Podcast appearances and mentions of Ted White

Join Justin as he chats with author Keith Taylor about the origins of Felimid Mac Fal, Conan, continuing the legacy of Robert Howard's horror stories, Irish mythology, historical fiction, and more!Keith Taylor bio:“Keith John Taylor (born 26 December 1946) is an Australian science fictionand fantasy writer.Born in Tasmania, Taylor now resides in Melbourne, Australia. Getting his start in Ted White's Fantastic, Taylor went on to collaborate with Andrew J. Offutt on two novels based upon the Robert E. Howard hero, Cormac Mac Art – an Irish Viking active in King Arthur's time.Taylor's series of novels centering on an Irish character of his own creation – the bard Felimid mac Fal – was published throughout the 1980s. Much of Taylor's fictional output in the 1990s was in the Arthurian fantasy subgenre. Many stories featuring his character, Kamose the Magician, were published in Weird Tales in the late 1990s and early 2000s. “Monsters, Madness and Magic Official Website. Monsters, Madness and Magic on Linktree.Monsters, Madness and Magic on Instagram.Monsters, Madness and Magic on Facebook.Monsters, Madness and Magic on Twitter.Monsters, Madness and Magic on YouTube.

Guess what? It's Friday! But not just any Friday... it's Friday the 13th!While you're dusting-off your 1980s hockey mask, why not listen to Matt and Grant, as we look back 40 years to Friday the 13th: The Final Chapter. It's considered by many fans to be one of the best entries in the franchise.

On its 40th Anniversary, Paul & Andy come back down to earth to celebrate #JohnCarpenter's #Starman this #AlienMonth. A road trip across an idealised version of America through the eyes of #JeffBridges' visitor who has taken the form of #KarenAllen's deceased husband who now must assist him in getting home. A story of love, grief & hope. Join us as we discuss incredibly risky performances, the lack of sentimentality & Starman's weird sex face… #PrepareForPrattle  Find The Reginald Of Rage Angry Andy Reviews on his Youtube Channel https://www.youtube.com/@AngryAndyReviews  Check out Paul's Salty Professor new endeavour and his news letter over on his website https://superdummy.co.uk/saltyprofessor/  Ted White returns to #PrattleWorld after talking about him in our Top 5 Friday The 13th Movies https://rb.gy/dgowon  As does Charles Martin Smith director of Trick Or Treat… https://rb.gy/7nag6k  Peter Hyams work I've covered before in my podcasts on Forbidden Worlds 2024 https://rb.gy/m6avoh & End Of Days https://rb.gy/2k3lew  Where to find the Spider-Dan & The Secret Bores Podcast… Follow this link to find your preferred podcast catcher of choice ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠pod.link/danbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/secretbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/dan_bores?lang=en ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Tiktok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.tiktok.com/@dan_bores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/spiderdansecretbores/?hl=en⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Discord: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.com/invite/CeVrdqdpjk⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IMDB: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.imdb.com/title/tt22023774/?ref_=nv_sr_srsg_0⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Letterboxd: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/spiderdan_2006/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Like, share, comment, subscribe etc. and don't forget to use the #PrepareForPrattle when you interact with us. Please subscribe to The Pop Culture Collective newsletter to find out what myself, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Comics In Motion⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and all the other related podcasts are up to week by week ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://pccnewsletter.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ I'd like to thank my patrons on #Patreon for their continuing donations it is very much appreciated and helps PrattleWorld keep turning and if you ever find yourself in a position to help the podcast please consider it. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/spiderdanandthesecretbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you would like to make a one off donation head over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/spiderdanandthesecretbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to #JoinThePrattalion and to be briefed in full on the #SecretBores head over to #PrattleWorld ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.spiderdanandthesecretbores.com/

FRIDAY THE 13TH PART 4! Save Money & Cancel Unwanted Subscriptions By Going To https://rocketmoney.com/rejects Friday the 13th: The Final Chapter Full Movie Reaction Watch Along: https://www.patreon.com/thereelrejects The Scream Queens return to Camp Crystal Lake - with all the Freddy Krueger / A Nightmare on Elm Street, Chucky / Child's Play, and Purge films under their belt, Roxy Striar and Tara Erickson give their First TIme Reaction, Commentary, Analysis, Breakdown, & Spoiler Movie Review for Friday the 13th Part 4! Sean Cunningham's beloved slasher series reaches, arguably, its most definitive form as Ted White & an Uncredited Tom Savini don the now-iconic Hockey Mask & Machete to terrorize the Jarvis Family - including Corey Feldman (The Lost Boys) originating the iconic Tommy Jarvis character - along with a group of teens featuring a young Crispin Glover (Back to the Future) - a local Biker Gang & MORE. Roxy & Tara REACT to all the Best Kills & Scariest Moments including the Fresh Kills Scene, Tricking Jsaon Scene, Where's the Corkscrew, Murder in the Morgue Scene, Slaying in the Shower Scene, Out the Window Scene, The New Jason Scene, & Beyond! Follow Roxy Striar YouTube:https://www.youtube.com/@TheWhirlGirls Instagram: https://www.instagram.com/roxystriar/?hl=en Twitter:  https://twitter.com/roxystriar Follow Tara Erickson: Youtube: https://www.youtube.com/@TaraErickson Instagram:  https://www.instagram.com/taraerickson/ Twitter:  https://twitter.com/thetaraerickson Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Cybersecurity is not the primary focus for hiring new employees but is vital to ensuring you hire the right candidate. I sit down with Ted White with Vertical Talent Solutions to discuss a strategy that lines up suitable candidates with MSPs so that the effort spent to get the right candidate isn't a pleasant and perhaps even enjoyable opportunity. --- Support this podcast: https://podcasters.spotify.com/pod/show/msp1337/support

For the latest Everything Action Commentary, Zach and Chris head to Crystal Lake to celebrate the 40th anniversary of Friday the 13th, Part IV: The Final Chapter.Picking up immediately where Friday the 13th Part III left off, Jason Voorhees (Ted White) is presumed dead and brought to the local morgue. Waking up, he kills some of the hospital staff. He returns to his stomping grounds around Crystal Lake, targeting a group of friends visiting for a party vacation and the Jarvis family who lives nearby. While watching the movie, Zach and Chris talk about how the movie tries to make the phrase "dead fuck" a catchphrase, Crispin Glover's iconic dance moves, the movie's love of destroying windows, Tommy's (Corey Feldman) insane final gambit against Jason and more.You can watch Friday the 13th, Part IV: The Final Chapter on Max or wherever you choose to get it, sync it up with our commentary, and watch along with the Everything Action crew.We want to hear your comments and feedback. Send them all to contact@everythingaction.com. Also, let us know your suggestions for movies for us to discuss.Please also subscribe, rate, and review us on Apple Podcasts, Amazon Music, Spotify, or wherever you get podcasts. You can also find the podcast on Youtube.Check us out on Twitter (@evaction), Facebook (www.facebook.com/everything.action), and Instagram (@everything.action).

Episode #96 of MY HAUNTED HEAD (originally recorded as Episode #63) has apparently been collecting dust down in the vault for the past year or so.  So we've dusted it off, and now bring you this extensive, (mostly) unedited walk down memory lane as Toddzilla and Matthew discuss all of the incredible film heroes whom we've met at conventions, and who are unfortunately no longer with us.  Included are meetings with Stuart Gordon, David Hess, Gunnar Hansen, Rowdy Roddy Piper, Herschell Gordon Lewis, Ted White, John Saxon and many more.  Lots of great memories, and a few laughs along the way. Listen now on your favorite podcast app.  RATE, SHARE and SUBSCRIBE!

For our Halloween special, we go over one of our favorite Friday the 13th films. Nothing says Halloween like Friday the 13th? Well, just enjoy our silly take on a classic. You know the story and if you don't go check it out and find a possible new film to enjoy. Starring Erich Anderson, Kimberly Beck, Corey Feldman, Crispin Glover, and Ted White. Written by Barney Cohen and Directed by Joseph Zito in 1984. If you would like to become a supporter of the show you can check out our Patreon page and choose a tier. There are different perks at all levels and every contributor will have access to our Pre-Horror Show. Check out our favorite coffee by clicking on our link: Four Sigmatic Please share the podcast with your friends on social media to help us grow. Leave us a great review on whatever platform you are using. Check us out on Facebook, Instagram, Twitter, and Slasher. If you would like to watch our interviews, you can check out our YouTube channel. If you would like to ask us a question or make a suggestion for the show, send us an email at horrorscriptpodcast@gmail.com You can write us or record a voice memo of yourself asking the question and we can play it on an upcoming episodeSupport the show by picking up some Horror Script Podcast merchandiseIf you do reviews and interviews virtually try Squadcast for free by using our link. You also help support the show by using it. Special thanks to John Saccardo and Vince Lipscomb for the amazing music. Support the show

After being killed in Friday the 13th Part III 3D (1982), Jason Voorhees spontaneously revives, escapes from the hospital and returns to Crystal Lake to slaughter more fun-lovin' teens.  Directed by Joseph Zito. Screenplay by Barney Cohen from a story by Bruce Hidemi Sakow. Based on characters by Victor Miller, Ron Kurz, Martin Kitrosser and Carol Watson. Starring Erich Anderson, Judie Aronson, Peter Barton, Kimberly Beck, Corey Feldman, Crispin Glover and Ted White. FOLLOW US ON LETTERBOXD - Zach1983 & MattCrosby Thank you so much for listening! E-mail address: greatestpod@gmail.com Please follow the show on Twitter: @GreatestPod Subscribe on Apple Podcasts / Podbean This week's recommendations: Crystal Lake Memories (Streaming Rental) Midsommar (Showtime)

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

It's the live show on ESPN 700 from the Mountainland Valley View Open with Utah PGA pro Dustin Volk and Ted White. Tyson Shelley, Carson Lundell, Tess Blair, Grace Summerhays and Austin Shelley join in for one of the busiest weeks of the year in Utah Golf. 

This 80's Flick has one of the most inaccurate titles ever which is easy to forgive when the movie also happens to be considered by fans of the franchise as one of the best in the series.  So get ready to revisit Crystal Lake as Tim Williams and guest co-hosts Laramy Wells and Charlie Cotter discuss “Friday the 13th Part 4: The Final Chapter” from 1984 on this episode of the 80's Flick Flashback Podcast! Here are some additional behind-the-scenes trivia we were unable to cover in this episode: Corey Feldman was legitimately terrified during the window shot. As per series tradition, Jason was played by yet another stuntman in 'The Final Chapter,' this time Ted White. He did not like Feldman. When it came time to film the famous scene near the end when Jason reaches through a broken window to pull Tommy out of a house, White got to act out his frustration. They had worked out the timing of when White would grab Feldman beforehand, but during filming White waited a couple of beats to the point that Feldman assumed the stunt had gone wrong. So, just as he let his guard down White grabbed him exactly as you see in the film, meaning Feldman's screams of horror were completely authentic. Sources: Wikipedia, IMDB and Rotten Tomatoes Send us an email or reach out to us on social media to let us know what you liked, what you loved, what we may have missed, or what 80's movie we should discuss next! You can also support the podcast by becoming a subsrciption member through "Buy Me A Coffee".  Click on the following linktree link for more details and other great extensions of the podcast. https://linktr.ee/80sFlickFlashback --- Send in a voice message: https://podcasters.spotify.com/pod/show/moviviews80sff/message

"Those who cling to death, live". "Those who cling to life, die".We have a highly-anticipated returning guest to the podcast this week! Ted White, former co-host of the Geek Garage, joins David to give a spoiler-filled review and breakdown of the newly released film "John Wick: Chapter 4".If you enjoy our show, please leave us a rating & review on Spotify, Apple Podcasts or Stitcher!Support us on Patreon! Our patrons receive cool perks such as exclusive weekly updates, behind-the-scenes stuff from the podcast, and a cool button/sticker swag pack!Join our Facebook Group to stay up-to-date with the podcast, as well as participate in fun and nerdy conversations and polls.

There are hundreds of miles of bike lanes in San Francisco, making it one of the most bike friendly cities in America. But that wasn't the case until the 90s. The transformation was due, in large part, to two groups working without coordination: The San Francisco Bicycle Coalition – an advocacy organization, and Critical Mass – the name of a regular group bike ride. This week, reporter Azul Dahlstrom-Eckman tells the story of how these two groups changed the way people cycle in San Francisco, whether the city liked it or not. Additional Reading: The Night That Changed San Francisco Cycling Forever (KQED) Read a transcript of this episode This story was reported by Azul Dahlstrom-Eckman. Bay Curious is made by Olivia Allen-Price, Amanda Font and Brendan Willard. Special thanks to Scott Shafer, Paul Lancour and Dan Brekke for their help with this story, and to Ted White who shared archival audio from his documentaries “We Are Traffic” and “Return of the Scorcher.” Your support makes KQED podcasts possible. You can show your love by going to https://kqed.org/donate/podcast

In this episode, Sarah Tenisi speaks with Ted White, CEO at Vertical Talent Solutions, a recruiting firm focused on finding great technical talent for MSPs (Managed Service Providers).Listen in as Ted dives deep into technical recruiting and what makes finding great IT talent for MSPs different from finding individual IT talent for companies. He discusses the value of hiring a generalist as compared to specialists due to the multifaceted nature of the MSP space.He talks about the traits of the best MSP professionals and how those in the IT space can have an edge when making the transition into MSPs.Ted gives his thoughts on the current hiring landscape in a post-Covid world, why he exclusively selects candidates with prior MSP experience currently, and why mass layoffs do not automatically translate into a bigger pool of qualified candidates.What You'll Learn in This Episode:●      [01:46] Why does finding a candidate with MSP experience matter?●      [05:31] Hiring innate troubleshooters●      [08:10] Why IT professionals would want to work in an MSP●      [14:38] How a candidate can have an edge in the MSP space●      [18:43] Why Ted decided on exclusively recruiting MSP talent for MSPs●      [24:19] Vetting MSPs and candidates●      [28:59] Making phone interviews more efficient and effective●      [32:45] The current state of the post-Covid hiring landscape●      [35:43] Why mass layoffs do not equal more available talentKey quotes:●      “For people that like technology, an MSP is the way to go.”●      “We don't need to be in such a rush to be the first to make an offer to a candidate. Never make an offer to somebody who's not ready to accept.”

