Podcasts about California Girls

Sly Stone's passing. The leader of the fun and funky 1960s/70s group Sly & the Family Stone died from lung disease and left behind him some extraordinary music as well as an enigmatic legacy. Today it was announced by his family that Brian Wilson, founder of the Beach Boys and the musical brains behind beloved hits like “Good Vibrations,” “God Only Knows,” “California Girls” and many others, has died. The cause of death is unknown at this time, but he was placed under a conservatorship in May 2024 due to his declining health. Music historian Scott Shea states that, “These were two California visionaries who both came from musical families and their individual musical heritages helped shape a movement in the 1960s. We may never anything like this again. They will be missed.”Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

In this heartfelt and music-filled episode of Friends Talking Nerdy, Professor Aubrey and Tim the Nerd pay tribute to the legendary Brian Wilson, whose groundbreaking work with The Beach Boys and beyond shaped the sound of a generation. With his recent passing, the duo reflects on Wilson's impact as a songwriter, producer, and sonic visionary, revisiting some of their favorite tracks that showcase his brilliance.From the lush harmonies of “God Only Knows” to the teenage wistfulness of “In My Room,” and from the psychedelic innovation of “Good Vibrations” to the timeless charm of “California Girls,” Professor Aubrey and Tim the Nerd explore what makes Brian Wilson's music so emotionally resonant and musically adventurous. They dive into the stories behind these songs, their personal memories tied to the music, and how Wilson's vulnerability, creativity, and defiance of pop norms continue to inspire artists today.Other songs discussed include the upbeat surf anthem “Surfin' USA,” the haunting beauty of “Caroline, No,” the dreamy optimism of “Wouldn't It Be Nice,” and the introspective melancholy of “I Just Wasn't Made For These Times.” Whether you're a lifelong fan or just discovering the genius of Brian Wilson, this episode is a celebration of one of pop music's true pioneers.Tune in for a conversation full of admiration, nostalgia, and deep appreciation for a man who taught the world how to feel through music.Check out the playlist for this episode on YouTube.As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to his ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for information on how to purchase his EP, Here's To You, which is available on all digital platforms.Head to Friends Talking Nerdy's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠for more information on where to find us online.

Welcome back to another uplifting episode of the Rick's Rambles Podcast! This week, we're brewing up a great start with fun facts about coffee—where does it come from, and is a coffee bean really a bean? You might be surprised by what you learn! Next, we share a feel-good news story about how one birthday gift turned into life-changing adoptions for shelter animals. It's a powerful reminder of how small gestures can create big ripples of kindness. In our "Story Behind the Song" segment, we honor Beach Boys legend Mike Love following his recent passing, with a look at the timeless classic "California Girls"—how it was written, its cultural impact, and why it still resonates decades later. And as always, we round things out with our quirky and fun holidays of the week—because every day is worth celebrating! ☀️ Pour yourself a cup, hit play, and let's ramble!

As the great Warren Zevon said, ‘Enjoy every sandwich'. The two-man canoe navigates this week's rock and roll rivulet which sadly entails reflections on a pair of towering musical giants ‘whose legend occupied the space where activity should have been'. Things considered include … …are you born with genius or does a set of circumstances allow it to flourish? … the impossible task of living up to people's expectations and the calamitous ways it led Sly and Brian Wilson to behave. … like Sly's plane landing at the moment he was meant to be onstage at Madison Square Garden. … the massive cultural contrast between Woodstock and ‘the Black Woodstock' a month earlier and how Sly & the Family Stone looked like they'd ‘come from Mars'. … how Derek Taylor, Tom Nolan and Nick Kent helped fashion the Beach Boys' myth. … Sly's impact on Miles Davis, Prince, Massive Attack and hip-hop and how a record as radical as There's A Riot Goin' On was a No 1 Christmas album. … In My Room, a completely new kind of teenage song. … David's five Beach Boys teenage moments … … and Mark's three examples of Brian Wilson's Greatest Bits – eg the overture to California Girls. … and 'Arise, Sir Roger Daltrey!'Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

As the great Warren Zevon said, ‘Enjoy every sandwich'. The two-man canoe navigates this week's rock and roll rivulet which sadly entails reflections on a pair of towering musical giants ‘whose legend occupied the space where activity should have been'. Things considered include … …are you born with genius or does a set of circumstances allow it to flourish? … the impossible task of living up to people's expectations and the calamitous ways it led Sly and Brian Wilson to behave. … like Sly's plane landing at the moment he was meant to be onstage at Madison Square Garden. … the massive cultural contrast between Woodstock and ‘the Black Woodstock' a month earlier and how Sly & the Family Stone looked like they'd ‘come from Mars'. … how Derek Taylor, Tom Nolan and Nick Kent helped fashion the Beach Boys' myth. … Sly's impact on Miles Davis, Prince, Massive Attack and hip-hop and how a record as radical as There's A Riot Goin' On was a No 1 Christmas album. … In My Room, a completely new kind of teenage song. … David's five Beach Boys teenage moments … … and Mark's three examples of Brian Wilson's Greatest Bits – eg the overture to California Girls. … and 'Arise, Sir Roger Daltrey!'Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear

As the great Warren Zevon said, ‘Enjoy every sandwich'. The two-man canoe navigates this week's rock and roll rivulet which sadly entails reflections on a pair of towering musical giants ‘whose legend occupied the space where activity should have been'. Things considered include … …are you born with genius or does a set of circumstances allow it to flourish? … the impossible task of living up to people's expectations and the calamitous ways it led Sly and Brian Wilson to behave. … like Sly's plane landing at the moment he was meant to be onstage at Madison Square Garden. … the massive cultural contrast between Woodstock and ‘the Black Woodstock' a month earlier and how Sly & the Family Stone looked like they'd ‘come from Mars'. … how Derek Taylor, Tom Nolan and Nick Kent helped fashion the Beach Boys' myth. … Sly's impact on Miles Davis, Prince, Massive Attack and hip-hop and how a record as radical as There's A Riot Goin' On was a No 1 Christmas album. … In My Room, a completely new kind of teenage song. … David's five Beach Boys teenage moments … … and Mark's three examples of Brian Wilson's Greatest Bits – eg the overture to California Girls. … and 'Arise, Sir Roger Daltrey!'Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Part 1:We talk with Joe Jaworski, a third-generation Texas trial attorney and former Mayor of Galveston, Texas.We discuss the various "bans" in Texas being instituted at the behest of Lt. Gov. Dan Patrick.We also discuss the home insurance situation in Texas, where fewer than half of all claims are not paid by the insurers.Part 2:We talk with Bill Curry and Robert Hennelly.Bill Currywas a Connecticut state senator, comptroller and two time Democratic nominee for governor who served as Counselor to the President in the Clinton White House.Robert Hennellyis an Award-winning investigative journalist, broadcast and print reporter for more than 30 years, covering federal, state and local politics, public policy, labor, the environment, law enforcement and national security.We discuss the likelihood of protests in Washington D.C. during the military parade. Trump is looking for an excuse to 'come down hard' on those who disagree with him.  What should be the strategy?  WNHNFM.ORG  productionMusic: Beach Boys, "California Girls", in honor of Brian Wilson

Send us a text#brianwilson #thebeachboys #60smusic The Beach Boys' Brian Wilson Dies at 82Brian Douglas Wilson (June 20, 1942 – June 11, 2025) was an American musician, singer, songwriter, and record producer who co-founded the Beach Boys.The music world mourns the loss of Brian Wilson, the genius behind the Beach Boys, who passed away at 82. Known for iconic songs like "California Girls" and his innovative use of the wall of sound, Wilson's influence on music will forever be remembered. His endless harmony will surely be missed.Brian Wilson, the co-founder and primary songwriter of the Beach Boys, has died, his family announced. Wilson's family posted news of his Passing to his website and social media accounts Wednesday. Further details weren't immediately available.

