Podcast appearances and mentions of Sammy Davis

Hour three of The V Show. Bob has a college football confession. Bob talks about some sports books he's recently read. We play some Jeff Brohm and Eric Maclain sound involving Miller Moss. Some Blur and Sammy Davis talk along with a MLB update. See omnystudio.com/listener for privacy information.

Legendary entertainer, Pat Boone continues sharing his 70-year journey in music, television, and movies on this second half of our interview. Pat Boone was ninety years old when the interview was conducted over a Zoom call. Host, Byron Tyler normally records up to thirty minutes in order to produce the Mid-South View Point show. However, on the afternoon that Byron and Pat did the interview, Pat from his home in Beverly Hills, California, the conversation quickly turned into two hours. Pat Boone is the #10 all-time top recording artist. Pat was married to Shirley (Foley) Boone (daughter of Country star ‘Red' Foley) for over 65 years before her passing. Pat Boone made his first appearance nationally on “The Ted Mack Amateur Hour” (in which he became the original American Idol, selected week after week by the viewers), and later appeared on “The Arthur Godfrey Show.” Those appearances would introduce his talent to record producer Randy Wood of Dot Records who thought Pat Boone could sing rock ‘n roll. He became the youngest person in history to have his own weekly musical variety show (ABC), at times the number one show in television featuring many first time-on-TV artists like Sammy Davis, Ella Fitzgerald and Nat ‘King' Cole. Elvis Presley once opened for Pat Boone at a big disc jockey “sock hop” in Cleveland in 1956. “I had to follow him,” recollects Pat. “Thank God I had 3 million-selling hit records already and I was the star that night. But I never wanted to follow Elvis again!” Pat Boone is also a member of the Gospel Music Hall of Fame. This is the second half of a two-part interview with Pat Boone.

Legendary entertainer, Pat Boone shares his 70-year journey in music, television, and movies. He has sold nearly 50 million records and had 38 Top 40 hits. Pat was Elvis Presley's main competition back in the 1950's too. Today at ninety, Pat Boone is the #10 all-time top recording artist. He is host of two nationally syndicated radio shows, “The Pat Boone Hour” on SiriusXM's ‘50s Gold channel 72, and “The Pat Boone Show,” which features contemporary gospel music on many local stations across America. Pat was married to Shirley (Foley) Boone (daughter of Country star ‘Red' Foley) for over 65 years before her passing. Pat Boone's made his first appearance nationally on “The Ted Mack Amateur Hour” (in which he became the original American Idol, selected week after week by the viewers), and later appeared on “The Arthur Godfrey Show.” Those appearances would introduce his talent to record producer Randy Wood of Dot Records who thought Pat Boone could sing rock ‘n roll. He became the youngest person in history to have his own weekly musical variety show (ABC), at times the number one show in television featuring many first time-on-TV artists like Sammy Davis, Ella Fitzgerald and Nat ‘King' Cole. Elvis Presley once opened for Pat Boone at a big disc jockey “sock hop” in Cleveland in 1956. “I had to follow him,” recollects Pat. “Thank God I had 3 million-selling hit records already and I was the star that night. But I never wanted to follow Elvis again!” Pat Boone is also a member of the Gospel Music Hall of Fame.

What'd you like? Send us a text.New superhero movies, old Batman villains, Japanese schoolgirls, and blind drunk businessmen. Then sketches about Sammy Davis impersonators, Bob Dylan's migraine, space janitors, and guys with unrealistic expectations.

GGACP celebrates the birthday of the legendary “Pit Bull of Comedy” — actor, comic and horror movie aficionado Bobby Slayton (b. May 25) by revisiting this interview from back in 2016. In this episode, Bobby sits down with Gilbert and Frank for a funny and freewheeling discussion of a number of essential topics, including the brilliance of Ray Harryhausen, the tragedy of Bela Lugosi, the haunting of Sammy Davis, Jr. and the greatness of “Abbott and Costello Meet Frankenstein.” Also, Bobby roasts Hal Roach, hangs with Buddy Hackett, breaks bread with Woody Allen and “becomes” Joey Bishop. PLUS: Una O'Connor! “The Adventures of Ford Fairlane”! The return of Rondo Hatton! Bobby meets Otis the Drunk! And the death of Louie Dumbrowski! Learn more about your ad choices. Visit megaphone.fm/adchoices

Tom Dreesen joined me to discuss his half white / half black comedy team and the racism they encountered; how he and Tim Reid started as an anti-drug program; first saw TV at 17 (Honeymooners); being a pin boy, caddie, insurance salesman but wanting to be a comedian; The Tonight Show; getting bumped four times; his first appearance; working with Sammy Davis, Jr.; game shows; the exhilaration of working in front of 20,000 people not there to see you; Frank Sinatra always being on time, rising for women, and being a gentleman; how people always ask about the mob and not to have them do you a favor; Jules Podell; would stay at Sinatra's house; became friends; a saloon saloon singer and a saloon comic; Don Rickles; George Burns trying out new material at 95; the new Pope; Sinatra's charity; The Magnificent Obsession; materials own you; David Letterman vs. Jay Leno in love of stand up; Freddie Prinze; bat boy for the Cubs; introducing friends to their idols; Bobby Rydell; Wrigley Field is frozen in time; his one week as a talk show host; the Chicago Blackhawks

Nationa Bar B Q day,   Entertainment.  1st person known to have died from AIDS, Root Beer invented, Espresso Machine invented,  Todays birthdays - Henry Fonda, Liberace, Pierce Brosnan, Richard Page, Debra Winger, Mare Winningham, Janet Jackson, Ralph Tresvant, Tracy Gold, Rick Trevino, Megan Fox.  Sammy Davis jr died.Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/Good ol' barbq - Whisker BrothersThis is America - Childish GambinoMent to be - Bebe Rexa  Florida Georgia LineBirthdays - In da club - 50 Cent   http://50cent.com/I'll be seing you - LiberaceKyrie - Mr. MisterWhen I think of you - Janet JacksonMr. telephone man - New EditionBobby Ann Mason - Rick TrevinoCandy man - Sammy Davis jrExit - Chasin' whiskey down - Ben Carter Band   Ben Carter Band on Apple Musiccountryundergroundradio.com

