Podcast appearances and mentions of Bobby Sherman

TVC 686.3: Peter Ford, son of screen legends Glenn Ford and Eleanor Powell and the author of Glenn Ford: A Life, talks to Ed about working with his dad and Edgar Buchanan on Cade's County (CBS, 1971-1972), including the back story for why the series did not last more than one season; how Peter became a reserve deputy for the Los Angeles County Sheriff's Department a few years after Cade's County ended; and how both he and Bobby Sherman once appeared together as bachelors (Peter, reluctantly so) on a segment of The Dating Game. Glenn Ford: A Life is available wherever books are sold through University of Wisconsin Press.

Send us a textThis week, let's toast to Easter and some classic tunes! This episode is a delightful trip down memory lane, filled with music and happy vibes. Happy Easter and happy spring!-IF YOU LIKE THIS WEEKS EPISODE HELP US GROW THIS PODCAST BY RATING, SUBSCRIBE, AND FOLLOW US ON INSTAGRAM @MARYBS5THSON. FINALLY, PLEASE SHARE THIS PODCAST WITH THOSE YOU LOVE TO HELP US CONTINUE TO CREATE CONTENT FOR YOU TO ENJOY EVERY SUNDAY MORNING OR ANYTIME! 

While one was within the second third of one's life, one had all these goals in view, of happy marriage, happy fathering, and (most of all, sadly) successful careering. That was the way it was -- and probably the way it is, at least for some who may be reading this. And in that (now) embarrassing order, too. But at this point it's beginning to look a little bankrupt -- at least the order of valuation. Maybe "superficial" is a better word. So "What Now, My Love?" (H. Alpert/M. Ryder/Sonny & Cher... ad infinitum). Is the last third of life, i.e., for those of us among the "new demographic", disillusionment and moping; or compulsed repetition; or possibly/impossibly "Behold, I do a New Thing" (Isaiah 43:19)? Today, and again next week, my friend Hewes Hull and I will be discussing this (to us, core) theme: What Now, My Love? Is it Marcus-Aurelian grinning-and-bearing it? Or maybe assisted suicide, even? Or again, "Something Better Beginning" (The Kinks, 1965)? Hewes has had a fine career practising law and then in private equity finance. He has an extraordinary wife, Trent, of 31 years. Hewes himself is 57 years of age. (A young man, as I now pronounce him.) His chief hobbies are theology, jujitsu and hunting/fishing. Hope you'll enjoy our conversation. Oh, and I hope you'll LUV the closing track, by... wait for it... Bobby Sherman! LUV U.

CRAGG Live from April 5th, 2025Bobby Sherman Profile / SpecialWe air on cultradioagogo.com which is a 24/7 free internet radio network of old-time radio, music, movie trailers, old nostalgic commercials, snack bar audio, AND much more!  Join us for a 3-hour radio profile on 1960's teen idol and public servant Bobby Sherman! With the recent sad news of Bobby's stage 4 cancer diagnosis, we take three hours to celebrate his career and music, in hopes that our audience's collective conscious will send vibes of love and comfort to Bobby during his illness. Join us in love and celebration as we profile Bobby's music, acting career, TV appearances, film work, and even share special never before broadcast audio of Bobby singing/harmonizing with a fellow LAPD hero in Bobby's home studio, plus candid thoughts on and stories about knowing Bobby. Listen to the show HERE.What is CRAGG Live Anyways?!  The flagship radio show of Cult Radio A-Go-Go!'s, CRAGG Live is a lively 2-3 hour talk radio show hosted by Terry and Tiffany DuFoe LIVE from an old abandoned Drive-In Movie theater with Wicked Kitty, Fritz, Imhotep and Hermey the studio cats and CRAGG The Gargoyle. We play retro pop culture, Drive-In movie, classic TV and old radio audio along with LIVE on the air celebrity interviews from the world of movies, TV, music, print, internet and a few odd balls thrown in for good measure. We air Saturdays at 5:00 pacific.We air on www.cultradioagogo.com which is a 24/7 free internet radio network of old time radio, music, movie trailers, old nostalgic commercials, snack bar audio, AND much more!  This show is copyright 2025 DuFoe Entertainment and the live interviews contained in this show may not be reproduced, transcribed or posted to a blog, social network or website without written permission from DuFoe Entertainment.

Dean Richards, entertainment reporter for WGN, joins Bob Sirott to provide the latest news in entertainment. Bob and Dean share details about Bobby Sherman’s health announcement, the denied parole of the woman who killed a famous musician, and the Betty White stamp. They also talk about things to do this weekend, as well as Dean’s […]

The show is all over the place this morning, and we like it that way! Conversations start with classic TV shows, such as the 60s and 70s heartthrobs on TV, and Maino sings the theme of "Here Come The Brides." Then Kristen Ambos from Point Mortgage swings in to talk about buying a house this time of year in Wisconsin. John Miller from NBC26 called in and gave his thoughts on yesterday's Packer win. Maino and the Mayor is a part of the Civic Media radio network and airs Monday through Friday from 6-9 am on WGBW in Green Bay and on WISS in Appleton/Oshkosh. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast lineup. Follow the show on Facebook and X to keep up with Maino and the Mayor! Guests: Kristen Ambos, John Miller

Former teen idol Bobby Sherman is 80 years old and still wowing them. He was born in Santa Monica, California and became interested in singing whilst at high school. Following his graduation, he was given the opportunity to sing for Sal Mineo's band at a party and eventually got a gig as house singer for the ABC show ‘Shindig!', which ran from 1964 to 1966. His luck changed drastically in 1968 when he was cast in the role of a stammering, bashful logger in the TV drama series ‘Here Come the Brides'. The series became a hit and established him as an actor. The following year Bobby released the song "Little Woman". The single charted #3 on the Billboard Hot 100 and eventually earned gold status. Bobby instantly became adored the world over and from the late 60s to the mid-70s, he toured extensively. A frequent guest on TV variety shows and featured in an episode of ‘The Partridge Family', he later had guest roles in several drama series including ‘Mod Squad,' ‘Murder She Wrote,' ‘Ellery Queen,' ‘Frasier,' ‘The Ed Sullivan Show,' 'Good Day LA,' ‘The Rosie O'Donnell Show,' ‘Entertainment Tonight,' and ‘Good Morning America,' to name a few. In 1981, Sherman starred in the musical comedy movie ‘Get Crazy'. Five years later, he joined the cast of the sitcom ‘Sanchez of Bel Air.' His versatility as an actor allowed him to seamlessly transition between comedic and dramatic roles, showcasing a depth beyond his teen idol persona. These television appearances further solidified his status as a well-rounded entertainer. After a 25-year absence, Bobby performed in "The Teen Idol Tour" in 1998 along with artists Davy Jones (The Monkees) and Peter Noone (Herman's Hermits). While his presence in the spotlight may have waned in recent years, his enduring appeal remains. Bobby Sherman scored so many hits during the late 60s and early 70s, including "Easy Come, Easy Go”, "Julie, Do Ya Love Me" and "La, La, La", all of which sold millions of copies and earned him gold discs. From 71 to 79, Bobby Sherman was married to his first wife. The couple had two sons, both of whom work in the entertainment industry today. In the 90s, Bobby joined the Los Angeles Police Department as a technical Reserve Police Officer. He was later promoted to Captain in the Department and began serving in San Bernardino County Sheriff's Department in 1999, eventually retiring in 2010. It was during this time that Bobby met his new wife, Brigitte Poublon. Together, the couple founded the not-for-profit Brigitte & Bobby Sherman Children's Foundation. No surprise that Bobby Sherman - all round good guy and much loved entertainer has had several awards bestowed on him for his humanitarian efforts. Bobby Sherman joins us this week to share tales of his incredible journey. If you'd like to learn more about him and his charitable foundation, head for https://www.bbscfoundation.org/ #bobby sherman #singer #actor #teen idol #pop #rock #nostalgia #entertainment #humanitarian  

Kid Bubblegum starts to write his own original bubblegum song! Whose voice sings the songs on Scooby-Doo? As part of our dramatic reading, Bobby Sherman gives a rousing speech to a football team! Strange gum from Batman's Adam West! Plenty of gummy good stuff from The Rubettes, The Lemon Pipers, The American Breed, The Cowsills, The New Beats, Austin Roberts, Wind (with Tony Orlando), Tommy Roe, The Original Caste, The Partridge Family, Joan Holloway, Peter Lawford, The Rare Breed, Rachel Sweet and Rex Smith!

A fast moving hour of bubblegum sweetness! A dramatic reading of Danny Partridge and his escape from kidnappers! We've heard of Herb Alpert, but who's Dore Alpert? What bubblegum band was the first member of the Louisiana Music Hall of Fame? Ellen Greenwich as a solo artist! A couple of commercials sung by The Cyrkle! And a whole bunch more bubblegum pop by The Ohio Express, The Partridge Family, The McCoys, Trini Lopez, Bobby Sherman, Rodney Allen Rippy, The Jackpots, The Jalopy Five, The 1970 English World Cup Team, Dana Countryman, Cyan, John Fred and his Playboy Band, The Garden Gnomes, and The Cattanooga Cats!

A fast moving hour of tasty bubblegum sweetness! Ellen Greenwich sings her own songs! Will Danny Partridge survive a kidnapping? We've heard of Herb Alpert, but who's this Dore Alpert? A double bubble of commercials from The Cyrkle! Adorable Rodney Allen Rippy! A whole bunch of bubblegum pop from Bobby Sherman, Trini Lopez, The Partridge Family, The McCoys, The Ohio Express, Dana Countryman, The Cattanooga Cats, John Fred and His Playboy Band, Cyan, The Garden Gnomes, The Jackpots, The Jalopy Five, and The 1970 English World Cup Team!

