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

Our conversation about world records led to us planking. Naturally. For more amazing podcasts check out thePFPN.com!

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Empowerment, Inspiration & Beyond (646) 595 4274 Welcome to the BTR Edition of NEWS FOR THE SOUL: Life Changing Talk Radio from the Uplifting to the Unexplained. NFTS was launched in January 1997 as a positive news newspaper in the Vancouver, B.C. area in January 1997 by journalist Nicole Whitney. Over the years, NFTS evolved into the NFTS RADIO NETWORK ::: VISIT THIS LINK TO FIND OUT ABOUT THIS SHOW:  http://www.newsforthesoul.com/shows-page/todays-show

I'm John Bell, creator, writer, producer, and voice talent for the confusingly named comedy podcast, “Bell's in the Batfry”, that I've been inflicting on the listening public since 2005. I am the host and I attempt to run a professional, informative show while the rest of the cast does their best to sidetrack everything. The main characters are my genius inventor, Arnie Cunchpard, and my salesman and lawyer, Brad Montworth. I offer Episode 307, which is actually half of a two-parter, with an exciting cliff-hanger of an ending. Naturally, you'll want to catch the following episode on your own. Thank you for listening. cw: none No transcript available. http://thebatfry.com

Everyone wish the moneybag maven Mal a happy birthday! (Check out YouTube for vegan cupcakes & champagne) Usher has been announced as the Superbowl Halftime Show. We speculate the tracklist. In more important football news Taylor Swift dominated Sunday. Naturally the guys compare Taylor to his previous girlfriend. Staying on relationship drama, Drake and Charlamagne exchange shots at each other. Then we react to Doja Cat's new album, Scarlet. It's time for voicemails. Finally we end with Oregon vs. Colorado. Tune in as the guys discuss all of this + more!Follow The Team:Rory - https://www.instagram.com/thisisrory/Mal - https://www.instagram.com/mal_bytheway/Eddin - https://www.instagram.com/thankyoueddin/Julian - https://www.instagram.com/julian__nicholas/Demaris - https://www.instagram.com/demarisagiscombe/Merch: https://newrorynmal.com/Patreon: https://www.patreon.com/newrorynmalYouTube Subscribe: https://rb.gy/hk7up 