Today on America in the Morning More Arrests Coming In LA While the Los Angeles Police Department has made over 400 arrests following confrontations with anti-ICE protesters, along with acts of vandalism and graffiti, National Guard troops are assisting ICE agents for their safety as they conduct immigration operations.  Correspondent Ed Donahue reports on the sharp rhetoric in Los Angeles and Washington over immigration protests, and a limited curfew continued through the night in LA.   Cities Brace For ICE Raids Outside Southern California, cities are bracing for more ICE raids. That is especially true in five cities in which the mayor is a Democrat.  More from correspondent Rich Johnson.   Weinstein Verdict While it was a mixed verdict, a jury has reached a decision on the top charge in the Harvey Weinstein sex crimes trial in New York as the jury continues deliberating.  Correspondent Julie Walker reports.    Khalil Verdict A Federal judge is weighing-in on the Trump administration's effort to deport Columbia University anti-Israel activist Mahmoud Khalil. Correspondent Clayton Neville reports.   Embassy Staff Reductions The US State Department is reducing its presence of personnel at embassies and consulates in the Middle East.   Correspondent Lisa Dwyer has details.   DNC Changes A change of leadership is coming to the Democrat National Committee.  David Hogg, the DNC's Vice-Chair, who divided the party over his plans to hold primaries against some sitting lawmakers, said he's leaving.      Latest On The LA Protests While protests were less volatile in Los Angeles, as well as in cities including San Antonio, Chicago, and New York yesterday, Federal authorities are now scouring cameras and social media, and are ramping up arrests of protesters.  Lisa Dwyer reports that while the National Guard is on the ground in Los Angeles, they have been tasked with escorting ICE agents who have held raids in a number of LA neighborhoods looking for people in the nation illegally.    ICE In Omaha Immigration crackdowns aren't just happening in Los Angeles.  An Omaha plant was raided in what ICE officials say was likely the largest “worksite enforcement operation" in Nebraska since the start of President Trump's second term.  As correspondent Jennifer King reports, the ICE apprehensions are being met with mixed reviews in Nebraska's largest city, with some saying it's necessary, while others decry the separation of families, and those concerned their businesses will suffer.    Finalizing US-China Trade Deal The Trump administration is taking steps to finalize a trade agreement between the U-S and China.  Correspondent Clayton Neville reports.   Musk's Apology It was an apology, but will it change anything between the world's richest man and the world's most powerful man.  Correspondent Haya Panjwani reports on Elon Musk's apology, and the feud with President Trump.    Southern Baptists Want End To Gay Marriage Southern Baptist delegates at their national meeting overwhelmingly endorsed a ban on same-sex marriage, including a call for a reversal of the U.S. Supreme Court's 10-year-old precedent legalizing it nationwide.  Sue Aller reports. Finally   His name was synonymous with summer in the 1960's.  Brian Wilson, the co-founder of the legendary group, the Beach Boys, has passed away.  Ed Donahue takes a look back at the artist whose hits included “Surfin USA,” “Good Vibrations,” and “California Girls.”   Learn more about your ad choices. Visit podcastchoices.com/adchoices

In Folge 131 wird Mario zu einem Softeis-Experiment gezwungen, findet Peter Protein-Pulver und telefoniert Dominique mit Gregor Meyle.Unser offizieller Music-Act, den wir in dieser Folge NICHT spielen durften: Brian Wilson mit „California Girls“ - bei "LIVE 8" in Berlin (https://youtu.be/UkET6EgsfVA?si=_K-MvpZVoVqrkWdM)Kritik, Lob, Anregungen, Lob, Glückwünsche und Lob bitte an: ⁠⁠⁠⁠⁠⁠⁠⁠⁠post@tohuwapodcast.de#gera #GregorMeyle #brianwilson #kalifornien #mandeln #sitzhase #diamantfeder #otz #Saalfeld #unterwellenborn #yetiketchup #parkerlewis #ddrsofteis #softeis #podcast #Tohuwapodcast #Berlin #Humorpodcast #Talkpodcast #Laberpodcast #Gesprächspodcast #Talk #softeisliebe #softeiswiefrüher #eiskombinat

A 10-year-old from San Bernardino, Calif., is a month away from graduating with two associate degrees from Crafton Hills College. Perales, who has a home-schooling background, credited her dad for pushing her to do her best in school and work hard. April 17th 2025 --- Please Like, Comment and Follow 'The Ray Appleton Show' on all platforms: --- 'The Ray Appleton Show’ is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. --- 'The Ray Appleton Show’ Weekdays 11 AM -2 PM Pacific on News/Talk 580 AM & 105.9 KMJ | Website | Facebook | Podcast | - Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. This week, we're headed across America, all of the songs featured have the name of a state in its title. On today's episode, Andy Atherton is watching, “California Girls” by David Lee Roth from 1984.   The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=53LZ0-m-8Vg

BachelorClues is joined once again by Survivor 46's Liz Wilcox for a wild and heartfelt recap of Survivor 48, episode 5. They break down key alliances, the collapse of the California Girls, chaotic reward and immunity challenges (featuring plenty of balls and holes), and a game-changing emotional moment from Eva that had even Jeff Probst in tears. From chocolate milk and face play to fractured trust and new strategic pairings, this episode has it all—and Liz and BachelorClues are here to unpack every twist.__Join the Pit on Patreon for more exclusive content and shows! : / gameofroses__Want coaching tips? email gameofrozes@gmail.com__Follow us on TikTok: @gameofrosesFollow us on Instagram-Game of Roses: @gameofrosespodPacecase: @pacecaseBachelor Clues: @bachelorclues Hosted on Acast. See acast.com/privacy for more information.

