Podcasts about Beach Party

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 SET 2 by Capital FM

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

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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.

To celebrate the New Year, we decided to release a previously unreleased podcast episode from our archives. This was the first episode for a "Bikini Beach Party" podcast series, which we ultimately axed in favour of "Potential Spoilers". The podcast would have reviewed a number of movies from the "beach party" film genre from the 60's, a genre that has not stood the test of time. In this episode, Matty D and Kieran watch 1965's "Village of the Giants", starring Tommy Kirk, Charla Doherty, Beau Bridges, and a very young Ron Howard. The movie follows a group of teens who eat a goo that turns them into giants, and they use their newfound size to take over a small town, with plenty of dancing and booby rides.

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.

Friend of the pod Vera returns for a blockbuster episode heading BACK TO THE BEACH to discuss real life Disney Princess Annette Funicello and the Beach Party movies of the 1960s.

Our acceptably matched trio find themselves on their first assignment. But it seems like there's some important business to be handled first. How will they handle this first assignment together? Support the showlinktr.ee/agentsofdamnedCampaign 1 Background music credits to: Jason Shaw of AudionautixCampaign 2 Background music credits to our very own Drew!

On August 19th Carlos Manaça, DJ China and House Music maestro David Penn went on a Boat, BBQ and Beach Party in the Algarve (Portugal) on a unique event. It started with a Boat Party around Algarve's beautiful coastline, stopped at a private beach for lunch with a Beach Party with music by David Penn and it continued on the way back to Albufeira by boat again, while watching the sunset at sea. An amazing event full of music and happy faces !This episode presents one House and Tech House hour recorded by DJ China and Carlos Manaça.Get your tickets on the links below for Magna Recordings and Up Society “Silves Castle Sunset” on September 30th at the beautiful Silves Castle (Algarve, Portugal) with Silicone Soul, Detlef, Carlos Manaça b2b DJ China and K.Bizz.Tickets also available at FNAC, Worten, El Corte Inglés in Portugal. https://shotgun.live/events/silves-castle-sunsethttps://bit.ly/SilvesCastleSunsetTicketlineMore info athttps://linktr.ee/carlosmanacahttps://music.beepd.co/card/carlosmanaca https://www.facebook.com/magnarecordingshttps://www.soundcloud.com/magnarecordingshttps://bit.ly/MagnaRecordingsBeatporthttps://bit.ly/MagnaRecordingsTraxsourcehttps://bit.ly/MagnaRecordingsPodcast

This episode is the audio for a YouTube TeamStream that initially ran on September 12, 2023.  TeamStreams run every Tuesday at 9 pm on the WOJM YouTube channel, barring unforeseen circumstances or holidays.  Please take a moment and help us out — even if you don't watch us there, subscribe to our YouTube channel today! This week, our old pal Joe Slepski from Joe On Joe Podcast is on-hand as Mark reveals an unused GI Joe animation pitch from his career at Hasbro -- GI Joe Elite!  Plus, we continue to gear up for everyone's fall announcements, from Hasbro to Target and more!  We introduce Joe to SSgt. C-Nuggs in Community Calendar, plus Beach Party '86 hits a major milestone!  It's shanigannerrific! LISTEN  TODAY! You can watch this episode at: https://youtube.com/live/7rM6MPqMOkg

