Podcasts about visions

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

Jeanine Mouchawar is a life coach for parents of teenagers. She helps make parenting easier by teaching new communication strategies that stop the battles and create a calm, peaceful home. Parents learn how to teach their teens cooperation, responsibility, and critical life skills to empower them for success. In the process, they create the positive, meaningful relationship they always imagined.Jeanine earned her B.A. from Stanford University and is a certified professional life coach. She is married and has 3 adult children.Websitewww.jeaninemouchawar.comSocial Media Informationwww.instagram.com/jeaninemouchawarcoaching/www.facebook.com/jeaninemouchawarcoachingwww.tiktok.com/@jeaninemouchawarcoachingResources Mentionedhttps://eckharttolle.com/Resources from JeanineHow to Talk So Your Teen ListensNo More Battles with Your TeenShow Sponsor – National Association for Primary Education (NAPE)Watch Mark Taylor interview Al Kingsley – ‘Creating Digital Strategies for Schools' from the Primary Education Summit – ‘Visions for the Future' – 2023Get access to all 20 videos from the the summit at www.nape.org.uk/summitFor support with podcasting & video please visit www.educationonfire.com/media Mentioned in this episode:NAPE Al Kingsley Summit PromoWatch Mark Taylor interview Al Kingsley about 'Creating Digital Strategies for Schools' as part of the Primary Education Summit 2023 - Visions for the Future - presented by National Association for Primary Education (NAPE) https://www.educationonfire.com/creating-digital-strategies-for-schools/NAPE Al Kingsley Summit Promo

Virgo Kaleidoscope Visions monthly panel program including a transit reading focusing on “Pluto Cap Retrograde REFLECTING AMBITION”. “Pluto retrograde in Capricorn started June 11 at 29° and stations direct on Oct. 10 at 27°. During the 1990's Saturn, Uranus and Neptune transited in Capricorn. In the last few years, people now in their early 30's experienced their 30-year Saturn return in Capricorn for these late degrees in 2020.” said Sue Minahan, founder, and host of the weekly show. “However, any with planets, angles, nodes, or other astrological points in the late degrees of the cardinal signs of Aries, Libra, Cancer, and Capricorn are deeply experiencing fundamental transitions involving hidden aspects of self and humanity deeply within waiting for the light of awareness.” Kaleidoscope Visions panel reviews a current transit, and the possibilities the transits may apply personally to a pre-arranged participant's natal chart.   -In Kaleidoscope Visions' 2nd half of the program, the guest shares direct feedback. -The dialogue exchange demonstrates how life works in the practical realm of our daily experiences and desires, making choices as a reflection of the current cosmos consciousness. -Get ready in November to apply for 2024 Kaleidoscope Visions panel's monthly transit readings once again scheduled for the 4th Join Sue Rose Minahan of Kailua-Kona, Hawai'i wit Kaleidoscope Visions panel members, Amanda Pierce, and John Chinworth, both of Seattle. Bios below and on Talk Cosmos website. AMANDA PIERCE: blends her eclectic style of astrology and energy magic with a soul-centered approach to life and healing. With a B.A. in Psychology, Amanda has a drive to uncover the root causes of life's issues and empower her clients in the process. Astrology and Energy Work Consultation | Meditation | Writing & Editing. https://www.amandamoon.net -Empowerment-based Meditation: teaching in-person 4-week series classes. Email: amandamoonastrology@gmail.com -Past Washington State Astrological Association (WSAA) Board Member | United Astrology Conference (UAC) 2018 Volunteer Coordinator. -Talk Cosmos Kaleidoscope Visions panel member, past Cosmic Collaboration Panel, and special podcast guest episodes. JOHN CHINWORTH: Diploma from the International Academy of Astrology in 2021. More than two decades of experience and continue to enhance consulting techniques by attending workshops and conferences. https://www.skypathastro.com/ -Lectured at NORWAC (Northwest Astrology Conference), SFAS (San Francisco Astrology Society. -Served on the board of WSAA (Washington State Astrological Association). -My experience of teaching and mentoring developmentally disabled and resource students for many years, seasoned me with an exceptional reconciling energy. -Growing up in Southern Arizona, I was so obsessed with mythology, I branded the Greco-Roman pantheon into my psyche. -I relax by penning poems and going on road trips around Washington. -Panel member of Talk Cosmos Kaleidoscope Visions and special guest episode. -email: archerstars@gmail.com SUE ROSE MINAHAN: Founder of Talk Cosmos since April 7, 2018, engaging weekly with guests, for insightful conversations to awaken consciousness for soul growth. Celebrating its 6th season in 2023. https://www.talkcosmos.com/ -Eclectic Modern Evolutionary Astrologer, and Consultant -Workshop Facilitator, Lecture Speaker -Dwarf Planet University graduate -Charter Member of Kepler Astrologer Toastmaster Club -Holds an AA Degree, Associate of Fine Arts Music Degree & Certificate of Fine Arts in Jazz -Certified Color Energy Life Coach -Washington State Astrological Association Zoom past board member -Writer, artist, musician, ardent mythologist. Student of esoteric philosophies and life.alkcosmos.com for weekly schedule, blog, and information.

