfunkel. Begin by finding a comfortable position, either sitting or lying down. Eyes may be  closed or soft gaze. Settling in. Lengthening the spine.  Feeling the connection of the earth beneath you.  Knowing you are supported.   Envision yourself standing at the edge of a magnificent bridge, stretching over a tranquil body of water. This bridge is your sanctuary, a symbol of hope and calmness in times of trouble. Please do not listen to this meditation while operating a motor vehicle or doing anything that requires your full attention. This meditation may make you drowsy. With much gratitude, Anita

With no guest and no Master Scoreboard, we thought this would be a quick one. But then we got talking about periods when pop treads water, and the democratisation of its means of production, and the She Drives Me Crazy thwock, and the baffling 2006 disdain for Bridge Over Troubled Water, and communal/collective pop vs introspective headphone music, and cats in panto, and pretending to be gay in strip clubs... and, well, let's just say that things escalated. Hosted on Acast. See acast.com/privacy for more information.

Welcome to Season 03 Episode 17 - the "Flower Moon" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Ms. Kelly Hayes McAlonie on Louise Blanchard Bethune; Mr. Jefferson Westwood on the Commencement Eve Pops Concert; and Ms. Jennifer Davis on the production of A.R. Guerney's Ancestral Voices at Lakeshore Center for the Arts in Westfield. Notes from the Aisle Seat is available from most of your favorite podcast sites, including Apple Podcast, Google Podcast, Stitcher, Spotify, and Amazon Prime Music, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Thanks for listening! Time Stamps Kelly Hayes McAlonie/Louise Bethune  02:28 Jefferson Westwood/Commencement Eve Pops  20:50 Arts Calendar  36:57 Jennifer Davis/Ancient Voices 38:50 Media excerpts from Symphony #6 Opus 68 "Pastorale", Ludwig von Beethoven, composer; performed by Frankfurt Symphony Radio Orchestra, October 2021 "So Long, Frank Lloyd Wright", Paul Simon, composer, from the album Bridge Over Troubled Water, January 1970, Columbia Records "Route 66", Bobby Troup, composer (1946); performed by The Manhattan Transfer, August 2016. Artist Links Kelly Hayes McAlonie Jefferson Westwood Jennifer Davis North Shore Arts Alliance Art Trail Information May 25-26 10AM-5PM   BECOME AN OPERA HOUSE MEMBER!  

Lacey and Amber dig deep into some of their craziest uber stories!   Subscribe to Big Money Players Diamond on Apple Podcasts to get this episode ad-free: https://apple.co/amberandlacey.See omnystudio.com/listener for privacy information.

Frank @ Dan & Drew Show - Bridge Over Troubled Waters 

Jon starts the show chatting about the major stories of the day as we talk Trump and his latest battles in New York and the bridge collapse in Baltimore before conservative online opinionator AK Kamara joins us in studio for a Tuesday appearance.

Welcome back to the Analysis Essentials Series -- this episode comes from my first time ever hearing So Hyang, a voice that continues to boggle my mind. Her emotional connection, her power belting, her riffing -- all of it. Please enjoy this breakdown.

As many who live in Albuquerque TJ is frustrated with all of the traffic caused by construction. More specifically the lack of bridges connecting the east to the west side, not only a lack but as he says "ugly bridges". Plus a Russian confidential source to the FBI allegedly lied about Biden and his son. All this on News Radio KKOB See omnystudio.com/listener for privacy information.

