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Las Vegas residencies have their share of glittering moments, but sometimes the most magical ones aren’t planned at all. Just ask the crowd at The Colosseum at Caesars Palace last Friday, where Kelly Clarkson’s show transformed into an impromptu family affair that nobody saw coming.

The moment? Pure magic. Clarkson’s 11-year-old daughter, River Rose, stepped onto that massive stage — matching her mama in bedazzled tees and bell-bottoms (because honestly, who doesn’t love a coordinated moment?) — and suddenly the whole vibe shifted from “Vegas spectacular” to “heartwarming family singalong.”

“So my daughter River Rose said to me, ‘I wanna sing tonight!’” Clarkson shared with the audience, her voice carrying that unmistakable mix of pride and nervous-mom energy. What followed was a duet of “Heartbeat Song” that had even the most jaded Vegas regulars reaching for their phones to capture the moment.

Here’s the thing about River Rose — she’s no stranger to the spotlight. Back in August ’23, she and her mom pulled off this same number, but watching her confidence grow since then? That’s something else entirely. The kid’s got her mom’s pipes, no doubt about it.

The timing couldn’t have been more perfect, really. Clarkson’s been dealing with some rough patches lately — having to postpone those opening shows must’ve been tough. “We can’t help our bodies sometimes,” she’d explained to fans earlier, showing that raw honesty that’s become her trademark. The delay from the Fourth of July opening wasn’t ideal, but sometimes you’ve gotta protect what matters most — in this case, her voice.

Speaking of timing… This whole residency’s taken on a different meaning since Clarkson’s split from Brandon Blackstock. River Rose and her little brother Remington Alexander, now 9, have been their mom’s rocks through it all. And watching mother and daughter share that stage? Well, it hits different when you know the backstory.

The way River held that earpiece, swaying to the music like she’d been doing this her whole life (which, let’s be real, she basically has) — it’s enough to make you believe in genetic musical talent. Clarkson’s mentioned before how River’s been “jamming out to the song since she was a baby,” and now here she is, living her best life under those bright Vegas lights.

These are the moments that remind us why live shows matter so much. Sure, you can stream music anywhere these days, but you can’t bottle the electricity of an unscripted mother-daughter duet in front of thousands. As we head into 2025, with all its digital innovations and virtual concerts, there’s still nothing quite like the real thing.

Sometimes the best shows aren’t about perfect choreography or elaborate productions — they’re about those genuine, unplanned moments that remind us why we fell in love with music in the first place. And if River Rose’s performance is any indication, the Clarkson musical legacy is in pretty good hands.

After what feels like an eternity in TV years, “Karen Pirie” has finally sashayed back onto ITV1, and darlings, the wait has been absolutely worth it. Three years might seem like an age — remember when we thought the pandemic would last just two weeks? — but this sophomore season proves that sometimes television, like a fine wine or your favorite vintage Chanel, simply needs time to reach its full potential.

Lauren Lyle returns as our intrepid detective, sporting that now-iconic bumbag (which, let’s be honest, is having quite the moment in 2024’s street style). She’s nabbed herself a promotion to Detective Inspector, though anyone who watched season one knew that was coming. The real surprise? How seamlessly she steps into those bigger shoes while keeping her signature determination intact.

This time around, we’re diving into the disappearance of Catriona Grant and her toddler son Adam. Picture this: a glamorous heiress, a fish and chip shop in Fife, and a gunpoint kidnapping. It’s the kind of deliciously twisted scenario that would make even the most jaded crime drama enthusiast sit up straight.

The show’s taken a decidedly luxe turn with some gorgeous Malta-set scenes. Finally, a crime drama that understands we don’t need perpetually rain-soaked streets to create atmosphere — though there’s still plenty of moody Scottish scenery to go around.

Chris Jenks is back as DC Jason ‘Mint’ Murray, stealing scenes with the kind of effortless charm that makes you wonder why he isn’t headlining his own series yet. The addition of Saskia Ashdown as DC Isla Stark adds a fascinating new dynamic — think less workplace rivalry, more complicated dance of personalities.

But here’s where things get really interesting: James Cosmo joins the cast as Sir Broderick Grant, bringing the kind of gravitas that makes other actors nervously straighten their ties. His portrayal of Catriona’s father — an oil magnate with more secrets than a confessional booth — adds layers of complexity to an already rich narrative.

