Podcasts about The Mike Douglas Show

Gäst Roger Nilsson Dyk in i den elektriska starten! Årskrönika 1974 Januari-Juni blottlägger KISS explosiva första halvår. Följ diskussionerna om konserter, smink, Kanada-relationen, TV-framträdanden och geniala marknadsföringen kring "Kissin' Time". Återupplev tidiga spelningar, ikoniska foton och unika fan-möten. Hör om PR-strategierna och den tragiska händelsen på Gulliver's. En fängslande inblick i hur legenden om KISS föddes! Lyssna till berättelserna om hur fyra vilsna själar förvandlades till odödliga rockgudar! Som vanligt blir det samtal om annat Kiss relaterat under färden... Chapters 00:00 Introduktion och Årskrönika 03:03 Kiss och deras Konserter 05:54 Recensioner och Mediebevakning 09:09 Sminkningar och Identitet 12:03 Fotografering och Omslagsbilder 15:04 Turné och Publikrespons 23:15 Kanadensiska musikscenen och dess påverkan 25:20 Kiss och deras relation till kanadensiska band 27:43 Kiss albumrelease och dess betydelse 29:36 Press och marknadsföring av Kiss 32:30 Releasefesten och dess inverkan på Kiss 36:59 Kiss på nationell TV och dess betydelse 40:25 Kiss liveframträdande och dess påverkan 51:25 Kiss och deras konserter i New York 54:00 Samarbeten och sponsring inom musikbranschen 55:02 Första singeln "Nothing to Lose" och dess betydelse 58:02 Kiss livekonserter och publikens reaktioner 01:01:02 Kiss på Mike Douglas Show och deras framträdande 01:14:53 Kiss och deras musikaliska resa 01:17:34 Kissing Time och dess betydelse 01:20:25 Marknadsföring och promotion av Kiss 01:22:33 Kiss i Michigan och deras framträdanden 01:26:25 Fotografering och ikoniska bilder av Kiss 01:31:39 Kiss och deras konserter i Alaska 01:35:57 Konserter på militärbaser och deras betydelse 01:37:58 Kiss och deras PR-strategier 01:38:57 Kiss-tevlingen och dess påverkan 01:42:02 Kiss och deras framträdanden i media 01:43:00 Kiss och deras musikaliska utveckling 01:45:50 Brandkatastrofen på Gulliver's 01:57:01 Avslutning och framtida diskussioner

01:11- Federal Income Tax, Tariffs 16:46- Mike Douglas Show, Pee-wee Herman Documentary 27:56- Iron Dome 34:29- IRS 51:24 - Andrew McCarthy, Contributing Editor at National Review & Fellow at the National Review Institute, and a Fox News Contributor Topic: Justice Department fires over a dozen key officials on Jack Smith's team 1:03:17- Jonathan Hoenig, portfolio manager at Capitalist Pig Hedge Fund LLC and a Fox News Contributor Topic: U.S. tech stocks fall amid AI race with China, IRS 1:12:54- K.T. McFarland, Former Trump Deputy National Security Advisor and the author of "Revolution: Trump, Washington and 'We The People'” Topic: Iron Dome construction and the impact it will have on national security 1:25:54- MTV, Joe Franklin 1:37:22- Miranda Devine, columnist for the New York Post and the author of "The Big Guy" Topic: "Trump used his finite political capital to pardon the Jan. 6 riot defendants – and right the egregious wrongs of Biden’s DOJ" (New York Post op ed) 1:49:44- Congresswoman Nicole Malliotakis, Representative for New York's 11th Congressional District Topic: Trump speaks to House Republicans in Florida 2:02:32- Gianno Caldwell, Fox News Political Analyst, founder of the Caldwell Institute for Public Safety and the host of the "Outloud with Gianno Caldwell" podcast Topic: Trump's first week in office 2:11:46- Councilman Joe Borelli, Minority Leader of the New York City Council & the author of "Staten Island in the Nineteenth Century: From Boomtown to Forgotten Borough" Topic: His resignation from the City CouncilSee omnystudio.com/listener for privacy information.

             In Episode 422 of Things We Said Today, Ken Michaels, Allan Kozinn and Darren Devivo speak with the director Erik Nelson about his new documentary, “Daytime Revolution” – a film about the week in February, 1972, when John and Yoko co-hosted the Mike Douglas Show. (The news segment runs from 3'15” to 9'20,” followed by a trailer for the film, and the chat with Erik Nelson.)             As always, we welcome your thoughts about this episode of the show or any other episode. We invite you to send your comments about this or any of our other shows to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page and comment there, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you very much for listening. You can hear and download our show on Podbean, the Podbean app and iTunes and stream us through the Tune In Radio app and from our very own YouTube page.  Our shows appear every two weeks. Please be sure and write a (good, ideally!) review of our show on our iTunes page. If you subscribe to any of our program providers, you'll get the first word as soon as a new show is available. We don't want you to miss us. Our download numbers have been continually rising, as more people discover us and it's all because of you. So we thank you very much for your support!             Be sure to check out the video version of Things We Said Today on our YouTube channel, https://www.youtube.com/channel/UC-zgHaPfL6BGmOX5NoyFE-A. The audio version can be found at Podbean: https://beatlesexaminer.podbean.com/ as well as at iHeart Radio, Apple podcasts and other distributors of fine podcasts.             MANY MANY WAYS TO CONTACT US:             Our email address: thingswesaidtodayradioshow@gmail.com             Twitter @thingswesaidfab             Facebook:  Things We Said Today video podcast      ALLAN on Facebook: Allan Kozinn or Allan Kozinn Remixed.             Allan's Twitter feed: @kozinn             The McCartney Legacy's website: https://www.mccartneylegacy.com/             The McCartney Legacy on Facebook: McCartney Legacy, and on Twitter: @McCARTNEYLEGACY             The McCartney Legacy YouTube channel: https://www.youtube.com/channel/UC8zaPoY45IxDZKRMf2Z6VyA             KEN's YouTube Channel, Ken Michaels Radio: https://www.youtube.com/channel/UCq_Dkp6fkIsYwGq_vCwltyg             Ken's Website Beatles Trivia Page: https://www.kenmichaelsradio.com/beatles-trivia--games.html Ken's other podcast, Talk  More Talk: A Solo-Beatles Videocast You Tube channel:  https://www.youtube.com/@talkmoretalksolobeatles             Ken's Weekly Beatles radio show "Every Little Thing" On Demand:  http://wfdu.fm/Listen/hd1%20recent%20archives/             Ken's e-mail:  everylittlething@att.net Ken's Facebook Page: https://www.facebook.com/ken.michaels.31/ DARREN's radio show can be heard 10pm to 2am Monday through Thursday and 1pm to 4pm Saturday on WFUV 90.7 FM (or 90.7 FM HD2), or at wfuv.org, or on the WFUV app.             Darren on Facebook: Darren DeVivo, and Darren DeVivo: WFUV DJ and Beatles Podcaster Darren's email: darrendevivo@wfmu.org  

Matthew Bannister on Dick Pope, the cinematographer who worked closely with Director Mike Leigh on films like “Secrets and Lies” and “Mr Turner”. Mike pays tribute. Sister Sally Butler, the American nun who blew the whistle on historic child sex abuse in her New York parish. Professor Tim Darvill OBE, the archaeologist best known for his work on the history of Stonehenge. Patti McGee, the first woman professional skateboarder. We have a tribute from skateboarding legend Tony Hawk.Interviewee: Sir Roger Deakins Interviewee: Mike Leigh Interviewee: Fr Ron Lemmert Interviewee: Dr Miles Russell Interviewee: Hailey Villa Interviewee: Tony HawkProducer: Gareth Nelson-DaviesArchive used: Life is Sweet, 1991, Film4 Trailer, Director, Mike Leigh. Film4 Production, released date in the UK 22/03/1991; Dick Pope in conversation with Roger Deakins on NAKED (Mike Leigh, 1993), Cinematographers on cinematography, YouTube channel 10/02/2022; 'Naked' Q & A with Dick Pope, British Society of Cinematographers, YouTube, uploaded 05/08/2022; Naked film promo, Director Mike Leigh, British Film Institute, BFI YouTube channel 8 Oct 2021; Mr Turner, Film Promo, Director Mike Leigh, eOne UK , eOne UK YouTube channel, 15/05/2014; America's Catholic Church In Crisis, Reporting Religion, BBC World Service, 29/03/2002; Sister Sally Butler interview, The National Catholic Reporter (NCR), NCROnline YouTube Channel 14/07/2017; Sister Sally Butler interview, A Matter of Conscience: Confronting Clergy Abuse, Director: John Michalczyk, Producer: Susan A. Michalczyk, Vimeo upload, Editor Gautam Chopra, 01/02/2015; The Standing Stones perform Johnny B Goode by Chuck Berry, Dir: Dr Miles Russell. Patti McGee interview, The Mike Douglas Show, KYW-TV, NBC, 1965;

In 2003, The Redwalls, a really good band hailing from Chicago suburb Deerfield, IL kicked off their album “Universal Blues” by encouraging a “Colorful Revolution”; in a most Beatle-esque Banger fashion. By coincidence (?), a mere 31 years earlier, there was a colorful “Daytime Revolution” as John, Yoko, and friends took over a week's worth of “The Mike Douglas Show” - a.k.a. the guy all of us, if we're being honest, initially confused/conflated with “The Dick Cavett Show”. This new, soon-to-stream documentary examines these historic episodes, and had a brief in-theaters showing on what would've been John's 84th birthday. Tony saw the film solo in Chicago suburb Glenview, IL, as T.J. handled the un-related, un-paid improv rehearsal many miles from his home - and even further from #GlenviewsFamousDawgPark. The result is a new-ish phase Beatles podcast, reproduced for streaming by Producer Casey. Roll up for this special UBP field trip, an aural journey (cue: “Faithfully”) of Tony documenting a documentary, as documentary commentary from T.J. documents Tony's documentary commentary of the documentary's documentary commentary. ALSO: The UBP's Medved + (Helen) Roeper ask:

Multiple Emmy and IDA award-winning filmmaker Erik Nelson has produced and directed a wide range of feature documentaries for his company ‘Creative Differences'. Some of his producing credits include GRIZZLY MAN, CAVE OF FORGOTTEN DREAMS, INTO THE ABYSS, and the Oscar-nominated ENCOUNTERS AT THE END OF THE WORLD. In his latest film, DAYTIME REVOLUTION, Erik takes us back in time to the week that John Lennon and Yoko Ono descended upon a Philadelphia broadcasting studio to co-host the iconic Mike Douglas Show, at the time the most popular show on daytime television with an audience of 40 million viewers a week. In this interview, we talk about his approach to storytelling, the documentary production process, his views on collaboration, his film DAYTIME REVOLUTION, and more. Want more? Steal my first book, INK BY THE BARREL - SECRETS FROM PROLIFIC WRITERS right now for free. Simply head over to www.brockswinson.com to get your free digital download and audiobook. If you find value in the book, please share it with a friend as we're giving away 100,000 copies this year. It's based on over 400 interviews here at Creative Principles. Enjoy! If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60 seconds and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom of your iTunes Podcast app and click “Write Review"). Enjoy the show!

On John Lennon's birthday, Erik Nelson, documentary filmmaker, talks about his new documentary "Daytime Revolution" about the week in 1972 when John & Yoko co-hosted, and programmed, the daytime talk show, The Mike Douglas Show. 

To commemorate what would have been John Lennon's 84th birthday on October 9th, director Erik Nelson joins host Robin Milling to discuss the documentary Daytime Revolution which is a treasure trove of footage and interviews. For a week in 1972, John Lennon and Yoko Ono took over co-hosting duties for The Mike Douglas Show with one thing on their mind – to bring their message of peace to an audience of 40 million. It seems unimaginable but they pulled it off, chatting with guests like Ralph Nader, Black Panther Party chairman Bobby Seale, comedian George Carlin, and jamming with Chuck Berry for the first time ever.