Tommy Thomas: [00:00:00] My guests today are Michael Marquardt and Bob Tiede. Michael is Professor Emeritus of Human and Organizational Learning at George Washington University, and the author of 27 books on the topics of leadership, global teams, and action learning. Bob Tiede is the CEO of leadingwithquestions.com, a blog followed by people in more than 190 countries. Tommy Thomas: He also serves on the U.S. leadership development team for Cru and is the author of five books, including Great Leaders Ask Questions. Some of our listeners will remember Bob from earlier episodes when we discussed leader development within Cru. Gentlemen, welcome to NextGen Nonprofit Leadership. Bob Tiede: Happy to be with you, Tommy. Tommy Thomas: Talking to the two of you today reminds me of an early experience with Nathan DiGesare, a musician and a videographer in Nashville.  Nathan has recorded probably 200 videos for my company, so I've been in his house and his studio on countless occasions, but early in the relationship, we were doing some voiceovers at his house.  We finished the work, and I noticed this Steinway Grand Piano sitting in the corner. So, I strolled over and sat down and did my best rendition of Bridge Over Troubled Water. And then I think I segued into Last Date by Floyd Kramer. Little did I know that Nathan had been trained at Indiana University and was a graduate of the Juilliard School of Music. And I'm not sure if I'd have known that if I'd have been so audacious to sit at his grand piano and play those songs. So, talking with you guys, yeah, I feel like here I am asking the questions and you two are the master of the great questions. So, this is going to be fun. Bob Tiede: We're looking forward to it. Tommy Thomas:  How did the two of you get to know each other and begin collaborating? Michael Marquardt: Bob, I think you can tell that story. Bob Tiede: I will. In 2006, my wife loves to go to bookstores. She goes all over the bookstore. She knows when she's done, she'll find me still in the leadership section. And what I usually do is try to find two, or three books I've never seen before, find a chair, sit down, and peruse them to see if I'm going to buy one of them. In 2006, I found this book, the first edition of Leading with Questions by Dr. Michael Marquardt. Perusing only a few pages, I said, this one's going home and it was a page-turner. I had no idea. I love books. I eat books for breakfast. Probably every leadership book I've ever read there's been a morsel in there. I had no idea that this would change my leadership forever. Actually, set me on a new path. I was already on the U.S. leadership development team for Cru. I began to teach out of it. The response was just amazing. Fast forward, to 2012, I start a blog and I'm thinking when I start the blog, I don't want to do just another leadership blog. I want to because there are so many good ones, I'd be a small fish in a big ocean. So I asked the question, was there a niche of leadership I could blog on? And as soon as I had that question, it was like, Oh, it'd be something with this leading with questions. So I go to WordPress. I've never blogged before and WordPress guides you through. The first thing they ask is what do you want the blog to be called. In other words, let's search and see if the URL is available. On a lark and I smiled as I did it, I typed in the title of the book, leading with questions, thinking that certainly the author or publisher may have tied it up already, but it was available. And at the cheapest price, like 29 a year, so I grab it. I'm saying I had a little queasy feeling wondering this guy, this author, Dr. Michael Marquardt, how would he feel when he finds out there's a blog by the same title of his book? So, I decided I'd blog for several months, and get some content. Then I crafted, I thought a very diplomatic email to Dr. Michael Marquardt, sharing that his book had changed my leadership, thanking him for writing it, sharing that I'd start this blog, and might I have his permission to excerpt from his book, we'd include a link to Amazon for purchase, and I sent it off wondering. How will he respond? And within 24 hours, I had the most gracious response giving me carte blanche permission. Several years later, Dr. Marquardt was doing the second edition and wrote me, asking if I'd do an endorsement and if he could list leadingwithquestions.com as a recommended resource. It's yes! And probably a year after that, we were taking a group to D.C. I reached out to Dr. Michael Marquardt ahead of time, asking if he might be in town, and if would he be willing to speak. And if he would, I'd buy the second edition for everyone. And then I invited him, could he come an hour early to sign the books? And I did that rather selfishly because It would give me an hour with him and during that time I'm calling him Dr. Marquardt. He quickly says, Bob, it's Mike. Just call me Mike and I said, okay Mike, and we've been friends ever since and about two years ago Bob calls and says, Bob, it's time for a third edition. Would you be willing to co-author it with me? And I said, oh my goodness. Of course. But Mike, you have a PhD, and you teach at George Washington University. I have a Bachelor's and Mike said, but Bob, your blog has now been out there for 10 years. We need about 30 percent new content in a new edition. And you've already done the research. Summer of 2022, we worked together for about six weeks. Mike is brilliant. He knew what from the second edition he wanted to delete. There are 10 chapters in the book. I would share with him 10 times as much content as he would need. So, he would have a bunch of things he could pick and choose. But Mike did the heavy lifting. He knew what he wanted to delete. He knew where he wanted to add. And this has been such a gift for me to be the co-author and I'm so grateful to Mike for the opportunity. Tommy Thomas: Mike, what'd you think when you got that first email? Michael Marquardt: I was happy that that someone was interested in adding a blog to the whole history of getting people to use questions and so I was delighted with that, and we've had a great relationship for many years, and as Bob indicated, with all of his blogs with hundreds of people who are leaders around the world, and getting them to talk about what kind of questions they asked, I thought was just, would be just a tremendous addition to the third edition to have all these new people, and so I'm very pleased that the third edition is out. Bob's a co-author, and we have probably another 15 or 20 leaders with their questions that were not in the first two editions of the book. 7:10:00 Tommy Thomas: Mike, how did you discover this Art of the Great Question? Is there a story there? Michael Marquardt: There's a story. I became a professor at George Washington University. In 1994, I had worked globally as a consultant in areas of leadership and organizational change, and team building, and in 1994 I became a professor at George Washington University in their executive doctoral program, so we trained leaders from all over the world, and as a professor, a new professor, you are asked to identify what's the research area of interest for you in which you begin publishing and writing and work with doctoral students. And my interest was leadership. Great leaders. That was my focus. Who are the great leaders around the world? What makes them great leaders? And over the first several years as a professor, I wrote a number of books and articles on great leaders. And the one thing I discovered is that all great leaders ask great questions. And they became great leaders by asking great questions. Whether these were people I interviewed, hundreds of people all over the world in my various research efforts I go into an organization, a great organization that was considered one of the tops in its field. And I said, who are the leaders in this company? And they would identify, two or three individuals and what makes them such good leaders, whether they're hierarchical leaders, CEO, or people within the organization. And inevitably, it always came down to, they ask great questions. And so that kind of moved my area of research to more focus on the qualities of great leaders and particularly the questions they ask. And so over the past 15, almost close to 20 years that's been my area of keen interest and research. And I do a lot of work in a field called action learning and the primary, right. The element of action learning in a way it solves problems is using questions, but questions is the way that leadership is developed in a way of becoming great leaders.  