Podcasts about do you believe in magic

Hoping a magic carpet ride whisks you away to a magical "far far away" place this week? Well, you're in *luck*, because we're reissuing our August 2019 episode, "Do You Believe In Magic?", for that very reason. Enjoy being transported to Dean and Tom's realm of magic and wonder, and we'll see you on the other side! In this episode, Dean and Tom explore magical thinking across cultures, conjuring up the origins of good luck charms while clutching their rabbit's foot, knocking on wood, and spitting to ward off the evil eye. They also dive into how and why myth-making, from Harry Potter to Groundhog Day to Loch Ness, appeals to so many of us across cultures – but not before our friends at Licensing return to cut off Dean's rendition of “Do You Believe In Magic?”. Listen and enjoy now before this episode goes *poof*! ***Subscribe to Dean's Substack here for all of Dean's CultureQuizzes, “Culture's Consequences” articles, and much more!*** Have a cultural question or episode idea? Reach out on X/Twitter & Facebook (@OopsCultureShow) or by email at oopscultureshow@gmail.com. Hosts: Dean Foster & Tom Peterson Audio Production: Tom Peterson & Torin Peterson Music: “Little Idea” – Bensound.com

How do you re-enchant your world when there are constant, repetitive curveballs in your life? Do you seek to improve your life and wellbeing and let that vibrate out to the world?First, if you haven't listened to Part 1 yet, please go back and do so before you jump into this one.In this Moonbeaming episode, host Sarah Faith Gottesdiener reflects on life challenges and highlights the necessity of tools and practices to remain connected to intuition. She emphasizes the importance of mindful creativity and enchantment in enriching and romancing life.Sprinkle magic in your day-to-day and let it exponentially impact your life like a mycorrhizal network. The episode offers magical maxims, inspiring listeners to integrate intuition and magic into their lives and regain a sense of wonder and connection.This week, you'll learn:The signaling of what's missing in your life and questions to ask yourselfSilvia Federici's work on Re-enchanting the WorldFoundational magical ideas to reinvigorate your daily lifeIf you've been exhausted, confused, needing change, and wondering how to re-enchant and romance your inner and outer world, this episode is for you.MOONBEAMING LINKS:Join the Moon Studio Patreon. Buy the 2025 Many Moons Lunar Planner.Subscribe to our newsletter.Find Sarah on Instagram.

Do you believe in magic? Are you both skeptical AND curious about magic? How is magical thinking supportive for trauma survivors, and where does it harm us?In this Moonbeaming episode, host Sarah Faith Godestiner (Please spell my last name correctly, thanks!) examines the psychological phenomenon around “magical thinking,” cognitive distortions that trauma survivors often create.This episode has something for the believer and skeptic alike. This week, you'll learn:(bullet) 3 ways that magical thinking shows up as cognitive distortionsHow magical thinking can be supportive for trauma survivorsDiscerning certain fantasies, where they come from, and the importance of paying attention to realityTaking responsibility and aligned actionIf you've wondered why you think certain thoughts, or favor fantasy over action, this episode is for you.MOONBEAMING LINKS:Join the Moon Studio Patreon. Buy the 2025 Many Moons Lunar Planner.Subscribe to our newsletter. Find Sarah on Instagram.

-It's a Bugaboo Tuesday…what's bothering Bill today?-Also, SONG OF THE DAY (sponsored by Sartor Hamann Jewelers): "Do You Believe In Magic" - The Lovin' Spoonful (1965)Show sponsored by GANA TRUCKINGAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

It's been said that magic is just science that we don't understand yet. While we're not sure if that's a suitable explanation for the kinds of magic on display in this month's episodes, we certainly had a magical time discussing them. First up is "Dust" from season 2. Written by Rod Serling and directed by Douglas Heyes, it tells the story of a dusty small town on the verge of killing a man who drunkenly killed a young girl. Is it magic dust or something else that brings the town the hope it so desperately needs? The post Do You Believe In Magic appeared first on Golden Spiral Media- Entertainment Podcasts, Technology Podcasts & More.

Do You Believe In Magic?  Author, David Krell and BBQ Connoisseurs, Sean Ludwig, and Ryan Cooper Make Us All Believe In Magic David Krell is an author and baseball historian.  His latest work is, Do You Believe In Magic?:  Baseball and America In the Groundbreaking Year of 1966.  We were fortunate to be asked to preview the book and offer a blurb and this is what we said, "David Krell weaves a magnificent tapestry of the year 1966; using baseball as the central thread, he magnificently combines the year's biggest events to make us all feel we are front and center and experiencing every moment."  David first joined us on episode 129 to discuss his book,1962:  Baseball and America in the Time of JFK which is a fascinating look at a year when two new baseball franchises, the New York Mets and the Houston Colt .45s had their first seasons and NASA was launching men into space.  In Do You Believe In Magic? David once makes history exciting. Ryan Cooper and Sean Ludwig are back and providing information on future barbecue events, the latest products, and additional scintillating barbecue conversation.  Ryan is the founder of the BBQ Tourist website https://bbqtourist.com which is dedicated to celebrating the best barbecue in America.  Sean is the founder of NYC BBQ, http://www.nycbbq.com which is a website and newsletter with news and information on all things barbecue in the NYC metro area.  Together they are co-founders of The Smoke Sheet, https://www.bbqnewsletter.com which is a weekly newsletter that curates the latest national barbecue news, upcoming events, books to read, podcasts to listen to, videos to watch, recipes, and so much more.  We are thrilled every time they come on and look forward to having them back again. We conclude the show with the song, Baseball Always Brings You Home by the musician, Dave Dresser, and the poet, Shel Krakofsky. We recommend you go to Baseball BBQ, https://baseballbbq.com for special grilling tools and accessories, Mantis BBQ, https://mantisbbq.com/ to purchase their outstanding sauces with a portion of the proceeds being donated to the Kidney Project, and for exceptional sauces, Elda's Kitchen https://eldaskitchen.com/ We truly appreciate our listeners and hope that all of you are staying safe. If you would like to contact the show, we would love to hear from you.   Call the show:  (516) 855-8214 Email:  baseballandbbq@gmail.comTwitter:  @baseballandbbqInstagram:  baseballandbarbecueYouTube:  baseball and bbqWebsite:  https//baseballandbbq.weebly.com Facebook:  baseball and bbq    

 Guests: Dave Davies, David Krell Dave Davies of The Kinks talks about his autobiography, LIVING ON A THIN LiNE, as well as new solo and Kinks compilations. Author David Krell talks about his new book on the 1966 baseball season (and America in that unique time), DO YOU BELIEVE IN MAGIC?                                  

Sam Moore and Dave Prater were known as Sam & Dave, a huge soul act from the late 60's.  They were known as The Sultans of Sweat, The Dynamic Duo, and Double Dynamite.  This album is their second studio album out of Stax Records, also called Double Dynamite.Sam & Dave are considered one of the greatest live acts out of the 60's, and a lot of musicians cite their influence on their work, including some you would expect like Al Green and Michael Jackson.  There are also a lot of musicians who were influenced who were significantly removed from the R&B genre like Tom Petty, Elvis Costello, Bruce Springsteen, Billy Joel, and Steve Winwood.Sam & Dave got their start in church in gospel choirs.  They met on the gospel music circuit and sang together in small clubs where they developed their sound based on a call-and-response approach to music from the gospel tradition.  They were discovered at the King of Hearts nightclub in Miami in the early 60's, and signed to Marlin Records at first.  They eventually made it to Atlantic Records in 1964 from which they were loaned out to Memphis-based Stax Records.  Stax had a lot of offer Sam & Dave, including the Stax horn section called the Mar-Keys, and their house band, Booker T. and the M.G.'s.Bruce brings us this icon of soul, and friend of the show John Lynch joins us for this discussion. You Got Me Hummin'Leading off the album, this single was written by Isaac Hayes and David Porter.  Sam & Dave took this hit to number 8 on the R&B charts, and number 77 on the Billboard Hot 100.  A number of other groups would do this song, including Freddie Fender and the Pointer Sisters.  Its highest charting on the Billboard Hot 100 was number 52 by Cold Blood.Just Can't Get EnoughThis is a deeper cut, though I imagine just about any Sam & Dave song could be familiar with the number of covers or singers inspired by their songs.  This one has some lyrics that might be difficult to sing today - "The more I get the more I want.  It makes me feel good 'cause you never say don't.  I just cant get enough."  Sweet PainsThis track is another deep cut.  This one takes a description comparing love to pain, a path that would be echoed in John Cougar's "Hurts So Good," and Sade's "Sweetest Taboo."  "Sweet pains, feels good."When Something Is Wrong with My BabyThe big hit off the album was their only ballad single.  Hayes and Porter wrote it, and you have both Booker T and the MG's and the Mar-Keys horns playing on it.  A bunch of people have covered this song, including Jonny Gill, Charlie Rich, and in 1990 Linda Ronstadt and Aaron Neville did well with it. ENTERTAINMENT TRACK:Marching Theme to the motion picture "Follow Me, Boys!"This Boy Scout themed movie starring a young Kurt Russel was the last film Disney Studios released prior to Walt Disney's death.   STAFF PICKS:Mellow Yellow by DonovanRob kicks off the staff picks with a psychedelic hit.  Scottish singer-songwriter Donovan took this song to number 2 on the Billboard Hot 100.  Some thought the song was about a type of drug, but it was actually about a...well, let's just say it is an adult toy.Talk Talk by The Music MachineWayne's staff pick is a garage band one-hit wonder.  This song would use some techniques which were novel at the time, including the use of a fuzz box on the bass line, and tuning the instruments down a half step to produce a heavier sound.  If I Were a Carpenter by Bobby Darin Brian brings us a song written by Tim Hardin and popularized by Bobby Darin.  It hit number 8 on the Billboard Hot 100, Darin's first hit in three years.  The lyrics question whether an elegant woman would be satisfied with a man who was merely a carpenter.  Darin had passed on two songs, "Do You Believe In Magic" and "Summer in the City," both of which would be hits for the Lovin' Spoonful. You Keep Me Hangin' On by The SupremesFriend of the show John Lynch brings us a big hit for Diana Ross and the Supremes.  It would also be a hit for a long list of cover artists including Vanilla Fudge, Phil Collins, Kim Wilde, and Rod Stewart. NOVELTY TRACK:Winchester Cathedral by The New Vaudeville BandThis novelty song doubles up as Bruce's staff pick.  It was a number 1 hit in the United States and would win the Grammy for the best contemporary song in 1967, beating out singles from the Monkees, the Beach Boys, and the Beatles.