DJ Riddler Live on Power 78.7 Radio " Labor Day Weekend Beach Party " Born in Chicago, Illinois, Richie Pangilinan's journey into the music industry who would later become DJ Riddler, took him to Houston, Los Angeles, Austin, Miami, New York and back to Houston.  The journey continues with some life experiences along the way. Billboard Magazine lists him as one of the Top Ten Selling Artists of All Time in the Dance/Electronic Sales Chart with the likes of Armin Van Buuren, Tiesto, Moby & others for his various Mixed DJ Compilations. (Jan 10, 2014 Issue of Billboard Magazine) His Radio Mixshows heard in over 15 Countries and featured on stations like SiriusXM, IHeartRadio, Z100 New York, KTU New York, Hot 95.7 Houston, Z100 Portland earned him Best Radio Mixshow DJ in 2010, 2011, 2013, & 2014, 2015, 2016 by the Music Industry. (Promo Only Summer Sessions) Nominated for Best DJ in 2016 by the Houston Press.   In Radio, he's worked for some of the biggest radio stations in the United States including WHTZ-New York, WKTU-New York. KRBE-Houston, KKHH-Houston, KROI-Houston, KHFI-Austin, KTFM-San Antonio, KKRZ-Portland. In June of 2016, Riddler was named Assistant Program Director/Music Director for CBS Radio KKHH Hot 95.7 FM and Program Director for KKHH HD-2 Energy 95.7 In March 2017, he was named Music Director and Afternoon Drive On-Air Personality for Radio One's KROI 92.1 FM Radio Now-Houston In July 2018, Riddler won Best Top 40 Assistant Program Director/Music Director by the Music Industry. (Promo Only Summer Sessions) In August 2018, Riddler was promoted to Assistant Program Director/Music Director for Radio One's KROI 92.1 FM Radio Now - Houston and WNOW 100.9 FM Radio Now - Indianapolis. As a Record Label Executive, he's held positions in Promotions, Marketing, A&R for Tommy Boy Records, Capitol Records, MCA/Universal Records, and Ultra Records. Rich Pangilinan also served as Vice President of Marketing for TakeoutMusic.com and TakeoutMarketing.com one of the first Online Digital Music Marketing companies that went public on the NASDAQ :TOMU (1993) As a producer, Riddler has Officially Produced & Remixed  over 100  Major Label Artists including Celiné Dion, DNCE, Selena Gomez, Pitbull & more. As an Artist he's been signed to some of the biggest Electronic Dance Music Labels in the world including: Ultra Records, MCA/Universal, Strictly Rhythm, & Tommy Boy Records. Riddler has held club residencies from New York (Webster Hall) to Las Vegas (Hard Rock Hotel Pool) along with playing at some of the biggest Festivals around the world. ​ As a Voiceover Talent, Riddler is the Male voice for Radio Station KROI - Houston and has done numerous commercials.    

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.