The three 90-minute episodes are perfectly paced, thank heavens. Nobody needs another one of those drawn-out series that feel like they’re being paid by the minute. The dual timeline structure works brilliantly, weaving past and present together like a master tailor working with silk and wool.

What’s particularly refreshing about this season is how it handles its increased scope. The investigation into the Grant kidnapping unfolds like a Russian nesting doll of revelations — each one leading to something bigger and more intriguing. Political intrigue, family secrets, and enough twists to give your neck a workout — it’s all here, but never feels overwhelming.

Writer Emer Kenny (who took a perfectly reasonable break to welcome a tiny human into the world) has crafted something rather special. The dialogue crackles with wit, the plot moves with the precision of a Swiss timepiece, and the character development feels organic rather than forced.

In a landscape crowded with crime dramas — seriously, you can’t throw a stone without hitting a detective these days — “Karen Pirie” has managed to carve out its own distinct identity. It’s sophisticated without being pretentious, complex without being confusing, and stylish without sacrificing substance.

The show returns at a moment when British television seems to be hitting a new golden age. Between this and that other police drama everyone’s been raving about (you know the one), we’re rather spoiled for choice. But “Karen Pirie” stands out by doing something remarkably simple: telling a compelling story really, really well.

Hallmark’s holiday magic machine keeps churning out delightful surprises, and this one’s a real treat for longtime fans. Remember that spark between Lacey Chabert and Andrew Walker in “My Secret Valentine”? Well, they’re finally bringing their chemistry back to the small screen — this time with sleigh bells attached.

The network’s upcoming “She’s Making a List” sounds like exactly what the doctor ordered for those winter nights when nothing but a cozy blanket and some festive charm will do. And honestly, after the streaming wars of 2024 left viewers drowning in dark, edgy content, this reunion couldn’t come at a better time.

Chabert (who’s practically got a permanent parking spot at Hallmark Studios at this point) takes on the role of Isabel Haynes. She’s playing — get this — a Naughty or Nice inspector. Talk about a job that beats answering emails all day. Her character’s world gets thrown for a loop when Walker’s Jason Duncan enters the picture, complete with an 11-year-old daughter who’s apparently giving Santa’s elves a run for their money in the mischief department.

The timing feels particularly sweet, given how both actors have evolved since their last partnership. Chabert, now 42, has somehow managed to become even more synonymous with holiday entertainment than she already was (no small feat, considering she’s been the network’s go-to star for what feels like forever). Her social media response to the announcement — a heartfelt “So excited about this! ❤️🎄” — probably understates just how much fans are buzzing about this reunion.

Walker, 46, couldn’t help gushing about working with Chabert again. “What a gift it is to reunite with Lacey seven years after our Valentine’s movie,” he shared, before launching into the kind of praise that makes you wonder why it took so long to get these two back together. His words about her ability to bring “warmth, heart, and comedy with such ease” aren’t just typical Hollywood fluff — anyone who’s watched their previous collaboration knows he’s spot on.

The plot itself sounds like classic Hallmark with just enough of a twist to keep things interesting. Professional duty versus matters of the heart? Check. Holiday backdrop? Obviously. But there’s something about the setup — a by-the-book inspector whose job literally involves judging people’s behavior meeting a widowed dad and his troublemaking kid — that suggests this might venture beyond the usual formula.

As streaming platforms continue their endless battle for viewer attention in 2025, there’s something oddly comforting about Hallmark sticking to what they do best. Sure, they’re not trying to reinvent television or compete with the latest high-budget fantasy series. But sometimes, especially during the holidays, what viewers really want is the equivalent of a warm cup of cocoa with extra marshmallows.

“Santa isn’t the only person making lists,” teases Hallmark’s promo material. Well, here’s hoping this particular project makes it onto everyone’s must-watch list this holiday season. After all, in a world where everything seems to be getting more complicated by the minute, there’s something to be said for entertainment that promises to deliver exactly what it says on the tin — with a dash of Christmas magic thrown in for good measure.

America’s relationship with truth-telling has always been complicated. This past week served up two perfect examples that couldn’t be more different — one from Hollywood, the other from the halls of power in Washington.

Former talk show host Ricki Lake, now pushing 56, dropped a refreshingly honest bomb on Instagram about her cosmetic work. No sugar-coating, no PR spin — just straight talk about her deep plane lower face and neck lift from exactly a year ago. “Trust me, when I tell you, I still felt extra cute and loved myself regardless,” she wrote, serving up the kind of candor that’s about as rare these days as a flip phone.