 I welcome the super talented, celebrity makeup artist Hillary Clark. Hillary has this knack of turning everyday make up into a inspiring and magical experience!   You wouldn't want to miss her story about a certain Q-tip event! We share a laugh about the art of makeup, discussing how it serves as an armor for some, a mask for others and a tool of expression for all.We also steer our discussion towards the enchanting realm of makeup and skincare. Hillary shares her experiences from working with young clients, and we talk about the need for guidance as you age and makeup styles evolve. Bringing in a personal touch, I recount a heartwarming incident of a young visitor at my Beverly Hills studio and the significance of starting early with skincare and makeup. Trust me, you wouldn't believe the transformation that the right beauty enhancements can bring about!We wrap up our session with a fun Q&A, discussing everything from our favorite cities to Hillary's recent music downloads. Hint: Her husband's new single, 'The Greatest Man Alive', ! . Along with  celebrity crush confessions  as a kid (Hello, Bobby Sherman!). As we take a nostalgic trip into our starstruck moments, Hillary shares her experience of working with Rita Moreno.  join us on this Fun  beauty-filled journey! We look forward to seeing you succeed! - www.KeepOnSharing.com - Code - KOSSupport the showwww.CoachMikkiandFriends.com

Tyler Thompson, Sr. Manager, Experiential Marketing & Game Entertainment for the Mariners joins the show. Tyler shares the news on if the Mariners are bringing back Louie Louie, blowback from playing John Denver's song, and he gets the chance to hear Bobby Sherman's Seattle song, plus more.

Tyler Thompson, Sr. Manager, Experiential Marking & Game Entertainment stops by to chat! Maybe we can implement some new music, Bobby Sherman's Seattle song… We also play audio messages from listeners, and we have a new tweet of the day!

Listeners Choice Month finishes off with The Gossip Columnist. I'm sorry... what? That's right, the 1980 TV pilot starring Canadian treasure Kim Cattrall and Robert Vaughan. The guys talk all about Cattrall's character getting name-dropped every 30 seconds, the egregious and pointless celebrity cameos, the Harvey Weinstein stand-in, The Littlest Hobo in Space and much more. Next week: Back to the regular routine with Paul Rudd's favourite movie! What We've Been Watching: Safe "WWF All-American Wrestling" (April 1990) Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com  Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd The Gossip Columnist stars Kim Cattrall, Robert Vaughan, Bobby Vinton, Dick Sargent, Joe Penny, Bobby Sherman and Martha Raye; directed by James Sheldon. Learn more about your ad choices. Visit megaphone.fm/adchoices

TVC 614.3: Greg and Ed talk about the recording career of Bobby Sherman and how Here Comes the Brides (ABC, 1968-1970) is actually based on a true story. Season 2 of Here Come the Brides is available on DVD through Shout! Factory. Gangway, Lord: The Here Come the Brides Book is available through Bear Manor Media.  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

TVC 614.2a: Greg Ehrbar talks to Ed about the recent DVD release of Here Come the Brides (ABC, 1968-1970), the first hour-long comedy-drama Western from Screen Gems that put both David Soul and Bobby Sherman on the map. Topics this segment include why Here Come the Brides is often overlooked by such other Screen Gems shows of the 1960s and '70s as Bewitched, I Dream of Jeannie, The Flying Nun, The Partridge Family, and The Monkees. Season 1 of Here Come the Brides is available on DVD through Sony Pictures Home Entertainment. 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

Former teen idol Bobby Sherman guests on this throwbackness episode of the Fake Show podcast...enjoy!!!

Hello Friends-Enjoy this replay of episode #51. It's one of my favorites!With Love,LaurelTonight we explore the wisdom and magic of divine co-creation. Lots of gentle angelic energy for you, plus insight about to relate more deeply to your own avenues of co-creation. Then Laurel shares with you about her own experiences of early school girl celebrity crushes (ahem, Bobby Sherman) and a chance meeting years later that delighted her heart!The story begins at 19:15You can learn more about Laurel and the angels at illuminatingsouls.comFind daily inspirational messages on the Illuminating Souls Facebook page

Episode 18 of the Chico's Vibe-cast is out and available on all major podcast platforms!  Legendary Philly musician Erik Johnson joins us this month for a crazy, eclectic discussion on people and topics like Bon Jovi's Living on a Prayer, Woodstock '94, Tiffany, Odessa, TX, Spiro Agnew, the Huffamoose experience, Bobby Sherman, and, of course, Matt Gallagher. During our new recurring segment, Dennis Chiccino's "Songs I Want to Talk About and I Don't Care Whether Gebby and Ed Want To Or Not", we do a deep dive into the Allman Brother's "In Memory of Elizabeth Reed." It's a really fun ride. Give it a listen, available on iTunes and Spotify. Also, if you get a chance, check out the Huffamoose documentary "Here Comes Huffamoose." https://www.youtube.com/watch?v=d-i5iysKSX8 Learn more about your ad choices. Visit megaphone.fm/adchoices

No-one expected the '70s song "Brandy (You're a Fine Girl)" to endure. Least of all, ELLIOT LURIE who was the lead singer and main songwriter for the band Looking Glass, the group behind the hit song. The song has been on constant radio rotation since 1972 and has been featured in movies, TV shows and the Simpsons. Elliot is surprised by the song's staying power and admits it has certainly helped him build a career. He started playing guitar in high school bands and then in college he formed Looking Glass with two other guys. The band has had various drummers over the years but he and his bandmates decided to pursue music after college, renting a farmhouse in rural New Jersey to make demos. They drove their demos to New York City, eventually getting a manager and a record deal. After graduating college, Elliot told his parents that he and his bandmates were going to take one full year to see if they could make something out of their music. It was at that farmhouse that he wrote the song and he came up with the lyrics by playing around with a chord progression and singing the name of an old high school girlfriend, Randy. The singer then changed Randy's name to Brandy to make it more fitting for the story he wanted to tell. He explains that he had difficulty writing the chorus and had to run back and forth between the piano and his guitar to get it right. Elliot says the song's story came completely from his imagination and, contrary to urban legend, he had no prior background in the navy or sailing. He also confirms that his ex-girlfriend, Randy knew the song was written for her but had not been aware of this until it became a hit. Elliot revealed that the song had been recorded multiple times, first in a house, then again in a demo studio, and then with Steve Cropper in Memphis. When Clive Davis heard the song, he wanted studio musicians to help finish it, but Looking Glass insisted on playing their own instruments. "It doesn't surprise me as much that it was a number one hit record at the time as it does how well it has endured. I mean, it's endured better than a lot of records that were bigger hits at the time." -Elliot Lurie Elliot Lurie has enjoyed a successful music career spanning well over 50 years. He's not only been a singer/songwriter but has spent many years as a music director on several film scores. During the course of this interview he tells us all about his career path but keeps coming back to the fact that without Brandy, his musical career may never have gotten off the ground. As he puts it " it was luck and fate that led to the song becoming a hit." He does add, however, that many people may not know that Looking Glass definitely wasn't a 'one hit wonder' - they did score another Top 40 hit. Do you know which one that was? Find out this and much more this week. If you'd like to learn more about Elliot Lurie head for his website https://elliotlurie.com/ In this episode, you will learn the following: 1. How did Elliot Lurie's song "Brandy" become a number one hit? 2. What was the experience like of playing in a bar band in the 70s? 3. What was the story behind the recording of "Jimmy Loves Marianne"? Other episodes you'll enjoy: Bobby Sherman https://podcasts.apple.com/au/podcast/a-breath-of-fresh-air/id1618650164?i=1000603516865 John Ford Coley - https://podcasts.apple.com/au/podcast/a-breath-of-fresh-air/id1618650164?i=1000600070694 Gary Puckett (and the Union Gap) - https://podcasts.apple.com/au/podcast/a-breath-of-fresh-air/id1618650164?i=1000598959499 Connect with me: Instagram: @sandykayepresents Facebook: @sandykayepresents Website: https://www.abreathoffreshair.com.au Loved this episode? Leave us a review and rating PLEASE!

Singer BOBBY SHERMAN was a high school football star when Hollywood A-Listers Jane Fonda and Natalie Wood discovered him at a party in the mid-'60s. They asked him to sing at the party, and after he did, Jane Fonda arranged a meeting for him with a talent agent. That meeting proved to be the start of an incredible career that lasted decades and turned him into one of the world's most famous teen idols. His face featured on the bedroom walls of teenage girls all over the world. Bobby started out his working life on the American teenage music show ‘Shindig'. After that he attracted a huge following as an actor in the hit TV series ‘Here Come The Brides' and he guested regularly on shows like ‘The Partridge Family'. He became the archetypal matinee idol. As his newfound fame grew though, it quickly became his nightmare. Bobby had no time to have a life of his own. He worked seven days a week in different cities and states, often falling into bed late at night, on his own and exhausted. 25,000 letters a week from fans didn't relieve the loneliness. He scored seven Top 40 hits between 1969 and 1971, including " Easy Come, Easy Go" and "Julie, Do Ya Love Me." At the same time, his face was all over, from lunch boxes, fan magazines, posters, and assorted merchandise. Success, however, was not all it was cracked up to be. In today's episode, I chat with Bobby Sherman and his wife of 25 years, Brigitte Poublon. We hear about Bobby's early life, how he felt about becoming a star and what the adoration of fans meant to him. Bobby tells us how he came to join the LAPD and about what instigated his career change as well as his ongoing desire to help mankind. The pair discuss how they met and formed The Brigitte and Bobby Sherman Children's Foundation https://www.bbscfoundation.org/ that today still makes a huge difference to the lives of many. They would love to receive a donation from you so please get in touch via the website to help a young child in need. Bobby Sherman is a funny, humble and strangely shy man. He's about to turn 80 but as you'll hear, he's still so youthful and energetic. Bobby Sherman really is that all-American boy next door and as nice a person as you could imagine. Hope you enjoy our chat.

