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12 episodes with i pity
4 episodes with i pity
2 episodes with i pity
2 episodes with i pity
2 episodes with i pity
I Pity the Fool | How to Thrive in Christ Week 3 Connect with us as we dive into 1 Corinthians 1:10-31 and learn about working through disagreements and living unified to Thrive in Christ! Connect with us, Send Prayer Requests and Stay Up To Date on our FREE ChurchApp: thevine.tv/app [Sermon Notes: https://churchlinkfeeds.blob.core.windows.net/notes/40960/note-225774.html ] [Video: https://youtu.be/HKOS2vAZG1E ] DMCA used with permission via through our Multitracks.com Streaming License 2100 info: thevine.tv/license Full Worship Experience: https://youtu.be/yUM-Opv8_Q4 Website: https://thevine.tv Facebook: https://www.facebook.com/thevinetvSC Instagram: https://www.instagram.com/thevine.tv Twitter: https://x.com/thevinetv LinkedIn: https://www.linkedin.com/company/thevinetv #jesus #jesuschrist #bible #bibleteaching #godlovesyou #godsfamily #allhaveaplace #church #churchonlineservice #churchonline #churchfamily #churchlive #praiseandworship #lovegodloveothers #thebestisstillyettocome #lifechanging #christiancommunity #thevinetv #joinspartanburg #vinefam #1corinthians #runtothefather
Our guest today is an absolute icon in the canine welfare world, for many reasons. In 2014, he founded I Pity the Bull, an organization that is dedicated to providing education about responsible pet ownership, spay and neuter, and improving the communication between dog and human. I Pity the Bull was inspired by a pit bull girl named Penny Lane as an effort to reverse negative stereotypes around this breed of dogs. John's belief is, just as a human is a human before their race, a dog is a dog first before their breed. Their mission, and this is a powerful one, educate, advocate. and never discriminate. Goes beyond dogs, which is why you will not only find John and his team working with rescues and animal shelters, but also in schools with their educational program as well as out in the community assisting the unhoused and others in need.
Intro song: All Along the Watchtower by The Jimi Hendrix ExperienceAlbum 9: John Wesley Harding (1967)Song 1: The Ballad of Frankie Lee and Judas PriestSong 2: I Pity the Poor ImmigrantSong 3: Drifter's EscapeAlbum 10: Nashville Skyline (1969)Song 1: Peggy DaySong 2: Country PieSong 3: One More NightBonus song: Lay, Lady, LayOutro song: Lay Lady Lay by Buddy Guy
Tanya and Jonathan talk about the morality of having sex with a person shaped like a bear in Balder's Gate 3, the horror of Skibidi, Bobby Kotick's inflated salary and deflating appearance in The White Party video, and review some G-Fuel flavors that taste like Pokemon Trainers, Spider-Man and Pewdiepie. Our guest Lynn talks about making it big on Tiktok with amazing gaming observations and Spongebob conversations, and Quinn talks about the magic, mystery and potential for Pikmin 4. Time codes: 0:00:00 - I Pity the FU0:02:34 - What Makes It Worth It?0:04:04 - Lyn Interview - Videogame TikToks0:31:13 - Skibidi0:33:01 - Sensual Baldur's Gate 30:38:09 - Quinn Interview - Pikmin Theories1:02:07 - Bobby Kotick's White Party Music Video1:04:32 - Product Review - G Fuel1:14:52 - Wrap Up/Plugs1:18:02 - Bear Sex Bear Sex song by Daniel on Soundcloud: https://soundcloud.com/d-booth-sanford/bear-sex-feat-jonathan-and-tanya Our guests Online: Lyn aka blpry: https://www.tiktok.com/@blpry?_t=8c1dFrgJudm&_r=1 Quinn: https://twitter.com/Q27 Support the show! www.patreon.com/ttwav
Laurence Tureaud is a National Treasure, he is at the same level of Dolly Parton for me, and he led a campaign as a spokesperson to promote masculinity...for a candy bar. He is known for his roles as B. A. Baracus in the 1980s television series The A-Team and as boxer Clubber Lang in the 1982 film Rocky III. He is also known for his distinctive hairstyle inspired by Mandinka warriors in West Africa, his copious gold jewelry, his tough-guy persona and his catchphrase "I pity the fool!", first uttered as Clubber Lang in Rocky III, then turned into a trademark used in slogans or titles, like the reality show I Pity the Fool in 2006. You may know him as Mr. T, I know him as the epitamy of cool, let's talk about candy bars and manliness on this episode of The Ranger Ryan Show.Hosted on Acast. See acast.com/privacy for more information. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tradepaperbacks/message --- Send in a voice message: https://podcasters.spotify.com/pod/show/rangerryan/message
Bon.... Le Captain a pété les plombs.... Mais pour raconter correctement l'histoire, il fallait au moins ça..... Cet épisode est un Monstre de presque 2h10. J'espère qu'il vous plaira. Cpt Diligaf PLAYLIST Aretha Franklin, Respect Bobby Blue Bland, Turn on Your Love Light C.L. Franklin, The Eagle Stirreth Her Nest Bobby Blue Bland, I Pity the Fool Mahalia Jackson, Precious Lord, Take My Hand John Lee Hooker, Boogie Chillen Dinah Washington, Cold Cold Heart Dinah Washington, Big Long Slidin' Thing Clara Ward, Peace in the Valley C.L. Franklin, I Am Climbing Higher Mountains The Caravans, What Kind of Man is This? The Soul Stirrers, Touch the Hem of his Garment Art Tatum, Tiger Rag Aretha Franklin, There is a Fountain Filled With Blood Sam Cooke, You Send Me The Cleo-Patrettes, No Other Love Etta James, All I Could Do Was Cry Helen Humes, Today I Sing the Blues Sam Cooke, Today I Sing the Blues Aretha Franklin, Today I Sing the Blues Erma Franklin, Hello Again Al Jolson, Rock-a-Bye Your Baby With a Dixie Melody Aretha Franklin, Rock-a-Bye Your Baby With a Dixie Melody Andy Williams, Moon River Aretha Franklin, Try a Little Tenderness Otis Redding, Try a Little Tenderness Martin Luther King, Original ‘I Have a Dream' Speech Aretha Franklin, I Wanna Be Around Aretha Franklin, Skylark Aretha Franklin, What a Diff'rence a Day Made Brook Benton and Dinah Washington, Baby, You Got What it Takes Aretha Franklin, Runnin' Out of Fools Patti Page, Hush, Hush, Sweet Charlotte Wilson Pickett, Mustang Sally Otis Redding, Respect Aretha Franklin I Never Loved a Man (the Way I Love You) (demo) Aretha Franklin, I Never Loved a Man (the Way I Love You) Dan Penn and Spooner Oldham, Do Right Woman, Do Right Man Aretha Franklin, Do Right Woman, Do Right Man King Curtis, Green Onions Sam and Dave, When Something is Wrong With My Baby Simon and Garfunkel Still Crazy After All These Years (live in Central Park) Aretha Franklin, A Change is gonna come
Stick It in Mien Kampf! URL the Porn Dog. Kim Paid Veronica. NDBA: None Disclosure Burger Agreement. All of the Audiobooks are available in print form. Scott's Indecent Proposal Dream. Play games with one hand! Everybody is, Shame Foo Fighting. There were TWO heists. Respect the Weird. Does porn have a smell, cuz I like really wanted to know. Once, Twice, Three Times a Dude Lady. Can someone tell me why this sucks? The following safety manual has been brought to you with limited interruption by Amy. I Pity the FOO with Wendi and more on this episode of The Morning Stream. Learn more about your ad choices. Visit megaphone.fm/adchoices
Stick It in Mien Kampf! URL the Porn Dog. Kim Paid Veronica. NDBA: None Disclosure Burger Agreement. All of the Audiobooks are available in print form. Scott's Indecent Proposal Dream. Play games with one hand! Everybody is, Shame Foo Fighting. There were TWO heists. Respect the Weird. Does porn have a smell, cuz I like really wanted to know. Once, Twice, Three Times a Dude Lady. Can someone tell me why this sucks? The following safety manual has been brought to you with limited interruption by Amy. I Pity the FOO with Wendi and more on this episode of The Morning Stream. Learn more about your ad choices. Visit megaphone.fm/adchoices
Video episode here: https://youtu.be/760B_mth0yw Christmas has come to Funbear-iville! Ray brings his special Christmas Cake to the table (literally) and Brad's neuroses are revealed in nauseating detail. Ray turns his snippy, sniping, snotty comments AWAY from Chuck for once, and Brad is in his crosshairs! The FBJ talk about some new Christmas projects this year, including The Guardians of the Galaxy Christmas Special, A Christmas Story Christmas, and Ryan Reynolds' and Will Ferrell's "Spirited." They also dive into some of their favorite lesser-know Christmas specials, including The Best Christmas Pageant Ever, A Muppet Family Christmas, and finally the Nirvanna the Band the Show Christmas Special, "The Bean." Follow us everywhere @funbearablepod Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com
Video episode here: https://youtu.be/yE_itKfL1g4 This is a WEIRD ONE, kids. Ray and Brad are chipper and ready to go! Chuck is roadkill come-to-life. The guys talk about their week - including Brad and Chuck moderating at RI Comic Con, Chuck heading to New Orleans for Mark Normand's wedding, and then playing the first Senior Discount show in two years with the Pilfers. The week has left Chuck savaged and ravaged. Ray tells some fun wedding stories! The episode takes a strange turn around an hour-and-a-half. Before that - it's your typical FUNbearable ep, full of laughs, stacked with giggz, etc. After the 97-minute mark, we break into issues of anxiety, depression, and insecurities within the Fun Bear Jamboree. Warning: It honestly gets sad and dark, and we don't blame you if you turn it off before that point. But if you're also going through some hard stuff as well, we hope you get something from knowing other people are going through low, low lows. Follow us everywhere @funbearablepod Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com
We're digging into our more of our inbox to tackle more of our listener mail, including; ideas for future Pitch Doctors episodes, the man who got Chuck drunk at RI Comic Con 2021, a listener's elderly mother LOVING that Indiana Jones is a pedophile, and the possible future and return of Dr. McFrankenstein! If you'd like to reach out, write us at funbearablepod@gmail.com Follow us everywhere @funbearablepod Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com
Video available here: https://youtu.be/FWS-iM9Kh_M Happy Thanksgiving Funbears! This year, we introduce the world's very first Thanksgiving mascot; Gibby the Thanksgiving Ghoul! Chuck and Brad take on the task of writing the script for the very first story starring Gibby. Ray, of course, doesn't get to see the script until we're recording - and he's the main character. The synopsis of our fictional story: "When Ray Harrington is invited into Chuck Staton's world of journalism, the power and acclaim goes right to his head - pushing him into some questionable decisions and behavior. When he loses touch with the essence of Thanksgiving, can anyone - or any GHOUL - help save his soul before it's too late?" Video edit by Craig Depina. Follow us everywhere @funbearablepod Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com
Video of this episode here: https://youtu.be/zYMzLsN8Y6E This week, comic Katie Arroyo joins the Funbear Jamboree! We open the show by spending a hurtful amount of time making fun of Katie's leather jacket. We then get into the home of Funbearable - Rhode Island, and the great makers in the area, including Bad Taste PVD + Hungry Ghost Press. We also talk about the musical fruit (beans) and Chuck coins the phrase "hurtin' for a squirtin' " - much to everyone's chagrin. Video edit by Craig Depina. Follow us everywhere @funbearablepod + Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com