To begin the season, we sit down with Sammy Davis, PhD, CSP, Gr.IOSH—Vice President of Safety & Security at Papa John's International. Like many safety professionals, Sammy's path to safety wasn't a straight line. Originally setting out to become a trauma surgeon before working as a paramedic and eventually in the construction industry, Sammy received a letter from Indiana University's safety program that launched a career completely different than the one he intended and reshaped how he leads, mentors, and empowers others. Join us for this episode to hear how that unexpected pivot has led to a remarkable career, why Sammy thinks understanding the business side of safety is crucial, and why he trains his employees to one day take his job.

Uur 1 1.         It's almost tomorrow – Jo Stafford 2.         Kees – Frans Halsema 3.         L'exil et l'asile – Barbara Pravi 4.         Just breathe – Jennifer Warnes 5.         This guy's in love with you – Sammy Davis jr. 6.         The first time ever I saw your face – Barbra Streisand & Hozier 7.         Va, pensiero – Zucchero 8.         Deusa do amor – LUAU 9.         M'n engel Gabriel – Toon Hermans 10.       Sien – Ramses Shaffy 11.       Amor clandestino – Natalia Lafourcade & Israel Fernández 12.       Rotterdam – Beautiful South 13.       Oh, how happy – Art Garfunkel   Uur 2 1.         Birmingham – Randy Newman 2.         How do you like your eggs in the morning – Dean Martin & Helen O'Connell 3.         Jorge Ben – Rachel Reis 4.         Tot jij mijn liefde voelt – Huub van der Lubbe 5.         Breathe – Pink Floyd 6.         Let your light shine – Kate Rusby 7.         Bange blankeman – Willem Vermandere 8.         Richmond on the James – Alison Krauss & Union Station 9.         Au café des trois colombes – Patrick Fiori & Lola Dubini 10.       Allons, allons les enfants – Colette Déreal 11.       Complications of love – A.J. Croce 12.       Thúshavensamba – Piter Wikens & Anne-Lie Person 13.       Cheek to cheek – Lowell George 14.       Maquina – Super db 15.       Respect - Aretha Franklin

I år skulle sångaren, dansaren, skådespelaren, komikern och imitatören och föregångaren Sammy Davis Jr fyllt 100 år. I ett segregerat USA banade han väg för andra svarta artister. Nu uppmärksammas han i en hyllningskonsert. Lyssna på alla avsnitt i Sveriges Radio Play. Rennie Mirro och Joachim Bergström berättar om sin relation till hundraåringen Sammy Davis Jr och hur de har inspirerats av den store entertainern, inför föreställningen ”Sammy 100 år” på Kulturhyuset Stadsteatern i Stockholm.

Legendary entertainer, Pat Boone continues sharing his 70-year journey in music, television, and movies on this second half of our interview. Pat Boone was ninety years old when the interview was conducted over a Zoom call. Host, Byron Tyler normally records up to thirty minutes in order to produce the Mid-South View Point show. However, on the afternoon that Byron and Pat did the interview, Pat from his home in Beverly Hills, California, the conversation quickly turned into two hours. Pat Boone is the #10 all-time top recording artist. Pat was married to Shirley (Foley) Boone (daughter of Country star ‘Red' Foley) for over 65 years before her passing. Pat Boone made his first appearance nationally on “The Ted Mack Amateur Hour” (in which he became the original American Idol, selected week after week by the viewers), and later appeared on “The Arthur Godfrey Show.” Those appearances would introduce his talent to record producer Randy Wood of Dot Records who thought Pat Boone could sing rock ‘n roll. He became the youngest person in history to have his own weekly musical variety show (ABC), at times the number one show in television featuring many first time-on-TV artists like Sammy Davis, Ella Fitzgerald and Nat ‘King' Cole. Elvis Presley once opened for Pat Boone at a big disc jockey “sock hop” in Cleveland in 1956. “I had to follow him,” recollects Pat. “Thank God I had 3 million-selling hit records already and I was the star that night. But I never wanted to follow Elvis again!” Pat Boone is also a member of the Gospel Music Hall of Fame. This is the second half of a two-part interview with Pat Boone.

Legendary entertainer, Pat Boone shares his 70-year journey in music, television, and movies. He has sold nearly 50 million records and had 38 Top 40 hits. Pat was Elvis Presley's main competition back in the 1950's too. Today at ninety, Pat Boone is the #10 all-time top recording artist. He is host of two nationally syndicated radio shows, “The Pat Boone Hour” on SiriusXM's ‘50s Gold channel 72, and “The Pat Boone Show,” which features contemporary gospel music on many local stations across America. Pat was married to Shirley (Foley) Boone (daughter of Country star ‘Red' Foley) for over 65 years before her passing. Pat Boone's made his first appearance nationally on “The Ted Mack Amateur Hour” (in which he became the original American Idol, selected week after week by the viewers), and later appeared on “The Arthur Godfrey Show.” Those appearances would introduce his talent to record producer Randy Wood of Dot Records who thought Pat Boone could sing rock ‘n roll. He became the youngest person in history to have his own weekly musical variety show (ABC), at times the number one show in television featuring many first time-on-TV artists like Sammy Davis, Ella Fitzgerald and Nat ‘King' Cole. Elvis Presley once opened for Pat Boone at a big disc jockey “sock hop” in Cleveland in 1956. “I had to follow him,” recollects Pat. “Thank God I had 3 million-selling hit records already and I was the star that night. But I never wanted to follow Elvis again!” Pat Boone is also a member of the Gospel Music Hall of Fame.