Happy Friday the 13th listeners! Please enjoy (or re-enjoy) this Friday the 13th (2009) "watch-along" we did a few years ago with Shauna Hoyt and Ted White! You can listen to this episode as stand-alone audio, or sync it up with the film and use it as a much less professional director's commentary!If you enjoy our show, please leave us a rating & review on Spotify, Apple Podcasts or Stitcher!Support us on Patreon! Our patrons receive cool perks such as exclusive weekly updates, behind-the-scenes stuff from the podcast, and a cool button/sticker swag pack!Join our Facebook Group to stay up-to-date with the podcast, as well as participate in fun and nerdy conversations and polls.

Friday the 13th has always had a special place in our hearts, so we had a lot of fun returning to Crystal Lake to bring you our latest mini-franchise review! We feature the not-so-Final Chapter in all it's Tom Savini-splattery goodness. Witness the debut of Tommy Jarvis, played by the always awesome Corey Feldman! Dance along with Crispin Glover! Be astounded by the amazing appearance of the twins! And salute stunt performer extraordinaire, Ted White! In our mini reviews, Jason the Terrible goes back to the Packanack Lodge for counselor training and witnesses Jason's sack-mask trail of terror in Friday the 13th Part 2. Graverobber Geoff recounts Tommy Jarvis' ill-fated and ill-advised gravedigging excursion in Friday the 13th Part VI: Jason Lives, and Slicin' Dicin' Dave explores the mental gymnastics of Friday the 13th Part VII: The New Blood. We love any excuse to revisit a Friday the 13th film, let alone four of them, so strap on your masks, grab a large gardening implement, and enjoy! (0:10:31) Jason the Terrible's DVD Dungeon - FRIDAY THE 13TH PART 2 (1981) (0:26:59) Graverobber Geoff's Fresh Dig - FRIDAY THE 13TH PART VI: JASON LIVES (1986) (0:37:08) Slicin' Dicin' Dave's Streaming Scream-Sack of Nightmares - FRIDAY THE 13TH PART VII: THE NEW BLOOD (1988) (0:53:24) Feature Review - FRIDAY THE 13TH: THE FINAL CHAPTER (1984) We hope that you enjoy this episode! Please SUBSCRIBE and give us a RATING on Apple Podcasts, or wherever you may be listening. And don't forget to tell your friends! Get in touch with us! We definitely want to hear your feedback and suggestions, and we'll give you a shout-out on an upcoming episode! Our official website! www.watchouthorror.com All our links at https://linktr.ee/watchouthorror Listen to us on GoodPods! https://goodpods.app.link/QEqbOUWHFkb Email us at watchouthorror@gmail.com Follow us on Twitter! @watchouthorror Follow us on Instagram! @watchouthorrorcast Follow Slicin' Dicin' Dave on Twitter! @slicindicindave Hey, we made the list of the Top 80 Horror Movie Podcasts! Check out the list here: https://blog.feedspot.com/horror_movie_podcasts/ NEXT EPISODE: Fincher above and Raimi below! 2022 WATCH OUT! HORROR MOVIE REVIEWS

Friday the 13th has always had a special place in our hearts, so we had a lot of fun returning to Crystal Lake to bring you our latest mini-franchise review! We feature the not-so-Final Chapter in all it's Tom Savini-splattery goodness. Witness the debut of Tommy Jarvis, played by the always awesome Corey Feldman! Dance along with Crispin Glover! Be astounded by the amazing appearance of the twins! And salute stunt performer extraordinaire, Ted White! In our mini reviews, Jason the Terrible goes back to the Packanack Lodge for counselor training and witnesses Jason's sack-mask trail of terror in Friday the 13th Part 2. Graverobber Geoff recounts Tommy Jarvis' ill-fated and ill-advised gravedigging excursion in Friday the 13th Part VI: Jason Lives, and Slicin' Dicin' Dave explores the mental gymnastics of Friday the 13th Part VII: The New Blood. We love any excuse to revisit a Friday the 13th film, let alone four of them, so strap on your masks, grab a large gardening implement, and enjoy! (0:10:31) Jason the Terrible's DVD Dungeon - FRIDAY THE 13TH PART 2 (1981) (0:26:59) Graverobber Geoff's Fresh Dig - FRIDAY THE 13TH PART VI: JASON LIVES (1986) (0:37:08) Slicin' Dicin' Dave's Streaming Scream-Sack of Nightmares - FRIDAY THE 13TH PART VII: THE NEW BLOOD (1988) (0:53:24) Feature Review - FRIDAY THE 13TH: THE FINAL CHAPTER (1984) We hope that you enjoy this episode! Please SUBSCRIBE and give us a RATING on Apple Podcasts, or wherever you may be listening. And don't forget to tell your friends! Get in touch with us! We definitely want to hear your feedback and suggestions, and we'll give you a shout-out on an upcoming episode! Our official website! www.watchouthorror.com All our links at https://linktr.ee/watchouthorror Listen to us on GoodPods! https://goodpods.app.link/QEqbOUWHFkb Email us at watchouthorror@gmail.com Follow us on Twitter! @watchouthorror Follow us on Instagram! @watchouthorrorcast Follow Slicin' Dicin' Dave on Twitter! @slicindicindave Hey, we made the list of the Top 80 Horror Movie Podcasts! Check out the list here: https://blog.feedspot.com/horror_movie_podcasts/ NEXT EPISODE: Fincher above and Raimi below! 2022 WATCH OUT! HORROR MOVIE REVIEWS

First off, we are sorry the episode disappeared. We ran into a copyright issue, and we didn't have time to deal with it right away. In the meantime, we updated the video, added new footage and split it into two episodes. So, the Jeff Daniel Phillips interview will be in episode 48, coming very soon. Sorry for the delay, and I hope you enjoy the new updated versions, which now includes Sean's thoughts on Halloween Kills and a tribute to Ted White. Watch the video version of this episode here! - https://youtu.be/MvL_SAuHW-E #Horror #HalloweenEnds #Hellraiser Follow Sean Clark Facebook: https://www.facebook.com/malfuncsean Instagram: https://www.instagram.com/malfuncsean/ Twitter: https://twitter.com/malfuncsean/ Get your Horror's Hallowed Grounds merch: https://www.teepublic.com/user/malfun... For free stickers send a Self Addressed Stamped Envelope to: Sean Clark 23785 El Toro Road # 409, Lake Forest, CA. 92630 --- Support this podcast: https://anchor.fm/thethingwithtwoheads/support

Gameplan founder Vin McCaffrey is joined by former Deputy AD, Ted White to discuss the student-athlete journey and the future of that journey. For a limited time during 2022, use the code “LIFO” for 15% off one-time packs on sujajuice.com. Follow us on Instagram @lifeinthefrontoffice for sneak peaks of upcoming episodes and throwbacks to great content from past episodes! --- Send in a voice message: https://anchor.fm/lifeinthefrontoffice/message

RIP

Coi Leary “Album didn't do so well”, 18 yr old charged with murder, Teacher on Only Fans “Motivation”, Creepy Joe Strikes again, Coroner found baby suffocated, Thief pin victim on 63rd Subway, Coke Dealers of Broadway, Pickpocket caught “lifting a dead guy's wallet” R.I.P. to Ted White who was Jason Voorhees on Friday the 13th “the final chapter” he was 96

This week Gary and Iain review and discuss, Friday the 13th Part - IV: The Final Chapter (1984) by Director, Joseph Zito. Starring, Kimberly Beck, Corey Feldman and Ted White. For more Off The Shelf Reviews: https://www.youtube.com/channel/UChWxkAz-n2-5Nae-IDpxBZQ/join Podcasts: https://offtheshelfreviews.podbean.com/ Follow us on Twitter: https://twitter.com/@OTSReviews Youtube: https://www.youtube.com/c/OffTheShelfReviews Facebook: https://www.facebook.com/OffTheShelfReviews Support us: http://www.patreon.com/offtheshelfreviews Twitch: https://www.twitch.tv/offtheshelfreviews Discord: https://discord.gg/Dyw8ctf

Dave welcomes Ted White, founder and president of Vertical Talent Solutions, to gain an outsider's perspective on attracting and maintaining quality talent.

Ted White is with Vertical Talent Solutions, an Infrastructure IT recruiting firm in Connecticut, focusing on MSP candidates for MSPs. With 23 years of recruiting experience, and 8 years in business, he's also previously built a 22 person MSP to 60 employees, including a merger to another organization.

1 - Crazy People - Chick Bullock with Owen Fallon and his Californians – 19322 - You're Driving Me Crazy - The New York Twelve - 19313 - You're Driving Me Crazy (Hallo, Was MacHst Du Heut' Daisy) - The Comedian Harmonists – 19314 - Charleston Crazy - Fletcher Henderson and his Orchestra - 19235 - I'm Crazy 'Bout the Turkey Trot - Arthur Collins and Byron Harlan – 19116 - Ndapera Cha Cha (Shona from Zimbabwe) - George Sisimayi and his Crazy Five - 1950s7 - Ain't We Crazy? - Harry McClintock "Radio Mac" - 19288 - Crazy Words - Crazy Tune - The Melody Twins with Ted White's Collegians – 19279 - Crazy, Crazy, Crazy - The 5 Royales with Charlie (Little Jazz) Ferguson and his Orchestra - 195310 - Just a Crazy Song - Blanche Calloway and her Orchestra – 193111 - My Pupule Lio (My Crazy Horse) - Bernie Kaai and his Hawaiians - 194612 - Crazy Chords - Jelly Roll Morton's Red Hot Peppers - 193013 - Crazy Rhythm - Dixie Daisies – 192814 - Rhythm Crazy - Horace Henderson and his Orchestra - 193415 - Crazy Blues - Mamie Smith and her Jazz Hounds – 192016 - Ev'rybody's Crazy 'Bout the Doggone Blues but I'm Happy - Marion Harris - 191717 - Ev'rybody's Crazy 'Bout the Doggone Blues but I'm Happy - Wilbur Sweatman's Original Jazz Band – 191818 - Jack Has a Music Lesson - Jack Benny – 1949 (Radio Comedy)19 - The Big Crazy - Dragnet – 1951 (Radio Drama)20 – Crazy Heart – Zeb Turner - 1951

2:15:03 – Frank in New Jersey, plus the Other Side. Topics include: The trip home from New Mexico, psychic experiences, horrible hummus and martinis in Houston, Jewels of Elsewhen by Ted White (1967), morphic fields and reality iterations, What Pleases The Observer, plane games, Punch Miniatures, Obi-Wan Kenobi, Stranger Things, Kate Bush, Night Sky, Counterpart, Norm MacDonald, PlayStation […]

2:15:03 – Frank in New Jersey, plus the Other Side. Topics include: The trip home from New Mexico, psychic experiences, horrible hummus and martinis in Houston, Jewels of Elsewhen by Ted White (1967), morphic fields and reality iterations, What Pleases The Observer, plane games, Punch Miniatures, Obi-Wan Kenobi, Stranger Things, Kate Bush, Night Sky, Counterpart, Norm MacDonald, PlayStation […]