We started the podcast a little while back, and in that time, a LOT of listener mail has piled up. Today we sit down and go through of much that mail as possible in two hours, answering any and all questions - no matter how salacious or upsetting*!!!! *None of the questions were either of those things. Follow us everywhere @funbearablepod Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com
Video version available at: https://youtu.be/LUkXquPRwCQ The Funbear Jamboree is back in the bear cage, everybody! This week the boys talk about Armie Hammer and debate whether or not he's an actual cannibal, the death of the Queen (we JUST found out) and talk a LOT about whether or not we would eat human meat. Video edit by Craig Depina Follow us everywhere @funbearablepod Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com
Great scott! We're posting a very special throwback episode in honor of November 5th! The day that Doc Brown invented the flux capacitor. Last year, Back to the Future writer and producer Bob Gale graced Ray Harrington with his presence on Ray's previous podcast, Ray Harrington Must Content. We're reposting the episode here in all its glory to celebrate our love for the Back to the Future series (we also argue a bunch about time travel logistics at the beginning of the episode). Original episode description: "Bob Gale makes Content™ with Ray as they discuss all things Back To The Future! The writing process, the small details and easter eggs, making half the movie with a different actor, and a public apology for the Back To The Future Nintendo game! All this and more in a very special episode of Ray Harrington Must Content." Follow us everywhere @funbearablepod Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com
Video available at: https://youtu.be/G77cXFJtxNo Joe List joins the Funbearable gang this week! We talk about Joe's storied stand-up career, his recent movie "Fourth of July," the upcoming documentary he's making in Florida, and Chuck tells an extremely regrettable, off-putting story that makes everyone upset. Video edit by Kyle Baillargeron Follow us everywhere @funbearablepod Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com
The video for this episode is available at https://youtu.be/zxH6cI6PbR8 It's the first ever Funbearable Halloween Special! It's "October 31st, 2022" and our three hosts are sitting on a porch in Rhode Island, handing out candy to trick r' treaters, and giggling more than all of the children in the neighborhood combined. Brad opens the episode with a bloodsucking edition of "The Rohrer You Know" to teach Ray and Chuck about the history of vampires in RI. Chuck brings an incredible REAL LIFE mystery to the table that happened to him!! Is it due to the dark arts? Ghoulish intervention? Aliens? Kaiju? Listen and judge for yourself! Finally, we close with an original screenplay by Ray and Chuck, performed by all three of the Fun Gang. An epic Halloween tale (with an erotic climax) titled "Monster Mash: The Movie." Video edit by Kyle Baillargeron Follow us everywhere @funbearablepod Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com Big thanks to Blue Chew! Try Blue Chew for free at http://www.bluechew.com/FUNBEARABLE
The video of this episode is available on Youtube: https://youtu.be/vSxRAuFiylo We're releasing a very special throwback, Funbears! In 2021, Chuck, Brad and Ray sat down to record the 2021 Chuck and Brad Podcast Halloween Special, which was a rare "Chuck and Brad Podcast" episode that was filmed. This was one of the episodes that led to Funbearable, and it was ALSO the birth of a segment we LOVE - "Strangers and Fiction." Please enjoy the spooky throwback. Here's the original description of the episode: "It is here. Ray Harrington joins us to celebrate Halloween with a brand new segment on the CB pod - "Strangers and Fiction" where we get to read three stories that they've never read before. The twist is, these stories were written about...THEMSELVES!! Happy Halloween! - Chuck" Follow us everywhere @funbearablepod Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com Big thanks to Blue Chew! Try Blue Chew for free at http://www.bluechew.com/FUNBEARABLE
This episode is available on video at: https://youtu.be/UBLhxouPCUE Brad, Ray and Chuck sit down ahead of their big Halloween episode to tackle some light Halloween topics in their normal Funbearable way. They ask the question "What are ghouls?" and get some help from listener and incredible artist Kenny Rubenis on monetizing their banter. Chuck flips out over the news that Hugh Jackman will be resurrecting his portrayal of Wolverine for Marvel's new Deadpool movie with Ryan Reynolds. And finally, they talk about the elephant in the room, that has been here since the very first episode. Why the f@&k does ANYONE like E.T.? Video edit by Craig Depina. Follow us everywhere @funbearablepod Enjoy everything Funbearable (including our new "I Pity the Ghoul" stickers) at funbearablepod.com Big thanks to Blue Chew! Try Blue Chew for free at http://www.bluechew.com/FUNBEARABLE
We've put the "Gone Fishing" sign up here at Spot Lyte On… as we wrap up Season 6 and get things ready for the next one. But that doesn't mean we want you to miss out on your weekly dose of LP's conversations with his fascinating guests. So we'll be featuring a few "best of" Spot Lyte On… episodes over the next few weeks. Season 7 with Osiris starts next week on July 7th!For this "best of" episode, Dimitri Ehrlich joins LP to talk about how they've seen NYC evolve, mindfulness, writing for television, and their hip hop and rock n' roll experiences.Dimitri was raised on a macrobiotic commune. He has studied Tibetan Buddhism and Chinese martial arts for more than 25 years. He has jammed with Prince and the Beastie Boys and gotten drunk with Keith Richards. His travel writings include sojourns to Tibet, Cuba, India, Cambodia, China, Nepal, and the Amazon rainforest where he was nearly eaten by a crocodile.Dimitri Ehrlich is a television writer, author, journalist and musician. He was head writer for three years of VH1 Hip-Hop Honors. He was also a writer for many years of the MTV Video Music Awards. Other MTV credits include “The Slim Shady National Convention with Eminem,” “Vote or Die: with P. Diddy,” “50 Cent House Party,” “MTV Movie Awards Great Little Films,” and “Britney Spears: For The Record.” He also wrote the nationally syndicated hip-hop entertainment series “The Source: All Access,” "I Pity the Fool," with Mr. T on TV Land, and numerous other shows. In addition to writing, Ehrlich also appeared as on-air host of “Sonic Cinema” on the Sundance Channel, and was head writer and--along with Janeane Garafaolo--co-host of MTV's Indie Outing.He is the author of “Move The Crowd: Voices and Faces of the Hip-Hop Nation,” and “Inside the Music” Conversations with Contemporary Musicians about Creativity, Spirituality, and Consciousness.” He also contributed a chapter to “Shiny Adidas Track Suits and the Death of Camp: The Best of Might Magazine,” an anthology edited by Dave Eggers. See acast.com/privacy for privacy and opt-out information.
We've put the "Gone Fishing" sign up here at Spot Lyte On… as we wrap up Season 6 and get things ready for the next one. But that doesn't mean we want you to miss out on your weekly dose of LP's conversations with his fascinating guests. So we'll be featuring a few "best of" Spot Lyte On… episodes over the next few weeks. Season 7 with Osiris starts next week on July 7th!For this "best of" episode, Dimitri Ehrlich joins LP to talk about how they've seen NYC evolve, mindfulness, writing for television, and their hip hop and rock n' roll experiences.Dimitri was raised on a macrobiotic commune. He has studied Tibetan Buddhism and Chinese martial arts for more than 25 years. He has jammed with Prince and the Beastie Boys and gotten drunk with Keith Richards. His travel writings include sojourns to Tibet, Cuba, India, Cambodia, China, Nepal, and the Amazon rainforest where he was nearly eaten by a crocodile.Dimitri Ehrlich is a television writer, author, journalist and musician. He was head writer for three years of VH1 Hip-Hop Honors. He was also a writer for many years of the MTV Video Music Awards. Other MTV credits include “The Slim Shady National Convention with Eminem,” “Vote or Die: with P. Diddy,” “50 Cent House Party,” “MTV Movie Awards Great Little Films,” and “Britney Spears: For The Record.” He also wrote the nationally syndicated hip-hop entertainment series “The Source: All Access,” "I Pity the Fool," with Mr. T on TV Land, and numerous other shows. In addition to writing, Ehrlich also appeared as on-air host of “Sonic Cinema” on the Sundance Channel, and was head writer and--along with Janeane Garafaolo--co-host of MTV's Indie Outing.He is the author of “Move The Crowd: Voices and Faces of the Hip-Hop Nation,” and “Inside the Music” Conversations with Contemporary Musicians about Creativity, Spirituality, and Consciousness.” He also contributed a chapter to “Shiny Adidas Track Suits and the Death of Camp: The Best of Might Magazine,” an anthology edited by Dave Eggers. Hosted on Acast. See acast.com/privacy for more information.
Today, Hilary Morgan Ferrer joins the podcast! She share a bit about what has been going on in her life since her last appearance on the podcast, and the passion behind Mama Bear Apologetics. She talks about faith deconstruction, hypocrisy, spiritual obstacles and expectational doubt and so much more! She also shares what causes her personally to believe in the God of the Christian Bible. We hope you enjoy this jam-packed episode! Hillary Morgan Ferrer is the founder and Mama-Bear-in-Chief of Mama Bear Apologetics. She feels a burden for providing accessible apologetics resources for busy moms. She is the chief author and editor of the bestselling Mama Bear Apologetics: Empowering Your Kids to Challenge Cultural Lies and Mama Bear Apologetics Guide to Sexuality: Empowering Your Kids to Understand and Live Out God's Design. Hillary has her master's degree in biology from Clemson University and is working on a master's degree in apologetics from Biola University. She loves helping moms to discern both truths and lies in science and culture, and she also specializes in understanding the root causes of doubt. She and her husband, John, have been married for 15 years and minister together as an apologetics team. She can never sneak up on anybody because of her chronic hiccups, which you can hear occasionally on the podcast.___________________We would love to thank our Patrons for all their amazing support! To learn more about supporting Finding Something REAL via Patreon, click here!FSR s5e17 Totti's Intro EpisodeFSR s2e18 part 1 with Totti and BrandonFSR s2e18 part 2 with Totti and BrandonFSR s3e22 with the Exchange LadiesFSR: Holy Tension and Tough Topics with Drew Berryessa FSR: Same-Sex Attraction and the Church with Drew BerryessaFSR: Are Christians Judgier than Jesus? With Drew and Cynthia Can We Trust the Bible? with Leah Chapman and Andrew FosterMama Bear Apologetics Mama Bear Books Mama Bear Apologetics Facebook, Instagram, and YouTubeMBA Episode 71: I Pity the FoolFSR: Christian and LDS: What's the Difference? with Lindsey Medenwaldt (2022)FSR: Why Christianity? with Lindsey Medenwaldy (2021)FSR: Today's Big Questions with Hilary Morgan Ferrer (2019)A Living Letter Ministries Biola Apologetics ProgramClay JonesWilliam Lane CraigC. S. Lewis' TrilemnaIs Atheism Dead? - Eric MetaxasThe Discovery InstituteThe Parable of the Talents -Matthew 25:14-30Proverbs 15:22Plans fail for lack of counsel, but with many advisers they succeed.Psalm 51:17The sacrifices of God are a broken spirit,A broken and a contrite heart—These, O God, You will not despiseLuke 9:23Then He said to them all, “If anyone desires to come after Me, let him deny himself, and take up his cross daily, and follow Me.
