Podcast appearances and mentions of charlie thomas

Ever thought about tackling projects no one else wants to touch? In this week's Skid Steer Nation Podcast, host Ryan Deemer talks with Charlie Thomas of Dirtworx Unlimited. After leaving corporate America, Charlie discovered a unique way to stand out in the excavation business: digging egress windows. In a market with little competition, Charlie shares how this simple but essential service became a profitable niche for his company. Key Insights: ✅Breaking Free from Corporate Life: Why Charlie walked away from a steady job to work for himself. ✅Egress Windows as a Hidden Opportunity: How Charlie found a niche with big rewards in an untapped market. ✅Smart Tools for Solo Operators: Why advanced equipment like rotators and grade control systems are worth the investment. ✅Work-Life Balance Done Right: Building a business that lets you focus on what matters most. Why This Episode Matters: This episode is a must-listen for contractors, dirt workers, and operators looking to spot overlooked opportunities in their industry. Charlie's story shows how thinking outside the box and investing in the right tools can set you apart.

EXCLUSIVE INTERVIEW- Trent Cooper- WA female talent program coach, former Freo AFLW coach https://youtu.be/4nxT47PunqM?si=lJuQut27yazlPX7x Today I speak Trent Cooper, about the U18 WA AFLW state championships performances, the disadvantages they had, how some of the playing list performed including Lily Paterson, Zippy Fish, Molly O'Hehir, Taya Chambers, Holly Britton, Tiani Teakle, Noa McNaughton, Renee Morgan and more, who he thinks will get drafted, some players who've improved alot and had strong years, players strong travel dedication, his aflw predictions for premiership, who the best player in the competition is, the draft going national, some smokey to be drafted, some key improvers, the state of the aflw competition, best players in the competition, his time at Fremantle as coach, the rise of Ella Roberts, Charlie Thomas and Emma O'Driscoll- his high hopes for Aine Tighe, Ange Stannett, Kiara Bowers and more. All things with Women's footy, fixture, his top 3 or so in this years draft, overall thoughts of the structure of the draft, his bold call for the trade and draft period and so much more. A great chat with Trent, please subscribe if you haven't already and leave a like on this video and share it around. #aflw

We say goodbye to two of our favourite things; Hokball and the GWS Giants. What a round of footy! Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

A version of this essay was published by news18.com at https://www.news18.com/opinion/shadow-warrior-beyond-lenient-laws-what-will-it-take-to-protect-indias-women-9023844.htmlAfter this fortnight, it is not hard to see why some are demanding speedy punishment, including automatic death sentences for severe crimes against women. To put it bluntly, the Indian State is letting rapists and murderers get away with their crimes against both grown women, and especially tragically, against little girls. This is a blot on humanity. There needs to be recourse. There has to be a severe deterrent, and men should quake in fear at the prospect of instant, fearsome retribution.The cry of anguish began with the extraordinarily brutal rape (suspected gang-rape) and murder of a 31-year-old doctor (revealed by her mother as Moumita Debnath) in the R G Kar Medical College Hospital in Kolkata on August 9th. As information trickled out, it became clear that she had also been severely tortured before being smothered to death. It is rumored that she had stood up to some important people and this may have been “punishment”.The immediate parallel was with the gruesome rape-murder of Girja Tikkoo in 1990 in Jammu and Kashmir, where she was gang-raped and then sliced alive in two, screaming in mortal pain, on a mechanical saw.There was also, in a hospital setting, the extraordinary case of Aruna Shanbaug, a 25-year-old nurse who was choked with a dog chain and raped by a janitor in a Mumbai hospital in 1973. She was brain-damaged and in a coma for 42 years, cared for by the nurses in the hospital until she died in 2015. Assaults on women staff in hospitals is especially ironic considering a recent finding that patients treated by female doctors have better outcomes possibly because of empathy.Then there was the 2011 case of Sowmya, a 23-year-old shop assistant traveling in an empty women-only coach in a train in Kerala. She was chased around the coach by a one-armed vagrant named Charlie Thomas alias Govindachami, who repeatedly bashed her head against the walls. He then pushed her off the train, raped her and beat her head in with a stone. The lower courts sentenced Charlie to death, but the Supreme Court commuted it to life imprisonment.Not about sexual crime, but about power over womenThis is not about a sexual crime, it is about something more vile and reptilian. It is about sadistically inflicting pain and humiliation, dominating women, exerting power over them. It is extreme misogyny, and is motivated by pure hatred, possibly intent on sending a message. It is also about “putting women in their place”, so that uppity females are “taught a lesson”.The rape-murder of “Nirbhaya”, later revealed by her mother as 22-year old paramedical student Jyoti Singh, in 2012 in Delhi, was similarly traumatic. Four of her assailants were executed after seven years, and one killed himself in jail, but the worst offender, who instigated the ramming of an iron rod into her genitals, was let go in 2015 on the flimsy reason that he was allegedly a juvenile. Delhi Chief Minister Arvind Kejriwal presented a sewing machine to the offender upon his release. There was also the 2016 case of Jisha, a 30-year-old law student in Kerala who was subjected to extreme violence, including disembowelment in her rape-murder. A migrant laborer was charged with the crime, and sentenced to death, which was upheld in May 2024 by the Kerala High Court. However, it is rumored that Jisha was the illegitimate daughter of a local bigwig, and that she was “punished” for demanding a share in his property. In Kerala again, there were the Walayar sisters, a 13 year old and a 9 year old, who were found hanging, two months apart, in 2017. The initial conclusion was ‘suicide', but after an uproar when postmortems confirmed sexual assault, the case was reopened. Several politically connected people were involved, whom the POCSO court acquitted. But the Kerala High Court ordered a retrial of the five accused, including a juvenile, and the case is with the CBI as of now. Every sinner has a future, maybe, but he denied his dead victim her futureThere was the startling “every sinner has a future” Supreme Court verdict of 2022 that commuted the death sentence of a rapist-murderer of a four-year-old child into imprisonment for 20 years. The court also held that this was not a “rarest of the rare” case. Using this “every sinner has a future” precedent, the Orissa High Court in May 2024 also commuted the sentence of a rapist-murderer of a six-year-old child. He had been on death row, but they commuted it to “life imprisonment”.  In India, “life imprisonment” usually means the convict will walk after 14 years, so that is the total sentence the murderer will serve in practice.On August 20th came another shocker. After 32 years, a POCSO court has convicted six men in Ajmer of raping/molesting, photographing and blackmailing over a hundred minor girls. It took 32 years for what should have been an open-and-shut case. The assailants are said to have political connections with a particular party. Also on August 20th, the Justice Hema Commission published its report on the plight of women in the Malayalam film industry. It alleges that sexual exploitation including the ‘casting couch' is rife, discrimination such as the lack of even basic amenities like toilets on sets is common, and that a ‘criminal gang' of senior actors, producers, and directors perpetuates a cycle of abuse. Soft on crimes against women and girlsAll this signals that the Indian State, especially the Judiciary, is soft on horrific crimes against women and girls. This cannot continue in a civilized nation. One possible outcome is that the Executive and the Judiciary will take cognizance of these lapses, and provide severe deterrence, which can only come with fast-tracking of these cases, and enforcing capital punishment, instead of vague homilies quoting Oscar Wilde.Another possibility is vigilante justice. There was the 1974 film Death Wish about an unassuming architect in New York who takes the law into his own hands after his wife is murdered and his daughter raped by violent criminals. He stalks muggers and criminals. Ordinary citizens may be tempted to do the same in India. The third thing is to drum it into males from a young age, especially in school, that they have to respect women as human beings, not see them as sexual prey. Repeated insistence on that message will get through to them.  Furthermore, there is every reason to try juveniles committing heinous crimes (such as rape and murder) as adults. The existing Juvenile Justice Act is sufficient for this; it may well be that prosecutors are not using the law to its full extent. Prosecutorial incompetence was alleged in the Sowmya case as well, along with the involvement of shadowy benefactors for the murderer. Copycat crimes, in particular against babies and toddlers, are becoming more frequent. In November 2023, a two-and-a-half-year-old girl was raped by a 17-year-old boy in Buldhana, Maharashtra. In August 2024, a Class 9 student was detained for allegedly raping a three-year-old girl in Mumbai.This sort of thing simply cannot continue. It is not the case that India is particularly prone to sexual crimes against women: the number of reported rapes is not high compared to other countries, but for a nation that calls itself the Motherland and worships many female deities, the cavalier treatment of crimes against women is a disgrace, and must be stopped.1100 words, 20th August 2024, updated 21st August This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit rajeevsrinivasan.substack.com

Charlie Thomas is an artist and environmentalist based on Waiheke Island, New Zealand. With a strong connection to the ocean and all its inhabitants, Charlie shares how his passion is creating a life of stewardship, leadership, and traveling.Charlie spent his summer holidays on Great Barrier Island and has worked full-time in wildlife conservation since leaving high school when he was only 16. He has visited, or lived on, some of the most remote (and important) islands in the world, including the Northwestern Hawaiian Islands and New Zealand subantarctic islands. ​During 2020, Charlie spent nine months on Kure, one of the most isolated atolls in the world, in an effort to restore the island by helping its seabirds and marine wildlife, eradicate invasive weed species, and clear marine debris. And he shares his recent expedition with the  Antarctic Heritage Trust's Inspiring Explorers Expeditions™ in South Georgia as part of the Trust's visual arts outreach team where he uses watercolor to illustrate South Georgia's incredible wildlife and landscapes.Charlie works in education and teaches young people about the importance of being guardians for our native species and spaces. His passion for nature, particularly birds, has led him to create art in all forms highlighting how we can help take better care of the planet. Visit  www.charliesbirds.com to learn more about Charlie and how he connects people of all ages and backgrounds to the natural wonders in their own backyards and in places they've never heard of before. A very special episode on Speaking of Travel! Tune in! Thanks for listening to Speaking of Travel! Visit speakingoftravel.net for travel tips, travel stories, and ways you can become a more savvy traveler.

This epsiode of Finance Friday we have someone from the world of finances talking real advice. Charlie Thomas works for the same firm that Alan Giese works. Alan presented inside of Fundamentals on financial robustness. You Will want to hear this convo. ___TRY US OUT:24 hour access for ONLY $1: https://strengthcoachnetwork.com/monthly-order___CONNECT:

This week, we're excited to have Charlie Thomas, UK Director of Iconic Collections for Bonham's, on the pod to take us inside ‘The Crown' auction going on now online (and the live event happening next week). We dive into what items are up for grabs—so many Princess Diana outfit recreations, the dupe of the Gold State coach—and the best tips for bidders. Also this week: an update on Princess Kate's recovery and the King's health after being discharged from hospital; Bashir and Panorama back in the headlines, and the 30th anniversary of the day Prince Charles was shot at (twice!). Grab a cuppa and tune in!Mentioned in this episode:‘The Crown' Auction at Bonham's - https://www.bonhams.com/auction/29243/the-crown-auction/The “Queen Mother's” Champagne Swizzle Stick - https://www.bonhams.com/auction/29243/lot/114/the-queen-mother-a-selection-of-charac[…]ar-props-compiled-by-the-crowns-set-decorating-department-12/Jo Malone Perfume - https://www.jomalone.com/product/25946/18848/colognes/wild-bluebell-cologne‘Diana: Her True Story' 25th Anniversary Edition - https://www.amazon.com/Diana-Revised-Anniversary-Thorndike-Biographies/dp/1432841165--Presented by PureWow and Gallery Media Group. Follow all the royal news at purewow.com/royals. Follow us on Instagram at @RoyallyObsessedPodcast.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A la memoria de todos los caídos del año seleccionamos unas cuantas canciones de artistas y personajes musicales que nos dejaron en 2023. No están todos los que ya no están, pero todos los que están ya no están. Playlist;(sintonía) THE YARDBIRDS “Shapes of things” (JEFF BECK, 10 de enero, 78 años)CROSBY STILLS and NASH “Long time gone” (DAVID CROSBY (81 años, 18 de enero)TELEVISION “Venus” (TOM VERLAINE, 28 de enero, 73 años)BARRETT STRONG “Money (that’s what I want)” (29 de enero, 81 años)THE DRIFTERS “When my little girl is smiling” (CHARLIE THOMAS, 31 de enero, 85 años)BURT BACHARACH “Raindrops keep falling in my head” (8 de febrero, 94 años)SPENCER WIGGINS “I’d rather go blind” (13 de febrero, 81 años)HUEY “PIANO” SMITH “Rockin pneumonia and the Boogie Woogie flu” (13 de febrero, 89 años)CHUCK JACKSON “I just don’t know what to do with myself” (16 de febrero, 85 años)BILLY “THE KID” EMERSON “Red hot” (25 de abril, 97 años)LESTER STERLING “Super Special” (16 de mayo, 87 años)IKE and TINA TURNER “A fool in love” (TINA TURNER, 24 de mayo, 83 años)THE ANIMALS “We gotta get out of this place” (CYNTHIA WEIL, 1 de junio, 82 años)THE ISLEY BROTHERS “Shout” (RUDOLPH ISLEY, 11 de octubre, 84 años)DWIGHT TWILLEY “I’m on fire” (18 de octubre, 72 años)THE POGUES “Fairytale of New York” (SHANE McGOWAN, 30 de noviembre, 65 años)CONCHA VELASCO “Hoy como ayer” (2 de diciembre, 84 años)LOS RELAMPAGOS “Nit de llampecs” (PABLO HERRERO, 5 de diciembre, 81 años)Escuchar audio

Chucky makes her debut appearancne on the podcast, as the girls recap the Matilda's performance at Optus Stadium and praise Gibbo heading into her 50th game against the CrowsSee omnystudio.com/listener for privacy information.

It's a double dose on interview Wednesday, hear from GWS' Katherine Smith after the Giants produced a brilliant heartstopping victory over the Blues on Saturday. On Sunday, the Eagles upset the Bombers at Windy Hill to produce their second win of the season, they'll face the Bulldogs this weekend and Charlie Thomas is hoping to make it two wins in a row for the first time in the club's history. Note our interview with Charlie Thomas was recorded before Michael Prior, coach of West Coast made the announcement to resign from his role.  Subscribe to Credit to the Girls wherever you get your podcasts. See omnystudio.com/listener for privacy information.

Prep Sports Weekly for Monday, October 23, 2023. We hear from a pair of football coaches that have big "winner to playoffs; loser out" games on Friday night with Mountlake Terrace Hawks Football Head Coach Archie Malloy and Marysville Pilchuck Tomahawks Football Head Coach Dalton Schwetz. Plus we hear from the Lynnwood Royals Girls Volleyball team, including our KRKO Russell & Hill Female Student Athlete of the Month for September 2023, Sammy Holmer. Her teammates included: Olivia Dahl, Evangeline Sum, Abbie Orr, Harmony Johnson, Jordyn Higa, Ady Morgan, Taryn Dillon, Charlie Thomas, Adia Weighter, Hannah Johnson, Makena Kaleo and coaches Annalise Mudaliar and Sydney Toler.   

GDP Script/ Top Stories for tuesday Aug. 22 Publish Date: mon Aug. 21 From the Henssler Financial Studio Welcome to the Gwinnett Daily Post Podcast Today is sunday August 22nd , and happy 29th birthday to NFL wide receiver Mike Evans ****Evans**** I'm Bruce Jenkins and here are your top stories presented by Peggy Slappey Properties Groups call for removal of Sen. Shawn Still after indictment in Donald Trump case After 100 years, Snellville has grown but still remains a 'mercantile town' And A1A to Rock the Park in Lilburn on Aug. 26 All of this and more is coming up on the Gwinnett Daily Post podcast, and if you are looking for community news, we encourage you to listen daily and subscribe!    Break 1 :  Slappey- GCPS          Story 1. still State Senator Shawn Still is facing calls for his removal from office after being indicted alongside former President Donald Trump in Fulton County Superior Court on charges including racketeering related to efforts to overturn the 2020 presidential election results in Georgia. Advocacy groups such as All Voting is Local Action, Fair Fight Action, and others have written to Gov. Brian Kemp and Attorney General Chris Carr, urging them to review Still's eligibility to hold office while facing criminal charges. Still, a Republican senator from Johns Creek, is the only sitting legislator among the indicted individuals. Some, like Georgia GOP Chairman Josh McKoon, are supporting Still, while others emphasize the importance of addressing the issue through a fair process..………….. read more at gwinnettdailypost.com   STORY 2: town Snellville, celebrating its centennial, has evolved from a small town with less than 1,000 residents at its founding in 1923 to a thriving suburban community with around 20,573 residents as of 2020. The town's history is marked by periods of growth, including the explosive population increase in the 1970s. Snellville's growth led to the establishment of amenities like Eastside Medical Center, and its continuous development is evident through projects like The Grove mixed-use development. The town has evolved from its rural roots to a bustling community, with leaders and residents proud of its transformation over the past century. Story 3: a1a Lilburn's annual Rock the Park event on August 26 features A1A, the official and original Jimmy Buffett tribute show, as the headliner. A1A delivers authentic renditions of Parrot Head tunes and has gained recognition for its performances across the nation. The event at Lilburn City Park will also showcase opening act Black Lion Reggae. Attendees are encouraged to bring lawn chairs and blankets for the free concert, which will feature food trucks, drinks, and treats available for purchase. Coolers are allowed, but outside alcohol is prohibited. The event promises a lively atmosphere with top-notch tribute bands. We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info. We'll be right back   Break 2:   M.O..- Tom Wages -  Obits   Story 4: tixie The Georgia Association of Conservation Districts (GACD) recently held its annual Hall of Fame Banquet to honor individuals who have made significant contributions to conservation efforts in the state. The GACD Superior Professional Support award was presented to Tixie Fowler of the Gwinnett County Conservation District. Fowler has secured substantial grants, initiated partnerships, and led successful projects such as the Crayfish Creek Restoration Project. She has also organized educational initiatives including workshops and videos for students and educators. Her dedication to the district and community was recognized by GACD officials, and her nomination was made by the Gwinnett County Conservation District. GACD's mission is to advocate for Georgia's natural resource conservation by providing leadership and strategic direction to Conservation Districts.   Story 5: fix   The supply of affordable housing in Georgia has drastically decreased due to the pandemic, leading to higher rents and increased homelessness among single adults and families. Advocates are pushing for action, but some solutions, like repealing Georgia's rent control ban, have faced opposition. The number of affordable units with rents under $600 dropped by about 67,000 between 2019 and 2021. Many landlords sold properties after the pandemic, exacerbating the issue. The end of the eviction moratorium and federal rental aid further strained tenants. Families are forced into difficult decisions, living in subpar conditions or paying unaffordable rents. Advocacy groups are seeking solutions, including lifting the rent control ban and creating affordable housing initiatives. Local officials are also taking steps to address the housing shortage.   Story 6: state   The State Transportation Board of Georgia has announced its new executive leadership team. Robert Brown is the new Chairman, Ann R. Purcell is the Vice Chairman, and Jamie Boswell is the Secretary. These appointments ensure representation from different regions of the state. Brown, a registered architect, resides in Decatur and represents the 4th Congressional District. Purcell, a former state legislator, resides in Savannah and represents the 1st Congressional District. Boswell, from Athens, represents the 10th Congressional District and is the owner of the Boswell Group. The 14-member board governs the Georgia Department of Transportation and sets transportation policy.   We'll be back in a moment   Break 3:  ESOG – Ingles 1 - GCPS   Story 7: elite And now, Leah McGrath, corporate dietician at Ingles markets talks with us about foods that help with swollen feet In the Class AAA Elite Eight Playday, Wesleyan's volleyball team achieved a 3-1 record. They secured victories against Columbus, St. Vincent's, and Morgan County, but lost to Sandy Creek. Notable performances came from Nadia Desbordes with 23 kills, 23 digs, and five blocks, Katie Leeming with 24 kills, Sara Marie Miller with eight aces, 35 digs, and 55 assists, and Avery Daum with 12 aces and 42 digs. Hebron Christian also participated, splitting their matches with wins against Morgan County and St. Vincent's, and losses to Sandy Creek and Savannah Christian. Ashley Troxell, Addison Griffin, and Aubrey Cowart led Hebron's efforts. Providence Christian reached the semifinals in the Dominion Endless Summer Tournament, led by Ava Wilmot, Ella Style, and Emmy Moody.   Story 8: moore   In the Pickens Preview cross country meet, Wood Moore from Wesleyan achieved fourth place in the varsity boys race with a time of 15 minutes, 57.33 seconds. Harrison's Riley Comstock won the race in 15:46.81. Kaleb Tesfaye (eighth) and Solomon Mussie (12th) were top finishers for Parkview, while North Gwinnett's Haydn Hermansen secured the 16th spot. Gwinnett's top girls finisher was North's Aurora Streleckis in eighth place with a time of 19:47.50. Parkview, Wesleyan, and North Gwinnett had competitive team standings in both boys and girls categories. The Parkview boys were sixth, North Gwinnett seventh, and Wesleyan thirteenth among 33 teams. In the girls' standings, Parkview took fifth, Wesleyan sixth, and North Gwinnett seventh among 29 teams.   Story 9:  opener   Despite dealing with illness-related absences, the Brookwood boys' cross country team triumphed in the Apalachee Season Opener, a 23-team event. The team secured victory with 69 points, narrowly surpassing runner-up Milton. The girls' team from Brookwood secured second place, with freshman Kennedy Wardle claiming an individual championship. Key performers for the boys included Alexander Thompson (fifth), Carter Dehnke (ninth), Alex Sotomayor (eleventh), and Charlie Thomas (twentieth). Collins Hill's Vincent Pifer secured fourteenth place. The Brookwood girls were led by Kennedy Wardle's victory, with Ava Layson (fifth) and Lauren Thisdale (tenth) contributing. Norcross' Emily Rodriguez achieved third place, and Elkin Regina from the same team secured seventeenth. ***LEAH***   Break 4:  Lawrenceville - Henssler 60 Thanks again for hanging out with us on today's Marietta Daily Journal podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, the Community Podcast for Rockdale Newton and Morgan Counties, or the Paulding County News Podcast. Read more about all our stories, and get other great content at Gwinnettdailypost.com. Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts.   www.wagesfuneralhome.com  www.psponline.com  www.mallofgeorgiachryslerdodgejeep.com  www.esogrepair.com  www.henssler.com  www.ingles-markets.com  www.downtownlawrencevillega.com  www.gcpsk12.orgSee omnystudio.com/listener for privacy information.

The Browns are close to what will be the final 53 (injuries permitting) in Jeff's eyes so we try to narrow down what battles are left.The fourth running back battle is still going on, could it be the veteran Wilkins, the undrafted free agent Hall, or an unknown.Watkins at this point looks to be a guy to make the roster, his production can not be ignored.If the Browns keep 10 olineman there is a battle but the first nine are set in stone.Defensive end gets tricky because of the injuries to Alex Wright and Isiah Thomas.Charlie Thomas could be an interesting guy, he keeps making plays and brings physicality to his game.Safety Ronnie Hickman keeps trending upward which should have him locked in.#Dawgpound #BrownsNutrafolTake the first step to visibly thicker, healthier hair. For a limited time, Nutrafol is offering our listeners ten dollars off your first month's subscription and free shipping when you go to Nutrafol.com/men and enter the promo code LOCKEDONMLB. Underdog FantasyThis episode is sponsored by Underdog Fantasy! Sign up HERE with the promo code LOCKEDON to get your first deposit DOUBLED up to $100.Must be 18+ (19+ in Alabama and Nebraska, 21+ in Massachusetts and Arizona) and present in a state where Underdog Fantasy operates. Terms apply. Concerned with your play? Call 1-800-GAMBLER or visit www dot ncpgambling.org; In Arizona call 1-800-NEXT-STEP; in New York, Call 1-877-8-HOPENY; in Tennessee, call 1-800-889-9789eBay MotorsFor parts that fit, head to eBay Motors and look for the green check. Stay in the game with eBay Guaranteed Fit. eBay Motors dot com. Let's ride. eBay Guaranteed Fit only available to US customers. Eligible items only. Exclusions apply.LinkedInLinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONNFL. Terms and conditions apply.FanDuelMake Every Moment More. Right now, when you bet on a Super Bowl Winner, you can GET BONUS BETS EVERY TIME THEY WIN IN THE REGULAR SEASON! FanDuel.com/LOCKEDON.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Browns are close to what will be the final 53 (injuries permitting) in Jeff's eyes so we try to narrow down what battles are left. The fourth running back battle is still going on, could it be the veteran Wilkins, the undrafted free agent Hall, or an unknown. Watkins at this point looks to be a guy to make the roster, his production can not be ignored. If the Browns keep 10 olineman there is a battle but the first nine are set in stone. Defensive end gets tricky because of the injuries to Alex Wright and Isiah Thomas. Charlie Thomas could be an interesting guy, he keeps making plays and brings physicality to his game. Safety Ronnie Hickman keeps trending upward which should have him locked in. #Dawgpound #Browns Nutrafol Take the first step to visibly thicker, healthier hair. For a limited time, Nutrafol is offering our listeners ten dollars off your first month's subscription and free shipping when you go to Nutrafol.com/men and enter the promo code LOCKEDONMLB.  Underdog Fantasy This episode is sponsored by Underdog Fantasy! Sign up HERE with the promo code LOCKEDON to get your first deposit DOUBLED up to $100. Must be 18+ (19+ in Alabama and Nebraska, 21+ in Massachusetts and Arizona) and present in a state where Underdog Fantasy operates. Terms apply. Concerned with your play? Call 1-800-GAMBLER or visit www dot ncpgambling.org; In Arizona call 1-800-NEXT-STEP; in New York, Call 1-877-8-HOPENY; in Tennessee, call 1-800-889-9789 eBay Motors For parts that fit, head to eBay Motors and look for the green check. Stay in the game with eBay Guaranteed Fit. eBay Motors dot com. Let's ride. eBay Guaranteed Fit only available to US customers. Eligible items only. Exclusions apply. LinkedIn LinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONNFL. Terms and conditions apply. FanDuel Make Every Moment More. Right now, when you bet on a Super Bowl Winner, you can GET BONUS BETS EVERY TIME THEY WIN IN THE REGULAR SEASON! FanDuel.com/LOCKEDON. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, the guys are joined by Dr. Charlotte Thomas, Professor of Philosophy among several other titles at Mercer Unviersity and executive director of ACTC. The group discuss Dr. Thomas' book The Female Drama: The Philosophical Feminine in the Soul of Plato's Republic. The discussion roughly follows books V-VII of the Republic and its arguments around justice and what is needed to bring it about.

