Podcasts about Beach Party

Sarah McDonald, Associate Director of Media & Community Relations at PAWS Chicago, joins Lisa Dent to share details of their upcoming Beach Party on July 19th. Then, McDonald shares details about what is causing many Americans to give up their pets. PAWS Chicago is hosting their Giving Day on June 26th to raise money in […]

Hollywood superstar Marlon Wayans joins us to talk about his upcoming projects and we enjoy the last day of our beach party!Support the show: https://www.klbjfm.com/mattandbobfm/See omnystudio.com/listener for privacy information.

⚡️Like the Show? Click the [Repost] ↻ button so more people can hear it!

Freaky times call for cheeky music, which is why I'm pleased to present the annual Dark Nation Radio GOTHIC BEACH PARTY! The only rule for the Beach Party is to keep it frisky so, as in years past, the playlist ranges widely from The Cramps, Kite, Klack, and My Life with the Thrill Kill Kult to The B-52s, Beastie Boys, Blondie, and Plastic Bertrand—with a few real surprises in the mix. Pairs perfectly with Zombies, Painkillers, and Dark ‘n' Stormies (or whatever you prefer), so turn it up and get ready to ride the dark wave! As always, if you like what you hear, I hope you will support the bands and consider following me on your preferred platform. Reposts of the show so that others can find out about it are particularly appreciated. Questions and promo materials may be directed to darknationradio@gmail.com. Thanks for your support! DJ cypher's Dark Nation Radio Playlist 25 May 2025 GOTHIC BEACH PARTY 2025 HorrorPops, “Horror Beach” The 69 Eyes, “Aloha From Hell” The B-52s, “Private Idaho” Twin Temple, “Let's Have a Satanic Orgy” Tiger Army, “The Devil That You Don't Know” Klack, “Good Luck, Babe” Tiffany Haddish, “Not Evil (dj cypher mix)” Genesis Owasu, “Leaving the Light” Floating Witch's Head, “Robot” Beastie Boys, “Shake Your Rump” Emilie Autumn, “Girls Just Wanna Have Fun” Kite, “Ways to Dance” Moby, “James Bond” Lenny Kravitz, “Are You Gonna Go My Way” The Cult, “Born to Be Wild” Devil Doll, “Liquor Store” The Rocky Horror Picture Show, “Time Warp” The Cramps, “Cramps Stomp” Sweet, “Ballroom Blitz” Nancy Sinatra, “These Boots Were Made for Walking” Los Pistoleros, “The Reaper” New Order, “Bizarre Love Triangle” Ramones, “Rockaway Beach” Emi Pop, “Quiro Bailar Roconrol” Taste Testors, “I Don't Want You to Fall in Love With Me” Karen O, “Strange Love” Santigold, “The Keeper” The Jesus and Mary Chain, “Coast to Coast” Dead Elvi, “The Creature Stole My Surfboard” The Creepshow, “Zombies Ate Her Brain” The Rosedales, “Stars are Falling” Blondie, “Maria” Urban Heat, “Seven Safe Spaces” The Icicle Works, “Birds Fly (Whisper to a Scream)” Aurelio Voltaire, “Captains All” The Pogues, “If I Should Fall From Grace With God” The Interrupters, “Gave You Everything” The Offspring, “You're Gonna Go Far, Kid” Violent Femmes, “American Music” Arielle Dombasle & the Hillbilly Moon Explosion, “Walk Italian” The Reverend Horton Heat, “New York City Girls” Jesika von Rabbit, “Gotta Keep My Buzz Going” Flesh for Lulu, “Sleeping Dogs” Odonis Odonis ft. Actors, “No One Left” Pet Shop Boys, “Always on My Mind” My Life with the Thrill Kill Kult, “Glamour is a Rocky Road” Plastric Bertrand, “Ca Plane Pour Moi” Men Without Hats, “Safety Dance” Social Distortion, “Ring of Fire” DJ CYPHER'S DARK NATION RADIO—24 years strong! **Live Sundays @ 9 PM Eastern US on Spirit of Resistance Radio sorradio.org **Recorded @ http://www.mixcloud.com/cypheractive **Downloadable @ http://www.hearthis.at/cypheractive **Questions and material for airplay consideration to darknationradio[at] gmail[dot]com **Facebook @ http://www.facebook.com/groups/darknationradio

Tracklist 1. K Loveski - Anni Machadi [WARPP] 2. Gaston Sosa - Disco Toms [Long Way Records] 3. Emmanuel Dip, Lila Rose (UY) - Eternity Rise [PURRFECTION] 4. Kyotto - The Surge [Movement Recordings] 5.Martin Gardoqui & Nacho Garcia - El Perfume (Gai Barone Remix) [Pro B Tech Music] 6. Ignacio Corazza & Freedo Mosho - Ghost Rider (Maze 28 Reform) [Electronic Groove Records] 7. Mike Rish - Tornn [Meanwhile] 8. Marcelo Vasami & Dimuth K - Nomade [Warung Recordings] 9. Fran Garay - Modularity [Melorama Música] 10, PablØ - Skyline [Progressive House Argentina] 11. Brisboys - Third Earth (Federico Monachesi Remix) [Brisbeats Records] 12. Al Gunn - Falling (Greg Tomaz Remix) [Massive Harmony] 13. Cary Crank - Deep Voltage (Digital Mess Remix) [Sunexplosion] 14. STEREO MUNK, Dublew, Romina (AR) - Aether [Routine Espresso Recordings]