Transcript Today’s Bible Translation Bible translation used in today’s episode: Ch. 5-6 NIV; Ch. 7 LEB Podcast Introduction This is the Law Monday, and we'll read Exodus 5-8 . I'm calling this episode “Do You Believe In Magic?” Comments on Exodus 7 & 8 Ever since I was about six years old, I have been... The post Exodus 5-8: Do You Believe In Magic? first appeared on Lifespring! Media.

John Sebastian's rich musical catalogue reflects a life deeply steeped in craft, cultural resonance and history. John's career has taken him from The Lovin' Spoonful to Bob Dylan to Mama Cass to Woodstock to movie soundtracks and beyond. John joins us to share stories of his creatively colorful Greenwich Village childhood, surrounded by folk and classical luminaries, his harmonica virtuoso father, his screenwriting mother and his Godmother, Vivian Vance!His talent and experiences inspired him to write and record an ecclectic array of hits including: Summer In The City, Darlin' Be Home Soon, Welcome Back, Nashville Cats, You Didn't Have To Be So Nice, Did You Ever Have To Make Up Your Mind, Do You Believe In Magic and a bunch more.And John comes to us brining word of his newest album with Arlen Roth called John and Arlen Explore The Lovin' Spoonful Songbook.Plus, Fritz and Weezy are recommending Harry and Meghan on Netflix and Harry Chapin: When In Doubt, Do Something, on Prime Video. Also, we introduce our first Helping Folks Help charity partner, Children's Burn Foundation.Path Points of Interest:John SebastianJohn and Arlen Revisit The Lovin' Spoonful SongbookJohn Sebastion in The Songwriters' Hall of FameJ.B.s Harmonica by John SebastianDarlin' Be Home Soon Live On The Ed Sullivan ShowHarry and Meghan - Netflix Harry Chapin: When In Doubt, Do SomethingChildren's Burn Foundation

Do You Believe In Magic? by Health, Fitness and Nutrition

While still in high school in the late 1970s, Shaun Cassidy signed a contract with Warner Brothers Records that led to three multi-platinum albums and numerous top 10 hits, including “Da Doo Ron Ron”, “That's Rock n' Roll”, “Hey Deanie”, and “Do You Believe In Magic?”Almost concurrently, he starred in the ABC television series "The Hardy Boys Mysteries." He went on to create, write, and or produce several critically acclaimed television series including "American Gothic," "Cold Case," "The Agency," "Bluebloods," and "New Amsterdam." Pre-pandemic, Shaun Cassidy took his self-penned music and storytelling and took the show "The Magic of a Midnight Sky" to the stage, playing to standing-room only crowds nationwide. He is now back on the road with that show and we'll be bringing it to universal Preservation Hall in Saratoga Springs, New York on June 28. This weekend, he has shows in Atlantic City, New Jersey and Tarrytown, New York.

America's Editor has an important update for authors about ISBNs and a self-editing tip for writers that will save them time and money. https://fpc.org.pl/ (Donate to support Ukrainian children and literacy) https://www.publishersweekly.com/pw/by-topic/childrens/childrens-industry-news/article/89556-grants-to-ukrainian-publishers-announced.html (Grants to Ukrainian Publishers Announced) https://forms.aweber.com/form/64/1857023764.htm (Free Style Sheet Templates) https://medium.com/@rosemi (Free Writing Tips) Music licensed from Storyblocks: “More Jam Please” by Raighes Factory "Slow Coffee Lofi" by Simon Sharp "Do You Believe In Magic" by Precarious Perch Extract from Act 1 of Swan Lake

Remember our very special guest Tessa and their wild story about dark magic, car crashes, and a quite normal teenage girl those things aside? Well, if you don't, meander all the way back to April 19, 2020  to refresh yourself, because Tessa is back with four fewer letters in their name and another titilating addition to their work: Do You Believe In Magic? *spolier* we still do!!  This second installation zooms in on Arissa Circe Talon's encounter with the soft, yet sharp mysterious paladin, who has recently rescued (?) her from further harm. T flexes some mad Latin skills. Thank you to our patrons, Julz, Laura, Paul, and Jared! You help make the show possible.  Donate to our Patreon and gain access to exclusive content from the show at https://www.patreon.com/growoutofit Want to be featured on the show and have your writing lovingly roasted by your two best friends in the world? Email growoutofitpodcast@gmail.com for details. Grow Out Of It is a proud member of the Necropodicon Network. Check out all Theo there shows on the network, join the network Discord, and enter giveaways at www.necropodicon.com.  This episode features the music of ATLáNTIDA and their song, “Dormido volante.” Be sure to check out more of their music on Spotify!

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS carries its director's fingerprints more clearly than most films in the Marvel Cinematic Universe, but is it ultimately more of a Sam Raimi movie or an MCU installment? We hash out that question this week with the continued assistance of our friend Matt Singer, before bringing back in what is unquestionably a Sam Raimi film, 1993's ARMY OF DARKNESS, to compare how the two movies operate as vehicles for the director's filmmaking sensibility, as sequels, and as Bruce Campbell showcases. Please share your comments, thoughts, and questions about ARMY OF DARKNESS, DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS, or anything else in the world of film, by sending an email to comments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, recommendations, and more.  Outro music: The Lovin Spoonful, “Do You Believe In Magic?” Next pairing: Robert Zemeckis' WHO FRAMED ROGER RABBIT and Akiva Schaffer's CHIP 'N' DALE: RESCUE RANGERS A CHIARA opens exclusively in theaters Friday, May 27. More info at CinemaMadeinItaly.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Sue Morgan Podcast Episode 79 - Do You Believe In Magic? 020422 by Random audio from UK broadcaster Ian Watko Watkins