Chuck opens hour two by talking about when “good enough, is not good enough.” Kelly Quinlan from Jackets Online talks Georgia Tech Yellow Jackets. Plus, Robert Ferringo from Doc's Sports Services talks betting action for March Madness.See omnystudio.com/listener for privacy information.

Chuck opens hour two by talking about when “good enough, is not good enough.” Kelly Quinlan from Jackets Online talks Georgia Tech Yellow Jackets. Plus, Robert Ferringo from Doc's Sports Services talks betting action for March Madness.See omnystudio.com/listener for privacy information.

One night at The Apollo in 1958, George Treadwell fired the entire lineup of The Drifters. He then hired all of the members of The Five Crowns to become The Drifters. Charlie Thomas (along with Benjamin Earl Nelson - better known as Ben E. King) was a member of The Five Crowns, and while the original "classic" Drifters produced some hits, some of the biggest came from the era when Thomas was in the group. This was also the time when Lieber and Stoller were writing for the group. On January 31st, 2023, Charlie Thomas passed away at the age of 85. David Fleming interviewed Thomas in late 2015 when he was about to perform in the region, and has re-edited the conversation for this edition of KVC-Arts.

Brain Dead Surrogates?... BO in NY… Train Toxic Chemical Burn… chewingthefat@theblaze.com … Email on apartment fight… Event seat pricing at theaters… Yellowstone news… 1923 and beyond… Grammy ratings… State of The Union reminder… Who Died Today: Paco Rabbane 88 / Charlie Thomas 85 / Charles Kimbrough 86… Baby Names that are dying… Recall infant sleepers… Baldwin response… National Enquirer sold… Mafia fugitive apprehended…  Learn more about your ad choices. Visit megaphone.fm/adchoices

Golden's Oldies 36 for Boomers and all of us who like great music. Another 100+ minutes that includes the regular Motown Moment, Sounds of Surf, and Sixties-Nine features.Number Ones from the Kinks, Lisa Stansfield and Gary Puckett & the Union Gap together with Tracks Less Travelled by the Rolling Stones, John Kongos and David Bowie. There's also tributes to Charlie Thomas of the Drifters, Barrett Strong from Motown, and the incomparable Jeff Beck who all passed away recently.Plus a record banned everywhere (almost) in the 60s and still is today.Tracklist on my Facebook page; Golden's Oldies (The Chris Golden Show).

Rock & Roll Hall of Fame, Rhythm & Blues Foundation Inductee,Grammy® Award NomineeA  Music Group  BEFORE my Time that created Beautiful Music that is Classic & Treasured Today !! I LOVE MANY Genre's of Music, I Have a Special Place in my Heart for The Drifter's Music. This is my Tribute Show to a True Classy Gentleman, The last remaining Original Group Member who recorded the Music Hits, Charlie Thomas who just passed away this Week January 31st, 2023. This is Part 1 of my interview with him.Charlie actually Thanked Me for Interviewing HIM?!, the Honor was ALL Mine, What a Gentleman!Charles Thomas  was an American singer best known for his work with The Drifters. Thomas was performing with The Five Crowns at the Apollo Theater in 1958 when George Treadwell fired his group, called The Drifters. Treadwell recruited the Five Crowns to become the new Drifters. Although the Five Crowns never made any impression on the national charts under their own name, they regularly charted locally in New York and were stars in Harlem.The new Drifters' first release was the 1959 hit "There Goes My Baby".  This version of the group released the smash "There Goes My Baby," working for the first time with legendary songwriter/producers Jerry Leiber and Mike Stoller, and followed with a string of hits including the top 10 "Save The Last Dance For Me" and "This Magic Moment." Charlie was lead singer on two of the group's top 40 hits, "Sweets for My Sweet" and "When My Little Girl Is Smiling". Their late-'50s incarnation, featuring original members Doc Green, James Clark, Elsbeary Hobbs, Ben E. King, and Charles Thomas, became the post-1958 Drifters, responsible for "There Goes My Baby" and the core of the group that later recorded "Up on the Roof," "Under the Boardwalk," and "On Broadway."Most of The Drifters biggest hits featured different lead singers:Ben E. King “There Goes My Baby” “Dance With Me” “This Magic Moment” “Save the Last Dance for Me” “I Count the Tears” Charlie Thomas “Sweets for My Sweet” “Room Full of Tears” “When My Little Girl is Smiling” Rudy Lewis “Some Kind of Wonderful” “Up On the Roof” “Please Stay” “On Broadway” Clyde McPhatter “Money Honey” “Honey Love” Bill Pinkney“White Christmas” (with Clyde McPhatter)Johnny Moore “Adorable” “Fools Fall In Love” “Ruby Baby” “Under the Boardwalk” “I've Got Sand in My Shoes” “Saturday Night at the Movies” Bobby Hendricks“Drip Drop”© 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Falcons general manager Terry Fontenot discusses how the franchise plans to proceed in the potentially pivotal offseason. The Falcons' front office, scouts and coaches have reviewed the 2022 season and will make a decision on which players they plan to keep and which they plan to move on from. Some players will leave via free agency. Also, Fontenot and special teams coordinator Marquice Williams discussed the benefits of coaching in the East-West Shrine Bowl. Georgia Tech linebacker Charlie Thomas, who's been invited to the combine, also stopped by. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Georgia Tech Daily Buzz presented by Georgia's Own Credit Union and Arrow Exterminators. A daily look inside Yellow Jacket Athletics with the Voice of the Yellow Jackets Andy Demetra. Charlie Thomas and Ace Eley have an opportunity to break a long time drought for the Yellow Jackets when it comes to this accomplishment.  Basketball Georgia Tech takes on Northern Illinois on Thursday evening. Ramblin Wreck Pre-Game starts at 7:30p with tip scheduled for 8p. Hear it all on 680 The Fan and 93.7 FM and the 680 The Fan App available for both Apple and Android! Football Hear the Jackets take on North Carolina Saturday on 680 The Fan and 93.7 FM or Tap The App available for both Apple and Android! Ramblin Wreck Pre-Game Show starts at 3:30p and kickoff scheduled for 5:30p Hear "The Daily Buzz' each weekday during "The Locker Room" on the Home of the Yellow Jackets, 680 The Fan & 93.7 FMSee omnystudio.com/listener for privacy information.

The Georgia Tech Daily Buzz presented by Georgia's Own Credit Union and Arrow Exterminators. A daily look inside Yellow Jacket Athletics with the Voice of the Yellow Jackets Andy Demetra. Charlie Thomas and Ace Eley have an opportunity to break a long time drought for the Yellow Jackets when it comes to this accomplishment.  Basketball Georgia Tech takes on Northern Illinois on Thursday evening. Ramblin Wreck Pre-Game starts at 7:30p with tip scheduled for 8p. Hear it all on 680 The Fan and 93.7 FM and the 680 The Fan App available for both Apple and Android! Football Hear the Jackets take on North Carolina Saturday on 680 The Fan and 93.7 FM or Tap The App available for both Apple and Android! Ramblin Wreck Pre-Game Show starts at 3:30p and kickoff scheduled for 5:30p Hear "The Daily Buzz' each weekday during "The Locker Room" on the Home of the Yellow Jackets, 680 The Fan & 93.7 FMSee omnystudio.com/listener for privacy information.

The Georgia Tech Daily Buzz presented by Georgia's Own Credit Union and Arrow Exterminators. A daily look inside Yellow Jacket Athletics with the Voice of the Yellow Jackets Andy Demetra. Charlie Thomas and Ace Eley have an opportunity to break a long time drought for the Yellow Jackets when it comes to this accomplishment.  Basketball Georgia Tech takes on Northern Illinois on Thursday evening. Ramblin Wreck Pre-Game starts at 7:30p with tip scheduled for 8p. Hear it all on 680 The Fan and 93.7 FM and the 680 The Fan App available for both Apple and Android! Football Hear the Jackets take on North Carolina Saturday on 680 The Fan and 93.7 FM or Tap The App available for both Apple and Android! Ramblin Wreck Pre-Game Show starts at 3:30p and kickoff scheduled for 5:30p Hear "The Daily Buzz' each weekday during "The Locker Room" on the Home of the Yellow Jackets, 680 The Fan & 93.7 FMSee omnystudio.com/listener for privacy information.

I can't think of a better photo, that encapsulates both skateboarding & friendship.. look at these dudes, battling for that Airwalk. this, is what it's all about. These kinds of photos, put you in a definitive place & time. Honestly, you just had to be there. Skateboarding LEGEND- Charlie Thomas, was there. And, today he's gonna take us on a trip down memory lane here at the mighty, mighty WCRP on Skateboarding. Tune in as we take a deep-dive into hometown Mom & Pop shops of the 80's. His first ad for Toxic Skateboards. We discuss the grueling road, leading to the LEGENDARY NSA Finals contests. The insane progression of tricks in the late 80s. And, all things skateboarding.. For the culture, of course!- Clyde Singleton

Good morning, folks!! It's absolutely impossible, to discuss the history of skateboarding. And, the state of Louisiana. Without mention, of skateboarding LEGEND- Charlie Thomas. His rise from the South, is one for the books. And, he's here to share his story with the mighty, mighty WCRP on Skateboarding. Tune in, as we talk his early origins riding for Epicc Skateboards. And, working for Mrs. Donna at Surf & Skate. Meeting lifelong friend, skateboarding LEGEND- Shannon May. The importance, of friendship while traveling. We talk Louisiana LEGEND- Al Gibson & Dread Skates. Sal Barbier, the H-Street house & all things skateboarding. For the culture, of course!!- Clyde Singleton

In this discussion, hosted by Luci Rainey, former SVP of Marketing at Comcast and PODS, we will hear from Michelle Taves, CEO of V12 and GM of Porch Marketing Group, and Charlie Thomas, Business Development Director at Strategus. Our speakers will discuss the growth of retail media networks and CTV and answer viewers' questions. Michelle and Charlie will share a preview of the Porch Media Network, one of the first retail media networks with advanced CTV capabilities, powered by Strategus. Learn what to expect with a campaign using Strategus and how it delivers unique audience creation. For more info, visit our website: https://v12data.com/

In this discussion, hosted by Luci Rainey, former SVP of Marketing at Comcast and PODS, we hear from Michelle Taves, CEO of V12 and GM of Porch Marketing Group, and Charlie Thomas, Business Development Director at Strategus. Michelle and Charlie discuss the changing media and advertising landscape, and how brands can get ahead by investing in retail media networks and CTV.Key Topics Include:

The Georgia Tech Daily Buzz presented by Georgia's Own Credit Union and Arrow Exterminators. A daily look inside Yellow Jacket Athletics with the Voice of the Yellow Jackets Andy Demetra. Current ACC LB of the Week Charlie Thomas and teammate Ayinde Eley are having a great start to their seasons but could one of them do something that hasn't been done since Keyaron Fox's days down on The Flats? This Saturday the Yellow Jackets look to keep the positive momentum going against Duke, hear it on 680 The Fan and 93.7 FM starting with the Rambling Wreck Kickoff Show at 2p and Kickoff at 4p.  Hear "The Daily Buzz' each weekday during "The Locker Room" on the Home of the Yellow Jackets, 680 The Fan & 93.7 FMSee omnystudio.com/listener for privacy information.

The Georgia Tech Daily Buzz presented by Georgia's Own Credit Union and Arrow Exterminators. A daily look inside Yellow Jacket Athletics with the Voice of the Yellow Jackets Andy Demetra. Current ACC LB of the Week Charlie Thomas and teammate Ayinde Eley are having a great start to their seasons but could one of them do something that hasn't been done since Keyaron Fox's days down on The Flats? This Saturday the Yellow Jackets look to keep the positive momentum going against Duke, hear it on 680 The Fan and 93.7 FM starting with the Rambling Wreck Kickoff Show at 2p and Kickoff at 4p.  Hear "The Daily Buzz' each weekday during "The Locker Room" on the Home of the Yellow Jackets, 680 The Fan & 93.7 FMSee omnystudio.com/listener for privacy information.

Rain is projected in the forecast for Saturday night's matchup of Pitt and Georgia Tech, and it sets up the Panthers for the most obvious gameplan. Why should they rely upon Israel Abanikanda and Vincent Davis to lead the way to victory? How else can the rain change the game for Georgia Tech and Pitt moving forward? With the firing of Geoff Collins, how could this Georgia Tech team respond under interim head coach Brent Key? Should the Panthers be worried about anything specific with the Yellow Jackets offense? How does Jeff Sims affect the game? Lastly, we talk about the stylistic matchup. How will Charlie Thomas missing the first half of the game impact Georgia Tech's run defense? Can GT keep the game close through explosive plays? How likely is it that they could slow down Pitt's rushing attack? Support Us By Supporting Our Sponsors! LinkedIn LinkedIn jobs helps you find the candidates you want to talk to, faster. Post your job for free at Linkedin.com/lockedoncollege Terms and conditions apply. Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! Upside Download the FREE Upside App and use promo code Locked to get $5 or more cash back on your first purchase of $10 or more. Underdog Fantasy Sign up on underdogfantasy.com with the promo code LOCKED ON and get your first deposit doubled up to $100! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Rain is projected in the forecast for Saturday night's matchup of Pitt and Georgia Tech, and it sets up the Panthers for the most obvious gameplan. Why should they rely upon Israel Abanikanda and Vincent Davis to lead the way to victory? How else can the rain change the game for Georgia Tech and Pitt moving forward? With the firing of Geoff Collins, how could this Georgia Tech team respond under interim head coach Brent Key? Should the Panthers be worried about anything specific with the Yellow Jackets offense? How does Jeff Sims affect the game? Lastly, we talk about the stylistic matchup. How will Charlie Thomas missing the first half of the game impact Georgia Tech's run defense? Can GT keep the game close through explosive plays? How likely is it that they could slow down Pitt's rushing attack?Support Us By Supporting Our Sponsors!LinkedInLinkedIn jobs helps you find the candidates you want to talk to, faster. Post your job for free at Linkedin.com/lockedoncollege Terms and conditions apply.Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order.BetOnlineBetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts!UpsideDownload the FREE Upside App and use promo code Locked to get $5 or more cash back on your first purchase of $10 or more.Underdog FantasySign up on underdogfantasy.com with the promo code LOCKED ON and get your first deposit doubled up to $100! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Show #965 One Track Leads To Another 01. Josh Hoyer & Soul Colossal - Evolution (4:09) (Green Light, self-release, 2022) 02. Annika Chambers & Paul DesLaurier - Stand Up (4:19) (Good Trouble, VizzTone Records, 2022) 03. Annika Chambers & Derrick Procell - Black Man's Justice (4:02) (Single, Catfood Records, 2020) 04. Jyri Kannisto - Rusty Crown Blues (2:31) (Single, self-release, 2022) 05. Reid Jamieson - Summer Boy (2:45) (Single, self-release, 2022) 06. Angela Strehli - Two Steps From The Blues (2:37) (Ace Of Blues, New West/Antone's Records, 2022) 07. Bobby Bland - That Did It (3:27) (Touch Of The Blues, Duke Records, 1967) 08. miXendorp - Eagger (4:41) (Single, Black and Tan Records, 2022) 09. Justine Blazer - Never Get Away (3:43) (Girl Singing The Blues, Ten7Teen Studios & Records, 2022) 10. Buddy Guy - I Let My Guitar Do The Talking (4:26) (The Blues Don't Lie, RCA Records, 2022) 11. Buddy Guy - That's It [1962] (2:35) (Blues Rarities, Chess Records, 1984) 12. Michelle D'Amour & the Love Dealers - Nurse With A Purse (3:52) (Hot Mess, Blueskitty Records, 2022) 13. Geiger von Müller - Pinning Over The Moon (2:22) (Slide Sonatas I, self-release, 2022) 14. The Drifters - When My Little Girl Is Smiling (2:34) (45 RPM Single, Atlantic Records, 1962) 15. Charlie Thomas & the Blues Burners - Be My Rock (4:37) (Single, Mad Hands Records, 2022) 16. The Mighty Soul Drivers - A Little Bit Of That (8:03) (I'll Carry You Home, Hog Heaven Records, 2022) 17. Killing Floor - Sun Keeps Shining (4:25) (Out Of Uranus, Penny Farthing, 1970) 18. Mick Clarke - Tin Box (5:26) (Telegram, Rockfold Records, 2022) 19. The Dig 3 - Reposado Rock (3:19) (The Dig 3, self-release, 2022) 20. Lightnin' Malcolm - Provide (4:19) (Eye Of The Storm, Whiskey Bayou Records, 2022) 21. John Nemeth - Stealin' Watermelons (4:25) (May Be The Last Time, Nola Blue Records, 2022) 22. Elvin Bishop Group - Tulsa Shuffle (5:19) (The Elvin Bishop Group, Fillmore/CBS Records, 1969) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

The College Football Experience (@TCEonSGPN) on the Sports Gambling Podcast Network previews the upcoming 2022 college football season for the Georgia Tech Yellow Jackets. Pick Dundee aka (@TheColbyD) & Patty C (@PattyC831) breakdown this years Georgia Tech Yellow Jackets roster and key in on each and every game on the 2022 schedule. Is this the year Geoff Collins and the Yellow Jackets turn the corner and make a bowl game? Should Georgia Tech bring back the triple option offense? Is Jeff Sims ready to take the next step as Georgia Tech's quarterback? Did the Yellow Jackets make up for the loss of Jahmyr Gibbs by bringing in Dylan McDuffie from Buffalo and Hassan Hall from Louisville? Can Chip Long get this offense off the ground despite only returning 4 offensive starters? Does Georgia Tech have perhaps the nations toughest schedule? Is defensive tackle Morris Joseph Jr. one to keep an eye on after transferring in from Memphis? Will Andrew Thacker get the rambling wreck back to being a respectable defense? Does the return of linebackers Ayinde Eley and Charlie Thomas mean the linebacking core will be fine? Did Georgia Tech win the offseason transfer portal? What does Georgia Tech have to do to get back to the Bobby Ross and Paul Johnson days? We talk it all and more on this Georgia Tech Yellow Jackets edition of The College Football Experience. Georgia Tech Yellow Jackets 2022 ScheduleWin Total O/U: 3.5vs Clemson vs Western Carolinavs Ole Miss@ UCF@ Pittsburghvs DukeBYEvs Virginia@ Florida State@ Virginia Techvs Miami (FL)@ North Carolina@ Georgia Download The Free SGPN App - https://sgpn.appWynnBET - Bet $50 Get $200 In Free Bets - https://sg.pn/WynnBETJoin Sleeper and get a 100% deposit bonus up to $100 - http://sleeper.com/sgpSupport for this episode - IPVanish.com/sgpFollow The College Experience & SGPN On Social MediaTwitter - https://twitter.com/TCEonSGPNTwitter - http://www.twitter.com/gamblingpodcastInstagram - http://www.instagram.com/sportsgamblingpodcastTikTok - https://www.tiktok.com/@gamblingpodcastFacebook - http://www.facebook.com/sportsgamblingpodcast Follow The Hosts On Social MediaColby Dant - http://www.twitter.com/thecolbydPatty C - https://twitter.com/PattyC831NC Nick - https://twitter.com/NC__NicK Learn more about your ad choices. Visit podcastchoices.com/adchoices

OMG, Dawn And Mary Anne are officially sisters! In a shocking, unforeseen twist, it turns out that sometimes sisters have fights, exactly like last episode! But fear not, Dawn's going to fix everything through the life-changing magic of gaslighting. On today's agenda: HIPAA for podcasters; cutlery-drawer degeneracy; further research in the field of cake science; we use the phrase “passive-aggressive” a record number of times; the Shame Room; the Pikes invent mask mandates; a wholesome Charlie Thomas fanfic; Dawn commits sock crimes; gratuitous Ronald Reagan references; traumatic phone bill experiences; safe, sane and consensual spring cleaning; we pray for a shiny red reset button. Our theme song is "The Incredible Shrinking Larry" by Matt Oakley, and "Big Band Jingle A" is by Lobo Loco, both on the Free Music Archive. If you like our show, tell a friend, rate and review on your podcast app of choice, and come say hi on Facebook, Twitter, Tumblr or Instagram!

Australia's farmers may be doing brilliantly in export values but there remain significant challenges on farm labour, underlying productivity, profitability and logistical challenges - and the significant biosecurity threats that are potentially underfunded. The NFF's Charlie Thomas discusses with FlowFM Australia

Wow. Simply put, this is nothing short of a coup. A decade ago, Charlie Thomas succeeded in landing an interview that Sean and Paul have been chasing unsuccessfully for two years!   A Lol-tastic 90 minutes then, with exclusive and breathtaking interview outtakes from Charlie's brilliant documentary, ‘I'm Not in Love: the 10cc Story'. These extracts have remained unheard - by anyone - since they were shot in 2012.   Thank you so much to Charlie, his production company Special Treats and to Lol for allowing us to share these amazing clips.  

You may not be familiar with this Sky Sports TV presenter, but you're almost certainly aware of some of Charlie Thomas's brilliant music documentaries. Paul and Sean focus on two of these today: ‘I'm Not in Love: The Story of 10cc' and the brilliantly quirky ‘XTC: This is Pop'. Both truly hit the nail on the head with their subject matter: respectful, sensitive and full of wonderful insights.   Charlie's accounts of his time sitting opposite Lol, Graham, Kevin, Eric, Andy and Colin are captivating.  None more so than Eric: this truly is the most revealing account we've ever heard about the complex person that is Eric Stewart. And while we're here, why don't we indulge Charlie with his fascinating ideas for re-sequencing three classic 10cc albums?  Great fun!   We're massively in debt to the films' production company Special Treats for access to this wonderful material.  Thank you. And sorry about the slightly weird and variable audio quality today, with some music clips coming in all over the place: schoolboy errors on Sean's part this week!  :- )   Next week is something very special indeed: Charlie's been very generous in sharing (and allowing us to share) some wonderful outtakes from his long and delightful conversation with Lol Creme.  We can't wait!

