Podcast appearances and mentions of Mackenzie Phillips

American Graffiti is a 1973 American coming-of-age comedy-drama film directed by George Lucas, produced by Francis Ford Coppola, written by Willard Huyck, Gloria Katz and Lucas, and starring Richard Dreyfuss, Ron Howard, Paul Le Mat, Harrison Ford, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips, Bo Hopkins, and Wolfman Jack. Set in Modesto, California, in 1962, the film is a study of the cruising and early rock 'n' roll cultures popular among Lucas's age group at that time. Through a series of vignettes, it tells the story of a group of teenagers and their adventures over the course of a night.

Episode SummaryIn this episode, I talk with Jay Silverman, an award-winning filmmaker known for his emotionally resonant work. Jay discusses his journey into feature filmmaking, which began with "Girl on the Edge", a deeply personal film inspired by his daughter's recovery through equine therapy. His latest film, "Camera", is another heartfelt project influenced by his experiences as a father of a daughter with impaired speech. Jay shares how his work has become a vehicle for expressing the lessons and wisdom he's gained from these personal experiences, driven by a passion to touch others through his storytelling.About Jay SilvermanFor over 40 years, Jay Silverman has excelled as a leading Director, Producer, and Photographer specializing in award-winning films, television, digital, and print campaigns.Jay's narrative films have been awarded numerous Best Feature and Audience Awards at festivals across the country.  His current dramatic feature "Camera", stars Golden Globe, Emmy, and Grammy Award Winner Beau Bridges, Jessica Parker Kennedy, Scotty Tovar, Bruce Davison, and Miguel Gabriel.  It will be released on Amazon and iTunes on July 23rd, 2024.  His first was the multi-award-winning dramatic feature “Girl on the Edge”, starring Peter Coyote, Taylor Spreitler, Mackenzie Phillips, Elizabeth Peňa, Gil Bellows, Rex Lee, Amy Davidson, and Amy Price Francis that premiered on Showtime. His second is the charming romantic comedy “Off the Menu” starring Dania Ramirez, Tony Award Winner Santino Fontana, Makenzie Moss, and Maria Conchita Alonso, which premiered on HBO & Amazon. His third is the true story drama “Saving Paradise” starring William Moseley, Johnna Braddy, Mary Pat Gleason, Bill Cobbs, Paul Dooley, and James Eckhouse currently on Tubi and Amazon.Jay Silverman Productions: Jay Silverman Production's mission is to use the power of storytelling to inspire and entertain with a message that is uplifting for society.  As an independently owned and operated entertainment production company that develops and produces independent films and television shows, we believe we have an important responsibility to use storytelling to make the world a better place.Watch Camera: https://linktr.ee/camerathemovieFrom This EpisodeWatch Camera: https://linktr.ee/camerathemovieI Used to Be Famous Dave HoldenCinema ParadisoGirl on the EdgeSaving ParadiseBethany CerronaYale  Find and Follow Carole and Wisdom Shared:https://www.caroleblueweiss.com/Subscribe to YouTube channelFollow and send a message on FacebookFollow and send a message on LinkedInFollow on InstagramFollow on TikTokFollow on ThreadsThe Wisdom Shared TeamAudio Engineering by Steve Heatherington of Good Podcasting WorksCo-Producer and Marketing Coordinator: Kayla NelsonProduction Assistant: Becki Leigh

When you see a top ten list of all-time teen movies, American Graffiti will likely be on that list somewhere. And honestly, it's easy to see why: it not only is a warm, inviting film about teenage lives before they grow up into adults, it's also a film that evokes a certain time period with a heavy dose of nostalgia. Graffiti's strongest element is it's feel that showcases the teen cruising culture at the time this is set. Portraying four teens lives before they have to make fateful decisions about their future, the plot is structured around this dynamic of teenagers aimlessly looking for a good time. Now, some stories are better than others: Stories involving John and Terry are much more entertaining than the ones with Steve and Curt. And the best chemistry and dynamic in the film goes to the one between John and Carol, played by Paul Le Mat and Mackenzie Phillips. Both characters are charming, but also do a great job adding depth to each character (John's protective side and Carol's desire to grow up). Is American Graffiti a good movie even by today's standards? Yes, it's a fun film that has a warm, nostalgic feeling to it. But is one of the best teen films? A subjective question, but I'm going to say no. Other films do the elements of the film better (namely Dazed and Confused) but if you like the setting and just looking for something lighthearted to watch, this fits the bill nicely.

Todd Muench joins John Landecker in the studio to talk about the Antenna TV Nostalgia Stories Podcast, this time Todd breaks down some of the May segments and some of the exciting interviews they have coming up in the month of June like Mackenzie Phillips, Mike Reno (Loverboy), Scotty Morris (Big Bad Voodoo Daddy), and Leslie Easterbrook.

Discover the transformative power of fitness and movement on your journey to a balanced lifestyle as we chat with the indomitable Mackenzie Phillips. By day, she's a legal powerhouse, but once the sun sets, Mackenzie morphs into a fitness guru, inspiring high-achieving women through Maeve 40 Fitness. Her story is not just one of personal triumph but a beacon for those looking to mold their lives with strength and discipline, a tribute to her late father. We traverse her path from legal eagle to bikini bodybuilding maven, uncovering the pivotal role of nutrition and exercise. Mackenzie's dedication to creating time-efficient, impactful workouts offers a minimum effective dose of vitality for the woman on the go, and we're here to unpack how she does it all.Strap in for a ride through the world of dynamic movement as I recount my adventures with Animal Flow and snowboarding. Imagine bringing the fluidity and strength of Animal Flow to a PE class and witnessing the transformation in young athletes – I've seen it firsthand. Then, join me as I carve my way from skiing aficionado to a passionate snowboard instructor. Get ready to be motivated by upcoming projects and retreats that are guaranteed to fuel your fire for fitness and holistic well-being.Connect with Mackenzie:IG: @maeve40fitnessWebsite: https://www.maeve40fitness.com/About Maeve40 Fitness: https://youtu.be/fU63RWAzkhcSupport the showPRIMAL FOUNDATIONS PODCAST-Instagram: @Tony_PrimalFoundationsWebsite: Primalfoundations.com The Strength Kollective: Download Kettlebell Programs (Click Here)Book a free 30 minutes consultation (Click Here)

NostalgiaCast '70s Palooza heads back to the '60s for a discussion of AMERICAN GRAFFITI, from indie director George Lucas. Crank up your radios and bop along to the beat as Jonny and Darin chat about the nonstop parade of music and muscle cars that permeate this rock 'n' roll coming-of-age tale. But is it a fun and breezy time at the movies, or the same stilted slog as Lucas's later films?

