Podcasts about if i had

Send us a textDrummer Seven Antonopoulos takes us on a powerful journey from his unconventional childhood on the road to touring the world with acts like Vanilla Ice, Opiate for the Masses, and Channel Zero, revealing how music literally saved his life during his darkest moments.• Growing up on the road with a professional poker-playing father exposed Seven to diverse music like Boz Scaggs' “Lido Shuffle”• Discovering Black Sabbath at age nine provided crucial emotional support during a time of hidden childhood trauma• Metal and hip-hop crossover music like Anthrax and Public Enemy's "Bring the Noise" influenced Seven's drumming style and career path• Stevie Nicks' "Edge of Seventeen" intervened during a moment of suicidal crisis after losing his friend and watching his mother's health decline• Psychedelic experiences with ayahuasca, soundtracked by Fever Ray's "If I Had a Heart," helped process decades of unresolved trauma• Returning to Texas following his divorce just before the pandemic lockdowns led to healing and self-reflection with Billie Eilish's “Everything I Wanted”Whether you're a music lover, drummer, or someone navigating your own challenging journey, Seven's story reminds us that our most meaningful connections to songs often come precisely when we need them most, not just as comfort but as guides to process our deepest pain and find our way forward.Follow Seven on YouTube and Instagram and check out Channel Zero WHO WE AREDAVID: Creator & Host @ALifeinSixSongsFacilitator & Educator | Music-Based Healing | Musician | Curiosity with Loving KindnessCAROLINA: Co-Host @ALifeinSixSongsStoryteller | Professional FacilitatorRAZA: Co-Host @ALifeinSixSongsLawyer | Producer | Solo Project: Solamente | @razaismynameRESOURCES & LINKSLiked songs from this life story? Check out A Life in Six Songs playlist on Apple Music and SpotifyFollow A Life in Six Songs on Instagram, LinkedIn, and YouTubeAre you a veteran who is struggling? Call the Veterans Crisis Line: Dial 988, then press 1.Having thoughts of suicide? Get Help Here Support our work!Subscribe to our YouTube channel Don't keep us all to yourself! Share our podcast with your people!Reach out to us at alifeinsixsongspodcast@gmail.comSupport the showCopyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commentary, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit or educational use tips the balance in favor of fair use. The original work played in this video has been significantly transformed for the purpose of commentary, criticism, and education.

--{ "Puppets, Pearls, and Palaver -- If I Had a Rocket Launcher"}-- South African refugees arrive in the US - Two Israeli embassy staffers killed, shooter cries "Free Palestine" - Elias Rodriguez' 'Manifesto' - Alan Watt's blurb from Feb. 1, 2007 - Richard Perle's Speech to Students at the Oxford Union - June 2006, regarding Middle East Military Agenda, Pre-Emptive Strikes, North Korea - Iran - Syria, Project for a New American Century - Israel and Palestine, Pope Benedict XVI - Tony Blair - George Bush, Terrorism, Pakistan, Ahmadinejad, Religious Fundamentalism, Playing All Sides from the Top, Leaders - Mobs - Chaos - Solutions, British Israel Movement, Reinterpreting Revelations, Lebanon, Highland Clearances of Scotland, Esoteric Religion of the Elite, Exoteric Mass Followers, Albert Pike - "Morals and Dogma - " Xerxes, Education of a Pharaoh, Roman Looting, Chicken Wings of Democracy - Royal Institute of International Affairs - Great Builder's Business Plan, Elite Gangsterism, Conceptual Money - God and the Name of God, Use of Tribal Psychology in Warfare - Chemical Experimentation on Military Troops - Conformity vs Risk-Taking, Empathy for Others. (Song: "Everybody Wants to Rule the World" by Tears For Fears, "If I Had a Rocket Launcher" by Bruce Cockburn)

If I Had to Scale My Business FAST in 2025 – These Are the 6 CEO Habits I'd Master Immediately These aren't just “nice-to-haves.” These are the exact strategies I've used to scale multiple businesses to 7 and 8 figures in annual revenue. In this video, I'm breaking down the 6 CEO habits that will help you work smarter, scale faster, and stay profitable in 2025 and beyond. If you're serious about stepping into your CEO role and accelerating your business growth, don't miss this.

This episode we cover Loser Takes All, Lost in Las Vegas, If I Had a Hammer, and Judgement Day.Follow us on Instagram and Twitter @thetvdeepdive. Check out our Patreon: patreon.com/TheTVDeepDiveEmail us at thetvdeepdive@gmail.com with any comments or suggestions!

In this Q&A episode, I break down common fat loss and training myths—like whether you really need to lift heavy to “tone up” and whether pre-workouts are worth the hype. I also answer questions about full-body vs. split workouts, recovering well, and how to feel more confident in the gym.Here's what else I speak about:✅ What matters more for fat loss—diet or movement?✅ Is eating the same meals every day okay?✅ Bare minimum fitness strategy for people with busy jobs✅ How to spot the difference between a plateau and just needing patience✅ How I'd help someone intimidated by the gym environment Sign up To Become A 1-1 Online Fitness MemberBuy My Book, 'Your Fat Loss Journey Starts Here'Sign up For My Free 14-Day Fat Loss Kick-StarterMy InstagramMy ThreadsMy YouTube channelFree Fitness Guides Timestamps:00:11 Intro – Answering Your Fat Loss & Lifestyle Questions00:27 Do You Have to Lift Heavy to Tone Up?02:03 What Matters More for Fat Loss: Diet or Movement?03:39 A Normal Thing I Irrationally Hate04:56 Is It Okay to Eat the Same Meals Every Day?07:01 How to Know If You're Recovering Well Between Workouts08:37 If I Had to Delete One App Forever…10:36 Full-Body Workouts vs Splits – Which Is Right for You?12:00 How to Help Someone Who Feels Intimidated by the Gym14:28 A Weird Food Combo That Works15:44 Are Pre-Workout Supplements Worth It or Overhyped?17:39 The Bare Minimum for Progress with a Busy Schedule19:32 Something Small I Did Recently That Made My Day Better21:25 The Difference Between a Plateau and Needing More Patience22:26 Where I'd Go for a One-Month Digital Detox23:44 One Thing I Wish More People Knew About Fat Loss25:59 Final Thoughts & Takeaways

In this Q&A episode, I tackle some of your most common fitness and mindset challenges—from what to do when you've lost motivation to how to tell if you're doing too much cardio and why you're not seeing results despite working out and eating “pretty well.”You'll also learn:✅ How to handle evening cravings without derailing progress✅ The difference between training for aesthetics vs performance✅ What your workouts should look like if you can only train twice per week✅ Whether intensity techniques like drop sets and rest-pause sets are worth your time✅ And how important tempo is in resistance trainingPlus, I share personal takes on comfort shows, forgotten hobbies, underrated recovery tips, and a city I'd live in for life. Sign up To Become A 1-1 Online Fitness MemberBuy My Book, 'Your Fat Loss Journey Starts Here'Sign up For My Free 14-Day Fat Loss Kick-StarterMy InstagramMy ThreadsMy YouTube channelFree Fitness Guides Timestamps:00:11 Intro – Answering Your Fitness, Nutrition & Lifestyle Questions00:25 What to Do If You've Lost Motivation But Still Want to Reach Your Goals01:31 How to Handle Evening Cravings Without Derailing Progress03:09 A Hobby I Used to Love But Don't Do Anymore04:51 How to Tell If You're Doing Too Much Cardio for Your Goals06:39 Training for Aesthetics vs Performance – What's the Difference?07:45 My Current Go-To Comfort Show, Movie, or Game08:38 Best Workout Structure If You Can Only Train Twice a Week10:46 Does the 80/20 Eating Approach Work?12:17 A Random Piece of Advice That Stuck With Me for Years14:10 Rest-Pause Sets, Drop Sets & Other Intensity Techniques – Worth It?15:54 How Important Is Tempo in Resistance Training?17:22 If I Had to Live Somewhere Other Than Lisbon, It Would Be…19:44 A Recovery Method People Focus Too Much On (And What Matters More)21:11 Something I Enjoy Now That Younger Me Would Have Found Boring22:34 What to Do If You're Working Out, Eating “Pretty Well,” But Seeing No Progress26:03 Final Takeaways & Closing Thoughts

