{"id":57346,"date":"2023-02-08T12:03:05","date_gmt":"2023-02-08T17:03:05","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=57346"},"modified":"2023-02-08T12:03:05","modified_gmt":"2023-02-08T17:03:05","slug":"a-change-is-gonna-come","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/a-change-is-gonna-come\/","title":{"rendered":"How Sam Cooke Reimagined the Protest Song and Created a Civil Rights Anthem: \u201cA Change is Gonna Come\u201d"},"content":{"rendered":"<div id=\"produ-944520405\" class=\"produ-leaderboard-placement produ-entity-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-3302795166837-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-3302795166837-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-3302795166837-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-3302795166837-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-3302795166837-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGRWYwYVo5ZFB6MHMlMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTNCJTIwd2ViLXNoYXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][vc_column_text]\n<div class=\"w-full border-b border-black\/10 dark:border-gray-900\/50 text-gray-800 dark:text-gray-100 group bg-gray-50 dark:bg-[#444654]\">\n<div class=\"text-base gap-4 md:gap-6 m-auto md:max-w-2xl lg:max-w-2xl xl:max-w-3xl p-4 md:py-6 flex lg:px-0\">\n<div class=\"relative flex w-[calc(100%-50px)] flex-col gap-1 md:gap-3 lg:w-[calc(100%-115px)]\">\n<div class=\"flex flex-grow flex-col gap-3\">\n<div class=\"min-h-[20px] flex flex-col items-start gap-4 whitespace-pre-wrap\">\n<div class=\"markdown prose w-full break-words dark:prose-invert light\">\n<div class=\"flex-1 overflow-hidden\">\n<div class=\"react-scroll-to-bottom--css-ctkus-79elbk h-full dark:bg-gray-800\">\n<div class=\"react-scroll-to-bottom--css-ctkus-1n7m0yu\">\n<div class=\"ac-designer-copy\">\n<p dir=\"ltr\">Written by Caitlin Vaughn Carlos<\/p>\n<p>In the late fifties and early sixties, Sam Cooke had charted a new path in Black-pop music with Sweet Soul, a genre of crooner ballads and softer pop singles, infused with the influence of gospel, which broke through to mainstream audiences. The songs shared universal themes of love and life, which appealed to audiences on both sides of the color line.\u00a0 But in 1964, Cooke changed course, focusing on his own personal experience and addressing the injustices of racism. The result was a new type of protest anthem. Fully orchestrated and beautifully produced, it expressed a deep longing for equality and change, and became the lasting legacy of the Civil Rights Movement in music. That song was \u201cA Change is Gonna Come.\u201d<\/p>\n<p>Samuel Cooke was born in\u00a0 Clarksdale Mississippi on January 22, 1931.\u00a0 He came from a background in gospel music, where he had launched his career replacing R.H. Harris as lead singer of the Soul Stirrers.\u00a0 He was encouraged to begin recording solo records by Specialty records producer, Robert \u201cBumps\u201d Blackwell.\u00a0 Cooke\u2019s music was part of a new movement in the late 50s, of a softer style of Black-pop records which emerged around the same time that Rhythm and Blues and Rock \u2018n Roll were taking over the charts.\u00a0 Often called, \u201cSweet Soul\u201d &#8211; these pop-ballads brought together gospel, with the crooning vocal styles of mainstream pop artists like Dean Martin or Al Martino.<\/p>\n<p>Between 1957 and 1965, Cooke boasted 29 singles on the Top 40 charts including:<br \/>\n\u201cYou Send Me\u201d (1957), \u201cChain Gang\u201d and \u201c(What a) Wonderful World\u201d (both in 1960),<br \/>\nTwisting the Night Away\u201d (1962), and \u201cAnother Saturday Night\u201d (1963). These songs were powerful records, crossing the color line and appealing to mainstream audiences. Cooke was also important for the way he took control of the business side of his career. During his career he negotiated impressive deals with RCA Victor, in addition to establishing his own publishing company (Kags Music) as well as two record labels: Sar and Derby.\u00a0 By 1963, Cooke had proven that he knew how to write, record and produce hit records which would appeal to wide audiences. The songs were usually beautiful, sentimental ballads or light-hearted pop songs. But personal experience and a changing world inspired him to take his songwriting in a more serious direction, and in doing so, Cooke would write one of the most important songs of the Civil Rights Movement and an enduring classic for generations to follow\u2026..\u201dA Change is Gonna Come\u201d<\/p>\n<p>Cooke was no stranger to the injustices faced by Blacks in the United States as he was growing up, but in 1963, he experienced one of those moments which inspired him to move away from the universal themes of his songs to the more specific experiences of Black America.\u00a0 On October 8, 1963, Cooke had made reservations for himself and his bandmates to stay at a Holiday Inn in Shreveport, Louisiana, but when they arrived, they were turned away for the color of their skin. In an incident that made the New York Times, Cooke, his wife, and bandmates were arrested for \u201ccreating a disturbance.\u201d The Times reported that police said Cooke and his group, \u201crepeatedly blew the horn of their car, yelled and woke guests at the Holiday Inn after being turned away.