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Sharon Baird is a dancer, singer, and actress. You may know her best as one of Walt Disney's original Mouseketeers on the classic television show, The Mickey Mouse Club. As one of only nine Mouseketeers to appear on all three seasons of the show, Sharon proved herself to be the best dancer in the bunch. Beginning her dance training at three years old, Sharon has danced with the likes of Mitzi Gaynor, Dean Martin, and Donald O'Connor. Sharon has also used dance to bring to life countless characters, including the puppets of Sid and Marty Krofft on such television shows as H.R. Pufnstuf, and the title character of the 1986 cult classic, Ratboy. Listen as Sharon and Shannon discuss Sharon's remarkable Hollywood career and passion for dance.
Episode 493: Welcome back, Mouseketeers, to another episode of Traveling with the Mouse! This week we're ready to catch you up on all the latest news swirling around Walt Disney World. The hype for Universal's Epic Universe is very real, and guess what? Disney is feeling it. You can tell because Disney is starting to […] The post Summer Shifts and Epic Impacts appeared first on Traveling With The Mouse.
Chris Carlin and Bart Scott discuss the idea that Brian Flores is ready for another shot as HC after his tumultuous stint in Miami. Why is Bart so well-versed in Ariana Grande's filmography? Bobby Marks joins the show to preview the massive Cavaliers-Thunder matchup on ESPN tonight and gives a sneak peek of what we should expect at the trade deadline. An epic rant by a fed up coach wraps up the show. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Chris Carlin and Bart Scott discuss the idea that Brian Flores is ready for another shot as HC after his tumultuous stint in Miami. Why is Bart so well-versed in Ariana Grande's filmography? Bobby Marks joins the show to preview the massive Cavaliers-Thunder matchup on ESPN tonight and gives a sneak peek of what we should expect at the trade deadline. An epic rant by a fed up coach wraps up the show. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Meet SHERRY ALBERONI, who recalls voicing Alexandra on Josie and the Pussycats, and her roles on Super Friends, The Monkees, The Three Worlds of Gulliver, the Mickey Mouse Club and more.
From being one-third of En Vogue to becoming a transformative coach, Rhona Bennett shares her journey of personal growth. She delves into stories of courage, authenticity, and joy, emphasizing embracing challenges, fostering continuous growth, and expressing oneself genuinely and authentically.Making It! explores the lives and stories of entrepreneurs as they share their unique perspectives on their success and the path to making it. “Keep pivoting until you get it right.”— Rhona BennettGuest Bio:With 35 years professionally in the entertainment industry, Rhona Bennett's talent has graced the studio, the stage, and the screen. As a singer, songwriter, actress, dancer, author, “Personal Power” Life Coach, and overall creative spirit, “Miss R&B” has been afforded the opportunity to travel to many places in the world.Some of her accolades include being the “First Lady” of Darkchild with her debut solo effort on Rodney Jerkins' Darkchild/Sony imprint; her now classic role as “Nicole” on the Jamie Foxx Show in Jingles 2000; her beginnings as a Mouseketeer with the likes of Justin Timberlake, Britney Spears, and other industry titans from the show; her “BIG BREAK” coming from the media giant Oprah Winfrey on her television series Brewster's Place, and her current tenure with the legendary “Funky Divas” En Vogue, which has been a recurring collaboration for 20 years. Check out the original Lifetime Television movie “An En Vogue Christmas” starring Miss R&B along with her band mates (Terry Ellis and Cindy Herron-Braggs)!You can also check out her global outreach coaching school, Personal Power University, established in 2016.Her motto: "I believe in personal growth and contribution until we leave the planet."Resources or websites mentioned in this episode:MiraseeRhona's website: RhonaBennet.comCredits:Producer: Michi LantzAudio Editor: Marvin del RosarioExecutive Producer: Danny InyMusic Soundscape: Chad Michael SnavelyMaking our hosts sound great: Home Brew AudioMusic credits:Track Title: The Sunniest KidsArtist Name: Rhythm ScottWriter Name: Scott RoushPublisher Name: A SOUNDSTRIPE PRODUCTIONTrack Title: Sweet Loving WaltzArtist Name: Sounds Like SanderWriter Name: S.L.J. KalmeijerPublisher Name: A SOUNDSTRIPE PRODUCTIONTrack Title: FountainsArtist Name: Night DriftLicense code: MZPASCSN0ZEQN3EIPublisher Name: UppbeatSpecial effects credits:24990513_birds-chirping_by_promission used with permission of the author and under license by AudioJungle/Envato Market.To catch the great episodes coming up on Making It, please follow us on Mirasee FM's YouTube channelor your favorite podcast player. And if you enjoyed the show, please leave us a comment or a starred review. It's the best way to help us get these ideas to more people.Episode transcript: From Funky Diva to Empowerment Coach (Rhona Bennett) coming soon.
You may know her as the beloved Blair Warner from the iconic TV series “The Facts of Life,” or as a Mouseketeer on the Micky Mouse Club. But Lisa Whelchel is so much more than just a familiar face from your childhood. She's a talented actress, singer, author, and motivational speaker who has touched the hearts of many with her authenticity and passion. Lisa tied for second place on the reality series “Survivor: Philippines.” And Whelchel was nominated for a Grammy Award for Best Inspirational Performance for her contemporary Christian album “All Because of You.”