Episode 149 of A History of Rock Music in Five Hundred Songs looks at “Respect", and the journey of Aretha Franklin from teenage gospel singer to the Queen of Soul. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "I'm Just a Mops" by the Mops. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Also, people may be interested in a Facebook discussion group for the podcast, run by a friend of mine (I'm not on FB myself) which can be found at https://www.facebook.com/groups/293630102611672/ Errata I say "Rock-a-Bye Your Baby to a Dixie Melody" instead of "Rock-a-Bye Your Baby With a Dixie Melody". Also I say Spooner Oldham co-wrote "Do Right Woman". I meant Chips Moman. Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. I also relied heavily on I Never Loved a Man the Way I Loved You by Matt Dobkin. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Rick Hall's The Man From Muscle Shoals: My Journey from Shame to Fame contains his side of the story. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. And the I Never Loved a Man album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode,  I have to say that there are some things people may want to be aware of before listening to this. This episode has to deal, at least in passing, with subjects including child sexual abuse, intimate partner abuse, racism, and misogyny. I will of course try to deal with those subjects as tactfully as possible, but those of you who may be upset by those topics may want to check the episode transcript before or instead of listening. Those of you who leave comments or send me messages saying "why can't you just talk about the music instead of all this woke virtue-signalling?" may also want to skip this episode. You can go ahead and skip all the future ones as well, I won't mind. And one more thing to say before I get into the meat of the episode -- this episode puts me in a more difficult position than most other episodes of the podcast have. When I've talked about awful things that have happened in the course of this podcast previously, I have either been talking about perpetrators -- people like Phil Spector or Jerry Lee Lewis who did truly reprehensible things -- or about victims who have talked very publicly about the abuse they've suffered, people like Ronnie Spector or Tina Turner, who said very clearly "this is what happened to me and I want it on the public record". In the case of Aretha Franklin, she has been portrayed as a victim *by others*, and there are things that have been said about her life and her relationships which suggest that she suffered in some very terrible ways. But she herself apparently never saw herself as a victim, and didn't want some aspects of her private life talking about. At the start of David Ritz's biography of her, which is one of my main sources here, he recounts a conversation he had with her: "When I mentioned the possibility of my writing an independent biography, she said, “As long as I can approve it before it's published.” “Then it wouldn't be independent,” I said. “Why should it be independent?” “So I can tell the story from my point of view.” “But it's not your story, it's mine.” “You're an important historical figure, Aretha. Others will inevitably come along to tell your story. That's the blessing and burden of being a public figure.” “More burden than blessing,” she said." Now, Aretha Franklin is sadly dead, but I think that she still deserves the basic respect of being allowed privacy. So I will talk here about public matters, things she acknowledged in her own autobiography, and things that she and the people around her did in public situations like recording studios and concert venues. But there are aspects to the story of Aretha Franklin as that story is commonly told, which may well be true, but are of mostly prurient interest, don't add much to the story of how the music came to be made, and which she herself didn't want people talking about. So there will be things people might expect me to talk about in this episode, incidents where people in her life, usually men, treated her badly, that I'm going to leave out. That information is out there if people want to look for it, but I don't see myself as under any obligation to share it. That's not me making excuses for people who did inexcusable things, that's me showing some respect to one of the towering artistic figures of the latter half of the twentieth century. Because, of course, respect is what this is all about: [Excerpt: Aretha Franklin, "Respect"] One name that's come up a few times in this podcast, but who we haven't really talked about that much, is Bobby "Blue" Bland. We mentioned him as the single biggest influence on the style of Van Morrison, but Bland was an important figure in the Memphis music scene of the early fifties, which we talked about in several early episodes. He was one of the Beale Streeters, the loose aggregation of musicians that also included B.B. King and Johnny Ace, he worked with Ike Turner, and was one of the key links between blues and soul in the fifties and early sixties, with records like "Turn on Your Love Light": [Excerpt: Bobby "Blue" Bland, "Turn on Your Love Light"] But while Bland was influenced by many musicians we've talked about, his biggest influence wasn't a singer at all. It was a preacher he saw give a sermon in the early 1940s. As he said decades later: "Wasn't his words that got me—I couldn't tell you what he talked on that day, couldn't tell you what any of it meant, but it was the way he talked. He talked like he was singing. He talked music. The thing that really got me, though, was this squall-like sound he made to emphasize a certain word. He'd catch the word in his mouth, let it roll around and squeeze it with his tongue. When it popped on out, it exploded, and the ladies started waving and shouting. I liked all that. I started popping and shouting too. That next week I asked Mama when we were going back to Memphis to church. “‘Since when you so keen on church?' Mama asked. “‘I like that preacher,' I said. “‘Reverend Franklin?' she asked. “‘Well, if he's the one who sings when he preaches, that's the one I like.'" Bland was impressed by C.L. Franklin, and so were other Memphis musicians. Long after Franklin had moved to Detroit, they remembered him, and Bland and B.B. King would go to Franklin's church to see him preach whenever they were in the city. And Bland studied Franklin's records. He said later "I liked whatever was on the radio, especially those first things Nat Cole did with his trio. Naturally I liked the blues singers like Roy Brown, the jump singers like Louis Jordan, and the ballad singers like Billy Eckstine, but, brother, the man who really shaped me was Reverend Franklin." Bland would study Franklin's records, and would take the style that Franklin used in recorded sermons like "The Eagle Stirreth Her Nest": [Excerpt: C.L. Franklin, "The Eagle Stirreth Her Nest"] And you can definitely hear that preaching style on records like Bland's "I Pity the Fool": [Excerpt: Bobby "Blue" Bland, "I Pity the Fool"] But of course, that wasn't the only influence the Reverend C.L. Franklin had on the course of soul music. C.L. Franklin had grown up poor, on a Mississippi farm, and had not even finished grade school because he was needed to work behind the mule, ploughing the farm for his stepfather. But he had a fierce intelligence and became an autodidact, travelling regularly to the nearest library, thirty miles away, on a horse-drawn wagon, and reading everything he could get his hands on. At the age of sixteen he received what he believed to be a message from God, and decided to become an itinerant preacher. He would travel between many small country churches and build up audiences there -- and he would also study everyone else preaching there, analysing their sermons, seeing if he could anticipate their line of argument and get ahead of them, figuring out the structure. But unlike many people in the conservative Black Baptist churches of the time, he never saw the spiritual and secular worlds as incompatible. He saw blues music and Black church sermons as both being part of the same thing -- a Black culture and folklore that was worthy of respect in both its spiritual and secular aspects. He soon built up a small circuit of local churches where he would preach occasionally, but wasn't the main pastor at any of them. He got married aged twenty, though that marriage didn't last, and he seems to have been ambitious for a greater respectability. When that marriage failed, in June 1936, he married Barbara Siggers, a very intelligent, cultured, young single mother who had attended Booker T Washington High School, the best Black school in Memphis, and he adopted her son Vaughn. While he was mostly still doing churches in Mississippi, he took on one in Memphis as well, in an extremely poor area, but it gave him a foot in the door to the biggest Black city in the US. Barbara would later be called "one of the really great gospel singers" by no less than Mahalia Jackson. We don't have any recordings of Barbara singing, but Mahalia Jackson certainly knew what she was talking about when it came to great gospel singers: [Excerpt: Mahalia Jackson, "Precious Lord, Take My Hand"] Rev. Franklin was hugely personally ambitious, and he also wanted to get out of rural Mississippi, where the Klan were very active at this time, especially after his daughter Erma was born in 1938. They moved to Memphis in 1939, where he got a full-time position at New Salem Baptist Church, where for the first time he was able to earn a steady living from just one church and not have to tour round multiple churches. He soon became so popular that if you wanted to get a seat for the service at noon, you had to turn up for the 8AM Sunday School or you'd be forced to stand. He also enrolled for college courses at LeMoyne College. He didn't get a degree, but spent three years as a part-time student studying theology, literature, and sociology, and soon developed a liberal theology that was very different from the conservative fundamentalism he'd grown up in, though still very much part of the Baptist church. Where he'd grown up with a literalism that said the Bible was literally true, he started to accept things like evolution, and to see much of the Bible as metaphor. Now, we talked in the last episode about how impossible it is to get an accurate picture of the lives of religious leaders, because their life stories are told by those who admire them, and that's very much the case for C.L. Franklin. Franklin was a man who had many, many, admirable qualities -- he was fiercely intelligent, well-read, a superb public speaker, a man who was by all accounts genuinely compassionate towards those in need, and he became one of the leaders of the civil rights movement and inspired tens of thousands, maybe even millions, of people, directly and indirectly, to change the world for the better. He also raised several children who loved and admired him and were protective of his memory. And as such, there is an inevitable bias in the sources on Franklin's life. And so there's a tendency to soften the very worst things he did, some of which were very, very bad. For example in Nick Salvatore's biography of him, he talks about Franklin, in 1940, fathering a daughter with someone who is described as "a teenager" and "quite young". No details of her age other than that are given, and a few paragraphs later the age of a girl who was then sixteen *is* given, talking about having known the girl in question, and so the impression is given that the girl he impregnated was also probably in her late teens. Which would still be bad, but a man in his early twenties fathering a child with a girl in her late teens is something that can perhaps be forgiven as being a different time. But while the girl in question may have been a teenager when she gave birth, she was *twelve years old* when she became pregnant, by C.L. Franklin, the pastor of her church, who was in a position of power over her in multiple ways. Twelve years old. And this is not the only awful thing that Franklin did -- he was also known to regularly beat up women he was having affairs with, in public. I mention this now because everything else I say about him in this episode is filtered through sources who saw these things as forgivable character flaws in an otherwise admirable human being, and I can't correct for those biases because I don't know the truth. So it's going to sound like he was a truly great man. But bear those facts in mind. Barbara stayed with Franklin for the present, after discovering what he had done, but their marriage was a difficult one, and they split up and reconciled a handful of times. They had three more children together -- Cecil, Aretha, and Carolyn -- and remained together as Franklin moved on first to a church in Buffalo, New York, and then to New Bethel Church, in Detroit, on Hastings Street, a street which was the centre of Black nightlife in the city, as immortalised in John Lee Hooker's "Boogie Chillun": [Excerpt: John Lee Hooker, "Boogie Chillen"] Before moving to Detroit, Franklin had already started to get more political, as his congregation in Buffalo had largely been union members, and being free from the worst excesses of segregation allowed him to talk more openly about civil rights, but that only accelerated when he moved to Detroit, which had been torn apart just a couple of years earlier by police violence against Black protestors. Franklin had started building a reputation when in Memphis using radio broadcasts, and by the time he moved to Detroit he was able to command a very high salary, and not only that, his family were given a mansion by the church, in a rich part of town far away from most of his congregation. Smokey Robinson, who was Cecil Franklin's best friend and a frequent visitor to the mansion through most of his childhood, described it later, saying "Once inside, I'm awestruck -- oil paintings, velvet tapestries, silk curtains, mahogany cabinets filled with ornate objects of silver and gold. Man, I've never seen nothing like that before!" He made a lot of money, but he also increased church attendance so much that he earned that money. He had already been broadcasting on the radio, but when he started his Sunday night broadcasts in Detroit, he came up with a trick of having his sermons run long, so the show would end before the climax. People listening decided that they would have to start turning up in person to hear the end of the sermons, and soon he became so popular that the church would be so full that crowds would have to form on the street outside to listen. Other churches rescheduled their services so they wouldn't clash with Franklin's, and most of the other Black Baptist ministers in the city would go along to watch him preach. In 1948 though, a couple of years after moving to Detroit, Barbara finally left her husband. She took Vaughn with her and moved back to Buffalo, leaving the four biological children she'd had with C.L. with their father.  But it's important to note that she didn't leave her children -- they would visit her on a regular basis, and stay with her over school holidays. Aretha later said "Despite the fact that it has been written innumerable times, it is an absolute lie that my mother abandoned us. In no way, shape, form, or fashion did our mother desert us." Barbara's place in the home was filled by many women -- C.L. Franklin's mother moved up from Mississippi to help him take care of the children, the ladies from the church would often help out, and even stars like Mahalia Jackson would turn up and cook meals for the children. There were also the women with whom Franklin carried on affairs, including Anna Gordy, Ruth Brown, and Dinah Washington, the most important female jazz and blues singer of the fifties, who had major R&B hits with records like her version of "Cold Cold Heart": [Excerpt: Dinah Washington, "Cold Cold Heart"] Although my own favourite record of hers is "Big Long Slidin' Thing", which she made with arranger Quincy Jones: [Excerpt: Dinah Washington, "Big Long Slidin' Thing"] It's about a trombone. Get your minds out of the gutter. Washington was one of the biggest vocal influences on young Aretha, but the single biggest influence was Clara Ward, another of C.L. Franklin's many girlfriends. Ward was the longest-lasting of these, and there seems to have been a lot of hope on both her part and Aretha's that she and Rev. Franklin would marry, though Franklin always made it very clear that monogamy wouldn't suit him. Ward was one of the three major female gospel singers of the middle part of the century, and possibly even more technically impressive as a vocalist than the other two, Sister Rosetta Tharpe and Mahalia Jackson. Where Jackson was an austere performer, who refused to perform in secular contexts at all for most of her life, and took herself and her music very seriously, and Tharpe was a raunchier, funnier, more down-to-earth performer who was happy to play for blues audiences and even to play secular music on occasion, Ward was a *glamorous* performer, who wore sequined dresses and piled her hair high on her head. Ward had become a singer in 1931 when her mother had what she later talked about as a religious epiphany, and decided she wasn't going to be a labourer any more, she was going to devote her life to gospel music. Ward's mother had formed a vocal group with her two daughters, and Clara quickly became the star and her mother's meal ticket -- and her mother was very possessive of that ticket, to the extent that Ward, who was a bisexual woman who mostly preferred men, had more relationships with women, because her mother wouldn't let her be alone with the men she was attracted to. But Ward did manage to keep a relationship going with C.L. Franklin, and Aretha Franklin talked about the moment she decided to become a singer, when she saw Ward singing "Peace in the Valley" at a funeral: [Excerpt: Clara Ward, "Peace in the Valley"] As well as looking towards Ward as a vocal influence, Aretha was also influenced by her as a person -- she became a mother figure to Aretha, who would talk later about watching Ward eat, and noting her taking little delicate bites, and getting an idea of what it meant to be ladylike from her. After Ward's death in 1973, a notebook was found in which she had written her opinions of other singers. For Aretha she wrote “My baby Aretha, she doesn't know how good she is. Doubts self. Some day—to the moon. I love that girl.” Ward's influence became especially important to Aretha and her siblings after their mother died of a heart attack a few years after leaving her husband, when Aretha was ten, and Aretha, already a very introverted child, became even more so. Everyone who knew Aretha said that her later diva-ish reputation came out of a deep sense of insecurity and introversion -- that she was a desperately private, closed-off, person who would rarely express her emotions at all, and who would look away from you rather than make eye contact. The only time she let herself express emotions was when she performed music. And music was hugely important in the Franklin household. Most preachers in the Black church at that time were a bit dismissive of gospel music, because they thought the music took away from their prestige -- they saw it as a necessary evil, and resented it taking up space when their congregations could have been listening to them. But Rev. Franklin was himself a rather good singer, and even made a few gospel records himself in 1950, recording for Joe Von Battle, who owned a record shop on Hastings Street and also put out records by blues singers: [Excerpt: C.L. Franklin, "I Am Climbing Higher Mountains" ] The church's musical director was James Cleveland, one of the most important gospel artists of the fifties and sixties, who sang with groups like the Caravans: [Excerpt: The Caravans, "What Kind of Man is This?" ] Cleveland, who had started out in the choir run by Thomas Dorsey, the writer of “Take My Hand Precious Lord” and “Peace in the Valley”, moved in with the Franklin family for a while, and he gave the girls tips on playing the piano -- much later he would play piano on Aretha's album Amazing Grace, and she said of him “He showed me some real nice chords, and I liked his deep, deep sound”. Other than Clara Ward, he was probably the single biggest musical influence on Aretha. And all the touring gospel musicians would make appearances at New Bethel Church, not least of them Sam Cooke, who first appeared there with the Highway QCs and would continue to do so after joining the Soul Stirrers: [Excerpt: The Soul Stirrers, "Touch the Hem of his Garment"] Young Aretha and her older sister Erma both had massive crushes on Cooke, and there were rumours that he had an affair with one or both of them when they were in their teens, though both denied it. Aretha later said "When I first saw him, all I could do was sigh... Sam was love on first hearing, love at first sight." But it wasn't just gospel music that filled the house. One of the major ways that C.L. Franklin's liberalism showed was in his love of secular music, especially jazz and blues, which he regarded as just as important in Black cultural life as gospel music. We already talked about Dinah Washington being a regular visitor to the house, but every major Black entertainer would visit the Franklin residence when they were in Detroit. Both Aretha and Cecil Franklin vividly remembered visits from Art Tatum, who would sit at the piano and play for the family and their guests: [Excerpt: Art Tatum, "Tiger Rag"] Tatum was such a spectacular pianist that there's now a musicological term, the tatum, named after him, for the smallest possible discernible rhythmic interval between two notes. Young Aretha was thrilled by his technique, and by that of Oscar Peterson, who also regularly came to the Franklin home, sometimes along with Ella Fitzgerald. Nat "King" Cole was another regular visitor. The Franklin children all absorbed the music these people -- the most important musicians of the time -- were playing in their home, and young Aretha in particular became an astonishing singer and also an accomplished pianist. Smokey Robinson later said: “The other thing that knocked us out about Aretha was her piano playing. There was a grand piano in the Franklin living room, and we all liked to mess around. We'd pick out little melodies with one finger. But when Aretha sat down, even as a seven-year-old, she started playing chords—big chords. Later I'd recognize them as complex church chords, the kind used to accompany the preacher and the solo singer. At the time, though, all I could do was view Aretha as a wonder child. Mind you, this was Detroit, where musical talent ran strong and free. Everyone was singing and harmonizing; everyone was playing piano and guitar. Aretha came out of this world, but she also came out of another far-off magical world none of us really understood. She came from a distant musical planet where children are born with their gifts fully formed.” C.L. Franklin became more involved in the music business still when Joe Von Battle started releasing records of his sermons, which had become steadily more politically aware: [Excerpt: C.L. Franklin, "Dry Bones in the Valley"] Franklin was not a Marxist -- he was a liberal, but like many liberals was willing to stand with Marxists where they had shared interests, even when it was dangerous. For example in 1954, at the height of McCarthyism, he had James and Grace Lee Boggs, two Marxist revolutionaries, come to the pulpit and talk about their support for the anti-colonial revolution in Kenya, and they sold four hundred copies of their pamphlet after their talk, because he saw that the struggle of Black Africans to get out from white colonial rule was the same struggle as that of Black Americans. And Franklin's powerful sermons started getting broadcast on the radio in areas further out from Detroit, as Chess Records picked up the distribution for them and people started playing the records on other stations. People like future Congressman John Lewis and the Reverend Jesse Jackson would later talk about listening to C.L. Franklin's records on the radio and being inspired -- a whole generation of Black Civil Rights leaders took their cues from him, and as the 1950s and 60s went on he became closer and closer to Martin Luther King in particular. But C.L. Franklin was always as much an ambitious showman as an activist, and he started putting together gospel tours, consisting mostly of music but with himself giving a sermon as the headline act. And he became very, very wealthy from these tours. On one trip in the south, his car broke down, and he couldn't find a mechanic willing to work on it. A group of white men started mocking him with racist terms, trying to provoke him, as he was dressed well and driving a nice car (albeit one that had broken down). Rather than arguing with them, he walked to a car dealership, and bought a new car with the cash that he had on him. By 1956 he was getting around $4000 per appearance, roughly equivalent to $43,000 today, and he was making a *lot* of appearances. He also sold half a million records that year. Various gospel singers, including the Clara Ward Singers, would perform on the tours he organised, and one of those performers was Franklin's middle daughter Aretha. Aretha had become pregnant when she was twelve, and after giving birth to the child she dropped out of school, but her grandmother did most of the child-rearing for her, while she accompanied her father on tour. Aretha's first recordings, made when she was just fourteen, show what an astonishing talent she already was at that young age. She would grow as an artist, of course, as she aged and gained experience, but those early gospel records already show an astounding maturity and ability. It's jaw-dropping to listen to these records of a fourteen-year-old, and immediately recognise them as a fully-formed Aretha Franklin. [Excerpt: Aretha Franklin, "There is a Fountain Filled With Blood"] Smokey Robinson's assessment that she was born with her gifts fully formed doesn't seem like an exaggeration when you hear that. For the latter half of the fifties, Aretha toured with her father, performing on the gospel circuit and becoming known there. But the Franklin sisters were starting to get ideas about moving into secular music. This was largely because their family friend Sam Cooke had done just that, with "You Send Me": [Excerpt: Sam Cooke, "You Send Me"] Aretha and Erma still worshipped Cooke, and Aretha would later talk about getting dressed up just to watch Cooke appear on the TV. Their brother Cecil later said "I remember the night Sam came to sing at the Flame Show Bar in Detroit. Erma and Ree said they weren't going because they were so heartbroken that Sam had recently married. I didn't believe them. And I knew I was right when they started getting dressed about noon for the nine o'clock show. Because they were underage, they put on a ton of makeup to look older. It didn't matter 'cause Berry Gordy's sisters, Anna and Gwen, worked the photo concession down there, taking pictures of the party people. Anna was tight with Daddy and was sure to let my sisters in. She did, and they came home with stars in their eyes.” Moving from gospel to secular music still had a stigma against it in the gospel world, but Rev. Franklin had never seen secular music as sinful, and he encouraged his daughters in their ambitions. Erma was the first to go secular, forming a girl group, the Cleo-Patrettes, at the suggestion of the Four Tops, who were family friends, and recording a single for Joe Von Battle's J-V-B label, "No Other Love": [Excerpt: The Cleo-Patrettes, "No Other Love"] But the group didn't go any further, as Rev. Franklin insisted that his eldest daughter had to finish school and go to university before she could become a professional singer. Erma missed other opportunities for different reasons, though -- Berry Gordy, at this time still a jobbing songwriter, offered her a song he'd written with his sister and Roquel Davis, but Erma thought of herself as a jazz singer and didn't want to do R&B, and so "All I Could Do Was Cry" was given to Etta James instead, who had a top forty pop hit with it: [Excerpt: Etta James, "All I Could Do Was Cry"] While Erma's move into secular music was slowed by her father wanting her to have an education, there was no such pressure on Aretha, as she had already dropped out. But Aretha had a different problem -- she was very insecure, and said that church audiences "weren't critics, but worshippers", but she was worried that nightclub audiences in particular were just the kind of people who would just be looking for flaws, rather than wanting to support the performer as church audiences did. But eventually she got up the nerve to make the move. There was the possibility of her getting signed to Motown -- her brother was still best friends with Smokey Robinson, while the Gordy family were close to her father -- but Rev. Franklin had his eye on bigger things. He wanted her to be signed to Columbia, which in 1960 was the most prestigious of all the major labels. As Aretha's brother Cecil later said "He wanted Ree on Columbia, the label that recorded Mahalia Jackson, Duke Ellington, Johnny Mathis, Tony Bennett, Percy Faith, and Doris Day. Daddy said that Columbia was the biggest and best record company in the world. Leonard Bernstein recorded for Columbia." They went out to New York to see Phil Moore, a legendary vocal coach and arranger who had helped make Lena Horne and Dorothy Dandridge into stars, but Moore actually refused to take her on as a client, saying "She does not require my services. Her style has already been developed. Her style is in place. It is a unique style that, in my professional opinion, requires no alteration. It simply requires the right material. Her stage presentation is not of immediate concern. All that will come later. The immediate concern is the material that will suit her best. And the reason that concern will not be easily addressed is because I can't imagine any material that will not suit her." That last would become a problem for the next few years, but the immediate issue was to get someone at Columbia to listen to her, and Moore could help with that -- he was friends with John Hammond. Hammond is a name that's come up several times in the podcast already -- we mentioned him in the very earliest episodes, and also in episode ninety-eight, where we looked at his signing of Bob Dylan. But Hammond was a legend in the music business. He had produced sessions for Bessie Smith, had discovered Count Basie and Billie Holiday, had convinced Benny Goodman to hire Charlie Christian and Lionel Hampton, had signed Pete Seeger and the Weavers to Columbia, had organised the Spirituals to Swing concerts which we talked about in the first few episodes of this podcast, and was about to put out the first album of Robert Johnson's recordings. Of all the executives at Columbia, he was the one who had the greatest eye for talent, and the greatest understanding of Black musical culture. Moore suggested that the Franklins get Major Holley to produce a demo recording that he could get Hammond to listen to. Major Holley was a family friend, and a jazz bassist who had played with Oscar Peterson and Coleman Hawkins among others, and he put together a set of songs for Aretha that would emphasise the jazz side of her abilities, pitching her as a Dinah Washington style bluesy jazz singer. The highlight of the demo was a version of "Today I Sing the Blues", a song that had originally been recorded by Helen Humes, the