Send us a textJoin your host Clifton Pope as he sits down for a special 2 part conversation with TV/screenwriter and author: Donny Young!If you are into classic story telling, then this is the episode for you!In part one of our conversation, we dive into Donny's humble beginnings growing up in Toronto, Ontario, Canada to having 1st professional job writing for the Inspector Gadget Cartoon Series which a became an international hit that launched his TV writing series!Stories are told on how Donny went from US immigration denying his work Visa to eventually working for writing TV movies like "King's Gambit," "Rescue ME", and Lonely Knights for the top industry professionals in Hollywood! We even dive into how Donny crashed a party at Sammy Davis's Beverly Hills Home and so much more!Be sure to hit that follow/subscribe button on Apple/Spotify Podcasts as well as Rumble via @CPHFWB44 to stay updated with the latest releases of the show!Download, stream, and share all episodes with your family and friends to stay updated with the latest information, experiences, and resources being provided!Leave a rating/review to help grow the show as The HFWB Podcast Series is for you, the people, so let your voice be heard!Be sure to join the HFWB community for $5/month to get access to exclusive content today via https://hfwbpodcastseries.buzzsprout.comThank you for the love and support!Support the showhttps://atherocare.com/HEALTHFITNESSWEALTHBUSINESShttps://athleticism.com/HEALTHFWEALTHBhttps://vitamz.com/HEALTHFITNESSWEALTHBUSINESShttps://Athleticism.comhttps://atherocare.comhttps://vitamz.comofficial sponsors of the HFWB Podcast Series

This week, we're celebrating the birthday of the legendary Sammy Davis Jr. by revisiting a special Mobit. From the age of three Sammy Davis, Jr. did it all better than anyone else - singing, dancing, acting, even gun spinning. Mo talks to friends and family about what drove him to keep performing, even after the car crash that nearly killed him. Featuring Carol Burnett, Chita Rivera, Kim Novak, Dionne Warwick and more.See omnystudio.com/listener for privacy information.

National brownie day. Entertainment from 2013. 1st toilet paper went on sale, NFL on the radio, Space X made history, Metallica played Antarctica. Todays birthdays - Sammy Davis jr,. David Carradine, Jim Morrison, Gregg Allman, Dan Hartman, Sam Kinison, Kim Basinger, Teri Hatcher, Nicki Minaj, Sam Hunt. John Lennon died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/The best brownie song - The Hungry Food BandRoyals - LordeStay - Florida Georgia lineBirthdays - In da club - 50 CentThe Candy Man - Sammy Davis jrKung foo fighting - Carl DouglasLight my fire - The DoorsI'm no angel - Gregg AllmanI can dream about you - Dan HartmanSam Kinison liveStarship - Nicki MinajHouse party - Sam HuntExit - It's not love - Dokken

On the December 8 edition of the Music History Today podcast, the world loses John Lennon, Dimebag Darrell, Marty Robbins, & Gary Thain, Traffic releases their debut album, & happy birthday to Sammy Davis, Jr., Jim Morrison, Sinead O'Connor, Greg Allman, & Nicki Minaj For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

To tee up the Great Performances/ PBS Henry Mancini concert at the Hollywood Bowl (11/29), we'll have an hour of great songs with music by legendary composer Henry Mancini, performed by an all-star ensemble: Sarah Vaughan, Sammy Davis, Jr., Steve Lawrence, Julie Andrews and more.

We close out our epic comedies month with the most successful epic comedy (after the perfection of It's a Mad, Mad, Mad, Mad World, of course): The Cannonball Run. Burt Reynolds, Dom DeLuise, Farrah Fawcett, Roger Moore, Dean Martin, Sammy Davis, Jr, Adrienne Barbeau, Mel Tillis, Terry Bradshaw, Jack Elam, Jackie Chan, and Jamie Farr having a ton of fun on screen. Written by Brock Yates, who created the actual race the movie is based on and directed by Hal Needham, a stuntman-turned-director. --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

Stefanie Powers began her career at age 15, dancing for famed Broadway choreographer, Jerome Robbins. She was put under contract to Columbia Pictures in the final years of the Hollywood star system. While under contract, she appeared in 15 of the 31 motion pictures she has made, co-starring with screen legends such as; John Wayne, Maureen O'Hara, Lana Turner, Ava Gardner, Cliff Robertson, Elliot Gould, Roger Moore, Donald Sutherland, Bing Crosby, Glenn Ford, Lee Remick, James Caan and Sammy Davis. She recently co-starred with Richard Chamberlin in the critically acclaimed independent film, THREE DAYS OF HAMLET. Her first television series, "The Girl From U.N.C.L.E.," marked a milestone in U.S. television's history as the first hour long series featuring a female in the leading role. Her television career includes over 25 mini-series, over 200 episodic guest starring appearances, 35 movies for television and two more television series, "Feather and Father" and the long running "Hart to Hart," starring opposite Robert Wagner, now celebrating its 45th anniversary. She became a member of the Screen Writers' Guild of America in the 1980s and has produced several of the screenplays she has written, one of which, "Family Secrets," was not only a stepping stone for the careers of James Spader and Gary Sinise but it garnered her a nomination for the best screenplay of the year by her peers in the Writers' Guild. Her writing has extended itself to a memoir called, One From The Hart, published by The Robson Press. Throughout her career she has never neglected her theatrical roots, appearing in productions of; How the Other Half Loves, Under the Yum Yum Tree, Sabrina Faire, A View From the Bridge, Oliver, Annie Get Your Gun, the West End debut of Matador, off-Broadway in The Vagina Monologues, back to the West End with Robert Wagner in Love Letters, which they also toured the United States with, becoming the cast most associated with the play after over 500 performances. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

We've an all-star line-up, including Barbra Streisand, Tony Bennett, Brian Stokes Mitchell, Margaret Whiting, Sammy Davis, Jr. and more, with Broadway songs of optimism, hope, and good cheer.