Bar Hinitz, 27, lost his best friend, Dan, during the Hamas attack at the Nova Music Festival in Israel. He wants to keep Dan’s memory – and humanity – alive.  A Palestinian American who’s lost dozens of family members in Gaza is trying to forge a new way forward without Hamas and Israeli Prime Minister Netanyahu.  KCRW previews the new Supreme Court term, which will see big cases on ghost guns, transgender rights, and likely the 2024 presidential election. John Lennon and Yoko Ono hosted the “Mike Douglas Show” for a week in 1972, using it to discuss women’s liberation, peace, and inclusion. But Richard Nixon saw it as a threat.

The guys review the film 'Daytime Revolution,' a look at the incredible week when John Lennon and Yoko Ono co-hosted the Mike Douglas Show.

The filmmaker Erik Nelson is the guest in the first segment. Erik has a new documentary coming out about called "Daytime Revolution". For one extraordinary week beginning on February 14, 1972, the Revolution was televised. "Daytime Revolution" takes us back in time to the week that John Lennon and Yoko Ono descended upon a Philadelphia broadcasting studio to co-host the iconic "Mike Douglas Show", at the time the most popular show on daytime television with an audience of 40 million viewers a week. What followed was five unforgettable episodes of television, with Lennon and Ono at the helm and Douglas bravely keeping the show on track. Acting as both producers and hosts, Lennon and Ono handpicked their guests, including controversial choices like Yippie founder Jerry Rubin and Black Panther Chairman Bobby Seale, as well as political activist Ralph Nader and comic truth teller George Carlin. Their version of daytime TV was a radical take on the traditional format, incorporating candid Q&A sessions with their transfixed audience, conversations about current issues like police violence and women's liberation, conceptual art events, and one-of-a-kind musical performances, including a unique duet with Lennon and Chuck Berry and a poignant rendition of Lennon's “Imagine”. A document of the past that speaks to our turbulent present, "Daytime Revolution" captures the power that art can have when it reaches out to communicate, the prescience of that dialogue, and the bravery of two artists who never took the easy way out as they fought for their vision of a better world. The film will have a nationwide theatrical screening in 50 cities on October 9th, the day that would have been John Lennon's 84th birthday. The filmmaker Emily Packer graces the podcast in this episode's second segment. In "Holding Back the Tide", an impressionist hybrid documentary, Packer traces the oyster through its many life cycles in New York, once the world's oyster capital. Now their specter haunts the city through queer characters embodying ancient myth, discovering the overlooked history and biology of the bivalve that built the city. As environmentalists restore them to the harbor, Holding Back The Tide looks to the oyster as a queer icon, entangled with nature, with much to teach about our continued survival. The film had its world premiere at DOC NYC 2023, a New York theatrical at DCTV's Firehouse Cinema and will have a theatrical in Los Angeles beginning October Check the website for details.

Staci's guest is Erik Nelson, the director of DAYTIME REVOLUTION, a new documentary that chronicles one week in 1972 when John Lennon and Yoko Ono co-hosted the most popular show on daytime TV, The Mike Douglas Show, bringing together iconic leaders of the cultural, musical, and political revolution. Erik is also known for producing Grizzly Man, directed by Werner Herzog, and his own projects, such as Dreams With Sharp Teeth, the only authorized Harlan Ellison bio.

MUSICAfter days of speculation as to what the countdown on their website meant, Linkin Park have confused fans again. https://xn--pda.linkinpark.com/Sean Strickland fired back at MGK with a wild social media post on Tuesday. The former middleweight champion got wind of MGK's comments on the just-released Impaulsive podcast episode where MGK talked about the time he met him. Sammy Hagar had to call an audible on The Best of All Worlds tour Tuesday in Cincinnati when drummer Jason Bonham had to head home to England due to a family matter. His mother Pat lives there, and a source close to the family tells us, "They are not making any details public as of now." Congratulations to Billy Corgan of Smashing Pumpkins and his wife Chloe, who are expecting their third child.A trailer has been released for the new John Lennon documentary, Daytime Revolution. The film examines the week in February 1972 when Lennon and his wife Yoko Ono co-hosted The Mike Douglas Show. Their guests included Chuck Berry, George Carlin, and activist Ralph Nader. Daytime Revolution opens in theaters on October 9th, Lennon's 84th birthday. https://www.youtube.com/watch?v=GkjiRlTVVnQJourney's Jonathan Cain came out victorious in his lawsuit against bandmate Neal Schon as the Delaware Chancery Court will appoint a third, independent director of Freedom 2020, Inc., their touring company of which they each own 50% and serve as sole directors.  TVNikki Glaser is set to host the upcoming 82nd annual Golden Globe Awards. An authorized biopic on actor, comedian, and host, Steve Harvey, called Seventy Two, is currently in the early stages of development. 50-year-old Tyra Banks will return to the catwalk of the Victoria's Secret Fashion Show for the first time in 19 years. Former Baywatch cast member Jeremy Jackson was hired at the age of 10 to be on the show, and he overshared in the documentary After Baywatch: Moments in the Sun. MOVING ON INTO MOVIE NEWS:'The Bear' star Jeremy Allen White says there are two things that are helping him prep for his movie role as Bruce Springsteen in the biopic 'Deliver Me from Nowhere' - and they involve YouTube and advice from The Boss himself.  You've probably noticed that Alec Baldwin and Geena Davis did NOT return for "Beetlejuice Beetlejuice". Well, Tim Burton has explained why          GAMING!Creative boost for video games … The CEO of Amazon Games, Christoph Hartmann, has high hopes for artificial intelligence, as the machines work to improve the development of video games. While many people in the field are freaking out and worried about AI taking their jobs, Hartmann believes AI will get rid of the boring parts of the process – and free people up to spend more time on being creative.Nintendo is putting the finishing touches on an epic museum in Kyoto, Japan – which is scheduled to open to the public in early October. Guests who plan to visit the new Nintendo Museum will use their Mii character as an admission ticket, with all the fun inside – including scores and photos from interactive exhibits – linked to their Nintendo account.AND FINALLYUltimateClassicRock.com did some kind of mathematical magic . . . or maybe they just pulled names out of a hat. Either way, they came up with the answer. The Big Four of Folk Rock are: Bob Dylan, Joni Mitchell, The Byrds, and Crosby, Stills, Nash and Young.Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSIC After days of speculation as to what the countdown on their website meant, Linkin Park have confused fans again. https://xn--pda.linkinpark.com/ Sean Strickland fired back at MGK with a wild social media post on Tuesday. The former middleweight champion got wind of MGK's comments on the just-released Impaulsive podcast episode where MGK talked about the time he met him.  Sammy Hagar had to call an audible on The Best of All Worlds tour Tuesday in Cincinnati when drummer Jason Bonham had to head home to England due to a family matter. His mother Pat lives there, and a source close to the family tells us, "They are not making any details public as of now."  Congratulations to Billy Corgan of Smashing Pumpkins and his wife Chloe, who are expecting their third child. A trailer has been released for the new John Lennon documentary, Daytime Revolution. The film examines the week in February 1972 when Lennon and his wife Yoko Ono co-hosted The Mike Douglas Show. Their guests included Chuck Berry, George Carlin, and activist Ralph Nader. Daytime Revolution opens in theaters on October 9th, Lennon's 84th birthday. https://www.youtube.com/watch?v=GkjiRlTVVnQ Journey's Jonathan Cain came out victorious in his lawsuit against bandmate Neal Schon as the Delaware Chancery Court will appoint a third, independent director of Freedom 2020, Inc., their touring company of which they each own 50% and serve as sole directors.   TV Nikki Glaser is set to host the upcoming 82nd annual Golden Globe Awards.  An authorized biopic on actor, comedian, and host, Steve Harvey, called Seventy Two, is currently in the early stages of development.  50-year-old Tyra Banks will return to the catwalk of the Victoria's Secret Fashion Show for the first time in 19 years.  Former Baywatch cast member Jeremy Jackson was hired at the age of 10 to be on the show, and he overshared in the documentary After Baywatch: Moments in the Sun.  MOVING ON INTO MOVIE NEWS: 'The Bear' star Jeremy Allen White says there are two things that are helping him prep for his movie role as Bruce Springsteen in the biopic 'Deliver Me from Nowhere' - and they involve YouTube and advice from The Boss himself.   You've probably noticed that Alec Baldwin and Geena Davis did NOT return for "Beetlejuice Beetlejuice". Well, Tim Burton has explained why           GAMING! Creative boost for video games … The CEO of Amazon Games, Christoph Hartmann, has high hopes for artificial intelligence, as the machines work to improve the development of video games. While many people in the field are freaking out and worried about AI taking their jobs, Hartmann believes AI will get rid of the boring parts of the process – and free people up to spend more time on being creative. Nintendo is putting the finishing touches on an epic museum in Kyoto, Japan – which is scheduled to open to the public in early October. Guests who plan to visit the new Nintendo Museum will use their Mii character as an admission ticket, with all the fun inside – including scores and photos from interactive exhibits – linked to their Nintendo account. AND FINALLY UltimateClassicRock.com did some kind of mathematical magic . . . or maybe they just pulled names out of a hat. Either way, they came up with the answer.  The Big Four of Folk Rock are: Bob Dylan, Joni Mitchell, The Byrds, and Crosby, Stills, Nash and Young. Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit megaphone.fm/adchoices

Judd talk about Jay helping Judd's career, Jay relentless hounding Judd to do the podcast, The Mike Douglas Show, how to spot talent, Totie Fields, The Cable Guy, stand-up now, being hungry, why it's hard to make movies, too many apps, hoarding memorabilia, The 40-Year-Old Virgin, what it takes to be a producer, Walk Hard, and demanding a souvenir show mug. Bio: Judd Apatow is one of the most prolific comedic minds in the industry. Recently, Apatow produced Peacock's Stormy Daniels documentary, Stormy, Peacock's buddy comedy Please Don't Destroy: The Treasure of Foggy Mountain and Universal's romcom, Bros, starring and co-written by Billy Eichner. Apatow also directed, produced, and co-wrote with Pam Brady, the Netflix comedy The Bubble and produced and co-directed HBO Films' Emmy®-winning documentary George Carlin's American Dream with Michael Bonfiglio. Previous director credits include the Emmy®-award-winning documentary, The Zen Diaries of Garry Shandling, The 40-Year-Old Virgin, Knocked Up and The King of Staten Island. He produced Academy Award®-nominated The Big Sick and Bridesmaids, as well as, Superbad, Pineapple Express and Anchorman. For television, he executive produced Crashing, Girls, and Freaks and Geeks. Off screen, Apatow authored Sicker in the Head, a follow-up to his New York Times best-seller Sick in the Head.

Today on the Rarified Heir Podcast we are talking to Patti Weidenfeld, daughter of comedian/actor Pat Cooper. An entertainer for more than 50 years, Pat Cooper was known as a ‘comedians comedian', someone who other comedians look up to as a genuine talent and a show business icon. Born in Coney Island Brooklyn, Pat Cooper embodied the Mad Men era comedy scene up until last year when he passed away at age 93. What Jackie Mason was for Jewish comedians, Pat Cooper did for Italian comedians. And believe me he wore his Italian heritage proudly. One of his comedy album Spaghetti Sauce and Other Delights featured Pat posing in spaghetti sauce a la Herb Alpert's Whipped Cream and Other Delights. Many comedy fans today know Pat Cooper from his guest spots on Seinfeld and films like Analyze This and Analyze That. Unfortunately he's also remembered for his many appearances on The Howard Stern Show where he became famous as an outrage comic who told tough, real family stories on air airing his dirty laundry for all to hear. Patti on the other hand, talks to us about growing up in 70s Las Vegas and travelling with her father and mother to casinos on the strip and on the Atlantic City boardwalk opening for entertainers such as Paul Anka, Frank Sinatra, Jerry Lewis, Tony Bennett, Liza Minelli, Sammy Davis Jr. and more. When he wasn't doing club dates, he was doing guest hosting slots on The Merv Griffin Show and The Mike Douglas Show upwards of 60 times…each. His infamous 1981 spot on Tom Snyder's Tomorrow show interview revealed too much about headliners demands that he felt were ridiculous and got him blackballed from working in his adopted home town Las Vegas for years. Once again, Pat aired too much dirty laundry. Still, Patti had an idyllic life with her father and mother until one day when Patti realized that some things she heard from her parents just didn't add up. We discuss this with at length with Patti on part one of our interview which you are about to hear right now. This is the Rarified Heir Podcast, everyone has a story. This one, you haven't heard before.

