Podcasts about smack dab

3e émission de la 62e session...Cette semaine, du vieux mais surtout du post-bop récent! En musique: Kenny Dorham sur l'album Blue Bossa In The Bronx: Live from the Blue Morocco  (Resonance, 2025, enr. 1967); Eric Alexander sur l'album Chicago To New York  (Cellar Music, 2025); Smack Dab feat. David Kikoski sur l'album Pulse  (Fresh Sound New Talent, 2025); Marc Copland sur l'album Dreaming  (innerVoice, 2025); Joe Lovano & Marcin Wasilewski Trio sur l'album Homage  (ECM, 2025); William Doran Quart'et sur l'album Helios-1  (Indépendant, 2025)...

When you tell me who to interview, I listen. Who should I interview, I asked folks on Facebook. What central PA creators would you like to hear from? And one of the most asked-for names was Sc'eric Horner, the bartender at Pine Grove Hall in Pine Grove Mills, PA. He's a regular on top bartender lists in the area, he's creative, some say eccentric, but almost everyone agrees: he makes great drinks.  I got the interview, and it's here, all 50 minutes of it. I found him to be open, honest, and a fascinating interview. I think you're going to enjoy this, whether you find cocktails intriguing or not. To be honest, a 50 minute interview didn't give me a lot of room for much else. What I'm Drinking Today is a Liberty Pole Spirits canned Old Fashioned, made with their straight rye whiskey. Can a canned Old Fashioned be any good? We'll find out! The Smack-Dab in the Centre sponsorship moment is about some great cocktail bars in State College.  I would remind you about the small contest we have going on. I'm asking you for your favorite central Pennsylvania foods, and suggestions on which one you'd like to hear about in a future episode. If your suggestion is the winner, I'll thank you by name in the episode and send you five STAG stickers; and I'll draw a random winner from all respondents to get another five-pack of STAG stickers! Next episode? I have a barbecue interview, but I'd rather keep that for warmer weather. I have a couple interview prospects bubbling, they might work out; or I might do a town profile, seems like a good time to get on the road.   See you in two weeks! Until then? TELL YOUR FRIENDS ABOUT THE PODCAST! Seen Through A Glass is sponsored by the Happy Valley Adventure Bureau. Come visit Centre County!   This episode uses these sounds under the following license: Creative Commons CC BY 4.0 https://creativecommons.org/licenses/by/4.0/ "Champ de tournesol" by Komiku at https://www.chosic.com/free-music/all/ arrow-impact-87260 Sound Effect found on Pixabay (https://pixabay.com) "Glow" by Scott Buckley | www.scottbuckley.com.au Music promoted by https: //www.chosic.com/free-music/all/ All sounds sourced by STAG Music Librarian Nora Bryson, with our thanks.

El próximo debut discográfico de Milena Casado nos ha inspirado este programa sobre nuevos talentos en el que vamos a escuchar también a Jean Pierre Jozéfinn, Alden Hellmuth, Alessandro Lanzoni, Sunil López, Ari Hoenig, Sébastien Joulie, Hans Luchs, Matthias Van den Brande, Smack Dab, Jay Davis y Toomas Keski-Säntti.Temas que suenan en el programa:01 2025 Milena Casado - Reflection Of Another Self 11 Resilience (3' 50'')02 2024 Jozéfinn' Austral View - Fandamane 04 Savane 7 - Andry Michael Randriantseva Andy Narell Bongani Ranto Rakotomalala Sotshononda Arjuna Mariapin (3' 21'')03 2023 Alden Hellmuth - Good Intentions 05 Stream Of Lucas - Kadish Guitar Yvonne Rogers Kanoa Mendenhall Timothy Angulo (4' 09'')04 2024 Alessandro Lanzoni - Bouncing with Bud 04 Bouncing with Bud (2' 43'')05 2023 Sunil López - Smoke gets in your eyes 07 A Few More Bars - Joan Codina Genius Wesley (3' 33'')06 2024 Ari Hoenig - Tea for Three 04 Alone - Ben Tiberio Gadi Lehavi (4' 14'')07 2023 Sébastien Joulie - Loaded 05 Confused - Stephan Moutot Benoît Thevenot Michel Molines Charles Clayette (6' 12'')08 2025 Hans Luchs - The Spell is Broken 06 The Spell is Broken - Daniel Berkey Mike King Simón Willson Adam Arruda (3' 06'')09 2024 Matthias Van den Brande - Fields of color 02 Seagram Murals - Jean-Paul Estiévenart Tijs Klaassen Wouter Kühne (4' 16'')10 2023 Smack Dab - Pulse 03 Pulse - Oriol Vallès Lluc Casares David Kikoski Pau sala Joan Casares (5' 15'')11 2024 Jay Davis - Bad Trad 08 Do You Like Apples - Mike Soper James Allsopp Huw V. Williams (3' 21'')12 2023 Toomas Keski-Säntti - Unearth 06 Dusk at the Balton - Joey Curreri Simón Willson Jonas Esser (4' 53'')Y os recomiendo, como siempre, la web jazzaragon para estar al día del jazz en Aragón.

In this episode, we discuss recordings of “Vox Feminae” (Alpha) by Les Kapsber'girls, “Les Étoiles Invisibles, 19th-Century French Music for Flute and Piano by Women Composers” (Da Vinci Classics) by Baldo-Corona Duo, “Roberto Sierra: Chamber & Piano Music” (Naxos) by Continuum / Cheryl Seltzer & Joel Sachs, “Open Roads” (Jazz & People) by Romain Pilon, “Pulse” (Fresh Sound New Talent) by Smack Dab & David Kikoski, and “Departures” (ABC Jazz) by Lachlan McKenzie.   The Adult Music Podcast is featured in: Feedspot's 100 Best Jazz Podcasts   Episode 209 Deezer Playlist   Fair use disclaimer: Music sample clips are for commentary and educational purposes. We recommend that listeners listen to the complete recordings, all of which are available on streaming services in the links provided. We also suggest that if you enjoy the music, you consider purchasing the CDs or high-quality downloads to support the artists.   “Vox Feminae” (Alpha) Les Kapsber'girls https://open.spotify.com/album/7CMohdNtQxiB83iEMqntc7 https://music.apple.com/us/album/vox-feminae/1793025660 https://music.amazon.com/albums/B0DV5PTBMJ   “Les Étoiles Invisibles, 19th-Century French Music for Flute and Piano by Women Composers” (Da Vinci Classics) Baldo-Corona Duo https://open.spotify.com/album/0nPp7MmEQ1bxkntfikLjtB https://music.apple.com/us/album/les-étoiles-invisibles-19th-century-french-music-for/1801340808 https://music.amazon.com/albums/B0F1HCXTG4   “Roberto Sierra: Chamber & Piano Music” (Naxos) Continuum / Cheryl Seltzer & Joel Sachs https://open.spotify.com/album/2hMJhPMcURsTqqXBQZx5UQ https://music.apple.com/us/album/roberto-sierra-chamber-piano-music/1803167832 No Amazon Music   “Open Roads” (Jazz & People) Romain Pilon https://open.spotify.com/album/1Kce7WMsjDvCTvkVplaEdB https://music.apple.com/us/album/open-roads-feat-orlando-le-fleming-mark-whitfield-jr/1794794777 https://music.amazon.com/albums/B0DW9M6J87   “Pulse” (Fresh Sound New Talent) Smack Dab, David Kikoski https://open.spotify.com/album/3WNcHMOWSeX8cmaUocB1w5 https://music.apple.com/us/album/pulse-feat-oriol-vallès-lluc-casares-pau-sala-joan-casares/1799822305 https://music.amazon.com/albums/B0DZ51TLBY   “Departures” (ABC Jazz)  Lachlan McKenzie https://open.spotify.com/album/2BDjtwgIHM8BIk7jYyVErl https://music.apple.com/us/album/departures/1798134813 https://music.amazon.com/albums/B0DY79JKQM

Sessi

This week on The Professional Noticer, Andy welcomes Jo Hackl – lawyer, entrepreneur, and award-winning author of Smack Dab in the Middle of Maybe. Tune in to hear Jo share how her childhood in Electric Mills, Mississippi, sparked her love for storytelling and inspired her novel. Listen as she and Andy discuss the challenges of writing for young readers, how nature and survival skills shape her work, and why Smack Dab in the Middle of Maybe resonates with all ages.  Connect with Jo Online:  Websites:  https://johackl.com/ https://outdoorosity.org/ Social Media: Facebook: https://www.facebook.com/JoWatsonHackl LinkedIn: https://www.linkedin.com/in/johackl/ YouTube: https://www.youtube.com/@JoHackl Twitter (X): https://x.com/johackl Instagram: https://www.instagram.com/johackl/

A flashlight emits a steady beam of light. So what's the flash part of that word about? The earliest flashlights lit up only briefly before the batteries gave out. Also, if you're a Nervous Nellie, you're skittish and indecisive--both characteristics of an American politician who earned that nickname in the 1920s. And, rhinestone: The name of this sparkly fake gem has a history that involves a famous river in Europe. Plus, the many names for toilet paper rolls, pull a seam, a puzzle all about the word it, a blessing and a curse, hitten vs. hit, idea vs. ideal, shaving yak hair vs. shaving gnat hair, Daylo, knocking something galley-west, the evolving meaning of dab, and the role of cultural context in learning languages. All of which you should listen to right smack now. Read full show notes, hear hundreds of free episodes, send your thoughts and questions, and learn more on the A Way with Words website: https://waywordradio.org/contact. Be a part of the show: call 1 (877) 929-9673 toll-free in the United States and Canada; worldwide, call or text/SMS +1 (619) 800-4443. Email words@waywordradio.org. Copyright Wayword, Inc., a 501(c)(3) corporation. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's episode of the Buck Junkie Podcast, we've been gone the past couple weeks but we've been getting down on some SERIOUS hunting here lately (00:12)! Malcom and Jamie went out to the stands this past week, and Jamie got the short end of the stick (04:30)... Mikey and Will went out looking for a couple does but came back with some KILLER bucks (08:05)! It may be our first year using it, but BOY has that standing corn made a HUGE difference (16:10). Is the corn easier to manage than our previous plots (19:50)? Malcom went out to Texas to hunt some Axis deer, and he came back with a HAUL (22:31). Mark and Malcom took a trip out to North Dakota, and you wouldn't BELIEVE the wildlife out there (27:56)! We are SMACK DAB in the middle of deer season, so if you ain't out there, go hop in a stand (36:11)! Jamie's had a full schedule here lately with both the Arkabulta Physically Challenged Hunt and Hope Outdoors (38:14). We've all had our fair share of mounts made, but these might just be the COOLEST mounts we've ever seen (42:55)! Finally, we're closing out with heading back to the stands to hopeful tag and bag a few more bucks (45:26)!