Peter Montagna joined me to discuss the pronunciation of his last name; TV tubes; being a fan of monster movies; his goal of being a painter; graduating with a degree in nutrition; working at NYU; seeing SNL shoot a sketch near his job gives him the itch; reads Corsair's makeup book; quits his job; takes a class and then teaches with Burt Roth; corresponding with Dick Smith; not getting the ABC makeup apprenticeship; getting the NBC apprenticeship; working with Kevin Haney and being a floater from 1981 to 1984; being Makeup Department head from 1984 to 1989; turning Eddie Murphy white for the "White Like Me" sketch; turning Billy Crystal & Christopher Guest black for "Negro League Memories" sketch; turning Billy into Sammy Davis, Jr., and Yul Brynner's niece; the blooper with Billy's wig and Martin Short; a typical week; his Saturday 10:30 meeting with Department heads; working with Phil Hartman on Frankenstein; working with Billy Crystal on Princess Bride; working with Don Rickles; on Mr. Saturday Night; the work on Robot Repair causing Phil Hartman to give him a writing credit; working on Quick Change with Bill Murray; working on Cold Case; My Fellow Americans with Dan Aykroyd and James Garner; working with Robin Williams; retiring except to help out Billy Crystal.

Marj Billker Graves joined the Army Nurse Corps during her final year of nursing school in 1967. She served as a head nurse on male orthopedic wards at Darnall Army Hospital, Fort Hood, Texas, and at Ireland Army Hospital, Fort Knox, Kentucky. As a Captain, Marj volunteered for Vietnam where she continued to serve as a head orthopedic nurse with the 24th Evacuation Hospital in Long Binh. During her tour of duty, she was selected as the nurse for a two-person medical team to accompany both the Bob Hope Christmas Tour in 1971 and the Sammy Davis, Jr. USO Show in 1972. After a return assignment in the United States at Madigan General Hospital, Tacoma, Washington, she resigned her commission to marry her husband, Bob, also a Vietnam Veteran. She was selected as Kentucky's Vietnam Veteran for USA Today's 2012 Veterans Day issue, has been featured in numerous articles in The Courier-Journal, was inducted into the Kentucky Veterans Hall of Fame, is a recipient of the Daughters of the American Revolution Distinguished Citizen Medal, and in 2023 was the first female veteran to serve as Grand Marshal of Louisville's Veterans Day Parade. She is a retired Occupational Health Manager from UPS.

This Courage Conversation with Medal of Honor recipient Sergeant Sammy Davis was recorded last fall during a special Veterans Day visit to the National Medal of Honor Museum's construction site. Known as “the real-life Forrest Gump,” Sgt. Sammy Davis talks to host Mo Barrett about what drove his courage in Vietnam, the advice he gives to students, and his moment of Hollywood stardom. Interested in supporting the Museum's work to preserve, share, and celebrate the stories of Medal of Honor recipients? Please consider becoming a Cornerstone Member. Your donation makes a big difference, and you'll gain access to some exclusive benefits. Learn more at MoHMuseum.org.

Mein heutiger Gast ist einer der größten Stars aus dem deutschsprachigen Raum überhaupt! Peter Kraus ist Sänger, Entertainer, Schauspieler, Produzent und Showbiz-Legende. In seiner inzwischen acht Dekaden umspannenden Karriere begeistert der ewig junggebliebene Rock'n-Roller und Swing-Musiker seine Fans. Jetzt ist Peter Kraus mit dem Live-Programm „Rockin' 85! Das große Geburtstagskonzert“ zum letzten Mal im Rahmen einer großen Tournee auf deutschen Bühnen unterwegs. Wir sprechen über Lebensphasen als Einzelgänger, zuckerarme Ernährung, Karrieretiefs, Gendern, seine Sorgen bezüglich des Siegeszugs der künstliche Intelligenz, Taylor Swift und Sammy Davis, Jr. - und die Frage, warum er auch mit 85 Jahren den alten Mann nicht reinlassen möchte. Peter Kraus verrät, warum er nach einem Unfall in einer TV-Show vor sieben Jahren an schlimmen Panikattacken litt, wieso er sich im Verlauf seiner so langen Karriere niemals politisch geäußert hat, was genau ihn außer seiner Ehefrau noch so frisch und fit hält und weshalb auch er trotz seiner bis heute großen Vitalität der Meinung ist, dass alt werden nichts für Feiglinge ist. Ich wünsche dir gute und inspirierende Unterhaltung mit Peter Kraus!

Send us a textOn today's episode of the Cops and Writers Podcast, we are going to the greater Cleveland area to chat with Bestselling Author, Drummer, and former Police Chief Rick Porrello.Rick's first career was as a jazz drummer. At the age of 18, he got his first big break when he started touring internationally with Sammy Davis, Jr. Despite a skyrocketing music career, Rick traded his sticks for a badge. What followed was a 33-year career as a police officer in Greater Cleveland, with the last ten of those years as chief of police.As an organized crime historian, Rick Porrello's perspective is an intriguing one. He began writing his first book during family research into the murders of his grandfather and three uncles, all of whom, he learned, were mob leaders killed in Prohibition-era violence. The Rise and Fall of the Cleveland Mafia quickly became a regional favorite.His second book caught Hollywood's eye before it was published. Hollywood snapped up To Kill the Irishman—the War that Crippled the Mafia and turned it into the movie Kill the Irishman, starring Ray Stevenson, Vincent D'Onofrio, Christopher Walken, and Val Kilmer.Please enjoy this wide-ranging conversation where we talk about everything from being on tour with Sammy Davis Jr, becoming a police officer and eventually becoming the chief of police, researching his family's organized crime roots, to writing bestselling books that become movies. In today's episode, we discuss:·      Playing the drums for Sammy Davis Jr. ·      Why Rick became a police officer and his career trajectory.·      How and why, he became a police chief. ·      Why are we, as a culture, so fascinated with organized crime?·      Omerta. What it is and what it means in mob culture.·      His father's pushback when writing the book, “The Rise and Fall of the Cleveland Mafia Corn Sugar and Blood.”.·      Elliot Ness and The Untouchables cleaning up police corruption in Cleveland.·      The book, “Kill the Irishman.” The story of Cleveland Mob Boss Danny Greene. Why he wrote this book and how it became a major motion picture.Visit Rick Porrello's website for links to his books. Check out the new Cops and Writers YouTube channel!Check out Field Training (Brew City Blues Book 1)!!Enjoy the Cops and Writers book series.Please visit the Cops and Writers website. Support the show