This week, the Idiots open with one of their own.  nathan found himself in the crosshairs of stupid people on TikTok. The easily manipulated Snowflake Army came out in force after two influencers with more attitude than intelligence believed a joke was reality, and complained about it to their followers. Next up: KISS is no longer touring. Kind of. I mean, digital holograms might tour as KISS in the future, or perform one off shows, but does anyone really want to see that? Maybe as a cheap Vegas attraction, but not in an arena. After that, Mackenzie Phillips and trigger warnings.  nathan read Mackenzie's memoir, and it is a doozy. But that's not what they're talking about, here. No. This is about the worst trigger warning ever given, one that comes after the headline full of triggering words. Well done, news media! Then, it's a play on Eminem… Guess who's back? Back again. Hunter's back. Hunter Biden. He's been indicted on 9 tax charges, and although Jake and nathan believe he's probably guilty, instead of discussing that, they veer down the path of Jake's drug use, death, and other fun things from his past. Moving on: it's a tale as old as time, man meets call girl, takes her to his hotel room, and she robs him. But what do you tell the police? That you needed a lady of the evening? Nah, you thought you were making a friend. To quote Jon Lovitz, “Yeah… that's the ticket.” (I also would've accepted Ghostbusters, “Thanks very much Ray, that oughta do it.”) Finally, our hero is in the news again: Elon Musk, saying dumb things loud and proud, all the while running Twitter into the ground. It's hilarious. Idiots on Parade: we mock the news, so you don't have to. Tune in and get your giggle on. Find Jake at @jakevevera Find nathan at nathantimmel.com

Raya unpacks the jaw-dropping events surrounding TikTok sensation Madelaine Brockway's wedding of the century, complete with all the glitz, glamour, and a shocking twist—her husband facing life in prison.Our girl TAYLOR SWIFT is named TIME'S WOMAN OF THE YEAR! Much deserved!Join us as we delve into the mysterious saga of Shawn Mendes allegedly caught up in a cult, exploring the intersections of fame and secrecy. And if that's not enough drama for you, we'll take you behind the scenes of a Netflix docuseries exposing the dark secrets of a Bad Surgeon.As we navigate through these gripping narratives, we'll also touch upon the heartbreaking revelations involving Mackenzie Phillips and her tumultuous relationship with a member of the Mamas and the Papas. Brace yourself for a rollercoaster of emotions, scandals, and shocking revelations in this episode that will leave you on the edge of your seat!Follow: @coffee.meets.vodkaYouTube: Coffee Meets VodkaHost: Raya HenslerProducer: Taylea FergusonGimlore Media, LLC

All podcast links:https://linktr.ee/aguyinhisroomNew a guy in his room #187!This time  I talk about "Ebonics", free love gone too far with Mackenzie Phillips, prepping elite rich people and more!!Sike and Lubscribe now!Topics:My thoughts on every race (Rumble exclusive!),World record podcast/Brendan Walsh,Rebel Radio,Too many things they tell us to be upset about,Why are protestors going and interrupting events?Billie Ellish is allowed to act black,Growing up with some white guys acting black,What happened to Ebonics?California was always a far left experiment,Acting like black people speak a different language,I hate UK slang,Black slang vs white slang?Gen z slang includes all races,Dialect History podcast!Young people prepping now more than before,Trump will declare himself dictator!Sam Altman is a prepper,Rich elite people having luxury bunkers,Mackenzie Phillips comes out to talk again about Dad In***t,Hippie ‘free love' can go too far…Redditor grew up in commune,Cults from the hippie era,The Phillips were ahead of their time!Free love gone wrong!People sexually into Mackenzie Phillips stories,Spooky retelling of Mackenzie story,Xmas is cumming!#mackenziephillips #themamasandthepapas #hippie #freelove #ebonics #codeswitching #blaccent #billieeilish #aguyinhisroom #podcast

his weeks Perfectly Twisted with Nicole Eggert features Mackenzie Phillips. Mackenzie covers many topics including One Day at a Time, working with Norman Lear, being apart of a star studded family, working with the Breathe Life Healing Center, and booking Orange Is the New Black + Nicole's Mailbag.

Talk about a cliffhanger!  We all agree this is an excellent episode.  We learn the backstory of the casting of Mackenzie Phillips and its significance.Not only do we  break down the appearance of Ray's mom but we also dig in details of the lamb chops served at dinner.While commenting on Clare and David's escapades, BOTH Tori and Jennie have us in shock with their revelations!  SHOCK!As to be expected, this episode brought out a lot of strong emotions for both Tori and Jennie about how much they miss their friend Luke Perry..See omnystudio.com/listener for privacy information.

The 60's and the Band … the Mama's and the Papa's go hand in hand SCOTT G. SHEA is the author of ALL THE LEAVES ARE BROWN: How the Mamas & the Papas Came Together and Broke Apart-The dysfunctionality of the band -Mamas & Papas John Phillips drug use "To be on a steady diet of those, which led him, who had addictive quality about him, led him to the harder stuff"-His upbringing (dark)-Allegations by daughter MacKenzie Phillips that she joined the band in 1980, she slept with her father for 10 years while on drugs -What was it like during the peak of the bandGrab the book here 

This week on Dopey! DopeyCon IV!!!! A cavalcade of Dopes! A treasure Trove ofand  Dopey Stories! It's all here! Bobby Dukes burning a dude's dick with a crack pipe in a glory hole to Jessa Reed's Opus Owl Story! Plus great recovery with Hank Azaria, Joe Schrank, Ask Erin Khar! Music by Ray Brown and so very much more on this weeks brand new spanking episode of that good old Dopey Show! DopeyCon IV!!!!! More About Dopey: Dopey Podcast is the world's greatest podcast on drugs, addiction and dumb shit. Chris and I were two IV heroin addicts who loved to talk about all the coke we smoked, snorted and shot, all the pills we ate, smoked, all the weed we smoked and ate, all the booze we consumed and all the consequences we suffered. After making the show for 2 and a half years, Chris tragically relapsed and died from a fentanyl overdose. Dopey continued on, at first to mourn the horrible loss of Chris, but then to continue our mission - which was at its core, to keep addicts and alcoholics company. Whether to laugh at our time in rehab, or cry at the worst missteps we made, Dopey tells the truth about drugs, addiction and recovery. We continually mine the universe for stories rife with debauchery and highlight serious drug taking and alcoholism. We also examine different paths toward addiction recovery. We shine a light on harm reduction and medication assisted treatment. We talk with celebrities and nobodies and stockpile stories to be the greatest one stop shop podcast on all things drugs, addiction, recovery and comedy pathfinding the route to the heart of the opioid epidemic.