Featuring: Ammosart, Ashgar, Belghast, Grace, Kodra, Tamrielo, and Thalen   Hey Folks! We start the show by discussing Diablo 3 Season 29, and how it Visions of Enmity are shockingly good.  We praise the Arrrchivists who have somehow managed to make Marvel Heroes private servers a reality…  just currently feature-limited. Kodra and Ash talk about their experiences recently with the Furvana seaside Furry Convention.  Tam begins a discussion about narrative structures and how New Game Plus functions in different games.  Kodra talks about a brand new skip method in Mario 64 and how it essentially branched out of a long-running meme in the speed-running community. He also talks about playing the Mice and Mystics board game with his kiddo.  Finally, we wrap things up with some discussion of the newly announced Bluey Video Game.   Topics Discussed Diablo 3 Season 29 Visions of Enmity Marvel Heroes Returns…  Sorta Furvana Comparing Narrative Structures and New Game Plus Don't let your memes be dreams Mario 64 new skip Mice and Mystics Bluey the Video Game

the Christadelphian interpretation of Zechariah's Night Visions remains an important part of Christadelphian theology. The visions offer a message of hope and restoration for the people of God, and they are a reminder that God is still in control, even in the midst of judgment and chaos. Zechariah's Night Visions are a series of eight visions that the prophet Zechariah experienced in the early years of the Second Temple period. The visions are recorded in the book of Zechariah, chapters 1-6. Christadelphians believe that the Night Visions are a prophecy of the events that would lead up to the establishment of God's kingdom on earth. The visions are interpreted as a message of hope and restoration for the Jewish people, and as a warning to the nations. The first vision in the series is a vision of four horsemen. The horsemen represent the four winds of heaven, which are sent out by God to bring judgment on the nations. The second vision is a vision of a golden lampstand. The lampstand represents the presence of God among his people, and it is a symbol of hope for the future. The third vision is a vision of two olive trees and a lampstand. The olive trees represent the two anointed ones, who are believed to be Jesus Christ and his anointed successor. The lampstand represents the presence of God among his people. The fourth vision is a vision of a flying scroll. The scroll represents the law of God, which is a message of judgment and salvation. The fifth vision is a vision of a woman in a basket. The woman represents the city of Jerusalem, which is under attack by the nations. The sixth vision is a vision of four chariots. The chariots represent the four winds of heaven, which are sent out by God to bring judgment on the nations. The seventh vision is a vision of a man with a measuring line. The man represents the Messiah, who will come to measure the city of Jerusalem. The eighth and final vision is a vision of a great multitude. The multitude represents the people of God from all nations, who will be gathered together at the end of the age. The Night Visions are a complex and challenging set of prophecies, but they offer a message of hope and restoration for the people of God. They are a reminder that God is still in control, even in the midst of judgment and chaos. And they are a promise that God will ultimately triumph over evil and establish his kingdom on earth. Additional information: The Christadelphian interpretation of Zechariah's Night Visions is based on the belief that the Bible is a literal and historical record of God's dealings with humanity. Christadelphians believe that the Night Visions are a prophecy of the events that would lead up to the establishment of God's kingdom on earth, which they believe will occur in the near future. --- Send in a voice message: https://podcasters.spotify.com/pod/show/christadelphians-talk/message

YHWH --- Send in a voice message: https://podcasters.spotify.com/pod/show/aei-leon/message

Other faiths besides Mormonism have traditions of visions. In this episode of Religion Today, host Martin Tanner describes nine visions or apparitions of the Virgin Mary, acknowledged as genuine by the Catholic Church. Next, the visions of Emanuel Swedenborg are briefly described. Swedenborg, born in 1688, died in 1772, claimed to have visions of heaven and hell, and described them in ways similar to Joseph Smith.  Swedenborg said our purpose in this life was to be placed between heaven and hell where we would be enticed by both, thereby enabling us to freely choose either good or evil. This is similar to the LDS idea of "there must be opposition in all things" to accomplish our purpose in mortality.See omnystudio.com/listener for privacy information.

