Podcasts about This Magic Moment

In this episode host K. Wilkes is in conversattion with Dr. Allison Applebaum, author of 'Stand By Me: A Guide to Navigating Modern, Meaningful Caregiving', as she shares her personal journey as a caregiver for her father, renowned musician Stan Applebaum, known for many iconic songs including "Stand By Me" and "This Magic Moment".   The conversation explores the emotional complexities of caregiving, the impact of grief, the importance of building a support network, financial considerations, and the challenges of navigating complicated family dynamics. Allison emphasizes the significance of self-care, mindfulness, and advocating for quality of life while addressing ageism in healthcare. This insightful dialogue offers valuable guidance for current and future caregivers. In this conversation, Allison Applebaum discusses the importance of the platinum rule in healthcare, advocating for patients' values, and the challenges faced by caregivers. She shares her personal journey of caregiving for her father, the inspiration behind her book 'Stand By Me', and her vision for the future of caregiving, emphasizing the need for systemic support for family caregivers. The discussion also highlights practical resources for caregivers and concludes with advice for those embarking on the caregiving journey.Chapters03:00  Introduction to Caregiving and Personal Journey05:08   The Transition to Caregiver Role08:49  Navigating Grief and Caregiving Responsibilities12:00   Building a Support Network for Caregiving15:21   Financial Considerations in Caregiving18:37  Managing Complicated Relationships in Caregiving20:14  The Importance of Self-Care for Caregivers22:50  Incorporating Mindfulness in Caregiving24:55  Addressing Ageism in Healthcare27:40  Advocating for Quality of Life in Caregiving28:09  The Platinum Rule in Healthcare33:15   The Journey of Caregiving and Advocacy36:12   Inspiration Behind 'Stand By Me'38:51   The Future of Caregiving41:20   Resources for Caregivers46:55   Final Thoughts on CaregivingResources & LinksDr. Allison ApplebaumWebsite: https://allisonapplebaum.com/Instagram: @drallisonapplebaum Like what you heard? Share with others and follow us @ponderingthoughtspodcast Instagram

Welcome to Day 11 of our 12 Days of Christmas - Magic Moments Edition!

Welcome to Day 2 of our 12 Days of Christmas - Magic Moments!

Is this our longest title ever? First, Indy reviews several basketball documentaries including; Bill Russell: Legend,  Bad Boys, I Hate Christian Laetner, This Magic Moment, Crossover: The Trial of Allen Iverson, Malice at the Palace, and we have a not so brief divergence into the role of Allen Iverson in America's cultural battlefields. Then, Samantha recommends Star Crossed: A True WWII Romeo and Juliet Love Story in Hitler's Paris by Heather Dune Macadam & Simon Worrall. Finally, we get ready to watch Troll 2, the best worst movie! I Love This You Should Too is hosted by Samantha and Indy Randhawa   The Full Allen Iverson Practice Speech: https://www.youtube.com/watch?v=K9ZQhyOZCNE&ab_channel=ESPN   Star Crossed: A True WWII Romeo and Juliet Love Story in Hitler's Paris by Heather Dune Macadam & Simon Worrall on Goodreads: https://www.goodreads.com/book/show/60098287-star-crossed   Watch Troll 2 on Kanopy: https://www.kanopy.com/en/product/troll-2 Best Worst Movie (2009) on YouTube: https://www.youtube.com/watch?v=CPEp1lDgsLM&t=2s&ab_channel=JackoTV   Troll 2 (or Goblins) is a 1990 independent dark fantasy horror film written and directed by Claudio Fragasso under the pseudonym Drake Floyd. It stars Michael Stephenson, George Hardy, Connie McFarland, and Jason Wright. The plot follows Joshua Waits as he tries to save his family after the spirit of his deceased grandfather warns him that the town of Nilbog, where the family are spending their vacation, is inhabited by goblins who turn people into plant matter to eat them. Although produced under the original title Goblins, American distributors marketed it as a sequel to the 1986 horror film Troll. However, the two are unrelated and Troll 2 features goblins rather than trolls. The film was produced by Filmirage; development was rife with difficulties, largely due to the language barrier between the Italian-speaking crew and English-speaking cast, and producer Joe D'Amato's approach to low-budget filmmaking. It was released on October 12, 1990 by Epic Productions, and some considered it to be one of the worst movies ever made. In subsequent years, the film has gained a cult following. Though it was generally viewed as a poorly made horror film, the filmmakers stated that it was "always intended to be a comic film." Stephenson later directed the critically acclaimed 2009 documentary Best Worst Movie about the production and subsequent popularity of Troll 2.

During his decade (1975-1985) as one of the lead singers of the Rock and Roll Hall of Fame group The Drifters, Blunt was privileged to perform alongside the legendary Ben E. King (Stand By Me) and the great Johnny Moore (Under The Boardwalk). During this period, The Drifters experienced a significant career resurgence, especially in England, where the group returned to the top of the charts with several top 10 hits, major tours, and media appearances.  Joe received a Lifetime Achievement Award from Sony Music for his service to the music industry as a member of The Drifters on the Bell/Arista Record labels. Sony Music also awarded Blunt a Gold Disc for his contributions to the compilation CD, "The Drifters: The Very Best Of," certified Gold in the U.K. Blunt retired from The Drifters and returned to his musical roots as a gospel music performer in D.C. He was also a member the trio “Voices Of Classic Soul". The group toured extensively all across the country and made dozens of media appearances, with Blunt singing lead on crowd-pleasing Drifters classics, including "Under The Boardwalk," "This Magic Moment," "On Broadway," "Up On The Roof," and King's "Stand By Me." Blunt retired from performing in 2023. Joe Blunt began his singing career while a student at D.C.'s McKinley Tech High School, signing his first recording contract with Cap City Records as a member of The Chancellors. Joe was the lead singer on the group's 1968 debut single,” Sad Avenue.” The group, however, may be best remembered as producing a future member of The Temptations, a member of The Platters, and, in 1975, Joe Blunt became a member of the legendary Drifters.

