APRA Silver Scrolls 2018

The top five Nominees for 2018 are:

Troy Kingi – ‘Aztechknowledgey’
The Beths – ‘Future Me Hates Me’,  written by Elizabeth Stokes
Unknown Mortal Orchestra – ‘Hunnybee’, written by Ruban Nielson, Kody Nielson and Jacob Portrait
Chelsea Jade – ‘Laugh It Off’, written by Chelsea Jade Metcalf and Bradley Hale
Marlon Williams ft. Aldous Harding – ‘Nobody Gets What They Want Anymore’, written by Marlon Williams

The APRA Silver Scroll Awards are a highly anticipated annual event that celebrates outstanding achievement in the craft of songwriting.

Alongside the prestigious APRA Silver Scroll Award, also presented at the awards are the SOUNZ Contemporary and APRA Maioha Awards - for excellence in contemporary composition and Maori music respectively, as well as awards for the best music in a feature film and television series.

Each year the APRA Silver Scroll Awards hosts an induction into the New Zealand Music Hall of Fame – recognising those who have had a significant impact on New Zealand life and culture through music.

Alongside the prestigious APRA Silver Scroll Award, also presented at the awards are the SOUNZ Contemporary and APRA Maioha Awards - for excellence in contemporary composition and Maori music respectively, as well as awards for the best music in a feature film and television series.

Each year the APRA Silver Scroll Awards hosts an induction into the New Zealand Music Hall of Fame – recognising those who have had a significant impact on New Zealand life and culture through music.

Established in 2007, with inductions shared between APRA and Recorded Music NZ, the New Zealand Music Hall of Fame pays tribute to the legendary figures that have shaped, influenced and advanced popular music in New Zealand.

Established in 2007, with inductions shared between APRA and Recorded Music NZ, the New Zealand Music Hall of Fame pays tribute to the legendary figures that have shaped, influenced and advanced popular music in New Zealand.

Inductees to the Hall of Fame to date include Jordan Luck, Johnny Devlin, The Topp Twins, Straitjacket Fits, Hirini Melbourne & Richard Nunns, Ray Columbus & the Invaders, The Formyula, Shihad, Hello Sailor, Dragon, Toy Love, Herbs, Shona Laing, Dave Dobbyn, Supergroove, Douglas Lilburn, The Exponents, Bill Sevesi, Moana Maniapoto, Bic Runga, Sharon O’Neill, and The Clean.

The 53rd annual APRA Silver Scroll Awards will be held at Spark Arena in Auckland on Thursday 4th October 2018. Over 600 songwriters, musicians, industry and media from New Zealand and around the world will come together to celebrate songwriting at its highest level.

‘Nobody Gets What They Want Anymore’ is a duet with Aldous Harding and is from Williams’ second album Make Way For Love. The record is a break-up album about Harding, who Williams had previously had a relationship with.  Williams told RNZ in February that his and Harding’s parts were recorded separately, with Harding singing down the line from Cardiff, while Williams produced from Portland.  Williams says of the recording: “It was too weighty to be fun, but it was beautiful. There was something really beautiful about it even though it was painful, it felt properly cathartic for sure.”  This is Marlon Williams’ second time in the Top 5, after reaching the finals in 2015 for his song ‘Dark Child’.

Third-time finalists and former winners Unknown Mortal Orchestra (Ruban Nielson, Kody Nielson, and Jacob Portrait) are back in the shortlist for 2018 with their easy-groove track ‘Hunnybee’. The track is from their new album Sex & Food, which came out earlier this year.

UMO won the Scroll in 2015 for ‘Multi-Love’, and were in the top five in 2011 for ‘FFunny FFrends’.

UMO’s Nielson brothers previously played together in renowned Auckland punk band The Mint Chicks, who’d been finalists for the Silver Scroll three times but never won.

Troy Kingi is an actor and musician from Northland, who made one of the best debut albums of 2016 in Guitar Party at Uncle’s Bach. ‘Aztechknowledgey’ is from Kingi’s second album Shake That Skinny Ass All the Way to Zygetron, which came out in late 2017 to critical acclaim. The album’s a soulful psychedelic jam underpinned by funk.