Listen to ASCO's Journal of Clinical Oncology essay, “Playing by Eye: Using Music as a Parallel to Clinical Oncology,” by Dr. Beatrice Preti, Adjunct Professor at Western University in London, Ontario, in Canada. The essay is followed by an interview with Preti and host Dr. Lidia Schapira. Preti discusses the parallels in playing music by ear and clinical oncology encounters. TRANSCRIPT Narrator: Playing by Eye: Using Music as a Parallel to Clinical Oncology, by Beatrice Preti, MD  The Yamaha keyboard in our cancer center is strategically placed. It rests in the center of the tall, lofty atrium, an open space that allows sound to travel and echo, creating an effect one might expect from a concert hall or a large-capacity theater. From their position, keyboard players cannot fully appreciate the music they create. In the middle of the atrium, any sound is flat, shallow, and short-lived. But, further away, and on the upper levels of the center, one can hear the music echo as the walls seem to vibrate with reflected sound. It is enough to pause one's step to listen, perhaps recalling some half-buried memory or latent emotion a song elicits. But on center stage, beneath the streetlamp-shaped light that feels all too much like a spotlight, the pressure is on. The keyboard faces half of the waiting room and the lobby Tim Horton's, which means, as one plays, one can see reactions to the music—including winces when fingers slip! Faces turn solemn and reflective during slower songs; patients, relatives, and health care workers alike dance and clap to faster-paced, popular tunes. Feedback and commentary are steady—about the music, the song choices, and, of course, song requests. I find song requests challenging; a combination of performance anxiety and only moderate competence on the keyboard affects the quality of the music that can be produced on demand, yet does nothing to eliminate the desire to fulfill a patient's request. Indeed, the request is usually the simplest part: Do you know Bette Middler's “The Rose”? A simple tune, one of my mother's favorites. But I haven't played it in years, since high school, actually, and the once-familiar notes now elude me. But the empty space after a request lingers awkwardly, and the hopeful anticipation from the patient and their family squeezes my heart like a vise. To break the pressure, I test out a few chords. Dozens of pairs of eyes stare down at me from all over the building. My hands start to seize. To freeze. Panicking, I hit a note. Seems okay. Then another one. And a chord. …that was supposed to be a chord. The eyes pin me down. I see disappointment. I hear whispers. They must be about me, that it's not as good as it sounded before, that I could do with some practice. I try again. Better. Another note. A broken chord. An octave. A melody emerges. Someone smiles. I think. Sweat soaks my shirt. Are we at the chorus yet?  How much longer is there left in this song? Singing starts somewhere to my right, also a little out of tune, and it gives me the courage to continue on, although the experience is nerve-wracking enough to make me dread song requests—despite the apparent joy they bring. The solution, once considered, seems simple: practice playing by ear. It is impossible to predict who might be walking by on any particular day, but having the skills to reply to a request with at least a few bars of a beloved tune, thus brightening a face (and a day!), seems well worth the effort. Playing by ear, like most learnt skills, is more manageable when broken down into steps.  The first step (or requirement, really) is a general familiarity with the song and a plan for how to approach it (fast or slow? Block chords or broken? Major or minor key?). Once this is determined, one begins with the first verse. The first time is usually rocky, and the mistakes are obvious. But, with luck, a familiar melody starts to emerge by the chorus. The music grows louder with confidence, and gauging audience reactions helps musicians see how close they are to the target tune and where they need to adjust. Playing by ear—or, perhaps, playing by eye, as it is the reactions which truly guide the musician—is an amazing skill, one which interestingly spills into more domains than initially anticipated. After several ear-practice sessions, I noticed a strange pattern in my clinics—the steps of a clinic encounter mirrored playing a song by ear! Prior to each encounter, I would consider the diagnosis and treatment plan, as well as a vague approach of how to handle the encounter, given the goal of the visit and the patient's journey thus far. Once inside the room, however, I began to alter this plan based on the patient's (and family's) responses, taking cues both verbally and nonverbally. Sometimes my words, tone, or gestures fell flat, and redirection was needed. Sometimes an unexpected reaction told me I'd just made a mistake, and I backtracked, trying again, paying closer attention to the reactions to ensure the second try was better. But, gradually, we (usually!) reached a steady state and manage to complete the visit on a strong note. Naturally, then, the next step would be to practice clinical encounters using these same steps, trying to take my clinical skills to the next level. Unlike a song, however, a clinic visit's stakes are higher—especially in the high-emotion field of oncology—and striking even a single mistimed chord could lead to disaster. I start small: awareness, noticing reactions I didn't before. There's the fullness in an eye before tears fall, the pallor of a clenched fists' knuckles, the subtle tremor of a shaking leg. I learn to call them out by name, ask about them: grief, frustration, fear.  There is a pause, an empty space after such a direct question. A wide-eyed stare. My heart pounds, awaiting the verdict. Was my diagnosis correct? A misjudgment breaks rapport, but accuracy is rewarded with surprise, and opening up. Even family members look surprised, as details are elicited that weren't before. There is no singing along—cancer is not a beloved showtune. But as my skills grow, I find that not only are patients and families less tense during encounters—but I am, as well. I develop faith in my skills to read the room and alter  my direction based on what I see. And, perhaps, the biggest clue that one has succeeded—on both fronts—is the heartfelt thank you that follows the encounter.  This parallel has made me realize that every interaction between two people, just like every song, has its own beat. Its own melody. Is this fast or slow? Calm or anxious? Is this a happy exchange, or a sad one? The dynamics of the encounter influence the melody, and a misstep or misplaced word, like a note, can lead to dissonance. However, by listening to the song of the encounter and adjusting as appropriate, an astute individual can actually improve the interaction, maximizing the potential of the encounter, and allowing for a strong conclusion to the visit. It isn't easy work, to be sure, and, sometimes, the impact of the song can be hard to appreciate, especially within the confines of a four-walled clinic room. However, like the keyboard music in the atrium, the echoes resulting from one clinic encounter have the potential to reach far-reaching corners, echoing in ways previously unimagined, and lingering far longer than when the song ends. Dr. Lidia Schapira: Hello, and welcome to JCO's Cancer Stories: The Art of Oncology, which features essays and personal reflections from authors exploring their experience in the field of oncology. I'm your host, Dr. Lidia Schapira, Associate Editor for Art of Oncology and a Professor of Medicine at Stanford University. Today we're joined by Dr. Beatrice Preti, Adjunct Professor at Western University in London, Ontario, in Canada. In this episode, we will be discussing her Art of Oncology article, “Playing by Eye: Using Music as a Parallel to Clinical Oncology.”  At the time of this recording, our guest has no disclosures.  Beatrice, welcome to our podcast, and thank you for joining us. Dr. Beatrice Preti: Thank you, Lidia. It's a pleasure to be here. Dr. Lidia Schapira: So I usually start by asking our authors to tell me what they're reading, but in your case, I'd love to ask you a little bit about perhaps what you're listening to or your favorite musical pieces. Dr. Beatrice Preti: Yes, absolutely. Well, I do love music. I play three instruments myself, so I have several YouTube playlists that, as I hear a song, I'll add different ones to. So one of them is retro tunes, like '80s, '70s hits that I know mostly from my parents. And then I have Broadway hits, musical hits because I love musicals and singing. And then I have a random one that has a lot of Taylor Swift, much to the chagrin of my colleagues because I will play that in the cancer center, not around patients, but my colleagues.  Dr. Lidia Schapira: That's lovely. Well, I think Taylor Swift is a global phenomenon, is all I can tell you. Has music always been a part of your life? Dr. Beatrice Preti: Yes, very much so. I think- I started piano lessons formally when I was seven. Then I taught myself guitar as a teenager. And then once I hit medical residency, actually, my treat to myself was to start teaching myself violin. And I had the opportunity to take some lessons for a few years as well, which was absolutely lovely. But growing up, my mother loves music as well. She was a Sarah Brightman fan, a British singer. And we used to have her playing and my mother would sing. So I know all of Sarah Brightman's songs from the time I was a very early child, trying to pick those out on the piano as a young child as well. Dr. Lidia Schapira: So let's talk a little bit about how you bring that wonderful part of your life into your work as a physician and as an oncologist. Do you ever sing with or to patients? Do you talk about your love of music? Do you play music during your consultations? I'm curious all of a sudden. Dr. Beatrice Preti: Yes, absolutely. So I guess one way that I do bring it in is I have a little violin pin that I wear on the lapel of my white coat. It's a conversation point with many patients because the way I approach oncology is really to try to bring in a human aspect and get to know patients, get to know what they like, who's at home with them, what are their lives like outside the cancer center. And oftentimes people who are musically inclined will point to it, and it's a conversation starter, which can actually be quite relevant when we're talking about treatment decisions and such. And then I have the opportunity as well to play and go down in a cancer center. And, yeah, patients will sing and I will sing along with them as well. Dr. Lidia Schapira: So you speak of this with so much joy. Tell me a little bit about this piano that I imagine from your description, located in the center of a large atrium in a cancer center, and people just walk by and informally connect with you and they ask you to play, when do you play and how long do you play? When did it start? Dr. Beatrice Preti: When I started off in oncology, I was extremely shy. I still am. And one of my mentors, a cellist, who plays the cello found out about my musical inclinations and said, "Well, we need to get a piano in the cancer center lobby. Essentially, I can get Beatrice down there and start getting her more comfortable in front of groups, in front of people, in front of patients." That really, I think, was the rationale, but maybe on paper it's more to have something nice for the patients to listen to. And he actually got a piano donated or, sorry, an electric keyboard donated to the cancer center. We did have a piano a number of years ago, but unfortunately it was too loud with the acoustics of the center, so we needed something with volume control. There's actually a lot of keyboard, a lot of black keyboard that's down there now.   And the first time I played was probably two, two and a half years ago now with my mentor, with the cello. I was very, very nervous. All these people were staring at you and all these people were looking at you. And I actually had a bit of a meltdown just before I thought, "Well, I can't do this. There's no way I can do this." But he coached me through it and it was the first of many things that he coached me through related to oncology, relating to overcoming your fears to try to help other people. And that's really how that started. And eventually I got brave enough to go down and play on my own and chat with the people down there. Dr. Lidia Schapira: That's a beautiful story, both of service and of mentorship. And to see both of these things come together. As you say, your mentor probably had two things in mind: helping the community of patients that you serve and also helping you build confidence, as you say. So talk a little bit about this confidence and this lovely metaphor, in a way. You talk about finding the right tempo or finding the right music to play to please somebody or to help them relax, bring them joy. And then you draw some parallels to how you use communication in the consultation room, taking your cues from people and knowing perhaps when to slow down or when to change the tone or the voice. Talk a little bit about that. It's fascinating to me. Dr. Beatrice Preti: Well, I think one of the things I struggle with in oncology, and I certainly know I'm not the only one, is that sometimes you feel very helpless. Because we do have wonderful drugs, we have wonderful therapies, I'm a medical oncologist, so drug therapies, but they don't always work. And sometimes, despite your best efforts, despite the best that medicine has to offer, you feel very helpless, and the outcome is not what you or the patient wants. So trying to find something that you can offer and that you can give, that's more than just a treatment or more than just a drug, that's essentially giving of yourself, what can I, as a person, offer to a patient? And I guess superficially, the music itself is something that you can offer. To give people even just a few moments where they can escape the cancer center and they can listen to something. And when I'm down there, I'll play a lot of these tunes and these kinds of things, where maybe it triggers a memory that somebody might have of a time and place that's quite different than the one they're in right now. But also, it helps evoke that human aspect that I think we touched earlier. And as you say, Lidia, and as I say in my piece, about trying to match the tempo, trying to match the rhythm, because conversations also have tempos and rhythms. Human interactions have variations and they have moods. And it's also practice in a way. If you can connect to someone through music, perhaps you can connect to your words as well. Perhaps you can connect with your actions as well. Much the same sort of strategy. Dr. Lidia Schapira: And you bring up a very important point, I think, and that's to play, as you say, you start by saying ‘by ear', maybe no, but by eye because basically you're also taking in the visual cues that are coming from your audience. In this particular case, it's you're playing in the lobby, but in a consultation room from the patient and family and everybody who is there, and being very quick to take that into account and to redirect or make a change. And when you talk about that in the music, it's so easy to understand. And when you talk about that in the consultation room, that's such a skill. That's sort of where the art and the skill seem to go together. Can you say a little bit more about that or share with us some time or some anecdote where that really worked for you? Dr. Beatrice Preti: Honestly, I think the first thing that comes to mind is times when it didn't work. Sometimes, especially as a more junior learner, you only realize that the patient encounter isn't going well when it's really not going well. You really miss those early cues that a patient is telling you. That they're in distress, that they're not happy with what they're hearing. And it was, again with the same mentor observing me through several patient encounters and really deciphering it, saying, “Well, this is where– What did you think when they said this? And did you notice this look?” And no, I didn't notice this look. Well, he did, and maybe you can pay more attention.  And I think it was actually when I was playing music that I really started to make those connections because down there, I'm playing by eye. I'm trying to watch this patient or this person - half the time, I don't know who they are - to see am I playing the tune that they want, and is it recognizable enough? Does it sound okay? Is it transporting them to that place where they're hoping to be and then bringing that into the clinic room and saying, “Okay, this is actually working. I can look at this person and I can figure out how this is going and try and adjust or redirect to really try and make this encounter the most valuable it can be for them and help them get out from what they need to get out .” Dr. Lidia Schapira: So Beatrice, what I'm hearing is an enormous sense of commitment to your patients. It's absolutely lovely. But I wonder if I can ask you a little bit about the flip side of that, and that is to reflect a little on perhaps how playing and sharing music reduces your stress or increases your sense of being well and being yourself and being more confident. Can you talk a little bit about that?  Dr. Beatrice Preti: The bottom line is that when a patient encounter goes well, you also feel better because if it's not going well and people are upset, you will also be upset. So, again, very superficially, that's a good end goal to have. Dr. Lidia Schapira: That's right.  Dr. Beatrice Preti: Music itself is very relaxing for me. Maybe when you're a small child and you have to play the exam pieces or you have to play what the teacher says, or what your parents say, it's not quite as much fun trying to learn everything. But now I'm at the point where if I hear a song or I see a song, I'd like to play the song, I can just do it. So it's very lovely that way. Of course, I have all my instruments at home, so even if there's a song that perhaps is not cancer center appropriate, I can just play it at home. I hope the neighbors don't complain and it's fine, but it's really fantastic, especially singing. So being able to sing with two of my instruments at least, I don't know. I'm sure there's violinists who sing. I'm not one of them. I don't have those skills. But with the other two, just go down into the basement. I have a microphone, I have a sound system and just get it all out. Get out all your frustrations, all the things that happened that day. It's very cathartic. It's a good release  Dr. Lidia Schapira: Over the years, we've had a few essays in Art of Oncology that talk about music and how important music is for that particular author. And it's just so lovely to hear. So I want to end by asking you a very simple question, and that is, what is the song that is most often requested these days? Dr. Beatrice Preti: Oh, that's hard. That's hard. It really depends who it is, because I've played to different generations. I have a rendition of “Zombie” by The Cranberries that a lot of people seem to like, “Losing My Religion.” But these days it's “Flowers” by Miley Cyrus, actually, I would say. Everybody seems to know that song. Dr. Lidia Schapira: Well, it makes me feel very old because I don't. I was hoping you would say something about these ‘70s or I'll be more comfortable with ‘80s or even with Taylor Swift, but I'll have to go listen now. So thank you. I want to give you the last word in the podcast. What is the central theme of your message as an author and as somebody who's sort of bringing this forward and putting this in front of the global community of oncologists, what can music give us? Dr. Beatrice Preti: Yes. Well, I think music and writing and words, which are a form of music in a way, they can help us remember, I think, the most important thing about Oncology, which is the human aspect of it. We're dealing with people who are frustrated, scared, alone, lost, in some of the darkest points in their lives. And it's a privilege to be able to serve and help these people through their journeys, but that's not always with drugs and treatments. Sometimes that's just with what we do or what we say, and that's a gift. But it's also a skill that needs to be developed and remembered. And having music is one of the things I think that helps me do that.  Dr. Lidia Schapira: That's absolutely beautiful. So thank you very much for the work you do and for sending us your essay. And to our listeners, until next time, thank you for listening to JCO Cancer Stories: The Art of Oncology. Don't forget to give us a rating or review and be sure to subscribe so you never miss an episode. You can find all of the ASCO shows at asco.org/podcast. The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions.   Guests on this podcast express their own opinions, experience and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity or therapy should not be construed as an ASCO endorsement.   Show Notes: Like, share and subscribe so you never miss an episode and leave a rating or review.   Guest Bio:  Dr. Beatrice Preti is an Adjunct Professor at Western University in London, Ontario, in Canada.    