Discussed back in Episode 16 of It Was a Thing on TV, Greg and Chico give The Star Wars Holiday Special it's due by revisiting it in a special live show. We cover everything from Itchy's holographic boner to Art Carney to Jefferson Starship to the Boba Fett cartoon. We even cover that Flying High commercial where Pam had that great layover with Bobby Sherman! May the Force be with you and Happy Life Day!

In this ENCORE of Episode 42, “Tiger Beat's Top 10 Teen Idol Countdown,” we're sharing an all new opening conversation about these idols, adding in a few others and telling you about one of them we're going to MEET IRL soon! Then we'll replay this fun conversation where we RANKED Tiger Beat's Top 10 Teen Idols! Who made it past our “PCPS Crushology Scale” (trademark pending) to take a place on the list? Bobby Sherman? Donny Osmond? Leif Garret? Shaun Cassidy? Listen NOW to find out if YOUR favorite Tiger made it to the top!Nite of Dreams: 70s Teen Idol Dinner PartyPurchase “I Think I Love You” on Amazon or Bookshop.orgFollow the PCPS on Instagram, Facebook, Twitter and TikTokBecome a supporter of the PCPS on Patreon. Check our all the fun perks you get here.Subscribe to The Weekly Reader, the PCPS' fun weekly email newsletter.

Discussed back in Episode 16, Greg and Chico give The Star Wars Holiday Special it's due by revisiting it in a special live show. We cover everything from Itchy's holographic boner to Art Carney to Jefferson Starship to the Boba Fett cartoon. We even cover that Flying High commercial where Pam had that great layover with Bobby Sherman! May the Force be with you and Happy Life Day!   Video to follow along (sync to 0:48 and pause before Greg gives the five second countdown) - https://www.youtube.com/watch?v=S8MrPe6i5YU

“Guest David J. Criblez, Long Island journalist, opens up to the boys about his early loves (not babes .. childhood stuff) leading them off on very odd tangents that can't help but lead to terrific tales.”   Shari Lewis, Big Bird, Bobby Sherman .. we're talking eclectic. Show structure, bad experiences, show etiquette .. in all, a total joy of non-sequiturs and big laughs ..   Lots of GREAT stories! Follow us and SUBSCRIBE on Youtube https://www.youtube.com/c/standupmemories Standup Memories with Jackie “The Joke Man” Martling & Peter Bales is a look at the world of standup comedy through the eyes and collective memories of two men who have lived through the evolution of standup and comedy clubs from the late 1970s through the modern era. Jackie “The Joke Man” Martling is best known for his 16 years as head writer and on-air personality for the Howard Stern Show. He is a veteran of the Long Island, NY comedy scene and has been a successful standup comedian and joke writer for more than 4 decades. The list of comedy legends he has worked with includes Rodney Dangerfield, Eddie Murphy, Jerry Seinfeld, Bob Nelson, Richie Miniveri, Rob Bartlett, Dave Hawthorne, Jim Myers, Paul Reiser, and Jackie Mason, and many more. Martling started a telephone joke line (516) 922 Wine, that has been in operation since the early '80s and has recorded 4 comedy albums, and been featured in the films Private Parts and The Aristocrats. Peter Bales has appeared as a stand-up comedian at countless comedy clubs, corporate functions, and colleges across the country and has appeared on a variety of television networks including FOX, A&E, Comedy Central, Lifetime, MTV, VH-1, and, most recently, "The New Rascals Comedy Hour" podcast for XM Satellite Radio. Peter has also hosted his own radio programs on NYC's WABC (770 AM) and WEVD (1050 AM). He has studied at Chicago's famous "Second City" and in the eighties directed The Laughter Company, an improvisational comedy group that helped launch the careers of Rosie O'Donnell and Bob Nelson. Tiedin is Not responsible for the occasional penis joke or any reference to oral sex.  

Actress Diana Maria Riva talks to the gang about the final season of ‘Dead to Me' and Christina Applegate's work ethic before joining Adam in breaking down the best 70's teen hunks such as Shaun Cassidy, Leif Garrett, Bobby Sherman, and Robby Benson. Gina Grad reports the news of today including: the death of Fleetwood Mac's Christine McVie, New York City planning to involuntarily hospitalize the mentally ill, and People Magazine announcing their 2022 People of the Year. PLUGS: Watch Diana Maria Riva on season 3 of ‘Dead to Me' streaming now on Netflix And follow her on Twitter & Instagram, @DianaMariaRiva THANKS FOR SUPPORTING TODAY'S SPONSORS: Geico.com

Another hour of sweet, sweet fun! Kid Bubblegum is taking some college classes in how to write bubblegum music! Has bubblegum come to the Ponderosa? What Barry Manilow hit was a cover of a David Cassidy song? A double bubble from Butch Cassidy and the Sundance Kids! Plenty of bubblegum pop from Josie and the Pussycats, Ohio Express, The Partridge Family, Brass Button, Common Ground, Hello, The 1910 Fruitgum Company, David Cassidy, Ricky Wilde, Bobby Sherman, Lorne Greene, The Monkees, The Vogues and Ed “Kookie” Byrnes!

In the summertime in the 70's, you probably went out in the country to escape the war that seemed to have been going on for a long long time. There, a green eyed lady named Lola, or was it Joanne, promised peace will come according to plan. It was good that you took that trip instead of sticking closer to home like you normally would, alone, like a solitary man. All right now, I'll be there for this episode to listen to the Billboard Top 40 from the week ending September 19th 1970. If some of the songs were subsequently covered, or sampled, I may thing to myself, look what they've done to my song ma. It's a shame. Link to a listing of the songs in this week's episode: https://top40weekly.com/1970-all-charts/#US_Top_40_Singles_Week_Ending_19th_September_1970 Also, a few interesting links to things we talked about in the episode: Social Security Baby Names Data: https://www.ssa.gov/oact/babynames/index.html Melanie's Website: https://www.melaniesafka.com/ Linda Ronstadt: The Sound of My Voice Trailer: https://www.youtube.com/watch?v=pbu0UXBCkvA THAT GIRL - All Openings & Closings - (1966-1971):https://www.youtube.com/watch?v=UjZYyqrDRS0 The Isley Brothers cover of Spill The Wine:https://www.youtube.com/watch?v=hX2qeuAwqI0 Earth, Wind & Fire - Make It With You: https://www.youtube.com/watch?v=DfpNfEHZiWU Mungo Jerry - In The Summertime 1970: https://www.youtube.com/watch?v=wvUQcnfwUUM Getting Together opening credits ABC sitcom starring Bobby Sherman: https://www.youtube.com/watch?v=lF7wO2pHo1o Humble Pie Don't Need No Doctor (composed by Ashford and Simpson) Live At Fillmore East/1971: https://www.youtube.com/watch?v=mSyrf-FYKVE

Set sail on Episode 16, Season 1 of the Love Boat, the worlds greatest romantic comedy drama television series of all time! In this episode we follow an all star cast that includes Scatman Cruthers, Graham Jarvis, Vicki Lawrence, Maureen McCormick, Bobby Sherman, Dick Van Patten, Vernee Watson and Priscilla Anne Barnes as they deal with political scandal, trashy tabloid tactics, beauty pageant passion, historical life lessons, and the magical power of the comb over. We also encourage everyone to find our Instagram page Lovin' The Love Boat to enjoy the super cool video messages from Isaac himself Mr. Ted Lange! And much more. Thanks for listening to the podcast and joining us on this voyage and by all means consider subscribing to the show as well as Paramount+ so you can watch the episode with us. We promise you'll be glad that you did. *If you enjoy the show and want it to continue please tip our crew any amount via Venmo: @istvansongs * Be sure to check out Istvan's other amazing podcast for kids and families, Istvan's Imaginary Podcast available everywhere podcasts are found. * Find and Follow our new Instagram profile here: @lovin_the_love_boat * And follow Istvan on Instagram: @iamistvan or on his website: www.istvansongs.com

Tonight we explore the wisdom and magic of divine co-creation. Lots of gentle angelic energy for you, plus insight about to relate more deeply to your own avenues of co-creation. Then Laurel shares with you about her own experiences of early school girl celebrity crushes (ahem, Bobby Sherman) and a chance meeting years later that delighted her heart!The story begins at 19:15You can learn more about Laurel and the angels at illuminatingsouls.comFind daily inspirational messages on the Illuminating Souls Facebook page