 In 1983, Cameron Crowe — still early in his career — picked up a camera and quietly captured something incredible. The result? A grainy, gutsy, joy-fueled snapshot of a band still hungry, and still trying to figuring it all out. Tom Petty and the Heartbreakers in their hungry years. MTV aired it once in the middle of the night, then shelved it for being too raw.Now it's restored, with 20 extra minutes, There's no script, no polish — just raw moments, backstage vibes, late-night jam sessions. It's messy. It's magic. It's a good time, must see!!*Want to stay on top of the world of Rock N Roll Book and Documentaries? Sign up for the Monthly BLAST!!  The BLAST!! drops the last Friday of every month, packed with the hottest book buzz, exclusive doc updates, and the current Top 5 lists. It's your VIP pass to what's next in books and docs. Only once a month. Always worth it!Just shoot me over an email at the address below and say Big Rick, send me that Blast!! Support the showemail Big Rick at:info@rocktalkstudio.com

Tom Petty’s Cameron Crowe-Directed ‘Heartbreakers Beach Party’ Film Headed to Paramount+See omnystudio.com/listener for privacy information.

Come spend Valentine's Day with Donna and Dr Adam and special guest Domenic Priore! Domenic is a writer and expert in ‘60s popular music and youth culture. In this episode, the trio take a trip down the rabbit hole to 1960s Los Angeles through five of Domenic's books: Riot on Sunset Strip, a chronicle of the electrifying rise and fall of the Sunset Strip music scene; Pacific Ocean Park, a history of the famed Santa Monica mid-century amusement park; Smile: The Story of Brian Wilson's Lost Masterpiece, the story of perhaps the most famous unfinished album in the history of music; Pop Surf Culture, a history of surf and youth culture of the ‘50s and ‘60s including our favorite Beach Party movies; and Pop Sixties, Domenic's collaboration with Donna! If you're a mid-century aficionado with a modern twist, come spend some time with Love's A Secret Weapon Podcast, now in its 7th season!

We've reviewed a couple of rock movies that had a limited theatrical run - Rush - Cinema Strangiato was episode 42 while The Wolf lived in England and Dio - Dreamers Never Die was covered on ep 98 while he was living in Amsterdam. And while we had wanted to do a double episode on Tom Petty's Wildflowers at 30 with the later released double disc alongside the newly unearthed Tom Petty & the Heartbreakers Beach Party film, we felt that episode would be too long an in-depth. So because the recently "found" Cameron Crowe movie which captures the boys in 1983 around the release of the Long After Dark record was having a limited showing, we thought we'd concentrate on that. And we're so glad we did! When we reviewed Long After Dark on episode 64, we found that we loved it and that it was often overlooked and overshadowed by bigger selling albums with more radio hits. However, the melodies and heartfelt lyrics on that album are part of the larger philosophy of Tom and the band and this movie helped expose that. Though it aired once on MTV, the channel decided it wasn't a good fit for their programming at the time so for years it was unavailable. The limited release on October 17 & 20 gave fans the chance to see it for the first time and included 19 extra minutes with Cameron Crowe, Adria Petty (Tom's daughter) some insight from Jimmy Iovine and showed the band not only killing it onstage but filming the You Got Lucky video (which Tom & Cameron called a film). To hear earnest and honest remarks from Tom was so refreshing and made us realize how much we miss him. The live clips not only show a tight band and band leader who wants to create the best show he possibly can but some amazing guitars from Tom and Mike Campbell. It was a rare glimpse with Tom at his home and talking to Cameron Crowe about why and how he makes music. The scene where Tom said he's the same guy at home as on the stage was so brilliant - he was never putting on an act, he was authentic and that's why his music will stand the test of time. Hopefully they release this on DVD/Streaming so more people can enjoy it but if you missed it, here's our take! Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

