Podcast appearances and mentions of Steve Binder

On the 62nd Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & special guest, singer, guitarist and bassist from the Ace Frehley Band, Gene Simmons Band and also Rock City Machine Co, Ryan Spencer Cook, review the 1968 legendary album from Elvis Presley, "NBC TV Special" or better known as the "1968 Comeback Special." By 1968 Elvis had not performed live since 1960. Although, his movie career had been a tremendous success, even making him the highest paid actor in Hollywood, Elvis was not satisfied creatively. His music had been basically soundtracks to his movies and Elvis was frustrated. Since Elvis rocket stardom was born out of his legendary television performance, Elvis and along with young television producer Steve Binder, created a TV Special that would become affectionately known as the 1968 Comeback Special. Ignoring his manager Colonel Tom Parker's insistence that the TV Special be a Christmas theme event, Elvis & Steve Binder created a TV Special that would end up being the highest rated tv show of the year gaining 42% of the television audience. This special brought the KING back! The television special including various types of performances. Elvis performed some of his greatest hits, sometimes alone, sometimes with his original band in an intimate round setting, sometimes in sketches and even with dancers and gospel singers. The songs were varied and styles as well, matching Elvis' versatile appeal. The audience was young and attractive and Elvis wore various outfits, including the leather outfit which has become legendary and synonymous with this performance. Elvis never looked as good or sounded as good as well. The album went to number 8 on US Billboard charts and eventually platinum. There are numerous variations of this album and special releases that include a lot of the songs not featured in the television special. But all versions, include his incredible medley of Trouble / Guitar Man and the medley of his biggest hits like Love Me Tender, Hound Dog, Heartbreak Hotel, All Shook up and more. The album does include his single, If I Can Dream, which may be Elvis' greatest performance of all time. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous albums reviewed on the Album Review Crew. This was obviously Zeus' pick. So as Eddie Murphy says, "We got to win this race!" and we want to thank you, thank you very much, you're a beautiful audience thank you! To Purchase Elvis Presley's “NBC TV Special” On Amazon Click Below:   Elvis Presley's "NBC TV Special"   To Purchase Shout It Out Loudcast's KISS Book “Raise Your Glasses: A Celebration Of 50 Years of KISS Songs By Celebrities, Musicians & Fans Please Click Below:   Raise Your Glasses Book   For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

On the 62nd Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & special guest, singer, guitarist and bassist from the Ace Frehley Band, Gene Simmons Band and also Rock City Machine Co, Ryan Spencer Cook, review the 1968 legendary album from Elvis Presley, "NBC TV Special" or better known as the "1968 Comeback Special." By 1968 Elvis had not performed live since 1960. Although, his movie career had been a tremendous success, even making him the highest paid actor in Hollywood, Elvis was not satisfied creatively. His music had been basically soundtracks to his movies and Elvis was frustrated. Since Elvis rocket stardom was born out of his legendary television performance, Elvis and along with young television producer Steve Binder, created a TV Special that would become affectionately known as the 1968 Comeback Special. Ignoring his manager Colonel Tom Parker's insistence that the TV Special be a Christmas theme event, Elvis & Steve Binder created a TV Special that would end up being the highest rated tv show of the year gaining 42% of the television audience. This special brought the KING back! The television special including various types of performances. Elvis performed some of his greatest hits, sometimes alone, sometimes with his original band in an intimate round setting, sometimes in sketches and even with dancers and gospel singers. The songs were varied and styles as well, matching Elvis' versatile appeal. The audience was young and attractive and Elvis wore various outfits, including the leather outfit which has become legendary and synonymous with this performance. Elvis never looked as good or sounded as good as well. The album went to number 8 on US Billboard charts and eventually platinum. There are numerous variations of this album and special releases that include a lot of the songs not featured in the television special. But all versions, include his incredible medley of Trouble / Guitar Man and the medley of his biggest hits like Love Me Tender, Hound Dog, Heartbreak Hotel, All Shook up and more. The album does include his single, If I Can Dream, which may be Elvis' greatest performance of all time. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous albums reviewed on the Album Review Crew. This was obviously Zeus' pick. So as Eddie Murphy says, "We got to win this race!" and we want to thank you, thank you very much, you're a beautiful audience thank you! To Purchase Elvis Presley's “NBC TV Special” On Amazon Click Below:   Elvis Presley's "NBC TV Special"   To Purchase Shout It Out Loudcast's KISS Book “Raise Your Glasses: A Celebration Of 50 Years of KISS Songs By Celebrities, Musicians & Fans Please Click Below:   Raise Your Glasses Book   For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

Austin for a Fresh Conversation is joined by Hollywood mogul Dacre Montgomery! You might be familiar with his work in hit Netflix show 'Stranger Things' as Billy Hargrove, or when he appeared in 'Elvis' as Steve Binder, or perhaps even from 'Power Rangers' as Jason Lee Scott!    He's now starring in 'Went Up The Hill' and apart of the Adelaide Film Festival, a Thriller/Drama that's sure to keep you guessing and on your toes.   Keep up to date on our socials.                                                                                  Instagram - @fresh927                                                                                              Facebook - Fresh 92.7See omnystudio.com/listener for privacy information.

Austin for a Fresh Conversation is joined by Hollywood mogul Dacre Montgomery! You might be familiar with his work in hit Netflix show 'Stranger Things' as Billy Hargrove, or when he appeared in 'Elvis' as Steve Binder, or perhaps even from 'Power Rangers' as Jason Lee Scott!    He's now starring in 'Went Up The Hill' and apart of the Adelaide Film Festival, a Thriller/Drama that's sure to keep you guessing and on your toes.   Keep up to date on our socials.                                                                                  Instagram - @fresh927                                                                                              Facebook - Fresh 92.7See omnystudio.com/listener for privacy information.

George Beckerman joined me to talk about early TV, his first writing job, 1983's NBC Yummy Awards; Paul Winchell and Pinky Lee; growing up in Forest Hills; going to high school with Jerry Springer; going into the textile business; getting his suits on the cover of GQ; selling his business and moving to LA; writing a screenplay "Beverly Hills Shrink" for Fred Weintraub; writing a special "Blondes vs. Brunettes" directed by Steve Binder; seeing Joan Collins sans makeup and working with Don Novello; pitching 30 episode ideas to the producers of Alice; getting a job on TBS sitcom Safe at Home with pissed off cast; hiring Dan O'Shannon and Tom Anderson; an arrest during rehearsal; pitching for Head of the Class and a movie for Gene Wilder; first head of the Class "The Russians are Coming"; the problems and greatness of multi-cam comedies; writing "Child of the 60's" and meeting Lori Petty; writing "Parent's Night" and having 23 characters to write; writing Trouble in Perfectville for Robin Givens and having it changed; working with Tannis Vallely and her father on two different shows; Howard Hesseman; becoming friends with Robin Givens and her mother and needing to get Mike Tyson off the set; Leslie Bega and Khrystyne Haje; creating and leaving "Molloy"; becoming friends with Mayim Bialik; Jennifer Aniston; fighting with Bill Bixby on the set of "Man of the People"; Monty has great cast including Henry Winkler, David Schwimmer, and China Kantner - daughter of Grace Slick and Paul Kantner, but was short lived; The Jackie Thomas show was the most fun he had; trying to turn Jackie Thomas into a modern day Dick Van Dyke; playing tennis with Norm MacDonald; working with Chris Farley; meeting his wife Geraldine Leder writing for "Secret Service Guy" a show that never aired; having his film script optioned by Ben Stiller and not getting a budget; writing a Lifetime movie for Kirstie Alley; a Hallmark time travel movie; writing for children's television; making a short film "Autocowrecked"; writing a song with a member of Foster the People; the current state of TV as a business; Adam I. Lapidus and the Simpsons

The 1968 television special that became the comeback of the King would not have had that kind of impact had it not been for Steve Binder. Steve was the man behind the scenes for the '68 Comeback Show and talks candidly about his role in making a show that Elvis would be proud of, rather than the version that Colonel Tom and the networks envisaged. Steve's memories of his time with Elvis are priceless, including the catalyst for the unplugged Elvis jam session and where Baz Luhrmann took license in his blockbuster film.     Hosts Mark Andrew and Kevin Hillier take you inside the Kingdom with access to the people who were there when the legend was at his highest and lowest. Hear amazing Elvis stories from  staff, friends, fans, fellow musicians, promoters and some sources that will surprise.  Mark Andrew has been paying homage to Elvis in his live tribute shows for decades and Kevin has been playing Elvis songs on the radio for even longer. They are the perfect combination to bring Elvis to the fans, old and new.     Any questions please contact us elvispresleypodcast@gmail.com See omnystudio.com/listener for privacy information.

you can watch this episode on ⁠⁠http://youtube.rtownpod.com⁠⁠ or on ⁠⁠http://spotify.rtownpod.com⁠⁠ also check out our Facebook & Instagram ⁠http://Facebook.com/rtownpod ⁠⁠http://Instagram.com/rtownpod⁠ Headlines: Ian Ziering Attacked by mini bikers(tourist on scooters) Lauren Bobert leaves her district to run in another she has a better chance of winning Earthquakes in Japan and L.A. Mickey Mouse Steamboat Willy in the public domain – already a slasher movie Tom Wilkinson R.I.P. Shecky Greene R.I.P. There's one person willing to defend the Holiday Special on the record — pioneering TV director Steve Binder who had nothing but fond memories about being part of it. “I had a great time shooting it. I got to work with all of the cast of the original, and we had a crack A-plus television crew on the show." "The public never knew this wasn't Star Wars II," he notes. "This was a television show that Lucas sold CBS to sell toys to kids, and that's all it was. Everybody who tuned in without that knowledge was expecting it to be a big expensive movie! But Lucas made a deal with Hasbro and wanted to get on national television to sell merchandise, and that was the whole purpose of the show to begin with. The public never knew any of this — it was behind the scenes." Dead Kennedys and their debut album, “Fresh Fruit for Rotting Vegetables,” which was certified gold by the RIAA on Friday, some 43-plus years after its October 1980 release. New Movies for January 1/5 Night Swim 1/12 Mean Girls (2023) 1/12 The Beekeeper (Jason Statham) 1/12 The Book of Clarence 1/19 I.S.S. 1/21 Cowboy Bebop: The Movie(re-re'release) 1/26 Miller's Girl Biggest New TV Shows Coming in 2024 Echo Disney+ 1/9 True Detective: Night Country HBO 1/14 Masters of the Air Apple TV 1/26 Mr. & Mrs. Smith Prime 2/2 Avatar: The Last Airbender Netflix 2/22 TWD: The Ones Who Live AMC 2/25 Fallout Amazon Prime 4/12 Star Wars: The Acolyte Disney+ TBD The Penguin HBO TBD Sharing is Caring (Book, restaurant, movie, TV show, article, etc. to share) Born On The Bayou: A Heavy Underground Tribute To Creedence Clearwater Revival   End on something positive: if you want to see this week's top 5go to ⁠http://patreon.com/rtownpodcast Top 5: Favorite Celebrity Animal Lassie Gary Fisher (Carrie Fisher's dog) Bruce the Shark Grumpy the Cat Princess Monster Truck R-Take – Monarch from Apple TV

This is A Classic Takin A Walk Replay with Spencer Proffer and Steve Binder talking about their Paramount + Documentary "Reinventing Elvis-The 68 Comeback." This Documentary is one of the best of 2023.Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

To my loyal audience,I just want you to know that my show is one of the casualties of the WGA and SAG-AFTRA strikes.I have had several guests cancel their interviews with me to show their solidarity with the strike. The Jan Price Show All About Movies also stands in solidarity with the strike!So, due to the strikes, we will be airing encore shows. Thank you for your continued listening and your loyalty to the show!Stay tuned…JanEncore! Producer-Director Steve Binder discusses with Jan Price his new documentary, "Reinventing Elvis: The 68' Comeback," – now streaming on Paramount+!Reinventing Elvis: The '68 Comeback is the true story of what really happened behind the scenes while making the legendary 1968 Comeback Special. Elvis and Director Steve Binder are pitted against Elvis' notorious manager, Col. Tom Parker, as they create a seminal pop culture event. Hosted on Acast. See acast.com/privacy for more information.

Steve Binder is an Emmy and ACE award-winning producer, director, writer, educator, and Golden Globe nominee. He was the creator, director, and producer of ELVIS, The ‘68 Comeback Special and now the author of Elvis '68 Comeback: The Story Behind The Special.  Great Elvis Stories!

Greetings programs!  This week, Rachel subs in for Simon again, and she and Matthew take on the A24 critical darling Past Lives and the new documentary Reinventing Elvis, which explores the story of the '68 comeback special. STRIKE NOTE:            This episode was produced during the 2023 WGA and SAG-AFTRA strikes. Without the labour of the writers and actors currently on strike, the films being discussed here wouldn't exist.BONUS CONTENT:     This week, I ask Rachel about remakes that are better (or as good as) their original films, and Rachel asks me what my favourite Elvis songs are.  The bonus show happens every week for all of our Patreon supporters, and support starts at just CAD $2/month!Link: https://www.patreon.com/posts/august-27th-2023-88349236SUPPORT:             Patreon    Ko-Fi EPISODE HOMEPAGE:     You will find affiliate links powered by JustWatch on this episode's homepage, if you click on those you'll be taken right to where you can swatch the films and help us keep the lights on!Link: https://awesomefriday.ca/2023/08/podcast-past-lives-reinventing-elvis/  CONNECT WITH US:        Awesome Friday: https://awesomefriday.ca        Matthew: https://stretched.ca/ Rachel Ho: https://www.rachelho.com/ SHOW LINKS: Apple: https://podcasts.apple.com/ca/podcast/awesome-friday/id480100293 Amazon: https://music.amazon.com/podcasts/18daf305-2c59-4718-bd5c-0dc393173353 Deezer: https://www.deezer.com/en/show/2775782 Goodpods: https://goodpods.app.link/ulvugeHonjb Google: https://podcasts.google.com/feed/aHR0cHM6Ly9hd2Vzb21lZnJpZGF5LnBvZG9tYXRpYy5jb20vcnNzMi54bWw IHeartRadio: https://www.iheart.com/podcast/85390621/ Overcast: https://overcast.fm/itunes480100293/the-awesome-friday-movie-podcast Spotify: https://open.spotify.com/show/4kwPQGeBvVFVtewkCbrbA9 Meanwhile, Relax and enjoy your flight. 