Meanwhile, over in D.C., the Democratic National Committee is busy performing its own kind of cosmetic surgery. They’re calling it an “after-action review” of their 2024 electoral defeat — though calling it a review might be generous, considering how carefully they’re tiptoeing around the elephant (or should we say donkey?) in the room.

The contrast would be laughable if it weren’t so telling. Here’s Lake, sharing before-and-after photos and walking everyone through her decision-making process, while the DNC performs political gymnastics to avoid looking in the mirror. Nebraska Democratic chairwoman Jane Kleeb really took the cake with this gem: “We are not interested in second-guessing campaign tactics or decisions of campaign operatives.” Talk about missing the forest for the trees.

You’ve got to wonder — what exactly are they reviewing? The Democrats’ approach to self-examination looks suspiciously like someone demanding a physical while refusing to take off their coat. Their careful dance around whether Biden should’ve run for reelection or if Kamala Harris was the right choice feels about as authentic as a three-dollar bill.

Perhaps the most eyebrow-raising aspect of this whole situation is how they’ve managed to interview officials from all 50 states while somehow avoiding any meaningful conversations with senior campaign staff. That’s not just missing the point — that’s actively running away from it at Olympic-sprinter speed.

And then there’s Hunter Biden, bless his heart, diagnosing the party’s problems with all the self-awareness of a cat blaming the mirror for hissing back. His suggestion that Democrats lost “because we did not remain loyal” to his father sounds like something straight out of a political satire — except it’s not.

The irony gets thicker. While Lake openly discusses how aging and weight loss affected her appearance, the Democratic Party can’t seem to admit that running a historically unpopular ticket might have had something to do with their defeat. At least Lake’s surgeon, Dr. Allen Foulad, got to properly examine his patient before operating.

Remember when the Republicans lost in 2012? They actually produced a real post-mortem — a thorough 100-page “Growth and Opportunity Project” that dared to ask the tough questions. The current Democratic leadership seems more interested in perfecting their see-no-evil, hear-no-evil routine, with an extra helping of blame-no-friends on the side.

Maybe there’s a lesson here in Lake’s approach to transformation. “I share with all of you, as I am an open book and always will be,” she said. Genuine change, it turns out, starts with honest assessment — something the Democratic Party might want to consider before their next performance review. Because right now, they’re putting on a show that’s getting harder and harder to sell.

Oh darlings, pull up a chair and pour yourself something bubbly, because Saturday Kitchen just served up the kind of deliciously awkward television moment that makes live broadcasting pure gold.

Picture this: Our usually composed host Matt Tebbutt — looking every bit the seasoned professional in his crisp chef whites — found himself caught in the crosshairs of comedy’s most gloriously deadpan critic, Diane Morgan. The scene? A vegan cheesecake showdown that had viewers reaching for their metaphorical popcorn (dairy-free, naturally).

The July 19th episode transformed into an unexpected masterclass in British passive-aggression when Tebbutt, brimming with the confidence of a man who’d just cracked the Da Vinci code of dairy-free desserts, presented his tofu-based creation. The dish — a carefully orchestrated symphony of plant-based ingredients — promised to revolutionize vegan desserts as we know them. Spoiler alert: It did not.

Morgan, beloved for her razor-sharp wit in “Motherland” and “Cunk on Earth,” set the stage with devastating precision. “I love a dessert, and it’s very difficult to get a good plant-based dessert,” she mused, like a cat preparing to toy with its prey. Tebbutt, sweet summer child that he is, walked right into it with an assured “Until now” — words that hung in the air like last season’s cocktail dress at a sample sale.

The resulting critique? Honey, it was the television equivalent of showing up to the Met Gala in Crocs. Morgan’s tepid “Yeah it’s nice” landed with all the enthusiasm of a Hollywood starlet accepting a lifetime achievement award at the People’s Choice Awards. The studio temperature dropped faster than a soufflé in an earthquake.

But wait — it gets better. After sampling some plant-based mochi, Morgan delivered the kind of shade that would make the Real Housewives take notes: “No offence to the cheesecake but this is delicious.” The collective gasp from social media could’ve powered a wind farm.

The Twitterverse, naturally, exploded into a chorus of commentary, with viewers split between Team Tebbutt’s wounded pride and Team Morgan’s brutal honesty. “Diane Morgan could’ve been a bit nicer about the dessert,” observed one viewer, clearly unfamiliar with the exquisite art of British understatement. Another noted the palpable tension: “Diane Morgan is making Matt Tebbutt nervous” — darling, she was making everyone nervous.

