Podcasts about christys

In today's episode, we delve into the concerning trend of misinformation about COVID-19 vaccines, propagated by figures such as Nigel Farage, Patrick Chrysty, and Russell Brand. We discuss the potential repercussions of these unfounded claims, particularly the risk to older populations who may choose not to get vaccinated. In the second half of the episode, we turn our attention to the climate emergency, questioning why it isn't receiving the media coverage it so urgently requires. Join us for this enlightening discussion and help support our work by becoming a Patron at www.patreon.com/cowdaily. You can also make a one-off contribution at https://tinyurl.com/y5ctx4ja. Tune into the Cow Daily livestream every day on YouTube by subscribing here: https://youtu.be/fSmKzmQNOGc. Full episodes are also available on Spotify (https://tinyurl.com/yw2unns3), Apple Podcasts (https://tinyurl.com/ysp5y23v), and YouTube (https://tinyurl.com/4djkz9t2). Thinking of live streaming yourself? Get a $10 credit from Streamyard using our link: https://streamyard.com/pal/c/5717234238619648. One love to all as ever good people. X

Christy is here today to talk about her experiences as a monarch sex slave program and Advanced Psionic Super Soldier. She was taken into the SSP at the age of 5. Her owner/trainer/handler is GHWB Sr. She has memories of seeing Rob in Antarctica when they were remote viewing a cavern to find crystal technology. The super soldiers were sent in to the cave and a giant yeti attacked and ate one of the soldiers who happened to be Christys teammate. Get in touch with Christy:christy.campbell.11@gmail.comhttps://www.facebook.com/christy.campbell.12☮☯Hey Guys, just a reminder that the typical skeptic podcast is a viewer supported program, all donation, purchases from affiliates, patreon memberships, or merch purchases go back into developing this show. This is my job, and i wouldnt have it any other way. But i appreciate everyone's support, if you cant afford to donate you watching means alot. Also remember to like, share, comment, and subscribe!!☮☯Follow typical skeptic podcast everywhere: youtube.com/@typicalskeptic www.anchor.fm/typical-skepticwww.rokfin.com/typicalskepticwww.rumble.com/typicalskepticOr maybe Join the Patreon for bonus content New Unreleased shows every week for less than a cup of coffee: Help me keep making videos!patreon.com/typicalskepticCheck out what I'm selling: Typical skeptic podcast t shirts:https://merc.li/KmGQPE9Nb?sv=0New typical skeptic affiliate Happy Hippo Kratom, take control of your consciousness and anxiety, use it as your limitless resource:https://happyhippo.com/r?id=00tjf5 Use Code Skeptic for 15% off and support the podcast-Natural Shilajit and Monoatomic Gold from Healthy Nutrition LLC.use code: ROB https://naturalshilajit.com/discount/ROBTachyon Living- tachyonliving.com/rob.html and use code SKEPTICFREEGIFT for a free gift#ssp #milab #alien #hybrid #extraterrestrial #interdimensional #paranoramal #uap #ufotwitter #podcast #typical_skeptic #youtubepremiere #secretspaceprogram

Christy (@PilotChristy) and Dan (@TakingOffDan) talk about how the new series “Pilot Life” came about and how long it took to get permission from Envoy and why Christy was reticent to film it. Christy talks about how hard it is to shoot video while being an airline pilot and what's planned for the future with […]

Patrick Christys joins Snowdon and Slater to discuss Labour's war on smoking, Prince Harry's crusade against the tabloids, and how wokeness has infected public health. Become a spiked supporter: https://www.spiked-online.com/supporters/  Sign up to spiked's newsletters: https://www.spiked-online.com/newsletters/ Check out spiked's shop: https://www.spiked-online.com/shop/  Send your postbag questions to lastorders@spiked-online.com and we'll try to answer them in the next episode.