Is it possible that you're illegally riding that Catrike, Terratrike. or even Cruzbike on the streets of America? It turns out to be a very difficult legal question fraught with insurance and financial implications. Doug Davis chats with legal experts Charlie Thomas, Steve Magas and Steven Hansen about laws excluding some 2, 3 or 4 wheeled bents from riding our roads. It's a real problem and makes touring a potential nightmare.  Next is a segment on the best approach to buying and selling a used bent. I talk to Chris Ferguson and Steve Wood who each moderate a popular Facebook classified group for recumbents. They and our own Larry Varney (representing BentRider Online Classifieds) will discuss all the dos and don'ts involved along with our very experienced panel. Also,Larry Varney and I were invited up to Grand Rapids, Michigan where we had two days to put the new Spyder-TerraTrike's speed machine-through its paces. If you had previously thought you'd never hear the words "TerraTrike" and "speed machine" in the same sentence watch on and be amazed.  Finally, we'll have Honza and Denny with the Recumbent News and Sports respectively.00:00:00  Intro00:00:50  What's on Today's Show00:02:48  Panel Introduction00:06:20  Sponsor Introduction00:07:50  Recumbent News in 5 with Honza Galla00:16:15  Doug Davis-Legal Labyrinth of Riding Recumbent in America00:21:27  Legal Expert-Steven Hansen00:40:15  Legal Expert-Charlie Thomas00:48:54  Legal Expert-Steve Magas00:58:40  Doug Davis-Summary and what our viewers can do to help01:15:35  Advice for Buying/Selling your Bent-Ferg FB Recumbent Trikes & Bikes Classified01:23:30  Best Advice for Buying and Selling your Bent-Steve Wood FB Recumbent Classifieds01:33:00  Best Advice for Buying and Selling your Bent-Larry Varney BentRider Online01:43:08  Review Team-TerraTrike Spyder and ATC trikes-Larry Varney01:55:10  Peter Stull stuffs two Performer trikes and more in a van.02:00:20  Denny Voorhees-Sports Report02:03:00  Sponsor Thanks02:04:40  Coming up next month02:05:38  Goodbye to panel and crew*Honza's News Report Links*Hase Bikes  https://hasebikes.com/https://www.facebook.com/watch/operationgarderlecap/https://www.facebook.com/paltineanuhttps://www.facebook.com/zicho.huhttps://www.instagram.com/solarebike/https://www.facebook.com/4PointsAustralia/*Guest Links*Doug Davis links to “Legality of 3-4 Wheeled Bent” reference pagehttps://www.bicycle-evolution.com/index.php/the_wheels_of_regulation/Steven Hansen  https://www.swhlaw.com/Charlie Thomas  https://huberthomaslaw.com/about-us/our-attorneys/Steve Magas  https://www.ohiobikelawyer.com/*Buy and Sell Links*Facebook Recumbent Trikes & Bikes Classified  https://www.facebook.com/groups/848211398622353Facebook Recumbent Classifieds  https://www.facebook.com/groups/534973056586751BentRider/Larry Varney  http://www.bentrideronline.com/*LBR Review Team Links*https://www.terratrike.com/performance/spyder/*LBR Crew Links*Recumbent News-online news website by Honza Galla  https://www.recumbent.news/BentRider/Larry Varney  http://www.bentrideronline.com/Doug Davis Bicycle Evolution  https://www.bicycle-evolution.com/Nina Paley's LinksNina's blog  https://blog.ninapaley.com/Nina's bike merchandise  http://www.palegraylabs.com/other-stuff-1/protective-bicycle-amuletPeter Stull  https://bicycleman.com/Josef Janning  https://www.facebook.com/josef.janning**Viewer Submissions or Questions**Send to laidbackbikereport@gmail.comSupport the show (https://www.patreon.com/laidbackbikereport)

Tafarai Bayne, Chief Strategist of CicLAvia, the Los Angeles open streets event, talks with Don, Lindsay, and Nick about bike strategy. https://www.ciclavia.org/ Charlie Thomas, Texas bike lawyer, talks about the windshield bias of Texas police, in light of an incident where a teen "Coal-rolled" a group of cyclists, then crashed into them, but was not charged or ticketed. https://www.bikelaw.com/2021/10/waller-bike-crash/ Edited by Kevin Burton.

ESPN College Football Analyst Eric Mac Lain makes his weekly visit and talks about all the injuries in the ACC and he gives us his top 5 ACC quarterbacks through week 2. We also give you some ACC "Over and Unders" Plus we announce this week's winner of WRU, Georgia Tech's Charlie Thomas.

Charlie Thomas, managing director of Hashoff, a wholly-owned subsidiary of DGTL Holdings Inc, joined Proactive's Stephen Gunnion with news that the company has signed a new social media content services contract with a crypto current trading platform based in Europe. Thomas telling Proactive that Hashoff will use influencer marketing to create awareness about crypto currencies in North America.

Hear from Richmond senior adviser Neil Balme, West Perth Captain Aaron Black, AFLW Eagles draftee Charlie Thomas plus the CEO of Golf WA Gary Thomas.

In association with Travelers Syndicate, listen to the first episode of a five-part series on Insuring Ambition. This instalment is a podcast formed of two parts:- Discussion on how insurers and their clients should be thinking about crisis management coverage at this time of great uncertainty.- Real life case study involving financial crime, whistleblowing and blackmail.The experts that you will hear from are:- Charlie Thomas, Content Director, Insurance Insider (Chair)- Chloë Brindley, Senior Underwriter, Crisis Management - Special Risks, Travelers- Carlos Caicedo, Senior Principal Analyst, Latin America Country Risk, IHS Markit- Nick Powis, Crisis Management Consultant, Constellis- Ed Zambellas, Senior Underwriter, Crisis Management - Terrorism, TravelersSupport the show (https://insuranceinsider.com/free-trial)

Recorded at KNDK --- Send in a voice message: https://anchor.fm/carbondale/message

www.ucclittlecompton.org | Support Our Ministry with $5 a Month "Without Pentecost the Christ-event - the life, death, and resurrection of Jesus - remains imprisoned in history as something to remember, think about and reflect on. The Spirit of Jesus comes to dwell within us, so that we can become living Christs here and now." —Henri Nouwen Scripture Reading 1: Acts 2:1-21 — Read by Charlie Thomas Scripture Reading 2: John 15:26-27; 16:4b-15 — Read by Sue Talbot Give to the Offering | Watch the video version of this service. We gratefully recognize the talents of our congregation without which this would not be possible. We’d like to thank the following for their talents this morning: Guest Minister: Rev. Dr. Richard L. Floyd Musician: Michael Bahmann Our readers: Charlie Thomas & Sue Talbot --- Send in a voice message: https://anchor.fm/sunday-on-the-commons/message Support this podcast: https://anchor.fm/sunday-on-the-commons/support

“In the depths of winter, I finally learned that within me lay an invincible summer.” - Albert Camus Scripture Reading 1: Isaiah 25:6-9 — Read by Linton Harrington Scripture Reading 2: Mark 16:1-8 — Read by Prudence Fallon Give to the Offering | Watch the video version of this service. We gratefully recognize the talents of our congregation without which this would not be possible. We’d like to thank the following for their talents this morning: Guest Minister: Rev. Beverley Edwards Musicians: Andrea Desilets, Michael Bahmann, Your Favorite Brass Quintet, Shirley Hardison, Gianna Sullivan Irish Blessing Vocals: Debbie Kelchner, Charlie Thomas, Caroline Thomas, Jen Thomas, Wendy Merriman, Lily Clark, Peter Fallon, Stephanie von Trapp Derbyshire Irish Blessing Horn: Charlie Thomas Annie Flather for the Flowers Our readers: Linton Harrington & Prudence Fallon Jen Thomas & Lis Harrington - Alex’s prayer & blessing Charlie Thomas, audio engineer The Virtual Worship Team --- Send in a voice message: https://anchor.fm/sunday-on-the-commons/message Support this podcast: https://anchor.fm/sunday-on-the-commons/support

www.ucclittlecompton.org | Support Our Ministry with $5 a Month “Jesus's resurrection is the beginning of God's new project, not to snatch people away from earth to heaven, but to colonize earth with the life of heaven. That, after all, is what the Lord's Prayer is about. The resurrection completes the inauguration of God's kingdom. It is the decisive event demonstrating that God's kingdom really has been launched on earth as it is in heaven. The message of Easter is that God's new world has been unveiled in Jesus Christ and that you're now invited to belong to it.” —N. T. Wright Scripture Reading 1: 1 John 3:1-7 — Read by Charlie Thomas Scripture Reading 2: Luke 24:36b-48 — Read by Kelly Rebeiro Give to the Offering | Watch the video version of this service. We gratefully recognize the talents of our congregation without which this would not be possible. We’d like to thank the following for their talents this morning: Guest Minister: Rev. Dr. Richard L. Floyd Musicians: Michael Bahmann, Sarah C. Whitehead Holly Billings for the Flowers Our readers: Charlie Thomas & Kelly Rebeiro The Virtual Worship Team --- Send in a voice message: https://anchor.fm/sunday-on-the-commons/message Support this podcast: https://anchor.fm/sunday-on-the-commons/support

The chapter in which I discuss the value of a trademark to a touring act and what it's like to play for a group that has no original members. Cover photo: Charlie Thomas of The Drifters, Rock & Roll Hall of Famer. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ivan-bodley/support

The #ScotsInUs Podcast from The American-Scottish Foundation® American Scottish Foundation President Camilla Hellman, MBE is joined in conversation with: Giles Ingram Chief Executive of Abbotsford The Home of Sir Walter Scott joins us to discuss the 250th Anniversary of the birth of Sir Walter Scott, one of Scotland's greatest ever literary figures. Giles will be sharing with us Abbotsford's exciting plans for the year ahead. Charlie Thomas, Director House Sales, Private & Iconic Collections at Bonhams shares exciting news about the upcoming Dunrobin Castle Attic Sale. David Balden, Secretary of The Caledonian Club, described as 'A little bit of Scotland in the heart of London'. Founded in 1891, this exquisite private Members' Club is situated in the grand and beautiful surroundings of Belgravia, London. Music from Noisemaker, Meredith McCrindle and John Rush. Presented by Jamie McGeechan. Interviews by Camilla Hellman, MBE www.americanscottishfoundation.org

In association with Insurance Insider, listen to the first episode of a five-part series on Insuring Ambition. This instalment is a podcast formed of two parts: - Discussion on how insurers and their clients should be thinking about crisis management coverage at this time of great uncertainty. - Real life case study involving financial crime, whistleblowing and blackmail. The experts that you will hear from are: - Charlie Thomas, Content Director, Insurance Insider (Chair) - Chloë Brindley, Senior Underwriter, Crisis Management - Special Risks, Travelers - Carlos Caicedo, Senior Principal Analyst, Latin America Country Risk, IHS Markit - Nick Powis, Crisis Management Consultant, Constellis - Ed Zambellas, Senior Underwriter, Crisis Management - Terrorism, Travelers

www.ucclittlecompton.org | Support Our Ministry “Human nature vigorously resists grace because grace changes us and the change is painful.” --Flannery O’Connor A series of Readings: Ashes, a Sign of Creation (read by Kayla Oliveira, youth member) Psalm 8 (read by Mae Pacheco, youth member) Genesis 2:4-9 (read by Nancy Demenicki, Deacon) Ashes, a Sign of Mortality (read by Prudence Fallon, Deacon) Genesis 3:8-13, 17-19 (read by Ty Polasek, youth member) Psalm 90:1-6 (read by Harry Switzer, Deacon) Ashes, a Sign of Repentance (read by Marin Goodfriend, youth member) A responsive reading of Psalm 130 (lead by Maddy Melnyk, youth member. Responses by Jilly Melnyk and Molly McCarthy, youth members, and Charlie Thomas, Deacon) Ashes, A Sign of the Cross (read by Alex Floyd Marshall) Matthew 16:24-26 (read by Toby Oliveira, youth member) --- Send in a voice message: https://anchor.fm/sunday-on-the-commons/message Support this podcast: https://anchor.fm/sunday-on-the-commons/support

Our latest episode arrives just in time for St. Valentine's Day, so three versions of the Doc Pomus/Mort Shuman classic, “Sweets for my Sweet” are just what Cupid ordered. First off is The Drifters' original version from 1961, and it's a cha-cha calypso party in the studio with the swaggery Charlie Thomas on lead and Dionne Warwick on backing vocals! (1:00) Next up is those Merseybeat treblemakers, The Searchers! Their 1963 rendition leads Erik & Weldon into a philosophical discussion of “jangle”: what is it? And where did it go? (30:56) Then, in 1966, Don & the Goodtimes get their dirty mitts on our title tune and Hang On Sloopify it to high heck!! (1:08:57) And because we love you, there's two bonus versions!!:  by Wang Wang Dog (1:42:05) and the Sugarbowl Six (1:47:59).

Guest, Dave Revels, from the Drifters Dave Revels, is an entertainer with over three decades of experience. In the mid to late eighties he was a member of the Hall Of Fame group, The Drifters, which featured two original members, Charlie Thomas and Elsbeary Hobbs

The LSU track and field program showed out on Saturday as they competed in the Charlie Thomas Invitational which took place at the Gilliam Indoor Stadium.  Four Tigers won titles against some of the top competition that the country has to offer.

LSU track and field will travel to Bryan-College Station, Texas to compete in the Charlie Thomas Invitational which will take place on Saturday, February 6 at the Gilliam Indoor Stadium.  The meet will be streamed on WatchESPN.com starting at 3:05 p.m. CT.

With the passing of Rockets former owner Charlie Thomas, former Rockets beat writer Robert Falkoff joins Host Robert Land to share memories of Thomas. Falkoff talks about how Thomas helped built Clutch City and how he had to make 2 major trades with implications as big as the James Harden deal. Falkoff also hits on the coin flips that Thomas won which led to Hakeem Olajuwon and Ralph Sampson. Subscribe to us on Spotify, Apple, the Google podcast app or the Stitcher app. Email Info@HoustonSportsTalk.net for questions, suggestions or comments. Like us on Facebook and follow us on Twitter @HSTPodcast

www.ucclittlecompton.org | Support Our Ministry “Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.” --The Rev. Dr. Martin Luther King, Jr. Join us as we hear from the writings of the Rev. Dr. Martin Luther King, Jr. Amos 5: 16a; 21-24 - Read by Linton Harrington, Deacon Readers of MLK Readings: Prudence Fallon, Harry Switzer, Charlie Thomas, and Catherine Sawoski, and Rev. Rebecca Special thanks this week to Andrea Desilets, our guest musician on the piano. Watch the video version of this service. --- Send in a voice message: https://anchor.fm/sunday-on-the-commons/message Support this podcast: https://anchor.fm/sunday-on-the-commons/support

This week, Aleks sits down with a good friend and former colleague, watch writer and photographer, Justin Hast, who works with a number of luxury watch brands on their content and communications.Both Justin and Aleks came up through the magazine ranks together, and the pair reminisce about old times, explore how the watch industry is evolving, and try to find ground where influencers and old guard journalists can meet.Let us know what you think of the episode on Instagram by messaging @handcutradio, and if you enjoy listening please do leave us a review on Apple Podcasts.---Show Notes:Justin Hast — Instagram[02:20] Revolution Magazine[02:27] James Blunt, You’re Beautiful[04:45] Charlie Thomas[06:17] Omega Constellation 1960s[06:24] Gérald Genta[11:25] James Dowling[11:29] Nick Foulkes[11:32] Ben Clymer, HODINKEE[14:56] Jean Claude Biver on HODINKEE Live[16:48] Tracey Llewellyn, Revolution & Telegraph[17:14] Wei Koh, The Rake & Revolution[17:58] Ulysse Nardin “Freak”, watch[20:28] The Jackal Magazine [defunct][21:48] IWC Portugieser[22:16] Steve Jobs Stanford commencement speech, 2005[27:19] Talking Watches, HODINKEE[27:45] The Long Return video, HODINKEE[28:54] The Long Return, Part II, video, HODINKEE[29:43] Tudor Black Bay[33:37] Aleks getting trolled…[33:42] @hodonkee[34:07] Stephen Pulvirent[37:37] HODINKEE Travel Clock[42:25] Bremont, HCR S04 E04[49:32] A Collected Man[52:42] Valstar A1 Jacket[53:35] John Poulson, architect[53:59] Matt Jacobson, Talking Watches[57:02] A. Lange & Söehne, Lange 1---HandCut Radio is produced by Birch, a London based creative agency. Our theme music is by Joe Boyd.

Little Clone Baby (Stellar Firma album preview)*Caution* Board sanctioned mandatory fun inbound. Confidential preview. Cosmic Lounge employee cabaret night.Unauthorised distribution of content will result in DMCA (Deadly Metal Claw Attack) takedown.__________________________LyricsWhen it’s dark at nightand I close my eyes,I can see you there:only one that doesn’t hate me.I think I dreamed it all,got your drawing on my wall,I just feel so calmheld by your arms.Why are you so far away in Galactonium?Hey, won’t you save me? Hold me? Maybe? I just want to be your little clone baby.The days are hard,the nights are worse,so far from youacross the universe.But I can seeyour hand in mine,it’s all justa matter of time.A matter of time.At night I cry,in the day I’m strong,just trying to survive,just need to be calm.I can livewith this space aboveif you just givea piece of your love.You’re not so far away in Galactonium.Hey, won’t you save me? Hold me? Maybe?I just want to be your little clone baby.Won’t you let me be your little clone baby?__________________________Music and Lyrics - Tim MeredithVocals - Ben Meredith as David 7Production, Mixing and Mastering - JJ PerryBand Leader - Dr. BeaverAdditional Music - Dr. Beaver and JJ PerryExecutive Producer: Alexander J NewallProduced by Katie SeatonStellar Firma Music by Samuel D.F. JonesArtwork by Anika KhanSpecial thanks to this week's Patrons: Mary A., Rave, HatsuneMoocow, Moth_Lad, Salem Wicker, Neil Hart, Crunchy Writes, Jessica Longaker, Lynn Borsum, Jamie Knierim, Brooke Autrey, N, Birdie Birdson, Julia Reith, El Hudson, Sidney Kaufman, OliverOiyle, book__wyrm, Cheryl Abramoff, Cat Thompson, Stephanie Hunt, Taylor S Anady, Rhys Halcyon Lightning, Gabby Oddenino, Sarah Oberhofer, Charlie Thomas, DelugeDirge, Leighton, Juan John Jaune, Milo, Taylor Pestel, Morgan Claire Ireland, Crow, Moony Uhrmann, Cee-Sing Wong, Rebecca Dupont, Kenla Dee, Jay C. Elle, gwolfe, Brooke Worthington, molieretzu, Josefien Kwakkenbos, Charlie Kiil, Nico Keil, Vick Vought, The RQvist, Valeri Schwager.If you'd like to join them, be sure to visit www.patreon.com/rustyquill.For more information on this weeks sponsor, visit http://bit.ly/RhythmofWar.Check out our merchandise available at https://www.redbubble.com/people/RustyQuill/shop and https://www.teepublic.com/stores/rusty-quill.Subscribe using your podcast software of choice or by visiting www.rustyquill.com/subscribe and be sure to rate and review us online; it really helps us spread across the galaxy.Join our community:WEBSITE: rustyquill.comFACEBOOK: facebook.com/therustyquillTWITTER:... See acast.com/privacy for privacy and opt-out information.

A lineup of former college basketball players and coaches including Sonny Smith, Mack McCarthy, Charlie Thomas, Jim Hallihan, John Averett, and Brad Lewis join Ralph in remembering their life-long friend, BJ Johnson.

Case ########-20Considerations of grief and respite.Audio recorded by the Archivist, in situ.Content warnings:Second-person perspectiveDeath & mortalityViolence (inc SFX)Undead (zombies)Religious abuseChild abuse (descriptions of)Mentions of: knives, gaslightingSFX: persistent droningThanks to this week's Patrons: Mary A., Rave, HatsuneMoocow, Moth_Lad, Salem Wicker, Neil Hart, Crunchy Writes, Jessica Longaker, Lynn Borsum, Jamie Knierim, Brooke Autrey, N, Birdie Birdson, Julia Reith, El Hudson, Sidney Kaufman, OliverOiyle, book__wyrm, Cheryl Abramoff, Cat Thompson, Stephanie Hunt, Taylor S Anady, Rhys Halcyon Lightning, Gabby Oddenino, Sarah Oberhofer, Charlie Thomas, DelugeDirge, Leighton, Juan John Jaune, Milo, Taylor Pestel, Morgan Claire Ireland, Crow, Moony Uhrmann, Cee-Sing Wong, Rebecca Dupont, Kenla Dee, Jay C. Elle, gwolfe, Brooke Worthington, molieretzu, Josefien Kwakkenbos, Charlie Kiil, Nico Keil, Vick Vought, The RQvist, Valeri SchwagerIf you'd like to join them visit www.patreon.com/rustyquillEdited this week by Annie Fitch, Elizabeth Moffatt, Brock Winstead & Alexander J NewallWritten by Jonathan Sims and directed by Alexander J NewallProduced by Lowri Ann DaviesPerformances:- "Martin Blackwood" - Alexander J. Newall- "The Archivist" - Jonathan Sims - "Annabelle Cane" - Chioma Nwalioba- "Mikaele Salesa" - Ray Chong NeeSound effects this week by Spanac from freesoundslibrary.com, klankbeeld, tedlundwall, Anthousai, huskpodcast.com, LamaMakesMusic, nebulousflynn, Jamitch2, supreme1197, Lightnessko, Taira Komori, michael_kur95, saturdaysoundguy, 3bagbrew, TheHiraHira, mlsulli, Suburbanwizard, bbrocer, vckhaze, lunchmoney, gezortenplotz, voho , sagetyrtle, FocusBay, InspectorJ, thanvannispen, yadronoff, worthahep88, avakas, XxBirdoxX, dheming, cclaretc, ThatMisfit, crcavol, IPaddeh, bsung88, SleepyCatSound, sturmankin & previously credited artists via freesound.orgMusic:https://freesound.org/people/IESP/sounds/340062/ Recording date February 06, 2016University of Lethbridge, Canada.Recorded by The IntraEnvironmental Sound ProjectBeethoven:Piano Sonata No.31 in A-Flat Major, Op. 110: I. Moderato cantabile, molto espressivoCheck out our merchandise at https://www.redbubble.com/people/rustyquill/collections/708982-the-magnus-archives-s1You can subscribe to this podcast using your podcast software of choice, or by visiting www.rustyquill.com/subscribePlease rate and review on your software of choice, it really helps us to spread the podcast to new listeners, so share the fear.Join our community:WEBSITE: rustyquill.comFACEBOOK:

The Danny Lane Music Museum is for listening and remembering the great rock & roll music of the past. This museum is a global effort. We are available around the world and at any time you want. Ordinary museums have varying aims, ranging from serving researchers and specialists to serving the general public. We serve the world of Oldies But Goodies. Enjoy ****** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 or by email at dannymemorylane@gmail.com - - - - You’ll hear: 1) Play Those Oldies, Mr. D.J. by Anthony & The Sophomores (1963) 2) Dream Lover by Bobby Darin (w/ Neil Sedaka on piano) (1959) 3) Blue Moon by The Marcels (1961) 4) First Name Initial by Annette Funicello (1959) 5) Tossin' And Turnin' by Bobby Lewis (1961) 6) Diana by Paul Anka (1957) 7) Hit The Road Jack by Ray Charles (1961) 8) Well, I Told You by The Chantels (An answer to the Ray Charles song "Hit the Road, Jack) (1961) 9) He's A Rebel by The Crystals [actually done by Darlene Love & The Blossoms] (1962) 10) One Summer Night by The Danleers (1958) 11) Surfin' Safari by The Beach Boys (1962) 12) Oh, Pretty Woman by Roy Orbison (1964) 13) Mona by Bo Diddley (1957) 14) Twistin' U.S.A. by Chubby Checker (1961) 15) Let's Dance by Chris Montez (1962) 16) Heart and Soul by The Cleftones (1961) 17) Mickey's Monkey by The Miracles (w/ Smokey Robinson) (1963) 18) Runaway by Del Shannon (1961) 19) Everybody's Somebody's Fool by Connie Francis (1960) 20) Betty Lou Got a New Pair of Shoes by Bobby Freeman (1958) 21) Calendar Girl by Neil Sedaka (1961) 22) Boys by The Shirelles (1960) 23) I Want to Be Wanted by Brenda Lee (1960) 24) Wild Weekend by The Rockin' Rebels (1962) 25) Runaround Sue by Dion (backed by The Del-Satins) (1961) 26) Lucille by Little Richard (1959) 27) New Orleans by Gary U.S. Bonds (1960) 28) Do You Love Me? By The Contours (1962) 29) Please Love Me Forever by Cathy Jean & The Roommates (1961) 30) Please Mr. Postman by The Marvelettes (1961) 31) There's A Moon Out Tonight by The Capris (1961) 32) Whole Lotta Shakin' Goin' On by Jerry Lee Lewis (1957) 33) Big Girls Don't Cry by The Four Seasons (1962) 34) Tallahassee Lassie by Freddy Cannon (1959) 35) Bristol Stomp by The Dovells (1961) 36) Everybody Loves To Cha Cha Cha by Sam Cooke (1962) 37) Sweets For My Sweet by The Drifters (w/ Charlie Thomas, lead) (1961) 38) What In The World's Come Over You by Jack Scott (1960) 39) You Really Got A Hold On Me by The Beatles (1964) 40) Town Without Pity by Gene Pitney (1961) 41) Why Do Fools Fall In Love by Frankie Lymon and The Teenagers (1956) 42) Tonight I Fell In Love by The Tokens (1961) 43) Mother-In-Law by Ernie K-Doe (w/ Benny Spellman) (1961) 44) Son-In-Law [Answer song to Mother-In-Law] by The Blossoms (1961) 45) Venus by Frankie Avalon (1959) 46) Bye Bye Love by The Everly Brothers (1957) 47) You're Sixteen (You're Beautiful And You're Mine) by Johnny Burnette (1960) 48) The Happy Organ by Dave "Baby" Cortez (1959) 49) My Boyfriend's Back by The Angels (1963) 50) I Can't Help Falling In Love With You by Elvis Presley & The Jordanaires (1961)