Brian Koppelman makes his living as the showrunner, co-creator and writer for the Showtime series Billions. Jim and Greg revisit their conversation with Koppelman about how he innovatively uses music in the critically acclaimed show. They'll also review new albums from Mitski, Low Cut Connie and Jaimie Branch. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops   Featured Songs: The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Mitski, "Bug Like An Angel," The Land Is Inhospitable and So Are We, Dead Oceans, 2023Mitski, "Buffalo Replaced," The Land Is Inhospitable and So Are We, Dead Oceans, 2023Mitski, "I Love Me After You," The Land Is Inhospitable and So Are We, Dead Oceans, 2023Mitski, "The Deal," The Land Is Inhospitable and So Are We, Dead Oceans, 2023Low Cut Connie, "Tell Me Something I Don't Know," Art Dealers, Contender, 2023Low Cut Connie, "Art Dealers," Art Dealers, Contender, 2023Low Cut Connie, "King of the Jews," Art Dealers, Contender, 2023Low Cut Connie, "The Party's Over," Art Dealers, Contender, 2023Low Cut Connie, "Sleaze Me On," Art Dealers, Contender, 2023Mitski, "I'm Your Man," The Land Is Inhospitable and So Are We, Dead Oceans, 2023Jaimie Branch, "Baba Louie," Fly or Die Fly or Die Fly or Die ((world war)), International Anthem, 2023Jaimie Branch, "Burning Grey," Fly or Die Fly or Die Fly or Die ((world war)), International Anthem, 2023Jaimie Branch, "Take Over the World," Fly or Die Fly or Die Fly or Die ((world war)), International Anthem, 2023Jaimie Branch, "The Mountain (feat. Jason Ajemian)," Fly or Die Fly or Die Fly or Die ((world war)), International Anthem, 2023Tracy Chapman, "Talkin' Bout a Revolution," Tracy Chapman, Elektra, 1988Tom Petty and the Heartbreakers, "Even the Losers," Damn the Torpedoes, MCA, 1979Mink DeVille, "Spanish Stroll," Cabretta, Capitol, 1977Garrett T. Capps, "Born in San Antone," Y Los Lonely Hipsters, Suburban Haste, 2016Bob Dylan, "Visions of Johanna," Blonde on Blonde, Columbia, 1966Mott the Hoople, "I Wish I Was Your Mother," Mott, Columbia, 1973Johnny Cash, "Solitary Man," American III: Solitary Man, American Recordings, 2000Andrew Bird, "Oh No," Noble Beast, Fat Possum, 2009Echo & the Bunnymen, "The Killing Moon," Ocean Rain, Sire, 1984Sammy Davis Jr., "Mr. Bojangles," Mr. Bojangles (Single), MGM, 1972The Dictators, "The Next Big Thing," Go Girl Crazy!, Epic, 1975Eskmo, "Billions Title & Recap," Billions Original Series Soundtrack, Milan, 2017Mary Ocher, "Is Life Possible? (feat. Les Trucs)," Is Life Possible? (feat. Les Trucs) (Single), Copyright Control, 2023Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.

WATCH THIS EPISODE: https://youtu.be/xEpBPD0ccIQ You will be guided through an exercise to connect you with what you really want in the dimensions of your soul. Explore your future life, your hearts truest desires. What is your heart trying to tell you? What does your soul call for you? What would make your heart sing? Why are you here? How you live your fullest life? Where is passion guiding you? How can you redesign your life? During this meditation Luisa will be working on your quantum timelines and field. You will be taken to the ‘Void', the point of creation, Home. Allow what you see in your consciousness to be the essence and knowing of your true self. Design a life that is true to you. You are extraordinary! WATCH more of Passion Harvest: https://passionharvest.com/ FRANCE Retreat 2024: http://eepurl.com/ipKOxg LIKE Passion Harvest on Facebook: https://www.facebook.com/Passionharvest FOLLOW Passion Harvest on Instagram: https://www.instagram.com/PassionHarvest/ FOLLOW Passion Harvest on Spotify: https://open.spotify.com/show/3BogbavOan3FP1r1JXLxmV FOLLOW Passion Harvest on TikTok: https://www.tiktok.com/@passionharvest Thank you for watching!