Kenny G might be popular, but is he any good? What makes a creative project good or bad?  What makes art/music good or bad for us? Are there things you used to think were good that you now think are bad? How about the reverse? When did your art start being "good"? What changed? This week, on the show!---Listening to Kenny G documentary: https://youtu.be/mmgg5XObNl8The Beatles cartoon: https://en.wikipedia.org/wiki/The_Beatles_(TV_series)Bobby Sherman: https://en.wikipedia.org/wiki/Bobby_ShermanThe Osmonds: https://en.wikipedia.org/wiki/The_OsmondsThe Partridge Family: https://en.wikipedia.org/wiki/The_Partridge_FamilyThe Wrecking Crew: https://en.wikipedia.org/wiki/The_Wrecking_Crew_(music)Carol Kaye: https://en.wikipedia.org/wiki/Carol_KayeCMJ: https://en.wikipedia.org/wiki/CMJDown In It by Nine Inch Nails: https://youtu.be/QrrEo3hZABUDig It by Skinny Puppy: https://youtu.be/CDKkRSUrTd8The demos for "Pretty Hate Machine" (also known as "Purest Feeling") can be found with internet searches: https://youtu.be/jxApZwq3_W8The Beatles "In My Life": https://youtu.be/YBcdt6DsLQALana Del Rey (covering Joni Mitchell): https://youtu.be/EqSvJU0xaqgLow excerpts from "Double Negative": https://youtu.be/jvEozu4ObfsScott Walker "Epizootics!": https://youtu.be/2Ih7KzKLLWANeil Diamond: https://en.wikipedia.org/wiki/Neil_DiamondThe Neilists: http://jinsai.blogspot.com/2015/07/la-history-neilists.htmlThe Police "So Lonely": https://youtu.be/MX6MvV8cbh8Quiet Riot: https://youtu.be/ZxgMGk9JPVABryan Adams "Run To You": https://youtu.be/MX6MvV8cbh8Bruce Springsteen "Atlantic City": https://youtu.be/M3eu1gW-bQ8Metallica "Battery": https://youtu.be/jYEDqj14zN8--Dee, Michael, and Anu:Anu Kirk:https://www.anukirk.comAnu on BandcampSid Luscious and The Pants on BandcampLuscious-235 on BandcampRêvenir on BandcampMichael Hateley:Lotus Mastering   http://lotusmastering.com/       Extra Fancy "You Look Like a Movie Star":https://youtu.be/0pE1TqlWHCkBaldyloks (Michael Hateley & John Napier):https://soundcloud.com/baldyloks-1Dee Madden:https://www.deemadden.com/Penal Colony “Blue 9” video:https://youtu.be/Fes9E3ea8FYDee Madden on Spotify:https://open.spotify.com/artist/4jsYxJ4QxzoGn9t0HRllPk 

This week we discuss short-careered running backs, a kicker from Wales, the end of Kezar, Wayne Walker's chasedown, a man  named Gayle, and the Statue of Liberty play. Quote of the week: "I must have missed this game, either doing my homework, or listening to Bobby Sherman records." 

Bobby Sherman? Donny Osmond? David Cassidy? Leif Garret? Shaun Cassidy? Who did the PCPS include in the Top 10 Teen Idols of the Tiger Beat era (1967-1981) … and how in the heck did they order them? Join the girls as they explain their official “PCPS Crushology Scale: A Numerical Device For Measuring And Determining The Best Teen Idols Of Our Childhood” (trademark pending) and why each of their 10 choices is worthy. (There are really 12, because some of the hosts had STRONG opinions.) Did your Tiger Beat teen dream make the list?Watch the Bobby Sherman/David Soul duet from “Here Comes the Brides” here“Meow! My Groovy Life with Tiger Beat's Teen Idols” by Ann MosesFor more PCPS fun, follow on Instagram, Facebook, Twitter & TikTok

Undercover operative Bobby Sherman takes us through a counterfeit pharmaceutical story that crosses continents. The largest Class 1 recall of drugs in UK history. The fake therapeutic drugs, for cancer, high blood pressure, psychiatric disorders and other serious conditions, made it into the legitimate supply chain of healthcare facilities and pharmacies. By luring the counterfeiter to the U.S. through an appetite for luxury goods, Bobby secured the arrest and conviction of the manufacturer of the counterfeit drugs and obtained the crucial evidence for the conviction of the distributor in the United Kingdom Crown Court. Both criminals were sophisticated businessmen, living excessive, lavish lifestyles of greed without regard to the lives they put in jeopardy.

He was a teen idol here in Milwaukee and around the world in the 60s and early 70s. In fact, the screaming of the young women in the audience caused him to lose some of his hearing. He was the star of “Shindig” and “Here Come the Brides” TV shows. Bobby received more fan mail than any other entertainer on ABC-TV. He had seven gold singles and five gold albums. His hit “Little Woman” became a million seller. He had many other hits including “Julie Do Ya Love Me,” and “Easy Come, Easy Go.” He was my guest on the “Bob Barry Calls the World” program several times. This time he added a lesson for young people on how to become successful…with a surprise ending!

Our second part of an interconnected trilogy of episodes. This edition of the It Was a Thing on TV Remastered series goes back to Episode 15 as we look at CBS' attempt to get in on that sweet Love Boat action with the comedy "Flying High" Featuring Connie Selleca, Pat Klous and someone who had a great layover with Bobby Sherman according to the commercials for the Star Wars Holiday Special.

The bluest skies you've ever seen?  The hills the greenest green?  It's Seattle, Washington, backdrop for TV shows such as Grey's Anatomy, Frasier, and if you go back far enough, Here Come The Brides, the breakout series for 70's pop icons David Soul and Bobby Sherman.  In addition to having the most tech jobs in North America (sorry, San Jose) the Emerald city is also home to Starbucks and incredible Modernist houses from the early days of Paul Hayden Kirk to today's guest, architect Jim Olson of Olson Kundig.  Later on, jazz with singer Erin Boheme, then a few minutes with Frank Harmon.

Beth and Amy cover "Little Woman" by Bobby Sherman.  Listen to the song first before Amy & Beth ruin it for you.Email us at amyandbetharesorry@gmail.comVisit us on Instagram at https://instagram.com/sorryiruinedthatsong?igshid=1cqqhy050qg8qVisit us on Twitter at https://twitter.com/sorry_songListen to our Spotify Playlist here:https://open.spotify.com/playlist/1N6BzJ2NejvzSmuhpkZhRb?si=ladyFquiSkqsrb4np4I3ow

The KISS Show!! With Gilbert Neal and Ken Ray Wilemon:   Wicked Lester - She (1972) Lips - Beck (1971?) The original version of “Beth”, obviously from a cassette. This band never released anything. Lips was born the night Criss's previous band Chelsea died.  While the material they would develop was similar to the material Chelsea had done, several later KISS songs were born in this period.  "I know you love complainin'..." Crazy Joe and the Variable Speed Band - Eugene (1981) Co-written and produced by Ace Frehley. "Crazy Joe" was actually Joe Renda, White Plains NY producer and recording studio owner linked to the local Ren-Vell Records and North Lake Sound studio. He is perhaps best remembered for...this..., but his roots extend back to early 60s garage rock. Gilbert Neal and Ken Ray Wilemon - Beth  Gene Simmons - Black Tongue (2004) Garbage. Utter trash.  Kiss - Bad Lovin' (1978) (“Dr. Love” demo) Peter Criss - Hooked On Rock and Roll (1978) Gilbert Neal and Ken Ray Wilemon - I Was Made For Loving You Kiss - Watchin' You (1972-73) Paul Stanley - Tracks Of My Tears (2021) Wicked Lester - Too Many Mondays (1972) Turn up the volume to hear at comparable volume. It speaks to how Kiss would have turned out if they hadn't decided on the gimmick we all know.  Gilbert Neal and Ken Ray Wilemon - Dr. Love   Potpourri featuring some bad Jan and Dean:   The Free Design - You Could Be Born Again (1968) Bernie Waldon - Bright Lights And Go-Go Girls (1968) Obituary: Bernard E. “Bernie” Waldon, age 77, passed away June 27, 2012, in Brooksville, Fla. He was born in Crawfordsville to Floyd and Agnes Waldon. He graduated from Crawfordsville High School and moved to Indianapolis in 1965. Bernie worked in radio for several years at WILO, WHOW and WIRE in Indianapolis, and WZIP in Cincinnati. He was a musician working with several Country and Bluegrass groups mainly the Indiana Band and Bluegrass Partners. He appeared on radio and television, was a guest on the Grand Ole Opry and Renfro Valley Barn Dance. Bernie retired from Emery Worldwide in 1977, prior to that he worked for Purolator Courier. Bernie was a private pilot and past president of the Indiana chapter of the Antique Airplane Association of which he was a national lifetime member. He also belonged to the Aircraft Owners and Pilots Associations, the Experimental Airplane Association and the Luscombe Association. He served eight years in the Indiana National Guard. Billy Dee Williams - A Taste Of Honey (1961) This was the first version of what would become a very popular war-horse for singers all over the world. Another trivia question! Who did it first? Lando California.  Jean DuShon - For Once In My Life (1966) This was the first version of what would become a very popular war-horse for singers all over the world. Another trivia question! Who did it first? Jean DuShon.    Jerry Jeff Walker - Mr. Bojangles (1968) This was the first version of what would become a very popular war-horse for singers all over the world. Another trivia question! Who did it first? Jerry Jeff Walker. He also wrote it.  Rod Rogers & The Swinging Strings - Beatle Crawl (1965) Tony Bruno - Rhoda Mendelbaum (1969) How I love Tony Bruno.  Gianfranco & Gian Piero Reverberi - Nel Cimitero Di Tucson (1968) From the movie "Django, Prepare a Coffin". Starring Terrence Hill.  The Jackson Five - Doctor My Eye (1973) Jan and Dean - Laurel and Hardy (1966-1969) In response to market forces, Jan and Dean decided to go all out and record a psychedelic album of their own. In the process, Jan got into a car crash that left him somewhat debilitated. The album was finished by 1969. While presented as a Jan and Dean album, Jan Berry (even though he wrote and produced the material) only played and sang on a few songs due to complications from his car accident. Dean Torrence, who by that time had become disillusioned with the duo's prospects, only appears on one song. Glen Campbell made some contributions to the sessions, and singer Tom Bahler performed lead vocals on several songs. Tom Bahler wrote "She's Out of My Life" for Frank Sinatra. He never sang it, but Michael Jackson did on Off The Wall. Bahler also wrote the Bobby Sherman hit "Julie, Do Ya Love Me". A song I wrote and sang in my mind for Julie Pawlowski of Emporium Avenue, West Seneca, NY, 14224. This song was co-written by Roger Christian, who co-wrote several songs for The Beach Boys, mostly about cars, including "Ballad of Ole' Betsy", "Car Crazy Cutie", "Cherry, Cherry Coupe", "Don't Worry Baby", "In the Parkin' Lot", "Little Deuce Coupe", "No-Go Showboat", "Shut Down", and "Spirit of America", all of them penned with Brian Wilson. And Roger Christian was from Buffalo, NY. We rule.  Jan and Dean - The Universal Coward (1965) You have to hear this to believe it.  Jan and Dean - Yesterday (1965) Kathy McCord - She's (I'm) Leaving Home (1970) Kathleen McCord was born to Bill and Ann McCord. Both of them were in the show business: Bill was a radio and television announcer at NBC, whilst Ann was a singer who sang backup on Perry Como's TV show and hit records like "Catch a Falling Star", "Round and Round" and "Magic Moments". She was introduced to Chip Taylor by her brother, Billy Vera (who had a big weepy hit with "If I Could Just Hold You Again") when she was 16 years old. She has something to do with Kiss. I forgot. 