Episode Notes S5E11 -- Join us as we dive into the mind of former child star and restaurant entrepreneur Mason Reese. He'll take us on his journeys from TV to talk shows and beyond.. Beginning at age four, Reese appeared in television commercials, and was known for his red hair and the distinctive, high-pitched voice with which he delivered his lines. The most memorable of these was an ad for Underwood Deviled Ham, in which he mispronounced the word "smorgasbord" as "borgasmord." The commercial garnered Reese a Clio Award for Best Performance by a Male Actor in a Television Commercial. He appeared in over 75 commercials for numerous products, among which were Ivory Snow, Dunkin' Donuts' "Munchkins" donut holes, and Post Raisin Bran. NEWS FLASH: You can now purchase Toking with the Dead full novel here https://a.co/d/7uypgZo https://www.barnesandnoble.com/.../toking.../1143414656... You can see all your past favorite episodes now streaming on https://redcoraluniverse.com/ OR Show your support by purchasing FB stars. Send stars to the stars fb.com/stars Toking with the Dead: https://www.stilltoking.com/ https://www.facebook.com/TokingwiththeDead?tn=-]C-R https://www.instagram.com/stilltokingwith/?hl=en https://twitter.com/thetoking?lang=en https://pinecast.com/feed/still-toking-with Check out Toking with the Dead Episode 1 https://www.youtube.com/watch?v=awhL5FyW_j4 Check out Toking with the Dead Episode 2 https://www.youtube.com/watch?v=SaUai58ua6o Buy awesome Merchandise! https://www.stilltoking.com/toking-with-the-dead-train https://teespring.com/stores/still-toking-with Our booking agent: https://www.facebook.com/AmyMakepeace https://www.facebook.com/groups/3770117099673924 Sponsorship Opportunities: https://www.stilltoking.com/become-a-sponsor or email us at bartlett52108@gmail.com thetokingdead@gmail.com ————————————— Follow our guest https://en.wikipedia.org/wiki/Mason_Reese https://www.imdb.com/name/nm0716046/ https://www.instagram.com/masonreese411/ https://www.youtube.com/user/TheMasonReese https://twitter.com/themasonreese?lang=en https://www.cameo.com/masonreese https://www.facebook.com/mason.reese.108 ———————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 https://thedorkeningpodcastnetwork.com/ ————————————— Produced by Leo Pond and The Dorkening Podcast Network https://TheDorkening.com Facebook.com/TheDorkening Youtube.com/TheDorkening Twitter.com/TheDorkening Dead Dork Radio https://live365.com/station/Dead-Dork-Radio-a68071 MORE ABOUT OUR GUEST: Mason Reese is the adopted son of William Reese and former actress Sonia Darrin. He attended Saint Michael's Montessori School, a non-denominational elementary school that was housed in St. Michael's Episcopal Church in Manhattan, through the fourth grade. In late 1975, he transferred to the Professional Children's School, also in Manhattan. Throughout the 1970s, Reese appeared in features and interviews on New York's WNBC-TV. He was a guest on numerous television talk shows,[2] most notably The Mike Douglas Show, where he made several appearances and also served as a guest host. In 1982, he and his mother voiced a series of syndicated, 90-second radio spots titled Mason and Mom, in which they offered lighthearted advice to children's questions, with Reese sharing a child's perspective, while his mother offered an adult's. At age eight, Reese wrote a memoir, titled, The Memoirs of Mason Reese, in cahoots with Lynn Haney (1974), joking to a Washington Post interviewer in 1982, "Oh yes, I think my second volume should be out any day now." After retiring from acting Reese became a restaurateur with multiple businesses in the New York City area. Find out more at https://still-toking-with.pinecast.co Send us your feedback online: https://pinecast.com/feedback/still-toking-with/a1adc7d5-9027-4fb9-b1dc-ec1c5d6cfba8

Rock & Roll Hall of FameA Tribute to My Guest This Week ~ Broadcast Radio Icon Jerry Blavat. He began his career as a 13 year old on the TV show Bandstand.Jerry is in the Rock n Roll Hall of Fame & After over 50 years in broadcasting, STILL Rock Out Weekly on WVLT, online & at LIVE shows! In 1960, he started his own radio talk show on WCAM (AM), in Camden, New Jersey. (He won the show in a crap game). On a snowy night in mid January, pulling out a stack of records, he began entertaining listeners throughout the night, and the legend of "The Geator" was born. In the mid-sixties, reports had his audience at a half million teenagers per month. Much of Jerry's broadcasts in the early days were done on reel to reel tape. Recording the program in his garage studio, the tapes played while Blavat made personal appearances. In the mid-sixties, Jerry's broadcasts were also added for a time to the program schedule of WHAT. On that station, Blavat stated that he only made $18 a week ($1.50 per hour). Most of his audience didn't buy it, but it was true. The real money was at the hops, not on the air. However, Blavat knew he needed the airwaves to promote the appearances. In 1965, he produced and hosted his own TV show "The Discophonic Scene" on CBS' Philadelphia outlet WCAU-TV. From 1967-70, the show aired on WFIL-TV, Channel Six and was syndicated through Triangle Publications coast-to-coast in 40 markets. When the British Invasion came along, Jerry never became part of it. He didn't like format radio, never participated in it and has always been his own man. In 1966, Jerry said: "It had been hell during the Beatles reign, when there had been much pressure to get on the bandwagon. But I sensed that it just didn't have enough soul for my kids... So I finally gave in and played a few, and I got bombarded by phone calls saying 'Geator, what you doing, man?'" In April of 1972 he became one of the first on-air personalities on WCAU-FM, an oldies station. In 1987, Blavat moved to "Philly Gold Radio," WPGR. It became "Geator Gold Radio" in April of 1992 when Blavat purchased the station. Until this day, Jerry is seen on many local and national TV shows. He has been with PBS on their Doo Wop specials working with the show's producer, T. J. Lubinsky. When the shows aired locally over WHYY-TV, Jerry Blavat was the area's host. Throughout his career, Jerry has appeared on "The Tonight Show," "The Mike Douglas Show," "The Joey Bishop Show," "The Mod Squad," and "The Monkees." Jerry Blavat has appeared in feature films including "Desperately Seeking Susan," "Baby, It's You," and "Cookie." After WPGR, the Geator then built studios in Center City. He currently broadcasts his Cruisin' 92.1, WVLT. In 1998, he was inducted into the Rock & Roll Hall of Fame and was inducted into the Broadcast Pioneers of Philadelphia's "Hall of Fame". He still owns his own nightclub called Memories in Margate, NJ He works at various clubs most nights & has a show yearly at the Kimmel Center. While many refer to James Brown as "the hardest working man in show business," the title should belong to Jerry Blavat, who said many years ago: "I may not be the best jock in the world, but I've got my own built-in excitement meter.© 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Show #1029 Beardo's Birthday Bash 2023 01. Robin Sylar (ft. Wes Race) - Shot Time (4:11) (Tricked Out, Topcat Records, 2004) 02. Jason Ricci & New Blood - Rocket Number 9 (10:37) (Rocket Number 9, Eclecto Groove Records, 2007) 03. Magic Sam - Everything Gonna Be Alright (2:54) (45 RPM Single, Cobra Records, 1958). 04. Leo Kottke - Vaseline Machine Gun (3:18) (6 and 12-String Guitar, Takoma Records, 1969) 05. David Migden & the Twisted Roots – I WSH U HRM (4:18) (Lit Up Like A Fruit Machine, self-release, 2022) 06. Papa George – Blackjack (Jenny Fairfax mix) (3:16) (Down At The Station, self-release, 2006) 07. Barry Venn's False Pretences – Crossroads (4:54) (True Lies, Intuition Records, 1997) 08. Virgil & the Accelerators - Silver Giver (8:49) (The Radium, Mystic Records, 2011) 09. Carlos del Junco & Bill Kennear - Big Road Blues (4:57) (Blues, Big Reed Records, 1993) 10. Rory Block - Big Road Blues (3:12) (Mama's Blues, Rounder Records, 1991) 11. Bonnie Raitt - Big Road (4:00) (The Lost Broadcast: Phildelphia 1972, Leftfield Media, 2010) 12. Walter Trout - Brother's Keeper (7:01) (Blues For The Modern Daze, Provogue Records, 2012) 13. Sérgio Bap - Kitungo Blues (2:07) (Soundcloud, self-release, 2014) 14. Sue Foley - Run (4:03) (The Ice Queen, Stony Plain Records, 2018) 15. Bo Ramsey (ft. Mark Knopfler) - Wounded Dog (3:58) (How Many Miles, self-release, 2022) 16. Beth Hart & Joe Bonamassa - Can't Let Go (4:03) (Seesaw, J&R Adventures, 2013) 17. Ali Farka Touré & Ry Cooder - Amandrai (9:26) (Talking Timbuktu, World Circuit Records, 1994) 18. Jeff Beck - Head for Backstage Pass (2:44) (Wired, Epic Records, 1976) 19. Sugar Pie Desanto - Can't Let You Go [1961] (2:45) (In the Basement: The Chess Recordings, Chess Records/UMG, 2018) 20. Eric Clapton & Jimmy Page - Tribute to Elmore (2:07) (Blues Anytime Vol 1: An Anthology of British Blues, Immediate Records, 1968) 21. Frankie Miller – The Devil Gun (3:38) (Frankie Miller … That's Who! The Complete Chrysalis Recordings 1973-1980, Chrysalis Records, 2011) 22. Guy Tortora – Willie Dixon (6:13) (Prodigal Songs, Turtledove Records, 2011) 23. Frank Zappa (with Mike Douglas Orchestra) - Black Napkins (4:12) (The Mike Douglas Show, October 28, 1976) 24. Ezra Collective - Live Strong (7:36) (Where I'm Meant To Be, Partisan Records, 2022) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

GGACP celebrates the birthday of comedian, writer and star of "Dr. Katz, Professional Therapist," Jonathan Katz (born December 1st) by revisiting one of their funniest (and strangest) interviews in the podcast's history. In this episode, Jonathan joins Gilbert and Frank for a chaotic conversation about TV westerns, David Mamet movies, "casual" nudity, Charles Atlas ads and "The Mike Douglas Show" -- among other vital topics. Also, Jon befriends Garry Shandling, pens a pilot for Peter Falk, prank calls a dating service and covers Melanie's "Brand New Key." PLUS: Thelma Todd! Fernando Lamas! Buster Crabbe peddles girdles! Al Pacino comes to dinner! The return of Larry Ragland! And Gilbert sings the theme from "Branded"!   Learn more about your ad choices. Visit megaphone.fm/adchoices