We've reviewed a couple of rock movies that had a limited theatrical run - Rush - Cinema Strangiato was episode 42 while The Wolf lived in England and Dio - Dreamers Never Die was covered on ep 98 while he was living in Amsterdam. And while we had wanted to do a double episode on Tom Petty's Wildflowers at 30 with the later released double disc alongside the newly unearthed Tom Petty & the Heartbreakers Beach Party film, we felt that episode would be too long an in-depth. So because the recently "found" Cameron Crowe movie which captures the boys in 1983 around the release of the Long After Dark record was having a limited showing, we thought we'd concentrate on that. And we're so glad we did! When we reviewed Long After Dark on episode 64, we found that we loved it and that it was often overlooked and overshadowed by bigger selling albums with more radio hits. However, the melodies and heartfelt lyrics on that album are part of the larger philosophy of Tom and the band and this movie helped expose that. Though it aired once on MTV, the channel decided it wasn't a good fit for their programming at the time so for years it was unavailable. The limited release on October 17 & 20 gave fans the chance to see it for the first time and included 19 extra minutes with Cameron Crowe, Adria Petty (Tom's daughter) some insight from Jimmy Iovine and showed the band not only killing it onstage but filming the You Got Lucky video (which Tom & Cameron called a film). To hear earnest and honest remarks from Tom was so refreshing and made us realize how much we miss him. The live clips not only show a tight band and band leader who wants to create the best show he possibly can but some amazing guitars from Tom and Mike Campbell. It was a rare glimpse with Tom at his home and talking to Cameron Crowe about why and how he makes music. The scene where Tom said he's the same guy at home as on the stage was so brilliant - he was never putting on an act, he was authentic and that's why his music will stand the test of time. Hopefully they release this on DVD/Streaming so more people can enjoy it but if you missed it, here's our take! Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Rerun from 10.3.2020. I had a new episode recorded and planned on editing it in the car to the Outer Banks while my wife drove, but my dumbass grabbed the wrong flash drive. This is the 2nd hour of The Land of Make Believe with Old Man Ratchet that originally aired Saturday October 3rd, 2020 from 9 to 10 pm (est) on WOZO-LP 103.9 FM Radio in Knoxville, TN USA and streamed online at wozoradio.com this hour was mixed using Djay pro software with an Ipad Pro 4th Generation and a Pioneer SB3 Dj controller. Additional editing, production and vocals added using Audacity Freeware for non commercial use. Please consider a donation the the radio station through Venmo @wozoradioTrack list not available because I didn't bother with doing that way back in 2020.

M&M's Beach Party for the Wii is one of the more anemic minigame collections we've covered, and we've already done deep dives into M&M's lore… So this week we pitch a new M&M's character: a grey M&M with a cashew sticking out of it, named Hercules PoundClit. He's a sensitive, masculine man who exists to make the ladies swoon.

On episode 338 we go back to S.Paio Beach Party at Torreira Beach near Aveiro (Portugal) last September 7th for an one hour Techno set by Carlos Manaça.More info athttps://music.beepd.co/card/carlosmanacahttps://linktr.ee/carlosmanacahttps://linktr.ee/magnarecordings

Salli Sachse is more than just a beautiful girl in a bikini on the beach in more than a dozen Beach Party films. As a model, a counselor with a Masters Degree and as an artist and photographer, she's done it all. Join me now for a sit down interview with Salli from being plucked off the beach in La Jolla, California to be a mainstay of the teen hit films, to her award winning artwork. You can see her past and her present at www.sallisachse.com. Let's go for a ride inside Beach Blanket Bingo and many more, including her time with rock stars David Crosby and his group Crosby, Stills and Nash, along with Joni Mitchell. 

In this episode of 420 Reasons Why I Quit Drinking Alcohol, titled "Grand Haven Beach Party: Big Sis, Little Sis, and Spiked Punch," I share a story from my freshman year in high school when my sister, a senior, and her best friend became our "acting big sisters," looking out for us and making sure we had fun. The story takes place at Grand Haven Beach, where we attended a big sister/little sister beach party. It was a day filled with fun, sun, and beach punch—alcohol included. Through it all, my admiration for my sister shines as I reflect on how much I've always looked up to her.

PAPA REMO BEACH PARTY DJ UV MC JOHN SEP 7TH 2024 OONTZ SET by Capital FM

PAPA REMO BEACH PARTY DJ UV MC JOHN SEP 7TH 2024 SET 2 by Capital FM

Check it out NOW! Follow us on Instagram @Stepbtothaspod

I have been wanting to do an episode on American International Pictures' beach party series… The post Eros + Massacre Episode 6: Beach Party Bonanza with Keith Allison appeared first on Cinepunx.

Mr and Mrs N are back in the studio, almost recovered from the shenanigans of the V2V BIG SUMMER BEACH PARTY at Liberty Elite club in Leicestershire. Do you want to know what goes on at a swingers' party? Find out in this revealing episode.  Mrs N reveals what happened when she had breakfast with a beautiful single lady who is on the swinging scene. She was given a top tip that helps instil confidence and makes a lady feel like an empowered vixen! NOT TO BE MISSED! THIS PODCAST IS STRICTLY FOR ADULTS ONLY! You can contact Mr and Mrs N in the following ways :- Fab Swingers :- naughtycp1 Email :- naughtycp1@yahoo.com Twitter/X :- @naughtycoup1e You can visit Mr and Mrs N's online adult store at the following link :- https://vanillatovixen.co.uk Mr and Mrs N's book "Vanilla To Vixen - My Journey from a Vanilla Life to becoming a Hot Wife" is available now from Amazon.com and Amazon.co.uk. Click on the following link. https://amzn.eu/d/2jKocJO Join Mr and Mrs N's Discord Chat Server :- This is a safe and discreet place where you can chat to fellow members involved in the swinging lifestyle also known as the naughty hobby.  Please read and respect our chat server rules before joining our Discord Chat Server. This service is completely free, there are many rooms to enjoy with fellow members of the swinging community. You MUST BE OVER 21 YEARS OLD TO JOIN THIS DISCORD SERVER. Our Discord server is for social chat. It is exclusively for people involved in the swinging lifestyle. it is not a pick up site or dating site. You must NOT private message other members without asking their permission in the general chat room. The following link is an invite into the Vanilla To Vixen Discord Chat Server. https://discord.gg/ycsSvE7V4j

