• Born: 25 March 1942
• Birthplace: Memphis, Tennessee
• Best Known As: The "Queen of Soul" who sang "Respect"

Aretha Franklin is called "The Queen of Soul" and "Lady Soul," nicknames that are a tribute to her regal style and impassioned gospel-tinged vocals. The daughter of Rev. C. L. Franklin, a Detroit gospel singer and clergyman, Aretha began performing on the Midwest gospel music circuit as a youngster and made her first recording when she was 14 years old. Her pop music recording career began when she signed a record deal in 1961 with CBS/Columbia, but her career really took off when she signed with Atlantic Records in 1967. By the end of the 1960s Franklin was at her peak as an artist -- with hits including Otis Redding's "Respect", as well as "Chain of Fools" and "(You Make Me Feel Like) A Natural Woman" -- and had become an African-American icon during the era's turbulent battles over civil rights for minorities and women. She sang "God Bless America" at the 1977 inauguration of President Jimmy Carter and continued to perform and record both soul and gospel music into the 21st century. Though her last mainstream hit record was 1985's Freeway Of Love, Franklin's place in music history is secure: she was inducted into the Rock and Roll Hall of Fame in 1987.

• Birth Name: Aretha Louise Franklin
• Genre: Rhythm & Blues
• Active: '50s - '90s
• Instruments: Vocals, Piano

Biography

Aretha Franklin is one of the giants of soul music, and indeed of American pop as a whole. More than any other performer, she epitomized soul at its most gospel-charged. Her astonishing run of late-'60s hits with Atlantic Records -- "Respect," "I Never Loved a Man," "Chain of Fools," "Baby I Love You," "I Say a Little Prayer," "Think," "The House That Jack Built," and several others -- earned her the title "Lady Soul," which she has worn uncontested ever since. Yet as much of an international institution as she's become, much of her work -- outside of her recordings for Atlantic in the late '60s and early '70s -- is erratic and only fitfully inspired, making discretion a necessity when collecting her records.

Franklin's roots in gospel ran extremely deep. With her sisters Carolyn and Erma (both of whom would also have recording careers), she sang at the Detroit church of her father, Reverend C.L. Franklin, while growing up in the 1950s. In fact, she made her first recordings as a gospel artist at the age of 14. It has also been reported that Motown was interested in signing Aretha back in the days when it was a tiny start-up. Ultimately, however, Franklin ended up with Columbia, to which she was signed by the renowned talent scout John Hammond.

Franklin would record for Columbia constantly throughout the first half of the '60s, notching occasional R&B hits (and one Top 40 single, "Rock-a-bye Your Baby With a Dixie Melody") but never truly breaking out as a star. The Columbia period continues to generate considerable controversy among critics, many of whom feel that Aretha's true aspirations were being blunted by pop-oriented material and production. In fact, there's a reasonable amount of fine items to be found on the Columbia sides, including the occasional song ("Lee Cross," "Soulville") where she belts out soul with real gusto. It's undeniably true, though, that her work at Columbia was considerably tamer than what was to follow, and suffered in general from a lack of direction and an apparent emphasis on trying to develop her as an all-around entertainer, rather than as an R&B/soul singer.

When Franklin left Columbia for Atlantic, producer Jerry Wexler was determined to bring out her most soulful, fiery traits. As part of that plan, he had her record her first single, "I Never Loved a Man (The Way I Love You)," at Muscle Shoals in Alabama with esteemed Southern R&B musicians. In fact, that was to be her only session actually at Muscle Shoals, but much of the remainder of her '60s work would be recorded with the Muscle Shoals Sound Rhythm Section, although the sessions would actually take place in New York City. The combination was one of those magic instances of musical alchemy in pop: the backup musicians provided a much grittier, soulful, and R&B-based accompaniment for Aretha's voice, which soared with a passion and intensity suggesting a spirit that had been allowed to fly loose for the first time.