This week we have a little pre-merge shake-up, when everyone must get new buffs and mix up the teams. Almost everyone is split up, except the California girls from the original purple team. The challenge looks like green will win by a landslide, but they quickly get last, winding them up in their first tribal council.If you enjoyed this episode please share it with your Survivor friends and follow us on Instagram at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@taglinetwinks⁠⁠

You can click here to send us a text (We won't be able to see your phone number). If you're sending a topic to discuss on the show, please include a name to acknowledge you (first name, screen name, fake name, etc.)The Purple Rock Podcast's super duo are back to talk about Survivor 48‘s exciting new super duo and their machinations in the fourth episode.In this episodes, the Purple Rock Survivor Podcast discusses:Are we not entertained?How Kamilla and Kyle managed the swap.Deploying their bag of tricks.What the California Girls could have done differently.Losing ThomasSai and Mary team up?Sai vs CedrekChrissy's plan to form a group of 4 to take out BiancaCharity vs DavidEva vs StarNew fan voting optionsTop 3 songs about rain

Over the last couple of months, both Darren and Scott picked the first albums they ever owned for us to review, so I'm continuing the trend. The first album I ever owned was Best of the Beach Boys, vol. 2 on cassette. Compiled and released by Capitol Records in 1967, this album served to fill a gap in releases by the band to keep the fans happy and the hype train going. Best of The Beach Boys vol. 2 features a selection of iconic tracks that showcase The Beach Boys' signature surf-rock sounds, filled with many popular hit songs, including Surfin' Safari and California Girls. Join us at the end of the month for our review.

Mike Love is a singer, songwriter, and co-founder of the Beach Boys. In 1961, Love, alongside his cousins Brian, Dennis, and Carl Wilson, and their friend Al Jardine, defined the California sound of the 1960s as the Beach Boys, co-writing hits including “Good Vibrations,” “California Girls,” and “Fun, Fun, Fun,” while weaving the themes of youth, surfing, and romance into their songs. He was one of the band's vocalists and lyricists for the entire career of the Beach Boys; Love played a crucial role in the group's vocal arrangements, adding a popular doo-wop sound and R&B influences. An inductee into the Rock and Roll Hall of Fame, he went on to revamp the Beach Boys in 2011, announcing the band's 50th Anniversary Tour, release five solo albums, and publish an autobiography titled Good Vibrations: My Life as a Beach Boy. ------ Thank you to the sponsors that fuel our podcast and our team: Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ Vivo Barefoot http://vivobarefoot.com/tetra Use code 'TETRA25' ------ LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Athletic Nicotine https://www.athleticnicotine.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

Bonnie McKee chats about co-writing hits with Katy Perry, including "California Gurls" and "Roar," as well as her own artist career that has resulted in successful singles such as "American Girl." PART ONE:Scott and Paul share a little preview of what's to come as they prepare to celebrate Songcraft's 10 anniversaryPART TWOOur in-depth conversation with Bonnie McKeeABOUT BONNIE McKEE:Bonnie McKee grew up as a classically trained singer and pianist, but began pursuing a pop music career while still a teen. In 2004 she released her debut album, Trouble, with Reprise Records, but soon switched her focus to working as a behind-the-scenes songwriter. She has written ten songs that have hit #1 in either the US or UK, and is best known for her work with Katy Perry, which began with the Diamond-certified and international chart-topping album, Teenage Daydream. Bonnie contributed to three songs on the album, all of which became chart-topping singles: “California Gurls,” “Teenage Dream,” and “Last Friday Night (T.G.I.F.).” When the deluxe Complete Confection version of the album was released, Bonnie landed two more chart-topping singles with “Part of Me” and “Wide Awake.” She went on to collaborate with Katy Perry on four songs on the follow-up album, Prism, including the Top 20 single “Birthday” and the #1 hit “Roar.” Other successful singles from the Bonnie McKee songbook include “Dynamite” for Taio Cruz, “Hold it Against Me” for Britney Spears, “C'Mon” for Kesha, and the UK chart toppers “How We Do (Party)” by Rita Ora and “I Don't Care” by Cheryl. Additionally, she's written songs for Cher, Christina Aguilera, Kelly Clarkson, Avril Lavigne, Bebe Rexha, Jason Derulo, Kygo, and Adam Lambert, among others.In 2013, Bonnie reemerged as an artist with the single “American Girl” on Epic Records. She recorded an entire album, but parted ways with the label and it was shelved. Enough tracks and demos leaked online over the years, however, that fans were clamoring for it. Now, more than ten years later, Bonnie has re-recorded the album. She combined the re-recorded tracks with the original release of “American Girl,” which has now been streamed 23 million times on Spotify. The end result is Hot City, an album more than a decade in the making. 

Send us a textHad the pleasure of speaking with Gorgeous Ladies of Wrestling (GLOW) star Patricia Summerland! On episode 138, we discussed growing up in California, coming up with the character of Sunny the California Girl, training, favorite opponents, getting involved with charity work, and more. You can find more about Patricia here:https://www.facebook.com/patrisha.summerlandhttps://x.com/glowsunnygirlhttps://www.instagram.com/patriciasummerland/Are you a pro wrestler and have done community service and/or charity work? E-mail the podcast at wrestlingwithheart@yahoo.com and tell us if you would be interested in being interviewed.Follow us on:Facebook: Wrestling with Heart with Stanley KarrX: @wwhwskInstagram: @wrestlingwithheartThreads: @wrestlingwithheartHear Wrestling with Heart on Apple Podcasts: https://podcasts.apple.com/us/podcast...Hear Wrestling with Heart on Spotify: https://open.spotify.com/show/46cviL5...Hear Wrestling with Heart on iHeartRadio: https://www.iheart.com/podcast/269-wr...Hear Wrestling with Heart on Google Podcasts: https://podcasts.google.com/search/Wr...Donate to my Patreon and subscribe to my content here: https://www.patreon.com/user?u=84502525Support the show

Welcome back to another episode of the Rick's Rambles Podcast, your go-to show for 15 minutes of nostalgia, positivity, and wholesome content! In this episode, we're kicking things off with some fun facts about one of America's favorite roadside stops—Cracker Barrel! Did you know that Cracker Barrel once served as a gas station? Well, sort of! We'll dive into the fascinating history of this American icon and share some little-known trivia that might surprise you. Next up, we explore meaningful family traditions that you can start this week. Whether it's a game night, a shared meal, or a creative project, we've got some ideas to help you build lasting memories with your loved ones. And remember, family doesn't always mean blood relatives—it's the people in your life who support and care for you. In our Story Behind the Song segment, we turn back the clock to talk about one of the Beach Boys' biggest hits—California Girls. From the sun-soaked lyrics to the iconic harmonies, we'll uncover what makes this song such a timeless classic in American music history. We're also sharing three simple yet powerful ways to show kindness today—because even small gestures can make a big difference. And as always, we wrap up the show with our favorite quirky holidays for the week, giving you a reason to celebrate something fun every day. Tune in, relax, and enjoy this week's episode filled with nostalgia, family traditions, classic music, and ways to spread a little kindness.     If you'd like to support the Rick's Rambles Podcast, the simplest thing to do is share it on your social media!  If you'd like to support financially, you can do that here!