Morning: Song of Solomon 1–3 Song of Solomon 1–3 (Listen) 1 The Song of Songs, which is Solomon's. The Bride Confesses Her Love She1 2   Let him kiss me with the kisses of his mouth!  For your love is better than wine;3     your anointing oils are fragrant;  your name is oil poured out;    therefore virgins love you.4   Draw me after you; let us run.    The king has brought me into his chambers. Others   We will exult and rejoice in you;    we will extol your love more than wine;    rightly do they love you. She 5   I am very dark, but lovely,    O daughters of Jerusalem,  like the tents of Kedar,    like the curtains of Solomon.6   Do not gaze at me because I am dark,    because the sun has looked upon me.  My mother's sons were angry with me;    they made me keeper of the vineyards,    but my own vineyard I have not kept!7   Tell me, you whom my soul loves,    where you pasture your flock,    where you make it lie down at noon;  for why should I be like one who veils herself    beside the flocks of your companions? Solomon and His Bride Delight in Each Other He 8   If you do not know,    O most beautiful among women,  follow in the tracks of the flock,    and pasture your young goats    beside the shepherds' tents. 9   I compare you, my love,    to a mare among Pharaoh's chariots.10   Your cheeks are lovely with ornaments,    your neck with strings of jewels. Others 11   We will make for you2 ornaments of gold,    studded with silver. She 12   While the king was on his couch,    my nard gave forth its fragrance.13   My beloved is to me a sachet of myrrh    that lies between my breasts.14   My beloved is to me a cluster of henna blossoms    in the vineyards of Engedi. He 15   Behold, you are beautiful, my love;    behold, you are beautiful;    your eyes are doves. She 16   Behold, you are beautiful, my beloved, truly delightful.  Our couch is green;17     the beams of our house are cedar;    our rafters are pine. 2   I am a rose3 of Sharon,    a lily of the valleys. He 2   As a lily among brambles,    so is my love among the young women. She 3   As an apple tree among the trees of the forest,    so is my beloved among the young men.  With great delight I sat in his shadow,    and his fruit was sweet to my taste.4   He brought me to the banqueting house,4    and his banner over me was love.5   Sustain me with raisins;    refresh me with apples,    for I am sick with love.6   His left hand is under my head,    and his right hand embraces me!7   I adjure you,5 O daughters of Jerusalem,    by the gazelles or the does of the field,  that you not stir up or awaken love    until it pleases. The Bride Adores Her Beloved 8   The voice of my beloved!    Behold, he comes,  leaping over the mountains,    bounding over the hills.9   My beloved is like a gazelle    or a young stag.  Behold, there he stands    behind our wall,  gazing through the windows,    looking through the lattice.10   My beloved speaks and says to me:  “Arise, my love, my beautiful one,    and come away,11   for behold, the winter is past;    the rain is over and gone.12   The flowers appear on the earth,    the time of singing6 has come,  and the voice of the turtledove    is heard in our land.13   The fig tree ripens its figs,    and the vines are in blossom;    they give forth fragrance.  Arise, my love, my beautiful one,    and come away.14   O my dove, in the clefts of the rock,    in the crannies of the cliff,  let me see your face,    let me hear your voice,  for your voice is sweet,    and your face is lovely.15   Catch the foxes7 for us,    the little foxes  that spoil the vineyards,    for our vineyards are in blossom.” 16   My beloved is mine, and I am his;    he grazes8 among the lilies.17   Until the day breathes    and the shadows flee,  turn, my beloved, be like a gazelle    or a young stag on cleft mountains.9 The Bride's Dream 3   On my bed by night  I sought him whom my soul loves;    I sought him, but found him not.2   I will rise now and go about the city,    in the streets and in the squares;  I will seek him whom my soul loves.    I sought him, but found him not.3   The watchmen found me    as they went about in the city.  “Have you seen him whom my soul loves?”4   Scarcely had I passed them    when I found him whom my soul loves.  I held him, and would not let him go    until I had brought him into my mother's house,    and into the chamber of her who conceived me.5   I adjure you, O daughters of Jerusalem,    by the gazelles or the does of the field,  that you not stir up or awaken love    until it pleases. Solomon Arrives for the Wedding 6   What is that coming up from the wilderness    like columns of smoke,  perfumed with myrrh and frankincense,    with all the fragrant powders of a merchant?7   Behold, it is the litter10 of Solomon!  