Kingi initially made a name for himself as an actor, with roles in films including Mt Zion and Hunt for the Wilderpeople, in which he played 'selfie dad'.

This is the first time one of Kingi’s songs has been included in the Silver Scroll Top 5. Kingi is also nominated for a Waiata Maori Music Award this year.

Returning for the second year in a row, Chelsea Jade is shortlisted for her delightful synth-driven pop song ‘Laugh It Off’, from her debut album Personal Best. As RNZ’s Nick Bollinger puts it, the album is “made for moving to”.

The LA-based artist, formerly of Teacups and Watercolours, began her music career busking in Auckland’s Botany Town Centre. She went on to win the New Zealand Music Award’s Critic Choice prize in 2012 as Watercolours, and achieved massive chart success earlier this year with The Chainsmokers’ single 'You Owe Me', which she co-wrote.

Chelsea Jade was in the Scrolls Top 5 last year for her song ‘Life of the Party’.

Elizabeth Stokes is lead singer and principal songwriter for Auckland power-pop group The Beths. ‘Future Me Hates Me’ is from the Beths’ excellent debut album of the same name. It’s a breezy, upbeat track typical of their style.

Stokes started her musical career alongside fellow nominee Chelsea Jade in folkie trio Teacups. All four of The Beths members studied at Jazz School, however, there’s no jazz noodling here, it’s straight up high enery pop song.

World of Wearable Art 2018 TSB Arena 26 Sept 2018

Groove photographer, Tim Gruar was privileged to be able to attend this year's WOW Show dress rehearsal.  He brought back thousands of photos.  Here are just a few.   For the full experience, you'll have to see the show for yourself.  Go to https://www.worldofwearableart.com/ for more information.  Thanks to Sophie at www.sputnik.co.nz

WOW 2018 - Interview with Paul McLaney (Musical Director for WOW 2018)

This year's WOW show has been musically directed by Paul McLaney. He talks to Tim Gruar (AKA The CoffeeBar Kid) about the process of making music for one of the most iconic events in the arts calendar.

He tells Tim that the music is a little different this year as each section will feature the talents of an individual New Zealand composer covering a wide range of genres. His role is to facilitate, steer and direct those compositions into the body of a consolidated show. In a recording and performance career spanning 20 years, Paul’s music offerings have spanned the acoustic music of his solo career, the rock and pop of Gramsci, and the ambient electronica of The Impending Adorations. “The WOW Awards Show lives outside a strict narrative arc, and to my mind that suggests a sort of dream state logic where multiple aesthetics and suggestions are made. I believe that’s a huge part of its success – it really is like a dream from which you don’t want to wake up.” - Paul McLaney In a recording and performance career spanning 20 years, Paul McLaney’s music offerings have spanned the acoustic music of his solo career, the rock and pop of Gramsci, and the ambient electronica of The Impending Adorations. Added to this is his ever-expanding body of work for the theatre. There is a common thread: “I believe that the essential ingredient for a piece of music to work is empathy. One mind speaking to another, and for there to be a consensus of thought and feeling in that conversation. It follows then that within this there must be a fundamental truth that is communicated honestly.”

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“To take art off the wall and out of the static display. To adorn the body in wildly wonderful ways. To celebrate creativity in a lavish and unique on-stage spectacular that will inspire us all." Dame Suzie Moncrieff, WOW Founder

The original WOW concept was founded and created by Dame Suzie Moncrieff in 1987. The first WOW Awards Show was staged in rural Nelson as a promotion for a rural art gallery for an audience of just 200 people. Dame Suzie, who was a sculptor at the time, had the vision to take art off the wall and exhibit it as a live theatrical production. In its third year, the WOW Awards Show moved into Nelson’s Trafalgar Centre, establishing itself as a must-see annual event, before moving to Wellington in 2005. By the end of the 2018 show season, almost 770,000 people will have seen a WOW Awards Show. After 30 years, Dame Suzie continues to be a driving force behind WOW, acting as a guide and mentor to the wider creative team.

https://www.worldofwearableart.com/

WOMAD 2019 - First 3 Artists Announced

WOMAD 2019 have announced the first 3 artists as a taster for what's to come.  The remaining will be unveiled at a special ceremony on 10 October in Parliament.  For now, we know:

Having found his voice at an early age, 23 year old Teeks is a young artist with a big future. Steeped in old-school soul and yet glimmering with golden moments that capture the strength of youth, Teek’s velvety voice and boldly honest lyrics have already attracted a legion of devotees, as well as a milkshake named in his honour. Prepare to be mesmerised by New Zealand’s up and coming soul sensation.