Paddy Danda welcomes Alfie Noakes, a stand-up comedy MC, promoter, and coach. Alfie shares insights into the superpower of making people laugh and how it can be a valuable skill in various contexts. He emphasizes that anyone can try stand-up comedy and provides practical tips for incorporating humour into talks and presentations. The episode delves into the psychology of audience engagement and the importance of storytelling in comedy.

There are few theories regarding God's grace in Indian philosophy:1. It is earned through good works (karma)2. It is earned through devotion (bhakti)3. It is earned through renunciation (tyāga)4. It comes as a result of two equally strong samskaras bubbling up at the same time and checking one and another, thus artificially stalling all future karmas from fructifying (karmasāmya) Using some arguments from Abinava Gupta's commentary on the Mālinīvijaya Tantra, we'll show why all of these are absolutely wrong.  We'll demonstrate how:(a) grace comes from the independent, playful will of Divine Mother.  (b) since all this is verily śiva, God is really ever gracing Herself.We will also, Mā willing, respond to a few objections regarding grace:1. If there is such a thing as grace, then, surely God is partial to some and not to others? Why would she keep some in bondage and liberate only a few?2. If God is playfully enacting her will a bondage and liberation, then, why bother? Why go through the trouble of bondage at all?3. If God's grace is the only operant factor in a person's liberation and if God's grace cannot be earned through spiritual practice, why bother to engage in practice at all?Naturally, we'll review the 9 grades of śaktipāta (grace) in Abinava Gupta's classification. This will help us gauge what level of spirituality we are currently at so that we can better enjoy our time as aspirants!Also, we get to talk a little about enjoyment and renunciation in spiritual life and why renunciation is an absolutely natural, easeful and effortless process, like we started talking about last week! (anādara virakti).And finally, if there's time, I want to share some quotes from Utpala Deva's Shivastoravali to show how Devotion is the highest attainment in Kashmir Shaivism (i.e. bhakti is the total ripening of jnana, which is itself synonymous with liberation itself) thereby linking it so Sri Ramakrishna's views on the same!  The 9 Levels of Śaktipāt:1. Tīvra tīvra = Intensely intense = videha mukti2. Madhya tīvra = Moderately intense = jīvanmukti3. Manda tīvra = Weakly Intense = jīvanmutki4. Tīvra madhya = intensely moderate = krama mukti5. Madya madya = Moderately moderate = krama mukti6. Manda madhya = Weakly moderate = krama mukti7. Tīvra manda = Weak but Intense8. Madya manda = Moderately weak9. Manda manda = Weakly weakQuotes from Abinava Gupta's Paramarthasaraādarśe malarahite yadvad vadanaṃ vibhāti tadvad ayam |śiva - śaktipātavimale dhītattve bhāti bhārūpaḥ  ( 9 )  As a face shines forth in a spotlessly clean mirror, in the same way the supreme Lord who is of the nature of illumination shines forth in the buddhi (intellect) tattva that has been purified following the descent of divine grace by the Lord.   paramaṃ yat svātantryaṃ durghaṭasaṃpādanaṃ maheśasya devī māyāśaktiḥ svātmāvaraṇaṃ śivasyaitat  ( 15 )  The supreme Lord's great freedom, which is capable of accomplishing the most difficult task, is called the Goddess Maya-sakti. It serves Paramasiva as a veil to hide Himself.kambukamiva taṇḍulakaṇa - viniviṣṭaṃ bhinnamapyabhidā |bhajate tattu viśuddhiṃ śivamārgaunmukhyayogena  (18)The husk existing on a grain of rice, though existing separately, appears inseparable from the grain. But [the fettered being, who similarly seems attached to his fetters] attains purity by turning towards Siva through Yoga and treading on his path.svajñānavibhavabhāsana - yogenodveṣṭayennijātmānam | iti bandhamokṣacitrāṃ krīḍāṃ pratanoti paramaśivaḥ  (33)Lord ParamaSiva liberates himself from bondage by loosening its grip through the glory of knowledge of the Self. Thus bondage and liberation are his divine pSupport the show

In Japan the Toyota Century sedan is *the* car for royalty, captains of industry, and old money. Now it's being reborn as a Rolls Royce Cullinan-esque luxury SUV. We're ambivalent. Daniel Mack asks drivers the question, "Hey, I love your car, what do you do for a living?" and has become a TikTok sensation. Is he the most important person in the automotive world? Trauma surgeon Stephan Moran discusses the fact that the US is a world leader in commercial aviation safety, yet we lag behind the rest of the world in highway safety. He talks about the problem and his solutions. Retired marketing expert Adams Hudson goes through a list of 10 leading automotive brands and gets into what those brands actually stand for. Naturally, Steve-0 and Stephan have thoughts Finally, all three of the guys list 10 new cars for sale in 2023 that we think are cool, and 10 that we view as not cool. #carsoncallpodcast #listofcoolcars #listofnotcoolcars #automotivebranding #carbrands #coolcars #notcoolcars #traumasurgeonsafety #toyotacentury #danielmack

Ever wonder how the constant worry that comes with being an entrepreneur affects your health? This episode of Breaking Boundaries for Entrepreneurs will help you understand the profound connections between our worries and their tangible repercussions on our health. We'll face unspoken fears like market viability, financial stability, and competition. We will also address the personal concerns of striking a work-life balance, managing healthcare costs, and planning for long-term health and retirement. But worry not! We won't leave you hanging in the vortex of anxiety. As we move into the second half, we will guide you towards breaking the cycle of worry and embracing a worry-free lifestyle. We'll provide a unique set of introspective questions that will help you disrupt the pattern of constant worrying and usher you towards a life of tranquility. Additionally, we'll touch upon essential supplements that can help you maintain this newfound peace. Join us, take control of your health, master your stress, and start breaking your boundaries today!LINKS:Episode 27 Harnessing the Law of Attraction Looking for daily support for your wellness, weight-loss and longevity questions? If you're the kind of entrepreneur that values your health as your greatest asset, naturally you'll want to join, and invite your friends, family and colleagues to our thriving community where you'll feel loved, supported, seen and heard! JOIN HERE!As a token of gratitude, of course you're interested in these FREE and powerful resources: > Naturally, you'll want to join our Love Energy Wellness Community and Support Group for daily support! > You might be wondering just how full your Toxin-Tank may be: Take your FREE Toxicity Assessment to find out - no email required > You'll discover a new level of self, after your FREE 2-Part audio training for Confidence! > As you already know, you can lean more about Integrative Health on our Blog > I know you're concerned about your future. Schedule your FREE Consultation with Jeffrey > Health Coaches: add Functional Lab Testing to your practice today!

Do you consider yourself 'crunchy'? It's a lifestyle that was coined in the 2010's and has since become widely shared on social media. The crunchy lifestyle is choosing to live more naturally. Some call themselves 'scrunchy' which is somewhat-crunchy. We're diving into the lifestyle this morning and sharing how Jess is going srunchy with household products.

This week, the Doctor chats with Davros, Missy chats with Clara, and the four of us wonder if those chats are fun enough to sustain forty-five minutes of television. All while actually having quite a fun chat ourselves. It's The Witch's Familiar. Notes and links Quite a few mentions are made of the 60-minute LP of Genesis of the Daleks. This was released in 1979, more than 10 years before the first VHS release, so for much of our childhood it was the only Doctor Who story we could actually own (apart from the novelisations). Naturally, we basically know it off by heart. The convention in Sydney that Nathan talks about took place in November 2015. In fact, it was where we all met Steven B for the first time. Here's an account of the event published at the time in The Guardian. The last time Moffat wrote for both the Daleks and the Master, the Master was played by Jonathan Pryce, and it was a story that also featured sewers full of faeces. That story was The Curse of Fatal Death, which we've linked to many times before and which you should all re-watch immediately. Richard sees thematic parallels between this story and the 1961 film Judgement at Nuremberg, featuring Judy Garland, obviously, a lot of very accomplished actors and mad-uncle-of-the-podcast William Shatner. He also draws a parallel between the conversations here between the Doctor and Davros and the ones between Patrick McGoohan and Leo McKern in the final episodes of The Prisoner. Sir Ken Adam (1921–2016) was the designer on many of the early James Bond films, from Dr. No in 1962 to Moonraker in 1979. He's particularly famous for his sets' modernist design and angled ceilings. Picks of the week Simon Simon recommends a quiet and thoughtful science fiction film After Yang (2021), in which a family has to come to terms with the death of their AI assistant Yang. Here's the review from The Guardian. Todd Todd recommends the Australian competitive reality TV show Hunted, in which 24 people are dropped in Melbourne and have to avoid being captured by various former police officers and cybersecurity experts. Here's a review from the Sydney Morning Herald. Richard Richard urges us to watch (or re-watch) the last two episodes of The Prisoner — Once Upon a Time and Fall Out, both of which star Leo McKern as Number Two. Nathan Nathan recommends the second series of Star Trek: Strange New Worlds, which is available to stream on Paramount+. He makes particular mention (a) of the musical episode and (b) of our podcast Untitled Star Trek Project, which has already covered three episodes of the series. Follow us Nathan is on the-Dalek-sewer-formerly-known-as-Twitter as @nathanbottomley, Todd is @toddbeilby, Richard is @RichardLStone,and Simon is @simonmoore72. The Flight Through Entirety theme was arranged by Cameron Lam. You can follow the podcast on Twitter at @FTEpodcast. We're also on Facebook and Mastodon, and you can check out our website at flightthroughentirety.com. Please consider rating or reviewing us on Apple Podcasts, or we'll trick you into sitting in this comfortable chair over here. And more You can find Jodie into Terror, our flashcast on the entirety of the Whittaker Era of Doctor Who, at jodieintoterror.com, at @JodieIntoTerror on Twitter, on Apple Podcasts, and wherever podcasts can be found. We'll be back with a new flashcast on the second Russell T Davies era in November. Stay tuned for more details: there's only a few weeks to go now. Our James Bond commentary podcast is called Bondfinger, and you can find that at bondfinger.com, at @bondfingercast on Twitter, on Apple Podcasts, and everywhere else as well. We can also be heard on the Blakes 7 podcast Maximum Power, which has completed its coverage of the first half of the show's entire run. Stay tuned for news about the release of our coverage of Series C: the wheels are in motion. There's also our Star Trek commentary podcast, Untitled Star Trek Project, featuring Nathan and friend-of-the-podcast Joe Ford. In our most recent episode, we are horrified by all the heterosexual romance on display in the Star Trek: The Next Generation episode The Price.