Aaron Leigh is the guest on the show today. Aaron teaches all of us a valuable lesson on this show and that is to make sure you make the most out of every opportunity because you never know what door it may open. Aaron is the current bass player in Y & T, he has great solo work, and also plays in Frank Hannon's solo band when he is not on the road with Tesla.Aaron's Website: Click HereGet Signed Vinyl: Click HereCheck out Aaron on Spotify: Click HereAaron's bio:Born and raised in San Jose, California, Aaron Leigh's musical journey began at the age of 5 when his Grandmother gave him drumsticks and a practice pad, introducing him to the mesmerizing performance of Buddy Rich on the Mike Douglas Show. Inspired by the rhythmic beats, Aaron quickly embraced the drums and started playing.At the age of 10, Aaron's path took a rock 'n' roll turn when he discovered KISS, igniting a deep passion within him. Determined to become a lifelong musician, he picked up the guitar and immersed himself in the world of rock. As Aaron continued to explore the realm of music, he encountered influential bands such as RUSH and IRON MAIDEN.At the age of 14, he found his calling in the bass guitar and began honing his skills. It was during this time that he stumbled upon a band called Y&T. Drawn in by their captivating cover art, he purchased their album "Black Tiger" without even hearing a single note. When he finally dropped the needle on the record, Y&T's music resonated with him like no other, instantly becoming his favorite band.In a remarkable twist of fate, Aaron Leigh joined Y&T as their bass player in April of 2016, fulfilling a lifelong dream. Reflecting on this incredible opportunity, Aaron humbly acknowledges, "Being a lifelong fan of Y&T and then ending up as the bass player in one of my ALL-TIME FAVORITE bands is an incredible blessing... I'm VERY lucky."While thriving as a member of Y&T, Aaron Leigh's creative spirit extends beyond the band. He is also a solo artist, songwriter, recording engineer, and producer. On March 4th, 2021, he released his first solo EP, featuring tracks like "INSANITY," "TELL ME," "JEWEL EYED JUDY," and "DON'T SAY GOODBYE." The EP's first single, "Insanity," showcased the talents of Frank Hannon, co-founder and lead guitarist of the platinum-selling band TESLA, who contributed incredible solos that added another layer of melodic beauty to the song.Noted radio personalities have praised Aaron's solo work, with Eddie Trunk of Trunk Nation/Sirius/XM Radio commenting, "Aaron's done a great job playing bass in one of my favorite bands Y&T. But his new solo single shows he has a lot to offer as a solo artist as well. 'INSANITY' is a great melodic rocker!" Continuing to tour the world with Y&T, Aaron Leigh is on the verge of releasing his sixth solo single.Once again, Aaron immersed himself in the creative realm as he is about to unveil his latest solo endeavor. "Bahia Sunshine" is set to captivate audiences worldwide on July 28th, 2023. 

Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. 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 No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off.  Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations.  Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes.  And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level.  That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title.  King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before.  The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject.  Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the

On this fun show, I have standup comedy sets and bits from TV shows and Radio ..."Mixed Media"First is comic Daily Pike on the Mike Douglas Show, then Bob Worley doing a bit on Y92 Radio with Paul & Phil's Morning Show. Next is Diane Nichols first Tonight Show appearance, and we close with another Tonight Show spot where Co-Host Garry Shandling interviews my good Friend Dave Coulier....from Full House fame.Hosted by: R. Scott EdwardsSupport the showStandup Comedy Podcast Network.co www.StandupComedyPodcastNetwork.comWrite a Review: in-depth walkthrough for leaving a review.Subscribe and get Bonus Shows and entire inventory of Shows: https://www.buzzsprout.com/838567/subscribe

Barry Blaustein joined me to discuss watching political events of the early 1960's on a b/w TV; his comedy influences; going to school for broadcast journalism; "Broadcast News"; going to LA and getting jobs on specials; working on The Mike Douglas Show; submitting for SNL; Jean Doumanian asking him to write more, not doing it and getting hired anyway; the writing staff did not intimidate him; Elliot Gould and the Accordion Killer; Malcolm McDowell; Ellen Burstyn and Raheem Abdul Mohammad; his dad coming up with "Is that velvet" from "Coming to America"; writing "LFNY" for Eddie on the seventh show and having people upset; Tommy Torture and Ray Sharkey's erratic behavior; Karen Black episode; Charlene Tilton, Mr. Robinson's Neighborhood and Charles Rocket's f-bomb; writing a Nick the Lounge Singer with Bill Murray; the Writer's Strike; first show back with Little Richard Simmons, Prose and Cons, and Khaddafi Look; show two with Buckwheat; John Mulaney was born in 1982 when he was at SNL; Ted Cruz being a fan of his work; Velvet Jones; Donald Pleasance and Fear; "Hidden Photo"; Michael O'Donoghue; writing the Mick Jagger variety special for Tim Curry; "retiring" Velvet Jones and The Jersey Guy; Gumby; Larry the Lobster; appearing on camera; Ebony & Ivory; going out to L.A. to write for Chevy hosting via satellite; Drew Barrymore; Eddie hosts and Steve Martin makes a cameo; Lily Tomlin; working with Rick Moranis, Sid Caesar, Stevie Wonder and Ed Koch; leaving the show and not being allowed to tell Eddie; Pam Norris; "Coming to America"; being a Mets and Clippers fan; writing the "Police Academy" movies and their humungous success in Russia; What's Alan Watching?; going back with Eddie in 2019 to SNL;

Host Paul Romanuk talks with singer/songwriter/musician Jerry Leger about John Lennon's 1973 album Mind Games.EPISODE NOTES:You can find out about all things Jerry Leger at his official web site jerryleger.com Anything we discuss about his music, album covers and so on is on that site.More information on host Paul Romanuk and The Walrus Was Paul podcast at Paul's official website romycast.com Here's a link to a television commercial that was done in 1973 to promote Mind Games. I believe that's John Lennon you can hear laughing in the background.We talk about John Lennon appearing on a syndicated US talk show - The Mike Douglas Show - where Lennon apparently came up with the idea for the song Only People. I have clear memories of running home from school that week to see John and Yoko on TV.We talk about legendary US session drummer Jim Keltner. Here's a great interview he did with Ross Garfield (aka The Drum Doctor).The album was recorded at The Record Plant in NYC. It's long gone. Here's a photo of Lennon in the control room. The guy with him in the yellow shirt is legendary engineer Roy Cicala.

Emmy Award-winning television producer and Friar Burt Dubrow talks with Joe Sibilia about hanging out at the Friars Club with comedian, children's show host, and Friar Soupy Sales, producing for Friars Sally Jessy Raphael and Jerry Springer, working alongside Friars including Ed McMahon, Alan King, and Jerry Lewis, and talks about his longtime friendship with Paul Winchell, the legendary ventriloquist and inventor best remembered for creating the voice of Tigger for Disney's "Winnie-the-Pooh" films. Plus, Burt shows off some of his memorabilia to Joe, pesters "Buffalo Bob" Smith at the liquor store, runs into Johnny Carson at the airport, and gets his college classmate Andy Kaufman on "The Mike Douglas Show."  For more information on the Friars Club, please visit our website at https://www.friarsclub.com/ Follow the Friars Club on: Facebook: https://www.facebook.com/profile.php?id=100082240803132 Instagram: https://www.instagram.com/pcfriarsclub/?hl=en

Matthew Bannister on Pope Benedict XVI, the religious conservative who was the first Pontiff to resign from the job in almost 600 years. Dame Vivienne Westwood (pictured), punk pioneer, high fashion designer and eco warrior. James Caan, the American actor best known for playing Sonny Corleone in The Godfather. Georgia Holt, the singer who enjoyed success late in life thanks to her daughter Cher. Producer: Tim Bano Interviewed guest: Catherine Pepinster Interviewed guest: Ian Kelly Interviewed guest: Laird Borelli-Persson Interviewed guest: David Thomson Interviewed guest: P David Ebersole Archive clips used: YouTube/ Rome Reports.com, Habemus Papam - Uploaded 2012; BBC Radio 4 News 19/04/2005; YouTube, The Regensburg Speech 12/09/2006; BBC Radio 4, Thought for the Day 24/12/2010; BBC News Archive, Pope Benedict XVI announces resignation 11/02/2013; Netflix/ Rideback, The Two Popes (2019); BBC One, The British Fashion Awards 15/10/1991; BBC Radio 4, Desert Island Discs - Vivienne Westwood 28/06/1992; BBC Four, Vivenne Westwood Talks To Kirsty Wark 13/04/2004; BBC One, Wogan with Sue Lawley 11/03/1988; Finished Films, Westwood - Punk, Icon, Activist (2018); BBC One, Wogan In Hollywood - James Caan interview 02/01/1991; Paramount Pictures/ Albert S. Ruddy Productions/ Alfran Productions, The Godfather (1972); Castle Rock Entertainment/ Nelson Entertainment, Misery (1990); Broadway Video/ Conaco/ NBC Studios, Late Night with Conan O'Brien 31/10/2003; New Line Cinema/ Guy Walks into A Bar Productions/ Gold/Miller Productions, Elf (2003); Mann/Caan Productions, Thief (1981); WJZ-TV13 Baltimore 1979; Westinghouse Broadcasting Company/ Mike Douglas Entertainments, Mike Douglas Show 1979; Paramount Domestic TV, Entertainment Tonight 1988.

Rick Podell and I discuss his early influences; Jackie Gleason; Ed Sullivan; 50's and 60's standups; Alan King; doing standup for his dog; tap dancing; leaving college to do Dames at Sea off Broadway; getting hired as a Universal contract player; doing Baretta and getting a mentor in Robert Blake; Busting Loose; Garry Marshall; Paramount commissary; Chopped Liver Brothers; how appearing on the Mike Douglas Show makes you crave for new material; how his jack-of-all trades style hurt him; working with Milton Berle in Two by Two and meeting his endowment; Budd Friedman gets roasted; writing the pilots Brothers and Our Time with co-writer Mike Preminger; starring in films "Lunch Wagon" and "Underground Aces"; co-starring in "Hero at Large" with John Ritter; losing out on Chips to Erik Estrada; performing with Richard Lewis, Rich Hall, and Dana Carvey; Jay Leno saying he was too handsome to be a successful comedian; touring Montana with Gilbert Gottfried; guest starring as Jackie Jackerman on a memorable Family Ties; guest starring as a mohel on Cheers; writing the screenplay for "Nothing in Common" about his relationship with his dad; having Tom Hanks and Jackie Gleason star; receiving letters from people with the same situations; the film being perceived as too Jewish; Gleason's ill-health; opening with Ginger Rogers for a year; opening for Cher; working on Sunset Boulevard on Broadway with Andrew Lloyd Webber and Glenn Close; being directed by someone who directed Ronald Reagan and Clark Gable; working and later teaching at the Beverly Hills Playhouse; cell phones; and his one-man show

When talking about Batman, discussion tends to focus on Adam West, Burt Ward, and those who played villains who the Dynamic Duo brought to justice. But here we've done nearly 200 episodes and mostly missed someone whose name is in the opening credits for the first two seasons: Madge Blake. So this time we've dug in to see what we could learn about this woman who started acting late in life, charmed fellow actors but frustrated some directors, and worked with Jack Benny, Vincente Minnelli, Gene Kelly, and more. We also take a look at her Batman character, Aunt Harriet: her origins in the comics, how the TV and comics versions differed, and what we can tell about the TV version based on her scenes; there's more to know there than you might think! ALSO: the Mr. Tabs guitar tutorial version of the Batman theme, Vincent Price and Adam watch themselves in a Batman clip on the Mike Douglas Show, Holy Deja Vu asks “Who was Milton Stark?”, and we once again visit the Bat Inbox. Madge Blake articles in Today's Health Magazine from March 1960 Madge on the Jack Benny Show ;

As season two rolls on, women are still filling familiar roles: OK with crime, but killing the Dynamic Duo is going "too far"; ditzy moll who dreams of diamonds and Hollywood; "team-up" baddie who's completely superfluous to the male partner's plans. We also get a season one throwback of a moll who crushes on Batman, and a Catwoman assistant (and Batman producer's niece) who wants to be a singer. We're once again joined by novelist Nancy Northcott to discuss women in the middle of season two! Plus, a high school (apparently) orchestral version of the theme, more of Adam West on the Mike Douglas Show, and a look back at High C's one appearance on our podcast.