Jo Watson Hackl is a storyteller at heart. In this episode of Humanity Chats, Jo unravels the joy of scavenging through nature. We discover how her childhood explorations transformed into adventures that engage people in celebrating the simple beauties in their surroundings. Whether through writing, speaking engagements, or her interactive activities, Jo emphasizes the profound impact of nature on mental well-being and happiness. She encourages us to to embrace the benefits of nature, enrich our experiences, and let joy guide us in unexpected ways.About JoA native of rural Mississippi, who now lives in Greenville, South Carolina, Jo is the author of Smack Dab in the Middle of Maybe, published by Random House Children's books. Smack Dab was awarded the Southern Book Prize and is an Amazon Teacher's Pick and a “Read Across America” selection.A first-generation college graduate, Jo is on a mission to help students build skills that promote grit and resilience, improve writing skills, and connect with nature.She is a keynote speaker and also loves to do school visits. You can find free reader and educator activities and grant opportunities on Jo's website at https://JoHackl.com.Jo is also the founder of www.Outdoorosity.org, a free resource for information and inspiration about nature. As a way to connect people with the outdoors, six days a week, Jo posts photos from nature using the hashtag #JoyScavengerHuntHumanity Chats - a conversation about everyday issues that impact humans. Join us. Together, we can go far. Thank you for listening. Share with a friend. We are humans. From all around the world. One kind only. And that is humankind. Your friend, Marjy Marj

Do you ever feel like you are just smack dab in the middle of it? Maybe you aren't necessarily right at the starting line and you definitely haven't gotten to the other side so you don't know where to go or if you'll ever actually get to where you are going? If so, this episode is for you... Derek heard a saying years ago that "we shouldn't talk about our wounds, just our scars." The reason behind this saying is that wounds are still open and they can be difficult to talk about. However, what do the people do that have the wounds? Who can the people that are right in the middle of their storm listen to that can relate? Maybe we should talk about our wounds after all and not wait until they have been fully healed. This isn't an episode to talk about "oh poor me because things are hard." It's an episode about understanding that many of us are right in the middle of everything and we're not alone. It could be in the middle of raising kids or growing a business or a struggling marriage or so many other things. If that's you, you're going to be okay one way or the other because being in the middle of it is a hell of a lot better than never starting...and there's an army of people just like you going through similar trials.

durée : 00:58:20 - Le jazz sur France Musique - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé.

Today on the HowToBBQRight Podcast, we've partnered with Schwank Grills to cut y'all a deal (00:12)! We are SMACK DAB in the middle of summer now (00:56)! We had a BLAST out at Outlaw's RibFest (03:47)! My banana pudding recipe is not your average banana pudding (14:25)… I pick Malcom's brain about what a low country boil really is (17:00). Malcom always adds mayo to his burger meat, but why does he do it (25:42)? If all you have is a gas grill - here's how you make the perfect rack of ribs on it (35:06)! Looking for a new grill to add to your arsenal? Primo Ceramic Grills has you covered (47:33)! Tyler is finally back (48:19) after a long week of getting stranded out in California (59:14)... Does butterflying your pork butt allow you to get more flavor in the meat (1:05:07)? What is more important on a rack of ribs - straight bones or marbling (1:06:50)? Finally, can you pull a brisket, and more so, is it worth it to pull a brisket (1:08:30)?

Today's guest host Esmeralda Leon Today's guests: Teen Forster of Smack Dab https://www.instagram.com/p/BAkvl_DQknR/?hl=cs Megan Fezzaa, Refugee Community Connection https://refugeecommunityconnection.wordpress.com/

It's another extra-special, double-sized, chockful of drinks HOLIDAY EPISODE!! I've got three interviews for you: Dr. Jonathan Campbell of Penn State's Meat Lab talks about your holiday ham; co-founder of The Hummingbird Room, Claudia "Miss Ruby" Sarnow, talks about growing farm to table networks to create their exceptional Christmas menu; and I talk to the folks at Gardners Candies about peanut butter meltaways and bash cakes. I mix up a bunch of great hot holiday drinks (including Boilo!), share my wife's family recipe for fish chowder, and, oh yeah, the first Seen Through A Glass contest! Enjoy! Happy Holidays! Merry Christmas!   This episode uses these sounds under the following license: Creative Commons CC BY 4.0 https://creativecommons.org/licenses/by/4.0/ "Champ de tournesol" by Komiku at https://www.chosic.com/free-music/all/ "record_scratch_short.wav" by Halleck (https://freesound.org/people/Halleck/sounds/29938/ )  Music Box (Carol Of The Bells) by MaxKoMusic | https://maxkomusic.com/ Music promoted by https://www.chosic.com/free-music/all/ Santa Arriving Sound Effect BY SPANAC  Music promoted on https://www.freesoundslibrary.com/ "God Rest Ye Merry Ukuleles," by matthewmikecolemusic  https://www.mikecolemusic.net/ Music promoted by www.pixabay.com

I am in the middle of a quandary and I need to choose wisely, sacraficially. Join my Soul, Mind and Body Group!

M

M

The successful launch of India's Chandrayaan-3 mission and the involvement of countries like the United States, China, Russia, Japan, and others in robotic and crewed missions to the moon indicate a new era of lunar exploration. Guest: Scott Shantz, Contributor for Mornings with Simi Learn more about your ad choices. Visit megaphone.fm/adchoices

Naturally it's a rough fight for Ronnie's Raiders, who are attacking Vallux relentlessly but unsure how to deal with the elder demon slowly stomping towards them from the next room. Maybe he just wants to ask a question and then he'll go back to bed. Maybe Terry will show up and save the world? For merch, social media, and more be sure to head to nerdpokerpod.com. And for 3 bonus episodes a month and more, subscribe to our Patreon at patreon.com/nerdpoker.

In Part 2, Sandy gives three short messages which outlines the duties of a good church leader and how apostacy creeps into the church. The three messages are: The Duties of Christian Leadership, Smack Dab in the Middle of Apostacy, The Attack of the Enemy on ChurchesThis episode is entitled: “How the Enemy Corrupts Christians.”

As we move through the seasons, we are SMACK DAB in the middle of FOOTBALL SEASON! So, we decided it was time to come back to a classic from our childhood. Little Giants was a movie that was a touchdown when we were little. Is it a fumble in 2022? Let's find out together! Leave us a voice message by going to https://anchor.fm/moonstreet Questions or Comments? Email us at grownmenwks@gmail.com Twitter: @gmwks Instagram: @grown-men-watch-kid-shit Facebook: https://www.facebook.com/GMWKS/ --- Send in a voice message: https://anchor.fm/moonstreet/message

Nationally recognized and award-winning Teacher Librarian, speaker, and host of the Joyful Learning Podcast, Melissa Thom in conversation with middle grade author, Jo Watson Hackl the author of Smack Dab in the Middle of Maybe and the founder of Outdoorosity, a free resource for information and inspiration about nature. (The interview took place during the International Association of School Librarians (IASL) conference in Columbia, South Carolina, where both Melissa and Jo were invited to present.) Jo Watson Hackl is the author of the bestselling novel, Smack Dab in the Middle of Maybe, published by Random House Children's Books. Smack Dab was awarded the Southern Book Prize and is an Amazon Teacher's Pick. Jo also is the founder of Outdoorosity.org, a free resource for information and inspiration about nature. Jo is a first-generation college graduate on a mission to help students connect with nature, build skills that promote grit, resiliency and SEL skills, and improve overall writing, and she loves to do school visits. In collaboration with experienced educators, she and her team have developed a bounty of free resources for educators and other readers, available at www.johackl.com, and Outdoorosity.org. Episode Resources: About Jo's book Smack Dab in the Middle of Maybe published by Penguin Random House The Joy Report Podcast: Nature is for Everyone: Equity in the Outdoors "The Joy Report" is a podcast dedicated to sharing stories about climate solutions and environmental justice grounded in intersectionality, optimism, and joy with host Arielle King (@ariellevking), an environmental justice advocate. Commitment to Create More Equitable Access to Parks & Nature Books Mentioned: George, Jean Craighead. (1959). My side of the mountain. Konigsburg, E. L. (1967). From the mixed-up files of Mrs. Basil E. Frankweiler. Lloyd, N. (2022). Hummingbird. Scholastic Press. Mapp, R. (2022). Nature swagger: Stories and visions of black joy in the outdoors. Chronicle. Connect with Melissa Thom: Twitter Instagram Website Connect with Jo Watson Hackl: Twitter Facebook Web Connect with Carrie Seiden: Twitter

Brian & Stacey talk about the sad state of San Francisco, hidden restaurant gems in the Tenderloin. The game questions have them fantasizing about far away locations,  favorite rituals  and Stacey's adventures dating three guys in a 12 month period before giving Brian the final rose....Guests : Aynsley Upton ( Famous Denver Theatre chick AKA: youngest daughter ) is on shamelessly promoting her her new musical "Into The Woods" and also finds time to tell the whole world how broke her dad was. 

Elizabeth discusses terminology you need to know and understand.  Don't forget a "second opinion".  There are people out there that could actually help you.  Do you want your TSP account to do well in a bull market when those prices are rising or expected to rise?  Do you want your TSP account to go defensive and preserve that capital in a bear market when a market experiences prolonged price declines?

Brian & Stacey talk about the concept of the podcast, what the word "home" means, truth & lies they have kept from one another. Stacey breaks a question out of the box that makes Brian check in with where he currently stands in the universe. BONUS: MATERIAL: The podcast gets a title sponsor, "Baby got Back" is discussed as a theme song for the show and Stacey makes a controversial comment...

MNST: We are smack dab in the middle of a sports bonanza!!

MNST: We are smack dab in the middle of a sports bonanza!!

We are smack dab in the middle of a sports bonanza!!

We are smack dab in the middle of a sports bonanza!!

Who you truly are, the new creation in Christ, can never be outside of God's will. Our day to day living will never impact that fact! But God does not want us defeated, or in bondage, He wants us to have that glorious new creation flowing in our day to day life. Presenting ourselves to the Lord as a living sacrifice is real fulfilment! AMENyourdailymeds.orggraceovation.org

Welcome to the Instant Trivia podcast episode 310, where we ask the best trivia on the Internet. Round 1. Category: Modern History 1: A 1978 secession from India's Congress Party formed the Congress (I), with the I standing for her. Indira Gandhi. 2: This ex-British PM announced in 1963 he wouldn't run again for Parliament, to which he was first elected in 1900. Winston Churchill. 3: In 1945 he declared Indonesia's independence and became its first president. Sukarno. 4: In 1967 a launch pad fire claimed the lives of Edward White, Roger Chaffee and this astronaut. Virgil "Gus" Grissom. 5: From 1931-33 excavations in this country uncovered the palaces of Kings Darius and Xerxes. Iran (Persia). Round 2. Category: Mr. Smith Goes To Washington 1: Fort Dix is in this state's 4th District, repped by Chris Smith, who was elected to Congress at age 27. New Jersey. 2: William French Smith, who held this post, 1981-1985, had a key role in putting the 1st woman on the Supreme Court. Attorney General. 3: In 1996 Gordon Smith lost to Ron Wyden to replace Bob Packwood as a Sen. from this state; now they serve together. Oregon. 4: Washington's 9th District is represented by this man, who has the same name as a certain economist. Adam Smith. 5: Parts of Comal, Hays and Travis Counties make up the 21st District of this state's Rep. Lamar Smith. Texas. Round 3. Category: Smack Dab In The Middle 1: In Park County, 30 miles northwest of Pike's Peak. Colorado. 2: In Kent County, 11 miles south of Dover. Delaware. 3: In Yavapai County, 55 miles east-southeast of Prescott. Arizona. 4: In Story County, 5 miles northeast of Ames. Iowa. 5: In Wexford County, 5 miles north-northwest of Cadillac. Michigan. Round 4. Category: Actor-Directors 1: This actor directed an animal onscreen and off in 1998's "The Horse Whisperer". Robert Redford. 2: Replacing Kubrick as the director of 1961's "One-Eyed Jacks" was an offer this actor could not refuse. Marlon Brando. 3: This daughter of director John made her own directing debut with the TV movie "Bastard Out of Carolina". Anjelica Huston. 4: "The Great Dictator" (1940). Charlie Chaplin. 5: "One-Eyed Jacks" (1961). Marlon Brando. Round 5. Category: "S.a."S 1: Geographically, it's made up of 12 nations and 2 dependencies. South America. 2: In 1891 a crab pot in San Francisco became this organization's first "kettle" for Christmas donations. Salvation Army. 3: A founding member of OPEC. Saudi Arabia. 4: It's not my fault, it's a 600-mile geologic fault zone stretching from southern to northern California. San Andreas Fault. 5: General Augusto Pinochet led a military coup that overthrew this president in 1973. Salvador Allende. Thanks for listening! Come back tomorrow for more exciting trivia!

