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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

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Today we take a look at what 2024 could look like according to Prophecies given to God’s Prophets. Are we really starting to enter into the Tribulation? Today Pastor Stan shares with us why it’s important to know what lies ahead! 00:00 - Berkey Update 01:39 - Shane Warren Prophecies 06:39 - Leslie Johnson Prophecies 11:07 - Counting of the Omer 14:04 - Saudi Deal in Early 2024 16:35 - Chris Reed Headlines 23:05 - What can we Expect? 27:08 - Joseph’s Kitchen 30:00 - EMP Shield 33:02 - Cornerstone Asset Metals

Our guest today is Sarah Chen-Spellings, an award-winning entrepreneur and investor. She co-founded Beyond The Billion, a global consortium of over 100 venture funds and investors committed to investing over $1 billion in women-founded companies. Sarah's extensive experience includes corporate venture capital within a $13 billion conglomerate, cross-border investments, and leadership roles in organizations like 131 & Counting and Lean In Malaysia, where she accelerates women into leadership roles and promotes women's participation in politics. In our conversation today, we delve into Sarah's remarkable journey, which began at the age of nine when she became a national TV host, setting the stage for an inspiring life trajectory. Her innate ability to rise to the occasion is evident as she opens up about her father's passing, a pivotal moment that led her to step into the family business at the tender age of 21 while navigating the depths of grief. Sarah draws inspiration from her emotions and grief, channeling them into her career. She also shares how she accidentally became a feminist, ultimately sparking her deep passion to see a rise in women in leadership roles. Sarah highlights how two recurring themes, venture capital and women in leadership, spurred the founding of the Beyond the Billion fund. To hear more about the barriers holding women back from leadership positions and an encouraging word from Sarah, be sure not to miss out on this episode.  Links Mentioned in Today's Episode: Sarah Chen-Spellings Sarah Chen-Spellings on LinkedIn Sarah Chen-Spellings on X Sarah Chen-Spellings on Instagram Billion Dollar Moves I Carry Your Heart with Me by E.E. Cummings Ashley Menzies Babatunde Ashley Menzies Babatunde on Instagram Hubspot Podcast Network Rate & Review: If you enjoy listening to No Straight Path, please make sure you write a review and rate the show. It helps other listeners find the podcast. You can rate and review the show here. Thank you! 

Get ready to roll out the red carpet because we've got the one and only Jacob Bockelmann in the house! Jacob is the founder and creator of MacrosFirst, the game-changer in macro counting apps. Join us as we take the plunge into the MacrosFirst universe and uncover the secret sauce that makes it the absolute champ in the field. We're talking next-level features, pinpoint accuracy, and a user experience that's simply unmatched. So, gear up, folks! We're about to embark on a MacrosFirst adventure like no other. Let's dive right in! Find show notes at bicepsafterbabies.com/297Follow me on Instagram and Tiktok!Links:10% OFF MacrosFirst with the code BABS10. Redeem hereMacrosFirst FB GroupMacrosFirst InstagramMacrosFirst Redditbicepsafterbabies.com/insider