GGACP keeps the summer vibe alive with this ENCORE of a 2014 interview with singer-actor and star of the "Beach Party" movie series, Frankie Avalon. In this episode, Frankie talks about breaking into show business as a child prodigy, receiving 12,000 pieces of fan mail per week and working alongside Hollywood greats Jack Benny, Jackie Gleason, Buster Keaton, Lucille Ball, and Groucho Marx. Also, Frankie looks back at his humble beginnings in South Philly, his years as a teen heartthrob and his decades-long friendship with onscreen love interest Annette Funicello. PLUS: Remembering "Skidoo"! “Dr. Goldfoot and the Bikini Machine”! Dueling Draculas! The Duke makes Laurence Harvey cry! And Cesar Romero and Arnold Stang hit a strip joint! Learn more about your ad choices. Visit megaphone.fm/adchoices

En este séptimo episodio de El Cancionero de Kurt, nos sumergimos en el lado más melódico de Kurt Cobain a través de tres álbumes esenciales en su lista de favoritos: "Get The Knack" de The Knack, "Green" de R.E.M., y "Beach Party" de Marine Girls. Con Albina Cabrera al mando, desentrañamos cómo estos discos influyeron en Cobain y moldearon su enfoque musical. Desde los adictivos riffs de "My Sharona" hasta las evocadoras melodías de R.E.M. y Marine Girls, descubrimos una faceta diferente del legado de Cobain, demostrando que detrás de la furia grunge también había una sensibilidad melódica que definió su música. Agradecimientos especiales: Benito Cerati Suzy Exposito Barbi Recanati Equipo: Host: Albina CabreraProductora asistente: Gisela Casa MadridEditor: Dusty HenryProductor de audio: Roddy NikpourPodcast manager: Isabel KhaliliDirector editorial: Larry Mizell Jr.Apoya este podcast: kexp.org/elsonidoSupport the show: http://kexp.org/elsonidoSee omnystudio.com/listener for privacy information.

Hey Hey beautiful people here is this weeks Radio Rewind in High Definition Sounds

Hey Hey Beautiful People I'll be Back once again like a Renegade master this Sunday . The paradise sessions - Discos Revenge returns this Sunday with @markymmp on @cruise_fm 10am - 1pm UK cruise FM. This is my Penultimate show before the Paradise Sessions takes a Summer break from the Airwaves and it's a beach party so this week we have another 3 hour journey across the musical time lines in a ram packed radio show. Including the first 90 minutes it's a Beach party with summer vibes . In the second half of the show we have new music, another Awesome 4 Some from DJ Allan and the Disco's Revenge August Traxsource chart with some new movers and shakers and all of this in a 3 hour show. Hope you can join me . You may ask how is all this possible in 1 radio show well you'll just have to tune in to find out . So I hope you can join me on this special weekly journey packed with love.. I love you all Marky MMP Title Artist Archie Bell & The Drells - Don't Let Love Get You Down (Dj ''S'' Remix) Archie Bell & The Drells Don't Look Any Further (Dj ''S'' Mashup Remix) Dennis Edwards Ft. Siedah Garrett Archie Bell & The Drells - Don't Let Love Get You Down (Dj ''S'' Remix) Archie Bell & The Drells Music of Life Cerrone Summertime (Summertime Still Remix) DJ Jazzy Jeff & The Fresh Prince Always On My Mind Featuring Kenya & T3 Centric Cant Stop (Turning you on) Silk Jo Jo (DJ 'S' Remix) Boz Saggs Let the Music Play Barry White Meli'sa Morgan - Fools Paradise Meli'sa Morgan - Fools Paradise Hangin' On a String Loose Ends Just Be Good to Me S.O.S Band Just an Illusion Imagination Change of Heart Change Cheryl Lynn ENCORE (12-Inch Extended Version) Last Night A D.J. Saved My Life (Alex Di Ciò Remix) Indeep The Get Down Mellow Sound The Players Association (Somebody) Help Me Out (12 Version)" Beggar & Co Slippin' Away The Independent Movement Set Me Free (DJ Kone & Marc Palacios Remix) David Penn & Rober Gaez Feat. Sheylah Cuffy All 4 You (Extended Mix) Sebb Junior Without Your Love (Teddy Douglas Love Break Remix) Spencer Morales, Teddy Douglas Do U Love Me (The DJ Mix) Risk Assessment, Vanessa Freeman Playing Games With My Heart (MoD & Staffan Thorsell Remix) John Soulution, Jessie Wagner, MoD, Staffan Thorsell All Of My Days (MicFreak & DJ Spen Soul Funky Mix) Kry (IT), MicFreak, DJ Spen Peace Of Mind (Bobby & Steve Original Album / Live Drum Soul Mix) Bobby & Steve, Lifford Don't You Want My Love (Vocal Extended Mix) Birdee Love Will Set U Free (Micky More & Andy Tee Extended Mix) Reverendos Of Soul, Micky More & Andy Tee Give It Up (Moplen Disco 3000 Remix) Eminence, Kathy Brown, Moplen Catch The Beat (Dimitri From Paris & Mousse T New Oldschool Edit) T Ski Valley, Dimitri From Paris, Mousse T High Hopes (Extended Excursion Mix) Yam Who?, Mr Smith, Brian Lucas Bad Luck (Eric Kupper Remix) The Philly All Stars, Eric Kupper Is It Love You're After (Danny Krivit 12 Extended)" Micky More & Andy Tee, Angela Johnson, Dj Meme, Danny Krivit Runaway Love ( MartinShaw Piano Mix) Linda Clifford