「孩子別怕，我們陪著你長大！」在社會角落，仍有許多發展遲緩兒童，未能及時接受療育服務。伊甸基金會公益大使李洋、林郁婷，邀您響應「弱勢兒童服務計畫」，一起看見他們的需要，用勇氣抱抱給慢飛天使長大力量！ https://fstry.pse.is/7ewqkd —— 以上為 Firstory Podcast 廣告 —— 本集來賓： Zoey 易被詐騙體質／心臟停止40分鐘／起死回生 「她心跳停了40分鐘，還好神明不收她。」 此單集結合清明節和愚人節的故事，非常好聽！

In this Q&A episode, I answer your questions about weight loss, muscle gain, motivation, and consistency.Some of the key topics in this episode:✅ How much sleep actually impacts fat loss and muscle growth✅ The truth about losing belly fat✅ Can you really build muscle with resistance bands?✅ Why tracking steps matters more than you think✅ How to deal with hunger in a calorie deficitPlus, I answer some fun lifestyle questions like a childhood memory that still makes me laugh, what I'd do with a time machine, and a random topic I could talk about for hours that has nothing to do with fitness. Sign up To Become A 1-1 Online Fitness MemberBuy My Book, 'Your Fat Loss Journey Starts Here'Sign-up For My Free 14-Day Fat Loss Kick-StarterMy InstagramMy XMy ThreadsMy YouTube channelFree Fitness Guides 00:11 Introduction – Your Questions, My Answers02:01 Advice for People Who Keep Restarting Their Fitness Journeys03:48 How Much Sleep Affects Fat Loss & Muscle Gain07:14 A Childhood Memory That Still Makes Me Laugh09:03 What to Focus On If You Want to Lose Belly Fat10:40 How Important Is Tracking Steps for Fat Loss?13:20 If I Had a Time Machine, Where Would I Go First?15:15 Fitness Advice That's Technically True but Misunderstood17:39 Can You Build Strength & Muscle with Resistance Bands Alone?20:26 A Random Topic I Could Talk About for Hours23:13 How to Manage Hunger While in a Calorie Deficit24:31 Final Thoughts & Takeaways

桃園市府於兒童節連假期間邀請親子家庭出門走走，開箱七座全新「P@RK園宇宙」特色公園、14家觀光工廠、5家食品品牌4月到觀光工廠參加限定活動，帶「桃園好『ㄅㄠ∨』包」回家(桃園購物商業消費系列活動)。 https://fstry.pse.is/7cpr5k —— 以上為 Firstory Podcast 廣告 —— 本集來賓： 文欽、藏鏡人（辰辰） 師大創業課／爆改老屋／餐車改造 「才師大二年級的他們，一開始只是想改房子，沒想到改到整個人生。」 Instagram：https://reurl.cc/0K2Gyx @Threads：https://reurl.cc/j9k2OD TikTok：https://reurl.cc/OYpgeD LINE社群：https://reurl.cc/7KeGDN

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Tennessee Whiskey by Chris Stapleton (2015)Song 1: Freeze Time by 311 (1999)Song 2: Welcome to Jamrock by Damian Marley (2005)Song 3: Boots of Spanish Leather by Bob Dylan (1964)Song 4: Pass the Wine (Sophia Loren) by The Rolling Stones (1972/2010)Song 5: Cantaloupe Island by Herbie Hancock (1964)Song 6: New Madrid by Uncle Tupelo (1993)Song 7: Don't Make Me Wait by Sting & Shaggy (2018)Song 8: Around the World by Daft Punk (1997)Song 9: King of Spain by The Tallest Man on Earth (2010)Song 10: If I Had a Tail by Queens of the Stone Age (2013)

This episode begins with Pärt's “Hymn to a Great City.” (That would be New York.) Elsewhere, there are songs, setting Langston Hughes and Mark Van Doren. Oscar Peterson plays a pop song, adding various musical ingredients. Finally, there is a tribute to Edith Mathis, the Swiss soprano, who has died at eighty-seven. Much to listen to, and maybe even think about. Pärt, “Hymn to a Great City” Wheeler, “If I Had a Wife” Tchaikovsky/Wild, Pas de quatre (“Dance of the Cygnets”) from “Swan Lake” Bonds, “The Negro Speaks of Rivers” Prokofiev, Sonata for Solo Violin Modugno, “Volare” Wood & Mellin, “My One and Only Love” Bach, “Alleluja” from “Jauchzet Gott in allen Landen”

Hold onto your wine glasses, folks; this episode is a roller coaster of laughs, heart warming tales, and high-flying business ventures! I welcomed back Andrew Fishwick, CEO of Hestia and an irrepressible entrepreneur with a penchant for fun and "pulling wool over everyone's eyes"—literally (Read on)!

In this episode of PhotoWork with Sasha Wolf, Sasha closes out the year with photographer Keisha Scarville. Keisha and Sasha talk about her book, lick of tongue rub of finger on soft wound (MACK), and Keisha's personal and unique use of archival imagery. Keisha and Sasha also discuss the ways in which Keisha has moved away from thinking of projects as discreet bodies of work, choosing instead, a much more holistic approach. https://keishascarville.com/home.html ||| https://www.mackbooks.us/products/lick-of-tongue-rub-of-finger-on-soft-wound-br-keisha-scarville Keisha Scarville (b. Brooklyn, NY; lives Brooklyn, NY) weaves together themes dealing with loss, latencies and the elusive body. Her work has been widely exhibited, including the Studio Museum of Harlem, Huxley-Parlour in London, ICA Philadelphia, Contact Gallery in Toronto, The Caribbean Cultural Center, Lightwork, The Brooklyn Museum of Art, and Higher Pictures. Recent group exhibitions include The Rose at the lumber room, Portland, Oregon (curated by Justine Kurland); If I Had a Hammer - Fotofest Biennial, Houston (2022); and All of Them Witches, Jeffrey Deitch, Los Angeles (2020, curated by Dan Nadel and Laurie Simmons). Her work is held in the collections of the Smithsonian Museum of American Art, Yale University Art Gallery, the George Eastman House, Denver Museum of Art, and the Detroit Institute of Arts. She has participated in residencies at Lightwork, Lower Manhattan Cultural Council, WOPHA, Baxter Street CCNY, and Skowhegan School of Painting and Sculpture. In addition, her work has appeared in publications including Vice, Small Axe, and The New York Times where her work has also received critical review. She is a recipient of the 2023 Creator Lab Photo Fund and awarded the inaugural Saltzman Prize in Photography earlier this year. She is currently a Visiting Professor in the Department of Art, Film, and Visual Studies at Harvard University and a faculty member at Parsons School of Design in New York. Her first book, lick of tongue rub of finger on soft wound, was published by MACK and shortlisted in the 2023 Aperture/Paris Photobook Awards. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Follow us on Instagram and Twitter @thetvdeepdive. Check out our Patreon: patreon.com/TheTVDeepDiveEmail us at thetvdeepdive@gmail.com with any comments or suggestions!In honor of American Thanksgiving we are doing another Thanksgiving episode this year!These are the Thanksgiving episodes we discussed this episode.The West Wing:Season 2, Episode 8: ShibbolethSeason 3, Episode 8: The Indians in the LobbySeason 4, Episode 10: Arctic RadarHigh School Musical: The Musical: The Series: Season 1, Episode 7: ThanksgivingThe Fresh Prince of Bel-Air:Season 1, Episode 12: Talking TurkeyGrey's Anatomy:Season 2, Episode 9: Thanks for the MemoriesHart of Dixie:Season 1, Episode 9: The Pirate and the PracticeNew Girl:Season 1, Episode 6: ThanksgivingHappy Endings:Season 3, Episode 4: More Like StanksgivingBrooklyn Nine-Nine:Season 2, Episode 7: LockdownSeason 4, Episode 7: Mr. SantiagoLife Unexpected:Season 2, Episode 10: Thanks UngivenBeverly Hills, 90210:Season 3, Episode 15: The Kindness of StrangersSeason 4, Episode 12: Radar LoveSeason 7, Episode 11: If I Had a HammerSeason 10, Episode 10: What's in a NameGossip Girl:Season 2, Episode 11: The Magnificent ArchibaldsSeason 6, Episode 8: It's Really ComplicatedFriends:Season 10, Episode 8: The One with the Late ThanksgivingDawson's Creek: Season 3, Episode 8: Guess Who's Coming to DinnerSchitt's Creek: Season 1, Episode 7: Turkey Shoot

