Pop, Race, and the ’60s on “Respect” and “Son of a Preacher Man.”

Pop, Race, and the ’60s Looks at Aretha Franklin, Dusty Springfield, and the Question of Soul

Pop, Race, and the ’60s Looks at Aretha Franklin, Dusty Springfield, and the Question of Soul

Comments
Slate Plus
Your all-access pass
Oct. 6 2016 8:00 AM
Comments

“Son of a Preacher Man” and “Bridge Over Troubled Water”

What does it mean to say a record—or a singer—has “soul”?

Aretha Franklin and Dusty Springfield, 1967.
Aretha Franklin and Dusty Springfield, 1967.

Photo illustration by Slate. Images by Bettmann/Getty Images and Michael Ochs Archives/Getty Images.

In the second episode of our new Pop, Race, and the ’60s Slate Academy, Slate pop critic Jack Hamilton talks to Emily Lordi, professor of English at UMass Amherst, and the author of Black Resonance: Iconic Women Singers and African American Literature and Donny Hathaway Live, about two soul singles, two singers, and the meaning of the contested term "soul."

You can read the 1968 Time article about Aretha that Jack cites here.

Sign up for Slate Plus to hear this episode

For a limited time, we're offering a year of Slate Plus for just $35. Join today to hear Pop, Race, and the ’60s and our other Slate Academies.

Subscribe to Pop, Race, and the ’60s

Copy this link and manually import it into your podcast app:

For full instructions see the Slate Plus podcasts FAQ.

Hear the music discussed in this episode:

Pop, Race, and the ’60s is made possible thanks to the generosity of the Virginia Foundation for the Humanities, home of the radio/podcast programs With Good Reason and BackStory.