Sesión veraniega cocinada para escuchar frente al mar, junto a la orilla, o para llevarte la playa donde tú quieras.Playlist;(sintonía) YO LA TENGO “Beach Party tonight”THE FACES “On the Beach”NEIL YOUNG “For the turnstiles”THE SADIES “Only you and your eyes”PATTI SMITH “Redondo Beach”THE ILLUSIONS “Wait till the summer”THE DOORS “Summer’s almost gone”THE ASSOCIATION “Along comes mary”THE MILLENIUM “I’m with you”THE BEACH BOYS “Pet sounds”THE STEMS “For always”THE BLANK TAPES “Beach party”FIRST CLASS “Beach baby”THE PARAGONS “On the beach”JOE STRUMMER with THE LONG BEACH ALL STARS “The harder they come”SIBLING RIVALRY featuring JOEY RAMONE “On the beach”GENERAL JOHNSON “Rockaway Beach”Escuchar audio

Janice Headley dives into Beach Party by Marine Girls. Their lo-fi instrumentation and girlish vulnerability helped set the standard for twee pop.  Hosts: Dusty Henry and Martin DouglasAudio producers: Janice Headley and Roddy NikpourPodcast manager: Isabel KhaliliEditorial director: Larry Mizell Jr.  Support the podcast: kexp.org/cobainSee omnystudio.com/listener for privacy information.

Susanna Wickham, the CEO of PAWS Chicago, joins Lisa Dent to talk about the organization’s upcoming PAWS Chicago Beach Party, that’s a summer celebration for more than 500 guests and their pets at Offshore on Navy Pier. The event takes place Thursday, July 25th. Follow The Lisa Dent Show on Twitter:Follow @LisaDentSpeaksFollow @SteveBertrand Follow @kpowell720 Follow @maryvandeveldeFollow […]

Hey folks! We're back for another episode of HELLA HUNGRY HIPPOS! Summer 2024 means: Beach & Pool Parties and cold sweet treats. What's your favorite type of summer party? And what's your favorite cold treat to cool down with? Follow us on Instagram: Joe Aure | @BuddhaJoe Kris Ancheta | @KrispyAncheta The Staff Meal Family Network | @TheStaffMealFamily

What better on a hot day than an all Winaukee Beach Party on the Island!!!

We're celebrating summer in style with Rifftrax's Summer Shorts Beach Party - join us in practicing our rhythmic ball skills. (CW: discussions of self-harm/OCD)Host segments: sandy crack; the SoL-Mates have been busy; cheeseballs under the couch; pleasure flap; creepy guys.Be sure to check us out on social media and support us on Patreon!

Lucy Shelley, tech editor of Campaign UK, Kate Magee, global intelligence editor of Campaign, and Steve Barrett, editorial director of PR Week US and Campaign US, join Gideon Spanier, UK editor-in-chief of Campaign, to discuss the fourth night of awards.Cannes Lions 2024 – final UK shortlists table A double win for Canada: Heinz Ketchup and Rethink Toronto win the Creative Effectiveness Grand Prix for It has To Be Heinz and DIabetes Diagnostics Solution and Klick Health Toronto win the Innovation Grand Prix for Voice 2 Diabetes.PR agencies are doing well this year at Cannes, as Pop Tarts and Weber Shandwick win the Brand Experience Activation Grand Prix for the First Edible Mascot. Plus there was a lot of dancing at the Campaign party at Carlton Beach and we have interviews with some of the guests. campaignlive.com What we know about advertising, you should know about advertising. Start your 1-month FREE trial to Campaign US.

Campaign's editors and journalists from around the world are hosting a daily podcast during the five-day Lions festival. In episode five, we discuss the big award wins from the fourth night.Lucy Shelley, tech editor of Campaign UK, Kate Magee, global intelligence editor of Campaign, and Steve Barrett, editorial director of PR Week US and Campaign US, join Gideon Spanier, UK editor-in-chief of Campaign, to discuss the fourth night of awards.Cannes Lions 2024 – final UK shortlists tableA double win for Canada: Heinz Ketchup and Rethink Toronto win the Creative Effectiveness Grand Prix for It has To Be Heinz and DIabetes Diagnostics Solution and Klick Health Toronto win the Innovation Grand Prix for Voice 2 Diabetes.PR agencies are doing well this year at Cannes, as Pop Tarts and Weber Shandwick win the Brand Experience Activation Grand Prix for the First Edible Mascot.Plus there was a lot of dancing at the Campaign party at Carlton Beach and we have interviews with some of the guests.More:Cannes daily global podcast episode 4: Elon Musk puts free speech before advertisersCannes daily global podcast episode 3: Craft and entertainment winnersCannes daily global podcast episode 2: Big wins in audio, health and outdoorCannes daily global podcast episode 1: Awards preview and new humour category'Wear comfy shoes!' What's your one piece of advice for Cannes freshers?Publicis unveils 'BSBot' to help people at Cannes decide 'what's AI or BS'Find all of Campaign's Cannes Lions coverage in one place here Hosted on Acast. See acast.com/privacy for more information.