Around it are sixty mighty men,    some of the mighty men of Israel,8   all of them wearing swords    and expert in war,  each with his sword at his thigh,    against terror by night.9   King Solomon made himself a carriage11    from the wood of Lebanon.10   He made its posts of silver,    its back of gold, its seat of purple;  its interior was inlaid with love    by the daughters of Jerusalem.11   Go out, O daughters of Zion,    and look upon King Solomon,  with the crown with which his mother crowned him    on the day of his wedding,    on the day of the gladness of his heart. Footnotes [1] 1:2 The translators have added speaker identifications based on the gender and number of the Hebrew words [2] 1:11 The Hebrew for you is feminine singular [3] 2:1 Probably a bulb, such as a crocus, asphodel, or narcissus [4] 2:4 Hebrew the house of wine [5] 2:7 That is, I put you on oath; so throughout the Song [6] 2:12 Or pruning [7] 2:15 Or jackals [8] 2:16 Or he pastures his flock [9] 2:17 Or mountains of Bether [10] 3:7 That is, the couch on which servants carry a king [11] 3:9 Or sedan chair (ESV) Evening: 2 Corinthians 12 2 Corinthians 12 (Listen) Paul's Visions and His Thorn 12 I must go on boasting. Though there is nothing to be gained by it, I will go on to visions and revelations of the Lord. 2 I know a man in Christ who fourteen years ago was caught up to the third heaven—whether in the body or out of the body I do not know, God knows. 3 And I know that this man was caught up into paradise—whether in the body or out of the body I do not know, God knows—4 and he heard things that cannot be told, which man may not utter. 5 On behalf of this man I will boast, but on my own behalf I will not boast, except of my weaknesses—6 though if I should wish to boast, I would not be a fool, for I would be speaking the truth; but I refrain from it, so that no one may think more of me than he sees in me or hears from me. 7 So to keep me from becoming conceited because of the surpassing greatness of the revelations,1 a thorn was given me in the flesh, a messenger of Satan to harass me, to keep me from becoming conceited. 8 Three times I pleaded with the Lord about this, that it should leave me. 9 But he said to me, “My grace is sufficient for you, for my power is made perfect in weakness.” Therefore I will boast all the more gladly of my weaknesses, so that the power of Christ may rest upon me. 10 For the sake of Christ, then, I am content with weaknesses, insults, hardships, persecutions, and calamities. For when I am weak, then I am strong. Concern for the Corinthian Church 11 I have been a fool! You forced me to it, for I ought to have been commended by you. For I was not at all inferior to these super-apostles, even though I am nothing. 12 The signs of a true apostle were performed among you with utmost patience, with signs and wonders and mighty works. 13 For in what were you less favored than the rest of the churches, except that I myself did not burden you? Forgive me this wrong! 14 Here for the third time I am ready to come to you. And I will not be a burden, for I seek not what is yours but you. For children are not obligated to save up for their parents, but parents for their children. 15 I will most gladly spend and be spent for your souls. If I love you more, am I to be loved less? 16 But granting that I myself did not burden you, I was crafty, you say, and got the better of you by deceit. 17 Did I take advantage of you through any of those whom I sent to you? 18 I urged Titus to go, and sent the brother with him. Did Titus take advantage of you? Did we not act in the same spirit? Did we not take the same steps? 19 Have you been thinking all along that we have been defending ourselves to you? It is in the sight of God that we have been speaking in Christ, and all for your upbuilding, beloved. 20 For I fear that perhaps when I come I may find you not as I wish, and that you may find me not as you wish—that perhaps there may be quarreling, jealousy, anger, hostility, slander, gossip, conceit, and disorder. 21 I fear that when I come again my God may humble me before you, and I may have to mourn over many of those who sinned earlier and have not repented of the impurity, sexual immorality, and sensuality that they have practiced. Footnotes [1] 12:7 Or hears from me, even because of the surpassing greatness of the revelations. So to keep me from becoming conceited (ESV)