One of R&B music's most beloved and consistently popular vocal groups, The Whispers, began their legendary and timeless career in 1963. Twin brothers Walter and Wallace Scott joined with friends Nicholas Caldwell, Marcus Hutson, and Gordy Harmon to form a local singing group. They perfected their tight harmonies on the street corners in the Watts section of Los Angeles and in nightclubs in the in the San Francisco/Oakland Bay Area. They began singing together as "the Eden trio" created by Nicholas Caldwell and Marcus Hutson. Later, they were renamed "The Whispers" by Lou Bedell of Dore Records. The group recorded nine singles for the Dore label between 1964 and 1967. Their fame grew in the Bay Area while performing in a series of what was known as "The Battle of the Bands" where they competed against other local acts for their fans appreciation and affection. In 1969 they released "The Time Will Come" for a small L.A. based label Soul Clock Records, and subsequently recorded their first Top 10 R&B hit, "Seems Like I Gotta Do Wrong," in 1970 when the group switched to Janus Records. By 1971 Gordy Harmon decided to leave the group and was replaced by Leaveil Degree who had previously sung with "The Friends of Distinction". The Whispers produced a string of hits over the next two decades and emerged as the leading romantic singers of their generation, racking up one gold album after another and charting numerous R&B hits throughout the seventies and eighties. The Whispers were the first artists featured on the newly formed Soul Train label (co- owned by the TV show's creator and host Don Cornelius and entrepreneur Dick Griffey). They gained national attention with their seventies albums, "One For The Money", "Open Up Your Love", and "Headlights" producing two singles that graced Billboard's Top 20 R&B Charts: "(Let's Go) All the Way" and "(Olivia) Lost and Turned Out". Their first platinum album "The Whispers" (1980) highlighted "A Song For Donny," a song written by Carrie Lucas in memory of Donny Hathaway, and their biggest hit "And The Beat Goes On." It was their most successful selling album (double platinum). The neoclassic "Lady," written by group member Nicholas Caldwell, is still a favorite at concerts. 1987's "Just Gets Better with Time", went platinum. It featured the R&B number 1 and US Top 10 pop entry "Rock Steady", a collaboration with Kenneth "Babyface" Edmonds. Their vocal style harkens back to a more genteel era of crooning, preferring soft pillow talk and songs that speak to heartfelt emotions. They are arguably the most celebrated R&B balladeers of their generation and still make women swoon with their silky yet forceful tenors of twins Walter and Scotty. In the 1990s, The Whispers joined the Capitol Records family releasing more favorites. Expanding their creative horizons, brothers Walter and Scotty cut "My Brothers Keeper", a critically acclaimed duet album in 1993, scoring another R&B hit with a cover of the Intruders' "I Wanna Know Your Name." "Toast to the Ladies" released in 1995 featured a collection of love songs dedicated to women all overthe world. In 1997 the group moved to Interscope Records where they featured the works of Babyface once again with their album, "Songbook, Vol. 1: The Songs of Babyface". Marcus stopped performing with the group in 1989 due to ill health, and in 2000, when he passed on, the Whispers vowed never to replace him. In the new millennium the group still performs around the world to thousands of loyal fans. The group has not made any personnel changes and still consists of Walter Scott, Wallace Scott, Nicholas Caldwell, and Leaveil Degree. They have taken Las Vegas by storm, selling out in various casinos and hotels, and they have a tremendous following on the West and East coasts, particularly in the San Francisco Bay Area, Southern California, New Jersey, New York, Philadelphia, Washington DC, St. Louis, Indiana, and Chicago. On September 23, 2003, The Whispers' four decades of accomplishments were acknowledged when Charlie Thomas of the Drifters inducted them into the Vocal Group Hall of Fame. On June 12, 2005, The San Francisco Chapter of the Grammy Awards presented the Whispers with the prestigious Governors Award, the highest honor bestowed by an Academy Chapter. They continue to perform to sell-out crowds all over the world, and their popularity continues to grow among youth whose parents "raised" them on the Whispers' music. They are one of only a few "old School" groups that can boast of having over 40 years in the industry with a worldwide fan base, maintaining their vocal dominance and original members. CAREER HIGHLIGHTS: Four Decades of Pop and R & B Favorites, Seven Gold Albums, Two Platinum Albums, 12 Top Twenty Singles, 40 Charted Hits Since 1970, American Music Award Nominees, Soul Train Award Nominees, Grammy Award Nominees 2003 Vocal Group Hall of Fame Inductees, 2005 Regional Grammy Governors Award, 2002 NAACP Image AwardSHOW LESS2 Comments

Episode ninety-four of A History of Rock Music in Five Hundred Songs looks at “Stand By Me” by Ben E. King, and at the later career of the Drifters. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “If I Had a Hammer” by Trini López. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  This 3-CD set has all Ben E. King’s recordings, both solo and with the Drifters, the Crowns, and LaVern Baker, up to 1962. This episode follows on from episode seventy-five, on “There Goes My Baby”. I’m not going to recommend a Drifters compilation, because I know of none that actually have only the original hit recordings without any remakes or remixes. The disclaimer in episode seventy-five also applies here — I may have used an incorrect version of a song here, because of the sloppy way the Drifters’ music is packaged. My main resource in putting this episode together was Marv Goldberg’s website, and his excellent articles on both the early- and late-period Drifters, Bill Pinkney’s later Original Drifters, the Five Crowns, and Ben E. King.  Lonely Avenue, a biography of Doc Pomus by Alex Halberstadt, helped me with the information on Pomus. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. And Bill Millar’s book on the Drifters, while it is more a history of 50s vocal group music generally using them as a focus than a biography of the group, contains some interesting material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we’re going to look at a song that ties together several of the threads we’ve looked at in previous episodes. We’re going to look at a song that had its roots in a gospel song that had been performed by Sister Rosetta Tharpe, that involves the Drifters, Leiber and Stoller, and Phil Spector, and which marks the highpoint of the crossover from gospel to pop audiences that had been started by Ray Charles. We’re going to look at “Stand By Me”, by Ben E King. [Excerpt: Ben E King, “Stand By Me”] When we left the Drifters, they’d hit a legal problem. When the contracts for the individual members had been sold to George Treadwell, the owner of the Drifters’ name, Ben E King’s contract had not been sold with the rest. This had meant that while King continued to sing lead on the records, including the first few big hits of this new lineup of Drifters, he wasn’t allowed to tour with them, and so they’d had to bring in a soundalike singer, Johnnie Lee Williams, to sing his parts on stage. So there were now five Drifters in the studio, but only four of them in the touring group. That might seem like an unworkable arrangement for any length of time, and so it turned out, but at first this was very successful. Leiber and Stoller continued producing records for this new Drifters lineup, but didn’t tend to write for them. They were increasingly tiring of writing to a teenage audience that didn’t really share their tastes, and were starting to move into writing for adult stars like Peggy Lee. And so Leiber and Stoller increasingly relied on songs by other writers, and one team they particularly relied on was Pomus and Shuman. You’ll remember we’ve talked about them in association with both the Drifters and Leiber and Stoller previously, and that they’d been the ones who’d discovered the Ben E. King lineup of the Drifters. Doc Pomus was one of the great R&B songwriters of the fifties, but by 1960 he and Mort Shuman, who was thirteen years younger than him, had written a whole string of hits for white performers like Fabian, Bobby Rydell, Frankie Avalon, and Bobby Darin. A typical example of the stuff they were writing was “Two Fools” for Frankie Avalon: [Excerpt: Frankie Avalon, “Two Fools”] They were one of the hottest teams in the Brill Building, but they still had a sensibility for the R&B music that the Drifters had their roots in, and so they were the perfect writers to provide crossover hits for the group, and that’s what they did. They’d already written “If You Cry True Love, True Love” for the group, which had gone to number thirty-three and which had been the only Drifters single on which Williams had taken a lead vocal, and now they wrote a song for King to sing, “This Magic Moment”: [Excerpt: Ben E. King and the Drifters, “This Magic Moment”] That made number sixteen on the pop charts. But the next song they wrote for the group was a much bigger success, and a far more personal song. Pomus was paraplegic after having had polio as a child, and either used crutches or a wheelchair to get around. His wife, though, was younger, and was an actor and dancer. On their wedding day, Pomus was unable to dance with her himself, and watched as she danced with a succession of other people. The feeling stayed with him, and a few years later, he turned those thoughts into a set of lyrics, which Shuman then put to music with a vaguely Latin feel, like many of the Drifters’ recent hits. The result was a number one record, and one of the all-time classic songs of the rock and roll era: [Excerpt: Ben E. King and the Drifters, “Save the Last Dance For Me”] That song has gone on to be one of the most covered songs of all time, with recordings by Tina Turner, Leonard Cohen, Buck Owens, Jerry Lee Lewis, The Swinging Blue Jeans, Harry Nilsson, and Bruce Willis, among many others. It would be the Drifters’ only number one on the pop charts, and it was also Ben E King’s last single with the Drifters, after King’s manager Lover Patterson came to an agreement with the Drifters’ manager George Treadwell that would let King move smoothly into a solo career. There might have been more to it than that, as there seems to have been a lot of negotiation going on around the group’s future at this time. There were reports, for example, that King Records were negotiating to buy the Drifters’ contract from Atlantic, which would have been interesting — it’s hard to see the group continuing to have success at King, which didn’t have Leiber and Stoller, and which put out very different records from Atlantic. But either way, the result was that Ben E. King started performing solo, and indeed by the time “Save the Last Dance” came out, he had already released a couple of solo records. The first of these was not a success, and nor was the second, a duet with LaVern Baker: [Excerpt: Ben E. King and LaVern Baker, “How Often”] But the third was something else. At this point, as a favour to their old friend Lester Sill, Leiber and Stoller were mentoring a kid that Sill thought had promise, named Phil Spector, who we’ve talked about before in the episode on The Gamblers, but who had now moved over to New York for a time. Spector was staying with Leiber, and would follow him around literally everywhere, claiming that he was so traumatised by his father’s death that he couldn’t be left alone at any time. Leiber found Spector annoying, but owed Sill a favour, and so kept working with him. And Spector kept pestering Leiber to collaborate with him on some songs. Leiber told Spector, “No, I write with Mike Stoller”, to which Spector would reply, “Well, he can write with us too.” Leiber explained to him that that wasn’t how things worked, and that if there was any collaboration, it would be Leiber and Stoller letting Spector write with them, not Spector graciously allowing Stoller to write with him and Leiber. Spector said that that was what he had meant, of course. Leiber and Stoller reluctantly agreed that Spector could write with them, but then Stoller was unable to turn up to the writing session. Spector persuaded Leiber to go ahead and just write a song with him since Stoller wasn’t around. He agreed, and they came up with a song called “Spanish Harlem”, to which Stoller later added a prominent instrumental line, for which he didn’t claim credit, because he thought that Spector would only whine, and he didn’t need the hassle. Or at least, that’s the story that normally gets told — there are people who knew Ritchie Valens who say that the marimba riff on the record, which became the most defining feature of the song, was actually something that Valens had been regularly playing in the months before he died. According to them, Spector, who moved in the same circles as Valens, must have stolen the riff from him. I tend to believe Stoller’s version of the story myself, but either way, Leiber, Stoller, and Spector played the song to Jerry Wexler and Ahmet Ertegun as a trio, with Stoller on piano, Spector on guitar, and Leiber singing. They agreed it should be on the B-side of the next single by King, though the song was popular enough that the record was soon flipped, and “Spanish Harlem” made the top ten: [Excerpt: Ben E. King, “Spanish Harlem”] But that wasn’t even the most important record they made at that session, because after recording it, they decided to record a song that King had written for the Drifters, but which they had turned down. King had brought in the basic idea for the song, and Leiber had helped him finish off the lyric, while Stoller had helped with the music — the resulting songwriting credit gave fifty percent of the royalties to King, and twenty-five percent each to Leiber and Stoller, as a result. King’s song had a long prehistory before he wrote it, and like many early soul songs it had its basis in gospel music. The original source for the song is a spiritual from 1905 by Rev. Charles Albert Tindley, which had been recorded by various people, including Sister Rosetta Tharpe: [Excerpt: Sister Rosetta Tharpe, “Stand By Me”] But the proximate influence for the song was a song that Sam Cooke had written for his old group, the Soul Stirrers, the year before, which had in turn been inspired by Tindley’s song. The lead vocal on the Soul Stirrers’ record was by Johnnie Taylor, a friend of Cooke’s who had replaced Cooke in his first group, the Highway QCs, and then replaced him in his second one, because he sounded exactly like Cooke: [Excerpt: The Soul Stirrers, “Stand By Me, Father”] King idolised Cooke, and was inspired by that record to come up with his own variant on the song. Working with Leiber and Stoller, he carefully crafted his secular adaptation of it, writing a lyric that worked equally well as a gospel song or as a song to a lover, other than the words “darling, darling” in the chorus. The chord sequence they used was a simple adaptation of the standard doo-wop chord changes. On a normal doo-wop song, the chords would go I, minor vi, IV, V, with each chord taking up the same amount of time, like this: [demonstrates on guitar] Stoller took those changes, and made the I and minor vi last two bars each, [demonstrates] then had the IV and V chords both last a bar, then go to two more bars of the I chord. [demonstrates] That bar of IV, bar of V, two bars of I thing is almost what you get at the end of a twelve-bar blues, except there you go V, IV, I, I, rather than IV, V, I, I. So to compare, here’s the end of a twelve-bar blues: [demonstrates] And here’s what Stoller did again: [demonstrates] So effectively Stoller has taken the two most hackneyed chord sequences in rock and roll music, and hybridised them to turn them into a single new sequence that’s instantly recognisable: [demonstrates on guitar] In later years, Leiber always gave Stoller the credit for the song’s success, saying that while the lyrics and melody were good, and King’s performance exceptional, it was the bass line that Stoller came up with which made the song the success it was. I agree, to a large extent — but that bassline is largely just following the root notes of the chord sequence that Stoller had written. But it’s one of the most immediately recognisable pieces of music of the early sixties: [Excerpt: Ben E. King, “Stand By Me”] The record sounded remarkably original, for something that was made up almost entirely out of repurposed elements from other songs, and it shows more clearly than perhaps any other song that originality doesn’t mean creating something entirely ab initio, but can mean taking a fresh look at things that are familiar, and putting just a slight twist on them. In particular, one thing that doesn’t get noted enough is just how much of a departure the song was lyrically. People had been reworking gospel ideas into secular ones for years — we’ve already looked at Ray Charles doing this, and at Sam Cooke, and there were many other examples, like Little Walter turning “This Train” into “My Babe”. But in most cases those songs required wholesale lyrical reworking. “Stand By Me” is different, it brings the lyrical concerns and style of gospel firmly into the secular realm. “If the sky that we look upon should tumble and fall, and the mountains should crumble to the sea” is an apocalyptic vision, not “Candy’s sweet/And honey too/There’s not another quite, quite as sweet as you”, which were the lyrics Sam Cooke wrote when he turned a song about how God is wonderful into one about how his girl is loveable. This new type of more gospel-inflected lyric would become very common in the next few years, especially among Black performers. Another building block in the music that would become known as soul had been put in place. The record went to number four on the charts, and it looked like he was headed for a huge career. But the next few singles he released didn’t do so well — he recorded a version of the old standard “Amor” which made number nineteen, and then his next two records topped out at sixty-six and fifty-six. He did get back in the pop top twenty with a song co-written by his wife and Ahmet Ertegun, “Don’t Play That Song (You Lied)”, which reached number eleven and became an R&B standard: [Excerpt: Ben E. King, “Don’t Play That Song (You Lied)”] But as many people did at the time, he tried to move into the more lucrative world of adult supper-club singers, rather than singing R&B. While his version of “I Who Have Nothing” — a French song that has since become a standard, and whose English lyrics were written for King by Leiber and Stoller — managed to reach number twenty-nine, everything else did terribly. He sang “I Could Have Danced All Night” and “What Now My Love?” perfectly well, but that wasn’t what the audience wanted from him. He made some great records in the later 60s, like “What Is Soul”: [Excerpt: Ben E. King “What Is Soul?”] But even teaming up with Solomon Burke, Don Covay, Joe Tex, and Arthur Conley as The Soul Clan didn’t help him kickstart his recording career: [Excerpt: The Soul Clan, “Soul Meeting”] He asked to be let go from his contract with Atlantic in 1969, and spent a few years in the early seventies recording for small labels. Meanwhile, the Drifters were continuing without King. After King left, Atlantic started releasing whatever material they had in their vaults, both songs with King’s leads and older records from the earlier line-up of Drifters. But they were about to have even more personnel shifts. When they were on tour and got to Mobile, Alabama, Johnny Lee Williams said that he was just going to stay there and not continue on the tour — he was sick of not getting to sing lead vocals, and he came from Mobile anyway. Williams went on to join a group called the Embraceables, who released this with him singing lead: [Excerpt: The Embraceables, “My Foolish Pride”] That was later rereleased as by The Implaceables, for reasons I’ve not been able to discover. The Drifters got in a replacement for Williams, James Poindexter, but he turned out to have stage fright, and the group spent several months as a trio, before being joined by new lead singer Rudy Lewis. And then Elsbeary Hobbs, the group’s bass singer, was drafted, and the group got in a couple of different singers before settling on Tommy Evans, who had sung with the old versions of the Drifters in the fifties. The new lineup, Rudy Lewis, Charlie Thomas, Dock Green, and Tommy Evans, would be one of the group’s longest-lasting lineups, lasting more than a year, and would record hits like “Up On the Roof”, by Goffin and King: [Excerpt: The Drifters, “Up On the Roof”] But then Dock Green left the group. He and Tommy Evans joined another group — even though Evans was also still in the Drifters. The Drapers, the group they joined, was managed by Lover Patterson, Ben E. King’s manager, and had been given a name that sounded as much like “The Drifters” as possible. As well as Green and Evans, it also had Johnny Moore and Carnation Charlie Hughes, who had been in the same 1956 lineup of the Drifters that Tommy Evans had been in. That lineup of the Drapers released one single that didn’t do particularly well: [Excerpt: The Drapers, “(I Know) Your Love Has Gone Away”] The new Drifters lineup, without Dock Green, recorded “On Broadway”, a song that Leiber and Stoller had co-written with the Brill Building team of Mann and Weill. The guitar on the record was by Phil Spector — he was by that point a successful producer, but Leiber and Stoller had bumped into him on the way to the session and invited him to sit in: [Excerpt: The Drifters, “On Broadway”] Tommy Evans then also left the Drifters, and was replaced by Johnny Terry, leaving a lineup of Rudy Lewis, Charlie Thomas, Gene Pearson, and Johnny Terry. But Rudy Lewis, the lead singer of the group since just after King had left, was thinking of going solo, and even released one solo single: [Excerpt: Rudy Lewis, “I’ve Loved You So Long”] That wasn’t a success, but George Treadwell wanted some insurance in case Lewis left, so he got Johnny Moore — who had been in the group in the fifties and had just left the Drapers — to join, and for a few months Lewis and Moore traded off leads in the studio. One song that they recorded during 1963, but didn’t release, was “Only in America”, written for them by Leiber and Stoller. Leiber and Stoller had intended the song to be a sly satire, with Black people singing about the American dream, but Atlantic worried that in the racial climate of 1963, the satire would seem tasteless, so they took the Drifters’ backing track and got Jay and the Americans, a white group, to record new vocals, turning it into a straightforward bit of boosterism: [Excerpt: Jay and the Americans, “Only in America”] Tragedy struck on the day the Drifters recorded what would be their last US top ten hit, the twenty-first of May 1964. Johnny Moore bumped into Sylvia Vanterpool, of Mickey and Sylvia, and she said “thank God it wasn’t you”. He didn’t know what she was talking about, and she told him that Rudy Lewis had died suddenly earlier that day. The group went into the studio anyway, and recorded the songs that had been scheduled, including one called “I Don’t Want To Go On Without You” which took on a new meaning in the circumstances. But the hit from the session was “Under the Boardwalk”, with lead vocals from Moore: [Excerpt: The Drifters, “Under the Boardwalk”] This version of the group — Johnny Moore, Charlie Thomas, Gene Pearson, and Johnny Terry, would be the longest-lasting of all the versions of the group managed by George Treadwell, staying together a full two years. But after “Under the Boardwalk”, which went to number four, they had no more top ten hits in the US. The best they could do was scrape the top twenty with “Saturday Night at the Movies”: [Excerpt: The Drifters, “Saturday Night at the Movies”] There were several more lineup changes, but the big change came in 1967 when George Treadwell died. His wife, Faye, took over the management of the group, and shortly after that, Charlie Thomas — the person who had been in the group for the longest continuous time, nine years at that point, decided to leave. There were a lot more squabbles and splinter groups, and by 1970 the Drifters’ career on Atlantic was over. By this point, there were three different versions of The Drifters. There was a group called The Original Drifters, which had formed in 1958 after the first set of Drifters had been fired, and was originally made up entirely of members of the early-fifties lineups, but which was now a revolving-door group based around Bill Pinkney, the bass singer of the Clyde McPhatter lineup, and stayed that way until Pinkney’s death in 2007. Then there was a version of the Drifters that consisted of Dock Green, Charlie Thomas, and Elsbeary Hobbs, the people who had been in Ben E. King’s version of the group. Charlie Thomas won the right to use the name in the USA in 1972, and continues touring with his own group there to this day, though no more of that lineup of the Drifters are with him. And then there was a UK-based group, managed by Faye Treadwell, with Johnny Moore as lead singer. That group scored big UK hits when the group moved to the UK in 72, with re-releases of mid-sixties records that had been comparative flops at the time — “Saturday Night at the Movies”, “At the Club”, and “Come On Over to My Place” all made the UK top ten in 1972, and Moore’s Drifters would have nine more top ten hits with new material in the UK between 1973 and 76. And Ben E. King, meanwhile, had signed again to Atlantic, and had a one-off top ten hit with “Supernatural Thing” in 1975: [Excerpt: Ben E. King, “Supernatural Thing”] But other than that he’d continued to have far less chart success than his vocal talents deserved, and in the eighties he moved to the UK and joined the UK version of the Drifters, singing his old hits on the nostalgia circuit with them, and adding more authenticity to the Johnny Moore lineup of the group. He spent several years like that, until in 1986 his career had a sudden resurgence, when the film Stand By Me came out and his single was used as the theme. On the back of the film’s success, the song reentered the top ten, twenty-five years after its initial success, and made number one in the UK. As a result, King became the first person to have hit the top ten in the US in the fifties, sixties, seventies, and eighties — a remarkable record for someone who had had relatively few hits. A greatest hits collection of King’s records made the top twenty in the UK, as well, and King left the Drifters to once again become a solo artist. But this is where we say goodbye to King, and to the Drifters, and to Leiber and Stoller as songwriters. The UK version of the Drifters carried on with Johnny Moore as lead singer until he died in 1998, and up to that point it was reasonable to think of that group as a real version of the Drifters, because Moore had sung with the group on hits in the fifties and sixties, and in the UK in the seventies – roughly eighty percent of records released as by The Drifters had had Moore singing on them. But after Moore’s death, it gets very confusing, with the Treadwell family apparently abandoning the trademark and moving back to the US, and then changing their mind, resulting in a series of lawsuits. The current UK version of the Drifters has nobody who was in the group before 2010, and is managed by George and Faye Treadwell’s daughter. They still fill medium-sized theatres on large national tours, because their audiences don’t seem to care, so long as they can hear people singing “Up On the Roof” and “On Broadway”, “There Goes My Baby” and “Save the Last Dance For Me”. In total thirty-four different people were members of the Drifters during their time with Atlantic Records. It’s the only case I know where a group identity was genuinely bigger than the members, where whoever was involved, somehow they carried on making exceptional records. Leiber and Stoller, meanwhile, will turn up again, once more, next year, as record executives, collaborating with another figure we’ve seen several times before to run a record label. But this is the last record we’ll look at with them as a songwriting team. We’ve been following their remarkable career since episode fifteen, and they would continue writing great songs for a huge variety of artists, but “Stand By Me” would be the last time they would come up with something that would change the music industry. It was the end of a truly remarkable run, and one which stands as one of the great achievements in twentieth century popular music. And Ben E. King, who was, other than Clyde McPhatter, the only member of the Drifters to ever break away and become a solo success, spent the last twenty-nine years of his life touring as a solo artist off the renewed success of his greatest contribution to music. He died in 2015, but as long as people listen to rock, pop, soul, or R&B, there’ll be people listening to “Stand By Me”.