For decades now, Kathy Castner and her cousin, Charlie Bowen, sing duets whenever they have one of those rare chances to be together. Their musical connection goes back a long way.As a child, Kathy regularly was brought to visit relatives in Ashland. Whenever she was, their grandmother usually assigned her cousin to sing her to sleep at bedtime. (Yes, Grandma Robertson was prescient about Bowen's mad skills for putting audiences to sleep.) One of the tune the young troubadour brought to bear on the little girl's eyelids was this New Christy Minstrels classic, a song that still gets regular airplay on Top 40 radio.About the Song“Today” is a 1964 folk song written for the Minstrels by the group's founder, Randy Sparks. And thereby hangs a tale. Sparks formed that large-ensemble folk group in 1961 and with it quickly scored two hit in 1963 (“Green, Green” and “Saturday Night”). However, by 1964 creative tension within the organization prompted Sparks' decision to leave. But before quitting the group, whose name he sold to its managers, Sparks had one more project for the Christys; he was contracted to write the score for a film comedy called Advance to the Rear, and that work was to include his composing of “Today.”Rocky Start to Stardom“Today” — which critic Bruce Eder calls "achingly beautiful” and which became the second biggest hit of the Christys' long career — fell flat on its introduction to the group. Legend has it that Sparks sang it for the bunch of them just days after he finished it, and nobody said a word. Absolute silence.Finally, banjoist Larry Ramos reportedly spoke up. "I think I can speak for everyone here ... it's a piece of sh—, the same sh— you always write!" "Is that how the rest of you feel too?" Sparks asked. More silence. "Well,” he said finally, “you'd best get used to it, because you're going to sing it anyway." The song didn't get any respect from the record company, either. Columbia Records veep Bill Gallagher reportedly hated it. However, the public, with dimes and dollars, vetoed all those objections. The Minstrels' recording of “Today” became a nationwide hit in under six weeks. And the Christys' “Today” album — simultaneously released as a soundtrack album for the movie — made the year's Top Ten on the LP charts, the group's highest charting album ever. A loud “so there!” could be heard from the Sparks house.Our Take on the TuneThese days, whenever Kathy comes to Huntington from her Cincinnati home (usually at Christmastime and again sometime during the summer), she almost always has an evening of music with The Flood, and “Today” usually is among the songs shared.Here's the latest rendition from last week's jam, with sweet solos by Dan Cox, Veezy Coffman and Sam St. Clair and with Randy Hamilton joining Kathy and Charlie on the harmonies. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.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

ON THE PANEL... Emma Webb, Political and social commentator Patrick Christys, Host and Journalist, GB News Helen Dale, Lawyer and ‘Australian literature's lone classical liberal' Victoria Hewson, Head of Regulatory Affairs, IEA WE'LL BE DISCUSSING... – Do companies have a moral obligation to cease operations in Russia? Should consumers boycott those that don't? – Does the Ukraine invasion underscore the need for Britain to increase defence spending? – Has the UK's response to the refugee crisis really been "woeful"? – With war in Europe driving up energy prices and exacerbating our cost-of-living crisis, should we have a referendum on Net Zero?   Follow this link to donate to Alexander Hammond's funding page for Ukrainian refugees: https://www.justgiving.com/crowdfundi...   FOLLOW US: TWITTER - https://twitter.com/iealondon​​ INSTAGRAM - https://www.instagram.com/ieauk/​​ FACEBOOK - https://www.facebook.com/ieauk​​ WEBSITE - https://iea.org.uk/

This episode we bring you a Cabana's selection of topics, as we discuss Christys latest sailing on the Dream, Steve's…

This episode we bring you a Cabana's selection of topics, as we discuss Christys latest sailing on the Dream, Steve's sailing on the Wonder, and what's going on with the big crowds at Disneyland. It's always fun to get together and talk Disney Cruise Line and Disneyland, and we hope this discussion helps you and … Continue reading "241 A Cabana's portion of topics: Sailing on the Disney Dream and Wonder, and visiting Disneyland"

TSR podcast Episode “Frank Ulbrik” Hosts: Tim Smith and Colin Branch Ep 149 Show introduction and welcome. Tim Notes: 20 year together, Hawaii bound! The Christys and Covid Get over yourselves…. I mean seriously we still live in a world where we can give our opinion or even criticisms. You put stuff out for the public to digest and you Might get back what they think… If you have ever forwarded something or told someone something to upset them you are the problem, please remove yourself I don't need you. Now was it the best drag race coverage, well it was MILES better and that shouldn't go without mentioning. News items Bitty design body and rear wing. Do we need to talk about wing heights or just let it go? DRC rear belted drag tires. CKNP Rodney Centers wins both outlaw and 13.5 at the East coast shootout Chris Gilliland RC Tip Of the Week (brought to you by Colin)   Main Topic:   Frank Ulbrik   Featured Item of the week MaxAmps new V2 graphene brick pack with QS8 connectors, 8 awg wire, 100% pure copper tabs 168.00 custom wrapped for you. Grab your TSR special edition pack at MAXAMPS.COM   Thank you to MaxAmps, MKS Servo, Maclan racing, Graupner USA, CowRC, All you awesome fans, We love you all!