In this special archived edition, we feature the ever-popular Willy, our puppy featured often in various segments. This looks back at his entree to our lives,just one of the parts of a lively conversation.

From Eden to Eternity, the Bible tells one big story of redemption. And this year we're walking through God's divine story chronologically. Today we are journeying through Zechariah 1–6 and exploring God's sovereign plan as the events of Scripture unfold and point to Jesus. Today, you can follow along with us in Eden to Eternity: The Chronological Story of Scripture Study Vol. 3, on page 194. Visit The Daily Grace Co. for the Eden to Eternity bundle and for more beautiful products that will equip you on your journey to knowing and loving God more. Follow @dailygracepodcast on Instagram for exclusive podcast content and @thedailygraceco for all things The Daily Grace Co. Subscribe to the Daily Grace Podcast on iTunes or Spotify. And, read the Bible in a year with us in the Bible App. Click here for a transcript of this episode

____

This Week In Culture Episode 332: Visions of Pain (The Chi S6 Ep7): This week Ant and J. Johnson breakdown the penultimate episode of the first half of season 6 of The Chi! The guys discuss the destruction of the family unit, Kiesha's therapy session, and more! They also chop it up about some pod favorites being canceled and the impact of the Hollywood strikes. Click and link and subscribe to the patreon now!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/thisweekinculture/message Support this podcast: https://podcasters.spotify.com/pod/show/thisweekinculture/support

Anthony LaPaglia (Empire Records, Without a Trace) joins us this week to share story after story from his incredible tenure in this industry and how he's been able to sustain such a respected career. Anthony drops a bomb when he talks about his recent ‘induced coma,' the visions he had coming out of it, and the positive changes it brought to his life. We get into a lot this week… like stories of standing up to Val Kilmer, the harsh pressures of being the eldest son in an Italian family, aspirations for professional soccer, chasing the EGOT, problems with directors on set, arrests during Empire Records, and a whole lot more. Thank you to our sponsors: ❤️ Betterhelp: https://betterhelp.com/inside

The Orlando Magic added two first-round picks to their roster this summer. Both will give the Magic something valuable in the short- and long-term. Anthony Black though will need patience to develop his skills as the team uses his versatility. Jett Howard will give the team an instant and needed shooting boost. How much either plays or how much impact they make might depend on how the Magic answer the important question of what is more important -- their short-term or long-term goals. Support Us By Supporting Our Sponsors! Jase Medical Save more than $360 by getting these lifesaving antibiotics with Jase Medical plus an additional $20 off by using code LOCKEDON at checkout on jasemedical.com. Birddogs Go to birddogs.com/LOCKEDONNBA or enter promo code LOCKEDONNBA for a free water bottle with any purchase. You won't want to take your birddogs off we promise you. FanDuel This episode is brought to you by FanDuel Sportsbook, Official Sportsbook of Locked On. Right now, NEW customers can bet FIVE DOLLARS and get TWO HUNDRED in BONUS BETS - GUARANTEED. Visit FanDuel.com/LOCKEDON to get started. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ben Case from Tapestry, an online learning journal used in thousands of primary schools and early years settings, has been working with teaching staff at Arundel C of E Primary School for the past two years to support the work they've been doing to encourage pupils to reflect on, and talk about, their own learning. This has involved using Tapestry's child login feature which enables children to add their own comments and videos describing their learning. The school has found that children are:*Becoming better at explaining their learning*Using more complex language*Engaging more fully as active learnersYou can read the Arundel CoE Primary School Case Studies hereAndrew Simpson, Headteacher, Arundel CoE Primary School also joins us to share his experience of using this feature from Tapestry and how it works within the school. Websitewww.tapestry.infoSocial Media InformationTwitter - https://twitter.com/Tapestry_FSFFacebook - https://www.facebook.com/TapestryLearningJournalShow Sponsor – National Association for Primary Education (NAPE)Watch Mark Taylor interview Al Kingsley – ‘Creating Digital Strategies for Schools' from the Primary Education Summit – ‘Visions for the Future' – 2023Get access to all 20 videos from the the summit at www.nape.org.uk/summitFor support with podcasting & video please visit www.educationonfire.com/media Mentioned in this episode:NAPE Al Kingsley Summit PromoWatch Mark Taylor interview Al Kingsley about 'Creating Digital Strategies for Schools' as part of the Primary Education Summit 2023 - Visions for the Future - presented by National Association for Primary Education (NAPE) https://www.educationonfire.com/creating-digital-strategies-for-schools/NAPE Al Kingsley Summit Promo