In the late '60s, Franklin became one of the biggest international recording stars in all of pop. Many also saw Franklin as a symbol of black America itself, reflecting the increased confidence and pride of African-Americans in the decade of the civil rights movements and other triumphs for the black community. The chart statistics are impressive in and of themselves: ten Top Ten hits in a roughly 18-month span between early 1967 and late 1968, for instance, and a steady stream of solid mid- to large-size hits for the next five years after that. Her Atlantic albums were also huge sellers, and far more consistent artistically than those of most soul stars of the era. Franklin was able to maintain creative momentum, in part, because of her eclectic choice of material, which encompassed first-class originals and gospel, blues, pop, and rock covers, from the Beatles and Simon & Garfunkel to Sam Cooke and the Drifters. She was also a fine, forceful, and somewhat underrated keyboardist.

Franklin's commercial and artistic success was unabated in the early '70s, during which she landed more huge hits with "Spanish Harlem," "Bridge Over Troubled Water," and "Day Dreaming." She also produced two of her most respected, and earthiest, album releases with Live at Fillmore West and Amazing Grace. The latter, a 1972 double LP, was a reinvestigation of her gospel roots, recorded with James Cleveland and the Southern California Community Choir. Remarkably, it made the Top Ten, counting as one of the greatest gospel-pop crossover smashes of all time.

Franklin had a few more hits over the next few years -- "Angel" and the Stevie Wonder cover "Until You Come Back to Me" being the most notable -- but generally her artistic inspiration seemed to be tapering off, and her focus drifting toward more pop-oriented material. Her Atlantic contract ended at the end of the 1970s, and since then she's managed to get intermittent hits -- "Who's Zooming Who" and "Jump to It" are among the most famous -- without remaining anything like the superstar she was at her peak. Many of her successes were duets, or crafted with the assistance of newer, glossier-minded contemporaries such as Luther Vandross. There was also another return to gospel in 1987 with One Lord, One Faith, One Baptism.

Critically, as is the case with many '60s rock legends, there have been mixed responses to her later work. Some view it as little more than a magnificent voice wasted on mediocre material and production. Others seem to grasp for any excuse they can to praise her whenever there seems to be some kind of resurgence of her soul leanings. Most would agree that her post-mid-'70s recordings are fairly inconsequential when judged against her prime Atlantic era. The blame is often laid at the hands of unsuitable material, but it should also be remembered that -- like Elvis Presley and Ray Charles -- Franklin never thought of herself as confined to one genre. She always loved to sing straight pop songs, even if her early Atlantic records gave one the impression that her true home was earthy soul music. If for some reason she returned to straight soul shouting in the future, it's doubtful that the phase would last for more than an album or two. In the meantime, despite her lukewarm recent sales record, she's an institution, assured of the ability to draw live audiences and immense respect for the rest of her lifetime, regardless of whether there are any more triumphs on record in store. ~ Richie Unterberger, All Music Guide

So Damn Happy [Japan] Buy this CD	Live at Fillmore West Buy this CD	Jazz Moods: 'Round Midnight Buy this CD	Don't Fight the Feeling Buy this CD	The Essentials Buy this CD
The Tender, The Moving, The Swinging/Soft and Beautiful Buy this CD	One Lord, One Faith, One Baptism [Bonus Tracks] Buy this CD	Platinum & Gold Collection Buy this CD	Hall of Fame Buy this CD	So Damn Happy Buy this CD

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Aretha Franklin (born 1942) had a modest beginning as a gospel singer in Detroit before becoming known as the "Queen of Soul."

When asked by Patricia Smith of the Boston Globe how she felt about being called the "Queen of Soul," Aretha Franklin's reply was characterized by grace but no false modesty. "It's an acknowledgment of my art," she mused. "It means I am excelling at my art and my first love. And I am most appreciative." Since she burst onto the public consciousness in the late 1960s with a batch of milestone recordings, Franklin has served as a standard against which all subsequent soul divas have been measured.

The combination of Franklin's gospel roots and some devastating life experiences have invested her voice with a rare - and often wrenching - authenticity. "It was like I had no idea what music was all about until I heard her sing," confessed singer-actress Bette Midler, as cited in Ebony. Though Franklin's work in later decades has rarely matched the fire - or the sales figures - of her most celebrated singles, she has remained an enduring presence in contemporary music. The release of several CD retrospectives and the announcement in 1995 that she would publish an autobiography and start her own record label seemed to guarantee that her influence would continue unabated.