So Weird: "Encore" We're starting off spooky season with one the most inventive, ingenious, and emotionally impactful uses of a clip show from So Weird, an oft-forgotten (but very good) Disney Channel original series from the Zoog Disney era! This episode features the complete set from a fictional Molly Phillips concert, with full songs sung by Mackenzie Phillips -- and it's still not without important plot momentum and a haunting powerhouse of an ending. It's truly a gimmicks smorgasbord! A proud part of ⁠⁠⁠The Glitterjaw Queer Podcast Collective⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Tip us on Ko-Fi⁠⁠⁠⁠ | ⁠⁠⁠Gimmicks Website⁠⁠⁠ Email: ⁠⁠⁠gimmickspodcast@gmail.com⁠⁠⁠⁠ | Twitter: ⁠⁠⁠⁠⁠⁠⁠@gimmickspod⁠⁠⁠⁠⁠⁠⁠ | Instagram: ⁠⁠⁠⁠⁠⁠⁠@gimmickspod⁠⁠⁠⁠⁠⁠⁠ Theme song:⁠ ⁠⁠⁠⁠⁠⁠"Disco Tears" by Raven⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠Creative Commons Attribution 3.0⁠⁠⁠⁠⁠⁠ Sources: The So Weird Podcast

Backstreet's Back despite *NSync's reunion, Jim Johnson retiring, Travis Kelce+Taylor Swift, escaped PA prisoner still on the run, Aaron Rodger's short NY Jets career, revisiting Mackenzie Phillips on Larry King, and Sponge's Vinnie Dombrowski zooms in to Rock the Shores. Jim ‘JJ' Johnson is hanging up the headphones after over 50 years in radio. The Mel Tucker saga continues. MSU Alumni/professor/superfan ML Elrick popped off about it on the newest ML Soul of Detroit. Big Gretch unironically demands transparency from MSU & Mel Tucker. Drew's life peaked in Little League just like “The 80 Yard Run”. Aaron Rodgers had a hell of a 2023 season. Jamele Hill thinks Colin Kaepernick should be the Jets new quarterback. Patrons at a Milwaukee bar were bummed when the Jets pulled off the upset. Make sure you check out our latest YouTube video. Music: Aerosmith postpones farewell tour after Steven Tyler suffers vocal cord damage. Everybody is going nuts about N'SYNC reuniting on the VMAs. Jamie Lynn Spears is joining Dancing with the Stars and Britney fans are plotting to get her out. Kevin Costner ex Christine Baumgartner is not going down without a fight. There is a new book out about Elon Musk and it makes Amber Heard look even worse as everyone felt she was “toxic”. Vinnie Dombroski of Sponge fame joins the show to promote Rockin' the Shores Beer & Music Festival this Saturday. Robin Roberts had her wedding. Awwww. Whit Johnson busted a move. Amy Robach and TJ Holmes were snubbed! The Daily Beast published victim impact statements in Danny Masterson's trial. We're reminded that Danny is related to an incest-survivor by marriage. Tom Brady is nailing Irina Shayk again. Travis Kelce is plowing into Taylor Swift much to Drew's dismay. Taylor Lautner's podcast is failing fast. Louisiana Senator John Kennedy read ‘porn' to congress. Democratic candidate for the Virginia House of Delegates, Susanna Gibson, really liked using Chaturbate. Talking Heads reunited today... for a Q&A. Trey Songz entourage decided to get into a shootout. Love it or leave it. USA #5 Danelo Cavalcante is still on the run and has a gun now. Dog the Bounty Hunter is on the case. Why does Kaitlyn Armstrong look different. Kevin McCarthy announces impeachment probe for Biden. Donald Trump is pro-UAW, anti-EV. Jennifer Granholm's summer EV trip didn't go as planned. She had the cops called on her when one if her staff blocked a charging station for her only. We just tapped into a massive lithium deposit to help going forward. JJ joins us tomorrow. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… please consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

Episode 203 - Guest Diane Foy Ready to slide into the spotlight with the impact (and income) to match? Then you should know Diane Foy, the creator of the Superfan Attraction Method. During her 2 decades in arts and entertainment PR, Diane represented talents such as Jane's Addiction's Perry Farrell, South Africa's The Parlotones, and One Day at a Times's Mackenzie Phillips, and Pretty Little Liars Tyler Blackburn.   Diane draws on her multi-passionate background of photography, makeup artistry, PR, marketing and creative psychology in her personal brand coaching. She empowers purpose-driven creatives to ditch self doubt, maximize their talents and promote themselves with ease. Diane also hosts the Superfan Attraction podcast. Join Diane and I as we talk about multi-passionates (we both definitely are) and the creative process of personal branding. Enjoy! To learn more about today's guest Diane Foy please visit: Website: https://dianefoy.com/ Free discovery session! https://dianefoy.com/booking Superfan Attraction Playbook dianefoy.com/freebie Twitter Handle: https://twitter.com/DianeFoyArts  Facebook Page:  https://www.facebook.com/groups/superfanattraction Instagram Handle:  https://www.instagram.com/dianefoyarts/  To learn more about host G. Brian Benson: www.gbrianbenson.com www.patreon.com/gbrianbenson www.habitsforsuccessbook.com Instagram: www.instagram.com/gbrianbenson Facebook: www.facebook.com/gbrianbensonmedia LinkedIn: https://www.linkedin.com/in/gbrianbenson/ Produced by Casey Jarombek ✌ Brought to you by Reawaken Media www.reawakenmedia.com 

We're celebrating the 50th anniversary of one of the seminal films of the 1970s. American Graffiti took audiences back to a more innocent era of malt shops and sock hops. Brandon is joined by Meghan Lowder-Paul and Jacqueline Keysear of "I Think You're Gonna Like This" to break down this ensemble dramedy. The hosts discuss the young cast of future stars including Richard Dreyfuss, Harrison Ford, Ron Howard and Mackenzie Phillips. We also track how American Graffiti helped to usher in the concept of nostalgia. 

Life imitates art when the producer of a soap opera is found dead.  Mackenzie Phillips guest stars.

