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Tag: Aretha Franklin

  • WATCH: 5 Tracks That Inspired mehro

    WATCH: 5 Tracks That Inspired mehro

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    Interview and Photos by Jordan Edwards

    With his raw, vivid lyrics and moody aesthetics, mehro has become one of the most popular young singer-songwriters.

    Musically, he’s a throwback to artists from the 1960s and ’70s. It’s an era that mehro deeply admires, and it shows. From melodic rhythm guitar reminiscent of Nick Drake, to the intimacy of James Taylor and the darkness of Leonard Cohen, mehro often looks to the past for inspiration.

    On Oct. 13, the Southern California native released “Dopamine.” With cozy production and vocals that feel immediate, it’s one of his best singles. It follows the album Dark Corners and Alchemy, which arrived in March.

    We met up with mehro in Los Angeles to talk about songwriting and production. We also filmed an episode of 5 Tracks that Inspired Me, which you can watch below.


    I love your new song “Dopamine.” Is it about a real situation?
    Yes, it’s inspired by a plethora of experiences from my life.

    The production on this is beautiful. It’s brighter than some of your previous work. The layers build throughout the song. What was it like to put that track together?
    It was effortless. The way the song was written, the way it was recorded, and the way it was produced–it was almost as if it was being gifted to me.

    Is it part of a bigger project?
    Yes.

    Does living in LA influence your songwriting?
    Yes. The environment of every artist affects every artist – from our conscious mind to our deeply embedded subconscious.

    When you write and record a song, how much do you think about creating an atmosphere for the listener?
    I let the production come to each individual song. Sometimes it comes in a big inspired wave all at once. Sometimes the ideas reveal themselves step-by-step, and sometimes I have no ideas for the production whatsoever, and I leave it all to my producer, Tim James.

    Do you remember the first song you wrote? How does it stand up today?
    Yes it was called “problems.” I was 13 years old, and I still remember the lyric and melody, so that means something.

    You do a lot of interesting things with your acoustic guitar. You don’t just stick to simple chords. What guitarists do you admire?
    I admire so many: John Frusciante, Jimi Hendrix, Django Reinhardt, Rosetta Tharpe, James Taylor, Joni Mitchell. That’s just to name a few.

    Are you constantly writing, or do you sometimes step away from it?
    I’m always prepared to write because inspiration can strike at any moment. but I’m not constantly writing.

    What have you been listening to lately?
    I’ve been listening to Lil Yachty’s newest album. I’ve been listening to Jungle, Aurora, The Kinks, Tame Impala, SZA. That’s just the tip of the iceberg.

    5 Tracks That Inspired mehro

    For more from mehro, follow him on Instagram and TikTok.

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  • Aretha Franklin’s Sons Clash Over Her Wishes In Trial Over Dual Wills

    Aretha Franklin’s Sons Clash Over Her Wishes In Trial Over Dual Wills

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    PONTIAC, Mich. (AP) — Two sons of the late singer Aretha Franklin gave opposing opinions Monday about the Queen of Soul’s final wishes, testifying in an unusual trial that will determine whether a 2014 handwritten document found in couch cushions will lead her estate.

    Franklin died in 2018 at age 76 without a formal, typewritten will, and five years later her legacy still is tied up in a suburban Detroit court after a niece found different sets of handwritten papers at her home.

    The issue for a jury: Does a 2014 document count as a will under Michigan law? If so, it could trump a 2010 handwritten will that was found in a locked cabinet at the same time. The older version, however, was notarized and repeatedly signed by Franklin.

    Ted White II, a son who played guitar during his mother’s performances, favors the 2010 document.

    “With all the time I spent working with her administratively … every other document that she ever signed was something that was done conventionally and legally” and with assistance from a lawyer, White, 60, told the jury.

    He, acknowledged, however that the 2010 will found at the same time in 2019 was also written by his mother’s hand.

    There are differences between the documents, though they both appear to indicate that Franklin’s four sons would share income from music and copyrights.

    Four large posters showing pages from the 2014 document were presented to the jury.

    That version crossed out White’s name as executor of the estate and named another son, Kecalf Franklin, in his place. Kecalf Franklin and grandchildren would get his mother’s main home in Bloomfield Hills, which was valued at $1.1 million when she died but is worth much more today.

    Kecalf Franklin, 53, said he doesn’t consider it unusual that important papers like a will would be discovered in the living room.

    Asked by his attorney where Aretha Franklin often read mail, made important phone calls, signed documents and even slept, Kecalf Franklin repeatedly said, “on the couch.”

    A niece, Sabrina Owens, who managed the estate immediately after Franklin’s death, did not appear in court Monday, but her testimony from a formal interview was read aloud. She explained how she was determined to search Franklin’s house for critical records.