We are delighted to have Judson Laipply joining us on today's show! Judson is a legendary speaker who achieved viral stardom on YouTube with his video, The Evolution of Dance! Today, he shares the story behind his iconic video and offers us a glimpse into his fascinating journey after his video went viral. Judson has appeared on the Today Show, Ellen, Tosh. O, GMA, Oprah, and more. He is the world's first YouTube celebrity, having had the most-watched video for four years. He has been speaking professionally for over twenty years and resides in the Cleveland, Ohio area.  Bio:  Judson Laipply M.Ed, CSP is an enigma wrapped in an anomaly contained inside a quandary. Combining comedy and content, laughter and learning, energy, and engagement, Judson gives his audiences immediate joy and lasting impact. He helps audiences understand the difference between change and evolution while teaching them to embrace struggles, and ultimately evolve. He has been featured on the Today Show, Ellen, Oprah, GMA, and more. He is the world's first YouTube Celebrity and his finale “The Evolution of Dance” has over a billion impressions and was the first video ever to hit 100 million views. He's been speaking and performing for over 20 years and has been all around the globe. He is also an Ironman Triathlete, terrible singer, and reformed Kool-Aid eater.  Judson's journey Judson's journey mirrors the journey of many others who aspired to make their mark as professional speakers. What set him apart, however, was a fortunate turn of events that propelled him toward viral fame. Back in the 90s, professional speaking was still a relatively exclusive niche. Intrinsically outgoing and driven by a passion for engaging with people, Judson believed in the power of play as a tool for teaching, embracing Plato's timeless wisdom that an hour of play reveals more about a person than a lifetime of conversation. That belief drove him to seek opportunities, from working on a cruise ship as a youth coordinator to orchestrating evening events at a Colorado camp. Those experiences helped to hone his public speaking skills and expanded his horizons. Throughout his journey, Judson remained steadfast in his quest to make speaking a full-fledged career. That aspiration led him to graduate school, as he recognized that a master's degree would solidify his credibility and fortify his commitment to his chosen path. He took advice from a seasoned speaker, learning that the key to leaving an indelible mark lay in crafting memorable moments. Thus, the Evolution of Dance was born. It was a fusion of Judson's modest dancing abilities and a powerful message about change and evolution destined to become an unforgettable hallmark in his career! A Compliment from a Choreographer The success of the Evolution of Dance video allowed Judson to experience incredible opportunities, including appearing in a Weezer music video. An LA choreographer praised his dance, acknowledging his lack of formal training but appreciating the joy and emotion he conveyed through his moves. That compliment marked a significant moment in his career as an entertainer and dancer! The Birth of a Viral Video His video was uploaded to YouTube in 2006. At the time, YouTube was still emerging as a popular website and viral videos were not as commonplace as today. His video gradually gained traction, becoming one of the first viral videos on YouTube. The timing was crucial because the popularity of the video coincided with the rise in prominence of YouTube. The Challenges of Going Viral Going viral was a roller coaster ride for Judson, filled with unexpected twists and turns. His video garnered millions of views, and he received numerous emails and messages from various platforms and media outlets. While tempting offers came in, his sudden fame also presented new challenges, like managing the influx of opportunities and distractions and making choices aligned with his long-term goals and identity as a speaker and influencer. Navigating Success and Opportunities His experience taught him the importance of staying true to his core identity and goals. Amid the overwhelming success and attention, he faced offers to pursue acting, reality TV, and other opportunities that could have taken him off his desired path. However, he chose to prioritize his passion for speaking and comedy, making strategic decisions to maintain his course while also enjoying the benefits of his viral fame. Appearing on Television Shows Judson had the opportunity to appear on various television shows, including Ellen, Oprah, and Good Morning America. His interactions with show hosts varied. Sometimes, he had limited interactions with hosts due to their busy schedules and other high-profile guests. Nonetheless, those appearances were significant milestones in his career, allowing him to reach broader audiences and share his unique brand. Monetizing Viral Videos Monetizing a viral video can be complex, particularly when it contains copyrighted music material. In Judson's case, the original Evolution of Dance video did not generate any direct revenue, as it was uploaded before the establishment of the YouTube partnership program and ad monetization. Regardless, Judson remains content with the cultural impact of his video and the opportunities it brought him without dwelling on the potential revenue it could have generated.  Building a Brand When building your brand, you must focus on your goals and maintain momentum.  Succeeding as a Speaker  Succeeding in the speaking industry involves the performance aspect of captivating audiences on stage and the often-overlooked business side of the profession. Judson took the advice of seasoned professionals to heart and set out on a five-year business plan to establish a strong foundation for his speaking career.  Transitioning into Corporate Settings In his quest to move into more corporate settings, Judson capitalizes on his experiences and research. His transition aligns with his desire to evolve his speaking career and explore new opportunities. How Comedy Has Changed Over Time While reflecting on the evolution of comedy over the past 15 years, Judson emphasizes the need for comedians to adapt to changing norms. He points out that shock comedy and humor targeting specific groups have become less acceptable. He praises comics like Brian Regan, Jim Gaffigan, and Mike Birbiglia for their clean and relatable comedic styles.   Connect with Eric On LinkedIn On Facebook On Instagram On Website Connect with Judson Laipply On LinkedIn On Website  