Follow the crew on Twitter! Ben Goddard https://bit.ly/3e179f0 Alex Marzoña https://bit.ly/2J60oNU Kate Mulligan https://bit.ly/3owBneT Brett Sheridan https://bit.ly/2HBltii Roxy Striar https://bit.ly/31OtGHj Steph Sabraw https://bit.ly/3m0ud0z Beth May https://bit.ly/2V98BXK Sabrina Ramirez https://bit.ly/3ms3PfT Winston A. Marshall https://bit.ly/3kyJPI0 Kristian Harloff https://bit.ly/31PePMD Movie Trivia Schmoedown https://bit.ly/31Qwrrp Learn more about your ad choices. Visit megaphone.fm/adchoices

Lieutenant David Haynes, a police officer who works on the North Side of the city, made his weekly visit to the WGN Radio studios and the Bob Sirott Morning Show. Lt. Haynes, who co-authored “The Beat Cop's Guide to Chicago Eats,” brought in vegan donuts from Smack Dab on 6730 N Clark. The Lieutenant reviewed […]

Dr. Jack Trieber preached a message entitled, "Smack Dab in the Middle" during the Sunday Evening service on October 24, 2021, at North Valley Baptist Church in Santa Clara, California. View Archived Services at nvbc.org

The regular season is 7 days away and we continue our previews by looking at the extremes. Mike Plank, Editor-In-Chief of Rock Chalk Talk, joins the show to talk worst-case and best-case scenarios and who he is excited to see suit up for the Jayhawks this season. Topics Include: General thoughts on the summer for this team. How optimistic are you? What is the actual worst-case scenario? How many games could Kansas actually win? Lance Leipold: Coach Of The Year? Which position/player are you most excited to see? Realignment rumor talk Follow Andy on Twitter: @AndyMitts12 Follow Mike on Twitter: @mikevilleKS Follow Rock Chalk Talk on Twitter: @rockchalktalk We want your input on the podcast. If you have something you would like to talk about on the podcast, or any suggestions for people that we should try to talk to, let us know by emailing us at rockchalkpodcast@gmail.com or on twitter @RockChalkPod. SimBull is the stock market for sports that allows you to trade sports teams like stocks and earn cash payouts when your teams win. SimBull has blended sports and the stock market to offer you a new way to invest in and profit off your favorite teams. Visit https://simbull.app/ and use the promo code “CHALK12" for one free week of SimBull GOLD (with a $25 min. deposit) and start investing in your favorite teams! You'll also get a chance to win 2 free tickets to a Big 12 game of your choice. We are part of the Ten12 Podcast Network. Find links to all of our great shows on our Twitter account at @Ten12Network. Want to support the podcast? You can become a Sponsor with a monthly contribution here. --- Send in a voice message: https://anchor.fm/rock-chalk-podcast/message Support this podcast: https://anchor.fm/rock-chalk-podcast/support

Ever thought "your" gospel might be wrong? Whether we like to admit it or not, sometimes we're prone to take in ideas that sound good but simply don't line up with the gospel of Jesus Christ. In this episode, we dive into Paul's letter to the churches in Galatia, where he laid down the charge of following a different gospel. It's a charge that could just as easily apply to churches today. Whether it's so-called "progressive" Christians diluting the gospel of Jesus and mixing it with New Age religions or hyper-fundamentalists living out a "Jesus + works" type of salvation, we can all be a little guilty of preaching the wrong gospel. 

Hey Friends - It's a rare Friday Night BeerBlog on a Saturday night. There's a lot happening in the McShane house right now with work, no air conditioning, and health problems of some family members, so when I sat down to write this week's blog I attached myself to this idea - that I am smack dab in the middle of what life has to offer.  We went to a baby shower for the first child of some friends and the daughter of one of other friend is getting married in a few weeks. It feels strange that Mike and I have been married 25 years, but 1996 was just yesterday. Time feels like it's bending. Events seem to be so close, but they happened long ago. I have deduced that we are in the Wednesday of life. We're on the hump, smack dab in the middle, and that is just fine with me. Thursday, stay away.As always, thanks for listening - it means a lot. And if you've enjoyed PLEASE SUBSCRIBE and Share. I'll be back on Wednesday with another podcast - until then. LLM

Un grupo de jóvenes músicos de nuestro país han dado un paso adelante en el apoyo a la creación musical. Lo habitual es los artistas se unan para formar una banda, pero ellos han decidido montar también un colectivo y, dando un paso mas, un sello discográfico. Esto es The Changes, una iniciativa interesantísima a la que El Faro del Jazz ha querido prestar la atención que merece. Músicos como Joan Casares, Oriol Vallés, Irene Reig, Lluc Casares, Hector Floría y Pol Omedes han dado forma a un sello en el que, rodeados de otro buen montón de magníficos instrumentistas, llevan ya más de una decena de trabajos editados, a cual más interesante. Durante el programa podréis escuchar música de todos esos proyectos, como el Oriol Vallés Quartet, el quinteto Smack Dab, los Casares Brothers, la bandas de Giuseppe Campisi o Pol Omedes, los tríos de Irene Reig o Joan Mar Sauqué, y grupos más corales como The Bop Collective. Además, algunos de sus protagonistas han querido participar también con su voz en el programa contándonos sus experiencias y hablando de sus respectivos proyectos. Si quieres cambiar las cosas tienes que empezar por ti mismo y eso es lo que este grupo de jóvenes músicos emprendedores quieren conseguir con The Changes. No podéis dejar de escucharlos.

Libby speaks with Greg Brenner, also known as The HR Dad. Greg loves all things “people in the workplace,” which is why after years of working in operations and being a business owner, he wanted to become a Human Resources Executive. He also loves his biggest and most fulfilling role, Dad. Through humor and wisdom, Greg helps others gain a completely new insight into the career adventure of their lives by helping them see how their work and their personal lives intersect to bring out their greatness in both realms.   Libby and Greg discuss: Soft skills versus hard skills Female leadership and where it starts Taking lessons from leadership and bringing them into the home and vice versa Managing expectations in order to be set up for success Behaviors that define leadership What Greg suspects will change with leadership in the coming years   Greg is the podcast host of EVERYDAY PEOPLE, a keynote speaker, a Marshall Goldsmith Certified Stakeholder Centered Coach as well as a master's trained executive coach, plus the author of the Smack Dab in the Middle of Life series. Connect with Greg: https://thehrdad.com/ https://www.linkedin.com/in/gregbrenner/ https://www.instagram.com/thehrdad/

Jo Watson Hackl is the author of Smack Dab in the Middle of Maybe, published by Random House Children's Books. It was awarded the Southern Book Prize and is an Indie Next and Okra pick. It's also been recently featured on the NC School Library Media Association EBOB list! Listen in as we speak with Jo about how she collaborates with educators across the country and how the pandemic has affected the way she interacts with teachers, librarians, and students.

Small ex-Chasidic queer Jewish stand-up comedian and Emmy Award-winning writer Robby Hoffman reveals her comedy journey, how even as a financial auditor, it was always a part of who she was as a person. And Robby leads a crucial and enlightening discussion about the past, present and future roles of women in comedy, and the still-present stereotype that women aren’t as funny as men. Also joining the show this week is MouthMedia Network Intern Alexi Bolden, recently named one of four Saturday Night Live scholars, and will be granted an audition for the upcoming cast of SNL. The gang also discusses too much cauliflower, cactus candy in a condom wrapper, and a round of the improv game of The Meh News covers live news stories on cat vomit in an overcrowded AirBNB and a Times Square sandwich board full of errors.  Robby was just named one of Vulture's Top Comedians to Watch in 2020, one of Comedy Central's UP NEXT comedians, and on Conan O’Brien’s Comics to Watch list. She has performed numerous times at the Montreal Just for Laughs festival and was a headliner for the New York Comedy Festival. In 2019, she recorded her first one-hour stand up special for Just for Laughs, "I’m Nervous" in Toronto, available on CraveTV. Robby is also a notable TV writer, having written on The Chris Gethard Show (TruTV), Workin' Moms (Netflix), and Baroness Von Sketch Show (IFC). In 2019, Robby won a Daytime Emmy Award for her writing work on Odd Squad (PBS).  See omnystudio.com/listener for privacy information.

Oftentimes we find ourselves smack dab in the middle of some mess... But then you realize that the LORD allowed it to bring glory to Himself and to work out for your good. How can you tell if the LORD has set you up for a miraculous victory? Tune in and be blessed! ~ Brother Mike

Emily and Emily rank their top word substitutions for “pandemic” before giving quick hitters of sports updates, games of the week, hot takes of the week and a bigger than sports moment. Emily Twitter - https://twitter.com/emily_shaleen Emily Twitter - https://twitter.com/emilproblems Sports & Corks Twitter - https://twitter.com/sportsandcorks The Tailgate Society Twitter - https://twitter.com/tgatesociety You can email Emily and Emily at sportsandcorks@gmail.com

On this episode of Rightly Dividing, we are diving deep into 2 Timothy to see exactly what our commission is, what the commandment of God for us in these times actually is, and examine those things in the light of 2020 as it continues to spiral out of control. Think about it.. Just this week alone, Pope Francis aligned himself with Joe Biden and the United Nations in their globalist Build Back Better campaign. NY Mayor Bill de Blasio preached in a Christian church about the COVID-19 vaccine while the pastor tried to assure nervous congregants it was not the Mark of the Beast. And hold on to your hats, Bill Clinton, Barack Obama, George Bush British PM Boris Johnson and the head of the UN World Health Organization are all planning to be vaccinated together on live television! We are living in literal end times theater, Revelation is leaping off the pages of your King James Bibles and into your living rooms. That's how close we are, and as unreal as that all seems, it is only the beginning. 2021 will be much, much worse.

Kings Chapel Wasilla

Our Wednesday night experience streamed live on October 28th, 2020. Experience life with people, power, and purpose. Connect with us! Home https://www.facebook.com/kingschapel.alaska/ https://www.instagram.com/kingschapelalaska/ Give: https://www.kcalaska.com/give/

The Winnipeg Auditorium aka Manitoba Archives Bldg.We’re BAAAAAAAAACK ! Back in the Ghost saddle again! Back at spinning the spooky tales of the City and Province steeped in History…..and of course…..The Hauntings! On today’s 79th episode Jas and Sher, your Audio Curators are back from summer hiatus (we appreciate everyone’s’ patience) and record together again, but still at a safe distance apart in the Pod-Cave. On today’s episode aside from the swearing, yakking, and a horny cat in the back ground, the Ladies discuss the Winnipeg Auditorium which is now more commonly known as the Manitoba Archives Building at Memorial Blvd. and St. Mary’s Rd. Before this magnificent location was storing records and documents, it was erected as the place to be for entertainment in Winnipeg. Smack Dab in the middle of the windy city, crowds of people would gather here for concerts, Hockey Games, wrestling matches, sporting events and everything in between and this was from 1930s till 1970 which then the Centennial Concert Hall and Winnipeg Arena took over entertainment venues. But it’s quite possible one of the many event patrons have never left as the building seems to house not only documents but spirits from a time long past. Stay safe & Stay at home!For more information on our podcast, or if you have a story to share or would like to just get in touch with us, shoot us an email at givinguptheghostpodcast@gmail.comPlease check us out on Facebook, Twitter and Instagram! Show us the Ghost Love & Tell a friend and follow/like/share our pages with the cool kids – there’s no pressure like peer pressure! Winnipeg’s FIRST and ONLY Paranormal Podcast.