Thank heavens for drinks expert Helen McGinn, who attempted to salvage the situation with the kind of desperate enthusiasm usually reserved for praising a friend’s tone-deaf karaoke performance. Her genuine surprise at the dessert’s plant-based nature might have been meant as a compliment, but landed more like a beautifully gift-wrapped insult.

The episode, which also featured the considerably less dramatic presence of chefs Hasan Semay and Luke Holder, will surely join the pantheon of iconic television moments where British politeness collides spectacularly with unvarnished truth. It’s proof that sometimes the most memorable dishes come garnished with a healthy portion of humble pie.

And isn’t that just the perfect recipe for must-watch television?

BBC Radio 2’s weekend lineup hit an unexpected snag when beloved presenter Rylan Clark stepped away from his Saturday afternoon show — not for the glitz and glamour of his burgeoning Hollywood career, but for something far more relatable: a family emergency.

The charismatic broadcaster, fresh off his voice acting debut as Vanity Smurf in the UK version of the latest Smurfs flick, found himself trading studio time for hospital corridors when his mum Linda needed urgent medical attention. Life has a funny way of keeping even the most successful entertainers grounded, doesn’t it?

“Mummy Linda isn’t well sadly so I won’t be hosting the show tomorrow,” Clark shared on Instagram, his trademark candor shining through even in difficult moments. The Princess Alexandra Hospital’s emergency team sprang into action, with one staff member — Tanya — earning a special shoutout from the grateful son.

Thank goodness for a spot of good news. A follow-up message from Clark struck a more optimistic chord: “She’s doing really well thankfully. All going good.” While the specifics of Linda’s condition remain private (and rightly so), the positive update brought collective relief to fans who’ve come to see the mother-son duo as extended family through their delightful Celebrity Gogglebox appearances.

The timing of this health scare feels particularly poignant. Here’s Clark, riding high on his expanding entertainment empire — from radio to Hollywood voice work — when reality comes knocking with a reminder that some things trump even the most exciting career developments. Rather fitting for 2025’s growing conversation about work-life balance in the entertainment industry, wouldn’t you say?

Mind you, the Clark family’s resilience shouldn’t surprise anyone who’s followed their journey. Linda, dubbed “a trooper” by her son, has become something of a national treasure herself. The outpouring of support from fans and celebs alike speaks volumes about the authentic connection both mother and son have built with the British public since Rylan first burst onto our screens.

So while Radio 2 listeners might miss their regular Saturday afternoon date with Clark’s distinctive brand of entertainment, there’s something rather heartening about seeing a public figure prioritize family over fame. Sometimes the most human moments happen when the mic’s switched off.

The revolving door at “Law & Order” keeps on spinning. In what’s shaping up to be one of 2025’s more notable TV shake-ups, Mehcad Brooks is bidding farewell to the iconic series after a relatively brief — yet impactful — three-season run as Detective Jalen Shaw.

Talk about tough shoes to fill. Brooks stepped into the precinct following Anthony Anderson’s departure in 2022, and somehow managed to make the role entirely his own. Rather than trying to replicate his predecessor’s energy, Brooks crafted something different: a nuanced portrayal of a cop grappling with modern America’s complexities.

“Jaylen being a Black man who is a cop — not a cop who’s Black.” That’s how Brooks described his character to TheWrap back in ’22, hitting the nail squarely on the head. His take on Shaw didn’t shy away from addressing the elephant in the room — the centuries-old systemic issues that Black Americans face daily, even (or especially) those wearing a badge.

The chemistry? Pure lightning in a bottle. Brooks and Reid Scott (Detective Vincent Riley) clicked in ways that can’t be manufactured in a writer’s room. Their partnership became one of those rare TV pairings where you couldn’t quite tell where the acting ended and genuine camaraderie began. Brooks himself couldn’t help gushing about it to CinemaBlend: “Reid is my brother from another mother… We’re both Scorpios. We just get along as human beings.”

Here’s the kicker — the season 24 finale gave absolutely zero hints about Shaw’s upcoming exit. Not a whisper, not a clue. Brooks’ Instagram wrap-up in April read like business as usual, all warmth and gratitude toward his “talented and hardworking artists” and “intrepid crew.” Talk about keeping your cards close to the chest.