#elvis68comebackspecial  #60smusic  #elvispresley STEVE BINDER (Director of Elvis 68 Comeback Special)  Convincing  Elvis! PT4The Story Behind The Infamous Elvis 68 Comeback: What if the Special Fails?In this captivating video, we take a deep dive into the renowned Elvis 68 Comeback with Elvis's director Steve Binder and explore a thought-provoking what-if scenario. Join us as we unravel the story behind this infamous event. "What if the special had failed?" Delve into the doubts that plagued the King of Rock 'n' Roll himself during the late sixties and discover whether he ever lost faith in his own abilities. Hello and welcome to our channel! Today we have a clip with our special guest Steve Binder, the director of the iconic Elvis 68 Comeback Special. Steve is a legendary director and producer, whose work spans over six decades and includes some of the most iconic moments in music and television history. We are thrilled to have him with us today to talk about his experience directing the legendary Elvis Presley and the making of the 68 Comeback Special. So without further ado, let's welcome Steve to the show!**********************************************************************Watch Full Unedited Episodes in:Join this channel to get access to perks:https://www.youtube.com/channel/UCpDurwXKpDiXuGBdsklxigg/joinSupport the show

#elvis68comebackspecial  #60smusic  #elvispresley STEVE BINDER (Director of Elvis 68 Comeback Special)  Convincing  Elvis! PT3The Story Behind The Infamous Elvis 68 Comeback Special Bordello Scene!Hello and welcome to our channel! Today we have a clip with our special guest Steve Binder, the director of the iconic Elvis 68 Comeback Special. Steve is a legendary director and producer, whose work spans over six decades and includes some of the most iconic moments in music and television history. We are thrilled to have him with us today to talk about his experience directing the legendary Elvis Presley and the making of the 68 Comeback Special. So without further ado, let's welcome Steve to the show!**********************************************************************Watch Full Unedited Episodes in:Join this channel to get access to perks:https://www.youtube.com/channel/UCpDurwXKpDiXuGBdsklxigg/joinSupport the show

#elvis68comebackspecial  #60smusic  #elvispresley How Steve Binder Found the Perfect Ballad for Elvis' 68 Comeback Special PT5In 1968, Elvis was about to make his much-anticipated comeback to the music scene, but there was a problem – they needed the perfect song to capture his emotions and re-ignite his career. That's where Steve Binder, the director of the '68 Comeback Special, came in.The song, written by Walter Earl Brown, & Billy Goldenberg resonated deeply with Steve Binder and he knew it was the one. It captured the essence of Elvis' journey, his struggles, and his desire for a better world. It was a song that represented hope and unity.Hello and welcome to our channel! Today we have a clip with our special guest Steve Binder, the director of the iconic Elvis 68 Comeback Special. Steve is a legendary director and producer, whose work spans over six decades and includes some of the most iconic moments in music and television history. We are thrilled to have him with us today to talk about his experience directing the legendary Elvis Presley and the making of the 68 Comeback Special. So without further ado, let's welcome Steve to the show.NOW PLAYING➜https://www.paramountplus.com/movies/video/FMGXP5s7R1iWeCQAiI_FJvA_Zf_NqwOd/*********************************************************************Watch Full Unedited Episodes in:Join this channel to get access to perks:https://www.youtube.com/channel/UCpDurwXKpDiXuGBdsklxigg/joinSupport the show

On August 16th 1977 Elvis Presley died, marking the 46th anniversary of his untimely passing. Currently The Criterion Channel has a 6 movie collection available to stream. We discuss three of the films, King Creole, Wild in the Country and Viva Las Vegas. We talk about Elvis' acting abilities, how his music is incorporated and whether or not his movies deserve a reevaluation from the film community. Read Rachel's interview with Steve Binder, the director of the famous 1968 comeback special on Exclaim! Read Rachel's review Reinventing Elvis: The '68 Comeback on POV Magazine. Support the show on ⁠Ko-fi by sending us a tip⁠! Follow Rachel on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠, bookmark ⁠⁠⁠⁠⁠⁠⁠⁠⁠The Asian Cut⁠⁠⁠⁠⁠⁠⁠⁠⁠ and check out her ⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠ for more great reviews. Check out more great Contra Zoom content on ⁠⁠⁠⁠⁠⁠⁠That Shelf⁠⁠⁠⁠⁠⁠⁠! Listen to Contra Zoom on ⁠⁠⁠⁠⁠⁠⁠Anchor⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠Google Play⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠Overcast⁠⁠⁠⁠⁠⁠⁠,  ⁠⁠⁠⁠⁠⁠⁠RadioPublic⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠Breaker⁠⁠⁠⁠⁠⁠⁠, Podcast Addict and more! Please ⁠⁠⁠⁠⁠⁠⁠rate and review⁠⁠⁠⁠⁠⁠⁠ the show on Apple Podcasts or Spotify. Send a screenshot with your 5-star rating and review to contrazoompod@gmail.com and we will send you free stickers! For more information, visit contrazoompod.com. Thank you Eric and Kevin Smale for the original theme songs, Jimere for the interlude music and Stephanie Prior for designing the logo. --- Send in a voice message: https://podcasters.spotify.com/pod/show/contrazoompod/message

Producer-Director Steve Binder discusses with Jan Price his new documentary, "Reinventing Elvis: The '68 Comeback," – now streaming on Paramount+!Reinventing Elvis: The '68 Comeback is the true story of what really happened behind the scenes while making the legendary 1968 Comeback Special. Elvis and Director Steve Binder are pitted against Elvis' notorious manager, Col. Tom Parker, as they create a seminal pop culture event. Hosted on Acast. See acast.com/privacy for more information.

#elvis68comebackspecial  #60smusic  #elvispresley STEVE BINDER (Director of Elvis 68 Comeback Special)  Convincing  Elvis! PT1Hello and welcome to our channel! Today we have a clip with our special guest Steve Binder, the director of the iconic Elvis 68 Comeback Special. Steve is a legendary director and producer, whose work spans over six decades and includes some of the most iconic moments in music and television history. We are thrilled to have him with us today to talk about his experience directing the legendary Elvis Presley and the making of the 68 Comeback Special. So without further ado, let's welcome Steve to the show!New documentary Reinventing Elvis: The '68 Comeback Special. Directed by John Scheinfeld and produced by Spencer Proffer's Meteor 17, the film streams exclusively on Paramount+ in the U.S. and Canada on Aug. 15.➜https://www.reinventingelvis.com/**********************************************************************Watch Full Unedited Episodes in:Join this channel to get access to perks:https://www.youtube.com/channel/UCpDurwXKpDiXuGBdsklxigg/join* The New Website ➜ https://www.adikalive.com/Merchandise ➜https://adika-live.creator-spring.comThe Ultimate VIP ALL ACCESS BACKSTAGE PASSFull episodes can be seen in Patreon! Get exclusive content and entry into the vinyl games on Patreon: ➜ https://www.patreon.com/The_adika_group?fan_landing=trueYour Donation Helps Support your Favorite Show & Channel ➜ https://www.paypal.me/stephenadika1AMAZON WISHLIST ➜ https://www.amazon.com/hz/wishlist/ls/30GQNR69L9048?ref_=wl_shareCLICK TO SUBSCRIBE ➜  https://www.youtube.com/c/TheAdikaGroup?sub_confirmation=1Support the show

#elvis68comebackspecial  #60smusic  #elvispresley STEVE BINDER (Director of Elvis 68 Comeback Special)  Convincing  Elvis! PT2Hello and welcome to our channel! Today we have a clip with our special guest Steve Binder, the director of the iconic Elvis 68 Comeback Special. Steve is a legendary director and producer, whose work spans over six decades and includes some of the most iconic moments in music and television history. We are thrilled to have him with us today to talk about his experience directing the legendary Elvis Presley and the making of the 68 Comeback Special. So without further ado, let's welcome Steve to the show!New documentary Reinventing Elvis: The '68 Comeback Special. Directed by John Scheinfeld and produced by Spencer Proffer's Meteor 17, the film streams exclusively on Paramount+ in the U.S. and Canada on Aug. 15.➜https://www.reinventingelvis.com/**********************************************************************Watch Full Unedited Episodes in:Join this channel to get access to perks:https://www.youtube.com/channel/UCpDurwXKpDiXuGBdsklxigg/joinSupport the show

On this episode Buzz Knight interviews Spencer Proffer, legendary American Media Record Producer and Documentary Filmmaker and Steve Binder,the acclaimed director of the legendary Elvis Presley 68 Comeback Special with a discussion on the new Paramount + Documentary “The Reinvention of Elvis-The 68 Comeback.The conversation with Steve Binder goes deep into the making of the historic television event that resurrected the King of Rock n Roll and solidified his place in music history.Steve shares his background, how he got the incredible opportunity to work with Elvis and the behind-the-scenes drama that unfolded as he had to deal with the notorious villain, Colonel Tom Parker(Elvis's Manager).You get a tremendous look at Elvis that you haven't seen and you also get insight into the bond that Elvis and Binder shared.Learn more about your ad choices. Visit megaphone.fm/adchoicesSee omnystudio.com/listener for privacy information.

On this episode Buzz Knight interviews Spencer Proffer, legendary American Media Record Producer and Documentary Filmmaker and Steve Binder, the acclaimed director of the legendary Elvis Presley 68 Comeback Special with a discussion on the new Paramount + Documentary “The Reinvention of Elvis-The 68 Comeback. The conversation with Steve Binder goes deep into the making of the historic television event that resurrected the King of Rock n Roll and solidified his place in music history. Steve shares his background, how he got the incredible opportunity to work with Elvis and the behind-the-scenes drama that unfolded as he had to deal with the notorious villain, Colonel Tom Parker(Elvis's Manager). You get a tremendous look at Elvis that you haven't seen and you also get insight into the bond that Elvis and Binder shared. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this Promo/Upcoming Episode: Buzz is takin' a walk with Producer Spencer Proffer and Steve Binder. The two men behind Elvis' 1968 Comeback Special. Stream Full Episodes of Takin' A Walk - Lnk.to/TakinAWalk  *****Thank you so much for listening to the TAKIN' A WALK PODCAST SHOW hosted by Buzz Knight!  Listen to more honest conversations with a compelling mix of guests ranging from musicians, authors, and insiders with their own stories. Get inspired, get motivated, and gain insights from honest conversations every week that can help you with your own journey. Follow us on Facebook, Twitter, and Instagram, and be part of this blessed family.Website: https://takinawalk.com/Twitter: https://twitter.com/thebuzzknightLinkedIn: http://linkedin.com/in/buzzknightLinkfire: https://lnk.to/takinawalk Please consider subscribing, leaving a review, and sharing it with your friends and family!Learn more about your ad choices. Visit megaphone.fm/adchoicesSee omnystudio.com/listener for privacy information.

On this Promo/Upcoming Episode: Buzz is takin' a walk with Producer Spencer Proffer and Steve Binder. The two men behind Elvis' 1968 Comeback Special. Stream Full Episodes of Takin' A Walk - Lnk.to/TakinAWalk   *****Thank you so much for listening to the TAKIN' A WALK PODCAST SHOW hosted by Buzz Knight!   Listen to more honest conversations with a compelling mix of guests ranging from musicians, authors, and insiders with their own stories. Get inspired, get motivated, and gain insights from honest conversations every week that can help you with your own journey. Follow us on Facebook, Twitter, and Instagram, and be part of this blessed family. Website: https://takinawalk.com/ Twitter: https://twitter.com/thebuzzknight LinkedIn: http://linkedin.com/in/buzzknight Linkfire: https://lnk.to/takinawalk   Please consider subscribing, leaving a review, and sharing it with your friends and family! Learn more about your ad choices. Visit megaphone.fm/adchoices

Gurdip and Justin get together this week to dig into the 1965 compilation album "Elvis for Everyone" and ponder what reasons there might have been behind the scenes for this oddball collection of previously unreleased tracks put out to mark the 10th anniversary of Elvis's RCA contract.  Before that, though, the guys briefly discuss the trailers for "Priscilla" and the Paramount+ documentary "Reinventing Elvis" being produced by Steve Binder, and then get into a substantial discussion about the ramifications of breakthrough technology that's made potential AI-assisted songs featuring the voices of artists like Elvis much more viable on a user level - and the reaction EPE gave Rolling Stone when asked their thoughts on AI Elvis songs... and some exclusive news on that front that Justin has been holding onto and unable to discuss until now. For Song of the Week, Justin waltzes his way to "This is Our Dance," the Les Reed-Geoff Stephens ballad that was a loose re-imagining of their own Engelbert Humperdinck hit, "The Last Waltz" surfacing on the "Love Letters from Elvis" album in 1971. Then, Gurdip steps right up to "The Love Machine" from the 1967 film "Easy Come Easy Go." If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. If you are unable to support us via Patreon, but want to support us another way, please make sure to leave a positive review or mention our show to another like-minded music/movie history enthusiast. Timestamps 0:00 - Start/News 14:45 - A.I. Discussion 42:30 - Main Topic "Elvis for Everyone" 1:19:30 - SotW: This is Our Dance 1:30:50 - SotW: The Love Machine