I've spent the last two weeks working to step back and figure out my path...a deeper dive into me if you will. And what has been coming up is fear...not of failure...but of success. So let's talk a little about that and what that means. 

The continuing trend of high cases and hospitalizations keeps Mississippi's health care system under stress.Then, how the state's second largest school system is preparing for the new school year.Plus, in today's Book Club, a real ghost town in Mississippi is the setting for “Smack Dab in the Middle of Maybe.”Segment 1:Governor Tate Reeves is calling on hospitals to implement surge plans, to make room for coronavirus patients in their facilities. For the second consecutive day, the Mississippi Department of Health reported over 1,500 new cases of the coronavirus. High hospitalizations rates associated with the virus also continue to press the health care system. Governor Tate Reeves says the central region of the state only has two ICU beds available, which creates a real danger for anyone in need of critical medical care.As the state inches closer to crisis state, Health Officer Dr. Dobbs is transparent about what will happen to the level of care if hospitals are pushed to that extent.Segment 2:Reaching every corner of the capital city, Jackson Public Schools is the state's second-largest school district. With over fifty school sites and nearly 24,000 scholars, the district has many factors to consider when preparing for the new school year. Superintendent Dr. Errick Greene says his team's plan is based on feedback from the community, and the health safety guidelines of public officials. Segment 3:About 40 miles north of Meridian is a ghost town called Electric Mills. There's not much left except some overgrown sidewalks and pillars. In today's Book Club, author, Jo Watson Hackl, takes readers to a fictionalized version of Electric Mills in her adventure, “Smack Dab in the Middle of Maybe.” See acast.com/privacy for privacy and opt-out information.

Smack Dab in the Middle Charles Calhoun (1901-1999) arr. Darmon Meader (b. 1961) additional lyrics by Lauren Kinhan and Darmon Meader Won't cha throw me, jelly roll me smack dab in the middle of it all. Come an' find me, wine an' dine me, and let me rock an' roll to soothe my soul. Pick me a town in any clime where people like a rockin' good time, an' stay awake both day an' night, ‘til ev'rybody's feelin' good an' right, Then throw me (smack dab in the middle) Pitcha me (smack dab in the middle) Chucka me Smack dab in the middle, an' let me rock'n'roll to satisfy my soul. I want ten Cadillacs an' a diamond mill, ten suits of clothes to dress to kill. I wanna ten-room house an' some barbeque, an' fifty chicks not over twenty two. Then throw me (smack dab in the middle) Chucka me (smack dab in the middle) Pulla me Smack dab in the middle, now, an' let me rock'n'roll to satisfy my soul. I wanna lot o' bread an' gangs of meat, oodles of butter an' somethin' sweet, With loads o' coffee just to wash it down, Bicarbonate of soda by the pound. Then throw me Smack dab in the center, child. I'm talkin' ‘bout the holy ghost night. Just throw me smack dab in the middle, now. An' let me rock'n'roll to satisfy my soul. Let me rock, let me roll, let me satisfy my soul. It's the kind of constitution that your mama forbade. Look out! I'm a stucker for the center of a Tootsie Pop. Take a look at the mess I'm in, it's a moral epidemic, they say. When the drummer sets the feet to flyin', front an' center's where I'll be. Don't knock it if you never would, ever could. Anyone, anywhere would be dyin' to satisfy it. Just keep me rockin' an' reelin' I want a swingin' ol' time, where ev'rybody's feelin' alright. We gotta be raising' the ceilin'. Just keep the music playin' on, an' we'll be singin' all night. I wanna be Smack dab in the center, an' let me rock'n'roll to satisfy my soul. Want a swingin' band, an' a hundred fine ballet girls. A street that's paved with natural pearls. Bring me a wagonload of bonds an' stocks, An' open up the door to Fort Knox. An' throw me Smack dab in the middle Push me, shove me. Let me rock, let me roll, let me satisfy my soul. Smack dab in the middle, my friend, right from the top. Take it straight to the end. Smack dab in the middle An' let me rock an' roll to satisfy my soul. “Smack Dab in the Middle” was performed by Elizabeth Tait and Michael Vaughan (soloists), the Christian McBride Trio (Christian Sands, piano; Jerome Jennings, drums; and Christian McBride, bass) and the Houston Chamber Choir at the 2015-2016 season's “Just Gettin' Started.”

Jessie went on a masked date. Claire falls even harder for a man on her TV. They both talk about the assumptions and judgement we make when meeting people which can be very dangerous. Then they answer a listener's email about a concern over personal challenges and how they play into a new relationship. --- Support this podcast: https://anchor.fm/nosuchthingaslove/support

Discovering what it means to be in the center of God/YeHoVah's will.

durée : 00:57:43 - Smack Dab in the Middle - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé. - réalisé par : Fabien Fleurat

In this episode, we take a look at the gifts of art, communication, productivity, and faith produced when you embrace a restful lifestyle.   Thank you to Leigh Ann Thomas for being the sponsor of this episode of I Choose My Best Life Podcast.  CLICK HERE to learn more about her book Smack-Dab in the Midlife Zone.     Blog: I Choose My Best Life Books: Sacred Rest, Come Empty, Set Free to Live Free   Connect with Saundra: Twitter: @DrDaltonSmith Pinterest: http://www.pinterest.com/drdaltonsmith Facebook: https://www.facebook.com/DrSaundraDaltonSmith  

Here is our 13th program from the "Camel Rock And Roll Party" series starring Alan Freed with the Count Basie Orchestra and Joe Williams, special guests on this show are the "Clovers" and "Etta James." Here is the playlist in order: "In The Corner Pocket" (Count Basie Orch) / "You're Tender Lips" (The Clovers) / "Dance with Me Henry" (Etta James) / "Smack Dab in the Middle" (Count Basie Orch with vocalist Joe Williams / "Love, Love, Love" (Clovers) / "Crazy Feelin'" (Etta James) and "You For Me" (Count Basie Orch.) An excellent show... enjoy and check out the "Rock and Roll Party" playlist for past and future postings. Thanks for listening.

On today's show: MPB's Alexandra Watts toured flooded parts of the Mississippi Delta. We'll bring you here conversation with the army corps of engineers. Then, find out what you can do to keep highway workers safe on the job. And in this week's Book Club, award-winning author, Jo Watson Hackl takes us "Smack Dab in the Middle of Maybe."

Pastor Danny describes the joy of being "smack dab" in the will of God for our lives. Led by Steve and Kirsty Carey, Family Church HAVANT is a satellite campus of Family Church that began in 2009. To find out more about Family Church HAVANT and Pastor's Steve and Kirsty, visit: https://family.church/location/havant/ Check them out on Facebook also at: https://www.facebook.com/FamilyChurchHavant/