On this month's episode of the N.O.W. interview segment I am joined by the Naturally on a Wave Spotlight Artist: Randy Emillio. He is a brand new artist to the segment so I'm excited to expand and continue supporting independent artists. He joined me all the way from Virginia to talk about his music journey. We discussed some of the struggles he's faced so far, how he wants to evolve as an artist, and what has his journey felt like along the way of discovery. Stay to the end to catch his music one more time before we close the month out AND Make sure to follow him to look out for new music on the horizon!Check out Randy EmillioTik Tok:@Randy.EmillioInstagram:@RandyEmillioTwitter:@RandyEmillioFacebook:@RandyEmillioSpotify-Randy Emilliohttps://smarturl.it/wxgmbl>Listen to E3 Radio-https://e3radio.fm>>Click here for more Grown Uphttps://grownuppodcast.info/Support this show http://supporter.acast.com/grown-up-dholland. Hosted on Acast. See acast.com/privacy for more information.

Join Dr. Ernst as he discusses Hashimoto's Thyroid–an autoimmune condition90% of medicated thyroid patients have as an undiagnosed root cause. This episode discusses natural solutions to fix the autoimmunity thus improving overall thyroid function.See omnystudio.com/listener for privacy information.

Today we're going to talk about the best things to prevent premature graying of your hair. It's natural for your hair to turn gray with age. However, many people are getting gray hair way too early. Even though you may have genes that give you the propensity to get gray hair, there are still things you can do to help prevent your hair from graying prematurely. The pigment in your hair and the enzymes that allow the pigment to occur are both dependent on copper. You could be deficient in copper from not consuming foods high in copper. High levels of stress can also cause a copper deficiency. It's important to do whatever you can to decrease stress and increase copper to prevent gray hair. It may be best to get the copper you need from foods rich in copper rather than a supplement. As you age, you accumulate hydrogen peroxide in the hair shaft. Hydrogen peroxide can cause a bleaching effect on the hair. To slow this accumulation of hydrogen peroxide, you can try consuming foods rich in catalase. Foods high in copper: • Seafood (especially oysters) • Mushrooms • Organic, grass-fed beef liver • Spirulina Foods high in catalase: • Organic, grass-fed beef liver • Vegetables (especially cruciferous vegetables) • Sprouts or microgreens Things to avoid: • Alcohol • Smoking • Junk foods • Sugar • Refined carbs • Low-fat diets