Franklin was raised in Detroit, the daughter of famed minister C. L. Franklin and gospel singer Barbara Franklin, who left the family when Aretha was small and died shortly thereafter. The singer told Ebony's Laura B. Randolph, "She was the absolute lady," although she admits that memories of her mother are few. The Reverend Franklin was no retiring clergyman; he enjoyed the popularity and, to some degree, the lifestyle of a pop star. He immediately recognized his daughter's prodigious abilities, and offered to arrange for piano lessons. However, the child declined, instead teaching herself to play by listening to records.

Gospel Roots

Franklin's talent as a singer allowed her to perform with her father's traveling gospel show. She sang regularly before his congregation at Detroit's New Bethel Baptist Church as well, where her performance of "Precious Lord," among other gospel gems, was captured for posterity. She was 14 years old but already a spellbinding performer. Producer Jerry Wexler - who shepherded Franklin to greatness on behalf of Atlantic Records some years later - was stunned by the 1956 recording. "The voice was not that of a child but rather of an ecstatic hierophant [a priest in ancient Greece]," he recalled in his book Rhythm and the Blues.

Franklin's life was no church social, however. She became a mother at age 15 and had her second child two years later. "I still wanted to get out and hang with my friends," she recollected to Ebony's Randolph, "so I wanted to be in two places at the same time. But my grandmother helped me a lot, and my sister and my cousin. They would babysit so I could get out occasionally."

Although first inspired by gospel music, Franklin soon became interested in non-religious music. After receiving her father's encouragement, she traveled to New York in 1960, embarked on vocal and dance lessons, and hired a manager. She then began recording demonstration tapes. Like singer-songwriter-pianist Ray Charles, who has often been credited with the invention of "soul music," Franklin brought the fire of gospel to pop music, her spiritual force in no way separated from her earthy sexuality.

Collaborations Launched Career

Celebrated Columbia Records executive John Hammond was so taken by Franklin's recordings that he signed her immediately. Her first Columbia album was issued in the fall of 1960. While a few singles made a respectable showing on the charts, it was clear that the label wasn't adequately showcasing her gifts, either in its choice of material or production. "I cherish the recordings we made together," remarked Hammond in Rhythm and the Blues, "but, finally, Columbia was a white company [that] misunderstood her genius."

Franklin's manager at the time, Ted White, was also her husband; they agreed that she should pursue other options when her contract expired. Wexler leapt at the opportunity to sign her to Atlantic, and eventually he, Arif Mardin, and Tom Dowd produced Franklin's first Atlantic sides.

Wexler brought Franklin to the Florence Alabama Music Emporium (FAME) studios in Muscle Shoals, Alabama, to record with a unique group of musicians adept in soul, blues, pop, country, and rock. This crew was stunned by Franklin's power and prowess. Accompanying herself on piano, she deftly controlled the tone and arrangement of the songs she performed. Backing vocals were provided either by her sisters Carolyn and Erma or by the vocal group the Sweet Inspirations, which featured Cissy Houston, mother of future singing star Whitney Houston. Wexler also brought in young rock guitarists Duane Allman and Eric Clapton for guest spots.

Unfortunately, only one of two songs - "I Never Loved a Man (the Way I Love You)" - was finished when White and one of the musicians had a drunken row; White grabbed Franklin and they vanished for a period of weeks. Wexler balanced jubilation with anxiety, as radio programmers around the country embraced "I Never Loved a Man," and distributors clamored for an album. But the artist was nowhere to be found. At last she surfaced in New York, where she completed the unfinished "Do Right Woman, Do Right Man," and in Wexler's words, "the result was perfection."

Franklin's first album for Atlantic, I Never Loved a Man (the Way I Love You), was released in 1967, and several hit-filled LPs followed. During this crucial period she enjoyed a succession of smash singles that included the rollicking "Baby I Love You," the pounding groove "Chain of Fools," the supercharged "Think," (which she wrote), the tender "(You Make Me Feel Like a) Natural Woman," and a blistering take on Otis Redding's "Respect." The latter two would become Franklin's signature songs.