What To Do About Anxiety, Fear & WorryMatthew 5:9  “Blessed are the peacemakers, for they will be called children of God.”I think it is kind of interesting that this is the verse of the day today. I was searching for good scripture verses for anxiety. I woke up this morning to a Facebook message from a friend asking for prayers because her anxiety was really bad, and she couldn't sleep. This, unfortunately, happens to more people than we know. While looking for a verse, my phone buzzed with the verse of the day. I think it is interesting because this was the verse for my small group at the retreat. We have a group chat with all of us in that group, and it is called the Peacemakers. So, when I saw the verse, I knew that was the one I was supposed to use. Then the Lord showed me that peace is exactly what those with anxiety need. Anxiety, worry, and fear are happening more and more these days. There are so many young people suffering from it, and yet it is affecting the older population as well. It seems no one is above the grasp of worry, anxiety, and fear. I imagine one thing that makes it so hard is that you don't always know what you are anxious about. If you knew what it was, if it was a specific thing you were worried about, you could talk yourself out of it. You might be able to reason with yourself. However, when you have these feelings, but they aren't about something specific, you aren't sure what to tell yourself. In my book on Anxiety, I have a chapter on what to do at the moment when you are having an anxiety attack. I am not a counselor, so what I am sharing with you are things I have learned by researching anxiety as I have a lot of friends and family who suffer from it, and I have tried to help them over the years. If you are struggling with anxiety, you may want to talk to a counselor about it. I have talked to a counselor for years for various reasons, and I find them so helpful!I have heard when you are having anxiety, you should try to get back to the present moment. Anxiety is usually when we are thinking about the past or the future. However, in the present moment, there isn't anything to worry about because it just is. Trying to get yourself back to the present moment when you are anxious can be just the trick you need.  However, how do you do that?  There are several different activities that you can quickly do when you are noticing that you are starting to worry.  Actually, even if you are in a full-blown panic attack, you may be able to do these activities to calm yourself down.  I will go over two of them 1.) The first and probably easiest to explain is to count numbers out of order or backward.  When you do this, you are shifting focus from one part of your brain to another, and it is harder to be anxious when you are using this other part of your brain.  Let's all practice this now.  Everyone counts down backwards from 10.  Awesome, nice job!  You can also count numbers out of order.  For instance, 3, 10, 15, 4, 8, 22, 17. Again, this forces your focus to start using another part of your brain.  2.) The next one is to enlist the help of your senses to pull you back into the present moment.  The Mayo Clinic calls it the 5-4-3-2-1 Countdown to make anxiety blasts off.  Here is how you would do it.  You take a moment and look around at your surroundings.  Now you would list: 5 things you can see: Your arm, a pen, your computer, the rug, the window.  4 things you can physically feel: Your face, the ground, your hair, your shoe3 things you can hear: The rain outside, a car passing by, your fridge buzzing2 things you can smell: your feet, a plant1  thing you can taste: your chapstick, your drink, gum. These will obviously be different for everyone.  It depends on the room you are in or the place where this occurs.  It depends on what you are doing and what your surroundings are.  However, this is something you can practice and get good at when you are not in the middle of an attack.  You could silently do it in various familiar surroundings. For instance, when you are in your car on the way to work, or anyway, you could quickly run through this exercise.  When you are making breakfast, lunch, or dinner, you could run through it.  The more you practice it when you are not in the middle of a panic attack, the more likely you are to think of it when you are.  Counting backward or out of order is something I think you could easily practice when you are not in the middle of an attack.  Just maybe try once or twice a day to count backward or to count out of order.  If you have anxious thoughts a lot, but they aren't to the level of a panic attack, then try to implement this technique right when you realize you're thinking about something that is making you anxious.  This doesn't have to be something you do out loud.  It doesn't have to be something that anyone else is aware that you are doing.  