singer who we last heard of recording “Be Baba Leba” with Bill Doggett: [Excerpt: Helen Humes, "Today I Sing the Blues"] That original version had been produced by Hammond, but the song had also recently been covered by Aretha's idol, Sam Cooke: [Excerpt: Sam Cooke, "Today I Sing the Blues"] Hammond was hugely impressed by the demo, and signed Aretha straight away, and got to work producing her first album. But he and Rev. Franklin had different ideas about what Aretha should do. Hammond wanted to make a fairly raw-sounding bluesy jazz album, the kind of recording he had produced with Bessie Smith or Billie Holiday, but Rev. Franklin wanted his daughter to make music that would cross over to the white pop market -- he was aiming for the same kind of audience that Nat "King" Cole or Harry Belafonte had, and he wanted her recording standards like "Over the Rainbow". This showed a lack of understanding on Rev. Franklin's part of how such crossovers actually worked at this point. As Etta James later said, "If you wanna have Black hits, you gotta understand the Black streets, you gotta work those streets and work those DJs to get airplay on Black stations... Or looking at it another way, in those days you had to get the Black audience to love the hell outta you and then hope the love would cross over to the white side. Columbia didn't know nothing 'bout crossing over.” But Hammond knew they had to make a record quickly, because Sam Cooke had been working on RCA Records, trying to get them to sign Aretha, and Rev. Franklin wanted an album out so they could start booking club dates for her, and was saying that if they didn't get one done quickly he'd take up that offer, and so they came up with a compromise set of songs which satisfied nobody, but did produce two R&B top ten hits, "Won't Be Long" and Aretha's version of "Today I Sing the Blues": [Excerpt: Aretha Franklin, "Today I Sing the Blues"] This is not to say that Aretha herself saw this as a compromise -- she later said "I have never compromised my material. Even then, I knew a good song from a bad one. And if Hammond, one of the legends of the business, didn't know how to produce a record, who does? No, the fault was with promotion." And this is something important to bear in mind as we talk about her Columbia records. Many, *many* people have presented those records as Aretha being told what to do by producers who didn't understand her art and were making her record songs that didn't fit her style. That's not what's happening with the Columbia records. Everyone actually involved said that Aretha was very involved in the choices made -- and there are some genuinely great tracks on those albums. The problem is that they're *unfocused*. Aretha was only eighteen when she signed to the label, and she loved all sorts of music -- blues, jazz, soul, standards, gospel, middle-of-the-road pop music -- and wanted to sing all those kinds of music. And she *could* sing all those kinds of music, and sing them well. But it meant the records weren't coherent. You didn't know what you were getting, and there was no artistic personality that dominated them, it was just what Aretha felt like recording. Around this time, Aretha started to think that maybe her father didn't know what he was talking about when it came to popular music success, even though she idolised him in most areas, and she turned to another figure, who would soon become both her husband and manager. Ted White. Her sister Erma, who was at that time touring with Lloyd Price, had introduced them, but in fact Aretha had first seen White years earlier, in her own house -- he had been Dinah Washington's boyfriend in the fifties, and her first sight of him had been carrying a drunk Washington out of the house after a party. In interviews with David Ritz, who wrote biographies of many major soul stars including both Aretha Franklin and Etta James, James had a lot to say about White, saying “Ted White was famous even before he got with Aretha. My boyfriend at the time, Harvey Fuqua, used to talk about him. Ted was supposed to be the slickest pimp in Detroit. When I learned that Aretha married him, I wasn't surprised. A lot of the big-time singers who we idolized as girls—like Billie Holiday and Sarah Vaughan—had pimps for boyfriends and managers. That was standard operating procedure. My own mother had made a living turning tricks. When we were getting started, that way of life was part of the music business. It was in our genes. Part of the lure of pimps was that they got us paid." She compared White to Ike Turner, saying "Ike made Tina, no doubt about it. He developed her talent. He showed her what it meant to be a performer. He got her famous. Of course, Ted White was not a performer, but he was savvy about the world. When Harvey Fuqua introduced me to him—this was the fifties, before he was with Aretha—I saw him as a super-hip extra-smooth cat. I liked him. He knew music. He knew songwriters who were writing hit songs. He had manners. Later, when I ran into him and Aretha—this was the sixties—I saw that she wasn't as shy as she used to be." White was a pimp, but he was also someone with music business experience -- he owned an unsuccessful publishing company, and also ran a chain of jukeboxes. He was also thirty, while Aretha was only eighteen. But White didn't like the people in Aretha's life at the time -- he didn't get on well with her father, and he also clashed with John Hammond. And Aretha was also annoyed at Hammond, because her sister Erma had signed to Epic, a Columbia subsidiary, and was releasing her own singles: [Excerpt: Erma Franklin, "Hello Again"] Aretha was certain that Hammond had signed Erma, even though Hammond had nothing to do with Epic Records, and Erma had actually been recommended by Lloyd Price. And Aretha, while for much of her career she would support her sister, was also terrified that her sister might have a big hit before her and leave Aretha in her shadow. Hammond was still the credited producer on Aretha's second album, The Electrifying Aretha Franklin, but his lack of say in the sessions can be shown in the choice of lead-off single. "Rock-a-Bye Your Baby With a Dixie Melody" was originally recorded by Al Jolson in 1918: [Excerpt: Al Jolson, "Rock-a-Bye Your Baby With a Dixie Melody"] Rev. Franklin pushed for the song, as he was a fan of Jolson -- Jolson, oddly, had a large Black fanbase, despite his having been a blackface performer, because he had *also* been a strong advocate of Black musicians like Cab Calloway, and the level of racism in the media of the twenties through forties was so astonishingly high that even a blackface performer could seem comparatively OK. Aretha's performance was good, but it was hardly the kind of thing that audiences were clamouring for in 1961: [Excerpt: Aretha Franklin, "Rock-a-Bye Your Baby With a Dixie Melody"] That single came out the month after _Down Beat_ magazine gave Aretha the "new-star female vocalist award", and it oddly made the pop top forty, her first record to do so, and the B-side made the R&B top ten, but for the next few years both chart success and critical acclaim eluded her. None of her next nine singles would make higher than number eighty-six on the Hot One Hundred, and none would make the R&B charts at all. After that transitional second album, she was paired with producer Bob Mersey, who was precisely the kind of white pop producer that one would expect for someone who hoped for crossover success. Mersey was the producer for many of Columbia's biggest stars at the time -- people like Barbra Streisand, Andy Williams, Julie Andrews, Patti Page, and Mel Tormé -- and it was that kind of audience that Aretha wanted to go for at this point. To give an example of the kind of thing that Mersey was doing, just the month before he started work on his first collaboration with Aretha, _The Tender, the Moving, the Swinging Aretha Franklin_, his production of Andy Williams singing "Moon River" was released: [Excerpt: Andy Williams, "Moon River"] This was the kind of audience Aretha was going for when it came to record sales – the person she compared herself to most frequently at this point was Barbra Streisand – though in live performances she was playing with a small jazz group in jazz venues, and going for the same kind of jazz-soul crossover audience as Dinah Washington or Ray Charles. The strategy seems to have been to get something like the success of her idol Sam Cooke, who could play to soul audiences but also play the Copacabana, but the problem was that Cooke had built an audience before doing that -- she hadn't. But even though she hadn't built up an audience, musicians were starting to pay attention. Ted White, who was still in touch with Dinah Washington, later said “Women are very catty. They'll see a girl who's dressed very well and they'll say, Yeah, but look at those shoes, or look at that hairdo. Aretha was the only singer I've ever known that Dinah had no negative comments about. She just stood with her mouth open when she heard Aretha sing.” The great jazz vocalist Carmen McRea went to see Aretha at the Village Vanguard in New York around this time, having heard the comparisons to Dinah Washington, and met her afterwards. She later said "Given how emotionally she sang, I expected her to have a supercharged emotional personality like Dinah. Instead, she was the shyest thing I've ever met. Would hardly look me in the eye. Didn't say more than two words. I mean, this bitch gave bashful a new meaning. Anyway, I didn't give her any advice because she didn't ask for any, but I knew goddamn well that, no matter how good she was—and she was absolutely wonderful—she'd have to make up her mind whether she wanted to be Della Reese, Dinah Washington, or Sarah Vaughan. I also had a feeling she wouldn't have minded being Leslie Uggams or Diahann Carroll. I remember thinking that if she didn't figure out who she was—and quick—she was gonna get lost in the weeds of the music biz." So musicians were listening to Aretha, even if everyone else wasn't. The Tender, the Moving, the Swinging Aretha Franklin, for example, was full of old standards like "Try a Little Tenderness": [Excerpt: Aretha Franklin, "Try a Little Tenderness"] That performance inspired Otis Redding to cut his own version of that song a few years later: [Excerpt: Otis Redding, "Try a Little Tenderness"] And it might also have inspired Aretha's friend and idol Sam Cooke to include the song in his own lounge sets. The Tender, the Moving, the Swinging Aretha Franklin also included Aretha's first original composition, but in general it wasn't a very well-received album. In 1963, the first cracks started to develop in Aretha's relationship with Ted White. According to her siblings, part of the strain was because Aretha's increasing commitment to the civil rights movement was costing her professional opportunities. Her brother Cecil later said "Ted White had complete sway over her when it came to what engagements to accept and what songs to sing. But if Daddy called and said, ‘Ree, I want you to sing for Dr. King,' she'd drop everything and do just that. I don't think Ted had objections to her support of Dr. King's cause, and he realized it would raise her visibility. But I do remember the time that there was a conflict between a big club gig and doing a benefit for Dr. King. Ted said, ‘Take the club gig. We need the money.' But Ree said, ‘Dr. King needs me more.' She defied her husband. Maybe that was the start of their marital trouble. Their thing was always troubled because it was based on each of them using the other. Whatever the case, my sister proved to be a strong soldier in the civil rights fight. That made me proud of her and it kept her relationship with Daddy from collapsing entirely." In part her increasing activism was because of her father's own increase in activity. The benefit that Cecil is talking about there is probably one in Chicago organised by Mahalia Jackson, where Aretha headlined on a bill that also included Jackson, Eartha Kitt, and the comedian Dick Gregory. That was less than a month before her father organised the Detroit Walk to Freedom, a trial run for the more famous March on Washington a few weeks later. The Detroit Walk to Freedom was run by the Detroit Council for Human Rights, which was formed by Rev. Franklin and Rev. Albert Cleage, a much more radical Black nationalist who often differed with Franklin's more moderate integrationist stance. They both worked together to organise the Walk to Freedom, but Franklin's stance predominated, as several white liberal politicians, like the Mayor of Detroit, Jerome Cavanagh, were included in the largely-Black March. It drew crowds of 125,000 people, and Dr. King called it "one of the most wonderful things that has happened in America", and it was the largest civil rights demonstration in American history up to that point. King's speech in Detroit was recorded and released on Motown Records: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech”] He later returned to the same ideas in his more famous speech in Washington. During that civil rights spring and summer of 1963, Aretha also recorded what many think of as the best of her Columbia albums, a collection of jazz standards  called Laughing on the Outside, which included songs like "Solitude", "Ol' Man River" and "I Wanna Be Around": [Excerpt: Aretha Franklin, "I Wanna Be Around"] The opening track, "Skylark", was Etta James' favourite ever Aretha Franklin performance, and is regarded by many as the definitive take on the song: [Excerpt: Aretha Franklin, "Skylark"] Etta James later talked about discussing the track with the great jazz singer Sarah Vaughan, one of Aretha's early influences, who had recorded her own version of the song: "Sarah said, ‘Have you heard of this Aretha Franklin girl?' I said, ‘You heard her do “Skylark,” didn't you?' Sarah said, ‘Yes, I did, and I'm never singing that song again.” But while the album got noticed by other musicians, it didn't get much attention from the wider public. Mersey decided that a change in direction was needed, and they needed to get in someone with more of a jazz background to work with Aretha. He brought in pianist and arranger Bobby Scott, who had previously worked with people like Lester Young, and Scott said of their first meeting “My first memory of Aretha is that she wouldn't look at me when I spoke. She withdrew from the encounter in a way that intrigued me. At first I thought she was just shy—and she was—but I also felt her reading me...For all her deference to my experience and her reluctance to speak up, when she did look me in the eye, she did so with a quiet intensity before saying, ‘I like all your ideas, Mr. Scott, but please remember I do want hits.'” They started recording together, but the sides they cut wouldn't be released for a few years. Instead, Aretha and Mersey went in yet another direction. Dinah Washington died suddenly in December 1963, and given that Aretha was already being compared to Washington by almost everyone, and that Washington had been a huge influence on her, as well as having been close to both her father and her husband/manager, it made sense to go into the studio and quickly cut a tribute album, with Aretha singing Washington's hits: [Excerpt: Aretha Franklin, "Cold Cold Heart"] Unfortunately, while Washington had been wildly popular, and one of the most important figures in jazz and R&B in the forties and fifties, her style was out of date. The tribute album, titled Unforgettable, came out in February 1964, the same month that Beatlemania hit the US. Dinah Washington was the past, and trying to position Aretha as "the new Dinah Washington" would doom her to obscurity. John Hammond later said "I remember thinking that if Aretha never does another album she will be remembered for this one. No, the problem was timing. Dinah had died, and, outside the black community, interest in her had waned dramatically. Popular music was in a radical and revolutionary moment, and that moment had nothing to do with Dinah Washington, great as she was and will always be.” At this point, Columbia brought in Clyde Otis, an independent producer and songwriter who had worked with artists like Washington and Sarah Vaughan, and indeed had written one of the songs on Unforgettable, but had also worked with people like Brook Benton, who had a much more R&B audience. For example, he'd written "Baby, You Got What It Takes" for Benton and Washington to do as a duet: [Excerpt: Brook Benton and Dinah Washington, "Baby, You Got What it Takes"] In 1962, when he was working at Mercury Records before going independent, Otis had produced thirty-three of the fifty-one singles the label put out that year that had charted. Columbia had decided that they were going to position Aretha firmly in the R&B market, and assigned Otis to do just that. At first, though, Otis had no more luck with getting Aretha to sing R&B than anyone else had. He later said "Aretha, though, couldn't be deterred from her determination to beat Barbra Streisand at Barbra's own game. I kept saying, ‘Ree, you can outsing Streisand any day of the week. That's not the point. The point is to find a hit.' But that summer she just wanted straight-up ballads. She insisted that she do ‘People,' Streisand's smash. Aretha sang the hell out of it, but no one's gonna beat Barbra at her own game." But after several months of this, eventually Aretha and White came round to the idea of making an R&B record. Otis produced an album of contemporary R&B, with covers of music from the more sophisticated end of the soul market, songs like "My Guy", "Every Little Bit Hurts", and "Walk on By", along with a few new originals brought in by Otis. The title track, "Runnin' Out of Fools", became her biggest hit in three years, making number fifty-seven on the pop charts and number thirty on the R&B charts: [Excerpt: Aretha Franklin, "Runnin' Out of Fools"] After that album, they recorded another album with Otis producing, a live-in-the-studio jazz album, but again nobody involved could agree on a style for her. By this time it was obvious that she was unhappy with Columbia and would be leaving the label soon, and they wanted to get as much material in the can as they could, so they could continue releasing material after she left. But her working relationship with Otis was deteriorating -- Otis and Ted White did not get on, Aretha and White were having their own problems, and Aretha had started just not showing up for some sessions, with nobody knowing where she was. Columbia passed her on to yet another producer, this time Bob Johnston, who had just had a hit with Patti Page, "Hush, Hush, Sweet Charlotte": [Excerpt: Patti Page, "Hush, Hush, Sweet Charlotte"] Johnston was just about to hit an incredible hot streak as a producer. At the same time as his sessions with Aretha, he was also producing Bob Dylan's Highway 61 Revisited, and just after the sessions finished he'd go on to produce Simon & Garfunkel's Sounds of Silence album. In the next few years he would produce a run of classic Dylan albums like Blonde on Blonde, John Wesley Harding, and New Morning, Simon & Garfunkel's follow up Parsley, Sage, Rosemary & Thyme, Leonard Cohen's first three albums, and Johnny Cash's comeback with the Live at Folsom Prison album and its follow up At San Quentin. He also produced records for Marty Robbins, Flatt & Scruggs, the Byrds, and Burl Ives during that time period. But you may notice that while that's as great a run of records as any producer was putting out at the time, it has little to do with the kind of music that Aretha Franklin was making then, or would become famous with. Johnston produced a string-heavy session in which Aretha once again tried to sing old standards by people like Oscar Hammerstein and Jerome Kern. She then just didn't turn up for some more sessions, until one final session in August, when she recorded songs like "Swanee" and "You Made Me Love You". For more than a year, she didn't go into a studio. She also missed many gigs and disappeared from her family's life for periods of time. Columbia kept putting out records of things she'd already recorded, but none of them had any success at all. Many of the records she'd made for Columbia had been genuinely great -- there's a popular perception that she was being held back by a record company that forced her to sing material she didn't like, but in fact she *loved* old standards, and jazz tunes, and contemporary pop at least as much as any other kind of music. Truly great musicians tend to have extremely eclectic tastes, and Aretha Franklin was a truly great musician if anyone was. Her Columbia albums are as good as any albums in those genres put out in that time period, and she remained proud of them for the rest of her life. But that very eclecticism had meant that she hadn't established a strong identity as a performer -- everyone who heard her records knew she was a great singer, but nobody knew what "an Aretha Franklin record" really meant -- and she hadn't had a single real hit, which was the thing she wanted more than anything. All that changed when in the early hours of the morning, Jerry Wexler was at FAME Studios in Muscle Shoals recording a Wilson Pickett track -- from the timeline, it was probably the session for "Mustang Sally", which coincidentally was published by Ted White's publishing company, as Sir Mack Rice, the writer, was a neighbour of White and Franklin, and to which Aretha had made an uncredited songwriting contribution: [Excerpt: Wilson Pickett, "Mustang Sally"] Whatever the session, it wasn't going well. Percy Sledge, another Atlantic artist who recorded at Muscle Shoals, had turned up and had started winding Pickett up, telling him he sounded just like James Brown. Pickett *hated* Brown -- it seems like almost every male soul singer of the sixties hated James Brown -- and went to physically attack Sledge. Wexler got between the two men to protect his investments in them -- both were the kind of men who could easily cause some serious damage to anyone they hit -- and Pickett threw him to one side and charged at Sledge. At that moment the phone went, and Wexler yelled at the two of them to calm down so he could talk on the phone. The call was telling him that Aretha Franklin was interested in recording for Atlantic. Rev. Louise Bishop, later a Democratic politician in Pennsylvania, was at this time a broadcaster, presenting a radio gospel programme, and she knew Aretha. She'd been to see her perform, and had been astonished by Aretha's performance of a recent Otis Redding single, "Respect": [Excerpt: Otis Redding, "Respect"] Redding will, by the way, be getting his own episode in a few months' time, which is why I've not covered the making of that record here. Bishop thought that Aretha did the song even better than Redding -- something Bishop hadn't thought possible. When she got talking to Aretha after the show, she discovered that her contract with Columbia was up, and Aretha didn't really know what she was going to do -- maybe she'd start her own label or something. She hadn't been into the studio in more than a year, but she did have some songs she'd been working on. Bishop was good friends with Jerry Wexler, and she knew that he was a big fan of Aretha's, and had been saying for a while that when her contract was up he'd like to sign her. Bishop offered to make the connection, and then went back home and phoned Wexler's wife, waking her up -- it was one in the morning by this point, but Bishop was accustomed to phoning Wexler late at night when it was something important. Wexler's wife then phoned him in Muscle Shoals, and he phoned Bishop back and made the arrangements to meet up. Initially, Wexler wasn't thinking about producing Aretha himself -- this was still the period when he and the Ertegun brothers were thinking of selling Atlantic and getting out of the music business, and so while he signed her to the label he was originally going to hand her over to Jim Stewart at Stax to record, as he had with Sam and Dave. But in a baffling turn of events, Jim Stewart didn't actually want to record her, and so Wexler determined that he had better do it himself. And he didn't want to do it with slick New York musicians -- he wanted to bring out the gospel sound in her voice, and he thought the best way to do that was with musicians from what Charles Hughes refers to as "the country-soul triangle" of Nashville, Memphis, and Muscle Shoals. So he booked a week's worth of sessions at FAME studios, and got in FAME's regular rhythm section, plus a couple of musicians from American Recordings in Memphis -- Chips Moman and Spooner Oldham. Oldham's friend and songwriting partner Dan Penn came along as well -- he wasn't officially part of the session, but he was a fan of Aretha's and wasn't going to miss this. Penn had been the first person that Rick Hall, the owner of FAME, had called when Wexler had booked the studio, because Hall hadn't actually heard of Aretha Franklin up to that point, but didn't want to let Wexler know that. Penn had assured him that Aretha was one of the all-time great talents, and that she just needed the right production to become massive. As Hall put it in his autobiography, "Dan tended in those days to hate anything he didn't write, so I figured if he felt that strongly about her, then she was probably going to be a big star." Charlie Chalmers, a horn player who regularly played with these musicians, was tasked with putting together a horn section. The first song they recorded that day was one that the musicians weren't that impressed with at first. "I Never Loved a Man (the Way I Love You)" was written by a songwriter named Ronnie Shannon, who had driven from Georgia to Detroit hoping to sell his songs to Motown. He'd popped into a barber's shop where Ted White was having his hair cut to ask for directions to Motown, and White had signed him to his own publishing company and got him to write songs for Aretha. On hearing the demo, the musicians thought that the song was mediocre and a bit shapeless: [Excerpt: Aretha Franklin "I Never Loved a Man (the Way I Love You) (demo)"] But everyone there was agreed that Aretha herself was spectacular. She didn't speak much to the musicians, just went to the piano and sat down and started playing, and Jerry Wexler later compared her playing to Thelonius Monk (who was indeed one of the jazz musicians who had influenced her). While Spooner Oldham had been booked to play piano, it was quickly decided to switch him to electric piano and organ, leaving the acoustic piano for Aretha to play, and she would play piano on all the sessions Wexler produced for her in future. Although while Wexler is the credited producer (and on this initial session Rick Hall at FAME is a credited co-producer), everyone involved, including Wexler, said that the musicians were taking their cues from Aretha rather than anyone else. She would outline the arrangements at the piano, and everyone else would fit in with what she was doing, coming up with head arrangements directed by her. But Wexler played a vital role in mediating between her and the musicians and engineering staff, all of whom he knew and she didn't. As Rick Hall said "After her brief introduction by Wexler, she said very little to me or anyone else in the studio other than Jerry or her husband for the rest of the day. I don't think Aretha and I ever made eye contact after our introduction, simply because we were both so totally focused on our music and consumed by what we were doing." The musicians started working on "I Never Loved a Man (the Way I Love You)", and at first found it difficult to get the groove, but then Oldham came up with an electric piano lick which everyone involved thought of as the key that unlocked the song for them: [Excerpt: Aretha Franklin, "I Never Loved a Man (the Way I Love You)"] After that, they took a break. Most of them were pleased with the track, though Rick Hall wasn't especially happy. But then Rick Hall wasn't especially happy about anything at that point. He'd always used mono for his recordings until then, but had been basically forced to install at least a two-track system by Tom Dowd, Atlantic's chief engineer, and was resentful of this imposition. During the break, Dan Penn went off to finish a song he and Spooner Oldham had been writing, which he hoped Aretha would record at the session: [Excerpt: Dan Penn and Spooner Oldham, "Do Right Woman, Do Right Man"] They had the basic structure of the song down, but hadn't quite finished the middle eight, and both Jerry Wexler and Aretha Franklin chipped in uncredited lyrical contributions -- Aretha's line was "as long as we're together baby, you'd better show some respect to me". Penn, Oldham, Chips Moman, Roger Hawkins, and Tommy Cogbill started cutting a backing track for the song, with Penn singing lead initially with the idea that Aretha would overdub her vocal. But while they were doing this, things had been going wrong with the other participants. All the FAME and American rhythm section players were white, as were Wexler, Hall, and Dowd, and Wexler had been very aware of this, and of the fact that they were recording in Alabama, where Aretha and her husband might not feel totally safe, so he'd specifically requested that the horn section at least contain some Black musicians. But Charlie Chalmers hadn't been able to get any of the Black musicians he would normally call when putting together a horn section, and had ended up with an all-white horn section as well, including one player, a trumpet player called Ken Laxton, who had a reputation as a good player but had never worked with any of the other musicians there -- he was an outsider in a group of people who regularly worked together and had a pre-existing relationship. As the two outsiders, Laxton and Ted White had, at first, bonded, and indeed had started drinking vodka together, passing a bottle between themselves, in a way that Rick Hall would normally not allow in a session -- at the time, the county the studio was in was still a dry county. But as Wexler said, “A redneck patronizing a Black man is a dangerous camaraderie,” and White and Laxton soon had a major falling out. Everyone involved tells a different story about what it was that caused them to start rowing, though it seems to have been to do with Laxton not showing the proper respect for Aretha, or even actually sexually assaulting her -- Dan Penn later said “I always heard he patted her on the butt or somethin', and what would have been wrong with that anyway?”, which says an awful lot about the attitudes of these white Southern men who thought of themselves as very progressive, and were -- for white Southern men in early 1967. Either way, White got very, very annoyed, and insisted that Laxton get fired from the session, which he was, but that still didn't satisfy White, and he stormed off to the motel, drunk and angry. The rest of them finished cutting a basic track for "Do Right Woman", but nobody was very happy with it. Oldham said later “She liked the song but hadn't had time to practice it or settle into it I remember there was Roger playing the drums and Cogbill playing the bass. And I'm on these little simplistic chords on organ, just holding chords so the song would be understood. And that was sort of where it was left. Dan had to sing the vocal, because she didn't know the song, in the wrong key for him. That's what they left with—Dan singing the wrong-key vocal and this little simplistic organ and a bass and a drum. We had a whole week to do everything—we had plenty of time—so there was no hurry to do anything in particular.” Penn was less optimistic, saying "But as I rem