The Lovin' Spoonful's John Sebastian joins Kyle Meredith to talk about John Sebastian and Arlen Roth Explore the Spoonful Songbook, a collaborative LP that finds the two musicians reimagining the band's classic catalog through instrumentals and guest vocalists. The “Welcome Back” singer-songwriter takes us his partnership with Roth, compares these new versions to their '60s originals, and tells us about finding jug band music in his youth before marrying it to the rock and pop music that would result in those legendary tracks. Sebastian also takes us through the sparse arrangements of songs like “Daydream” and “Do You Believe In Magic,” tells us why they weren't able to come up with a new arrangement for “Summer in the City,” and the inspiration behind “Didn't Have to Do It” and his solo cut “Stories We Could Tell." We also get to hear about writing children's television music in the '80s, including “Care Bears Countdown,” and that he and Roth may do a sequel to this record. Listen to John Sebastian discuss his new collaborative album and more. Then make sure to like and subscribe to Kyle Meredith With… wherever you get your podcasts, and you can also follow the Consequence Podcast Network for updates on all our shows. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Episode 143 of A History of Rock Music in Five Hundred Songs looks at “Summer in the City'”, and at the short but productive career of the Lovin' Spoonful.  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 "The Sun Ain't Gonna Shine Any More" by the Walker Brothers and the strange career of Scott Walker. 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/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. This box set contains all four studio albums by the Lovin' Spoonful, plus the one album by "The Lovin' Spoonful featuring Joe Butler", while this CD contains their two film soundtracks (mostly inessential instrumental filler, apart from "Darling Be Home Soon") Information about harmonicas and harmonicists comes from Harmonicas, Harps, and Heavy Breathers by Kim Field. There are only three books about the Lovin' Spoonful, but all are worth reading. Do You Believe in Magic? by Simon Wordsworth is a good biography of the band, while his The Magic's in the Music is a scrapbook of press cuttings and reminiscences. Meanwhile Steve Boone's Hotter Than a Match Head: My Life on the Run with the Lovin' Spoonful has rather more discussion of the actual music than is normal in a musician's autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Let's talk about the harmonica for a while. The harmonica is an instrument that has not shown up a huge amount in the podcast, but which was used in a fair bit of the music we've covered. We've heard it for example on records by Bo Diddley: [Excerpt: Bo Diddley, "I'm a Man"] and by Bob Dylan: [Excerpt: Bob Dylan, "Blowin' in the Wind"] and the Rolling Stones: [Excerpt: The Rolling Stones, "Little Red Rooster"] In most folk and blues contexts, the harmonicas used are what is known as a diatonic harmonica, and these are what most people think of when they think of harmonicas at all. Diatonic harmonicas have the notes of a single key in them, and if you want to play a note in another key, you have to do interesting tricks with the shape of your mouth to bend the note. There's another type of harmonica, though, the chromatic harmonica. We've heard that a time or two as well, like on "Love Me Do" by the Beatles: [Excerpt: The Beatles, "Love Me Do"] Chromatic harmonicas have sixteen holes, rather than the diatonic harmonica's ten, and they also have a slide which you can press to raise the note by a semitone, meaning you can play far more notes than on a diatonic harmonica -- but they're also physically harder to play, requiring a different kind of breathing to pull off playing one successfully. They're so different that John Lennon would distinguish between the two instruments -- he'd describe a chromatic harmonica as a harmonica, but a diatonic harmonica he would call a harp, like blues musicians often did: [Excerpt: The Beatles, "Love These Goon Shows"] While the chromatic harmonica isn't a particularly popular instrument in rock music, it is one that has had some success in other fields. There have been some jazz and light-orchestral musicians who have become famous playing the instrument, like the jazz musician Max Geldray, who played in those Goon Shows the Beatles loved so much: [Excerpt: Max Geldray, "C-Jam Blues"] And in the middle of the twentieth century there were a few musicians who succeeded in making the harmonica into an instrument that was actually respected in serious classical music. By far the most famous of these was Larry Adler, who became almost synonymous with the instrument in the popular consciousness, and who reworked many famous pieces of music for the instrument: [Excerpt: Larry Adler, "Rhapsody in Blue"] But while Adler was the most famous classical harmonicist of his generation, he was not generally considered the best by other musicians. That was, rather, a man named John Sebastian. Sebastian, who chose to take his middle name as a surname partly to Anglicise his name but also, it seems, at least in part as tribute to Johann Sebastian Bach (which incidentally now makes it really, really difficult to search for copies of his masterwork "John Sebastian Plays Bach", as Internet searches uniformly think you're searching just for the composer...) started out like almost all harmonica players as an amateur playing popular music. But he quickly got very, very, good, and by his teens he was already teaching other children, including at a summer camp run by Albert Hoxie, a musician and entrepreneur who was basically single-handedly responsible for the boom in harmonica sales in the 1920s and 1930s, by starting up youth harmonica orchestras -- dozens or even hundreds of kids, all playing harmonica together, in a semi-militaristic youth organisation something like the scouts, but with harmonicas instead of woggles and knots. Hoxie's group and the various organisations copying it led to there being over a hundred and fifty harmonica orchestras in Chicago alone, and in LA in the twenties and thirties a total of more than a hundred thousand children passed through harmonica orchestras inspired by Hoxie. Hoxie's youth orchestras were largely responsible for the popularity of the harmonica as a cheap instrument for young people, and thus for its later popularity in the folk and blues worlds. That was only boosted in the Second World War by the American Federation of Musicians recording ban, which we talked about in the early episodes of the podcast -- harmonicas had never been thought of as a serious instrument, and so most professional harmonica players were not members of the AFM, but were considered variety performers and were part of the American Guild of Variety Artists, along with singers, ukulele players, and musical saw players. Of course, the war did also create a problem, because the best harmonicas were made in Germany by the Hohner company, but soon a lot of American companies started making cheap harmonicas to fill the gap in the market. There's a reason the cliche of the GI in a war film playing a harmonica in the trenches exists, and it's largely because of Hoxie. And Hoxie was based in Philadelphia, where John Sebastian lived as a kid, and he mentored the young player, who soon became a semi-professional performer. Sebastian's father was a rich banker, and discouraged him from becoming a full-time musician -- the plan was that after university, Sebastian would become a diplomat. But as part of his preparation for that role, he was sent to spend a couple of years studying at the universities of Rome and Florence, learning about Italian culture. On the boat back, though, he started talking to two other passengers, who turned out to be the legendary Broadway songwriting team Rodgers and Hart, the writers of such classic songs as "Blue Moon" and "My Funny Valentine": [Excerpt: Ella Fitzgerald, "My Funny Valentine"] Sebastian talked to his new friends, and told them that he was feeling torn between being a musician and being in the foreign service like his father wanted. They both told him that in their experience some people were just born to be artists, and that those people would never actually find happiness doing anything else. He took their advice, and decided he was going to become a full-time harmonica player. He started out playing in nightclubs, initially playing jazz and swing, but only while he built up a repertoire of classical music. He would rehearse with a pianist for three hours every day, and would spend the rest of his time finding classical works, especially baroque ones, and adapting them for the harmonica. As he later said “I discovered sonatas by Telemann, Veracini, Bach, Handel, Vivaldi, Hasse, Marcello, Purcell, and many others, which were written to be played on violin, flute, oboe, musette, even bagpipes... The composer seemed to be challenging each instrument to create the embellishments and ornaments to suit its particular voice. . . . I set about choosing works from this treasure trove that would best speak through my instrument.” Soon his nightclub repertoire was made up entirely of these classical pieces, and he was making records like John Sebastian Plays Bach: [Excerpt: John Sebastian, "Flute Sonata in B Minor BWV1030 (J.S. Bach)"] And while Sebastian was largely a lover of baroque music above all other forms, he realised that he would have to persuade new composers to write new pieces for the instrument should he ever hope for it to have any kind of reputation as a concert instrument, so he persuaded contemporary composers to write pieces like George Kleinsinger's "Street Corner Concerto", which Sebastian premiered with the New York Philharmonic: [Excerpt: John Sebastian, "Street Corner Concerto"] He became the first harmonica player to play an entirely classical repertoire, and regarded as the greatest player of his instrument in the world. The oboe player Jay S Harrison once wrote of seeing him perform "to accomplish with success a program of Mr. Sebastian's scope is nothing short of wizardry. . . . He has vast technical facility, a bulging range of colors, and his intentions are ever musical and sophisticated. In his hands the harmonica is no toy, no simple gadget for the dispensing of homespun tunes. Each single number of the evening was whittled, rounded, polished, and poised. . . . Mr. Sebastian's playing is uncanny." Sebastian came from a rich background, and he managed to earn enough as a classical musician to live the lifestyle of a rich artistic Bohemian. During the forties and fifties he lived in Greenwich Village with his family -- apart from a four-year period living in Rome from 1951 to 55 -- and Eleanor Roosevelt was a neighbour, while Vivian Vance, who played Ethel Mertz on I Love Lucy, was the godmother of his eldest son. But while Sebastian's playing was entirely classical, he was interested in a wider variety of music. When he would tour Europe, he would often return having learned European folk songs, and while he was living in Greenwich Village he would often be visited by people like Burl Ives, Woody Guthrie, and other folk singers living in the area. And that early influence rubbed off on Sebastian's son, John Benson Sebastian, although young John gave up trying to learn the harmonica the first time he tried, because he didn't want to be following too closely in his father's footsteps. Sebastian junior did, though, take up the guitar, inspired by the first wave rock and rollers he was listening to on Alan Freed's show, and he would later play the harmonica, though the diatonic harmonica rather than the chromatic. In case you haven't already figured it out, John Benson Sebastian, rather than his father, is a principal focus of this episode, and so to avoid confusion, from this point on, when I refer to "John Sebastian" or "Sebastian" without any qualifiers, I'm referring to the younger man. When I refer to "John Sebastian Sr" I'm talking about the father. But it was John Sebastian Sr's connections, in particular to the Bohemian folk and blues scenes, which gave his more famous son his first connection to that world of his own, when Sebastian Sr appeared in a TV show, in November 1960, put together by Robert Herridge, a TV writer and producer who was most famous for his drama series but who had also put together documentaries on both classical music and jazz, including the classic performance documentary The Sound of Jazz. Herridge's show featured both Sebastian Sr and the country-blues player Lightnin' Hopkins: [Excerpt: Lightnin' Hopkins, "Blues in the Bottle"] Hopkins was one of many country-blues players whose career was having a second wind after his discovery by the folk music scene. He'd been recording for fourteen years, putting out hundreds of records, but had barely performed outside Houston until 1959, when the folkies had picked up on his work, and in October 1960 he had been invited to play Carnegie Hall, performing with Pete Seeger and Joan Baez. Young John Sebastian had come along with his dad to see the TV show be recorded, and had an almost Damascene conversion -- he'd already heard Hopkins' recordings, but had never seen anything like his live performances. He was at that time attending a private boarding school, Blair Academy, and his roommate at the school also had his own apartment, where Sebastian would sometimes stay. Soon Lightnin' Hopkins was staying there as well, as somewhere he could live rent-free while he was in New York. Sebastian started following Hopkins around and learning everything he could, being allowed by the older man to carry his guitar and buy him gin, though the two never became close. But eventually, Hopkins would occasionally allow Sebastian to play with him when he played at people's houses, which he did on occasion. Sebastian became someone that Hopkins trusted enough that when he was performing on a bill with someone else whose accompanist wasn't able to make the gig and Sebastian put himself forward, Hopkins agreed that Sebastian would be a suitable accompanist for the evening. The singer he accompanied that evening was a performer named Valentine Pringle, who was a protege of Harry Belafonte, and who had a similar kind of sound to Paul Robeson. Sebastian soon became Pringle's regular accompanist, and played on his first album, I Hear America Singing, which was also the first record on which the great trumpet player Hugh Masakela played. Sadly, Paul Robeson style vocals were so out of fashion by that point that that album has never, as far as I can tell, been issued in a digital format, and hasn't even been uploaded to YouTube.  