Draft for $1,500,000 on UnderDog Fantasy & Get A $250 Deposit Bonus With A FREE Pick 'Em Bonus Entry:  https://play.underdogfantasy.com/p-davis-mattek Sammy Reid, Nate Nohling and Davis Mattek are THE GILLCAST. The three guys get their gills together to draft a high-stakes fantasy football team for a $350 entry to attempt to win $250,000 in the NFFC. Sign up for premium fantasy football content and get exclusive Discord access: www.patreon.com/davismattek Subscribe to the AutoMattek Absolutes Newsletter: https://automattekabsolutes.beehiiv.com/ Download THE DRAFT CADDY: https://endgamesyndicate.com/membership-levels/?pa=DavisMattek

A marvelous episode with my friends actress Sheila Frazier-Atchison, Tony nominated actress Starletta DuPois and Margaret Bush Ware, former personal assistant to the legendary Sammy Davis, Jr. Three "fine" ladies with such Hollywood wonderful stories! Sheila was the gorgeous actress featured in movie "Superfly" and the talent coordinator for Black Entertainment Televison. Starletta was nominated for a Tony for here Broadway role in The Mighty Gents. She is a veteran actress of over 50 films working with a Who's who of Hollywood. Margaret was not only the legendary Sammy Davis Jr personal assistant but also the talent coordinator of his television show. It's a marvelous episode. Enjoy!

It's a Man-cin-tennial: great songs with music by legendary composer Henry Mancini, performed by an all-star ensemble: Sarah Vaughan, Sammy Davis, Jr., Steve Lawrence, Julie Andrews and more. 

The One where we go DEEP on Sammy Davis! And The DARK LORD! BACK Chuck Dixon's NEW Book, CAPTURE AND KILL! Navy SEALs must kill an amnesiac Osama bin Laden in Las Vegas before Americans realize he's alive! https://www.indiegogo.com/projects/capture-or-kill-comic-book--2# Please support Signal of Doom & Legion Outpost on Patreon! Every single dollar helps the show! https://www.patreon.com/SignalofDoom Follow us on Instagram! Please like the Facebook Page! Follow us on X: @signalofdoom Dredd or Dead: @OrDredd Legion Outpost: @legionoutpost

This comedy movie brings Burt Reynolds, Sir Roger Moore, Farrah Fawcett, Dom DeLuise, Dean Martin, Sammy Davis, Jr. and an all-star cast to the starting line of the ultimate auto race, a madcap cross-country scramble that roars full-speed ahead.

GGACP celebrates the birthday of comedian and radio host Jim Norton (b. July 19) by revisiting this LIVE interview (in connection with NY Comic Con) from way back in 2015. In this episode, Jim holds court on topics ranging from his friendship with Sherman (George Jefferson) Hemsley to his love of Jack Klugman to his admiration for “Midnight Cowboy” and “One Flew Over the Cuckoo's Nest.” Also, the boys break down celebrity conspiracy theories, sing the praises of character actor Frank McRae and look back at the groundbreaking shows of Norman Lear. PLUS: Moms Mabley! Iron Balls McGinty! Sammy Davis plugs “Skidoo”! Paul Lynde disses KISS! And Gilbert stakes out the Playboy mansion! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this bonus episode of Everything Fab Four, we trace two television icons from the 1970s—both very different in terms of target audience, but united in the inspiration that they drew from the Beatles.  First is the New Zoo Revue, the children's TV show that was broadcast from 1972 through 1977. Designed as a musical comedy, it ran for 196 episodes and imparting valuable life lessons to the program's legions of child viewers. The show was hosted by husband and wife duo Doug and Emmy Jo. On the New Zoo Revue, they interacted with an array of loveable costumed characters, including Henrietta Hippo and Freddie the Frog.  At the other end of the TV demographic spectrum is George Schlatter, the founder of network television's groundbreaking Laugh-In. The hilarious sketch comedy program ran for more than 140 episodes between 1968 and 1973. With Dan Rowan and Dick Martin as Schlatter's irreverent hosts, Laugh-In thrived on its moveable feast of guest stars, including the likes of Jack Benny, Johnny Carson, Sammy Davis, Jr., Phyllis Diller and more. Laugh-In also launched the careers of series regulars Goldie Hawn and Lily Tomlin. Last year, Schlatter released his memoir, Still Laughing: A Life in Comedy. --- Support this podcast: https://podcasters.spotify.com/pod/show/everythingfabfour/support