It's time for what you need to know on the go!

Donna Loren was the quintessential “It” girl of the 1960's who caught America's eye as the one and only Dr. Pepper Girl.  But Donna held America's interest with her impossibly beautiful singing voice.  From the Mickey Mouse Club to her roles in the beloved Beach Party films, TV's Batman, The Monkees, and as a cast member of America's first live rock n' roll television show, Shindig, Donna Loren proved herself to be one of the most talented singers of her generation.  Listen as Donna shares all about her fascinating life and career.

On the quest to find the best beach in the galaxy, Mindy and Guy Raz need to travel a little far from home. How far from home, you ask?! To Mars of course! Join Mindy and Guy Raz on this intergalactic adventure to Mars as they learn about recent NASA research about the beaches of Mars! It's the who, what, when, where, how and WOW of Mars Beaches! Originally aired 10/11/21.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ready to relax and have some darkly delicious fun? The annual Dark Nation Radio GOTHIC BEACH PARTY can now be streamed! As in years past, this one plays fast and loose with genre, with the Beastie Boys and B-52s rubbing shoulders with Siouxsie and My Life With the Thrill Kill Kult while Gnarls Barkley and Karen O keep company with Adam Ant, Poison, and (of course) the Vampire Beach Babes—so turn it up and ride the wave

Link for show tickets:   https://www.parklandsd.org/departments/arts/ticket-informationPlan to come 30 minutes early to check out the Beach Party in the auditorium as the pit orchestra entertains patrons with party music.SpongeBob contains music composed by Cyndi Lauper, John Legend, David Bowie, Panic! at the Disco, Steven Tyler and more.Vocabulary:Sitzprobe - a rehearsal where the singers sing with the orchestra, focusing attention on integrating the two groups.Foley Artist - A Foley artist is the person who creates this sound art. Foley artists use creativity to make viewers believe that the sound effects are actually real.  A student Foley artist is on stage and part of the SpongeBob show!

Welcome to The Bits episode on Beach Party, where we talk about... you guessed it... Season 1 Episode 18 of Steven Universe! Let's go to the beach and throw a party! Send a message to our Diamond Line at thebitssupod@gmail.com with your thoughts and theories going forward! We would love to hear from you. Make sure to subscribe so you know when our next episode drops and rate and review if you like what we are doing. IG: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/thebitssupod/⁠⁠⁠⁠⁠⁠ Tumblr: ⁠⁠⁠⁠⁠⁠https://www.tumblr.com/thebitssupod⁠⁠⁠⁠⁠⁠ Follow Charlie: IG:⁠⁠⁠⁠⁠⁠ www.instagram.com/greenpixie12/⁠⁠⁠⁠⁠⁠ and⁠⁠⁠⁠⁠⁠ www.instagram.com/greenpixiedraws/⁠⁠⁠⁠⁠⁠ Follow Of the Eldest Gods: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/oftheeldestgodspod/⁠⁠⁠⁠⁠⁠ Follow Robert: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/thedammemepage/⁠⁠⁠⁠⁠⁠ Follow Entering Storybrooke: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/storybrookepod/⁠⁠⁠⁠⁠⁠ Follow That's The Sitch: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/thatsthesitchpod/⁠⁠⁠⁠⁠⁠ Follow The Truham Grammar Book Club Podcast: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/truhamgrammarbookclubpod/⁠⁠⁠⁠⁠

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode on "My World Fell Down" by Sagittarius. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in this chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, For future parts of this multi-episode story I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of.  They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to  the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.

On the quest to find the best beach in the galaxy, Mindy and Guy Raz need to travel a little far from home. How far from home, you ask?! To Mars of course! Join Mindy and Guy Raz on this intergalactic adventure to Mars as they learn about recent NASA research about the beaches of Mars! It's the who, what, when, where, how and WOW of Mars Beaches! Originally aired 10/11/21.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When a manager at Pump quits, Lisa must do the unthinkable - hire her daughter, Pandora, for a day. But will Pump ever recover from the loss?If you enjoyed this teaser, join the Turtle Time Patreon and become a Villa Rosa VIP to hear the full episode and access exclusive bonus content! We'll be recapping the Vanderpump Rules series from the beginning each week. And if you need even more Turtle Time in your life, follow us on ⁠TikTok⁠ or ⁠Instagram⁠. Hosted on Acast. See acast.com/privacy for more information.