But this excerpt from a later recording by Pringle should give you some idea of the kind of thing he was doing: [Excerpt: Valentine Pringle, "Go 'Way From My Window"] After these experiences, Sebastian started regularly going to shows at Greenwich Village folk clubs, encouraged by his parents -- he had an advantage over his peers because he'd grown up in the area and had artistic parents, and so he was able to have a great deal of freedom that other people in their teens weren't. In particular, he would always look out for any performances by the great country blues performer Mississippi John Hurt. Hurt had made a few recordings for Okeh records in 1928, including an early version of "Stagger Lee", titled "Stack O'Lee": [Excerpt: Mississippi John Hurt, "Stack O'Lee Blues"] But those records had been unsuccessful, and he'd carried on working on a farm. and not performed other than in his tiny home town of Avalon, Mississippi, for decades. But then in 1952, a couple of his tracks had been included on the Harry Smith Anthology, and as a result he'd come to the attention of the folk and blues scholar community. They'd tried tracking him down, but been unable to until in the early sixties one of them had discovered a track on one of Hurt's records, "Avalon Blues", and in 1963, thirty-five years after he'd recorded six flop singles, Mississippi John Hurt became a minor star, playing the Newport Folk Festival and appearing on the Tonight Show. By this time, Sebastian was a fairly well-known figure in Greenwich Village, and he had become quite a virtuoso on the harmonica himself, and would walk around the city wearing a holster-belt containing harmonicas in a variety of different keys. Sebastian became a huge fan of Hurt, and would go and see him perform whenever Hurt was in New York. He soon found himself first jamming backstage with Hurt, and then performing with him on stage for the last two weeks of a residency. He was particularly impressed with what he called Hurt's positive attitude in his music -- something that Sebastian would emulate in his own songwriting. Sebastian was soon invited to join a jug band, called the Even Dozen Jug Band. Jug band music was a style of music that first became popular in the 1920s, and had many of the same musical elements as the music later known as skiffle. It was played on a mixture of standard musical instruments -- usually portable, "folky" ones like guitar and harmonica -- and improvised homemade instruments, like the spoons, the washboard, and comb and paper. The reason they're called jug bands is because they would involve someone blowing into a jug to make a noise that sounded a bit like a horn -- much like the coffee pot groups we talked about way back in episode six. The music was often hokum music, and incorporated elements of what we'd now call blues, vaudeville, and country music, though at the time those genres were nothing like as distinct as they're considered today: [Excerpt: Cincinnati Jug Band, "Newport Blues"] The Even Dozen Jug Band actually ended up having thirteen members, and it had a rather remarkable lineup. The leader was Stefan Grossman, later regarded as one of the greatest fingerpicking guitarists in America, and someone who will be coming up in other contexts in future episodes I'm sure, and they also featured David Grisman, a mandolin player who would later play with the Grateful Dead among many others;  Steve Katz, who would go on to be a founder member of Blood, Sweat and Tears and produce records for Lou Reed; Maria D'Amato, who under her married name Maria Muldaur would go on to have a huge hit with "Midnight at the Oasis"; and Joshua Rifkin, who would later go on to become one of the most important scholars of Bach's music of the latter half of the twentieth century, but who is best known for his recordings of Scott Joplin's piano rags, which more or less single-handedly revived Joplin's music from obscurity and created the ragtime revival of the 1970s: [Excerpt: Joshua Rifkin, "Maple Leaf Rag"] Unfortunately, despite the many talents involved, a band as big as that was uneconomical to keep together, and the Even Dozen Jug Band only played four shows together -- though those four shows were, as Muldaur later remembered, "Carnegie Hall twice, the Hootenanny television show and some church". The group did, though, make an album for Elektra records, produced by Paul Rothchild. Indeed, it was Rothchild who was the impetus for the group forming -- he wanted to produce a record of a jug band, and had told Grossman that if he got one together, he'd record it: [Excerpt: The Even Dozen Jug Band, "On the Road Again"] On that album, Sebastian wasn't actually credited as John Sebastian -- because he was playing harmonica on the album, and his father was such a famous harmonica player, he thought it better if he was credited by his middle name, so he was John Benson for this one album. The Even Dozen Jug Band split up after only a few months, with most of the band more interested in returning to university than becoming professional musicians, but Sebastian remained in touch with Rothchild, as they both shared an interest in the drug culture, and Rothchild started using him on sessions for other artists on Elektra, which was rapidly becoming one of the biggest labels for the nascent counterculture. The first record the two worked together on after the Even Dozen Jug Band was sparked by a casual conversation. Vince Martin and Fred Neil saw Sebastian walking down the street wearing his harmonica holster, and were intrigued and asked him if he played. Soon he and his friend Felix Pappalardi were accompanying Martin and Neil on stage, and the two of them were recording as the duo's accompanists: [Excerpt: Vince Martin and Fred Neil, "Tear Down the Walls"] We've mentioned Neil before, but if you don't remember him, he was one of the people around whom the whole Greenwich Village scene formed -- he was the MC and organiser of bills for many of the folk shows of the time, but he's now best known for writing the songs "Everybody's Talkin'", recorded famously by Harry Nilsson, and "The Dolphins", recorded by Tim Buckley. On the Martin and Neil album, Tear Down The Walls, as well as playing harmonica, Sebastian acted essentially as uncredited co-producer with Rothchild, but Martin and Neil soon stopped recording for Elektra. But in the meantime, Sebastian had met the most important musical collaborator he would ever have, and this is the start of something that will become a minor trend in the next few years, of important musical collaborations happening because of people being introduced by Cass Elliot. Cass Elliot had been a singer in a folk group called the Big 3 -- not the same group as the Merseybeat group -- with Tim Rose, and the man who would be her first husband, Jim Hendricks (not the more famous guitarist of a similar name): [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] The Big 3 had split up when Elliot and Hendricks had got married, and the two married members had been looking around for other musicians to perform with, when coincidentally another group they knew also split up. The Halifax Three were a Canadian group who had originally started out as The Colonials, with a lineup of Denny Doherty, Pat LaCroix and Richard Byrne. Byrne didn't turn up for a gig, and a homeless guitar player, Zal Yanovsky, who would hang around the club the group were playing at, stepped in. Doherty and LaCroix, much to Yanovsky's objections, insisted he bathe and have a haircut, but soon the newly-renamed Halifax Three were playing Carnegie Hall and recording for Epic Records: [Excerpt: The Halifax Three, "When I First Came to This Island"] But then a plane they were in crash-landed, and the group took that as a sign that they should split up. So they did, and Doherty and Yanovsky continued as a duo, until they hooked up with Hendricks and Elliot and formed a new group, the Mugwumps. A name which may be familiar if you recognise one of the hits of a group that Doherty and Elliot were in later: [Excerpt: The Mamas and the Papas, "Creeque Alley"] But we're skipping ahead a bit there. Cass Elliot was one of those few people in the music industry about whom it is impossible to find anyone with a bad word to say, and she was friendly with basically everyone, and particularly good at matching people up with each other. And on February the 7th 1964, she invited John Sebastian over to watch the Beatles' first performance on the Ed Sullivan Show. Like everyone in America, he was captivated by the performance: [Excerpt: The Beatles, "I Want to Hold Your Hand (live on the Ed Sullivan Show)"] But Yanovsky was also there, and the two played guitar together for a bit, before retreating to opposite sides of the room. And then Elliot spent several hours as a go-between, going to each man and telling him how much the other loved and admired his playing and wanted to play more with him. Sebastian joined the Mugwumps for a while, becoming one of the two main instrumentalists with Yanovsky, as the group pivoted from performing folk music to performing Beatles-inspired rock. But the group's management team, Bob Cavallo and Roy Silver, who weren't particularly musical people, and whose main client was the comedian Bill Cosby, got annoyed at Sebastian, because he and Yanovsky were getting on *too* well musically -- they were trading blues licks on stage, rather than sticking to the rather pedestrian arrangements that the group was meant to be performing -- and so Silver fired Sebastian fired from the group. When the Mugwumps recorded their one album, Sebastian had to sit in the control room while his former bandmates recorded with session musicians, who he thought were nowhere near up to his standard: [Excerpt: The Mugwumps, "Searchin'"] By the time that album was released, the Mugwumps had already split up. Sebastian had continued working as a session musician for Elektra, including playing on the album The Blues Project, which featured white Greenwich Village folk musicians like Eric Von Schmidt, Dave Van Ronk, and Spider John Koerner playing their versions of old blues records, including this track by Geoff Muldaur, which features Sebastian on harmonica and "Bob Landy" on piano -- a fairly blatant pseudonym: [Excerpt: Geoff Muldaur, "Downtown Blues"] Sebastian also played rhythm guitar and harmonica on the demos that became a big part of Tim Hardin's first album -- and his fourth, when the record company released the remaining demos. Sebastian doesn't appear to be on the orchestrated ballads that made Hardin's name -- songs like "Reason to Believe" and "Misty Roses" -- but he is on much of the more blues-oriented material, which while it's not anything like as powerful as Hardin's greatest songs, made up a large part of his repertoire: [Excerpt: Tim Hardin, "Ain't Gonna Do Without"] Erik Jacobsen, the producer of Hardin's records, was impressed enough by Sebastian that he got Sebastian to record lead vocals, for a studio group consisting of Sebastian, Felix Pappalardi, Jerry Yester and Henry Diltz of the Modern Folk Quartet, and a bass singer whose name nobody could later remember. The group, under the name "Pooh and the Heffalumps", recorded two Beach Boys knockoffs, "Lady Godiva" and "Rooty Toot", the latter written by Sebastian, though he would later be embarrassed by it and claim it was by his cousin: [Excerpt: Pooh and the Heffalumps, "Rooty Toot"] After that, Jacobsen became convinced that Sebastian should form a group to exploit his potential as a lead singer and songwriter. By this point, the Mugwumps had split up, and their management team had also split, with Silver taking Bill Cosby and Cavallo taking the Mugwumps, and so Sebastian was able to work with Yanovsky, and the putative group could be managed by Cavallo. But Sebastian and Yanovsky needed a rhythm section. And Erik Jacobsen knew a band that might know some people. Jacobsen was a fan of a Beatles soundalike group called the Sellouts, who were playing Greenwich Village and who were co-managed by Herb Cohen, the manager of the Modern Folk Quartet (who, as we heard a couple of episodes ago, would soon go on to be the manager of the Mothers of Invention). The Sellouts were ultra-professional by the standards  of rock groups of the time -- they even had a tape echo machine that they used on stage to give them a unique sound -- and they had cut a couple of tracks with Jacobsen producing, though I've not been able to track down copies of them. Their leader Skip Boone, had started out playing guitar in a band called the Blue Suedes, and had played in 1958 on a record by their lead singer Arthur Osborne: [Excerpt: Arthur Osborne, "Hey Ruby"] Skip Boone's brother Steve in his autobiography says that that was produced by Chet Atkins for RCA, but it was actually released on Brunswick records. In the early sixties, Skip Boone joined a band called the Kingsmen -- not the same one as the band that recorded "Louie Louie" -- playing lead guitar with his brother Steve on rhythm, a singer called Sonny Bottari, a saxophone player named King Charles, bass player Clay Sonier, and drummer Joe Butler. Sometimes Butler would get up front and sing, and then another drummer, Jan Buchner, would sit in in his place. Soon Steve Boone would replace Bonier as the bass player, but the Kingsmen had no success, and split up. From the ashes of the Kingsmen had formed the Sellouts, Skip Boone, Jerry Angus, Marshall O'Connell, and Joe Butler, who had switched from playing "Peppermint Twist" to playing "I Want to Hold Your Hand" in February 1964. Meanwhile Steve Boone went on a trip to Europe before starting at university in New York, where he hooked up again with Butler, and it was Butler who introduced him to Sebastian and Yanovsky. Sebastian and Yanovsky had been going to see the Sellouts at the behest of Jacobsen, and they'd been asking if they knew anyone else who could play that kind of material. Skip Boone had mentioned his little brother, and as soon as they met him, even before they first played together, they knew from his appearance that he would be the right bass player for them. So now they had at least the basis for a band. They hadn't played together, but Erik Jacobsen was an experienced record producer and Cavallo an experienced manager. They just needed to do some rehearsals and get a drummer, and a record contract was more or less guaranteed. Boone suggested Jan Buchner, the backup drummer from the Kingsmen, and he joined them for rehearsals. It was during these early rehearsals that Boone got to play on his first real record, other than some unreleased demos the Kingsmen had made. John Sebastian got a call from that "Bob Landy" we mentioned earlier, asking if he'd play bass on a session. Boone tagged along, because he was a fan, and when Sebastian couldn't get the parts down for some songs, he suggested that Boone, as an actual bass player, take over: [Excerpt: Bob Dylan, "Maggie's Farm"] But the new group needed a name, of course. It was John Sebastian who came up with the name they eventually chose, The Lovin' Spoonful, though Boone was a bit hesitant about it at first, worrying that it might be a reference to heroin -- Boone was from a very conservative, military, background, and knew little of drug culture and didn't at that time make much of a distinction between cannabis and heroin, though he'd started using the former -- but Sebastian was insistent. The phrase actually referred to coffee -- the name came from "Coffee Blues" by Sebastian's old idol Mississippi John Hurt – or at least Hurt always *said* it was about coffee, though in live performance he apparently made it clear that it was about cunnilingus: [Excerpt: Mississippi John Hurt, "Coffee Blues"] Their first show, at the Night Owl Club, was recorded, and there was even an attempt to release it as a CD in the 1990s, but it was left unreleased and as far as I can tell wasn't even leaked. There have been several explanations for this, but perhaps the most accurate one is just the comment from the manager of the club, who came up to the group after their two sets and told them “Hey, I don't know how to break this to you, but you guys suck.” There were apparently three different problems. They were underrehearsed -- which could be fixed with rehearsal -- they were playing too loud and hurting the patrons' ears -- which could be fixed by turning down the amps -- and their drummer didn't look right, was six years older than the rest of the group, and was playing in an out-of-date fifties style that wasn't suitable for the music they were playing. That was solved by sacking Buchner. By this point Joe Butler had left the Sellouts, and while Herb Cohen was interested in managing him as a singer, he was willing to join this new group at least for the moment. By now the group were all more-or-less permanent residents at the Albert Hotel, which was more or less a doss-house where underemployed musicians would stay, and which had its own rehearsal rooms. As well as the Spoonful, Cass Elliot and Denny Doherty lived there, as did the Paul Butterfield Blues Band. Joe Butler quickly fit into the group, and soon they were recording what became their first single, produced by Jacobsen, an original of Sebastian's called "Do You Believe in Magic?", with Sebastian on autoharp and vocals, Yanovsky on lead guitar and backing vocals, Boone on bass, Butler on drums, and Jerry Yester adding piano and backing vocals: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] For a long time, the group couldn't get a deal -- the record companies all liked the song, but said that unless the group were English they couldn't sell them at the moment. Then Phil Spector walked into the Night Owl Cafe, where the new lineup of the group had become popular, and tried to sign them up. But they turned him down -- they wanted Erik Jacobsen to produce them; they were a team. Spector's interest caused other labels to be interested, and the group very nearly signed to Elektra. But again, signing to Elektra would have meant being produced by Rothchild, and also Elektra were an album label who didn't at that time have any hit single acts, and the group knew they had hit single potential. They did record a few tracks for Elektra to stick on a blues compilation, but they knew that Elektra wouldn't be their real home. Eventually the group signed with Charley Koppelman and Don Rubin, who had started out as songwriters themselves, working for Don Kirshner. When Kirshner's organisation had been sold to Columbia, Koppelman and Rubin had gone along and ended up working for Columbia as executives. They'd then worked for Morris Levy at Roulette Records, before forming their own publishing and record company. Rather than put out records themselves, they had a deal to license records to Kama Sutra Records, who in turn had a distribution deal with MGM Records. Koppelman and Rubin were willing to take the group and their manager and producer as a package deal, and they released the group's demo of "Do You Believe In Magic?" unchanged as their first single: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] The single reached the top ten, and the group were soon in the studio cutting their first album, also titled Do You Believe In Magic? The album was a mix of songs that were part of the standard Greenwich Village folkie repertoire -- songs like Mississippi John Hurt's "Blues in the Bottle" and Fred Neil's "The Other Side of This