Why are bubblegum songs so catchy? Listen to an hour of gum that sticks in your head! A dramatic reading from a Brady Bunch novel! Great bubblegum pop from The Archies, The Ohio Express, The 1910 Fruitgum Company, The Wombles, The Bay City Rollers, Bobby Sherman, Tony Ronald, The Fun & Games, Chris Montez, The Pipkins, Hansen, The Village People, and The Jackson 5!

Episode 123 of A History of Rock Music in Five Hundred Songs looks at “You've Lost That Lovin' Feelin'", the Righteous Brothers, Shindig! and "blue-eyed soul".  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Wooly Bully" by Sam the Sham and the Pharaohs. 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/ Erratum I say the music in the bridge drops down to “just the bass”. Obviously there is also a celeste on that section. Resources No Mixcloud this week due to the number of Righteous Brothers songs. A lot of resources were used for this episode. Time of My Life: A Righteous Brother's Memoir is Bill Medley's autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I used it for bits about how Mann and Weil wrote their songs. I've referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. This two-CD set contains all of the Righteous Brothers recordings excerpted here, all their hits, and a selection of Medley and Hatfield's solo work. It would be an absolutely definitive set, except for the Spector-era tracks being in stereo. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at a record that according to BMI is the most-played song of the twentieth century on American radio, and continued to be the most played song for the first two decades of the twenty-first as well, a record that was arguably the artistic highpoint of Phil Spector's career, and certainly the commercial highpoint for everyone involved. We're going to look at "You've Lost That Lovin' Feelin'" by the Righteous Brothers: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] In this episode we're going to take one of our first looks at an American act who owed their success to TV. We've seen these before, of course -- we've talked in passing about Ricky Nelson, and there was an episode on Chubby Checker -- but there have been relatively few. But as we pass into the mid-sixties, and television becomes an even more important part of the culture, we'll see more of this. In 1964, ABC TV had a problem. Two years before, they'd started a prime-time folk TV show called Hootenanny: [Excerpt: Jack Linkletter introducing Hootenanny] That programme was the source of some controversy -- it blacklisted Pete Seeger and a few other Communist folk musicians, and while Seeger himself argued against a boycott, other musicians were enraged, in part because the term Hootenanny had been popularised by Seeger, Woody Guthrie, and other Communist musicians. As a result, several of the top names in the folk scene, like Joan Baez and Ramblin' Jack Elliott, refused to appear on the show.  But plenty of performers did appear on the show, usually those at the poppier end of the spectrum, like the New Christie Minstrels: [Excerpt: The New Christie Minstrels, "This Train (live on Hootenanny)"] That lineup of the New Christie Minstrels featured, among others, Barry McGuire, Gene Clark, and Larry Ramos, all of whom we should be seeing in future episodes.  But that in itself says something about the programme's problems, because in 1964, the music industry changed drastically. Suddenly, folk music was out, and rock music was in. Half the younger musicians who appeared on Hootenanny -- like those three, but also John Sebastian, John Phillips, Cass Elliot, and others -- all decided they were going to give up singing mass harmony versions of "Go Tell it on the Mountain" accompanied by banjo, and instead they were going to get themselves some electric guitars. And the audience, likewise, decided that they'd rather see the Beatles and the Stones and the Dave Clark Five than the New Christie Minstrels, the Limeliters, and the Chad Mitchell Trio, if that was all the same to the TV companies. And so ABC needed a new prime-time music variety show, and they needed it in a hurry. But there was a problem -- when the music industry is shifting dramatically and all of a sudden it's revolving around a style of music that is based on a whole other continent, what do you do to make a TV show featuring that music? Well, you turn to Jack Good, of course.  For those of you who haven't listened to all the earlier episodes, Jack Good had basically invented rock and roll TV, and he'd invented it in the UK, at a time when rock and roll was basically a US-only genre. Good had produced a whole string of shows -- Six-Five Special, Oh Boy!, Boy Meets Girls, and Wham! -- which had created a set of television conventions for the presentation of rock and roll, and had managed to get an audience by using a whole host of British unknowns, with the very occasional guest appearance by a visiting American rocker. In 1962, he'd moved to the US, and had put together a pilot episode of a show called "Young America Swings the World", financed with his own money. That programme had been on the same lines as his UK shows, and had featured a bunch of then-unknowns, like Jackie DeShannon. It had also featured a band led by Leon Russell and containing Glen Campbell and David Gates, none of whom were famous at the time, and a young singer named P.J. Proby, who was introduced to Good by DeShannon and her songwriting partner Sharon Sheeley, whose demos he worked on. We talked a bit about Proby back in the episode on "LSD-25" if you want to go back and listen to the background on that. Sheeley, of course, had known Good when he worked with her boyfriend Eddie Cochran a few years earlier. "Young America Swings the World" didn't sell, and in 1964, Good returned to England to produce a TV special for the Beatles, "Around the Beatles", which also featured Millie singing "My Boy Lollipop", Cilla Black, Sounds Incorporated, the Vernons Girls, and Long John Baldry singing a Muddy Waters song with the Beatles shouting the backing vocals from the audience: [Excerpt: Long John Baldry, "Got My Mojo Working"] The show also featured Proby, who Good had brought over from the US and who here got his first TV exposure, singing a song Rufus Thomas had recorded for Stax: [Excerpt: P.J. Proby, "Walking the Dog"] Around the Beatles obviously sold to the US, and ABC, who bought it, were suddenly interested in Jack Good's old pilot, too. They asked him to produce two more pilots for a show which was eventually named Shindig! Incidentally, I've seen many people, including some on the production staff, say that the first episode of Shindig! was an episode of Ready Steady Go! with the titles changed. It wasn't. The confusion seems to arise because early in Shindig's run, Around the Beatles was also broadcast by ABC, and when Dave Clark later bought the rights to Around The Beatles and Ready Steady Go!, he released a chunk of Around the Beatles on VHS as a Ready Steady Go special, even though it was made by a totally different production team. Good got together with Sharon Sheeley and her husband, the DJ Jimmy O'Neill, and they started collaborating on the pilots for the show, which eventually credited the three of them as co-creators and producers. The second pilot went in a very different direction -- it was a country music programme, hosted by Roy Clark, who would later become a household name for co-hosting Hee-Haw, and featuring Johnny Cash, along with PJ Proby doing a couple of cover versions of old folk songs that Lonnie Donegan had made famous -- "Rock Island Line" and "Cumberland Gap".  But for the third pilot, Good, Sheeley, and O'Neill went back to the old Oh Boy! formula -- they got a couple of properly famous big guest stars, in this case Little Richard and the Angels, who had had a number one the previous year with "My Boyfriend's Back", and a rotating cast of about a dozen unknown or little-known musical acts, all local, who they could fill the show with. The show opened with a medley with all or most of the cast participating: [Excerpt: Shindig Pilot 3 Opening Medley] And then each artist would perform individually, surrounded by a dancing audience, with minimal or no introductions, in a quick-paced show that was a revelation to American audiences used to the polite pacing of American Bandstand. For the most part, they performed cover versions -- on that pilot, even the Angels, rather than doing their own recentish number one record, sang a cover version of "Chapel of Love" -- and in a sign of the British influence, the pilot also featured what may be the first ska performance by an American group -- although they seem to think that "the ska" is a dance, rather than ska being a style of music: [Excerpt: the Hollywood All-Stars, "Jamaica Ska", plus Jimmy O'Neill intro] That show featured Delaney Bramlett, who would later go on to become a fairly well-known and important performer, and the Blossoms, who we've talked about previously. Both of those would become regular parts of the Shindig cast, as would Leon Russell, Bobby Sherman, Jackie and Gayle, Donna Loren, and Glen Campbell. That pilot led to the first broadcast episode, where the two main star acts were Sam Cooke, who sang a non-waltz version of "The Tennessee Waltz" and "Blowin' in the Wind", both from his cabaret act, and the Everly Brothers -- who as well as doing their own songs performed with Cooke at the end of the show in a recording which I only wish wasn't so covered with audience screams, though who can blame the audience? [Excerpt: Sam Cooke and the Everly Brothers, "Lucille"] Shindig was the first prime-time pop music show in the US, and became massively popular -- so much so that it quickly spawned a rival show on NBC, Hullabaloo. In a sign of just how much transatlantic back-and-forth there was at this time, and possibly just to annoy future researchers, NBC's Hullabaloo took its name, though nothing else, from a British TV show of the same name. That British TV show was made by ABC, which is not the same company as American ABC, and was a folk and blues show clearly patterned after Hootenanny, the show Shindig had replaced on American ABC. (And as a quick aside, if you're at all interested in the early sixties British folk and blues movements, I can't recommend Network's double-DVD set of the British Hullabaloo highly enough). Shindig! remained on air for two years, but the show's quality declined markedly after Jack Good left the show a year or so in, and it was eventually replaced on ABC's schedules by Batman, which appealed to largely the same audience. But all that was in the future. Getting back to the first broadcast episode, the Everlys also appeared in the opening medley, where they sang an old Sister Rosetta Tharpe song with Jackie and Gayle and another unknown act who had appeared in the pilot -- The Righteous Brothers: [Excerpt: Jackie and Gayle, The Righteous Brothers, and the Everly Brothers, "Gonna Build a Mountain/Up Above My Head"] The Righteous Brothers would appear on nine out of sixteen episodes broadcast between September and December 1964, and a further seventeen episodes during 1965 -- by which time they'd become the big breakout stars of the show, and had recorded the song that would become the most-played song, *ever*, on American radio, beating out such comparatively unpopular contenders as "Never My Love", "Yesterday", "Stand By Me" and "Can't Take My Eyes Off of You", a record that was played so much that in thirty-six years it had clocked up forty-five years of continuous airtime.  