Old Navy slammed my debit card! That's just one non-sequitur featuring a name of a company we have no relationship with, which will nevertheless be auto-populated as a sponsor on dogshit AI websites around the net. Here's some more: Linus Tech Tips, Husqvarna, and the government of the People's Republic of China. Let's see what kinda discount code we can cook up with that. On today's show, our very own Mike goes Spooky Boy mode, we learn a lot from Motivational Speaker Instagram Bald, and we fire everyone who works for us and doesn't have a six pack (doesn't apply to co-owners). Plus, we're membering stuff, tracking our, uh, treasures, and proving the existence of psychic abilities once and for all, with Google Docs. You can hear all that and more by grabbing our RSS feed, asserting a relationship with us, and becoming unresponsive to emails – right now – on an all-new YKS!Music for YKS is courtesy of Howell Dawdy, Craig Dickman, Mr. Baloney, and Mark Brendle. Additional research by Zeke Golvin. YKS is edited by Producer Dan. YKS Premium is where you're gonna wanna go for more YKS, if you're into that sort of thing. Beach Party, Jessuary, Miketober, and of course all the episodes where we literally have no idea what we are doing and just sort of flail around for an hour (those are our most popular ones) await you! This episode of YKS is brought to you by these fine sponsors:Factor - “Hell, I could eat”. We've all said it. But when the rubber meets the road, sometimes we have a hard time figuring out what, exactly, it is we are supposed to slug down! Well that's why Factor got invented: It's food that you eat! Why not, if it's hot and you like it? Get 50% off your order at Factormeals.com/yks50Athletic Greens - Yooooooo!! I love taking AG1 in the AM. And that's a fun mnemonic device to remember it as well, which I'm throwing in for free. Get 5 free travel packs and 1 year of Vitamin D, which many are saying is “the goated vitamin”, at AthleticGreens.com/YKSNordVPN - EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/yks Try it risk-free now with a 30-day money-back guarantee!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hey free coffee…want any? Yeah, it does suck! Thanks for letting us use this in our commercial!! ← Do you think this scenario could really happen? Well, the boys at YKS don't, and that's why they came out with Episode 314 of the program, and not any other contractual, financial, or sheer inertia-based reasons! On today's show we're doing a very short and unsatisfying investigation into how fruit flies pork each other, and yes of course buttwiping technology returns as a focal point of the conversation as well. Plus we're talking old man hobbies, kissing the computer, and rats with PTSD. Do YOU think you can take down the evil Dr. Divisor with your power of exponent multiplicity? Then put it to the test…it's an all-new YKS!Music for YKS is courtesy of Howell Dawdy, Craig Dickman, Mr. Baloney, and Mark Brendle. Additional research by Zeke Golvin. YKS is edited by Producer Dan. YKS Premium! THAT'S what I wanted to talk about. On last Friday's YKS Premium, we went out to the…movies! In the middle of a movie month?!! Yep, we're just that crazy. But there was no better way to introduce our newest series, Limited Engagement, where we see the stuff even the movie theater isn't that excited about. Plus we ate some crap you wouldn't feed a dog. Next week, we conclude Beach Party 2 with a “radical” throwback…Point Break (one of em)! This episode of YKS is sponsored by these fine brandsAthletic Greens - Vitamins are sooooo good. But everyone wants to eat them. I say drink them, and get some adaptogens to boot! A slightly tropical flavor is just icing on the cake. Get 5 free travel packs and a year supply of Vitamin D at AthleticGreens.com/YKS.Fast Growing Trees - Ferns. Apple Tree. Olive…branch? Those are just some of the wonderful things that grow on this earth, and doubtless also things I could kill without expert support and guidance. That's where Fast Growing Trees comes in. So, let's all put some stuff in the ground, in the good way! Get 15% off your order at FastGrowingTrees.com/YKS.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Opening up a recent issue of Business Touch Magazine to see if there are any weird and slightly paranoid guys selling a 75 year old piece of equipment I could shock myself with, and ah! What's this! A big heavy thing my friends can roast me over? Well, well well, I do believe I have hit the **ZAP**....jackpot. I'm just kidding. It looks cool. I don't want to do any more references to stuff that's in the episode because the stuff I wrote down is mostly about poop, and I'm 35 years old so that kind of sucks. But the Kickstarters this week are pretty funny and they are basically all huge scams so it's okay to laugh at them. And we talk about some other stuff as well, in addition to the poop things I mentioned before. Yep that feels bad. Okay, talk to you later.Music for YKS is courtesy of Howell Dawdy, Craig Dickman, Mr. Baloney, and Mark Brendle. Additional research by Zeke Golvin. YKS is edited by Producer Dan. YKS Premium - I really think, and I am serious, that this is one of the best shows you can listen to in the entire world. Please do not ask me what other shows there are, if I have heard them, or if I know what this show even is. Last week's ep was a real banger – our friend Will Menaker from Chapo Trap House joined to do some fucking movie. God, what was it? I can't remember. Well whatever it was, it was surely about a beach. Since the theme for the month is Beach Party. Next week: a fun surprise that Mike will hate. But you? You will love!This episode of YKS is sponsored by these fine brands: Factor - “Meals” are now called “X”! Just kidding. But you almost believed it, which says a lot about society. Get fifty-percent off with code yks50 at factor75.com/yks50.Schedule 35 - New neural networks in the brain? Hey get these guys working on my wifi! Of course I know those are different things, but I probably couldn't, like, really tell you why. Get 15% off with code YKS at schedule35.coHoney - I'm getting my big head stuck in a bucket that has Honey written on the side. But instead of that classic sweet stuff inside, it's discounts and cash back! Even better! Save yourself some coin at joinhoney.com/yksMint mobile - I hate my wireless plan…why did I buy it? Well probably because I am a sucker and didn't realize I could get the same service for a lot less, with Mint Mobile. Grab a new wireless plan for $15/mo and free shipping at mintmobile.com/yks.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