This podcast hit paid subscribers' inboxes on August 7. It dropped for free subscribers on August 10. To receive future pods as soon as they're live, and to support independent ski journalism, please consider an upgrade to a paid subscription. You can also subscribe for free below:WhoDanielle and Laszlo Vajtay, Owners of Plattekill Mountain, New YorkRecorded onJuly 14, 2023About Plattekill MountainClick here for a mountain stats overviewOwned by: Danielle and Laszlo VajtayLocated in: Roxbury, New YorkYear founded: 1958Pass affiliations: NoneReciprocal partners:* 3 days each at Snow Ridge, Swain, Mont du Lac, Ski Cooper* 2 days at HomewoodClosest neighboring ski areas: Belleayre (28 minutes), Windham (41 minutes), Hunter (46 minutes)Base elevation: 2,400 feetSummit elevation: 3,500 feetVertical drop: 1,100 feetSkiable Acres: 75 acresAverage annual snowfall: 175 inchesTrail count: 40 (20% expert, 20% most difficult, 40% more difficult, 20% easiest)Lift count: 3 (1 triple, 1 double, 1 carpet)Why I interviewed themThink about every ski area in the country that almost everyone knows. Almost every one of them has a smaller, less-well-known, slightly badass neighbor lurking nearby. In LA, it's Baldy, forgotten in the shadow of Big Bear and Mountain High. In Tahoe, it's Homewood, lost in the Palisades Tahoe circus. We can just keep going: Hoodoo/Bachelor; White Pass/Crystal; Mt. Spokane/Schweitzer; Soldier/Sun Valley; Snow King/Jackson; Sunlight/Aspen; Red River/Taos.In New York, we have a few versions of this: West and (currently closed) Hickory, adjacent to Gore Mountain; Titus, intercepted by Whiteface as cars wind north. But the most dramatic contrast lies in the Catskills. There, you find four ski areas: Hunter, recently expanded, owned by Vail Resorts and flying two six-packs; Windham, two new investors on its masthead, an Ikon Pass partner that runs three high-speed lifts out of its base; Belleayre, owned by the state and run by the Olympic Regional Development Authority, or ORDA, with a shimmering gondola that no other ski area of its size could afford; and Plattekill.Plattekill is owned by Laszlo and Danielle Vajtay, former ski instructors who purchased the bump in 1993. They have added snowmaking to one of their 40 trails each year that they could afford to. Their lift fleet is a 1974 Hall triple and a 1977 Hall double, moved from Belleayre in 1999. It took the Vajtays three years to install the lift. The parking lots cling layer-cake-style to the mountainside. Plattekill is open Friday through Sunday, plus Christmas and Presidents' Weeks and MLK Day. Access is down poorly marked backroads, half an hour past Belleayre, which sits directly off state route 28.It's fair to ask how such a place endures. New York is filled with family-owned ski areas running vintage lifts. But only Plattekill must compete directly with so many monsters. How?There is no one answer. There's the scrap and hustle, the constant scouring of the countryside for the new-to-Platty machines to rebuild to glory. There's the deliberate, no-debt, steady-steady better-better philosophy that keeps the banks away. There's the 1,100 feet of pure fall-line skiing. The vast kingdom of glades. The special geography that seems to squeeze just a bit extra out of every storm. There's the lodge, rustic but clean, cozy, and spacious. And there's the liftlines, or miraculous lack of them, for such a ski area just three hours from the nation's largest city. And there are the midweek private-mountain rentals – Platty's secret weapon, a $8,500 guarantee on even the feistiest weather days.That algorithm, or some version of it, has equaled survival for Plattekill. When the Vajtays bought “Ski Plattekill” in 1993, the Catskills were crowded. But Bobcat, Scotch Valley, Cortina, Highmount, and Sawkill all vanished over the decades. Plattekill could have died too. Instead, it is beloved. Enough so that it can charge more for its season pass - $779 early-bird, $799 right now – than Vail charges for the Epic Local Pass ($676 early-bird, $689 today), which includes unlimited access to Hunter and most of the company's 40 other resorts. When a harder-to-reach, smaller mountain running 50-year-old lifts can charge more for a single-mountain season pass than its larger, more up-to-date, easier-to-access neighbor whose season pass also gets skiers in the front door at Whistler and Breckenridge, it's doing something mighty right.What we talked aboutPlattekill's “surprisingly good” 2022-23 ski season; building a snowmaking system gun-by-gun; 2023 offseason improvements; how the Vajtays have grown Plattekill without taking on traditional debt; what killed independent skiing in the Catskills; private mid-week mountain rentals; a growing wedding business; why Plattekill was an early adopter of lift-served mountain-biking, why the mountain abandoned the project, and whether they would ever bring it back; assessing Platty's newest trail; potential terrain expansion within the existing footprint; plans to moderate the steep section at the end of the Overlook trail; the potential lift and terrain expansion that could make Plattekill “a big, big player in the world of ski areas”; considering outside investment to turbocharge growth - “the possibilities for the mountain are that it could be a lot more”; “I don't have an interest in selling Plattekill”; Snow Operating; assessing Plattekill's Hall chairlifts; “anybody taking out a