Life" -- and a couple more originals. The group's second single was the first song that Steve Boone had co-written. It was inspired by a date he'd gone on with the photographer Nurit Wilde, who sadly for him didn't go on a second date, and who would later be the mother of Mike Nesmith's son Jason, but who he was very impressed by. He thought of her when he came up with the line "you didn't have to be so nice, I would have liked you anyway", and he and Sebastian finished up a song that became another top ten hit for the group: [Excerpt: (The Good Time Music of) The Lovin' Spoonful, "You Didn't Have to Be So Nice"] Shortly after that song was recorded, but before it was released, the group were called into Columbia TV with an intriguing proposition. Bert Schneider and Bob Rafelson, two young TV producers, were looking at producing a TV show inspired by A Hard Day's Night, and were looking for a band to perform in it. Would the Lovin' Spoonful be up for it? They were interested at first, but Boone and Sebastian weren't sure they wanted to be actors, and also it would involve the group changing its name. They'd already made a name for themselves as the Lovin' Spoonful, did they really want to be the Monkees instead? They passed on the idea. Instead, they went on a tour of the deep South as the support act to the Supremes, a pairing that they didn't feel made much sense, but which did at least allow them to watch the Supremes and the Funk Brothers every night. Sebastian was inspired by the straight four-on-the-floor beat of the Holland-Dozier-Holland repertoire, and came up with his own variation on it, though as this was the Lovin' Spoonful the end result didn't sound very Motown at all: [Excerpt: The Lovin' Spoonful, "Daydream"] It was only after the track was recorded that Yanovsky pointed out to Sebastian that he'd unconsciously copied part of the melody of the old standard "Got a Date With an Angel": [Excerpt: Al Bowlly, "Got a Date With an Angel"] "Daydream" became the group's third top ten hit in a row, but it caused some problems for the group. The first was Kama Sutra's advertising campaign for the record, which had the words "Lovin' Spoonful Daydream", with the initials emphasised. While the group were drug users, they weren't particularly interested in being promoted for that rather than their music, and had strong words with the label. The other problem came with the Beach Boys. The group were supporting the Beach Boys on a tour in spring of 1966, when "Daydream" came out and became a hit, and they got on with all the band members except Mike Love, who they definitely did not get on with. Almost fifty years later, in his autobiography, Steve Boone would have nothing bad to say about the Wilson brothers, but calls Love "an obnoxious, boorish braggart", a "marginally talented hack" and worse, so it's safe to say that Love wasn't his favourite person in the world. Unfortunately, when "Daydream" hit the top ten, one of the promoters of the tour decided to bill the Lovin' Spoonful above the Beach Boys, and this upset Love, who understandably thought that his group, who were much better known and had much more hits, should be the headliners. If this had been any of the other Beach Boys, there would have been no problem, but because it was Love, who the Lovin' Spoonful despised, they decided that they were going to fight for top billing, and the managers had to get involved. Eventually it was agreed that the two groups would alternate the top spot on the bill for the rest of the tour. "Daydream" eventually reached number two on the charts (and number one on Cashbox) and also became the group's first hit in the UK, reaching number two here as well, and leading to the group playing a short UK tour. During that tour, they had a similar argument over billing with Mick Jagger as they'd had with Mike Love, this time over who was headlining on an appearance on Top of the Pops, and the group came to the same assessment of Jagger as they had of Love. The performance went OK, though, despite them being so stoned on hash given them by the wealthy socialite Tara Browne that Sebastian had to be woken up seconds before he started playing. They also played the Marquee Club -- Boone notes in his autobiography that he wasn't impressed by the club when he went to see it the day before their date there, because some nobody named David Bowie was playing there. But in the audience that day were George Harrison, John Lennon, Eric Clapton, Steve Winwood, Spencer Davis, and Brian Jones, most of whom partied with the group afterwards. The Lovin' Spoonful made a big impression on Lennon in particular, who put "Daydream" and "Do You Believe in Magic" in his jukebox at home, and who soon took to wearing glasses in the same round, wiry, style as the ones that Sebastian wore. They also influenced Paul McCartney, who wasn't at that gig, but who soon wrote this, inspired by "Daydream": [Excerpt: The Beatles, "Good Day Sunshine"] Unfortunately, this was more or less the high point of the group's career. Shortly after that brief UK tour, Zal Yanovsky and Steve Boone went to a party where they were given some cannabis -- and they were almost immediately stopped by the police, subjected to an illegal search of their vehicle, and arrested. They would probably have been able to get away with this -- after all, it was an illegal search, even though of course the police didn't admit to that -- were it not for the fact that Yanovsky was a Canadian citizen, and he could be deported and barred from ever re-entering the US just for being arrested. This was the first major drug bust of a rock and roll group, and there was no precedent for the group, their managers, their label or their lawyers to deal with this. And so they agreed to something they would regret for the rest of their lives. In return for being let off, Boone and Yanovsky agreed to take an undercover police officer to a party and introduce him to some of their friends as someone they knew in the record business, so he would be able to arrest one of the bigger dealers. This was, of course, something they knew was a despicable thing to do, throwing friends under the bus to save themselves, but they were young men and under a lot of pressure, and they hoped that it wouldn't actually lead to any arrests. And for almost a year, there were no serious consequences, although both Boone and Yanovsky were shaken up by the event, and Yanovsky's behaviour, which had always been erratic, became much, much worse. But for the moment, the group remained very successful. After "Daydream", an album track from their first album, "Did You Ever Have to Make Up Your Mind?" had been released as a stopgap single, and that went to number two as well. And right before the arrest, the group had been working on what would be an even bigger hit. The initial idea for "Summer in the City" actually came from John Sebastian's fourteen-year-old brother Mark, who'd written a bossa nova song called "It's a Different World". The song was, by all accounts, the kind of thing that a fourteen-year-old boy writes, but part of it had potential, and John Sebastian took that part -- giving his brother full credit -- and turned it into the chorus of a new song: [Excerpt: The Lovin' Spoonful, "Summer in the City"] To this, Sebastian added a new verse, inspired by a riff the session player Artie Schroeck had been playing while the group recorded their songs for the Woody Allen film What's Up Tiger Lily, creating a tenser, darker, verse to go with his younger brother's chorus: [Excerpt: The Lovin' Spoonful, "Summer in the City"] In the studio, Steve Boone came up with the instrumental arrangement, which started with drums, organ, electric piano, and guitar, and then proceeded to bass, autoharp, guitar, and percussion overdubs. The drum sound on the record was particularly powerful thanks to the engineer Roy Halee, who worked on most of Simon & Garfunkel's records. Halee put a mic at the top of a stairwell, a giant loudspeaker at the bottom, and used the stairwell as an echo chamber for the drum part. He would later use a similar technique on Simon and Garfunkel's "The Boxer". The track still needed another section though, and Boone suggested an instrumental part, which led to him getting an equal songwriting credit with the Sebastian brothers. His instrumental piano break was inspired by Gershwin, and the group topped it off with overdubbed city noises: [Excerpt: The Lovin' Spoonful, "Summer in the City"] The track went to number one, becoming the group's only number one record, and it was the last track on what is by far their best album, Hums of the Lovin' Spoonful. That album produced two more top ten hits for the group, "Nashville Cats", a tribute to Nashville session players (though John Sebastian seems to have thought that Sun Records was a Nashville, rather than a Memphis, label), and the rather lovely "Rain on the Roof": [Excerpt: The Lovin' Spoonful, "Rain on the Roof"] But that song caused friction with the group, because it was written about Sebastian's relationship with his wife who the other members of the band despised. They also felt that the songs he was writing about their relationship were giving the group a wimpy image, and wanted to make more rockers like "Summer in the City" -- some of them had been receiving homophobic abuse for making such soft-sounding music. The group were also starting to resent Sebastian for other reasons. In a recent contract renegotiation, a "key member" clause had been put into the group's record contract, which stated that Sebastian, as far as the label was concerned, was the only important member of the group. While that didn't affect decision-making in the group, it did let the group know that if the other members did anything to upset Sebastian, he was able to take his ball away with him, and even just that potential affected the way the group thought about each other. All these factors came into play with a song called "Darling Be Home Soon", which was a soft ballad that Sebastian had written about his wife, and which was written for another film soundtrack -- this time for a film by a new director named Francis Ford Coppola. When the other band members came in to play on the soundtrack, including that track, they found that rather than being allowed to improvise and come up with their own parts as they had previously, they had to play pre-written parts to fit with the orchestration. Yanovsky in particular was annoyed by the simple part he had to play, and when the group appeared on the Ed Sullivan show to promote the record, he mugged, danced erratically, and mimed along mocking the lyrics as Sebastian sang. The song -- one of Sebastian's very best -- made a perfectly respectable number fifteen, but it was the group's first record not to make the top ten: [Excerpt: The Lovin' Spoonful, "Darling Be Home Soon"] And then to make matters worse, the news got out that someone had been arrested as a result of Boone and Yanovsky's efforts to get themselves out of trouble the year before. This was greeted with horror by the counterculture, and soon mimeographed newsletters and articles in the underground papers were calling the group part of the establishment, and calling for a general boycott of the group -- if you bought their records, attended their concerts, or had sex with any of the band members, you were a traitor. Yanovsky and Boone had both been in a bad way mentally since the bust, but Yanovsky was far worse, and was making trouble for the other members in all sorts of ways. The group decided to fire Yanovsky, and brought in Jerry Yester to replace him, giving him a severance package that ironically meant that he ended up seeing more money from the group's records than the rest of them, as their records were later bought up by a variety of shell companies that passed through the hands of Morris Levy among others, and so from the late sixties through the early nineties the group never got any royalties. For a while, this seemed to benefit everyone. Yanovsky had money, and his friendship with the group members was repaired. He released a solo single, arranged by Jack Nitzsche, which just missed the top one hundred: [Excerpt: Zal Yanovsky, "Just as Long as You're Here"] That song was written by the Bonner and Gordon songwriting team who were also writing hits for the Turtles at this time, and who were signed to Koppelman and Rubin's company. The extent to which Yanovsky's friendship with his ex-bandmates was repaired by his firing was shown by the fact that Jerry Yester, his replacement in the group, co-produced his one solo album, Alive and Well in Argentina, an odd mixture of comedy tracks, psychedelia, and tributes to the country music he loved. His instrumental version of Floyd Cramer's "Last Date" is fairly listenable -- Cramer's piano playing was a big influence on Yanovsky's guitar -- but his version of George Jones' "From Brown to Blue" makes it very clear that Zal Yanovsky was no George Jones: [Excerpt: Zal Yanovsky, "From Brown to Blue"] Yanovsky then quit music, and went into the restaurant business. The Lovin' Spoonful, meanwhile, made one further album, but the damage had been done. Everything Playing is actually a solid album, though not as good as the album before, and it produced three top forty hits, but the highest-charting was "Six O'Clock", which only made number eighteen, and the album itself made a pitiful one hundred and eighteen on the charts. The song on the album that in retrospect has had the most impact was the rather lovely "Younger Generation", which Sebastian later sang at Woodstock: [Excerpt: John Sebastian, "Younger Generation (Live at Woodstock)"] But at Woodstock he performed that alone, because by then he'd quit the group. Boone, Butler, and Yester decided to continue, with Butler singing lead, and recorded a single, "Never Going Back", produced by Yester's old bandmate from the Modern Folk Quartet Chip Douglas, who had since become a successful producer for the Monkees and the Turtles, and written by John Stewart of the Kingston Trio, who had written "Daydream Believer" for the Monkees, but the record only made number seventy-eight on the charts: [Excerpt: The Lovin' Spoonful featuring Joe Butler, "Never Going Back"] That was followed by an album by "The Lovin' Spoonful Featuring Joe Butler", Revelation: Revolution 69, a solo album by Butler in all but name -- Boone claims not to have played on it, and Butler is the only one featured on the cover, which shows a naked Butler being chased by a naked woman with a lion in front of them covering the naughty bits. The biggest hit other than "Never Going Back" from the album was "Me About You", a Bonner and Gordon song which only made number ninety-one: [Excerpt: The Lovin' Spoonful Featuring Joe Butler, "Me About You"] John Sebastian went on to have a moderately successful solo career -- as well as his appearance at Woodstock, he released several solo albums, guested on harmonica on records by the Doors, Crosby, Stills, Nash, and Young and others, and had a solo number one hit in 1976 with "Welcome Back", the theme song from the TV show Welcome Back, Kotter: [Excerpt: John Sebastian, "Welcome Back"] Sebastian continues to perform, though he's had throat problems for several decades that mean he can't sing many of the songs he's best known for. The original members of the Lovin' Spoonful reunited for two performances -- an appearance in Paul Simon's film One Trick Pony in 1980, and a rather disastrous induction into the Rock and Roll Hall of Fame in 2000. Zal Yanovsky died of a heart attack in 2002. The remaining band members remained friendly, and Boone, Butler, and Yester reunited as the Lovin' Spoonful in 1991, initially with Yester's brother Jim, who had played in The Association, latterly with other members. One of those other members in the 1990s was Yester's daughter Lena, who became Boone's fourth wife (and is as far as I can discover still married to him). Yester, Boone, and Butler continued touring together as the Lovin' Spoonful until 2017, when Jerry Yester was arrested on thirty counts of child pornography possession, and was immediately sacked from the group. The other two carried on, and the three surviving original members reunited on stage for a performance at one of the Wild Honey Orchestra's benefit concerts in LA in 2020, though that was just a one-off performance, not a full-blown reunion. It was also the last Lovin' Spoonful performance to date, as that was in February 2020, but Steve Boone has performed with John Sebastian's most recent project, John Sebastian's Jug Band Village, a tribute to the Greenwich Village folk scene the group originally formed in, and the two played together most recently in December 2021. The three surviving original members of the group all seem to be content with their legacy, doing work they enjoy, and basically friendly, which is more than can be said for most of their contemporaries, and which is perhaps appropriate for a band whose main songwriter had been inspired, more than anything else, to make music with a positive attitude.