Waiting to hire a publicist when you book something BIG? It may be too late. Former publicist Diane Foy breaks down why it's a tall ask for a publicist to start promoting your big project without all of the basics set up, things you can do NOW. It can also start your interview journey and prepare you for those bigger media outlets. How can you do The Late Show without some proper training? This is where DIANE FOY comes in, the creator of the Superfan Attraction Method. We discuss the first three tips from her Superfan Attraction method including PERSONAL BRANDING and turning dreams into action plans, creating PURPOSE DRIVEN CONTENT, and how to research MEDIA OUTLETS and perfecting your pitch. During her 16 years as an arts and entertainment publicist, Diane represented talents such as Perry Farrell, Big Sugar, The Parlotones, Mackenzie Phillips, Alanna Masterson and Tyler Blackburn. Diane's ability to draw on her diverse background including photography, makeup artistry, creative psychology, journalism, PR, and marketing, allows her to empower artists and creatives to embrace your story and purpose as your unique superpower. Diane also hosts the Superfan Attraction podcast: Personal Branding for Multi-passionate artists. In this episode, we discuss: What is the Superfan Attraction method and why she created it brand, consistent message across all platforms, engagement 3 Stages of her method: Personal Branding, Purpose Driven Content, Media spotlight Guest: Free Superfan Attraction Playbook & Training https://dianefoy.com/freebie https://dianefoy.com/coaching Podcast My episode on her podcast: Superfan Attraction: Storytelling, Michelle Simone Miller Instagram Host: Instagram: ⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠ ⁠⁠⁠⁠@MichelleSimoneMiller⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠ ⁠⁠⁠⁠@MichelleSimoneM⁠⁠⁠⁠ Facebook page:⁠⁠⁠⁠ https://www.facebook.com/mentorsonthemic⁠⁠⁠⁠ Website:⁠⁠⁠⁠ www.michellesimonemiller.com⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠https://www.youtube.com/user/24mmichelle⁠⁠⁠ If you like this: try The Brand of You: Rooting Identity in Who you are and not what you do with Kara Barnett (Senior Creative at Apple TV+) Ads: ⁠⁠Cave Day⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/michelle-miller4/support

Embarking on a creative career journey is an exhilarating experience, but it can also be full of unexpected twists and turns. In this digital age, having a consistent personal brand, telling an engaging story, maintaining social media activity and building a loyal fan base are crucial to thriving in your field. You can showcase your unique skills, ultimately establishing yourself as a leader in your field.Diane Foy, the creator of the Superfan Attraction Method, shares her journey as a multi-passionate arts and entertainment publicist in this episode. She explores the superpower behind multipotentiality and expounds on strategies that helped her build a successful and consistent personal brand. Learn how to build and expand your superfan base by listening to Diane's insights!Let's jump in!Key Learnings from the Episode:[07:17] How to tap into your multi-passion superpowers and provide value. [09:09] Tips on how to build your superfan base through personal branding. [12:28] Figuring out your “why” and driving force to start thriving. [21:24] Multipotentiality, what it's all about, and how Diane navigates through it. [25:35] What does working from your happy place mean to Diane?[26:46] Diane's Superfan Attraction Method and how she helps artists to show up. [32:39] How Diane helps artists overcome limiting beliefs and share their stories.About Diane Foy - Diane Foy is the creator of the Superfan Attraction Method. During her 16 years as an arts and entertainment publicist, Diane represented talents such as Perry Farrell, Big Sugar, D.O.A., Sass Jordan, The Parlotones, Mackenzie Phillips, Robb Wells, Alanna Masterson, and Tyler Blackburn.She has been a panelist and mentor at conferences such as Canadian Music Week and Northern Ontario Music & Film. Canadian Musician, Sun TV, Toronto Star, and over 30 media outlets have featured her. Diane also hosts the Superfan Attraction podcast.Diane's ability to draw on her diverse background, including photography, fashion, makeup artistry, creative psychology, PR, and marketing, allows her to empower artists and creatives to embrace their authenticity, creativity, and purpose as their unique superpowers.How to connect with Diane Foy:Podcast https://dianefoy.com/podcastWebsite https://dianefoy.com/Twitter https://twitter.com/DianeFoyArtsLinkedIn https://www.linkedin.com/in/dianefoy/Instagram https://www.instagram.com/dianefoyarts/Facebook https://www.facebook.com/dianefoyartAbout the Host -Belinda Ellsworth is a Speaker, Trainer, Best-Selling Author, and PodcasterShe has been a professional speaker, mover, and shaker for more than 25 years. Having built three successful companies, she has helped thousands of entrepreneurs make better decisions, create successful systems, and build business strategies using her "Four Pillars of Success" system.Belinda has always had a passion and zest for life with the skill for turning dreams into reality. How to Connect with Belinda:Facebook -https://www.facebook.com/workfromyourhappyplaceLinkedIn - https://www.linkedin.com/in/belindaellsworthInstagram -https://www.instagram.com/workfromyourhappyplace/Website - www.workfromyourhappyplace.comJoin my membership program and discover the art of creating and sharing amazing experiences with like-minded people, all from the comfort of your own home. You get to connect with others online, learn new skills and techniques, and grow your network without ever having to leave your computer screen. To know more, click on the link https://workfromyourhappyplace.com/vip/Quotes:“Personal branding is deep work, and so many artists are tempted to skip this important work and take shortcuts.”“Each time you tell your story, you get a little bit more comfortable, and it gets a little easier.”

Set sail on Episode 29, Season 2 of the Love Boat, the worlds greatest romantic comedy drama television series of all time! In this episode we follow an all star cast that includes Red Buttons, Gene Barry, Erik Estrada, Sam Groom, Hope Lange, Allen Ludden, Richard Mulligan and Mackenzie Phillips as they deal with a salacious senior, messy mergers, drunken dalliances, a devoted daughter, and one sad saxaphone. We also encourage everyone to find our Instagram page Lovin' The Love Boat to enjoy the super cool video messages from Isaac himself Mr. Ted Lange! And much more. Thanks for listening to the podcast and joining us on this voyage and by all means consider subscribing to the show as well as Paramount+ so you can watch the episode with us. We promise you'll be glad that you did. * Attention passengers! If you'd like to see the show continue please consider contributing to our GoFundMe so we can stay afloat and allow us to make good on our promise to have exciting new guests join us on future episodes. It means a lot and will also allow us to keep the show commercial free. Visit our page HERE and give whatever you can. Give any amount and help put us over the top of our original goal. Thank you! *If you enjoy the show and would like to contribute quickly please tip our crew any amount via Venmo: @istvansongs * Be sure to check out Istvan's other amazing podcast for kids and families, Istvan's Imaginary Podcast available everywhere podcasts are found. * Find and Follow our new Instagram profile here: @lovin_the_love_boat * And follow Istvan on Instagram: @iamistvan or on his website: www.istvansongs.com

Part TWO of our Alice Odds and Ends extravaganza! Alison and Jody discuss Rick Emerson's "Unmask Alice," which sheds so much light on the warped world of Beatrice Sparks, her motivation for writing Alice, Jay's Journal, and so many other faux diaries. Art Linkletter and the Satanic Panic also feature heavily. Then the gals recap and critique the surprisingly decent 1973 "Go Ask Alice" made-for-TV film featuring William Shatner, Andy Griffith, and Mackenzie Phillips. And with that, we are DONE with Alice, folks! We'll be announcing our next Judy Blume book soon, so stay tuned!