Episode 149 of A History of Rock Music in Five Hundred Songs looks at “Respect", and the journey of Aretha Franklin from teenage gospel singer to the Queen of Soul. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "I'm Just a Mops" by the Mops. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Also, people may be interested in a Facebook discussion group for the podcast, run by a friend of mine (I'm not on FB myself) which can be found at https://www.facebook.com/groups/293630102611672/ Errata I say "Rock-a-Bye Your Baby to a Dixie Melody" instead of "Rock-a-Bye Your Baby With a Dixie Melody". Also I say Spooner Oldham co-wrote "Do Right Woman". I meant Chips Moman. Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. I also relied heavily on I Never Loved a Man the Way I Loved You by Matt Dobkin. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Rick Hall's The Man From Muscle Shoals: My Journey from Shame to Fame contains his side of the story. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. And the I Never Loved a Man album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I have to say that there are some things people may want to be aware of before listening to this. This episode has to deal, at least in passing, with subjects including child sexual abuse, intimate partner abuse, racism, and misogyny. I will of course try to deal with those subjects as tactfully as possible, but those of you who may be upset by those topics may want to check the episode transcript before or instead of listening. Those of you who leave comments or send me messages saying "why can't you just talk about the music instead of all this woke virtue-signalling?" may also want to skip this episode. You can go ahead and skip all the future ones as well, I won't mind. And one more thing to say before I get into the meat of the episode -- this episode puts me in a more difficult position than most other episodes of the podcast have. When I've talked about awful things that have happened in the course of this podcast previously, I have either been talking about perpetrators -- people like Phil Spector or Jerry Lee Lewis who did truly reprehensible things -- or about victims who have talked very publicly about the abuse they've suffered, people like Ronnie Spector or Tina Turner, who said very clearly "this is what happened to me and I want it on the public record". In the case of Aretha Franklin, she has been portrayed as a victim *by others*, and there are things that have been said about her life and her relationships which suggest that she suffered in some very terrible ways. But she herself apparently never saw herself as a victim, and didn't want some aspects of her private life talking about. At the start of David Ritz's biography of her, which is one of my main sources here, he recounts a conversation he had with her: "When I mentioned the possibility of my writing an independent biography, she said, “As long as I can approve it before it's published.” “Then it wouldn't be independent,” I said. “Why should it be independent?” “So I can tell the story from my point of view.” “But it's not your story, it's mine.” “You're an important historical figure, Aretha. Others will inevitably come along to tell your story. That's the blessing and burden of being a public figure.” “More burden than blessing,” she said." Now, Aretha Franklin is sadly dead, but I think that she still deserves the basic respect of being allowed privacy. So I will talk here about public matters, things she acknowledged in her own autobiography, and things that she and the people around her did in public situations like recording studios and concert venues. But there are aspects to the story of Aretha Franklin as that story is commonly told, which may well be true, but are of mostly prurient interest, don't add much to the story of how the music came to be made, and which she herself didn't want people talking about. So there will be things people might expect me to talk about in this episode, incidents where people in her life, usually men, treated her badly, that I'm going to leave out. That information is out there if people want to look for it, but I don't see myself as under any obligation to share it. That's not me making excuses for people who did inexcusable things, that's me showing some respect to one of the towering artistic figures of the latter half of the twentieth century. Because, of course, respect is what this is all about: [Excerpt: Aretha Franklin, "Respect"] One name that's come up a few times in this podcast, but who we haven't really talked about that much, is Bobby "Blue" Bland. We mentioned him as the single biggest influence on the style of Van Morrison, but Bland was an important figure in the Memphis music scene of the early fifties, which we talked about in several early episodes. He was one of the Beale Streeters, the loose aggregation of musicians that also included B.B. King and Johnny Ace, he worked with Ike Turner, and was one of the key links between blues and soul in the fifties and early sixties, with records like "Turn on Your Love Light": [Excerpt: Bobby "Blue" Bland, "Turn on Your Love Light"] But while Bland was influenced by many musicians we've talked about, his biggest influence wasn't a singer at all. It was a preacher he saw give a sermon in the early 1940s. As he said decades later: "Wasn't his words that got me—I couldn't tell you what he talked on that day, couldn't tell you what any of it meant, but it was the way he talked. He talked like he was singing. He talked music. The thing that really got me, though, was this squall-like sound he made to emphasize a certain word. He'd catch the word in his mouth, let it roll around and squeeze it with his tongue. When it popped on out, it exploded, and the ladies started waving and shouting. I liked all that. I started popping and shouting too. That next week I asked Mama when we were going back to Memphis to church. “‘Since when you so keen on church?' Mama asked. “‘I like that preacher,' I said. “‘Reverend Franklin?' she asked. “‘Well, if he's the one who sings when he preaches, that's the one I like.'" Bland was impressed by C.L. Franklin, and so were other Memphis musicians. Long after Franklin had moved to Detroit, they remembered him, and Bland and B.B. King would go to Franklin's church to see him preach whenever they were in the city. And Bland studied Franklin's records. He said later "I liked whatever was on the radio, especially those first things Nat Cole did with his trio. Naturally I liked the blues singers like Roy Brown, the jump singers like Louis Jordan, and the ballad singers like Billy Eckstine, but, brother, the man who really shaped me was Reverend Franklin." Bland would study Franklin's records, and would take the style that Franklin used in recorded sermons like "The Eagle Stirreth Her Nest": [Excerpt: C.L. Franklin, "The Eagle Stirreth Her Nest"] And you can definitely hear that preaching style on records like Bland's "I Pity the Fool": [Excerpt: Bobby "Blue" Bland, "I Pity the Fool"] But of course, that wasn't the only influence the Reverend C.L. Franklin had on the course of soul music. C.L. Franklin had grown up poor, on a Mississippi farm, and had not even finished grade school because he was needed to work behind the mule, ploughing the farm for his stepfather. But he had a fierce intelligence and became an autodidact, travelling regularly to the nearest library, thirty miles away, on a horse-drawn wagon, and reading everything he could get his hands on. At the age of sixteen he received what he believed to be a message from God, and decided to become an itinerant preacher. He would travel between many small country churches and build up audiences there -- and he would also study everyone else preaching there, analysing their sermons, seeing if he could anticipate their line of argument and get ahead of them, figuring out the structure. But unlike many people in the conservative Black Baptist churches of the time, he never saw the spiritual and secular worlds as incompatible. He saw blues music and Black church sermons as both being part of the same thing -- a Black culture and folklore that was worthy of respect in both its spiritual and secular aspects. He soon built up a small circuit of local churches where he would preach occasionally, but wasn't the main pastor at any of them. He got married aged twenty, though that marriage didn't last, and he seems to have been ambitious for a greater respectability. When that marriage failed, in June 1936, he married Barbara Siggers, a very intelligent, cultured, young single mother who had attended Booker T Washington High School, the best Black school in Memphis, and he adopted her son Vaughn. While he was mostly still doing churches in Mississippi, he took on one in Memphis as well, in an extremely poor area, but it gave him a foot in the door to the biggest Black city in the US. Barbara would later be called "one of the really great gospel singers" by no less than Mahalia Jackson. We don't have any recordings of Barbara singing, but Mahalia Jackson certainly knew what she was talking about when it came to great gospel singers: [Excerpt: Mahalia Jackson, "Precious Lord, Take My Hand"] Rev. Franklin was hugely personally ambitious, and he also wanted to get out of rural Mississippi, where the Klan were very active at this time, especially after his daughter Erma was born in 1938. They moved to Memphis in 1939, where he got a full-time position at New Salem Baptist Church, where for the first time he was able to earn a steady living from just one church and not have to tour round multiple churches. He soon became so popular that if you wanted to get a seat for the service at noon, you had to turn up for the 8AM Sunday School or you'd be forced to stand. He also enrolled for college courses at LeMoyne College. He didn't get a degree, but spent three years as a part-time student studying theology, literature, and sociology, and soon developed a liberal theology that was very different from the conservative fundamentalism he'd grown up in, though still very much part of the Baptist church. Where he'd grown up with a literalism that said the Bible was literally true, he started to accept things like evolution, and to see much of the Bible as metaphor. Now, we talked in the last episode about how impossible it is to get an accurate picture of the lives of religious leaders, because their life stories are told by those who admire them, and that's very much the case for C.L. Franklin. Franklin was a man who had many, many, admirable qualities -- he was fiercely intelligent, well-read, a superb public speaker, a man who was by all accounts genuinely compassionate towards those in need, and he became one of the leaders of the civil rights movement and inspired tens of thousands, maybe even millions, of people, directly and indirectly, to change the world for the better. He also raised several children who loved and admired him and were protective of his memory. And as such, there is an inevitable bias in the sources on Franklin's life. And so there's a tendency to soften the very worst things he did, some of which were very, very bad. For example in Nick Salvatore's biography of him, he talks about Franklin, in 1940, fathering a daughter with someone who is described as "a teenager" and "quite young". No details of her age other than that are given, and a few paragraphs later the age of a girl who was then sixteen *is* given, talking about having known the girl in question, and so the impression is given that the girl he impregnated was also probably in her late teens. Which would still be bad, but a man in his early twenties fathering a child with a girl in her late teens is something that can perhaps be forgiven as being a different time. But while the girl in question may have been a teenager when she gave birth, she was *twelve years old* when she became pregnant, by C.L. Franklin, the pastor of her church, who was in a position of power over her in multiple ways. Twelve years old. And this is not the only awful thing that Franklin did -- he was also known to regularly beat up women he was having affairs with, in public. I mention this now because everything else I say about him in this episode is filtered through sources who saw these things as forgivable character flaws in an otherwise admirable human being, and I can't correct for those biases because I don't know the truth. So it's going to sound like he was a truly great man. But bear those facts in mind. Barbara stayed with Franklin for the present, after discovering what he had done, but their marriage was a difficult one, and they split up and reconciled a handful of times. They had three more children together -- Cecil, Aretha, and Carolyn -- and remained together as Franklin moved on first to a church in Buffalo, New York, and then to New Bethel Church, in Detroit, on Hastings Street, a street which was the centre of Black nightlife in the city, as immortalised in John Lee Hooker's "Boogie Chillun": [Excerpt: John Lee Hooker, "Boogie Chillen"] Before moving to Detroit, Franklin had already started to get more political, as his congregation in Buffalo had largely been union members, and being free from the worst excesses of segregation allowed him to talk more openly about civil rights, but that only accelerated when he moved to Detroit, which had been torn apart just a couple of years earlier by police violence against Black protestors. Franklin had started building a reputation when in Memphis using radio broadcasts, and by the time he moved to Detroit he was able to command a very high salary, and not only that, his family were given a mansion by the church, in a rich part of town far away from most of his congregation. Smokey Robinson, who was Cecil Franklin's best friend and a frequent visitor to the mansion through most of his childhood, described it later, saying "Once inside, I'm awestruck -- oil paintings, velvet tapestries, silk curtains, mahogany cabinets filled with ornate objects of silver and gold. Man, I've never seen nothing like that before!" He made a lot of money, but he also increased church attendance so much that he earned that money. He had already been broadcasting on the radio, but when he started his Sunday night broadcasts in Detroit, he came up with a trick of having his sermons run long, so the show would end before the climax. People listening decided that they would have to start turning up in person to hear the end of the sermons, and soon he became so popular that the church would be so full that crowds would have to form on the street outside to listen. Other churches rescheduled their services so they wouldn't clash with Franklin's, and most of the other Black Baptist ministers in the city would go along to watch him preach. In 1948 though, a couple of years after moving to Detroit, Barbara finally left her husband. She took Vaughn with her and moved back to Buffalo, leaving the four biological children she'd had with C.L. with their father. But it's important to note that she didn't leave her children -- they would visit her on a regular basis, and stay with her over school holidays. Aretha later said "Despite the fact that it has been written innumerable times, it is an absolute lie that my mother abandoned us. In no way, shape, form, or fashion did our mother desert us." Barbara's place in the home was filled by many women -- C.L. Franklin's mother moved up from Mississippi to help him take care of the children, the ladies from the church would often help out, and even stars like Mahalia Jackson would turn up and cook meals for the children. There were also the women with whom Franklin carried on affairs, including Anna Gordy, Ruth Brown, and Dinah Washington, the most important female jazz and blues singer of the fifties, who had major R&B hits with records like her version of "Cold Cold Heart": [Excerpt: Dinah Washington, "Cold Cold Heart"] Although my own favourite