Patrick Christys and Belinda de Lucy join Mike Graham for this week's edition of Plank of the Week. See acast.com/privacy for privacy and opt-out information.

Interview with Prof. Christy Landes (recorded 2020-12-08) Christy Landes is Professor in Chemistry, Electrical, Chemical and Biomolecular Engineering at Rice University. Christys lab investigates the dynamics of chemical and biochemical events down to the single molecule level and develops microscopic models to understand processes on the macroscale such as protein separation and photocatalysis. We talked about her research combining mathematical and signal processing methods with microscopy and super resolution microscopy and how to keep up with the fast progress in science. Landes Research Group at Rice University: http://www.sas.rochester.edu/chm/groups/mccamant/index.php SCIENCE OFF CAMERA PODCAST Anchor: https://anchor.fm/science-off-camera/ Apple Podcast: https://apple.co/2XCqCfz Spotify: https://spoti.fi/3dx1nRn Google: https://bit.ly/2BC5mOw TELEDYNE PRINCETON INSTRUMENTS ONLINE Web: https://www.princetoninstruments.com Twitter: https://www.twitter.com/Princeton_Inst LinkedIn: https://www.linkedin.com/company/princeton-instruments Youtube: https://www.youtube.com/user/princetoninstruments Welcome to Science Off Camera, brought to you by Teledyne Princeton Instruments and Teledyne Photometrics, hosted by Dr. Matthew Kose-Dunn and Sebastian Remi. On this podcast you will find conversations with scientists and industry leaders in scientific imaging and spectroscopy.

After a very dramatic 2020 Dan brings back some of his favourite guests to talk through their highlights and lowlights of the year including columnist Rob Rinder, author of The Madness of Crowds Douglas Murray, editor of Spiked Online Brendan O'Neill, late editor at the i newspaper Benjamin Butterworth, our political panellists Patrick Christys and Dawn Foster, Secretary of State for Housing, Communities and Local Government Robert Jenrick and Strictly Come Dancing judge Shirley Ballas. See acast.com/privacy for privacy and opt-out information.

Dan speaks out on why we should be avoiding a third lockdown at all cost. Minister for COVID Vaccine Deployment, Nahhim Zahawi grants an exclusive interview to talk about the very first COVID vaccines in the world, administered today. Political panellists Dawn Foster and Patrick Christys discuss the 11th hour Brexit talks and director of Reasoned UK Darren Grimes tells us why we'll be fine without a deal. Showbiz correspondent and Boy George stop by to tell us about the challenges of putting on a gig during COVID restrictions. See acast.com/privacy for privacy and opt-out information.

As MPs get ready to vote on new tier restrictions Dan urges them to rebel and vote against them. Reform UK leader Nigel Farage recounts the harrowing story of rescuing two migrants crossing from France, Jacobin journalist Dawn Foster and commentator Patrick Christys pull apart the day's events and director of Reasoned UK, Darren Grimes tells us why a caller to the show yesterday moved him to tears. See acast.com/privacy for privacy and opt-out information.

How to Survive is now on Patreon! Support us at Patreon.com/HowtoSurvivePod It's time for a bonus episode...and I'm Mrs. Voorhees, an old friend of the Christys'! We turned 5 years old back in August and marked it by...doing absolutely nothing! So here we are, 3 months later, revisiting the film that started it all - Friday the 13th (1980). If you didn't know, Friday the 13th tells the story of Camp Crystal Lake, and a group of teenagers who arive to help renovate the camp ahead of its grand re-opening, 30 years after a brutal double murder. What could go wrong? We revisit a classic and ask ourselves, fresh from watching 250 other horror movies, is it any good, does it deserve its reputation (good and bad), and have the intervening years given us any new insights?  All of which leads to one important question: why aren't we cracking on with the films we're supposed to be watching? Whatever happens, one thing's for sure: Guess I always wanted to work with children. I hate when people call them kids. Sounds like little goats. But when you've had a dream as long as I have, you'll do anything. Back next time with our previously scheduled programming with Robert Eggers The Lighthouse (2020). Get in touch! HowtoSurviveShow@gmail.com Follow us on Twitter! @HowToSurvivePod  