Artists and creatives have the power to heal, transform and elevate lives. But too often, fear or a lack of knowledge holds us back from living our true purpose.As a personal branding and PR coach, I am going to be sharing strategies from my Superfan Attraction Method via the podcast, youtube, blog and social media.My mission to educate, motivate and empower you to embrace your story and purpose so that you can make your impact on the world.This show is me stepping into my purpose. Arts and entertainment has healed, transformed and elevated my life. My journey through photography, make up artistry, fashion, journalism, publicity and now coaching has all been to help artists and creatives succeed.In my 16 years as an arts and entertainment publicist, I was thrilled to represent talent such as Jane's Addiction's Perry Farrell, Big Sugar, Punk legends D.O.A., Canada's Queen of Rock Sass Jordan, South Africa's biggest selling rock bands The Parlotones, Mackenzie Phillips, Trailer Park Boys Robb Wells, The Walking Dead's Alanna Masterson and Pretty Little Liars Tyler Blackburn.I really had the time of my life, however, my main focus was helping up and coming artists get known. PR and marketing strategies have evolved significantly. Today, you can no longer rely solely on your creative talents to have a thriving career.Sadly, I've seen too many creatives wasting money on PR, radio, and social media campaigns without taking the time to do the necessary inner work of personal branding. The lack of results left them feeling frustrated and defeated.But here's the truth: media attention alone won't attract superfans. It's first and foremost about finding and embracing your story and purpose, and then having the confidence to share it with your audience.My Superfan Attraction Method takes you on a journey through personal branding, purpose driven content and media spotlight. Solo episodes will cover all the topics that fall under those categories so that you can take what you learn and apply it to your own career.I have also created a FREE mini course to go with the Superfan Attraction Playbook. The training will guide you through the method, but it will also get you taking action. You will get to experience a taste of what I coach my clients on with 4 key lessons.You will explore every area of your life to design your ideal future vision to get clear on what you are working towards.You will identify your core values and limiting beliefs so that you are aware of what matters most to you and what may be holding you backSharing your story is what really attracts superfans so I will get you started with your story timeline.Who are your potential superfans? In order to attract them you first have to identify who they are so there is an exercise to help you do that.This training is completely free and you can sign up at dianefoy.com/freebieFor special guests I will invite experts from a variety of fields to talk about creativity, mindset and entrepreneurship. And because I've realized that in order to achieve our dreams we have to be healthy. So special guests may include experts from health and wellness.I want to involve you in the show too. I would love to invite you to get coaching from me on the show on any of the Superfan Attraction Method topics. To volunteer visit dianefoy.com/volunteerI'm @dianefoyarts on all socials and there is a Superfan Attraction Group on Facebook at dianefoy.com/facebookI'm excited to take you on this journey.https://dianefoy.com/201  

John and Bob Bergen chat and crack up with Glenn Scarpelli, 'Alex" from the family sitcom "One Day at a Time"! Glenn talks about joining the cast of "One Day at a Time" after Mackenzie Phillips was fired over drug abuse, followed by his special friendship with her as well as Bonnie Franklin and Pat Harrington. Glenn also discusses how Valerie Bertinelli got him his audition for "One Day at a Time", his time working with Al Pacino, Anne Bancroft, Ethel Merman and Van Johnson and so much more! Enjoy this deeply personal and uplifting interview! --- Support this podcast: https://anchor.fm/john-cato/support

Are you happy? Where you live and how much money you make go a long way toward determining that. This week, we look at the happiest countries and how much money it takes to be happy. Spoiler alert: the U.S. is not one of the ten happiest countries.  Hosted by Chris and Jeff 1.     Topics0:00:27    Welcome/Intro0:00:40    Disclaimer0:01:12    What Is Happiness?0:04:59    Top 10 Happiest Countries0:38:59    The Price of Happiness0:48:27    Contact/Rate/Subscribe 2.     Additional ResourcesThe Atlantic article referenced in the episodeJacinda Ardern or Mackenzie Phillips? You decideFinnish Prime Minister Sanna Marin. We applaud you, Finland. The price of happiness in every country Does Jeff have a reading comprehension problem? The ghetto children curfew was simply a proposal in Denmark—not a current policy.  3.     Merchandise/Support the Showhttps://www.subpartalks.com/support/https://www.subpartalks.com/p/store/ 4.     Contact Us/Follow Us/Rate/Subscribe New episodes Tuesday! Listen, rate, follow, and subscribe wherever you listen to podcasts! Follow us: Website:  https://www.subpartalks.com - for anything related to the showTwitter:  @subpartalksFacebook:  subpartalks5.     CreditsSubpar Talks Theme Music: Get Airy! by Sergei Chetvertnykh: SergeQuadrado | PixabaySubpar Talks transition music: Jingle Clean Guitar Funky and Rock Style by Shiden Beats Music: ShidenBeatsMusic | PixabaySupport the show

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

It's Late Night with Hancock and Kelley! In the second hour of tonight's show, the dynamic duo are joined at the usual time by international man of mystery and KMOX news anchor, Sean Michael Lisle. This time, Sean shares stories of meeting Mackenzie Philips and his wife, who are not the same person. Later, John explains his distaste for cottage cheese, and shares a story about baseball legend Branch Rickey.