And so, I feel very fortunate that became my area of research as a professor and I met Bob Tiede along the way. Tommy Thomas: Litigators, journalists, and doctors are all taught to ask questions as part of their training. Why is it that business executives aren't taught that? I'll leave, I'll throw it to both of y'all. Michael Marquardt:   Yeah. I think, lawyers are taught to ask questions, but they never ask a question that they already do not know the answer to. So they are open and great questions. Those are, they're always leading questions. A lawyer is taking a task if he ever asks a question for which he does not know the answer that's poor lawyer, lawyerly. Doctors are not trained to ask questions. They're very poor at asking questions. Although it's a very important part of their work to do a prognosis and to ask for information about the patient. But many of them are very uncomfortable in asking questions, or they ask the wrong questions, or in an ineffective way, or a discomforting way, etc. So, I agree that medical doctors could greatly benefit from getting a course and asking questions, but my wife happens to be a medical doctor, and I do not recall that she took any course on how to ask questions. I don't know of any physician or school that does that. But I think you bring up not only lawyers and doctors, but we realize now that every person in life has to ask questions. Every parent, the better questions parents ask, the better parents they are. The better questions social workers ask, the better social workers they are. The better questions that interviewers or newscasters. So all of life is your status in life your quality and being a leader in that profession is dependent upon the questions. And we know that the great newscaster Walter Cronkite in the past, they were great at asking questions, not only the words they used, but the comfort, but they all listened carefully too. And because great questions come from listening. Your premise is that doctors and lawyers are important for them to ask questions, but I think what Bob and I have discovered is that every person in every sector, and every profession will be better if they ask questions. Bob Tiede: Whenever I speak, and I'm privileged to speak many times and love it. But I always start my talk with a confession. I get up and say, I need to start with a confession. And my confession is that for most of my career, I was a benevolent dictator. Because I thought the job of a leader was to tell staff what to do. The job of a leader was to give direction. And I did not have that paradigm out of evil intent. It was just, that's what I thought the job of a leader was. I did say benevolent. I grew up in a home where I was taught to say please and thank you. So Tommy, if you'd been on my team, I don't think I ever would have said, Tommy, go do this. It'd been more like, Hey, Tommy, this week we're working on this. It'd really be great if you could please do this. And when you did it, I would have said, thank you, Tommy, at a staff meeting, Tommy, stand up. You all need to hear what Tommy did. It wasn't until I found that first edition of Mike's book, the first edition of leading with questions and reading that. And it is filled with stories just like the third edition of leaders, literally from around the globe. And they're using and as I read that first edition, I had only one question. Why hasn't anyone ever shared this paradigm with me before? It immediately made sense. I immediately saw that a leader who leads with questions would be so much more effective. When I'm speaking, another illustration I use is I have a picture of a big canoe with room for 15 participants and they all have oars. And I asked someone in the audience I said, you're the leader of this group. And as you can see, there are oars for everyone on your team. And you want to get that canoe across the lake as quickly as possible. How many would you like to have row with you? Of course, the answer is all of them. And I say, now, I know that's a silly question, but I'm going somewhere. And I go to the next slide, and there's a picture of the same team, but now they're gathered around a conference table, and there's an opportunity on the table. And I say, now, listen to this question carefully. If you're a leader like I used to be, who thinks your job is to figure out how to take advantage of the opportunity and then you'll tell them what to do? How many mental oars are in the water trying to figure out how to take advantage of the opportunity? The answer is one. Only yours. But a leader who leads with questions, who leans forward, perhaps, makes eye contact with the whole team and then says, hey gang, here's this opportunity. What do you all think we might do? Now, how many mental oars might be in the water? Maybe all of them. And I ask whoever I'm interacting with, what are the chances that you might hear an idea better than anything you were thinking? And they always say hi, yeah, it's not a guarantee, but hearing all those ideas, it's highly probable. And I say, imagine across the table, it's Sarah. And she shares a brilliant idea, and you're thinking, wow, that's so much better than anything I was thinking. And so you say, Sarah, love your idea. Sarah, would you be willing to lead our team in executing that? And then I say, now, how hard will Sarah work? A leader who leads with questions can be so much more effective. They're hearing more ideas and now they're empowering and involving their staff in the solution. It's hard. Whose idea is she executing? Her own. That's just some of the reasons that a leader who leads with questions can be so much more effective. They're hearing more ideas and now they're empowering and involving their staff in the solution. So when it comes to executing, they're executing something that they participated in creating, it works. 