Dan wonders if post lockdown the 'strengthened tiers' are just another way of locking us down. Leader of the Reclaim Party Laurence Fox tells us why mandatory vaccines would be a bad thing. There's big debate on the political panel from Patrick Christys and Dawn Foster and director of Reasoned UK, Darren Grimes tells us why the BBC have taken another step to an overly woke agenda and Lizzie Cundy speaks about her friend Eamonn Holmes. See acast.com/privacy for privacy and opt-out information.

As the Welsh government announce that next year's GCSE's and A-Levels will be cancelled Dan looks at the cost to children that the pandemic is having. Welsh Education Minister Kirsty Williams and UsForThem campaigner Molly Kingsley discuss the impact while Director of Reasoned UK Darren Grimes talks about the future of public broadcasting. There's firey debate too from the political panel with Dawn Foster and Patrick Christys See acast.com/privacy for privacy and opt-out information.

Today I chat with Dr. Ann Christys about a long-forgotten war between Vikings and Muslims. Support this podcast by subscribing to https://www.karwansaraypublishers.com/landing/medieval_warfare_thv_d (Medieval Warfare Magazine). P.S. - You can save 10% off of your subscription by using the coupon code ''VIKINGS'' at checkout. Referenced in Today’s Episode: https://amzn.to/3mMhrTC (Vikings in the South: Voyages to Iberia and the Mediterranean) Follow The History of Vikings on https://www.youtube.com/channel/UC0pmAwjsX-qQlVSBGcDbWTQ (YouTube) and https://twitter.com/historyofviking?lang=en (Twitter). Feel free to contact me with any questions, comments, suggestions or inquiries noah@thehistoryofvikings.com Music:https://danheimmusic.com/ ( Danheim – Framganga & Folkvangr)

Madeline Grant and Patrick Christys join Mike Graham for a special podcast edition of Plank of the Week. See acast.com/privacy for privacy and opt-out information.

Esther Krakue and Patrick Christys join Mike Graham for a special podcast edition of Plank of the Week. See acast.com/privacy for privacy and opt-out information.

Dawn Neesom and Patrick Christys join Mike for a special podcast edition of Plank of the Week. See acast.com/privacy for privacy and opt-out information.

Emily Carver and Patrick Christys join Mike Graham for a special podcast edition of Plank of the Week. See acast.com/privacy for privacy and opt-out information.

David Rawlings has just been picked as  finalist for new novel in the Christy's Awards for his novel, The Baggage Handler. And today he is reading the first chapter of that novel just for us!

The Hatworks Museum celebrates the history of Stockport’s once thriving hatting industry which specialised in the production of fur felt hats. We speak with museum officer Bronwen Simpson (who you will recognise from the podcast on her own hat making) and hat works team member Gordon as we explore the displays. There are around 250 hats that can be seen in thematic displays in the museum. There is also an approximately equal but ever-growing number of hats in store, waiting to take their place on display. The museum is based in Wellington Mill a previous home of Christys’, the last local hat factory. Opening on Easter Monday 2000, the display is spread across two levels with ground floor providing an introduction to fur felt hat-making and the second the hat display. Exploring this history of the Stockport area Hat Works explores the mechanisation of the hatting industry. The space also include a recreation of a hat block maker William Plant and Co. of Great Ancoats Street that was based in neighbouring Manchester. Thank you to our current supporters of Millinery.Info – The Essential Hat and Louise Macdonald Milliner We hope you have enjoyed listening to this podcast today. There a few ways in which you can support us to continue to bring milliners making content for milliners. The future of Millinery.Info looks to continue to provide quality industry relevant information and discussions. Your support helps bring more content of this quality. We are working towards growing a larger international coverage through images of millinery events and podcast interviews with leaders within the industry. Donate through Patreon (https://www.patreon.com/millineryinfo)to become a supporter or share this page with a friend via email or on social media.