In 1980 Talking Heads’ Remain in Light album, heavily influenced by the music of West Africa, caught the attention of a young Angelique Kidjo in Paris. Hearing it again years later sparked the idea of a full circle deconstruction that seemed only natural. Using Afrobeat horns and percussion, and infusing the lyrics with new meaning, Grammy Award-winning Angelique brings her stunning twist on a classic album to WOMAD in March.

Founded by superstar cellist Yo-Yo Ma, Silkroad Ensemble is a Grammy Award-winning collective of musicians and composers from more than 20 countries. Their music is a vibrant odyssey-scale celebration of world music and the beauty of converging cultures and instruments – from tabla to bagpipes, shakuhachi to strings… a Silkroad performance is nothing short of exhilarating!

And this year there's even a 'first artist announce' Spotify playlist for you to get familiar with our artists. 

Start your WOMAD journey of discovery today!

#WOMADNZ #Experiencetheworld 

www.womad.co.nz

Claim HMS Endeavour is found, solving one of the great maritime mysteries

Marine archaeologists believe they have finally identified the resting place of HMS Endeavour, the ship James Cook commanded to New Zealand on his first voyage of discovery, an achievement that would solve one of the greatest maritime mysteries of all time.

The breakthrough has raised hopes the vessel will be excavated next year, in time for the 250th anniversary of Cook's arrival in Australia. The ship is historically significant to many countries - including the US, Britain, New Zealand and Australia - and its excavation could spark a battle over where the wreckage should be housed.

The breakthrough, to be officially announced on Friday, follows an arduous 25-year search for the historic ship off Newport, Rhode Island, on the north-eastern coast of the US.

Archaeologists from the Australian National Maritime Museum and the Rhode Island Marine Archaeology Project will release a detailed 3D image of the site in Newport Harbour where they believe the ship is located.

Peter Dexter, the chairman of the Australian National Maritime Museum, is travelling to the United States to attend the event, as will Australia's consul-general in New York, Alastair Walton.

Over 25 years, marine archaeologists have narrowed down the search for the Endeavour from a fleet of 13 vessels to five, and have now pinpointed one extremely promising site.

The site is located just off Goat Island, a small island in the Narragansett Bay.

Dr Kathy Abbass, director of the Rhode Island Marine Archaeology Project, said: "We can say we think we know which one it is.  "It is exciting, we are closing in.

"This is a vessel that is significant to people around the world."

Abbass said she was hopeful the ship could be excavated next year, in time for the April 2020 celebrations marking 250 years since Cook's arrival at Botany Bay.

She said the identity of the ship will only be definitively proven after its excavation, which will require significant funding.

The Endeavour was purchased by the British Navy in 1768 for a scientific mission to the Pacific Ocean and to locate the mysterious southern continent then known as Terra Australis.

Cook departed Plymouth in August 1768, travelling through the Pacific Islands before arriving in New Zealand in September 1769.

In April 1770, Endeavour became the first ship to reach the east coast of Australia, when Cook arrived at the site now known as Botany Bay.

The ship was sold in 1775 and renamed Lord Sandwich 2. It was hired as a British troop transport during the American War of Independence and was scuttled in a blockade off Rhode Island in 1778.

Volunteer researchers from the Rhode Island Marine Archaeology Project began their study of the group of vessels believed to include the ship in 1993.

In recent years, the Australian National Maritime Museum has provided grants to help fund the deep-dive and remote sensing studies that have helped narrow the search for the ship.

"Now that RIMAP [Rhode Island Marine Archaeology Project] and the ANMM [Australian National Maritime Museum] have identified a possible site in Newport Harbor that might be the Lord Sandwich ex Endeavour, the detailed work must begin to prove it," Abbass said in a statement posted on the group's website on Tuesday (US time).