It's the "Do You Believe In Magic" edition of the Bengals Booth Podcast with Hall of Fame coach Tony Dungy. Also, Dave Lapham discusses the impact of Bengals Head Coach Zac Taylor and President Mike Brown and the “Know the Foe” segment with Rams' radio voice J.B. Long. See omnystudio.com/listener for privacy information.

It's the ”Do You Believe In Magic” edition of the #Bengals Booth Podcast as the Super Bowl-bound Cincinnati Bengals get ready to face the Los Angeles Rams. On this episode, we'll hear from a Hall of Fame coach who will be part of NBC's broadcast team next week – former Indianapolis and Tampa Bay head coach Tony Dungy. My broadcast partner Dave Lapham joins me to discuss Bengals coach Zac Taylor and team president Mike Brown. And in our “Know the Foe” segment, we'll catch up with the radio voice of the Rams J.B. Long.

In this episode, Kheris and Jordan chat about whether they believe in magic (whatever that means), decide what their ‘magician names' would be, and debate which magical powers are the best - inspired by the latest LEGO Friends Magical playsets. Check out the companion video “Do You Believe In Magic?” on Nickelodeon YouTube!

For this episode we embark on a journey down the long road of Zoom to link up with our special guest coming live allllll the way from Screw City!! Have you ever wondered what THE drink of Chicago is? Have you ever wondered how many licks does it take to get to the center of a tootsie pop? DO YOU BELIEVE IN MAGIC?!? WE HAVE ALL OF THAT, TUNE IN!

There's an old song by the "Lovin' Spoonful" called "Do You Believe In Magic".  I say we start singing it with the word Karma replacing the word Magic.  Well, maybe you do, maybe you don't but consider this... and I'll go much more in-depth than what you'll get in the notes today but here are the facts:-Rick Carlisle bashes Atlanta for firing Head Coach Lloyd Pierce and Atlanta goes on to win and find themselves deep in the playoff hunt.  Rick Carlisle on the other hand led the Dallas Mavericks right out of the playoffs with some dramatic failures and finds himself out of a job.  Karma in my mind. -Kyrie Irving.  Karma?  He's out with a bad ankle, can't play and his tea m loses to the Milwaukee Bucks.  I think Karma came aroumd.-James Harden.  Too bad about that hamstring but no-matter what, healthy or not, nobody should have gotten too excited because he chokes it up in the big games and doesn't make the commensurate contribution that's necessary when you really need him.And I have to make a comment on Kevin Durant.  He did leave it all on the court the last few games.  Great to see him acknowledge the Milwaukee players as well at the end of a difficult and very exhausting effort.  That was professionalism and a true sportsman.  Good to see.  Join me for the conversation as I think you'll learn a little, laugh a little and leave with a little bit of a different perspective.  Let me know what you think about Karma as well.  You can leave a message on my Apple Podcast in the comments section, reach me on Twitter  with @grantnapearshow or comment on my YouTube channel. I would love to hear what you think.  