15:17 Tommy Thomas: Let's get up to a hundred thousand or so feet and ask the big question, what makes a great question? Michael Marquardt: There's no single right answer. I think a great question is usually not the very first question that's asked. A great question usually emerges if you're in reflection or interaction with other people. And you ask the best question you can at that point, and then there's conversation, dialogue, and based upon what you hear, you ask another question. Many of us go through life never experiencing a great question, but if we use the ability to really trust and care about what other people are thinking and saying, ask them questions, and build upon what they say and what you've heard. I think it's possible to quite normally or regularly have great questions in a problem-setting situation or environment. But great questions generally are those that stretch people. They get you outside the box. They get you looking at things from a different perspective. And that's why all the time, great questions emerge in a group with diverse thinkers. You have an engineer and a marketing person and a religious minister or whatever. Have a great question merged in that group than if they are all engineers or they're all marketing people. So, you can conditions environments in a group setting as well as within yourself that they can emerge. And so, we've all had great questions in our life and they've changed our lives, but they've been very infrequent because we don't get asked as many great questions as are available or should be asked in our lives. Bob, you may have some other thoughts. Bob Tiede: I agree with everything Mike has shared. Something that I've discovered is that some of the best questions are so simple and whenever I'm speaking again, I ask who here would like to learn to lead with questions in 30 seconds. Every hand goes up. And, of course, I say the reason I'm asking this is I sense from my audience is they'd like to learn to lead with questions, but so many times they imagine they'll have to get a master's degree in questionology. It's a nice idea, it'd be nice to be a brain surgeon, and make that kind of money. But, there are no courses for brain surgeons in 30 seconds. So, every hand goes up, I invite somebody from the audience to come up and when they come up, I say, I think I selected, John here because he has a photographic memory and whoever I brought up always shakes their head like I don't. And I say all you have to do is memorize my four favorite questions. And I've got a second hand on my watch and I say, here we go. My first favorite question is, what do you think? Second, what else? Third, what else? Fourth, what else? And I say, do you have them memorized? They always do. I say, share them with us. And they always successfully do it. And then I say, now, some of you look a little skeptical. Like you can't ask somebody, what do you think? What else? What else? What else? And I say not in that rapid fashion. But first of all, you're going to add a topic to what do you think? What do you think we ought to do about? There's going to be some topic. And when you ask, they're going to answer. Now I used to look at this like I asked a question, and they answered, that's complete. What I discovered is that people, when they're asked to give opinions and input, they instinctively roll out a safe answer. Their first answer, they're testing the waters. Now [00:19:00] they're doing this instinctively. But just to see how it's treated. So, Tommy, if I asked you, hey, what do you think about it? And you give me that first answer. I said Tommy, that's stupid. Everyone knows that you're sorry you answered. But when I say, wow, Tommy, that's good. Say more. What else? You relax and you'll give me more and then again, instead of moving on, when you pause, I'm likely to grab a pen and say, Tommy, I've got to take notes. This is pure gold. Please say more. What else? And what I've discovered is actually on the third and fourth question that I get to their gold nugget, their very best thought. And I realized we've all heard the story of the proverbial gold miner, the guy who mined for gold all his life, looking for the gold vein, never found it, finally quits. Somebody came along later and discovered the old miner was within six inches of the gold vein when he quit.  Now, that's probably just a proverbial story, but I share, if you only ask people, what do you think? Get their first answer and move on. You're a bit like that gold miner. You got close, but it's what else is down there. And I'm not disagreeing with Mike at all. I'm saying another angle on asking a great question is the what else is where you hear more and discover that they've got some incredible things. You just had to help them dig a little to uncover some of those answers that you would not have gotten to if you only said, Hey, what do you think about. Get their first answer and then move on to just another technique to get their brilliance.  Michael Marquardt: I teach people how to ask questions. I have an activity in which they work in pairs, and you ask seven questions. You're allowed seven questions. I give them the first question. What are you most proud of? And then based on your response, you get six more questions. And I tell the people the question. I said you have the opportunity to change the other person's life. In seven questions, in maybe seven to ten minutes, you can change the other person's life, because if you listen carefully to each question, the response to each of your questions, by the seventh question, you're going to have a question that will cause that other person to see something they never saw before or understand something they'd never considered before. So, they put very high expectations, and they're amazed how, gee, here's something I never knew. And in 10 minutes, we're the best of friends because great questions always build friendships. This person understood something or made a decision or an understanding that never considered before.  Wow!  I love that. Tommy Thomas: Anybody who listens to my podcast with much regularity, they would as some have gently pointed out that the biggest weakness I have is the lack of follow-up questions. So this is convicting at too many levels, but I guess it's good to be convicted by two aces. I will be more deliberate about that. Changing gears for a minute. Earlier in the week, I was talking with Matt Randerson, the Vice President of Growth and Operations at Barna organization. And we're doing a podcast on generational influences on the nonprofit sector. And so, I guess the question I have is. Have you observed any differences in the kind of questions you might ask the generations or how you would frame a question between a baby boomer and a Gen X or a millennial? Michael Marquardt:   I have not. No, if you do, I've not noticed it. Of course, ask someone a question, a generation Z responds differently than a millennial or whatever age group, they are. And so, the first question may get a different response, but I think deep down, uh, a great question will have a positive, significant impact on any age person. Bob Tiede:  I totally agree that, as Mike said, the answers, and their response may be different. But what I've discovered is that all people, regardless of their age, love to be listened to. And another thing I've shared from time to time is that when you meet a new person if you do 80 percent of the talking, they most likely will mistrust you. But if you meet a new person and you let them do 80 percent of the talking. Almost always they will leave that time trusting you and you can think, how is this, we instinctively think if I can only tell them all the great things about myself, they will love me. But when you monopolize the conversation, they tend to think, who is this person? But when you inquire and ask them questions where they do the talking and you're listening, they feel affirmed. There's a quote I love and that is that being listened to and being loved are so close to each other that for the average person, they cannot distinguish the difference. And it's not that they analyze it, but when somebody is listened to it feels good to them. It's wow, I like this person who's showing interest. And I think that goes across all generations. 24:51 Tommy Thomas: I know both of you guys work a lot with teams in his book, How You Play the Game, the 12 Leadership Principles of Dean Smith. David Chadwick, one of his players who played on the Final Four team said the concept of team may be Coach Smith's greatest contribution to basketball, leadership, and society.  