The Righteous Brothers were a Californian vocal duo consisting of baritone Bill Medley and tenor Bobby Hatfield. Medley's career in the music business had started when he was nineteen, when he'd just decided to go to the office of the Diamonds, the white vocal group we mentioned in passing in the episode on "Why Do Fools Fall in Love?" who much like the Crew Cuts had had hits by covering records by Black artists: [Excerpt: The Diamonds, "Little Darlin'"] Young Bill Medley fancied himself as a songwriter, and he brought the Diamonds a few of his songs, and they ended up recording two of them -- "Chimes of My Heart", which remained unreleased until a later compilation, and "Woomai-Ling", which was the B-side to a flop single: [Excerpt: The Diamonds, "Woomai-Ling"] But Medley was inspired enough by his brief brush with success that he decided to go into music properly. He formed a band called the Paramours, which eventually gained a second singer, Bobby Hatfield, and he and Hatfield also started performing as a duo, mostly performing songs by Black R&B artists they grew up listening to on Hunter Hancock's radio show. While Medley doesn't say this directly in his autobiography, it seems likely that the duo's act was based specifically on one particular Black act -- Don and Dewey. We've mentioned Don and Dewey before, and I did a Patreon episode on them, but for those who don't remember their brief mentions, Don "Sugarcane" Harris and Dewey Terry were an R&B duo signed to Specialty Records, and were basically their second attempt at producing another Little Richard, after Larry Williams. They were even less successful than Williams was, and had no hits themselves, but they wrote and recorded many songs that would become hits for others, like "Farmer John", which became a garage-band staple, and "I'm Leaving it Up to You", which was a hit for Donny and Marie Osmond. While they never had any breakout success, they were hugely popular among R&B lovers on the West Coast, and two of their other singles were "Justine": [Excerpt: Don and Dewey, "Justine"] And "Ko Ko Joe", which was one of their few singles written by someone else -- in this case by Sonny Bono, who was at that time working for Specialty: [Excerpt: Don and Dewey, "Ko Ko Joe"] Hatfield and Medley would record both those songs in their early months working together, and would also perform them on Shindig! The duo were different in many ways -- Medley was tall and Hatfield comparatively short, Medley sang in a deep bass-baritone and Hatfield in a high tenor, and Hatfield was gregarious, outgoing, and funny while Medley was self-effacing and shy. The duo would often perform comedy routines on stage, patterned after Dean Martin and Jerry Lewis, and Hatfield was always the comedian while Medley was the straight man. But on the other hand, Hatfield was actually quite uncomfortable with any level of success -- he just wanted to coast through life and had no real ambition, while Medley was fiercely driven and wanted to become huge. But they both loved R&B music, and in many ways had similar attitudes to the British musicians who, unknown to them at the time, were trying to play R&B in the UK. They were white kids who loved Black music, and desperately wanted to do justice to it. Orange County, where Medley and Hatfield lived, was at the time one of the whitest places in America, and they didn't really have much competition on the local scene from authentic R&B bands. But there *was* a Marine base in the area, with a large number of Black Marines, who wanted to hear R&B music when they went out. Medley and Hatfield quickly became very popular with these audiences, who would address them as "brother", and called their music "righteous" -- and so, looking for a name for their duo act, they became The Righteous Brothers. Their first single, on a tiny local label, was a song written by Medley, "Little Latin Lupe Lou": [Excerpt: The Righteous Brothers, "Little Latin Lupe Lou"] That wasn't a success to start with, but picked up after the duo took a gig at the Rendezvous Ballroom, the surf-rock venue where Dick Dale had built his reputation. It turned out that "Little Latin Lupe Lou" was a perfect song to dance the Surfer's Stomp to, and the song caught on locally, making the top five in LA markets, and the top fifty nationally. It became a standard part of every garage band's repertoire, and was covered several times with moderate success, most notably by Mitch Ryder and the Detroit Wheels, whose cover version made the top twenty in 1966: [Excerpt: Mitch Ryder and the Detroit Wheels, "Little Latin Lupe Lou"] The Righteous Brothers became *the* act that musicians in Southern California wanted to see, even though they were very far from being huge -- Elvis, for example, would insist on his friends coming to see the duo when he was in LA filming, even though at the time they were playing at bowling alleys rather than the more glamorous venues his friends would rather visit. Georgie Woods, a Black DJ in Philadelphia who enjoyed their music but normally played Black records coined a term to describe them -- "blue-eyed soul" -- as a way of signalling to his listeners that they were white but he was going to play them anyway. The duo used that as the title of their second album, and it soon became a generic term for white people who were influenced by Black music -- much to Medley's annoyance. As he put it later "It kind of bothers me when other singers call themselves “blue-eyed soul” because we didn't give ourselves that name. Black people named us that, and you don't just walk around giving yourself that title." This will, of course, be something that comes up over and over again in this history -- the question of how much it's cultural appropriation for white people to perform in musical styles created by Black people, and to what extent it's possible for that to be given a pass when the white musicians in question are embraced by Black musicians and audiences. I have to say that *to me*, Medley's attempts to justify the duo's use of Black styles by pointing out how much Black people liked their music don't ring *entirely* true, but that at the same time, I do think there's a qualitative difference between the early Righteous Brothers singles and later blue-eyed soul performers like Michael Bolton or Simply Red, and a difference between a white act embraced by Black audiences and one that is mostly appealing to other white people. This is something we're going to have to explore a lot more over the course of the series, and my statements about what other people thought about this at the time should not be taken as me entirely agreeing with them -- and indeed it shouldn't be taken as me agreeing with *myself*. My own thoughts on this are very contradictory, and change constantly. While "Little Latin Lupe Lou" was a minor hit and established them as locally important, none of their next few singles did anything at all, and nor did a solo single that Bobby Hatfield released around this time: [Excerpt: Bobby Hatfield, "Hot Tamales"] But the duo picked up enough of a following as a live act that they were picked for Shindig! -- and as an opening act on the Beatles' first US tour, which finished the same week that Shindig! started broadcasting. It turned out that even though the duo's records hadn't had any success, the Beatles, who loved to seek out obscure R&B records, had heard them and liked them, and George Harrison was particularly interested in learning from Barry Rillera, the guitarist who played with them, some of  the guitar techniques he'd used. Shindig! took the duo to stardom, even though they'd not yet had a hit. They'd appear most weeks, usually backed by a house band that included Delaney Bramlett, James Burton, Russ Titelman, Larry Knechtel, Billy Preston, Leon Russell, Ray Pohlman, Glenn Hardin, and many other of the finest studio musicians in LA -- most, though not all, of them also part of the Wrecking Crew. They remained favourites of people who knew music, even though they were appearing on this teen-pop show -- Elvis would apparently regularly phone the TV company with requests for them to sing a favourite song of his on the next week's show, and the TV company would arrange it, in the hopes of eventually getting Elvis on the show, though he never made an appearance. Medley had a certain level of snobbery towards white pop music, even after being on that Beatles tour, but it started to soften a bit after the duo started to appear on Shindig! and especially after meeting the Beach Boys on Shindig's Christmas episode, which also featured Marvin Gaye and Adam Faith. Medley had been unimpressed with the Beach Boys' early singles, but Brian Wilson was a fan of the Righteous Brothers, and asked Medley to accompany him into the men's toilets at the ABC studios -- not for any of the reasons one might imagine, but because the acoustics in the room were so good that the studio had actually installed a piano in there. There, Wilson asked Medley to listen to his group singing their version of "The Lord's Prayer": [Excerpt: The Beach Boys, "The Lord's Prayer"] Medley was blown away by the group's tight harmonies, and instantly gained a new respect for Wilson as an arranger and musician. The two became lifelong friends, and as they would often work in adjoining rooms in the same studio complex, they would often call on each other to help solve a musical problem. And the reason they would work in the same studios is because Brian Wilson was a huge admirer of Phil Spector, and those were the studios Spector used, so Wilson had to use them as well. And Phil Spector had just leased the last two years of the Righteous Brothers' contract from Moonglow Records, the tiny label they'd been on to that point. Spector, at this point, was desperate to try something different -- the new wave of British acts that had come over were swamping the charts, and he wasn't having hits like he had been a few months earlier. The Righteous Brothers were his attempt to compromise somewhat with that -- they were associated with the Beatles, after all, and they were big TV stars. They were white men, like all the new pop stars, rather than being the Black women he'd otherwise always produced for his own label, but they had a Black enough sound that he wasn't completely moving away from the vocal sound he'd always used.  