Episode ninety-four of A History of Rock Music in Five Hundred Songs looks at "Stand By Me" by Ben E. King, and at the later career of the Drifters. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "If I Had a Hammer" by Trini López. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  This 3-CD set has all Ben E. King's recordings, both solo and with the Drifters, the Crowns, and LaVern Baker, up to 1962. This episode follows on from episode seventy-five, on "There Goes My Baby". I'm not going to recommend a Drifters compilation, because I know of none that actually have only the original hit recordings without any remakes or remixes. The disclaimer in episode seventy-five also applies here -- I may have used an incorrect version of a song here, because of the sloppy way the Drifters' music is packaged. My main resource in putting this episode together was Marv Goldberg's website, and his excellent articles on both the early- and late-period Drifters, Bill Pinkney's later Original Drifters, the Five Crowns, and Ben E. King.  Lonely Avenue, a biography of Doc Pomus by Alex Halberstadt, helped me with the information on Pomus. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller's side of the story well. And Bill Millar's book on the Drifters, while it is more a history of 50s vocal group music generally using them as a focus than a biography of the group, contains some interesting material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to look at a song that ties together several of the threads we've looked at in previous episodes. We're going to look at a song that had its roots in a gospel song that had been performed by Sister Rosetta Tharpe, that involves the Drifters, Leiber and Stoller, and Phil Spector, and which marks the highpoint of the crossover from gospel to pop audiences that had been started by Ray Charles. We're going to look at "Stand By Me", by Ben E King. [Excerpt: Ben E King, "Stand By Me"] When we left the Drifters, they'd hit a legal problem. When the contracts for the individual members had been sold to George Treadwell, the owner of the Drifters' name, Ben E King's contract had not been sold with the rest. This had meant that while King continued to sing lead on the records, including the first few big hits of this new lineup of Drifters, he wasn't allowed to tour with them, and so they'd had to bring in a soundalike singer, Johnnie Lee Williams, to sing his parts on stage. So there were now five Drifters in the studio, but only four of them in the touring group. That might seem like an unworkable arrangement for any length of time, and so it turned out, but at first this was very successful. Leiber and Stoller continued producing records for this new Drifters lineup, but didn't tend to write for them. They were increasingly tiring of writing to a teenage audience that didn't really share their tastes, and were starting to move into writing for adult stars like Peggy Lee. And so Leiber and Stoller increasingly relied on songs by other writers, and one team they particularly relied on was Pomus and Shuman. You'll remember we've talked about them in association with both the Drifters and Leiber and Stoller previously, and that they'd been the ones who'd discovered the Ben E. King lineup of the Drifters. Doc Pomus was one of the great R&B songwriters of the fifties, but by 1960 he and Mort Shuman, who was thirteen years younger than him, had written a whole string of hits for white performers like Fabian, Bobby Rydell, Frankie Avalon, and Bobby Darin. A typical example of the stuff they were writing was "Two Fools" for Frankie Avalon: [Excerpt: Frankie Avalon, "Two Fools"] They were one of the hottest teams in the Brill Building, but they still had a sensibility for the R&B music that the Drifters had their roots in, and so they were the perfect writers to provide crossover hits for the group, and that's what they did. They'd already written "If You Cry True Love, True Love" for the group, which had gone to number thirty-three and which had been the only Drifters single on which Williams had taken a lead vocal, and now they wrote a song for King to sing, "This Magic Moment": [Excerpt: Ben E. King and the Drifters, "This Magic Moment"] That made number sixteen on the pop charts. But the next song they wrote for the group was a much bigger success, and a far more personal song. Pomus was paraplegic after having had polio as a child, and either used crutches or a wheelchair to get around. His wife, though, was younger, and was an actor and dancer. On their wedding day, Pomus was unable to dance with her himself, and watched as she danced with a succession of other people. The feeling stayed with him, and a few years later, he turned those thoughts into a set of lyrics, which Shuman then put to music with a vaguely Latin feel, like many of the Drifters' recent hits. The result was a number one record, and one of the all-time classic songs of the rock and roll era: [Excerpt: Ben E. King and the Drifters, "Save the Last Dance For Me"] That song has gone on to be one of the most covered songs of all time, with recordings by Tina Turner, Leonard Cohen, Buck Owens, Jerry Lee Lewis, The Swinging Blue Jeans, Harry Nilsson, and Bruce Willis, among many others. It would be the Drifters' only number one on the pop charts, and it was also Ben E King's last single with the Drifters, after King's manager Lover Patterson came to an agreement with the Drifters' manager George Treadwell that would let King move smoothly into a solo career. There might have been more to it than that, as there seems to have been a lot of negotiation going on around the group's future at this time. There were reports, for example, that King Records were negotiating to buy the Drifters' contract from Atlantic, which would have been interesting -- it's hard to see the group continuing to have success at King, which didn't have Leiber and Stoller, and which put out very different records from Atlantic. But either way, the result was that Ben E. King started performing solo, and indeed by the time "Save the Last Dance" came out, he had already released a couple of solo records. The first of these was not a success, and nor was the second, a duet with LaVern Baker: [Excerpt: Ben E. King and LaVern Baker, "How Often"] But the third was something else. At this point, as a favour to their old friend Lester Sill, Leiber and Stoller were mentoring a kid that Sill thought had promise, named Phil Spector, who we've talked about before in the episode on The Gamblers, but who had now moved over to New York for a time. Spector was staying with Leiber, and would follow him around literally everywhere, claiming that he was so traumatised by his father's death that he couldn't be left alone at any time. Leiber found Spector annoying, but owed Sill a favour, and so kept working with him. And Spector kept pestering Leiber to collaborate with him on some songs. Leiber told Spector, "No, I write with Mike Stoller", to which Spector would reply, "Well, he can write with us too." Leiber explained to him that that wasn't how things worked, and that if there was any collaboration, it would be Leiber and Stoller letting Spector write with them, not Spector graciously allowing Stoller to write with him and Leiber. Spector said that that was what he had meant, of course. Leiber and Stoller reluctantly agreed that Spector could write with them, but then Stoller was unable to turn up to the writing session. Spector persuaded Leiber to go ahead and just write a song with him since Stoller wasn't around. He agreed, and they came up with a song called "Spanish Harlem", to which Stoller later added a prominent instrumental line, for which he didn't claim credit, because he thought that Spector would only whine, and he didn't need the hassle. Or at least, that's the story that normally gets told -- there are people who knew Ritchie Valens who say that the marimba riff on the record, which became the most defining feature of the song, was actually something that Valens had been regularly playing in the months before he died. According to them, Spector, who moved in the same circles as Valens, must have stolen the riff from him. I tend to believe Stoller's version of the story myself, but either way, Leiber, Stoller, and Spector played the song to Jerry Wexler and Ahmet Ertegun as a trio, with Stoller on piano, Spector on guitar, and Leiber singing. They agreed it should be on the B-side of the next single by King, though the song was popular enough that the record was soon flipped, and "Spanish Harlem" made the top ten: [Excerpt: Ben E. King, "Spanish Harlem"] But that wasn't even the most important record they made at that session, because after recording it, they decided to record a song that King had written for the Drifters, but which they had turned down. King had brought in the basic idea for the song, and Leiber had helped him finish off the lyric, while Stoller had helped with the music -- the resulting songwriting credit gave fifty percent of the royalties to King, and twenty-five percent each to Leiber and Stoller, as a result. King's song had a long prehistory before he wrote it, and like many early soul songs it had its basis in gospel music. The original source for the song is a spiritual from 1905 by Rev. Charles Albert Tindley, which had been recorded by various people, including Sister Rosetta Tharpe: [Excerpt: Sister Rosetta Tharpe, "Stand By Me"] But the proximate influence for the song was a song that Sam Cooke had written for his old group, the Soul Stirrers, the year before, which had in turn been inspired by Tindley's song. The lead vocal on the Soul Stirrers' record was by Johnnie Taylor, a friend of Cooke's who had replaced Cooke in his first group, the Highway QCs, and then replaced him in his second one, because he sounded exactly like Cooke: [Excerpt: The Soul Stirrers, "Stand By Me, Father"] King idolised Cooke, and was inspired by that record to come up with his own variant on the song. Working with Leiber and Stoller, he carefully crafted his secular adaptation of it, writing a lyric that worked equally well as a gospel song or as a song to a lover, other than the words "darling, darling" in the chorus. The chord sequence they used was a simple adaptation of the standard doo-wop chord changes. On a normal doo-wop song, the chords would go I, minor vi, IV, V, with each chord taking up the same amount of time, like this: [demonstrates on guitar] Stoller took those changes, and made the I and minor vi last two bars each, [demonstrates] then had the IV and V chords both last a bar, then go to two more bars of the I chord. [demonstrates] That bar of IV, bar of V, two bars of I thing is almost what you get at the end of a twelve-bar blues, except there you go V, IV, I, I, rather than IV, V, I, I. So to compare, here's the end of a twelve-bar blues: [demonstrates] And here's what Stoller did again: [demonstrates] So effectively Stoller has taken the two most hackneyed chord sequences in rock and roll music, and hybridised them to turn them into a single new sequence that's instantly recognisable: [demonstrates on guitar] In later years, Leiber always gave Stoller the credit for the song's success, saying that while the lyrics and melody were good, and King's performance exceptional, it was the bass line that Stoller came up with which made the song the success it was. I agree, to a large extent -- but that bassline is largely just following the root notes of the chord sequence that Stoller had written. But it's one of the most immediately recognisable pieces of music of the early sixties: [Excerpt: Ben E. King, "Stand By Me"] The record sounded remarkably original, for something that was made up almost entirely out of repurposed elements from other songs, and it shows more clearly than perhaps any other song that originality doesn't mean creating something entirely ab initio, but can mean taking a fresh look at things that are familiar, and putting just a slight twist on them. In particular, one thing that doesn't get noted enough is just how much of a departure the song was lyrically. People had been reworking gospel ideas into secular ones for years -- we've already looked at Ray Charles doing this, and at Sam Cooke, and there were many other examples, like Little Walter turning "This Train" into "My Babe". But in most cases those songs required wholesale lyrical reworking. "Stand By Me" is different, it brings the lyrical concerns and style of gospel firmly into the secular realm. "If the sky that we look upon should tumble and fall, and the mountains should crumble to the sea" is an apocalyptic vision, not "Candy's sweet/And honey too/There's not another quite, quite as sweet as you", which were the lyrics Sam Cooke wrote when he turned a song about how God is wonderful into one about how his girl is loveable. This new type of more gospel-inflected lyric would become very common in the next few years, especially among Black performers. Another building block in the music that would become known as soul had been put in place. The record went to number four on the charts, and it looked like he was headed for a huge career. But the next few singles he released didn't do so well -- he recorded a version of the old standard "Amor" which made number nineteen, and then his next two records topped out at sixty-six and fifty-six. He did get back in the pop top twenty with a song co-written by his wife and Ahmet Ertegun, "Don't Play That Song (You Lied)", which reached number eleven and became an R&B standard: [Excerpt: Ben E. King, "Don't Play That Song (You Lied)"] But as many people did at the time, he tried to move into the more lucrative world of adult supper-club singers, rather than singing R&B. While his version of "I Who Have Nothing" -- a French song that has since become a standard, and whose English lyrics were written for King by Leiber and Stoller -- managed to reach number twenty-nine, everything else did terribly. He sang "I Could Have Danced All Night" and "What Now My Love?" perfectly well, but that wasn't what the audience wanted from him. He made some great records in the later 60s, like "What Is Soul": [Excerpt: Ben E. King "What Is Soul?"] But even teaming up with Solomon Burke, Don Covay, Joe Tex, and Arthur Conley as The Soul Clan didn't help him kickstart his recording career: [Excerpt: The Soul Clan, "Soul Meeting"] He asked to be let go from his contract with Atlantic in 1969, and spent a few years in the early seventies recording for small labels. Meanwhile, the Drifters were continuing without King. After King left, Atlantic started releasing whatever material they had in their vaults, both songs with King's leads and older records from the earlier line-up of Drifters. But they were about to have even more personnel shifts. When they were on tour and got to Mobile, Alabama, Johnny Lee Williams said that he was just going to stay there and not continue on the tour -- he was sick of not getting to sing lead vocals, and he came from Mobile anyway. Williams went on to join a group called the Embraceables, who released this with him singing lead: [Excerpt: The Embraceables, "My Foolish Pride"] That was later rereleased as by The Implaceables, for reasons I've not been able to discover. The Drifters got in a replacement for Williams, James Poindexter, but he turned out to have stage fright, and the group spent several months as a trio, before being joined by new lead singer Rudy Lewis. And then Elsbeary Hobbs, the group's bass singer, was drafted, and the group got in a couple of different singers before settling on Tommy Evans, who had sung with the old versions of the Drifters in the fifties. The new lineup, Rudy Lewis, Charlie Thomas, Dock Green, and Tommy Evans, would be one of the group's longest-lasting lineups, lasting more than a year, and would record hits like "Up On the Roof", by Goffin and King: [Excerpt: The Drifters, "Up On the Roof"] But then Dock Green left the group. He and Tommy Evans joined another group -- even though Evans was also still in the Drifters. The Drapers, the group they joined, was managed by Lover Patterson, Ben E. King's manager, and had been given a name that sounded as much like "The Drifters" as possible. As well as Green and Evans, it also had Johnny Moore and Carnation Charlie Hughes, who had been in the same 1956 lineup of the Drifters that Tommy Evans had been in. That lineup of the Drapers released one single that didn't do particularly well: [Excerpt: The Drapers, "(I Know) Your Love Has Gone Away"] The new Drifters lineup, without Dock Green, recorded "On Broadway", a song that Leiber and Stoller had co-written with the Brill Building team of Mann and Weill. The guitar on the record was by Phil Spector -- he was by that point a successful producer, but Leiber and Stoller had bumped into him on the way to the session and invited him to sit in: [Excerpt: The Drifters, "On Broadway"] Tommy Evans then also left the Drifters, and was replaced by Johnny Terry, leaving a lineup of Rudy Lewis, Charlie Thomas, Gene Pearson, and Johnny Terry. But Rudy Lewis, the lead singer of the group since just after King had left, was thinking of going solo, and even released one solo single: [Excerpt: Rudy Lewis, "I've Loved You So Long"] That wasn't a success, but George Treadwell wanted some insurance in case Lewis left, so he got Johnny Moore -- who had been in the group in the fifties and had just left the Drapers -- to join, and for a few months Lewis and Moore traded off leads in the studio. One song that they recorded during 1963, but didn't release, was "Only in America", written for them by Leiber and Stoller. Leiber and Stoller had intended the song to be a sly satire, with Black people singing about the American dream, but Atlantic worried that in the racial climate of 1963, the satire would seem tasteless, so they took the Drifters' backing track and got Jay and the Americans, a white group, to record new vocals, turning it into a straightforward bit of boosterism: [Excerpt: Jay and the Americans, "Only in America"] Tragedy struck on the day the Drifters recorded what would be their last US top ten hit, the twenty-first of May 1964. Johnny Moore bumped into Sylvia Vanterpool, of Mickey and Sylvia, and she said "thank God it wasn't you". He didn't know what she was talking about, and she told him that Rudy Lewis had died suddenly earlier that day. The group went into the studio anyway, and recorded the songs that had been scheduled, including one called "I Don't Want To Go On Without You" which took on a new meaning in the circumstances. But the hit from the session was "Under the Boardwalk", with lead vocals from Moore: [Excerpt: The Drifters, "Under the Boardwalk"] This version of the group -- Johnny Moore, Charlie Thomas, Gene Pearson, and Johnny Terry, would be the longest-lasting of all the versions of the group managed by George Treadwell, staying together a full two years. But after "Under the Boardwalk", which went to number four, they had no more top ten hits in the US. The best they could do was scrape the top twenty with "Saturday Night at the Movies": [Excerpt: The Drifters, "Saturday Night at the Movies"] There were several more lineup changes, but the big change came in 1967 when George Treadwell died. His wife, Faye, took over the management of the group, and shortly after that, Charlie Thomas -- the person who had been in the group for the longest continuous time, nine years at that point, decided to leave. There were a lot more squabbles and splinter groups, and by 1970 the Drifters' career on Atlantic was over. By this point, there were three different versions of The Drifters. There was a group called The Original Drifters, which had formed in 1958 after the first set of Drifters had been fired, and was originally made up entirely of members of the early-fifties lineups, but which was now a revolving-door group based around Bill Pinkney, the bass singer of the Clyde McPhatter lineup, and stayed that way until Pinkney's death in 2007. Then there was a version of the Drifters that consisted of Dock Green, Charlie Thomas, and Elsbeary Hobbs, the people who had been in Ben E. King's version of the group. Charlie Thomas won the right to use the name in the USA in 1972, and continues touring with his own group there to this day, though no more of that lineup of the Drifters are with him. And then there was a UK-based group, managed by Faye Treadwell, with Johnny Moore as lead singer. That group scored big UK hits when the group moved to the UK in 72, with re-releases of mid-sixties records that had been comparative flops at the time -- "Saturday Night at the Movies", "At the Club", and "Come On Over to My Place" all made the UK top ten in 1972, and Moore's Drifters would have nine more top ten hits with new material in the UK between 1973 and 76. And Ben E. King, meanwhile, had signed again to Atlantic, and had a one-off top ten hit with "Supernatural Thing" in 1975: [Excerpt: Ben E. King, "Supernatural Thing"] But other than that he'd continued to have far less chart success than his vocal talents deserved, and in the eighties he moved to the UK and joined the UK version of the Drifters, singing his old hits on the nostalgia circuit with them, and adding more authenticity to the Johnny Moore lineup of the group. He spent several years like that, until in 1986 his career had a sudden resurgence, when the film Stand By Me came out and his single was used as the theme. On the back of the film's success, the song reentered the top ten, twenty-five years after its initial success, and made number one in the UK. As a result, King became the first person to have hit the top ten in the US in the fifties, sixties, seventies, and eighties -- a remarkable record for someone who had had relatively few hits. A greatest hits collection of King's records made the top twenty in the UK, as well, and King left the Drifters to once again become a solo artist. But this is where we say goodbye to King, and to the Drifters, and to Leiber and Stoller as songwriters. The UK version of the Drifters carried on with Johnny Moore as lead singer until he died in 1998, and up to that point it was reasonable to think of that group as a real version of the Drifters, because Moore had sung with the group on hits in the fifties and sixties, and in the UK in the seventies – roughly eighty percent of records released as by The Drifters had had Moore singing on them. But after Moore's death, it gets very confusing, with the Treadwell family apparently abandoning the trademark and moving back to the US, and then changing their mind, resulting in a series of lawsuits. The current UK version of the Drifters has nobody who was in the group before 2010, and is managed by George and Faye Treadwell's daughter. They still fill medium-sized theatres on large national tours, because their audiences don't seem to care, so long as they can hear people singing "Up On the Roof" and "On Broadway", "There Goes My Baby" and "Save the Last Dance For Me". In total thirty-four different people were members of the Drifters during their time with Atlantic Records. It's the only case I know where a group identity was genuinely bigger than the members, where whoever was involved, somehow they carried on making exceptional records. Leiber and Stoller, meanwhile, will turn up again, once more, next year, as record executives, collaborating with another figure we've seen several times before to run a record label. But this is the last record we'll look at with them as a songwriting team. We've been following their remarkable career since episode fifteen, and they would continue writing great songs for a huge variety of artists, but "Stand By Me" would be the last time they would come up with something that would change the music industry. It was the end of a truly remarkable run, and one which stands as one of the great achievements in twentieth century popular music. And Ben E. King, who was, other than Clyde McPhatter, the only member of the Drifters to ever break away and become a solo success, spent the last twenty-nine years of his life touring as a solo artist off the renewed success of his greatest contribution to music. He died in 2015, but as long as people listen to rock, pop, soul, or R&B, there'll be people listening to "Stand By Me".

We all get hit with all the feels in the episode. Love Mimi. Love Janine. Love sisters. Hate transphobia about Louie the collie—let him (Or her? Or them?) be! Also, we create a “BSC Big Five” personality assessment to help a listener figure out which baby-sitter(s) she is, and Anne goes on a both a long junk food rant (of course) and into a fanfic wormhole (more Janine… and Charlie Thomas! Steamy!). 

Charlie opens up about her first year of motherhood. She discovered a new appreciation and love for herself and body while pregnant. Loving herself for growing someone she loved so much already. Supported by her partner Matt and mother Charlie was able to take the deviation from her ideal birth in her stride and had a very magical labour in hospital. It was the lack of care she received when it came time to deliver her baby boy, being given an episiotomy without consent and being left alone in a confined room unable to tend to her baby that negatively impacted her birth experience and generated trauma. Charlie's breastfeeding journey was comprised by the comprised cafe she received and it was shortly after her birth that the baby blues started to set in. Charlie was diagnosed with Postnatal depression and anxiety and struggled to leave the house, fearing something might happen to baby Marlow. She came through this period with the support of her partner and family as also the space created by her slow living lifestyle that helped her to reorder what was important to her and ways to spark joy.

In today's episode I chat with Charlie Thomas and Oli Acutt from Nico Rosberg's Team about activation of my Done Deal Book. You can also: 1. buy my book Done Deal here 2. support my cancer research fashion brand ((Thirteen.)) here 3. read my blogs here 4. follow me on Twitter, Instagram, TikTok & YouTube --- Send in a voice message: https://anchor.fm/daniel-geey/message

Join GM Lydia, Helen, Bryn, Alex and special guest James Ross in the exciting conclusion of this ancient Roman adventure!This week Wilde gets a little stabby, Grizz grapples with a hug, Azus apparently has poor eyesight, Amidus notices something shiny!Content Notes:- crying- screaming- minor sexual referencesThanks to this week's Patrons:Mary A., Rave, HatsuneMoocow, Moth_Lad, Salem Wicker, Neil Hart, Crunchy Writes, Jessica Longaker, Lynn Borsum, Jamie Knierim, Brooke Autrey, N, Birdie Birdson, Julia Reith, El Hudson, Sidney Kaufman, OliverOiyle, book__wyrm, Cheryl Abramoff, Cat Thompson, Stephanie Hunt, Taylor S Anady, Rhys Halcyon Lightning, Gabby Oddenino, Sarah Oberhofer, Charlie Thomas, DelugeDirge, Leighton, Juan John Jaune, Milo, Taylor Pestel, Morgan Claire Ireland, Crow, Moony Uhrmann, Cee-Sing Wong, Rebecca Dupont, Kenla Dee, Jay C. Elle, gwolfe, Brooke Worthington, molieretzu, Josefien Kwakkenbos, Charlie Kiil, Nico Keil, Vick Vought, The RQvist, Valeri SchwagerIf you'd like to join them visit www.patreon.com/rustyquillEditing this week by Annie Fitch, Nico Vettese & Alexander J Newall SFX this week by QuartzMMN, Blukotek, rivernile7, 000600, jeffreys2, JoelAudio, Breviceps, Scarhand4200, vckhaze, sparrer, Ari_Glitch and previously credited artists via Freesound.org For more from James Ross, visit the Quantum Leopard's Facebook Check out our merchandise available at https://www.redbubble.com/people/RustyQuill/shopJoin our community:WEBSITE: rustyquill.comFACEBOOK: facebook.com/therustyquillTWITTER: @therustyquillREDDIT: reddit.com/r/RustyQuillDISCORD: https://discord.gg/KckTv8yEMAIL: mail@rustyquill.comRusty Quill Gaming is a podcast distributed by Rusty Quill Ltd. and licensed under a Creative Commons Attribution Non-Commercial Share alike 4.0 International Licence. For information regarding your data privacy, visit acast.com/privacy See acast.com/privacy for privacy and opt-out information.