record of hers is "Big Long Slidin' Thing", which she made with arranger Quincy Jones: [Excerpt: Dinah Washington, "Big Long Slidin' Thing"] It's about a trombone. Get your minds out of the gutter. Washington was one of the biggest vocal influences on young Aretha, but the single biggest influence was Clara Ward, another of C.L. Franklin's many girlfriends. Ward was the longest-lasting of these, and there seems to have been a lot of hope on both her part and Aretha's that she and Rev. Franklin would marry, though Franklin always made it very clear that monogamy wouldn't suit him. Ward was one of the three major female gospel singers of the middle part of the century, and possibly even more technically impressive as a vocalist than the other two, Sister Rosetta Tharpe and Mahalia Jackson. Where Jackson was an austere performer, who refused to perform in secular contexts at all for most of her life, and took herself and her music very seriously, and Tharpe was a raunchier, funnier, more down-to-earth performer who was happy to play for blues audiences and even to play secular music on occasion, Ward was a *glamorous* performer, who wore sequined dresses and piled her hair high on her head. Ward had become a singer in 1931 when her mother had what she later talked about as a religious epiphany, and decided she wasn't going to be a labourer any more, she was going to devote her life to gospel music. Ward's mother had formed a vocal group with her two daughters, and Clara quickly became the star and her mother's meal ticket -- and her mother was very possessive of that ticket, to the extent that Ward, who was a bisexual woman who mostly preferred men, had more relationships with women, because her mother wouldn't let her be alone with the men she was attracted to. But Ward did manage to keep a relationship going with C.L. Franklin, and Aretha Franklin talked about the moment she decided to become a singer, when she saw Ward singing "Peace in the Valley" at a funeral: [Excerpt: Clara Ward, "Peace in the Valley"] As well as looking towards Ward as a vocal influence, Aretha was also influenced by her as a person -- she became a mother figure to Aretha, who would talk later about watching Ward eat, and noting her taking little delicate bites, and getting an idea of what it meant to be ladylike from her. After Ward's death in 1973, a notebook was found in which she had written her opinions of other singers. For Aretha she wrote “My baby Aretha, she doesn't know how good she is. Doubts self. Some day—to the moon. I love that girl.” Ward's influence became especially important to Aretha and her siblings after their mother died of a heart attack a few years after leaving her husband, when Aretha was ten, and Aretha, already a very introverted child, became even more so. Everyone who knew Aretha said that her later diva-ish reputation came out of a deep sense of insecurity and introversion -- that she was a desperately private, closed-off, person who would rarely express her emotions at all, and who would look away from you rather than make eye contact. The only time she let herself express emotions was when she performed music. And music was hugely important in the Franklin household. Most preachers in the Black church at that time were a bit dismissive of gospel music, because they thought the music took away from their prestige -- they saw it as a necessary evil, and resented it taking up space when their congregations could have been listening to them. But Rev. Franklin was himself a rather good singer, and even made a few gospel records himself in 1950, recording for Joe Von Battle, who owned a record shop on Hastings Street and also put out records by blues singers: [Excerpt: C.L. Franklin, "I Am Climbing Higher Mountains" ] The church's musical director was James Cleveland, one of the most important gospel artists of the fifties and sixties, who sang with groups like the Caravans: [Excerpt: The Caravans, "What Kind of Man is This?" ] Cleveland, who had started out in the choir run by Thomas Dorsey, the writer of “Take My Hand Precious Lord” and “Peace in the Valley”, moved in with the Franklin family for a while, and he gave the girls tips on playing the piano -- much later he would play piano on Aretha's album Amazing Grace, and she said of him “He showed me some real nice chords, and I liked his deep, deep sound”. Other than Clara Ward, he was probably the single biggest musical influence on Aretha. And all the touring gospel musicians would make appearances at New Bethel Church, not least of them Sam Cooke, who first appeared there with the Highway QCs and would continue to do so after joining the Soul Stirrers: [Excerpt: The Soul Stirrers, "Touch the Hem of his Garment"] Young Aretha and her older sister Erma both had massive crushes on Cooke, and there were rumours that he had an affair with one or both of them when they were in their teens, though both denied it. Aretha later said "When I first saw him, all I could do was sigh... Sam was love on first hearing, love at first sight." But it wasn't just gospel music that filled the house. One of the major ways that C.L. Franklin's liberalism showed was in his love of secular music, especially jazz and blues, which he regarded as just as important in Black cultural life as gospel music. We already talked about Dinah Washington being a regular visitor to the house, but every major Black entertainer would visit the Franklin residence when they were in Detroit. Both Aretha and Cecil Franklin vividly remembered visits from Art Tatum, who would sit at the piano and play for the family and their guests: [Excerpt: Art Tatum, "Tiger Rag"] Tatum was such a spectacular pianist that there's now a musicological term, the tatum, named after him, for the smallest possible discernible rhythmic interval between two notes. Young Aretha was thrilled by his technique, and by that of Oscar Peterson, who also regularly came to the Franklin home, sometimes along with Ella Fitzgerald. Nat "King" Cole was another regular visitor. The Franklin children all absorbed the music these people -- the most important musicians of the time -- were playing in their home, and young Aretha in particular became an astonishing singer and also an accomplished pianist. Smokey Robinson later said: “The other thing that knocked us out about Aretha was her piano playing. There was a grand piano in the Franklin living room, and we all liked to mess around. We'd pick out little melodies with one finger. But when Aretha sat down, even as a seven-year-old, she started playing chords—big chords. Later I'd recognize them as complex church chords, the kind used to accompany the preacher and the solo singer. At the time, though, all I could do was view Aretha as a wonder child. Mind you, this was Detroit, where musical talent ran strong and free. Everyone was singing and harmonizing; everyone was playing piano and guitar. Aretha came out of this world, but she also came out of another far-off magical world none of us really understood. She came from a distant musical planet where children are born with their gifts fully formed.” C.L. Franklin became more involved in the music business still when Joe Von Battle started releasing records of his sermons, which had become steadily more politically aware: [Excerpt: C.L. Franklin, "Dry Bones in the Valley"] Franklin was not a Marxist -- he was a liberal, but like many liberals was willing to stand with Marxists where they had shared interests, even when it was dangerous. For example in 1954, at the height of McCarthyism, he had James and Grace Lee Boggs, two Marxist revolutionaries, come to the pulpit and talk about their support for the anti-colonial revolution in Kenya, and they sold four hundred copies of their pamphlet after their talk, because he saw that the struggle of Black Africans to get out from white colonial rule was the same struggle as that of Black Americans. And Franklin's powerful sermons started getting broadcast on the radio in areas further out from Detroit, as Chess Records picked up the distribution for them and people started playing the records on other stations. People like future Congressman John Lewis and the Reverend Jesse Jackson would later talk about listening to C.L. Franklin's records on the radio and being inspired -- a whole generation of Black Civil Rights leaders took their cues from him, and as the 1950s and 60s went on he became closer and closer to Martin Luther King in particular. But C.L. Franklin was always as much an ambitious showman as an activist, and he started putting together gospel tours, consisting mostly of music but with himself giving a sermon as the headline act. And he became very, very wealthy from these tours. On one trip in the south, his car broke down, and he couldn't find a mechanic willing to work on it. A group of white men started mocking him with racist terms, trying to provoke him, as he was dressed well and driving a nice car (albeit one that had broken down). Rather than arguing with them, he walked to a car dealership, and bought a new car with the cash that he had on him. By 1956 he was getting around $4000 per appearance, roughly equivalent to $43,000 today, and he was making a *lot* of appearances. He also sold half a million records that year. Various gospel singers, including the Clara Ward Singers, would perform on the tours he organised, and one of those performers was Franklin's middle daughter Aretha. Aretha had become pregnant when she was twelve, and after giving birth to the child she dropped out of school, but her grandmother did most of the child-rearing for her, while she accompanied her father on tour. Aretha's first recordings, made when she was just fourteen, show what an astonishing talent she already was at that young age. She would grow as an artist, of course, as she aged and gained experience, but those early gospel records already show an astounding maturity and ability. It's jaw-dropping to listen to these records of a fourteen-year-old, and immediately recognise them as a fully-formed Aretha Franklin. [Excerpt: Aretha Franklin, "There is a Fountain Filled With Blood"] Smokey Robinson's assessment that she was born with her gifts fully formed doesn't seem like an exaggeration when you hear that. For the latter half of the fifties, Aretha toured with her father, performing on the gospel circuit and becoming known there. But the Franklin sisters were starting to get ideas about moving into secular music. This was largely because their family friend Sam Cooke had done just that, with "You Send Me": [Excerpt: Sam Cooke, "You Send Me"] Aretha and Erma still worshipped Cooke, and Aretha would later talk about getting dressed up just to watch Cooke appear on the TV. Their brother Cecil later said "I remember the night Sam came to sing at the Flame Show Bar in Detroit. Erma and Ree said they weren't going because they were so heartbroken that Sam had recently married. I didn't believe them. And I knew I was right when they started getting dressed about noon for the nine o'clock show. Because they were underage, they put on a ton of makeup to look older. It didn't matter 'cause Berry Gordy's sisters, Anna and Gwen, worked the photo concession down there, taking pictures of the party people. Anna was tight with Daddy and was sure to let my sisters in. She did, and they came home with stars in their eyes.” Moving from gospel to secular music still had a stigma against it in the gospel world, but Rev. Franklin had never seen secular music as sinful, and he encouraged his daughters in their ambitions. Erma was the first to go secular, forming a girl group, the Cleo-Patrettes, at the suggestion of the Four Tops, who were family friends, and recording a single for Joe Von Battle's J-V-B label, "No Other Love": [Excerpt: The Cleo-Patrettes, "No Other Love"] But the group didn't go any further, as Rev. Franklin insisted that his eldest daughter had to finish school and go to university before she could become a professional singer. Erma missed other opportunities for different reasons, though -- Berry Gordy, at this time still a jobbing songwriter, offered her a song he'd written with his sister and Roquel Davis, but Erma thought of herself as a jazz singer and didn't want to do R&B, and so "All I Could Do Was Cry" was given to Etta James instead, who had a top forty pop hit with it: [Excerpt: Etta James, "All I Could Do Was Cry"] While Erma's move into secular music was slowed by her father wanting her to have an education, there was no such pressure on Aretha, as she had already dropped out. But Aretha had a different problem -- she was very insecure, and said that church audiences "weren't critics, but worshippers", but she was worried that nightclub audiences in particular were just the kind of people who would just be looking for flaws, rather than wanting to support the performer as church audiences did. But eventually she got up the nerve to make the move. There was the possibility of her getting signed to Motown -- her brother was still best friends with Smokey Robinson, while the Gordy family were close to her father -- but Rev. Franklin had his eye on bigger things. He wanted her to be signed to Columbia, which in 1960 was the most prestigious of all the major labels. As Aretha's brother Cecil later said "He wanted Ree on Columbia, the label that recorded Mahalia Jackson, Duke Ellington, Johnny Mathis, Tony Bennett, Percy Faith, and Doris Day. Daddy said that Columbia was the biggest and best record company in the world. Leonard Bernstein recorded for Columbia." They went out to New York to see Phil Moore, a legendary vocal coach and arranger who had helped make Lena Horne and Dorothy Dandridge into stars, but Moore actually refused to take her on as a client, saying "She does not require my services. Her style has already been developed. Her style is in place. It is a unique style that, in my professional opinion, requires no alteration. It simply requires the right material. Her stage presentation is not of immediate concern. All that will come later. The immediate concern is the material that will suit her best. And the reason that concern will not be easily addressed is because I can't imagine any material that will not suit her." That last would become a problem for the next few years, but the immediate issue was to get someone at Columbia to listen to her, and Moore could help with that -- he was friends with John Hammond. Hammond is a name that's come up several times in the podcast already -- we mentioned him in the very earliest episodes, and also in episode ninety-eight, where we looked at his signing of Bob Dylan. But Hammond was a legend in the music business. He had produced sessions for Bessie Smith, had discovered Count Basie and Billie Holiday, had convinced Benny Goodman to hire Charlie Christian and Lionel Hampton, had signed Pete Seeger and the Weavers to Columbia, had organised the Spirituals to Swing concerts which we talked about in the first few episodes of this podcast, and was about to put out the first album of Robert Johnson's recordings. Of all the executives at Columbia, he was the one who had the greatest eye for talent, and the greatest understanding of Black musical culture. Moore suggested that the Franklins get Major Holley to produce a demo recording that he could get Hammond to listen to. Major Holley was a family friend, and a jazz bassist who had played with Oscar Peterson and Coleman Hawkins among others, and he put together a set of songs for Aretha that would emphasise the jazz side of her abilities, pitching her as a Dinah Washington style bluesy jazz singer. The highlight of the demo was a version of "Today I Sing the Blues", a song that had originally been recorded by Helen Humes, the singer who we last heard of recording “Be Baba Leba” with Bill Doggett: [Excerpt: Helen Humes, "Today I Sing the Blues"] That original version had been produced by Hammond, but the song had also recently been covered by Aretha's idol, Sam Cooke: [Excerpt: Sam Cooke, "Today I Sing the Blues"] Hammond was hugely impressed by the demo, and signed Aretha straight away, and got to work producing her first album. But he and Rev. Franklin had different ideas about what Aretha should do. Hammond wanted to make a fairly raw-sounding bluesy jazz album, the kind of recording he had produced with Bessie Smith or Billie Holiday, but Rev. Franklin wanted his daughter to make music that would cross over to the white pop market -- he was aiming for the same kind of audience that Nat "King" Cole or Harry Belafonte had, and he wanted her recording standards like "Over the Rainbow". This showed a lack of understanding on Rev. Franklin's part of how such crossovers actually worked at this point. As Etta James later said, "If you wanna have Black hits, you gotta understand the Black streets, you gotta work those streets and work those DJs to get airplay on Black stations... Or looking at it another way, in those days you had to get the Black audience to love the hell outta you and then hope the love would cross over to the white side. Columbia didn't know nothing 'bout crossing over.” But Hammond knew they had to make a record quickly, because Sam Cooke had been working on RCA Records, trying to get them to sign Aretha, and Rev. Franklin wanted an album out so they could start booking club dates for her, and was saying that if they didn't get one done quickly he'd take up that offer, and so they came up with a compromise set of songs which satisfied nobody, but did produce two R&B top ten hits, "Won't Be Long" and Aretha's version of "Today I Sing the Blues": [Excerpt: Aretha Franklin, "Today I Sing the Blues"] This is not to say that Aretha herself saw this as a compromise -- she later said "I have never compromised my material. Even then, I knew a good song from a bad one. And if Hammond, one of the legends of the business, didn't know how to produce a record, who does? No, the fault was with promotion." And this is something important to bear in mind as we talk about her Columbia records. Many, *many* people have presented those records as Aretha being told what to do by producers who didn't understand her art and were making her record songs that didn't fit her style. That's not what's happening with the Columbia records. Everyone actually involved said that Aretha was very involved in the choices made -- and there are some genuinely great tracks on those albums. The problem is that they're *unfocused*. Aretha was only eighteen when she signed to the label, and she loved all sorts of music -- blues, jazz, soul, standards, gospel, middle-of-the-road pop music -- and wanted to sing all those kinds of music. And she *could* sing all those kinds of music, and sing them well. But it meant the records weren't coherent. You didn't know what you were getting, and there was no artistic personality that dominated them, it was just what Aretha felt like recording. Around this time, Aretha started to think that maybe her father didn't know what he was talking about when it came to popular music success, even though she idolised him in most areas, and she turned to another figure, who would soon become both her husband and manager. Ted White. Her sister Erma, who was at that time touring with Lloyd Price, had introduced them, but in fact Aretha had first seen White years earlier, in her own house -- he had been Dinah Washington's boyfriend in the fifties, and her first sight of him had been carrying a drunk Washington out of the house after a party. In interviews with David Ritz, who wrote biographies of many major soul stars including both Aretha Franklin and Etta James, James had a lot to say about White, saying “Ted White was famous even before he got with Aretha. My boyfriend at the time, Harvey Fuqua, used to talk about him. Ted was supposed to be the slickest pimp in Detroit. When I learned that Aretha married him, I wasn't surprised. A lot of the big-time singers who we idolized as girls—like Billie Holiday and Sarah Vaughan—had pimps for boyfriends and managers. That was standard operating procedure. My own mother had made a living turning tricks. When we were getting started, that way of life was part of the music business. It was in our genes. Part of the lure of pimps was that they got us paid." She compared White to Ike Turner, saying "Ike made Tina, no doubt about it. He developed her talent. He showed her what it meant to be a performer. He got her famous. Of course, Ted White was not a performer, but he was savvy about the world. When Harvey Fuqua introduced me to him—this was the fifties, before he was with Aretha—I saw him as a super-hip extra-smooth cat. I liked him. He knew music. He knew songwriters who were writing hit songs. He had manners. Later, when I ran into him and Aretha—this was the sixties—I saw that she wasn't as shy as she used to be." White was a pimp, but he was also someone with music business experience -- he owned an unsuccessful publishing company, and also ran a chain of jukeboxes. He was also thirty, while Aretha was only eighteen. But White didn't like the people in Aretha's life at the time -- he didn't get on well with her father, and he also clashed with John Hammond. And Aretha was also annoyed at Hammond, because her sister Erma had signed to Epic, a Columbia subsidiary, and was releasing her own singles: [Excerpt: Erma Franklin, "Hello Again"] Aretha was certain that Hammond had signed Erma, even though Hammond had nothing to do with Epic Records, and Erma had actually been recommended by Lloyd Price. And Aretha, while for much of her career she would support her sister, was also terrified that her sister might have a big hit before her and leave Aretha in her shadow. Hammond was still the credited producer on Aretha's second album, The Electrifying Aretha Franklin, but his lack of say in the sessions can be shown in the choice of lead-off single. "Rock-a-Bye Your Baby With a Dixie Melody" was originally recorded by Al Jolson in 1918: [Excerpt: Al Jolson, "Rock-a-Bye Your Baby With a Dixie Melody"] Rev. Franklin pushed for the song, as he was a fan of Jolson -- Jolson, oddly, had a large Black fanbase, despite his having been a blackface performer, because he had *also* been a strong advocate of Black musicians like Cab Calloway, and the level of racism in the media of the twenties through forties was so astonishingly high that even a blackface performer could seem comparatively OK. Aretha's performance was good, but it was hardly the kind of thing that audiences were clamouring for in 1961: [Excerpt: Aretha Franklin, "Rock-a-Bye Your Baby With a Dixie Melody"] That single came out the month after _Down Beat_ magazine gave Aretha the "new-star female vocalist award", and it oddly made the pop top forty, her first record to do so, and the B-side made the R&B top ten, but for the next few years both chart success and critical acclaim eluded her. None of her next nine singles would make higher than number eighty-six on the Hot One Hundred, and none would make the R&B charts at all. After that transitional second album, she was paired with producer Bob Mersey, who was precisely the kind of white pop producer that one would expect for someone who hoped for crossover success. Mersey was the producer for many of Columbia's biggest stars at the time -- people like Barbra Streisand, Andy Williams, Julie Andrews, Patti Page, and Mel Tormé -- and it was that kind of audience that Aretha wanted to go for at this point. To give an example of the kind of thing that Mersey was doing, just the month before he started work on his first collaboration with Aretha, _The Tender, the Moving, the Swinging Aretha Franklin_, his production of Andy Williams singing "Moon River" was released: [Excerpt: Andy Williams, "Moon River"] This was the kind of audience Aretha was going for when it came to record sales – the person she compared herself to most frequently at this point was Barbra Streisand – though in live performances she was playing with a small jazz group in jazz venues, and going for the same kind of jazz-soul crossover audience as Dinah Washington or Ray Charles. The strategy seems to have been to get something like the success of her idol Sam Cooke, who could play to soul audiences but also play the Copacabana, but the problem was that Cooke had built an audience before doing that -- she hadn't. But even though she hadn't built up an audience, musicians were starting to pay attention. Ted White, who was still in touch with Dinah Washington, later said “Women are very catty. They'll see a girl who's dressed very well and they'll say, Yeah, but look at those shoes, or look at that hairdo. Aretha was the only singer I've ever known that Dinah had no negative comments about. She just stood with her mouth open when she heard Aretha sing.” The great jazz vocalist Carmen McRea went to see Aretha at the Village Vanguard in New York around this time, having heard the comparisons to Dinah Washington, and met her afterwards. She later said "Given how emotionally she sang, I expected her to have a supercharged emotional personality like Dinah. Instead, she was the shyest thing I've ever met. Would hardly look me in the eye. Didn't say more than two words. I mean, this bitch gave bashful a new meaning. Anyway, I didn't give her any advice because she didn't ask for any, but I knew goddamn well that, no matter how good she was—and she was absolutely wonderful—she'd have to make up her mind whether she wanted to be Della Reese, Dinah Washington, or Sarah Vaughan. I also had a feeling she wouldn't have minded being Leslie Uggams or Diahann Carroll. I remember thinking that if she didn't figure out who she was—and quick—she was gonna get lost in the weeds of the music biz." So musicians were listening to Aretha, even if everyone else wasn't. The Tender, the Moving, the Swinging Aretha Franklin, for example, was full of old standards like "Try a Little Tenderness": [Excerpt: Aretha Franklin, "Try a Little Tenderness"] That performance inspired Otis Redding to cut his own version of that song a few years later: [Excerpt: Otis Redding, "Try a Little Tenderness"] And it might also have inspired Aretha's friend and idol Sam Cooke to include the song in his own lounge sets. The Tender, the Moving, the Swinging Aretha Franklin also included Aretha's first original composition, but in general it wasn't a very well-received album. In 1963, the first cracks started to develop in Aretha's relationship with Ted White. According to her siblings, part of the strain was because Aretha's increasing commitment to the civil rights movement was costing her professional opportunities. Her brother Cecil later said "Ted White had complete sway over her when it came to what engagements to accept and what songs to sing. But if Daddy called and said, ‘Ree, I want you to sing for Dr. King,' she'd drop everything and do just that. I don't think Ted had objections to her support of Dr. King's cause, and he realized it would raise her visibility. But I do remember the time that there was a conflict between a big club gig and doing a benefit for Dr. King. Ted said, ‘Take the club gig. We need the money.' But Ree said, ‘Dr. King needs me more.' She defied her husband. Maybe that was the start of their marital trouble. Their thing was always troubled because it was based on each of them using the other. Whatever the case, my sister proved to be a strong soldier in the civil rights fight. That made me proud of her and it kept her relationship with Daddy from collapsing entirely." In part her increasing activism was because of her father's own increase in activity. The benefit that Cecil is talking about there is probably one in Chicago organised by Mahalia Jackson, where Aretha headlined on a bill that also included Jackson, Eartha Kitt, and the comedian Dick Gregory. That was less than a month before her father organised the Detroit Walk to Freedom, a trial run for the more famous March on Washington a few weeks later. The Detroit Walk to Freedom was run by the Detroit Council for Human Rights, which was formed by Rev. Franklin and Rev. Albert Cleage, a much more radical Black nationalist who often differed with Franklin's more moderate integrationist stance. They both worked together to organise the Walk to Freedom, but Franklin's stance predominated, as several white liberal politicians, like the Mayor of Detroit, Jerome Cavanagh, were included in the largely-Black March. It drew crowds of 125,000 people, and Dr. King called it "one of the most wonderful things that has happened in America", and it was the largest civil rights demonstration in American history up to that point. King's speech in Detroit was recorded and released on Motown Records: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech”] He later returned to the same ideas in his more famous speech in Washington. During that civil rights spring and summer of 1963, Aretha also recorded what many think of as the best of her Columbia albums, a collection of jazz standards called Laughing on the Outside, which included songs like "Solitude", "Ol' Man River" and "I Wanna Be Around": [Excerpt: Aretha Franklin, "I Wanna Be Around"] The opening track, "Skylark", was Etta James' favourite ever Aretha Franklin performance, and is regarded by many as the definitive take on the song: [Excerpt: Aretha Franklin, "Skylark"] Etta James later talked about discussing the track with the great jazz singer Sarah Vaughan, one of Aretha's early influences, who had recorded her own version of the song: "Sarah said, ‘Have you heard of this Aretha Franklin girl?' I said, ‘You heard her do “Skylark,” didn't you?' Sarah said, ‘Yes, I did, and I'm never singing that song again.” But while the album got noticed by other musicians, it didn't get much attention from the wider public. Mersey decided that a change in direction was needed, and they needed to get in someone with more of a jazz background to work with Aretha. He brought in pianist and arranger Bobby Scott, who had previously worked with people like Lester Young, and Scott said of their first meeting “My first memory of Aretha is that she wouldn't look at me when I spoke. She withdrew from the encounter in a way that intrigued me. At first I thought she was just shy—and she was—but I also felt her reading me...For all her deference to my experience and her reluctance to speak up, when she did look me in the eye, she did so with a quiet intensity before saying, ‘I like all your ideas, Mr. Scott, but please remember I do want hits.'” They started recording together, but the sides they cut wouldn't be released for a few years. Instead, Aretha and Mersey went in yet another direction. Dinah Washington died suddenly in December 1963, and given that Aretha was already being compared to Washington by almost everyone, and that Washington had been a huge influence on her, as well as having been close to both her father and her husband/manager, it made sense to go into the studio and quickly cut a tribute album, with Aretha singing Washington's hits: [Excerpt: Aretha Franklin, "Cold Cold Heart"] Unfortunately, while Washington had been wildly popular, and one of the most important figures in jazz and R&B in the forties and fifties, her style was out of date. The tribute album, titled Unforgettable, came out in February 1964, the same month that Beatlemania hit the US. Dinah Washington was the past, and trying to position Aretha as "the new Dinah Washington" would doom her to obscurity. John Hammond later said "I remember thinking that if Aretha never does another album she will be remembered for this one. No, the problem was timing. Dinah had died, and, outside the black community, interest in her had waned dramatically. Popular music was in a radical and revolutionary moment, and that moment had nothing to do with Dinah Washington, great as she was and will always be.” At this point, Columbia brought in Clyde Otis, an independent producer and songwriter who had worked with artists like