If you can get in the habit of recognizing the thoughts that are causing you anxiety, that would be the first step.  Then, try counting backward or out of order to distract yourself from those thoughts.  The third one is extreme sensations.  For instance, eating a fireball or a lemon head.  This shock to the senses might be just enough to bring you back to the present moment.  Also, the sensation of touching ice.  This would be one that I am not sure you could practice when you are not in the moment.  However, it would be one that you would need to prepare for.  If you have tried the other two techniques and you have not found the relief at the moment that you are looking for, you may want to try this one.  In order to try this one, you would have to have something on hand.  If you are at your house, you likely have access to ice.  If you are thinking that you would like to try one of the other things, you would have to buy those ahead of time so that you have them on hand when you need them.This is another way we can help ourselves in the moment.  We can be prepared for them when they come.  If we know we are prone to panic attacks, what can we do to be prepared?  What if it happens when we are out with others? What can we do in that situation?  How would we want to handle it if we could plan in advance?  What about if it happens when we are alone? What will our plan be?  What if our kids are around?  There are many different circumstances where panic attacks can come about.  Is it possible to come up with a plan for the different circumstances?  Is it possible to run through these scenarios in your mind ahead of time so if you find yourself in one of these situations, it won't be the first time?  Almost like you are doing a dress rehearsal in your brain so that you can practice the best way to respond.  I have been told that our brains believe what we tell them and that the reason visualization works so well is that our brains can't tell the difference between what we are visualizing we are doing and what we are really doing.  For instance, the best athletes run over their plays or their movements in their heads, even when they are not at practice.  A golfer will visualize holding the golf club. They will visualize swinging it, hitting the ball, and then the ball going into the hole.  They do this over and over again in their mind, and even though they are not actually doing it, when it comes time to do it on the course, their mind thinks they have been here before.  Their mind feels like it has done this tons of times before, and it acts as if it has.Wouldn't it be great if you could train your mind to react to these anxious thoughts in a more productive way?  Wouldn't it be great if your mind automatically started one of these techniques when you felt a panic attack coming on?  Wouldn't it be great if you were prepared for these attacks before they came?   I believe these things are possible.  It won't be easy, and it will take work, but it can happen.  You can gain some control in the midst of these attacks if you do the work to prepare ahead of time. If you are struggling with anxiety, know that there are things you can do. Don't just accept that you are someone with anxiety. Pray to God and ask Him to take it from you. Practice some of these techniques so that when the anxiety comes on, you are prepared. You can do this! The evil one is not more powerful than the Lord is, and He is the one protecting you!Dear Heavenly Father, I ask you to bless all those listening to this episode today. Lord, we ask that you help those who are listening and who struggle with fear, worry, or anxiety. Please let something I said here help ease their anxiety. Please put on their hearts what would work for them. Help anyone struggling with anxiety to know that they can count on you to fill them with peace any time they ask. Help them to know they can turn to you and that there are things they can do. Help them in the moment, Lord, to see that you are there with them. Help them to feel your presence. Help them to know deep in their heart and minds that the darkness will not overtake them and that you would never let that happen. Be with them, Lord! We love you, and we ask all of this in accordance with your will and in Jesus' holy name, Amen!Thank you so much for joining me on this journey to walk boldly with Jesus. I put a link in the show notes an article titled 20 Prayers for Anxiousness to Trade Your Worries and Fears for God's Peace. Click Here I just want to remind you that this is the last week to sign up for the retreat. If you have been thinking about it and just haven't signed up yet, please do so, as I have to turn the numbers in to the retreat center very soon. CLICK HERE for retreat info. I look forward to meeting you here again tomorrow. Remember, Jesus loves you, and so do I! Have a blessed day!