    “She would use the kitchen and living room — that was about it,” Owens said. “So when I got to the sofa, I lifted up that far right cushion and there was three notebooks there.”

    The jury will hear closing arguments Tuesday.

    The last public accounting filed in March showed the estate had income of $3.9 million during the previous 12-month period and a similar amount of spending, including more than $900,000 in legal fees to various firms.

    Overall assets were pegged at $4.1 million, mostly cash and real estate, though Franklin’s creative works and intellectual property were undervalued with just a nominal $1 figure.

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  • Aretha Franklin’s Four Sons Battle Over Two Handwritten Wills

    Aretha Franklin’s Four Sons Battle Over Two Handwritten Wills

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    A family dispute over legendary singer Aretha Franklin’s final wishes will head to court on Monday, the latest chapter in a years-long battle to divide up the late Queen of Soul’s estimated $80 million estate.

    Franklin died in 2018 after a six-decade career in the music business, leaving behind a legacy that included over 75 million record sales, 17 Top 10 hits, and 112 charted Billboard singles. Despite that, when she was felled by pancreatic cancer at age 76, she left behind little in the way of plans for her earthly possessions, which included a home, as well as lucrative royalties and licensing assets.

    According to the Detroit Free Press, by 2021, four different wills were discovered in searches of Franklin’s Detroit home, including three handwritten notes and a typewritten but unsigned document prepared by a law firm in 2017. Under Michigan law, other documents—even those “with scribbles, scratch-outs, and hard-to-read passages”—can act as a will, as noted by The Associated Press.

    Though the various documents acknowledge that the estate should be divided between her four sons, details as to which of her children will ultimately control her legacy remain legally murky. One document, dated in 2010, names son Theodore White and niece Sabrina Owens as co-executors, the LA Times reports. It also contains the condition that two of her other sons, Kecalf Franklin, and Edward Franklin, “must take business classes and get a certificate or a degree” before they can collect their portion of their inheritance.

    Another note dated 2014 keeps Owens as executor, but has White’s name crossed out. Instead, Kecalf is named as co-executor, and it’s his family and grandchildren who are bequeathed Franklin’s Bloomfield Hills home, the so-called “crown jewel” of the estate. In that document, business classes for her beneficiaries are not mentioned, but a guarantee of support for her eldest son, Clarence, is. (According to an Orlando Sentinel report from 1991, Clarence, born when Franklin was just 12 years old, lives with schizophrenia and has spent his adult life in a foster home.)

    White’s attorney characterized the 2014 document as “merely a draft” and maintains that the 2010 note is signed and notarized. Noting the wild search of Franklin’s home to find the wills, he says that if the 2014 document, which was found beneath some pillows, “were intended to be a will, there would have been more care than putting it in a spiral notebook under a couch cushion.”

    The two factions will meet in court starting next week, presided over by Oakland County probate judge Jennifer Callaghan, who’s overseen the estate dispute since Franklin’s passing.

    Ultimately, a jury will decide which of the documents—both of which contain copious margin notes and crossed-out passages—should be honored.

    For her part, Owens, who’s served as executor since Franklin’s death, resigned in 2020 to “calm the rift in my family,” she added. “In spite of my best efforts, my role with the estate has become more contentious with the heirs. Given my aunt’s deep love of family and desire for privacy, this is not what she would have wanted for us, nor is it what I want.”

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    Eve Batey

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  • Duran Duran stumbles, Dolly Parton rolls into Rock Hall

    Duran Duran stumbles, Dolly Parton rolls into Rock Hall

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    LOS ANGELES — Lionel Richie soared. Pat Benatar roared. Duran Duran stumbled but stayed sophisticated. Eminem was Eminem.

    The four acts found very different ways to celebrate on Saturday night, but all can now forever say they’re Rock & Roll Hall of Famers. So are Carly Simon, Eurythmics, Harry Belafonte, Judas Priest and Dolly Parton, who gave the honor an enthusiastic embrace after temporarily turning it down.

    The first act inducted at the Microsoft Theater in Los Angeles after a memorable speech from a shaven-headed Robert Downey Jr., Duran Duran took the stage and launched into their 1981 breakthrough hit “Girls on Film.”

    The shrieking crowd was there for it, but the music wasn’t. The band was all but inaudible other than singer Simon Le Bon, whose vocals were essentially acapella.

    It was a fun if inauspicious beginning to a mostly slick and often triumphant show.

    “The wonderful spontaneous world of rock ‘n’ roll!” the 64-year-old Le Bon shouted as the band stopped for a do-over.

    They kicked back in at full volume, playing a set that included “Hungry Like the Wolf” and “Ordinary World,” quickly snapping back into what Downey called their essential quality: “CSF — cool, sophisticated fun.”