"Fear is a tool. When that light hits the sky, it's not just a call. It's a warning. For them." This week we're joined by our good friend and previous cohost Ted White for a spoiler-filled discussion on Matt Reeves' new film "The Batman"! If you enjoy our podcast, please leave us a rating & review on https://spoti.fi/2Z3TzQl (Spotify), https://apple.co/2ICrGsS (Apple Podcasts) or https://bit.ly/3dAhoqy (Stitcher)! https://www.patreon.com/join/geekgaragepodcast (Support us on Patreon)! Our patrons receive cool perks such as exclusive weekly updates, behind-the-scenes stuff from the podcast, and a cool button/sticker swag pack! Join our https://bit.ly/GeekGarageFBGroup (Facebook Group) to stay up-to-date with the podcast, as well as participate in fun and nerdy conversations and polls. Check out our Etsy shop, https://www.etsy.com/shop/GeekGarageGear (Geek Garage Gear)! We have tons of nerdy/geeky tumblers, stickers, t-shirts, and more!

Stevie Martin and Lawrence Davis are two very well-established makeup and hair designers, having traversed the worlds of film and television with equal success and yes, respect. Martin made her start in makeup designing when she started doing makeup for magazines before building her way to TV and film. She was one of the key makeup artists on projects such as The Hunger Games: Catching Fire, then returning for Mockingjay – Part 2, The Nice Guys and Sleepless, where she grew a reputation of her minimalist style and using no prosthetics. Davis comes from a very ranged background of work, having even won an Emmy for his work on Hairspray Live! He went on to being one of the key hairstylists for daytime and primetime TV shows and specials like the Grammys, the Academy Awards, American Idol. From this he went onto movies and became a key hairstylist for projects such as In Time, Flight and Dumb and Dumber To. Through all of this he started working frequently with Jennifer Hudson, which is how he landed the role of Hair Designer Head for Respect. We were curious how they both went about the daunting task of transforming Jennifer Hudson and Marlon Wayans into their respective roles as Aretha Franklin and Ted White, especially when the filmmakers asked for no prosthetics. Benji Bury had a sit-down discussion with them about how they climbed this high mountain. Respect is currently available to rent or buy wherever you stream movies.