\u201d\u00a0 It was one of those moments which brought a lifetime of experience to a head, and Cooke was inspired to use his music in protest.\u00a0 \u201cA Change is Gonna Come\u201d is a direct response to the reality of his lived experience and a hope for the future envisioned by the Civil Rights Movement.<\/p>\n<p>According to both Cooke\u2019s business partner and close friend J.W. Alexander, and his younger brother, L.C. Cooke, \u201cA Change Is Gonna Come\u201d was also inspired by Bob Dylan\u2019s musical contribution to the Civil Rights movement &#8211; \u201cBlowing in the Wind.\u201d In an interview with the BBC, L.C. Cooke\u00a0 explained: \u201cI know you know \u2018Blowin\u2019 in the Wind\u2019 by Bob Dylan. Sam always said a black man should\u2019ve wrote \u2018Blowin\u2019 in the Wind\u2019, it was unfair, so he said \u2018Nah, if he can write a song like that surely, I can come up with something equally as good\u2019, so he sat down to write \u2018A Change Gonna Come\u2019.\u201d We also know Sam Cooke had engaged with Dylan\u2019s song, performing live at the Copacabana in July of 1964.<\/p>\n<p>While Dylan\u2019s classic song approaches issues of injustice from an observational standpoint, Cooke\u2019s song begins directly with personal experience. He sings:<\/p>\n<p>I was born by the river<\/p>\n<p dir=\"ltr\">In a little tent<\/p>\n<p dir=\"ltr\">Oh, and just like the river, I&#8217;ve been running<\/p>\n<p dir=\"ltr\">Ever since<\/p>\n<p>Other verses express equally personal experiences &#8211; moments of doubt in one\u2019s faith, and direct experiences of segregation. In fact, the third verse (I go to the movie\/ and I go downtown \/ somebody keep tellin\u2019 me \u201cdon\u2019t hang around\u201d) was even cut from the single version, because it was thought to detail the experience of segregation too directly. Otis Redding\u2019s cover of the song, which was released in 1965, also doesn\u2019t include the third verse, and this is likely because Redding was following Cooke\u2019s single version (released in December of 1964). However, we do find the third verse included on the version of the song found on Cooke\u2019s album, Ain\u2019t That Good News, which was released in February of 1964, pre-dating the single by almost a year.\u00a0 And it&#8217;s the full version that we most often hear today.<\/p>\n<p>The chorus of the song shares the text of the title, offering a longing and a hope for a better future. Unlike Dylan\u2019s ephemeral answer of \u201cblowing in the wind\u201d, Cooke directly states a belief that things will change. The verses tell us all the reasons why they have to.<\/p>\n<p>The song also stands apart from other Civil Rights Protests songs, because it&#8217;s not written in a folky style, one which works well for gathering around the guitar at a protest march. Instead it makes a dramatic and powerful statement through a fully orchestrated arrangement.\u00a0 The song opens with flowing strings, horns, and timpanis. The liner notes from the 2003 compilation album A Portrait of a Legend, researched, compiled and written by biographer, Peter Guralnick, boast a robust cast of a players performing on the track:<\/p>\n<p>Chuck Badie &#8211; Bass<\/p>\n<p dir=\"ltr\">Norman Bartold, Rene Hall, Bobby Womack, and Clifton White &#8211; Guitar<\/p>\n<p dir=\"ltr\">Harold Battiste &#8211; Piano<br \/>\nLouis Blackburn, David Wells and John Ewing &#8211; Trombone<\/p>\n<p dir=\"ltr\">William Hinshaw &#8211; French Horn<br \/>\nIsrael Baker, Arnold Belnick, Irving Lipschultz], Leonard Marlarsky, Jack Pepper, Ralph Schaeffer, Sidney Sharp, Darrel Terwilliger, and Tibor Zelig &#8211; Violin<\/p>\n<p dir=\"ltr\">Harry Hyams and Alexander Neiman &#8211; Viola<\/p>\n<p dir=\"ltr\">Emmet Sargeant &#8211; Cello<\/p>\n<p dir=\"ltr\">Earl Palmer &#8211; Drums<\/p>\n<p dir=\"ltr\">Emil Radocchia &#8211; Marimba, Tympani, Percussion<\/p>\n<p dir=\"ltr\">The track was recorded on January 30, 1964 at RCA Studio in Hollywood with David Hassinger as the engineer. Cooke produced the record along with the production duo, Hugo and Luigi (Hugo Peretti and Luigi Creatore). Rene Hall, who also played guitar on the track, is credited with arranging and conducting.<\/p>\n<p>J.W. Alexander has stated that the song came quickly to Cooke and he was energized by its potential. Alexander recalled: &#8220;He was very excited\u2026and when he finished it, he explained it to me &#8212; his reason behind the lyrics. Like, &#8216;I don&#8217;t know what&#8217;s up there beyond the sky&#8217; &#8212; it&#8217;s like somebody&#8217;s talking about \u2018I want to go to heaven, really, but then who knows what&#8217;s really up there?\u2019 In other words, that&#8217;s why you want justice on earth. Or, you know, in the verse where he says, &#8216;I go to my brother and I say, Brother, help me please,&#8217;&#8211; you know he was talking about the establishment &#8212; and then he says, &#8216;That motherfucker winds up knocking me back down on my knees.&#8217; He said, &#8216;I think my daddy will be proud.&#8217; I said, &#8216;I think so, Sam.&#8221;<\/p>\n<p>\u201cA Change is Gonna Come\u201d was recorded in January of 1964, and on February 7, Cooke premiered the song, singing it live on The Tonight Show with Johnny Carson. He never performed it live again.