Subscriber-only episodeHave you ever been confidently wrong about something as simple as the artist behind a song? I certainly have, mistaking Madonna for Cindy Lauper during a car ride filled with laughter. This moment got me thinking: what about the bigger misconceptions we hold, like what we'd do with a million dollars? Most of us were raised to save every penny, convinced it's the ultimate goal. But what if I told you that envisioning how you'd spend a million bucks could actually unlock your deepest desires and tie them to your business profits? Let's challenge the old habit of saving for a rainy day and, instead, dream big. Imagine a villa in Italy or covering your children's college tuition in full. This episode isn't just about numbers; it's about crafting a financial vision board that truly reflects your aspirations. Grab a piece of paper, and let's explore what your million-dollar dreams look like. Oh, and if you happen to know who sings "If I Had a Million Dollars," send me a message on Instagram—I'm hilariously hopeless with song titles!

Noel Paul Stookey is a legendary figure in American folk music. As one-third of the iconic trio Peter, Paul, and Mary, Noel helped shape the soundtrack of the 1960s, delivering timeless hits like "Puff, the Magic Dragon" and "If I Had a Hammer." Beyond the trio, his solo career has been equally impactful, notably with "The Wedding Song (There Is Love)," a piece that has become a staple at countless ceremonies worldwide. In recent years, Noel has continued to innovate. His latest projects include "Neworld Sampler," a collection featuring collaborations with fellow artists, and "Fazz: Now & Then," an album blending folk and jazz elements—a style he's been cultivating for decades. In this episode, Noel also talks with us about the process of working on his memoir, which offers an intimate look into his life, music, and the social justice commitments that have defined his career. Join us as we delve into Noel's rich musical journey, his recent creative endeavors, and the stories behind the songs that have touched generations. Enjoying the show? Please leave us a 5-star review on Apple Podcasts, Goodpods, or Spotify! Connect with us on Facebook and X (Twitter). For the stories behind the songs, go to Songfacts.com. Proud member of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Noel Paul Stookey is a legendary figure in American folk music. As one-third of the iconic trio Peter, Paul, and Mary, Noel helped shape the soundtrack of the 1960s, delivering timeless hits like "Puff, the Magic Dragon" and "If I Had a Hammer." Beyond the trio, his solo career has been equally impactful, notably with "The Wedding Song (There Is Love)," a piece that has become a staple at countless ceremonies worldwide. In recent years, Noel has continued to innovate. His latest projects include "Neworld Sampler," a collection featuring collaborations with fellow artists, and "Fazz: Now & Then," an album blending folk and jazz elements—a style he's been cultivating for decades. In this episode, Noel also talks with us about the process of working on his memoir, which offers an intimate look into his life, music, and the social justice commitments that have defined his career. Join us as we delve into Noel's rich musical journey, his recent creative endeavors, and the stories behind the songs that have touched generations. Enjoying the show? Please leave us a 5-star review on Apple Podcasts, Goodpods, or Spotify! Connect with us on Facebook and X (Twitter). For the stories behind the songs, go to Songfacts.com. Proud member of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're thrilled to welcome Noel Paul Stookey, legendary musician and social activist best known as part of the iconic folk trio Peter, Paul, and Mary—creators of such classic songs like “If I Had a Hammer,” “Blowin' in the Wind,” and “Puff the Magic Dragon.” For over six decades, Stookey has stood as a beacon of resilience and optimism, using his music and his philosophy of “Big Love” to inspire hope and unity. Chapters 00:00 – Intro and Welcome 02:50 – Reflections on Goodness and Influence 05:08 – The 1963 March and Music's Social Power 10:28 – Is Folk Music Evolving? 13:34 – Revolution and Making Change One by One 16:54 – Serendipity and Connection 18:50 – Music to Life: Social Change Through Music 23:15 – Concerts and Community 30:07 – Break 32:23 – The Dimpled White Orb 35:00 – Big Love and Compassionate Connection 42:40 – Encouraging Optimism and Avoiding Blame 50:40 – Fear vs. Hate in a Divisive World 55:15 – Final Remarks 57:00 – Closing

Another Faire to Remember is our 10th full-length, studio album. We are now funding the album on Kickstarter. Click here to make a pledge. In 2001, we released our fourth album. A Faire to Remember was a tribute to our love of Renaissance festivals. It featured our pick of the Top 10 most-popular Renaissance festivals that we had seen in the two years since we started playing music. Then it had some other found favorites like "Do Virgins Taste Better Medley", "Irish Ballad", "A Fairy Story", Monty Python's "Always Looking on the Bright Side of Life", plus our hit song, "If I Had a Million Ducats.". The album was a smashing success. A years after it's release, my step-mom was at a party talking with someone. She mentioned me and said I played with the Brobdingnagian Bards. They person responded, "Brobdingnagian Bards?! They're legendary!" I don't know about that. But the album was a big part of our success. It includes a bunch of our early-on, most-popular songs. Another Faire to Remember is a continuation of that triumphant album. We're recording it 23 years after that hit album. But we're not just making a B-side. Instead, we're showing our growth as musicians and as songwriters. You will hear several traditional songs on the album, but you'll also hear our songwriting. We are actively making new music for the Renaissance festival community. That's what this Another Faire to Remember is ultimately about. It's about sharing new songs that are inspired by our love Ren Faires. This album is for Rennies.  You will love the music. But it's not just about loving the music. It's about learning the songs and singing along. That's why many supporters of the Kickstarter will get a songbook to go with the album featuring lyrics and chords for all of the songs played on the CD. Speaking of CDs... [You have Cdeeeees] The goal of our Kickstarter is to raise funds to print physical copies of CDs and our Album Pins.  Will you help in that endeavor? Make a pledge right now. Thank you for all your support!

In this insightful interview, serial entrepreneur Sanjay Mehta shares his 35-year journey in the digital landscape. From launching one of India's first e-commerce startups to advising on AI-driven transformations, Mehta offers valuable lessons on adaptability, customer experience, and the critical role of mentorship in entrepreneurial success. He discusses common pitfalls in digital transformation, and the impact of company culture, and provides a glimpse into his book "If I Had to Do It Again," a testament to his roller-coaster ride in the tech industry. 00:33- About Sanjay Mehta Sanjay is a serial entrepreneur.  He's a board member, and he's a digital technology professional.  He's also a mentor to startups and students, an investor, a strategic advisor, and a consultant. He is the co-author of the book- If I Had To Do It Again. --- Support this podcast: https://podcasters.spotify.com/pod/show/tbcy/support

The Garden visits Mt. Olympus and the Greek world with our sometimes cohost, Cee the Superior, and New York Times bestseller, George O'Connor. Disclaimer: The show did not get a proper ending as I lost internet, but the vast majority of the topic was covered. The better news is George has agreed to come on again and we'll visit some of your favorites and mine.George O'Connor is an author, illustrator and cartoonist. Above all, George is a Greek mythology buff and a classic superhero comics fan, and he's out to remind us how much our pantheon of superheroes (Superman, Batman, the X-Men, etc) owes to mankind's original superheroes: the Greek pantheon. Now he has brought his attention to OLYMPIANS, an ongoing series retelling the classic Greek myths in comics form.​In his New York Times bestselling Olympians series, O'Connor draws from primary documents to reconstruct and retell classic Greek myths. But these stories aren't sedate, scholarly works. They're action-packed, fast-paced, high-drama adventures, with monsters, romance, and not a few huge explosions. O'Connor's vibrant, kinetic art brings ancient tales to undeniable life, in a perfect fusion of super-hero aesthetics and ancient Greek mythology. George's first graphic novel, Journey Into Mohawk Country, used as its sole text the actual historical journal of the seventeenth-century Dutch trader Harmen Meyndertsz van den Bogaert, and told the true story of how New York almost wasn't. He followed that up with Ball Peen Hammer, the first graphic novel written by playwright Adam Rapp, a dark, dystopian view of a society's collapse. In addition to his graphic novel career, O'Connor has published several children's picture books, including the New York Times best-selling Kapow!, Sally and the Some-Thing, If I Had a Raptor and If I Had a Triceratops. George lives in Brooklyn, NY with five terrible cats and one Olympian goddess.