In this episode, Maine State Senator Nicole Grohoski discusses an upcoming ballot measure that gives Maine voters the opportunity to replace the state's unpopular for-profit utilities with a nonprofit public utility.(PDF transcript)(Active transcript)Text transcript:David RobertsMaine's two big investor-owned power utilities — Central Maine Power and Versant Power — are not very popular. In fact, they boast among the lowest customer satisfaction scores of any utilities in the country, perhaps because their customers face some of the nation's highest rates, suffer more and longer outages than average Americans, and pay more to connect rooftop solar than ratepayers in almost any other state. This November, Mainers will vote on a radical alternative: a ballot measure to replace the two for-profit utilities with a single nonprofit utility that would be called Pine Tree Power. Maine and many other states already have lots of small nonprofit municipal utilities, but this would mark the first time a whole state with existing private utilities decided to make them public en masse.Naturally the utilities are opposed and have dumped $27 million and counting into a campaign to crush the measure; supporters have mustered just under $1 million. To discuss this David vs. Goliath fight, I contacted one of its champions, Democratic state Senator Nicole Grohoski. We discussed why she thinks a public utility would perform better, what it would do for clean energy, how it would be governed, and what other states can learn from the effort. With no further ado, Maine State Senator Nicole Grohoski. Welcome to Volts. Thank you so much for coming.Nicole GrohoskiThank you so much for having me. I'm thrilled to be with you today.David RobertsI am super excited to talk about this issue. There's a lot of ins and outs I want to cover, but maybe let's just start with a brief history of this thing. So the idea here is, as I said in the intro, to replace Maine's two big investor-owned utilities, Central Maine Power and Versant Power, with a single publicly owned main utility called Pine Tree Power. Tell me who first had that idea? Where did it first pop up? I know it was legislation and then it got vetoed. Just tell us a little bit about how we got to where we are now.Nicole GrohoskiThe history is really interesting, and I'll try to not spend too much time on it, but I think it's really important to start with the reality here in Maine as a backdrop. So a couple of things that are important to know for listeners is that we, as Mainers, find that our electricity isn't really affordable or reliable and our utilities aren't trustworthy. So we have, for many years running now, the worst customer satisfaction in the country, some of the highest rates in the country for electricity, and those just keep going up. We have experienced a 20% increase this summer, with another increase coming in January.And we also have the most frequent outages in the country. And there are a couple of other reliability metrics that we're not doing so well on, including the length of outages and how long it takes to restore power. So basically what we see here in Maine is that the status quo of these for-profit multinational corporations is just not working for us. About a tenth of our residents in Maine received disconnection notices earlier this year because they just couldn't afford to pay their bills. And it's not working for companies or big corporations that really rely on low cost and reliable electricity to compete.So that's kind of the background. So a number of us were wondering, does it have to be this way? Is there an alternative to worst of the worst? We are Maine, we are very proud and independent, and we like to be leading, but this is not the way that we wanted to be leading. So there was a lot of grassroots pressure. In 2017 we had a big storm, and the power was out for days. But at the same time, there was a billing fiasco, which resulted in billing errors for over 100,000 customers, which is in a state of 1.3 million people, that's a very big percent.So there was a lot of pressure, a lot of phone calls to legislators, to the Public Utilities Commission, to the public advocate about these utilities. And so I think that really planted a seed for a number of folks. Specifically, Maine's first public advocate pointed out to some members of the legislature, including Representative Seth Barry at the time, myself, and a few others, that there were other options and that the financial and local control aspects of those options might be really helpful for Maine. So we started meeting in 2019 with the previous public advocate, economists, labor, legislators, people that were part of a group called CMP Ratepayers Unite.And that's when we formed this idea of creating a consumer-owned utility for Maine that would be non-profit and similar to the ten other consumer-owned utilities we have in Maine. I don't know that we had a name for it at that time, but we do now call it the Pine Tree Power Company. So those were the early days. And then to sort of fast forward, the Legislature commissioned a study which was done by London Economics International in 2019 to learn more about the economics and also legal pathway here. Then, of course, 2020, everybody knows what happened then, things kind of went on pause. And then in 2021, we wrote a bill. And that bill passed in both chambers in Maine with bipartisan support. As you mentioned, the governor did veto that bill.David RobertsAnd that bill was to create the utility or to put the question to voters.Nicole GrohoskiThat bill put the question to voters, and it's very similar to the language that we'll be voting on this November. So we did revise the language based on some feedback from the governor, and that is the language that is now in front of us to vote on this November, November 7. And in order to get the question on the ballot we had hundreds of volunteers working together to collect around 80,000 signatures in total, which is a little bit above the requirement needed to get a question on the ballot in Maine.David RobertsI'm a little curious why — this is a Democratic Governor Mills. What was her rationale? I mean, I guess I can imagine her rationale for opposing the public utility, but what was her rationale for opposing asking voters what they thought? Did she have a good rationale?Nicole GrohoskiNot in my opinion. I'm sure in her opinion it was great. But we read the veto letter for the most part. There was very little in there that was substantive. Some of those minor changes that we made are all things that we would have happily made in advance had we had outreach from her office about them. You know, the unfortunate thing with governors in Maine is that we have yet to elect one that has campaigned using our clean elections, publicly funding campaign option, which is something that most legislators use. So you can draw your own conclusions there about the — money in politics may have been at play.I can't say for certain.David RobertsYeah, we should just make a note here because a couple of podcasts we've done here on Volts are about state laws prohibiting utilities from using ratepayer money to lobby and pay off politicians. Maine does not have one of those laws.Nicole GrohoskiWell, we actually did just pass a law. We were one of four states earlier this year to be sure that ratepayer dollars are not going for lobbying. You know, industry membership, group memberships.David RobertsOh, interesting.Nicole GrohoskiYou know, Edison Electric, for instance, Chambers of Commerce, et cetera. So that is a new law. It will be in effect in about a month. So we'll see if that improves things.David RobertsJust in time or actually just a smidge too late. So the bill of particulars here then, against these two utilities, as you say, they have really low ratepayer satisfaction scores, lots of power outages, more than usual, higher rates, some of the highest rates in the country. Like every state, Maine has a Public Utility Commission that is meant to regulate its utilities. That has members appointed by the governor or elected? I'm not sure how it goes in Maine.Nicole GrohoskiIn Maine, the commissioners are appointed and then subject to Senate approval.David RobertsSo why not just use the PUC to sort of get these utilities in line? That seems like it would be the sort of first order of business.Nicole GrohoskiIt's a great question. I mean, I think everyone kind of wants to default to using the systems we have in place, but I have a couple of thoughts about that. Our Public Utilities Commission I do think is full of folks who are hardworking and really trying to get under the hood with utilities. But there's a lot of information there that the utilities really understand best. And so when you have questions, you're going to ask the utilities and there is sort of a long term back and forth relationship there. Some people might call how that turns into regulatory capture sometimes.Additionally, we do have the ability to fine the utilities if they're not performing up to snuff and that has happened. It doesn't happen that often, and the most recent fine, I think was around $10 million. At the same time they had a significant rate increase and are pulling out over $100 million in profit every year. So it's not really proportional and we could theoretically increase those fines a bit. But there is hesitance. I think the legislature has interest in doing some of that but the utilities are of course not interested and I think we would see another veto pen action is my guess.But all that being said, this effort to create a consumer utility has led to a lot of us just digging down into what is the history of utilities in this country and regulation. And what we found is that utilities are natural monopolies so it makes sense for there to be regulation because there isn't competition. But the folks who sort of started the effort to create public utilities commissions were those who were going to be regulated. And so there has been this hand in glove relationship since the start around the regulators and the regulated.David RobertsIt's not ideal.Nicole GrohoskiThat's probably a subject of a whole other podcast but —David RobertsIt doesn't work quite like you would want it to.Nicole GrohoskiExactly. And additionally, I would say I have recently been talking to folks in other states and other people have served as public advocates. And what I find remarkable is the backflips and cartwheels that we go through with regulation to try to outfox the utilities when, by no fault of their own, the investor owned utilities are created with their number one mission to be maximizing repair profit. So it's like we could keep trying to think of creative and clever ways to balance this out. But at the end of all of it, I keep coming back to the fact that we don't have our roads, which are critical to our economy and our safety and our way of life in the private sector; and nor are our schools, nor is our military.Why does it make sense for something as important as our electricity grid to be subject to for-profit motivations?David RobertsListeners will be rolling their eyes right about now because this is something I say I find a way to say it almost every episode no matter what we're talking about. But utilities, they are structured such that they make money insofar as they spend money. So all they really want to do is deploy more big infrastructure. And so as you say, like PUCs find these elaborate Rube Goldberg mechanisms to sort of beg and plead with them to do things like efficiency or distributed energy, know on and on, inter, regional transmission, name it, all of which are sort of just counter to the basic incentive.So as you say, you can spend the rest of your life coming up with more and more elaborate ways to try to trick them into doing something against their interests. But at a certain point you just got to grapple with the central issue which is that they're set up wrong, they're set up badly, they're set up to not want things that are in the public interest and at a certain point you got to just deal with the root cause. Anyway, sorry to go off on my standard canned rant there. So then a skeptic will say these two utilities, just so people are clear about this, these are not vertically integrated utilities.These are just distribution utilities. They just have wires, they just distribute power. They do not own generation. They're dealing with a certain set of supply issues, a certain set of power plants, a certain geography. Maine is very heavily forested which is a nightmare for transmission lines for all the obvious reasons. So it just has a sort of set of things that it's dealing with. And so I guess the skeptic is going to ask what reason do we have to believe that given the sort of same resources that Pine Tree, a public utility, would perform any better?Nicole GrohoskiWell I think we have a lot of evidence that it would because we already have ten consumer owned utilities in Maine. Just for an example, there is one that's called Eastern Maine Electric Co-op. That's a traditional co-op. It is more rural than most of Maine. You might find it interesting that it is serving about 1.2% of the state's load in kilowatt hours but it is in an area that's twice the size of Rhode Island. Now EMAC, which is in rural downeast Maine is directly adjacent to the territory of Versant that I live in and the cost for delivery in EMAC is nine cents and the cost for delivery in Versant is 13.1 cents per kilowatt hour.So I don't think that's just some kind of magical happenstance that when you take profit out of the equation you're just paying less. We know that together CMP and Versant are sending out about — was last year was $187 million a year in profit. So I think if Mainers are in charge of our utility we can decide do we want to use that money to lower rates? Do we want to use it to reinvest in the grid to increase reliability? And I think it would probably be a mix of both of those things.David RobertsAnd that amount of money you think is material enough that it would show up as improved performance, show up as measurably improved performance?Nicole GrohoskiI do think so. I mean I think for your listeners, while Maine is large and rural we do have 1.3 million people. So, when you sort of divide those numbers out it does make a difference. And we've had some independent economic analysis that shows us that Mainers would be saving on average $367 a month, excuse me, a year, because of the fact that we're basically going from expensive rent for the grid to a lower cost mortgage. So I think it's easy to explain it to folks in terms of, like, "What's better when you're looking for housing, dropping your money down a rent hole, black hole for the rest of your life, or swapping out to a mortgage where you've got a lower interest rate than what we see now with the guaranteed return on equity that happens for our for-profit utilities."David RobertsYeah, this was another piece I wanted to ask about. So part of why you think this will be cheaper for ratepayers is just you take that huge slice of profits that are going, as you say, out of state to the owners of these utilities and keep that in state and that alone will buy you some better service. There's also the issue of investor-owned utilities expect and want and are guaranteed relatively high rates of return on their investments and often resist making investments if the rate of return is lower than that. But as you say, a public power utility can be more patient with its capital, right?Can make investments with lower returns as long as they pay off eventually, right?Nicole GrohoskiYeah. So we see here in Maine that the utilities are getting a ROE of 8% to 12%. And we know that firstly that's kind of astounding because it's not all that risky. Most people are paying their bills.David RobertsCrazy. It's guaranteed. It's huge and it's guaranteed. It's wild what it is. This is like the safest business on the planet as being a regulated utility.Nicole GrohoskiCouldn't agree more. And on the flip side, the Pine Tree Power Company can access low-cost capital through revenue bonding at 3-5%. So when we think about paying off that debt over many years with compounding interest, when we think about the fact that our grid really isn't ready to electrify our economy and experts expect it's going to need to be, increased two to three times. Now is the right moment in time, I think, to move away from high cost, low-risk investment to low cost, low-risk investment before we literally triple our grid.David RobertsTell us a little bit about how the utility would be governed or structured and what implications you think that might have.Nicole GrohoskiI love this question. I am a public servant and so I believe in local governance and people getting to vote and go to public meetings and have a say and all that is built into the ballot question. So the Pine Tree Power Company would have elected board members and there are seven of them, one for each grouping of five Senate seats, state Senate seats. And those members then turn around and appoint six members who have specific expertise in things like utility law and management, concerns of workers, concerns of economic, environmental and social justice, things like that, that we really want to make sure those folks are at the table.And this group of 13 people, they serve six-year terms each of them. And of course, there's like a little bit of a lead-in time because they'd all be elected at once, where some of them served shorter terms at the start. But point is, they are people in our communities. They have to be living in Maine. They have open meetings that are subject to freedom of access laws. And in order to best serve the public, I think they would be doing a lot of public outreach. And that's something that in talking to managers and board members from other consumer utilities in the country, I've been really