Actress, musician, author, and recovery advocate, Mackenzie Phillips, shares an extremely vulnerable and heartfelt interview with host, Patrick Custer, about her story of trauma, addiction, fame, fortune, healing, and recovery. The eldest daughter of John Phillips and stepdaughter of Michelle Phillips, both lead singers of the 1960s band The Mamas and The Papas, Mackenzie Phillips grew up in a wild household, where a typical evening might include rolling joints for her dad or fending off advances by Mick Jagger. Far from idyllic, she describes her parents' home as “dirty and broken” with “very little going on inside except sex, drugs, and rock and roll.”. But in spite of the turmoil at home, Mackenzie found success onscreen, becoming famous at age fourteen for her role in the iconic film American Graffiti, which landed her a starring role as Julie Cooper on the hit sitcom One Day at a Time alongside America's sweetheart Valerie Bertinelli. Even though she seemed to have it all, Mackenzie couldn't escape the dark secrets and constant drug use at home and began to use herself. This was just the beginning of a life unimaginable to many. Listen to this episode to hear the rest of her story and how she ultimately found the path to a life of hope, healing, and restoration. ________________________________________ Links: // Mackenzie Phillips Insta: www.instagram.com/mackphillips // Breathe Life Healing Centers URL: www.breathelifehealingcenters.com Insta: www.instagram.com/breatherehab // Patrick Custer: Insta: www.instagram.com/patrick_custer // Rooted Recovery Stories Podcast: Insta: www.instagram.com/rootedrecoverystories URL: www.rootedrecoverystories.com // Promises Behavioral Health - Help for addiction, mental health/trauma: Call: (888) 648-4098 URL: www.promisesbehavioralhealth.com Insta: www.instagram.com/promises_bh . . . . . #mackenziephillips #mackphillips #breathelifehealingcenters #addictionrecovery #addiction #themamasandthepapas #sobriety #wedorecover #recoveryispossible #trauma #americangraffiti #therollingstones #orangeisthenewblack #folkrock #onedayatatime #valeriebertinelli #endthestigma #healing #inspiration #listen #mentalhealth #podcast #recovery #mickjagger #patrickcuster #rollingstones #recoverystory #rooted #promisesbehavioralhealth #selfcare

This is the second part of a two-part interview with actress/singer Mackenzie Phillips. We talk about her book, High on Arrival, the shocking revelations that got everyone's attention, how she has coped and is now helping others, and much more.  

My guest is an actress, singer, and author, who, despite her popularity, has had many difficulties in her life, starting as a young child. We discuss what she's gone through, how she finally pulled herself together, how she has used what she experienced to help others, and much more.

This is it. Thiiiiis is it. Or was it? The original 1975 sitcom One Day at a Time focused on a divorced Ann Romano raising two daughters in Indianapolis. Tackling issues ranging from teenage runaways, petty thieves, and the pressure of “going all the way” pushed the TV show into the “dramedy” realm and also kept it a hit for nine seasons. Over forty years later, in a world where half of all marriages ending up like Ann's, does the show's POV have anything more to offer? Could we see iconic stardom in the eyes of Valerie Bertinelli and Mackenzie Phillips way back when? And is an Ann & Schneider coupling a good idea? The Old Roommates watch a curated collection of Norman Lear's classic while waiting for Julie to get off the phone.Bonus episode featuring the episodes “Dad Comes Back” available at patreon.com/oldroommates! Follow Old Roommates on social media @OldRoommates. Email us at oldroommatespod@gmail.com and please give us a rating or review! Thanks for listening!

American Graffiti, One Day at a Time, So Weird, Orange Is the New Black - the list goes on and on. That's right, this week we link up with Mackenzie Phillips! We talk about her early days of getting into acting and how she found her passion, doing what she's doing now. She currently works with people battling addiction and eating disorders at Breathe Life Healing Center in West Hollywood, California. Mack is a unique soul who has weathered many ups and downs, but has come through it all shining like a star! instagram.com/mackphillips

(01-02-2019) - Going back in time to the year 1973 and the Classic movie "American Graffiti" with stars Cindy Williams, MacKenzie Phillips and Bo Hopkins at the Hollywood Show in Burbank. We Talked about their costars and the cars they (in some cases) slept in during the movie.

This week on Dopey! We are joined once again by Dopey legend Mackenzie Phillips! The multi talented movie, TV and music legend shares about the challenges in taking opiates as prescribed in long term recovery and recalls some super fun old school dopey stories of the old days with Eddie Van Halen and Valerie Bertinelli. PLUS Strung Out author, unlicensed advice columnist and elite ex-equestrian returns to talk drugs, addiction and dumb shit on a brand new episode of the good ol' Dopey Show!                        

Actress, singer, author, advocate and addiction specialist Mackenzie Phillips joined the podcast to talk about her bestselling book, High on Arrival, living in recovery from addiction, helping others and her many iconic roles in One Day at a Time, Orange is the New Black, So Weird, American Graffiti, The Mary Tyler Moore Show and so much more. Books: High On Arrival: A Memoir https://www.amazon.com/dp/B002POEQTU/ref=cm_sw_r_apan_glt_D4VRJP51VVF33DBRWP49