Soplan fuertes los vientos del Descontento.Dinero, ambición de poder desbocada , el engaño, la corrupción generalizada.... Canciones como “Sixteen Tons”, del minero atrapado entre la dura carga y la compañía que le endeuda o “If I Had a Hammer”, con lo que se desearía acabar, en la BSO para recordar que la historia se repite “La Marseillaise” que condujo a Maria Antonieta a la guillotina,” La Hoguera” el humor de Krahe en cuanto a correctivos o "Sólo por Miedo” , sobre la inacción que nos condena. Quien siembra vientos, recoge tempestades. eso también. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Soplan fuertes los vientos del Descontento.Dinero, ambición de poder desbocada , el engaño, la corrupción generalizada.... Canciones como “Sixteen Tons”, del minero atrapado entre la dura carga y la compañía que le endeuda o “If I Had a Hammer”, con lo que se desearía acabar, en la BSO para recordar que la historia se repite “La Marseillaise” que condujo a Maria Antonieta a la guillotina,” La Hoguera” el humor de Krahe en cuanto a correctivos o "Sólo por Miedo” , sobre la inacción que nos condena. Quien siembra vientos, recoge tempestades. eso también. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Listen to today's Laugh Again with Phil Callaway, "If I Had a Dime." Enjoy!

If I Had a 2.5 GPA, This Is How I Would Get Into a T14 Law School Free Easy LSAT Cheat Sheet: https://bit.ly/easylsat Book A Call: https://form.typeform.com/to/Et1l5Dg6 LSAT Unplugged Courses: http://www.lsatunplugged.com Unlimited Application Essay Editing: https://www.lsatunplugged.com/law-school-admissions Unplugged Prep: http://www.unpluggedprep.com/ Get my book for only $4.99: https://www.lsatmasterybook.com LSAT Unplugged Podcast: https://podcasts.apple.com/us/podcast/lsat-unplugged/id1450308309?mt=2 LSAT Unplugged Instagram: https://www.instagram.com/lsatunplugged/ LSAT Unplugged TikTok: https://www.tiktok.com/@lsatunplugged LSAT Coaching YouTube Playlist: https://www.youtube.com/playlist?list=PLgOHAiSs08EbD-kfDFqIEoMC_hzQrH-J5 Law School Admissions Coaching YouTube Playlist: https://www.youtube.com/playlist?list=PLgOHAiSs08EbsqveKs_RZEy2sqqbz3HUL Subscribe: https://www.youtube.com/user/LSATBlog/?sub_confirmation=1 ***

If I Had a 2.5 GPA, This Is How I Would Get Into a T14 Law School Free Easy LSAT Cheat Sheet: https://bit.ly/easylsat Book A Call: https://form.typeform.com/to/Et1l5Dg6 LSAT Unplugged Courses: http://www.lsatunplugged.com Unlimited Application Essay Editing: https://www.lsatunplugged.com/law-school-admissions Unplugged Prep: http://www.unpluggedprep.com/ Get my book for only $4.99: https://www.lsatmasterybook.com LSAT Unplugged Podcast: https://podcasts.apple.com/us/podcast/lsat-unplugged/id1450308309?mt=2 LSAT Unplugged Instagram: https://www.instagram.com/lsatunplugged/ LSAT Unplugged TikTok: https://www.tiktok.com/@lsatunplugged LSAT Coaching YouTube Playlist: https://www.youtube.com/playlist?list=PLgOHAiSs08EbD-kfDFqIEoMC_hzQrH-J5 Law School Admissions Coaching YouTube Playlist: https://www.youtube.com/playlist?list=PLgOHAiSs08EbsqveKs_RZEy2sqqbz3HUL Subscribe: https://www.youtube.com/user/LSATBlog/?sub_confirmation=1 ***

THE DOOMED AND STONED SHOW ~Season 10, Episode 9~ Here we are with another incredibly packed edition of The Doomed and Stoned Show, featuring commentary on the May 2024 edition of the Doom Charts (https://doomcharts.com) with Billy Goate (Editor, Doomed & Stoned), John Gist (Vegas Rock Revolution), and Bucky Brown (The Ripple Effect) -- all voting members of the Doom Charts crew. Ahead of the release of the June chart, we take a look at May's, which has some incredible new discoveries and the return of old faces. Become a monthly Patron to get access to the show early, including an archive of 10 seasons of the show and much more, including show notes and an unedited, uncensored video of the podcast (with pre-show, breaks, and post-show): https://patreon.com/doomedandstoned. If you dig the music, please support the bands by buying their records and merch! PLAYLIST: INTRO (00:00) 1. MOOCH (#14) - "Hangtime" (00:31) HOST SEGMENT I (04:26) 2. DAILY THOMPSON (#18) - "I'm Free Tonight" (23:20) 3. YOUNG ACID (#21) - "Woodshed Blues" (29:18) 4. JUKE COVE (#20) - "Wait" (33:02) HOST SEGMENT II (39:39) 5. TRANSONIC SCIENCE (#33) - "Jaycoon" (53:52) 6. ISAAK (#34) - "The Whale" (58:25) 7. SPACESLUG (#24) - "Out of Water" (1:02:54) HOST SEGMENT III (1:08:43) 8. THE HAZYTONES (#10) - "Eye For An Eye" (1:24:22) 9. HUANASTONE (#9) - "If I Had a Head" (1:28:51) 10. BAARDVADER (#8) - "Save Ourselves" (1:34:47) HOST SEGMENT IV (1:41:36) 11. THE WATCHERS (#7) - "They Have No God" (2:03:26) 12. UFOMAMMUT (#6) - "Leeched" (2:08:33) 13. PALLBEARER (#5) - "Mind Burns Alive" (2:14:11) HOST SEGMENT V (2:22:08) 14. GJENFERD (#4) - "High Octane" (2:48:44) 15. ABRAMS (#3) - "Death Om" (2:52:36) 16. HIGH DESERT QUEEN (#2) - "Ancient Aliens" (2:57:08) 17. BLACK PYRAMID (#1) - "They Crypt on the Borderland" (3:02:32) OUTRO (3:10:43) BONUS TRACKS: 18. DOPETHRONE (#19) - "Life Kills You" (3:11:51) 19. KALGON (#17) - "Eye of the Needle" (3:15:21) 20. MY DILIGENCE (#37) - "Auspicious" (3:23:00) 21. VITSKAR SUDEN (#12) - "R'lyeh" (3:28:44) 22. APE VERMIN (#29) - "Return to Andromeda" (3:33:13) CREDITS: Theme Song: Dylan Tucker Thumbnail Art: Huanastone