In the third episode of the 2022 Election Season - Josh updates you on the weekly election snapshot. This weeks special guest is Mike Douglas (Host of The Mike Douglas Show on Power Talk 1360AM out of Modesto, CA) where a discussion about the state of the media and its influence on elections takes place. In "The Grunt's Perspective" segment Josh calls out China for their BS threats on Speaker Nancy Pelosi's trip to Taiwan and as always your questions answered in the 3-Pointer segment.

The cultural impact of Batman '66 was felt for decades after, and still reverberates. This time we discuss a couple more late-20th-century cartoons that showed evidence of that impact: Mighty Mouse: The New Adventures, which in 1987 gave us Night of the Bat-Bat, featuring Bat-Bat, a hero with the powers of a bat and a penchant for corny one-liners; and numerous episodes of The Simpsons, including 1992's Mr. Plow, in which Adam West makes a couple of heavily-Bat-referencing appearances; and 1995's Radioactive Man, which gives us the "campy '70s version" of that hero. Holy stand-in! ALSO: Niall Stenson's take on Neal Hefti's Batman theme; Adam on the Mike Douglas Show; your response to our episode on It's a Bird, It's a Plane, It's Superman; and we eulogize a committed Bat-fan and regular correspondent to our show, High C. Batman Movie Themes (1966 - 2016) on Guitar Mighty Mouse The New Adventures - Night of the Bat-Bat Night of Bat-Bat - Audio Commentary by John Kricfalusi and Tom Minton

Blaine joined me to talk about his first time doing stand up; favorite comedians; his new wave band; Elvis Costello; Fridays; Darrow Igus; Ted Wass; not being allowed to watch certain shows; Andrew Dice Clay; bonding with your dad over comedy; Red Skelton; Patton Oswalt; Small Doses pilot; Mad TV; Artie Lange; Spishak; writing the Claymation sketches; Bea Arthur; Mark Hamill; Donny Most; Martin Short Show; Jimminy Glick; Kevin McDonald, Beat the Geeks; game show hosts; That's Incredible; Lucha Va Voom; Los Angeles Derby Dolls; Mind of Mencia; Nerd Poker; Uno; working on Louie; Gilbert Gottfried; Bobcat Goldthwaite; Emo Phillips; Top 70's/80's sitcoms; Chico & the Man horrible upon rewatch; cheap look of 70's TV; obscure 70's sitcoms; Moe Howard on Mike Douglas Show; Jamie Farr; Mad TV sketch "Vague"; Martin Short makes his writers watch The Chevy Chase Show; Rollergirls; Rhonda Bates; Whodunnit?; Salvage I; Makin' It;Robert Hays; Will Ferrell; Apple Pie; BJ and the Bear; CB Trucking & Monkey Craze of the 70's; Waverly Wonders; Buck Rogers; New Adventures of Flash Gordon; Quark; House Calls; Ray Buktenica; Rhoda; Saturday Night Live; Norm MacDonald

JEFFREY ROBINSON is the bestselling author of 30 books, and a popular speaker on the international after-dinner circuit. Born in Long Beach, NY (1945), he began selling freelance articles and stories to small magazines before his 15th birthday. Later, while attending Temple University in Philadelphia (BA-1967), he wrote for television and radio, was a staff writer at KYW-TV3 (1965), scripted a popular local children's show and was on the writing staff of "The Mike Douglas Show" (1966), a nationally televised daily talk show. After serving as a press and public relations officer in the United States Air Force (1967-1971), he took up residence in the south of France where he spent the next 12 years vagabonding around the world, writing articles and short stories for leading North American and British periodicals. In 1982, now earning his living as an established freelance journalist and short story writer, he moved to London England to write books. His money laundering tour de force, The Laundrymen (1993) was a headline-maker in 14 countries, establishing him as a recognized expert on organized crime, dirty money, fraud and money laundering. Actively maintaining that reputation through books, television programs and speaking engagements around the world, the British Bankers' Association has labeled him, "the world's most important financial crime author." In addition to books on dirty money, he has published investigative non-fiction, major biographies and novels. Source: jeffreyrobinson.com PLUS: Our weekly Future Shock 2.0 segment with IRA S. Wolfe about business and workforce trends caused by the convergence of people, business and technology. IRA is an author, workforce trends expert and Top 5 Global Thought Leader on the Future of Work and HR. --- Support this podcast: https://anchor.fm/john-aidan-byrne0/support

Full Hour | In today's second hour, Dom Giordano welcomes back in legendary actor William Shatner to discuss the upcoming Philadelphia FanExpo from April 8-10th at the Pennsylvania Convention Center. First, Shatner and Giordano discuss the famed actor's ties to Philadelphia, reflecting upon the multiple times he spent on the Mike Douglas Show. Then, Shatner is shocked when Dom reveals that Pete Davidson will be the next celebrity in line to go to space, with Dom asking him for what he learned when he went up to space with Blue Origin. In addition, Shatner tells about the culmination of his spoken word albums, and tells the role that he's most proud of. Then, Giordano switches to some sports stories, discussing the Phillies decision to sign Jeurys Familia and Odubel Herrera, two players with pasts checkered with domestic violence allegations. Giordano takes umbrage with the Phillies decision, explaining why we should not be signing people with pasts like these, and ties it into a discussion about whether the Eagles should pursue Houston Texans quarterback Deshaun Watson. Then, Giordano provides an update on the performance of transgendered swimmer Lia Thomas, who will compete in the NCAA championship soon.   After that, Giordano offers his predictions for the Pennsylvania Senate Primary, propping up the negatives of both Dr. Mehmet Oz and Dave McCormick against one another. Giordano then gives an update on the other side of things, telling that John Fetterman seems to be the clear frontrunner for the Democratic Party in the race to fill Pat Toomey's seat. (Photo by Bennett Raglin/Getty Images for ReedPop)

In today's second hour, Dom Giordano welcomes back in legendary actor William Shatner to discuss the upcoming Philadelphia FanExpo from April 8-10th at the Pennsylvania Convention Center. First, Shatner and Giordano discuss the famed actor's ties to Philadelphia, reflecting upon the multiple times he spent on the Mike Douglas Show. Then, Shatner is shocked when Dom reveals that Pete Davidson will be the next celebrity in line to go to space, with Dom asking him for what he learned when he went up to space with Blue Origin. In addition, Shatner tells about the culmination of his spoken word albums, and tells the role that he's most proud of. (Photo by Mario Tama/Getty Images)

Count Basie! Mel Torme! Sammy Davis, Jr!Jazz drumming legend, Butch Miles continues to make the scene to share a wealth of knowledge and wisdom. In this episode, we talk about family dinners with the Pizzarellis, a seemingly simple piece of advice from Basie that became the driving principle in Butch's playing, and a club date that sounds more like a game of Clue than it does a gig. FEATURED RELEASE:Butch Miles Sextet“Miles and Miles of Swing” (1978) Getting to Know: Butch!The accomplishments of drummer Butch Miles continue to attract worldwide attention.  He has performed with such luminaries as Count Basie, Frank Sinatra, Sammy Davis, Jr., Dave Brubeck, Mel Torme, Lena Horne, Joe Williams, Ella Fitzgerald, Woody Herman, Clark Terry, Gerry Mulligan, Harry “Sweets” Edison, Benny Goodman, Tony Bennett, Rosemary Clooney, Zubin Mehta, Itzak Pearlman, Dick Hyman, Willie Nelson and others, Butch displays the maturity of his experience with youthful imagination and unending energy. Butch conducts jazz clinics at universities and high schools, continues to record C.D.s and plays frequently in small group capacities at jazz parties and festivals around the globe where he brings together technique, creative finesse and a love of the music that delights audiences.As the drummer for the world-famous Count Basie Orchestra (1975-1979 and 1997-2007), Butch quickly became renowned for his swinging big band style and techniques. Butch has performed at the Newport Jazz Festival (now the “JVC Jazz Festival”) in New York since 1975 and the Grande Parade De Jazz in Nice, France nine times.  He has performed at major jazz festivals around the world, including the Montreal Jazz Festival; North Sea Jazz Festival at the Hague, the Netherlands; the Montreux and Bern Jazz Festivals in Switzerland; the Berlin, Munich, Cologne and Stuttgart Jazz Festivals in Germany along with many tours throughout Europe, Australia, the Far East, the Americas and the Caribbean. In 1976, Butch played a Royal Command Performance for Her Majesty Queen Elizabeth II which was televised throughout all of Europe.  Butch has recorded over 100 albums (see Discography) and has been on three (3) Grammy winning albums, along with being nominated numerous times for the European equivalent of the Grammy.He has appeared on “CBS 60 Minutes,” “The Tonight Show” starring Johnny Carson, “The Merv Griffin Show,” “The Dick Cavett Show,” “the Mike Douglas Show” and six times on “the Jerry Lewis Telethon.”  Internationally, Butch has made personal appearances on radio and televisions stations throughout the world.  He has also appeared in three motion pictures:  “The Australian Jazz Fest” filmed while Butch was touring Australia with the Dave Brubeck Quartet, “The Last of the Blue Devils” filmed on location while he was touring with the Count Basie Orchestra and briefly in Woody Allen's “Crimes and Misdemeanors.”  Butch performed on the soundtrack of the 2003 film, The Alamo. He also travels for the Ludwig Drum Company giving clinics and concerts worldwide (Ludwig/Musser). Butch produced a C.D., Straight On Till Morning, in June, 2003, from Nagel-Heyer Records (Nagel-Heyer Records), Hamburg Germany.Butch was honored by the State of Texas Senate on March 3, 2005 for his many accomplishments in music. On October 15, 2011 Butch was inducted into the West Virginia Music Hall of Fame. Butch was also honored by the Senate of the State of West Virginia in 2013 and received the Lifetime Achievement Award from the Conn Selmer Institute in 2016 among many other awards from the Avedis Zildjian Cymbal Company, the Ludwig Drum Company, the International Association of Jazz Educators, the United States Air Force Band – the Airmen of Note, The Elkhart Jazz Festival and the Austin, Texas Jazz Society. Watch the interview on our YouTube channel here!

In this episode your host takes a closer look at our present market turmoil and asks what has cryptocurrency got to do this all this? The show returns to a recent favorite guest, Jeffrey Robinson, for some insights and possibly some clues as to what the hell is happening. Robinson is the bestselling author of 30 books, and a popular speaker on the international after-dinner circuit. Born in Long Beach, NY (1945), he began selling freelance articles and stories to small magazines before his 15th birthday. Later, while attending Temple University in Philadelphia (BA-1967), he wrote for television and radio, was a staff writer at KYW-TV3 (1965), scripted a popular local children's show and was on the writing staff of "The Mike Douglas Show" (1966), a nationally televised daily talk show. After serving as a press and public relations officer in the United States Air Force (1967-1971), he took up residence in the south of France where he spent the next 12 years vagabonding around the world, writing articles and short stories for leading North American and British periodicals. In 1982, now earning his living as an established freelance journalist and short story writer, he moved to London England to write books. His money laundering tour de force, The Laundrymen (1993) was a headline-maker in 14 countries, establishing him as a recognized expert on organized crime, dirty money, fraud and money laundering. Actively maintaining that reputation through books, television programs and speaking engagements around the world, the British Bankers' Association has labeled him, "the world's most important financial crime author." In addition to books on dirty money, he has published investigative non-fiction, major biographies and novels. Source: jeffreyrobinson.com --- Support this podcast: https://anchor.fm/john-aidan-byrne0/support