R-E-S-P-E-C-T

Franklin's version of "Respect," coming as it did at a crucial point for black activism, feminism, and sexual liberation, was particularly potent. Wexler noted that Franklin took Redding's more conventional take on the song and "turned it inside out, making it deeper, stronger, loading it with double entendres." What's more, he noted, "The fervor in Aretha's magnificent voice" implied not just everyday respect but "sexual attention of the highest order," as implied by the "sock it to me" backup chorus she and her sisters devised.

Writer Evelyn C. White, in an Essencepiece, referred to "Respect" as a revolutionary force in her own life. Franklin's "impassioned, soulful licks and sly innuendos about sexual pleasure made me feel good about myself," she wrote, "both as a black American and as a young girl about to discover sex." Eventually, the song would become an American pop standard. At the time of its release, however, it served primarily as a fight song for social change, and went on to score two trophies at that year's Grammy Awards.

Franklin's voice was crucial to the soundtrack of the era, and not just as a record playing on the radio. Franklin's father was a close friend of civil rights leader Rev. Martin Luther King, Jr. and his family. When the crusading minister was assassinated in 1968, Franklin was enlisted to sing at his funeral. Wexler described her performance of "Precious Lord" as "a holy blend of truth and unspeakable tragedy."

Franklin also sang the National Anthem at the Democratic Party's riot-marred 1968 convention in Chicago. Yet even as her soulful wail soothed a number of difficult national transitions and transformations, Franklin's own changes were hidden from view. "I think of Aretha as 'Our Lady of Mysterious Sorrows,"' Wexler wrote. "Her eyes are incredible, luminous eyes covering inexplicable pain. Her depressions could be as deep as the dark sea. I don't pretend to know the sources of her anguish, but anguish surrounds Aretha as surely as the glory of her musical aura."

Despite her inner turmoil, Franklin enjoyed phenomenal commercial success during these years. A number of other blockbuster Atlantic albums followed her debut on the label, and she proceeded to take home Grammys every year between 1969 and 1975. Instead of slowing down after all her overwhelming success, she continued to explore rock and pop records for new material and recorded cover versions of songs by the Beatles, Elton John, the Band, Paul Simon, Jimi Hendrix, and many others. "She didn't think in terms of white or black tunes, or white or black rhythms," noted Wexler. "Her taste, like her genius, transcended categories."

In 1972 Franklin sang at the funeral of gospel giant Mahalia Jackson, which suggested her stature in the gospel world; it was no surprise when Amazing Grace, an album of church music she recorded with Wexler, soared up the pop charts that year. At the inauguration of President Jimmy Carter in 1977, she provided an a capella rendition of "God Bless America."

Triumphed Despite Turmoil

Having parted ways with husband/manager Ted White some years earlier, Franklin married actor Glynn Turman in 1978. They divorced six years later. By the end of the 1970s, her record sales had dwindled, but she took an attention-getting turn in the Blues Brothers movie, in which she both acted and sang. The film and the Blues Brothers albums, recorded by Saturday Night Live funnymen and blues and soul fanatics Dan Aykroyd and John Belushi, helped fuel a new mainstream interest in 1960s soul.

In 1980 Franklin elected to leave Atlantic and sign with Arista Records. The label's slick production and commercial choice of material earned greater sales than she had enjoyed for some time, particularly for the single "Freeway of Love." She earned three more Grammys during the decade. Nonetheless, Dave DiMartino of Entertainment Weekly grumbled that most of her hits at Arista "have been assembled by big-name producers like Narada Michael Walden and might have easily featured another singer entirely - like, say, label mate Whitney Houston" ; DiMartino also objected to the relentless pairing of Franklin with other stars for much-hyped duets, remarking, "Like … Aretha Franklin needs a gimmick?"

In 1979 Franklin's father was shot by a burglar in his home and fell into a coma. He died several years later, having never regained consciousness. As Ebony's Randolph wrote, "When you've said as many goodbyes as Aretha, it's impossible not to be palpably shaped by loss." The singer cited a point during her father's hospitalization as the most difficult decision of her life. "We had to have a trach [a tracheotomy, a procedure that involves cutting through the vocal chords]," she confided, "and we were afraid it would affect his voice, which was certainly his living."