    Lionel Richie brought both chill and warmth to the room hours later, opening his set with a spare rendition of his ballad “Hello” that seemed to make him nearly break down from the weight of the moment.

    “His songs are the soundtrack of my life, your life, everyone’s life,” Lenny Kravitz said in inducting Richie.

    After “Hello,” Richie breezed into his 1977 hit with the Commodores, “Easy.” The vibe went from smooth to triumphant when Foo Fighters front man Dave Grohl made a surprise appearance to play a guitar solo and swap vocals with Richie. That led into a singalong, celebratory rendition of 1983’s “All Night Long” that brought the night’s biggest reaction.

    In his acceptance speech, Richie lashed out at those during his career who accused him of straying too far from his Black roots.

    “Rock & Roll is not a color,” he said. “It is a feeling. It is a vibe. And if we let that vibe come through, this room will grow and grow and grow.”

    Eurythmics took the stage next with a soulful, danceable rendition of 1986’s “Missionary Man.”

    “Well I was born an original sinner, I was born from original sin,” singer Annie Lennox belted, bringing the audience clapping and to its feet four hours into the show. It was followed by a rousing rendition of their best-known hit, “Sweet Dreams.”

    Moments later her musical partner, Dave Stewart, called Lennox “one of the greatest performers, singers and songwriters of all time.”

    “Thank you, Dave, for this great adventure,” a tearful Lennox said.

    As he has been throughout his career, Eminem was the outlier. He was the only hip-hop artist among the inductees, the only one whose heyday came after the 1980s, and he brought an edge to the evening that was otherwise missing outside of the heavy metal stylings of Judas Priest.

    He also took the guest star game to another level. After opening briefly with 1999’s “My Name Is,” he brought on Aerosmith’s Steven Tyler to sing the chorus of “Dream On” for 2003’s “Sing for the Moment,” which samples the Aerosmith classic. Then he brought on Ed Sheeran to sing his part on the 2017 Eminem jam “River” as rain fell on the stage.

    “I’m probably not supposed to actually be here tonight for a couple of reasons,” Eminem, wearing a black hoodie, said as he accepted the honor. “One, I know, is that I’m a rapper and this is the Rock & Roll Hall of Fame.”

    He’s only the 10th hip-hop artist among well over 300 members of the Hall of Fame.

    He was inducted by his producer and mentor Dr. Dre, whom he credited with saving his life.

    But hitmakers of the 1980s defined the night.

    “Pat always reached into the deepest part of herself and came roaring out of the speakers,” Sheryl Crowe said in her speech inducting Benatar.

    Benatar, inducted along with her longtime musical partner and husband Neil Giraldo, took the stage with him and displayed that power moments later.

    “We are young!” the 69-year-old sang, her long, gray hair flowing as she soared through a version of 1983’s “Love is a Battlefield.”

    Inductees absent from the ceremony included Duran Duran guitarist Andy Taylor, who is four years into a fight with advanced prostate cancer, the 95-year-old Belafonte and Simon, who lost sisters Joanna Simon and Lucy Simon, both also singers, to cancer on back-to-back days.

    Carly Simon was a first-time nominee this year more than 25 years after becoming eligible. Olivia Rodrigo, 60 years Simon’s junior and by far the youngest performer of the night, then took the stage to sing Simon’s signature song, “You’re So Vain.”

    Janet Jackson appeared in a black suit with a massive pile of hair atop her head, remaking the cover of her breakthrough album “Control,” as she inducted the two men who made that and many other records with her, writer-producers Jimmy Jam and Terry Lewis.

    When the nominees were announced in May, Parton “respectfully” declined, saying it didn’t seem suitable for her to take a spot as a country-to-the-core artist. She was convinced otherwise, and ended up the headliner Saturday night.

    “I’m a rock star now!” she shouted as she accepted the honor. “This is a very, very, very special night.”

    Parton said she would have to retroactively earn her spot.

    She disappeared and emerged moments later decked out in black leather with an electric guitar and broke into a song she wrote just for the occasion.

    “I‘ve been rockin’ rockin’ rockin’ rockin’ since the day I was born,” she sang, “and I’ll be rockin’ to the day I’m gone.”

    She closed the night leading an all-star jam of her fellow inductees on her country classic “Jolene.” Le Bon, Benatar and even Judas Priest singer Rob Halford took a verse.

    “We got a star-studded stage up here,” Parton said. “I feel like a hillbilly in the city.”