Avec Steve Miller Band, Muddy Waters, les Who et Fleetwood Mac. La magie analogie de la sexualité dans "Abracadabra" du Steve Miller Band en 1982, inspiré du répertoire de Diana Ross et des Supremes. "Mojo" évoqué par la légende du blues, Muddy Waters, en 1957, c'est un pouvoir magique selon la tradition Hoodoo des noirs américains transportés de force aux États-Unis équivalant de sex-appeal extraordinaire. En 1968, les Who publient "Magic Bus", le bus magique. Impossible d'évoquer la magie sans citer la sorcellerie que l'on retrouve dans "Rhiannon" (sorcière galloise, une reine maudite qui subit l'exil et une vie de pauvreté) classique de Fleetwood Mac sorti en 1975 signé Stevie Nicks. MARDI 05/03/24 Avec Rainbow, The Cars, Bruce Springsteen et Queen. La magie, les sorts et autres thèmes d'heroic-fantasy, le groupe Rainbow, fondée par le guitariste Ritchie Blackmore dans les années 70 après son départ de Deep Purple, sort "Magic" en 1981. 1984, The Cars, groupe originaire de Boston dirigé par Ric Ocasek et Benjamin Orr, sortent eux aussi "Magic". Pour "Magic" le 15e album de Bruce Springsteen en 2007, la plage titulaire, la magie n'est pas très scintillante ou positive. Queen signe "A King of Magic" en 1986, écrit par le batteur Roger Taylor, réarrangé par Freddie Mercury, écrit pour se retrouver sur la B.O. du film "Highlander" avec Christophe Lambert, alias Connor MacLeod. MERCREDI 06/03/24 Avec Coldplay, Simple Minds, Jimi Hendrix et Santana. En 2014, Coldplay signe l'album le plus introspectif de sa carrière “Ghost Stories”, le chanteur et leader de Coldplay puise dans sa récente séparation avec l'actrice Gwyneth Paltrow. En 2018, Simple Minds sort son 18e album “Walk Between Worlds” sur lequel il publie “Magic”. En 1967, le Jimi Hendrix Experience publie “Spanish Castle Magic” qui revient sur les débuts du guitariste, c'était le nom d'un club de Seattle, le top du top en matière de boîte de nuit. Reprise d'un classique de Peter Green et Fleetwood Mac, Santana signe son premier véritable tube en 1970, référence à la magie noire, sorcellerie, exorcisme, au diable… JEUDI 07/03/24 Avec The Police, David Bowie et Heart. Chaque petite chose qu'elle fait est magique, “Every Little Thing She Does is Magic” classique du groupe Police sorti en 1981, le personnage masculin est clairement obsessionnel, 2 ans plus tard dans “Every Breath You Take” traitera aussi d'un homme basculant dans le harcèlement. En 1986, David Bowie se plonge dans la peau de Jareth, le roi des kobolds, l'acteur principal dans le film “Labyrinthe”, il signe aussi la bande originale, notamment “Magic Dance”. En 1975, Heart, le groupe des sœurs Wilson, Ann et Nancy, publient ce “Magic Man”, l'un de leurs plus grands succès. Qui parle de Mike Fisher, le premier guitariste de la formation, ensuite manager, ingénieur du son du groupe et petit ami de la chanteuse, Ann Wilson. VENDREDI 08/03/24 Avec Kiss, Aerosmith, Red Hot Chili Peppers, Electric Light Orchestra et Lou Reed. En 1979 sur son album “Dynasty”, le groupe américain Kiss publie “Magic Touch”. Autre morceau pour Aerosmith et "Magic Touch" sorti en 1987, Steven Tyler en demande de la “magic touch” de sa partenaire, charme et de sexualité. Le plus “magique” basketteur américain : Magic Johnson, stars des Los Angeles Lakers, sur “Mother's Milk” des Red Hot Chili Peppers en 1989, Flea, le bassiste, est un grand fan. En 1975, la magie du charme féminin évoquée par le groupe de Jeff Lynne, Electric Light Orchestra, dans "Strange Magic". En 1995, Lou Reed rend hommage à l'un de ses meilleurs amis, Doc Pomus, en reprenant “This Magic Moment” en hommage au compositeur. Le réalisateur David Lynch le choisi pour la bande originale de son film devenu culte “Lost Highway”. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Avec Rainbow, The Cars, Bruce Springsteen et Queen. La magie, les sorts et autres thèmes d'heroic-fantasy, le groupe Rainbow, fondée par le guitariste Ritchie Blackmore dans les années 70 après son départ de Deep Purple, sort "Magic" en 1981. 1984, The Cars, groupe originaire de Boston dirigé par Ric Ocasek et Benjamin Orr, sortent eux aussi "Magic". Pour "Magic" le 15e album de Bruce Springsteen en 2007, la plage titulaire, la magie n'est pas très scintillante ou positive. Queen signe "A King of Magic" en 1986, écrit par le batteur Roger Taylor, réarrangé par Freddie Mercury, écrit pour se retrouver sur la B.O. du film "Highlander" avec Christophe Lambert, alias Connor MacLeod. MERCREDI 06/03/24 Avec Coldplay, Simple Minds, Jimi Hendrix et Santana. En 2014, Coldplay signe l'album le plus introspectif de sa carrière “Ghost Stories”, le chanteur et leader de Coldplay puise dans sa récente séparation avec l'actrice Gwyneth Paltrow. En 2018, Simple Minds sort son 18e album “Walk Between Worlds” sur lequel il publie “Magic”. En 1967, le Jimi Hendrix Experience publie “Spanish Castle Magic” qui revient sur les débuts du guitariste, c'était le nom d'un club de Seattle, le top du top en matière de boîte de nuit. Reprise d'un classique de Peter Green et Fleetwood Mac, Santana signe son premier véritable tube en 1970, référence à la magie noire, sorcellerie, exorcisme, au diable… JEUDI 07/03/24 Avec The Police, David Bowie et Heart. Chaque petite chose qu'elle fait est magique, “Every Little Thing She Does is Magic” classique du groupe Police sorti en 1981, le personnage masculin est clairement obsessionnel, 2 ans plus tard dans “Every Breath You Take” traitera aussi d'un homme basculant dans le harcèlement. En 1986, David Bowie se plonge dans la peau de Jareth, le roi des kobolds, l'acteur principal dans le film “Labyrinthe”, il signe aussi la bande originale, notamment “Magic Dance”. En 1975, Heart, le groupe des sœurs Wilson, Ann et Nancy, publient ce “Magic Man”, l'un de leurs plus grands succès. Qui parle de Mike Fisher, le premier guitariste de la formation, ensuite manager, ingénieur du son