So y'all work with teams. How has the concept of a team impacted your life? Michael Marquardt: I think, organizations cannot succeed without teams, successful teams that work together. And unfortunately, most teams are dysfunctional. They're frustrating. People prefer not to be in that group. When they're in the group, they're looking at their phone, or they're cutting off people, or not listening, and so forth. And if they do participate, they participate to the extent that they can try to control what the group does. I know best what the problem is, and I know best what the strategy is. Most people who work in groups or teams, spend their energy trying to convince other people through statements and expertise and power that this is the problem. This is a strategy. This is what we should do. Great teams do just the opposite. Members of great teams do just the opposite. So, when I'm a member of a great team, I spend my energy trying to find out what you think. So, Tommy, what do you think? We should do this problem, or what are your experiences? Where should we be looking? What resources do you recommend? So, I spend my energy asking questions of other members of the group to give their perspectives. We tend, we hear what we ask for, and we reject or filter what we don't ask for. And so what do other members of the group do to me? If I've asked them questions, they say, Mike, what do you think? And so great teams are composed of individuals who spend their energy asking questions of other people. And that's a team. If you would stop worrying or wondering, did I recommend this? Or am I, do I have the power? You come up with something that no one, it's a team. And so great teams spend their time asking questions rather than making statements. Bob Tiede: I don't know what I could add to that. That is that is so well stated. They're not adding to it but one of the things I talk about the teams can do is question storming. We hear about brainstorming, but there's question-storming. And in one way to do question storming that's unique is you state here's the opportunity. Here's the problem. And I need everyone on the team to write down five questions that we should answer in order to know what to do about this. And the reason you have everybody write it down is generally on a team, you have your verbal processors who are the first to jump in, and then you sometimes have your more quiet people. Okay. It's already been said. I don't think I'll add to it. And you don't get input from them, but by having everybody write down their five questions, you get everybody involved. And then maybe you tell them ahead of time, as soon as everybody has their five, we're going to post them up here. And now the team gets up, looks at all the questions and you can. Put five check marks, five votes by the questions you think are most important to answer. And then once you've identified those, the leader says, okay, here's the first one. Who here will take responsibility to go find the answer to this? And the second one, the third one, but it's a way of creating a questioning culture that the way to find the best way forward is to ask questions. And then question storming is an activity, but having everybody write it to begin with is a way to involve some of your staff that might be quieter, who hesitate to give input after the verbal processors have jumped in and shared their thoughts. 29:17 Tommy Thomas: Good work. So, I want to close out with a little lightning round. I've tried to glean some questions from some of my favorite podcasters. And I listened to Alan Alda's podcast Clear and Vivid a lot. And one of his questions is if you're sitting beside a total stranger at a dinner party. How would you start a meaningful conversation? Michael Marquardt: As I indicated earlier, a great question to ask anyone is what are you most proud of? What is some great success you've had in life? To give people an opportunity, because that question will reveal many things about the stranger or the partner, because it shows what their values are, what they're proud of. It makes them feel good to talk about that. It may take a little while to reflect, but that's usually a great question does take some reflection. You don't, it's a great question. Don't respond right away. It's probably not a great question. It's almost a closed question. So, I have found that if I have the courage to do that and great questioners have courage, and that's why a lot of us don't ask questions. We no longer have, we don't have confidence in ourselves, or we're afraid of asking a tough question or a great question, so that's. That's one I might use. Bob, you might have a few others. Bob Tiede: Oh that's a brilliant one. I call these kind of questions platinum questions. And we all ask a lot of questions because we don't know the answer and there's nothing wrong with that. Which way to Walmart here? They know, and I need to know. And nothing wrong with that question, but a platinum question is a question that as they answer, they enjoy answering. It's not a gotcha question. [00:31:00] And they say, I've never thought about this before. And they enjoy answering. And one of my platinum questions I love to ask is, what would you say are the three to four events that have most shaped who you are today? And then, listening. And I'm sure there's more that in that category and another one, I'd love to hear just your story. And again, listening uh, it's important when you ask these kinds of questions. To follow with what I call the gift of silence. This isn't, when you ask this question they're not likely to begin talking at three seconds. And research shows the average person only waits three seconds after they ask a question for an answer. And if the other person doesn't answer, they just move on. But when you ask one of these questions, like Mike's question, keep comfortable eyesight, but give them time to think because it's likely going to take them 10, maybe [00:32:00] even 15 seconds before they start speaking, but then you're going to be the beneficiary of a great story. Tommy Thomas: If you could meet any historical figure and ask them one question, who would it be and what would you ask? Michael Marquardt: I'll answer that one first. I thought Bob would say Jesus. If you could have the opportunity of asking Jesus a question, that would be wonderful. I think any of the great religious leaders would be wonderful to ask questions and certainly some political leaders, some scientific leaders. Someone like Elon Musk. I wouldn't mind asking him a couple of questions right now. He's done some amazing things over the last few years so it would depend upon the person, and the type of question I'd ask, because I obviously would ask Jesus a very different question than I would ask Elon Musk or, President Macron from France, or whatever the case may be. But depending on where they're from, that's, because I try to say this person has some unique perspective or background, and I don't want to ask him a question that someone else could answer as well or better even what's unique about this person. If I ask that question, I'll get information I could get from nobody else. Bob Tiede: Yeah, that's not thinking that deeply. One of the questions I love to ask any leader that I meet is what are your favorite questions to ask and, learn from them in that way. Michael Marquardt: The question I often have is, have you ever been asked a great question? And if so, what was it and why was it a great question? And that again, we all have been asked great questions in our life and it changed their life. Those are great questions, but we don't recall those questions immediately, or sometimes you have to wait an hour a day. And that was like, I should have answered Tommy that way, but I didn't think of that. And I remember when my father asked me or my second-grade teacher or, someone along the line, but all