\u00a0 The recording of \u201cA Change is Gonna Come\u201d was first released on his album Ain\u2019t That Good News, in late February, and it was in preparation to be released as a single. But on December 11, 1964, Cooke was fatally shot in the chest at Los Angeles Hotel. The shooting was declared justifiable homicide, as self-defense, but there has been much speculation to that conclusion ever since.\u00a0 A few weeks later, \u201cA Change is Gonna Come\u201d was released as a single, and immediately was picked up as an anthem for the Civil Rights Movement &#8211; speaking the truth of the African American experience and offering a powerful longing and hope for a brighter future<\/p>\n<p dir=\"ltr\">It has been covered by incredible artists like Otis Redding and Aretha Franklin; and was chosen for preservation in the Library of Congress, in 2007, for its \u2018cultural,\u2019 \u2018historical,\u2019 and \u2018aesthetic\u2019 significance. The song also experienced a revival around the presidential election of Barack Obama in 2008.\u00a0 In his election speech in Grant Park in Chicago, Obama referenced Cooke\u2019s lyrics, exclaiming:\u00a0 \u201cIt\u2019s been a long time coming\u2026\u201cbut tonight, because of what we did on this date in this election at this defining moment, change has come to America.\u201d And the song was brought to the national stage once again, performed at his inauguration by Bettye LaVette and Jon BonJovi. It remains a classic of its time, and an enduring track which reminds future generations to always look towards hope, social justice and equality.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGRWYwYVo5ZFB6MHMlMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTNCJTIwd2ViLXNoYXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][vc_column_text] Written by Caitlin Vaughn Carlos In the late fifties and early sixties, Sam Cooke had charted a new path in Black-pop music with Sweet Soul, a genre of crooner ballads and softer pop singles, infused with the influence of gospel, which broke through to mainstream audiences. The songs shared universal themes of love and&hellip;<\/p>\n","protected":false},"author":25,"featured_media":57347,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[11375],"tags":[],"class_list":["post-57346","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-songs-that-changed-music"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>How Sam Cooke Reimagined the Protest Song and Created a Civil Rights Anthem: \u201cA Change is Gonna Come\u201d - Produce Like A Pro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/producelikeapro.com\/blog\/a-change-is-gonna-come\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Sam Cooke Reimagined the Protest Song and Created a Civil Rights Anthem: \u201cA Change is Gonna Come\u201d - Produce Like A Pro\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGRWYwYVo5ZFB6MHMlMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTNCJTIwd2ViLXNoYXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][vc_column_text] Written by Caitlin Vaughn Carlos In the late fifties and early sixties, Sam Cooke had charted a new path in Black-pop music with Sweet Soul, a genre of crooner ballads and softer pop singles, infused with the influence of gospel, which broke through to mainstream audiences. The songs shared universal themes of love and&hellip;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/producelikeapro.com\/blog\/a-change-is-gonna-come\/\" \/>\n<meta property=\"og:site_name\" content=\"Produce Like A Pro\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/producelikeapro\/\" \/>\n<meta property=\"article:published_time\" content=\"2023-02-08T17:03:05+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2023\/02\/sam-cooke-2.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1080\" \/>\n\t<meta property=\"og:image:height\" content=\"606\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Warren Huart\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Warren Huart\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/producelikeapro.com\/blog\/a-change-is-gonna-come\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/producelikeapro.com\/blog\/a-change-is-gonna-come\/\"},\"author\":{\"name\":\"Warren Huart\",\"@id\":\"https:\/\/producelikeapro.com\/blog\/#\/schema\/person\/8dfc15fcc5cd192b928e9795f45430d4\"},\"headline\":\"How Sam Cooke Reimagined the Protest Song and Created a Civil Rights Anthem: \u201cA Change is Gonna Come\u201d\",\"datePublished\":\"2023-02-08T17:03:05+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/producelikeapro.com\/blog\/a-change-is-gonna-come\/\"},\"wordCount\":1672,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/producelikeapro.com\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/producelikeapro.com\/blog\/a-change-is-gonna-come\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2023\/02\/sam-cooke-2.png\",\"articleSection\":[\"Songs That Changed Music\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/producelikeapro.com\/blog\/a-change-is-gonna-come\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/producelikeapro.com\/blog\/a-change-is-gonna-come\/\",\"url\":\"https:\/\/producelikeapro.com\/blog\/a-change-is-gonna-come\/\",\"name\":\"How Sam Cooke Reimagined the Protest Song and Created a Civil Rights Anthem: \u201cA Change is Gonna Come\u201d - 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