du groupe et petit ami de la chanteuse, Ann Wilson. VENDREDI 08/03/24 Avec Kiss, Aerosmith, Red Hot Chili Peppers, Electric Light Orchestra et Lou Reed. En 1979 sur son album “Dynasty”, le groupe américain Kiss publie “Magic Touch”. Autre morceau pour Aerosmith et "Magic Touch" sorti en 1987, Steven Tyler en demande de la “magic touch” de sa partenaire, charme et de sexualité. Le plus “magique” basketteur américain : Magic Johnson, stars des Los Angeles Lakers, sur “Mother's Milk” des Red Hot Chili Peppers en 1989, Flea, le bassiste, est un grand fan. En 1975, la magie du charme féminin évoquée par le groupe de Jeff Lynne, Electric Light Orchestra, dans "Strange Magic". En 1995, Lou Reed rend hommage à l'un de ses meilleurs amis, Doc Pomus, en reprenant “This Magic Moment” en hommage au compositeur. Le réalisateur David Lynch le choisi pour la bande originale de son film devenu culte “Lost Highway”. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Avec Coldplay, Simple Minds, Jimi Hendrix et Santana. En 2014, Coldplay signe l'album le plus introspectif de sa carrière “Ghost Stories”, le chanteur et leader de Coldplay puise dans sa récente séparation avec l'actrice Gwyneth Paltrow. En 2018, Simple Minds sort son 18e album “Walk Between Worlds” sur lequel il publie “Magic”. En 1967, le Jimi Hendrix Experience publie “Spanish Castle Magic” qui revient sur les débuts du guitariste, c'était le nom d'un club de Seattle, le top du top en matière de boîte de nuit. Reprise d'un classique de Peter Green et Fleetwood Mac, Santana signe son premier véritable tube en 1970, référence à la magie noire, sorcellerie, exorcisme, au diable… JEUDI 07/03/24 Avec The Police, David Bowie et Heart. Chaque petite chose qu'elle fait est magique, “Every Little Thing She Does is Magic” classique du groupe Police sorti en 1981, le personnage masculin est clairement obsessionnel, 2 ans plus tard dans “Every Breath You Take” traitera aussi d'un homme basculant dans le harcèlement. En 1986, David Bowie se plonge dans la peau de Jareth, le roi des kobolds, l'acteur principal dans le film “Labyrinthe”, il signe aussi la bande originale, notamment “Magic Dance”. En 1975, Heart, le groupe des sœurs Wilson, Ann et Nancy, publient ce “Magic Man”, l'un de leurs plus grands succès. Qui parle de Mike Fisher, le premier guitariste de la formation, ensuite manager, ingénieur du son du groupe et petit ami de la chanteuse, Ann Wilson. VENDREDI 08/03/24 Avec Kiss, Aerosmith, Red Hot Chili Peppers, Electric Light Orchestra et Lou Reed. En 1979 sur son album “Dynasty”, le groupe américain Kiss publie “Magic Touch”. Autre morceau pour Aerosmith et "Magic Touch" sorti en 1987, Steven Tyler en demande de la “magic touch” de sa partenaire, charme et de sexualité. Le plus “magique” basketteur américain : Magic Johnson, stars des Los Angeles Lakers, sur “Mother's Milk” des Red Hot Chili Peppers en 1989, Flea, le bassiste, est un grand fan. En 1975, la magie du charme féminin évoquée par le groupe de Jeff Lynne, Electric Light Orchestra, dans "Strange Magic". En 1995, Lou Reed rend hommage à l'un de ses meilleurs amis, Doc Pomus, en reprenant “This Magic Moment” en hommage au compositeur. Le réalisateur David Lynch le choisi pour la bande originale de son film devenu culte “Lost Highway”. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Avec The Police, David Bowie et Heart. Chaque petite chose qu'elle fait est magique, “Every Little Thing She Does is Magic” classique du groupe Police sorti en 1981, le personnage masculin est clairement obsessionnel, 2 ans plus tard dans “Every Breath You Take” traitera aussi d'un homme basculant dans le harcèlement. En 1986, David Bowie se plonge dans la peau de Jareth, le roi des kobolds, l'acteur principal dans le film “Labyrinthe”, il signe aussi la bande originale, notamment “Magic Dance”. En 1975, Heart, le groupe des sœurs Wilson, Ann et Nancy, publient ce “Magic Man”, l'un de leurs plus grands succès. Qui parle de Mike Fisher, le premier guitariste de la formation, ensuite manager, ingénieur du son du groupe et petit ami de la chanteuse, Ann Wilson. VENDREDI 08/03/24 Avec Kiss, Aerosmith, Red Hot Chili Peppers, Electric Light Orchestra et Lou Reed. En 1979 sur son album “Dynasty”, le groupe américain Kiss publie “Magic Touch”. Autre morceau pour Aerosmith et "Magic Touch" sorti en 1987, Steven Tyler en demande de la “magic touch” de sa partenaire, charme et de sexualité. Le plus “magique” basketteur américain : Magic Johnson, stars des Los Angeles Lakers, sur “Mother's Milk” des Red Hot Chili Peppers en 1989, Flea, le bassiste, est un grand fan. En 1975, la magie du charme féminin évoquée par le groupe de Jeff Lynne, Electric Light Orchestra, dans "Strange Magic". En 1995, Lou Reed rend hommage à l'un de ses meilleurs amis, Doc Pomus, en reprenant “This Magic Moment” en hommage au compositeur. Le réalisateur David Lynch le choisi pour la bande originale de son film devenu culte “Lost Highway”. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Avec Kiss, Aerosmith, Red Hot Chili Peppers, Electric Light Orchestra et Lou Reed. En 1979 sur son album “Dynasty”, le groupe américain Kiss publie “Magic Touch”. Autre morceau pour Aerosmith et "Magic Touch" sorti en 1987, Steven Tyler en demande de la “magic touch” de sa partenaire, charme et de sexualité. Le plus “magique” basketteur américain : Magic Johnson, stars des Los Angeles Lakers, sur “Mother's Milk” des Red Hot Chili Peppers en 1989, Flea, le bassiste, est un grand fan. En 1975, la magie du charme féminin évoquée par le groupe de Jeff Lynne, Electric Light Orchestra, dans "Strange Magic". En 1995, Lou Reed rend hommage à l'un de ses meilleurs amis, Doc Pomus, en reprenant “This Magic Moment” en hommage au compositeur. Le réalisateur David Lynch le choisi pour la bande originale de son film devenu culte “Lost Highway”. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