 In this episode we sit down with Ted White a Hugo Award-winning American science fiction writer, editor and fan, as well as a music critic. https://en.wikipedia.org/wiki/Ted_White_(author)We listen to “Or The Grasses Grow” Originally published in The Magazine of Fantasy and Science Fiction, November 1958. For more information see www.avramdavidson.com 

“A recording that I captured in Stykkishólmur, a beautiful tiny fishing village. There was a storm brewing so after dinner I went out and hunkered down in the grass for […]

This week we are re-releasing one of our more popular episodes from last year, where David and previous co-host Ted White discussed a truly terrifying topic: The ocean! Originally, this week's episode had David and Zack celebrating the 20th anniversary of "Harry Potter and the Sorcerer's Stone", but we unfortunately ran into some technical issues while recording. HOWEVER, we do plan on re-recording said episode, and you all can expect it to drop next Wednesday (11/24)! If you enjoy our podcast, please leave us a rating & review on https://apple.co/2ICrGsS (Apple Podcasts) or https://bit.ly/3dAhoqy (Stitcher)! https://www.patreon.com/join/geekgaragepodcast (Support us on Patreon)! Our patrons receive cool perks such as exclusive weekly updates, behind-the-scenes stuff from the podcast, and a cool button/sticker swag pack! If you'd like to stay up-to-date with the podcast, and participate in fun and nerdy conversations/polls, we encourage you to join our Geek Garage Podcast Fans & Listeners https://bit.ly/GeekGarageFBGroup (Facebook Group)! Check out our Etsy shop, https://www.etsy.com/shop/GeekGarageGear (Geek Garage Gear)! We have tons of nerdy/geeky tumblers, stickers, t-shirts, and more! Support this podcast

It's officially spooky season! We're kicking off the month of October with the highly controversial topic of the best vs the worst horror sequels, with the help of Ted White and Mack Elder! If you enjoy our podcast, please leave us a rating & review on https://apple.co/2ICrGsS (Apple Podcasts) or https://bit.ly/3dAhoqy (Stitcher)! https://www.patreon.com/join/geekgaragepodcast (Support us on Patreon)! Our patrons receive cool perks such as exclusive weekly updates, behind-the-scenes stuff from the podcast, and a cool button/sticker swag pack! If you'd like to stay up-to-date with the podcast, and participate in fun and nerdy conversations/polls, we encourage you to join our Geek Garage Podcast Fans & Listeners https://bit.ly/GeekGarageFBGroup (Facebook Group)! Check out our Etsy shop, https://www.etsy.com/shop/GeekGarageGear (Geek Garage Gear)! We have tons of nerdy/geeky tumblers, stickers, t-shirts, and more! Support this podcast

Agent of chaos and my friend Ted White (Cooking With Ted) joins me this week to talk about the latest trends on TikTok. Yeah, Taylor Swift has arrived. Our queen is no longer taylurking and officially has a page of her own. Also, I went viral with a Jonas Brothers video. And is pumpkin spice back already? We answer this & discuss even more! Plus, if anyone has any Starbucks drink suggestions send them my way! Let me know @ladytomhanks. — SHOW INFORMATIONInstagram: Instagram Twitter: Twitter Subscribe: Apple Podcasts Follow: Spotify

Rank ank ank ank Ahh ah ah ah Rank ank ank ank Ah ah ah ah. Grab you lucky rabbit's foot, your four leaf clover, avoid black cats, and definitely do not go up to the lake! The only Friday the 13th of the year and the only proper way to celebrate it is by doing an all Friday the 13th show. We are ranking everything from the Friday the 13th series. Starting with best actors portraying Jason, most satisfying kills, non machete weapons, all 12 movies, and the top 30 kills in the franchise. Get you enchiladas heated up, don't burn the popcorn and listen to your mother talking its time for Friday the 13th. 

Oh boy, I'm joined this week by my friends Nadia Garbosky (@nadiashmadia) & Ted White (@teddyrare) to discuss the movie Rx (2005) starring Colin Hanks. Oof, this is a rough one. Kind of like smuggling drugs and having to poop. But, I have fun talking with Nadia and Ted about one chicken taco and Mexican sunsets. We also find out if we would make it across the border. Plus, we got a very good question for our "Call-in Colin" segment from a longtime listener! If you'd like to be a part of the next one, call ‪(805) 622-9667‬ & Hanks for listening! Theme Music by Zach Olsen (@realzacholsen) Artwork by Matt Czap (@mattczap) — SHOW INFORMATIONInstagram: Instagram Twitter: Twitter Subscribe: Apple Podcasts Subscribe: Spotify

“I wanted to share with you a recent recording I captured whilst on location searching for interesting Ocean Cave and Rock Pool sounds in Wales. I thought this recording in particular […]

John thinks that arguments should be more nuanced, Alison disagrees in every conceivable way, and Liz summarises. Please email your letters of comment to octothorpecast@gmail.com and use #OctothorpeCast or tag @OctothorpeCast when you post about the show on social media. A graph of Hugo finalists with more than four names: Letters of comment: Ang Rosin Claire Brialey Mark Plummer Chris Garcia Upcoming events: FANAC are hosting an Interview of Ted White by John D. Berry 23 January 2021, 4pm (Eastern Standard Time) Critical Mass are hosting a single-day mini convention! 31 January 2021, Noon to 8pm (Adelaide time) John will be appearing on a panel about podcasting at 7:30pm (Adelaide time, 9am UTC) Capricon: 4–7 February 2021 Boskone: 12–14 February 2021 All of Fandom is Plunged Into War DisCon III posted a Tweet about the numbers of people allowed to be Hugo finalists Chris Garcia discusses the effect on JP in previous years Colette H. Fozard posted a statement on File 770 about her resignation from DisCon III Jared Dashoff statement on his resignation Are the Hugos a massive cankerous boil on the Worldcon that just needs to be completely purged? Steve Cooper posts to JOF on how much the Hugos cost a Worldcon and some of the considerations therein Our theme music is Fanfare for Space by Kevin MacLeod, used under a CC BY 3.0 license. Dun Dun Dun Brass is by Orange Free Sounds, used under a CC BY NC 4.0 license.