Washington and Sarah Vaughan, and indeed had written one of the songs on Unforgettable, but had also worked with people like Brook Benton, who had a much more R&B audience. For example, he'd written "Baby, You Got What It Takes" for Benton and Washington to do as a duet: [Excerpt: Brook Benton and Dinah Washington, "Baby, You Got What it Takes"] In 1962, when he was working at Mercury Records before going independent, Otis had produced thirty-three of the fifty-one singles the label put out that year that had charted. Columbia had decided that they were going to position Aretha firmly in the R&B market, and assigned Otis to do just that. At first, though, Otis had no more luck with getting Aretha to sing R&B than anyone else had. He later said "Aretha, though, couldn't be deterred from her determination to beat Barbra Streisand at Barbra's own game. I kept saying, ‘Ree, you can outsing Streisand any day of the week. That's not the point. The point is to find a hit.' But that summer she just wanted straight-up ballads. She insisted that she do ‘People,' Streisand's smash. Aretha sang the hell out of it, but no one's gonna beat Barbra at her own game." But after several months of this, eventually Aretha and White came round to the idea of making an R&B record. Otis produced an album of contemporary R&B, with covers of music from the more sophisticated end of the soul market, songs like "My Guy", "Every Little Bit Hurts", and "Walk on By", along with a few new originals brought in by Otis. The title track, "Runnin' Out of Fools", became her biggest hit in three years, making number fifty-seven on the pop charts and number thirty on the R&B charts: [Excerpt: Aretha Franklin, "Runnin' Out of Fools"] After that album, they recorded another album with Otis producing, a live-in-the-studio jazz album, but again nobody involved could agree on a style for her. By this time it was obvious that she was unhappy with Columbia and would be leaving the label soon, and they wanted to get as much material in the can as they could, so they could continue releasing material after she left. But her working relationship with Otis was deteriorating -- Otis and Ted White did not get on, Aretha and White were having their own problems, and Aretha had started just not showing up for some sessions, with nobody knowing where she was. Columbia passed her on to yet another producer, this time Bob Johnston, who had just had a hit with Patti Page, "Hush, Hush, Sweet Charlotte": [Excerpt: Patti Page, "Hush, Hush, Sweet Charlotte"] Johnston was just about to hit an incredible hot streak as a producer. At the same time as his sessions with Aretha, he was also producing Bob Dylan's Highway 61 Revisited, and just after the sessions finished he'd go on to produce Simon & Garfunkel's Sounds of Silence album. In the next few years he would produce a run of classic Dylan albums like Blonde on Blonde, John Wesley Harding, and New Morning, Simon & Garfunkel's follow up Parsley, Sage, Rosemary & Thyme, Leonard Cohen's first three albums, and Johnny Cash's comeback with the Live at Folsom Prison album and its follow up At San Quentin. He also produced records for Marty Robbins, Flatt & Scruggs, the Byrds, and Burl Ives during that time period. But you may notice that while that's as great a run of records as any producer was putting out at the time, it has little to do with the kind of music that Aretha Franklin was making then, or would become famous with. Johnston produced a string-heavy session in which Aretha once again tried to sing old standards by people like Oscar Hammerstein and Jerome Kern. She then just didn't turn up for some more sessions, until one final session in August, when she recorded songs like "Swanee" and "You Made Me Love You". For more than a year, she didn't go into a studio. She also missed many gigs and disappeared from her family's life for periods of time. Columbia kept putting out records of things she'd already recorded, but none of them had any success at all. Many of the records she'd made for Columbia had been genuinely great -- there's a popular perception that she was being held back by a record company that forced her to sing material she didn't like, but in fact she *loved* old standards, and jazz tunes, and contemporary pop at least as much as any other kind of music. Truly great musicians tend to have extremely eclectic tastes, and Aretha Franklin was a truly great musician if anyone was. Her Columbia albums are as good as any albums in those genres put out in that time period, and she remained proud of them for the rest of her life. But that very eclecticism had meant that she hadn't established a strong identity as a performer -- everyone who heard her records knew she was a great singer, but nobody knew what "an Aretha Franklin record" really meant -- and she hadn't had a single real hit, which was the thing she wanted more than anything. All that changed when in the early hours of the morning, Jerry Wexler was at FAME Studios in Muscle Shoals recording a Wilson Pickett track -- from the timeline, it was probably the session for "Mustang Sally", which coincidentally was published by Ted White's publishing company, as Sir Mack Rice, the writer, was a neighbour of White and Franklin, and to which Aretha had made an uncredited songwriting contribution: [Excerpt: Wilson Pickett, "Mustang Sally"] Whatever the session, it wasn't going well. Percy Sledge, another Atlantic artist who recorded at Muscle Shoals, had turned up and had started winding Pickett up, telling him he sounded just like James Brown. Pickett *hated* Brown -- it seems like almost every male soul singer of the sixties hated James Brown -- and went to physically attack Sledge. Wexler got between the two men to protect his investments in them -- both were the kind of men who could easily cause some serious damage to anyone they hit -- and Pickett threw him to one side and charged at Sledge. At that moment the phone went, and Wexler yelled at the two of them to calm down so he could talk on the phone. The call was telling him that Aretha Franklin was interested in recording for Atlantic. Rev. Louise Bishop, later a Democratic politician in Pennsylvania, was at this time a broadcaster, presenting a radio gospel programme, and she knew Aretha. She'd been to see her perform, and had been astonished by Aretha's performance of a recent Otis Redding single, "Respect": [Excerpt: Otis Redding, "Respect"] Redding will, by the way, be getting his own episode in a few months' time, which is why I've not covered the making of that record here. Bishop thought that Aretha did the song even better than Redding -- something Bishop hadn't thought possible. When she got talking to Aretha after the show, she discovered that her contract with Columbia was up, and Aretha didn't really know what she was going to do -- maybe she'd start her own label or something. She hadn't been into the studio in more than a year, but she did have some songs she'd been working on. Bishop was good friends with Jerry Wexler, and she knew that he was a big fan of Aretha's, and had been saying for a while that when her contract was up he'd like to sign her. Bishop offered to make the connection, and then went back home and phoned Wexler's wife, waking her up -- it was one in the morning by this point, but Bishop was accustomed to phoning Wexler late at night when it was something important. Wexler's wife then phoned him in Muscle Shoals, and he phoned Bishop back and made the arrangements to meet up. Initially, Wexler wasn't thinking about producing Aretha himself -- this was still the period when he and the Ertegun brothers were thinking of selling Atlantic and getting out of the music business, and so while he signed her to the label he was originally going to hand her over to Jim Stewart at Stax to record, as he had with Sam and Dave. But in a baffling turn of events, Jim Stewart didn't actually want to record her, and so Wexler determined that he had better do it himself. And he didn't want to do it with slick New York musicians -- he wanted to bring out the gospel sound in her voice, and he thought the best way to do that was with musicians from what Charles Hughes refers to as "the country-soul triangle" of Nashville, Memphis, and Muscle Shoals. So he booked a week's worth of sessions at FAME studios, and got in FAME's regular rhythm section, plus a couple of musicians from American Recordings in Memphis -- Chips Moman and Spooner Oldham. Oldham's friend and songwriting partner Dan Penn came along as well -- he wasn't officially part of the session, but he was a fan of Aretha's and wasn't going to miss this. Penn had been the first person that Rick Hall, the owner of FAME, had called when Wexler had booked the studio, because Hall hadn't actually heard of Aretha Franklin up to that point, but didn't want to let Wexler know that. Penn had assured him that Aretha was one of the all-time great talents, and that she just needed the right production to become massive. As Hall put it in his autobiography, "Dan tended in those days to hate anything he didn't write, so I figured if he felt that strongly about her, then she was probably going to be a big star." Charlie Chalmers, a horn player who regularly played with these musicians, was tasked with putting together a horn section. The first song they recorded that day was one that the musicians weren't that impressed with at first. "I Never Loved a Man (the Way I Love You)" was written by a songwriter named Ronnie Shannon, who had driven from Georgia to Detroit hoping to sell his songs to Motown. He'd popped into a barber's shop where Ted White was having his hair cut to ask for directions to Motown, and White had signed him to his own publishing company and got him to write songs for Aretha. On hearing the demo, the musicians thought that the song was mediocre and a bit shapeless: [Excerpt: Aretha Franklin "I Never Loved a Man (the Way I Love You) (demo)"] But everyone there was agreed that Aretha herself was spectacular. She didn't speak much to the musicians, just went to the piano and sat down and started playing, and Jerry Wexler later compared her playing to Thelonius Monk (who was indeed one of the jazz musicians who had influenced her). While Spooner Oldham had been booked to play piano, it was quickly decided to switch him to electric piano and organ, leaving the acoustic piano for Aretha to play, and she would play piano on all the sessions Wexler produced for her in future. Although while Wexler is the credited producer (and on this initial session Rick Hall at FAME is a credited co-producer), everyone involved, including Wexler, said that the musicians were taking their cues from Aretha rather than anyone else. She would outline the arrangements at the piano, and everyone else would fit in with what she was doing, coming up with head arrangements directed by her. But Wexler played a vital role in mediating between her and the musicians and engineering staff, all of whom he knew and she didn't. As Rick Hall said "After her brief introduction by Wexler, she said very little to me or anyone else in the studio other than Jerry or her husband for the rest of the day. I don't think Aretha and I ever made eye contact after our introduction, simply because we were both so totally focused on our music and consumed by what we were doing." The musicians started working on "I Never Loved a Man (the Way I Love You)", and at first found it difficult to get the groove, but then Oldham came up with an electric piano lick which everyone involved thought of as the key that unlocked the song for them: [Excerpt: Aretha Franklin, "I Never Loved a Man (the Way I Love You)"] After that, they took a break. Most of them were pleased with the track, though Rick Hall wasn't especially happy. But then Rick Hall wasn't especially happy about anything at that point. He'd always used mono for his recordings until then, but had been basically forced to install at least a two-track system by Tom Dowd, Atlantic's chief engineer, and was resentful of this imposition. During the break, Dan Penn went off to finish a song he and Spooner Oldham had been writing, which he hoped Aretha would record at the session: [Excerpt: Dan Penn and Spooner Oldham, "Do Right Woman, Do Right Man"] They had the basic structure of the song down, but hadn't quite finished the middle eight, and both Jerry Wexler and Aretha Franklin chipped in uncredited lyrical contributions -- Aretha's line was "as long as we're together baby, you'd better show some respect to me". Penn, Oldham, Chips Moman, Roger Hawkins, and Tommy Cogbill started cutting a backing track for the song, with Penn singing lead initially with the idea that Aretha would overdub her vocal. But while they were doing this, things had been going wrong with the other participants. All the FAME and American rhythm section players were white, as were Wexler, Hall, and Dowd, and Wexler had been very aware of this, and of the fact that they were recording in Alabama, where Aretha and her husband might not feel totally safe, so he'd specifically requested that the horn section at least contain some Black musicians. But Charlie Chalmers hadn't been able to get any of the Black musicians he would normally call when putting together a horn section, and had ended up with an all-white horn section as well, including one player, a trumpet player called Ken Laxton, who had a reputation as a good player but had never worked with any of the other musicians there -- he was an outsider in a group of people who regularly worked together and had a pre-existing relationship. As the two outsiders, Laxton and Ted White had, at first, bonded, and indeed had started drinking vodka together, passing a bottle between themselves, in a way that Rick Hall would normally not allow in a session -- at the time, the county the studio was in was still a dry county. But as Wexler said, “A redneck patronizing a Black man is a dangerous camaraderie,” and White and Laxton soon had a major falling out. Everyone involved tells a different story about what it was that caused them to start rowing, though it seems to have been to do with Laxton not showing the proper respect for Aretha, or even actually sexually assaulting her -- Dan Penn later said “I always heard he patted her on the butt or somethin', and what would have been wrong with that anyway?”, which says an awful lot about the attitudes of these white Southern men who thought of themselves as very progressive, and were -- for white Southern men in early 1967. Either way, White got very, very annoyed, and insisted that Laxton get fired from the session, which he was, but that still didn't satisfy White, and he stormed off to the motel, drunk and angry. The rest of them finished cutting a basic track for "Do Right Woman", but nobody was very happy with it. Oldham said later “She liked the song but hadn't had time to practice it or settle into it I remember there was Roger playing the drums and Cogbill playing the bass. And I'm on these little simplistic chords on organ, just holding chords so the song would be understood. And that was sort of where it was left. Dan had to sing the vocal, because she didn't know the song, in the wrong key for him. That's what they left with—Dan singing the wrong-key vocal and this little simplistic organ and a bass and a drum. We had a whole week to do everything—we had plenty of time—so there was no hurry to do anything in particular.” Penn was less optimistic, saying "But as I rem
INTRODUCTION: Today's guest, Tricia Scribner, joins us to talk about apologetics and being a grandmama bear. Just in time for Easter, Tricia and Hillary dive into the a discussion about the resurrection. This is a topic of first importance. SUMMARY OF TOPICS DISCUSSED: A Reading from 1 Corinthians 15:1-9 (ESV) A Discussion of the Foundational […] The post MBA PODCAST 71: I Pity the fool: Intro to Why the Resurrection Matters for our Kids Faith appeared first on Mama Bear Apologetics.