lift, please don't cut it up and throw it in the Dumpster before contacting” small ski areas; the lightning strike that changed Plattekill's summer; helping save Holiday Mountain; competing against the Epic and Ikon passes; competing against state-owned and taxpayer-funded ski areas; how New York State could help independent ski areas compete against its owned ski areas; Liftopia's collapse; the Ski Cooper season pass; and reconsidering the Indy Pass.Why I thought that now was a good time for this interviewThe Vajtays have appeared on The Storm Skiing Podcast before, in episode two, which I released on Oct. 25, 2019. They'd agreed to do the interview without knowing who I was, and before I'd published a single episode. I will always be grateful to them (and the other seven folks* who recorded an episode when The Storm was still gathering in my brain), for that. The conversation turned out great, I thought, and fused the podcast to the world of scrappy independents from its earliest days.But in the intervening years, I've gotten to know the Vajtays much better. Laz and I, especially, communicate a lot. Mostly via text, but occasionally email, or when I'm up there skiing. In May, he joined a panel I hosted at the National Ski Areas Association (NSAA) convention in Savannah, Georgia. Alongside the general managers of Mt. Rose, Mt. Baker, and Cascade, Wisconsin, Laz articulated why the Vajtays had so far elected to keep Plattekill off of any multi-mountain pass.The NSAA's convention rules forbade me from recording that panel, but the conversation so closely aligned with my daily pass-world coverage that I knew I had to bring some version of it to you. This is installment one. Cascade GM Matt Vohs is scheduled to join me on the pod in October, followed by Mt. Rose GM Greg Gavrilets in November (you can always view the upcoming podcast schedule here). I've yet to schedule Mt. Baker CEO Gwyn Howat, but I'm hopeful that we can lock in a future date.So that is part of it: why has Plattekill held firm against the pass craze as all of its better-capitalized competitors have joined one coalition or the other? But that is only part of the larger Platty story. Vail was supposed to ruin everything. Then Alterra was supposed to ruin it more. Family-owned ski areas would be crushed beneath these nukes launched from a Colorado silo. But this narrative has been disproven across the country. Because of a lot of things – the Covid-driven outdoor boom, the indie cool factor, the big boys overselling their passes – small ski areas are having a moment. No one, arguably, has a tougher hill to defend than Platty, and no one's proven themselves more.*Those six people were: New England Lost Ski Areas Project founder Jeremy Davis, Lift Blog founder Peter Landsman, Boyne Resorts CEO Stephen Kircher, Magic Mountain President Geoff Hatheway, Killington President Mike Solimano, and Burke GM Kevin Mack.What I got wrongI said that The New York Times profile on Plattekill's private-rentals business ran in 2018. It actually ran Jan. 4, 2019.Why you should ski PlattekillI can endorse all four large Catskills ski areas. Hunter holds a crazy, possessed energy. Impenetrable on weekends, you can roll 1,600-vertical-foot fastlaps off the sixer on spring weekdays. Belleayre throws past-era vibes with its funky-weird trail network while delivering rides on a top-to-bottom gondola that is the nicest lift in New York State. Windham's high-speed lift fleet hides a narrow and fantastically interesting trail network that, when wide open with new snow in the woods, feels enormous.So Plattekill is not, for me, a family-diner-versus-McDonald's kind of fight. I probably ski all four of those mountains about the same amount. But I will make an appeal here to those New York-based Epic and Ikon passholders who are scanning their mountain menus and deciding where to ski this winter: take one day and go to Plattekill. Make it a day that you know will be miserable at Hunter or Windham. A day when the lift queues can be seen from space. A holiday, a Saturday, a powder day. I know you already invested in your pass. But suck up one more lift ticket, and check out Plattekill.Here's what you will find: no liftlines, ever. The parking lots simply aren't large enough to accommodate enough skiers to form them. A double chair with this view:At the top, three choices: loop green-circle Overlook all the way around, thread your way down through the tight and narrow blues, or ride one of four double-blacks all the way back to the valley. I prefer the blues because they lead to the glades, unmarked but maintained, funky, interesting, tap-shoes required.The triple side is more traditional, more wide runs, especially Upper Face. Powder Puff is fabulous for kids. The snow doesn't stick to the triple side like it does to the double side, but when it's deep enough, wild lines through the trees lie everywhere.Plattekill is littered with curiosities. A rock quarry. An old T-bar terminal. An overgrown halfpipe in the trees. Abandoned MTB trails still signed and useable for skiing. More than any ski area in New York, Plattekill rewards exploration and creativity, enables and encourages it with a permissive Patrol and line-less lifts. Twenty or 25 runs are possible here, even on a big day. Just keep ripping.In some ways, Plattekill is a time machine, a snapshot of a Catskills otherwise lost. In others, it is exactly of this moment, stripped of the pretense and the crowds that can seem like skiing's inevitable trajectory. The bozos who can't stand a fixed-grip lift ride longer than three minutes don't come here. They would rather stand in a long line for a fast lift. But you don't have to. You can come to Plattekill.Podcast NotesOn Platty's singular atmosphereNo one has written more on Plattekill than Harvey Road, founder of the fantastic New York Ski Blog. I asked him to share links to his five favorite Platty write-ups:Return to Plattekill Mountain – Jan. 8, 2013“Those intangible forces pull me inexorably to Plattekill. Don't get me wrong, Plattekill has some solid tangibles too: lake effect powder and steeps and trees and beautiful views are important to people who love to ski.  