Mackenzie Phillips is an actor and artist most known for her roles in the 1973 movie American Graffiti, the 1975 sitcom One Day at a Time, and, most recently, her role as Barb on the hit Netflix drama, Orange is the New Black. Today, Mackenzie takes Dr. Flowers and Robin through her experience with chronic pain, addiction and her journey to long-term recovery. Mackenzie opens up with incredible vulnerability about her relationship with her father and the trauma and abuse that she suffered. She talks about forgiveness, self-care and the amazing work she's doing at Breathe Life Healing Centers. Mackenzie shares her deep love for animals and her own understanding of the human condition.  Key Takeaways01:47 – Mackenzie Phillips shares her experience with hyperalgesia and her journey to long-term recovery  12:22 – Mackenzie talks about her background as an actress and what led her to Breathe Life Healing Centers  20:05 – Working with and learning from the master, Kathleen Murphy  22:21 – Mackenzie opens up about her experience with generational trauma and her relationship with her father  28:32 – Orange is the New Black and other projects Mackenzie has on the horizon  31:07 – Jason, Robin and Mackenzie share their love of dogs  32:36 – What Mackenzie does for self-care  34:29 – Mackenzie shares her understanding of the human condition  35:34 – Jason and Robin thank Mackenzie for joining the show and let listeners know where to follow her Tweetable Quotes“I grew up sort of living a double life. It was like Disneyland on acid at my dad's house and ‘know which fork to use' at my mom's house.” (13:31)  “I became the float counselor and then I became a Director and now I'm a part owner. Over the years I've sort of moved upstairs bit by bit. I've found that I'm capable of doing things I never ever thought I would be able to do: administrative work, systems improvement, chart auditing, resolving billable hours, all these things that I never thought would interest me.” (18:39)  “I always had this idea that Mack can't drive a stick. Mack can't do this because of early conditioning that I was only capable of one thing. And, as they say in recovery, these old ideas that we have about ourselves need to be smashed so that we can create space for new skills, new interests, new ways of being.” (19:36)  “When I think about my father and I think about my life, I think about generational trauma and inherited trauma. I think about the perfect storm of untreated mental illness, raging addiction and childhood abuse and neglect that we unwittingly pass through the generations. ” (22:46)  “I think that we forget that we are light. We are light. We are electricity. We are power. We are love. And I think I get so caught up in the doing that I forget to remember - and I learned this from Kathleen Murphy - that I have inherent worth and value that cannot be taken away.” (34:43)  Resources MentionedLink to Breathe Life Healing Centers Website –https://www.linkedin.com/in/whitney-heins-02ba3b5 ( )https://breathelifehealingcenters.com/ (https://breathelifehealingcenters.com/)  Mackenzie's Twitter – https://twitter.com/MackPhillips (https://twitter.com/MackPhillips)  Mackenzie's Instagram –https://www.linkedin.com/in/whitney-heins-02ba3b5 ( )https://www.instagram.com/mackphillips/ (https://www.instagram.com/mackphillips/)  Mackenzie's Facebook –https://www.linkedin.com/in/whitney-heins-02ba3b5 ( )https://www.facebook.com/profile.php?id=100050576825643 (https://www.facebook.com/profile.php?id=100050576825643)  Mackenzie's Books High On Arrival: https://www.amazon.com/High-Arrival-Memoir-Mackenzie-Phillips/dp/1439153868/ref=pd_lpo_1?pd_rd_i=1439153868&psc=1 (https://www.amazon.com/High-Arrival-Memoir-Mackenzie-Phillips/dp/1439153868/ref=pd_lpo_1?pd_rd_i=1439153868&psc=1)  Hopeful Healing:...

Mackenzie Phillips is an actor and artist most known for her roles in the 1973 movie American Graffiti, the 1975 sitcom One Day at a Time, and, most recently, her role as Barb on the hit Netflix drama, Orange is the New Black. Today, Mackenzie takes Dr. Flowers and Robin through her experience with chronic pain, addiction and her journey to long-term recovery.Mackenzie opens up with incredible vulnerability about her relationship with her father and the trauma and abuse that she suffered. She talks about forgiveness, self-care and the amazing work she's doing at Breathe Life Healing Centers. Mackenzie shares her deep love for animals and her own understanding of the human condition. Key Takeaways01:47 – Mackenzie Phillips shares her experience with hyperalgesia and her journey to long-term recovery 12:22 – Mackenzie talks about her background as an actress and what led her to Breathe Life Healing Centers 20:05 – Working with and learning from the master, Kathleen Murphy 22:21 – Mackenzie opens up about her experience with generational trauma and her relationship with her father 28:32 – Orange is the New Black and other projects Mackenzie has on the horizon 31:07 – Jason, Robin and Mackenzie share their love of dogs 32:36 – What Mackenzie does for self-care 34:29 – Mackenzie shares her understanding of the human condition 35:34 – Jason and Robin thank Mackenzie for joining the show and let listeners know where to follow herTweetable Quotes“I grew up sort of living a double life. It was like Disneyland on acid at my dad's house and ‘know which fork to use' at my mom's house.” (13:31) “I became the float counselor and then I became a Director and now I'm a part owner. Over the years I've sort of moved upstairs bit by bit. I've found that I'm capable of doing things I never ever thought I would be able to do: administrative work, systems improvement, chart auditing, resolving billable hours, all these things that I never thought would interest me.” (18:39) “I always had this idea that Mack can't drive a stick. Mack can't do this because of early conditioning that I was only capable of one thing. And, as they say in recovery, these old ideas that we have about ourselves need to be smashed so that we can create space for new skills, new interests, new ways of being.” (19:36) “When I think about my father and I think about my life, I think about generational trauma and inherited trauma. I think about the perfect storm of untreated mental illness, raging addiction and childhood abuse and neglect that we unwittingly pass through the generations. ” (22:46) “I think that we forget that we are light. We are light. We are electricity. We are power. We are love. And I think I get so caught up in the doing that I forget to remember - and I learned this from Kathleen Murphy - that I have inherent worth and value that cannot be taken away.” (34:43) Resources MentionedLink to Breathe Life Healing Centers Website – https://breathelifehealingcenters.com/ Mackenzie's Twitter – https://twitter.com/MackPhillips Mackenzie's Instagram – https://www.instagram.com/mackphillips/ Mackenzie's Facebook – https://www.facebook.com/profile.php?id=100050576825643 Mackenzie's BooksHigh On Arrival:https://www.amazon.com/High-Arrival-Memoir-Mackenzie-Phillips/dp/1439153868/ref=pd_lpo_1?pd_rd_i=1439153868&psc=1 Hopeful Healing:https://www.amazon.com/Hopeful-Healing-Managing-Surviving-Addiction/dp/1582705704JFlowers Health Institute – https://jflowershealth.com/JFlowers Health Institute Contact – (713) 783-6655Subscribe on your favorite player: https://understanding-the-human-condition.captivate.fm/listen

Creativity Coach for Multi-Passionate Artists, Diane Foy joins Allie this week to discuss how to manage multiple passions and how to develop an authentic personal brand.⁣⁣Meet My Guest!Multi-Passionate Artist coach Diane Foy draws on her 16+ years of experience as an arts and entertainment publicist working with the likes of Perry Farrell, Sass Jordan, Big Sugar, DOA, Mackenzie Phillips, Robb Wells, and Tyler Blackburn, to empower artists, musicians, and actors to slide into the spotlight with the impact and income to match.⁣⁣As a multi-passionate artist, she loves that she can draw on her photography, fashion, and makeup artistry experience one day and her journalist, publicist, and marketing experience the next.⁣⁣Diane believes that artists have the power to change lives with their talent. Her mission is to educate, motivate and empower multi-passionate artists to embrace their authenticity, creativity, and purpose so that the world can experience that power.⁣⁣Connect with My Guest!Instagram:https://www.instagram.com/dianefoyarts/Website: https://dianefoy.com/FREEBIE: https://ebook.dianefoy.com/Book a FREE Session: https://bookme.name/dianefoy/discovery-coaching-sessionFollow the Wandering Creatives Podcast: Instagram: @wandering_creative_Twitter: @wandering_podWebsite: www.couttscreations.com/podcastsSponsor the Pod: https://couttscreations.com/podcast-sponsorship-opportunities/ Be a Guest or a Featured Maker: couttscreationsllc@gmail.comBe sure to like, subscribe, rate, and review!Do you have questions or comments?   You can text or call us on our hotline: 252.419.6004, and we will include them on a future episode of the Podcast! CALL US AT: 252-419-6004 and leave a message!Support the show (https://www.buymeacoffee.com/CouttsCreations)