Le 8 mars 1962, on entendait pour la première fois les Beatles à la BBC, 7 mois avant "Love me do" leur première chanson éditée, en reprenant "Dream Baby", morceau de Roy Orbison. Paul McCartney, John Lennon, George Harrison et le batteur qui n'était pas encore Ringo Starr. Il s'agissait de Pete Best, viré 5 mois plus tard avant le début de la Beatlesmania. C'est aussi un 8 mars, mais 3 ans plus tard, que David Bowie est apparu pour la première fois à la télé. Il ne s'appelait pas encore Bowie, mais Davy Jones de son vrai nom et faisait partie du groupe les Manish Boys. Ils avaient repris "I Pity the Fool", morceau d'un bluesman américain. Ecoutez La pépite musicale avec Anthony Martin du 08 mars 2022
Show Notes Episode 346: I Pity the Fool That Don't Eat My Cereal This week Host Dave Bledsoe issues a retraction to his Sister after insinuating she used to regularly kick his ass, and regrets any confusion. She is and was all sweetness and light and be humbly beg her pardon and pleads for her not to hurt him. (Again) On the show this week we are looking at all the brands of breakfast cereal that were just basically cash grabs in the 1980's (There were more than you remember) Along the way we learn some shocking news about why so many cereals were taken off the shelves so soon after they debuted. (Meaning Dave just made up some shit after reading a single unsourced claim. Again.) From there we plumb the depths of the cereal aisle circa 1989 for all the weird and terrible cereals that people thought kids like to eat. (We liked Apple Jacks and Sugar Smacks, no one wanted Nerd's Cereal) Finally we wrapped up with the most bizarre and inexplicable cereal of the lot and wondered if something wasn't going on between Mr T and Nancy Reagan. (She looked awfully happy on his lap) Our Sponsor this week is Davey-O's the cereal for podcasters! We open the show with Liam Neeson picking up some groceries and close with Chad and Nora Haynes traveling down that road again. Show Theme: https://www.jamendo.com/track/421668/prelude-to-common-sense The Show on Twitter: https://twitter.com/TheHell_Podcast The Show on Facebook: https://www.facebook.com/whatthehellpodcast/ www.whatthehellpodcast.com Give us your money on Patreon https://www.patreon.com/Whatthehellpodcast The Show Line: 347 687 9601 Closing Music: https://youtu.be/Jd6utRwN6SQ We are a proud member of the Seltzer Kings Podcast Network! http://seltzerkings.com/ Citations Needed: BREAKFAST WITH BARBIE CEREAL https://www.saturdaymorningsforever.com/2019/03/breakfast-with-barbie-cereal.html Uncited Additional Reading https://www.metv.com/lists/alas-we-will-never-eat-these-18-cereals-from-the-1980s-again https://www.80sthen80snow.com/80s-cereal https://blog.cheapism.com/cereal-brands-we-miss/#slide=8 http://www.liketotally80s.com/2011/09/80s-cereals/ Learn more about your ad choices. Visit megaphone.fm/adchoices
I Pity the Fools Who Don't Know These Celebrities with Their Own Booze!
Ready to learn about some strange cereals, some weird holidays, and a Shakespearean tale of an avian fall from grace and its undetermined redemption? If any of this sounds interestingContinue readingEpisode 43: “I Pity the Gardener”
Below the Radar invites Michi Saagiig Nishnaabeg scholar, writer and artist Leanne Betasamosake Simpson into conversation about her latest album, Theory Of Ice, as a thinking through of water as a connector. She talks with host Am Johal about covering Willie Dunn’s “I Pity the Country,” and how her work aligns with, and is inspired by, a long tradition of Indigenous musicians and activists. Leanne speaks to her artistic and academic work as being underpinned by a deep love of the land, and the land as a site of knowledge production. She shares some of her experiences working with the Dechinta Centre for Research & Learning on land-based education in Denendeh. We also learn about some of Leanne’s exciting collaborative works, from artistic collaborations with filmmakers and visual artists to Leanne’s work with Robyn Maynard on "Rehearsals for Living," a book forthcoming from Knopf Canada in 2022. Thank you to Leanne for the use of her recording of Willie Dunn's "I Pity the Country," from "Theory Of Ice," for this episode. Read the full transcript of this conversation: https://www.sfu.ca/sfuwoodwards/community-engagement/Below-the-Radar/transcripts/ep122-leanne-betasamosake-simpson.html Resources: — leannesimpson.ca — leannesimpsonmusic.com — "Theory Of Ice" album by Leanne Betasamosake Simpson: https://youvechangedrecords.com/product/leanne-betasamosake-simpson-theory-of-ice/ — “I Pity the Country” cover: https://www.youtube.com/watch?v=2DUV60wpmgk — "The Ballad of Crowfoot", an NFB film by Willie Dunn: https://www.nfb.ca/film/ballad_of_crowfoot/ — "Viscosity" video collaboration with Sandra Brewester: https://youtu.be/Gf0TzU9wCPU — "Solidification ᒪᔥᑲᐗᒋ 凝" video collaboration with Sammy Chien: https://www.youtube.com/watch?v=zA70--wIbbQ&feature=emb_imp_woyt — More films and music videos: http://www.leannesimpsonmusic.com/videos — "Noopiming: The Cure for White Ladies" by Leanne Betasamosake Simpson: https://houseofanansi.com/products/noopiming — "As We Have Always Done" by Leanne Betasamosake Simpson: https://www.upress.umn.edu/book-division/books/as-we-have-always-done — "A Short History of the Blockade" by Leanne Betasamosake Simpson: https://www.uap.ualberta.ca/titles/986-9781772125382-short-history-of-the-blockade — "Rehearsals for Living", forthcoming from Leanne Betasamosake Simpson and Robyn Maynard: https://www.transatlanticagency.com/2020/12/11/deal-news-canadian-rights-to-rehearsals-for-living-by-robyn-maynard-and-leanne-betasamosake-simpson-to-knopf-canada/
Here are the songs in this broadcast. (Mama) He Treats Your Daughter Mean - Ruth Brown - R&B - 1953 You'll Lose A Good Thing - Barbara Lynn - R&B - 1962 Workin' On A Groovy Thing - Patti Drew - R&B - 1968 Climbing Higher Mountains - Aretha Franklin - R&B - 1972 I Pity the Fool - Ann Peebles - R&B/Blues - 1972 Piece of Me - Lady Wray - R&B - 2018 Tonight You Might - Synthia feat. Lady Wray - R&B - 2018 Wishful Thinking - Conya Doss - R&B - 2021 Me Time - Sheree Patrice - Jazz/R&B - 2021 Habit - Aquaya - R&B - 2021 Do For Love - Roniece Levias - R&B - 2021
Dimitri was raised on a macrobiotic commune. He has studied Tibetan Buddhism and Chinese martial arts for more than 25 years. He has jammed with Prince and the Beastie Boys, gotten drunk with Keith Richards. His travel writings include sojourns to Tibet, Cuba, India, Cambodia, China, Nepal, and the Amazon rainforest where he was nearly eaten by a crocodile.Dimitri Ehrlich is a television writer, author, journalist and musician. He was head writer for three years of VH1 Hip-Hop Honors. He was also a writer for many years of the MTV Video Music Awards. Other MTV credits include “The Slim Shady National Convention with Eminem,” “Vote or Die: with P. Diddy,” “50 Cent House Party,” “MTV Movie Awards Great Little Films,” and “Britney Spears: For The Record.” He also wrote the nationally syndicated hip-hop entertainment series “The Source: All Access,” "I Pity the Fool," with Mr. T on TV Land, and numerous other shows. In addition to writing, Ehrlich also appeared as on-air host of “Sonic Cinema” on the Sundance Channel, and was head writer and--along with Janeane Garafaolo--co-host of MTV's Indie Outing.He is the author of “Move The Crowd: Voices and Faces of the Hip-Hop Nation,” and “Inside the Music” Conversations with Contemporary Musicians about Creativity, Spirituality, and Consciousness.” He also contributed a chapter to “Shiny Adidas Track Suits and the Death of Camp: The Best of Might Magazine,” an anthology edited by Dave Eggers.Learn more about Dimitri. Learn more about Lyte. Hosted on Acast. See acast.com/privacy for more information.
Dimitri was raised on a macrobiotic commune. He has studied Tibetan Buddhism and Chinese martial arts for more than 25 years. He has jammed with Prince and the Beastie Boys, gotten drunk with Keith Richards. His travel writings include sojourns to Tibet, Cuba, India, Cambodia, China, Nepal, and the Amazon rainforest where he was nearly eaten by a crocodile.Dimitri Ehrlich is a television writer, author, journalist and musician. He was head writer for three years of VH1 Hip-Hop Honors. He was also a writer for many years of the MTV Video Music Awards. Other MTV credits include “The Slim Shady National Convention with Eminem,” “Vote or Die: with P. Diddy,” “50 Cent House Party,” “MTV Movie Awards Great Little Films,” and “Britney Spears: For The Record.” He also wrote the nationally syndicated hip-hop entertainment series “The Source: All Access,” "I Pity the Fool," with Mr. T on TV Land, and numerous other shows. In addition to writing, Ehrlich also appeared as on-air host of “Sonic Cinema” on the Sundance Channel, and was head writer and--along with Janeane Garafaolo--co-host of MTV's Indie Outing.He is the author of “Move The Crowd: Voices and Faces of the Hip-Hop Nation,” and “Inside the Music” Conversations with Contemporary Musicians about Creativity, Spirituality, and Consciousness.” He also contributed a chapter to “Shiny Adidas Track Suits and the Death of Camp: The Best of Might Magazine,” an anthology edited by Dave Eggers.Learn more about Dimitri. Learn more about Lyte.
On this episode of From Tip to Tail, Sydney and Bridget sit down with John Flores from I Pity the Bull, an organization dedicated to providing education about responsible pet ownership, the benefits of spay and neuter, and improving communication between dogs and humans. Founder John candidly talks about I Pity the Bull’s humble beginnings, his transformative relationship with pet ownership, and the impact the organization is having eight years after its inception. http://www.ipittythebull.com https://cuddly.com/
Hello again, Tomb Believers! Trey and James are back with a super-sized new episode featuring FOUR Marvel horror comics from April 1974. First, we have an injured Rachel van Helsing snowbound with the lord of vampires in TOMB OF DRACULA #19. Next, Johnny Blaze defends Las Vegas from the demonic Roulette in GHOST RIDER #5. After that, Morbius goes on an epic quest in FEAR #21. Finally, we learn the origin of the Foolkiller and his misguided crusade in MAN-THING #4. Plus we have yet another thrilling installment of the hottest segment in comics podcasting, HellstromWatch! Also, don’t forget to vote for your favorite Roy Thomas characters in the Thomas Tournament! Every Wednesday we tweet out two new polls (one Marvel and one DC) to decide which is the ultimate Roy Thomas creation. As always, you can send any comments, questions, or other feedback to tombofideas@gmail.com. Plus, you can follow us on our Facebook page and on Twitter @TombofIdeas. Ex-HELL-sior! -Gravely The post TOMB OF IDEAS Episode 45 – “I Pity the Foolkiller” appeared first on Cinepunx.
Hello again, Tomb Believers! Trey and James are back with a super-sized new episode featuring… The post TOMB OF IDEAS Episode 45 – “I Pity the Foolkiller” appeared first on Cinepunx.
I Pity the Fool! Hmmmm.....how do we grow to love someone who treats us with respect? Well, this is the question Margaret and I explore in this week's review of Girlfriends. Joan is still begrudgingly dating big hip, Marcus. As Atlantic Starr stated, if your heart isn't in why can't you to tell me so? So, Joan calls in her besties to initiate the dismantling of this tragic situation-ship! Lynn challenges the notion of CP time, Maya has a business opportunity that is sure to bring a return before you get that stimulus check or PPP loan, and well Toni, well Toni is acting as always in Toni's best interest. Grab a cup of coffee, a glass of wine, or a cup of ginger tea if you're still building your Rona immune defenses, and join us as we explore the complexities of our inner selves through the lens of Girlfriends. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/risebeautifulsoul/message
9.15.19-I Pity the Fool by Strasburg Community Church
"I Pity the Fool…" who doesn't listen in on these conversations! Today, Pastor Nathaniel Wall shows us that the best way of eliminating disharmony and strife in our lives, is by first searching our own hearts. Ouch.