What is a ducat anyway? Brobdingnagian Bards talk about their Barenaked Ladies parody of "If I Had a Million Dollars". Plus, you'll enjoy the Worst version of the song EVER in this episode. It's all on the Brobdingnagian Bards Podcast #82 0:02 - HOW LONG IS A BROBDINGNAGIAN MINUTE? Brobdingnagian Bards are The Original Celtic Renaissance music duo. A Bard by any other name… would have a shorter name. 1:01 - THANK YOU NAGIANS! We run our own record label. It is funded through the generosity of our Nagians on Patreon. Your kind support pays our bills, allows us to promote our music, and of course, it puts money in our pockets so that we can keep creating music and podcasts and more, just for you. For as little as $5 per month, you get bonus behind-the-scenes podcasts, videos, and bootleg concert recordings. This is just for Patrons. Join the Nagians Only Club right now! 1:46 - UPCOMING SHOWS Brobdingnagian Bards AUG 29-SEP 2: Dragon Con, Atlanta, GA Marc Gunn JUNE 22: Nerdy Wonderland at The Lost Druid, Avondale Estates, GA JUL 27: The Lost Druid Brewery, Avondale Estates, GA @ 6:30-9:30 PM AUG 1-4: Gen Con, Indianapolis, IN Andrew McKee JUN 15th - JUN 23rd: North Dakota Renaissance Faire, Fargo, ND AUG 1-4: Gen Con, Indianapolis, IN with Bards at Comedy Music Cabaret 5:25 - ABOUT THE SONG: If I Had A Million Ducats Origin Story of Brobdingnagian Bards: We Made Lemonade A Million Million Ducats 22:49 - Brobdingnagian Bards “If I Had A Million Ducats - THE Worst Ever” from A Million Million Ducats 26:05 - FAIRE MEMORIES First Renaissance festival? 30:30 - NEXT TIME: Bards Bootleg Concert 30:53 - CLOSING Brobdingnagian Bards Podcast was produced by Marc Gunn and Andrew McKee. Sign up to our mailing list to download free MP3s and get monthly updates of what's new. Find it all at thebards.net

Join us every week as Patty Wilson & Scott Cowarttalk passionately about the ever changing real estate market!It's House Talk with a Happy Ending! www.jointhebrokerage.com Music by: 9-5 - Dolly PartonGood Day - Nappy RootsFall - Clay WalkerLet it Die - Ellie GouldingHappier Than Ever - Kelly ClarksonIf I Had a Hammer - Johnny Cash, June Carter CashStomp! - Single Version - The Brothers JohnsonRamblin' Man - Allman Brothers Band  Find more episodes on:www.pattysplayhouse.com If you want to search for a home in Tallahassee, www.PattyandScott.comPatty's Playhouse we talk about real estate and life in the small southern town. The conversations are consumer driven inviting entrepreneurs, real estate professionals and interesting people who make up our world of real estate. We talk real estate with some interesting and fun facts... Its like house porn! We talk lifestyle, staging tips, home buying selling and investing... all with a happy ending...   House Talk with a Happy Ending... Each & Every Time! Get bonus content on Patreon Become a member at https://plus.acast.com/s/pattysplayhouse https://plus.acast.com/s/pattysplayhouse. Hosted on Acast. See acast.com/privacy for more information.

BONUS EPISODE: Places, please! It's time to take your seats for THE STORY SONG PODCAST presents: Jukebox Musical! In this premiere episode, your hosts are joined by special guest, Michele Laikowski to devise a musical based on the most popular songs of Canadian alternative rock band Barenaked Ladies. You've heard us tell the story of the songs that tell a story. Now hear us tell a story WITH the songs. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Instagram (storysongpodcast), and Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. THE STORY SONG PODCAST is a member of the Pantheon Podcast Network. “Brian Wilson,” “If I Had $1000000,” and “What a Good Boy” by Barenaked Ladies (from the album Gordon) are available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. “The Old Apartment” by Barenaked Ladies (from the album Born on a Pirate Ship) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. “One Week” and “It's All Been Done” by Barenaked Ladies (from the album Stunt) are available on Apple Music, YouTube Music, Amazon Music, Pandora, Spotify, or wherever you listen to music. “Pinch Me” by Barenaked Ladies (from the album Maroon) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. “Odds Are” by Barenaked Ladies (from the album Grinning Streak) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. Since we are in the midst of tax season, all the songs this week are about money and wealth. On today's episode, Andy Atherton is watching, “If I Had $1,000,000” by Barenaked Ladies from 1988. The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=LHacDYj8KZM

If I Had to Start My Health Business Over in 2024, What Would I Do? In today's episode Will goes into detail around the 6 main elements he would focus on to start a new online health and fitness coaching business this year. He touches on: 1. Offers 2. Funnels 3. Assets 4. Day-to-day 5. Sales 6. Mindset Hope you enjoyed this episode, might be one you want to re-listen to. See you on the next one.

We talk about being "scareoused."  Contains references to "If I Had a Million Dollars" by the Bare Naked Ladies and "Futurama" Email us junkconisr@gmail.com or on the Book of Faces at facebook.com/junkconisr/

Here's a reboot of a fan favorite: Noel Paul Stookey, the Paul of Peter, Paul & Mary. He not only rode the folk wave of the early 1960s with such indelible songs like "Puff the Magic Dragon," "If I Had a Hammer" and helping popularize a young Minnesotan bard who went by the stage name of Bob Dylan, but helped created it. He shares the iconic trio's origin story as well as his own, and the many memories of a life, well lived, in music. Peter, Paul & Mary's long, legendary career was cut short with Mary Travers' tragic death in 2009, but their place in the cultural zeitgeist is eternal. Noel, a part-time Ojai resident, joins us to talk about his new album, "Fazz: Now & Then" and to reflect on the experience of collaborating with fellow musicians during the pandemic to create this nuanced, wide-ranging collection of 20 original songs with talented musicians such as Kent Palmer, Paul Winter, Paul Sullivan, David LaPlante and Edward Mottau. Fazz, as Noel explains, was christened by Paul Desmond of the Dave Brubeck Quartet to explain Peter, Paul & Mary's distinct fusion of jazz and folk. Noel picks up the resident Ojai podcast guitar (be still, my heart) to explain the shadings of alternate chord structures that inform much of the color of the album, as illustrated by the A Major, and the A Major 7th, its "smoky, mysterious cousin." Noel talks about writing "The Wedding Song: There is Love" - for Peter Yarrow's wedding, and his reluctance to perform it again until urged by Peter, and how it has made many, if not most, of the lists of most beautiful songs of all time, right up there with fellow Ojai resident Amanda McBroom's "The Rose." He also discusses his Christian faith and the epiphany he had at age 30 after a decade of fame, and the toll it took on his well-being. There's relevant folk music news: Noel's good friend John McCutcheon just released “Ukraine Now.” We did not talk about Ron DeSantis' fading aspirations, the Buffalo Bills abysmal overtime record or the enduring mystery of who ordered the hit on Tupac Shakur.

Remember when we used to stand shoulder to shoulder with others, belting out tunes like 'This Land is Your Land' and 'If I Had a Hammer' in our school choir? The thrill of those harmonies is no small part of our shared experience. We invite you to join us on a nostalgic journey as we delve into the importance of choral singing, and how it is undeniably interwoven with our societal fabric. Have you ever considered altering your singing style to please your choir teacher? Spoiler Alert – Don't. Our conversation in this episode steers towards the importance of maintaining your unique voice. We bring you the insights from our high school choral teacher, the late Eugenia Powell, who reminded us that every setting requires its unique approach, especially gospel. We also explore the critical role of control in vibrato, how it demands practice and dedication, and the challenge it can pose.As we round up the episode, we emphasize the essence of learning from other singers, and realizing that the beauty in music often lies beyond our comfort zones. We also delve into the significance of heart posture during congregational worship – it's not merely about hitting the right notes, but about reaching out to the Almighty with a pure heart. As we strip away the frills, we are left with the unblemished gospel, a reflection of what lies deep within us. Join us for this enlightening episode as we explore the joy, the power, and the unity that singing in with others brings!Perpetuating and Promoting the Christian and Positive Idea Through the Medium of Music and Other Arts.