It’s our first episode since the teaser for the new Netflix BSC series dropped, so Kate and Lauryn take a quick sidetrack to discuss their excitement and thoughts (generally and with respect to the FINALLY confirmed perfect casting of Marc Evan Jackson as Mary Anne’s dad). Then diving into the story at hand, we immediately touch on the Cokie Mason of it all (as she has made her long-awaited first appearance in the series) before getting into the bad luck mystery itself, stemming initially from a discarded chain letter Mary Anne receives, but continuing mostly due to Cokie’s scheming to help her friend Grace get Logan’s attention. We focus on the girls’ confirmation bias related to the bad luck they all experience and how they all immediately go all-in on the superstitions and witchcraft. We lament that there’s no skeptic or voice of reason like with child pageants previously, but transition into a conversation about the intended audience – specifically, how maybe that’s not necessary and generally, how well Ann M. Martin does at teaching kids how to read as they read. We do a related dive into Kate’s obsession with Kristy’s Mystery Admirer and how it and this book, when considered together, make absolutely no sense, leading to further discussion of timeline wonkiness and divergent/parallel timelines, and how the future ghostwriters may be the actual cause of all our confusion on those points. We also compare and contrast the characterizations in the books vs. the movies and find book Logan wanting, question Charlie Thomas’s life choices and wonder what a series from his perspective might look like (spoiler – likely very interesting and we want to read it so badly), and find ourselves concerned with the overly cliquishness and superiority of our BSC girls in this book. On the babysitting front specifically, Kate judges Dawn’s crafting choices and Lauryn finds the humor in her real-life nightmare, noting Claire Pike’s adorable question regarding whether a bird knows Santa Claus after it gets into her house through the chimney. Follow us! Instagram and Twitter: @generationbsc Contact us! E-mail: generationbsc@gmail.com Generation BSC logo created by Jordyn Hunter.

If there was a Jukebox exclusively for the soundtrack of the TV show American Bandstand, this would be it. In 1957, the ABC television network began airing American Bandstand nationally every afternoon just as schoolkids got home. In addition to the dancing, American Bandstand often introduced new record releases to the national following of avid fans. The show’s MC, Dick Clark, would often interview the teenagers about their opinions of the songs being played, most memorably through the "Rate-the-Record" segment. This gave rise to the phrase, “It's got a good beat and you can dance to it." The weekday program was broadcast live and by 1959, the show had a national audience of 20 million. Bandstand’s theme song was "Bandstand Boogie" by Larry Elgart's big-band. From 1977 to the end of its ABC run in 1987, the show opened and closed with Barry Manilow's version of "Bandstand Boogie." In 1993, Dick Clark was inducted into the Rock and Roll Hall of Fame. Enjoy … Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 or by email at dannymemorylane@gmail.com In this episode you’ll hear: 1) Bandstand Boogie by Les Elgart And His Orchestra 2) Play Those Oldies, Mr. D.J. by Anthony & The Sophomores 3) Dream Lover by Bobby Darin (w/ Neil Sedaka on piano) 4) Blue Moon by The Marcels 5) First Name Initial by Annette Funicello 6) Tossin' and Turnin' by Bobby Lewis 7) Diana by Paul Anka 8) Hit The Road Jack by Ray Charles 9) Well, I Told You (An answer to the Ray Charles song "Hit the Road, Jack) by The Chantels 10) He's A Rebel by The Crystals [actually Darlene Love & The Blossoms] 11) One Summer Night by The Danleers 12) Surfin' Safari by The Beach Boys 13) I Want to Be Wanted by Brenda Lee 14) Oh, Pretty Woman by Roy Orbison 15) Twistin' U.S.A. by Chubby Checker 16) Let's Dance by Chris Montez 17) Heart and Soul by The Cleftones 18) Mickey's Monkey by The Miracles (w/ Smokey Robinson) 19) Runaway by Del Shannon 20) Everybody's Somebody's Fool by Connie Francis 21) Betty Lou Got a New Pair of Shoes by Bobby Freeman 22) Calendar Girl by Neil Sedaka 23) Boys by The Shirelles 24) Johnny B. Goode by Chuck Berry 25) Young World by Rick Nelson 26) Runaround Sue by Dion (backed by The Del-Satins) 27) New Orleans by Gary U.S. Bonds 28) Kissin' Time by Bobby Rydell 29) Do You Love Me? by The Contours 30) Please Love Me Forever by Cathy Jean & The Roommates 31) There's A Moon Out Tonight by The Capris 32) Whole Lotta Shakin' Goin' On by Jerry Lee Lewis 33) Please Mr. Postman by The Marvelettes 34) Big Girls Don't Cry by The Four Seasons 35) Tallahassee Lassie by Freddy Cannon 36) Bristol Stomp by The Dovells 37) Everybody Loves To Cha Cha Cha by Sam Cooke 38) Sweets For My Sweet by The Drifters (w/ Charlie Thomas, lead) 39) What In The World's Come Over You by Jack Scott 40) Town Without Pity by Gene Pitney 41) Lucille by Little Richard 42) Why Do Fools Fall In Love by Frankie Lymon and The Teenagers 43) Tonight I Fell In Love by The Tokens 44) Mother-In-Law by Ernie K-Doe (w/ Benny Spellman) 45) Venus by Frankie Avalon 46) Bony Moronie by Larry Williams 47) Bye Bye Love by The Everly Brothers 48) Baby Blue by The Echoes 49) My Boyfriend's Back by The Angels 50) I Can't Help Falling In Love With You by Elvis Presley & The Jordanaires

Ray Powers:Three-time Billboard Songwriting Award winner, Ray Powers, is a second-generation vocalist/performer. His father, Ray Sr. was a prominent bass vocalist in the Brooklyn a cappella Doo-Wop groups, The Deacons and The Montclairs.Blessed with perfect pitch, following in his father's footsteps was imminent. Ray Powers has played piano since age 6, having taken 4 years of Classical lessons - and typically composes songs on piano before doing so on guitar or bass - the other instruments he proficiently plays. Powers embarked on his first US tour at age 15, spending the entire summer traveling the country with the Christian band, Bliss.After spending the next decade playing bass in hard rock bands on the NY club circuit, Ray accepted an internship on the new indie startup label, Mad Hands Records. Within two years, Powers had earned his first opportunity to sit in the producer's chair. His first pitch was the song he sung and co-wrote: 'We Were Meant To Be', which was sent to Warner Reprise Records in Burbank, CA for Chris Isaak. Ray's reputation as a bassist merited him the chance to tour with rock and roll and R&B legends such as Charlie Thomas' Drifters, Tavares, Ben E. King, The Chiffons, Lou Christie, Danny and the Juniors, The Skyliners, The Capris, 'Diamond' Dave Somerville and many others.In 2011, Powers stepped forward as a solo artist for the first time, recording 'We All Stand Tall' to mark the tenth anniversary of 9/11/01, and the song was featured in various poignant events in lower Manhattan, is featured in the 9/11 Museum and was tied for the most requested song on the morning of 9/11/11 with Lee Greenwood's 'God Bless The USA' on WCBS 101.1 FM.https://facebook.com/raypowersfanpagehttp://www.twitter.com/raypowershour DeAnna Lorraine:DeAnna Lorraine, conservative activist and Congressional Candidate ran in San Francisco against Nancy Pelosi, officially announced today she organized a "Clean Up San Francisco" day of action on Monday, October 7th.An author, commentator and YouTube host, DeAnna Lorraine challenged U.S. House Speaker Nancy Pelosi in California's 12th Congressional District. Lorraine ran on a pro-family platform aimed at healing the drivers at the core of America's drug, work force, and immigration problems.http://deannalorraine.com/Music X-Ray Playlist:1. Better days Ahead by FreoncoolMusic Submit Playlist:1. Driving Time by Papa Satch2. Gets me the Most by Rene MillerComplete Radio Promotional Package: The Douglas Coleman Show is now offering a complete radio promotional package for music artists. 1. Your track aired for 4 weeks over ALL of our online platforms.2. Your track will always be played at the very beginning of the show before commercials or interviews. 3. A 15 minute interview to promote your album, single, upcoming gigs or anything you wish to talk about.4. Your photo, bio and links to your website and music on our website featured music artists section.5. Permanent archive of your interview and track play on Spreaker, Tune in, Stitcher, Itunes, Spotify, and other online platforms. This is a great opportunity for up and coming music artists to get exposure and airplay without any subscription or long term commitments. You get all of this for a one-time fee of $49.99https://douglascolemanmusic.com/crpp for complete details. Sponsorship:If you're interested in being a sponsor on The Douglas Coleman Show, please contact us directly. douglascolemanshow@gmail.comOR if you'd prefer to make a one-time donation, please check out our GoFundMe. http://gofundme.com/the-dcs-needs-your-helpAlso check out our great line of merchandise. https://www.douglascolemanmusic.com/merchandise/

Ray Powers:Three-time Billboard Songwriting Award winner, Ray Powers, is a second-generation vocalist/performer. His father, Ray Sr. was a prominent bass vocalist in the Brooklyn a cappella Doo-Wop groups, The Deacons and The Montclairs.Blessed with perfect pitch, following in his father's footsteps was imminent. Ray Powers has played piano since age 6, having taken 4 years of Classical lessons - and typically composes songs on piano before doing so on guitar or bass - the other instruments he proficiently plays. Powers embarked on his first US tour at age 15, spending the entire summer traveling the country with the Christian band, Bliss.After spending the next decade playing bass in hard rock bands on the NY club circuit, Ray accepted an internship on the new indie startup label, Mad Hands Records. Within two years, Powers had earned his first opportunity to sit in the producer's chair. His first pitch was the song he sung and co-wrote: 'We Were Meant To Be', which was sent to Warner Reprise Records in Burbank, CA for Chris Isaak. Ray's reputation as a bassist merited him the chance to tour with rock and roll and R&B legends such as Charlie Thomas' Drifters, Tavares, Ben E. King, The Chiffons, Lou Christie, Danny and the Juniors, The Skyliners, The Capris, 'Diamond' Dave Somerville and many others.In 2011, Powers stepped forward as a solo artist for the first time, recording 'We All Stand Tall' to mark the tenth anniversary of 9/11/01, and the song was featured in various poignant events in lower Manhattan, is featured in the 9/11 Museum and was tied for the most requested song on the morning of 9/11/11 with Lee Greenwood's 'God Bless The USA' on WCBS 101.1 FM.https://facebook.com/raypowersfanpagehttp://www.twitter.com/raypowershour DeAnna Lorraine:DeAnna Lorraine, conservative activist and Congressional Candidate ran in San Francisco against Nancy Pelosi, officially announced today she organized a "Clean Up San Francisco" day of action on Monday, October 7th.An author, commentator and YouTube host, DeAnna Lorraine challenged U.S. House Speaker Nancy Pelosi in California's 12th Congressional District. Lorraine ran on a pro-family platform aimed at healing the drivers at the core of America's drug, work force, and immigration problems.http://deannalorraine.com/Music X-Ray Playlist:1. Better days Ahead by FreoncoolMusic Submit Playlist:1. Driving Time by Papa Satch2. Gets me the Most by Rene MillerComplete Radio Promotional Package: The Douglas Coleman Show is now offering a complete radio promotional package for music artists. 1. Your track aired for 4 weeks over ALL of our online platforms.2. Your track will always be played at the very beginning of the show before commercials or interviews. 3. A 15 minute interview to promote your album, single, upcoming gigs or anything you wish to talk about.4. Your photo, bio and links to your website and music on our website featured music artists section.5. Permanent archive of your interview and track play on Spreaker, Tune in, Stitcher, Itunes, Spotify, and other online platforms. This is a great opportunity for up and coming music artists to get exposure and airplay without any subscription or long term commitments. You get all of this for a one-time fee of $49.99https://douglascolemanmusic.com/crpp for complete details. Sponsorship:If you're interested in being a sponsor on The Douglas Coleman Show, please contact us directly. douglascolemanshow@gmail.comOR if you'd prefer to make a one-time donation, please check out our GoFundMe. http://gofundme.com/the-dcs-needs-your-helpAlso check out our great line of merchandise. https://www.douglascolemanmusic.com/merchandise/

Charlie Thomas, manager of Jupiter Asset Management's Ecology fund, spoke about how sustainable and ESG investments are fairing under the current market sell-off.

Episode seventy-five of A History of Rock Music in Five Hundred Songs looks at "There Goes My Baby" by the Drifters, and how a fake record label, a band sacked for drunkenness, and a kettledrum player who couldn't play led to a genre-defining hit. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Rebel Rouser" by Duane Eddy Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  I'm not going to recommend a compilation this week, for reasons I mention in the episode itself. There are plenty available, none of them as good as they should be. The episode on the early career of the Drifters is episode seventeen.  My main resource in putting this episode together was Marv Goldberg's website, and his excellent articles on both the early- and late-period Drifters, Bill Pinkney's later Original Drifters, the Five Crowns, and Ben E. King.  Lonely Avenue, a biography of Doc Pomus by Alex Halberstadt, helped me with the information on Pomus. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller's side of the story well. And Bill Millar's book on the Drifters, while it is more a history of 50s vocal group music generally using them as a focus than a biography of the group, contains some interesting material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note about this one, before I start. As we'll see in this episode, there have been many, many, lineups of the Drifters over the years, with many different people involved. One problem with that is that there have been lots of compilations put out under the Drifters name, featuring rerecorded versions of their hits, often involving nobody who was on the original record. Indeed, there have been so many of these compilations, and people putting together hits compilations, even for major labels, have been so sloppy, that I can't find a single compilation of the Drifters' recordings that doesn't have one or two dodgy remakes on replacing the originals. I've used multiple sources for the recordings I'm excerpting here, and in most cases I'm pretty sure that the tracks I'm excerpting are the original versions. But particularly when it comes to songs that aren't familiar, I may have ended up using a rerecording rather than the original. Anyway, on with the story... [Excerpt: The Drifters, "There Goes My Baby"] It's been more than a year since we last properly checked in with the Drifters, one of the great R&B vocal groups of all time, so I'll quickly bring you up to speed -- if you want to hear the full story so far, episode seventeen, on "Money Honey", gives you all the details. The Drifters had originally formed as the backing group for Clyde McPhatter, who had been the lead singer of Billy Ward and the Dominoes in the early fifties, when that group had had their biggest success. The original lineup of the group had all been sacked before they even released a record, and then a couple of members of the lineup who recorded their first big hits became ill or died, but the group had released two massive hits -- "Money Honey" and "Such a Night", both with McPhatter on lead vocals: [Excerpt: Clyde McPhatter and the Drifters, "Such a Night"] But then McPhatter had been drafted, and the group's manager, George Treadwell, had got in a member of the original lineup, David Baughan, to replace McPhatter, as Baughan could sound a little like McPhatter. When McPhatter was discharged from the army, he decided to sell the group name to Treadwell, and the Drifters became employees of Treadwell, to be hired and fired at his discretion. This group went through several lineup changes, some of which we'll look at later in this episode, but they kept making records that sounded a bit like the ones they'd been making with Clyde McPhatter, even after Baughan also left the group. But there was a big difference behind the scenes. Those early records had been produced by Ahmet Ertegun and Jerry Wexler, and had usually been arranged by Jesse Stone, the man who'd written "Money Honey" and many other early rock and roll hits, like "Shake, Rattle, and Roll". But a little while after Baughan left the group, Ertegun and Wexler asked Jerry Leiber and Mike Stoller to start working with them. Leiber and Stoller, you might remember, were working with a *lot* of people at the time. They'd come over to Atlantic Records with a non-exclusive contract to write and produce for the label, and while their main project at Atlantic was with the Coasters, they were also producing records for people like Ruth Brown, as well as also working on records for Elvis and others at RCA. But they took on the Drifters as well, and started producing a string of minor hits for them, including "Ruby Baby" and "Fools Fall In Love". Those hits went top ten on the R&B chart, but did little or nothing in the pop market. [Excerpt: The Drifters, "Fools Fall In Love"] That song, which had Johnny Moore on lead vocals, was the last big hit for what we can think of as the "original" Drifters in some form. It came out in March 1957, and for the rest of the year they kept releasing singles, but nothing made the R&B charts at all, though a few did make the lower reaches of the Hot One Hundred. Throughout 1957, the group had been gaining and losing members. Bill Pinkney, who had been chosen by the other group members to be essentially their shop steward, had gone to Treadwell and asked for a raise in late 1956, and been promptly fired. He'd formed a group called the Flyers, with a new singer called Bobby Hendricks on lead. The Flyers recorded one single, "My Only Desire": [Excerpt: the Flyers, "My Only Desire"] But then Tommy Evans, Pinkney's replacement in the group, was fired, and Pinkney was brought back into the group. Hendricks thought that was the end of his career, but then a few days later Pinkney phoned him up -- Johnny Moore was getting drafted, and Hendricks was brought into the group to take Moore's place. But almost immediately after Hendricks joined the group, Pinkney once again asked for a raise, and was kicked out and Evans brought back in. Pinkney went off and made a record for Sam Phillips, with backing music overdubbed by Bill Justis: [Excerpt: Bill Pinkney, "After the Hop"] The group kept changing lineups, and there was only one session in 1958, which led to a horrible version of "Moonlight Bay". Apparently, the session was run by Leiber and Stoller as an experiment (they would occasionally record old standards with the Coasters, so presumably they were seeing if the same thing would work with the Drifters), and several of the group's members were drunk when they recorded it. They decided at the session that it was not going to be released, but then the next thing the group knew, it was out as their next single, with overdubs by a white vocal group, making it sound nothing like the Drifters at all: [Excerpt: The Drifters "Moonlight Bay"] Bobby Hendricks hated that recording session so much that he quit the group and went solo, going over to Sue Records, where he joined up with another former Drifter, Jimmy Oliver. Oliver wrote a song for Hendricks, "Itchy Twitchy Feeling", and the Coasters sang the backup vocals for him, uncredited. That track went to number five on the R&B charts: [Excerpt: Bobby Hendricks, "Itchy Twitchy Feeling"] By this time, the Drifters were down to just three people -- Gerhart Thrasher, Jimmy Milner, and Tommy Evans. They no longer had a lead singer, but they had a week's worth of shows they were contracted to do, at the Harlem Apollo, on a show hosted by the DJ Doctor Jive. That show was headlined by Ray Charles, and also featured the Cookies, Solomon Burke, and a minor group called the Crowns, among several other acts. Treadwell was desperate, so he called Hendricks and Oliver and got them to return to the group just for one week, so they would have a lead vocalist. They both did return, though just as a favour. Then, at the end of the week's residency, one of the group members got drunk and started shouting abuse at Doctor Jive, and at the owner of the Apollo. George Treadwell had had enough. He fired the entire group. Tommy Evans went on to join Charlie Fuqua's version of the Ink Spots, and Bill Pinkney decided he wanted to get the old group back together. He got a 1955 lineup of the Drifters together -- Pinkney, David Baughan, Gerhart Thrasher, and Andrew Thrasher. That group toured as The Original Drifters, and the group under that name would consist almost entirely of ex-members of the Drifters, with some coming or going, until 1968, when most of the group retired, while Pinkney carried on leading a group under that name until his death in 2007. But they couldn't use that name on records. Instead they made records as the Harmony Grits: [Excerpt: The Harmony Grits, "I Could Have Told You"] and with ex-Drifter Johnny Moore singing lead, as a solo artist under the name Johnny Darrow: [Excerpt: Johnny Darrow, "Chew Tobacco Rag"] And with Bobby Hendricks singing lead, as the Sprites: [Excerpt: The Sprites, "My Picture"] But the reason they couldn't call themselves the Drifters on their records is that George Treadwell owned the name, and he had hired a totally different group to tour and record under that name. The Crowns had their basis in a group called the Harmonaires, a street-corner group in New York. They had various members at first, but by the time they changed their name to the Five Crowns, they had stabilised on a lineup of Dock Green, Yonkie Paul, and three brothers -- Papa, Nicky, and Sonny Boy Clark. The group were managed by Lover Patterson, who they believed was the manager of the Orioles, but was actually the Orioles' valet. Nonetheless, Patterson did manage to get them signed to a small record label, Rainbow Records, where they released "You're My Inspiration" in 1952: [Excerpt: The Five Crowns, "You're My Inspiration"] The record label sent out a thousand copies of that single to one of their distributors, right at the point a truckers' strike was called, and ended up having to send another thousand out by plane. That kind of thing sums up the kind of luck the Five Crowns would have for the next few years. Nothing they put out on Rainbow Records was any kind of a success, and in 1953 the group became the first act on a new label, Old Town Records -- they actually met the owner of the label, Hy Weiss, in a waiting room, while they were waiting to audition for a different label. On Old Town they put out a couple of singles, starting with "You Could Be My Love": [Excerpt: The Five Crowns, "You Could Be My Love"] But none of these singles were hits either, and the group were doing so badly that when Nicky Clark left the group, they couldn't get another singer in to replace him at first -- Lover Patterson stood on stage and mimed while the four remaining members sang, so there would still be five people in the Five Crowns. By 1955, the group had re-signed to Rainbow Records, now on their Riviera subsidiary, and they had gone through several further lineup changes. They now consisted of Yonkie Paul, Richard Lewis, Jesse Facing, Dock Green, and Bugeye Bailey. They put out one record on Riviera, "You Came To Me": [Excerpt: The Five Crowns, "You Came to Me"] The group broke up shortly after that, and Dock Green put together a totally new lineup of the Five Crowns. That group signed to one of George Goldner's labels, Gee, and released another single, and then they broke up. Green got together *another* lineup of the Five Crowns, made another record on another label, and then that group broke up too. They spent nearly two years without making a record, with constantly shifting lineups as people kept leaving and rejoining, and by the time they went into a studio again, they consisted of Charlie Thomas, Dock Green, Papa Clark, Elsbeary Hobbs, and a new tenor singer called Benjamin Earl Nelson, who hadn't sung professionally before joining the group -- he'd been working in a restaurant owned by his father, and Lover Patterson had heard him singing to himself while he was working and asked him to join the group. This lineup of the group, who were now calling themselves the Crowns rather than the Five Crowns, finally got a contract with a record label... or at least, it was sort of a record label. We've talked about Doc Pomus before, back in November, but as a brief recap -- Pomus was a blues singer and songwriter, a white Jewish paraplegic whose birth name was Jerome Felder, who had become a blues shouter in the late forties: [Excerpt: Doc Pomus, "Send for the Doctor"] He had been working as a professional songwriter for a decade or so, and had written songs for people like Ray Charles, but the music he loved was hard bluesy R&B, and he didn't understand the new rock and roll music at all. Other than writing "Young Blood", which Leiber and Stoller had rewritten and made into a hit for the Coasters, he hadn't written anything successful in quite some time. He'd recently started writing with a much younger man, Mort Shuman, who did understand rock and roll, and we heard one of the results of that last week -- "Teenager in Love" by Dion and the Belmonts, which would be the start of a string of hits for them: [Excerpt: Dion and the Belmonts, "Teenager in Love"] But in 1958, that had not yet been released. Pomus' wife had a baby on the way, and he was desperate for money. He was so desperate, he got involved in a scam. An old girlfriend introduced him to an acquaintance, a dance instructor named Fred Huckman. Huckman had recently married a rich old widow, and he wanted to get away from her during the day to sleep with other people. So Huckman decided he was going to become the owner of a record label, using his wife's money to fund an office. The label was named R&B Records at Doc's suggestion, and Doc was going to be the company's president, while Mort was going to be the company's shipping clerk. The company would have offices in 1650 Broadway, one of the buildings that these days gets lumped in when people talk about "the Brill Building", though the actual Brill Building itself was a little way down the street at 1619. 1650 was still a prime music business location though, and the company's office would let both Doc and Mort go and try to sell their songs to publishing companies and record labels. And they'd need to do this because R&B Records wasn't going to put out any records at all. Doc and Mort's actual job was that one of them had to be in the office at all times, so when Huckman's wife phoned up, they could tell her that he'd just popped out, or was in a meeting, or something so she didn't find out about his affairs. They lived off the scam for a little while, while writing songs, but eventually they started to get bored of doing nothing all day. And then Lucky Patterson brought the Crowns in. They didn't realise that R&B Records wasn't a real record label, and Pomus decided to audition them. When he did, he was amazed at how good they sounded. He decided that R&B Records was *going* to be a real record label, no matter what Huckman thought. He and Shuman wrote them a single in the style of the Coasters, and they got in the best session musicians in New York -- people like King Curtis and Mickey Baker, who were old friends of Pomus -- to play on it: [Excerpt: The Crowns, "Kiss and Make Up"] At first that record was completely unsuccessful, but then, rather amazingly, it started to climb in the charts, at least in Pittsburgh, where it became a local number one. It started to do better elsewhere as well, and it looked like the Crowns could have a promising career. And then one day Mrs. Huckman showed up at the office. Pomus tried to tell her that her husband had gone out and would be back later, but she insisted on waiting in the office, silently, all day. R&B Records closed the next day. But "Kiss and Make Up" had been a big enough success that the Crowns had ended up on that Doctor Jive show with the Drifters. And then when George Treadwell fired the Drifters, he immediately hired the Crowns -- or at least, he hired four of them. Papa Clark had a drinking problem, and Treadwell was fed up of dealing with drunk singers. So from this point on the Drifters were Charlie Thomas, Dock Green, Elsbeary Hobbs, and Benjamin Nelson, who decided that he was going to take on a stage name and call himself Ben E. King. This new lineup of the group went out on tour for almost a year before going into the studio, and they were abysmal failures. Everywhere they went, promoters advertised their shows with photos of the old group, and then this new group of people came on stage looking and sounding nothing like the original Drifters. They were booed everywhere they went. They even caused problems for the other acts -- at one show they nearly killed Screamin' Jay Hawkins. Hawkins used to pop out of a coffin while performing "I Put A Spell on You": [Excerpt: Screamin' Jay Hawkins, "I Put a Spell on You"] The group were sometimes asked to carry the coffin onto the stage with Hawkins inside it, and one night Charlie Thomas accidentally nudged something and heard a click. What he didn't realise was that Hawkins put matchbooks in the gap in the coffin lid, to stop it closing all the way -- Thomas had knocked the coffin properly shut. The music started, and Hawkins tried to open the coffin, and couldn't. He kept pushing, and the coffin wouldn't open. Eventually, he rocked the coffin so hard that it fell off its stand and popped open, but if it hadn't opened there was a very real danger that Hawkins could have asphyxiated. But something else happened on that tour -- Ben E. King wrote a song called "There Goes My Baby", which the group started to perform live. As they originally did it, it was quite a fast song, but when they finally got off the tour and went into the studio, Leiber and Stoller, who were going to be the producers for this new group just like they had been for the old group, decided to slow it down. They also decided that this was going to be a chance for them to experiment with some totally new production ideas. Stoller had become infatuated with a style called baion, a Brazillian musical style that is based on the same tresillo rhythm that a lot of New Orleans R&B is based on. If you don't remember the tresillo rhythm, we talked about it a lot in episodes on Fats Domino and others, but it's that "bom [pause] bom-bom [pause] bom [pause] bom-bom" rhythm. We've always been calling it the tresillo, but when people talk about the Drifters' music they always follow Stoller's lead and call it the baion rhythm, so that's what we'll do in future. They decided to use that rhythm, and also to use strings, which very few people had used on a rock and roll record before -- this is an idea that several people seemed to have simultaneously, as we saw last week with Buddy Holly doing the same thing. It may, indeed, be that Leiber and Stoller had heard "It Doesn't Matter Any More" and taken inspiration from it -- Holly had died just over a month before the recording session for "There Goes My Baby", and his single hit the top forty the same week that "There Goes My Baby" was recorded. Stoller sketched out some string lines, which were turned into full arrangements by an old classmate of his, Stan Applebaum, who had previously arranged for Lucky Millinder, and who had written a hit for Sarah Vaughan, who was married to Treadwell. Charlie Thomas was meant to sing lead on the track, but he just couldn't get it right, and eventually it was decided to have King sing it instead, as he'd written the song. King tried to imitate the sound of Sam Cooke, but it came out sounding like no-one but King himself. Then, as a final touch, Leiber and Stoller decided to use a kettledrum on the track, rather than a normal drum kit. There was only one problem -- the drummer they booked didn't know how to change the pitch on the kettledrum using the foot pedal. So he just kept playing the same note throughout the song, even as the chords changed: [Excerpt: The Drifters, "There Goes My Baby"] When Leiber and Stoller took that to their bosses at Atlantic Records, they were horrified. Jerry Wexler said “It’s dog meat. You've wasted our money on an overpriced production that sounds like a radio caught between two stations. It’s a goddamn awful mess!” Ahmet Ertegun was a little more diplomatic, but still said that the record was unreleasable. But eventually he let them have a go at remixing it, and then the label stuck the record out, assuming it would do nothing. Instead, it went to number two on the charts, and became one of the biggest hits of 1959. Not only that, but it instantly opened up the possibilities for new ways of producing records. The new Drifters were a smash hit, and Leiber and Stoller were now as respected as producers as they already had been as songwriters. They got themselves a new office in the Brill Building, and they were on top of the world. But already there was a problem for the new Drifters, and that problem was named Lover Patterson. Rather than sign the Crowns to a management deal as a group, Patterson had signed them all as individuals, with separate contracts. And when he'd allowed George Treadwell to take over their management, he'd only sold the contracts for three of the four members. Ben E. King was still signed to Lover Patterson, rather than to George Treadwell. And Patterson decided that he was going to let King sing on the records, but he wasn't going to let him tour with the group. So there was yet another lineup change for the Drifters, as they got in Johnnie Lee Williams to sing King's parts on stage. Williams would sing one lead with the group in the studio, "If You Cry True Love, True Love": [Excerpt: The Drifters, "If You Cry True Love, True Love"] But for the most part, King was the lead singer in the studio, and so there were five Drifters on the records, but only four on the road. But they were still having hits, and everybody seemed happy. And soon, they would all have the biggest hit of their careers, with a song that Doc Pomus had written with Mort Shuman, about his own wedding reception. We'll hear more about that, and about Leiber and Stoller's apprentice Phil Spector, when we return to the Drifters in a few weeks time.