Flashbacks and Visions of Things Past

Business Podcasts | "Cherish Your Visions And Your Dreams As They Are the Children of Your Soul, the Blueprints of Your Ultimate Achievements." - Napoleon Hill (Best-Selling Author of Think & Grow Rich) + How to Move Beyond Mediocrity Now Why Do 96% of Businesses Fail By Default? Why 96 Percent of Businesses Fail - https://www.inc.com/bill-carmody/why-96-of-businesses-fail-within-10-years.html Learn More About Opening a TipTopK9.com Franchise Today HERE: www.TipTopK9.com Schedule a FREE Consultation Today At: https://peakbusinessvaluation.com/ - Call 435-359-2684 Business | Learn the SPECIFIC Systems, Proven Processes and Best-Practices Strategies That You Need to Use to Grow Your Business By 10X | Learn How Clay Clark Coached www.PMHOKC.com and www.DelrichtResearch.com Into 10X Growth Business | "Since Working With Clay I've Learned Everything About Business. The Experience Working Here Has Been LIFE CHANGING. I've Not Only Learned New Things, But I've Gained a Whole New Mindset." - Robert Redmond Business | Learn How to Hire, Inspire, Train and Retain High Quality Employees | Learn How Clay Clark Has Helped Multi Clean to Experience EPIC Growth Year Over Year While Building an Incredible Team Business | How to Use Search Engine Optimization to DRAMATICALLY GROW YOUR BUSINESS + How Clay Clark Helped BarbeeCookies.com to DOUBLE the SIZE of Her Business Within Just 12 Months!!! Learn More About the Success Stories Below: www.LivingWaterIrrigationOK.com www.BarbeeCookies.com www.PMHOKC.com www.DelrichtResearch.com www.OXIFresh.com www.PeakBusinessValuation.com www.TipTopK9.com Clay Clark Testimonials | "Clay Clark Has Helped Us to Grow from 2 Locations to Now 6 Locations. Clay Has Done a Great Job Helping Us to Navigate Anything That Has to Do with Running the Business, Building the System, the Workflows, to Buy Property." - Charles Colaw (Learn More Charles Colaw and Colaw Fitness Today HERE: www.ColawFitness.com) See the Thousands of Success Stories and Millionaires That Clay Clark Has Coached to Success HERE: https://www.thrivetimeshow.com/testimonials/ Learn More About How Clay Has Taught Doctor Joe Lai And His Team Orthodontic Team How to Achieve Massive Success Today At: www.KLOrtho.com Learn How to Grow Your Business Full THROTTLE NOW!!! Learn How to Turn Your Ideas Into A REAL Successful Company + Learn How Clay Clark Coached Bob Healy Into the Success Of His www.GrillBlazer.com Products Learn More About the Grill Blazer Product Today At: www.GrillBlazer.com Learn More About the Actual Client Success Stories Referenced In Today's Video Including: www.ShawHomes.com www.SteveCurrington.com www.TheGarageBA.com www.TipTopK9.com Learn More About How Clay Clark Has Helped Roy Coggeshall to TRIPLE the Size of His Businesses for Less Money That It Costs to Even Hire One Full-Time Minimum Wage Employee Today At: www.ThrivetimeShow.com To Learn More About Roy Coggeshall And His Real Businesses Today Visit: https://TheGarageBA.com/ https://RCAutospecialists.com/ Clay Clark Testimonials | "Clay Clark Has Helped Us to Grow from 2 Locations to Now 6 Locations. Clay Has Done a Great Job Helping Us to Navigate Anything That Has to Do with Running the Business, Building the System, the Workflows, to Buy Property." - Charles Colaw (Learn More Charles Colaw and Colaw Fitness Today HERE: www.ColawFitness.com) See the Thousands of Success Stories and Millionaires That Clay Clark Has Coached to Success HERE: https://www.thrivetimeshow.com/testimonials/ Learn More About Attending the Highest Rated and Most Reviewed Business Workshops On the Planet Hosted by Clay Clark In Tulsa, Oklahoma HERE: https://www.thrivetimeshow.com/business-conferences/ Download A Millionaire's Guide to Become Sustainably Rich: A Step-by-Step Guide to Become a Successful Money-Generating and Time-Freedom Creating Business HERE: www.ThrivetimeShow.com/Millionaire See Thousands of Actual Client Success Stories from Real Clay Clark Clients Today HERE: https://www.thrivetimeshow.com/testimonials/ 75% of Employees Steal from the Workplace - https://www.forbes.com/sites/ivywalker/2018/12/28/your-employees-are-probably-stealing-from-you-here-are-five-ways-to-put-an-end-to-it/ 85% of Employees Lie On Resumes - https://www.inc.com/jt-odonnell/staggering-85-of-job-applicants-lying-on-resumes-.html 96% of Businesses Fail - https://www.inc.com/bill-carmody/why-96-of-businesses-fail-within-10-years.html