Medley, in particular, was uneasy about working with Spector -- he wanted to be an R&B singer, not a pop star. But on the other hand, Spector made hits, and who didn't want a hit? For the duo's first single on Philles, Spector flew Mann and Weil out from New York to LA to work with him on the song. Mann and Weil took their inspiration from a new hit record that Holland-Dozier-Holland had produced for a group that had recently signed to Motown, the Four Tops: [Excerpt: The Four Tops, "Baby I Need Your Loving"] Mann and Weil took that feeling, and came up with a verse and chorus, with a great opening line, "You never close your eyes any more when I kiss your lips". They weren't entirely happy with the chorus lyric though, considering it a placeholder that they needed to rewrite. But when they played it for Spector, he insisted that "You've Lost That Lovin' Feelin'" was a perfect title, and shouldn't be changed. Spector added a long bridge, based around a three-chord riff using the "La Bamba" chords, and the song was done. Spector spent an inordinate amount of time getting the backing track done -- Earl Palmer has said that he took two days to get one eight-bar section recorded, because he couldn't communicate exactly how he wanted the musicians to play it. This is possibly partly because Spector's usual arranger, Jack Nitzsche, had had a temporary falling out with him, and Spector was working with Gene Page, who did a very good job at copying Nitzsche's style but was possibly not as completely in tune with Spector's wishes. When Spector and Mann played the song to the Righteous Brothers, Bill Medley thought that the song, sung in Spector and Mann's wispy high voices, sounded more suitable for the Everly Brothers than for him and Hatfield, but Spector insisted it would work. Of course, it's now impossible to think of the song without hearing Medley's rich, deep, voice: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] When Mann first heard that, he thought Spector must have put the record on at the wrong speed, Medley's voice was so deep. Bobby Hatfield was also unimpressed -- the Righteous Brothers were a duo, yet Medley was singing the verses on his own. "What am I supposed to do while the big guy's singing?" he asked. Spector's response, "go to the bank!" But while Medley is the featured singer during Mann and Weil's part of the song, Hatfield gets his own chance to shine, in the bridge that Spector added, which for me makes the record -- it's one of the great examples of the use of dynamics in a pop record, as after the bombast of the chorus the music drops down to just a bass, then slowly builds in emotional intensity as Medley and Hatfield trade off phrases: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] The record was released in December 1964, and even though the Righteous Brothers didn't even perform it on Shindig! until it had already risen up the charts, it made number one on the pop charts and number two on the R&B charts, and became the fifth biggest hit of 1965 in the US.  In the UK, it looked like it wasn't going to be a hit at all. Cilla Black, a Liverpudlian singer who was managed by Brian Epstein and produced by George Martin, rushed out a cover version, which charted first: [Excerpt: Cilla Black, "You've Lost That Lovin' Feelin'"] On their second week on the charts, Black was at number twelve, and the Righteous Brothers at number twenty. At this point, Andrew Oldham, the Rolling Stones' manager and a huge fan of Spector's work, actually took out an ad in Melody Maker, even though he had no financial interest in the record (though it could be argued that he did have an interest in seeing his rival Brian Epstein taken down a peg), saying: "This advert is not for commercial gain, it is taken as something that must be said about the great new PHIL SPECTOR Record, THE RIGHTEOUS BROTHERS singing ‘YOU'VE LOST THAT LOVIN' FEELING'. Already in the American Top Ten, this is Spector's greatest production, the last word in Tomorrow's sound Today, exposing the overall mediocrity of the Music Industry. Signed Andrew Oldham P.S. See them on this week's READY, STEADY, GO!" The next week, Cilla Black was at number two, and the Righteous Brothers at number three. The week after, the Righteous Brothers were at number one, while Black's record had dropped down to number five. The original became the only single ever to reenter the UK top ten twice, going back into the charts in both 1969 and 1990. But Spector wasn't happy, at all, with the record's success, for the simple reason that it was being credited as a Righteous Brothers record rather than as a Phil Spector record. Where normally he worked with Black women, who were so disregarded as artists that he could put records by the Ronettes or the Blossoms out as Crystals records and nobody seemed to care, here he was working with two white men, and they were starting to get some of the credit that Spector thought was due only him.  Spector started to manipulate the two men. He started with Medley, who after all had been the lead singer on their big hit. He met up with Medley, and told him that he thought Bobby Hatfield was dead weight. Who needed a second Righteous Brother? Bill Medley should go solo, and Spector should produce him as a solo artist. Medley realised what was happening -- the Righteous Brothers were a brand, and Spector was trying to sabotage that brand. He turned Spector down. The next single was originally intended to be a song that Mann and Weil were working on, called "Soul and Inspiration", but Spector had second thoughts, and the song he chose was written by Goffin and King, and was essentially a rewrite of "You've Lost That Lovin' Feelin'". To my mind it's actually the better record, but it wasn't as successful, though it still made the US top ten: [Excerpt: The Righteous Brothers, "Just Once in My Life"] For their third Philles single, Spector released "Hung on You", another intense ballad, very much in the mould of their two previous singles, though not as strong a song as either. But it was the B-side that was the hit. While Spector produced the group's singles, he wasn't interested in producing albums, leaving Medley, a decent producer in his own right, to produce what Spector considered the filler tracks. And Medley and Hatfield had an agreement that on each album, each of them would get a solo spot.  So for Hatfield's solo spot on the first album the duo were recording for Philles, Medley produced Hatfield singing the old standard "Unchained Melody", while Medley played piano: [Excerpt: The Righteous Brothers, "Unchained Melody"] That went out on the B-side, with no production credit -- until DJs started playing that rather than "Hung on You". Spector was furious, and started calling DJs and telling them they were playing the wrong side, but they didn't stop playing it, and so the single was reissued, now with a Spector production credit for Medley's production. "Unchained Melody" made the top five, and now Spector continued his plans to foment dissent between the two singers. This time he argued that they should follow up "Unchained Melody" with "Ebb Tide" -- "Unchained Melody" had previously been a hit for both Roy Hamilton and Al Hibbler, and they'd both also had hits with "Ebb Tide", so why not try that? Oh, and the record was only going to have Bobby Hatfield on. It would still be released as a Righteous Brothers record, but Bill Medley wouldn't be involved. That was also a hit, but it would be the last one the duo would have with Philles Records, as they moved to Mercury and Medley started producing all their records. But the damage had been done -- Spector had successfully pit their egos against each other, and their working relationship would never be the same. But they started at Mercury with their second-biggest hit -- "Soul and Inspiration", the song that Mann and Weil had written as a follow-up to "You've Lost That Lovin' Feelin'": [Excerpt: The Righteous Brothers, "(You're My) Soul and Inspiration"] That went to number one, and apparently to this day Brian Wilson will still ask Bill Medley whenever they speak "Did you produce that? Really?", unable to believe it isn't a Phil Spector production. But the duo had been pushed apart. and were no longer happy working together. They were also experiencing personal problems -- I don't have details of Hatfield's life at this period, but Medley had a breakdown, and was also having an affair with Darlene Love which led to the breakup of his first marriage. The duo broke up in 1968, and Medley put out some unsuccessful solo recordings, including a song that Mann and Weil wrote for him about his interracial relationship with Love, who sang backing vocals on the record. It's a truly odd record which possibly says more about the gender and racial attitudes of everyone involved at that point than they might have wished, as Medley complains that his "brown-eyed woman" doesn't trust him because "you look at me and all you see are my blue eyes/I'm not a man, baby all I am is what I symbolise", while the chorus of Black women backing him sing "no no, no no" and "stay away": [Excerpt: Bill Medley, "Brown-Eyed Woman"] Hatfield, meanwhile, continued using the Righteous Brothers name, performing with Jimmy Walker, formerly the drummer of the Knickerbockers, who had been one-hit wonders with their Beatles soundalike "Lies": [Excerpt: The Knickerbockers, "Lies"] Walker and Hatfield recorded one album together, but it was unsuccessful, and they split up. Hatfield also tried a solo career -- his version of "Only You" is clearly patterned after the earlier Righteous Brothers hits with "Unchained Melody" and "Ebb Tide": [Excerpt: Bobby Hatfield, "Only You"] But by 1974, both careers floundering, the Righteous Brothers reformed -- and immediately had a hit with "Rock and Roll Heaven", a tribute to dead rock stars, which became their third highest-charting single, peaking at number three. They had a couple more charting singles, but then, tragically, Medley's first wife was murdered, and Medley had to take several years off performing to raise his son. They reunited in the 1980s, although Medley kept up a parallel career as a solo artist, having several minor country hits, and also having a pop number one with the theme song from Dirty Dancing, "I've Had the Time of My Life", sung as a duet with Jennifer Warnes: [Excerpt: Bill Medley and Jennifer Warnes, "I've Had the Time of My Life"] A couple of years later, another Patrick Swayze film, Ghost, would lead to another unique record for the Righteous Brothers. Ghost used "Unchained Melody" in a crucial scene, and the single was reissued, and made number nineteen in the US charts, and hit number one in many other countries. It also sparked a revival of their career that made "You've Lost That Lovin' Feelin'" rechart in the UK.  But "Unchained Melody" was only reissued on vinyl, and the small label Curb Records saw an opportunity, and got the duo to do a soundalike rerecording to come out as a CD single. That CD single *also* made the top twenty, making the Righteous Brothers the only artist ever to be at two places in the top twenty at the same time with two versions of the same song -- when Gene and Eunice's two versions of "Ko Ko Mo" had charted, they'd been counted as one record for chart purposes. The duo continued working together until 2003, when Bobby Hatfield died of a cocaine-induced heart attack. Medley performed as a solo artist for several years, but in 2016 he took on a partner, Bucky Heard, to perform with him as a new lineup of Righteous Brothers, mostly playing Vegas shows. We'll see a lot more blue-eyed soul artists as the story progresses, and we'll be able to look more closely at the issues around race and appropriation with them, but in 1965, unlike all the brown-eyed women like Darlene Love who'd come before them, the Righteous Brothers did become the first act to break free of Phil Spector and have hits without him -- though we will later see at least one Black woman Spector produced who became even bigger later. But still, they'll always be remembered primarily for the work they did with Spector, and somewhere, right now, at least one radio station is still playing "You've Lost That Lovin' Feelin'", and it'll probably continue to do so as long as radio exists. 