TVC 610.3: From August 2016: Emmy Award winning director Steve Binder (Elvis: The 1968 Comeback Special, The T.A.M.I. Show) with the back story of "The Touch," the seminal moment of the April 1968 special Petula, starring Petula Clark and Harry Belafonte, in which Clark reached out and touched Belafonte on the arm while they performed the song "On the Path of Glory." Coming on the heels of the Civil Rights Movement, Clark's unrehearsed, impromptu gesture caused an uproar behind the scenes among network executives and the show's sponsors over whether that shot should be edited out of the special before it aired on NBC. Harry Belafonte passed away last Tuesday, Apr. 25 at the age of ninety-six. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

Max Pearson presents a collection of this week's Witness History episodes from the BBC World Service. We hear about Althea McNish, the Trinidadian artist who designed fabric for Queen Elizabeth II. Former Vogue editor Suzy Menkes on the success of the fashion celebration, the Met Gala. The Guatemalan Bishop, Juan Gerardi, killed in his home, after presenting the conclusions of a major investigation into abuses committed during the country's civil war. We remember Harry Belafonte, with a look back at his historic duet with Petula Clark. Plus the fight by the BBC to televise Queen Elizabeth II's coronation in 1953. Contributors: Rose Sinclair, Lecturer in textile design at Goldsmiths, University of London. Gavin Douglas, Programme Leader and Senior Lecturer in fashion design at Manchester Metropolitan University. Suzy Menkes, former Vogue International Editor. Ronalth Ochaeta, former head of the Catholic Church's human rights office in Guatemala. Steve Binder, TV producer. Lady Jane Rayne Lacey, a lady in waiting at Queen Elizabeth II's coronation in 1953. (Photo: Althea McNish Credit: Getty Images)

Until you find a groove getting hired for narrative projects, most directors make their money in the non-scripted world. How can you make the most from your time doing non-scripted work? How can you help your interview subjects feel at ease? How do you know what b-roll to film? How can you keep your set running smoothly? And how does all of that translate to your narrative film work? We'll talk about all that and more with TV director Steve Abramson on this episode of the working director podcast. (Episode 40) Hosted by Director/Producer⁠⁠ Jenn Page.⁠⁠ To join our private FB group for directors, or to learn about The Working Director course that helps emerging filmmakers become working directors faster, visit ⁠⁠TheWorkingDirector.Pro⁠⁠. More on Steve: Steve Abramson a multiple award-winning Television Director for over four decades.  For 16 seasons, he directed at Dr. Phil, including two episodes on location in New Orleans examining the one-year aftermath of Hurricane Katrina.  He also directed hundreds of segments, telling the stories of countless guests. He has a wealth of experience directing, writing, and producing for many acclaimed television shows for NBC,CBS, Fox, A&E, Disney Channel, Discovery Channel, Animal Planet, FoodNetwork, and SyFy.  His A&E Biography of the Amistad revolt leader, “Cinque: Freedom Fighter,” was nominated for the prestigious NAACP Image Award. Other credits include Sightings, A&E Top 10, Disney's American Teacher Awards, CBS Morning News, The Christopher Lowell Show, Name Your Adventure, and Calling All Cooks.  He's earned one Emmy nomination along the way. He's been an active member of the DGA for 30+ years and the PGA for 20+ years.  He's also been a member of the Television Academy for over 30 years, where he served on the Directors Peer Group Executive Committee and the Primetime Awards Committee for nearly 10 years.  He's also moderated the "Directing For Television" panel for the annual TV Academy Faculty Seminar, and judged candidates for the Academy Foundation's esteemed Intern program. Steve is most proud and fortunate to have interviewed nearly 80 television pioneers for the TV Academy's prestigious oral history project, The Interviews, including Steve Binder, Pat Boone, Mark Burnett, Jonathan Murray, Richard Chamberlain, Dick Enberg, Tom Freston, Louis J. Horvitz, Arthur Hiller, Cliff Robertson, William Shatner, Nichelle Nichols, Suzanne Somers, Adam West, Patty Duke and Larry King. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theworkingdirector/message

Episode 26

We finish out this week of repeats of notable 2022 author interviews with these three: 1) Cody Keenan, head speechwriter for former President Barack Obama, talking about his new book "Grace." 2) Steve Binder, producer of the historic Elvis Presley comeback TV special in 1968 (he has written a new book that takes us behind the scenes) and 3) Andy Saunders, talking about "Apollo Remastered: The Ultimate Photographic Record."

This week we end the year suffering for your pleasure. We watched The Star Wars Holiday Special where we learn that Chewbacca just kind of bails on his family for the entirety of the Skywalker Saga.  How does The Star Wars Holiday Special hold up? Host: Nic Co-Host: Daniel Panel: Candace, Nur, and Lauren https://www.youtube.com/watch?v=6hH8rxarVG8   Directed by Steve Binder and David Acomba Written by Rod Warren, Bruce Vilanch, Pat Proft, Leonard Ripps, Mitzie Welch Actors: Mark Hamill, Harrison Ford, Carrie Fisher, Anthony Daniels, Peter Mayhew, James Earl Jones, Bea Arthur, Art Carney, Diahann Carroll, Harvey Korman

This week we end the year suffering for your pleasure. We watched The Star Wars Holiday Special where we learn that Chewbacca just kind of bails on his family for the entirety of the Skywalker Saga.  How does The Star Wars Holiday Special hold up? Host: Nic Co-Host: Daniel Panel: Candace, Nur, and Lauren https://www.youtube.com/watch?v=6hH8rxarVG8   Directed by Steve Binder and David Acomba Written by Rod Warren, Bruce Vilanch, Pat Proft, Leonard Ripps, Mitzie Welch Actors: Mark Hamill, Harrison Ford, Carrie Fisher, Anthony Daniels, Peter Mayhew, James Earl Jones, Bea Arthur, Art Carney, Diahann Carroll, Harvey Korman

The boys are joined once again by Jesse (@biggreenmonstr) from Apple to Oranges and Cinedudes as we celebrate the absolutely 100% real holiday of Life Day! While we drink to celebrate (and forget) this much maligned holiday special, we also dig into 80s Wookie hair tips, Dan's Star Wars therapy session, and Han Solo's radical misinterpretation of the true meaning of Life Day! Join us, won't you, as we walk into the sun and transcend into the nothingness that is the Star Wars Holiday Special! Trailer: https://www.youtube.com/watch?v=F3-Df7ROAxAIMDB: https://www.imdb.com/title/tt0193524/Like a book club but for dissecting obscure thriller, exploitation, and horror movies. Next movie announced every Wednesday. New episodes every Monday. Follow us on the things: Linktree: https://www.linktr.ee/stabbystabbyInstagram:  @stabbypod  https://www.instagram.com/stabbypod/Letterboxd:   https://boxd.it/dp1ACGet the shirt: https://www.big-other.com/shop/p/stabby-stabby-podcast-tee

The career-restoring "Elvis Comeback Special" was guided by director/producer Steve Binder, who remembers his time with the King. Learn more about your ad choices. Visit megaphone.fm/adchoices

Steve Binder is an Emmy and ACE award winning producer, director, writer, educator and Golden Globe nominee.  In 1968, Steve worked with Elvis Presley on an NBC TV special that ended up re-invigorating his fading career.  In his book, ‘ELVIS '68 COMBACK: The Story Behind The Special', Binder provides a behind the scenes look, with exclusive insider content that gives fans even more insight of the King of Rock's reign on American Music. 

In light of the recent 'ELVIS' film being released, we are re-airing a past favorite episode, Jay Jay's conversation with Steve Binder. In the movie, Steve is portrayed by the actor Dacre Montgomery. This week's guest is the legendary producer and director Steve Binder. Steve found success behind the camera on television shows showcasing music, when he was only in his early 20s. He was also influential in creating music programs that featured a wide range of musical styles. He's well known as being the director & producer of the remarkable rock documentary known as the T.A.M.I. Show, which greatly influenced Jay Jay immediately upon seeing it growing up - showcasing artists such as James Brown, Marvin Gaye, Chuck Berry, The Supremes, The Rolling Stones, The Beach Boys, Gerry and The Pacemakers, Jan and Dean, Smokey Robinson, Leon Russell, Lesley Gore & many more. Tune in to hear why Jay Jay calls James Brown's performance on the T.A.M.I Show the "single greatest performance done by a human being, on the planet." Hear all about Steve's life story, and why he believes that when talent, timing & luck all hit at the same time, this is the combination that can accelerate your life & your career. Be sure to keep an eye out for part II of their conversation, in which Steve & Jay Jay will further discuss the Elvis Presley: 68' comeback special, which Steve also directed and produced. Produced & edited by Matthew Mallinger

Harvey Brownstone conducts an in-depth interview with Steve Binder, Legendary Producer / Director – “Elvis '68 Comeback Special”, Author, “Elvis '68 Comeback:  The Story Behind the Special” About Harvey's guest: Today's guest, Steve Binder, is a legendary, Emmy-award winning producer and director, who created some of the most iconic moments in American pop culture and entertainment history, in TV specials starring Petula Clark, Barry Manilow, Diana Ross, Liza Minnelli, John Denver, Patti LaBelle, Smokey Robinson, Olivia Newton-John, and many more.    But he is perhaps best known for producing and directing the spectacular 1968 Elvis Presley Comeback TV special that is widely considered to have solidified Elvis' legacy as one of the most profound cultural icons of the 20th century.   Our guest has written a fabulous book entitled, “Elvis '68 Comeback:  The Story Behind the Special”, and if you're an Elvis fan, this book is a MUST HAVE, because, unlike the dozens of other books out there about this landmark TV special, THIS book is the ONLY one written by the person who actually conceived of, produced and directed the show, and who worked so closely with Elvis.    And it's just been announced that our guest will be producing a documentary film to be released next year, which will take us behind the scenes and reveal the almost constant drama that surrounded the making of this iconic and mesmerizing show.  If you've seen Elvis' Comeback TV special, you know that something truly magical happened.  It was a pivotal event in television and music history, capturing over 40% of the television viewing audience, and becoming one of the highest rated television shows ever made.   AND it was a major turning point in Elvis' career, made possible by the artistic vision and determination of our guest. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ https://www.linkedin.com/in/steve-binder-4342796https://mobile.twitter.com/ssbinder #SteveBinder   #harveybrownstoneinterviews

Have you seen the recently released ELVIS movie? Steve Binder (as depicted in the movie) was the TV producer & director of the ELVIS COMEBACK SPECIAL on NBC in 1968, and was the man who re-launched Elvis's career. Steve is turning 90 years old now, and talks with Ron about that history making production.

This week Ryan spoke to Aingeala Flannery about her debut novel "The Amusements", John and Johanna O'Hara on the heartbreaking loss of their son Niall by suicide, Rev. Richard Coles on his latest foray into crime-writing; Jackson Katz about how violence against women is a male problem; And director of the Elvis '68 Comeback Special, Steve Binder.

With the recent release of Baz Luhrmann's Elvis biopic Ryan speaks to producer of the ‘68 Comeback Special, Steve Binder.

A conversation with Steve Binder, Producer & Author, Elvis '68 Comeback; Larger than life, Baz Luhrmann's Elvis promises to be visually stunning summer ride of a biopic following the dizzying life of one of the world's greatest icons. Played in the film by Stranger Things Dacre Montgomery, Steve Binder is the rebellious TV producer who without his unconventional vision there would be no '68 comeback special for Elvis and his infamous manager, Col. Tom Parker. Joined by co-hosts Wim and Jim, Steve recounts the real personalities, conflicts and loyalties that he experienced in his mission to revive Elvis' career and produce a TV special like America had never seen before.

Kathryn Troutman Federal Resume Guidebook 7th editionhttps://resume-place.com/Kathryn Troutman can answer your questions regarding how people land Competitive Federal Jobs! The author of seven books on federal jobhunting, she's also the Federal Career Coach for individuals seeking first-time federal careers. Troutman has been interviewed on NPR, the Washington Post's 'Federal Diary Live On-line,' and radio stations across the country. In addition, she trains and certifies career counselors and military transition counselors in Ten Steps to a Federal Job. https://www.usajobs.gov/Steve BinderElvis '68 ComebackThe Story Behind the Specialhttps://www.simonandschuster.com/books/Elvis-68-Comeback/Steve-Binder/9781645176732

Steve Binder,  producer and director of what is now known as the '68 Comeback Special,  shares behind-the-scenes stories  of the making of this historic moment in Elvis history. 

Ron interviews Steve Binder, who was responsible for the real success of Elvis Presley. Steve is turning 90 years old this year.  He gives us a real, personal behind the scenes look at this incredible relationship. "Elvis '68 Comeback - The Story Behind The Special"

Emmy Award-winning director, producer and writer Steve Binder served as the director and producer for the 1968 TV special in which Elvis Presley was able to re-assert himself as a rock and roll icon after years of making a succession of largely forgettable movies. He has written a fascinating behind-the-scenes account of the program titled 'Elvis '68 Comeback: The Story Behind the Special."