impressed with how much local engagement they have. I think Sacramento Municipal Utility District, they said they're hosting 1300 community meetings a year.David RobertsGood grief.Nicole GrohoskiA couple a day on average. But they have, I think they said 95% customer satisfaction. So people feel like they're valued, their experience matters and they also have a plan to get to 100% clean energy by 2030. So our Pine Tree power governance is very much in the spirit of "It's a public good. It should be publicly governed."David RobertsThere's a little bit of a controversy in Maine a few years ago. I don't remember all the details, but it was about a big transmission line that would have brought hydro from Canada down through the woods of Maine. It was fought and I believe killed by popular resistance. And there was a lot of, at least nationally there was a lot of talk of like here again we have environmentally minded locals blocking things for environmental reasons, but in a short-sighted way that's going to be worse for the environment overall. In the long term, they're NIMBY's. We've got to figure out a way of dealing with this problem, et cetera, et cetera.So this leads to my question, which is: if you have a governing board that is elected by local people, and it is the local people who are often the source of the NIMBYism, do you not have some fears? That this would lead to a more NIMBY rather than less NIMBY operation of the utility, which is going to be difficult when, as you say, this is the time when every state everybody needs to be increasing and bolstering their transmission systems. Do you worry that local control is going to translate into more rather than less NIMBY opposition to new lines?Nicole GrohoskiI'll put it in a way that I think makes sense to me as a person in Maine who's intimately familiar with what you laid out, which is at the root of that decision, was a fundamental lack of trust in Central Maine Power. A trust that it would be doing anything in our best interest, that it would be giving us appropriate benefits, that it was really after anything more than profits. And so I think it wouldn't be true that as soon as Pine Tree Power was created that everyone would immediately trust the company. But I do think it would be a fresh start.And on top of that, with elected and appointed leaders spending time in communities and just energy literacy, I think in general would increase because it's something we would be talking about more if we had to elect the board. I'll say I think that people's interest in energy policy has gone through the roof this year compared to where it was in the past. And people are asking just really great questions, a new curiosity around electricity that I hadn't seen before growing up here. So I think that the outcome would actually be that folks would feel like they had a say in how the transmission was cited, who was benefiting if we remove the profit motive.Imagine if that money that would have gone to profit was actually going to community benefits. That might really change how people feel. And I think that here in Maine we are sort of skeptical of what's being pushed on us by people from away, quote unquote, is a saying we have. I don't always love it, but it is accurate in this case. You've got Central Main Power, owned by Avangrid, then owned by Iberdrola, based in Spain, telling us, "Oh, we've got this great deal for you." And people are skeptical of that. So I think we have a greater chance actually of doing transmission right and in a way that people can accept if there was this broader community process and a lack of for-profit skepticism that comes naturally to us here.David RobertsOne of the criticisms of the two existing utilities is that they're kind of slow-walking clean energy in particular. So I wonder if you could just say a word about what that means and why and how we think Pine Tree would be better on that score. Because it's not obvious. These are just wires utilities, right? So they're not dealing directly with clean energy generation. So what are the issues around clean energy and how will Pine Tree be an improvement?Nicole GrohoskiSo, historically, we have seen that the utilities do spend a lot of time and money in the State House, not just behind the scenes, but also right out publicly testifying against clean energy bills. Now, that has slowed in recent years, but certainly in the previous gubernatorial administration, that was a very common practice.David RobertsIf I could just pause there, I guess I just don't fully understand why, like, if you're a company that's just running wires, what's it to you?Nicole GrohoskiRight back to the return on equity question. So, these utilities make more money when they build transmission lines than when they upgrade the distribution system. They get a higher rate of return, right? So it is in their best interest to continue with the model of large far-off generation facilities compared to local rooftop solar type solutions or microgrids or battery storage. So that's the first part of the problem, I think. And secondly, I think some of these utilities just really are not very nimble. They're sort of in the business that they've been in for a long time and thinking about how to create a dynamic grid that has time of use rates that actually work, for instance, or bidirectional power.We have had smart meters in this state for over a decade and I can't see how they're being used in any kind of smart way. I mean, people are still calling the utilities to let them know the power is out.David RobertsIt's just baffling to me. Like, if I'm in the utility business, this is like my time to be a hero, you know what I mean? After 100 years of sleepy operation in the background, all of a sudden the world is calling upon me to be cutting edge and be the hero and save the world and instead, I'm just going to "I just want to keep doing things the way I've been doing." I don't know, people are disappointing.Nicole GrohoskiNo comment.David RobertsYeah. So I read in one of the stories about this. One of the opponents of this measure said, quote, "The people behind this proposal have no actual plan to lower rates, improve reliability and enable a swifter energy transition." The implication being that the fans of this measure just think that making the utility public is going to be sort of automagically, make everything easier and cleaner and cheaper, but there's no actual plan to do so. Is there a specific plan for how Pine Tree would operate and how it would do these things? Has anyone modeled out sort of you know what I mean?Is there more than just hope that the structure will do the work for you?Nicole GrohoskiWell, I think that the person who said that spent some time cherry-picking certain things in the ballot language but missed the bigger picture here, which is we have to start by saying yes on November 7 and then at that time then we have an election for the board of directors and it goes on from there. But until that time the Maine Public Utilities Commission cannot compel the utilities to give over their very private data to do that kind of in-depth modeling that is going to be the very next task for the Pine Tree Power Board once it exists and that is spelled out in the ballot question. You know, these utilities, I'm just going to be level about it: They don't have a plan either.And I can tell you that because the legislature last year had to pass a law requiring them to do integrated grid planning and think about how is it going to work to increase renewables on the grid, to increase demand as people install more heat pumps and use electric vehicles. They're not doing that or if they are doing it they're not doing it in any kind of way that is transparent or subject to review. So I think it's like a great bait and switch tactic.David RobertsAren't they supposed to create integrated resource plans? I thought that was something that all utilities had to do.Nicole GrohoskiI think they have some planning, but it is clear from the way that the interconnection queues are looking, the very high cost they're pushing onto developers for even just what turns out to be basic grid maintenance, there isn't really — maybe they have something that says "plan" at the top, but I'm not sure that all the nuts and bolts are actually there.David RobertsYeah, I meant to hit on interconnection before because that's one of the critiques also is that they are slow-walking interconnection of distributed resources, etc. Presumably they're doing that, or at least they say they're doing that to protect the grid. Do we have reason to believe they're slow-walking that on purpose such that Pine Tree could substantially speed up the interconnection queue?Nicole GrohoskiWe do have reason to believe that specifically because of all the complaints that we've received as legislators. We did ask the Public Utilities Commission to look into this and they hired the Interstate Renewable Energy Council, or IREC, to do a study. And the IREC findings were basically especially around Versant, which is in eastern and northern Maine. These guys are some of the worst actors we've ever seen in the United States. They are requiring things that they can't justify why they're requiring them, and we can find no reason from an engineering perspective to require them. And your listeners might find it fascinating to know that for Versant customers, the average cost of interconnecting your rooftop solar to the grid is $10,000.David RobertsJesus.Nicole GrohoskiThat is not normal is what I'm told. Another great story that I've heard from a couple of constituents is that they need a transformer upgrade to interconnect their rooftop solar. Okay, that might be true, and that upgrade is going to cost you $1,000 - $1,500. But we can't get the parts for two years.David RobertsOh my goodness.Nicole GrohoskiNow the same solar installers that are working in my area are also working in CMP's area Central Maine Power. Because I live my district includes both, and the installers are saying "CMP says they can get it in two months." So then I asked my constituents "Can you file a formal complaint at the PUC using this process we had to create because this is such a rampant issue?" And when they do that and go through the whole process, then that transformer has arrived and been installed within two to three months time. So I don't know what to say about it.I can only say what I see from the outside and the experience that I have heard about from people that pick up the phone and call me. But it seems shady to go from two years to two months.David RobertsLet's grapple here with what is probably the biggest and most difficult issue around all this, which is say Maine voters say yes to this, and it goes forward. Basically, it would involve the state of Maine buying these two utilities assets from the utilities, and depending on who you believe those assets are worth anywhere from $5 to I think CMP is now saying it could get up to $13 billion. So that's a big public expense. So how's that going to get financed? Who's going to pay it? How long is it going to take to pay it? Have we thought through in any detail how that process works?Nicole GrohoskiYes, definitely. And that was a big part of what the London Economics analysis included was that legal analysis of what that purchase price process would look like. We also have been able to look at this transition as has happened in other communities in the country, and we created an expedited and refereed process to determine the purchase price. And all told, from this fall to switch over to Pine Tree Power, we expect it to take three to four years. What we know from the LEI study is that this is a completely legal and constitutional effort. It's helpful to remind folks that because these are actual monopolies, they only have the right to be doing business because we give it to them.And in the Maine statutes, it literally says the PUC can take it away.David RobertsYeah, I mean, of course, again, this drives me crazy. I'm reading articles about this and of course, just once I'd like there to be a good argument had in public instead of idiots. But all the Republicans are now saying "This is a communist takeover of private business by the state. It's Communists. Why don't we call it Chinese electricity?" I've read, some of the dumbest quotes.Nicole GrohoskiAre you in the comments section?David RobertsNo, these are legislators. This is not even I mean, there's barely a distinction anymore. But like, the Republican legislators are saying this now. So it's worth just emphasizing the point that you just made, sort of drawing a line under it, which is these businesses have been granted a monopoly by the state and granted guaranteed returns by the state. So of course the state can take that back. Of course this is legal. Like if the state grants, the state can take away if the state is granting it on the grounds that it will be of service to the state's residents and it's not anymore, then of course the state can take that monopoly back.It's just crazy viewing. It's not like Maine is going to go take over the potato chip industry.Nicole GrohoskiWe have no interest in that.David RobertsThis is not a normal business. Utilities are not normal private businesses. They are state basically state created entities. And so of course, the state can uncreate them if it wants to. Sorry, I know that will not have any effect at all on the dumb things Republicans say about this.Nicole GrohoskiWell, I do want to clarify. We do have some really strong Republican support, from certain legislators as well as just regular folks. I mean, that was the greatest thing about collecting signatures for this initiative, which I did and my family did and many other people I know was that when you remove it from a debate in a state house, regular people just get it. They get that this is really important to our economy to have an electricity grid that works for us and for our health and safety. And they also understand that maybe this is not a place for profits.And I've had folks wearing Birkenstocks and folks wearing MAGA hats sign the petition because I think Maine people are really resilient. We are proud of our ability to solve problems and I think the majority of us believe this is something that we can do and that we probably could do it better than some far-off foreign monopoly.David RobertsAnyway, I interrupted you. You were talking about how these giant bills are going to get paid. Basically you say it's going to take about four years to do all the work, to transfer everything over. Would the $5 billion or however much it turns out to be, be paid off over those four years or how will it be financed?Nicole GrohoskiNo. So we did meet with some municipal bond banks. This sort of acquisition, like in the case of Long Island, has been paid off over a long period of time. And that's how we're able to see the rate reduction. You know again, similar to renting versus owning. I was able to buy a home. My mortgage is less than my rent would be, but I am still paying it off. And even with the interest, it's still less. So we have the ability through revenue bonding to borrow that money backed by the ratepayers, not actually by the state government and the general fund, but by the ratepayers.We have the ability to borrow that money, and then pay it off over time, and borrow more as we need to build out the grid.David RobertsWould it being a public utility enable it to draw on state money? Because one of the points a few pods ago we were talking about a new offshore wind bill that would draw money from state coffers rather than from ratepayers. And one of the sort of arguments and defense of that is taking tax money from state taxpayers is much more progressive than taking it from ratepayers. Basically you're getting a much more progressive source of funding. Is there any talk of Pine Tree being able to draw on state money or would it still just operate as a utility and get all its money and revenue and stuff from ratepayers the same way a private utility would?Nicole GrohoskiThe enabling statute has it separate. I think that that is really important, especially to our union workers because they had concerns about becoming public sector workers and what that would mean for their right to strike, for instance. So we have ensured that they are private sector workers.David RobertsOh, interesting.Nicole GrohoskiWhether or not a future legislature might say we're able to maintain that and have the utility doing efficiency programs that are paid through the taxpayer dollars versus ratepayer dollars, I can't predict. To your point about regressivity, one of the things that is required in the bill language for the Pine Tree Power Company is to establish lower rates for low income residential customers in the first five year plan. So we are trying to address that challenge that you're absolutely correct. It's the regressive funding structure, unlike taxation.David RobertsAlso, one of the criticisms of these utilities is that they're sending all these cutoff notices, they're cutting off people from power, which is bad for all obvious reasons. But is Pine Tree going to pledge not to do that? And if it doesn't do that, where does that money to cover those people's rates come from? Because that would seem like an additional expense because whatever you might say about cutting people off, it does save the utilities money.Nicole GrohoskiRight. Well, we do have what's called the Arrearage Management Program here in Maine and that does help folks get out of arrears and that is ratepayer funded program. So that is a somewhat fiscally progressive approach to that. You know the details of that program are probably more than you'd want to know. But the long and short is if you get back on track then some of your debt will be just forgiven. But it's not forgiven by the utilities, it's forgiven by your neighbors.David RobertsRight. Well, would Pine Tree