No ritmo de Los Hermanos, chegamos para o podcast prontinhos para avisar o técnico do San Francisco 49ers que ano que vem ele pode voltar a brincar de ser feliz e que todo carnaval tem seu fim. Chiefs, Andy Reid e Mahomes seguem construindo sua dinastia. Comentamos o Super Bowl e até os seus comerciais. Também já começamos a falar do Draft da NFL, do triste fim da seleção brasileira no Pré Olímpico de basquete feminino, das projeções pro Draft da WNBA e sobre como as coisas ficaram na Trade Deadline da NBA. Então coloca o teu fone de ouvido, acessa o teu agregador de podcast preferido e aperta o play! Dica Filme, A Cor Púrpura (https://tzbr.online/RlhFX5) Documentário no Star+, This Magic Moment (https://tzbr.online/h2iYOS)

No campeonato brasileiro de futebol o Botafogo surpreende, já na NBA, o “Fogão” é o Miami Heat. Boston lutou, remou forte, mas perdeu a força no último jogo da série. Miami não encontrou resistência e manteve o tabu de nunca existir uma virada após um time estar ganhando a série por 3 a 0. Comentamos a série e demos nossos pitacos para a final da NBA, que começa hoje. Por fim, comentamos os playoffs da NHL e o que esperar da final que começa no sábado. Então coloca o teu fone de ouvido, acessa o teu agregador de podcast preferido e aperta o play! Dica Série na Netflix, Coleções que Valem Ouro (https://tzbr.online/3UmmO3) Documentário no Star+, This Magic Moment (https://tzbr.online/uOpqlR)

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

Gary Goldstein writes for TV, film and the stage—and is now also a novelist. He has written more than 15 produced telefilms including the comedies "The Wish List," "Hitched for the Holidays," "This Magic Moment" and "My Boyfriends' Dogs," and the first two movies in the "Flower Shop Mystery" series starring Brooke Shields. Gary's latest TV movie, "Lights! Camera! Christmas!" will premiere on Hallmark Channel in late 2022. His feature film "Politics of Love," a romantic comedy set during the 2008 U.S. Presidential election, was released in theatres in 2011. He also wrote the feature romantic comedy, "If You Only Knew," starring Johnathon Schaech and Alison Eastwood. Gary's feature adaptation of the novel "Mr. 365" premiered on the streaming service Passionflix in 2018 and is available on Amazon Prime. Gary has also sold or optioned a number of original screenplays, has a string of episodic TV credits and has sold half-hour comedy pilots to both NBC and Warner Bros. He was represented on the Los Angeles stage most recently with the World Premiere of his acclaimed three-sisters dramedy "April, May & June," produced as part of its subscription season by Theatre 40 of Beverly Hills. The play won five Broadway World award nominations including Best Local Production.  Other L.A. stage credits include the comedies "Just Men," "Parental Discretion" and "Three Grooms and a Bride," which all enjoyed long, well-reviewed runs. Gary's family drama "Curtain Call" premiered at Carmel, CA's Pacific Repertory Theatre, after winning the PacRep's national Hyperion Playwriting Competition. In addition, his family dramedy "To My Children's Father," was selected by Monterey, CA's Paper Wing Theatre Company to premiere in their 2018 "5th Annual Play Reading Series." Gary's latest play, "Dinner at the Harbor Reef," a drama "based on fact, rumor and Hollywood," debuted in a staged reading in 2019 at Beverly Hills' Theatre 40.  Gary has also been a regular contributing film reviewer and arts feature writer for the Los Angeles Times since 2007. He is also a talented author where his first novel, the romantic comedy The Last Birthday Party, was published in August 2021 - It won a 2022 IBPA Benjamin Franklin award for Excellence in Fiction. His second novel, the family drama The Mother I Never Had, is now out. We chat about sharing ideas, collaboration, letting go, the art of writing across mediums, the ego, procrastination, being the holiday season/Christmas writer guru, when shows don't get made, celebrating the wins, being a film critic, happiness and his new book, plus more!   The video footage of this entire chat is now out as well (one day after release)! So check them out on YouTube under Michael Kahan Check Gary out on: Website + Book: https://www.garygoldsteinla.com/ Twitter: https://twitter.com/GaryGoldsteinLA Instagram: https://www.instagram.com/garygoldsteinla/ Amazon: https://amzn.to/3SUxO0Y Barnes & Noble: https://bit.ly/3L0WWzW Bookshop.org: https://bit.ly/3yXhDs4 Booktopia (Australia): https://bit.ly/3CJfguL ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

Gary Goldstein writes for TV, film and the stage—and is now also a novelist. ​ He has written more than 15 produced telefilms including the comedies "The Wish List," "Hitched for the Holidays," "This Magic Moment" and "My Boyfriends' Dogs," and the first two movies in the "Flower Shop Mystery" series starring Brooke Shields. Gary's latest TV movie, "Lights! Camera! Christmas!" will premiere on Hallmark Channel in late 2022.