In this episode of Broadway Drumming 101, I enjoyed interviewing the legendary Cubby O'Brien. You may know him from his days as a Mouseketeer on The Mickey Mouse Club, but his drumming career goes way beyond that. We talk about his early start in music, following in the footsteps of his drummer father, and his work with some of the biggest names in the industry—Lawrence Welk, Bernadette Peters, the Carpenters, and more.Cubby shares stories from his incredible journey through different eras of music, from the early influence of The Beatles and playing alongside icons like Steve Gadd. We dive into his Broadway experiences, where he brings his unique energy to every performance, and his thoughts on teaching and adapting to the ever-changing world of music. Whether you're a fan of musical history, a drummer, or just curious about what it takes to build a long-lasting career, this episode is packed with insights and memories you won't want to miss.Tune in to hear about his collaborations with legends like Shirley MacLaine and Nathan Lane and his work on Tony Award-winning shows—it's a deep dive into a life well lived!00:00 Introduction and Guest Introduction00:16 Chance Encounter on Broadway Cruise00:57 Sports Talk: Cowboys and Dodgers02:49 Cubby's Early Drumming Influences04:48 The Mickey Mouse Club and Early Career10:10 Transition to Studio Work and Variety Shows15:18 Working with the Carpenters18:43 Electronic Drums and Siegfried & Roy21:08 Collaborations with Bernadette Peters26:32 Learning the Drums: Insights from Jack Sperling27:13 Meeting Susan Stroman and the Producers Journey28:52 The Creative Process with Mel Brooks29:47 Challenges of Repetition in Broadway Shows31:30 Selecting Dependable Substitutes34:44 Transitioning to Gypsy and Working with Marvin Laird36:23 The Joy of Live Performances39:00 Maintaining Longevity and Avoiding Injuries42:41 Choosing Eugene, Oregon44:03 Advice for Aspiring Musicians44:38 Memories with Shirley MacLaine47:01 Appreciation from Fellow Musicians48:04 Preferences in Drum Kits53:05 Top Five Favorite Drummers54:27 Concluding Remarks and Future PlansCarl "Cubby" O'Brien, born July 14, 1946, in Sun Valley, California, is an accomplished American drummer and former child actor, best known as one of the original Mouseketeers on The Mickey Mouse Club (1955–1958). Discovered by Disney talent scouts at a Screen Actors Guild benefit in 1954, Cubby became the youngest male to audition for the show, securing his spot after a simple yet memorable rendition of "Happy Birthday." After his time with Disney, Cubby pursued his true passion for drumming, performing with bands around Los Angeles, including a two-year stint with Spike Jones, which opened doors to major acts. He went on to work with legendary artists such as Ann-Margret, Shirley MacLaine, and Diana Ross, and spent ten years touring with The Carpenters after meeting them on The Carol Burnett Show.Cubby's prolific career extends to Broadway and television, with notable performances in productions such as West Side Story, Hair, The Producers, and Gypsy. He has also lent his drumming talents to movie soundtracks, including Grease, Change of Habit, and Gypsy. In addition to his extensive stage and screen credits, Cubby has played drums for Siegfried and Roy in Las Vegas and continues to perform in the Broadway production of Chicago. Throughout his career, he has worked with an array of stars, from Bernadette Peters to Steve Lawrence & Eydie Gorme, and remains a respected figure in the music industry. Cubby resides with his wife, a University of Oregon graduate who recently relocated from New York.Clayton Craddock founded Broadway Drumming 101, a comprehensive online platform that provides specialized mentorship and a meticulously curated collection of resources.Clayton's Broadway and Off-Broadway credits include tick, tick...BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill, and Ain't Too Proud - The Life And Times Of The Temptations, Cats: The Jellicle Ball and The Hippest Trip: The Soul Train Musical. He has subbed for shows like Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, Spongebob Squarepants - The Musical, Hadestown (tour), and many more. Clayton has appeared on The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Boyle, Norm Lewis, Denise Williams, Chuck Berry, and Ben E. King.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.For more about Clayton Craddock, click here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe
In this episode of the Broadway Drumming 101 podcast, we're thrilled to have the legendary Cubby O'Brien, one of the original Mouseketeers from The Mickey Mouse Club! Cubby takes us back to his early years, sharing how his musical journey began with his father teaching at a Sun Valley, California music school. He describes being part of a Dixieland band made up of young musicians who performed at various venues around Hollywood, from Rotary Club events to charity shows for the Screen Actors Guild. During one of these performances, his drumming skills caught the attention of Disney producers, leading to his audition for The Mickey Mouse Club—a gig that launched his storied career.Cubby also shares insights from his remarkable journey as a drummer, having played with legends like Ann-Margret, Lawrence Welk, and Bernadette Peters. His extensive Broadway career includes shows like The Producers, Hair, Oh! Calcutta!, and touring as the drummer for The Carpenters. Throughout the episode, Cubby offers anecdotes and lessons from decades of experience in the entertainment world.Subscribe to hear Cubby's stories, tips, and reflections from a lifetime in music and show business!Carl "Cubby" O'Brien, born July 14, 1946, in Sun Valley, California, is an accomplished American drummer and former child actor, best known as one of the original Mouseketeers on The Mickey Mouse Club (1955–1958). Discovered by Disney talent scouts at a Screen Actors Guild benefit in 1954, Cubby became the youngest male to audition for the show, securing his spot after a simple yet memorable rendition of "Happy Birthday." After his time with Disney, Cubby pursued his true passion for drumming, performing with bands around Los Angeles, including a two-year stint with Spike Jones, which opened doors to major acts. He went on to work with legendary artists such as Ann-Margret, Shirley MacLaine, and Diana Ross, and spent ten years touring with The Carpenters after meeting them on The Carol Burnett Show.Cubby's prolific career extends to Broadway and television, with notable performances in productions such as West Side Story, Hair, The Producers, and Gypsy. He has also lent his drumming talents to movie soundtracks, including Grease, Change of Habit, and Gypsy. In addition to his extensive stage and screen credits, Cubby has played drums for Siegfried and Roy in Las Vegas and continues to perform in the Broadway production of Chicago. Throughout his career, he has worked with an array of stars, from Bernadette Peters to Steve Lawrence & Eydie Gorme, and remains a respected figure in the music industry. Cubby currently resides with his wife, a University of Oregon graduate, having recently relocated from New York.Clayton Craddock founded Broadway Drumming 101, a comprehensive online platform that provides specialized mentorship and a meticulously curated collection of resources.Clayton's Broadway and Off-Broadway credits include tick, tick...BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill, and Ain't Too Proud - The Life And Times Of The Temptations, Cats: The Jellicle Ball and The Hippest Trip: The Soul Train Musical. He has subbed for shows like Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, Spongebob Squarepants - The Musical, Hadestown (tour), and many more. Clayton has appeared on The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Boyle, Norm Lewis, Denise Williams, Chuck Berry, and Ben E. King.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.For more about Clayton Craddock, click here: www.claytoncraddock.comCONNECT WITH ME ON MEETHOOK Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe
In this episode of the Broadway Drumming 101 podcast, legendary drummer Cubby O'Brien shares a memorable story about subbing out of his first Broadway show and an unexpected encounter with Nathan Lane. When a stage manager informed Cubby that Nathan Lane wanted to see him in his dressing room, Cubby was slightly surprised. After finding his way upstairs, Nathan greeted him with a joking, "You can never leave again," followed by laughter and reassurance that everything was fine after a few nights of adjustment.Cubby explores the real challenge of subbing as a drummer on Broadway. He explains how Nathan Lane got used to his playing style and how every drummer strikes the drum differently; even the slightest variation can be noticeable. Cubby calls it a “thankless job,” where subs must maintain the established feel of the show while replicating the chairholder's unique sound as closely as possible.Throughout the episode, Cubby offers insights from his extensive experience with shows like Hair, The Producers, and The Carpenters' Tour. He underscores the importance of adaptability, consistency, and precision for subs trying to blend seamlessly. This episode is packed with wisdom!Carl "Cubby" O'Brien, born July 14, 1946, in Sun Valley, California, is an accomplished American drummer and former child actor, best known as one of the original Mouseketeers on The Mickey Mouse Club (1955–1958). Discovered by Disney talent scouts at a Screen Actors Guild benefit in 1954, Cubby became the youngest male to audition for the show, securing his spot after a simple yet memorable rendition of "Happy Birthday." After his time with Disney, Cubby pursued his true passion for drumming, performing with bands around Los Angeles, including a two-year stint with Spike Jones, which opened doors to major acts. He went on to work with legendary artists such as Ann-Margret, Shirley MacLaine, and Diana Ross, and spent ten years touring with The Carpenters after meeting them on The Carol Burnett Show.Cubby's prolific career extends to Broadway and television, with notable performances in productions such as West Side Story, Hair, The Producers, and Gypsy. He has also lent his drumming talents to movie soundtracks, including Grease, Change of Habit, and Gypsy. In addition to his extensive stage and screen credits, Cubby has played drums for Siegfried and Roy in Las Vegas and continues to perform in the Broadway production of Chicago. Throughout his career, he has worked with various stars, from Bernadette Peters to Steve Lawrence & Eydie Gorme, and remains a respected figure in the music industry. Cubby resides with his wife, a University of Oregon graduate who recently relocated from New York.Clayton Craddock founded Broadway Drumming 101, a comprehensive online platform that provides specialized mentorship and a meticulously curated collection of resources.Clayton's Broadway and Off-Broadway credits include tick, tick...BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill, and Ain't Too Proud - The Life And Times Of The Temptations, Cats: The Jellicle Ball and The Hippest Trip: The Soul Train Musical. He has subbed for shows like Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, Spongebob Squarepants - The Musical, Hadestown (tour), and many more. Clayton has appeared on The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Boyle, Norm Lewis, Denise Williams, Chuck Berry, and Ben E. King.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.For more about Clayton Craddock, click here: www.claytoncraddock.comCONNECT WITH ME ON MEETHOOK Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe
In this podcast episode, I sit down with the legendary Cubby O'Brien, whom I had the pleasure of meeting earlier this year on a Broadway cruise where I was performing with several acts, and he was with the iconic Bernadette Peters. Cubby, best known for his time on The Mickey Mouse Club and touring with The Carpenters, has had a remarkable career on Broadway, drumming for shows like Annie Get Your Gun, The Producers, and Beauty and the Beast. In this chat, we dive into his incredible experiences, including a memorable moment when Buddy Rich told Karen Carpenter she was his favorite drummer! Please tune in to hear it all, and remember to subscribe and share!Carl "Cubby" O'Brien, born July 14, 1946, in Sun Valley, California, is an accomplished American drummer and former child actor, best known as one of the original Mouseketeers on The Mickey Mouse Club (1955–1958). Discovered by Disney talent scouts at a Screen Actors Guild benefit in 1954, Cubby became the youngest male to audition for the show, securing his spot after a simple yet memorable rendition of "Happy Birthday." After his time with Disney, Cubby pursued his true passion for drumming, performing with bands around Los Angeles, including a two-year stint with Spike Jones, which opened doors to major acts. He went on to work with legendary artists such as Ann-Margret, Shirley MacLaine, and Diana Ross, and spent ten years touring with The Carpenters after meeting them on The Carol Burnett Show.Cubby's prolific career extends to Broadway and television, with notable performances in productions such as West Side Story, Hair, The Producers, and Gypsy. He has also lent his drumming talents to movie soundtracks, including Grease, Change of Habit, and Gypsy. In addition to his extensive stage and screen credits, Cubby has played drums for Siegfried and Roy in Las Vegas and continues to perform in the Broadway production of Chicago. Throughout his career, he has worked with an array of stars, from Bernadette Peters to Steve Lawrence & Eydie Gorme, and remains a respected figure in the music industry. Cubby currently resides with his wife, a University of Oregon graduate, having recently relocated from New York.Clayton Craddock founded Broadway Drumming 101, a comprehensive online platform that provides specialized mentorship and a meticulously curated collection of resources.Clayton's Broadway and Off-Broadway credits include tick, tick...BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill, and Ain't Too Proud - The Life And Times Of The Temptations, Cats: The Jellicle Ball and The Hippest Trip: The Soul Train Musical. He has subbed for shows like Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, Spongebob Squarepants - The Musical, Hadestown (tour), and many more. Clayton has appeared on The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Boyle, Norm Lewis, Denise Williams, Chuck Berry, and Ben E. King.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.For more about Clayton Craddock, click here: www.claytoncraddock.comCONNECT WITH ME ON MEETHOOK Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe
In this episode of Broadway Drumming 101, I had the chance to talk with one of the most respected drummers in the business, Cubby O'Brien. We chatted about the process of picking subs for Broadway gigs—a topic that's critical for anyone looking to make it in the scene. Cubby breaks down what he looks for in a sub: dependability, solid playing, and being an established player in New York. He shouts out legends like Ray Marchica and Larry Lelli, both of whom he trusted to step into the drum chair without a second thought. Cubby talks about how it's not just about finding someone who can play the part—it's about finding someone who gets the job done under pressure.Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Carl "Cubby" O'Brien, born July 14, 1946, in Sun Valley, California, is an accomplished American drummer and former child actor, best known as one of the original Mouseketeers on The Mickey Mouse Club (1955–1958). Discovered by Disney talent scouts at a Screen Actors Guild benefit in 1954, Cubby became the youngest male to audition for the show, securing his spot after a simple yet memorable rendition of "Happy Birthday." After his time with Disney, Cubby pursued his true passion for drumming, performing with bands around Los Angeles, including a two-year stint with Spike Jones, which opened doors to major acts. He went on to work with legendary artists such as Ann-Margret, Shirley MacLaine, and Diana Ross, and spent ten years touring with The Carpenters after meeting them on The Carol Burnett Show.Cubby's prolific career extends to Broadway and television, with notable performances in productions such as West Side Story, Hair, The Producers, and Gypsy. He has also lent his drumming talents to movie soundtracks, including Grease, Change of Habit, and Gypsy. In addition to his extensive stage and screen credits, Cubby has played drums for Siegfried and Roy in Las Vegas and continues to perform in the Broadway production of Chicago. Throughout his career, he has worked with an array of stars, from Bernadette Peters to Steve Lawrence & Eydie Gorme, and remains a respected figure in the music industry. Cubby currently resides with his wife, a University of Oregon graduate, having recently relocated from New York.Clayton Craddock founded Broadway Drumming 101, a comprehensive online platform that provides specialized mentorship and a meticulously curated collection of resources.Clayton's Broadway and Off-Broadway credits include tick, tick...BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill, and Ain't Too Proud - The Life And Times Of The Temptations, Cats: The Jellicle Ball and The Hippest Trip: The Soul Train Musical. He has subbed for shows like Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, Spongebob Squarepants - The Musical, Hadestown (tour), and many more. Clayton has appeared on The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Boyle, Norm Lewis, Denise Williams, Chuck Berry, and Ben E. King.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.For more about Clayton Craddock, click here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe
Join three brothers and a dad as they review the Disney special "The Mouseketeers at Walt Disney World". They also discuss Disney cracking down on account sharing, and what they have been watching.
Send us a textAhoy, Mouseketeers!
Send us a textIn this episode of Accio the Mouse, Amanda and Mike spill their secrets to crafting the ultimate Disney vacation! From mastering the art of the Genie+ system to discovering hidden gems in the parks, we're sharing our best tips to make your Disney adventure as magical as possible. Learn how to beat the crowds, score those hard-to-get dining reservations, and add those special touches that will make your trip unforgettable. Whether you're a first-time visitor or a seasoned Mouseketeer, this episode will help you sprinkle extra pixie dust on your next Disney adventure! ✨
Today on The Neil Haley Show, Neil "The Media Giant" Haley and Greg Hanna of Celebrity Interviews Live interview Lisa Whelchel. Lisa Diane Whelchel is an American actress, singer, songwriter, author, and life coach. She is known for her appearances as a Mouseketeer on The New Mickey Mouse Club and her nine-year role as the preppy and wealthy Blair Warner on The Facts of Life.
Mouseketeer Jennifer McGill On Her Music Career After The Mickey Mouse Club (Replay) | Ep #137Host and Career Coach Shannon Russell interviews The Mickey Mouse Club's Jennifer McGill about her time on the iconic Disney television show, and how her music career has evolved over the years. Jennifer now has a thriving career in music in Nashville, Tennessee and opens up about being a Mouseketeer and the times she shared with co-stars Britney Spears, Justin Timberlake, and Joey Fatone. Listen to this fascinating conversation between Shannon and Jennifer on Episode #137 of the Second Act Success Career Podcast. SHOW NOTEShttps://secondactsuccess.co/replay2024-------You belong in the Career Clarity Collective! Figuring out what you want in your career often feels like a full time job, BUT you don't have to do it alone! If you feel miserable at work and need a change, join like-minded women in this membership. You'll get access to group coaching, masterclasses, and community. https://secondactsuccess.co/membership Grab my FREE Level Up Career Journal to help you plan your next career move!https://secondactsuccess.co/careerchangeTAKE THE QUIZ!Is Now The Right Time To Change Careers? Take the Quiz! https://secondactsuccess.co/quizBook a FREE Discovery Call with host/career coach Shannon Russell - https://www.calendly.com/second-act-success/coaching-strategyLET'S CONNECT!Instagram - https://instagram.com/secondactsuccessFacebook - https://www.facebook.com/secondactsuccess.coTikTok - https://www.tiktok.com/@secondactsuccessAll the latest - https://secondactsuccess.co/linksFREE Resources - https://secondactsuccess.co/resources REVIEW & SUBSCRIBE THE PODCAST!
Hold onto your Mickey ears, folks! In this episode of Dueling Disney, Al and Andee dive headfirst into the whirlwind of chaos surrounding ticket purchasing for the D23 Ultimate Fan Event. From website crashes to endless waiting queues, the journey to secure those coveted Expo tickets wasn't exactly a fairy tale ending for everyone. Did you manage to snag what you wanted, or were you left feeling like Cinderella after midnight? But wait, there's more! Our dynamic duo delves deeper into the concept of the "Disney bubble" – that magical realm where worries vanish and dreams come true. But what happens when entitlement creeps in, threatening to shatter that illusion? Join us as we explore the delicate balance between escapism and expectation, and how it affects our experiences within the enchanted world of Disney. Get ready for a wild ride through the ups and downs of Disney fandom. Because when it comes to Fantasyland, sometimes even the most dedicated Mouseketeers find themselves facing a reality check. Has your Disney bubble burst? Let us know on YouTube, Facebook, or Instagram. Join in deeper discussion with the rest of the Duelists at Dueling Disney Community Duelists. We appreciate reviews wherever you go to for podcast listening, thank you! “C” ya real soon!
