Aretha
Franklin, universally acclaimed as the “Queen of Soul” and one of
America’s greatest singers in any style, died on Thursday at her home in
Detroit. She was 76.
The cause was advanced pancreatic cancer, her publicist, Gwendolyn Quinn, said.
In
her indelible late-1960s hits, Ms. Franklin brought the righteous
fervor of gospel music to secular songs that were about much more than
romance. Hits like “Do Right Woman — Do Right Man,” “Think,” “(You Make
Me Feel Like) A Natural Woman” and “Chain of Fools” defined a modern
female archetype: sensual and strong, long-suffering but ultimately
indomitable, loving but not to be taken for granted.
When Ms. Franklin sang “Respect,”
the Otis Redding song that became her signature, it was never just
about how a woman wanted to be greeted by a spouse coming home from
work. It was a demand for equality and freedom and a harbinger of
feminism, carried by a voice that would accept nothing less.
Ms.
Franklin had a grandly celebrated career. She placed more than 100
singles in the Billboard charts, including 17 Top 10 pop singles and 20
No. 1 R&B hits. She received 18 competitive Grammy Awards,
along with a lifetime achievement award in 1994. She was the first
woman inducted into the Rock & Roll Hall of Fame, in 1987, its
second year. She sang at the inauguration of Barack Obama
in 2009, at pre-inauguration concerts for Jimmy Carter in 1977 and Bill
Clinton in 1993, and at both the Democratic National Convention and the
Rev. Dr. Martin Luther King Jr.’s funeral in 1968.
Succeeding
generations of R&B singers, among them Natalie Cole, Whitney
Houston, Mariah Carey and Alicia Keys, openly emulated her. When Rolling
Stone magazine put Ms. Franklin at the top of its 2010 list of the “100 Greatest Singers of All Time,” Mary J. Blige paid tribute:
“Aretha
is a gift from God. When it comes to expressing yourself through song,
there is no one who can touch her. She is the reason why women want to
sing.”
Ms.
Franklin’s airborne, constantly improvisatory vocals had their roots in
gospel. It was the music she grew up on in the Baptist churches where
her father, the Rev. Clarence LaVaughn Franklin, known as C. L.,
preached. She began singing in the choir of her father’s New Bethel
Baptist Church in Detroit, and soon became a star soloist.
Gospel
shaped her quivering swoops, her pointed rasps, her galvanizing
buildups and her percussive exhortations; it also shaped her piano
playing and the call-and-response vocal arrangements she shared with her
backup singers. Through her career in pop, soul and R&B, Ms.
Franklin periodically recharged herself with gospel albums: “Amazing
Grace” in 1972 and “One Lord, One Faith, One Baptism,” recorded at the
New Bethel church, in 1987.
But
gospel was only part of her vocabulary. The playfulness and harmonic
sophistication of jazz, the ache and sensuality of the blues, the
vehemence of rock and, later, the sustained emotionality of opera were
all hers to command.
[[We want to hear from you. Tell us how Aretha Franklin’s music influenced you.]]
Ms. Franklin did not read music, but she was a consummate American singer, connecting everywhere. In an interview with The New York Times in 2007, she said her father had told her that she “would sing for kings and queens.”
“Fortunately I’ve had the good fortune to do so,” she added. “And presidents.”
For
all the admiration Ms. Franklin earned, her commercial fortunes were
uneven, as her recordings moved in and out of sync with the tastes of
the pop market.
[[Aretha Franklin wasn’t just a vocal genius. She was a model of empowerment and pride.]]
After
her late-1960s soul breakthroughs and a string of pop hits in the early
1970s, the disco era sidelined her. But Ms. Franklin had a resurgence
in the 1980s with her album “Who’s Zoomin’ Who” and its Grammy-winning
single, “Freeway of Love,” and she followed through in the next decades
as a kind of soul singer emeritus: an indomitable diva and a duet
partner conferring authenticity on collaborators like George Michael and
Annie Lennox. Her latter-day producers included stars like Luther
Vandross and Lauryn Hill, who had grown up as her fans. Onstage, Ms.