pledge not to cut people off? Like, is that part of the campaign here or how would it treat cutoffs ?Nicole GrohoskiYou know, it's a good question that surprisingly I don't know if anyone has posed to me it is not in the legislation one way or the other. I'm of the belief that if rates go down and we could have rates that were income stratified to some extent, that the amount of disconnection notices that we saw earlier this year would go way down just economically. But I think it would be really a decision of the board. And then I'm also not sure if the Public Utilities Commission if there are any rules on the books because this utility, unlike a lot of consumer utilities in the country, is regulated by the Public Utilities Commission as if it were an investor owned utility.So, there may be specific rules about that already.David RobertsYeah, I would just think though, if you're trying to sell this, making this public rather than private, one of the things you could sell is like we think this is a public right to have electricity on some level.Nicole GrohoskiThe one other thing about it that just comes to mind is that a couple of years ago during COVID, people were especially concerned about the disconnection notices, not knowing if they were going to be receiving a next paycheck but we were told that the disconnection notices were necessary in order to provide certain assistance. So the utilities said, "Oh don't worry, we're not actually going to disconnect anyone but we have to do this to get them into this next program." So, I don't know if that would come into play here but I'm not convinced that the utilities wouldn't have ultimately shut the people off but that was a way that they spun it at least.David RobertsOne more kind of semi-technical question that's a little bit of a side thing but is of interest, I think, to Volts listeners. One of the provisions in the IRA, the Inflation Reduction Act, is that it makes some of the tax credits direct pay, which means you don't have to pay taxes to get it back. You can get it back directly as a check and one of the categories of entities that would qualify for this is tax-exempt entities. So I wonder, has anyone done any thinking, and maybe this is too in the weeds but done any thinking about what advantage it might pose for Maine to have its utility be tax-exempt, whether it will benefit from the IRA through that.Nicole GrohoskiIt is something we're thinking about because we were excited to see that direct pay provision sort of leveling the playing field for publicly owned generation which is another topic I'm very interested in, but I think it remains to be seen. In the case of Pine Tree Power, it is not allowed to own generation and it may be permitted to own some storage as is necessary to maintain the grid functioning. So I'm not entirely sure that that direct IRA provision would help in this case but what I think it does is sort of change the paradigm a bit there that may then also shift to other things. If the federal government says let's have an ITC or PTC for transmission lines, the next step might be —David RobertsPraise be.Nicole GrohoskiWell, let's make sure we set it up the same way we've just done with generation. Yes, I think it's a really important conversation even if it doesn't have a direct immediate effect on the Pine Tree Power Company.David RobertsInteresting. As I think anyone could predict just from what we've said so far, even knowing nothing else about it but what we've said so far, I'm sure people could predict that the private utilities in question are not excited about this happening and have mobilized to prevent it from happening. So tell us a little bit about the campaign against this. Is it as hysterical as one would predict?Nicole GrohoskiYeah, I mean hysterical is one word for it. Deeply troubling is another phrase that comes to mind. But these are utilities, like I mentioned, about the amount of profit that they make and that's just off of their Central Maine Power and Versant holdings. But Central Maine Power is just a small, small fraction of the entire Iberdrola conglomerate. So, yeah, we have seen them spending a lot of money against the campaign. They've put $27 million toward the campaign, both utilities, as of the end of June. So we expect to see more of course.David RobertsNot a small amount in a small state.Nicole GrohoskiNo. And honestly, talking to my neighbors, people are very upset by it. They're kind of irate that they're the people whose power goes out and doesn't come back on for a couple of days. They're the folks who had to spend $10,000 for a generator which isn't part of a clean energy solution last I checked. And there go the utilities putting $27 million toward just running ads.David RobertsYeah, I mean, are they experiencing it as a flood of ads? I mean, $27 million must allow you to kind of dominate the airwaves.Nicole GrohoskiYes, the airwaves are definitely bought up, as far as we can tell. And they have just their two donors, which are the utility parent companies, which are Avangrid and Enmax.David RobertsAre they funding 100% of this?Nicole Grohoski100%, yes. And these utilities, lest they tell you how amazing and green and climate-friendly they are, they are gas utilities, Avangrid and Enmax anyhow. And then on the flip side, we are a smaller organization. We don't have Mainers' pockets to pickpocket on a regular basis.David RobertsI'm guessing you guys haven't hit $27 million yet. How much money have you have?Nicole GrohoskiYou're closer to around a million, I think. And that's over 1000 donors, most of whom are just regular donors giving what they can because they understand these differences. And also I think the big difference is the utilities are putting out a lot of fear, doubt, scare tactic type ads. And on the flip side, what we're offering people is something different and something positive, something that we can all lean into and make sure that it succeeds because it would actually be ours. So I think that's resonating with folks.David RobertsWhat are the scare tactics specifically? Are they saying this will be expensive or what?Nicole GrohoskiYeah, expensive. I mean, you quoted some of their numbers and it's laughable. They're like, "Oh, we're going to get $13.5 billion." Well, they're worth $5.4 billion. That's what they pay taxes on. That's what they filed their official paperwork saying. So I think especially as we learn more and more about how decrepit certain portions of this grid are, they'd be lucky to get a little bit over that. So that's one of them. "Is there a plan? We don't have a plan, but do they have a plan?" is another one. You know what, a lot of it is just to my sensibility is a little insulting to Maine people.You don't know what you're doing, that kind of thing. Meanwhile, we're going to keep the line workers who are doing the work and we're giving them a retention bonus because we value their expertise, because they're the ones that actually know how the grids work, not the CEOs and the CFOs.David RobertsYeah, it is historically pretty easy though just to I mean, when you're fighting against change, you barely even need arguments. You know what I mean? You can just say "Booga booga booga change" and you're halfway there, it seems like.Nicole GrohoskiWell, I think that's why we're in such a unique position in Maine because while that can be kind of an initial gut reaction, I think people here are curious. We've certainly seen plenty of campaigns where one side was outspent a lot by the other and it didn't make a difference. We have led in other policy areas. Ranked choice voting could be one recent example. Clean elections one of the only states that splits our electoral college votes. So I think Maine people, I think we're interested in things that are different if they make sense to us.David RobertsWhere is the public on this? Do we know do we have enough polling or survey data or what have you to know kind of what the level of support is or where the public is on this? Do we have a barometer? Do we have a measure here?Nicole GrohoskiYeah, I think the most recent public polling was probably a couple of months ago. But what it showed was there were people that were solidly in each camp but a lot of undecided voters and it really put us in a dead heat in terms of the people that were decided. And what I think is interesting is folks are not being swayed by Central Maine Power and Versant ads mainly because we don't trust them. They have not been good faith actors.David RobertsAre they creating fake groups like "Mainers for puppy dogs and grandma"?Nicole GrohoskiYes, Maine Affordable Energy is one of them. Yeah, so they sound pretty good, but all you have to do is google that and you find out pretty quickly, because of our disclosure rules, that's 100% utility funded.David RobertsTo the extent that the public supports this, are they viewing it as primarily a green thing, a thing about clean energy? Or is it primarily " Screw these out of state —," you know what I mean? Like a Maine pride kind of thing. Is it a reliability? Do you know what it is about this that the public has taken from it? What it is the public is supporting when the public supports it?Nicole GrohoskiThat's a great question and it does vary depending on the person and their interest and maybe even where they live in the state because the utility rates are the worst where I live compared to all the other districts in the state. So it depends. I think if you're a person who tried to interconnect and you got told you have to wait two years and $10,000, then it might be about greening the grid. But I think for a lot of folks underlying whatever their specific reason might be, it is that question of trust. I think about this all the time we have aggressive clean electricity goals, but 50% of our carbon emissions in this state are coming from vehicles and we are the most heating oil dependent state in the country.So we've got to get people onto the electricity grid in order to have any hope of cleaning it up. But it's really hard for me to knock on someone's door and say, "I really hope you'll consider changing your whole house over to heat pumps, even though we have below zero temperatures sometimes. Or I know that the power went out for a week last year, but would you consider an EV?" So I think that in order to make this transition work, we have to have utilities that people trust and that are providing just basic service. People should not have to think as hard as they're thinking about if their electricity is going to be there for them.David RobertsYes, that's such an important point. And so generalizable too, like if electrification is the thing, then people have got to trust the institutions in charge of electrification and they do not have much public trust these days. So that's an interesting argument in favor, I think, of making utilities more accountable, more public. What about the other big argument against one of the big scare things is you have to buy all these assets, which is like a big bill, a big one-time bill. The other scare story is that utilities are going to immediately sue, that this is going to get mired in the courts, and that it's going to take 4, 5, 6, 7 years to even get it all settled, and until then it will be chaos and no one will know what's going on and blah, blah, blah.So realistically, what's your view of, say, voters approve this in November? What is your view of sort of how that plays out and when and how the inevitable legal wrangling gets resolved?Nicole GrohoskiBasically, the Pine Tree Power Board will offer a certain amount for the utility infrastructure. I don't expect that the utilities will accept that on first pass you're buying a used car, you don't just take the first price. Right. So we would expect some negotiation, but if that doesn't work, then it will go to the courts. And there is a refereed process that's spelled out in the legislation in the Superior Court that then can be appealed to the Supreme Court in the state of Maine. But there are timelines set up. So it cannot go on for years and years and years, because at some point, if you lose or win a case, that's it.You have one appeal. I think it's funny that this argument is coming from the utilities because if there are any lawsuits and if it got dragged out, as they say, even though we've protected against that to the best of our ability, that's coming from them. That is a choice that they are making.David Roberts"Don't make us do this."Nicole GrohoskiYeah, so it's kind of ironic but additionally, one of the things that comes up is how do we know the utilities will continue to invest in the meantime? And it's like the best parallel I could say to that is if I'm going to sell my house, I don't just stop fixing things before I sell it. I keep it up in really good shape. And in fact, utilities would have an incentive to invest more because usually they don't just sell it for exactly what it's worth. There's usually a multiplier. We expect it to be like 1.5 times.So we actually have increased the oversight capacity of the Public Utilities Commission to ensure that there isn't any of that sort of last-minute gold plating going on, because that is actually what we'd expect, not the further disrepair scenario.David RobertsOh, so you think if this goes through, they'll plow a bunch of money into high dollar upgrades just to boost their price that you have to pay for them?Nicole GrohoskiThat's what I would do if I were them. Fortunately, we're going to keep an eye on that on behalf of Maine people. But if you are able to invest a million dollars here and in two to three years time make $1.5 million because that's the multiplier that the courts assign, that's pretty good.David RobertsYeah. So what's your timeline in your head then? What do you envision? At what point is there just the one public utility operating and all this is behind us? Were you willing to predict?Nicole GrohoskiYeah, we're looking at fall 2027, so four years from now, and that includes having the elections for the board members next year. So that's the first major hurdle, which I think is exciting, especially because living in one of the more rural parts of Maine, we don't always feel here that our interests are represented at the Public Utilities Commission, which is folks from southern Maine. And I think this geographic component is really compelling to, you know, so that's our first step. And then basically we have to get a lot of information. I mean, the board would have to get a lot of information from the utilities in order to know what purchase price they should put forward, what's the business plan, what does the revenue bonding look like, and make sure they can secure that financing through a large municipal bond market.So that takes time and we want to make sure we do it right. On the other hand, doing nothing is also a risk that I think sets people in my generation and folks younger than me behind economically and environmentally for decades. So a couple of years to do it right is definitely worth it.David RobertsOkay, final question then. I can see lots of Maine-specific reasons why one might argue that this is a good deal; these utilities are particularly bad, Maine has a particular set of problems, it has a particular sort of public culture, a culture of participation and a culture of civic engagement, et cetera, et cetera. Lots of Maine-specific reasons why you could make the case for this. I wonder, to what extent do y'all have your eyes on other states and trying to make this the beginning of something bigger? Like, do you believe that taking private utilities public is a good idea across the board?Is that something you'd like to see become a national trend or are you just purely focused on Maine? How do you think about the influence this may or may not have on other states?Nicole GrohoskiI think that all the issues we've had in Maine are what led us to looking around for solutions, but it is a structural imbalance that we have with the regulated monopolies when they're for profit. So, I do think it is something that is exportable to other states. We people in our coalition have been working with and talking to people elsewhere in the country who are looking to make a similar transition also elsewhere in the world. It's kind of interesting. The Scottish power is also owned by Avengrid, which owns Central Maine Power, and they are looking to become a public, truly public utility over there.So, in doing this work, we've found a lot of interest for that business model change. And I think as we become another case study, we are standing on the shoulders of other case studies that have happened in this country. And as we become another one for folks, I think that we'll see some opportunities arise. And I would like to see that because I want every American to be able to afford their electricity and to be able to have clean energy and not a lot of hurdles to getting there, because we are literally all in this together as a country and as a world with our climate crisis.David RobertsThat seems like a wonderful note to wrap up on. Nicole Grohoski, thanks so much for coming on and walking through this with us. It's super fascinating and I think it will be an example to the rest of the country one way or the other. However it plays out.Nicole GrohoskiWe're hoping that we're a positive "yes" example. We're working every day toward that. And I want to thank you, David, for having me on and talking about this topic, which is, I think, endlessly important and fascinating.David RobertsAgreed, agreed. OK. Thanks, Nicole. Thank you for listening to the Volts podcast. It is ad-free, powered entirely by listeners like you. If you value conversations like this, please consider becoming a paid Volts subscriber at volts. WTF. Yes, that's volts.WTF so that I can continue doing this work. Thank you so much and I'll see you next time. Get full access to Volts at www.volts.wtf/subscribe