You probably know Paul Petersen best as Donna Reed's son on The Donna Reed Show, but Paul's show business career began as one of the original sixteen Mouseketeers. In addition to working with Hollywood Legends like Cary Grant and Sophia Loren, Paul also enjoyed a successful music career with Motown. But Paul is most proud of his work to better the lives of kid actors. Listen as Paul shares about his Hollywood career and inspiring work with his foundation, A Minor Consideration.
We're bringing buddies back! In this episode, Mat and Tim pore over the life and career of Justin Timberlake – from Mouseketeer to boy band heartthrob to swagged-up solo act and beyond. But what about his gaffes?? And what does the listening public want from JT in this day and age? Folks, you know we've got the answers.SONGS PLAYED:The Mickey Mouse Club Theme SongJustin Timberlake - Always In My HeartJustin Timberlake - SelfishJustin Timberlake - My LoveNSYNC - It's Gonna Be MeJustin Timberlake - SeñoritaJustin Timberlake - I'm Lovin' ItJustin Timberlake - SexyBackJustin Timberlake - What Goes Around... Comes AroundThe Lonely Island - D*** in a BoxJustin Timberlake - Suit & TieJustin Timberlake - MirrorsJustin Timberlake - Say SomethingJustin Timberlake - PlayJustin Timberlake - Paradise (feat. NSYNC)DISCLAIMERS:Under section 107 of the Copyright Act 1976, allowance is made for “fair use” of copyrighted material in a manner that constitutes quotation, criticism, review, parody, caricature, pastiche, and other legal copyright exceptions. Fair use is a use permitted by copyright statute that might otherwise by infringing.
On this episode Bob talks about the Mouseketeers, how rich people are better than poor people, how life is probably just a movie of some kind, DMT, and presents the songs NO WORRIES, DUMB IDEAS, BOTTOM OF THE WORLD, MYLDAY, SURPRISE, SUPER DOPE RHYMES, NICE TO BE YOU and SUICIDAY.
Circle of Parks Podcast: Talking all things Walt Disney World
Unlock the secrets to maximizing your magical meals with the delightful Erica of Main Street Travel and her analytical other half, Darth Mouse, as we dissect the revived Disney Dining Plan. Get ready to whet your appetite for both scrumptious eats and the sweet taste of savings, as we navigate everything from the plan's cost-effectiveness for different groups to the must-try dining experiences across Disney parks. Whether it's sipping on a rose gold, glittery Mickey Mouse Starbucks tumbler or conquering the culinary offerings at Epcot's festivals, this episode arms you with the budgeting finesse to indulge in Disney's deliciousness without the side order of financial fret.Feast your ears on our savory discussion of the best quick-service spots, the real deal on table service credits, and why character dining might not always be the golden ticket to a happy meal. From the delectable spreads at the Crystal Palace to the potential pitfalls of breakfast reservations, we've got you covered. Moreover, we share the inside scoop on maximizing dining credits at Disney Springs and why your meal plan strategy might differ whether you're embarking on a romantic journey or herding your own personal troop of Mouseketeers.Wrap up your Disney dining blueprint with our personal insights and plans, ensuring you're prepped for an epicurean adventure that fits your vacation vibe. We debate the nuances of the Dining Plan's value, tailored to whether you're savoring a solo cheeseburger or dining à deux at a fine establishment. Erica and Darth Mouse don't just spill the beans on scrumptious strategies—we serve them up with a garnish of personal experience, ensuring your next Disney trip is as enchanting to your taste buds as it is to your heart. Please check out our links below:Our Sponsor:www.mainstreettravelco.comEmail Us:circleofparks@gmail.comOur Website:www.circleofparks.comFacebook:www.facebook.com/circleofparksInstagram:www.instagram.com/circleofparksX:www.x.com/circleofparksSupport the show
John, Niki and LB return from their long winter's nap, rejuvenated and ready to tackle the ongoing missing persons case involving Darth Maul and a few dozen children left in their care. On the way, they also discuss who has the sweetest sweat on the Clippers roster, John's word for the new year, going to Turkey for a hair transplant, whose death we'll will this year (allegedly (in Minecraft)), and if you can believe it, somehow even more. Welcome to If You're Driving, Close Your Eyes, a podcast about navigating the cruelty, chaos, and wonder of our terrifying world. Niki, John, LB— and our producer Jordo— try to find meaning and clarity one or twelve subjects at a time: from the menu at Cheesecake Factory to a human man dressed up as Snoopy tucking you into bed. Who are we?: We are Niki Grayson (https://twitter.com/godsewa) (the Buster Keaton of basketball), John Warren (https://twitter.com/FloppyAdult) (business boy and wassail pervert, short), LB Hunktears (https://twitter.com/hunktears) (handsome genius, 5'8", America's Gamer), and producer Jordan Mallory (https://twitter.com/Jordan_Mallory/) (frog with computer). Music by Jordan Mallory and Art by Max Schwartz (https://maxds.itch.io/). Follow the show: https://www.twitter.com/ifyouredriving Support us: https://www.patreon.com/ifyouredrivingJump Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
On October 16, 1923 — precisely 100 years ago today — Walt Disney and his older brother Roy launched Disney Brothers Cartoon Studio. In time, their business would morph into one of the world's best-known and most beloved companies. To mark this milestone anniversary, co-hosts Dean and Maxwell Rotbart review the history of The Walt Disney Company and Disneyland, paying special attention to the many practical lessons that executives and entrepreneurs can glean from the Disney successes and failures of the past century. Listeners will also hear from Michael Goldsby, a professor of entrepreneurship at Ball Street University and the co-author of Entrepreneurship the Disney Way. Professor Goldsby was a guest on the podcast in September 2019. As a special feature, Maxwell shares the incredible story of how he uncovered, buried deep in the archives of a Kansas museum, an original prospectus for Disneyland written in 1953, roughly two years before the first park opened. If you're a Disneyphile or grown-up Mouseketeer, comparing Walt's vision to today's Disneyland will fascinate you. So perk up your mouse ears and listen to the leaders of the band for a thrilling ride through ten decades of Disneyana and the business lessons they impart. Monday Morning Radio is hosted by the father-son team of Dean and Maxwell Rotbart. To show your appreciation for Monday Morning Radio and keep it commercial-free, we encourage you to contribute using this link or scan the QR code below. Donations of all sizes are welcome. Photo: Walt Disney, 1946 Posted: October 16, 2023 Monday Morning Run Time: 47:39 Episode: 12.15
The controversial 1973 commercial for the memory game Hüsker Dü inspired this episode in which we pepper each other with questions that all start with the phrase "Do you remember ....?" It's a rapid-fire round-up of random things that intrigue us but don't warrant an entire episode. We're talking about Rerun and doobies (or Doobies) and Mouseketeers and Gnip Gnop and our deep-seated fear that touching a Ford Pinto would blow up the world. That's just a small taste of the topics that popped up on in this conversation that could only happen amongst Gen Xers.