  Welcome to episode seventeen of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Money Honey” by the Drifters. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—- Erratum At one point in the podcast I say “Calhoun was the most important figure in the musical side of Atlantic Records”. Obviously I meant “Stone was…” — Charles Calhoun was only a pen name, and I refer to Jesse Stone as Jesse Stone everywhere else in the episode.   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. In this case, two tracks are slightly different from the versions I used in the podcast — I accidentally used copies of Clyde McPhatter’s 1960s solo rerecordings of “Money Honey” and “Such a Night” in the Mixcloud. The versions I excerpt in the podcast are the originals. Some of the material here comes from Unsung Heroes of Rock ‘n’ Roll by Nick Tosches. It’s not a book that I like to recommend, as I’ve said before. Other material comes from  Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues, and The Sound of the City by Charlie Gillett. But given the absence of any books on the Drifters or McPhatter, the resource I’ve leaned on most for this is Marv Goldberg’s website. There are many compilations of McPhatter and the Drifters. This one is a decent one.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There’s a thought experiment, popular with the kind of people for whom philosophical thought experiments are popular, called the Ship of Theseus. It asks if you have a ship, and you replace every plank of wood in it as each plank rots away, so eventually you have a ship which doesn’t share a single plank with the original — is that still the same ship that you had at the start, or is it a totally new ship? A little while ago, I saw a Tweet from a venue I follow on Twitter, advertising The Drifters, singing “all their great hits”. There’s only one problem with this, which is that no-one currently in the Drifters has ever had a hit, and none of them have even ever been in a band with anyone who had a hit as a member of the Drifters. Indeed, I believe that none of them have even been in a band with someone who has been in a band with someone who was in a version of the Drifters that had a hit. This kind of thing is actually quite common these days, as old band members die off — I’ve seen a version of The Fourmost which had no members of the Fourmost, a version of the Searchers with none of the original members (though it did have the bass player who joined in 1964 — and it would have had an original member had he not been sick that day), The New Amen Corner (with no members of the old Amen Corner), all on package tours with other, more “authentic”, bands. And of course we talked back in the episode on the Ink Spots about the way that some old bands lose control of their name and end up being replaced on stage by random people who have no connection with the original act. It’s sad, but we expect that kind of thing with bands of a certain age. A band like the Drifters, who started nearly seventy years ago now, should be expected to have had some personnel changes. But what’s odd about the Drifters is that this kind of thing has been the case right from the beginning of their career. The Drifters formed in May 1953. By July 1955, the band that was touring as the Drifters had no original members left. And by June 1958, the band touring as the Drifters had no members of the July 1955 version. An old version of the band’s website, before someone realised that it might be counterproductive to show how little connection there was between the people on stage and the people on their famous records, lists fifty-two different lineups between 1953 and 2004. In the future, everyone will have been lead singer of the Drifters for fifteen minutes. We’re going to look at the Drifters quite a bit over the course of this series — they had hits in the fifties, sixties, and seventies, and some of them were among the most important records of their time. And so the thing to remember when we do that is that whenever we’re talking about the Drifters, we’re not talking about the same band as we had been the time before. Indeed, the Rock and Roll Hall of Fame (for what this is worth — I value their opinion fairly low, but in this case it’s an interesting indicator – actually inducted the Drifters as *two separate groups*. They’re in as “The Drifters” and as “Ben E King and the Drifters”, because the Hall of Fame didn’t consider them as being the same group. Today, we’re mostly going to talk about the second lineup of the Drifters, the one that was together from July through October 1953, and which had only one member in common with the May 1953 lineup of the band. That member was Clyde McPhatter, and he was already something of a star before the Drifters formed, as the lead singer of Billy Ward and his Dominoes. [excerpt “Do Something For Me” — Billy Ward and his Dominoes] Billy Ward was an exceptional man in many ways — he was one of the first black people to graduate from the Juilliard School of Music, and he was a hugely talented pianist and arranger. And while he wasn’t a particularly strong singer, he *was* a great vocal coach, and so when he noticed that vocal groups were becoming the new big thing in rhythm and blues, he hit upon a surefire way to make money. He’d form a group, featuring his best students, and pay them a salary. He and his agent would own the band name, and they could hire and fire people as they wished. And the students would all work for cheap, because… well, that’s what young people do. Indeed, it would go further than them working for low pay. If you were a member of Billy Ward and his Dominoes, and you messed up, you got fined — and of course the money went straight into Ward’s pocket. The Dominoes started out as an integrated group — their name was because they were black and white, like the spots on a domino. But soon Ward had fired all of the white members, and put together a group that was entirely made up of black people. The music they were performing was in the style that would later become known as doo-wop, but that wasn’t a term that anyone used at the time. Back then, this new vocal group sound was just one of the many things that were lumped together under the rhythm and blues label. And as this was still the early stages of the music’s development, it was a little different from the music that would later characterise the genre. Doo-Wop started as a style that was strongly influenced by the Ink Spots — and by acts before them like the Mills Brothers. It was music made by impromptu groups on street corners, sung by people who had no instruments to accompany them, and so it relied on the techniques that had been used by the coffee-pot groups of the twenties and thirties — imitating musical instruments with one’s mouth. These days, thanks largely to its late-fifties and early-sixties iteration in which it was sung by Italian-American men in sharp suits, there’s a slight aura of sophistication and class around doo-wop music. It’s associated in a very general sort of way with the kind of music that the Rat Pack and their ilk made, though in reality there’s little connection other than the ethnicity of some of its more famous performers. But doo-wop in its early years was the music of the most underprivileged groups — it was music made by people who couldn’t afford any other kind of entertainment, who couldn’t afford instruments, who had nothing else they could do. It was the music of the streets, in a very literal way — people, usually black people but also Latino and Italian-Americans, would stand on street corners and sing. Doo-wop would later become a very formalised genre, and thus of less interest, but early on some of the music in the genre was genuinely innovative. Precisely because it was made by untutored teenagers, it was often astoundingly inventive in its harmonies and rhythms. And the particular innovation that the Dominoes introduced was bringing in far more gospel flavour than had previously been used in vocal group music. The earlier vocal groups, like the Ravens or the Orioles, had had very little in the way of gospel or blues influence — they mostly followed the style set by the Ink Spots, of singing very clean, straight, melody lines with no ornamentation or melisma. The Dominoes, on the other hand, were a far more gospel-tinged band, and that was mostly down to Clyde McPhatter. Clyde McPhatter was the lead singer on most of the band’s biggest records — although he was billed as Clyde Ward, with the claim that he was Ward’s brother, in order to stop him from becoming too much of a star in his own right, and possibly deserting the Dominoes. McPhatter was actually a church singer first and foremost, and had expressed extreme reluctance to move into secular music, but eventually he agreed, and became the Dominoes’ star performer. Their biggest hit, though, didn’t have McPhatter singing lead, and was very different from their other records. “Sixty Minute Man” was, for the time, absolutely filthy. [Excerpt of “Sixty Minute Man”] Now, that doesn’t sound like anything particularly offensive to our ears, but in the early 1950s, that was absolutely incendiary stuff. And again, along with the fact that radio stations were more restrained in the early fifties than they are these days, there is cultural context that it’s easy to miss. For example, the line “they call me loving Dan” — Dan was often the name of the “back door man” in blues or R&B songs — the man who’d be going out of the back door when the husband was coming in the front. (And “back door man” itself was a phrase that could be taken to have more meanings than the obvious…) The song was popular enough in the R&B field that it inspired other artists to change their songs. Ruth Brown’s big hit “five-ten-fifteen hours” was originally written to have her asking for “five-ten-fifteen minutes of loving” until someone pointed out that in the era of “sixty minute man” fifteen minutes of loving didn’t seem very much. “Sixty Minute Man” was remarkable in another way — it crossed over from the rhythm and blues charts to the pop charts, which was something that basically *never* happened in 1951. I’ve seen claims that it was the first rock and roll record to do so, and I suppose that depends on what you count as a rock and roll record — Louis Jordan had had several crossover hits over the previous few years — but if you’re counting rock and roll musicians as only being people who started recording around 1948 or later, then it may well be. If it’s not the first, it was certainly *one* of the first, and like all big hits at the time it inspired a wave of imitators. However, Bill Brown, the lead singer on the song, quit in 1952 to form his own band, the Checkers. He took with him Charlie White, who had sung lead on an early Dominoes track, this duet with Little Esther: [excerpt: Little Esther and the Dominoes “The Deacon Moves In”] With both the other main singers having left the band more or less simultaneously, Clyde McPhatter was left as the default star of the show. There was no-one else who was even slightly challenging him for the role by this point, and the Dominoes’ records became a showcase for his vocals. Once McPhatter was the star, the band moved away from the more uptempo rock style to a more ballad-based style which suited McPhatter’s voice better. But they still had a knack for controversial subject matter and novelties, as one of their biggest hits shows: [excerpt: “The Bells”, Billy Ward and his Dominoes] That kind of over-the-top display of emotion, taken well past the point of caricature, would soon become one of the hallmarks of the more interesting black vocalists of the period. You can hear in that song the seeds of Screamin’ Jay Hawkins, for example — and James Brown would often perform “The Bells” in his early shows, even pushing a pram containing a doll, representing the dead woman in the song, across the stage. But what’s also obvious from that record is that McPhatter was clearly a remarkable singer. He was the star of the show, and the reason that people came to see Billy Ward and the Dominoes — and soon he decided that it was unfair that he was making $100 a week, minus costs, while Ward was becoming rich. He didn’t want to be an interchangeable Domino any more, he was going to make his own career and become a star himself. He stayed in the band for long enough to train his replacement, a new young singer named Jackie Wilson who had been discovered by Johnny Otis, and then left. (At the same time a couple of other band members left. One of their replacements was Cliff Givens, who had previously been a temporary Ink Spot for five months between Hoppy Jones dying and Herb Kenny replacing him). The Dominoes continued on for quite some time after McPhatter left them, but while they scored a few more hits, the way the band’s career progressed can probably best be summed up by their sequel to “Sixty Minute Man” from 1955: [excerpt: Billy Ward and the Dominoes “Can’t Do Sixty No More”] Jackie WIlson, of course, was a fantastic singer and if you had to replace Clyde McPhatter with anyone he was as good a choice as you could make, but McPhatter was sorely missed in their shows. Shortly after the lineup change — indeed, some have claimed on the very first day after McPhatter left — Ahmet Ertegun of Atlantic Records went to see the Dominoes live, and saw that McPhatter wasn’t there. When he discovered that the lead singer of the biggest vocal group in the North-East was no longer with them, he left the venue immediately and went running from bar to bar looking for McPhatter. As soon as he found him, he signed him that night to Atlantic Records, and it was agreed that McPhatter would put together his own backing group — which became the first lineup of the Drifters. That first lineup was made up of people from McPhatter’s church singing group — one of whom, incidentally, was the brother of the author James Baldwin. That lineup — Clyde McPhatter, David Baughan, William Anderson, David Baldwin, and James Johnson — recorded four tracks together, but only one was ever released, “Lucille”: [excerpt “Lucille”, Clyde McPhatter and the Drifters] Hearing that, it doesn’t sound like there was anything wrong with the band, but clearly Atlantic disagreed — I’ve heard it claimed by some of the later members of the group that Atlantic thought this first version of the Drifters had voices that were too light for backing McPhatter. Either way, there was a new lineup in place by a few weeks later, with only McPhatter of the original band, and that lineup would last a whole four months and get a hit record out. Their first session included versions of five songs, including the other three that were recorded but never released by the initial lineup. But one of the two new songs was the one that would make the band stars. That song, “Money Honey”, was written by Jesse Stone, or Charles Calhoun to give him his pen-name. You’ll remember we discussed him in episode two, talking about how he wrote “Shake, Rattle, and Roll”, and in episode four, talking about how Louis Jordan ended up taking Stone’s entire band and making them into the Tympany Five. Stone was a fascinating man, who lived a long, long, life that spanned the twentieth century almost completely — he was born in 1901 and died in 1999 — and his entertainment career lasted almost as long. He’d started performing professionally in 1905, at the age of four, in a trained dog act — he’d sing and the dogs would perform. Apparently the dogs were so well trained that they could perform the act without him, but that’s the kind of thing that passed for entertainment in 1905 — a singing four-year-old and some dogs. By 1920 he was the best piano player in Kansas City – and that was the opinion of Count Basie, a man who knew a thing or two about piano playing — and he was making a living as a professional arranger — he later claimed that he’d written a large number of classical pieces but that no-one was interested in playing them, but he could make money off the music that became rock and roll. It’s been claimed by some jazz historians that he was the first person ever to write out proper horn charts for a jazz band’s horn section, rather than having them play head arrangements, and while I don’t *think* the timeline works for that, I’m not enough of an expert in early jazz to be confident he wasn’t. If he was, then that makes him responsible for the birth of swing, and specifically for the kind of swing that later ended up becoming rhythm and blues — the kind with an emphasis on rhythm and groove, with slickly arranged horn parts, which came out of Kansas. Stone worked as an arranger in the thirties and forties with Chick Webb, Louis Jordan, and others, and also started dabbling in songwriting. It was a discussion with Cole Porter that he later credited as the impetus for him becoming a serious songwriter. Porter had discovered that Stone was writing some songs, and he asked what tools Stone used. Stone didn’t even understand the question. He later said “I didn’t know what he was talking about. I had never even heard of a rhyming dictionary..I didn’t know what a homonym was. I didn’t know the difference between assonance and alliteration. ‘Tools?’ I said. ‘Hell’, he said, ‘if you’re gonna dig a ditch you use a shovel, don’t you?’ I began to approach songwriting more professionally”. And the results paid off. His first big hit was “Idaho”, recorded by among others Guy Lombardo and Benny Goodman: [excerpt: Benny Goodman “Idaho”] But unlike most of the successful songwriters of the 1940s, he managed to continue his career into the rock and roll era. Stone wrote a huge number of early rock and roll classics, such as “Shake Rattle and Roll”, “Flip, Flop and Fly”, “Smack Dab in the Middle”, “Razzle Dazzle” and “Your Cash Ain’t Nothin’ But Trash”, many of them recorded by Atlantic Records artists such as Ray Charles and Big Joe Turner. This was because Stone was one of the founders of Atlantic. He’d worked with Herb Abramson before the formation of Atlantic Records, and moved with Abramson to Atlantic when the label started, and he was the only black person on the label’s payroll at first. Stone was credited by Ahmet Ertegun as having been the arranger who had most to do with the early rock and roll sound, and it certainly seems likely that it was Jesse Stone, more than all the other staff producers and writers at Atlantic, who pushed Atlantic Records in a rock and roll direction. According to Stone himself, he took a trip down to the Southern states to see why Atlantic’s records weren’t selling there as well as they were in the coastal states, and he realised that the bands playing in bars were playing with far more emphasis on rhythm than the bands Atlantic had. At first, he wasn’t impressed with this music — as he put it later “I considered it backward, musically, and I didn’t like it until I started to learn that the rhythm content was the important thing. Then I started to like it and began writing tunes.” He adapted the rhythms that those bands were playing, especially the bassline — he later said “I designed a bass pattern, and it sort of became identified with rock’n’roll – doo, da-DOO, DUM; doo, da-DOO, DUM – that thing. I’m the guilty person that started that.” But, other than “Shake Rattle and Roll”, the most well-known song Stone wrote — under his Calhoun pseudonym — was “Money Honey” [excerpt “Money Honey”, the Drifters] That song and arrangement owes a lot to the work that Leiber and Stoller had been doing with the Robins, and like those records the song is very, very funny. And this is something I’ve not emphasised enough when I’ve been talking about rhythm and blues records in this series so far — the sense of humour that so many of them had. From Louis Jordan on, the R&B genre wasn’t just about rhythm, though it was of course about that, but it was often uproariously funny. And it was funny in a very particular way — it was funny about the experience of black people living in poverty in cities. Almost all the R&B acts we’ve discussed so far — especially the ones around Johnny Otis — had a very earthy sense of humour, which was expressed in all their recordings. Songs would be about infidelity, being out of work, being drunk, or, as in this case, being desperate for money to pay the landlord and having your girlfriend leave you for someone who had more money. This is something that was largely lost in the transition from R&B to rock and roll, as the music became more escapist and more focused on the frustrations and longings of horny adolescents, but even where rhythm and blues records were about dancing and escapism, they were from a notably more adult and witty perspective than those that followed only a few years later. While Calhoun was the most important figure in the musical side of Atlantic Records, however, he quit by 1956. Atlantic’s bosses wouldn’t agree to make their first black employee and co-founder of the company an equal partner. In July 1953, though, he was working with the Drifters. The lineup on “Money Honey” was a six-piece group — McPhatter, backing singers Bill Pinkney, Andrew and Gerhardt Thrasher, and Willie Ferbee, and guitarist Walter Adams — who was the third guitarist the group had had. They signed to a management contract with George Treadwell, who was at the time also the manager of another Atlantic Records star, Ruth Brown. They also signed to Moe Gale’s booking agency, but by the time of their first show, on October 9 1953, at the Apollo Theatre supporting Lucky Millinder, there’d already been another lineup change — Ferbee had been in an accident and could no longer perform, and the group decided to carry on with just four voices. And by the end of October, tragedy had struck again, as Walter Adams died of a heart attack. So by the time “Money Honey” started to get noticed and went to number one on the R&B charts, the band was already very different from the one that had recorded the song. This new lineup still had McPhatter, though, and quickly followed up their first hit with another, “Such A Night”, which wasn’t as funny as “Money Honey”, but was raunchy and controversial enough that it got banned from the radio, which made people rush to buy it — that one went to number two on the R&B charts: [excerpt: “Such A Night”] Things were going well for the Drifters… but then McPhatter got drafted. He could still record with the band — he was stationed in the US — and the band continued to tour without him. They got David Baughan from the original lineup to rejoin — he could sound enough like McPhatter that he could sing his parts on stage — and when McPhatter’s armed services commitments meant that he couldn’t make a recording session, they’d record duets with other famous acts, like this one with Ruth Brown: [Excerpt: Ruth Brown: “Oh What A Dream”] But eventually the band’s management and Atlantic Records decided that they didn’t need McPhatter to be the lead singer, and it might be more profitable to have the band not be reliant on any particular star — and McPhatter, for his part, was quite keen to start a solo career on his discharge. The Drifters and Clyde McPhatter were going to part. While McPhatter had formed his own group because he didn’t want to be an employee and wanted to have the rights over his own work, he had decided to set things up so that he owned fifty percent of the band’s name, while George Treadwell owned the other fifty percent. When he left the group, he decided to sell his fifty percent stake in the band’s name to Treadwell — which of course meant that the other Drifters were now in precisely the same position as McPhatter had been with the Dominoes, except that there at least the name’s owner had been a band member. Bill Pinkney did later manage to get ownership of the name “the Original Drifters” and many of the fifties members would tour with him under that name in the sixties, but the band name “the Drifters” now belonged not to any of the performers, but to their management. The Drifters went through many, many, lineup changes, and we’ll be picking up their story later, but sadly we won’t be picking up McPhatter’s. McPhatter’s solo career started well, with a duet with Ruth Brown: [excerpt “Love Has Joined Us Together”: Clyde McPhatter and Ruth Brown] Something certainly had joined them together, as Ruth Brown later revealed that McPhatter was the father of her son, Ronald, who now tours as “Clyde McPhatter’s Drifters”. And for a while, McPhatter looked like he would continue being a major star — he had a string of hits between 1955 and 1958, but then the hits started to dry up. He changed labels a few times and would have the occasional one-off hit, but had far more flops than successes. By the early 70s, he was an alcoholic, and Marv Goldberg (whose website I have used as a major resource for this episode) describes him telling someone introduced to him as a fan “I have no fans”, and seeing a show with a drunk McPhatter sitting on the edge of the stage and saying “I’m not used to coming on third; I used to be a star.” He died in 1972, aged thirty-nine, completely unaware of how important his music had been to millions. I said near the start of this episode that I don’t consider the rock and roll hall of fame important, and that’s true, but McPhatter was the first person to be inducted into the hall of fame twice — once as a Drifter and once as a solo artist. Anyone since him who’s been inducted multiple times — people like John Lennon, Eric Clapton, Neil Young, and Michael Jackson — are referred to as members of “the Clyde McPhatter club”.