Your mom, your dad, your siblings, your grandparents, all the people you'll help, they're all waiting for you to make your mark. --- Support this podcast: https://podcasters.spotify.com/pod/show/nathandickeson/support

Pastor Gary kicks off our new Wednesday night series, Counting the Cost: The Journey of a Laid Down Life, by diving into the steps to take in walking out a laid down life for Jesus.

Kezia lost 75lbs in Lean with Plants and then became a coach!In this episode we talk about her journey, the game changers that got her losing weight after years of dieting, and how she's translated that knowledge into solid action steps for Lean with Plants Clients.We highlight the top mindsets and habits of our best clients and how you can get the same results.This is not a quick fix, but when you apply these behaviours lasting change follows.Buckle up for a value-packed episode and learn from the data of what truly brings lasting change.

Ben Hardman | 9.24.23

In this episode, we're tackling malnutrition. In the spotlight we have an intriguing report on obesity in developing countries. Then we speak to IFAD's Lead Technical Specialist on Nutrition, Joyce Njoro, about the factors driving food inflation and its impact on access to healthy diets. Also in episode 48, Nadine Gbossa shares with us the key findings from this year's UN Food Systems Stocktaking Moment. Prepare your taste buds for a treat as we introduce our latest Recipes for Change Chef – Walter El Nagar, a renowned chef and advocate for sustainable cuisine. And to end this episode we take you on a journey to Kenya to speak with IFAD's Moses Abukari about the substantial benefits of cultivating one of our top value chain crops in developing countries – sorghum. This is Farms. Food. Future – a podcast that's Good for You, Good for the Planet and Good for Farmers brought to you by the International Fund for Agricultural Development. For more information: https://www.ifad.org/en/podcasts/episode48 https://www.ifad.org https://www.ifad.org/en/web/latest/recipes-for-change https://www.ifad.org/en/nutrition https://www.unfoodsystemshub.org/en https://www.materfondazione.com/

Have you noticed that your cats are scratching more lately? Sometimes our cats scratch so much the entire bed shakes! But why are they itchy when we see no fleas, bugs, or rashes on our cats? There are some common skin conditions that might be the cause of the scratching, but how can we tell exactly what's going on? Some cats can even develop behavior problems as a result of the irritation and feeling just plain yucky. Should we be worried when our cats scratch so much they leave scabs and raw sores? When our cats are so itchy that they drive themselves (and you) and little crazy, if they seem to be in pain, and/or full of little scabs, it is definitely time for a visit to your veterinarian. Dr. Kelly Cairns is here to let us know what might be, or not be, causing your cat so much discomfort, and what your veterinarian is on the lookout for, so we can get your cat back to feeling like his usual kitty self. EPISODE NOTES: Dr. Kelly Cairns: Itchy Kitties

Sasha and Kirsten dish the drama about all your favorite celebs, trending topics, and even anonymous submissions from listeners!

Sasha and Kirsten dish the drama about all your favorite celebs, trending topics, and even anonymous submissions from listeners!

EP 574 featuring a discussion on trending drummers

This week Kent and Liz talk about counting and the importance of not doing it with your children.

EP 574 featuring a discussion on trending drummers

What a milestone!We've made it 200 episodes, can you believe it? Thanks for coming along this journey with us. To commemorate our journey so far we had the Big Cheese himself on: Brett Gilchrist! If you remember, the last time we had him on was years ago. Brett shares with us some of the unique places God has brough us from this podcast to a church merger. Don't miss out!

For this week's BA Q&A, a listener wants to know when is the time for the next big financial step in her life. Then, a listener has a huge salary increase and she feels like her friends are counting her pockets and acting weird. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Join us as the our girl, Jill goes to babysit and the family attends an ostrich...uh...meeting at best. Other than that its pretty quiet in Duggar-world...NO! WAIT! Jill's book is out!!! This is not a drill, Diggers! Whit and I revisit the first half of "Counting the Cost". Revel in Simpsons references, the game: Dream Phone, and feel the excitement as we share more of "What We're Digging On." Like what you hear? Would you like to support us? Dig on over to https://www.buymeacoffee.com/diggingupthedug  Enjoy our episode visuals and maybe some Mildred content on insta @digginguptheduggarspod  Want to send us regular mail?  Send it on over to P.O. Box 5973 Glendale. Az 85312