As a teenager, did you ever fantasize about sitting at home when there was a knock at the door, only to find that there stood 3 young California Girls ready to take you on an adventure for the night? Well Scott Holiday, lead guitarist of Rival Sons, didn't have to dream about it because it happened to him on June 10, 1995 as an 18 year old living in Huntington Beach. So as a red-blooded American boy, he naturally jumped in with them to The Hollywood Bowl to see Tom Petty & the Heartbreakers. But the story takes a turn when an unexpected addition to the evening comes in the form of a party favor before the show starts. From there it's a journey great music, bright lights, giggly girls, a quest to find the car and a trip back to Huntington Beach. It was a memorable night for Scott (and I'm sure for the ladies as well) and now he and Rival Sons are making memories on co-headliner bill with Clutch in the US this fall. Learn more about dates & cities: www.rivalsons.com/tour/ First Concert Memories is the monthly sidecast from your friends at The Ugly American Werewolf In London Rock Podcast. We live to hear the stories when live rock music made for a special night in lives of those who love it! www.rivalsons.com Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch and use code 10OFF2023 to save 10%! 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

As a teenager, did you ever fantasize about sitting at home when there was a knock at the door, only to find that there stood 3 young California Girls ready to take you on an adventure for the night? Well Scott Holiday, lead guitarist of Rival Sons, didn't have to dream about it because it happened to him on June 10, 1995 as an 18 year old living in Huntington Beach. So as a red-blooded American boy, he naturally jumped in with them to The Hollywood Bowl to see Tom Petty & the Heartbreakers. But the story takes a turn when an unexpected addition to the evening comes in the form of a party favor before the show starts. From there it's a journey great music, bright lights, giggly girls, a quest to find the car and a trip back to Huntington Beach. It was a memorable night for Scott (and I'm sure for the ladies as well) and now he and Rival Sons are making memories on co-headliner bill with Clutch in the US this fall. Learn more about dates & cities: www.rivalsons.com/tour/ First Concert Memories is the monthly sidecast from your friends at The Ugly American Werewolf In London Rock Podcast. We live to hear the stories when live rock music made for a special night in lives of those who love it! www.rivalsons.com Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch and use code 10OFF2023 to save 10%! 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

QUESTION: What was the first movie sequel to win a Best Picture Oscar? Play. Share. Listen with Senior NFL Writer at Outkick, Armando Salguero. Learn more about your ad choices. Visit megaphone.fm/adchoices

ASMR California Girl Does Your Makeup Old School Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Rubber Soul was the sixth studio ablum released by The Beatles in the US and the UK.  The album was largely recorded in October of 1965 over a four week period, and relesed in December of 1965.  The Fab Four had completed their North American tour by August, and had returned to London to compose this album.  It would be the first album they completed without the pressure of commitments to tour, film, or otherwise make public appearances.  Nevertheless, the band was working under tight timelines, intending to release the album before the Christmas sales cycle.  It would go to the top of the album charts and would be one of the biggest albums of 1966, charting at number 3 in the UK and number 4 in the US for the year.The name of the album is a bit of self deprecation.  The term "plastic soul" was used at the time to describe some artists' attempts to duplicate the sound of black American soul music, and the Beatles recognized their efforts as less-than authentic.  It also has a double meaning, referencing the Wellington boot worn in rural northern England.The album  combines elements of folk rock, soul, progressive rock, and the newly-emerging psychedelic sound.  It would set a new standard with rock groups, encouraging the creation of high quality albums rather than just making a string of singles that were merged onto an LP record.  It also shows the increasing maturity of the group in lyrics and music.  Lynch brings us this classic album from one of the greatest rock bands of all time, and friend of the show Mike Fernandez sits in while Bruce is out. Baby You Can Drive My CarThe opening track was written by Lennon and McCartney.  The lyrics are told from the perspective of a woman who expects to be a big star, and offers the man the opportunity to be her chauffeur.  At the end you find out that she doesn't have a car, but at least now she has a chauffeur.  Norwegian WoodIt really isn't possible to have a deeper cut when you're talking about the Beatles, but this may be as close as we can get.  John Lennon is the primary writer - with some contributions from Paul McCartney - and the lyrics discuss an extramarital affair he had in London.  George Harrison plays sitar on this song, and it is the first use of that instrument recorded in a major release in the rock world. In My LifeThe lyrics from this song were written by John Lennon, and is perhaps the first time he wrote a song inspired from his childhood.  George Martin plays the piano on the bridge, but recorded it at half speed.  This creates the tinny harpsicord feel when the song is run at full speed.MichellePaul McCartney is the primary writer of this song, inspired by the popularity of Parisian "Left Bank" culture, and contains french lyrics despite McCartney's lack of fluency in the language.  The music was partially inspired by chet Atkin's finger picking style.  McCartney began writing the song in 1958, and it went to number 1 in France where it was released ahead of the album. ENTERTAINMENT TRACK:The James Bond Theme (from the motion picture “Thunderball”)This was the fourth film in the spy series starring Sean Connery as James Bond.  It was originally planned to be the first film of the series, but was pushed back due to legal disputes. STAFF PICKS:Treat Her Right by Roy Head and the TraitsWayne leads off the staff picks with a short, happy, party song.  While this may have a surf song vibe, the band is from Texas.  The lyrics tell about how a guy is supposed to treat a woman, and the benefits thereof.  The song peaked at number 2, and is the best known song by the group.  Hang On Sloopy by the McCoysRob brings us a song originally recorded by the Vibrations in 1964 with the title "My Girl Sloopy."  A jazz singer in Ohio named Dorothy Sloop inspired the name.  The McCoys version went to number 1 on the pop charts, and would be picked up by a number of garage bands.  Rick Derringer is the front man for the group.California Girls by The Beach BoysMike's staff pick is a well-known song from the album "Summer Days (And Summer Nights!!)" by the group.  Brian Wilson conceived the song during an acid trip, thinking about film scores from Westerns and - of course - girls.Eve of Destruction by Barry McGuireLynch closes out the staff picks with a protest song often covered.  P.F. Sloan wrote this song after the Kennedy assassination, the Gulf of Tompkin military action, and other social upheaval of the early to mid-60's.  American media used this song as an example of what was wrong with youth culture, counterintuitively driving the popularity of the song. INSTRUMENTAL TRACK:Hole in the Wall by The PackersThis jazz instrumental closes out this week's podcast. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