Episode seventy-five of A History of Rock Music in Five Hundred Songs looks at “There Goes My Baby” by the Drifters, and how a fake record label, a band sacked for drunkenness, and a kettledrum player who couldn’t play led to a genre-defining hit. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Rebel Rouser” by Duane Eddy Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  I’m not going to recommend a compilation this week, for reasons I mention in the episode itself. There are plenty available, none of them as good as they should be. The episode on the early career of the Drifters is episode seventeen.  My main resource in putting this episode together was Marv Goldberg’s website, and his excellent articles on both the early- and late-period Drifters, Bill Pinkney’s later Original Drifters, the Five Crowns, and Ben E. King.  Lonely Avenue, a biography of Doc Pomus by Alex Halberstadt, helped me with the information on Pomus. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. And Bill Millar’s book on the Drifters, while it is more a history of 50s vocal group music generally using them as a focus than a biography of the group, contains some interesting material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note about this one, before I start. As we’ll see in this episode, there have been many, many, lineups of the Drifters over the years, with many different people involved. One problem with that is that there have been lots of compilations put out under the Drifters name, featuring rerecorded versions of their hits, often involving nobody who was on the original record. Indeed, there have been so many of these compilations, and people putting together hits compilations, even for major labels, have been so sloppy, that I can’t find a single compilation of the Drifters’ recordings that doesn’t have one or two dodgy remakes on replacing the originals. I’ve used multiple sources for the recordings I’m excerpting here, and in most cases I’m pretty sure that the tracks I’m excerpting are the original versions. But particularly when it comes to songs that aren’t familiar, I may have ended up using a rerecording rather than the original. Anyway, on with the story… [Excerpt: The Drifters, “There Goes My Baby”] It’s been more than a year since we last properly checked in with the Drifters, one of the great R&B vocal groups of all time, so I’ll quickly bring you up to speed — if you want to hear the full story so far, episode seventeen, on “Money Honey”, gives you all the details. The Drifters had originally formed as the backing group for Clyde McPhatter, who had been the lead singer of Billy Ward and the Dominoes in the early fifties, when that group had had their biggest success. The original lineup of the group had all been sacked before they even released a record, and then a couple of members of the lineup who recorded their first big hits became ill or died, but the group had released two massive hits — “Money Honey” and “Such a Night”, both with McPhatter on lead vocals: [Excerpt: Clyde McPhatter and the Drifters, “Such a Night”] But then McPhatter had been drafted, and the group’s manager, George Treadwell, had got in a member of the original lineup, David Baughan, to replace McPhatter, as Baughan could sound a little like McPhatter. When McPhatter was discharged from the army, he decided to sell the group name to Treadwell, and the Drifters became employees of Treadwell, to be hired and fired at his discretion. This group went through several lineup changes, some of which we’ll look at later in this episode, but they kept making records that sounded a bit like the ones they’d been making with Clyde McPhatter, even after Baughan also left the group. But there was a big difference behind the scenes. Those early records had been produced by Ahmet Ertegun and Jerry Wexler, and had usually been arranged by Jesse Stone, the man who’d written “Money Honey” and many other early rock and roll hits, like “Shake, Rattle, and Roll”. But a little while after Baughan left the group, Ertegun and Wexler asked Jerry Leiber and Mike Stoller to start working with them. Leiber and Stoller, you might remember, were working with a *lot* of people at the time. They’d come over to Atlantic Records with a non-exclusive contract to write and produce for the label, and while their main project at Atlantic was with the Coasters, they were also producing records for people like Ruth Brown, as well as also working on records for Elvis and others at RCA. But they took on the Drifters as well, and started producing a string of minor hits for them, including “Ruby Baby” and “Fools Fall In Love”. Those hits went top ten on the R&B chart, but did little or nothing in the pop market. [Excerpt: The Drifters, “Fools Fall In Love”] That song, which had Johnny Moore on lead vocals, was the last big hit for what we can think of as the “original” Drifters in some form. It came out in March 1957, and for the rest of the year they kept releasing singles, but nothing made the R&B charts at all, though a few did make the lower reaches of the Hot One Hundred. Throughout 1957, the group had been gaining and losing members. Bill Pinkney, who had been chosen by the other group members to be essentially their shop steward, had gone to Treadwell and asked for a raise in late 1956, and been promptly fired. He’d formed a group called the Flyers, with a new singer called Bobby Hendricks on lead. The Flyers recorded one single, “My Only Desire”: [Excerpt: the Flyers, “My Only Desire”] But then Tommy Evans, Pinkney’s replacement in the group, was fired, and Pinkney was brought back into the group. Hendricks thought that was the end of his career, but then a few days later Pinkney phoned him up — Johnny Moore was getting drafted, and Hendricks was brought into the group to take Moore’s place. But almost immediately after Hendricks joined the group, Pinkney once again asked for a raise, and was kicked out and Evans brought back in. Pinkney went off and made a record for Sam Phillips, with backing music overdubbed by Bill Justis: [Excerpt: Bill Pinkney, “After the Hop”] The group kept changing lineups, and there was only one session in 1958, which led to a horrible version of “Moonlight Bay”. Apparently, the session was run by Leiber and Stoller as an experiment (they would occasionally record old standards with the Coasters, so presumably they were seeing if the same thing would work with the Drifters), and several of the group’s members were drunk when they recorded it. They decided at the session that it was not going to be released, but then the next thing the group knew, it was out as their next single, with overdubs by a white vocal group, making it sound nothing like the Drifters at all: [Excerpt: The Drifters “Moonlight Bay”] Bobby Hendricks hated that recording session so much that he quit the group and went solo, going over to Sue Records, where he joined up with another former Drifter, Jimmy Oliver. Oliver wrote a song for Hendricks, “Itchy Twitchy Feeling”, and the Coasters sang the backup vocals for him, uncredited. That track went to number five on the R&B charts: [Excerpt: Bobby Hendricks, “Itchy Twitchy Feeling”] By this time, the Drifters were down to just three people — Gerhart Thrasher, Jimmy Milner, and Tommy Evans. They no longer had a lead singer, but they had a week’s worth of shows they were contracted to do, at the Harlem Apollo, on a show hosted by the DJ Doctor Jive. That show was headlined by Ray Charles, and also featured the Cookies, Solomon Burke, and a minor group called the Crowns, among several other acts. Treadwell was desperate, so he called Hendricks and Oliver and got them to return to the group just for one week, so they would have a lead vocalist. They both did return, though just as a favour. Then, at the end of the week’s residency, one of the group members got drunk and started shouting abuse at Doctor Jive, and at the owner of the Apollo. George Treadwell had had enough. He fired the entire group. Tommy Evans went on to join Charlie Fuqua’s version of the Ink Spots, and Bill Pinkney decided he wanted to get the old group back together. He got a 1955 lineup of the Drifters together — Pinkney, David Baughan, Gerhart Thrasher, and Andrew Thrasher. That group toured as The Original Drifters, and the group under that name would consist almost entirely of ex-members of the Drifters, with some coming or going, until 1968, when most of the group retired, while Pinkney carried on leading a group under that name until his death in 2007. But they couldn’t use that name on records. Instead they made records as the Harmony Grits: [Excerpt: The Harmony Grits, “I Could Have Told You”] and with ex-Drifter Johnny Moore singing lead, as a solo artist under the name Johnny Darrow: [Excerpt: Johnny Darrow, “Chew Tobacco Rag”] And with Bobby Hendricks singing lead, as the Sprites: [Excerpt: The Sprites, “My Picture”] But the reason they couldn’t call themselves the Drifters on their records is that George Treadwell owned the name, and he had hired a totally different group to tour and record under that name. The Crowns had their basis in a group called the Harmonaires, a street-corner group in New York. They had various members at first, but by the time they changed their name to the Five Crowns, they had stabilised on a lineup of Dock Green, Yonkie Paul, and three brothers — Papa, Nicky, and Sonny Boy Clark. The group were managed by Lover Patterson, who they believed was the manager of the Orioles, but was actually the Orioles’ valet. Nonetheless, Patterson did manage to get them signed to a small record label, Rainbow Records, where they released “You’re My Inspiration” in 1952: [Excerpt: The Five Crowns, “You’re My Inspiration”] The record label sent out a thousand copies of that single to one of their distributors, right at the point a truckers’ strike was called, and ended up having to send another thousand out by plane. That kind of thing sums up the kind of luck the Five Crowns would have for the next few years. Nothing they put out on Rainbow Records was any kind of a success, and in 1953 the group became the first act on a new label, Old Town Records — they actually met the owner of the label, Hy Weiss, in a waiting room, while they were waiting to audition for a different label. On Old Town they put out a couple of singles, starting with “You Could Be My Love”: [Excerpt: The Five Crowns, “You Could Be My Love”] But none of these singles were hits either, and the group were doing so badly that when Nicky Clark left the group, they couldn’t get another singer in to replace him at first — Lover Patterson stood on stage and mimed while the four remaining members sang, so there would still be five people in the Five Crowns. By 1955, the group had re-signed to Rainbow Records, now on their Riviera subsidiary, and they had gone through several further lineup changes. They now consisted of Yonkie Paul, Richard Lewis, Jesse Facing, Dock Green, and Bugeye Bailey. They put out one record on Riviera, “You Came To Me”: [Excerpt: The Five Crowns, “You Came to Me”] The group broke up shortly after that, and Dock Green put together a totally new lineup of the Five Crowns. That group signed to one of George Goldner’s labels, Gee, and released another single, and then they broke up. Green got together *another* lineup of the Five Crowns, made another record on another label, and then that group broke up too. They spent nearly two years without making a record, with constantly shifting lineups as people kept leaving and rejoining, and by the time they went into a studio again, they consisted of Charlie Thomas, Dock Green, Papa Clark, Elsbeary Hobbs, and a new tenor singer called Benjamin Earl Nelson, who hadn’t sung professionally before joining the group — he’d been working in a restaurant owned by his father, and Lover Patterson had heard him singing to himself while he was working and asked him to join the group. This lineup of the group, who were now calling themselves the Crowns rather than the Five Crowns, finally got a contract with a record label… or at least, it was sort of a record label. We’ve talked about Doc Pomus before, back in November, but as a brief recap — Pomus was a blues singer and songwriter, a white Jewish paraplegic whose birth name was Jerome Felder, who had become a blues shouter in the late forties: [Excerpt: Doc Pomus, “Send for the Doctor”] He had been working as a professional songwriter for a decade or so, and had written songs for people like Ray Charles, but the music he loved was hard bluesy R&B, and he didn’t understand the new rock and roll music at all. Other than writing “Young Blood”, which Leiber and Stoller had rewritten and made into a hit for the Coasters, he hadn’t written anything successful in quite some time. He’d recently started writing with a much younger man, Mort Shuman, who did understand rock and roll, and we heard one of the results of that last week — “Teenager in Love” by Dion and the Belmonts, which would be the start of a string of hits for them: [Excerpt: Dion and the Belmonts, “Teenager in Love”] But in 1958, that had not yet been released. Pomus’ wife had a baby on the way, and he was desperate for money. He was so desperate, he got involved in a scam. An old girlfriend introduced him to an acquaintance, a dance instructor named Fred Huckman. Huckman had recently married a rich old widow, and he wanted to get away from her during the day to sleep with other people. So Huckman decided he was going to become the owner of a record label, using his wife’s money to fund an office. The label was named R&B Records at Doc’s suggestion, and Doc was going to be the company’s president, while Mort was going to be the company’s shipping clerk. The company would have offices in 1650 Broadway, one of the buildings that these days gets lumped in when people talk about “the Brill Building”, though the actual Brill Building itself was a little way down the street at 1619. 1650 was still a prime music business location though, and the company’s office would let both Doc and Mort go and try to sell their songs to publishing companies and record labels. And they’d need to do this because R&B Records wasn’t going to put out any records at all. Doc and Mort’s actual job was that one of them had to be in the office at all times, so when Huckman’s wife phoned up, they could tell her that he’d just popped out, or was in a meeting, or something so she didn’t find out about his affairs. They lived off the scam for a little while, while writing songs, but eventually they started to get bored of doing nothing all day. And then Lucky Patterson brought the Crowns in. They didn’t realise that R&B Records wasn’t a real record label, and Pomus decided to audition them. When he did, he was amazed at how good they sounded. He decided that R&B Records was *going* to be a real record label, no matter what Huckman thought. He and Shuman wrote them a single in the style of the Coasters, and they got in the best session musicians in New York — people like King Curtis and Mickey Baker, who were old friends of Pomus — to play on it: [Excerpt: The Crowns, “Kiss and Make Up”] At first that record was completely unsuccessful, but then, rather amazingly, it started to climb in the charts, at least in Pittsburgh, where it became a local number one. It started to do better elsewhere as well, and it looked like the Crowns could have a promising career. And then one day Mrs. Huckman showed up at the office. Pomus tried to tell her that her husband had gone out and would be back later, but she insisted on waiting in the office, silently, all day. R&B Records closed the next day. But “Kiss and Make Up” had been a big enough success that the Crowns had ended up on that Doctor Jive show with the Drifters. And then when George Treadwell fired the Drifters, he immediately hired the Crowns — or at least, he hired four of them. Papa Clark had a drinking problem, and Treadwell was fed up of dealing with drunk singers. So from this point on the Drifters were Charlie Thomas, Dock Green, Elsbeary Hobbs, and Benjamin Nelson, who decided that he was going to take on a stage name and call himself Ben E. King. This new lineup of the group went out on tour for almost a year before going into the studio, and they were abysmal failures. Everywhere they went, promoters advertised their shows with photos of the old group, and then this new group of people came on stage looking and sounding nothing like the original Drifters. They were booed everywhere they went. They even caused problems for the other acts — at one show they nearly killed Screamin’ Jay Hawkins. Hawkins used to pop out of a coffin while performing “I Put A Spell on You”: [Excerpt: Screamin’ Jay Hawkins, “I Put a Spell on You”] The group were sometimes asked to carry the coffin onto the stage with Hawkins inside it, and one night Charlie Thomas accidentally nudged something and heard a click. What he didn’t realise was that Hawkins put matchbooks in the gap in the coffin lid, to stop it closing all the way — Thomas had knocked the coffin properly shut. The music started, and Hawkins tried to open the coffin, and couldn’t. He kept pushing, and the coffin wouldn’t open. Eventually, he rocked the coffin so hard that it fell off its stand and popped open, but if it hadn’t opened there was a very real danger that Hawkins could have asphyxiated. But something else happened on that tour — Ben E. King wrote a song called “There Goes My Baby”, which the group started to perform live. As they originally did it, it was quite a fast song, but when they finally got off the tour and went into the studio, Leiber and Stoller, who were going to be the producers for this new group just like they had been for the old group, decided to slow it down. They also decided that this was going to be a chance for them to experiment with some totally new production ideas. Stoller had become infatuated with a style called baion, a Brazillian musical style that is based on the same tresillo rhythm that a lot of New Orleans R&B is based on. If you don’t remember the tresillo rhythm, we talked about it a lot in episodes on Fats Domino and others, but it’s that “bom [pause] bom-bom [pause] bom [pause] bom-bom” rhythm. We’ve always been calling it the tresillo, but when people talk about the Drifters’ music they always follow Stoller’s lead and call it the baion rhythm, so that’s what we’ll do in future. They decided to use that rhythm, and also to use strings, which very few people had used on a rock and roll record before — this is an idea that several people seemed to have simultaneously, as we saw last week with Buddy Holly doing the same thing. It may, indeed, be that Leiber and Stoller had heard “It Doesn’t Matter Any More” and taken inspiration from it — Holly had died just over a month before the recording session for “There Goes My Baby”, and his single hit the top forty the same week that “There Goes My Baby” was recorded. Stoller sketched out some string lines, which were turned into full arrangements by an old classmate of his, Stan Applebaum, who had previously arranged for Lucky Millinder, and who had written a hit for Sarah Vaughan, who was married to Treadwell. Charlie Thomas was meant to sing lead on the track, but he just couldn’t get it right, and eventually it was decided to have King sing it instead, as he’d written the song. King tried to imitate the sound of Sam Cooke, but it came out sounding like no-one but King himself. Then, as a final touch, Leiber and Stoller decided to use a kettledrum on the track, rather than a normal drum kit. There was only one problem — the drummer they booked didn’t know how to change the pitch on the kettledrum using the foot pedal. So he just kept playing the same note throughout the song, even as the chords changed: [Excerpt: The Drifters, “There Goes My Baby”] When Leiber and Stoller took that to their bosses at Atlantic Records, they were horrified. Jerry Wexler said “It’s dog meat. You’ve wasted our money on an overpriced production that sounds like a radio caught between two stations. It’s a goddamn awful mess!” Ahmet Ertegun was a little more diplomatic, but still said that the record was unreleasable. But eventually he let them have a go at remixing it, and then the label stuck the record out, assuming it would do nothing. Instead, it went to number two on the charts, and became one of the biggest hits of 1959. Not only that, but it instantly opened up the possibilities for new ways of producing records. The new Drifters were a smash hit, and Leiber and Stoller were now as respected as producers as they already had been as songwriters. They got themselves a new office in the Brill Building, and they were on top of the world. But already there was a problem for the new Drifters, and that problem was named Lover Patterson. Rather than sign the Crowns to a management deal as a group, Patterson had signed them all as individuals, with separate contracts. And when he’d allowed George Treadwell to take over their management, he’d only sold the contracts for three of the four members. Ben E. King was still signed to Lover Patterson, rather than to George Treadwell. And Patterson decided that he was going to let King sing on the records, but he wasn’t going to let him tour with the group. So there was yet another lineup change for the Drifters, as they got in Johnnie Lee Williams to sing King’s parts on stage. Williams would sing one lead with the group in the studio, “If You Cry True Love, True Love”: [Excerpt: The Drifters, “If You Cry True Love, True Love”] But for the most part, King was the lead singer in the studio, and so there were five Drifters on the records, but only four on the road. But they were still having hits, and everybody seemed happy. And soon, they would all have the biggest hit of their careers, with a song that Doc Pomus had written with Mort Shuman, about his own wedding reception. We’ll hear more about that, and about Leiber and Stoller’s apprentice Phil Spector, when we return to the Drifters in a few weeks time.