Marcy and Dee will be discussing some of the highlights they feel are noteworthy about Jill's new book Counting the Cost. If anyone understands the cost of distancing yourself from a cult, it would be a Duggar. Marcy and Dee will be discussing some of the highlights they feel are noteworthy about Jill's new book Counting the Cost. If anyone understands the cost of distancing yourself from a cult, it would be a Duggar. Umbrella Rebellion is a podcast where we share our experience in the ATI/IBLP and fundamental cults. We are on a journey of healing and exposing the teachings that lead to and justify abuse. It is our hope that those who are experiencing abuse can find support and escape from it. Leave a Tip: https://ko-fi.com/umbrellarebellion We hope that you will join the Umbrella Rebellion. https://www.umbrellarebellion.com Merch: https://umbrella-rebellion-podcast.creator-spring.com Facebook: https://www.facebook.com/UmbrellaRebellion Facebook Support group: https://www.facebook.com/groups/236656771132912/ Instagram: https://www.instagram.com/umbrellarebellion/ #jilldillard #jillduggar #countingthecostbookreview #countingthecost #duggar #jillduggarbook #jillduggarbookreview --- Send in a voice message: https://podcasters.spotify.com/pod/show/umbrellarebellion/message Support this podcast: https://podcasters.spotify.com/pod/show/umbrellarebellion/support

Episode 5 of Ahsoka received a cinematic release… and the guys discuss what that means for the show (96).

From 'The Daily Ticket' (subscribe here): Jeff Riger answers the question circulating around Detroit and Lions fans….Have you lost confidence in Lions head coach Dan Campbell? 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

Rachel Van Stratton-Kirk is a medical device marketing leader from Orange County, California. She was diagnosed at 35 with metastatic breast cancer (MBC) not long after her initial stage I diagnosis. Rachel is the third generation of her family to receive a breast cancer diagnosis. In this episode Rachel reads her essay “Time” from the 2023 “Five Years & Counting” issue of Wildfire Magazine. It is a piece about beating statistics and the lightness of embracing flat closure. April and Rachel will discuss putting thoughts into words to express what you really need to say, Rachel's MBC statistics, who to trust when sharing about your cancer both professionally and personally, thoughts on caregivers, and explanting implants. They will also talk about the concept of time after a cancer diagnosis. More about Rachel: https://www.instagram.com/rjvsk/Buy the “Five Years & Counting” issue of Wildfire: https://www.wildfirecommunity.org/shop/p/5years23Buy the Wildfire book Igniting the Fire Within: Stories of Healing, Hope & Humor, Inside Today's Young Breast Cancer Community: https://www.amazon.com/dp/B0BJVJ629F?ref_=pe_3052080_397514860Get the free Wildfire “Hot Flashes” email newsletter: https://www.wildfirecommunity.org/newsletter?rq=newsletterLearn about Wildfire writing workshops: https://www.wildfirecommunity.org/workshopsShop Wildfire merch & more: https://www.wildfirecommunity.org/shop*Free* Get Wildfire and The Burn freebies here: https://www.wildfirecommunity.org/freeMore about Wildfire Magazine: https://www.wildfirecommunity.orghttps://www.instagram.com/wildfire_bc_magazine/https://www.facebook.com/wildfirecommunityInformation on submitting your story for consideration to be published in Wildfire Magazine: dhttps://www.wildfirecommunity.org/submissionshttps://www.wildfirecommunity.org/podcast

Did you know there is an app that can help reduce the risk of stillbirth in the end of pregnancy? I know a big fear of many moms out there is how to know if your baby is healthy as your pregnancy gets closer to your due date (and even beyond your due date). You can easily add in an evidence-baed approach of daily kick counts to your routine to check-in on baby's well-being. Joining me today is Emily Price, the CEO of Count the Kicks, to discuss stillbirth rates in the US, why there are such racial disparities and risk factors you need to know about. Most importantly, we will dive into the common myths around stillbirth and what not to do if you think your baby's movements have reduced compared to their normal patterns! Count the Kicks has a public health campaign that educates and empowers expectant parents to track their babies' movements in the third trimester of pregnancy.    The Birth Lounge: https://www.thebirthlounge.com/   Count the Kicks: https://countthekicks.org/