With the sad news of Betsy Palmer's passing last year, Return to Camp Blood thought we'd never have the opportunity to say “Welcome to the show Ms. Voorhees,” but we were wrong. Friday the 13th has provided many iconic moments to the horror genre, and tonight we have the distinct pleasure of speaking with an

A teacher with a lackluster class of students finally gets the pupil of her dreams, but finds that maybe the two are a little too similar. Written by Caity Honig Directed by Andrew Terrance Kaberline Edited by Chelsea Rugg Theme by Isaac Aaron Jones Art by Jackie Mullen Starring Maddie Calandrillo as Christy Roberts Kallen Prosterman as Tina Trey […]

In this episode we are in Ridgecrest California. We hitched 40 miles the wrong way and ended up at Christys diner. Escaping the bad weather before the sierras we sit down over coffee and discuss Sage, Hitchhiking Tips, Stinky shorts and Vegas. This is a short episode but important because the plan is hatched to blue blaze to Vegas. If you listen closely you will hear primo mention how we are closer to Vegas than the Bay area. Im joined by Fuego, Pippen, Shepherd, Primo and Sunshine. Hope you enjoyed the episode please rate and review the podcast on itunes. 5 star review to be a trail angel...

  We are only a few days away from the premiere of season 30, Survivor Worlds Apart. It can be challenging to recognize the new castaways at the beginning of the season, but we've got a solution for that to enhance your Survivor viewing experience. It's called the JABBIC, "Judge A Book By Its Cover", shows. We get started before the first episode airs and record our early thoughts on this new group of castaways. Through this process, we identify a few of them we think will stand out from the beginning, and it greatly improves the odds of recognizing your early favorites. This is Part 2 of our "Judge a Book by its Cover" show. Fourteen fans, like you, recorded their perspective on the new cast including their choice of favorites, who's most likely to get voted out first, make the merge, have a shot at the final tribal council as well as who has what it takes to win it all. We want to thank and acknowledge everyone who contributed to another great JABBIC show. This week we heard from: Barbara, Jen, BrandonB, Ronda, Samantha, Frank, Drew, BrandonA, Rashmi, Sandi, Jeremiah, Josh, Jody and Paul. Carolyn was so happy for Natalie's win that she created a song to celebrate it. Make sure to check out the outro song she recorded for us all to enjoy! JSFL registration is open! If you would like to join in the fun, click on this link: JSFL Registration and get your picks in before the first episode airs. You'll have to decide who you think will win it all, who will be voted out first, and four castaways that will be safe from the first tribal council. Reminder: you have to listen to the podcast to hear the Listener Reward Bonus questions. We've got several ways you can reach us. You can call and leave a voicemail at 206-350-1547. You can record an audio comment and attach it or just type up a quick text message and send it to us via email at joannandstacyshow@gmail.com. 00:00 Date 00:04 On The Grill by Madsumo 00:42 Introductions 02:42 Barbara from Raleigh, North Carolina 05:50 Jen from California 09:00 BrandonB from Brooklyn, New York 13:40 Ronda from Portland, Oregon 16:36 Samantha from Texas 19:33 Frank from California 20:47 Drew from Utah 24:33 BrandonA from Cleveland, Ohio 28:46 Rashmi from Perth, Australia 33:08 Sandi from Atlanta, Georgia 36:45 Jeremiah from St. Louis, Missouri 39:20 Josh the Plush Moose from Massachusetts 42:26 Jody from Brisbane, Australia 44:25 Paul from Louisiana 48:54 Wrap Up 53:48 Natalie's Song: All About that Rice - Carolyn from the Beautiful Bronx Links for Today's Show Paul's Visual Roster for Survivor Worlds Apart Survivor Fans Podcast Fans group on Facebook Sign up for JSFL SFP on Twitter All About that Rice Because you know it’s all about that rice, ‘bout that rice, no Twinnie It’s all about that rice, ‘bout that rice, no Twinnie It’s all about that rice, ‘bout that rice, no Twinnie "It’s all about that rice." "We know, Jeff!" Loud and shrill and pushy, Such sexist labels Guys are just "assertive", Girls are "unstable". But we just can’t say no to CBS Although this Race stays in just this one place, yawn I hear your mutterings That I’m annoy-oying, But, unlike that Missy, I’m never cloy-oying! Get in the back seat, let me drive you To your palace back in Dallas, time to find a husband new! Soy La Reina de la Playa, the Queen of Hunahpu Beach, ‘Til I found out my sis had been booted, our game impeached But I dried off my tears, did my Crossfit, and made no fuss Now they’re toasting my win from Colombo to Pa-ra-mus! Because you know it’s all about that rice, ‘bout that rice, no Twinnie It’s all about that rice, ‘bout that rice, no Twinnie It’s all about that rice, ‘bout that rice, no Twinnie It’s all about that rice, ‘bout that rice- Subcontinental cool, Don’t you wish that you were all Sri Lankan too? Go Brownie power! Miss America--ya got nothing, Jacklyn, Take your grand plan back to Michigan, I’m famouser than you! I outlasted the Wentworths, the Nale males, and both Christys, I outwitted that racist John and quitter Boobs McGee I outplayed Josh and Reed, used my idol despite Baylor’s pleas, And took out Other Jon in revenge for my Jeremy! Because you know it’s all about that rice, ‘bout that rice, no Twinnie It’s all about that rice, ‘bout that rice, no Twinnie It’s all about that rice, ‘bout that rice, no Twinnie It’s all about that rice, ‘bout that rice- Because you know it’s all about that win, ‘bout that win, go Twinnie It’s all about that win, ‘bout that win, go Twinnie It’s all about that win, ‘bout that win, go Twinnie It’s all about that win, ‘bout that win- Soy La Reina de la Playa, the Queen of Hunahpu Beach, ‘Til I found out my sis had been booted, our game impeached But I dried off my tears, did my Crossfit, and made no fuss Now they’re toasting my win from Colombo to Pa-ra-mus! ********** Colombo is the capitol of Sri Lanka and Paramus is a big mall-infested city in New Jersey that, like so many others there, is a funny name to say. The girls actually live in Edgewater, which is nice but not particularly funny and doesn't rhyme with anything. Carolyn from the Beautiful Bronx Silver Medalist of the JSFL Challenge ********** Contact Info: Voicemail: 206-350-1547 Email: joannandstacyshow@gmail.com Survivor Fans Podcast P.O. Box 2811 Orangevale, CA 95662 Enjoy, Jo Ann and Stacy