But beyond this and other painful incidents, further triumphs lay ahead for Franklin. She was the first woman inducted into the Rock and Roll Hall of Fame, won a Grammy for best soul gospel performance, was the subject of an all-star documentary tribute broadcast on public television, sang at the inauguration of another president, Bill Clinton, in 1993, and won a lifetime achievement Grammy in 1995. Franklin might not have been the commercial powerhouse that some of her younger acolytes, like Whitney Houston and Mariah Carey, but she definitely had become an institution.

Franklin - who moved back to the Detroit area in the mid-1990s - announced plans for an autobiography and also made public her intention to start a record label, which would be called World Class Records. "I'm looking for space," she told the Boston Globe. "I'm the CEO." She continued to perform, her band by that time featuring two of her sons, Kecalf Cunningham and Teddy Richards.

Other projects, including film and television appearances, were also in the works. "I just strive for excellence pretty much across the board, whether it's as a producer, songwriter or singer," Franklin proclaimed to Boston Globe writer Smith. "I give people what I feel is best, not just what everyone says is 'hot.' I want to do things that are going to be meaningful and inspiring to them one way or another." Asked by the Detroit Free Press if she ever got tired of singing "Respect," the Queen of Soul replied, "Actually, no. I just find new ways of refreshing the song." Similarly, Franklin's voice continues to refresh new listeners.

Further Reading

Rees, Dafydd, and Luke Crampton, Rock Movers & Shakers, Billboard, 1991.

Wexler, Jerry, and David Ritz, Rhythm and the Blues: A Life in American Music, Knopf, 1993.

Boston Globe, June 14, 1991, p. 39; March 21, 1994, p. 30; September 29, 1995, p. 55.

Detroit Free Press, June 10, 1994, p. 3D; June 18, 1994, p. 2A.

Ebony, April 1995, pp. 28-33.

Entertainment Weekly, May 15, 1992, p. 64.

Essence, August 1995, pp. 73-77.

Jet, August 21, 1995, p. 33.

People, February 19, 1996, p. 22.

singer; songwriter; gospel singer; actor

Personal Information

Born on March 25, 1942, in Memphis, TN; daughter of Clarence L. (a Baptist minister) and Barbara Franklin (a gospel singer); married Ted White (a businessman and music manager), 1961 (divorced); married Glynn Turman (an actor), 1978 (divorced, 1984); children: Clarence, Edward, Teddy Richards, Kecalf Cunningham.

Career

Performed with father's touring revue, recorded gospel music for Chess label, 1950s; singer and songwriter, 1960-; Columbia Records, recording artist, 1960-67; Atlantic Records, recording artist, 1967-80; actress, 1980-; Arista Records, recording artist, 1980-.

Life's Work

When asked by Patricia Smith of the Boston Globe how she felt about being called the "Queen of Soul," Aretha Franklin's reply was characterized by grace but no false modesty. "It's an acknowledgment of my art," she mused. "It means I am excelling at my art and my first love. And I am most appreciative." Since she burst onto the public consciousness in the late 1960s with a batch of milestone recordings, Franklin has served as a standard against which all subsequent soul divas have been measured.

The combination of Franklin's gospel roots and some devastating life experiences have invested her voice with a rare--and often wrenching--authenticity. "It was like I had no idea what music was all about until I heard her sing," confessed singer-actress Bette Midler, as cited in Ebony. Though Franklin's work in ensuing decades has rarely matched the fire--or the sales figures--of her most celebrated singles, she has remained an enduring presence in contemporary music. The release of several CD retrospectives in the 1980s and 1990s, her 1999 autobiography, and her celebrated 2003 tour seemed to guarantee that her influence would continue unabated.