Episode 415: Greetings, Mouseketeers! Ready for another enchanting episode of “Traveling with the Mouse”? This week, we’re diving deep into exciting news, whirlwind rumors, and some delightful, imaginative brainstorming that’ll have every Disney enthusiast’s heart racing. We kick things off by dissecting the latest earnings call from Disney. What’s up, what’s down, and what does […] The post A World of Infinite Possibilities appeared first on Traveling With The Mouse.
Welcome back, Mouseketeers! This week’s episode of “Traveling with the Mouse” promises to be an insightful Disney experience as we welcome our special guest, Raul. Raul recently embarked on a magical journey to Walt Disney World with his Mom and Nephew, and what makes this trip truly unique is how we, the “Traveling with the […] The post Special Guest Raul’s Walt Disney World Adventure appeared first on Traveling With The Mouse.
Mouseketeer to Barbie star, This American heartthrob's resume will surprise you! This is the Ryan Gosling Street Cred!Support the show
Episode:413 Hello, Mouseketeers! Prepare for an exciting episode of “Traveling with the Mouse” this week as we delve into all the Disney news that’s been making waves and offer a sneak peek into Jason’s upcoming adventure at Disneyland! First up, we venture into the world of Disney news, which has been anything but quiet recently. […] The post Disneyland Trip preview appeared first on Traveling With The Mouse.
The Mousedebaters talk Haunted Mansion Welcome back, Mouseketeers, to another spooktacular episode of Mousedebaters - the PG-13 Disney podcast for grown up ears! In this episode, your ghostly hosts Luke, Brittany, and Kami are ready to take you on a chilling journey through Disneyland's iconic Haunted Mansion ride. Hold on tight to your Mouse ears, because we're about to share some spooky fun! First up, we summon the spirits of nostalgia as we reminisce about our earliest Haunted Mansion experiences. Who got the chills the first time they saw those stretching rooms? Who screamed louder than a banshee when hitchhiking ghosts popped up? And who couldn't resist humming "Grim Grinning Ghosts" all the way home? Find out as we unlock the crypts of our minds and uncover our spookiest recollections. Next, it's time to play "Smash or Pass" with the 999 Happy Haunts! Brace yourself, folks, as we decide which ghostly residents we'd gladly welcome into our doom buggies and which ones should stay in their tombs. But wait, there's more - we've got some spine-tingling myths to debunk! Luke might think he knows all there is to know about the Haunted Mansion, but we've dug up some creepy tales for him to sort fact from fiction. Is Madam Leota's spellbook actually ancient? Did an early version of the ride actually scare someone to death? It's time to put Luke's Haunted Mansion knowledge to the test in our bone-chilling quiz! So grab your ghost-hunting gear and join us for a howling good time in this hair-raising episode of Mousedebaters. We guarantee a good time. Don't forget to subscribe and leave us a ghostly review on your favorite podcast platform! Disclaimer: No ghosts were harmed in the making of this episode, but a few may haunt our hearts and/or loins. Consider yourself sufficiently warned that this podcast is PG-13 and not for younger ears. --- Support this podcast: https://podcasters.spotify.com/pod/show/mousedebaters/support
Tommy Cole is a former Mouseketeer who was on the show for all three of its original seasons. A singer, musician, and actor, he had to work on his dancing skills, which paid off by getting him promoted to the Red Team halfway through the show's first season. He later became a makeup artist, a dad, and a husband. This is his story. Podcast Notes: https://ancestralfindings.com/tommy-cole-the-mickey-mouse-club-part-16
Episode: 412: Greetings, Mouseketeers! Welcome back to another episode of “Traveling with the Mouse” – your go-to podcast for all things Disney! This week, hosts Jon and Adam have brewed up an extra magical serving of Disney chatter that’s sure to whisk you away to the Happiest Place on Earth. Kicking off this week's episode, […] The post Disney World Hot Takes appeared first on Traveling With The Mouse.
Lynn Ready was a third season replacement Mouseketeer on The Mickey Mouse Club. He was the only cast member whose family was not already living in California when he was hired to be on the show. While he did not get many opportunities to perform on the show, he did get a few notable ones. This is his story. Podcast Notes: https://ancestralfindings.com/lynn-ready-the-mickey-mouse-club-part-15
Lonnie Burr was one of the original Mouseketeers on The Mickey Mouse Club. With a contract with the Disney Company, Lonnie was on all three seasons of the show. After the show, he went on to have several successful careers, being a performer, author, poet, and choreographer. This is his incredibly fascinating showbiz story... Podcast Notes: https://ancestralfindings.com/lonnie-burr-the-mickey-mouse-club-14
Episode 411: Welcome back, Mouseketeers, to another exciting episode of “Traveling with the Mouse”! As always, we’re here to sprinkle a little pixie dust on your week and keep you up-to-date with everything happening at the Happiest Place on Earth. In this week’s episode, we dive into the latest news and rumors swirling around the […] The post Our Top Picks for summer 2023 appeared first on Traveling With The Mouse.