  Welcome to episode seventeen of A History of Rock Music in Five Hundred Songs. Today we're looking at "Money Honey" by the Drifters. Click the full post to read liner notes, links to more information, and a transcript of the episode.  ----more---- Erratum At one point in the podcast I say "Calhoun was the most important figure in the musical side of Atlantic Records". Obviously I meant "Stone was..." -- Charles Calhoun was only a pen name, and I refer to Jesse Stone as Jesse Stone everywhere else in the episode.   Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. In this case, two tracks are slightly different from the versions I used in the podcast -- I accidentally used copies of Clyde McPhatter's 1960s solo rerecordings of "Money Honey" and "Such a Night" in the Mixcloud. The versions I excerpt in the podcast are the originals. Some of the material here comes from Unsung Heroes of Rock 'n' Roll by Nick Tosches. It's not a book that I like to recommend, as I've said before. Other material comes from  Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues, and The Sound of the City by Charlie Gillett. But given the absence of any books on the Drifters or McPhatter, the resource I've leaned on most for this is Marv Goldberg's website. There are many compilations of McPhatter and the Drifters. This one is a decent one.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There's a thought experiment, popular with the kind of people for whom philosophical thought experiments are popular, called the Ship of Theseus. It asks if you have a ship, and you replace every plank of wood in it as each plank rots away, so eventually you have a ship which doesn't share a single plank with the original -- is that still the same ship that you had at the start, or is it a totally new ship? A little while ago, I saw a Tweet from a venue I follow on Twitter, advertising The Drifters, singing "all their great hits". There's only one problem with this, which is that no-one currently in the Drifters has ever had a hit, and none of them have even ever been in a band with anyone who had a hit as a member of the Drifters. Indeed, I believe that none of them have even been in a band with someone who has been in a band with someone who was in a version of the Drifters that had a hit. This kind of thing is actually quite common these days, as old band members die off -- I've seen a version of The Fourmost which had no members of the Fourmost, a version of the Searchers with none of the original members (though it did have the bass player who joined in 1964 -- and it would have had an original member had he not been sick that day), The New Amen Corner (with no members of the old Amen Corner), all on package tours with other, more "authentic", bands. And of course we talked back in the episode on the Ink Spots about the way that some old bands lose control of their name and end up being replaced on stage by random people who have no connection with the original act. It's sad, but we expect that kind of thing with bands of a certain age. A band like the Drifters, who started nearly seventy years ago now, should be expected to have had some personnel changes. But what's odd about the Drifters is that this kind of thing has been the case right from the beginning of their career. The Drifters formed in May 1953. By July 1955, the band that was touring as the Drifters had no original members left. And by June 1958, the band touring as the Drifters had no members of the July 1955 version. An old version of the band's website, before someone realised that it might be counterproductive to show how little connection there was between the people on stage and the people on their famous records, lists fifty-two different lineups between 1953 and 2004. In the future, everyone will have been lead singer of the Drifters for fifteen minutes. We're going to look at the Drifters quite a bit over the course of this series -- they had hits in the fifties, sixties, and seventies, and some of them were among the most important records of their time. And so the thing to remember when we do that is that whenever we're talking about the Drifters, we're not talking about the same band as we had been the time before. Indeed, the Rock and Roll Hall of Fame (for what this is worth -- I value their opinion fairly low, but in this case it's an interesting indicator – actually inducted the Drifters as *two separate groups*. They're in as "The Drifters" and as "Ben E King and the Drifters", because the Hall of Fame didn't consider them as being the same group. Today, we're mostly going to talk about the second lineup of the Drifters, the one that was together from July through October 1953, and which had only one member in common with the May 1953 lineup of the band. That member was Clyde McPhatter, and he was already something of a star before the Drifters formed, as the lead singer of Billy Ward and his Dominoes. [excerpt "Do Something For Me" -- Billy Ward and his Dominoes] Billy Ward was an exceptional man in many ways -- he was one of the first black people to graduate from the Juilliard School of Music, and he was a hugely talented pianist and arranger. And while he wasn't a particularly strong singer, he *was* a great vocal coach, and so when he noticed that vocal groups were becoming the new big thing in rhythm and blues, he hit upon a surefire way to make money. He'd form a group, featuring his best students, and pay them a salary. He and his agent would own the band name, and they could hire and fire people as they wished. And the students would all work for cheap, because... well, that's what young people do. Indeed, it would go further than them working for low pay. If you were a member of Billy Ward and his Dominoes, and you messed up, you got fined -- and of course the money went straight into Ward's pocket. The Dominoes started out as an integrated group -- their name was because they were black and white, like the spots on a domino. But soon Ward had fired all of the white members, and put together a group that was entirely made up of black people. The music they were performing was in the style that would later become known as doo-wop, but that wasn't a term that anyone used at the time. Back then, this new vocal group sound was just one of the many things that were lumped together under the rhythm and blues label. And as this was still the early stages of the music's development, it was a little different from the music that would later characterise the genre. Doo-Wop started as a style that was strongly influenced by the Ink Spots -- and by acts before them like the Mills Brothers. It was music made by impromptu groups on street corners, sung by people who had no instruments to accompany them, and so it relied on the techniques that had been used by the coffee-pot groups of the twenties and thirties -- imitating musical instruments with one's mouth. These days, thanks largely to its late-fifties and early-sixties iteration in which it was sung by Italian-American men in sharp suits, there's a slight aura of sophistication and class around doo-wop music. It's associated in a very general sort of way with the kind of music that the Rat Pack and their ilk made, though in reality there's little connection other than the ethnicity of some of its more famous performers. But doo-wop in its early years was the music of the most underprivileged groups -- it was music made by people who couldn't afford any other kind of entertainment, who couldn't afford instruments, who had nothing else they could do. It was the music of the streets, in a very literal way -- people, usually black people but also Latino and Italian-Americans, would stand on street corners and sing. Doo-wop would later become a very formalised genre, and thus of less interest, but early on some of the music in the genre was genuinely innovative. Precisely because it was made by untutored teenagers, it was often astoundingly inventive in its harmonies and rhythms. And the particular innovation that the Dominoes introduced was bringing in far more gospel flavour than had previously been used in vocal group music. The earlier vocal groups, like the Ravens or the Orioles, had had very little in the way of gospel or blues influence -- they mostly followed the style set by the Ink Spots, of singing very clean, straight, melody lines with no ornamentation or melisma. The Dominoes, on the other hand, were a far more gospel-tinged band, and that was mostly down to Clyde McPhatter. Clyde McPhatter was the lead singer on most of the band's biggest records -- although he was billed as Clyde Ward, with the claim that he was Ward's brother, in order to stop him from becoming too much of a star in his own right, and possibly deserting the Dominoes. McPhatter was actually a church singer first and foremost, and had expressed extreme reluctance to move into secular music, but eventually he agreed, and became the Dominoes' star performer. Their biggest hit, though, didn't have McPhatter singing lead, and was very different from their other records. "Sixty Minute Man" was, for the time, absolutely filthy. [Excerpt of "Sixty Minute Man"] Now, that doesn't sound like anything particularly offensive to our ears, but in the early 1950s, that was absolutely incendiary stuff. And again, along with the fact that radio stations were more restrained in the early fifties than they are these days, there is cultural context that it's easy to miss. For example, the line "they call me loving Dan" -- Dan was often the name of the "back door man" in blues or R&B songs -- the man who'd be going out of the back door when the husband was coming in the front. (And "back door man" itself was a phrase that could be taken to have more meanings than the obvious...) The song was popular enough in the R&B field that it inspired other artists to change their songs. Ruth Brown's big hit "five-ten-fifteen hours" was originally written to have her asking for "five-ten-fifteen minutes of loving" until someone pointed out that in the era of "sixty minute man" fifteen minutes of loving didn't seem very much. "Sixty Minute Man" was remarkable in another way -- it crossed over from the rhythm and blues charts to the pop charts, which was something that basically *never* happened in 1951. I've seen claims that it was the first rock and roll record to do so, and I suppose that depends on what you count as a rock and roll record -- Louis Jordan had had several crossover hits over the previous few years -- but if you're counting rock and roll musicians as only being people who started recording around 1948 or later, then it may well be. If it's not the first, it was certainly *one* of the first, and like all big hits at the time it inspired a wave of imitators. However, Bill Brown, the lead singer on the song, quit in 1952 to form his own band, the Checkers. He took with him Charlie White, who had sung lead on an early Dominoes track, this duet with Little Esther: [excerpt: Little Esther and the Dominoes "The Deacon Moves In"] With both the other main singers having left the band more or less simultaneously, Clyde McPhatter was left as the default star of the show. There was no-one else who was even slightly challenging him for the role by this point, and the Dominoes' records became a showcase for his vocals. Once McPhatter was the star, the band moved away from the more uptempo rock style to a more ballad-based style which suited McPhatter's voice better. But they still had a knack for controversial subject matter and novelties, as one of their biggest hits shows: [excerpt: "The Bells", Billy Ward and his Dominoes] That kind of over-the-top display of emotion, taken well past the point of caricature, would soon become one of the hallmarks of the more interesting black vocalists of the period. You can hear in that song the seeds of Screamin' Jay Hawkins, for example -- and James Brown would often perform "The Bells" in his early shows, even pushing a pram containing a doll, representing the dead woman in the song, across the stage. But what's also obvious from that record is that McPhatter was clearly a remarkable singer. He was the star of the show, and the reason that people came to see Billy Ward and the Dominoes -- and soon he decided that it was unfair that he was making $100 a week, minus costs, while Ward was becoming rich. He didn't want to be an interchangeable Domino any more, he was going to make his own career and become a star himself. He stayed in the band for long enough to train his replacement, a new young singer named Jackie Wilson who had been discovered by Johnny Otis, and then left. (At the same time a couple of other band members left. One of their replacements was Cliff Givens, who had previously been a temporary Ink Spot for five months between Hoppy Jones dying and Herb Kenny replacing him). The Dominoes continued on for quite some time after McPhatter left them, but while they scored a few more hits, the way the band's career progressed can probably best be summed up by their sequel to "Sixty Minute Man" from 1955: [excerpt: Billy Ward and the Dominoes "Can't Do Sixty No More"] Jackie WIlson, of course, was a fantastic singer and if you had to replace Clyde McPhatter with anyone he was as good a choice as you could make, but McPhatter was sorely missed in their shows. Shortly after the lineup change -- indeed, some have claimed on the very first day after McPhatter left -- Ahmet Ertegun of Atlantic Records went to see the Dominoes live, and saw that McPhatter wasn't there. When he discovered that the lead singer of the biggest vocal group in the North-East was no longer with them, he left the venue immediately and went running from bar to bar looking for McPhatter. As soon as he found him, he signed him that night to Atlantic Records, and it was agreed that McPhatter would put together his own backing group -- which became the first lineup of the Drifters. That first lineup was made up of people from McPhatter's church singing group -- one of whom, incidentally, was the brother of the author James Baldwin. That lineup -- Clyde McPhatter, David Baughan, William Anderson, David Baldwin, and James Johnson -- recorded four tracks together, but only one was ever released, "Lucille": [excerpt "Lucille", Clyde McPhatter and the Drifters] Hearing that, it doesn't sound like there was anything wrong with the band, but clearly Atlantic disagreed -- I've heard it claimed by some of the later members of the group that Atlantic thought this first version of the Drifters had voices that were too light for backing McPhatter. Either way, there was a new lineup in place by a few weeks later, with only McPhatter of the original band, and that lineup would last a whole four months and get a hit record out. Their first session included versions of five songs, including the other three that were recorded but never released by the initial lineup. But one of the two new songs was the one that would make the band stars. That song, "Money Honey", was written by Jesse Stone, or Charles Calhoun to give him his pen-name. You'll remember we discussed him in episode two, talking about how he wrote "Shake, Rattle, and Roll", and in episode four, talking about how Louis Jordan ended up taking Stone's entire band and making them into the Tympany Five. Stone was a fascinating man, who lived a long, long, life that spanned the twentieth century almost completely -- he was born in 1901 and died in 1999 -- and his entertainment career lasted almost as long. He'd started performing professionally in 1905, at the age of four, in a trained dog act -- he'd sing and the dogs would perform. Apparently the dogs were so well trained that they could perform the act without him, but that's the kind of thing that passed for entertainment in 1905 -- a singing four-year-old and some dogs. By 1920 he was the best piano player in Kansas City - and that was the opinion of Count Basie, a man who knew a thing or two about piano playing -- and he was making a living as a professional arranger -- he later claimed that he'd written a large number of classical pieces but that no-one was interested in playing them, but he could make money off the music that became rock and roll. It's been claimed by some jazz historians that he was the first person ever to write out proper horn charts for a jazz band's horn section, rather than having them play head arrangements, and while I don't *think* the timeline works for that, I'm not enough of an expert in early jazz to be confident he wasn't. If he was, then that makes him responsible for the birth of swing, and specifically for the kind of swing that later ended up becoming rhythm and blues -- the kind with an emphasis on rhythm and groove, with slickly arranged horn parts, which came out of Kansas. Stone worked as an arranger in the thirties and forties with Chick Webb, Louis Jordan, and others, and also started dabbling in songwriting. It was a discussion with Cole Porter that he later credited as the impetus for him becoming a serious songwriter. Porter had discovered that Stone was writing some songs, and he asked what tools Stone used. Stone didn't even understand the question. He later said "I didn't know what he was talking about. I had never even heard of a rhyming dictionary..I didn't know what a homonym was. I didn't know the difference between assonance and alliteration. 'Tools?' I said. 'Hell', he said, 'if you're gonna dig a ditch you use a shovel, don't you?' I began to approach songwriting more professionally". And the results paid off. His first big hit was "Idaho", recorded by among others Guy Lombardo and Benny Goodman: [excerpt: Benny Goodman "Idaho"] But unlike most of the successful songwriters of the 1940s, he managed to continue his career into the rock and roll era. Stone wrote a huge number of early rock and roll classics, such as "Shake Rattle and Roll", "Flip, Flop and Fly", "Smack Dab in the Middle", "Razzle Dazzle" and "Your Cash Ain't Nothin' But Trash", many of them recorded by Atlantic Records artists such as Ray Charles and Big Joe Turner. This was because Stone was one of the founders of Atlantic. He'd worked with Herb Abramson before the formation of Atlantic Records, and moved with Abramson to Atlantic when the label started, and he was the only black person on the label's payroll at first. Stone was credited by Ahmet Ertegun as having been the arranger who had most to do with the early rock and roll sound, and it certainly seems likely that it was Jesse Stone, more than all the other staff producers and writers at Atlantic, who pushed Atlantic Records in a rock and roll direction. According to Stone himself, he took a trip down to the Southern states to see why Atlantic's records weren't selling there as well as they were in the coastal states, and he realised that the bands playing in bars were playing with far more emphasis on rhythm than the bands Atlantic had. At first, he wasn't impressed with this music -- as he put it later "I considered it backward, musically, and I didn't like it until I started to learn that the rhythm content was the important thing. Then I started to like it and began writing tunes." He adapted the rhythms that those bands were playing, especially the bassline -- he later said "I designed a bass pattern, and it sort of became identified with rock'n'roll - doo, da-DOO, DUM; doo, da-DOO, DUM - that thing. I'm the guilty person that started that." But, other than "Shake Rattle and Roll", the most well-known song Stone wrote -- under his Calhoun pseudonym -- was "Money Honey" [excerpt "Money Honey", the Drifters] That song and arrangement owes a lot to the work that Leiber and Stoller had been doing with the Robins, and like those records the song is very, very funny. And this is something I've not emphasised enough when I've been talking about rhythm and blues records in this series so far -- the sense of humour that so many of them had. From Louis Jordan on, the R&B genre wasn't just about rhythm, though it was of course about that, but it was often uproariously funny. And it was funny in a very particular way -- it was funny about the experience of black people living in poverty in cities. Almost all the R&B acts we've discussed so far -- especially the ones around Johnny Otis -- had a very earthy sense of humour, which was expressed in all their recordings. Songs would be about infidelity, being out of work, being drunk, or, as in this case, being desperate for money to pay the landlord and having your girlfriend leave you for someone who had more money. This is something that was largely lost in the transition from R&B to rock and roll, as the music became more escapist and more focused on the frustrations and longings of horny adolescents, but even where rhythm and blues records were about dancing and escapism, they were from a notably more adult and witty perspective than those that followed only a few years later. While Calhoun was the most important figure in the musical side of Atlantic Records, however, he quit by 1956. Atlantic's bosses wouldn't agree to make their first black employee and co-founder of the company an equal partner. In July 1953, though, he was working with the Drifters. The lineup on "Money Honey" was a six-piece group -- McPhatter, backing singers Bill Pinkney, Andrew and Gerhardt Thrasher, and Willie Ferbee, and guitarist Walter Adams -- who was the third guitarist the group had had. They signed to a management contract with George Treadwell, who was at the time also the manager of another Atlantic Records star, Ruth Brown. They also signed to Moe Gale's booking agency, but by the time of their first show, on October 9 1953, at the Apollo Theatre supporting Lucky Millinder, there'd already been another lineup change -- Ferbee had been in an accident and could no longer perform, and the group decided to carry on with just four voices. And by the end of October, tragedy had struck again, as Walter Adams died of a heart attack. So by the time "Money Honey" started to get noticed and went to number one on the R&B charts, the band was already very different from the one that had recorded the song. This new lineup still had McPhatter, though, and quickly followed up their first hit with another, "Such A Night", which wasn't as funny as "Money Honey", but was raunchy and controversial enough that it got banned from the radio, which made people rush to buy it -- that one went to number two on the R&B charts: [excerpt: "Such A Night"] Things were going well for the Drifters... but then McPhatter got drafted. He could still record with the band -- he was stationed in the US -- and the band continued to tour without him. They got David Baughan from the original lineup to rejoin -- he could sound enough like McPhatter that he could sing his parts on stage -- and when McPhatter's armed services commitments meant that he couldn't make a recording session, they'd record duets with other famous acts, like this one with Ruth Brown: [Excerpt: Ruth Brown: "Oh What A Dream"] But eventually the band's management and Atlantic Records decided that they didn't need McPhatter to be the lead singer, and it might be more profitable to have the band not be reliant on any particular star -- and McPhatter, for his part, was quite keen to start a solo career on his discharge. The Drifters and Clyde McPhatter were going to part. While McPhatter had formed his own group because he didn't want to be an employee and wanted to have the rights over his own work, he had decided to set things up so that he owned fifty percent of the band's name, while George Treadwell owned the other fifty percent. When he left the group, he decided to sell his fifty percent stake in the band's name to Treadwell -- which of course meant that the other Drifters were now in precisely the same position as McPhatter had been with the Dominoes, except that there at least the name's owner had been a band member. Bill Pinkney did later manage to get ownership of the name "the Original Drifters" and many of the fifties members would tour with him under that name in the sixties, but the band name "the Drifters" now belonged not to any of the performers, but to their management. The Drifters went through many, many, lineup changes, and we'll be picking up their story later, but sadly we won't be picking up McPhatter's. McPhatter's solo career started well, with a duet with Ruth Brown: [excerpt "Love Has Joined Us Together": Clyde McPhatter and Ruth Brown] Something certainly had joined them together, as Ruth Brown later revealed that McPhatter was the father of her son, Ronald, who now tours as "Clyde McPhatter's Drifters". And for a while, McPhatter looked like he would continue being a major star -- he had a string of hits between 1955 and 1958, but then the hits started to dry up. He changed labels a few times and would have the occasional one-off hit, but had far more flops than successes. By the early 70s, he was an alcoholic, and Marv Goldberg (whose website I have used as a major resource for this episode) describes him telling someone introduced to him as a fan "I have no fans", and seeing a show with a drunk McPhatter sitting on the edge of the stage and saying "I'm not used to coming on third; I used to be a star." He died in 1972, aged thirty-nine, completely unaware of how important his music had been to millions. I said near the start of this episode that I don't consider the rock and roll hall of fame important, and that's true, but McPhatter was the first person to be inducted into the hall of fame twice -- once as a Drifter and once as a solo artist. Anyone since him who's been inducted multiple times -- people like John Lennon, Eric Clapton, Neil Young, and Michael Jackson -- are referred to as members of "the Clyde McPhatter club".