The Rev. Jeremy Clark-King preached a sermon titled “I Pity the Fool“ on March 25, 2018 at Stanford Memorial Church. The Gospel reading for the sermon was Matthew 21: 1-11 and readings of Psalm 118: 1-2, 19-29. There Passion Gospel reading was of Matthew 27: 11-54.
Zachary Lazar is the author of five books, including Sway, Evening's Empire: The Story of My Father's Murder, I Pity the Poor Immigrant, and Vengeance. I Pity the Poor Immigrant was a New York Times Notable Book of 2014. Sway was a finalist for the Barnes & Noble Discover Award and an Editor's Choice at the New York Times Book Review, as well as a best book of 2008 in the Los Angeles Times, Rolling Stone, Publishers Weekly, and several other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices
I Pity the Fool - Week Four - Truston Baba, Living Church by Living Church
I Pity the Fool - Week Three - Truston Baba, Living Church by Living Church
I Pity the Fool - Week Two - Truston Baba, Living Church by Living Church
I Pity the Fool - Week One - Truston Baba, Living Church by Living Church
Canadian* 1. Martin - Houtitoutah* 2. Cue Sycophants - Other Families* 3. A Pig Who Feeds - Guerilla Toss 4. Putty Boy Strut | Flying Lotus - Haolin Munk* 5. HABERDASH - Phèdre* 6. Sportsmen - Haruomi Hosono 7. Banana Split - Lio 8. Ride Wid Me - VIRTUAL FLANNEL* 9. Morning Birds - The Walls are Blonde* 10. Holyman - Whitney K* 11. the new fallen snow that covers everything - shaun weadick* 12. The Grass Harp - Tasseomancy* 13. Why Must I - Blunt Chunks* 14. I Count Tears - The Walls are Blonde* 15. Centralia - Holiday Rambler* 16. I'm Worried, I'm Worried - Michael Hurley 17. Threnody - Myriam Gendron* 18. I Pity the Country - William Dunn 19. Wine and Roses - John Fahey
Playlist: Curley Taylor & Zydeco Trouble- Country Girl, Curley Taylor & Zydeco Trouble- Blue Jeans, Lisa Mann- Gamblin’ Virgin Mary, Diane Blue-Don’t Stop, Sugar Ray & the Blue Tones, Jr. Krauss & the Shakes- Box of Letters, Alan James- You Da Loudest Thang, Mystic Horns- Bloodshot Eyes, Danny Draher- Big Fun Tonight, Doug Deming & the Jewel Tones- Bella’s Boogie, Dennis Gruenling- Saturday Night Fish Fry, Kal David & the Real DEal- I Idolize You, Mojomatics- Soy Baby. Win $100 in the "Feed Our Friends" Contest: There was no winner in our Feed Our Friends Contest this week . To win a $100 gift card from Black-Eyed Sally’s in Hartford simply simply Friend our Facebook Fan page and you’re in the running. Good luck next week!! Black-Eyed News: The first story this week was the passing of the great singer Bobby “Blue” Bland at his home in Memphis due to complications from an ongoing illness. Bland was born in 1930 in Rosemark, Tennessee, outside Memphis. He began his career singing with a gospel group before joining the blues group the Beale Streeters, which included such future stars as B.B. King, Junior Parker and others. Bland was drafted into the Army in 1952. After his release from the service in 1954, he resumed his musical career as a solo act and established a long-term professional relationship with Duke Records. Soon he had hits racing up the R&B charts, including "I Pity the Fool" and "That's the Way Love Is." Bland often toured with his former bandmate King, and King was on hand to help induct the singer into the Rock and Roll Hall of Fame in 1992. Bobby Bland was 83. http://www.huffingtonpost.com/2013/06/24/bobby-blue-bland-dead-blues-singer-obituary_n_3488362.html The next story of the night is our friend singer/ songwriter/guitarist Chris Bergson is recording his first live album tonight and tomorrow June 25 & 26 at the Jazz Standard in NYC.The band will have a full horn section led by Jay Collins of the Gregg Allman Band. Chris Bergson Band with special guest Ellis Hooks Jazz Standard Tuesday, June 25 Wednesday, June 26 Sets at 7:30 PM & 9:30 PM $20 cover, no minimum Next up two great interviews the first is with Guitarist Junior Watson who talks about recording his latest cd and the 45 rpm that changed his life you can find the link to the interview in tomorrow’s write up: http://thebluesblast.com/Archive/BluesBlasts/2013/BluesBlast6_20_13.htm The second interview is with pedal steel player Robert Randolph from Robert Randolph & the Family Band’s new album and going back to the things that he likes to write songs about. It’s a short interview but still worth the read and the link will also be in tomorrow’s write up: http://theinterrobang.com/2013/06/robert-randolph-is-revived-reborn-and-feeling-good-again/ Bronze Radio Return’s New cd Up on & Over was released today look for it on itunes! The last piece of the week is from an article I was sent from a friend about the 20 worst bands of all times. You’ve heard me say before I love lists as they are great for discussions like this so Let’s discuss. 1)They have to be known most of this list is not. 2) They have to have released more than 1 cd. http://blogs.laweekly.com/westcoastsound/2012/02/top_20_worst_bands_ever_complete_list.php?print=true 6/27 THURSDAY SONNY LANDRETH / DELTA GENERATORS - THE NARROWS CENTER FOR THE ARTS (8PM) - FALL RIVER, MA DAN STEVENS - THE LEIF NILSSON SPRING ST. STUDIO (8PM) - CHESTER, CT OTIS & THE HURRICANES - THE BAYOU NORTH (9PM) - RIDGEFIELD, CT 6/28 FRIDAY MYSTIC BLUES FESTIVAL - VARIOUS VENUES 6/28-6/30, SEE BELOW - MYSTIC, CT WITH: SHIPYARD VENUE: JAMES COTTON RUFUS "BABY GRAND" DAVI DEBBIE DAVIES THE ZINGERZ MYSTICK ART CINEMAS VENUE: JIM WEIDER & PROJECT PERCOLATOR DAN STEVENS THE KNICKERBOCKER CAFE MATT MURPHY & JERRY PORTNOY W/RICK RUSSELL & THE CADILLAC HORNS RYAN HARTT & THE BLUE HEARTS HIGH TIMES MS. MARCI & THE LOVESICK HOUNDS INFO: WWW.MYSTICBLUESFESTIVAL.COM KAL DAVID - BLACK-EYED SALLY'S (9PM) - HARTFORD CHRIS SMITHER - THE KATHERINE HEPBURN CENTER FOR THE ARTS (8PM) - OLD SAYBROOK, CT JOHNNY NICHOLAS - CAFE NINE - NEW HAVEN, CT JOE MOSS - THEODORES' - SPRINGFIELD, MA JEFF PITCHELL - CHAN'S (8PM) - WOONSOCKET, RI THE MOJOMATICS - THE FEZ - STAMFORD, CT THE TOM SANDERS BAND - MATTY'S NEXT DOOR SPORTS BAR (8PM) - MIDDLETOWN, CT SHAKA & THE SOULSHAKERS - JUNE'S OUTBACK (8PM) - KILLINGWORTH, CT BRANDT TAYLOR - THE AMERICAN EAGLE SALOON (5PM) - WILLINGTON, CT CHRIS D'AMATO - THE TAUTUG TAVERN (9PM) - BRIDGEPORT, CT 6/29 SATURDAY MYSTIC BLUES FESTIVAL - VARIOUS VENUES 6/28-6/29, SEE BELOW - MYSTIC, CT WITH: SHIPYARD VENUE: THE JAMES MONTGOMERY BAND LISA MARIE & JOHNNY JUXO CHRISTINE OHLMAN & REBEL MONTEZ JOSI DAVIS JOHNNY & THE EAST COAST ROCKERS THE TALL KING BLUES REVIEW JEFF PITCHELL CHRIS MACKAY & THE TONESHIFTERS THE MYSTIC HORNS THE SIDEWINDERS MYSTICK ART CINEMAS VENUE: GREG PICCOLO & HEAVY JUICE AL COPLEY THE KNICKERBOCKER CAFE: JOHNNY NICHOLAS & HELL BENT FEAT. CINDY CASHDOLLAR THE GREG SHERROD BLUES BAND NEAL & THE VIPERS FEAT. DAVE HOWARD JOHN FRIES TRAVIS MOODY EASY BABY BLUES LEGENDS OF THE FUTURE FEAT. TESSA STEWART, NOLAN LEITE, BOBBY PALTAUF & JACOB GRAHAM INFO:WWW.MYSTICBLUESFESTIVAL.COM JAMES COTTON - BRIDGE STREET LIVE (7:30PM) - COLLINSVILLE, CT WITH: JUNIOR KRAUSS & THE SHAKES THE DELTA GENERATORS MITCH WOODS & HIS ROCKET 88'S - CHAN'S (8PM) - WOONSOCKET, RI BENEFIT POKER RUN - THE BRISTOL SWEDISH SOCIAL CLUB (38 BARLOW ST.) - BRISTOL, CT WITH: DELUSIONS OF GRANDEUR SKELETON CREW PROCEEDS BENEFIT DISABLED VETS REGISTRATION 9AM-11AM MUSIC AND FOOD AT 3PM BAD ROOSTER - THE DOWNTOWN CAFE - BRISTOL, CT THE RICH BADOWSKI BLUES BAND - LOUIE B'S (6-10PM) - SOUTHWICK, MA THE COBALT RHYTHM KINGS - SAM THE CLAM'S (8:30PM) - SOUTHINGTON, CT THE WALTER LEWIS BLUES TRIO - GREENWOOD'S GRILLE & ALE HOUSE (9PM) - BETHEL, CT MIKE LAW & THE PLAYBOYS - BLACK-EYED SALLY'S (9PM) - HARTFORD EASY BABY - THE DOGWATCH (7:30PM) - STONINGTON, CT BRANDT TAYLOR - GINA MARIE'S (5PM) - HEBRON, CT THE MIGHTY SOUL DRIVERS - SNEEKERS CAFE (9PM) - GROTON, CT OTIS & THE HURRICANES - THE LEVITT PAVILLION (8PM) - WESTPORT, CT 6/30 SUNDAY MYSTIC BLUES FESTIVAL - VARIOUS VENUES, SEE BELOW - MYSTIC, CT WITH: SHIPYARD VENUE: JAIMOE'S JASSSZ BAND BRANDT TAYLOR ROOMFUL OF BLUES TIM GARTLAND THE CHRIS LEIGH BAND WOOLY MAMMOTH FEAT. GRAY HALLBERG THE KNICKERBOCKER CAFE: AL KOOPER SUGAR RAY & THE BLUETONES THE DON'T TASER ME BRO BAND FEAT. FRAN & BOB CHRISTINA W/SAM GENTILE, STEVE BURKE & GARY GRAMOLINI JELLY ROLL SOUL LISA MARIE & ALL SHOOK UP INFO: WWW.MYSTICBLUESFESTIVAL.COM DAN STEVENS - THE LYME TAVERN (5PM) - EAST LYME, CT THE SWAMPSHAKA DUO W/TONY C. - THE VOODOO GRILL (2PM) - MYSTIC, CT SONNY LANDRETH - INDIAN RANCH - WEBSTER, MA BLUES JAM W/WILDCAT O'HALLORAN - CITY SPORTS GRILL (4-8PM) - NORTHAMPTON, MA Blues in the Area: Black-Eyed Sally’s Weekly Rundown: Tues Jun 25 Mike Palin’s Other Orchestra Wed Jun 26 Blues Open Mic hosted by Tim MacDonald Fri Jun 28 Kal David & the REal Deal Sat Jun 29 Mike Law & the Playboys Mon July 1 Monday Night Jazz I hope to see you out and about this week but if not please continue to support live music wherever you are.
Greg and Rob discuss: Greg's bad luck recording Star Trek, The Fonz and the Happy Days Gang cartoon, The Gary Coleman Show cartoon, George Carlin's HBO special Life Is Worth Losing, bad NFL football highlight shows, Tony Danza and his wife, Keith Richards in Pirates of the Caribbean, David Beckham and Tom Cruise, I Pity the Fool starring Mr. T, a Robin Williams update, and The Honeybuns performing "I Yi, Yi, Yi, Yi (I Like You Very Much)" at the Benefit Concert for Rita Project in NYC on 10/4/06. 24 minutes - www.paunchstevenson.com
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