In this episode, host Mark Perzel has a conversation with Ryan B. Case, the author of Mr. Bojangles, Dance: Jerry Jeff Walker, Sammy Davis, Jr., and the Song That Made Nixon Cry. Join us as we dive into the fascinating story behind this iconic song and the lives it touched.LISTENER DISCOUNT CODE: BESTPARTReceive a 25% discount on Ryan's book on McFarland's website by using the coupon code BESTPART: mcfarlandbooks.com/product/mr-bojangles-danceBOOK & DESCRIPTION:Mr. Bojangles, Dance: Jerry Jeff Walker, Sammy Davis, Jr., and the Song That Made Nixon Cry, McFarland, softcover (2024) - www.mcfarlandbooks.comThree men's lives, told through the story of one song. Jerry Jeff Walker, the singer and writer behind the classic hit “Mr. Bojangles,” never would have expected that his song, inspired by an experience in a New Orleans jail cell, would make Richard Nixon cry, or that it would be covered by Sammy Davis, Jr., the entertainment giant and, controversially, a supporter of Nixon.This work, told through the perspective of writer, performer and listener, traces these three men's overlapping journeys through the American consciousness. Chapters discuss the history of Walker's song, Davis's rise from rags to riches, Nixon's journey from grocer's son to president, and more.ABOUT Ryan B. CaseRyan B. Case is a writer and musician and was the leader of the Americana band The Victrolas from 2005 to 2011. He lives in Nashville, Tennessee with his wife and two persnickety cats.Website: www.ryanbcase.comInstagram: www.instagram.com/ryatone/Facebook: https://www.facebook.com/ryanbcasesongs/ABOUT MCFARLANDMcFarland, a leading independent publisher of academic and general-interest nonfiction books, is perhaps best known for the serious treatment of popular culture. Founded in 1979, we are recognized among authors and readers as adventurous in range and a reliable source of worthy books that other publishers overlook. We have about 7500 unique works for sale and each year we publish about 350 new titles. Meeting high library standards has been a major focus since the company began, and many McFarland books have received awards from the academic-oriented (e.g., Choice Outstanding Academic Title, ALA Outstanding Reference Work) to the mainstream (Hugo, Edgar, Stoker, and Eisner, among others). www.McFarlandBooks.comSIGN UP FOR THE PODCAST NEWSLETTERhttp://eepurl.com/iPkvx2

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, May 22, 2024, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 5:23 - "Arrogant Al" Entered the Fray! 6:14 - Paul's Compositions for Concert Band 15:19 - Part 1 of Paul's Interview With M.D. HOUSE 51:03 - LIVE SINGING Segment, wherein "Paranoid Pete" and "Sammy Davis, Jr." came in to sing, "Memories". As Al always says, what could possibly go wrong? 1:07:05 - Part 2 of Paul's Interview With M.D. HOUSE 1:41:54 - LIVE SINGING Segment, wherein "Cannabis Carl", "Hicksville Harry" and "Paranoid Pete" came in to sing, "Johnny B. Goode". As Al always says, what could possibly go wrong? 1:57:48 - Wrap Up As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, May 22, 2024, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 5:23 - "Arrogant Al" Entered the Fray! 6:14 - Paul's Compositions for Concert Band 15:19 - Part 1 of Paul's Interview With M.D. HOUSE 51:03 - LIVE SINGING Segment, wherein "Paranoid Pete" and "Sammy Davis, Jr." came in to sing, "Memories". As Al always says, what could possibly go wrong? 1:07:05 - Part 2 of Paul's Interview With M.D. HOUSE 1:41:54 - LIVE SINGING Segment, wherein "Cannabis Carl", "Hicksville Harry" and "Paranoid Pete" came in to sing, "Johnny B. Goode". As Al always says, what could possibly go wrong? 1:57:48 - Wrap Up As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!

In conversation with Wil Haygood Paul Hendrickson's books include Sons of Mississippi, winner of the National Book Critics Circle Award; Hemingway's Boat: Everything He Loved in Life, and Lost, 1934–1961, a National Book Critics Circle Award finalist; and The Living and the Dead: Robert McNamara and Five Lives of a Lost War, a National Book Award finalist. A creative writing teacher at the University of Pennsylvania for more than 25 years and a feature writer at The Washington Post for the two decades before that, he is the recipient of writing fellowships from the Guggenheim Foundation, the National Endowment for the Arts, and the Lyndhurst Foundation, among other institutions. In Fighting the Night, Hendrickson tells the story of his father's World War II service as a nighttime fighter pilot and the sacrifices he, his family, and his generation made on behalf of their country. Pulitzer Prize-nominated journalist Wil Haygood has, over a storied 30-year career, worked at the Boston Globe, The Washington Post, and as a globetrotting investigative reporter. He is most famous for his 2008 Washington Post article, ''A Butler Well Served by This Election,'' about the White House steward who bore witness to some of 20th century America's most notable events and figures. He later expanded the article into a bestselling book that was adapted into the critically acclaimed film The Butler, starring Forest Whitaker. Haygood is also the author of Colorization: One Hundred Years of Black Films in a White World and popular biographies of Adam Clayton Powell Jr., Sugar Ray Robinson, Thurgood Marshall, and Sammy Davis, Jr.  Because you love Author Events, please make a donation to keep our podcasts free for everyone. THANK YOU! (recorded 5/16/2024)

Jordan and Alex close out APE-ril by traveling back in time -- or is it forward? -- to the original Planet of the Apes! No aspect of the original will be free of their dirty paws as they probe the original novel, written by the guy who wrote Bridge on the River Kwai and initially translated as "Monkey Planet!" No APE-spect of the film's torturous run-up to production will be missed, from the 30 drafts Rod Serling wrote to the revolutionary makeup that cost more than the actors! Oh, and there's a Sammy Davis, Jr story! Head into May-PE with Too Much Apes-formation!See omnystudio.com/listener for privacy information.