Episode seventy-five of A History of Rock Music in Five Hundred Songs looks at “There Goes My Baby” by the Drifters, and how a fake record label, a band sacked for drunkenness, and a kettledrum player who couldn’t play led to a genre-defining hit. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Rebel Rouser” by Duane Eddy Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  I’m not going to recommend a compilation this week, for reasons I mention in the episode itself. There are plenty available, none of them as good as they should be. The episode on the early career of the Drifters is episode seventeen.  My main resource in putting this episode together was Marv Goldberg’s website, and his excellent articles on both the early- and late-period Drifters, Bill Pinkney’s later Original Drifters, the Five Crowns, and Ben E. King.  Lonely Avenue, a biography of Doc Pomus by Alex Halberstadt, helped me with the information on Pomus. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. And Bill Millar’s book on the Drifters, while it is more a history of 50s vocal group music generally using them as a focus than a biography of the group, contains some interesting material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note about this one, before I start. As we’ll see in this episode, there have been many, many, lineups of the Drifters over the years, with many different people involved. One problem with that is that there have been lots of compilations put out under the Drifters name, featuring rerecorded versions of their hits, often involving nobody who was on the original record. Indeed, there have been so many of these compilations, and people putting together hits compilations, even for major labels, have been so sloppy, that I can’t find a single compilation of the Drifters’ recordings that doesn’t have one or two dodgy remakes on replacing the originals. I’ve used multiple sources for the recordings I’m excerpting here, and in most cases I’m pretty sure that the tracks I’m excerpting are the original versions. But particularly when it comes to songs that aren’t familiar, I may have ended up using a rerecording rather than the original. Anyway, on with the story… [Excerpt: The Drifters, “There Goes My Baby”] It’s been more than a year since we last properly checked in with the Drifters, one of the great R&B vocal groups of all time, so I’ll quickly bring you up to speed — if you want to hear the full story so far, episode seventeen, on “Money Honey”, gives you all the details. The Drifters had originally formed as the backing group for Clyde McPhatter, who had been the lead singer of Billy Ward and the Dominoes in the early fifties, when that group had had their biggest success. The original lineup of the group had all been sacked before they even released a record, and then a couple of members of the lineup who recorded their first big hits became ill or died, but the group had released two massive hits — “Money Honey” and “Such a Night”, both with McPhatter on lead vocals: [Excerpt: Clyde McPhatter and the Drifters, “Such a Night”] But then McPhatter had been drafted, and the group’s manager, George Treadwell, had got in a member of the original lineup, David Baughan, to replace McPhatter, as Baughan could sound a little like McPhatter. When McPhatter was discharged from the army, he decided to sell the group name to Treadwell, and the Drifters became employees of Treadwell, to be hired and fired at his discretion. This group went through several lineup changes, some of which we’ll look at later in this episode, but they kept making records that sounded a bit like the ones they’d been making with Clyde McPhatter, even after Baughan also left the group. But there was a big difference behind the scenes. Those early records had been produced by Ahmet Ertegun and Jerry Wexler, and had usually been arranged by Jesse Stone, the man who’d written “Money Honey” and many other early rock and roll hits, like “Shake, Rattle, and Roll”. But a little while after Baughan left the group, Ertegun and Wexler asked Jerry Leiber and Mike Stoller to start working with them. Leiber and Stoller, you might remember, were working with a *lot* of people at the time. They’d come over to Atlantic Records with a non-exclusive contract to write and produce for the label, and while their main project at Atlantic was with the Coasters, they were also producing records for people like Ruth Brown, as well as also working on records for Elvis and others at RCA. But they took on the Drifters as well, and started producing a string of minor hits for them, including “Ruby Baby” and “Fools Fall In Love”. Those hits went top ten on the R&B chart, but did little or nothing in the pop market. [Excerpt: The Drifters, “Fools Fall In Love”] That song, which had Johnny Moore on lead vocals, was the last big hit for what we can think of as the “original” Drifters in some form. It came out in March 1957, and for the rest of the year they kept releasing singles, but nothing made the R&B charts at all, though a few did make the lower reaches of the Hot One Hundred. Throughout 1957, the group had been gaining and losing members. Bill Pinkney, who had been chosen by the other group members to be essentially their shop steward, had gone to Treadwell and asked for a raise in late 1956, and been promptly fired. He’d formed a group called the Flyers, with a new singer called Bobby Hendricks on lead. The Flyers recorded one single, “My Only Desire”: [Excerpt: the Flyers, “My Only Desire”] But then Tommy Evans, Pinkney’s replacement in the group, was fired, and Pinkney was brought back into the group. Hendricks thought that was the end of his career, but then a few days later Pinkney phoned him up — Johnny Moore was getting drafted, and Hendricks was brought into the group to take Moore’s place. But almost immediately after Hendricks joined the group, Pinkney once again asked for a raise, and was kicked out and Evans brought back in. Pinkney went off and made a record for Sam Phillips, with backing music overdubbed by Bill Justis: [Excerpt: Bill Pinkney, “After the Hop”] The group kept changing lineups, and there was only one session in 1958, which led to a horrible version of “Moonlight Bay”. Apparently, the session was run by Leiber and Stoller as an experiment (they would occasionally record old standards with the Coasters, so presumably they were seeing if the same thing would work with the Drifters), and several of the group’s members were drunk when they recorded it. They decided at the session that it was not going to be released, but then the next thing the group knew, it was out as their next single, with overdubs by a white vocal group, making it sound nothing like the Drifters at all: [Excerpt: The Drifters “Moonlight Bay”] Bobby Hendricks hated that recording session so much that he quit the group and went solo, going over to Sue Records, where he joined up with another former Drifter, Jimmy Oliver. Oliver wrote a song for Hendricks, “Itchy Twitchy Feeling”, and the Coasters sang the backup vocals for him, uncredited. That track went to number five on the R&B charts: [Excerpt: Bobby Hendricks, “Itchy Twitchy Feeling”] By this time, the Drifters were down to just three people — Gerhart Thrasher, Jimmy Milner, and Tommy Evans. They no longer had a lead singer, but they had a week’s worth of shows they were contracted to do, at the Harlem Apollo, on a show hosted by the DJ Doctor Jive. That show was headlined by Ray Charles, and also featured the Cookies, Solomon Burke, and a minor group called the Crowns, among several other acts. Treadwell was desperate, so he called Hendricks and Oliver and got them to return to the group just for one week, so they would have a lead vocalist. They both did return, though just as a favour. Then, at the end of the week’s residency, one of the group members got drunk and started shouting abuse at Doctor Jive, and at the owner of the Apollo. George Treadwell had had enough. He fired the entire group. Tommy Evans went on to join Charlie Fuqua’s version of the Ink Spots, and Bill Pinkney decided he wanted to get the old group back together. He got a 1955 lineup of the Drifters together — Pinkney, David Baughan, Gerhart Thrasher, and Andrew Thrasher. That group toured as The Original Drifters, and the group under that name would consist almost entirely of ex-members of the Drifters, with some coming or going, until 1968, when most of the group retired, while Pinkney carried on leading a group under that name until his death in 2007. But they couldn’t use that name on records. Instead they made records as the Harmony Grits: [Excerpt: The Harmony Grits, “I Could Have Told You”] and with ex-Drifter Johnny Moore singing lead, as a solo artist under the name Johnny Darrow: [Excerpt: Johnny Darrow, “Chew Tobacco Rag”] And with Bobby Hendricks singing lead, as the Sprites: [Excerpt: The Sprites, “My Picture”] But the reason they couldn’t call themselves the Drifters on their records is that George Treadwell owned the name, and he had hired a totally different group to tour and record under that name. The Crowns had their basis in a group called the Harmonaires, a street-corner group in New York. They had various members at first, but by the time they changed their name to the Five Crowns, they had stabilised on a lineup of Dock Green, Yonkie Paul, and three brothers — Papa, Nicky, and Sonny Boy Clark. The group were managed by Lover Patterson, who they believed was the manager of the Orioles, but was actually the Orioles’ valet. Nonetheless, Patterson did manage to get them signed to a small record label, Rainbow Records, where they released “You’re My Inspiration” in 1952: [Excerpt: The Five Crowns, “You’re My Inspiration”] The record label sent out a thousand copies of that single to one of their distributors, right at the point a truckers’ strike was called, and ended up having to send another thousand out by plane. That kind of thing sums up the kind of luck the Five Crowns would have for the next few years. Nothing they put out on Rainbow Records was any kind of a success, and in 1953 the group became the first act on a new label, Old Town Records — they actually met the owner of the label, Hy Weiss, in a waiting room, while they were waiting to audition for a different label. On Old Town they put out a couple of singles, starting with “You Could Be My Love”: [Excerpt: The Five Crowns, “You Could Be My Love”] But none of these singles were hits either, and the group were doing so badly that when Nicky Clark left the group, they couldn’t get another singer in to replace him at first — Lover Patterson stood on stage and mimed while the four remaining members sang, so there would still be five people in the Five Crowns. By 1955, the group had re-signed to Rainbow Records, now on their Riviera subsidiary, and they had gone through several further lineup changes. They now consisted of Yonkie Paul, Richard Lewis, Jesse Facing, Dock Green, and Bugeye Bailey. They put out one record on Riviera, “You Came To Me”: [Excerpt: The Five Crowns, “You Came to Me”] The group broke up shortly after that, and Dock Green put together a totally new lineup of the Five Crowns. That group signed to one of George Goldner’s labels, Gee, and released another single, and then they broke up. Green got together *another* lineup of the Five Crowns, made another record on another label, and then that group broke up too. They spent nearly two years without making a record, with constantly shifting lineups as people kept leaving and rejoining, and by the time they went into a studio again, they consisted of Charlie Thomas, Dock Green, Papa Clark, Elsbeary Hobbs, and a new tenor singer called Benjamin Earl Nelson, who hadn’t sung professionally before joining the group — he’d been working in a restaurant owned by his father, and Lover Patterson had heard him singing to himself while he was working and asked him to join the group. This lineup of the group, who were now calling themselves the Crowns rather than the Five Crowns, finally got a contract with a record label… or at least, it was sort of a record label. We’ve talked about Doc Pomus before, back in November, but as a brief recap — Pomus was a blues singer and songwriter, a white Jewish paraplegic whose birth name was Jerome Felder, who had become a blues shouter in the late forties: [Excerpt: Doc Pomus, “Send for the Doctor”] He had been working as a professional songwriter for a decade or so, and had written songs for people like Ray Charles, but the music he loved was hard bluesy R&B, and he didn’t understand the new rock and roll music at all. Other than writing “Young Blood”, which Leiber and Stoller had rewritten and made into a hit for the Coasters, he hadn’t written anything successful in quite some time. He’d recently started writing with a much younger man, Mort Shuman, who did understand rock and roll, and we heard one of the results of that last week — “Teenager in Love” by Dion and the Belmonts, which would be the start of a string of hits for them: [Excerpt: Dion and the Belmonts, “Teenager in Love”] But in 1958, that had not yet been released. Pomus’ wife had a baby on the way, and he was desperate for money. He was so desperate, he got involved in a scam. An old girlfriend introduced him to an acquaintance, a dance instructor named Fred Huckman. Huckman had recently married a rich old widow, and he wanted to get away from her during the day to sleep with other people. So Huckman decided he was going to become the owner of a record label, using his wife’s money to fund an office. The label was named R&B Records at Doc’s suggestion, and Doc was going to be the company’s president, while Mort was going to be the company’s shipping clerk. The company would have offices in 1650 Broadway, one of the buildings that these days gets lumped in when people talk about “the Brill Building”, though the actual Brill Building itself was a little way down the street at 1619. 1650 was still a prime music business location though, and the company’s office would let both Doc and Mort go and try to sell their songs to publishing companies and record labels. And they’d need to do this because R&B Records wasn’t going to put out any records at all. Doc and Mort’s actual job was that one of them had to be in the office at all times, so when Huckman’s wife phoned up, they could tell her that he’d just popped out, or was in a meeting, or something so she didn’t find out about his affairs. They lived off the scam for a little while, while writing songs, but eventually they started to get bored of doing nothing all day. And then Lucky Patterson brought the Crowns in. They didn’t realise that R&B Records wasn’t a real record label, and Pomus decided to audition them. When he did, he was amazed at how good they sounded. He decided that R&B Records was *going* to be a real record label, no matter what Huckman thought. He and Shuman wrote them a single in the style of the Coasters, and they got in the best session musicians in New York — people like King Curtis and Mickey Baker, who were old friends of Pomus — to play on it: [Excerpt: The Crowns, “Kiss and Make Up”] At first that record was completely unsuccessful, but then, rather amazingly, it started to climb in the charts, at least in Pittsburgh, where it became a local number one. It started to do better elsewhere as well, and it looked like the Crowns could have a promising career. And then one day Mrs. Huckman showed up at the office. Pomus tried to tell her that her husband had gone out and would be back later, but she insisted on waiting in the office, silently, all day. R&B Records closed the next day. But “Kiss and Make Up” had been a big enough success that the Crowns had ended up on that Doctor Jive show with the Drifters. And then when George Treadwell fired the Drifters, he immediately hired the Crowns — or at least, he hired four of them. Papa Clark had a drinking problem, and Treadwell was fed up of dealing with drunk singers. So from this point on the Drifters were Charlie Thomas, Dock Green, Elsbeary Hobbs, and Benjamin Nelson, who decided that he was going to take on a stage name and call himself Ben E. King. This new lineup of the group went out on tour for almost a year before going into the studio, and they were abysmal failures. Everywhere they went, promoters advertised their shows with photos of the old group, and then this new group of people came on stage looking and sounding nothing like the original Drifters. They were booed everywhere they went. They even caused problems for the other acts — at one show they nearly killed Screamin’ Jay Hawkins. Hawkins used to pop out of a coffin while performing “I Put A Spell on You”: [Excerpt: Screamin’ Jay Hawkins, “I Put a Spell on You”] The group were sometimes asked to carry the coffin onto the stage with Hawkins inside it, and one night Charlie Thomas accidentally nudged something and heard a click. What he didn’t realise was that Hawkins put matchbooks in the gap in the coffin lid, to stop it closing all the way — Thomas had knocked the coffin properly shut. The music started, and Hawkins tried to open the coffin, and couldn’t. He kept pushing, and the coffin wouldn’t open. Eventually, he rocked the coffin so hard that it fell off its stand and popped open, but if it hadn’t opened there was a very real danger that Hawkins could have asphyxiated. But something else happened on that tour — Ben E. King wrote a song called “There Goes My Baby”, which the group started to perform live. As they originally did it, it was quite a fast song, but when they finally got off the tour and went into the studio, Leiber and Stoller, who were going to be the producers for this new group just like they had been for the old group, decided to slow it down. They also decided that this was going to be a chance for them to experiment with some totally new production ideas. Stoller had become infatuated with a style called baion, a Brazillian musical style that is based on the same tresillo rhythm that a lot of New Orleans R&B is based on. If you don’t remember the tresillo rhythm, we talked about it a lot in episodes on Fats Domino and others, but it’s that “bom [pause] bom-bom [pause] bom [pause] bom-bom” rhythm. We’ve always been calling it the tresillo, but when people talk about the Drifters’ music they always follow Stoller’s lead and call it the baion rhythm, so that’s what we’ll do in future. They decided to use that rhythm, and also to use strings, which very few people had used on a rock and roll record before — this is an idea that several people seemed to have simultaneously, as we saw last week with Buddy Holly doing the same thing. It may, indeed, be that Leiber and Stoller had heard “It Doesn’t Matter Any More” and taken inspiration from it — Holly had died just over a month before the recording session for “There Goes My Baby”, and his single hit the top forty the same week that “There Goes My Baby” was recorded. Stoller sketched out some string lines, which were turned into full arrangements by an old classmate of his, Stan Applebaum, who had previously arranged for Lucky Millinder, and who had written a hit for Sarah Vaughan, who was married to Treadwell. Charlie Thomas was meant to sing lead on the track, but he just couldn’t get it right, and eventually it was decided to have King sing it instead, as he’d written the song. King tried to imitate the sound of Sam Cooke, but it came out sounding like no-one but King himself. Then, as a final touch, Leiber and Stoller decided to use a kettledrum on the track, rather than a normal drum kit. There was only one problem — the drummer they booked didn’t know how to change the pitch on the kettledrum using the foot pedal. So he just kept playing the same note throughout the song, even as the chords changed: [Excerpt: The Drifters, “There Goes My Baby”] When Leiber and Stoller took that to their bosses at Atlantic Records, they were horrified. Jerry Wexler said “It’s dog meat. You’ve wasted our money on an overpriced production that sounds like a radio caught between two stations. It’s a goddamn awful mess!” Ahmet Ertegun was a little more diplomatic, but still said that the record was unreleasable. But eventually he let them have a go at remixing it, and then the label stuck the record out, assuming it would do nothing. Instead, it went to number two on the charts, and became one of the biggest hits of 1959. Not only that, but it instantly opened up the possibilities for new ways of producing records. The new Drifters were a smash hit, and Leiber and Stoller were now as respected as producers as they already had been as songwriters. They got themselves a new office in the Brill Building, and they were on top of the world. But already there was a problem for the new Drifters, and that problem was named Lover Patterson. Rather than sign the Crowns to a management deal as a group, Patterson had signed them all as individuals, with separate contracts. And when he’d allowed George Treadwell to take over their management, he’d only sold the contracts for three of the four members. Ben E. King was still signed to Lover Patterson, rather than to George Treadwell. And Patterson decided that he was going to let King sing on the records, but he wasn’t going to let him tour with the group. So there was yet another lineup change for the Drifters, as they got in Johnnie Lee Williams to sing King’s parts on stage. Williams would sing one lead with the group in the studio, “If You Cry True Love, True Love”: [Excerpt: The Drifters, “If You Cry True Love, True Love”] But for the most part, King was the lead singer in the studio, and so there were five Drifters on the records, but only four on the road. But they were still having hits, and everybody seemed happy. And soon, they would all have the biggest hit of their careers, with a song that Doc Pomus had written with Mort Shuman, about his own wedding reception. We’ll hear more about that, and about Leiber and Stoller’s apprentice Phil Spector, when we return to the Drifters in a few weeks time.

John McClain shares stories of late Texans owner Bob McNair, who will be honored at the Houston Sports Awards ceremony on Tuesday night at Hilton Americas. When McClain first went to interview McNair, he went to the wrong house in River Oaks which belonged to Charlie Thomas, the former Rockets owner. McClain also recalls pretending to rake leaves at McNair’s house so he could look in the window to see if the Texans owner was interviewing Butch Davis about the coaching job. Support the show.

Filmkritiken zu "3 Engel Für Charlie", "Thomas & Seine Freunde" und "Dark Encounter" Lockere Filmkritiken zum selbst mitmachen! Meldet euch via Mail (info@tele-stammtisch.de), Facebook, Twitter oder Instagram für den nächsten Podcast an! Haupt-RSS-Feed | Filmkritiken-RSS-Feed iTunes (Hauptfeed) | iTunes (Filmkritiken) Spotify (Hauptfeed) | Spotify (Filmkritiken) Website | Twitter | Facebook | Instagram Skype: dertelestammtisch@gmail.com Titel: 3 Engel Für Charlie Originaltitel: Charlie's Angels Startdatum: 02.01.2020 Länge (min): 118 FSK: ab 12 Regie: Elizabeth Banks Darsteller: Kristen Stewart, Naomi Scott, Ella Balinska uvm. Verleih d. Sony Pictures Trailer Titel: Thomas und seine Freunde - Große Welt! Große Abenteuer! Originaltitel: Thomas & Friends: Big World! Big Adventures! The Movie Startdatum: 02.01.2020 Länge (min): 85 FSK: ohne Altersbeschränkung Regie: David Stoten Darsteller: Dona Adwera, Peter Andre, Richie Campbell uvm. Verleih d. justbridge entertainment Trailer Titel: Dark Encounter Startdatum: 13.09.2019 Länge (min): 97 FSK: ab 16 Regie: Carl Strathie Darsteller: Laura Fraser, Mel Raido, Sid Phoenix uvm. Verleih d. Falcom Media Trailer Gäste: Max Knade Facebook | Twitter Moviebreak Website | Facebook | Twitter | Instagram Thilo Facebook | Twitter Werner Facebook Filmfreak Kritik Facebook Steffen Facebook | Twitter NerdNerdNerd - Der nerdige Comic-Cast Website | Twitter | Instagram Patrick Facebook | Twitter | Instagram i used the following sounds of freesound.org: Musical Snapshots by Columbia Orchestra Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0) Folge direkt herunterladen

In this episode, Quinton breaks down the Wizards latest addition of Johnny Rogers to their front office. Topics include: - Johnny’s phenomenal basketball background- Bradley Beal winning on and off the court- Predicting the Wizards starting lineup- When will C.J. Miles be ready?Today in NBA history:- Les Alexander purchased the Houston Rockets from Charlie Thomas. 1993- Hall-of-Famer Chris Mullin was born in 1963 - 3x NBA Champion Bill Cartwright was born in 1957 Follow Quinton on Twitter/Instagram Quinton (@TOQM_) --- Support this podcast: https://anchor.fm/mayoplease/support

Khalil Iverson, Charlie Thomas, and Ethan Happ are being honored during Senior Day against Iowa. Tanner Nestle goes through each of the seniors' lasting impacts on the men's basketball program at Wisconsin. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Scalzo and Brust preview tonight's game against Iowa. It's senior night for Ethan Happ, Khalil Iverson and Charlie Thomas.

Khalil Iverson, Charlie Thomas, and Ethan Happ are being honored during Senior Day against Iowa. Tanner Nestle goes through each of the seniors' lasting impacts on the men's basketball program at Wisconsin. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bob talks with Dr. Charlie Thomas about Far Cry 2. Topics include postcolonial African warfare, Cold War ideologies in postcolonial struggles, mercenaries in modern history, the importance of the environment in African combat, the role of displaced populations in Africa, and the United Nations in Africa. Please consider supporting us on Patreon! https://www.patreon.com/historyrespawned Music is Symphony 40 in G minor by texasradiofish (c) 2015 Licensed under a Creative Commons Attribution Noncommercial (3.0)license.dig.ccmixter.org/files/texasr…iofish/49560 Ft: W. A. Mozart, Big Bonobo Combo

Wait - Princeton? An engineering degree? ELVIS????  Huh - and you think you know someone after 20 years!   

Some people are just unforgettable, and Charlie Thomas is one of those people. He's an actor and all around creative who just so happens to be afraid of being forgotten. Enjoy this very real and pretty emotional chat. You can find Charlie on IG and Twitter @CharlieTActor He's on Facebook at https://www.facebook.com/CharlieTActor/ Support some local Atlanta actors by checking out the Shakespeare Tavern https://www.shakespearetavern.com/ As always, you can find me on IG and Twitter @the_scarlettp I would love to hear from you! Thanks for the support.

Thanks for listening in again everyone! This week we got to talk with Charlie Thomas, Preservation Skateboards pro and long time friend of Anthony’s. We got to discuss fatherhood, what’s going on at Preservation Skateboards, helping turn Anthony pro, hospital visits to Mike Franklin after Mike crashed on a motorcycle, his friendship with Kris Markovich, becoming team manager for World Industries, his life recently, and so much more! Enjoy! Check out Charlie’s Instagram here: https://www.instagram.com/charliethomas/ Support Preservation here: http://www.preservationboardco.com/ Coming up November 3, 2018 we will be hosting the New England Am skate contest at The Edge Indoor Skatepark in Taunton, MA. It will be open am individual runs.
 If you live in the are be sure to come down and check it out! If you or someone you know would like to skate the event save some time on sign-up by pre-registering here: http://allineedskate.bigcartel.com/product/new-england-am-2018 Be sure to check out our social media: 

Instagram: https://www.instagram.com/allineedskate/

 Facebook: https://www.facebook.com/ALLINEEDSKATE/

 YouTube: https://www.youtube.com/allineedskate



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Crush. Kill. Destroy. Stress. In this world of organised confusion, many of us are being buried under the weight of stress. The extinction agenda is in full motion. This week is Mental Health Awareness Week 2018 and the facts and figures aren't looking good. Stress really is the silent killer. Stress is out here moving like one of the Colombian cartels and seeking whom it may devour. If Mr Stress knocks on your door? Do not answer. In this 18th episode, Sumit and Chris reconvene to explore the complexities of stress and where it fits in the mental health spectrum. After breaking down the sauce with some key statistics, things get realer than real when Chris divulges his struggles with depression, anxiety and even suicidal thoughts. Yep. Deep stuff. However; in typical fashion, the boys keep the balance tight and also offer up some suggestions as to how to look after your health and overall well-being. No questions this week. Let's focus on the solutions. For those of you struggling with mental health issues or if there is someone you know and love that you are concerned about, hit the links below for more help and support. Mental Health Foundation www.mentalhealth.org.uk/ Mind www.mind.org.uk/ NHS www.nhs.uk/NHSEngland/AboutNHS…ing%20services.aspx Recorded and mastered by Charlie Thomas. Insta: @charlietmusic Website: charlietmusic.com