Kristin welcomes semi-retired nomadic entrepreneur, globetrotter, and radio host, Palle Bo, back to the show for the first time in 5 years. Also known as The Radio Vagabond, Palle has traveled to at least 115 countries since leaving his career, home, and old life behind in Denmark. In this open and candid conversation, he shares his travel tips, insights, and challenges with you, as well as how he has so much energy for perpetual travel!   SPECIAL OFFERS:  Save money on car rentals with DiscoverCars.com. Get a new travel or laptop bag or carry-on at Minaal. Subscribe to Kristin's weekly e-mail list. Join Patreon for $5 to be a part of our next Live Call & Hangout, happening on Sunday, Sept 24, 2023.   Listen to Palle's previous interview about Becoming a Digital Nomad in your 50s.   Connect with Palle:  Listen to his amazing podcast Follow him on Instagram   Connect with Kristin and Support the Show: *   Become a Patron *   Buy a Coffee *   Follow on Instagram *   Join the Facebook Group *   Leave a 5-Star Review *   Subscribe on YouTube   See the show notes pages on BadassDigitalNomads.com or TravelingwithKristin.com/podcast  for time stamps, transcripts, and more resources from this episode.

Do we have a treat for you! On this episode of 19 Cats and Counting, the legendary Sandy Robins joins Linda and Rita to talk tech… There are so many advances in technology that benefit so many different industries, and Cat Health and Wellness is no exception. From litter boxes that scoop and sanitize to microchips that allow you (and maybe your pet sitter) to locate shy cats who like to hide away, cats have benefitted from technology in ways we never thought possible. Join us as Sandy Robins shows us some of these new items, many of which will be on every cat lover's holiday gift list this year! EPISODE NOTES: Sandy Robins Talks Tech and Cats

Bob Dancer is the world's best known authority on Video Poker, having written many books, and countless articles on the subject. He of course was my cohost and founder of Gambling With an Edge for 12 years. But in this episode we are going back to when he was trying to be a professional backgammon player in the 1970s in Los Angeles, where cheating was a very real danger. You can reach me at lifeisagamblepod@gmail.com, or find me on Twitter @RWM21. If you like the show please tell a friend you think might like it, or if you are really ambitious leave a review wherever you listen.Linkshttp://bobdancer.comhttp://gamblingwithanedge.comThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5604745/advertisement