If you missed last week's episode for some weird reason. today to hopefully bring you guys back to those who aren't actively listening to my podcast at this moment in time when your lives might be getting busier because people are back to work with cases going down,I bring to you a VERY Special Episode of my podcast. I sometimes do interview episodes of my show where I talk to an original member of either a 60's band or someone who was a studio musician, songwriter, engineer, someone who was there and someone who may not be a well known household name, but someone who was arguably one of the most important movers and shakers in the record business back in the 60's, and I have them on so they can tell the stories behind their hit songs and they can unveil to you some little known facts about their music to you and they can share their story which will live on the internet forever with this podcast long after they die. and last weekend, I had THE EXTREME HONOR to talk to an original member of arguably one of THEE GREATEST 60's bands that ever graced AM radio at that time, and one that was absolutely JUST AS GOOD, if not better then The Beatles. I was LITERALLY on cloud nine getting to talk to him, and he had such a great time talking to me and he was gracious enough to share with me the story behind his band, and BOY DID I LEARN SO MUCH about his band from listening to him talk. And if your a Millennial tuning into this and don't know anything about the band this guy was in, they were called the Lovin Spoonful and they were FANTASTIC as a group and they burst on to the Pop Music Scene when it felt like Popular Music was reaching it's zenith with Folk Rock becoming huge and Motown on top of their game and the NY producers & engineers trying to copy that sound, and of course , the British Invasion was in full swing at that time as well, and they had SUCH A GREAT SOUND that was the perfect blend of Folk, Blues & Pop Rock.You might know some of their songs such as "Do You Believe In Magic" or "Summer In The City", well if you do, your in for a real treat because I'm gonna talk to an original member of the band that did all of those songs and he also played keys & bass on all of them and co wrote some of their hits as well such as "You Didn't Have To Be So Nice" and "Summer In The City" without further or do I present to you the 11th interview episode of my podcast, the one and only Mr Steve Boone. if you are lost in this episode and don't know any of the songs we are talking about, I will put in them into the two playlists I have for this podcast and here are the links to them so you can listen to these songs and go back and listen to this interview so you can fully comprehend what we are talking about in this interview episode of this podcast:https://www.youtube.com/watch?v=JnbfuAcCqpYhttps://www.youtube.com/watch?v=BIM579H-f7Yhttps://www.youtube.com/watch?v=dfqwx7pMsqshttps://www.youtube.com/watch?v=Lt5Jy983uTEhttps://www.youtube.com/watch?v=BRTkqGSKTtshttps://www.youtube.com/watch?v=txTEhgReZUAhttps://www.youtube.com/watch?v=U7ofnHmxE-Ihttps://www.youtube.com/watch?v=jqi7Fv6VFjwhttps://www.youtube.com/watch?v=Nq4J9KyJb4shttps://www.youtube.com/watch?v=9ZqgFyj5uTohttps://www.youtube.com/watch?v=G9gKcb2DSb8https://www.youtube.com/watch?v=JVz5Uc8dyfchttps://www.youtube.com/watch?v=pAur4CWJIPwYou can also follow me on Instagram right here:https://www.instagram.com/iheartoldies/You can also check out more of my original music right here:https://www.samwilliamsmusic.netPlease do also check out my two song single out now, it's under my new stage name Sam L Williams and the songs are called Turquoise Apricot and She Said No. Here's the link to where you can stream the two songs on some of the streaming platforms it's on currently. please let me know what do you think of these songs after you have listened to them. you can email me what do you think of them at samltwilli@icloud.com or you can also follow me on Instagram @iheartoldies:https://distrokid.com/hyperfollow/samlwilliams/turquoise-apricot--she-said-noPlease do also check out the official Spotify and Youtube Playlists for this podcast, there you'll be able to find all of the songs I have talked about in previous podcast episodes of this show including some of the ones I have talked about in interview episodes of my podcast including this one. if you liked these songs after listening to these playlists and if it gives you some ideas for the kind of songs I should talk about next on my podcast that I haven't yet, please email those ideas to me at samltwilli@icloud.com or you can also reach out to me on Instagram @iheartoldies:https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?si=Ej6X4EZCRGGRsasYDswUZghttps://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7NfPlease do also check out the official Redbubble Merch store for this podcast. there you'll be able to find my own custom merch for this podcast with my own logo that is specific to my podcast with the catchphrase I say at the end of every episode of my podcast with the name of my podcast on the bottom all in really cool "Keep On Trucking" Tie Dye Font. if you liked this logo and would like to purchase something from this store or if you have some basic feedback for this logo and the prices of each item for this store, please email me at samltwilli@icloud.com or reach out to me on Instagram @iheartoldies: https://www.redbubble.com/people/60ssam95/works/36806158-keep-things-groovy?asc=u&ref=recent-ownerIf you REALLY enjoyed this interview episode of this podcast and your a millennial and you didn't know ANYTHING about this band and you found out some REALLY cool and interesting pieces of info about this band that you didn't already know and your around my age, please email me at samltwilli@icloud.com or you can also reach out to me on Instagram @iheartoldies.

This week's podcast is ALL about Phil Spector and his long and extensive history. today I talk about how he developed his "Wall Of Sound" and the Musicians he used on his sessions and his methods to his madness for his productions and exactly what musicians he used on his sessions and how much he experimented with Overdubbing before it was "cool" and industry standard, and also, I talk about how he had a tendency to cheat people out of credits and why he was such a two face and how he did this. This is also the VERY first "Three Part" episode of my podcast. normally it's just two parts but for the sake of time this week I spread it into three parts. so that way I could spend an equal amount of time on both She & Him & Phil Spector and his "Wall Of Sound", here's the link to that Phil Spector song just in case you forgot about it but don't remember it:https://www.youtube.com/watch?v=Lf_fxswodiQYou can also follow me on Instagram right here:https://www.instagram.com/iheartoldies/You can also check out more of my original music right here:https://www.samwilliamsmusic.netPlease do also check out my official Two song single "Turquoise Apricot" and "She Said No" under my new stage name Sam L Williams. here's the link to where you can find it on some of the streaming platforms it is on currently, please let me know whatcha think of it either by emailing me at samltwilli@icloud.com or you can also reach out to me on Instagram :@iheartoldies.https://distrokid.com/hyperfollow/details/?id=7552EC53-8721-4513-B9FAF0ACB4925946Please do also check out the official Spotify and Youtube playlists for this podcast, there you'll be able to find all of the songs I have talked about on my show so far including some of the ones that I have mentioned in Interview episodes of my podcast. if you listened to this playlists and they give you some ideas for some songs I should talk about next on my podcast that I haven't yet, please email those ideas to me at samltwilli@icloud.com: https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?si=MoQWwUMxSJeYMmAg867hTwhttps://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7NfPlease do also check out the Official Redbubble Merch store for this podcast, there you'll be able to find the official Millennial Throwback Machine Merch page for this podcast, with my very own custom logo for this podcast. if you like this logo and would like to purchase anything from this store, please email me at samltwilli@icloud.com or you can also reach out to me on Instagram @iheartoldies, but please do let me know whatcha think of the logo itself plus the prices for each item in the store as well: https://www.redbubble.com/people/60ssam95/works/36806158-keep-things-groovy?asc=u&ref=recent-ownerif You found some VERY cool little known facts about the song from a few week's artist and song and you didn't know anything about them or Phil Spector in general, please email me at samltwilli@icloud.com. please keep in mind next week's episode is an interview episode of my podcast where I'll be talking to Steve Boone, original member of the Lovin Spoonful over the phone. so please go back and listen to the episodes I did on them which I did 3 years ago when I first started this podcast, and listen to some of their hit songs such as "Summer In the City", "Daydream", "You Didn't Have To Be So Nice", "Do You Believe In Magic", "Did You Ever Have To Make Up Your Mind", to prepare for next week's episode of the podcast. I'm very excited to do that and I'll see you guys next week for that.

Amazon-Proof Your Business➡️ https://brianjpombo.com/amazonbook/ Transcription Do you believe in magic? I’m Brian pombo, welcome back to Brian J. Pombo Live. Why am I holding up this dollar bill? Well, for a couple reasons. First, I’m going to do a little magic trick with it. Another one is I just wanted to get your attention so […] The post Do You Believe In Magic? first appeared on BrianJPombo.com.

DO YOU BELIEVE IN MAGIC????? Abrimos o quadro com notícias maravilhosas sobre o entretenimento global e brasileiro no "Você Não Pode Dormir Sem Saber". Depois de deixarmos vocês mais bem informadas que o Jornal Nacional, falamos sobre os principais lançamentos da semana no "Giro da Semana", com Zayn, que lançou "Better", logo após Gigi Hadid lançar a FILHA deles no mundo também. Depois passamos para as novas da dupla latina Maluma e Jennifer Lopez, que vieram logo com duas músicas (e um clipe só, que ajuda a entender os lançamentos). Elas são "Pa' Ti" e "Lonely", e são parte da trilha do filme que eles estão fazendo juntos - isso mesmo, você piscou e, de repente, Maluma e J.Lo vão lançar um filme. Por fim, falamos sobre a fada dos boiolas, musa das cacuras e das twinks, Kylie Minogue, que simplesmente lançou um Avada Kedavra na gente com "Magic", segundo single de seu álbum, "Disco", que sai em novembro. Tá simplesmente... de MORRER. Essa semana tivemos uma Quenhé bem especial, que até cantou com o Luan Santana no MTV MIAW 2020: a Agnes Nunes. Soca o play que tá delicinha o episódio dessa semana. --- Support this podcast: https://anchor.fm/farofaconceito/support

1910 Fruitgum Co. - Creations of Simon (1969)  1910 Fruitgum Co. - Collection of Thoughts (1969) Allan Clarke - Born To Run (1975)  Dusty Springfield - Anyone Who Had A Heart (1964) Bacon Fat - Boom Boom (Out Go The Lights) (1970) Blonde on Blonde - Whole Lotta Love (1979) Blue Ash - Hippy Hippy Shake (1972) The Bluejeans - Sandfly (1969) The Blues Band - Boom Boom (Out Go The Lights) (1980) Chan Romero - Hippy Hippy Shake (1959) The original version. Denny Greene -  Great Escape (1977) Dance mix with attendant electronic drum solo.  Denny Greene - Lonely Town, Lonely Street (1973) Written by Bill Withers. Dusty Springfield - Close To You  (Recorded in 1964, released in 1967) The Bluejeans - Hey Mrs. Housewife (1969) John Fred And His Playboy Band - Back In The USSR (1969) King Biscuit Boy - Boom Boom (Out Go The Lights) (1971)  Mike D'Abo - Gulliver's Travels (See The Little People) (1969)  Having made his name as The Rolling Stones' manager, Andrew Loog Oldham and partner Tony Calder also established one of the 1960s' most eclectic record labels - Immediate, and its spin off Instant. The pair subsequently set about recording an almost indescribable mix of material. 1968's "Gulliver's Travels" was clearly one of Oldham's odder projects. Based on the famous Jonathan Swift book, the Oldham-produced album stands as an early stab at a concept piece. Described as "a musical journey inspired by Jonathan's Swift's story", the album featured a bizarre mix of song fragments (including unlicensed snippets of The Lovin' Spoonful's "Do You Believe In Magic" and a couple of Little Richard cops), sound effects (courtesy of David Collison), backward tapes and heavily orchestrated incidental music. Elsewhere, the title track featured a performance former Manfred Mann vocalist Mike D'Abo. It's all exceptionally strange and occasionally quite taking and is one of those LPs best heard through a good pair of headphones. Unfortunately, the failure to secure copyright/licensing rights for the song fragments and D'Abo (who was still signed to a contract with Fontana) saw the LP pulled from circulation within a matter of weeks.  Needless to say, today pristine copies are quire rare. Simon Dupree and the Big Sound  -  Part Of My Past (1968) Pre-Gentle Giant Schulmann Brothers.  Pat Travers - Boom Boom (Out Go The Lights) (studio version) (1976)  Pat Travers Band - Boom Boom (Out Go The Lights) (live hit version) (1979) Peps Blodsband - Bom Bom-Sen Blir Det Svart (1988) Philadelphia Flyers - Run and Hide (1974)       