Back at it again in 2019 with the first Dynamite Hemorrhage Radio of the new year, our 129th. Aside from flogging our new fanzine relentlessly, we focus this time on many varieties of sub-underground rocknroll from the last five decades or so. New stuff is played by THE SHIFTERS, SKIFTANDE ENHETER, GROOVE DOMESTIC PRODUCT, CURRENT AFFAIRS and MAXINE FUNKE. Not-new material is presented from Smack Dab, The Bo-Weevils, 1/2 Japanese, Brannten Schnüre, 45 Grave, The Kiwi Animal, The Drugs and more.Track listing:SKIFTANDE ENHETER - Om Du Sett Mig NuTHE SHIFTERS - Photo OpSMACK DAB - Walking GardenTHE KIWI ANIMAL - Flying (Again!)MAXINE FUNKE - Through The TreesROACHCLIP - Appearing Ill THE DRUGS - Va Va VoomGROOVE DOMESTIC PRODUCT - Desperation BluesDWARVES - NothingTHE NIGHTS AND DAYS - Garbage CanBO-WEEVILS - That GirlTHE REVILLOS - Motorbike BeatEXPANDO BRAIN - God’s WordsCURRENT AFFAIRS - Breeding Feeling45 GRAVE - WaxSPERM WAILS - Lady Chatterley½ JAPANESE - Calling All GirlsSEX TIDE - Never Get To YouBRANNTEN SCHNÜRE - Brüderchen und Schwesterchen