America's grandmother shares more of her signature wit and charm while discussing her husband's cataract surgery recovery including a grueling eye drop schedule, the difference between an astigmatism and a stigmatism, forgetting your keys, the pros and cons of high stakes poker and Mahjongg, the meaning of PIE, and Lou Carter's song If I Had a Nose Full of Nickels.  Strap in for another coffee with mom. Big thanks to our terrific sponsor Wolverine.com Use code MIKE25 to get 25% off your order

It's a grab bag of insanity on Michael Moore's podcast this week as he declares the Republican Party DOA (although he detects it's still barely breathing and there's no death certificate yet). Sooo…  Also, a big thank you to Fani Willis, the District Attorney in Atlanta for filing the indictment of indictments, a masterpiece of Justice. Her father was a criminal defense lawyer and a member of the Black Panther Party — she is the fighter we've needed. She's gonna shut the whole Trump mob operation down.  All that and more on Episode #299 of Rumble with Michael Moore. Enjoy! For more of Michael's work, subscribe to his Substack at MichaelMoore.com. ******************** Check out this great list of resources by the Hawaii Alliance for Progressive Action to help the people in Maui : https://www.hapahi.org/blog/supportmaui Read the NYT coverage of the paper written by two Conservative, Federalist Society law professors making the argument that Section 3 of the 14th Amendment renders Trump ineligible to run again for president: "Conservative Case Emerges to Disqualify Trump for Role on Jan. 6" ...or read the full paper: "The Sweep and Force of Section Three" by William Maude & Michael Stokes Paulsen ******************** This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/RUMBLE and get on your way to being your best self. ******************** Music in today's episode: "If I Had a Hammer" — Peter, Paul and Mary "BABYMETAL - メタり！！ (feat. Tom Morello)" — BABYMETAL ******************** Write to Mike: mike@michaelmoore.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/rumble-with-michael-moore/message

Rough Draft presents yet another "On the Road" episode with Chelsea Lovitt, a Mississippi native songwriter living in Nashville, Tennessee implementing honky tonk, chicken pickin', surf psychedelia, rock'n'roll and occasional bluegrass. With original music "Truckstop Waitress," "Anybody Else," and "If I Had a Dollar." Chelsea is a story teller and an incredible musician. Don't miss this episode!

Episode 165: This week we discuss If I Had a Boat by Lyle Lovett! I want to take my horse to the old town, wait, wrong song. I want to take my pony on my boat and ride far away from all my responsibilities!   Special THANK YOU Chuck Savage & Eddie Hawkins: Intro music Sara Wessling: Guilty Pleasures vocals Jeremy Essig: Six Degrees of The Clash   **********   We have a Patreon Page! https://www.patreon.com/rockthecashbar   If you would like to help support Rock the Cash Bar we have some fun perks for becoming a Patreon member!   For $5 a month Patreon members will have a private community, receive some awesome Rock the Cash Bar swag and once a month we draw one Patreon member's name and let them choose a song for us to cover!   We have Merch! https://www.rockthecashbarpodcastmerch.com   Shirts, hats, stickers, mugs and more! Check it out!   Website: https://www.rockthecashbarpodcast.com   PLEASE rate and leave us a review! It really helps!! Thank you!

EPSIODE 85 | Project Pegasus - Mars and Beyond! The United States has secret bases on Mars, which they may or may not share with aliens. This base is there, but also not there, because it might only exist in the future, accessible using time travel technology, or maybe in a bubble universe. People, such as a young Barack Obama, are sent to this base to perform various tasks, like fighting a vast war in space. This is a huge secret, only now coming to light thanks to a few brave "whistleblowers". But their stories don't always match up, and untangling the weird from the weirder in the Project Pegasus narrative can be a difficult process.  Like what we do? Then buy us a beer or three via our page on Buy Me a Coffee. #ConspiracyClearinghouse #sharingiscaring #donations #support #buymeacoffee You can also SUBSCRIBE to this podcast. Review us here or on IMDb! SECTIONS 02:15 - In the Year 2525 - Michael Macintosh comes clean, Indigo Child Andrew Basiago travels through time and space and also runs for President 05:55 - Basiago sees some cool stuff, learns he is really special, has phantom summers; science fiction is a smokescreen; Marvel Two-in-One #42 and "Alternative 3" may be the start of it all 13:32 - William Stillings saw Obama and Courtney Hunt on Mars, Bernard Mendez reveals it's all alien tech (SQEs, etc.)  19:22 - Is There Life on Mars? - Michael Relfe serves 20 and back on Mars in the future, Arthur Neumann talks to Project Camelot about time loops and more 24:44 - You're My Best Friend - Super smart scientist Dan Burisch (really scam artist and parole officer Danny Craine) meets the J-Rod Kh'el'ah at Area 51, discovers the Ganesh Particle 33:38 - Camelot! Camelot! Camelot! (It's only a model.) (Shh!) - Kerry Cassidy and Bill Ryan fall for Project Serpo and pretty much everything else 35:48 - The Pendragon Plot - Cassidy talks to murderer Mark Richards about his plan to take over Marin County and the Secret Space Program (SSP) 39:25 - Cassidy doubled down with Project Camelot, spreading several conspiracy theories and selling woo objects 42:15 - If I Had a Time Machine, that Would Be Fresh - Intuitive empath (IE) Corey Goode joins the SSP ecosystem, talks MILABs, Blue Avian aliens; Robert Dean talks about Phobos 2, a secret underground city on Mars; Tony Rodrigues did 20 and back, sold as a sex slave, sent to fight aliens on Mars and in the Nazi Dark Fleet near Ceres 45:06 - Elena Kapulnik has DNA altered by Reptilians, trained by Monarch Solutions to open wormholes with psychic powers, spills the beans on the Interplanetary Corporate Conglomerate (ICC); William Tompkins gets alien telepathic messages 47:04 - Michael Salla uses Expolitics.org to talk about the SSP, the Ant People who live under Florida, ancient aliens, space arks, and more; William Shatner is a trusted negotiator with aliens 49:09 - Maybe it's all a CIA psych-ops program 49:55 - Summing up, kind of Music by Fanette Ronjat More Info Time travel PROOF? 'Time traveller' claims he will be the next US President Michael Macintosh Futurist "Time Traveler" on Life & Death podcast episode Secret DARPA - CIA ...  Time Travel Program MLS X-Files: More compelling evidence linking MLS stadiums to Mars stargates Andrew Basiago and Bernard Mendez – Jump Room to Mars Bernard Mendez, 3rd whistleblower to go public about 1980-83 secret CIA Jumproom teleportation/Mars program White House Denies CIA Teleported Obama to Mars Thing: Project Pegasus reprint A paranoid hoax: The enduring terror of Alternative 3 Alternative 3 - full film (53 minutes) Alternative Three Revisited The Truth about Alternative 3 The Mars Records 2 by Michael Relfe The Mars Records website Area 51 Microbiologist Ready to Talk Alien Disclosure at Area 51: Dr. Dan Burisch Reveals the Truth About ETs, UFOs and MJ-12 pdf An Interview with 'Henry Deacon', a Livermore Physicist on Project Camelot "Dr. Dan Burish", Area 51 "Scientist", a total fraud discussion The Chapter 7 Bankruptcy of Dan and Deborah Burisch Project Camelot website Kerry Cassidy open letter to lawyers about her YouTube removal Kerry Lynn Cassidy: The Internet's Delusional Out-There Conspiracy “Crackpot” REBEL GENE: Secret Space and the Future of Humanity by Kerry Lynn Cassidy THE WOULD-BE KINGDOM OF PENDRAGON – A TALE OF MANIA, MURDER, AND MICRONATIONS A murder in Camelot - US District Court document on Crossan David Hoover Jr. Hoover v. Carey court documents He's a Murderer With an Intergalactic Alibi. And She's in Love With Him. Murder conviction overturned in “Pendragon” plot The Moon Base, Mars Colony and Geocentric Civilization, do you believe? - Corey Goode article The Politics of UFOs on Longreads The Blue Avians & The Law of One with Corey Goode Petition to force the Blue Avians to cure cancer Corey Goode's website Ascension Works.tv SECRET SPACE PROGRAMS on Alien-Facts.com Bob Dean on the Reality of UFOs on Supreme Master Television Tony Rodrigues, A Dark Fleet Slave on Clandestine Disclosure The 20 Year Abduction Tour: Slummin' and Servin' on Ceres Colony with Secret Space Program Experiencer Tony Rodrigues Conversation with Tony Rodrigues on KBOO Ileana the Star Traveler and the Awakening Cosmic Reality Show Interview With Elena Kapulnik, Star Traveler. Feb 14, 2016 Secret Space Program Experiencers Continue To Add Weight To Idea Of Breakaway Civilization on Humans be Free The above article but with a cleaned up format Jump Room to Mars - Training, Participants and Purpose video from Michael Salla Insiders Reveal Secret Space Programs & Extraterrestrial Alliances by Michael Salla 20 Jumpgate Missions to Mars & Corroborating NASA Images of Martian Life 2nd Mission to Underground Civilization in Florida & the missing Gift for Humanity Alleged Time Traveler Runs for U.S. President - Real Deal or CIA PsyOps? Scammers, Inc. - MJ-12, Bennewitz & Serpo CC episode Persistent Illusion: Time Travellers CC epsiode Follow us on social for extra goodies: Facebook Twitter Other Podcasts by Derek DeWitt DIGITAL SIGNAGE DONE RIGHT - Winner of a 2022 Gold Quill Award, 2022 Gold MarCom Award, 2021 AVA Digital Award Gold, 2021 Silver Davey Award, 2020 Communicator Award of Excellence, and on numerous top 10 podcast lists.  PRAGUE TIMES - A city is more than just a location - it's a kaleidoscope of history, places, people and trends. This podcast looks at Prague, in the center of Europe, from a number of perspectives, including what it is now, what is has been and where it's going. It's Prague THEN, Prague NOW, Prague LATER