In this episode, we review Jill Duggar Dillard's new book, Counting the Cost, co-authored by her husband Derick Dillard and Craig Borlase. "For the first time, discover the unedited truth about the Duggars, the traditional Christian family that captivated the nation on TLC's hit show 19 Kids and Counting. Jill Duggar and her husband Derick are finally ready to share their story, revealing the secrets, manipulation, and intimidation behind the show that remained hidden from their fans."To us, this book felt honest and relatable. We would recommend that our listeners read this book. TW: In general we talk about a lot of potentially triggering topics on this show, including but not limited to suicide and mental health, racism, misogyny, PTSD and PTSD symptoms, child abuse, mental, physical, and sexual abuse, and spiritual abuse including guilt, shame, and fear. In most episodes we'll mention at least a few of these topics, but we try very hard to avoid graphic detail unless it's relevant to the story we're telling, and we do our best to give the audience a heads-up before going into detail on any of these topics.An extended, uncensored, and ad-free version of this podcast episode is available to subscribers at Patreon.com/LeavingEdenPodcastWE HAVE NEW MERCH AVAILABLE, AND A NEW MERCH SHOP, at https://leavingedenpodcast.threadless.comStream the Leaving Eden Podcast theme song, Rolling River of Time on Spotify! https://open.spotify.com/artist/6lB7RwSQ9X5gnt1BDNugyS?si=jVhmqFfYRSiruRxekdLgKA.Join our Facebook Discussion group! https://www.facebook.com/groups/edenexodusJoin our subreddit! Reddit.com/r/EdenExodusInstagram:https://www.instagram.com/leavingedenpodcast/https://www.instagram.com/sadiecarpentermusic/https://www.instagram.com/gavrielhacohen/Twitter:https://twitter.com/HellYeahSadieFacebook:https://www.facebook.com/LeavingEdenPodcasthttps://www.facebook.com/GavrielHaCohen Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Creating a business from scrap requires you to accept the risks that come with entrepreneurship, overcome ever-changing challenges and above all else nurture the passion that drove you into the business in the first place. In this episode of But Who's Counting?, host Dave Hartley is joined by Jimmy Sansone, Brother and Co-Owner of The Normal Brand, a St. Louis-based clothing startup success story. Dave and Jimmy discuss how they grew The Normal Brand from their parents' basement to eight stores across five states with ups and downs along the way. The conversation dives into:·      Overcoming sudden adversity and leading your team to the other side intact·      Putting family first in the family business and why Jimmy's most important title is “Brother”·      Managing supply chain disruptions and keeping shipments on schedule·      How to build a business that scales even once it leaves your home state“Action is the best response [to an unexpected disaster]. We couldn't control everything, the one thing we could control was our reaction to it. Action is the best antidote to anything and so getting to action right away instead of sitting and stewing about it is something that my mom, my dad, my grandparents always encouraged.” -Jimmy SansoneResources to Count OnWant more insight into Dave and Jimmy's conversation? Check out these resources to learn more:·      Check out The Normal Brand's lineup of elevated clothing that fits your normal·      Connect with Jimmy on LinkedIn·      Follow The Normal Brand on InstagramMake sure to never miss an episode by subscribing on Spotify, Pandora or Apple Podcasts and let us know what you think by rating and reviewing. Keep up with more Anders insights by visiting our website and following us on social media:Facebook | LinkedIn | Instagram | Twitter

In our random thought we talk all about the Ig Nobles. We don't transcribe that, so you'll have to listen. Sorry! But now, let's talk about logic. When you are writing a novel and something doesn't make sense—let's say someone has brown eyes on page 2 and blue eyes on page 1—your editor if you have one is going to call you on that. If they don't call you on that, the readers' brain will hitch when they are reading. Editors are awesome. And what I'm saying is that we need editors for real life. That's because a lot of time people don't seem to listen to facts. Reason is what helps us justify our beliefs. But someties that means that we aren't awesome at seeing the truth. We like to cherry pick facts that support our own ideas and then we get biased. We start looking and seeing information that holds with what we already believe rather than information that goes counter to how we believe. These two cognitive scientists Hugo Mercier and Dan Sperber believe that reasoning is to help us function as a social group rather than as people who seek truth. A Psychology Today article by Jessica Schrader writes: "A number of studies document the many ways in which our political party distorts our reasoning. One study found that people who had strong math skills were only good at solving a math problem if the solution to the problem conformed to their political beliefs. Liberals were only good at solving a math problem, for instance, if the answer to that problem showed that gun control reduced crime. Conservatives were only good at solving this problem if the solution showed that gun control increased crime. Another study found that the higher an individual's IQ, the better they are at coming up with reasons to support a position—but only a position that they agree with. "Belonging to a particular political party can also shape our perception. In one study, researchers were asked to watch a video of protestors. Half of the participants were told the people in the video were protesting the military's “Don't Ask, Don't Tell” policy. The other half were told that the people were protesting an abortion clinic. Liberals reported saying the protestors were more violent and disruptive if they were told they were watching abortion clinic protestors, and the opposite was true for conservatives—even though everyone was watching the same video." DOG TIP FOR LIFE Hoarding all your toys on the couch isn't the best idea. LINKS TO LEARN MORE https://www.psychologytoday.com/us/blog/words-matter/201810/why-people-ignore-facts https://apnews.com/article/ig-nobels-prize-2023-3f34e020cfb9154c240dfef7c076f177 SHOUT OUT! The music we've clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here's a link to that and the artist's website. Who is this artist and what is this song? It's “Summer Spliff” by B