"Therefore, fundraising is ongoing for the artefact management facility needed to process, store, and display the artefacts that will emerge from the planned 2019 excavation."

Learn more: http://www.rimap.org/

Fat Freddy's Hit The Road This Summer

FAT FREDDY'S DROP

ANNOUNCE

TO JOIN THEM FOR 

AUCKLAND, CHRISTCHURCH & QUEENSTOWN
SUMMER SHOWS

Photo Credit: Harry A’Court at Inject Design

Fat Freddys Drop are stoked to announce Unknown Mortal Orchestra will be joining them for three of their NZ Summer Tour shows, in Auckland at Western Springs,  Christchurch's Hagley Park and in Queenstown at John Davies Oval.

Fat Freddy's Drop are currently in the midst of an epic European tour that has been running since August and goes through to mid-November encompassing 30 shows. After playing some of the biggest EU festivals and selling-out Zitadelle, Berlin at 10k capacity, the band have already sold out upcoming shows in Brussels, Copenhagen, Manchester, Glasgow and Friday 8th November at O2 Academy Brixton in London.

Unknown Mortal Orchestra are also on an epic tour run across the globe in support of their latest album Sex and Food and have just finished their NZ Tour culminating in the triumphant sold-out performance at Auckland's Town Hall.

"UMO's show was an insane journey from hardcore psychedelic rock, to pop punk to alternative/indie and was an astonishing performance from all members of the band." - Radio 13

"The vibe was electric and emotional - audience members still wanted more" - undertheradar.co.nz

Freddy's MC Slave is the band's number one UMO fanboy, remarking, “They’re bad-ass musicians who’ve been trail blazing around the world big time. We’re lucky to have them with us for our New Zealand summer roady”.

Fat Freddy's Drop new single 'Trickle Down' has been heating up since its worldwide digital release. The electronic-driven reaction to the politics of the day – the false economic principle of wealth trickling down from the 1% to the 99% hit #1 on the Top 20 Hot NZ Singes chart.

Recorded at the band’s BAYS studio in their Wellington hometown, 'Trickle Down'  is a slice of the new album they’re cooking up as a follow-up to their earlier releases; BAYS, Blackbird, Dr Boondigga & The Big BW and record breaking Based on a True Story.  'Trickle Down' is released digitally now and a 12” release to follow.

Fat Freddy’s Drop NZ Summer Tour 2019 dates:

Thursday 3 Jan : Toll Stadium, Whangarei

Special Guests The Black Seeds, Norman Jay MBE, Troy Kingi

Saturday 5 Jan : Wharepai Domain, Tauranga

By Special Arrangement: Salmonella Dub feat. Tiki Taane, Norman Jay MBE, and Troy Kingi

Monday 7 Jan : Thames Racecourse, Thames - Coromandel

Special Guests The Black Seeds, Norman Jay MBE

Wednesday 9 Jan : Neudorf Vineyard, Upper Moutere, Nelson

Special Guest Norman Jay MBE Legendary 3 hour DJ set

Saturday 12 Jan : Hagley Park, Christchurch

Special Guests Unknown Mortal Orchestra, The Black Seeds, Norman Jay MBE, Ladi6

More to be announced

Monday 14 Jan : John Davies Oval, Queenstown

Special Guests Unknown Mortal Orchestra, Norman Jay MBE

Saturday 19 Jan : Western Springs Park, Auckland

Special Guests Unknown Mortal Orchestra, Norman Jay MBE, Ladi6, Troy Kingi, Silva MC, Logg Cabin

Monday 21 Jan : Williams Park, Days Bay, Wellington

Special Guests Norman Jay MBE - Legendary 3 hour DJ set

Tickets Available Now from Ticketmaster

Today - 125 years of Women's Sufferage in New Zealand

2018 marks the 125^th anniversary of women’s suffrage in New Zealand.  On 19 September 1893 the Electoral Act 1893 was passed, giving all women in New Zealand the right to vote.  As a result of this landmark legislation, New Zealand became the first self-governing country in the world in which all women had the right to vote in parliamentary elections.