But there's also something more. A simplicity of purpose that fills my soul with an exuberance I have a hard time capturing in my nine-to-five life.”Plattekill: The Life of Riley – March 5, 2018“Later in the morning the snow and the wind really picked up. It must have snowed two or three inches an hour well into the afternoon. By noon all traces of the bottom were gone and Plattekill was 100% open for business. Twist and Ridge were deserted and any tracks you left on that side of the mountain were gone by the time you returned.”I'm Done Skiing Alone – March 20, 2018“When I was a little kid living on a farm, I'd play by myself in a big tractor tire that served as a sandbox. I developed a reputation for playing alone. ‘Harvey doesn't need playmates, he's happy all by himself!' It wasn't true, down inside I didn't like it, but I didn't know myself well enough to push back.”Chasing Plake – Feb. 4, 2019“Around 10:00 am we headed into the lodge to give our legs a break, hydrate and warm up a little (it was maybe -1 F at this point). As we got to the door, we saw the man himself. ‘I was wondering when you'd show up.'“'Hi, my name is Glen!' he said, offering his hand. I introduced myself and my son and asked if he'd been skiing yet.“'No, we kind of take our time on Saturdays. I love to watch a mountain wake up and come alive.'  We chatted about Tahoe and the weather for a couple minutes. I asked if we could take some pics. Of course we could.”Plattekill: Five Days Later – March 11, 2019“We skied down to the double and Sam the Smiling Liftie let us step around the rope and head up early with Patrol. At the top, a new character was introduced. Maybe he'd seen my custom skis, as he said ‘Road? I'm Soule. Jeff Soule.'“I use the word character in it's broadest sense. Gregarious and engaging, with homemade poles he'd carved from tree branches, Jeff had switched to tele this season and was absolutely ripping, hucking everything in sight.”On the lost ski areas of the CatskillsWhen the Vajtays purchased Plattekill in 1993, the mountain was one of six family-owned ski areas in the Catskills. One by one, the other five failed. Here's an overview of each:Highmount, circa 1985Bobcat circa 1996Cortina, circa 1995Scotch Valley, circa 2004I don't think a trailmap exists of Sawkill, which was basically one or two runs and a ropetow on 70 vertical feet.On that ominous New York Times article from the ‘90sLaszlo referred to a New York Times article covering the Vajtays' disastrous second season as owners – that article ran on Jan. 21, 1995. An excerpt:A sign posted at the Ski Plattekill resort here warns against packing the cozy, wood-paneled cafeteria beyond its capacity of 242 people. That has hardly been a problem this winter.With a third of the ski season already over, this resort in the central Catskills has yet to open a single one of its 27 trails. The reason is plain: it has barely snowed this winter, and whatever snow has fallen has been washed away by driving rains and unseasonably warm temperatures. When Laszlo Vajtay, the owner of Ski Plattekill, looks out at his mountain, all he sees is brown grass."It is depressing," he said, as he trudged through the mud blanketing his steepest trail, Blockbuster, on this 52-degree afternoon. "Look at how warm it is. It's like summer. Winter's just not here yet."Mr. Vajtay's experience is the starkest example of what has been a disastrous season for skiers and ski areas across the Northeast. Of the 50 ski areas in New York State, all but nine closed down late this week, hoping to preserve their remaining snow cover for the weekend, according to Ski Areas of New York, a trade group. Things were not much better in New England, where nearly 60 percent of ski resorts reported being closed.On The New York Times article on private mountain rentalsPlattekill has offered private mountain rentals for 15 years. That part of the business really took off, however, after The New York Times profiled the ski area in 2019:Plattekill, in turn, has branded itself as an intimate, old-fashioned resort for expert skiers and families alike. Most important, however, it has been able to guarantee income on the slower weekdays, by becoming a private mountain of sorts. Four days a week, it puts itself up for rent. Any group can have exclusive access to it for just a few thousand dollars a day.In their early years as owners, the Vajtays were obsessed with two things that were not always compatible: making snow and avoiding debt. In the summer, they opened up the mountain for camping, music festivals and mountain biking. They took what they earned and invested it into snow-making equipment.Eventually, a new business idea came from Plattekill's