In this episode: The official scrubby of the TYL Broadcast! A factory of autograph-signing robots? Find out what Bobby Sherman, Julie Newmar, Rudy Vallee, Jed Clampett, Red Skelton, Yosemite Sam and Susan Tolsky have in common. And Will performs rare & classic impersonations! Big thanks to our Patrons! Join our Patreon Family and enjoy all new episodes of our other shows including "Welcome to Later," "Adventures in Popcorn," and more Fun Stuff! https://www.patreon.com/TellYaLater Send Us an Email! tellyalater2021@gmail.com Support us on Anchor! https://anchor.fm/tell-ya-later/support Follow us on Instagram: https://www.instagram.com/tellyalatershow/ Get the Updated edition of our book, "ADVENTURES IN ODDITY" with 58 all-new pages - new cartoons by Will too! Learn more about Iggledip and other oddities! Order your autographed paperback copy today . . . https://www.katieleigh.com/books-audio OR the audiobook: https://www.katieleigh.com/books-audio OR Watch us "read" the BONUS CHAPTERS via our VIDEOBOOK available on Vimeo: https://vimeo.com/ondemand/adventuresinoddity --- Support this podcast: https://anchor.fm/tell-ya-later/support

Kid Bubblegum wants more love songs! A dramatic reading about Mackenzie Phillips from One Day at a Time who then sings a beautiful song! Elton John covers a bubblegum classic! The Cowsills cover a bubblegum classic! Great bubblegum pop from The Jackson 5, Daddy Dewdrop, Spinach, Everyday Hudson, Danny Bonaduce, The Ohio Express, The Archies, Elephant's Memory, Dolenz, Jones, Boyce and Hart, Bobby Sherman, The Banana Splits and Dave Antrell!

Let's read about the new fall season (1968)! Kid Bubblegum has requested more slow dance songs! A double bubble from Bubbles! A David Soul duet with Bobby Sherman! What's the deal with all those rapid fire 1/8th notes! A ton of bubblegum fun from The Ohio Express, 1910 Fruitgum Company, The Osmonds, Cheryl Ladd, Tommy James and the Shondells, The Harlem Globetrotters, Chris Montez, The Music Explosion, Bubbles, Jorge, ABBA, David Soul, Johnny Rivers, Rex Smith, The Innocence, and Sight and Sound!

This hour of bubblegum pop features songs we've never played before! A dramatic reading from an Adam-12 novel! Why is poet Rod McKuen trying to be a rock star? A dance to learn and do from The Archies! Who is the mysterious Bo Cooper? Great bubblegum music from Marzipan, The Matchmakers, The McCoys, The Status Cymbal, Andy Kim, The Archies, Beano, Bobby Sherman, The Peppermint Rainbow, Keith Collie, Charles Penrose, The Sugar Bears, Jack Wild, The Shadows of Knight, Children of Prague, Bo Cooper, The Magic Lanterns and Rod McKuen!

Onstage and backstage, Donna relishes her role on Shindig being surrounded by the likes of The Righteous Brothers, The Rolling Stones, Glen Campbell, Marvin Gaye, Tina Turner, and Bobby Sherman. --- Support this podcast: https://anchor.fm/lovesasecretweaponpodcast/support

I have loved love kd Lang's music since 1987, we did this interview once face-to-face and my tape didn't record! But kd kindly went to a studio in LA, while I sat in my studio in Dublin and we did the interview down the wire. It is a positively uplifting half-hour - minus music - discussion about Bobby Sherman, classical music, kd coming out at 17 to her mother, Percy Faith, Joni Mitchell, performance art, subverting stereotypes in Nashville, "I was a Buddhist, vegetarian and lesbian!" - Roy Orbison, and her own astounding songs such as Season of Hollow Soul. She is a joy to listen to - singing or talking. 

Darrell Lloyd singles out David Cassidy being responsible for his successful career as a photographer, an interest which started in 1970 when he was 10 years old. Teen magazines played an important part in that development mainly through Tiger Beat, Flip, 16 as well as Rolling Stone, Look and TV Guide. In our conversation he explains those early influences through images of The Osmonds, The Jackson 5, Bobby Sherman and David Cassidy. Photographers that made a huge impact on him were Gene Trindl, Kenny Lieu, Annie Leibovitz and Henry Diltz. “Images from these photographers were a constant influence on a weekly, bi-weekly and monthly schedule. I would be at my local newsstands absorbing all the magazine covers my eyes could handle,” he explained. “As time grew on, a person became a common denominator of each photographer I admired. They all singled in on one subject in front of their cameras.....David Cassidy who was on the trajectory of becoming a teen idol of gigantic proportions, the likes the world had never seen before.  “The way photographers did shoots with David were second to none. The man was incapable of taking a bad photo.  “Because each photographer had their main focus on David was like a master class in photography for me. They taught me a lot about the proper way to compose a photo. I owe these photographers a tremendous debt that I could never repay in 10 lifetimes.” Darrell shares anecdotes about his photographic career, meeting David, and a revealing conversation he had with Mike Melvoin who was a member of The Wrecking Crew the musicians who worked on The Partridge Family music.  Darrell also calls for musicians who admire David's work to pay a special tribute to his music.

This week's podcast is a real get for me.  Due to knowing the "right people" (thanks to Scott Adams), I was able to snag a sit with the radio legend, Spike O'Neill.  Spike has been on the radio/TV/internet for 28+ years and he's amazing.  Quick witted, kind, insane, a tad weird, and more than a little bit dirty, Spike was a joy.  It's my hope I can spend more time with him in the near future, let alone actually convince him to have his own podcast, which HE SHOULD DO.  He's a great guest and a real dude.  I don't know if podcasts get better than this one.  2:40 Spike believes in murder. A weird day. 3:30 Zach Galifianakis. Distilled. Hillary Clinton. Dangerous comedy. Personas. 7:00 Podcasts allow freedom. Spike loves Larry King. Mechanisms. 10:00 Spike wants back on radio. CBS corporate. 11:00 Spike's daughter in NY. Kids on the other side of the country. Grandchildren. 14:10 Domokun. Japan. Spike needs a new gig. Selling advertising dollars. Opportunities. 15:45 Casey Kasem. Something by the Beatles. Bobby Sherman. Danny Bonaduce. 18:10 Howard Stern. Women. Sucking. Why isn't Spike podcasting? 20:30 The presidential race. Murders. Liberation. 22:30 Bob Rivers retirement. Spike wants new radio opportunity. Body language. 24:00 Early MTV. Al Jarreau. Journey Escape. Cheap Trick. Open Arms. First times. 27:00 Base salary and commission. Health Care. Spike with sports. The 206. 28:40 Rob will produce Spike's show. Rob is awesome. 30:00 Twisted Tunes. 31:30 Spike and the Impalers. 33:00 Spike wanted to audition for AC/DC. Salmon Days. Axl Rose. Being a musician. 37:00 Spike's heart isn't in it. 39:00 Spike's career with Bob Rivers. 43:00 Why do so many radio hosts get fired? Art Bell. Portal to Hell. Being a radio troll. 50:00 Rob working hard to get Spike to podcast. 52:45 Getting press passes. Selling minutes. 55:00 Spike is a bleeding heart liberal. Religion. Being a conservative. Being a liberal. 57:30 Trump's fake prayers. Not taking sides. Sarah Palin. 1:00:45 Carter our best (and weakest) president. Creating peace. Nobody cares. 1:02:50 Being a movie fan. Shawshank Redemption. Fight Club. 1:04:00 Being an amateur. Journey making drummer changes. Jonathan Cain. Deen Castronovo. 1:06:45 Subversive movies. Takashi Miike. Headhunters. Pulp Fiction. Reservoir Dogs. Donnie Darko. 1:13:30 Burning the family home down. 1:17:40 Talking about the dark secrets. Skintight. Pornography. 1:24:00 The Biblical God. Rob loves Grace. Christianity and living within the world. Being a believer. Staying off the fence. Godzilla. 1:30:30 What does Spike want to tell the world? Subscribe to the shows here:1) Rockstar Superhero:Itunes: https://apple.co/3u8wlI9Audible: https://adbl.co/3sCnfSkSpotify: https://spoti.fi/3qxjQDLGoogle: https://bit.ly/3kC66WaTumblr: https://bit.ly/3sGrLzfDeezer: https://bit.ly/2Zr5lW7JioSaavn: https://bit.ly/3k29jhvCastbox: https://bit.ly/3bunV6UiHeartRadio: https://ihr.fm/2PKvm172) Rockstar Radicals:Itunes: https://apple.co/2OR4kVx Spotify: https://spoti.fi/3qHHFZHDeezer: https://bit.ly/3srQ3grPodchaser: https://bit.ly/2NG2UwLGoogle: https://bit.ly/3uIQVzkJioSaavn: https://bit.ly/387Y2HGCastbox: https://bit.ly/3t0yCUliHeartRadio: https://ihr.fm/3vbWKFuBlog @ Tumblr: https://bit.ly/3ka5IhjWanna be on the show? Go here: https://calendly.com/rockstarsuperheroinstituteCopyright 2021 Rockstar Superhero Podcast - All Rights ReservedBecome a supporter of this podcast: https://www.spreaker.com/podcast/rockstar-superhero--4792050/support.