Frankie's guests are the producer and director of Elvis's '60 Comeback Special Steve Binder, novelist and author of Forbidden City Vanessa Hua, and senior vice president of global commercial operations for the Verizon Business Group: Wendy TaccettaSteve Binder (pronounced like Fender)BOOK: Elvis '68 ComebackThe Story Behind the Specialhttps://www.simonandschuster.com/books/Elvis-68-Comeback/Steve-Binder/9781645176732Steve Binder is an Emmy and ACE award-winning producer, director, writer, educator, and Golden Globe nominee. Steve has written, produced, and directed dozens of television specials, including multiple Diana Ross specials and Petula with British singer Petula Clark and Harry Belafonte. In 1968, Steve conceived, directed, and produced ELVIS, The ‘68 Comeback Special. TV Guide called this landmark event “the second greatest musical moment in television history next to the Beatles' debut on the Ed Sullivan Show.” https://www.imdb.com/name/nm0004596/Vanessa HuaBOOK: Forbidden Cityhttps://bookshop.org/books/forbidden-city-9780399178818/9780399178818Vanessa Hua is an award-winning, best-selling author and columnist for the San Francisco Chronicle. For over two decades, she has been researching and writing about Asia and the diaspora. Her books, which integrate many of the themes she covers, are critically acclaimed. Vanessa Hua's forthcoming book, Forbidden City, has already been hailed “magnificent” by Publisher's Weekly, and is getting rave reviews. http://www.vanessahua.com/Wendy Taccettaverizon.com/smallbusinessWendy is Senior Vice President for Nationwide Small Business and Channel Chief for Verizon Business. As such, she is responsible for driving results in several strategic areas of the business. Wendy's focus is on developing a customer-centric Partner Program at Verizon. Channel Partners has called their strategic focus "a historic revamping" of Verizon's channel program. Their ambition is to make it easier than ever before to partner with Verizon. https://www.verizon.com/about/our-company/who-we-are

In June 1968, a 33-year-old Elvis Presley started work on an NBC TV special that ended up re-invigorating his fading career. Never a fan of TV, the musician turned movie star was reluctant about doing a TV special but young maverick director, Steve Binder, convinced him that if it worked, it would open new doors and give his career a much-needed boost. The Elvis '68 Comeback special aired on December 3rd 1968, and is now one of the most iconic musical television programs of all time -giving the King what he needed most- another shot at a musical stardom. Binder conceived, directed, and produced the TV special which TV Guide subsequently called “the second greatest musical moment in television history next to the Beatles' debut on the Ed Sullivan Show.” Binder's Elvis '68 Comeback is a behind the scenes look at the making of this memorable TV special with exclusive insider content that gives fans even more insight into the performance that many see as a high point in the King of Rock's reign of American music. The book also features a foreword by Oscar-nominated film director Baz Luhrmann, whose highly anticipated new feature film about Elvis is scheduled for release on June 24, 2022.

In June 1968, a 33-year-old Elvis Presley started work on an NBC TV special that ended up re-invigorating his fading career. Never a fan of TV, the musician turned movie star was reluctant about doing a TV special but young maverick director, Steve Binder, convinced him that if it worked, it would open new doors and give his career a much-needed boost. The Elvis '68 Comeback special aired on December 3rd 1968, and is now one of the most iconic musical television programs of all time -giving the King what he needed most- another shot at a musical stardom. Binder conceived, directed, and produced the TV special which TV Guide subsequently called “the second greatest musical moment in television history next to the Beatles' debut on the Ed Sullivan Show.” Binder's Elvis '68 Comeback is a behind the scenes look at the making of this memorable TV special with exclusive insider content that gives fans even more insight into the performance that many see as a high point in the King of Rock's reign of American music. The book also features a foreword by Oscar-nominated film director Baz Luhrmann, whose highly anticipated new feature film about Elvis is scheduled for release on June 24, 2022.

In June 1968, a 33-year-old Elvis Presley started work on an NBC TV special that ended up re-invigorating his fading career. Never a fan of TV, the musician turned movie star was reluctant about doing a TV special but young maverick director, Steve Binder, convinced him that if it worked, it would open new doors and give his career a much-needed boost. The Elvis '68 Comeback special aired on December 3rd 1968, and is now one of the most iconic musical television programs of all time -giving the King what he needed most- another shot at a musical stardom. Binder conceived, directed, and produced the TV special which TV Guide subsequently called “the second greatest musical moment in television history next to the Beatles' debut on the Ed Sullivan Show.” Binder's Elvis '68 Comeback is a behind the scenes look at the making of this memorable TV special with exclusive insider content that gives fans even more insight into the performance that many see as a high point in the King of Rock's reign of American music. The book also features a foreword by Oscar-nominated film director Baz Luhrmann, whose highly anticipated new feature film about Elvis is scheduled for release on June 24, 2022.

In June 1968, a 33-year-old Elvis Presley started work on an NBC TV special that ended up re-invigorating his fading career. Never a fan of TV, the musician turned movie star was reluctant about doing a TV special but young maverick director, Steve Binder, convinced him that if it worked, it would open new doors and give his career a much-needed boost. The Elvis '68 Comeback special aired on December 3rd 1968, and is now one of the most iconic musical television programs of all time -giving the King what he needed most- another shot at a musical stardom. Binder conceived, directed, and produced the TV special which TV Guide subsequently called “the second greatest musical moment in television history next to the Beatles' debut on the Ed Sullivan Show.” Binder's Elvis '68 Comeback is a behind the scenes look at the making of this memorable TV special with exclusive insider content that gives fans even more insight into the performance that many see as a high point in the King of Rock's reign of American music. The book also features a foreword by Oscar-nominated film director Baz Luhrmann, whose highly anticipated new feature film about Elvis is scheduled for release on June 24, 2022.

In June 1968, a 33-year-old Elvis Presley started work on an NBC TV special that ended up re-invigorating his fading career. Never a fan of TV, the musician turned movie star was reluctant about doing a TV special but young maverick director, Steve Binder, convinced him that if it worked, it would open new doors and give his career a much-needed boost. The Elvis '68 Comeback special aired on December 3rd 1968, and is now one of the most iconic musical television programs of all time -giving the King what he needed most- another shot at a musical stardom. Binder conceived, directed, and produced the TV special which TV Guide subsequently called “the second greatest musical moment in television history next to the Beatles' debut on the Ed Sullivan Show.” Binder's Elvis '68 Comeback is a behind the scenes look at the making of this memorable TV special with exclusive insider content that gives fans even more insight into the performance that many see as a high point in the King of Rock's reign of American music. The book also features a foreword by Oscar-nominated film director Baz Luhrmann, whose highly anticipated new feature film about Elvis is scheduled for release on June 24, 2022.

Every boomer out there remembers the famous British invasion of the 1960s and how it nearly destroyed the career of Elvis Presley. That is until Steve Binder, TV producer and director, was able to convince “the king” to make a comeback TV performance in 1968. This project, however, was fraught with backstage drama because Elvis distrusted the medium and was actually terrified to appear on the small screen. Yet, thanks to Steve's deft abilities in handling the singer's case of nerves as well as a raft of other issues, we were gifted with a performance that each of us treasures to this day. In fact, TV Guide subsequently called the special “the second greatest musical moment in television history next to the Beatles' debut on the Ed Sullivan Show.” Even more, Steve has written a book about his remarkable experience with the king. It's called Elvis '68 Comeback: The Story Behind the Special and it's just been released this week. I'm sure that each of you will want a copy of this amazing story for your own library. So plan to spend some time with a legendary TV producer/director Steve Binder as he joins us to share all of the juicy backstage details about Elvis and this amazing performance.

Jason P. Rothberg Jason P.. Rothberg is a Label Executive, Artist Manager, Music Producer, Music Supervisor and Filmmaker. Rothberg's diverse 30-year career in the Entertainment Industry started off work under esteemed TV director/producer Steve Binder, writer/actor/producer George McGrath, as well as film and TV producer Lewis Chester,. Shifting from TV production to music Rothberg formed a partnership with Miles Copeland (IRS Records) all by the age of 26, which – in turn – resulted in the creation of charity label Lion's Pride Recordings. He's managed an array of global names, among them legendary Clash frontman Joe Strummer, Andy Summer (The Police) and Rock Hall of Fame inductee Donovan. A lateral thinker, Rothberg has been instrumental in coordinating a slew of collaborations, melding the worlds of music, fashion and charity. Screen Heat Miami Screen Heat Miami (SHM) is hosted by veteran Miami based producers Kevin Sharpley and JL Martinez and each week covers the latest trends in the film, tv, and entertainment industry, including interviews with global and local industry leaders, all told from a "Miami" point of view.

Marc Summers fills in for John & Ken. The man behind Elvis' comeback special, Steve Binder comes on the show.

Welcome to Episode 3 of The Sync Report Podcast with this week's guest Steve Binder. 2 Sense  Music presents The Sync Report, where weekly you will meet industry experts and top level songwriters as we pull the curtain back on music placement and scores. Building vital relationships and providing real opportunities to our listeners. Listen to indie filmmakers present their latest productions and describe specific scenes as they consider music submitted by our audience.  Hosted by music supervisor and former Sony Epic executive Jason P. Rothberg along with his co host, the Godmother of Indie Films, Rose Ganguzza. Legendary TV director/producer Steve Binder has been behind some of the biggest musical specials on TV, including Olivia Newton John, Abba, Andy Gibb, Barry Manilow, Patti LaBelle, Liza Minnelli, John Denver, Steve Allen and more. He directed the T.A.M.I. Show feature film that featured James Brown & the Flames, The Rolling Stones, Marvin Gaye, Chuck Berry, Smokey Robinson and the Miracles and The Beach Boys.  He created Elvis Presley's 1968 NBC Comeback Special, The Petula Clarke's Special, Rolling Stone Magazine's CBS 10th Anniversary Special and multiple Diana Ross specials.  Steve was the CEO and President of TA (Talent Associates) Records that discovered and produced the first 2-albums with Seals & Crofts. Steve signed Dennis Lambert and Brian Potter to their first producer/songwriter contracts and went on to partner with Australian, Robie Porter in Wizard Records (1973). Together they brought Rick Springfield to the U.S. from Australia when he was 19 yrs. old, and produced acts like Daddy Cool, Air Supply and many more. Steve has been honored at the Rock n' Roll Hall of Fame and the Grammy Museum and served as Governor at the Academy of Television Arts & Sciences, representing the director's peer group. His hardcover book: “The Story Behind the Special '', about the Elvis Presley Comeback is available for pre-order on Amazon (here) and will be released in April 2022. The Sync Report is proud to support independent artists. Check out their songs this episode, in the track listing below.  Please check out their other music and support them on their socials.  Make sure to follow and like The Sync Report pages so we can keep you informed of all the opportunities and exciting things to come! Music from our featured artists for this episode:  “Yagayo" (Instrumental) by: Milfredo 7  "Cherry Baby" (Instrumental) by: Milfredo 7  "Come and Get Some" (Instrumental)  "It's You' (Instrumental) by: Milfredo 7  "No Mas" (Instrumental) by: Milfredo 7  "Sing A Long" (Instrumental) by: Milfredo 7  "Reggae Re Rub" (Instrumental) by: Milfredo 7  "Feeling Good" (Instrumental) by: Jasmine Smith “Glutton" (Instrumental) by: Lisa Danaë “Retronic" (Instrumental) by: Milfredo 7  "Don't Worry" (Instrumental) by: Milfredo 7  "Keep It Cool" (Instrumental) by: Tye Ellen "Take You Down" (Instrumental) by: Cortnie Graham "Eyes For You" (Instrumental) by: Dunn Wilder  "Running Blades" (Instrumental) by: Bob Ballard  Music is the difference between a good film and a great one.  Please tell you friends about us, and remember to rate, comment, &  subscribe to us on Apple Podcasts and across all platforms.   And find us here  at The Sync Report here TSR Website  Facebook  Instagram Twitter Youtube Linkedin Tik Tok 

The gang watch The Star Wars Holiday Special from 1978 directed by Steve Binder and written by a whole bunch of people on coke.  