Cheryl Holdridge was a Mouseketeer on The Mickey Mouse Club, beginning with the second season and working on it on the third season, as well. She was put on the Red Team, but not used much in solos on the show. She married three times, with her first marriage giving her the title of Countess, and was widowed twice. A talented dancer and actress, she had an active acting career until her first marriage. This is her unique life story... Podcast Notes: https://ancestralfindings.com/cheryl-holdridge-the-mickey-mouse-club-part-12/
On today's What to Watch: The two-episode season finale of How I Met Your Father, the new docuseries Myth of the Zodiac Killer, and the tournament debut of Chopped: All-American Showdown. Plus, Hollywood trivia, and entertainment headlines, including Renee Rapp leaving Sex Lives of College Girls as series regular, Ryan Gosling on making peace with his past as a Mouseketeer to play Ken in Barbie, Madonna reschedules canceled dates to to health scare, Ozzy Osbourne cancels October show because of health issues, and the death of soap star Andrea Evans. More at ew.com, ew.com/wtw, and @EW on Twitter and @EntertainmentWeekly everywhere else. Host/Writer/Producer: Gerrad Hall (@gerradhall); Producer/Writer: Ashley Boucher (@ashleybreports); Editor: Samee Junio (@it_your_sam); Writer: Calie Schepp; Executive Producer: Chanelle Johnson (@chanelleberlin). Learn more about your ad choices. Visit megaphone.fm/adchoices
In 2018 one of the original "Mouseketeers" from the 1955 Mickey Mouse Club was reported missing from his home in Oregon. His husband was in poor health and in the hospital and investigators would look for almost 9 months before finding Dennis' body and finally locate the body in a place they had searched two times before. Listen along as we analyze the frustrating and tragic case of Dennis Day. Music by GioeleFazzeri from Pixabay
Dennis Day was talented, caring and brave. When his husband needed him the most Dennis was there through it all, until one day when he disappeared. What happened to one of the original mouseketeers and will justice arrive in this case?Do you have any insights, or even a case you'd like to suggest? Visit LordanArts.com, or you can follow and message me on Twitter @LordanArtsThis episode was written by Gwen Barringer is edited by John Lordan and produced by LordanArts. You can hear more of Gwen's work on her podcast A Light for Ericka. Learn more at facebook.com/AlightforEricka
Host Eric Rezsnyak and Mouseketeer panelists Amy Pilott, Bob Erlenback, Derek Mekita, and Michael Schwarz debate the best rides currently operating at Disney theme parks around the globe. Which ride will win? Listen now! Want to play along at home? Click here to download the listener bracket for this episode. Want to listen to Part 1, where we debate the Top 32 down to the Sweet 16? Become a Patreon supporter at the $5 level or higher for that exclusive content. It's like a whole bonus episode! Learn more about your ad choices. Visit megaphone.fm/adchoices
News Elder Holland's Health (he won't speak at SUU graduation) $6.2 million was donated to charity in the giving machines this past December. The World Report showed a woman living in rural Moldova who was gifted a pig. The world's largest annual outdoor Easter Pageant is happening in Mesa Arizona right now. A local news reporter said, “We need spaces where we feel welcome just as a fellow human being. Again, I know next to nothing about the LDS church or Muslims or evangelicals or the many other Christian denominations. But I do know that our society is being ripped apart in the name of our faith values and our view of the world. This isn't about any church after all. It's about a moment. It's about the experience of just being with one another. We need more of that – a lot more.” The Church Audit report in General Conference sounded pretty much the same as it always does… that the church followed appropriate accounting procedures. But, we know that there was a large settlement recently focused on some of the church's accounting procedures. Does the fact that this was not mentioned in Conference say anything about how much people should trust these statements? Melissa The church announced 15 new temples in General Conference. You correctly predicted San Jose, and I correctly predicted none in Utah or Idaho. Are there any locations on the list that seem particularly significant? The statistical report is a rare opportunity to see how the church is doing compared to previous years. The Deseret News put out a comparison table. It looks like there is growth of about 1% in most categories, but children of record baptisms are down slightly. Convert baptisms are up 26%. What does this mean? Sister Ana Maria Bonny Hernandez has recently been called as the new representative of the Church to the NGO Committee on the Status of Women in Geneva, Switzerland. Ana Bonny, who is a native from Spain, is the first European member of the Church to hold this assignment. The Committee on the Status of Women group promotes gender equality and the empowerment and defense of the rights of women and girls across the globe. NGO CSW Geneva comprises representatives from some 40 UN-accredited nongovernmental organizations (NGOs) who have consultative status with the United Nations Economic and Social Council. The Church is one of those organizations, through Latter-day Saints Charities. On the topic of gender equality, how strange that only two sisters were asked to speak even though the YW General Presidency was released. It is taking a long time to find jurors in the Lori Vallow Daybell case. I'm shocked at the number of people who have heard nothing about the case. Side note: Should this case be considered “Mormon News”? Mosty national stories call her a member of a Doomsday Cult. Do we really want to tell them that our church is somehow associated with THAT? Isn't this more a fringe movement or an off-shoot of the church like FLDS? Big Deal, Little Deal, No Deal Some family members will be allowed to attend the Lori Vallow Daybell trial April 6 is a really important day in church history. (Maybe do this in big deal, little deal, no deal) A King from Ghana attended General Conference. More about him is in this article (2nd to last paragraph), wikipedia doesn't have much more about him. Is this significant? (Maybe do this in big deal, little deal, no deal) The church gives more to unhoused Utahn's than you think Glenn Beck Good Friday nationwide fast Famous Mormon-Adjacent Individuals (Which former Mouseketeer was raised LDS?) Justin Timberlake Ryan Gosling Brittney Spears Mormons Doing Goodly A woman died after saving her friend's life while climbing a frozen waterfall (Raven Falls) in Duchesne. Author Brandon Sanderson responds kindly to smear This Week in Mormon History 90 Years ago. J. Reuben Clark Jr.