We simply have the worst timing. We recorded after the initial teaser went up, but before the reveal video of the new gen. It is what it is, this week is basically all speculation from us. Is any of it right? You'll have to check to find out! Aside from that, Shinri's in 3D, Filian hung out with Phase Connect, and a whole lot more happened. Let's talk about it! Each week we aim to bring together the biggest events in Vtubing and talk about what's been going on. Stop by, hang out, and let's catch up with us! Join this discord : https://discord.gg/wFMcTGHWGJ Follow here for updates: https://twitter.com/SuperChatsPod Shorts over here: https://www.tiktok.com/@superchatspod 00:00:00 Intro 00:01:40 Hololive EN Justice Announced 00:03:59 Pink 00:08:17 Green 00:13:00 Red 00:15:09 Yellow 00:22:53 Shinri's 3D Showcase 00:29:10 Iroha's Birfday Merch 00:33:55 Tempus 3D Collab 00:38:05 Socks Vtubing Agency Launches For Real 00:49:31 Aura's Birfday Stuff 00:53:54 Kilia's Shed Burned Down 01:00:14 Mori Got a 2.0 Update 01:02:47 Aqua's New Outfit 01:05:12 Doki's Subs Are Bigly Numberous 01:07:00 Anime NYC Hololive Concert 01:13:20 K9Kuro Has Recovered! 01:13:59 HoloAdvent Omocat Merch Soon 01:16:32 Our Promise by Hololive Promise 01:18:59 GrrGrrTummy by Okayu 01:20:31 Playboy cover by Holo Indonesia 01:21:42 California Girls cover by IdolEN Endless 01:22:52 Bling-bang-bang-born covers by Matsuri and Kanade 01:24:43 Hololive Myth's One Block Challenge 01:30:50 Fauna's 3D Switch Sports 01:34:03 Fuwamoco Morning Ep 100 01:34:58 Filian X Phase Connect 01:42:25 Vallue Gartic Phone Stream 01:46:32 Community and Shilling 01:50:17 Birfdays

Send us a Text Message.In this episode we explore how The Beach Boys transformed from a local California surf band into international icons, capturing the essence of summer like no other. We'll dissect the elements that make their music so timeless and evocative of those endless summer days. And, of course, we'll unpack the stories behind some of their most iconic songs, and learn why these tracks still resonate with us today. So, grab your shades and sunscreen, and get ready to feel the warmth of the sun, the thrill of the waves, and the harmony of The Beach Boys' music as we embark on this nostalgic journey.When it comes to summer anthems, The Beach Boys have a treasure trove of hits that instantly transport you to sun-drenched shores and carefree days. Their music encapsulates the essence of summer like no other, with harmonies that mimic the soothing rhythm of waves and lyrics that celebrate the joys of sun, surf, and sand. From the moment you hear those opening chords, you can almost feel the warmth of the sun on your skin and the salty breeze in your hair. Let's take a ride through some of their most beloved summer songs and uncover the stories behind them, along with why they continue to make waves in our hearts. These aren't just songs—they're a gateway to a nostalgic, idyllic world where every day feels like a vacation. These songs have endured not just because they're catchy, but because they tap into the universal longing for summer's freedom and joy. The Beach Boys' music is timeless, capturing moments of youth, adventure, and the simple pleasures of life. Their melodies and harmonies are like a sunbeam cutting through the clouds, bringing light and warmth to every listener. SONGS MENTIONED: Surfin' U.S.A.California GirlsSurfin' SafariKokomoGood VibrationsFun, Fun, FunSurfer Girl Support the Show.Keep listening, keep grooving, and let the music in you continue to shine. Thank you, and see you soon!CONTACT TERI:Instagram: https://www.instagram.com/terirosborg/Facebook: https://www.facebook.com/teri.rosborgYouTube: The Music in MeTikTok: https://www.tiktok.com/@terirosborgPodcast Facebook Page: The Music in Me Podcast Facebook pageTHEME SONG BY: Hayley GremardINTRODUCTION BY: Gavin Bruno

May is National Radio Month and each year during National Radio Month, our friend Dave Clarke likes to delve into the history of Kewanee radio. This month, Dave takes us back to 1966 and the sign on of WKEI FM which would, in 1974, become WJRE. The first song to play in the history of WJRE, after leaving behind the big bands and crooners in 1974, was none other than California Girls by The Beach Boys touching off years of the Hit Parade on WJRE. It would not become the WJRE we know today until the 1990s when the boom of the country music scene caused another seismic shift in the local radio market. But that's a story for another day. On this edition of Kewanee Back When it's 1966 to 1974, WKEI FM becomes WJRE. 

In his weekly Three Good Things segment, KMOX weekend host Scott Jagow finds himself falling down Internet rabbit holes. They lead to many questions: Where did the term one-hit wonder come from? Who's the perfect example of a one-hit wonder? Was the Beach Boys' song California Girls really inspired by Bach? And more.

Boeing whistleblower, don't love your boyfriend THIS much, the California Girls, and the age-old question: “How long would you exploit a glitch?” Subscribe to Tenderfoot+ for daily ad-free listening - https://tenderfoot.tv/plus/ Follow This Day in Crime on Social X: @tenderfootTV, @thisdayincrime_ IG: @tenderfoot.tv, @thisdayincrime Episode Sources: Boeing whistleblower found dead in hotel parking lot just days after testifying against airplane giant, NY Post Boeing whistleblower John Barnett found dead, Washington Post Dish soap and hotel key cards were used on parts of Boeing planes, FAA says in safety audit, Quartz Mom Wanted to Show Boyfriend He Was Her Top Priority. Then She Allegedly Drowned Baby, Took Photo of Body, People Woman drowned child in bathtub, threw body in Bloomington hotel dumpster: Charges, KMSP Widow, 96, preparing to celebrate her birthday was killed in alleged murder-for-hire plot at her home, NBC News Suburban mom ran ‘complex' crime ring that stole nearly $8M in makeup across US for online resale: authorities, NY Post Police: Woman Pumped $28K in Free Gas via Sneaky Glitch, Newser Nebraska Woman Accused Of Using Pump Glitch To Get $27,000 Worth Of Gas, Huff Post Woman dies after Brazilian butt lift procedure performed by Miami doctor who wasn't allowed to operate, lawsuit alleges, NBC News To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

A look ahead towards Tuesday's primary to fill the Senate seat long held by the late Dianne Feinstein. Plus: Age and Biden, Sanity and Trump, and a Farewell by McConnell The post Episode #410: California Girls (And Guys) appeared first on Ken Rudin's Political Junkie.