Harvey Brownstone conducts an in-depth interview with Butch Leake, Former Member of “The Drifters” About Harvey's guest: Today's guest, Butch Leake, is part of popular music history.    From 1970 to 75, he was part of one of the greatest male vocal groups of all time:  The Drifters, who brought us so many hits, including “Money Honey”, “There Goes My Baby”, “This Magic Moment”, “Save the Last Dance for Me”, “Up on the Roof”, “On Broadway”, and “Under the Boardwalk”.    Since their creation in 1953, the Drifters have sold a staggering 240 million singles and 140 million albums.  During our guest's  time with the Drifters, they recorded 3 albums containing the hit songs, “Down on the Beach Tonight”, “Kissing in the Back Row of the Movies”, Love Games”, and “There Goes my First Love”, which topped the British and European charts in the early 70s.   In 1975, our guest left the group to pursue a solo career, and formed his own record and production company, Superbad Records, with DJ star Freddie Mack in the UK.  He recorded 2 hit songs for that label:  “You're Like Magic” and “Let's Take a Chance”, followed by “Give to the Ones we Love”, which he wrote and recorded as a fundraiser for the British Heart Transplant Trust.    He's performed in nightclubs and concert halls all over the world, as a solo artist AND as part of The Drifters Legends.  And he's the CEO of “The Drifters Legends Clubhouse”, which has published 3 of his books about The Drifters Legends.  He's also a photographer, a video and graphic design artist – and he hosts his own podcast on the Clubhouse Radio platform.  For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ https://www.facebook.com/BUTCHLEAKE/https://www.facebook.com/groups/thedrifterslegendsclubhouse/https://butchleake.wixsite.com/dlegends/the-legacy #ButchLeake   #TheDrifters   #harveybrownstoneinterviews

Mike and Matt review a mash-up of American Pie and Harry Potter! It's This Magic Moment. Join us for sexy time in the Room of Requirement, potions that transform your naughty bits into animals, and a political quiz that leaves Matt extremely frustrated. This suggestion comes from Hard at Work Nick. Have a fake movie for us to review? Tweet the title and premise to us @madeupmoviespod. Support us on Patreon for bonus episodes in the other dimension: https://www.patreon.com/madeupmoviespod

Mr. Vance joined James Stephens and I to discuss the ubiquity of "Eddie and the Cruisers"; his early influences; Alan Freed; rock 'n' roll; Frankie Lymon & The Teenagers; buying 45's; being one of the first modern "teenagers"; singing doo wop on the corner; Brill Building; doo wop and rap being music movements that started on the street; Jay and the Americans opens for The Beatles and The Rolling Stones; Jay and the Americans were one of three American bands that survived the British invasion (with The Beach Boys and The Four Seasons); "This Magic Moment", their biggest hit was in 1969; Steely Dan started as their backup band; performed as musical guest on SNL in 1977 singing "The Performer"; hiring Leon Pendarvis to the band; writing the new opening and closing themes; putting together a new SNL band; Eric Mercury; performing on The Tonight Show starring Johnny Carson in 1962; Captain Beefheart; James Brown; Woody Allen; Tracey Ullman; Rachel Sweet and Hairspray; Animal House, recording "Louie, Louie" with John Belushi

What’s that? The sound of This Magic Moment followed by Jock Jams? That’s right, it’s March Madness 2022! But first,…

It is so cool to meet these wonderful people and talk about the amazing things that they are doing. Valerie Salgado es a dancer and educator based in San Diego with an incredible journey in movement and now special education. In this episode, we discuss what is considered good and bad behavior, the power of music and dance as well as her other zero, her small organizations to support, and causes to learn about. Check them out and give them the love: The Book Catapult in South Park Autism Speaks Guitars in the Classroom Give us the love as well if you have not already. Follow us on Instagram and Facebook. Subscribe to our YouTube Channel and check out everything we do in our bilingual and fabulous blog, the one that started it all www.fromanother0.com Valerie Salgado is a Choreographer, Performer, and Educator based in San Diego, CA. With an eclectic training background and experience in theater, television, and concert dance, Valerie brings a unique perspective to the creation process. Her passion for dance and leadership skills motivate and inspire those she works with. Recent projects include entertainment for Europa Park, Dorney Park, and Playland as well as regional productions of Hairspray and Footloose. Choreographer credits include entertainment for Europa Park, Playland, and Dorney Park, Hairspray, Footloose, Off-Broadway's Helen on 86th Street, and Transcendence Theatre Company's This Magic Moment. As an Associate, Valerie contributed to Season One of the Emmy award-winning series, Smash, the world premiere of Frozen on Disney Cruise Line, and the Off-Broadway premiere of Bunty Berman Presents. In 2019 Valerie began course work towards earning her Masters in Special Education with an Emphasis on Autism from San Diego State University. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/from-another-zero/message Support this podcast: https://anchor.fm/from-another-zero/support