Roy Williams was a Disney animator and story idea guy who specialized in gags and pranks. He was also a skilled sketch artist, and often made live appearances at Disney events and at Disneyland to draw for guests. Though not an actor, Walt Disney himself decided Roy should be an “adult Mouseketeer” on The Mickey Mouse Club, where he would be called the Big Mooseketeer. This is his story. Podcast Notes: https://ancestralfindings.com/roy-williams-the-mickey-mouse-club-part-10/
Bonnie Lynn Fields was a third season replacement Mouseketeer on The Mickey Mouse Club. While she did not get much of an opportunity to be featured on the show, the few times she did allowed her natural talent and gentle personality to shine. This is her story. Podcast Notes: https://ancestralfindings.com/bonnie-lynn-fields-the-mickey-mouse-club-part-11/
In this very special episode, Donna reunites with her longtime friend – actor, singer, and advocate Paul Petersen! Paul joins Donna and Dr Adam to reminisce about his role on The Donna Reed Show, talk with Donna about their decades-long friendship and to tell listeners about the important work of his organization, "A Minor Consideration", founded to protect the welfare of young performers. You will not want to miss this very special reunion! Paul Petersen was one of the biggest teen idols of the ‘50s and ‘60s. He started his career as a Mouseketeer on The Mickey Mouse Club and played alongside Sophia Loren and Cary Grant in the film "Houseboat", playing Cary Grant's son. From there, he took on his star-making role as Jeff Stone on The Donna Reed Show (1958-1966). Hit records “My Dad” and “She Can't Find Her Keys” followed, and he even wrote a series of spy-adventure novels! Paul was a good friend and confidant to Donna during her '60s career, escorting her to various events including the Deb Star Ball, and they supported each other through the turbulence that can come with having a teen career. It was Paul's empathy for the plight of child stars, having been one himself, that led to his founding "A Minor Consideration" in 1991, an organization that supports young performers and advocates for legislation to protect them while they work in the entertainment industry.
We're back with a fun and loaded show! In this episode Joey is on location from MouseCon Bakersfield and has a discussion with members of The New Mickey Mouse Club from the 90s ( a life long dream for him ), Aidan Bertola- Young Mando from season 1 of The Mandalorian, and good friend Shawn from Walt's Apartment Podcast. He also gives a quick trip report from WDW. Plus news, shout outs, & more. So be sure to grab your mouse ears, sit back, relax, and enjoy the show! Subscribe wherever you listen to your favorite podcasts. On YouTube at Disney Universe TV. Follow and interact with us on Instagram, Facebook, & Twitter. To help support the show you can join our crew! Just visit www.patreon.com/ducrew Email us at disneyuniversepod@gmail.com Check out our sponsor Dizcore Apperal, this is where Disney & Music collide. Visit www.dizcore.com --- Send in a voice message: https://anchor.fm/disney-universe-podcast/message
Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. 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 There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc., is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by Chief Kamanawanalea and his Royal Macadamia Nuts, Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...
Mousetalgia Episode 522: Mouseketeer Nancy, Mickey's 90th Spectacular from October 22, 2018 Contact us at comments@mousetalgia.com This week, Mousetalgia is pleased to welcome 1954 original Mickey Mouse Club Mouseketeer Nancy Abbate to the show as we continue our build up to Mickey's 90th birthday. Nancy shares some stories about her time as a Mouseketeer and dancing for Walt Disney, along with the story of her career and life after the club. Then, Jeff shares a trip report about the taping of the upcoming "Mickey's 90th Spectacular," set to air Nov. 4th on ABC. Listen to a few stories about the recording of the incredible production. Also - Kristen continues her month of spooky songs with a John Debney mashup, Jeff shares some sea-worthy scares in this week's Haunted Mansion moment, and we talk about our favorite Mickey Mouse shorts.
Mousetalgia Episode 101: The first-ever "Destination D" event by D23 for Oct. 4, 2010 Contact us at comments@mousetalgia.com. Disneyland hosts the first-ever "Destination D" event by D23, and Team Mousetalgia are there to bring you the good, the bad and everything in between! Titled "Disneyland: 55," the 2-day event contained lectures, Legends, slide shows and fascinating tales of what it was like to work with Walt to bring Disneyland to life. From the "weird" corners of the Disney closet, to a reunion of some of the original Mouseketeers, any nostalgic aspect of Disney was fair game - but was it worth the hype? Plus - Halloween arrives at Disneyland, and that means overlays and special treats; Mousetalgia reports!
Mousetalgia's Best Ear Ever No. 12: Kevin Kidney on Annette Funicello from Jan. 13, 2013 Kevin Kidney returns to the show to share some of his personal stories about Disney Legend Annette Funicello, and he discusses Annette's Place, a fundraiser for the Annette Funicello Research Fund for Neurological Diseases. But first, Dave and Becky visit Disneyland for the first Limited Time Magic experience of 2013, the Three Kings Day Celebration. From rarely seen character appearances to special dances and performances, Disneyland pulled out all the stops for this traditional holiday, and Mousetalgia reports. Next, we share some "Pictures of Annette," featuring some articles, news bits, and memories of her career with Disney as a Mouseketeer and pop icon. Renowned Disney Artist Kevin Kidney discusses the recently opened online store to benefit Annette's foundation featuring some of his artwork, and shares some inspirational stories about America's Sweetheart. Plus - a hotel report, Carthay Circle tips, our Limited Time Magic dreams... and more! Contact us at comments@mousetalgia.com.
Join me in St. Louis, Missouri, for a Fresh Grounded Faith conference with former “Facts of Life” actress, Lisa Whelchel. She'll take you way back to when she was a Mouseketeer and even do an impromptu ventriloquism bit from her Disney days. She'll talk about what it was like to be on “Survivor” and how grace can totally change your life. Plus, I share about the impact of doubt and fear on our faith, my depression, and how I raised my boys with blindness. And, former lead singer of Newsong, Michael O'Brien, gets real honest about leaving his life of drugs and how he stayed clean in those early days. He'll even break out in song! SHOW NOTES: 413Podcast.com/189
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