This week, we continue our series of women in rock. Sadie introduces us to Carole Kaye, a trailblazing female bassist whose remarkable talent shaped the sound of American popular music in the 1960s and 70s. Despite her significant contributions to over 10,000 songs, Kaye remains relatively under-recognized and unsung. As a key member of a group of elite Los Angeles session musicians, she worked with iconic figures like The Beach Boys, Frank Sinatra, The Supremes, Sonny and Cher, and Ray Charles, featured on hits like "California Girls" and "These Boots Are Made for Walkin.' We discuss her legendary bass skills, how she not only broke barriers in a male-dominated industry but also inspired generations through her work as an educator, and how her enduring legacy stands as a testament to her exceptional skill, resilience, and influence, underscoring her role as a pivotal figure in the soundtrack of rock and roll's most celebrated era. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, we talk with the original Sunny “The California Girl” Patricia Summerland. Trisha talks about growing up, her modeling career, GLOW, the CAC, and much more! Subscribe to our podcast today! If you become the 1,000 subscriber on YouTube, you will be given a Bumps & Thumps T Shirt, come on the podcast as a guest, and a signed Minnesota's Golden Age of Wrestling from Vern Gagne to the Road Warriors by the author George Schire. You can follow Patricia Summerland on the following social media platforms: Facebook: https://www.facebook.com/patrisha.summerland; https://www.facebook.com/SunnyGlow Instagram: https://www.instagram.com/patriciasummerland/ If you are interested in purchasing items from Patricia, please go to her Facebook page and PM: https://www.facebook.com/patrisha.summerland Help support the podcast! You can make contributions or purchase items at: Contribution: www.anchor.fm/brian-ferguson3  and click the support button Teespring Store: https://bumps-thumps-2.creator-spring.com/ PayPal: @bumpsnthumps You can follow Bumps & Thumps on the following social media platforms: YouTube: https://www.youtube.com/channel/UCnQG8G8GE0eTHmzIzTBnZ8Q Rumble: https://rumble.com/user/Brianferguson Facebook: https://www.facebook.com/BumpsThumps Instagram: https://www.instagram.com/bumps_n_thumps/ Twitter: https://twitter.com/bumps_thumps If you would like to purchase Joyce's book My Ringside Seat To The AWA, you can order the book by messaging on Facebook or by email. Payment method is through PayPal. The book is $20 plus $6 shipping in the United States. If you are ordering outside the United States, please contact Joyce for shipping questions. Facebook: https://www.facebook.com/joyce.paustian.9 Email: joyce.paustian@gmail.com           PayPal: joyce.paustian@gmail.com  Brad Drake Podcast information: Facebook: https://www.youtube.com/@BradDrakePN YouTube: https://www.youtube.com/@BradDrakePN Website: https://www.braddrake.net/   Falls Count Anywhere podcast information: Facebook: https://www.facebook.com/FALLScountAnywhereGorillazinc Twitter: https://twitter.com/CountAnywhere YouTube: https://www.youtube.com/@friendzmedianetwork8200 --- Support this podcast: https://podcasters.spotify.com/pod/show/brian-ferguson3/support

We've got you covered!We ring in the new year by covering ten songs that Oingo Boingo covered over the years: Minnie The Moocher, Violent Love, California Girls, You Really Got Me, Monster Mash, Rawhide, Heard It Through The Grapevine, Sunshine of Your Love, I Am The Walrus, and Open Eyes.That should cover it!Song Clips:“Minnie The Moocher” - Cab Calloway, Minnie The Moocher (1931)“Violent Love” - Willie Dixon, Violent Love (1951)“Auld Lang Syne” - Guy Lombardo, Auld Lang Syne (1953)“The Monster Mash” - Bobby Pickett, Monsters' Holiday (1962)“You Really Got Me” - The Kinks, The Kinks (1964)“California Girls” - The Beach Boys, Summer Days (And Summer Nights!!) (1965)“I Am The Walrus” - The Beatles, Magical Mystery Tour (1967)“Sunshine of Your Love” - Cream, Disraeli Gears (1967)“Heard It Through The Grapevine - Creedence Clearwater Revival, Cosmos's Factory (1970)“Minnie The Moocher” - Cab Calloway, The Blues Brothers Soundtrack (1980)“Rawhide” - The Blues Brothers Band, The Blues Brothers Soundtrack (1980)“Violent Love - Oingo Boingo, Oingo Boingo EP (1980)“You Really Got Me” - Oingo Boingo, Only A Lad (1981)“Squeezit the Moocher” - Danny Elfman, Forbidden Zone Soundtrack (1983)“Violent Love” - Oingo Boingo, Boingo Alive (1988)“I Am The Walrus” - Oingo Boingo, Boingo (1994)“Change” - Oingo Boingo, Boingo (1994)“I Am The Walrus” - Oingo Boingo, Farewell: Live from the Universal Amphitheater (1996)Film Clips:The Blues Brothers (1980)The Nightmare Before Christmas (1993)Fan-Supplied Content:“Goodbye-Goodbye," "Minnie the Moocher," & "California Girls" - Mystic Knights of the Oingo Boingo, bootleg demo“California Girls” & "Open Eyes" - Oingo Boingo, bootleg demo “You Really Got Me” - Oingo Boingo, bootleg alternate mix“Heard It Through The Grapevine” & " Sunshine of Your Love" - Oingo Boingo, bootleg rehearsals“Violent Love” - Mystic Knights of the Oingo Boingo, Alcazar Theatre, 1977“Minnie the Moocher” & “On Chedrania” - Mystic Knights of the Oingo Boingo, The Aquarius, 1978“Chedrania Girls” & “Violent Love” - Mystic Knights of the Oingo Boingo, The Roxy, 3-31-1979“Violent Love” - Oingo Boingo, bootleg live rehearsal, 1980“California Girls" - Oingo Boingo, The Whisky, 10-03-1980“Monster Mash” - Oingo Boingo, Atlanta, GA, 10-27-1982“Rawhide” - Oingo Boingo, Logan, UT, 11-12-1985“Minnie The Moocher” - Oingo Boingo, Irvine, CA, 10-27-1990“Monster Mash” & “Minnie The Moocher” - Oingo Boingo Former Members, Coach House 10-30-2022The Oingo Boingo Secret Appreciation Society Podcast is produced/hosted by Robynne Winchester & produced/edited by Matt Ellsworth. Patreon is operated by Adam Burr.Please note: The music and film clips included in this podcast (listed above) fall under the "Fair Use Doctrine" as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, parody, and education.WEBSITEOingo Boingo Secret Appreciation SocietySUPPORTBuy Us A Coffee!Patreon

Singles Going Around- Brickbats (There's No Home Like Now)Faces- "Stay With Me"Solomon Burke- "Home In Your Heart"The Beach Boys- "Cotton Fields/San Miguel"David Lee Roth- "California Girls"Led Zeppelin- "Wearing and Tearing"The Ramones- "Surfin Bird"Otis Redding- "Satisfaction"Moving Sidewalks- "No Good To Cry"Jimi Hendrix Experience- "Killing Floor"Pixies- "Bone Machine"The Beatles- "Helter Skelter"Simon & Garfunkel- "Fakin' It"Bob Dylan- "Million Miles"The White Stripes- "One More Cup Of Coffee"Captain Beefheart- "Suction Prints (Instrumental Demo)"Nirvana- "Aneurysm"13th Floor Elevators- "May The Circle Remain Unbroken"Led Zeppelin- "Nobody's Fault But Mine"The Rolling Stones- "You Gotta Move"

Wir freuen uns sehr Model Hana Nitsche bei uns zu Gast zu haben. Einige von euch kennen sie bestimmt noch von Germany´s Next Topmodel, Hana hat es damals in der zweiten Staffel auf Platz 3 geschafft. Mittlerweile ist auch sie ein California Girl geworden, aber die Reise bis nach LA war voller Ups & Downs. Total ehrlich und authentisch erzählt sie von ihrem Modelleben im teuren New York, von den Vor- und Nachteilen bekannt zu sein, und wie sie es geschafft hat den enormen Erfolgsdruck, den so viele von uns kennen, abzulegen. Ausserdem spricht sie über Heimweh und wie sie jetzt ihr Glück gefunden hat. Und weil unser Podcast aus Hollywood kommt, lüften wir auch ein paar Secrets der Stars: Hana verrät uns, wie es ist Beyoncé privat zu treffen, und was Sean Love Combs aka Puff Daddy / P. Diddy von seinen Party Gästen alles erwartet. Viel Spaß beim hören!!