Today we are talking theater, mental health, diversity, and intention with Roy Lightner. Roy is an award-winning theatre creator, director, choreographer, and educator born and raised in Kansas City. He recently joined the Musical Theatre Faculty at the University of Alabama at Birmingham as an Assistant Professor. Previously, Roy served as the Associate Artistic Director for the Transcendence Theatre Company, and also on the Musical Theatre Faculty of Ithaca College. As a national director for Dancers Inc., he toured the country as a master class teacher. Roy has taught at New York City's Professional Performing Arts School, as well as created the contemporary/musical theatre dance program for the Astoria School of Fine Arts. As a director/choreographer his credits include: Transcendence Theatre Company's productions of Those Dancin' Feet, Best of Broadway Under the Stars, Fantastical Family Night, This Magic Moment, Wine Country Speakeasy (creator/director), Gala Celebration, Oh, What a Night! (2015 Winner Best Director Broadway World San Francisco), Superheroes in Love, and Music of the Night; New York City Opera's Lucky to Be Me (Lincoln Center, assistant to Peggy Hickey), Hairspray, Miss Saigon (Sondheim Center), Legally Blonde (Arizona State University) Hound of the Baskervilles (Cape Playhouse, New Jersey Rep, Westin Playhouse, Depot Theatre). University of Alabama at Birmingham Productions: Disconnect, HAIR, Savage, 25th Annual Putnam County Spelling Bee, Working and Hairspray. Ithaca College productions: Dogfight, A Chorus Line, Under the Covers, How to Succeed…, Gone Missing, and Legally Blonde; Bring It On (Music Theatre of Kansas City), Pippin, Hairspray (Winner Best Director Broadway World KC), Thoroughly Modern Millie, Good News, Urban Cowboy, Starmites, Little Shop of Horrors, Dirty Rotten Scoundrels and more. MTWichita: 2018 Festival Producer. Dance Concert choreographic credits include: two full-length original choreographic ballets Under the Covers (Ithaca College) and In Your Eyes (Miller-Marley Ballet Company), The Oklahoma City Dance Project, NYC's Community Dance Project, New York City's Jazz Choreography Enterprise, Astoria Fine Arts and B.C. Beat. Performance credits include: Babes in Toyland (Lincoln Center), a two time Kansas City Symphony principle soloist, You're A Good Man, Charlie Brown (Stages St. Louis), Alabama Shakespeare Festival, Holland America's Grand World Voyage (lead singer/dancer), Geva Theatre, Oklahoma City Rep. and Music Theatre of Wichita's CATS (Mungojerrie), 7 Brides for 7 Brothers(Gideon), West Side Story (Baby John), Seussical (Wickersham), Hairspray(IQ), The Full Monty, Phantom, Aida, Beauty and the Beast and more totaling over 40 professional productions. He graduated summa cum laude from Oklahoma City University with a degree in Musical Theatre; and received his Master of Fine Arts in Interdisciplinary Arts with a Concentration in Performance Creation from Goddard College. You can find Roy at www.roylightner.com. --- Support this podcast: https://podcasters.spotify.com/pod/show/todayichoose/support

Beau Black is currently writing music for 3 shows and 2 TV Features for Disney. He is an Emmy nominated composer, songwriter, musician, voice actor, and producer. In this episode, we talk about: • Being nominated for a 2017 Daytime Emmy Creative Arts Award for composing the song “Sisi Ni Sawa” from The Lion Guard • Working as a freelance composer for Commercials such as Aveeno (with Jennifer Aniston), Sally Hansen, HP, Google Play, Mercedes, Target, Samsung, McDonalds, Wendy’s • Working on music for Miles from Tomorrowland (opening song), Penn Zero: Part time Hero (composed with Ryan Shore), The Lion Guard —> went to Number 2 on Billboard’s Top Soundtrack Albums chart, Mickey and the Roadster Racers, The Rocketeer (2019 TV Series) 11 episodes, Mickey Mouse Mixed Up Adventures, Jake and the Neverending Pirates • Composing 93 songs for Disney's The Lion Guard • Music Video for theme song for The Lion Guard with over 9 million views • First album "Meant to Be" • Singing on stage for thousands as a kid with his Dad, Jay Black from Jay and the Americans (responsible for "This Magic Moment" and "Cara Mia") Resources: Wikipedia IMDB Instagram Host: Instagram: @MentorsontheMic @MichelleSimoneMiller Twitter: @MentorsontheMic @MichelleSimoneM Facebook page Website Youtube

This Magic Moment, a song written by Doc Pomus and Mort Shuman, was a big hit for Ben E. King and the Drifters back in 1960. And I’ll bet they had no idea they actually created one of the billions … Read the rest The post Micro moments here and now can change your woes to wow appeared first on Tony Funderburk.

It all ends. On this final episode of This Magic Moment, Jon dives into Harry Potter and the Deathly Hallows Part 2. More horcruxes, epic battles, no Quidditch matches, Harry faces off against Voldemort and most importantly, we find out who had babies together. Episode 1 - Harry Potter and the Sorcerer's Stone Episode 2 - Harry Potter and the Chamber of Secrets Episode 3 - Harry Potter and the Prisoner of Azkaban Episode 4 - Harry Potter and The Goblet of Fire Episode 5 - Harry Potter and The Order of Phoenix Episode 6 - Harry Potter and The Half Blood Prince Episode 7 - Harry Potter and the Deathly Hallows Pt. 1 Episode 8 - Harry Potter and the Deathly Hallows Pt. 2 JonForward.com