Birth of a Gospel Singer

Franklin was born on March 25, 1942, in Memphis, Tennessee. She was raised in Detroit, Michigan, the daughter of famed minister C. L. Franklin and gospel singer Barbara Franklin, who left the family when Aretha was small and died shortly thereafter. "She was the absolute lady," the Queen of Soul told Ebony's Laura B. Randolph, while at the same time admitting that her memories of her mother are few. For his part, the Reverend Franklin was no retiring clergyman; indeed, he enjoyed the popularity and, to some degree, the lifestyle of a pop star. He immediately recognized his daughter's prodigious abilities, offering to arrange for piano lessons; the child declined, instead teaching herself to play by listening to records.

Franklin's talent as a singer was such that her father took her on the road with his traveling gospel show. She sang regularly before his congregation at Detroit's New Bethel Baptist Church as well, and it was there that her performance of "Precious Lord," among other gospel gems, was captured for posterity. She was 14 years old but already a spellbinding performer. Producer Jerry Wexler--who shepherded Franklin to greatness on behalf of Atlantic Records some years later--was stunned by the 1956 recording. "The voice was not that of a child but rather of an ecstatic hierophant [a priest in ancient Greece]," he recalled in his book Rhythm and the Blues.

Franklin's life was no church social, however. She became a mother at age 15 and had her second child two years later. "I still wanted to get out and hang with my friends," she recollected to Ebony's Randolph, "so I wanted to be in two places at the same time. But my grandmother helped me a lot, and my sister and my cousin. They would babysit so I could get out occasionally."

Though she was first and foremost inspired by gospel music--the performance of "Peace in the Valley" by family friend Clara Ward at a funeral was a seminal influence on her desire to sing--Franklin soon became interested in non-religious music. Rather than dissuade her from this secular path, as some might have expected, her father encouraged her. In 1960 she traveled to New York, embarked on vocal and dance lessons, and hired a manager. She then began recording demonstration tapes.

Marriage of Gospel and Pop

While the R&B stars of Detroit's Motown label won a crossover, or white, audience by tempering their wicked grooves with a playful elegance, their southern counterparts never bothered to tone down the raw physicality of the music. Like singer-songwriter-pianist Ray Charles, who has often been credited with the invention of "soul music," Franklin brought the fire of gospel to pop music, her spiritual force in no way separated from her earthy sexuality.

Celebrated Columbia Records executive John Hammond was so taken by Franklin's recordings that he signed her immediately. Her first Columbia album was issued in the fall of 1960. While a few singles made a respectable showing on the charts, it was clear that the label wasn't adequately showcasing her gifts, either in its choice of material or production. "I cherish the recordings we made together," remarked Hammond in Rhythm and the Blues, "but, finally, Columbia was a white company [that] misunderstood her genius."

Franklin's manager at the time, Ted White, was also her husband; they agreed that she should pursue other options when her contract expired. Wexler leapt at the opportunity to sign her to Atlantic; he originally intended to send her to Memphis to record with the staff of the legendary Stax/Volt studios, who'd already made landmark recordings with the likes of Otis Redding and Wilson Pickett. Wexler himself had his hands full with other projects, but the task of producing Franklin's first Atlantic sides ultimately fell to him, Arif Mardin, and Tom Dowd.

Wexler brought Franklin to the Florence Alabama Music Emporium (FAME) studios in Muscle Shoals, Alabama, to record with a unique group of musicians adept in soul, blues, pop, country, and rock. This able crew was stunned by Franklin's power and prowess. Accompanying herself on piano, she deftly controlled the tone and arrangement of the songs she performed; this was an integral part of Wexler's strategy to capture her natural brilliance on tape. Backing vocals were provided either by her sisters Carolyn and Erma or by the vocal group the Sweet Inspirations, which featured Cissy Houston, mother of future singing star Whitney Houston. Wexler also brought in young rock lions like guitarists Duane Allman and Eric Clapton for guest spots.

Unfortunately, only one of two songs--"I Never Loved a Man (the Way I Love You)"--was finished when White and one of the musicians had a drunken row. White grabbed Franklin and they vanished for a period of weeks. Wexler balanced jubilation with anxiety; radio programmers around the country embraced "I Never Loved a Man," and distributors clamored for an album, but the artist was nowhere to be found. At last she surfaced in New York, where she completed the unfinished "Do Right Woman, Do Right Man"; in Wexler's words, "the result was perfection."