Erik Childress and Peter Sobczynski look at this week's new Blu-ray releases and it is quite the deep dive into eclectic taste. Criterion has one of the early films of a pioneering female director. Terrorists are trying to blow up the Super Bowl, kids battle aliens, a teenager searches for her mom and Natasha Lyonne goes up against Vincent Gallo. There are films with John Barrymore and Van Heflin, Parker Posey's first starring vehicle, a stylized actioner that could have been The Boys but figured “nah”, and other dummies too. Episode 118 had Peter talking at length about Exorcist II and now the third film gets some time as well. Finally, the esteemed Mr. Sobczynski makes the case that the 1983 remake of a Godard classic may actually be better than the original. Can he convince you?  0:00 - Intro 1:00 - Criterion (Chilly Scenes of Winter) 6:12 - Altered Innocence (Wild Reeds) 7:40 - Vinegar Syndrome (Freeway II) 12:03 - Arrow Films (Knockabout, Black Sunday) 24:09 - Kino (Border River, Counsellor at Law, If I Had a Million, Tomahawk) 34:22 - MPI (All Quiet on the Western Front (2022) (4K)) 37:53 - RLJE Films (Kids vs. Aliens) 41:36 - Sony (Missing (2023)) 43:26 - Shout! Factory (Dead Silence, Wanted (4K), The Exorcist III (4K)) 58:58 - Fun City Editions (Party Girl, Breathless) 1:19:33 – New Blu-ray Announcements 1:22:47 - Outro

On this week's episode of Currently Reading, Kaytee and Roxanna are discussing: Bookish Moments: a joyful poem and bookshelf chats Current Reads: all the great, interesting, and/or terrible stuff we've been reading lately Deep Dive: ways to bring joy to winter doldrums through reading The Fountain: we visit our perfect fountain to make wishes about our reading lives As per usual, time-stamped show notes are below with references to every book and resource we mentioned in this episode. If you'd like to listen first and not spoil the surprise, don't scroll down!  We are now including transcripts of the episode (this link only works on the main site). The goal here is to increase accessibility for our fans! *Please note that all book titles linked below are Bookshop affiliate links. Your cost is the same, but a small portion of your purchase will come back to us to help offset the costs of the show. If you'd prefer to shop on Amazon, you can still do so here through our main storefront. Anything you buy there (even your laundry detergent, if you recently got obsessed with switching up your laundry game) kicks a small amount back to us. Thanks for your support!*   . . . . 1:50 - Bookish Moment of the Week 1:52 - a poem that brings joy 2:56 -  If I Had a Name Like Rosie Fernandez by Wendy Morton 4:06 - Mindy's Meno Party and book shelf viewing 6:18 - Midlife with Mindy and Meg on Sorta Awesome 8:36 - Current Reads 8:45 - Cinnamon and Gunpowder by Eli Brown (Roxanna) 10:19 - The Hobbit by J.R.R. Tolkien  11:15 - Pirates of the Caribbean  11:17 - The Princess Bride by William Goldman 12:28 - Someday, Maybe by Onyi Nwabaneli (Kaytee) 12:38 - Sarah's Bookshelves Live podcast 16:23 - The Marriage Portrait by Maggie O'Farrell (Roxanna) 16:38 - Hamnet by Maggie O'Farrell 22:09 - The Mermaid, the Witch, and the Sea by Maggie Tokuda-Hall (Kaytee) 26:09 - Into the Planet: My Life as a Cave Diver by Jill Heinerth (Roxanna)   29:15 - Into Thin Air by Jon Krakauer 29:55 - Invisible Child by Andrea Elliot (Kaytee) 30:16 - CASA: Court Appointed Special Advocate 32:32 - A Place Called Home by David Ambroz     33:53 - Deep Dive: Bookish Help for the Winter Doldrums 35:40 - Light in our spaces (Kaytee) 39:49 - Anwick Book Lamp 35:56 - Glocusent LED Neck Reading Light 36:00 - LED Taper Candles 36:58 - Romp Reading (Roxanna) 37:11 - The Golden Spoon by Jessa Maxwell 37:21 - The Appeal by Janice Hallett 37:41 - Reading snacks (Kaytee) 37:47 - Acai Dark Chocolate Blueberries by Brookside 39:24 - Lots of color in our spaces (Roxanna) 40:04 - Fantasy reading in familiar worlds (Roxanna) 40:24 - A Court of Silver Flames by Sarah J Maas 41:03 - A Master of Djinn by P. Djèlí Clark 41:12 - S4E41 Tandem Watch + All Things Roxanna 41:13 - A Dead Djinn in Cairo by P. Djèlí Clark 43:14 - Delight reading (Roxanna) 43:27 - The Book of Delights by Ross Gay 45:15 - Inciting Joy by Ross Gay 45:37 - Small doses of reading joy (Kaytee) 45:39 - G'morning, G'night: Little Pep Talks for Me and You by Lin Manuel Miranda 45:46 - The Book of Awesome by Neil Pasricha    45:47 - Our Book of Awesome by Neil Pasricha 46:06 - The Comfort Book by Matt Haig 47:03 - Winter Hours by Mary Oliver 47:58 - Rereading (Roxanna) 48:11 - Anne of Green Gables by L.M. Montgomery  48:17 - Harriet the Spy by Louise Fitzhugh 48:25 - The Shell Seekers by Rosamund Pilcher 49:10 - Meet Us At The Fountain 49:14 - I wish for a service to send me lines from my favorite book daily (Roxanna) 50:25 - I wish for a book tasting experience for all readers (Kaytee) Connect With Us: Meredith is @meredith.reads on Instagram Kaytee is @notesonbookmarks on Instagram Mindy is @gratefulforgrace on Instagram Mary is @maryreadsandsips on Instagram Roxanna is @roxannatheplanner on Instagram currentlyreadingpodcast.com @currentlyreadingpodcast on Instagram currentlyreadingpodcast@gmail.com Support us at patreon.com/currentlyreadingpodcast and www.zazzle.com/store/currentlyreading

It's me! It's me and my buddy Evan, and we're finishing the BNL album Snacktime, and it ain't nothin' but a good time, friends. ALSO IN THIS EPISODE: Don't bother, the email doesn't work. Give him the ol' Rusty V. Another Sonic F commercial? Two years later?? BONUS SEGMENT: IN THE DRINK, IN THE DRINK, IF I HAD $1000000, PIECE OF CAKE, and I LOVE YOU! Get yourself some IABD shirts! Wear a logo on your chest!: https://www.teepublic.com/user/itsallbeendonepodcast Catch us on the 'net!: Facebook: https://www.facebook.com/profile.php?id=1593559714014720 Twitter: @beendonepod Discord: http://www.projectderailed.com/discord Thanks to Project Derailed for hosting us!