Episode one hundred and thirty-seven of A History of Rock Music in Five Hundred Songs looks at “Papa's Got a Brand New Bag” by James Brown, and at how Brown went from a minor doo-wop artist to the pioneer of funk. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "I'm a Fool" by Dino, Desi, and Billy. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ NB an early version of this was uploaded, in which I said "episode 136" rather than 137 and "flattened ninth" at one point rather than "ninth". I've fixed that in a new upload, which is otherwise unchanged. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I relied mostly on fur books for this episode. James Brown: The Godfather of Soul, by James Brown with Bruce Tucker, is a celebrity autobiography with all that that entails, but a more interesting read than many. Kill ‘Em and Leave: Searching for the Real James Brown, by James McBride is a more discursive, gonzo journalism piece, and well worth a read. Black and Proud: The Life of James Brown by Geoff Brown is a more traditional objective biography. And Douglas Wolk's 33 1/3 book on Live at the Apollo is a fascinating, detailed, look at that album. This box set is the best collection of Brown's work there is, but is out of print. This two-CD set has all the essential hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Introduction, the opening of Live at the Apollo. "So now, ladies and gentlemen, it is star time. Are you ready for star time? [Audience cheers, and gives out another cheer with each musical sting sting] Thank you, and thank you very kindly. It is indeed a great pleasure to present to you in this particular time, national and international known as the hardest working man in showbusiness, Man that sing "I'll Go Crazy"! [sting] "Try Me" [sting] "You've Got the Power" [sting] "Think" [sting], "If You Want Me" [sting] "I Don't Mind" [sting] "Bewildered" [sting] million-dollar seller "Lost Someone" [sting], the very latest release, "Night Train" [sting] Let's everybody "Shout and Shimmy" [sting] Mr. Dynamite, the amazing Mr. Please Please himself, the star of the show, James Brown and the Famous Flames"] In 1951, the composer John Cage entered an anechoic chamber at Harvard University. An anechoic chamber is a room that's been completely soundproofed, so no sound can get in from the outside world, and in which the walls, floor, and ceiling are designed to absorb any sounds that are made. It's as close as a human being can get to experiencing total silence. When Cage entered it, he expected that to be what he heard -- just total silence. Instead, he heard two noises, a high-pitched one and a low one. Cage was confused by this -- why hadn't he heard the silence? The engineer in charge of the chamber explained to him that what he was hearing was himself -- the high-pitched noise was Cage's nervous system, and the low-pitched one was his circulatory system. Cage later said about this, "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music." The experience inspired him to write his most famous piece, 4'33, in which a performer attempts not to make any sound for four minutes and thirty-three seconds. The piece is usually described as being four minutes and thirty-three seconds of silence, but it actually isn't -- the whole point is that there is no silence, and that the audience is meant to listen to the ambient noise and appreciate that noise as music. Here is where I would normally excerpt the piece, but of course for 4'33 to have its full effect, one has to listen to the whole thing. But I can excerpt another piece Cage wrote. Because on October the twenty-fourth 1962 he wrote a sequel to 4'33, a piece he titled 0'00, but which is sometimes credited as "4'33 no. 2". He later reworked the piece, but the original score, which is dedicated to two avant-garde Japanese composers, Toshi Ichiyanagi and his estranged wife Yoko Ono, reads as follows: "In a situation provided with maximum amplification (no feedback), perform a disciplined action." Now, as it happens, we have a recording of someone else performing Cage's piece, as written, on the day it was written, though neither performer nor composer were aware that that was what was happening. But I'm sure everyone can agree that this recording from October the 24th, 1962, is a disciplined action performed with maximum amplification and no feedback: [Excerpt: James Brown, "Night Train" (Live at the Apollo version)] When we left James Brown, almost a hundred episodes ago, he had just had his first R&B number one, with "Try Me", and had performed for the first time at the venue with which he would become most associated, the Harlem Apollo, and had reconnected with the mother he hadn't seen since he was a small child. But at that point, in 1958, he was still just the lead singer of a doo-wop group, one of many, and there was nothing in his shows or his records to indicate that he was going to become anything more than that, nothing to distinguish him from King Records labelmates like Hank Ballard, who made great records, put on a great live show, and are still remembered more than sixty years later, but mostly as a footnote. Today we're going to look at the process that led James Brown from being a peer of Ballard or Little Willie John to being arguably the single most influential musician of the second half of the twentieth century. Much of that influence is outside rock music, narrowly defined, but the records we're going to look at this time and in the next episode on Brown are records without which the entire sonic landscape of the late twentieth and early twenty-first centuries would be unimaginably different. And that process started in 1958, shortly after the release of "Try Me" in October that year, with two big changes to Brown's organisation. The first was that this was -- at least according to Brown -- when he first started working with Universal Attractions, a booking agency run by a man named Ben Bart, who before starting his own company had spent much of the 1940s working for Moe Gale, the owner of the Savoy Ballroom and manager of the Ink Spots, Louis Jordan, and many of the other acts we looked at in the very first episodes of this podcast. Bart had started his own agency in 1945, and had taken the Ink Spots with him, though they'd returned to Gale a few years later, and he'd been responsible for managing the career of the Ravens, one of the first bird groups: [Excerpt: The Ravens, "Rock Me All Night Long"] In the fifties, Bart had become closely associated with King Records, the label to which Brown and the Famous Flames were signed. A quick aside here -- Brown's early records were released on Federal Records, and later they switched to being released on King, but Federal was a subsidiary label for King, and in the same way that I don't distinguish between Checker and Chess, Tamla and Motown, or Phillips and Sun, I'll just refer to King throughout. Bart and Universal Attractions handled bookings for almost every big R&B act signed by King, including Tiny Bradshaw, Little Willie John, the "5" Royales, and Hank Ballard and the Midnighters. According to some sources, the Famous Flames signed with Universal Attractions at the same time they signed with King Records, and Bart's family even say it was Bart who discovered them and got them signed to King in the first place. Other sources say they didn't sign with Universal until after they'd proved themselves on the charts. But everyone seems agreed that 1958 was when Bart started making Brown a priority and taking an active interest in his career. Within a few years, Bart would have left Universal, handing the company over to his son and a business partner, to devote himself full-time to managing Brown, with whom he developed an almost father-son relationship. With Bart behind them, the Famous Flames started getting better gigs, and a much higher profile on the chitlin circuit. But around this time there was another change that would have an even more profound effect. Up to this point, the Famous Flames had been like almost every other vocal group playing the chitlin' circuit, in that they hadn't had their own backing musicians. There were exceptions, but in general vocal groups would perform with the same backing band as every other act on a bill -- either a single backing band playing for a whole package tour, or a house band at the venue they were playing at who would perform with every act that played that venue. There would often be a single instrumentalist with the group, usually a guitarist or piano player, who would act as musical director to make sure that the random assortment of musicians they were going to perform with knew the material. This was, for the most part, how the Famous Flames had always performed, though they had on occasion also performed their own backing in the early days. But now they got their own backing band, centred on J.C. Davis as sax player and bandleader, Bobby Roach on guitar, Nat Kendrick on drums, and Bernard Odum on bass. Musicians would come and go, but this was the core original lineup of what became the James Brown Band. Other musicians who played with them in the late fifties were horn players Alfred Corley and Roscoe Patrick, guitarist Les Buie, and bass player Hubert Perry, while keyboard duties would be taken on by Fats Gonder, although James Brown and Bobby Byrd would both sometimes play keyboards on stage. At this point, as well, the lineup of the Famous Flames became more or less stable. As we discussed in the previous episode on Brown, the original lineup of the Famous Flames had left en masse when it became clear that they were going to be promoted as James Brown and the Famous Flames, with Brown getting more money, rather than as a group. Brown had taken on another vocal group, who had previously been Little Richard's backing vocalists, but shortly after "Try Me" had come out, but before they'd seen any money from it, that group had got into an argument with Brown over money he owed them. He dropped them, and they went off to record unsuccessfully as the Fabulous Flames on a tiny label, though the records they made, like "Do You Remember", are quite good examples of their type: [Excerpt: The Fabulous Flames, "Do You Remember?"] Brown pulled together a new lineup of Famous Flames, featuring two of the originals. Johnny Terry had already returned to the group earlier, and stayed when Brown sacked the rest of the second lineup of Flames, and they added Lloyd Bennett and Bobby Stallworth. And making his second return to the group was Bobby Byrd, who had left with the other original members, joined again briefly, and then left again. Oddly, the first commercial success that Brown had after these lineup changes was not with the Famous Flames, or even under his own name. Rather, it was under the name of his drummer, Nat Kendrick. Brown had always seen himself, not primarily as a singer, but as a band leader and arranger. He was always a jazz fan first and foremost, and he'd grown up in the era of the big bands, and musicians he'd admired growing up like Lionel Hampton and Louis Jordan had always recorded instrumentals as well as vocal selections, and Brown saw himself very much in that tradition. Even though he couldn't read music, he could play several instruments, and he could communicate his arrangement ideas, and he wanted to show off the fact that he was one of the few R&B musicians with his own tight band. The story goes that Syd Nathan, the owner of King Records, didn't like the idea, because he thought that the R&B audience at this point only wanted vocal tracks, and also because Brown's band had previously released an instrumental which hadn't sold. Now, this is a definite pattern in the story of James Brown -- it seems that at every point in Brown's career for the first decade, Brown would come up with an idea that would have immense commercial value, Nathan would say it was the most ridiculous thing he'd ever heard, Brown would do it anyway, and Nathan would later admit that he was wrong. This is such a pattern -- it apparently happened with "Please Please Please", Brown's first hit, *and* "Try Me", Brown's first R&B number one, and we'll see it happen again later in this episode -- that one tends to suspect that maybe these stories were sometimes made up after the fact, especially since Syd Nathan somehow managed to run a successful record label for over twenty years, putting out some of the best R&B and country records from everyone from Moon Mullican to Wynonie Harris, the Stanley Brothers to Little Willie John, while if these stories are to be believed he was consistently making the most boneheaded, egregious, uncommercial decisions imaginable. But in this case, it seems to be at least mostly true, as rather than being released on King Records as by James Brown, "(Do the) Mashed Potatoes" was released on Dade Records as by Nat Kendrick and the Swans, with the DJ Carlton Coleman shouting vocals over Brown's so it wouldn't be obvious Brown was breaking his contract: [Excerpt: Nat Kendrick and the Swans, "(Do the)" Mashed Potatoes"] That made the R&B top ten,  and I've seen reports that Brown and his band even toured briefly as Nat Kendrick and the Swans, before Syd Nathan realised his mistake, and started allowing instrumentals to be released under the name "James Brown presents HIS BAND", starting with a cover of Bill Doggett's "Hold It": [Excerpt: James Brown Presents HIS BAND, "Hold It"] After the Nat Kendrick record gave Brown's band an instrumental success, the Famous Flames also came back from another mini dry spell for hits, with the first top twenty R&B hit for the new lineup, "I'll Go Crazy", which was followed shortly afterwards by their first pop top forty hit, "Think!": [Excerpt: James Brown and the Famous Flames, "Think!"] The success of "Think!" is at least in part down to Bobby Byrd, who would from this point on be Brown's major collaborator and (often uncredited) co-writer and co-producer until the mid-seventies. After leaving the Flames, and before rejoining them, Byrd had toured for a while with his own group, but had then gone to work for King Records at the request of Brown. King Records' pressing plant had equipment that sometimes produced less-than-ideal pressings of records, and Brown had asked Byrd to take a job there performing quality control, making sure that Brown's records didn't skip. While working there, Byrd also worked as a song doctor. His job was to take songs that had been sent in as demos, and rework them in the style of some of the label's popular artists, to make them more suitable, changing a song so it might fit the style of the "5" Royales or Little Willie John or whoever, and Byrd had done this for "Think", which had originally been recorded by the "5" Royales, whose leader, Lowman Pauling, had written it: [Excerpt: The "5" Royales, "Think"] Byrd had reworked the song to fit Brown's style and persona. It's notable for example that the Royales sing "How much of all your happiness have I really claimed?/How many tears have you cried for which I was to blame?/Darlin', I can't remember which was my fault/I tried so hard to please you—at least that's what I thought.” But in Brown's version this becomes “How much of your happiness can I really claim?/How many tears have you shed for which you was to blame?/Darlin', I can't remember just what is wrong/I tried so hard to please you—at least that's what I thought.” [Excerpt: James Brown and the Famous Flames, "Think"] In Brown's version, nothing is his fault, he's trying to persuade an unreasonable woman who has some problem he doesn't even understand, but she needs to think about it and she'll see that he's right, while in the Royales' version they're acknowledging that they're at fault, that they've done wrong, but they didn't *only* do wrong and maybe she should think about that too. It's only a couple of words' difference, but it changes the whole tenor of the song. "Think" would become the Famous Flames' first top forty hit on the pop charts, reaching number thirty-three. It went top ten on the R&B charts, and between 1959 and 1963 Brown and the Flames would have fifteen top-thirty R&B hits, going from being a minor doo-wop group that had had a few big hits to being consistent hit-makers, who were not yet household names, but who had a consistent sound that could be guaranteed to make the R&B charts, and who put on what was regarded as the best live show of any R&B band in the world. This was partly down to the type of discipline that Brown imposed on his band. Many band-leaders in the R&B world would impose fines on their band members, and Johnny Terry suggested that Brown do the same thing. As Bobby Byrd put it, "Many band leaders do it but it was Johnny's idea to start it with us and we were all for it ‘cos we didn't want to miss nothing. We wanted to be immaculate, clothes-wise, routine-wise and everything. Originally, the fines was only between James and us, The Famous Flames, but then James carried it over into the whole troupe. It was still a good idea because anybody joining The James Brown Revue had to know that they couldn't be messing up, and anyway, all the fines went into a pot for the parties we had." But Brown went much further with these fines than any other band leader, and would also impose them arbitrarily, and it became part of his reputation that he was the strictest disciplinarian in rhythm and blues music. One thing that became legendary among musicians was the way that he would impose fines while on stage. If a band member missed a note, or a dance step, or missed a cue, or had improperly polished shoes, Brown would, while looking at them, briefly make a flashing gesture with his hand, spreading his fingers out for a fraction of a second. To the audience, it looked like just part of Brown's dance routine, but the musician knew he had just been fined five dollars. Multiple flashes meant multiples of five dollars fined. Brown also developed a whole series of other signals to the band, which they had to learn, To quote Bobby Byrd again: "James didn't want anybody else to know what we was doing, so he had numbers and certain screams and spins. There was a certain spin he'd do and if he didn't do the complete spin you'd know it was time to go over here. Certain screams would instigate chord changes, but mostly it was numbers. James would call out football numbers, that's where we got that from. Thirty-nine — Sixteen —Fourteen — Two — Five — Three — Ninety-eight, that kind of thing. Number thirty-nine was always the change into ‘Please, Please, Please'. Sixteen is into a scream and an immediate change, not bam-bam but straight into something else. If he spins around and calls thirty-six, that means we're going back to the top again. And the forty-two, OK, we're going to do this verse and then bow out, we're leaving now. It was amazing." This, or something like this, is a fairly standard technique among more autocratic band leaders, a way of allowing the band as a whole to become a live compositional or improvisational tool for their leader, and Frank Zappa, for example, had a similar system. It requires the players to subordinate themselves utterly to the whim of the band leader, but also requires a band leader who knows the precise strengths and weaknesses of every band member and how they are likely to respond to a cue. When it works well, it can be devastatingly effective, and it was for Brown's live show. The Famous Flames shows soon became a full-on revue, with other artists joining the bill and performing with Brown's band. From the late 1950s on, Brown would always include a female singer. The first of these was Sugar Pie DeSanto, a blues singer who had been discovered (and given her stage name) by Johnny Otis, but DeSanto soon left Brown's band and went on to solo success on Chess records, with hits like "Soulful Dress": [Excerpt: Sugar Pie DeSanto, "Soulful Dress"] After DeSanto left, she was replaced by  Bea Ford, the former wife of the soul singer Joe Tex, with whom Brown had an aggressive rivalry and mutual loathing. Ford and Brown recorded together, cutting tracks like "You Got the Power": [Excerpt: James Brown and Bea Ford, "You Got the Power"] However, Brown and Ford soon fell out, and Brown actually wrote to Tex asking if he wanted his wife back. Tex's response was to record this: [Excerpt: Joe Tex, "You Keep Her"] Ford's replacement was Yvonne Fair, who had briefly replaced Jackie Landry in the Chantels for touring purposes when Landry had quit touring to have a baby. Fair would stay with Brown for a couple of years, and would release a number of singles written and produced for her by Brown, including one which Brown would later rerecord himself with some success: [Excerpt: Yvonne Fair, "I Found You"] Fair would eventually leave the band after getting pregnant with a child by Brown, who tended to sleep with the female singers in his band. The last shows she played with him were the shows that would catapult Brown into the next level of stardom. Brown had been convinced for a long time that his live shows had an energy that his records didn't, and that people would buy a record of one of them. Syd Nathan, as usual, disagreed. In his view the market for R&B albums was small, and only consisted of people who wanted collections of hit singles they could play in one place. Nobody would buy a James Brown live album. So Brown decided to take matters into his own hands. He decided to book a run of shows at the Apollo Theatre, and record them, paying for the recordings with his own money. This was a week-long engagement, with shows running all day every day -- Brown and his band would play five shows a day, and Brown would wear a different suit for every show. This was in October 1962, the month that we've already established as the month the sixties started -- the month the Beatles released their first single, the Beach Boys released their first record outside the US, and the first Bond film came out, all on the same day at the beginning of the month. By the end of October, when Brown appeared at the Apollo, the Cuban Missile Crisis was at its height, and there were several points during the run where it looked like the world itself might not last until November 62. Douglas Wolk has written an entire book on the live album that resulted, which claims to be a recording of the midnight performance from October the twenty-fourth, though it seems like it was actually compiled from multiple performances. The album only records the headline performance, but Wolk describes what a full show by the James Brown Revue at the Apollo was like in October 1962, and the following description is indebted to his book, which I'll link in the show notes. The show would start with the "James Brown Orchestra" -- the backing band. They would play a set of instrumentals, and a group of dancers called the Brownies would join them: [Excerpt: James Brown Presents His Band, "Night Flying"] At various points during the set, Brown himself would join the band for a song or two, playing keyboards or drums. After the band's instrumental set, the Valentinos would take the stage for a few songs. This was before they'd been taken on by Sam Cooke, who would take them under his wing very soon after these shows, but the Valentinos were already recording artists in their own right, and had recently released "Lookin' For a Love": [Excerpt: The Valentinos, "Lookin' For a Love"] Next up would be Yvonne Fair, now visibly pregnant with her boss' child, to sing her few numbers: [Excerpt: Yvonne Fair, "You Can Make it if You Try"] Freddie King was on next, another artist for the King family of labels who'd had a run of R&B hits the previous year, promoting his new single "I'm On My Way to Atlanta": [Excerpt: Freddie King, "I'm on My Way to Atlanta"] After King came Solomon Burke, who had been signed to Atlantic earlier that year and just started having hits, and was the new hot thing on the scene, but not yet the massive star he became: [Excerpt: Solomon Burke, "Cry to Me"] After Burke came a change of pace -- the vaudeville comedian Pigmeat Markham would take the stage and perform a couple of comedy sketches. We actually know