Franklin proved herself night after night, forever keeping audiences
guessing about what she would do next and marveling at how many ways her
voice could move.
Mother Sang Gospel
Aretha
Louise Franklin was born in Memphis on March 25, 1942. Her mother,
Barbara Siggers Franklin, was a gospel singer and pianist. Her parents
separated when Aretha was 6, leaving her in her father’s care. Her
mother died four years later after a heart attack.
C.
L. Franklin’s career as a pastor led the family from Memphis to Buffalo
and then to Detroit, where he joined the New Bethel Baptist Church in
1946. With his dynamic sermons broadcast nationwide and recorded, he
became known as “the man with the golden voice.”
The
Franklin household was filled with music. Mr. Franklin welcomed
visiting gospel and secular musicians: the jazz pianist Art Tatum, the
singer Dinah Washington, and gospel figures like the young Sam Cooke
(before his turn to pop), Clara Ward, Mahalia Jackson and James
Cleveland, who became Ms. Franklin’s mentors.
Future
Motown artists like Smokey Robinson and Diana Ross lived nearby.
Aretha’s sisters, Erma and Carolyn, also sang and wrote songs, among
them “Piece of My Heart,” a song Erma Franklin recorded before Janis
Joplin did, and Carolyn Franklin’s “Ain’t No Way,” a hit for Aretha. The
sisters also provided backup vocals for Ms. Franklin on songs like
“Respect.” From 1968 until his death in 1989, her brother Cecil was her
manager.
Ms. Franklin started
teaching herself to play the piano — there were two in the house —
before she was 10, picking up songs from the radio and from Ms. Ward’s
gospel records. Around the same time, she stood on a chair and sang her
first solos in church. In David Ritz’s biography “Respect,”
Cecil Franklin recalled that his sister could hear a song once and
immediately sing and play it. “Her ear was infallible,” he said.
At
12, Ms. Franklin joined her father on tour, sharing concert bills with
Ms. Ward and other leading gospel performers. Recordings of a
14-year-old Ms. Franklin performing in churches — playing piano and
belting gospel standards to ecstatic congregations — were released in
1956. Her voice was already spectacular.
But
Ms. Franklin became pregnant, dropped out of high school and had a
child two months before her 13th birthday. She had a second child at 15
by a different father. She also had two sons, Ted White Jr. and Kecalf
Cunningham (her son with Ken Cunningham, a boyfriend during the 1970s).
Complete information about survivors was not immediately available.
In the late 1950s, following the example of Sam Cooke
— who left the gospel group the Soul Stirrers and started a solo career
with “You Send Me” in 1957 — Ms. Franklin decided to build a career in
secular music. Leaving her children with family in Detroit, she moved to
New York City. John Hammond, the Columbia Records executive who had
championed Billie Holiday and would also bring Bob Dylan and Bruce
Springsteen to the label, signed the 18-year-old Ms. Franklin in 1960.
Mr. Hammond saw Ms. Franklin as a jazz singer tinged with blues and gospel. He recorded her with the pianist Ray Bryant’s
small groups in 1960 and 1961 for her first studio album, “Aretha,”
which sent two singles to the R&B Top 10: “Today I Sing the Blues”
and “Won’t Be Long.” The annual critics’ poll in the jazz magazine
DownBeat named her the new female vocal star of the year.
Her
next album, “The Electrifying Aretha Franklin,” featured jazz standards
and used big-band orchestrations; it gave her a Top 40 pop single in
1961 with “Rock-a-Bye Your Baby With a Dixie Melody.”
Her
later Columbia albums were scattershot, veering in and out of jazz, pop
and R&B. Ms. Franklin met and married Ted White in 1961 and made
him her manager; he shares credit on some of the songs Ms. Franklin
wrote in the 1960s, including “Dr. Feelgood.” In 1964 they had a son,
Ted White Jr., who would lead his mother’s band decades later. (She
divorced Mr. White, after a turbulent marriage, in 1969.)
Mr.
White later said his strategy was for Ms. Franklin to switch styles
from album to album, to reach a variety of audiences, but the results — a
Dinah Washington tribute, jazz standards with strings, remakes of
recent pop and soul hits — left radio stations and audiences confused.