    ———

    Follow AP Entertainment Writer on Twitter: https://twitter.com/andyjamesdalton

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  • Babyface doesn’t rest on his laurels with ‘Girls Night Out’

    Babyface doesn’t rest on his laurels with ‘Girls Night Out’

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    New York — Art can be inspired by even the most mundane experiences, and for iconic singer-songwriter Kenneth “Babyface” Edmonds, the idea for his latest creation, “Girls Night Out,” was sparked while running an errand at the drugstore.

    “I went to Walgreens and as I was in there, this younger girl says, ‘Are you Babyface?” recalled the 11-time Grammy winner. She went on to tell him, “I didn’t listen to you before, but I watched Verzuz and I really liked a lot of the things. And so, I’m a fan now.’”

    That 2020 Verzuz event with New Jack Swing pioneer Teddy Riley — with much of the country in pandemic lockdown — introduced him to a younger generation of R&B lovers not familiar with his legendary catalog. The interest from younger fans spurred him to begin conceptualizing what would become “Girls Night Out,” released last week. It’s his first project since 2015’s “Return of the Tender Lover.”

    “I kind of had slowed down in … putting things out,” revealed the crooner. “I wasn’t feeling inspired.”

    The 13-track album features collaborations with some of R&B’s hottest female talent, including Ella Mai, Kehlani and Ari Lennox, as well as rising stars like Muni Long and Queen Naija. Face weaves his musical expertise into today’s sonic climate, far from his hit songs that now play on late-night Quiet Storm formats — and that’s not a bad thing.

    The structure of “Girls Night Out” is reminiscent of the “Waiting to Exhale” soundtrack, widely regarded as one of the most popular film compilations of all-time. That 1995 soundtrack was written and produced entirely by Babyface, as he crafted songs for superstars like Whitney Houston, Mary J. Blige, Brandy, Toni Braxton and Aretha Franklin. But this time around, “Girls Night Out” was intentionally collaborative.

    “On ‘Exhale,’ I just wrote all the music and said, ‘Here, you sing this,’” explained the 2017 Songwriters Hall of Fame inductee. “I love co-writing because there’s so much to learn from it. We get stuck in our ways as a writer or even just what you’re used to: the age difference, the words that I’m not used to saying…I didn’t want to do an album that sounded like yesterday. I wanted one to sound fresh and sound like today.”

    “Girls Night Out” began to take form after working with Ella Mai on “Keeps on Fallin’,” a flip of Tevin Campbell’s beloved “Can We Talk” record written by Face. “Keeps on Fallin’” hit No. 2 on Billboard’s adult R&B airplay chart.

    “Once we finished that, we felt like, ‘All right, I think we might have something special here,’” said Babyface, who has writing credits on every song and production credits on all but one.

    Standout tracks include “The Recipe” with “Muni Long which features a sample of Babyface’s 1989 classic, “Soon as I Get Home,” as well as “Whatever” with Tink which samples his hit “Whip Appeal.” There’s also “Liquor,” in which Ari Lennox sultrily sings of desiring her man in his authentic, raw form: “No rocks, no blend, straight up, just you/…I need one hundred from my man, he can’t be eighty proof.”

    “They’re far more invested in their voice in terms of what they say and how they say it, and even in the writing aspect of it…that wasn’t so much of the late ’80s and ‘90s. All the artists weren’t necessarily into that,” said Babyface of this new generation of female talent. “They got to make sure it’s an honest thing from them.”

    Possessing a credit list far too lengthy to print, Babyface began making his mark in music in the late ’80s before finding massive success in the ’90s through early 2000s writing and producing for megastars like Michael Jackson, Beyoncé, Madonna, Boyz II Men, Usher, Celine Dion and frequent musical collaborator Toni Braxton, who refers to herself as Babyface’s “muse.” He also built a very successful solo career with major hits like, “And Our Feelings,” “Never Keeping Secrets,” “When Can I See You” and “Every Time I Close My Eyes.”

    While his legendary status has long been solidified during his three-decade career, the “What If” artist hesitates to accept the acknowledgement. Fortunately, his music made the case long ago.

    “I’ve always looked at myself as a producer and songwriter first — not necessarily as a celebrity or a singer,” explained Babyface. “It’s not to downplay what I’ve done, but I just know that the things that I have done at this particular point, I’m very happy and I’m very blessed to have done it.…if I get labeled ‘G.O.A.T.’ or legend in the process, well, that’s wonderful but that’s not why I do it. I do it because I love doing this job.”

    ——

    Gary Gerard Hamilton is an entertainment journalist for The Associated Press. His favorite Babyface songs are “What If” and “Reason for Breathing.” He loves the Babyface-written “Sittin’ Up in My Room” by Brandy and prefers “I’m Ready” by Tevin Campbell over “Can We Talk.” Follow Gary at: @GaryGHamilton on all his social media platforms.

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