This week I'm joined by two guests: Mike Gebert, excellent food writer/editor of Fooditor (fooditor.com) and Chef Won Kim, food magician behind Kimski (kimskichicago.com // 954-960 W 31st St, Chicago, IL 60608). Fooditor just published its annual must-read "Fooditor 99" collection of places to eat in Chicago, and for this episode we went to Kimski (which is one of the 99).  Chef Won Kim arrived with veritable Kimski buffet which didn't last long in the Mazda. Buy The Fooditor 99: Where To Eat and What To Eat There: 2019 Edition Eat at Kimski. KIMSKI SEGMENT "Ko-Po" cuisine: Did Mike make up that name? Where did the Korean/Polish cuisine concept come from? Regulated pre-show shots were consumed. You'd never guess what's behind the doors of Kimski if you walked by on the street ("we wanted something cool, and something modernist"). Regarding Yelp: Never read the comments. The Kimski food is amazing. We sampled: The Maria Standard, which started it all. Kimski makes its own sauerkraut, and it's really good. They also make their own soju mustard. Holy crap. Gołąbki: Polish cabbage rolls with a meat chili sauce. Polish dumplings, similar to gnocchi. Kopu Wangs (Wings). Complex and delicious, and they made me swear. Kimski poutine. Wow. I could have had that for a meal. Trips to Pekin House on Devon Avenue back in the day. Chef Won's appearances on the Food Network ("Cutthroat Kitchen" and "some really shitty show with Anne Burrell"). Kimski's pork chop sandwich competition. Chef Won can use salty language at times ("don't ask stupid, tired questions"). FOODITOR SEGMENT Mike is a "frequent podcast guest." Food trends in Chicago. Is charcuterie still a trend? Oriole: A crown jewel in Chicago's restaurant scene "What's the point of living in a city this large and not taking advantage of its resources?" Roosevelt Road is Chicago's Berlin Wall. "Dickhole" is a Car Con Carne first! What restaurant is housed in a former "rub & tug?" Five Loaves: Nicest restaurant in its area. The always-consistent Duck Inn: Chef Hickey gets lots of praise. Smack Dab in Rogers Park: An "adorably woke cafe." Tempesta Market in West Town. I was drooling as Mike and Chef Won were talking about it. Mango Pickle: The Indian joint that's not on Devon Avenue. Schaumburg isn't just a chain restaurant mecca. passerrotto: For a "big, warm accessible meal." Pork brings us together. The Chicago restaurant "classics": Johnnie's Beef, Superdawg, Vito & Nick's, Pequod's, Lem's, Calumet Fisheries. My long history with Calumet Fisheries. Car Con Carne is presented by:  

This week I'm joined by two guests: Mike Gebert, excellent food writer/editor of Fooditor (fooditor.com) and Chef Wan, the food magician behind Kimski (kimskichicago.com // 954-960 W 31st St, Chicago, IL 60608). Fooditor just published its annual must-read "Fooditor 99" collection of places to eat in Chicago, and for this episode we went to Kimski (which is one of the 99).  Chef Wan arrived with veritable Kimski buffet which didn't last long in the Mazda. Buy The Fooditor 99: Where To Eat and What To Eat There: 2019 Edition Eat at Kimski. KIMSKI SEGMENT "Ko-Po" cuisine: Did Mike make up that name? Where did the Korean/Polish cuisine concept come from? Regulated pre-show shots were consumed. You'd never guess what's behind the doors of Kimski if you walked by on the street ("we wanted something cool, and something modernist"). Regarding Yelp: Never read the comments. The Kimski food is amazing. We sampled: The Maria Standard, which started it all. Kimski makes its own sauerkraut, and it's really good. They also make their own soju mustard. Holy crap. Gołąbki: Polish cabbage rolls with a meat chili sauce. Polish dumplings, similar to gnocchi. Kopu Wangs (Wings). Complex and delicious, and they made me swear. Kimski poutine. Wow. I could have had that for a meal. Trips to Pekin House on Devon Avenue back in the day. Chef Wan's appearances on the Food Network ("Cutthroat Kitchen" and "some really shitty show with Anne Burrell"). Kimski's pork chop sandwich competition. Chef Wan can use salty language at times ("don't ask stupid, tired questions"). FOODITOR SEGMENT Mike is a "frequent podcast guest." Food trends in Chicago. Is charcuterie still a trend? Oriole: A crown jewel in Chicago's restaurant scene "What's the point of living in a city this large and not taking advantage of its resources?" Roosevelt Road is Chicago's Berlin Wall. "Dickhole" is a Car Con Carne first! What restaurant is housed in a former "rub & tug?" Five Loaves: Nicest restaurant in its area. The always-consistent Duck Inn: Chef Hickey gets lots of praise. Smack Dab in Rogers Park: An "adorably woke cafe." Tempesta Market in West Town. I was drooling as Mike and Chef Wan were talking about it. Mango Pickle: The Indian joint that's not on Devon Avenue. Schaumburg isn't just a chain restaurant mecca. passerrotto: For a "big, warm accessible meal." Pork brings us together. The Chicago restaurant "classics": Johnnie's Beef, Superdawg, Vito & Nick's, Pequod's, Lem's, Calumet Fisheries. My long history with Calumet Fisheries. Car Con Carne is presented by:  

Take about a minute to find out about what John is thinking the market will do. Join the live webinar each week, for full market analysis details and insight each week along with how six different strategies are profiting. https://www.lockeinyoursuccess.com/weekly-market-and-position-update/ SEE THE CHARTS AT:https://www.lockeinyoursuccess.com/market-outlook-for-november-19-2018-smack-dab-in-the-middle/

Todays Bold Truth is Deuteronomy 7:21 - dread and fear can’t exist in our midst!

Taste some of the best donuts in Chicago while sipping on mimosas or beer (for those of age!) and coffee while taking in views of the zoo’s amazing animals & gardens. GA TICKETS INCLUDE: Donut tastings from some of Chicago's most famous donut shops & bakeries available from 10am-4pm Vendors: D&D's Place, DB3, Dinky Donuts, Firecakes, Ipsento, Krispy Kreme, Nothing Bundt Cakes, Roeser's Bakery, Smack Dab, Something Sweet, Stan's Donuts Admission to the event at Lincoln Park Zoo, giving guests exclusive, limited capacity access to animal exhibits (including Robert and Mayari Pritzker Penguin Cove, Walter Family Arctic Tundra, McCormick Bird House and more!) from 10am-5pm Unique animal programming specially curated for this event (please see below for details!) Interactive games Live entertainment Giveaways and MORE! VIP TICKETS INCLUDE: Everything included with the GA ticket plus 2 drink tickets valid for mimosa, domestic beer, coffee or bottled water!

Matt & De'sean speak music and life of the city. Detroit has harbored so many great talents, I am thankful to have met such a talented and generous person.   Link to album:https://knmdk.bandcamp.com/album/knmdk-001-knomadik-lp

Joe Watson Hackl is an attorney in South Carolina, but today we'll be talking about her debut novel for younger readers and up, which is set in her native state of Mississippi. While not autobiographical in terms of plot, Jo's love of the Mississippi countryside is one of the major aspects of Smack Dab in the Middle of Maybe.

We sit down with Christine Forster to talk about Smack Dab, the local cafe in Rogers Park! We talk about food inclusivity and accessibility, balancing aesthetic and taste, living in… The post Scapi Radio 04.24.18 Smack Dab, Christine Forster appeared first on Scapi Magazine.

HAPPY THANKSGIVING!!!! Please listen to my Thanksgiving message to you all--I mean it from the bottom of my heart! THANK YOU! Coach Shane Today’s English expression and dialog: smack-dab in the middle Why are you covering your face? I got a new zit. Who cares! It’s smack-dab in the middle of my nose!   Subscribe on iTunes and get this English podcast EVERY DAY! PLEASE support my sponsors: (Get a free AUDIO BOOK!) Study English, FREE ENGLISH LESSONS, on our YouTube channels: Support the Let’s Master English team! On PayPal: Send to Or you can go here:   Today's Daily Easy English Expression PODCAST is UP and READY for YOU!! #LME #LearnEnglish #ESL

February 28, 2016

 Show #287   Jim White vs. The Packway Handle Band - Smack Dab in a Big Tornado  (Honky Tonk Land)(mic break)Jake Xerxes Fussell - All In Down and Out  (Take It Like A Man) (mic break) Flagship Romance - A Strange Thing  (Take It Like A Man) Here's the iTunes link to subscribe to the FTB podcasts.  Direct link to listen now!RSS feed: http://ftbpodcasts.libsyn.com/rssFreight Train Boogie Americana Android App   Twitter: @Fratrain Flipboard: Americana Boogie Music     (Feb. 6th, 2015)Bill Frater

Riggio, Anita. SMACK DAB IN THE MIDDLE