Identifying Chronic Fatigue Quickly And Beating It Naturally  Click Here for a FREE 15 min Zoom Consultation With Brad: In this episode of "Over 40 Fitness Hacks," host Brad Williams shares his personal struggle with chronic fatigue and how he managed to address it naturally. Brad begins by distinguishing between occasional fatigue caused by factors like lack of sleep, strenuous workouts, or mental exhaustion, and chronic fatigue, which persists for weeks or even months. He highlights various potential causes of chronic fatigue, including metabolic and endocrine system issues, thyroid problems, diabetes, electrolyte imbalances, infections, lung issues, medications, and more. Brad emphasizes the importance of recognizing and addressing these underlying issues, either through medical consultation or self-research. Brad then delves into his own experience, revealing that his chronic fatigue was linked to a vitamin deficiency, specifically vitamin D. He discusses the sources of this essential vitamin, such as sunlight, fish, eggs, and mushrooms. Brad mentions that even though he took supplements, they weren't sufficient to combat his deficiency. He realized that he had been neglecting exposure to sunlight since moving to San Diego. He shares how he took action by spending more time in the sun and saw significant improvements in his energy levels. Brad also provides valuable advice on optimizing caffeine intake to avoid energy crashes. Throughout the episode, Brad emphasizes the importance of listening to one's body, conducting personal research, and making lifestyle adjustments to address chronic fatigue. He encourages listeners to stay engaged in their fitness journey, seek professional help when necessary, and maintain a balanced approach to health and wellness. In conclusion, Brad underscores the significance of getting enough sunlight and vitamin D, not only for combating chronic fatigue but also for overall well-being. He urges everyone to take responsibility for their health and make informed choices to lead a more energetic and fulfilling life. If you're interested in online personal training or being a guest on my podcast, "Over 40 Fitness Hacks," you can reach me at projectb36@gmail.com or visit my website at: www.Over40FitnessHacks.com Additionally, check out my Yelp reviews for my local business, Evolve Gym in Huntington Beach, at https://bit.ly/3GCKRzV

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