This week has 200% more Jeremy and 100% less Christy as Jeremy is joined by Jeremy Henson from the Eureka Podcast to try and fill in Christys shoes (he doesn't look as cute as Christy does in them but does his best).We talk a bit about Jeremys show Eureka Podcast including a brief recap of Jeremys "degenerate" years. Then we delve into what Jeremy nerds out about, including weightlifting, box office numbers, and Jeremy digs in to his own religious background which turns out to be similar to the hosts.  As discussed on the show: Eureka Podcast #66 - Azerbaijani National Anthem and Eureka Podcast #68 - Getting To Know YouDo yourself a favor and go subscribe to the Eureka Podcast and drop them a line online, you can find the show at their website http://eurekapodcast.blogspot.com or in twitter @EurekaPodcast and the hosts Jeremy (@AintNoSwayze) and Craig (@AnAverageGatsby)  Find us: @NerdOutLoudPod on twitter, Facebook.com/NerdOutLoudPod on facebook, www.NerdOutLoudPod.com online, and subscribe (rate and review us please!) on iTunes 

TRIGGER WARNING: WE TALK A LOT ABOUT POOP Here it is, the long awaited poop episode. This week we are joined by Katrina, Christys friend and ex-lover as we learn how her "issues" are effecting her job, how to overcome a fear of public pooping, and even learn how to poop in space. If YOU have a poop story, send it our way and maybe you'll hear it on the show! As mentioned during the break, check out our friends over at the Eureka Podcast (@EurekaPodcast on twitter) Go friend Katrina on facebook: https://www.facebook.com/kalvarez33 Ask us anything on our website: www.NerdOutLoud.com  Call the voicemail line 206-588-5463As always find us online, subscribe and review the show!Twitter | Facebook | www.NerdOutLoudPod.com | iTunes 

Christy "Bullet" Bacon gästar den här veckan BODY Radio för att snacka träning, gladiatorer och basket. Hör Christys vinnarskalle i full blom, medan programledarna får stretcha sina anglosaxiska tungor! Hållpunkter i detta avsnitt 00:11:58 – Veckans gäst introduceras 00:13:20 – Samtal med Christy Bacon 00:54:45 – Eftersnack med värdarna Länkar för detta avsnitt Länk: Christy Bacons hemsida  Video: Bullets Gladiatorpresentation