of us have been asked great questions in our life. We don't maybe remember the question that was asked at the time, but it changed our career or changed our values, what we do, but what changed our lives was a question, not some person saying your dad or something, do this or that. Generally, all of us changed our lives significantly when we were asked a great question. Oftentimes when I signed my, signed our book, I say, may your life be filled with great questions. Because that's the greatest gift anyone could give to someone else is to ask that person a great question. So if your life has been filled with great questions, you have had a great life, no doubt about it. Bob Tiede: Mike's, what he just shared there reminds me of something. One of my books, I did an author, it says compiled by Bob, is 339 Questions Jesus Asked. I was sure that it was Matthew, Mark, Luke, and John who wrote those, I just compiled them. The thought was, Jesus wanted to see lives changed. But he knew, of course, he knew, he was God. But he knew that it would be far more powerful instead of saying, Tommy, let me tell you. Tommy, let me ask you. That then causes you to think. And you answered, he knew that your answer to his question had a greater chance of changing you than if him saying, let me tell you. And as I was hearing Mike there, just, share, it's yeah, asking, it's questions we've been asked that change us. Because as we were asked those questions, we focused on something that perhaps we, no other way would have focused or thought about, but then we answered, and we then thought it was our idea. And in some ways it was, but it was prompted by that question. Tommy Thomas: Last question. What do you understand about your life today that you didn't understand a year ago? Bob Tiede: Tommy, you do ask great questions. Michael Marquardt: I'm trying to think how my life has changed over the past year. And I'm retired. So, it doesn't change as much as others. But, my wife and I had a great trip to Norway a few months ago, and so I think the beauty of Norway and so it's raised a question. So I'm much more aware of and ask questions about nature and beauty and it happened to be a knitting cruise under the midnight sun was that and so I think that's maybe been one area that I have more questions about and am more appreciative of, and I spend being retired, I spend a couple hours every afternoon on our lake by our house and just enjoy the geese and the river and the water and so forth. Bob Tiede:   As I'm reflecting on it again, through Mike's gift to me, inviting me to be the co-author of the third edition, it was released in April. And it has, again, multiplied my opportunities to speak. It's a credential that has been a complete gift. Wiley Publishing publishes premier business books. I think if I knocked on the door all by myself, I might not have gotten in or even been considered, but because Mike had the relationship and they had already said yes, they would love the third edition. I rode along in the back of the car and got to this destination. But that's probably been just a used change to have another credential that is so well known in the business community and the privilege because of Mike of being a co-author of a Wiley-published book. Michael Marquardt: May I just share one more thing. I know we're ending it. A lot of people say I'm not able to ask good questions. I don't know how to ask great questions. I always say that we're all blessed at birth to ask great questions, all children from the moment they're born. They subconsciously ask great questions that enable them to walk and talk within a couple of years because great questions cause change. And then they, [00:39:00] when they start articulating, start asking questions, the adults around them, discourage them from asking questions. I'm too busy Johnny, or that's a stupid question or whatever. Michael Marquardt: From age three to some people for the rest of their lives until they die, they never get comfortable and confident asking questions because of what their parents and teachers have done to discourage questions because it's the joy of every child, every three-year-old child. They love to ask questions. They all ask great questions. And then, and so what we try to do and Bob and I are both grandfathers and we consider our most important job in life is to undo the damage that our children do to our grandchildren, because our children do the same thing we did, to encourage questions. So when we see our grandchildren, we say Grandpa loves questions. You can ask Grandpa any question you want. Because the most important thing I can do for my grandchildren [00:40:00] is to keep that spirit, that love of asking questions alive. When they go into four and five and go into the elementary school. Bob Tiede: As Mike has shared that thought, it reminds me of one of my granddaughters, Claire, when she was two, I discovered a  new way to connect with her. I would say, Claire, can I ask you a tough question? And that would draw her and she'd come sit on my lap and again, they were not tough questions, but they were fun questions. And then I'd say, now, Claire, it's your turn to ask Grandpa a tough question. And she would ask me questions and they were like, copycats sitting on a fence. If there are five copycats and one jumped off, how many are still there? And she would use that one over and over, but we would laugh. She is now a sophomore in high school. She is known by her teachers as the one who asks tough questions. They see her hand, okay. And she's not trying to get you a question, but they realized, wow, that is a powerful question. And she hopes now to become an attorney, but just something where, again, as Mike said, from little, we encouraged Claire to ask tough questions and affirmed her for asking questions. And I'm proud of all my grandkids for asking tough questions. Mike said, encouraging them to do some research showed that the average five-year-old asks almost 300 questions a day. The average college graduate only asks about 20. And it's a sad thing about our educational system that teachers will say to that five-year-old, Johnny, it's my job to ask the question. It's your job to answer. And so, they begin to realize school is about answering questions, not about asking. And where we could develop a skill that would change their lives forever by empowering them to ask questions.  Tommy Thomas: You guys must've been looking at my notes because I had one of the questions that I did not ask was if it's true, if it's true that leaders are better when they lead with questions, why is it that so few do so I think y'all have I think y'all have given a full a full response to that question. Thanks so much for being a guest today and I will include links to your books in the show notes and encourage people. Mike's book changed Bob's life. Take a look at these books and if you're alone, in the leadership journey I think you'll be greatly blessed. So, thanks to everyone for listening today. Thanks, Bob and Mike for being my guests.   Links & Resources JobfitMatters Website Next Gen Nonprofit Leadership with Tommy Thomas The Perfect Search – What every board needs to know about hiring their next CEO Michael Marquardt Leading with Questions: How Leaders Discover Powerful Answers by Knowing What and How to Ask by Michael J Marquardt & Bob Tiede Leading with Questions: How Leaders Find the Right Solutions by Knowing What to Ask by Michael J. Marquardt Now That's a Great Question by Bob Tiede   Connect tthomas@jobfitmatters.com Follow Tommy on LinkedIn Follow Bob Tiede on LinkedIn Follow Bob Tiede on Facebook   Listen to Next Gen Nonprofit Leadership with Tommy Thomas on: Apple Podcasts | Spotify | Stitcher | Google Podcasts    