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

Perry was born and raised in Las Vegas and starts with growing up in Sin City. He explains how being in the smaller version on Vegas than it is today may have aided him to meeting his best childhood friend (Andre Agassi). We talk about what his father taught him being an owner of six TV stations, going to college in Washington D.C. and how he became the President of Agassi Enterprises. This led to meeting and representing Brook Shields which led him to the film industry and the story behind how he met Shaquille O'Neal and has handled all his business since. Perry tells the story of how he became part of an investment group that bought and sold the Golden Nugget in downtown Fremont St (Vegas) for a profit of 226% in less than two years and before the age of 36!Perry discusses about how he was humbled once he got off the path, getting involved with Uncle Drew, This Magic Moment (30 for 30-ESPN) and are lawsuits just part of the job? Big Chicken is discussed and some great advice for young entrepreneurs! This is a MUST listen and needs to be shared!LINKS:PRP: https://prp-lv.com/team/perry-rogers/LV Sun Article on Golden Nugget: https://lasvegassun.com/news/2005/nov/17/nugget-was-more-golden-after-all/Linkedin: https://www.linkedin.com/in/perry-rogers-a79b7398/IMDB Page: https://www.imdb.com/name/nm0737126/ Buzzsprout Link: Tell them I sent you for a $20 Amazon Gift Card! https://www.buzzsprout.com/?referrer_id=766057Subscribe to the Podcast: (Please rate and review the show): https://podcasts.apple.com/us/podcast/before-the-lights/id1501245041Follow us on Instagram: https://www.instagram.com/beforethelightspodcast/Before the Lights Website: https://www.beforethelightspod.com/Extra 5: Become a Patreon Member for just $5/month to get 5 more minutes of each podcast!https://www.patreon.com/beforethelights?fan_landing=truePerry discusses how he got hooked with up with PGA Tour Player, Adam ScottEarly Perry vs Today's Perry and how that differsBeing on several Board of Directors and how he not only balances those but enjoys themBalancing his career and family and what is upcoming for him in the futureSupport the show (https://www.beforethelightspod.com/member-areas)

Perry was born and raised in Las Vegas and starts with growing up in Sin City. He explains how being in the smaller version on Vegas than it is today may have aided him to meeting his best childhood friend (Andre Agassi). We talk about what his father taught him being an owner of six TV stations, going to college in Washington D.C. and how he became the President of Agassi Enterprises.This led to meeting and representing Brook Shields which led him to the film industry and the story behind how he met Shaquille O’Neal and has handled all his business since. Perry tells the story of how he became part of an investment group that bought and sold the Golden Nugget in downtown Fremont St (Vegas) for a profit of 226% in less than two years and before the age of 36!Perry discusses about how he was humbled once he got off the path, getting involved with Uncle Drew, This Magic Moment (30 for 30-ESPN) and are lawsuits just part of the job? Big Chicken is discussed and some great advice for young entrepreneurs! This is a MUST listen and needs to be shared!LINKS:PRP: https://prp-lv.com/team/perry-rogers/LV Sun Article on Golden Nugget: https://lasvegassun.com/news/2005/nov/17/nugget-was-more-golden-after-all/Linkedin: https://www.linkedin.com/in/perry-rogers-a79b7398/IMDB Page: https://www.imdb.com/name/nm0737126/Buzzsprout Link: Tell them I sent you for a $20 Amazon Gift Card!https://www.buzzsprout.com/?referrer_id=766057Subscribe to the Podcast: (Please rate and review the show): https://podcasts.apple.com/us/podcast/before-the-lights/id1501245041Follow us on Instagram: https://www.instagram.com/beforethelightspodcast/Before the Lights Website: https://www.beforethelightspod.com/

Today we have the pleasure of sitting down with William Morris, author and founder/president of The William Morris Group. We will talk with him about his new book “This Magic Moment”, an inspiring story of Bill’s deep friendships with four American R&B legends and the power of music. For more information about William Morris and his new book This Magic Moment: My Journey of Faith, Friends and The Father's Love visit https://www.williammorrisauthor.com/ See acast.com/privacy for privacy and opt-out information.

It's a regular literary review show this week! Robby talks with Bill Morris and Herbert Burns the two fantastic authors of the new books "This Magic Moment" and "Route 66", about how the lord has lead them in both their lives, and their writing.

In Part 3 - This Magic Moment, our Zen road trip reaches its destination in Japan. We follow the finger pointing to the moon and talk about Zen practice for a little bit, and then explain what all of this has to do with Monday morning.For show notes, sources, and a full transcript, visit www.om-collaborative.com/podcast.We hope you're enjoying the show! If so, please consider giving us a (super positive... maybe even glowing?) rating and review on Apple Podcasts (formerly iTunes), and follow us on Instagram @om.collaborative.

It was June 23rd, 1989 when Tim Burton's Batman hit theaters in America, starring Jack Nicholson, Michael Keaton, and Kim Basinger. Almost 30 years later, myself and Marcus Robinson come together for the one hundred and third episode of THE WORLD'S GREATEST PODCAST to discuss Batman '89 and its legacy when it comes to those involved... and those that came after. Plenty of hijinks ensue of course as we blatantly steal apex mountain from the Rewatchables, which leads to a deep dive into the career of... Johnny Depp? Aside from that, flowers are given to all those involved in this master class of a superhero film and we even talk a little about its sequels, Joel Schumacher, and our favorite Batmobile! Pair this episode with Episode #68 for ultimate Batmania immersion. This episode was brought to you by sleep deprivation, This Magic Moment, and now Trainwreck, I guess. And Batman '89. Man I'm sleepy. --- Support this podcast: https://anchor.fm/hyphen-nation/support

This is a replay from the Top Ten of our highest rated shows – Episode 11. Sandy Deane has been with Jay and the Americans since their inception back in the early Sixties and the hits never stopped coming – Cara Mia, Come a Little Bit Closer, Only in America, and This Magic Moment. Would you believe they were one of the bands that was on the bill when the Beatles played their first concert in the U.S. at the Washington Coliseum in 1964? I've got a ton of questions for Sandy and he has a raft load of ‘60s rock stories for us on this week's show.