Jeffrey Robinson is the bestselling author of 30 books, and a popular speaker on the international after-dinner circuit. Born in Long Beach, NY (1945), he began selling freelance articles and stories to small magazines before his 15th birthday. Later, while attending Temple University in Philadelphia (BA-1967), he wrote for television and radio, was a staff writer at KYW-TV3 (1965), scripted a popular local children's show and was on the writing staff of "The Mike Douglas Show" (1966), a nationally televised daily talk show. After serving as a press and public relations officer in the United States Air Force (1967-1971), he took up residence in the south of France where he spent the next 12 years vagabonding around the world, writing articles and short stories for leading North American and British periodicals. In 1982, now earning his living as an established freelance journalist and short story writer, he moved to London England to write books. His money laundering tour de force, The Laundrymen (1993) was a headline-maker in 14 countries, establishing him as a recognized expert on organized crime, dirty money, fraud and money laundering. Actively maintaining that reputation through books, television programs and speaking engagements around the world, the British Bankers' Association has labeled him, "the world's most important financial crime author." In addition to books on dirty money, he has published investigative non-fiction, major biographies and novels. Source: jeffreyrobinson.com --- Support this podcast: https://anchor.fm/john-aidan-byrne0/support

Gobble gobble! In this, our T-day adjacent episode, we wrap up No-lte November (jk) with a so-called "comedy of manners" from 1986. Roughly based on a 1919 play by René Fauchois (and subsequent film adaptation in 1932 by Jean Renoir), jolly ol Saint Nolte stars along side Richard "D-bag" Dreyfuss, Bette Midler, Elizabeth Peña, Tracy Nelson and Little Richard. ++++++ Intro: by Professor Ping available on Spotify and Bandcamp Outro: Little Richard performing "The Girl Can't Help It" on the Mike Douglas Show, 1970 --- Support this podcast: https://anchor.fm/zandkmoviepod/support

Happy Turkey Day! Cave Dwellers handglides right into Adam and Chris's hearts, as they talk about early MST3K experiences, vast tracts of Keeffe, Alan Hale Jr (for some reason), Danny Elfman (again!), and Dave Foley.SHOW NOTES.Cave Dwellers: IMDB. MST3K Wiki. Trailer. Watch on ShoutFactoryTV!Where to watch Turkey Day 2021.The Mads will riff Manos.Our mega-episode on Manos.Mary Jo Pehl's Twitch channel.Our previous episode, on The Robot vs. the Aztec Mummy.And our recent episodes on The Touch of Satan and Teen-Age Crime Wave, the one we actually called “Pinteresque”.An interview with Miles O'Keeffe from the year before this episode was released.Tarzan The Ape Man (1981).The poster for Tarzan The Ape Man.Waxwork.Iron Warrior.Quest for the Mighty Sword.Surviving Gilligan's Island.Clawed: The Legend of Sasquatch.Charles Durning in The Best Little Whorehouse in Texas.Danny Elfman: Pee-Wee's Big Adventure Soundtrack.The Alan Parsons Project: The Eye in the Sky and Sirius.Our very first episode, on Rocketship X-M.Chuck Woolery, these days.Grateful Dead: Sugar Magnolia.Our episode on Master Ninja I.Taur the Mighty. (Credits are from around the 9 minute mark.)Troll 2.Mike Douglas: The Men in My Little Girl's Life.John and Yoko on The Mike Douglas Show.Devo: I Desire.Rolling Stone on the royalty situation.BONUS.Support It's Just A Show on Patreon and help us research and record the show, listen to some bonus bits, and hang out with us in a friendly little Slack.

Hunter and Wesley watch Chuck Berry and John Lennon do a performance on The Mike Douglas Show in 1972 and witness Yoko Ono try her best to absolutely fuck shit up. They then listen to some of Yoko's other terrible works and conceive the "Absolute Yoko" scale, where Yoko Ono is on the bottom. Hunter and Wesley also talk about how Ginger Root has been officially recognized by the queen of city pop, Mariya Takeuchi. Hunter and Wesley also listen to a few tracks of the modern age from artists such as Leprous, Morgan Wallen, Bruno Mars, Anderson .Paak, Silk Sonic, Taylor Swift, Polo G, Maluma, Rosalía, The Weeknd, Lil Durk, and Travis Scott. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Sally Lou Oaks Loveman is the former audience producer for The Oprah Winfrey Show who lives her purpose by connecting with audiences. When she was age fourteen, she tuned into her passion for television when she was an audience member at The Mike Douglas Show and spotted a woman on the set with a clipboard. Sally Lou had no idea what this woman did, but she knew she would do it one day too. After her thirty-six-year career in television and having entertained over half a million people from the Oprah stage, Loveman shares her “do what you love” message through her business, lovespeaks, and her new book Speak: Love Your Story, Your Audience is Waiting Blending the genres of memoir and self-improvement, Speak shares Sally Lou's story while offering tips to help readers become better speakers and storytellers. Filled with humor and truth, Speak encourages readers to speak, to speak up, to speak their story, to speak without fear and to have some fun with it. Speaking well in front of others is not only a career asset, it's a life asset and Sally Lou Loveman is on a mission to prepare everyone for their stage.

What was it like playing bass for John Lennon and Yoko Ono during New York City's most politically active days of the early 1970s? Gary Van Scyoc has all the true and unedited stories!!! Gary was an integral part of the Plastic Ono Elephants Memory Band that backed John and Yoko on "Some Time in New York City" and performed live with them at the Filmore East, on the "Dick Cavett Show," the "Mike Douglas Show," and for Geraldo Rivera's "One to One" charity concert in Madison Square Gardens! Gary talks about working with the unpredictable Phil Spector, the dedicated Ono, and most of all, with veritable "work horse," John Lennon, whose vision for "Some Time in New York City" was waaaay ahead of its day!! This is a fascinating interview between Lanea Stagg of The Recipe Records Series, Jude Southerland Kessler of The John Lennon Series, https:www.johnlennonseries.com and Gary Van Scyoc! Don't miss it!     

Sally Lou Oaks has a passion for connecting audiences and making people happier through the power of story-telling. For many years, Sally was the Audience Producer for the Oprah Winfrey Show. It all started when she was 14, and spotted a woman with a clipboard on the set of The Mike Douglas Show. Now, Sally Lou Oaks is a podcaster, a host, an author, writer, and a speaker! Sally leads with her heart and soul and loves what she does. The best thing you can do in life is to discover your purpose and share it with the world, she says. “Fear has no access when you're in your purpose.”

Theme Music: “Super Bon Bon”” by Soul Coughing https://www.youtube.com/watch?v=_Xlkla4Jrbk Intro Links: Snoop Dogg Says Read the Syllabus https://www.youtube.com/watch?v=aL_fP5axQV4 John Travolta Mispronounces Idina Menzel https://www.youtube.com/watch?v=DK7gzArTI0w Art Bell Wikipedia Page https://en.wikipedia.org/wiki/Art_Bell Miss South Carolina Answers a Question (Miss Teen USA 2007) https://www.youtube.com/watch?v=lj3iNxZ8Dww Conversation Links: Man Punches Kangaroo https://www.youtube.com/watch?v=FIRT7lf8byw Tiger Woods on The Mike Douglas Show https://www.youtube.com/watch?v=6XupL9h0DOc The Mike Douglas Show with John and Yoko https://www.youtube.com/watch?v=dxh5fY4p720 Living Off the Grid w/Jake & Nicole https://www.youtube.com/channel/UCVJgocEWT3u49_4GtulGHnQ 10 Best Grilled Fruits https://www.youtube.com/watch?v=W8cCK54hNKc The Rolling Stones - “Out of Time” (Strings version) https://www.youtube.com/watch?v=02FTsdj0Ges Carmine “The Cigar” Galante Wikipedia Page https://en.wikipedia.org/wiki/Carmine_Galante Village People Wikipedia Page https://en.wikipedia.org/wiki/Village_People Xtianity Wikipedia Page https://en.wiktionary.org/wiki/Xtianity Jane Russell Playtex Bra Commercial https://www.youtube.com/watch?v=I58I8LK8jY8 Battle of the Network Stars 1976 https://www.youtube.com/watch?v=5oGOzvhEQ2E Circus of the Stars w/Terry Kiser (1993) https://www.youtube.com/watch?v=n2QiK6rKKJc TAMMY AND THE T-REX (1993) Trailer https://www.youtube.com/watch?v=3XsQD7I3KYA LEPRECHAUN (1993) Trailer https://www.youtube.com/watch?v=pJ_TYkEyNIc LEATHERFACE (1990) Trailer https://www.youtube.com/watch?v=nY7n9IKerag TEXAS CHAINSAW MASSACRE 4 (1994) Trailer https://www.youtube.com/watch?v=PNsgi_n-hro CRITTERS 3 (1991) Trailer https://www.youtube.com/watch?v=NlokOtVPRuA KING KONG (1976) Trailer https://www.youtube.com/watch?v=6bIlM7rnEV4

This week Tom & Zeus review and discuss KISS' legendary appearance on the "Mike Douglas Show" in 1974. They cover the Gene Simmons legendary sit down with Mike Douglas and his special guest comedian Totie Fields, and KISS' legendary performance of the KISS Klassic, "Firehouse." They also discuss the appearance of the Kissing Kontest winners and discuss their achievement in SIOL fashion. The guys also rank this appearance with the other TV appearance of KISS, that they have reviewed so far on the podcast.For all things Shout It Out Loudcast check out our amazing website by clicking below:www.ShoutItOutLoudcast.comProud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast NetworkPlease Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.comPlease subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTubePlease go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop

This week on the Horse Racing Show, Kenny Rice talks Horse of the Year contenders as the Breeders' Cup approaches with an award winning broadcaster and journalist, Donna Brothers of NBC Sports and Jay Privman of Daily Racing Form. Donna Brothers discusses the wide open race for Horse of the Year, the opening of Keeneland's Fall Stars Weekend, her charity work, helping the backside workers and their families, the great American racetracks and their history, and getting the winning jockey interviews seconds after the big races. Jay Privman, as per usual, covers a wide range of topics, from Breeders' Cup history to this year's event at Santa Anita Park, improvements in safety standards, the Los Angeles Kings and Dodgers, the Mike Douglas Show with John Lennon, and the importance of recognizing the overall workers involved at the tracks. Author Peter Lee talks about his new book "Spectacular Bid, The Last Super Horse of the 20th Century"