This Tier 1 Commemoration is being led by the Ministry for Women and supported by the Ministry for Culture and Heritage.  We are working to connect events and activities across the country. Branding, social media and web platforms are being developed to facilitate these connections and establish a national programme of events to celebrate this significant anniversary.

Visit the Suffrage 125 facebook page here.

Throughout the year you'll see the above symbol on Suffrage 125 related activities. Be sure and keep an eye out and support the individuals, groups and organisations that are participating across the country. Details about wishing to use the Suffrage 125 symbol are here.

Suffrage 125 pins can be purchased through the National Council of Women, the National Library of New Zealand's gift shop and also Heritage New Zealand Pouhere Taonga properties.   

Suffrage 125 aims to:

• develop a commemorative programme that is relevant, meaningful and attractive to a diverse range of New Zealanders;
• highlight previously untold stories of people who contributed to achieving suffrage in NZ – particularly stories from Māori, Pacific, and Chinese communities;
• celebrate game-changing individuals of a range of ages and cultural and socio-economic backgrounds, who do extraordinary things to create positive social change for women and New Zealand; and
• create a forum for conversations about our future and the importance of civic engagement and participation.

Key dates are:

• 19 September, anniversary of when all New Zealand women over the age of 21 were granted the right to vote
• 28 November, anniversary of when New Zealand women voted for first time.

A $300,000 contestable community fund has been launched to celebrate Suffrage125. For more information and how to apply for funding go to the Ministry for Women. Visit Creative New Zealand’s website for details about potential sources of funding for arts projects. You might want to visit the Lottery Grant’s website for other funding information.

Visit the NZHistory website to view a database listing the names that appeared on the main suffrage petition submitted to Parliament in 1893.

What’s happening so far?

These are just some of the organisations and proposed initiatives to celebrate Suffrage 125.

• Royal New Zealand Ballet is proposing a programme of commissioned works by international female choreographers.
• He Tohu at National Library will run a series of public programmes during 2018 focused around the suffrage petition.
• Ngā Taonga Sound and Vision is working on an online exhibition of 125 people who have contributed to women’s rights in New Zealand, as well as a screening series and discussion forum.
• Te Papa is publishing a book on 12 objects and essays exploring topics such women’s rights and suffrage.
• Auckland Museum is holding a major exhibition exploring suffrage within a contemporary context.
• Ministry for Education is seeking submissions on Suffrage 125 as part of Ministry in Māori Medium, bringing Māori history to life to Te Reo Māori learners.
• Ministry for Culture & Heritage is developing a Suffrage 125 web page on NZHistoryfeaturing educational content, timeline and an online exhibition juxtaposing women activists today, 1970s women’s liberation and the 1890s suffragists.

The CoffeeBar Kid talks to Amy Shark

Aussie singer/songwriter Amy Shark is in town.  So, Groove's CoffeeBar Kid rang her up for a bit of a chat about her music and tour.  Details on that are below:

Amy Shark is an indie-pop songwriter who grew up in the Gold Coast, Australia. Before the success of Amy’s debut single ‘Adore,’ she had been a video editor for the Gold Coast Titans and a resident of Broadbeach Waters with her husband Shane and was an active musician on YouTube since 2014.

‘Adore’ was released in July 2016 and the track was almost immediately added to  Triple J, where it eventually peaked at #2 on the Triple J Hottest 100.

The single has accumulated over 60 million streams worldwide, debuted at #3 on the ARIA Singles Chart, peaked at #1 on the iTunes AU Singles Chart and Shazam’s Australia Top 100 - proving the hit to be a huge success in Australia, and is now certified three times platinum.

The video clip for ‘Adore’ was shot and edited by Amy herself and has had over 7 million views on YouTube.

Last year she was the winner of two ARIA awards (Best Pop Release and Breakthrough Artist) and her debut EP Night Thinker exploded into the top 10 on iTunes in 15 countries. Amy also became the first-ever Australian Apple Music ‘Up Next’ Artist.

Amy’s success story continues to grow both here and abroad. Her latest single ‘I Said Hi’ has reached 2 x platinum sales in Australia.