This week, we present an encore of our 2016 conversation with songwriter and musician Paul Simon. Simon has been the recipient of many honors and awards including 12 Grammy Awards, three of which (“Bridge Over Troubled Water”, “Still Crazy After All These Years” and “Graceland”) were albums of the year. In 2003 he was given a Grammy Lifetime Achievement Award for his work as half of the duo Simon and Garfunkel. He is in the Rock n' Roll Hall of Fame as a member of Simon and Garfunkel and as a solo artist. He was a recipient of The Kennedy Center Honors in 2002 and was named as one of Time Magazine's “100 People Who Shape Our World” in 2006. In 2007, Mr. Simon was awarded the first annual Library of Congress Gershwin Prize for Popular Song. On June 6, 2016, Paul Simon came to the Nourse Theater in San Francisco for an on-stage conversation with Dave Eggers, after performing at the Greek Theater in Berkeley on June 3 and 4.  His album “Stranger to Stranger” had been released that same week.  Paul Simon's latest work, “Seven Psalms” came out in 2023.

Filosofia ja systeemiajattelu -luentosarjan kuudes kausi on täällä! Vuonna 2024 kurssi toteutetaan kahden live-luennon sekä muiden kurssisuoritusten muodossa. Sarjan ensimmäinen ja viimeinen luento toteutetaan livenä Aalto-yliopistolla.LINKIT LUENNOLLA VIITATTUIHIN VIDEOIHIN:Wilma Murto seiväshypyn EM-kultaa 2022 (kohdasta 5:09min)https://www.youtube.com/watch?v=0k0lLGjN5Og&t=309sSimon & Garfunkel: The Story of Bridge Over Troubled Water (kohdasta 4:40min)https://www.youtube.com/watch?v=8uZgcz_WlAA&t=278sLuennoista on saatavilla saavutettavuustekstitys podcast-sarjan sivuilla:https://www.aalto.fi/fi/podcastit/filosofia-ja-systeemiajatteluEmeritusprofessori Esa Saarisen Filosofia ja systeemiajattelu -luentosarjan tavoitteena on lisätä osallistujan kykyä omaehtoiseen, laaja-alaiseen, luovaan ja eteenpäinvirittyneeseen elämänfilosofiseen ajatteluun. Tavoitteena on synnyttää voimakkaasti rikastava oivallusympäristö, jossa osanottaja voi jäsentää toimintatapojaan, ajattelumallejaan ja arvokysymyksiä henkilökohtaisesti relevantilla tavalla. Luentosarja antaa työvälineitä rakentaa ja terävöittää oman henkisen kasvun ja elämänasenteen perusteita ja suuntaviivoja. Painopiste on kunkin osallistujan omassa toiminnassa ja elämässä. Tavoitteena on vahvistaa kunkin kykyä elää muutostilanteissa luovasti ja arvo-ohjautuvasti. Luennot hyödyntävät länsimaisen ja itämaisen filosofian voimavirtoja sekä nykyaikaisen ihmistutkimuksen keskeisiä tuloksia ja ilmentävät prof. Saarisen elämyksellisestä, kokonaisvaltaista ja tunnelmaintensiivistä luentotapaa, jossa avainroolissa on luentotilanteen osallistujissa synnyttämä ajattelun liike.