A new week means new questions! Hope you have fun with these!In which country was the first men's World Cup held?Does a wolf have more teeth on its upper jaw or lower jaw?King Richard I of England had what affectionate nickname for his reputation as a great military leader and warrior?California Girls and God only knows this fruit is a cross between the European raspberry, European blackberry, American dewberry, and loganberry?Used in making pies and tarts this fruit can also be given as a wedding gift to Hera, after getting it past Ladon.The Planet Express crew go for dinner at a Japanese restaurant for tasty noodles served in a broth.In 1796, which British Physician created the first vaccine, by purposely injecting cowpox in order to cure the more deadly smallpox?Mark Twain was born in 1835 and died in 1909 which was the same years as what space phenomenon?In which unique sport each participant must have competed in at least 50 amateur boxing matches and have an ELO rating of at least 1600 in order to qualify .In what country is the tallest bridge in the world? For two extra points, what is the name of it? Hint: It straddles the Tarn ValleyWhat is the name of the operation, symbolized by an exclamation mark, the multiplies a number by all the whole numbers less than it, for example. 4x3x2x1?What is Cap'n Crunch's first name? Hint: it is the same name as Hamlet's "best friend"Who said, "I don't design clothes. I design dreams"?Chunkylover53@aol.com is the email address of which fictional character?Which warrior of legend killed the monster Grendel for Hrothgar, king of the Danes?Mythbusters once searched for Jimmy Hoffa's body in the end zone of Giants Stadium using what technology?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5857487/advertisement

Coach TaShon Greene Coach TaShon is a HBCU graduate, author, certified relationship coach, educator, inspirationalist, radio personality and more. She is the creator of S.T.E.P.S Coaching, Woman On Fire~Testimonies of Triumphs Podcast© and The Male Room…Messages From Him with TaShon & Friends radio show. With her platforms, Coach TaShon is inspired to provide both women and men with healthy and effective strategies geared towards building successful relationships. She's not a “California Dreamer” but a true “California Girl”- born in Los Angeles, California, Trinette L. CollierGreene has traveled all over but now calls Georgia her home. She has coined the title “inspirationalist” and has set out to inspire others to develop better relationships with their loved ones. Along with inspiring others with her zest for life and love, Coach TaShon has many talents and interests-she loves to dance, listen to music, engage with social media, and dabble in arts and crafts. She has also proclaimed herself to be a “certified foodie” as she loves to visit restaurants and eateries. She is the renaissance “girlie girl.” It is through her advocacy of life and celebration that her gifts and talents have manifested. She is Trinette L. CollierGreene All social media: iamtrinettecollier themaleroom7671 website: www.iamtrinettelcollier.comlinktr.ee/trinettelcollier --- Send in a voice message: https://podcasters.spotify.com/pod/show/thesofapillowtalk/message Support this podcast: https://podcasters.spotify.com/pod/show/thesofapillowtalk/support

Step into the melodious world of "Undressed the Podcast" as hosts Pol Atteu and Patrik Simpson weave a symphonic episode with Carnie Wilson, the enchanting voice behind Wilson Phillips and daughter of Beach Boys' legend, Brian Wilson.  Carnie opens up about her personal life – the heartwarming proposal at The Ivy, the challenges of a musician's marriage, and her daughters' emerging artistic prowess. The episode then flows into recollections of growing up in the shadow of a Beach Boy, revealing touching moments between a father and daughter, underscored by the omnipresent challenges of fame and addiction. Listeners are taken on a whirlwind journey of Carnie's illustrious career – from talk shows, iconic photoshoots, the highs and lows of reality TV, to her sensational stint on "The Masked Singer".  The runway rundown section showcases an array of fashion choices, sparking lively debates. However, the crescendo of the episode arrives when Pol, renowned for his exceptional Armenian coffee grind reading skills, takes center stage. His gift, which has guided countless individuals towards clarity, is put to the test. As Pol' interprets the patterns and symbols in Carnie's cup, he reveals an imminent project that promises not only professional fulfillment for Carnie but also a deep familial connection. This poignant moment, marked by Carnie's astonishment at Pol's precise insights, showcases the profound impact of his mystical prowess. This captivating blend of nostalgia, laughter, revelations, and prophecy makes for an episode that resonates deeply, touching both the heart and soul. CHAPTERS [02:30] An Ivy Proposal  [05:00] Machu Picchu that's where it all began. [06:10] Guitar hero with no wedding ring on. [07:07] It's a “Family Affair”.  [08:40] Growing up a “Beach Boy” daughter!  [10:10] “California Girl” with an absentee dad. [11:00] Elton John wants my dad's piano. [17:50] The Wilson family tree sings. [23:00] What is Bell's palsy? [28:40] Menopause makes me less horny. [32:00] Wheel of Fortune!  [35:10] Howard Stern is the devil! [37:00] I was drunk and bared all for Playboy. [40:55] Heeeeerrrrrreeeeeesss Carnie! [44:30] Slaughter of the lambs on The Masked Singer.  RUNWAY RUNDOWN [48:30] “Dedicated” by Wilson Phillips. [54:30] The Masked Singer.  [58:15] Tracy Gold in black.  [01:01:20] I'd rather not Celebrity Wife Swap. [01:04:00] Wilson Phillips Band wore what?1? GAME TIME “Who Sang What?”  Questions cover about music from Fleetwood Mac, Britney Spears, Stevie Nicks, Ozzy and Sharon Osborne, Beyoncé, Carry Underwood, and Queen's Freddy Mercury.  [01:14:00] Barbara Streisand who? ARMENIAN COFFEE GRINDS READING  [01:19:10] Carnie's project which she has been working on for years and will be rewarding and bring her family together. Pol' nails it once again! This is another Hurrdat Media Production. Hurrdat Media is a podcast network and digital media production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network by going to HurrdatMedia.com or the Hurrdat Media YouTube channel! Learn more about your ad choices. Visit megaphone.fm/adchoices

LOW-KEY ALERT! This episode includes a spoiler about “The Good Place!” OK, where we were? Ah, yes. Mary Anne gets deep into sewing and needlework and starts a sewing club for kids. It's hard to believe she has time for this given how much work she's doing for poor Mrs. Towne. It almost seems like Moral OCD to Esme, so we talk about that! Emily talks about sissies for a bit and Anne has a bunch of nuggets, including renaming “California Girls.” Also, a BSC Big 5!