HELL TESTIMONIES --- Send in a voice message: https://podcasters.spotify.com/pod/show/aei-leon/message

durée : 00:55:09 - Le masque et la plume - par : Jérôme Garcin - Pour une rentrée cinéma réussie, faut-il aller voir "L'Eté dernier" de Catherine Breillat, "Le Ciel rouge" de Christian Petzold, "Un métier sérieux" de Thomas Lilti, "Visions" de Yann Gozlan, "Le Livre des solutions" de Michel Gondry et "Les Secrets de la princesse de Cadignan" d'Arielle Dombasle ? - réalisé par : Xavier PESTUGGIA

Step into the realm of investing, where the quest for profit marks only the initial stage of a far-reaching journey. Though financial gain is essential, it is just the prologue to a more profound narrative. Within this domain, we uncover the remarkable capacity to strengthen our financial positions and ignite positive transformations.    An essential conversation occurs amid the complex debates and misunderstandings surrounding investments and societal views. This dialogue defies stereotypes and champions a fundamental reality: making a difference isn't just a choice; it's a necessity.    Join us alongside our esteemed guest, Skye Logan, as we explore private capital's profound influence on our wealth and the broader world, conscious investing, prioritizing collective responsibility and positive change, and leaving divisive labels behind.   Skye Logan is the CEO of  PhilanthroInvestors, a community of investors who invest money and time, engaging emotionally to promote human welfare while earning a financial return.   Felecia Froe, MD is a licensed urological surgeon with over 20 years of experience. She owns Money With Mission, an investment company that empowers professional women to build wealth and achieve financial freedom through social impact investing. 00:00 - From Ozark Boy to California Dreamer: A Life of Adventures and Giving Back 07:35 - Exploring the Roots of Philanthropy: How Upbringing Shapes Who We Become 16:20 - Ready, Fire, Aim: The Entrepreneur's Guide to Rapid Adaptation 17:19 - From Entrepreneurship to Holistic Healing: A Journey of Purpose 27:11 - The Philanthroinvestors' Diverse Portfolio: From Plastics Cleanup to Water Solutions 46:43 - Awakening Conscious Investing: Making a Positive Difference with Philanthroinvestors 50:36 - Closing Segment Skye Logan Website: https://philanthroinvestors.com/ Linkedin: https://www.linkedin.com/in/skyelogan/ Be the Boss of Your Own Money and Own Your Future. Connect with us and Discover Investment Strategies Designed to make a Difference. Website: https://moneywithmission.com Linkedin: https://www.linkedin.com/in/moneywithmission Quotes: "Run towards achievement or lessons, because both lead to growth and excitement.”  - Skye Logan   "Your upbringing shapes you, but your essence shines through. No matter what, you develop into who you naturally are." - Skye Logan

Heyday presents California Against the SeaRosanna Xia's California Against the Sea with Steve LopezRosanna's LA Times pageSupport the show_________________________________________________This podcast is a production of the Henry Miller Memorial LibraryBig Sur, CAFaceBookInstagramLet us know what you think!SEND US AN EMAIL!

This week an old fashioned double header as we cover two very different events in the Southland.First, Carey Lovelace, Founder of Visions 2030 will be on hand to talk about Vision 2030 Earth Edition Festival, which is unfolding on the campus of CalArts in Valencia.Then Sarah Mann of Madmann's Playground and performer & poet Katie Rediger join us to talk about Van Helsing's Dracula, their upcoming collaboration which mixes circus arts and dining, and turns the Dracula story on it's head. SHOW NOTESVisions 2030: Earth Edition FestivalVan Helsing's DraculaSeptember Call SheetEdinburgh Festival Fringe Diary 2023: Festival OverviewPhiladelphia Fringe Diary 2023The Immersive 5 with Katie Rediger, Co-Creator of ‘Van Helsing's Dracula' Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Amixem et LeBouseuh sont deux monstres de Youtube est pourtant les deux ont deux visions bien différentes de la plateforme, on en parle ! Pour voir l'émission rendez-vous sur Twitch et YouTube !Vous pouvez aussi nous suivre sur nos réseaux sociaux :TwitterInstagramTikTokFacebook Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.