Paul Simon and Art Garfunkel were gifted musicians with a deep and complicated personal relationship, which makes them perfect subjects for a Discord & Rhyme holiday episode. Their magnum opus, Bridge Over Troubled Water, was a huge hit in 1970 and is still as beautiful, innovative, and occasionally silly as it ever was. Ben, Amanda, Rich, and John love this album dearly, and discussing all its strengths and arguing over its few flaws was the perfect way to wind up Discord & Rhyme's sixth calendar year. Happy holidays, everyone, and may all your relationships be less acrimonious than Simon and Garfunkel's. Cohosts: Rich Bunnell, Ben Marlin, John McFerrin, Amanda RodgersComplete show notes: https://discordpod.com/listen/132-simon-and-garfunkel-bridge-over-troubled-waterDiscord & Rhyme's merch store: http://tee.pub/lic/discordpodSupport the podcast! https://www.patreon.com/discordpod

Listen. I have to go to work but I will update this with something funny when I remember what we actually talked about. 

Hey folks, we are here to show you how to slow down videos in incognito mode and to be the best Sonic Youth Podcast when we cover Daydream Nation (closing time is not on this album.)     We find out why Aaronswife@gmail.com dressed up like Prince, why Beavis and Butthead are big again, and Aaron talks about the new Andre 3000 album. Russ is off to the record store, Aaron blows our mind with Turnstile, and Rob has an ALL TIME ROLLING GOING.    Then we talk sonic youth and we talk about albums that cost so much money that you could have bought some Mommy's milk (maybe too much!) The three guys ignore Rob and do a state capital bit and Matt shows his the list he put so much work into about State Capitals.    Then Aaron gives a vague memory and we waste a bunch of time looking it up.  Call the BecK line 802 277 BECK   Don't get so mad you toss that ring into a river and dig into a breadbowl of an episode when we talk about both Simon and Garfunkle when we become the best podcast about Bridge Over Troubled Water (its a metaphor.)        

We talked to Elizabeth Jackson about how she helps 2,000 youth runaways a year!

Andrew Scotchie is one of Asheville's homegrown musical successes. He was an active busker, he played in local clubs long before he was old enough to legally get in the door and even started his own successful knockoff of the popular Bonaroo Festival, called Barnaroo. A few months ago, Scotchie released his fifth album of eclectic Appalachian music, called “Love is Enough.”Scotchie talks here about his early life in music, recounts the classic years of his Barnaroo Festival in Weaverville and the influence of his father, both when he was alive and after his murder.Get five news headlines from around Asheville in your morning inbox. No ads, no spam—simple as that. Subscribe for free to the First Look newsletter from The Overlook. Support The Overlook by joining our Patreon campaign!Advertise your event on The Overlook.Instagram: AVLoverlook | Facebook: AVLoverlook | Twitter: AVLoverlookListen and Subscribe: All episodes of The OverlookThe Overlook theme song, "Maker's Song," comes courtesy of the Asheville band The Resonant Rogues.Podcast Asheville © 2023

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