Earning R E S P E C T

Franklin's first album for Atlantic, I Never Loved a Man (the Way I Love You), was released in 1967, and several hit-filled LPs followed. During this crucial period she enjoyed a succession of smash singles that included "I Never Loved a Man," the rollicking "Baby I Love You," the pounding groove "Chain of Fools," the supercharged "Think," which she wrote, the tender, anthemic "(You Make Me Feel Like a) Natural Woman," and a blistering take on Otis Redding's "Respect." The latter two would become Franklin's signature songs. With "Natural Woman," according to the Boston Globe's Smith, "She gathers broken women in the circle of her arms, stitches our wounds with a wondrous thread."

Franklin's version of "Respect," coming as it did at a crucial point for black activism, feminism, and sexual liberation, was particularly potent. Wexler noted that Franklin took Redding's more conventional take on the song and "turned it inside out, making it deeper, stronger, loading it with double entendres." What's more, he noted, "The fervor in Aretha's magnificent voice" implied not just everyday respect but "sexual attention of the highest order," as implied by the "sock it to me" backup chorus she and her sisters devised.

Writer Evelyn C. White, in an Essence piece, referred to "Respect" as a revolutionary force in her own life. Franklin's "impassioned, soulful licks and sly innuendos about sexual pleasure made me feel good about myself," she wrote, "both as a black American and as a young girl about to discover sex." Eventually, the song would become an American pop standard; its spelling out of the title word would be referenced in countless articles and commercials. At the time of its release, however, it served primarily as a fight song for social change. It scored two trophies at that year's Grammy Awards.

Franklin's voice was crucial to the soundtrack of the era, and not just as a record playing on the radio. Franklin's father was a close friend of civil rights leader Martin Luther King, Jr., and as a result, she herself was close to King and his family. When the crusading minister was assassinated in 1968, Franklin was enlisted to sing at his funeral. Wexler described her performance of "Precious Lord" as "a holy blend of truth and unspeakable tragedy."

Franklin also sang the National Anthem at the Democratic Party's riot-marred 1968 convention in Chicago. Yet even as her soulful wail soothed a number of difficult national transitions and transformations, Franklin's own changes were hidden from view. "I think of Aretha as 'Our Lady of Mysterious Sorrows,'" Wexler wrote. "Her eyes are incredible, luminous eyes covering inexplicable pain. Her depressions could be as deep as the dark sea. I don't pretend to know the sources of her anguish, but anguish surrounds Aretha as surely as the glory of her musical aura."

Despite her inner turmoil, Franklin enjoyed phenomenal commercial success during these years. A number of other blockbuster Atlantic albums followed her debut on the label, and she proceeded to take home Grammys every year between 1969 and 1975. Still, she did not rest on her laurels; rather, she constantly explored rock and pop records for new material and recorded cover versions of songs by the Beatles, Elton John, the Band, Paul Simon, Jimi Hendrix, and many others. "She didn't think in terms of white or black tunes, or white or black rhythms," noted Wexler. "Her taste, like her genius, transcended categories."

In 1972 Franklin sang at the funeral of gospel giant Mahalia Jackson, which suggested her stature in the gospel world; it was no surprise when Amazing Grace, an album of church music she recorded with Wexler, soared up the pop charts that year. At the inauguration of President Jimmy Carter in 1977, she provided an a capella rendition of "God Bless America."

A Period of Decline

Having parted ways with husband/manager Ted White some years earlier--stories circulated in the press charging that he'd struck her in public--Franklin married actor Glynn Turman in 1978. They divorced some six years later. By the end of the 1970s, her record sales had dwindled, but she took an attention-getting turn in the Blues Brothers movie, in which she both acted and sang; the film and the Blues Brothers albums, recorded by Saturday Night Live funnymen and blues and soul fanatics Dan Aykroyd and John Belushi, helped fuel a new mainstream interest in 1960s soul.

In 1980 Franklin elected to leave Atlantic and sign with Arista Records; the label's slick production and commercial choice of material earned greater sales than she had enjoyed for some time, particularly for the single "Freeway of Love." She earned three more Grammys during the decade. Nonethe