From September 26, 2016: Comedy legend and Chicago's own Tom Dreesen discusses his comedy career and his appearances on The Tonight Show with Johnny Carson (more than 60!), along with a DVD set:  THE TONIGHT SHOW STARRING JOHNNY CARSON: THE VAULT SERIES. ABOUT TOM DREESEN (2016 BIO):Tom Dreesen's life is equal parts comedy and philanthropy. He excels at both, and has created an extraordinary legacy in both arenas. Dreesen has made over 500 appearances on national television as a stand-up comedian, including more than 60 appearances on The Tonight Show. He was a favorite guest of David Letterman, and frequently hosted the show in Letterman's absence. He was also a favorite guest of Johnny Carson. For 13 years he toured cross country and opened for Frank Sinatra, and has appeared countless times in Las Vegas, Tahoe, Reno and Atlantic City with artists like Smokey Robinson, Liza Minnelli, Natalie Cole and Sammy Davis, Jr. Tom has acted in numerous television shows – fromColumbo to Murder She Wrote – and appeared in motion pictures including Man on the Moon and Spaceballs. He has recorded comedy albums, starred in his own TV comedy special, Dreesen Street, and hosted a late night talk show in Chicago, Night Time Starring Tom Dreesen.He is currently appearing to rave reviews around the country in his one-man show “An Evening Of Laughter and Memories of Sinatra.” Dreesen's comic style is down-to-earth, warm and unpretentious. Daily Variety called him “a thorough pro… one of the most respected family comedians of our time.” Larry Wilde ,author of The Great Comedians said about Tom's performances. “Excellent Material, Impeccable Timing, Tom Dreesen is the Quintessential Comedian.” Frank Sinatra, who called himself a “saloon singer,” characterized Dreesen as a “saloon comedian.” “We're a couple of neighborhood kind of guys,” said Sinatra.Dreesen has also made an indelible mark with his philanthropic activities. For 30 years he has lent his talent to over 100 charities, and founded a “Day for Darlene” to benefit Multiple Sclerosis Research. He ran 26 miles on three occasions for the event, which is named for his late sister who was afflicted with MS.And he's still going strong. A proud veteran of the United States Navy, he continues to perform for US troops all over the world, and recently appeared at numerous bases in Iraq. Tom Dreesen's hometown of Harvey, Illinois named a street after him. He was a 2005 recipient of the Ellis Island Medal of Honor.

Bryan Keith is ripping faces off at AEW! The Houston native recalls his first AEW opportunity in Texas in a match against former AEW World Heavyweight Champ Hangman Adam Page, and the role that Top Flight's Darius Martin played in making that happen. He talks about his introduction to wrestling, training at PWA with Booker T, the evolution of his Bounty Hunter character, and the Sammy Davis, Jr. television role that inspired it. Bryan also speaks to his Swishahouse sponsorship, his love of Japanese wrestling, his recent trip to Japan to work for DDT, and the first time he met Bryan Danielson. AEW Unrestricted video episodes available Mondays at 1pm Pacific on YouTube: https://www.youtube.com/playlist?list=PLJ4e4Lb87XTzETPZyj7nZoJ4xPBjKdzgy Learn more about your ad choices. Visit podcastchoices.com/adchoices

In our newest segment, one which reflects on our complete lack of judgement and discernment, we present LIVE SINGING, the segment that features various singers "singing" (yes, that word was intentionally placed within quotation marks!) some of your favorite songs! On today's show, "Paranoid Pete" and "Sammy Davis, Jr." came in to sing, "The Lady is a Tramp", by Frank Sinatra. As Al often says, what could POSSIBLY go wrong???

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, March 6, 2024, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 3:08 - "Arrogant Al" Entered the Fray! 3:37 - Father's Trial in Michigan 5:42 - LIVE SINGING Segment, wherein "Cannabis Carl" came in to sing, "Still". As Al always says, what could possibly go wrong? 23:15 - Part 1 of Paul's Interview With TAMMY J. COHEN 57:08 - LIVE SINGING Segment, wherein "Paranoid Pete" and "Sammy Davis, Jr." came in to sing, "The Lady is a Tramp". As Al always says, what could possibly go wrong? 1:12:19 - Part 2 of Paul's Interview With TAMMY J. COHEN 1:43:40 - LIVE SINGING Segment, wherein "Battling Bubba", Paranoid Pete", and "Miss Becky" came in to sing "Diggin' Up Bones". As Al always says, what could possibly go wrong? 1:56:06 - What did we learn today? - Thank you, Craig Ferguson! As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!

In our newest segment, one which reflects on our complete lack of judgement and discernment, we present LIVE SINGING, the segment that features various singers "singing" (yes, that word was intentionally placed within quotation marks!) some of your favorite songs! On today's show, "Paranoid Pete" and "Sammy Davis, Jr." came in to sing, "Memories", by Elvis Presley. As Al often says, what could POSSIBLY go wrong???

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, February 28, 2024, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 3:02 - "Arrogant Al" Entered the Fray! Part 1 5:20 - LIVE SINGING Segment, wherein "Operatic Olivier" came in to sing, "Some Enchanted Evening". As Al always says, what could possibly go wrong? 26:08 - Part 1 of Paul's Interview With BETH THORP 59:35 - LIVE SINGING Segment, wherein "Paranoid Pete" and "Sammy Davis, Jr." came in to sing, "Memories". As Al always says, what could possibly go wrong? 1:15:30 - Part 2 of Paul's Interview With BETH THORP 1:42:34 - LIVE SINGING Segment, wherein "Cannabis Carl", Paranoid Pete", and "Hicksville Harry" came in to sing "Johnny B. Goode". As Al always says, what could possibly go wrong? As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!