Episode 241: The Crew's taking another road trip; this time with an alien, while watching John Carpenter's Starman. After the box office disappointment of The Thing and a lukewarm reception to Christine, Carpenter switched things up. Directing his first PG rated romantic drama. And the results are pretty incredible; making it a shame Carpenter didn't leave the horror genre more. Jeff Bridges and Karen Allen also give some great performances. The Crew discusses. If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: themoviecrewe@gmail.com

On this episode, host Nathan Barker and The Joe Gallow give some shout out's, talk about Ted White's office, the deepness of the Ukraine, and give the Best Friday the 13th Fan Film of 2020 Award. You can find more information on Facebook, Instagram, and Twitter @campbloodradio.

Ato Quarto (Final): Aretha Franklin “Spirit in the Dark”Quarta e derradeira homenagem que “pletóricos” rendemos às quatro grandes “Divas Clássicas” do Jazz, Soul e da música popular americana. O grotesco enredo se dispunha: o ativismo, a religião, o delírio gospel e um piano, traições fraternais, uma trupe e descaminhos, a condescendência do acaso e um rebento em braços aos 12 anos. “Spirit in the Dark”, talvez seu álbum mais pessoal, é um clamor a liberdade, um ambíguo exercício de obstinada resiliência e otimismo claudicante, porém triunfante, ante a onipresente dor. Em companhia da Aretha Franklin assim nos despedimos do Jazzvaneio N4, estamos em 1970...Album: Aretha Franklin “Spirit in the Dark” 1970 - Atlanticwww.arethafranklin.netAto gravado no dia 07 de Novembro de 2020Outras Referências Artísticas e “culturais” (por ordem de menção): Clarence LeVaughn Franklin (Reverendo e ativista americano), Martin Luther King (Pastor e Ativista Civil norte-americano), Dinah Washington (Músico), Sam Cooke (Músico), I Never Loved a Man (The way I love you) (Música de Aretha Franklin), Muscle Shoals Rhythm Section (Agrupação Musical de Estúdio), Baby I Love You (Música de Aretha Franklin), I say a Little Prayer (Música gravida por Aretha Franklin composta por Burt Bacharach y Hal David), (Sweet Sweet Baby) Since you´be been gone (Música de Aretha Franklin), You Make me Feel Like a Natural Woman (Música de ArethaFranklin composta por Carole King e Gerry Goffin), Respect (Música de Aretha Franklin composta por Otis Redding), (Música dos Eurythmics e Aretha Franklin composta por Annie Lennox y Dave Stewart), Angela Davis (Ativista norte-americana), Feeding America (ONG norte-americana), Barbara Davis Center for Childhood Diabetes (Centro assistencial e de pesquisa sobre o Diabetes), Elton John AIDS Foundation (EJAF – ONG dedicada a pesquisa sobre a AIDS), Mahalia Jackson (Música), Amazing Grace (Álbum da Aretha Franklin), New Temple Missionary Baptist Church (Templo religioso nos Estados Unidos), Quincy Jones (Músico e produtor musical), Curtis Mayfield (Músico e produtor musical), The Blue Brothers (filme dirigido por John Landis lançado em 1980), Jump To It (Álbum da Aretha Franklin), Who´s Zooming Who (Álbum da Aretha Franklin), The Eurythmics (Banda de Rock & Pop), George Michael (Músico), Jimmy Carter (Ex-presidente dos Estados Unidos), Bill Clinton (Ex-presidente dos Estados Unidos), Barack Obama (Ex-presidente dos Estados Unidos), Pulitzer (Premiaçao pelo reconhecimento ao mérito no jornalismo, literatura e música), Lady Soul (Álbum da Aretha Franklin), Aretha Now (Álbum da Aretha Franklin), Ray Charles (Músico), Live at Fillmore West (Álbum do Ray Charles e Aretha Franklin), The Dixie Flyers (Agrupação Musical de Estúdio), Ted White (esposo e empresário da Aretha Franklin), Road Movie (Gênero cinematográfico cujos argumentos se desenvolvem ao longo das viagens), Stevie Wonder (Músico), Songs in the Keys of Life (Álbum do Stevie Wonder) e BB King (Músico).Contato: info@jazzvaneio.com

“I hunkered down in our local harbour in the early hours of the morning. The constant battering of the wind on the sails and masts made some really interesting sounds.” […]

The end of 2020 calls for a change of pace in creative endeavors. Jeanne talks to Jennifer Waters who has embraced painting as a creative outlet later in life. Then, Nathan talks Frank Zappa on Cross Country Checkup, then Nash the Slash. It's a little-known fact that Nash took photos of some of the biggest names in Rock history at a toronto Venue called 'The Rock Pile', & the internet archive saved 'em for you! Nash's appearance with Iggy Pop on Calgary's 'FM Moving Pictures' is showcased, as well as an excellent profile by Ted White in a 1980 Heavy Metal Magazine. Zappa on Cross Country Checkup: https://www.cbc.ca/radio/rewind/frank-zappa-1.2801298 Snapshot of nashtheslash.com when the rock photos were still up: https://web.archive.org/web/20061203034433/http://www.nashtheslash.com/ Iggy Pop has thoughts on campus radio & his visit to the station: https://www.youtube.com/watch?v=Q5UB3UTpB6Q Nash featured in Heavy Metal Magazine: https://fredshmfanblog.blogspot.com/2018/09/nash-slash.html

The end of 2020 calls for a change of pace in creative endeavors. Jeanne talks to Jennifer Waters who has embraced painting as a creative outlet later in life. Then, Nathan talks Frank Zappa on Cross Country Checkup, then Nash the Slash. It's a little-known fact that Nash took photos of some of the biggest names in Rock history at a toronto Venue called 'The Rock Pile', & the internet archive saved 'em for you! Nash's appearance with Iggy Pop on Calgary's 'FM Moving Pictures' is showcased, as well as an excellent profile by Ted White in a 1980 Heavy Metal Magazine. Zappa on Cross Country Checkup: https://www.cbc.ca/radio/rewind/frank-zappa-1.2801298 Snapshot of nashtheslash.com when the rock photos were still up: https://web.archive.org/web/20061203034433/http://www.nashtheslash.com/ Iggy Pop has thoughts on campus radio & his visit to the station: https://www.youtube.com/watch?v=Q5UB3UTpB6Q Nash featured in Heavy Metal Magazine: https://fredshmfanblog.blogspot.com/2018/09/nash-slash.html

Dr. Ted White, researcher and Dean of the School of Biological and Chemical Sciences at UMKC, takes us through his journey of becoming a scientist. Collaboration and innovation are significant attractions to the field. There is so much great advice that I can't wait for you to hear! Download to hear the full episode! 

It's Friday the 13th and there's no better time to cover what might be the greatest film in the franchise, Part 4: The Final Chapter. The guest is the biggest Friday the 13th fan I know Matt Westhead. He and his wife Angie had a Friday the 13th themed wedding! We cover everything that went into bringing this chapter to life and talk about our favorite and least favorite moments in the film. Hear what two famous TV critics thought of the film at the time(disliked is an understatement)and why Ted White is a badass. 

Happy Friday the 13th everyone! On this weeks episode of Slasher Street Podcast I am ranking every portrayal of the main man himself, Jason Voorhees from my least favorite all the way to my number one! From Warrington Gillette to Derek Mears, Ted White to Kane Hodder, they're all in here, but who will make my number one spot? Slasher Street is Hosted by Ryan Devlin! Check out our Facebook page at Facebook.com/SlasherStreetPodcast Intro music by The Dissident Youth, check them out at - https://www.facebook.com/TheDissidentYouth Outro Music by The Meltdownz, check them out at - https://www.facebook.com/TheMeltdownz Thank you for listening and I hope you enjoy the show!

Featuring Ted White the Deputy Athletic Director for The University of Virginia   (Recorded 10/7/20)

Joe Chris and....Mark? Talk... Friday the 13th: The Final Chapter  a 1984 American slasher film directed by Joseph Zito, produced by Frank Mancuso Jr., and starring Kimberly Beck, Corey Feldman, Crispin Glover, and Ted White as Jason Voorhees. It is the fourth installment in the Friday the 13th film series. Picking up immediately after the events of Part III, the story follows a presumed-dead Jason Voorhees brought to the morgue, where he spontaneously revives and escapes, returning to Crystal Lake to continue his killing spree.

Hey Cellar Dwellers, and happy fuckin Friday the 13th! Back in September we did a Friday the 13th special and you guys seemed to dig it, so here we are again, but this time we've got something a little extra special for you in that we're collabing with another show, the awesome dudes over at Horror Movie Club, to bring you two installments in this seminal series, go check out their show for coverage of Part III and listen to this episode for our take on The Final Chapter (not the Final Countdown, although you're welcome for getting that song stuck in your head). In this overview we discuss the profoundly well thought out plot, excellent acting, subtle sexuality and convincing gore of what was at the time billed at Jason's last run (spoiler, it wasn't). Other fun topics include Corey Feldman's relationship with Ted White (who plays Jason), Joseph Zito (the director), and Michael Jackson (the pop singing pedophile), and Crispin Glover's antics both in the film (those dance moves) and in real life (those Letterman appearances). Have fun, maybe keep your pants on today, and stay away from the windows!

East Coast Radio — Filming on the Aretha Franklin biopic is underway and Jeniffer Hudson is playing the queen of soul. Jennifer Hudson arrived at Radio City Music Hall while filming a scene for the upcoming Aretha Franklin biopic Respect on Friday night (November 8) in New York City. The 38-year-old entertainer looked so chic in a tan fur coat over a sparkling gold dress while filming with co-star Marlon Wayans, who plays Aretha‘s first husband Ted White. Franklin and White, who was also her manager, got married in 1961 when she was only 19 years old. They separated after seven years of marriage and there were reports of domestic abuse during their time together. Earlier this week, Jennifer was spotted filming with Hailey Kilgore and Saycon Sengbloh, who play Aretha‘s sisters in the film. Respect will be released on August 14, 2020.

On this episode, Dan Hughley and Ted White are joined by Bruce Somers, owner of Undercurrent Studios and SIR Inc., a managed service provider. We'll discuss analog vs. digital, being both an IT and audio professional, we'll use fax machines as a metaphor for technology, and a whole lot more.

On this special bonus episode of the show we’re recording live from Sony Pictures during the Mix Sound for Film and TV event. On the show today, Ted White and Rich Nevens talk to Ron Romano, Technology Specialist at Belmont University in Nashville. They’ll discuss bridging the gap between networking and pro audio, switching your studio between 5.1 and stereo between sessions, the new virtual patch bay and a whole lot more.

"Goes to the Movies" cohost Ted White joins David to discuss Todd Phillips' new film Joker, starring Joaquin Phoenix. Ted also does a mini deep-dive into a few iterations of the Joker, his appearances in the comics and in film, and the different portrayals by actors over the years. Please subscribe to our podcast, and Like/Follow us on social media! Facebook: http://bit.ly/2V6zCclTwitter: http://bit.ly/2IDip3tInstagram: http://bit.ly/2vaVvc6YouTube: http://bit.ly/GeekGarageTube

On this episode, Ted White and Dan Hughley of Focusrite Pro are joined by Michael Gitig of G-Technology. They discuss the lifespan of hard drives, storage solutions for all types of creatives including photography, post production, game & motion graphics, and a whole lot more.

On this episode, host Nathan Barker and co-host's Ben DeAtley and Kent Mullins discuss the question: Brooker or White? They discuss the respective performances of the late Richard Brooker as “Jason” in Friday the 13th Part 3 compared to the great Ted White as “Jason” in Part 4.  Since these are the two closest portrayals of Jason

On this episode of the Focusrite Pro Podcast Dan Hughley, Ted White, Matt Pliskin, and Kurt Howell sit down at the 2019 NAB Show in Las Vegas to discuss Focusrite Pro, Audio over IP, the future of professional audio and a whole lot more.

In case you missed it, we're starting a new "chapter" of the podcast called "Geek Garage Goes To The Movies", where my new cohost, Ted White, and I will be chatting about all kinds of movies (not just the "geeky" ones!).  For our first episode, we discussed John Wick and John Wick: Chapter 2, in preparation for John Wick: Chapter 3 - Parabellum (damn, that's a lot of John Wicks). Let us know what you think by leaving us a rating/review, or hit us up on Twitter and Facebook. We'd love to hear your feedback, as well as some movie suggestions that we could cover in the future! Lastly, we'd like to give a few shout-outs. Go check out The Freakin' Geekin' Podcast @TheFreakinCast. They're a new podcast on the scene, with a very similar topic-base as the Geek Garage. Dakota and Seth are amazing dudes, who are a lot of fun to listen to, so give them a follow and a listen. Also, a big thanks goes out to Josh Evans for providing the new intro/outro music!

Our free-flowing discussing of Avengers: Endgame, featuring guests Lindsay Dassau, Jeremiah Graham, Ted White, and Geoff Breedwell. Please take a moment to subscribe to the podcast via Apple, Android, Spotify, or YouTube, and leave us a rating/review. Thank you listeners!