exactly how these went, as Brown wasn't the only one recording a live album there that week, and Markham's album "The World's Greatest Clown" was a result of these shows and released on Chess Records: [Excerpt: Pigmeat Markham, "Go Ahead and Sing"] And after Markham would come the main event. Fats Gonder, the band's organist, would give the introduction we heard at the beginning of the episode -- and backstage, Danny Ray, who had been taken on as James Brown's valet that very week (according to Wolk -- I've seen other sources saying he'd joined Brown's organisation in 1960), was listening closely. He would soon go on to take over the role of MC, and would introduce Brown in much the same way as Gonder had at every show until Brown's death forty-four years later. The live album is an astonishing tour de force, showing Brown and his band generating a level of excitement that few bands then or now could hope to equal. It's even more astonishing when you realise two things. The first is that this was *before* any of the hits that most people now associate with the name James Brown -- before "Papa's Got a Brand New Bag" or "Sex Machine", or "It's a Man's Man's Man's World" or "Say it Loud I'm Black and I'm Proud" or "Funky Drummer" or "Get Up Offa That Thing". It's still an *unformed* James Brown, only six years into a fifty-year career, and still without most of what made him famous. The other thing is, as Wolk notes, if you listen to any live bootleg recordings from this time, the microphone distorts all the time, because Brown is singing so loud. Here, the vocal tone is clean, because Brown knew he was being recorded. This is the sound of James Brown restraining himself: [Excerpt: James Brown and the Famous Flames, "Night Train" (Live at the Apollo version)] The album was released a few months later, and proved Syd Nathan's judgement utterly, utterly, wrong. It became the thirty-second biggest selling album of 1963 -- an amazing achievement given that it was released on a small independent label that dealt almost exclusively in singles, and which had no real presence in the pop market. The album spent sixty-six weeks on the album charts, making number two on the charts -- the pop album charts, not R&B charts. There wasn't an R&B albums chart until 1965, and Live at the Apollo basically forced Billboard to create one, and more or less single-handedly created the R&B albums market. It was such a popular album in 1963 that DJs took to playing the whole album -- breaking for commercials as they turned the side over, but otherwise not interrupting it. It turned Brown from merely a relatively big R&B star into a megastar. But oddly, given this astonishing level of success, Brown's singles in 1963 were slightly less successful than they had been in the previous few years -- possibly partly because he decided to record a few versions of old standards, changing direction as he had for much of his career. Johnny Terry quit the Famous Flames, to join the Drifters, becoming part of the lineup that recorded "Under the Boardwalk" and "Saturday Night at the Movies". Brown also recorded a second live album, Pure Dynamite!, which is generally considered a little lacklustre in comparison to the Apollo album. There were other changes to the lineup as well as Terry leaving. Brown wanted to hire a new drummer, Melvin Parker, who agreed to join the band, but only if Brown took on his sax-playing brother, Maceo, along with him. Maceo soon became one of the most prominent musicians in Brown's band, and his distinctive saxophone playing is all over many of Brown's biggest hits. The first big hit that the Parkers played on was released as by James Brown and his Orchestra, rather than James Brown and the Famous Flames, and was a landmark in Brown's evolution as a musician: [Excerpt: James Brown and his Orchestra, "Out of Sight"] The Famous Flames did sing on the B-side of that, a song called "Maybe the Last Time", which was ripped off from the same Pops Staples song that the Rolling Stones later ripped off for their own hit single. But that would be the last time Brown would use them in the studio -- from that point on, the Famous Flames were purely a live act, although Bobby Byrd, but not the other members, would continue to sing on the records. The reason it was credited to James Brown, rather than to James Brown and the Famous Flames, is that "Out of Sight" was released on Smash Records, to which Brown -- but not the Flames -- had signed a little while earlier. Brown had become sick of what he saw as King Records' incompetence, and had found what he and his advisors thought was a loophole in his contract. Brown had been signed to King Records under a personal services contract as a singer, not under a musician contract as a musician, and so they believed that he could sign to Smash, a subsidiary of Mercury, as a musician. He did, and he made what he thought of as a fresh start on his new label by recording "Caldonia", a cover of a song by his idol Louis Jordan: [Excerpt: James Brown and his Orchestra, "Caldonia"] Understandably, King Records sued on the reasonable grounds that Brown was signed to them as a singer, and they got an injunction to stop him recording for Smash -- but by the time the injunction came through, Brown had already released two albums and three singles for the label. The injunction prevented Brown from recording any new material for the rest of 1964, though both labels continued to release stockpiled material during that time. While he was unable to record new material, October 1964 saw Brown's biggest opportunity to cross over to a white audience -- the TAMI Show: [Excerpt: James Brown, "Out of Sight (TAMI show live)"] We've mentioned the TAMI show a couple of times in previous episodes, but didn't go into it in much detail. It was a filmed concert which featured Jan and Dean, the Barbarians, Lesley Gore, Chuck Berry, the Beach Boys, Gerry and the Pacemakers, Billy J Kramer and the Dakotas, Marvin Gaye, the Miracles, the Supremes, and, as the two top acts, James Brown and the Rolling Stones. Rather oddly, the point of the TAMI Show wasn't the music as such. Rather it was intended as a demonstration of a technical process. Before videotape became cheap and a standard, it was difficult to record TV shows for later broadcast, for distribution to other countries, or for archive. The way they used to be recorded was a process known as telerecording in the UK and kinescoping in the US, and that was about as crude as it's possible to get -- you'd get a film camera, point it at a TV showing the programme you wanted to record, and film the TV screen. There was specialist equipment to do this, but that was all it actually did. Almost all surviving TV from the fifties and sixties -- and even some from the seventies -- was preserved by this method rather than by videotape. Even after videotape started being used to make the programmes, there were differing standards and tapes were expensive, so if you were making a programme in the UK and wanted a copy for US broadcast, or vice versa, you'd make a telerecording. But what if you wanted to make a TV show that you could also show on cinema screens? If you're filming a TV screen, and then you project that film onto a big screen, you get a blurry, low-resolution, mess -- or at least you did with the 525-line TV screens that were used in the US at the time. So a company named Electronovision came into the picture, for those rare times when you wanted to do something using video cameras that would be shown at the cinema. Rather than shoot in 525-line resolution, their cameras shot in 819-line resolution -- super high definition for the time, but capable of being recorded onto standard videotape with appropriate modifications for the equipment. But that meant that when you kinescoped the production, it was nearly twice the resolution that a standard US TV broadcast would be, and so it didn't look terrible when shown in a cinema. The owner of the Electronovision process had had a hit with a cinema release of a performance by Richard Burton as Hamlet, and he needed a follow-up, and decided that another filmed live performance would be the best way to make use of his process -- TV cameras were much more useful for capturing live performances than film cameras, for a variety of dull technical reasons, and so this was one of the few areas where Electronovision might actually be useful. And so Bill Roden, one of the heads of Electronovision, turned to a TV director named Steve Binder, who was working at the time on the Steve Allen show, one of the big variety shows, second only to Ed Sullivan, and who would soon go on to direct Hullaballoo. Roden asked Binder to make a concert film, shot on video, which would be released on the big screen by American International Pictures (the same organisation with which David Crosby's father worked so often). Binder had contacts with West Coast record labels, and particularly with Lou Adler's organisation, which managed Jan and Dean. He also had been in touch with a promoter who was putting on a package tour of British musicians. So they decided that their next demonstration of the capabilities of the equipment would be a show featuring performers from "all over the world", as the theme song put it -- by which they meant all over the continental United States plus two major British cities. For those acts who didn't have their own bands -- or whose bands needed augmenting -- there was an orchestra, centred around members of the Wrecking Crew, conducted by Jack Nitzsche, and the Blossoms were on hand to provide backing vocals where required. Jan and Dean would host the show and sing the theme song. James Brown had had less pop success than any of the other artists on the show except for the Barbarians, who are now best-known for their appearances on the Nuggets collection of relatively obscure garage rock singles, and whose biggest hit, "Are You a Boy or Are You a Girl?" only went to number fifty-five on the charts: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] The Barbarians were being touted as the American equivalent of the Rolling Stones, but the general cultural moment of the time can be summed up by that line "You're either a girl or you come from Liverpool" -- which was where the Rolling Stones came from. Or at least, it was where Americans seemed to think they came from given both that song, and the theme song of the TAMI show, written by P.F. Sloan and Steve Barri, which sang about “the Rolling Stones from Liverpool”, and also referred to Brown as "the king of the blues": [Excerpt: Jan and Dean, "Here They Come From All Over The World"] But other than the Barbarians, the TAMI show was one of the few places in which all the major pop music movements of the late fifties and early sixties could be found in one place -- there was the Merseybeat of Gerry and the Pacemakers and the Dakotas, already past their commercial peak but not yet realising it, the fifties rock of Chuck Berry, who actually ended up performing one song with Gerry and the Pacemakers: [Excerpt: Chuck Berry and Gerry and the Pacemakers: "Maybellene"] And there was the Brill Building pop of Lesley Gore, the British R&B of the Rolling Stones right at the point of their breakthrough, the vocal surf music of the Beach Boys and Jan and Dean, and three of the most important Motown acts, with Brown the other representative of soul on the bill. But the billing was a sore point. James Brown's manager insisted that he should be the headliner of the show, and indeed by some accounts the Rolling Stones also thought that they should probably not try to follow him -- though other accounts say that the Stones were equally insistent that they *must* be the headliners. It was a difficult decision, because Brown was much less well known, but it was eventually decided that the Rolling Stones would go on last. Most people talking about the event, including most of those involved with the production, have since stated that this was a mistake, because nobody could follow James Brown, though in interviews Mick Jagger has always insisted that the Stones didn't have to follow Brown, as there was a recording break between acts and they weren't even playing to the same audience -- though others have disputed that quite vigorously. But what absolutely everyone has agreed is that Brown gave the performance of a lifetime, and that it was miraculously captured by the cameras. I say its capture was miraculous because every other act had done a full rehearsal for the TV cameras, and had had a full shot-by-shot plan worked out by Binder beforehand. But according to Steve Binder -- though all the accounts of the show are contradictory -- Brown refused to do a rehearsal -- so even though he had by far the most complex and choreographed performance of the event, Binder and his camera crew had to make decisions by pure instinct, rather than by having an actual plan they'd worked out in advance of what shots to use. This is one of the rare times when I wish this was a video series rather than a podcast, because the visuals are a huge part of this performance -- Brown is a whirlwind of activity, moving all over the stage in a similar way to Jackie Wilson, one of his big influences, and doing an astonishing gliding dance step in which he stands on one leg and moves sideways almost as if on wheels. The full performance is easily findable online, and is well worth seeking out. But still, just hearing the music and the audience's reaction can give some insight: [Excerpt: James Brown, "Out of Sight" (TAMI Show)] The Rolling Stones apparently watched the show in horror, unable to imagine following that -- though when they did, the audience response was fine: [Excerpt: The Rolling Stones, "Around and Around"] Incidentally, Chuck Berry must have been quite pleased with his payday from the TAMI Show, given that as well as his own performance the Stones did one of his songs, as did Gerry and the Pacemakers, as we heard earlier, and the Beach Boys did "Surfin' USA" for which he had won sole songwriting credit. After the TAMI Show, Mick Jagger would completely change his attitude to performing, and would spend the rest of his career trying to imitate Brown's performing style. He was unsuccessful in this, but still came close enough that he's still regarded as one of the great frontmen, nearly sixty years later. Brown kept performing, and his labels kept releasing material, but he was still not allowed to record, until in early 1965 a court reached a ruling -- yes, Brown wasn't signed as a musician to King Records, so he was perfectly within his rights to record with Smash Records. As an instrumentalist. But Brown *was* signed to King Records as a singer, so he was obliged to record vocal tracks for them, and only for them. So until his contract with Smash lapsed, he had to record twice as much material -- he had to keep recording instrumentals, playing piano or organ, for Smash, while recording vocal tracks for King Records. His first new record, released as by "James Brown" rather than the earlier billings of "James Brown and his Orchestra" or "James Brown and the Famous Flames", was for King, and was almost a remake of "Out of Sight", his hit for Smash Records. But even so, "Papa's Got a Brand New Bag" was a major step forward, and is often cited as the first true funk record. This is largely because of the presence of a new guitarist in Brown's band. Jimmy Nolen had started out as a violin player, but like many musicians in the 1950s he had been massively influenced by T-Bone Walker, and had switched to playing guitar. He was discovered as a guitarist by the bluesman Jimmy Wilson, who had had a minor hit with "Tin Pan Alley": [Excerpt: Jimmy Wilson, "Tin Pan Alley"] Wilson had brought Nolen to LA, where he'd soon parted from Wilson and started working with a whole variety of bandleaders. His first recording came with Monte Easter on Aladdin Records: [Excerpt: Monte Easter, "Blues in the Evening"] After working with Easter, he started recording with Chuck Higgins, and also started recording by himself. At this point, Nolen was just one of many West Coast blues guitarists with a similar style, influenced by T-Bone Walker -- he was competing with Pete "Guitar" Lewis, Johnny "Guitar" Watson, and Guitar Slim, and wasn't yet quite as good as any of them. But he was still making some influential records. His version of "After Hours", for example, released under his own name on Federal Records, was a big influence on Roy Buchanan, who would record several versions of the standard based on Nolen's arrangement: [Excerpt: Jimmy Nolen, "After Hours"] Nolen had released records on many labels, but his most important early association came from records he made but didn't release. In the mid-fifties, Johnny Otis produced a couple of tracks by Nolen, for Otis' Dig Records label, but they weren't released until decades later: [Excerpt: Jimmy Nolen, "Jimmy's Jive"] But when Otis had a falling out with his longtime guitar player Pete "Guitar" Lewis, who was one of the best players in LA but who was increasingly becoming unreliable due to his alcoholism, Otis hired Nolen to replace him. It's Nolen who's playing on most of the best-known recordings Otis made in the late fifties, like "Casting My Spell": [Excerpt: Johnny Otis, "Casting My Spell"] And of course Otis' biggest hit "Willie and the Hand Jive": [Excerpt: Johnny Otis, "Willie and the Hand Jive"] Nolen left Otis after a few years, and spent the early sixties mostly playing in scratch bands backing blues singers, and not recording. It was during this time that Nolen developed the style that would revolutionise music. The style he developed was unique in several different ways. The first was in Nolen's choice of chords. We talked last week about how Pete Townshend's guitar playing became based on simplifying chords and only playing power chords. Nolen went the other way -- while his voicings often only included two or three notes, he was also often using very complex chords with *more* notes than a standard chord. As we discussed last week, in most popular music, the chords are based around either major or minor triads -- the first, third, and fifth notes of a scale, so you have an E major chord, which is the notes E, G sharp, and B: [Excerpt: E major chord] It's also fairly common to have what are called seventh chords, which are actually a triad with an added flattened seventh, so an E7 chord would be the notes E, G sharp, B, and D: [Excerpt: E7 chord] But Nolen built his style around dominant ninth chords, often just called ninth chords. Dominant ninth chords are mostly thought of as jazz chords because they're mildly dissonant. They consist of the first, third, fifth, flattened seventh, *and* ninth of a scale, so an E9 would be the notes E, G sharp, B, D, and F sharp: [Excerpt: E9 chord] Another way of looking at that is that you're playing both a major chord *and* at the same time a minor chord that starts on the fifth note, so an E major and B minor chord at the same time: [Demonstrates Emajor, B minor, E9] It's not completely unknown for pop songs to use ninth chords, but it's very rare. Probably the most prominent example came from a couple of years after the period we're talking about, when in mid-1967 Bobby Gentry basically built the whole song "Ode to Billie Joe" around a D9 chord, barely ever moving off it: [Excerpt: Bobby Gentry, "Ode to Billie Joe"] That shows the kind of thing that ninth chords are useful for -- because they have so many notes in them, you can just keep hammering on the same chord for a long time, and the melody can go wherever it wants and will fit over it. The record we're looking at, "Papa's Got a Brand New Bag", actually has three chords in it -- it's basically a twelve-bar blues, like "Out of Sight" was, just with these ninth chords sometimes used instead of more conventional chords -- but as Brown's style got more experimental in future years, he would often build songs with no chord changes at all, just with Nolen playing a single ninth chord throughout. There's a possibly-apocryphal story, told in a few different ways, but the gist of which is that when auditioning Nolen's replacement many years later, Brown asked "Can you play an E ninth chord?" "Yes, of course" came the reply. "But can you play an E ninth chord *all night*?" The reason Brown asked this, if he did, is that playing like Nolen is *extremely* physically demanding. Because the other thing about Nolen's style is that he was an extremely percussive player. In his years backing blues musicians, he'd had to play with many different drummers, and knew they weren't always reliable timekeepers. So he'd started playing like a drummer himself, developing a technique called chicken-scratching, based on the Bo Diddley style he'd played with Otis, where he'd often play rapid, consistent, semiquaver chords, keeping the time himself so the drummer didn't have to. Other times he'd just play single, jagged-sounding, chords to accentuate the beat. He used guitars with single-coil pickups and turned the treble up and got rid of all the midrange, so the sound would cut through no matter what. As well as playing full-voiced chords, he'd also sometimes mute all the strings while he strummed, giving a percussive scratching sound rather than letting the strings ring. In short, the sound he got was this: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] And that is the sound that became funk guitar. If you listen to Jimmy Nolen's playing on "Papa's Got a Brand New Bag", that guitar sound -- chicken scratched ninth chords -- is what every funk guitarist after him based their style on. It's not Nolen's guitar playing in its actual final form -- that wouldn't come until he started using wah wah pedals, which weren't mass produced until early 1967 -- but it's very clear when listening to the track that this is the birth of funk. The original studio recording of "Papa's Got a Brand New Bag" actually sounds odd if you listen to it now -- it's slower than the single, and lasts almost seven minutes: [Excerpt: James Brown "Papa's Got a Brand New Bag (parts 1, 2, and 3)"] But for release as a single, it was sped up a semitone, a ton of reverb was added, and it was edited down to just a few seconds over two minutes. The result was an obvious hit single: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] Or at least, it was an obvious hit single to everyone except Syd Nathan, who as you'll have already predicted by now didn't like the song. Indeed according to Brown, he was so disgusted with the record that he threw his acetate copy of it onto the floor. But Brown got his way, and the single came out, and it became the biggest hit of Brown's career up to that point, not only giving him his first R&B number one since "Try Me" seven years earlier, but also crossing over to the pop charts in a way he hadn't before. He'd had the odd top thirty or even top twenty pop single in the past, but now he was in the top ten, and getting noticed by the music business establishment in a way he hadn't earlier. Brown's audience went from being medium-sized crowds of almost exclusively Black people with the occasional white face, to a much larger, more integrated, audience. Indeed, at the Grammys the next year, while the Beatles, the Beach Boys, the Rolling Stones, Bob Dylan, Phil Spector and the whole Motown stable were overlooked in favour of the big winners for that year Roger Miller, Herb Alpert, and the Anita Kerr Singers, even an organisation with its finger so notoriously off the pulse of the music industry as the National Academy of Recording Arts and Sciences, which presents the Grammys, couldn't fail to find the pulse of "Papa's Got a Brand New Bag", and gave Brown the Grammy for Best Rhythm and Blues record, beating out the other nominees "In the Midnight Hour", "My Girl", "Shotgun" by Junior Walker, and "Shake" by Sam Cooke. From this point on, Syd Nathan would no longer argue with James Brown as to which of his records would be released. After nine years of being the hardest working man in showbusiness, James Brown had now become the Godfather of Soul, and his real career had just begun.