GGACP ushers in the official start of the summer season with this mini-episode celebration of AIP's "Beach Party" movies of the 1960s -- and the legendary and soon-to-be-legendary performers (Boris Karloff, Buster Keaton, Paul Lynde, Don Rickles) who appeared in them (not to mention series star and "Amazing Colossal Podcast" guest Frankie Avalon). Also in this episode: Little Stevie Wonder! Remembering Harvey Lembeck! The expertise of Eddie Deezen! “The Ghost in the Invisible Bikini”! And Annette Funicello exposes her navel! Learn more about your ad choices. Visit megaphone.fm/adchoices

Oh Muses! This episode we finally find Odysseus and hear what he's been up to. We encounter strangers in their birthday suits, islands of birds, compassionate nymphs, consequences of actions, and Poseidon's rage. —- National Geographic Kids Greeking Out is a kid-friendly retelling of some of the best stories from Greek mythology. This podcast is an extension of the Zeus the Mighty series by Nat Geo Kids. Check Out bit.ly/ZeusOut to meet Zeus the Hamster and his friends—Athena the cat, Ares the pug, Demeter the grasshopper, and many more—who also listen to the Greeking Out podcast. Watch a video, read an excerpt, or check out the truth behind the stories! Greeking Out the book is available for pre-order: bit.ly/greekoutbook

David is back with the conclusion of the Devil and the history attached to him! Covering other cultures, names, looks, and breakdowns of the info, the Devil gets fleshed out and examined in great detail. We pick back up with various forms of Evil in other cultures through history. Then many of the countless names of this entity are dissected and examined, paying careful attention to the origins of each. The several iterations of looks are discussed after that. And finally the episode concludes with analysis of the research and how it has influenced cultures through the ages. What was the actual purpose of this being? How has it evolved? And what conclusions can you draw from the information? David ends with opinion based on the facts, and encourages you to take a thoughtful examination of them for yourself. It's the finish of one of the biggest episodes in Blurry Photos history, one that hopefully teaches you something new and gives you perspective you never knew you were missing! Don't forget to watch me stream games on Twitch!   Sources Wray, T.J., and Mobley, Gregory. The Birth of Satan: Tracing the Devil's Biblical Roots. St. Martin's Publishing Group, 2014. Kindle edition. Messadie, Gerald. A History of the Devil. Kodansha Globe Publishing. New York, NY. 1996. Russell, Jeffrey Burton. The Devil: Perceptions of Evil from Antiquity to Primitive Christianity. Ithaca, NY: Cornell University Press. 1977. 176-77. Russell, Jeffrey Burton. The Prince of Darkness: Radical Evil and the Power of Good in History. Ithaca, N.Y.: Cornell University Press, 1988. Pg 19. Staff. Demons and Demonology. Jewish Virtual Library. Web. https://www.jewishvirtuallibrary.org/demons-and-demonology Szpakowska, Kasia. (2009). Demons in Ancient Egypt. Religion Compass. 3. 799 - 805. 10.1111/j.1749-8171.2009.00169.x. Chrissy. Evil Greek Gods and Goddesses. Greece Travel Ideas. Feb. 6, 2021. Web. https://greecetravelideas.com/evil-greek-gods-and-goddesses/ Jastrow, Jr., Morris, Levi, Gerson, Jastrow, Marcus, Kohler, Kaufmann. Belial. Jewish Encyclopedia. 2021. Web. https://www.jewishencyclopedia.com/articles/2805-belial Grafton, Anthony, and Most, Glenn, and Settis, Salvatore. The Classical Tradition. The Belknap Press of Harvard University. Cambridge, MA and London, England. 2010. Dallaire, Glenn. Sister Magdalena of the Cross. Mystics of the Church Website. Dec. 10, 2011. Web. https://www.mysticsofthechurch.com/2011/12/sister-magdalena-of-cross-nun-who-made.html Plaisted, David. Estimates of the Number Killed by the Papacy in the Middle Ages and Later. 2006. http://static1.1.sqspcdn.com/static/f/827989/15116787/1321289366180/50+million+protestants+killed.pdf Hicks, Robert D. In Pursuit of Satan: the police and the occult. Prometheus Books. Buffalo, NY. 1991. Pg. 55.   Music Asian Drums, Beach Party, Danse Party, Dark Fog, Desert Fox, Dhaka, Lightless Dawn, Northur, Red Tears, Temple of the Manes, Tikopia, Wizardtorium - Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 Garden of Gethsemane - Co.Ag Music Link: https://www.youtube.com/@co.agmusic1823/featured Licensed under Creative Commons: By Attribution 3.0 Libera me, Pascha Nostrum, Amen, Sanctus, Sicut Ilium inter spinas - Messa di Requiem The Tudor Consort Attribution: http://creativecommons.org/licenses/by/3.0/  

On the quest to find the best beach in the galaxy, Mindy and Guy Raz need to travel a little far from home. How far from home, you ask?! To Mars of course! Join Mindy and Guy Raz on this intergalactic adventure to Mars as they learn about recent NASA research about the beaches of Mars! It's the who, what, when, where, how and WOW of Mars Beaches! Originally aired 10/11/21.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.