For this episode, we're taking a quick break from our #RoadToMTAC2019 series to discuss Netflix's sci-fi animated anthology series "Love, Death + Robots". Ted White joins the podcast once again to take a deep-dive into the first season of the series, and go through it episode by episode to discuss things like varying animation styles, concepts/theories, and of course all of the gritty-ness that the show has to offer. Don't forget to follow Ted on Twitter and Instagram @tedisonfire, Like the Geek Garage Podcast on Facebook and follow us on Twitter as well @GeekGaragePod.

Binge on Brisket Benedict‎ with Michael J. Walsh as we discuss what it is about the annual World Fantasy Conventions that drew him to attend all 44 of them, how a generous teacher's gift of an Ace Double led to his first exposure to true science fiction, the big score which induced him to become a book dealer, the way Ted White was able to do so much with so little when he edited Amazing Stories in the '70s, what witnessing Anne McCaffrey and Isaac Asimov singing Gilbert and Sullivan tunes made him realize about writers, what his time in fandom taught him which made him realize he could make it as a publisher, the time he was left speechless by Robert Heinlein offering him a drink, why it would have been wrong for a certain book he published to have won a Hugo, what con-goers most misunderstand about con runners, and much more.

Ted White (episode #24) joins us again to throw The Matrix a birthday party! That's right, Neo and gang turns 20 years old in March, so we wanted to celebrate by discussing the cultural significance that the film had. We also talked about aspects of The Matrix that do or don't hold up over time, and if the philosophy behind it was groundbreaking, or more surface level. Don't forget to follow Ted on Twitter @tedisonfire and the podcast itself @GeekGaragePod. We will see you all soon for our #RoadToMTAC2019 series, with part 1 "Dungeons & Dragons"!

Fellow film nerd and close friend Ted White joins me for an in-depth discussion of Dan Gilroy's latest effort "Velvet Buzzsaw", now available to stream on Netflix. We also take some time for a retrospective on his 2014 directorial debut "Nightcrawler".  Make sure to follow Ted on Twitter @tedisonfire, as well as the podcast itself @GeekGaragePod! Feel free to follow us on Instagram and Facebook as well. 

Scotty is interviewing Ted White, who played Jason Voorhees in Friday the 13th Part 4: The Final Chapter. Ted discusses with Scotty his days as a stuntman for big named Hollywood actors, his role as Jason, how he stayed away from Kimberly, his experience with Corey Feldman, why he almost quit the role of Jason, and his favorite death scene he did as Jason. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/slasherscotty/support

Scotty is interviewing Ted White, who played Jason Voorhees in Friday the 13th Part 4: The Final Chapter. Ted discusses with Scotty his days as a stuntman for big named Hollywood actors, his role as Jason, how he stayed away from Kimberly, his experience with Corey Feldman, why he almost quit the role of Jason, and his favorite death scene he did as Jason.

The ghosts of the abandoned video store have chosen Friday the 13th Part IV: The Final Chapter as their last challenge to our intrepid hosts! Join the gang as they delve into this highpoint in the Friday the 13th series as they discuss the tension between young star Corey Feldman and veteran stunt man Ted White! Also will a young Crispin Glover achieve his weekend goal of canoodling with a woman of similar age? Tune in to find out on Death By Video!!!

Can the election be rigged?

HILLARY CLINTON'S HEALTH

Ted Talks Trump's Wild Weekend & Debate #2 Recap

In this Pulp Event Podcast, PulpFest 2016 Guest of Honor Ted White, science-fiction author and editor of 'Amazing Stories' from 1968 through 1978, discusses his career in writing and editing.

Among many fans, Ted White polls as the best actor to have ever donned the mask. Building on the performances of Dash and Brooker before him, he set the bar higher in terms of how the character should be played. On this, our Friday the 13th special, we talk to Mr. White about his long career

Fuente: Blog de Luis Bermejo - Luis Bermejo - Consultor Internet Muchas gracias a todos por las puntuaciones con 5* en iTunes que nos animan a seguir. Hoy es jueves y toca política, pero esta vez va relacionado con temas de Movilidad Sostenible que para muchos Ayuntamientos como el de Málaga se trata de hacerse la foto en un “carril bici” que mas adelante no va a llevar a ninguna parte cortándose repentinamente, lleno de obstáculos, curvas y estorbados por paradas de autobús, terrazas de cafeterías, mobiliario urbano, etc. Debido a esto y otras razones de peso, en Málaga, un grupo de ciclistas urbanos decidió montar un evento al que llamaron Bicicrítica inspirado en el “Critical Mass” ó “Masa crítica” La primera Masa Crítica tuvo lugar el 25 de septiembre de 1992 en San Francisco (EE UU), aunque no se llamó así. Un grupo de no más de 50 ciclistas dio un paseo que terminó en una tienda de bicicletas con la proyección del documental “The Return of the Scorcher”, de Ted White, sobre el ciclismo en distintas ciudades del mundo. En la cinta, el diseñador George Bliss explica que en China no hay semáforos ni reglas claras en los cruces: los ciclistas, simplemente, se amontonan hasta que forman una “masa crítica” que gana el paso a los automóviles. La idea gustó: Encontrar fuerza en el número, volver insoslayables a las bicicletas para que los conductores reconozcan su existencia y se acostumbren a interactuar con ellas. “¿La idea? Encontrar fuerza en el número y que los automovilistas se acostumbren a las bicis” Para el segundo paseo ya se había tomado el nombre de Masa Crítica, y se empezó a delinear una filosofía. El evento, que al año sumaba un millar de participantes en San Francisco y empezaba a extenderse a otras ciudades, no tenía líderes ni una organización centralizada. Para definir su ideología se acuñó el término “xerocracia”, que sugiere gobierno cero y una distribución horizontal de la información a través de las fotocopias (que convocaban al encuentro, planteaban itinerarios y difundían información de todo tipo, por lo general ligada a prácticas contestatarias o anti-sistema). Años después, las fotocopias han dado paso a Internet, pero con idénticos preceptos: no hay un website “oficial” ni jerarquías, y cualquiera puede participar. Por eso la “masa” puede ser muchas cosas a la vez: una protesta política, una manifestación pacífica o un agradable paseo por la ciudad. Gracias por compartirlo y comentarlo. Enlaces de interés: Bici-Crítica Málaga Facebook Subscríbete por iTunes y dame 5 * para difundirlo Subscríbete por iVoox Feed directo para programas que no encuentren el podcast 7. Bicicrítica. Critical Mass es original de Luis Bermejo Jiménez para Blog de Luis Bermejo

Fuente: Blog de Luis Bermejo - Luis Bermejo - Consultor Internet Muchas gracias a todos por las puntuaciones con 5* en iTunes que nos animan a seguir. Hoy es jueves y toca política, pero esta vez va relacionado con temas de Movilidad Sostenible que para muchos Ayuntamientos como el de Málaga se trata de hacerse la foto en un “carril bici” que mas adelante no va a llevar a ninguna parte cortándose repentinamente, lleno de obstáculos, curvas y estorbados por paradas de autobús, terrazas de cafeterías, mobiliario urbano, etc. Debido a esto y otras razones de peso, en Málaga, un grupo de ciclistas urbanos decidió montar un evento al que llamaron Bicicrítica inspirado en el “Critical Mass” ó “Masa crítica” La primera Masa Crítica tuvo lugar el 25 de septiembre de 1992 en San Francisco (EE UU), aunque no se llamó así. Un grupo de no más de 50 ciclistas dio un paseo que terminó en una tienda de bicicletas con la proyección del documental “The Return of the Scorcher”, de Ted White, sobre el ciclismo en distintas ciudades del mundo. En la cinta, el diseñador George Bliss explica que en China no hay semáforos ni reglas claras en los cruces: los ciclistas, simplemente, se amontonan hasta que forman una “masa crítica” que gana el paso a los automóviles. La idea gustó: Encontrar fuerza en el número, volver insoslayables a las bicicletas para que los conductores reconozcan su existencia y se acostumbren a interactuar con ellas. “¿La idea? Encontrar fuerza en el número y que los automovilistas se acostumbren a las bicis” Para el segundo paseo ya se había tomado el nombre de Masa Crítica, y se empezó a delinear una filosofía. El evento, que al año sumaba un millar de participantes en San Francisco y empezaba a extenderse a otras ciudades, no tenía líderes ni una organización centralizada. Para definir su ideología se acuñó el término “xerocracia”, que sugiere gobierno cero y una distribución horizontal de la información a través de las fotocopias (que convocaban al encuentro, planteaban itinerarios y difundían información de todo tipo, por lo general ligada a prácticas contestatarias o anti-sistema). Años después, las fotocopias han dado paso a Internet, pero con idénticos preceptos: no hay un website “oficial” ni jerarquías, y cualquiera puede participar. Por eso la “masa” puede ser muchas cosas a la vez: una protesta política, una manifestación pacífica o un agradable paseo por la ciudad. Gracias por compartirlo y comentarlo. Enlaces de interés: Bici-Crítica Málaga Facebook Subscríbete por iTunes y dame 5 * para difundirlo Subscríbete por iVoox Feed directo para programas que no encuentren el podcast 7. Bicicrítica. Critical Mass es original de Luis Bermejo Jiménez para Blog de Luis Bermejo

Ted White is a legendary Hollywood stuntman and actor, who "doubled" for John Wayne, Clark Gable, Cary Grant, and acted in scores of classic films. He also drove stunts at 100 miles per hour in "Fast and Furious: Tokyo Drift" when he was 84 years old. Let's face it, he's cooler than all of us combined. Enjoy!

The Skeleton Crew #70 The Lon Chaney Jr. Hour 0:00 – 26:00  The Crew kicks it off with some Halloween: The Ghost of Michael Myers talk. Is this the hidden gem Halloween fans have been waiting for? Halloween 2 (1981 and 2009) talk. What Halloween movie will the crew be doing a commentary on this October? 27:00 – 1:14:00  The Crew looks at the first Frankenstein movie in which another actor played the role of the Frankenstein Monster! The Ghost of Frankenstein! 1:16:00 – 2:14:00  Before Freddy vs Jason there was Frankenstein meets The Wolfman! The Crew gives an in depth review of this Universal horror classic with so many hidden secrets that Alex reveals! 2:14:00 – 2:17:00  The Halloween Dating Game starring Michael Myers himself! 2:17:00 – 2:30:00  Before he interviewed Danny Trejo, Danielle Harris, Bill Moseley, Katherine Isabelle, Linda Blair, Robert Rusler, Tom Atkins, Felissa Rose, Jonathan Tiersten, Burt Young, Adrienne King, Adam Green, Ted White, Tuesday Knight and Kane Roberts…. Alex interviewed his late grandmother in October 1994. Yes even at the young age of 14 Alex knew he was destined for horror radio atrocities. Listen in as he conducts his first horror based interview, you will surly see signs of the f__k up you have come to know so well. 2:33:00 – 3:20:00  The Crew reviews the forgotten Dracula film that revolutionized vampire movies forever! Son of Dracula starring Lon Chaney Jr! 3:22:30 – 3:29:00  The Crew wraps up the show and talks about what's coming up on the Skeleton Crew! Facebook Group: https://www.facebook.com/groups/theskeletoncrewshow  YouTube Channel (Episodes 36+): https://www.youtube.com/user/theskeletoncrewshows YouTube Channel (Episodes 1-36): http://www.youtube.com/user/theskeletoncrewshow Subscribe in Apple Podcasts: https://podcasts.apple.com/us/podcast/the-skeleton-crew-podcast/id1587621795

Here's the first of our interviews recorded during the SGM Autumn Conference. This time round, Professor Ted White from University of Missouri–Kansas City told us some fascinating facts about fungi and explained the current state of drug development to treat fungal diseases.

0:00 – 3:00  The coolest 3 minute intro this show has ever hard, Friday the 13th Final Chapter heaven. 3:15 – 17:15  The Crew starts the show off talking about Friday the 13th Part 2… I uh I mean 4… right? Dan is confusing me. Jamie has the most whacked out Halloween costumes ever devised! Kane Hodder chokes out Alex hard than he punched Joe Lynch in Holliston! Is Adam Green the Crews greatest interview ever? That's the buzz out there in the horror community. 17:30 – 52:00  Ted White… Jason Voorhees himself from Friday the 13th the Final Chapter makes his way from Crystal Lake to the Dungeon! Do not miss the very special interview with one of the greatest icons in horror history. Is he the definitive Jason? We think so! 53:00 – 1:40:00  Who says you cant remake a horror podcast? If you loved the Skeleton Crew #4 Friday the 13th The Final Chapter, then you will love this extension to it. The Crew gives another in depth review of the iconic and quite possibly best film of the franchise. Some how they don't repeat anything they said the first time they took a journey into the film. For the ultimate Friday the 13th The Final Chapter experience, be sure to listen to both of the reviews! 1:40:01 – End  Pat the Ghoul Under your Bed and Jake Courthouse hack into the Crews phone lines at the end of their review and talk Friday the 13th franchise, rap music, Busta Ryhmes in Halloween Resurrection, Alex drives around listening to horror scores in his car… weirdo…. What makes the horror killers stand out above the rest? We talk Halloween 1978, The Nightmare on Elm Street Franchise, upcoming interviews, Scream movies and more! Facebook Group: https://www.facebook.com/groups/theskeletoncrewshow  YouTube Channel (Episodes 36+): https://www.youtube.com/user/theskeletoncrewshows YouTube Channel (Episodes 1-36): http://www.youtube.com/user/theskeletoncrewshow Subscribe in Apple Podcasts: https://podcasts.apple.com/us/podcast/the-skeleton-crew-podcast/id1587621795

Leif Mitchell discusses causes of high HIV and STD prevalence in MSM with University of Washington Assistant Professor, Steven M. Goodreau, Ph.D., and Yale School of Public Health Associate Research Scientist, Ted White, Ph.D., M.P.H.

Legendary rocker Ted Nugent joins the Mark Larson show to to discuss his controversial new book entitles Ted White and Blue. Listen to the whole interview now!