Hello ladies and gentlemen and welcome back to inside movies galore where we went on about this classic in 1978 TV special within the George Lucas universe that some of us believe isn't underrated film or is it TuneIn and listen as we discussed this malady in film history! --- Support this podcast: https://anchor.fm/inside-movies-galore/support

Jay Jay welcomes back a very special guest, renowned producer & director Steve Binder. Tune in to catch part two of their conversation, all about The Elvis Presley: '68 Comeback Special - a televised concert of Elvis Presley which aired on December 3rd, 1968 via NBC, that Steve produced & directed. Hear the story of how Steve & Elvis connected to create this documentary, and how it changed both of their lives. If you're an Elvis fan - you won't want to miss the stories included in this week's episode - what made Elvis such a genuinely loveable figure to all those who worked with him, how Colonel Parker effected Elvis's career, to the youth craze surrounding Elvis and how his hip swinging gained so much international publicity. Hear these stories exclusively on The Jay Jay French Connection - Beyond the Music!

This week's guest is the legendary producer and director Steve Binder. Steve found success behind the camera on television shows showcasing music, when he was only in his early 20s. He was also influential in creating music programs that featured a wide range of musical styles. He's well known as being the director & producer of the remarkable rock documentary known as the T.A.M.I. Show, which greatly influenced Jay Jay immediately upon seeing it growing up - showcasing artists such as James Brown, Marvin Gaye, Chuck Berry, The Supremes, The Rolling Stones, The Beach Boys, Gerry and The Pacemakers, Jan and Dean, Smokey Robinson, Leon Russell, Lesley Gore & many more. Tune in to hear why Jay Jay calls James Brown's performance on the T.A.M.I Show the "single greatest performance done by a human being, on the planet." Hear all about Steve's life story, and why he believes that when talent, timing & luck all hit at the same time, this is the combination that can accelerate your life & your career. Be sure to keep an eye out for part II of their conversation, in which Steve & Jay Jay will further discuss the Elvis Presley: 68' comeback special, which Steve also directed and produced.

Steve Binder discusses directing Steve Allen, Jack Paar, Elvis Comeback Special 1968, Diana Ross Live in Central Park, Petula Clark Special with Harry Belafonte, & The Chevy Chase Show.

From March 2017: Emmy Award-winning producer/director Steve Binder tells Ed the backstory of "If I Can Dream," the iconic final number of Elvis: The 1968 Comeback Special, including an incredible act of selflessness by Billy Goldenberg, the show's musical director. Learn more about your ad choices. Visit megaphone.fm/adchoices

From March 2017: Emmy Award-winning producer/director Steve Binder (The T.A.M.I. Show, Diana Ross: Live in Central Park, Elvis: The 1968 Comeback Special) tells Ed the backstory of Lucy in London (CBS, 1966), an one-hour musical special, filmed on location in London, that allowed Lucille Ball an opportunity to return to her roots as a musical performer.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Producer/director Steve Binder shares behind the scenes stories from the landmark 1968 special which put Elvis back on the throne despite challenges presented by his manager, Colonel Tom Parker.

The Star Wars Holiday Special is a two-hour made-for-TV musical variety show movie that aired on November 17. 1978 on CBS for its November sweeps period.). Variety shows were hot on TV in the 1970s and this effort would serve as a ratings bonanza, putting the hottest cultural phenomenon of the last year in front of as many eyeballs as they could on a Friday night when kids could stay up to watch TV. The Force was not with this one. Chewbacca's family living in a giant treehouse on Kashyyyk. The family trio includes Chewbacca's wife Malla, his father Itchy, and his son, Lumpy. Chewbacca is returning to see his kin for a celebration of the holiday called Life Day. However, Chewie is delayed by an Imperial Cruiser in the vicinity performing a blockade that keeps the Millennium Falcon from its destination, and down on the Wookiee planet, Stormtroopers are invading homes and placing the locals under a strict curfew. All Chewie's family can do is use their technology to entertain themselves with cartoons, acrobats, sultry women of fantasy, and Jefferson Starship while they wait. Mark Hamill, Harrison Ford, Carrie Fisher, Anthony Daniels, Peter Mayhew, Bea Arthur, Art Carney, Harvey Korman, Diahann Carroll, and the voice of James Earl Jones all make an appearance.

On this episode of 'Homeless in San Diego: Real People, Real Stories,' host Greg Anglea, CEO of Interfaith Community Services, is joined by Steve Binder, Deputy Public Defender and Co-founder of innovative court program: Homeless Court. Steve and Greg discuss the game-changing court program that helps homeless individuals get back on their feet and leave the streets. Steve provides listeners with a behind-the-scenes look at the origination of Homeless Court in San Diego, how the program works, and the national expansion of this first-of-its-kind program.