On the January 17, 2019 episode of /Film Daily, /Film editor in chief Peter Sciretta is joined by /Film managing editor Jacob Hall, weekend editor Brad Oman, senior writer Ben Pearson, and writers Hoai-Tran Bui and Chris Evangelista to decide the most anticipated new tv shows of 2019. You can subscribe to /Film Daily on iTunes, Google Play, Overcast, Spotify and all the popular podcast apps (here is the RSS URL if you need it). Opening Banter: Brad gives his opinion on Jason Reitman's Ghostbusters sequel. Our Feature Presentation:The /Film team meets in the virtual writer's room to try to come up with the top 25 most anticipated new television shows of 2019, from the already narrowed down list (please note that the notes are what we scribled down before this meeting and are a combination of official plot synopsis and info from imdb):   The Mandalorian (Disney+, late 2019) first star wars live-action tv series producer Jon Favreau directors Dave Filoni, Deborah Chow (Better Call Saul), Rick Famuyiwa, Bryce Dallas Howard and Taika Waititi “The Mandalorian is set after the fall of the Empire and before the emergence of the First Order. The series follows the travails of a lone gunfighter in the outer reaches of the galaxy far from the authority of the New Republic.”   Deadly Class (Syfy, January 16) Producers: Russo Brothers A coming-of-age story set against the backdrop of late 1980s counterculture, which follows a disillusioned teen recruited into a storied high school for assassins.   The Umbrella Academy (Netflix, feb 15) Developed by Jeremy Slater Starring: Ellen Page, Tom Hopper, Robert Sheehan, Mary J. Blige “A disbanded group of superheroes reunite after their adoptive father, who trained them to save the world, dies.”   Watchmen (HBO) Showrunner: Damon Lindelof Cast: Regina King,  Yahya Abdul-Mateen II,  Jeremy Irons, Tim Blake Nelson,  Frances Fisher, Don Johnson “Television series based on the DC Comics series Watchmen, published 1986-1987.”   ‘Russian Doll' (Netflix, February 1st) created by Natasha Lyonne, Amy Poehler, and Leslye Headland Natasha Lyonne stars as "a young woman named Nadia on her journey as the guest of honor at a seemingly inescapable party one night in New York City. She dies repeatedly while at this party and she is just trying to figure out what the hell is going on."   The Passage (Fox, January 14) Developed by Liz Heldens (Deception, Friday Night Lights) loosely based on the trilogy of novels spanning 1,000 years in the life of Amy Bellafonte, as she moves from being manipulated in a government conspiracy through to protecting humankind in a dystopian vampire future.   ‘Living With Yourself' (Netflix, 2019) created by Timothy Greenberg, executive producer of The Daily Show with Jon Stewart Comedy stars Paul Rudd as George Elliot, who is “burned out and facing an impasse in both his personal and professional life. When he undergoes a novel treatment to become a better person, he finds he's been replaced by a new and improved George — revealing that his own worst enemy is himself. Told from multiple perspectives with intersecting storylines, the philosophical comedy asks: Do we really want to be better?" little miss sunshine directors are producers   Devs (FX, 2019) Written/directed by Alex Garland Starring: Sonoya Mizuno, Nick Offerman, Jin Ha, Zach Grenier, Stephen McKinley Henderson, Cailee Spaeny, Alison Pill follows "a young computer engineer, Lily [who] investigates the secretive development division of her employer, a cutting-edge tech company based in San Francisco, which she believes is behind the disappearance of her boyfriend."   Good Omens (Neil Gaiman, Amazon) six-part television serial based on the 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch by Terry Pratchett and Neil Gaiman. directed by Douglas Mackinnon and written by Gaiman, who will also serve as showrunner. stars David Tennant as the demon Crowley and Michael Sheen as the angel Aziraphale trying to prevent the Apocalypse. Other actors include Jon Hamm, Anna Maxwell Martin, Josie Lawrence, Adria Arjona, Michael McKean, Jack Whitehall, Miranda Richardson and Nick Offerman.   What We Do in the Shadows (FX, Spring) Executive producers:  Jemaine Clement Taika Waititi Starring: Kayvan Novak, Matt Berry, Natasia Demetriou, Harvey Guillen Set in New York City and follows "three vampires who have been roommates for hundreds and hundreds of years."   I Am The Night' (TNT, January 28th) six-episode limited television series Starring Chris Pine and India Eisley Directed by Patty Jenkins, Victoria Mahoney, Carl Franklin Fauna Hodel, a young girl who was given up by her birth mother, sets out to uncover the secrets of her past and ends up following a sinister trail that swirls closer to a gynecologist involved in the legendary Black Dahlia slaying.   “Modern Love” (Amazon, 2019)   Written and directed by Sing Street director John Carney Anne Hathaway, Tina Fey, John Slattery, Catherine Keener, Dev Patel, Shea Whigham, Andy Garcia, Olivia Cooke, John Gallagher, Jr., Sofia Boutella Modern Love will explore "love in its multitude of forms – including sexual, romantic, familial, platonic, and self love.   “Mrs. Fletcher” (HBO, 2019) Tom Perrotta (leftovers) Kathryn Hahn stars A divorced woman jumpstarts her love life by adopting a sexy new persona and discovers that her world is full of unexpected and sometimes complicated erotic possibilities.   “Now Apocalypse” (Starz, Mar. 10) Gregg Araki, Steven Soderbergh, A group of four friends living in L.A. embark on various exploits pursuing love, sex and fame. Directed by Gregg Araki. Starring...no one. (Avan Jogia, Kelli Berglund, Beau Mirchoff, Roxane Mesquida)   “The Loudest Voice in the Room”(Showtime, 2019) Tom McCarthy, Jason Blum, starring Russell Crowe, Naomi Watts, Sienna Miller, Simon McBurney, Seth MacFarlane The Loudest Voice in the Room tells the story of Roger Ailes who "molded Fox News into a force that irrevocably changed the conversation about the highest levels of government, will help understand the events that led the rise of Donald Trump. The series focuses primarily on the past decade in which Ailes arguably became the Republican Party's de facto leader, while flashing back to defining events in Ailes' life, including an initial meeting with Richard Nixon on the set of The Mike Douglas Show that gave birth to Ailes' political career and the sexual harassment accusations and settlements that brought his Fox News reign to an end. Told through multiple points of view, the limited series aims to shed light on the psychology that drives the political process from the top down."   “Shrill” (Hulu, Mar. 15) Lorne Michaels Based on Shrill: Notes from a Loud Woman by Lindy West Starring Aidy Bryant Lolly Adefope Luka Jones Ian Owens John Cameron Mitchell Julia Sweeney Shrill follows "Annie, described as a fat young woman who wants to change her life — but not her body. Annie is trying to make it as a journalist while juggling bad boyfriends, sick parents and a perfectionist boss, while the world around her deems her not good enough because of her weight. She starts to realize that she's as good as anyone else, and acts on it.   “Snowpiercer” (TNT, 2019) Starring Daveed Diggs and Jennifer Connelly Set seven years after the world became a frozen wasteland, Snowpiercer follows the remnants of humanity who inhabit a gigantic, perpetually moving train that circles the globe. The show questions class warfare, social injustice, and the politics of survival   “Turn Up Charlie” (Netflix, March 15) Starring Idris Elba, Piper Perabo and JJ Feild Turn Up Charlie centers on the titular Charlie (Idris Elba), a struggling DJ and eternal bachelor, who is given a final chance at success when he reluctantly becomes a ‘manny' to his famous best friend's problem-child daughter, Gabby (Frankie Hervey).   “Black Monday” (Showtime, January 20) Starring Don Cheadle, Regina King, Andrew Rannells, produced by Happy Endings creator David Caspe Travel back to October 19, 1987—aka Black Monday, the worst stock market crash in the history of Wall Street. To this day, no one knows who caused it … until now. This is the story of how a group of outsiders took on the blue-blood, old-boys club of Wall Street and ended up crashing the world's largest financial system, a Lamborghini limousine and the glass ceiling.   “Fosse/Verdon” (FX, April) Starring Michelle Williams and Sam Rockwell, produced by Lin-Manuel Miranda Spanning five decades, Fosse/Verdonexplores the singular romantic and creative partnership between Bob Fosse (Sam Rockwell) and Gwen Verdon (Michelle Williams). He is a visionary filmmaker and one of the theater's most influential choreographers and directors. She is the greatest Broadway dancer of all time. Only Bob can create the groundbreaking musicals that allow Gwen to showcase her greatness. Only Gwen can realize the unique vision in Bob's head. Together, they will change the face of American entertainment – at a perilous cost.   “Whiskey Cavalier” (ABC, February 24) Starring Scott Foley, Lauren Cohan, produced by Bill Lawrence (Scrubs), Jeff Ingold (Rush Hour), David Hemingson (Don't Trust the B in Apt. 23), directed by Peter Atencio (Key & Peele) Following an emotional breakup, Will Chase (codename: "Whiskey Cavalier"), played by Scott Foley, is assigned to work with badass CIA operative Francesca "Frankie" Trowbridge (codename: "Fiery Tribune"), played by Lauren Cohan. Together, they lead an inter-agency team of flawed, funny and heroic spies who periodically save the world—and each other—while navigating the rocky roads of friendship, romance and office politics.   “Tuca and Bertie” (Netflix, TBA) Starring Tiffany Haddish and Ali Wong, produced by Lisa Hanawalt, Raphael Bob-Waksberg, Noel Bright , and Steven A. Cohen, all of Bojack Horseman Two bird women -- a carefree toucan and an anxious songbird -- live in the same apartment building and share their lives in this animated comedy   “Top of the Morning” (Apple, TBA) Produced by and starring Jennifer Aniston and Reese Witherspoon, also starring Steve Carell, Billy Crudup, Gugu Mbatha-Raw An inside look at the lives of the people who help America wake up in the morning, exploring the unique challenges faced by the women (and men) who carry out this daily televised ritual   “The Dark Crystal: Age of Resistance” (Netflix TBA) Starring Taron Egerton, Anya Taylor-Joy and Nathalie Emmanuel in the lead roles, and supporting stars Mark Hamill, Mark Strong, Simon Pegg, Natalie Dormer, Gugu Mbatha-Raw, Eddie Izzard, Helena-Bonham Carter and more. Based on The Dark Crystal, Jim Henson's groundbreaking 1982 feature film, The Dark Crystal: Age of Resistancetells a new epic story, set many years before the events of the movie, and realized using classic puppetry with cutting edge visual effects. The world of Thra is dying. The Crystal of Truth is at the heart of Thra, a source of untold power. But it is damaged, corrupted by the evil Skeksis, and a sickness spreads across the land. When three Gelfling uncover the horrific truth behind the power of the Skeksis, an adventure unfolds as the fires of rebellion are lit and an epic battle for the planet begins.   Swamp Thing (DC Universe, May) Produced by James Wan, Mark Verheiden, Gary Dauberman, Michael Clear and Len Wiseman Directed by Len Wiseman Emerging from the swamp with a monstrous physique and strange new powers over plant life, the man who was once Alec Holland struggles to hold onto his humanity. When dark forces converge on the town of Marais, Swamp Thing must embrace what he has become in order to defend the town as well as the natural world at large.   Stargirl (DC Universe, September) Starring Brec Bassinger and Joel McHale “Courtney Whitmore (aka Stargirl) is smart, athletic and above all else kind. This high school teenager's seemingly perfect life hits a major speed bump when her mother gets married and her new family moves from Los Angeles, California, to Blue Valley, Nebraska. Struggling to adapt to a new school, make new friends and deal with a new step-family, Courtney discovers her step-father has a secret; he used to be the sidekick to a superhero. ‘Borrowing' the long-lost hero's cosmic staff, Courtney becomes the unlikely inspiration for an entirely new generation of superheroes.”   Pennyworth (EPIX, 2019 tba) Produced by Bruno Heller and Danny Cannon Starring Jack Bannon “follows Bruce Wayne's legendary butler, Alfred Pennyworth, a former British SAS soldier who forms a security company and goes to work with Thomas Wayne, Bruce's billionaire father, in 1960's London.”   Wizards (Netflix TBA) DreamWorks Animated Created by Guillermo del Toro The heroes of Arcadia join forces in an apocalyptic war for the control of magic that will decide the fate of the entire galaxy.   Creepshow (Shudder, TBA) Produced by Greg Nicotero No synopsis yet, but: ““Creepshowis one of the most beloved and iconic horror anthologies from two masters of the genre, George A. Romero and Stephen King,” Shudder general manager Craig Engler added. “We're thrilled to continue their legacy with another master of horror, Greg Nicotero, as we bring a new CreepshowTV series exclusively to Shudder members.”   The Righteous Gemstones (HBO, TBA) Starring Danny McBride/Jody Hill, John Goodman, Edi Patterson, Adam DeVine Produced by Jody Hill and David Gordon Green The Righteous Gemstonesfollows "the world famous Gemstone televangelist family, which has a long tradition of deviance, greed, and charitable work, all in the name of the Lord Jesus Christ."   The Boys (Amazon, TBA) Dan Trachtenberg directed pilot, Eric Kripke and Rogen/Goldberg produced Starring Karl Urban, Elisabeth Shue, Erin Moriarty, Antony Starr, Dominique McElligott, Jessie T. Usher, Chace Crawford, Nathan Mitchell, Laz Alonso,Karen Fukuhara In a world where superheroes embrace the darker side of their massive celebrity and fame, THE BOYS centers on a group of vigilantes known informally as “The Boys,” who set out to take down corrupt superheroes with no more than their blue-collar grit and a willingness to fight dirty. THE BOYS is a fun and irreverent take on what happens when superheroes – who are as popular as celebrities, as influential as politicians and as revered as Gods – abuse their superpowers rather than use them for good. It's the powerless against the super powerful as The Boys embark on a heroic quest to expose the truth about “The Seven,” and Vought – the multi-billion dollar conglomerate that manages these superheroes. THE BOYS is scheduled for a 2019 release.   Carnival Row (Amazon TBA) Travis Beacham, starring Orlando Bloom Produced by Travis Beacham and Rene Echevarria Carnival Row will follow "mythical creatures who have fled their war-torn homeland and gathered in the city as tensions are simmering between citizens and the growing immigrant population. At the center of the drama is the investigation into a string of unsolved murders, which are eating away at whatever uneasy peace still exists.”   “Too Old to Die Young” (Amazon, 2019) Written and produced by Nicolas Winding Refn and Ed Brubaker Directed by Refn starring Miles Teller, Billy Baldwin, Jena Malone, John Hawkes Too Old to Die Youngfollows "a grieving police officer who, along with the man who shot his partner, finds himself in an underworld filled with working-class hit men, Yakuza soldiers, cartel assassins sent from Mexico, Russian mafia captains and gangs of teen killers."   Warrior (Cinemax, TBA) Created by Jonathan Tropper and Justin Lin Inspired by an idea from Bruce Lee, Warrioris “set at the times of the Tong Wars in the late 1800s in San Francisco” and “follows a martial arts prodigy originating in China who moves to San Francisco and ends up becoming a hatchet man for the most powerful tong in Chinatown.”   “Y” (FX, 2019) Starring Diane Lane, Barry Keoghan, Imogen Poots, Lashana Lynch, Juliana Canfield and Marin Ireland. Based on the DC comic book series Y: The Last Man by Brian K Vaughn and Pia Guerrera, Yis set in “a post-apocalyptic world in which a cataclysmic event has decimated every male mammal save for one lone human. The new world order of women will explore gender, race, class and survival."   “Les Miserables” (PBS, April 14) Starring Dominic West, David Oyelowo, Lily Collins, Olivia Colman, David Bradley. Six-part BBC TV adaptation of Victor Hugo's classic novel which “follows Jean Valjean as he evades capture by the unyielding Inspector Javert. Set against a backdrop of post-Napoleonic France as unrest beings to grip the city of Paris once more.”   “Lovecraft Country” (HBO, 2019) Produced by Jordan Peele's Monkeypaw Productions and exec produced by Misha Green, J. J. Abrams, and Ben Stephenson. Based on the novel of the same name by Matt Ruff, Lovecraft Country follows "Atticus Black as he joins up with his friend Letitia and his Uncle George to embark on a road trip across 1950s Jim Crow America in search of his missing father. This begins a struggle to survive and overcome both the racist terrors of white America and the terrifying monsters that could be ripped from a Lovecraft paperback."   ‘Catch-22' (Hulu, 2019) Starring Christopher Abbot, Kyle Chandler, George Clooney, Hugh Laurie, produced by Clooney. Catch-22 is described by Hulu as "the story of the incomparable, artful dodger, Yossarian, a US Air Force bombardier in World War II who is furious because thousands of people he has never met are trying to kill him. But his real problem is not the enemy, but rather his own army which keeps increasing the number of missions the men must fly to complete their service. Yet if Yossarian makes any attempt to avoid his military assignments, he'll be in violation of Catch-22, a hilariously sinister bureaucratic rule which specifies that a concern for one's own safety in the face of dangers which are real and immediate is the process of a rational mind; a man is considered insane if he willingly continues to fly dangerous combat missions, but a request to be removed from duty is evidence of sanity and therefore makes him ineligible to be relieved from duty."   ‘Central Park Five' (Netflix, 2019) Created byAva DuVernay Starring Michael K. Williams, Vera Farmiga & John Leguizamo. “Based on a true story that gripped the nation, the four-episode series will chronicle the notorious case of five teenagers of color who were convicted of a rape they did not commit.” Spans from spring of 1989, when each were first questioned about the incident, to 2014 when they were exonerated and a settlement was reached with the city of New York.   Living With Yourself (Netflix, 2019) Created by Timothy Greenberg Starring Paul Rudd who also executive produces Living With Yourself begins when "George Elliot is burned out and facing an impasse in both his personal and professional life. When he undergoes a novel treatment to become a better person, he finds he's been replaced by a new and improved George — revealing that his own worst enemy is himself. Told from multiple perspectives with intersecting storylines, the philosophical comedy asks: Do we really want to be better?"   Four Weddings And A Funeral (Hulu, 2019) Created by Mindy Kaling Starring Jessica Williams Inspired by the 1994 British romantic comedy film, Four Weddings and a Funeral centers on Jess (Williams), the young communications director for a New York senatorial campaign, who receives a wedding invitation from her college schoolmate now living in London. She leaves her professional and personal life behind, in favor of traveling to England and reconnecting with old friends and ends up in the midst of their personal crises. Relationships are forged and broken, political scandals exposed, London social life lampooned, love affairs ignited and doused, and of course there are four weddings… and a funeral.   Untitled Picard Spin-off (CBS All Access) Created by Alex Kurtzman Starring Patrick Stewart The continuing adventures of Captain Jean-Luc Picard, whose life was radically altered due to the destruction of the Romulan home world in the 2009 Star Trek reboot movie.   The Politician (Netflix) Created by Ryan Murphy Starring Ben Platt, Jessica Lange, Gwenyth Paltrow, Zoey Deutch, Lucy Boynton Hour-long comedy with social commentary – the series follows the political aspirations of a wealthy Santa Barbara resident, with each season focusing on a different political race the lead is in.   The Twilight Zone (CBS All Access) Created by Jordan Peele Hosted & Narrated by Peele, Starring Adam Scott, Kumail Nanjiani, John Cho, Allison Tolman, Jacob Tremblay, Jessica Williams   The Act (Hulu, Mar. 20) Created by Michelle Dean and Nick Antosca Starring Patricia Arquette, Joey King, Chloë Sevigny, AnnaSophia Robb True crime anthology series. First season follows "Gypsy Blanchard, a girl trying to escape the toxic relationship she has with her overprotective mother. Her quest for independence opens a Pandora's box of secrets, one that ultimately leads to murder."   City on a Hill (Showtime, 2019) Created by Chuck MacLean, executive produced by Ben Affleck and Matt Damon Starring Kevin Bacon, Aldis Hodge Set in the early 1990s Boston, rife with violent criminals emboldened by local law enforcement agencies in which corruption and racism was the norm. In this fictional account, assistant district attorney Decourcy Ward (Hodge) arrives from Brooklyn and forms an unlikely alliance with a corrupt yet venerated FBI veteran, Jackie Rohr (Bacon). Together, they take on a family of armored car robbers from Charlestown in a case that grows to involve, and ultimately subvert, the entire criminal justice system of Boston.   Hanna (Amazon, March 2019) Created by David Farr (who co-wrote the movie) Starring Esme Creed-Miles, Joel Kinnaman, Mireille Enos Based on the 2011 movie starring Saoirse Ronan. Equal parts high-concept thriller and coming-of-age drama, Hannafollows the journey of an extraordinary young girl, Hanna (Creed-Miles), as she evades the relentless pursuit of an off-book CIA agent and tries to unearth the truth behind who she is.   Doom Patrol (DC Universe, Feb 15) Created by Jeremy Carver Starring Brendan Fraser, Alan Tudyk, Timothy Dalton, Diane Guerrero, April Bowlby Set after the events of Titans, the Doom Patrol – consisting of Robotman, Negative Man, Elasti-Woman, and Crazy Jane, and led by Dr. Niles Caulder/The Chief – receives a mission from Cyborg that they cannot ignore and will change their lives.   All the other stuff you need to know: You can find more about all the stories we mentioned on today's show at slashfilm.com, and linked inside the show notes. /Film Daily is published every weekday, bringing you the most exciting news from the world of movies and television as well as deeper dives into the great features from slashfilm.com. You can subscribe to /Film Daily on iTunes, Google Play, Overcast, Spotify and all the popular podcast apps (RSS). Send your feedback, questions, comments and concerns to us at peter@slashfilm.com. Please leave your name and general geographic location in case we mention the e-mail on the air. Please rate and review the podcast on iTunes, tell your friends and spread the word! Thanks to Sam Hume for our logo.