regular skiers, who visited the mountain every time it snowed, even when it wasn't open. (The mountain was and is only open to the public Fridays through Sundays.) This became so common that the Vajtays decided to open the mountain, regardless of the day, following a major snowfall. Typically, about 500 paying customers would show up for the event, called Powderdaize.Powderdaize led to another idea: renting out the entire mountain to groups. Some Plattekill regulars so enjoyed the quiet setting of the last-minute weekday openings that they intimated to Ms. Vajtay how great it would be to have a “power day” to themselves, she recalled. The couple knew of a few members-only mountains in the United States but these were fancy, expensive resorts like the Yellowstone Club in Montana and the Hermitage Club in Vermont. Why not rent out their humble little mountain?In 2008, they started to do just that, charging $2,500 a day for exclusive use of Plattekill Monday through Thursday. (The price has since increased to $4,500.) Clients have ranged from corporations, like Citigroup, to religious organizations. Every year since 2010, Jehovah's Witnesses congregations from New Jersey and New York have met there once a year.On being “The Alta of The Catskills”Laz referred to an old Powder article that glossed Plattekill “the Alta of the Catskills.” The author, Porter Fox, also visited Hunter and Belleayre, but here's the Platty section:Two lifts rose 1,100 vertical feet from the base of Plattekill Ski Resort to the 3,500-foot summit. Between them were a few lift enclosures—designed to mimic gambrel barn roofs in the valley—an oversized base lodge, dirt parking lots, a dirt driveway, and about 200 skiers lapping trails as fast as they could.Plattekill is the Alta of the Catskills. The Little Ski Area That Could has fewer trails but gets more snow than most resorts in the range, averaging 150 inches annually. It is easy to forget that New York State borders two Great Lakes (Ontario and Erie), and that lake-effect storms often carry all the way to the Catskills. Sitting on the northwestern fringe of the range, Plattekill rings out most of the moisture before storms warm up and dry out.The mountain's 38 trails are only open Friday through Sunday. (You can rent the whole place for $3,500/day midweek.) If it snows 12 inches or more, the staff will get the chairs spinning midweek as well. Last year, “Platty” opened on a Monday after receiving four feet of snow in one dump. It wasn't a fluke, resort owner Laszlo Vajtay told me as he pulled up National Weather Service radar images of the storm. Precipitation spanned all the way from Manhattan to Albany in the image. The red dot in the center of the maelstrom was positioned precisely over his mountain.Vajtay, 56, started skiing at Plattekill when he was 7 and never left. He taught skiing, met his wife, Danielle (also an instructor), proposed and got married there. In 1993, he bought the place. The Vajtays didn't have deep pockets, so when their ancient DMC 3700 groomer broke down, they hired a nearby mechanic, named “Macker,” who learned how to fix it. He fixed all of the groomers on the hill, then refurbished an older model that Vajtay bought for a song. In 2014, Plattekill became the only authorized Bombardier service center in New York and Pennsylvania.Meanwhile, one of their snowcat clients asked them to work on their snow guns as well. There was no snowmaking at Plattekill when Vajtay bought it; the Platty crew cobbled one together from used guns and pumps they salvaged from old fire trucks. They took the job on and now part of Plattekill's business is also repairing snow-making equipment and lifts throughout the Northeast. “We run this place like they run farms in the valley—no debt,” Vajtay said. “The one time we had to borrow, we asked our skiers to chip in for a new lift. We paid them back on time, with interest.”Vajtay's standard look is one of excitement, or shock. His clear blue eyes are penetrating, and his gray hair is usually messed up by a ski hat or helmet. The “shock” part is real. He is genuinely amazed at how well he and his crew have done with a small ski area in an era when many others have gone belly up. Sixty-five resorts in New York have closed in the last 40 years, according to the New England Lost Ski Areas Project.In the new world of mega resorts, Plattekill is a time capsule of the way things used to be—steep runs, wild-eyed locals, friendly staff, boot cubbies, $2 frozen pizza slices, and an oversized base lodge bar, where auburn alpenglow settles on the last skiers of the day cruising down. The hand-hewn rafters, deer antler chandeliers, stained pine paneling, antique snowshoes and skis hanging on the wall reel the clock back to the 1980s, '70s, '60s —when televisions received three channels, every car had 300 horsepower under the hood, politicians were accountable for their actions, and all anyone in the Northeast wanted to do in the winter was sleep and ski.Laszlo Vajtay is not just the owner of Plattekill, he grew up skiing there. He and his wife, Danielle, run the ski area like a farm--debt free. They also run it as a family. Above,It's easy to fall into that world at Platty. The day we arrived was the Friday before the annual “Beach Party.” The ticket-seller-bartender-receptionist-office-manager-landscaper gal took a break from blowing up balloons and unfolding last year's tiki decorations to give us