SoundCloud originally took down this amazing mix by Reaganometry, but we're bringing it back for y'all! Enjoy this amazing mix that's brimming full of magic moments. Share it with the magical people in your life y'all TRACKLIST 0. Perry Como - "Magic Moments" 1. William DeVaughn - "Be Thankful for What You Got" 2. The Jones Girls - "I Close My Eyes" 3. Sylvia Striplin - "You Can't Turn Me Away" 4. Rotary Connection - "Lady Jane" 5. Masayoshi Takanaka - "珊瑚礁の妖精" 6. Koushik - "In a Green Space" 7. Paul Horn Quintet - "Tall Polynesian" 8. Bombino - "Hulan" 9. Eddie "The Sheik" Kochak - "Bahija" 10. Dave Berry - "This Strange Effect" 11. Golden - "Nickels and Dimes" 12. Tom Zé - "Toc" 13. Paul McCartney - "Darkroom" 14. Leslie Winer - "John Says" 15. Captain Beyond - "I Can't Feel Nothin' (Part 2)" 16. The Drifters - "This Magic Moment" 17. Les Très Guitars - "Temptation" 18. Pram - "Life in The Clouds" 19. Billy Cobham - "Sea of Tranquility" 20. Alex Cima & On-Line - "Control" 21. Love Inks - "Hearts Up" 22. Bob James - "You're As Right As Rain" 23. Curtis Mayfield - "You're So Good To Me" 24. Caravan - "Magic Man" 25. Surface - "Happy" 26. Keyboard Magic - "Not Quite Rain" 27. The Nerves - "Many Roads to Follow" 28. Brokeback - "A Blueprint" 29. Yutaka - "The Rest of My Life"

Sandy Deane has been with Jay and the Americans since their inception back in the early Sixties and the hits never stopped coming – Only in America, Come a Little Bit Closer, Cara Mia, and This Magic Moment. Would you believe they were one of the bands that was on the bill when the Beatles played their first concert in the U.S. at the Washington Coliseum in 1964? I've got a ton of questions for Sandy and he has a raft load of ‘60s rock stories for us on today's show.

Comic Aaron Weaver joins to talk about the NBA Finals, Stanley Cup Final, and we review 30 for 30 This Magic Moment!

The ESPN 30 for 30 documentary ‘This Magic Moment’ chronicles the rise and fall of the Orlando Magic in the mid-1990s. It hits a nerve with Magic’s fans and brings back some fresh wounds. But it teaches us lessons and gives a chance to look back. On this episode of the Orlando Magic Daily Podcast, Brett Roberts and Philip Rossman-Reich discuss the documentary, the team from the 1990s and what it all means. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ryan Daly and guest Professor Alan and Emily Middleton discuss the origins of Zatara and Zatanna (and Doctor Mist) from Secret Origins #27. Secret Origins Podcast Facebook page: https://www.facebook.com/secretoriginspodcast Secret Origins Podcast on Stitcher: http://www.stitcher.com/podcast/httpsecretoriginspodcastlibsyncom/secret-origins-podcast?refid=stpr Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Check out Professor Alan and Emily at Relatively Geeky Network: http://relativelygeekypodcast.blogspot.com And at Dorkness to Light: http://dorknesstolight.blogspot.com This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 “Premonition” (Theme for Secret Origins Podcast) written and performed by Neil Daly. Additional music: “A Night On Bald Mountain” by New Symphony Orchestra of London; “This Magic Moment” by Jay & The Americans; “Every Little Thing She Does is Magic” by The Police. Thanks for listening!

This Magic Moment

After taking a 2 week long look at 1986, we're taking a detour back to Bizarro World with our third installment of Bizarro Covers. What are Bizarro Covers, you ask? Basically, these are songs that were not originally considered hard rock/metal (mostly) and are being covered by, you guessed it, hard rock and metal bands. There's no shortage of strange cover songs out there and we're happy to share, what we think, are some of the best.  We start things off with Yngwie Malmsteen's take on an ABBA disco classic. Of course, Yngwie shows complete restraint; letting the song breathe and allow lots of open space to take in the lyrics.....NOT. Either way, it's an interesting approach to this sugary pop number. Next up is a case of Germany covering Australia as power metal veterans Sinner cover the Midnight Oil 80's classic Beds Are Burning. We keep the German theme going with power/speed metal legends Blind Guardian's 1996 cover of the 1954 Chordettes sugary Mr. Sandman. Not quite as snuggly as the original. Keeping with the old-school vibe, Aaron pulls out The Misfits covering the 1960 Drifters hit This Magic Moment for their Project 1950 album. Jerry Only in fine form on this one. We break new ground coming out of the first break with a cover of a Lady Gaga track! Before you hit the 'unsubscribe' button, give us a chance to expose you to a great performance of Bad Romance by Halestorm. Being the KISS nerds that we are, we couldn't help but pull out a great version of 1977's Plaster Caster from the Love Gun album performed by grunge forerunners The Lemonheads. We really go deep into Bizarro World with the next track being a cover of A-ha's 1985 hit Take on Me from Italian progressive power metal band Vision Divine. You get extra cool points if you've heard this track before. In keeping with strange cover versions, Aaron's choice of Mindless Self Indulgence's cover of Rush's Tom Sawyer will have you looking at the song in a whole new way. Paul Stanley really created a monster (no pun intended) when he penned a song titled Hide Your Heart in the late 1980's. Originally a rejected song from the Crazy Nights album, Stanley put the song on the open market and it was snapped up by a number of different artists including Bonnie Tyler, Molly Hatchet, and Ace Frehley with Frehley's version being the only one that could compete with KISS' release of the song for their 1989 Hot in the Shade album. We take a serious listen to Ace's version of the song from his Trouble Walkin' solo release.  Closing out the show is a Doro Pesch cover of Procol Harum's 1967 timeless classic A Whiter Shade of Pale. A definitely more rocked-up version of this Summer of Love number. We hope you've enjoyed this visit to Bizarro World! If you did...... Buy Music! Yngwie Malmsteen Sinner Blind Guardian Misfits Halestorm The Lemonheads Vision Divine Mindless Self Indulgence Ace Frehley Doro Pesch Contact Us!   Rate, Review, and Subscribe in iTunes Join the Fan Page Follow on Twitter E-mail Us Comment Below