Nat'l Media , Historic EventI am BOTH a Northerner & present Washingtonian who was born after the Historic Marches for My Civil Rights to Vote, Education, Public Accommodations,Transportation & EmploymentMajor Media Nationally & Internationally covered in the Marches. Citizens & Celebrities also participated:Joan Baez, James Baldwin, Harry Belafonte, Tony Bennett, Leonard Bernstein, Sammy Davis, Jr., Billy Eckstein, Dick Gregory, Lena Home, Mahalia Jackson, William Marshall, Johnny Mathis, Nina Simone, Susan Sarandon, Pernell Roberts, Peter,Paul & Mary....My Guest is the Reverend Clarence Varner who was in Grade School when he joined the Marches for Civil Rights in the 1960's. Although it cost Him is Part-Time Job while a Teenager, He held on to his Beliefs to Stay in the Fight, even getting Arrested Several times & Tear Gassed, Cattle Prod Shocked, Attack Dogs & Fire Hosed because he stood with others to Petition the the Governor for the Right for Blacks to Vote.Rev. Clarence Varner served  The United States in the Marine Corps for 8 years & served in during Vietnam during the War , he was wounded. Today he serves his God,  Country & Community in the continued fight for Civil Rights*In 1965, Blacks could not: *go to eat, Blacks were served at the Side or Back Door.*Social Movie Theatres, & Clubs too*Schools in the South & other State were Segregated*Housing was Segregated in Much of America. Redlining was the norm.* Thriving Middle Class Black Business's in Black Communities were forced out of Business due to the Federal Highway's that were built OVER that land.* Separate water Fountains & Bathrooms*Separate Transportation on Buses & Trains, etc.* Upper Corporate Jobs were not opened to most Blacks These Marches were ignited by the Death of SCLC local Jimmie Lee JacksonWhat did Jimmie Lee Jackson accomplish?Jimmie Lee Jackson, was a Vietnam veteran, Baptist deacon, activist and martyr of the Civil Rights Movement. Jackson, active in the fight for equal rights, had tried multiple times to register to vote in Alabama and was denied each time.When Jimmie Lee Jackson saw his frail 80-year-old grandfather rudely turned away from the registrar's office in 1962 after attempting to register to vote in Marion, Ala. He knew he had to join the civil rights movement.On Feb. 18, 1965, he was among more than 200 people participating in a night march in Marion. Before they had walked a block, they were confronted by state troopers and the police chief, who ordered them to disperse.Jackson and his mother huddled for safety in a café. When Jackson's grandfather entered the café bloodied and beaten, the young man tried to take him to a hospital. But they were quickly shoved back by a crowd of club-swinging troopers and terrified marchers. Another trooper pulled his pistol and shot Jackson in the stomach. It was two hours before Jackson arrived at the hospital in Selma. He died eight days later.At one of two services for Jackson, Dr. Martin Luther King Jr. told a crowd of 2,000: “Jimmie Lee Jackson's death says to us that we must work passionately and unrelentingly to make the American dream a reality. His death must prove that unmerited suffering does not go unredeemed.”© 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Please share, rate, and review … Follow us on all social media platforms @dimesinthedozen   On this week's session of The Bird & The Bear … Sammy and Daryl discuss men's health, bad Manosphere advice, and why it's important to call out “Uncle Toms” … The latter half of this episode is based on a YouTube video by F.D Signifier, “This 20 Year old classic film might take your Black Card…”   (0:00) - The session opens with Daryl getting some bad news that sparks a conversation about the fragility of men's health and how easily stress can age them - “But I don't know too many, if any men that can successfully handle emotional or environmental change” (13:47) - Criticizing health advice from Manosphere influencers and how the Manoshpere ends up targeting young black men the most - “Liver King … More like liver cancer” (22:52) - Looking back at a Tik Tok trend that had white people wearing face paint during the George Floyd protests - “It took me a minute to realize I was looking at a face … I was like, ‘Is this somebody's ass? What am I looking at here?” (36:56) - The discussion on the 2000s movie Bamboozled begins with Daryl explaining his own experience with “Uncle Toms” and Sammy giving a quick rundown of the movie's plot and cast - “They purposely separated us from what would have been our black identity because of what the state of the black identity was then” (50:51) - Breaking down the funniest elements of Bamboozled and discussing who the current day “Uncle Toms” might be - “He does provide resources … But, so did Sammy Davis” (1:07:20) - Finale thoughts on Bamboozled and the movies overall message - “That's why there's nothing to say about it … You can't articulate it … You have to feel it”

Sammy Davis is the Founder and CRO of The Well, a human-centered marketplace that offers services in accounting, marketing, advertising, communications, and technology. The Well provides clients with advice and support while recommending the best individuals and teams to handle each job. Sammy has extensive experience in the advertising industry, entrepreneurship, and business consulting. Before founding The Well, he served as the CEO of Impact Communications. In this episode… Many entrepreneurs are tired of endless recruitment processes and struggling to find the right talent for their company. Where can they get the recruitment support to find the talent they need to take their business to the next level? Sammy Davis says that hiring should be an effortless and seamless process. However, finding good talent can be a daunting task. Whether looking for a seasoned professional, a full-time employee, someone who can work remotely, or someone just starting, it's crucial to have a streamlined hiring process. However, with the evolution of the business world, the philosophies, approaches, and tools around recruitment strategies have changed — imposing hiring challenges in companies. Sammy recommends partnering with an agency specializing in professional gig labor management to help access top-notch professionals.  In this episode of Inspired Insider Podcast, Dr. Jeremy Weisz sits down with Sammy Davis, Founder and CRO of The Well, to discuss how to simplify your hiring process. Sammy talks about the hiring pain points The Well solves for clients, where it sources its talent, how it attracts clients, and provides recommendations for a better hiring and vetting process.

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

George Schlatter's lifetime in show business encompasses way more than Marc could cover during George's last appearance on WTF. Now that the Laugh-In creator has published his memoir, Still Laughing: A Life in Comedy, he has a lot more stories at the ready. George tells Marc about his time with Sammy Davis, Jr., Don Rickles, Lucille Ball, Frank Sinatra, Goldie Hawn, Tiny Tim and more. They also talk about George's stint managing the nightclub Ciro's, which later became The Comedy Store. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast. Hosted on Acast. See acast.com/privacy for more information.

Comedian Tom Dreesen was hanging out with Marc in The Comedy Store parking lot, telling stories of show business and organized crime. Marc had such a good time listening to Tom's stories, he invited him back on the show to share some of them with WTF listeners. Tom talks about his early days working in mob-run clubs, touring with Sammy Davis, Jr., and an epic tale of Frank Sinatra saving Johnny Carson from certain death at the hands of Crazy Joe Gallo. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast. Hosted on Acast. See acast.com/privacy for more information.