While the precinct loses one of its finest, Brooks isn’t exactly heading for early retirement. He’s already making waves as Marion in HBO Max’s “And Just Like That,” and fight fans can look forward to his return as Jax in the hotly anticipated “Mortal Kombat II.” Meanwhile, the core “Law & Order” ensemble — Tony Goldwyn, Reid Scott, Hugh Dancy, Odelya Halevi, and Maura Tierney — are all locked in for what promises to be a landmark 25th season.

Somewhere in a casting office, the search is on for Shaw’s replacement. Good luck with that one. Brooks brought something special to the role — a depth that resonated particularly well with viewers trying to make sense of law enforcement’s place in contemporary society. His portrayal walked that tightrope between duty and conscience with remarkable grace.

For a guy who once called joining “Law & Order” a dream come true, Brooks certainly made the most of his time on the beat. As the show gears up for its quarter-century milestone, his contribution to the franchise — especially in tackling thorny social issues through the procedural format — won’t be forgotten anytime soon. The badge might be changing hands, but Shaw’s impact on the 2-7 will linger long after his desk has been cleared out.

Texas has always turned to music in times of trouble, and now — as the state faces one of its worst natural disasters in recent memory — that tradition continues stronger than ever. The devastating floods that have swept through central Texas this summer have left an almost unfathomable toll: over 130 lives lost, more than 100 still missing, and countless communities forever changed.

But hope rings out from Austin’s Moody Center, where some of Texas’s biggest musical stars are joining forces for what’s shaping up to be 2025’s most meaningful concert event. “Band Together Texas,” scheduled for August 17, isn’t just another benefit show — it’s a homecoming of sorts, bringing together an extraordinary lineup that speaks to the heart and soul of Texas music.

Miranda Lambert, whose raw authenticity has always been her calling card, didn’t hesitate when asked to headline. “There’s so much devastation and loss,” she shared, her voice catching slightly during the press announcement. “But what’s given me hope are the stories of those who’ve shown up for their neighbors, no questions asked.”

The lineup reads like a love letter to Texas music. Parker McCollum brings his neo-traditional country swagger, while Kelly Clarkson adds her powerhouse vocals to the mix. Cody Johnson — fresh off his sold-out rodeo performances — and the Randy Rogers Band round out a bill that showcases the state’s musical diversity.

Then there’s the unexpected — but perfectly Texan — addition of cultural icons joining the cause. Matthew McConaughey (who else?) and Dennis Quaid are set to make appearances, along with a who’s who of Texas sports legends. Former Longhorns coach Mack Brown will share the stage with Emmanuel Acho, Colt McCoy, and Vince Young — because in Texas, football and music have always been close cousins.

The real stars of the evening, though? The first responders who’ve worked round the clock since the floods hit. Their stories — from swift-water rescues to weeks-long recovery efforts — will be woven throughout the performances, grounding the music in the reality of what’s at stake.

Josh Weathers — whose unique blend of what he calls “Texas Country Soul” has already helped raise nearly $500K for flood relief — puts it simply: “This ain’t about selling records or making headlines. It’s about showing up for our own.”

Want to help? Ticket presale registration stays open through Monday, July 21, at 5 p.m. CT on the event’s website. All proceeds benefit The Community Foundation of the Texas Hill Country and Central Texas Community Foundation — organizations with boots on the ground in affected communities.

In typical Texas fashion, even as communities grapple with unimaginable loss, the spirit of resilience shines through. Band Together Texas stands as proof that in the Lone Star State, music isn’t just entertainment — it’s a lifeline, a rallying cry, and a reminder that when Texans face tough times, they face them together.

Hollywood lost one of its most treasured voices last Thursday when Alan Bergman, the legendary lyricist who helped craft the soundtrack to American cinema, passed away at his Los Angeles home. He was 99.

For seven decades, Bergman’s words danced through our collective memory, touching hearts and defining moments in film history. Working alongside his late wife Marilyn, he created the kind of songs that stick with you long after the credits roll — the ones you find yourself humming in quiet moments, their lyrics speaking directly to your soul.

The story of Alan and Marilyn reads like something straight out of a classic Hollywood romance. Born in the same Brooklyn hospital just four years apart, fate wouldn’t bring them together until they both landed in Los Angeles in 1950. Their courtship? Pure movie magic. Alan’s proposal came wrapped in a melody — he’d convinced none other than Fred Astaire to record “That Face,” a song he’d co-written. How’s that for raising the bar on romantic gestures?