This is a clip again from the Gibert Gottfried podcast, this time talking to director Steve Binder   http://www.starwarsjunk.net

Vi samlas för att prata om Star Wars då, nu och framtid. Kommer gulliga djur ta över visdom och ljussablar? Efter 35 minuter spoilar vi järnet ur The Last Jedi. LÄNKLISTA   Star Wars: Episode I – The Phantom Menace (film, George Lucas, 1999)https://en.wikipedia.org/wiki/Star_Wars:_Episode_I_–_The_Phantom_Menace Star Wars: Episode II – Attack of the Clones (film, George Lucas, 2002)https://en.wikipedia.org/wiki/Star_Wars:_Episode_II_–_Attack_of_the_Clones Star Wars: Episode III – Revenge of the Sith (film, George Lucas, 2005)https://en.wikipedia.org/wiki/Star_Wars:_Episode_III_–_Revenge_of_the_Sith Star Wars: Episode IV – A New Hope (film, George Lucas, 1977)https://en.wikipedia.org/wiki/Star_Wars_(film) Star Wars: Episode V – The Empire Strikes Back (film, Irvin Kreshner, 1980)https://en.wikipedia.org/wiki/The_Empire_Strikes_Back Star Wars: Episode VI – Return of the Jedi (film, Richard Marquand, 1983)https://en.wikipedia.org/wiki/Return_of_the_Jedi Star Wars: Episode VII – The Force Awakens (film, J.J. Abrams, 2015)https://en.wikipedia.org/wiki/Star_Wars:_The_Force_Awakens Star Wars: Episode VII – The last Jedi (film, Rian Johnson, 2017)https://en.wikipedia.org/wiki/Star_Wars:_The_Last_Jedi Rogue One: A Star Wars Story (film, Gareth Edwards, 2016)https://en.wikipedia.org/wiki/Rogue_One Solo: A Star Wars Story (film, Ron Howard, 2018)https://en.wikipedia.org/wiki/Solo:_A_Star_Wars_Story Stjärnornas krig och fred - julspecial (film, Steve Binder, 1978)https://www.youtube.com/watch?v=wJDAmBQ1u2g How Star Wars was saved in the edithttps://www.youtube.com/watch?v=GFMyMxMYDNk Star Wars Rebels (tv-serie, Simon Kiberg/Dave Filoni/Carrie Beck, 2014)https://en.wikipedia.org/wiki/Star_Wars_Rebels

This week, Ira spoke with Steve Binder. Steve Binder, producer-director of the 1968 Elvis Presley Comeback Special, has written, along with Mary Beth Leidman, “Fade Up: 26 The Movers and Shakers of Variety Television,” a history of variety television as told by the voices of the men and women who were and are responsible for […]

For this Super-sized Star Wars Holiday Special episode, we talk with the director, Steve Binder! We are so excited to celebrate the 38th anniversary of the day we met Chewbacca's family, Boba Fett and adult Wookiee entertainment with Steve. He has many behind-the-scenes stories of working with the “Chewbaccas” and is also the author of “Fade Up: 26 - The Movers and Shakers of Variety Television”. Steve's passion for his profession is palpable and he was a joy to interview. (38:37) The Avengers Super Heroes Half Marathon was just last weekend and we recap the Doctor Strange 10k and the Kid's Races with Christopher Marino and Randy Crane (Stories of the Magic).  (13:06) Also on this episode: Beauty and the Beast (2017) Trailer breakdown (25:07) Star Wars Holiday Special Fun Facts (1:41:55) Princess Leia's Song: A Tribute (by Rob Dehlinger and Eliza “Secret Keeper” Peralta) Skywalker Moment by Matt Clifton Skywalker Shout-Outs and Skywalker of the Week WHERE WE WILL BE (IN REAL LIFE) September 17-22, 2017: Skywalking HALLOWEEN ON THE HIGH SEAS Disney Cruise! To get more info, go to storiesofthemagic.com/cruisequote and click on the orange "Get a Quote" button in the upper left to get a free, no obligation quote. You're not committing to anything, just getting information with that request. In the Comments section mention "Skywalking Through Neverland" so Randy Crane knows you want to be part of our group. SUPPORT THE SHOW Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE. Shopping HerUniverse? Click here! CONTACT US tweet! tweet! @SkywalkingPod. We have a Facebook Group. Follow Skywalkingpod on SnapChat. Join us every week on Periscope for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings. Send emails to share@skywalkingthroughneverland.com and follow us on Facebook. If you dug this episode, click over to iTunes | Stitcher | YouTube and leave us a review! Never Land on Alderaan!

For this Super-sized Star Wars Holiday Special episode, we talk with the director, Steve Binder! We are so excited to celebrate the 38th anniversary of the day we met Chewbacca’s family, Boba Fett and adult Wookiee entertainment with Steve. He has many behind-the-scenes stories of working with the “Chewbaccas” and is also the author of “Fade Up: 26 - The Movers and Shakers of Variety Television”. Steve’s passion for his profession is palpable and he was a joy to interview. (38:37) The Avengers Super Heroes Half Marathon was just last weekend and we recap the Doctor Strange 10k and the Kid’s Races with Christopher Marino and Randy Crane (Stories of the Magic).  (13:06) Also on this episode: Beauty and the Beast (2017) Trailer breakdown (25:07) Star Wars Holiday Special Fun Facts (1:41:55) Princess Leia’s Song: A Tribute (by Rob Dehlinger and Eliza “Secret Keeper” Peralta) Skywalker Moment by Matt Clifton Skywalker Shout-Outs and Skywalker of the Week WHERE WE WILL BE (IN REAL LIFE) September 17-22, 2017: Skywalking HALLOWEEN ON THE HIGH SEAS Disney Cruise! To get more info, go to storiesofthemagic.com/cruisequote and click on the orange "Get a Quote" button in the upper left to get a free, no obligation quote. You're not committing to anything, just getting information with that request. In the Comments section mention "Skywalking Through Neverland" so Randy Crane knows you want to be part of our group. SUPPORT THE SHOW Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE. Shopping HerUniverse? Click here! CONTACT US tweet! tweet! @SkywalkingPod. We have a Facebook Group. Follow Skywalkingpod on SnapChat. Join us every week on Periscope for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings. Send emails to share@skywalkingthroughneverland.com and follow us on Facebook. If you dug this episode, click over to iTunes | Stitcher | YouTube and leave us a review! Never Land on Alderaan!

Emmy-winning producer-director Steve Binder joins Gilbert and Frank to talk about his long and successful career in variety television and shares recollections of working with legendary performers Steve Allen, Soupy Sales, Lucille Ball and most notably, Elvis Presley. Also, Steve clashes with Danny Kaye, discovers Shields and Yarnell, turns down Uncle Miltie and makes TV history with Petula Clark and Harry Belafonte. PLUS: Colonel Parker! "The T.A.M.I. Show"! "Aladdin on Ice"! Gabe Dell does Dracula! And Bob Denver dates a Wookiee! Learn more about your ad choices. Visit megaphone.fm/adchoices

A great conversation with Television Producer Mary Beth Leidman who's just put out a book on the history of Variety Television as seen through the eyes of the Directors and Producers who made historic shows like Laugh-In The Tonight Show Saturday Night Live and American Idol. Leidman talks about her collaboration with Steve Binder, himself a well known producer of such productions The '68 Elvis Comeback Special, and Diana Ross's HBO Concert in Central Park. We discuss the making of the book, and historic impact these men and women had in creating the craft and language of variety television. What do they think of today's social media platforms, streaming services and non-broadcast competition that today's entertainment world offers? 

A great conversation with Television Producer Mary Beth Leidman who's just put out a book on the history of Variety Television as seen through the eyes of the Directors and Producers who made historic shows like Laugh-In The Tonight Show Saturday Night Live and American Idol. Leidman talks about her collaboration with Steve Binder, himself a well known producer of such productions The '68 Elvis Comeback Special, and Diana Ross's HBO Concert in Central Park. We discuss the making of the book, and historic impact these men and women had in creating the craft and language of variety television. What do they think of today's social media platforms, streaming services and non-broadcast competition that today's entertainment world offers? 

Today Ken welcomes the authors of the new book Fade Up: 26 The Movers and Shakers of Variety Television Steve Binder and Dr. Mary Beth Leidman. First up Ken speaks with producer/director Steve Binder. Ken and Steve discuss proper pronunciations, Col. Tom Parker, KABC TV LA, going from the mail room to the control room, Soupy Sales, Vampira, the timelessness of television, preserving the past, loving Lucy, the talent, Variety Shows, The T.A.M.I. show, music on TV, "Elvis" the 1968 special, happy accidents, breaking the color barrier with Harry Belafonte and Petula Clark, Ernie Kovaks, Edie Adams, The Rolling Stone 10th Anniversary Special, Patti LaBelle and Cyndi Lauper, knowing how to step back, Steve Alan, Pee Wee's Christmas Special and capturing an undiscovered generation and their worth ethic. Next up Ken speaks with broadcaster and educator Dr. Marty Beth Leidman. Ken and Mary Beth discuss academia vs. Hollywood, audience engagement, shared experience, loving television from birth, new technology, narrow casting vs. broadcasting, late night TV, the definition of variety shows, Saturday Night Live and not understanding the Walking Dead.

The Stuph File Program Featuring Peter James, author of Love You Dead; TV director, Steve Binder, co-author of Fade Up: 26 the Movers and Shakers of Variety Television; & Jack Duffy, author of The Man from 2063 Download Peter James is one of the UK's bestselling crime and thriller novelists. His Roy Grace detective novels have sold over 17 million copies worldwide. His 12th novel in the series is entitled Love You Dead Legendary producer/director Steve Binder, has had a hand in such iconic television specials as the Elvis '68 Comeback Show, Diana Ross' Central Park concert and scores of other variety programs. He's also the co-author of the new book, Fade Up: 26 the Movers and Shakers of Variety Television. Lawyer Jack Duffy is a terrorism expert, political analyst and the author of the novel on the JFK assassination, The Man from 2063. It looks at what might have been different if John F. Kennedy hadn't been assassinated. This week's opening slate is presented by Camilla Jiang, a chemical engineering student at McGill University.

Zach Ames, Hannah Faust, Gina Ippolito and Will Reese join me to watch the Star Wars Holiday Special and discuss the mental exhaustion induced by one and a half hours of nonsense from a Galaxy Far Far Away. IMDB: http://www.imdb.com/title/tt0193524/ Directed by: Steve Binder, David Acomba (uncredited) Written by: Pat Proft, Leonard Ripps, Bruce Vilanch, Rod Warren, and Mitzie Welch Starring: Mark Hammil, Harrison Ford, Carrie Fisher, Anthony Daniels, Peter Mayhew, Kenny Baker, Bea Arthur, Art Carney, Diahann Carroll, Harvey Korman CBS promo trailer: https://www.youtube.com/watch?v=qwW6Wf7Ekr4 Watch the full movie: https://www.youtube.com/watch?v=S3a5j8PgQxg If you are enjoying I Will Watch Anything Once, please subscribe, rate and review on iTunes, like it on Facebook and follow IWWAO on twitter and tumblr. Remember, if you haven't seen it once you can't complain. Additional Links: Zach Ames - https://twitter.com/zachlunch Hannah Faust - https://twitter.com/hannahmfaust Gina Ippolito - https://twitter.com/GinaIppy Will Reese - https://twitter.com/willy_reese  See acast.com/privacy for privacy and opt-out information.

Click here to download.An all-POOP television special!Connor and Andrew from Two Player Media join the Popcorn Poops this week to take on the mother of all shitty holiday specials, Steve Binder's 1978 film THE STAR WARS HOLIDAY SPECIAL!Tune in for discussions on everything from Wookiee sex to what's wrong with Mark Hamill's face to more THE FORCE AWAKENS talk! You don't want to miss this one!Please subscribe to the podcast on iTunes, Stitcher, and anywhere else you get podcasts. Leave a review on one of those platforms, and the hosts will read it on the show. Follow Popcorn Poops on Twitter and like the official Facebook page for frequent updates on the status of future episodes, including a weekly movie still identification game. Correctly identify the movie from the screenshot, and you'll be mentioned on the podcast along with anything you'd like to promote.If you want to support the show, be sure to visit Audible and sign up for a free 30-day trial of their audiobook subscription service. You will also receive a free audiobook that is yours to keep whether or not you decide to continue with Audible after your trial membership has expired. Please use the link provided so they know who sent you. You can also donate to our GoFundMe.Stick around after today's show for a few words from this week's Poo Pal, The Conversations: A Film Podcast!

On this special On-Screen rerun to kick off Star Wars Week here at WHM, the gang revisits the time they traveled to a galaxy far, far away around the holidays and found The Star Wars Holiday Special! Remember this beloved holiday conversation as Andrew, Chris and Eric chat about the potential of a Vince McMahon-run wookie football league, Chewbacca's humble domestic goals, and the possibility of using this wretched special as a sonic weapon at Gitmo! The Star Wars Holiday Special stars Mark Hamill, Harrison Ford, Carrie Fisher, Anthony Daniels, Peter Mayhew, Kenny Baker, Bea Arthur, and Art Carney; directed by Steve Binder.

In 1968 Harry Belafonte and Petula Clark sang together her song On the Path of Glory for a special for NBC. Not such a remarkable event in itself, but Petula touched Harry's forearm during the duet and made TV history. It was the first time a white woman had touched a black man on US television. The sponsor insisted the touch be cut from the programme, the programme makers refused. Listen to the producer of the programme, Steve Binder. Picture: Harry Belafonte, Credit: Alan Meek/Express/Getty Images

On the 35th anniversary of the death of Elvis Presley, Witness goes back to a television special that revived his career at the end of the 1960s. At the time, Elvis was struggling to compete against new bands such as the Beatles and the Rolling Stones. Witness speaks to Steve Binder, the director of what became known as the Comeback Special. PHOTO: Elvis in the late 1960s. (Getty Images)

Elvis’ original guitarist, Scotty Moore, and drummer, DJ Fontana, rejoined Elvis to be part of the 68 Comeback Special band. Scotty and TV director Steve Binder recall how the spontaneous acoustic jam segment came together as organically as it looks. The “sit down” set wasn’t even part of the original plan, but Binder knew he [...]

Both Elvis and The Elvis Presley Podcast triumphantly return in this first episode of the ‘68 Comeback Special podcast, released in conjunction with the new 4-disc special box set, hosted by Laura Cantrell and featuring new interviews with director Steve Binder, guitarist Scotty Moore and more.