Your Weekly Dose show #170 opens with Do You Believe In Magic by The Lovin Spoonful in honor of our guest. First thing we do is let you know that we have until May 29th to get Mark & Brian into the Radio Hall of Fame - the we talk about the men & women in our families who have served in the military.  Then we pay tribute to the late Fred Willard and Steve tells us about working with him. Next we talk with a wonderful and amazing magician Mr. Franz Harary !  We talk about his beginnings in Michigan, his time with Michael Jackson as well as other artists, his philosophy on magic but most importantly - his time with Mark and Brian and working with them on their tv show.  LINKS:  The Lovin Spoonful Music      Franz Harary Website     Franz on Facebook                      Franz Interview with Chipper Lowe              

Your Weekly Dose show #170 opens with Do You Believe In Magic by The Lovin Spoonful in honor of our guest. First thing we do is let you know that we have until May 29th to get Mark & Brian into the Radio Hall of Fame - the we talk about the men & women in our families who have served in the military.  Then we pay tribute to the late Fred Willard and Steve tells us about working with him. Next we talk with a wonderful and amazing magician Mr. Franz Harary !  We talk about his beginnings in Michigan, his time with Michael Jackson as well as other artists, his philosophy on magic but most importantly - his time with Mark and Brian and working with them on their tv show.  LINKS:  The Lovin Spoonful Music      Franz Harary Website     Franz on Facebook                      Franz Interview with Chipper Lowe              

254. Do You Believe In Magic?Related links for 254. Do You Believe In Magic?: Reply to this episode on ykyz: https://ykyz.com/p/bbac993fbc8eb04101406a761040b28ab83d82a5 Astrocast By Diz microcast: https://ykyz.com/c/microcast?&username=astrocastbydiz

In this episode, Dean and Tom explore magical thinking across cultures, conjuring up the origins of good luck charms while clutching their rabbit’s foot, knocking on wood, and spitting to ward off the evil eye. They also dive into how and why myth-making, from Harry Potter to Groundhog Day to Loch Ness, appeals to so many of us across cultures - but not before our friends at Licensing return to cut off Dean’s rendition of “Do You Believe In Magic?”. Listen and enjoy now before this episode goes *poof*! Subscribe today! Have a cultural question or episode idea for Dean and Tom? Reach out on Twitter and Facebook (@OopsCultureShow) or by email at oopscultureshow@gmail.com. Music: “Little Idea” - Bensound.com

Teamed up with the guys at Do You Believe In Magic to discuss the first preseason game, Training Camp, Jerseys and more.

Wednesday meant it was time for another edition of the TD Experience Podcast with Trey Downey. This week Trey tackled the NBA Summer League and the Orlando Magic's offseason and the WWE and their road to Summerslam. Trey was joined by Preston Ellis from the Do You Believe In Magic podcast and Orlando Magic Pinstriped Post to discuss all of the happenings in Orlando. Preston and Trey discussed whether Mo Bamba and Johnathan Isaac are the 2 pieces that can finally turn the Magic around. Ellis also gave Trey his take on the Magic passing on Isaiah Thomas and Kawhi Leonard heading to the Toronto Raptors. Trey was then reunited with Brandon Kravitz from 96.9 the Game in Orlando to discuss all things WWE. The guys looked back at Extreme Rules before diving into the biggest news surrounding the company. The guys discussed the news of Hulk Hogan being reinstated into the company, Brock Lesnar returning to defend his title, and who AJ Styles should face at Summerslam.

Who knew the sloganeering of a Presidential campaign would afford us a way to highlight the great mystery of the Incarnation? Consider it much like the Apostle Paul flipping, “Ceasar is lord,” to, “Jesus Is Lord.” Here we are one year later and my friend Tripp, along with Mike … Continue reading The post Making Advent Great Again #MAGA: A Conversation with Emily Hunter McGowin appeared first on patheological: The Podcast for the Pastor-Theologian. Related posts: The Rapture Betrays the Incarnation: An Interview with Jeffrey C. Pugh Do You Believe In Magic? Or, More Sign Than Miracle The Sequel? or Living the End(ing) of Mark

I am no Rachel Held Evans. My blog/website does not garner near her number of visits. There is no book to my credit. Interviewers do not line up. But, I am like Rachel Held Evans. Like Rachel, I couldn't put Richard Beck's new book down. When my copy arrived … Continue reading The post Don't Scratch the Devil: An Interview with Richard Beck appeared first on patheological: The Podcast for the Pastor-Theologian. Related posts: Do You Believe In Magic? Or, More Sign Than Miracle Fleming Rutledge Had Me Chippy, I Blame Jason Micheli Love Can't: An Interview with Thomas J Oord

One of these days I will interview my daughters for the pathological podcast. What would garner more listens than to hear two PK's talk about life in the fishbowl? The risk in such a venture would be overexposure. Think about it. Some of my friends would learn more about … Continue reading The post Man-Crushing Tuesday or, When Jason Micheli and Teer Hardy Flip the Script on Me appeared first on patheological: The Podcast for the Pastor-Theologian. Related posts: Fleming Rutledge Had Me Chippy, I Blame Jason Micheli Do You Believe In Magic? Or, More Sign Than Miracle Doing Without In A Culture of More or, A Mashup of Sacks, Micheli, Kriz, and Rohr

With Love, all things are possible. Many will recognize the substitution of Love for God. The disciples assumed that the powerful rich could do anything. When they learned there was something they could not do, they wondered if there was hope for anyone else. Certainly by Love … Continue reading The post Love Can't: An Interview with Thomas J Oord appeared first on patheological: The Podcast for the Pastor-Theologian. Related posts: Fleming Rutledge Had Me Chippy, I Blame Jason Micheli Do You Believe In Magic? Or, More Sign Than Miracle From Isolation to Relationship, An Interview with Dave Miller

Lisa Sniderman is an award-winning San Francisco-based playwright and folk pop artist who creates unique full-length fantasy musicals for audiobooks and musical theater. Recording as Aoede she has won over 35 awards including the Independent Music Awards, the International Songwriting Competition, and was a finalist for the John Lennon Songwriting Contest in 2013 and 2012. Her latest release “Do You Believe In Magic? is an alternative musical/rock opera, now adapted into a musical stage play. Orchestral pop piano-violin duo, Gracie and Rachel, crafts intricate tunes combining classical strings with haunting vocals and powerful percussion, creating music of starling beauty and stark simplicity. With the release of their latest single, "Tiptoe," Gracie and Rachel's audience has expanded across the country. Their forthcoming debut album, GO is eagerly awaited by their fans who are passionate about the pairs iconoclastic music.  

show#56010.04.14A Big Pile of New Tunes & Spinner too        The Nighthawks - 444 a.M. from 444 2014 (2:45)        JW-Jones - Love Times Ten from Belmont Boulevard (4:09)        Duke Robillard - Temptation from Calling All Blues (5:48)        Billy Boy Arnold - Worried Dream from The Blues Soul of Billy Boy Arnold 2014 (7:34)        Lovin' Spoonful - night owl blues from Do You Believe In Magic 1965 (2:59)        Terry Garland - Nasty Boogie Woogie from The One to Blame 1996 (4:57)        Billy Vera - Three Minute Thing from You Have to Cry Sometime 1992 (3:04)        Nathan James & The Rhythm Scratchers - Natural Born That Way from Natural Born That Way (3:41)        Nathan James - Hear Me Calling from Hear Me Calling (4:01)        John Campbell - Wild Streak from One Believer 1991 (5:01)        Doc & Merle Watson - Talking to Casey from Sittin' Here Pickin' the Blues 2004 (2:30)        Gutterball - One-Eyed Dog from Weasel 1994 (4:10)        Lady Bianca - This Time I'm Gone For Good from Real People Music 2014 (4:30)        Rory Block - Cypress Grove Blues from Hard Luck Child: A Tribute To Skip James (4:29)        E.G. Kight - Misunderstood from A New Day (4:22)        Marcia Ball - Clean My House from The Tattooed Lady And The Alligator Man 2014 (3:29)        Ian Siegal - scarecrow from I shall be standing in the morning 2002 (5:25)        Sir Douglas Quintet - She Would If She Could, She Can't So She Won't from Day Dreaming at Midnight 1994 (3:48)        Dayna Kurtz - Love Where Did You Go? from Beautiful Yesterday 2004 (3:32)        Elvin Bishop - Old School from Can't Even Do Wrong RIght 2014 (3:59)        Rob Stone - Wired And Tired from Gotta Keep Rollin (4:53)        J.B. LENIOR - Don't Touch My Head (2:15)        Mud Morganfield / Kim Wilson - Just to Be With You from For Pops (A Tribute to Muddy Waters) 2014 (3:35)        Markus James - Shake from Head for the Hills 2014 (3:02)        Otis Clay and Johnny Rawls - Momma Didn't Raise No Fool from Soul Brothers 2014 (4:05)

This week Skepticality features an interview with Dr. Paul Offit, in which he discusses his work in science based medicine. From his time as a vaccine inventor to his tireless work educating the public about harmful medical fads and misinformation. His latest book, "Do You Believe In Magic" is a scathing expose' of the so called "alternative medicine" industry and gives insights into how to decide if a treatment is real, a helpful placebo, or just hogwash.

Dit gons in Amerika oor 'n nuwe boek oor alternatiewe geneesmiddels en al die vitamienaanvulling-oordadigheid. Die boek is DO YOU BELIEVE IN MAGIC? THE SENSE AND NONSENSE OF ALTERNATIVE MEDICINE. Dit is geskryf deur 'n mediese wetenskaplike, prof. Paul Offit. Cobus Bester praat hieroor met RSG se wetenskapkorrespondent, George Claassen.