When her Columbia contract expired in 1966, Ms. Franklin signed with
Atlantic Records, which specialized in rhythm and blues.
Pivot Point in Muscle Shoals
Jerry
Wexler, the producer who brought Ms. Franklin to Atlantic, persuaded
her to record in the South. Ms. Franklin spent one night in January 1967
at Fame Studios in Muscle Shoals, Ala., recording with the Muscle
Shoals rhythm section, the backup band behind dozens of 1960s soul hits.
Ms. Franklin shaped the arrangements and played piano herself, as she
had rarely done in the studio since her first gospel recordings.
The
new songs were rooted in blues and gospel. And the combination finally
ignited the passion in Ms. Franklin’s voice, the spirit that was only
glimpsed in many of her Columbia recordings.
The
Muscle Shoals session broke down, with just one song complete and
another half-finished, in a drunken dispute between a trumpet player and
Mr. White. He and Ms. Franklin returned to New York. Yet when the song
completed in that session, “I Never Loved a Man (the Way I Love You),”
was released as a single, it reached No. 1 on the R&B charts and No.
9 on the pop charts, eventually selling more than a million copies.
Some
of the Muscle Shoals musicians came north to complete the album in New
York. And with that album, “I Never Loved a Man the Way I Love You,” the
supper-club singer of Ms. Franklin’s Columbia years made way for the
“Queen of Soul.”
“We were simply trying to compose real music from my heart,” Ms. Franklin said in her autobiography, “Aretha: From These Roots,” written with Mr. Ritz and published in 1999.
“Respect,”
recorded on Valentine’s Day 1967 and released in April, was a bluesy
demand for dignity, as well as an instruction to “give it it to me when
you get home” and “take care of T.C.B.” (The letters stood for “taking
care of business.”) Her version of the song resonated beyond individual
relationships to the civil rights, counterculture and feminism
movements.
“It was the need of the
nation, the need of the average man and woman in the street, the
businessman, the mother, the fireman, the teacher — everyone wanted
respect,” she wrote in her autobiography.
“Respect”
surged to No. 1 and would bring Ms. Franklin her first two Grammy
Awards, for best R&B recording and best solo female R&B
performance (an award she won each succeeding year through 1975). By the
end of 1968, she had made three more albums for Atlantic and had seven
more Top 10 pop hits, including “Baby I Love You,” “Chain of Fools,”
“Think” (written by Ms. Franklin and Mr. White) and “I Say a Little
Prayer.”
But
amid the success, Ms. Franklin’s personal life was in upheaval. Songs
like “Think,” “Chain of Fools” and “The House That Jack Built” hinted at
marital woes that she kept private. She fought with her husband and
manager, Mr. White, who had roughed her up in public, a 1968 Time magazine cover story
noted, and whose musical decisions had grown increasingly
counterproductive. Before their divorce in 1969, she dropped him as
manager and eventually filed restraining orders against him. She also
went through a period of heavy drinking before getting sober in the
1970s.
Her early 1970s pop hits, like
her own “Day Dreaming” and the Stevie Wonder composition “Until You
Come Back to Me (That’s What I’m Gonna Do),” took a lighter, more
lilting tone, a contrast to her rip-roaring 1972 gospel album, “Amazing
Grace,” which sold more than two million copies, making it one of the
best-selling gospel albums of all time. Ms. Franklin recorded steadily
through the 1970s and continued to have rhythm-and-blues hits like
“Angel,” a No. 1 R&B single in 1973 written by her sister Carolyn.
But
her pop presence waned in the disco era, and her 1976 album, “Sparkle,”
written and produced by Curtis Mayfield, was her last gold album of the
decade. It included “Something He Can Feel,” a No. 1 R&B single.
When Ms. Franklin made a showstopping appearance as a waitress in the
1980 movie “The Blues Brothers,” she revived an oldie: her 1968 song “Think.”
Ms.
Franklin was married to the actor Glynn Turman from 1978 to 1984, and
the divorce was amicable enough for her to sing the title song for the
television series “A Different World” when Mr. Turman joined its cast in
1988.