tickets before Vajtay took us on a tour of the grounds. Here was the PR-mountain-ops-ticket-sales-manager's office; there were the ski lockers; there was the cafe and the cabinet-sized ski shop run by George Quinn—who wrote two books about ski history in the Catskills and knows the range better than anyone since Rip Van Winkle. Lastly, Vajtay showed us the main eating hall, where a circular fireplace flickered in the middle of the room, itself an actual invention of the 1960s that now absolutely vibes the place with a '60s aura.Out the double picture windows at the northern end of the Blockbuster Lounge was a quiver of double-diamond runs Platty is known for: Blockbuster, Freefall, Plunge, Northface, all of which are pitched straight down. At the top, a long, wooded ridge hems in the resort.Vajtay had rounded up a scrappy crew of locals who were anxious to go, including Scott Ketchum, a longtime local who moved to Phoenicia the same week that Jimmy Hendrix played at Woodstock a few miles away and grew up skiing Simpson's rope tow. After a quick introduction, Ketchum offered to show Reddick some leftover powder in the trees while Vajtay and I talked.Turned out that, at Platty, “leftover powder in the trees” was code for: traverse 45 minutes east across the ridge; find a foot of fresh a week after the last storm; plenty steep and plenty of vertical; bad route-finding at the top; a thicket of trees so dense it became impossible to simply get down; multiple over-the-handlebar moments; broken pole; run-in with an ornery neighbor who had fired a shotgun over someone's head the week before; a few laughs; and, finally, a smelly pig-pile ride in a pickup truck back to the resort.On Snow OperatingLaszlo referenced a podcast episode that I recorded with Snow Operating CEO Joe Hession. Listen here.Laz also talks about Hugh Reynolds, who joined me on a different podcast episode. Listen here. On the Olympic Regional Development AuthorityWe talked extensively about the Olympic Regional Development Authority (ORDA), which manages three ski areas owned by New York State: Belleayre (which is right down the road from Plattekill), Gore, and Whiteface. Recent NPR reports detailed the stunning level of taxpayer funding channeled into ORDA's coffers over the past six years:Standing in the boardroom of New York's state-run Olympic Regional Development Authority in Lake Placid, CEO Mike Pratt spread out photographs of Olympic sports venues in Beijing, Berlin and Sarajevo that lie abandoned and in ruins.His message was plain: This almost happened here.Pratt convinced New York state to bet on a different future, investing huge amounts of taxpayer cash rebuilding and modernizing the sports authority's venues, most dating back to the 1980 Winter Olympics."The last six years, the total capital investment in the Olympic authority was $552 million," Pratt said. "These are unprecedented investments in our facilities, no question about it. But the return on investment is immediate."NPR found New York state has actually pumped far more dollars into the organization since Pratt took the helm, with government documents showing the total outlay closer to $620 million.You can read more here. It's an incredible story.On Ski Cooper's controversial season passI asked Laz and Danielle about Plattekill's longtime reciprocal partnership with Ski Cooper and where they stand on the controversy around it. I've covered that extensively here, here, and here.On Mount Bohemia's $99 season passI've covered this extensively in the past, but my podcast with Boho owner Lonie Glieberman goes into the whole backstory and strategy behind the mega-bargain pass at this ungroomed glade kingdom in Michigan's remote Upper Peninsula. This year's season pass sale is set for Nov. 22 to Dec. 2. The $99 pass no longer includes Saturdays – skiers have to level up to the $109 version for that. Bohemia also sells a $172 two-year pass and a $1,299 lifetime pass.The Storm explores the world of lift-served skiing year-round. Join us.The Storm publishes year-round, and guarantees 100 articles per year. This is article 67/100 in 2023, and number 453 since launching on Oct. 13, 2019. Want to send feedback? Reply to this email and I will answer (unless you sound insane, or, more likely, I just get busy). You can also email skiing@substack.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.stormskiing.com/subscribe

Summer Sequel Month 2023 kicks off with a trip back to the beach with The Grindbin Beach Party Crew! The second in the Beach Party movies finds the gang renting a love shack on the sand next to a stable of human-trafficked bodybuilders managed by Don Rickles. Incredibly bad surfing montages, Dick Dale, a very pissed off Anette, and NO ERIC VON ZIPPER make for an entertaining, if slightly infuriating, trip back to the beach. 

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

TVC 612.4: Greg Ehrbar discusses the recent DVD release of The Pebbles and Bamm-Bamm Show (CBS, 1971-1972), a spin-off of The Flintstones (featuring a pre-All in the Family Sally Struthers) that is best described as “The Archies Meets The Flintstones Meets I Love Lucy (and, to some degree, Bewitched and the “Beach Party” movies).” Other DVD/streaming titles discussed this segment include I, Yabba Dabba Doo, Yabba Dabba Dinosaurs, and Cave Kids Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

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.