Following Oprah's visit to America Recover, Mack, Brad and their in-house trauma therapist, Anisha Cooper do a deeper dive into Mack's revelation to Oprah on her show and the aftermath of discussing it now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

“No one is born a celebrity,” notes collaborator Hilary Liftin. As the author or co-author of more than 20 books, including 13 New York Times best-sellers, she knows this as well as anyone. In addition to her work behind-the-scenes helping to pen best-selling memoirs from stars such as Miley Cyrus, Tori Spelling, Mackenzie Phillips and Tatum O'Neil, she's also written three books of her own: Dear Exile, a collection of letters she exchanged with her college roommate while the latter was working for the Peace Corps in rural Kenya; Candy and Me, a memoir told through her lifelong obsession with candy; and the novel Movie Star by Lizzie Pepper, a fictionalized account of a life atop (and, alongside) Hollywood's A-list that Cosmopolitan hailed as “a juicy faux tell-all about the price of fame.” “Every book is a puzzle,” Hilary says of her collaborative projects. “My authors have the pieces. I help put them together.” Learn more about Hilary Liftin: Website Twitter Please support the sponsors who support our show. Misfits Market (WRITERSBONE) | $15 off your first order  Film Movement Plus (PODCAST) | 30% discount Libro.fm (ASTOLDTO) | 2 audiobooks for the price of 1 when you start your membership Wizard Pins (WRITERSBONE) | 20% discount

“That'll Be The Day” by Buddy Holly plays as John gets to know Judy's sister aka Carol aka Mackenzie Phillips in her feature film debut. Brett Stillo from 5 Minutes of Trouble joins Tierney to talk about driving down this same street, spotting George Lucas in a Taco Bell, and Dewey Weber t-shirts. Forget Montrose: today is all about Buddy Holly & the Crickets and the perfection that is a two-minute rock song.Come hang out at Mel's Listeners' Drive In on Facebook and @vcrprivileges on Twitter and InstagramArtwork by Alex RobinsonMusic by Chris Frain

Mackenzie Phillips was a child star and daughter to Rock n' Roller, John Phillips, of the Mamas and the Papas. John liked to have parties, do drugs, and have sex. And he didn't shield his children from any of it. In this episode, I'll dive into the complicated relationship between John and Mackenzie, and the scandal that came out after Mackenzie released her memoir: the incestuous relationship between Mackenzie and John. *Trigger Warning: This episode contains graphic details of crimes containing kidnapping, rape, grooming, incest, sex addiction, and murder. View Episode Page at https://www.brokenlimelight.com/episodes/1-15/e1-mackenzie-phillips *Today's episode is brought to you by Hunt a Killer! Go to huntakiller.com and use code BROKENLIMELIGHT for 20% off your first subscription box. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Introducing America Recovers, hosted by Brad Lamm & Mackenzie Phillips. New episodes weekly, every Tuesday, starting February 16th, 2021.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's time to check those message boards, It's So Weird! Come learn about astral projection, Mackenzie Phillips, homegrown internet, the pressures of high school, human sexuality, child actors, and much much more. Check out our visual companion on Twitter (@yamilykethis) or Instagram (@yamIlykethispodcast), and visit our Facebook fan page. Tune in every Thursday for new episodes!

In this episode, we dive in deep with Mackenzie-- she not only shares her time management tips between working as a lawyer and personal trainer, but also how she unapologetically embraces her many passions. We talk about: - The importance in making micro-decisions to reach your goals - How to stay organized with a full time job & business - Dealing with overwhelm & burnout Resources from this episode: - Mackenzie's Crown Diary - Maeve40 Fitness CONNECT WITH US // shexshines.com INSTAGRAM // instagram.com/shexshines SHOW NOTES // shexshines.com/podcast

In this episode, Alexz Johnson (Annie Thelen), answers all of your questions! We discuss season 3 of "So Weird", Mackenzie Phillips, Instant Star, past projects, the new album "Weight", and more! We hope you enjoy this episode and we hope to have more interviews for you all in the future!

We're very grateful that Kat is joined this week by our friend Anna to discuss the season five episode of Beverly Hills, 90210 in which Dylan's substance abuse is confronted with a staged intervention and catastrophic consequences. This episode features a frank discussion about mental health, addiction, and chemical dependency, and may be difficult for some listeners. The examples discussed in this interview are solely representative of the individuals speaking, and should not be generalized to apply to the vast diversity of lived experiences. If you or someone you know is struggling with addiction, a resource for local support groups can be found at tinyurl.com/90210help. Discussed in this episode: “Mackenzie Phillips,” People (1994); Breathe Life Healing Centers Substance Use and Abuse: Cultural and Historical Perspectives, Russil Durrant, Jo Thakker (2003) Alcoholics Anonymous a.k.a. “The Big Book” (4th edition, 2003) Don't Worry, He Won't Get Far on Foot and One Day at a Time—both featuring friend of the podcast Santina Muha! Support the show on Patreon or by shopping through our Amazon link Rate & review us on iTunes, Stitcher, Spotify Follow us on Twitter, Instagram, Facebook

In this episode, we discuss and review the ep. “Snapshot". We talk about soul stealing, the Disney streaming service, The Psychic Friends Network, the non-linear plot of season 3, Mackenzie Phillips in "Orange is the New Black", Rian Johnson, ideas for So Weird's 20th anniversary, and more! Let us know what you all think about this episode! Thank you for the support as always. https://www.patreon.com/soweird

In this episode, we discuss and review the ep. “Tulpa”. We talk about the character James, Tulpas, big brother Jack, the development of Jack/Fi's relationship, My Little Pony+Tulpas, Mackenzie Phillips in the new Disney XD show, the Clu/Fi ship, and more! If you all have any questions or comments about anything we said or the episode we discussed, let us know!

In this episode, we discuss and review the ep. "Strangeling". We talk about the beginnings of furture plotlines, The Phillips family, adorable moments, special effects, low budget puppets, original origin stories, Jack being a reincarnated knight, Mackenzie Phillips, old fansites, and more!