It's Episode 46 of the Friday Night Karaoke Podcast, and the theme of the week was #FNKParty! This week was all about bringing all the most festive, high energy, year ending, party-til-the-sun-comes-up vibes straight to the FNK group feed (and straight to your eardrums). Featured in this episode alongside hosts Mike Wiston and Joe Rubin: Kristoff Crafton with Drink Myself Drunk by Rebel Son Simone Tellier and Brett Arellano with Mustang Sally by Wilson Pickett Andrew Frisbie and Arjun Tyler with If I Had a Million Dollars by Barenaked Ladies Ronnie Sheirer with I'm a Believer by The Monkeys (and Smashmouth) Joe Rubin and Dana Lavalle with You're the One That I Want by John Travolta and Olivia Newton-John Heather Gurnari and Karen Kolar with Pontoon by Little Big Town Ray Cox and Toni Kane with Don't Rock the Jukebox by Alan Jackson Rita Fryer with Raise Your Glass by Pink AsthmaBully Jones and Levy Alturas, featuring Reggie Valenzuela, Healther Gurnari, Eric Dubrofsky, Jennifer Adams, Isabel Aguilar, KJ Welch, Luke Feliu, Jacob Tyloch, Sandy Cruz, and Katie Rose with Higher Ground by Red Hot Chili Peppers Love what you hear? Join the official Friday Night Karaoke FB group, a completely negativity free karaoke destination, and be part of the action! www.facebook.com/groups/fridaynightkaraoke. Hope to see you there!

Get to know some of the family music artists nominated for a 2023 GRAMMY Award for Best Children's Album: Divinity Roxx from NYC (@diviroxx and @diviroxxkids) plays bass for Beyoncé, writes children's books, and loves mini-kayaking adventures. She shared “Be Yourself” from her GRAMMY-nominated album “Ready, Set, Go!” Justin Roberts from Evanston, IL (@justiroberts) plays pinball, complex faming-based board games, writes children's books illustrated by Christian Robinson, and advocates for musicians rights. He shared “I Have Been a Unicorn” from his GRAMMY-nominated album “Space Cadet” Alphabet Rockers from Oakland, CA (@alphabetrockets) contain multitudes. We've shared their community-based social justice projects The butterfly Effect and We Got Work To Do on the show, and their children's book You Are Not Alone features in an upcoming episode of Ear Snacks about friendship and loneliness. They shared “Our Turn” from their GRAMMY-nominated album “The Movement” Wendy and DB from Chicago, IL (@wendyandDB) work with and fundraise for the Chicago blues community, organize community art projects, and yes – eat tuna on crackers. They shared “If I Had a Hammer” from their GRAMMY-nominated album “Into the Little Blue House” We hope this playlist piques your family's interest in the awesome artistry at work in the children's genre and that you take the time to explore the work of these generous guests! Ear Snacks is made by Andrew & Polly. To find out more or to be on the show, visit earnacks.org - and thanks for listening!

Join us every week as Patty Wilson & Scott Cowarttalk passionately about the ever changing real estate market!It's House Talk with a Happy Ending! www.jointhebrokerage.com Music by: 9-5 - Dolly PartonGood Day - Nappy RootsFall - Clay WalkerLet it Die - Ellie GouldingHappier Than Ever - Kelly ClarksonIf I Had a Hammer - Johnny Cash, June Carter CashStomp! - Single Version - The Brothers JohnsonRamblin' Man - Allman Brothers Band  Find more episodes on:www.pattysplayhouse.com If you want to search for a home in Tallahassee, www.PattyandScott.comPatty's Playhouse we talk about real estate and life in the small southern town. The conversations are consumer driven inviting entrepreneurs, real estate professionals and interesting people who make up our world of real estate. We talk real estate with some interesting and fun facts... Its like house porn! We talk lifestyle, staging tips, home buying selling and investing... all with a happy ending...   House Talk with a Happy Ending... Each & Every Time! Get bonus content on Patreon Become a member at https://plus.acast.com/s/pattysplayhouse https://plus.acast.com/s/pattysplayhouse. Hosted on Acast. See acast.com/privacy for more information.

Episode 2.25 -  If I Had a Million Dollars...Browns Doo-Doo'd on the Steelers, though...lmaoLil' Gary is in the house for the first time. I mean second time. Well, the first time.Spread them Weeks - The Casuals go through and give their picks for this week's games vs the spread, and touch on fantasy aspects for each.Barely Survivin' - We go over our weekly survivor picks . Let us know who you think has the best squad!**Disclaimer...Carson Wentz will lose a game and the Eagles will benefit from it this time, for once...**Love,Beau Jangles

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

Ben, Alyce, J and Beth discuss: early birds vs. night owls, party personalities, laughing gas, zodiac signs, favorite memories, trip anticipation, the camper, and room painting.  Show Notes:  Emperor's New Groove Quotes - https://www.imdb.com/title/tt0120917/quotes/qt0439407  Bill and Ted's Excellent Adventure Quotes - https://www.imdb.com/title/tt0096928/quotes/?ref_=tt_trv_qu  The Barnum Effect - The Barnum Effect - https://www.britannica.com/science/Barnum-Effect  Beth's Wick of the Peek: Stranger Things - https://en.wikipedia.org/wiki/Stranger_Things_(season_4)  Alyce's Wick of the Peek: Love Island - https://en.wikipedia.org/wiki/Love_Island_(2015_TV_series)  Support the Show and Vote for Host: https://www.patreon.com/popcornculture  Get your own GMA stickers: https://store.dftba.com/products/gma-stickers  Get Your Bingo Card: https://bingobaker.com#f805834af83dce50    Email the show: popcornculturepod@gmail.com  Discuss the Podcast on Reddit: https://www.reddit.com/r/PopcornCulture/  Follow the Show on Twitter: https://twitter.com/apopcast  Follow SCB on Instagram: https://www.instagram.com/carlinbrothers/  Follow SCB on TikTok: https://www.tiktok.com/@popcornculturepod  Discuss the Podcast on YouTube: https://www.youtube.com/channel/UCHfIbq9thHPC8yrKjAdJgDA    Alternate Titles:   The Leo Has Left the Chat Did “Fetch” Happen? Core Memories Just Go Use the Boat! If I Had a Barn… 

Get ready for a roller-coaster ride of emotions, humor, and music with our newest guest, Ryan Jefferies! This hardworking welder from Fort Mac has a thing or two to share about his life and how music has been his constant companion. So, buckle up and get ready to laugh, ponder, and maybe even shed a tear. Ryan, a former hockey goalie turned welding apprentice, has an amazing playlist that echoes his life experiences. From the camaraderie he misses with his hockey buddies due to the pandemic to the challenges of single parenting – every song has a story to tell. Ever heard of Freeman's obsession with Iron Maiden or Ryan's hilarious thoughts on winter shorts and dad jokes? Yes, you're in for a treat! Yet, it's not all laughs. Ryan opens up about his life post-divorce, the joy and trials of raising a teenage daughter, and how music has been his solace. It hits hard as he talks about driving to the beats of Eminem and realization dawning upon hearing "If I Had a Million Dollars" by the Bear Naked Ladies. As Ryan takes us on this fascinating journey of his life intertwined with music, he leaves us with some profound wisdom – be kind to oneself and others during tough times. Now, isn't that music to our ears?Listen to the playlist on SpotifyWatch the episode on YouTubeFollow Music Junkies everywhere  Make sure to HIT that LIKE BUTTON and SUBSCRIBE to our Channel to be notified of new episodes! If you love Music Junkies share it !!New EP is out every MONDAY at 12 pm Rock on! Music JunkiesSupport the show