The Bionic Woman "The Ghosthunter" May 26, 1976 RIGHT CLICK IMAGE TO SAVE EPISODE TO YOUR COMPUTER   Jaime is sent to act as the governess of the daughter of an OSI scientist.  She must also ensure that the sensor device he is working on his not tampered with by any outside forces.  The wrinkle is the outside force appears to be the dead wife and mother of the two who is jealous of Jaime. John is joined by The Bionic Book author, Herbie J. Pilato and writer/producer Joel Eisenberg to discuss this first season ending episode of The Bionic Woman.  In addition, John's special guest is Bionic Woman creator and co-writer of the episode, Kenneth Johnson.  The two discuss the episode as well as Kenny's history as a producer and writer that lead up to The Bionic Woman. In addition, John offers a little historical and pop culture perspective of the day this episode aired. Make sure you let us know what you think of the episode by calling us at 844-OSI-FILE or by writing director@theosifiles.com.  OUR GUEST FOR THIS EPISODE With his start as a producer of The Mike Douglas Show, Kenneth Johnson has had a long, impressive career as a producer, director, writer, and creator of many iconic television and movie characters.  From his "The Secret of Bigfoot" episode of The Six Million Dollar Man to his movies such as Steel and Short Circuit 2, Kenny has captured the imagination of many fans of genre television in a way that goes beyond the traditional storytelling process.  You can learn more about Kenny and his works by visiting his home page and by writing him.  (He really does reply.)   OUR BIONIC OPERATIVES FOR THIS EPISODE Herbie J Pilato is a writer/producer who's worked for NBCUniversal, Syfy, A&E, Bravo; Warner Bros., and Sony, among other television networks, and studios. He is also the author of a number of media tie-in/pop-culture books, including Glamour, Gidgets and the Girl Next Door, and The Bionic Book, which features original commentary from Lee Majors, Lindsay Wagner, Harve Bennett, Kenneth Johnson, series creator (and sci-fi-novelist king Martin Caidin), and Richard Anderson (who wrote the Foreword). As the Founder of the Classic TV Preservation Society (a nonprofit organization dedicated to the positive influence of classic TV programming), Herbie J offers TV & Self-Esteem Seminars to schools, colleges, community, senior and business centers around the country.  Each week he serves as host and moderator at the Barnes & Noble Media Center in Burbank, CA for Throwback Thursdays- one of L.A.'s most unique live events where, as he says, "the past and present TV, film, publishing, music and positive-thought communities mix, mingle and meet."  For more information about Throwback Thursdays, the Classic TV Preservation Society, or any of Herbie J's books, email: classictvps@gmail.com or visit:  www.classictvps.blogspot.com.             Joel Eisenberg is a writer and producer whose new book series, “The Chronicles of Ara”, an epic 8-volume fantasy saga written with Stephen Hillard, has been released to rave reviews by Incorgnito Publishing's Topos Books imprint. Joel is a partner in Eisenberg-Fisher Productions and former head of EMO Films@Paramount Studios, feature film production companies. He is the co-founder of All Cities Media, an entertainment industry networking group. His events have been hosted by Warner Brothers, Paramount Studios, Sunset-Gower Studios and the Law Offices of Greenberg-Traurig, among others. Feature projects include “Unreleased” and “April Showers”, the latter based on the Columbine school shootings scenario. “January Rain” and “Assassin and Son” are presently in development, as is a new television version of an old horror comic book favorite (to be “re-announced” shortly). Joel is the writer of several award-winning independent feature films and producer of a slate of past and upcoming feature and television projects including “Mirkwood,” based on the amazon.com bestseller and the aforementioned “The Chronicles of Ara” fantasy novel series. In early 2007, Joel was fortunate to have received substantial international publicity by locating, identifying, organizing and archiving a long-considered lost handwritten John Steinbeck archive, collectively valued at nearly $1 million. Author: “How to Survive a Day Job,” “Championship Networking,” “The Mirkwood Codex” (upcoming). Contributor: “Tales of the Dead” and numerous others. Learn more about Joel and his works by visiting his website.