LOVE MONSTER NZ TOUR

The Powerstation, Auckland            Thursday 13 September   

The Foundry, Christchurch               Friday 14 September        

Hunter Lounge, Wellington             Saturday 15 September    

Tickets to Amy Shark’s Love Monster tour are on sale now at www.amyshark.com              

Amy’s last NZ tour was a sell-out, more recently she performed at Auckland’s Laneway Festival, where she met this mum to be....

The Adults - Meow (1 Sept 2018)

After a 7 year hiatus, Jon Toogood's The Adults project is back with a new band and a new direction that celebrates women from the Middle East and embraces the music and rhythms of Sudan. 

Tim Gruar (aka The CoffeeBar Kid) popped along to their debut show at Meow Bar over the weekend.

What a thrill to see Jon Toogood back on stage with this side project.  The frontman for New Zealand's hardest workin' rock act, Shihad, has been, err, maturing over the years and branching out into other styles and genres outside heavy metal and power rock.  His first venture as a 'grown-up' (hence the name) kicked off around 2010 as a Kiwi supergroup, a musical collaboration involving many established New Zealand musicians, including Shayne Carter, Julia Deans, Anika Moa, Tiki Taane and Ladi6.

The Adults released a self-titled album in 2011 which reached number four in the New Zealand album charts. The Adults has also been nominated for Album of the Year at the 2012 New Zealand Music Awards, and the single Anniversary Day was on the long list for the 2012 APRA Silver Scroll award.

I can remember seeing them at the last Big Day and was well impressed by the diversity of the material.  And this time, 7 years on from their debut, Toogood has assembled a different line up to make considerably different music.  Inspired by his wedding in Khartoum, his writing has been definitively defined by Middle Eastern themes and chants.  Haja draws from Sudanese folk music Aghani-Al-Banat.  It is African music performed exclusively by women.  However, Toogood doesn't just appropriate, he showcases it.  Most of the songs on the album are sung by women.  And you can hear this on the opening track.  Sadly Chelsea Jade, who sings the actual vocals on the song was not present tonight but Rapper Raiza Biza was, alongside the wonderfully talented Estère, who delivered the percussion lead groove Bloodlines.  This one mixes ancient Arabic drum tattoos with heavy electronic layers and reedy chanters.  Her voice was finely tuned and as impressive as her elegant attire.  This lady is all class and delivered perfectly.  She told me after that the rehearsals had been short and intense.  Toogood seemed pretty nervous on stage, lest we didn't like what he was bringing.  The distance from Churn and Haja is vast - at least on paper.  Yet musically, it's not really that far.  After all, heavy rock gods Led Zep managed it.  Take Kashmir, for a start.

Percussionist Steve Bremner

That Gold was originally done by Aaradhna but guitarist Emily Browning and Estère gave us a really powerful rendition.  With help from Raiza Biza on rhymes, this track had the potential to be huge.  However, Meow's living room/lounge room space and sound system don't really give the bass power the track really needs.

Most of the set, with the exception of Nothing to Lose and the big wig out encore Short Change, came from the new album.  Despite knowing their roots, to me, all of them had an indeterminate Middle Eastern flavour to them.  So, it was hard to actually pinpoint exactly where influences come from but that didn't really matter.  Only Gisma, the final song on the album was specific in its identity - being a dedication to one of the musicians who played on every track.

Raiza Biza opens the show with his jazz-based rap

The songs weren't overly long, as that could easily become mundane and repetitive.  Some hinted at the kind of Raga that Paul Ubana Jones does so well.  In the mix was dance, pop, hip-hop, reggae and a bit of the old Toogood indie (think Home Again) - all glued up with moody bass lines played by Toogood himself and backed by some superb percussion from Steve Bremner and Trinity Roots' Ben Would.  The latter two made some excellent tribal beats which weaved themselves through the tracks seamlessly.

The lead single Bloodlines remains a standout, boasting Estere's ethereal vocals and Jess B's insane bars which at times seem to flow with barely a second to breathe.