Together, they became an unstoppable force in American entertainment. Their masterpiece, “The Way We Were,” captured lightning in a bottle with its opening lines about misty watercolor memories. When Barbra Streisand’s voice first carried those words into the world in 1974, it wasn’t just a hit — it became the year’s best-selling single and earned the couple one of their three Academy Awards.

But awards hardly tell the whole story. Three Oscars, four Emmys, two Golden Globes, and a pair of Grammys barely scratch the surface of their impact. The Bergmans had this uncanny ability to distill complex human emotions into verses that felt both profound and perfectly simple. Their words became part of the American vernacular, weaving themselves into the fabric of popular culture through iconic TV themes like “Good Times,” “Maude,” and “In the Heat of the Night.”

Alan once described their creative partnership with characteristic charm: “One washes, one dries” — a domestic metaphor that eventually found its way into their lyrics. This seamless collaboration attracted the biggest names in music: Sinatra, Ray Charles, Quincy Jones, John Williams. They all wanted a piece of that Bergman magic.

Even in his final months, despite struggling with respiratory issues, Alan’s creative spirit burned bright. He was working with jazz guitarist Pat Metheny on new material — at 99, still chasing that perfect lyric, still trying to capture the ineffable in words and music.

The depth of Alan and Marilyn’s connection found its way into countless compositions, perhaps most poignantly in “A Love Like Ours”: “When love like ours arrives / We guard it with our lives.” Those words carry extra weight now, two years after Marilyn’s passing and with Alan’s departure.

His legacy lives on through his daughter Julie Bergman, granddaughter Emily Sender, and the countless songs that have become part of our cultural DNA. This September, a planned tribute concert at Santa Monica’s Broad Stage will go ahead as scheduled — no longer a celebration of his centennial, but a testament to a life lived in pursuit of the perfect phrase, the ideal rhyme, the words that could make us all feel a little more deeply.

In an era where AI-generated lyrics flood streaming platforms and algorithms try to crack the code of what makes a hit, Bergman’s passing reminds us of the irreplaceable human touch in songwriting — that magical combination of craft, emotion, and lived experience that no computer could ever quite replicate.

Hollywood lost one of its most masterful wordsmiths yesterday, as legendary lyricist Alan Bergman took his final curtain call at 99. The man who painted our memories with words — crafting everything from sultry jazz standards to unforgettable movie themes — passed away peacefully at his Los Angeles home Thursday evening, leaving behind a legacy that spans seven remarkable decades.

Born in Brooklyn but destined for Hollywood’s golden gates, Bergman’s genius found its perfect match in his late wife Marilyn. Together, they didn’t just write songs; they bottled lightning. Their partnership sparkled with three Academy Awards, including that haunting masterpiece “The Windmills of Your Mind” from “The Thomas Crown Affair” — you know, the one that still sends shivers down your spine after all these years.

But it was their collaboration with Barbra Streisand that truly defined an era. “The Way We Were” wasn’t just a song; it became the unofficial anthem of bittersweet remembrance. Funny how some melodies just stick with you like that, isn’t it?

The Bergmans’ magic touched everything they encountered. From the sass-filled theme of “Maude” to the working-class poetry of “Alice,” their words captured the spirit of changing times. Four Emmys, two Golden Globes, and a pair of Grammys barely hint at their impact on American culture. Frank Sinatra, Ray Charles, Quincy Jones — the list of artists who brought their lyrics to life reads like a Who’s Who of entertainment royalty.

Even as the calendar pages kept turning, Bergman’s creative fire never dimmed. His latest project — a collaboration with jazz virtuoso Pat Metheny — was still in the works when he passed. Some artists retire; others, like Bergman, simply find new notes to play.

The planned 100th birthday tribute at Santa Monica’s Broad Stage this September will go on as scheduled. Rather fitting, really — what better way to honor a man who spent his life celebrating the poetry in everyday moments? The concert will now serve as a testament to his enduring influence on American music.

Bergman leaves behind his daughter Julie, a respected writer and film producer, and granddaughter Emily Sender. The family suggests memorial contributions to the ASCAP Foundation Alan and Marilyn Bergman Lyric Award or the Johnny Mercer Foundation — ensuring tomorrow’s songwriters might find their own way to capture the windmills of our minds.

Sometimes the simplest words say it best: Thank you, Mr. Bergman, for teaching us how to remember the way we were.