Ms.
Franklin’s father was shot in the head during a break-in at his home in
1979 and stayed in a coma until his death in 1984. During those years
Ms. Franklin shuttled monthly between her home in California and
Detroit. As her marriage to Mr. Turman was ending, she moved back to
Detroit in 1982.
Ms. Franklin was
deeply traumatized in 1983 by a ride through turbulence in a two-engine
plane that was “dipsy-doodling all over the place,” she recalled. She
gave up flying, traveling instead by bus to her shows, and ended all
international performances. In recent years she had hoped to desensitize
herself and fly again, “even if it’s just one more time,” she said in
2007.
Divas and Duets
Ms.
Franklin changed labels in 1980, to Arista. There, her albums mingled
remakes of 1960s and ’70s hits — “Jumpin’ Jack Flash,” “Everyday
People,” “Hold On, I’m Comin’,” “What a Fool Believes” — with
contemporary songs.
Luther Vandross’s
production of her 1982 album, “Jump to It,” restored her to the R&B
charts, where it reached No. 1. But Ms. Franklin did not reconquer the
pop charts until 1985, with the million-selling, synthesizer-driven
album “Who’s Zoomin’ Who?” The singles “Freeway of Love” and “Who’s
Zoomin’ Who?,” both produced by Narada Michael Walden, placed Ms.
Franklin back in the pop Top 10, and a collaboration with Eurythmics,
“Sisters Are Doin’ It for Themselves,” reached No. 18.
Ms. Franklin had her last No. 1 pop hit with “I Knew You Were Waiting (For Me),” a duet with George Michael from her 1986 album, “Aretha.” Her 1987 gospel album, “One Lord, One Faith, One Baptism,”
featured performances with her sisters Carolyn and Erma, and with Mavis
Staples of the Staple Singers, as well as preaching from the Rev. Jesse
Jackson and the Rev. Cecil Franklin.
Ms. Franklin recorded more duets (with Elton John, Whitney Houston and James Brown)
on “Through the Storm” in 1989, and she made another attempt to connect
with youth culture on “What You See Is What You Sweat” in 1991. She
released only a few songs — singles and soundtrack material — through
the mid-1990s.
But she rallied in
1998 with televised triumphs. She made a noteworthy appearance at the
1998 Grammy Awards, substituting at the last minute for the ailing
Luciano Pavarotti by singing a Puccini aria, “Nessun dorma,” to overwhelming effect. On “Divas Live,” for VH1, she steamrollered her fellow stars in duets, among them Mariah Carey
and Celine Dion. In the meantime, she had been working with younger
producers again for her 1998 album, “A Rose Is Still a Rose”; the title
track, produced by Lauryn Hill, reached No. 26 on the pop chart. After
her 2003 album, “So Damn Happy,” Ms. Franklin left Arista, saying she
would record independently.
Arista
released the collection “Jewels in the Crown: All-Star Duets With the
Queen” in 2007, including a previously unreleased song with the
“American Idol” winner Fantasia. Ms. Franklin said in 2007 that she had
completed an album to be called “Aretha: A Woman Falling Out of Love,”
with songs she had written and produced herself, but it was not released
until 2011, on her own Aretha’s Records label. In 2008 she released a
holiday album, “This Christmas.”
Ms.
Franklin stayed musically ambitious. She repeatedly announced plans to
study classical piano and finally learn to sight-read music at the
Juilliard School, but she never enrolled. She received several honorary
degrees, including from Yale, Princeton and Harvard.
In
2014, Ms. Franklin returned to a major label, RCA Records, with her
executive producer from her Arista years, Clive Davis. “Aretha Franklin
Sings the Great Diva Classics” presented her remakes of proven material:
songs that had been hits for Adele, Alicia Keys, Chaka Khan, Gloria
Gaynor, Barbra Streisand and Sinead O’Connor. It reached No. 13 on the
Billboard album chart and No. 1 on the R&B chart.
She had five decades of recordings behind her, but listeners still thrilled to her voice.
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