The most redeeming track tonight is the single Take it On the Chin, originally done by Kings, originally lacked the female voice that was present elsewhere on the album but that was rectified with both ladies on the song's vocals tonight.  It would not be right to call this album, or Raiza Biza's opening slow jazz rap set, 'Girl Power' but you definitely felt that there was a huge amount of respect being paid here.  And that needed to be acknowledged.  For an opening show, it was short and painless.  Not entirely overwhelming, but a good start made from the security of a stage in a room that was only just a little bigger than an oversized living room.  Just wait until they get to Auckland!

Tim Gruar (tim_gruar@yahoo.com)

facebook.com/theadultsnz

Aretha Franklin: Close-Up (1968) | A Must See!

1968 TV news special chronicling the extraordinary rise of Soul singer Aretha Franklin. Features tons of candid footage at Atlantic Records recording studios with Jerry Wexler, Tom Dowd and first husband Ted White; being presented an award by Martin Luther King; backup vocal and dance rehearsals with her sisters; appearance at a teen dance show; interview with her father CL Franklin about her gospel roots. This documentary can be found elsewhere on YouTube in full color, however this B&W print has better audio and has been rendered in 720p HD.  I do not control the rights. Shared for historical purpose

Check out new book reviews at the Groove Book Report

New books by Andy Griffiths and Terry Denton's kid's new classic 104 Storey Treehouse and John Ajvide Lindqvist's creepy thriller I Always Find You, plus a whole lot more at http://groovebookreport.blogspot.com/

Respect it. Aretha Franklin turned Otis Redding’s plea into the most empowering popular recording ever made.

New York Times - By Wesley Morris - Aug. 16, 2018

Officially, “Respect” is a relationship song. That’s how Otis Redding wrote it. But love wasn’t what Aretha Franklin was interested in. The opening line is “What you want, baby, I got it.” But her “what” is a punch in the face. So Ms. Franklin’s rearrangement was about power. She had the right to be respected — by some dude, perhaps by her country. Just a little bit. What did love have to do with that?

Depending on the house you grew up in and how old you are, “Respect” is probably a song you learned early. The spelling lesson toward the end helps. So do the turret blasts of “sock it to me” that show up here and there. But, really, the reason you learn “Respect” is the way “Respect” is sung. Redding made it a burning plea. Ms. Franklin turned the plea into the most empowering popular recording ever made.

Ms. Franklin died on Thursday, at 76, which means “Respect” is going to be an even more prominent part of your life than usual. The next time you hear it, notice what you do with your hands. They’re going to point — at a person, a car or a carrot. They’ll rest on your hips. Your neck might roll. Your waist will do a thing. You’ll snarl. Odds are high that you’ll feel better than great. You’re guaranteed to feel indestructible.

Ms. Franklin’s respect lasts for two minutes and 28 seconds. That’s all — basically a round of boxing. Nothing that’s over so soon should give you that much strength. But that was Aretha Franklin: a quick trip to the emotional gym. Obviously, she was far more than that. We’re never going to have an artist with a career as long, absurdly bountiful, nourishing and constantly surprising as hers. We’re unlikely to see another superstar as abundantly steeped in real self-confidence — at so many different stages of life, in as many musical genres.

That self-confidence wasn’t evident only in the purses and perms and headdresses and floor-length furs; the buckets and buckets of great recordings; the famous demand that she always be paid before a show, in cash; or the Queen of Soul business — the stuff that keeps her monotonously synonymous with “diva.” It was there in whatever kept her from stopping and continuing to knock us dead. To paraphrase one of Ms. Franklin’s many (many) musical progeny: She slayed. “Respect” became an anthem for us, because it seemed like an anthem for her.

Most Americans had never heard anything quite as dependably great and shockingly big as Ms. Franklin.

The song owned the summer of 1967. It arrived amid what must have seemed like never-ending turmoil — race riots, political assassinations, the Vietnam draft. Muhammad Ali had been stripped of his championship title for refusing to serve in the war. So amid all this upheaval comes a singer from Detroit who’d been around most of the decade doing solid gospel R&B work. But there was something about this black woman’s asserting herself that seemed like a call to national arms. It wasn’t a polite song. It was hard. It was deliberate. It was sure. And that all came from Ms. Franklin — her rumbling, twanging, compartmentalized arrangement. It came, of course, from her singing.