#125: Right now, we're undeniably living in a Barbie world. So, co-host of the LAist podcast "LA Made: The Barbie Tapes" Antonia Cereijido joins HTLA's Brian De Los Santos for a chat about Barbie's Los Angeles origin story. We also explore why Barbie continues to fascinate folks today, whether they like her or not. 

Let's speak to Aja Corynn who made the documentary film “Pleasers”. Our guest applies her anthropological background and creative lenses to her experiences as a stripper; Let's talk stripclubs, relationships, retirement and media.1:00 anthropologist and former stripper2:00 why she quit6:00 California Girls in Anaheim, Deja Vu in Hollywood10:00 “Black and kinky” NY dominatrixes14:00 I'm inside looking around17:00 on survival sex work vs empowerment 22:00 mandatory tipout27:00 don't write about strippers if you aren't one31:00 racism and in Vegas36:00 on the good things40:00 technology replacing strippers?46:00 bad managerial practices51:00 on AB5 in CA and employee status54:00 camaraderie 58:00 don't settle Find our guest on IG @AjaCorynn & @pleasersseriesFind your host on IG @stripperwriter @theytalksexpodcastFind your host on Twitter @ellestanger Write to Elle about the show theytalksex@protonmail.comSponsored by Kimono Microthin Plus Condoms - use code 20MICROAQUA on Amazon for 20% off your Kimono purchase through June 27thSponsored by JoliQuiz.com - for smarter relationship-openingSee my $1 subscriber material Patreon.com/strangebedfellowsPlease rate and review this podcast :)

Nurses Out Loud with April Snipes RNFA, BSN, CNOR – The recent bullying of girls by a transgender female has brought the school to the forefront of the news cycle. According to students and parents, the school overlooked much of the violence and abuse until videos began going viral on social media depicting fights between the girls and this transgender...

Today, this is what's important: A post Mardi-Gras break down, Cocaine Bear, your inner animal, street performers, and more.See omnystudio.com/listener for privacy information.

Diablo Cove is sick. Mitch enlists the help of The Beach Boys. Dave plans something awful behind the scenes. Neely has a disturbing flashback. Cody dreams of those California Girls. Join Zach, Charlie, and special guest Sarah Bebb for an episode in which the Beach Boys were apparently responsible for anyone who has ever fallen in love...ever!

Ever find yourself primed for a fascinating journey through a man's musical tastes, influences, and how it all shapes his life? Buckle up, because that's the adventure you're about to embark upon with my friend Chad Turner. Brimming with diverse sonic experiences, influences from bands like U2, and tales of his experience growing up in High River, Alberta, Chad's narrative is as enriching as it is entertaining. Despite his humble origins in a small Canadian town, Chad has led a life full of intriguing happenings and encounters. From his captivating dating experiences and parenting journey to his love for nature, his story takes different hues and shades like the songs on his playlist. He even delves into his love for David Lee Roth's version of the Beach Boys classic, California Girls. You're in for a treat as we traverse through these vibrant stories and how they intertwine with his life's melody. The grand finale of our musical journey delves into a heart-wrenching episode - Chad's life-altering car accident in 2013. But as in Chad's playlist, our narrative does not end on a somber note. We navigate through reflections on marriage, divorce, and the daring exploration of non-vanilla topics in sex and leisure activities. Wrapping up on a high note, Chad leaves us with nuggets of wisdom on embracing life's risks, living it to the fullest, and warding off regret. Come, join us on this intimate expedition through Chad's life symphony on Music Junkies. Listen to the playlist on SpotifyWatch the episode on YouTubeFollow Music Junkies everywhere  Make sure to HIT that LIKE BUTTON and SUBSCRIBE to our Channel to be notified of new episodes! If you love Music Junkies share it !!New EP is out every MONDAY at 12 pm Rock on! Music JunkiesSupport the show

In this week's episode of Living in the Sprawl: Southern California's Most Adventurous Podcast, host Jon Steinberg shares his list of 10 must read mystery novels set throughout Southern California. His list includes: "In a Lonely Place" by Dorothy Hughes, "Inherent Vice" by Thomas Pynchon, "IQ" by Joe Ide, "Damage Control" by Denise Hamilton, "California Girl" by T Jefferson Parker, "The Black Dahlia" by James Ellroy, "The Black Echo" by Michael Connelly, "The Moving Target" by Ross McDonald, "Devil in a Blue Dress" by Walter Mosley, "The Big Sleep" by Raymond Chandler.Instagram: @livinginthesprawlpodcastEmail: livinginthesprawlpodcast@gmail.comWebsite: www.livinginthesprawlpodcast.comCheck out our favorite CBD gummy company...it helps us get better sleep and stay chill. Use code "SPRAWL" for 20% off.  https://www.justcbdstore.com?aff=645Check out Goldbelly for all your favorite US foods to satisfy those cravings or bring back some nostalgia. Our favorites include Junior's Chessecakes from New York, Lou Malnati's deep dish pizza from Chicago and a philly cheesesteak from Pat's. Use the link https://goldbelly.pxf.io/c/2974077/1032087/13451 to check out all of the options and let them know we sent you.Use code "SPRAWL" for (2) free meals and free delivery on your first Everytable subscription.Support the podcast and future exploration adventures. We are working on unique perks and will give you a shout out on the podcast to thank you for your contribution!Living in the Sprawl: Southern California's Most Adventurous Podcast is on Podfanhttps://www.buymeacoffee.com/sprawl  Support the show

Grade A Nation is joined by content creator Adelia Acker, who has an OnlyFans account with hundreds of thousands of followers as well as a podcast called That's OFfensive about working on the platform. Adelia has experienced a lot, including: -being kidnapped to go to rehab for smoking weed by her parents -growing up in a controlling and conservative Christian household with a dismissive father -feeling a lack of confidence about herself that led to body image concerns and an eating disorder -having fun times every weekend at the University of Arizona, but still feeling like she wasn't good enough -setting boundaries with her parents, her brother, and friends for her own wellbeing -having disturbing and dark dreams -getting nauseous while around little kids -making a ton of dough on OnlyFans -having mold poisoning for several years -being celibate for a year by choice -- a volcel if you will And that is just a small sample of her experiences and thoughts covered in our talk. Adelia is super honest and engaging. The original chat was about a half hour longer, but Adelia was cursing like a sailor. We'll likely see the unedited chat be available someplace in the future! To check out the latest on Adelia Acker, go to https://www.itsdeelz.com/ 

We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. 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 "Up, Up, and Away" by the 5th Dimension. 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 As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe