Podcasts about Oliver Hardy

TVC 685.2: Laurel and Hardy historian Randy Skretvedt, author of March of the Wooden Soldiers: The Amazing Story of Laurel & Hardy's Babes in Toyland, talks to Ed and guest co-host Chuck Harter about how Stan Laurel not only acted as the de facto director on many of the comedy team's films, but closely oversaw the editing of their films, and how Oliver Hardy was an accomplished actor who was beloved by cast and crew off-camera. March of the Wooden Soldiers: The Amazing Story of Laurel & Hardy's Babes in Toyland is available from Bonaventure Press.

TVC 685.1: Ed and guest co-host Chuck Harter welcome author, voice artist, radio host, and Laurel and Hardy historian Randy Skretvedt. Randy's latest book, March of the Wooden Soldiers: The Amazing Story of Laurel & Hardy's Babes in Toyland, is a detailed, behind-the-scenes look at the making of March of the Wooden Soldiers (1934), the adaptation of the Victor Herbert operetta Babes in Toyland (which, in fact, was the title of Wooden Soldiers when it was originally released) that not only has remained a holiday tradition on television since the early 1950s, but was reportedly Stan Laurel's favorite film of the ones with he did with Oliver Hardy. Topics this segment include how March of the Wooden Soldiers was originally intended as an Eastertime release in 1934, as well as the many delays that plagued the production of the movie. March of the Wooden Soldiers: The Amazing Story of Laurel & Hardy's Babes in Toyland is available from Bonaventure Press.

Stan Laurel (gestorben am 23.2.1965) war der geniale Kopf des legendären Duos "Laurel und Hardy" oder "Dick und Doof" - das berühmteste Komikerduo der Filmgeschichte. Von Christiane Kopka.

Stan Laurel und Oliver Hardy haben als ikonisches Duo der Stumm- und Tonfilmzeit das Genre der Filmkomik revolutioniert, mit Slapstick und universell verständlichem Humor. In Deutschland wurden sie als "Dick und Doof" bekannt, als populäre Massenware belächelt und in ihrer Bedeutung vielfach verkannt. Von Florian Kummert

This latest episode (Episode 64) was recorded at The Hill Street Theatre in the Edinburgh Fringe on 7th August 2024. The panellists were Vladimir McTavish, Paul Connolly and Alex Leam, and the host was Richard Pulsford. We mainly covered On This Day topics from the twentieth century but also went as far back as the early 17th Century for one topic: - The first performance of Macbeth, 7th August 1606 - Napoleon writes about reintroducing slavery in Cayenne, 7th August 1802 - Fanny Blankers became the first woman to win 4 gold medals, at The Olympic Games, August 1948 - The 'Miracle Mile', 7th August 1954 - Oliver Hardy, died 7th August 1957 - Bruce Dickinson, born 7th August 1958 Thanks go to Paul, who kindly stepped in as a last minute replacement for Jane Walker who was unfortunately ill on the day.

Sie haben sich bis heute ins kollektive Gedächtnis geschrieben: Stan Laurel und Oliver Hardy sind mit ihren Slapstikeinlagen zu Klassikern der Filmgeschichte geworden. Ein Comic des Italieners Gianluca Buttolo erzählt nun die Geschichte dieses Komikerduos. „Laurel und Hardy“. Und zwar so vertraut und neu zugleich, dass es der radio3 Comic des Monats ist. Andrea Heinze stellt ihn vor.

This bonus episode celebrates the publication of a brand new, jaw-dropping book entitled 'Laurel & Hardy: A True Love Story: The Pictorial History of Stan and Ollie: Their Lives and Work'. Patrick discusses the book's genesis and its treasures, asks his guests about their earliest memories of Laurel and Hardy, and makes them face the infamous 'Atoll Question'. Included in the episode is a VERY RARE AND PREVIOUSLY UNRELEASED audio snippet of an interview with Oliver Hardy, provided by Michael Ehret. To purchase a copy of Laurel & Hardy: A True Love Story visit Andreas and Michael's website here: www.the-pictorial-history.com You can contact Andreas and Michael at info@the-pictorial-history.com For a further slice of this episode and to gain access to more exclusive content and benefits from The Laurel & Hardy Podcast, sign up to show your support and become a Patron of the Podcast by joining me on Patreon.com. Just click the link here: ⁠⁠⁠⁠⁠https://patreon.com/user?u=88010194⁠⁠⁠⁠⁠ To subscribe to the all-new Laurel & Hardy Magazine, and for all the back episodes of the Podcast and Patrick's forthcoming series of books starting with Laurel & Hardy: Silents, visit the website at ⁠⁠⁠⁠⁠www.laurelandhardyfilms.com⁠⁠⁠⁠⁠ To contact Patrick, email ⁠⁠⁠⁠⁠theboys@laurelandhardyfilms.com⁠⁠⁠⁠⁠ If you'd like to leave feedback about the podcast, make a point, ask a question, or generally join in the discussions about the podcast and all other things Laurel and Hardy related, why not join the podcast's community online at the Blog-Heads Facebook Group here: ⁠⁠⁠⁠⁠https://www.facebook.com/groups/2920310948018755⁠⁠⁠⁠⁠ To purchase CDs of the Beau Hunks Orchestra's music contained in these podcasts, click here: ⁠⁠⁠⁠⁠https://amzn.to/2CgeCbK⁠⁠⁠⁠⁠

Part 1: Zach and Andrew talk about movies he saw this week, including: A Real Pain, Bird and Angel of Light.Part 2 (34:10): The group kicks off their Patreon Picks series with 1932's The Music Box and 1933's Sons of the Desert, as picked by Ron.See movies discussed in this episode here.Don't want to listen? Watch the podcast on our YouTube channel.Also follow us on:InstagramLetterboxd

Ian finds himself in the Ozverse to review the new release Wicked and goes back to 1925 for a version of the original stry that started it all. Wicked (2024) Directed by John M Chu. From the book by Gregory Maguire. Stars Ariana Grande, Cynthia ErivoThe Wizard of Oz (1925). Directed by Larry Semon. Written by Larry Semon, Leon Lee and Frank Joslyn Baum. Starring Dorothy Dwan, Larry Semon and Oliver Hardy 

Az előfizetők (de csak a Belső kör és Közösség csomagok tulajdonosai!) már szombat hajnalban hozzájutnak legfrissebb epizódunk teljes verziójához. A kedden publikált, ingyen meghallgatható verzió tíz perccel rövidebb. 00:40 Az új időszámítás Magyar Péter péniszétől. Elnézéskérés Gulyás Mártontól. Boncz Géza szerepében Uj Péter. Bepólyálnám, hóbortos pap megkeresztelné! Magyar Péternek már csak öt hónapja van. 05:47 A 444 is megírta, hogy Bede Mártonnak milyen igaza volt. A szerelemprojekt és az első gyermek vége Turán. 10:02 Az edelényi kastély nem-bezárása. Oláh Ibolya tiszadobi gyermekkora. A kétpói és a lovasberényi kastély A Ferenc téri foghíjtelek. 15:26 Mit mondjon Orbán Viktor október 23-án? A folyamatos hold my beer. 18:18 Huszár Pufi visszatér. A verőcei kastély. A magyar Oliver Hardy. Huszár Pufi tragikusan különös halála. Pufi cipőt vásárol. 26:00 Szuverenitási sztálinizmus. Kinek a bankja az MBH? Különösen szép részletek a Népszabadság bezárása körül. A Wikipedia médiatörténelem-hamisítása.  30:31 Fogas Kárpáti. Ételek, amiket nem szabad étteremben enni Magyarországon. A karcagi birkacsárda koncepciója.34:19 Újabb atrocitások a budaörsi uszodában. A túl kemény víz. Ruandai rádió az őszi szaunázók ellen. 41:15 Hororr-birsalmaaárak. Tudod mennyi egy pink lady????? 43:17 Fontos halálesetek adás közbe. Yahya Sinwar végül tényleg meghalt. A Tisza Dombóváron és a forró február. 45:49 Dr. Schvab a Netflixen. Talán mégis lehet húst enni. A raw vegan diéta nehézségei. See omnystudio.com/listener for privacy information.

Laurel and Hardy were a comedy team that is widely regarded as the greatest in film history. Stan Lauren and Oliver Hardy made more than 100 comedies together between 1921 and 1950. Danny Bacher and Berine Hogye co-authored an upcoming publication, Collecting Laurel and Hardy. Bacher has always been fascinated by old silent film stories. “We would sit and watch these old silent film strips of like, you know, comedians like Buster Keaton, Harold Lloyd, Charlie Chaplin, of course, Laurel and Hardy, because my brother and I, there were two of us. We got into Laurel and Hardy. And, you know, I just I guess my cousin had given us a set of Laurel and Hardy dolls when we were really little, and we played with those. Then it was between that and the films. I just said, I want to try and find more of this. So, I really kind of started and amassed a huge collection of all these years, “said Bacher. Bacher realized the comic duo Laurel and Hardy were timeless when his brother showed an old film to his kindergarten students in Jersey City. “I was amazed by how much they laugh and how much they enjoyed this. And it almost was like, again, they weren't thinking of it like this was these were filmed like, you know, 80, 90 years ago. They were looking at them as a, you know, fresh audience. And this was something very new to them. And I don't think they had an idea of the timing of it. So that's the beauty of their comedy and their appeal is that they really were great, “said Bacher. The book features more than 1,000 artifacts from film history, fun stories, and research to create a veritable encyclopedia of Laurel and Hardy Memorabilia. The inspiration of the book came when Bacher and Hogye realized they both were collecting Laurel and Hardy memorabilia. “A couple of decades later, Danny now has the largest collection of Laurel Hardy memorabilia in the world. Bigger than anybody's collection. I've got a meager collection now compared to what Danny has. But you see that behind me is in his room. He has a lot of his artifacts. But several years ago, maybe 5 or 6 years ago, I'm an art director by trade. And so Danny asked me, Hey, would you do me a favor? I'm thinking I've got some cool stuff, one of a kind things, you know, be photograph some of these things. And so I went down, photograph them for him. And at some point he said, Do you think there's a book in this? And the answer was yes. We decided to keep photographing and put together a book, “said Hogye. The book has been published and will be on the shelves November 28, 2024.Support WITF: https://www.witf.org/support/give-now/See omnystudio.com/listener for privacy information.

Sean Comer and Mark Radulich review movies currently on streaming services and in theaters: Stan and Ollie/Chaplin/Judy Movie Review! First up is Stan and Ollie (2018). Then we move on to Chaplin (1992). Finally we review Judy (2019).Stan & Ollie is a 2018 biographical comedy-drama film directed by Jon S. Baird. The script, written by Jeff Pope, was inspired by Laurel and Hardy: The British Tours by A.J. Marriot which chronicled the later years of the comedy double act Laurel and Hardy; the film stars Steve Coogan and John C. Reilly as Stan Laurel and Oliver Hardy. The film focuses on details of the comedy duo's personal relationship while relating how they embarked on a gruelling music hall tour of the United Kingdom and Ireland during 1953 and struggled to get another film made.The film premiered on 21 October 2018 at the closing night gala of the BFI London Film Festival. It was released in the United States on 28 December 2018 and in the United Kingdom on 11 January 2019. At the 76th Golden Globe Awards, Reilly was nominated for Best Actor – Motion Picture Musical or Comedy, and at the 72nd British Academy Film Awards the film earned three nominations, including Best British Film and Best Actor in a Leading Role for Coogan.Chaplin is a 1992 biographical comedy-drama film about the life of English comic actor and filmmaker Charlie Chaplin. It was produced and directed by Richard Attenborough and stars Robert Downey Jr., Marisa Tomei, Dan Aykroyd, Penelope Ann Miller and Kevin Kline. It also features Charlie Chaplin's own daughter, Geraldine Chaplin, in the role of his mother, Hannah Chaplin.The film underperformed at the box office, grossing $12 million against a $31 million budget, and received mixed reviews from critics; Downey's titular performance, however, garnered critical acclaim and won him the BAFTA Award for Best Actor along with nominations for the Academy Award for Best Actor and Golden Globe Award for Best Actor – Motion Picture Drama.Judy is a 2019 biographical drama film based on the life of American entertainer Judy Garland. Directed by Rupert Goold, it is an adaptation of the Olivier- and Tony-nominated West End and Broadway play End of the Rainbow by Peter Quilter. The film stars Renée Zellweger, Jessie Buckley, Finn Wittrock, Rufus Sewell, and Michael Gambon.The film follows Garland's career during the last year of her life, when she relocated her stage career to England, coupled with flashbacks of her childhood, most prominently the shooting of her part as Dorothy Gale in The Wizard of Oz (1939), her most famous film role. After some initial success in a run of sell-out concerts at the Talk of the Town in London, her efforts eventually stop making progress and even start to worsen as her health deteriorates.Judy premiered at the 46th Telluride Film Festival on 30 August 2019, and was released in the United States on 27 September 2019, and in the United Kingdom on 2 October 2019. The film received generally positive reviews, with Zellweger's performance garnering widespread acclaim. For her portrayal of Garland, Zellweger won the Academy Award for Best Actress, as well as the Golden Globe Award, SAG Award, BAFTA Award and Critics' Choice Movie Award.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59

Send us a Text Message.What if you could reinvent yourself through the art of silence? Tune in to hear from the extraordinary Nola Rae, a world-renowned mime artist whose journey took her from the ballet stages of Sydney, Australia to the silent artistry of mime in the UK. Discover how a life-changing encounter with the legendary Marcel Marceau in Sweden turned her from an aspiring ballerina into an iconic mime artist. Nola shares the pivotal moments and rigorous training that shaped her unique approach to mime, blending her ballet discipline with a captivating clown persona.In this episode, Nola Rae opens up about her transition from a performer to a mentor, sharing humorous and heartfelt anecdotes about retirement, teaching, and directing. You'll get a peek into her creative space in Kent and her favorite people-watching spot in Venice, revealing the whimsical yet rigorous world behind her art. She also delves into her personal connections, including her admiration for Oliver Hardy and the significant influence of her partner, Matthew Rideout, who has been instrumental in her creative journey.Be prepared for an engaging exploration into the world of mime and clowning, as Nola discusses her creative process behind shows based on historical figures and the traits of dictators. Listen to her reflections on the joys of mentoring the next generation, the importance of silence in expression, and the simple yet powerful advice of "Persevere" that has guided her career. Concluding with personal musings on overcoming timidity and her love for chocolate cake, this episode promises to be an inspiring and insightful conversation with a true legend in the world of mime.Tune in next week for more stories of 'Distinction & Genius' from The Good Listening To Show 'Clearing'. If you would like to be my Guest too then you can find out HOW via the different 'series strands' at 'The Good Listening To Show' website. Show Website: https://www.thegoodlisteningtoshow.com You can email me about the Show: chris@secondcurve.uk Twitter thatchrisgrimes LinkedIn https://www.linkedin.com/in/chris-grimes-actor-broadcaster-facilitator-coach/ FaceBook Group: https://www.facebook.com/groups/842056403204860 Don't forget to SUBSCRIBE & REVIEW wherever you get your Podcasts :) Thanks for listening!

David and Katherine celebrate MGM's centennial with a look back at Hirschfeld's 40+ years working for the studio on many of their iconic films including the Marx Brothers films, Royal Wedding, Meet Me in St. Louis, The Wizard of Oz, and many more! Follow along with the show notes to view the works mentioned in this episode: All MGM Images On Ze Boulevard, 1927 The Green Ghost (Released as "The Unholy Night"), 1929 Ordeal (Released as "The Ship in Shanghai"), 1929 Hallelujah, 1928 Hirschfeld Stamps Laurel and Hardy Min and Bill Poster, 1930 The Wizard of Oz Promoting Pandemonium! - Selling Stan Laurel and Oliver Hardy to Depression-Era America Book Ft. Works by Al Hirschfeld Stan Laurel Mask, 1933 Oliver Hardy Mask, 1933 Charley Chase Mask, 1933 Flying High (Stage and Film) Marx Brothers (MGM Works) Cabin in the Sky, 1943 Harlem as seen by Hirschfeld, 1941 Judy Garland and Mickey Rooney Films Strike Up the Band, 1940 Meet Me in St. Louis, 1944 National Velvet, 1944 "Young Girl" AKA Elizabeth Taylor in National Velvet, 1944 Thousands Cheer, 1943 Til the Clouds Roll By, 1946 The Ziegfeld Follies, 1946 Kim, 1950 Battleground (Misspoken as "Battlefield") An American in Paris, 1951 Singin' in the Rain, 1952 Fred Astaire in Royal Wedding, 1951 Ray Bolger in Where's Charley?, 1949 The Night of the Iguana, 1964 Far From the Madding Crowd, 1967 The Odd Couple (Film), 1968 The Sunshine Boys (Film), 1975 Singin' in the Rain, 1977 A Star is Born, 1977 Another Fine Mess, 1930 Doctor Zhivago, 1965 All MGM Images ------------------------------------------------------------------ Visit our website Visit our shop Like us on Facebook Subscribe to our Youtube Channel   Watch Hirschfeld Moments: Ep.4 - Hirschfeld Draws a Star! Follow us on Twitter Follow us on Instagram HirschfeldHomestyle.com

Welcome to the Instant Trivia podcast episode 1200, where we ask the best trivia on the Internet. Round 1. Category: Map Happy 1: Its name says where it's at. South Africa. 2: "Zone" in on this country important to world commerce. Panama. 3: Zone in on this country, important to world commerce. Panama. 4: A bit of serendipity will lead you to this country's name. Sri Lanka. 5: Nation where Bolivar is buried. Venezuela. Round 2. Category: Tea Time Movie 1: Disney's "Johnny Tremain" takes part in this Dec. 16, 1773 incident. the Boston Tea Party. 2: Johnny Depp is at least eccentric as this tea party guest in 2010's "Alice in Wonderland". the Mad Hatter. 3: The title character of "Rikyu" teaches this painstaking routine to the fierce warlord Hideyoshi. the Japanese tea ceremony. 4: Jack Black as this character has tea with the dolls of a Brobdingnagian girl. Gulliver. 5: In "Tea with Mussolini", Cher plays a character based on this American art patron who spent a lot of time in Italy. Peggy Guggenheim. Round 3. Category: Phrases That Sell 1: "Obey your thirst" and drink this. Sprite. 2: "Be all that you can be" in this military branch. the Army. 3: This network says it's "The most trusted name in news". CNN. 4: This shipping company asks, "What can Brown do for you?". UPS. 5: It's the popular query in Verizon's TV ads. Can you hear me now?. Round 4. Category: Pat. With Pat in quotation marks 1: Let's take our drinks outside onto this paved lounge area. patio. 2: Adjective meaning characteristic of being a father. paternal. 3: Want a good pastry? Go to this French type of store that specializes in them. a patisserie. 4: A regional form of a language, not necessarily French. patois. 5: It's the murder of one's own father. patricide. Round 5. Category: Babes 1: In his career, he walked a record 2,056 times. Babe Ruth. 2: If Paul Bunyan sang "I Got You Babe", he'd be referring to one of these animals. an ox. 3: It's where Victor Herbert set his "Babes". Toyland. 4: She set records in the 1932 Olympics in the javelin throw and the 80-meter hurdles. Babe Didrikson. 5: Nicknamed "Babe", this early film comedian played The Tin Woodsman in 1925's "The Wizard of Oz". Oliver Hardy. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Wir können nicht mehr sagen als das hier: ESC, Pyro, Ich hätte mal ne Frage, The Roast of Tom Brady, Kill Tony, Stan Laurel & Oliver Hardy in Bloto, das traurige Kind, der halbe Bart, freundliche Pizzakartons, Gerüche, das furzende Nashorn und Wochentage. Hör's dir einfach an! HIER KANNST DU UNS ÜBERALL HÖREN: https://linktr.ee/komischegespraeche HIER KANNST DU UNS AUF KAFFEE EINLADEN: https://ko-fi.com/komischegespraechepodcast HIER GEHT ES ZUR KOMISCHE MUSIKE PLAYLIST AUF SPOTIFY: https://tinyurl.com/komischeMusike

Somewhere between Radio Hall of Famer Barry “Dr. Demento” Hansen and Billie “Glinda” Burke, queer activist and audio producer David Fradkin found “Nurse Pimento” and her pop culture novelty treasures in the late 1970s. Featuring: Carroll O'Connor, Jack Lemon and Joe E. Brown, Groucho Marx, Stan Laurel and Oliver Hardy, Noel Coward, Sandy Dennis and George Segal, Carl Reiner and Mel Brooks; music by Bing Crosby, Danny Kaye, Judy Garland, Perry Como, Edie Gorme, Tommy Smothers and Martin Mull. “Are you better off today than you were four years ago?” Emma's Revolution reminds us what life “From a (Social) Distance” was like. And in NewsWrap: Uganda's Constitutional Court declines to nullify the “Kill the Gays” Anti-Homosexuality Act in its entirety, the owner of Orenburg, Russia's queer-friendly Pose nightclub is now in jail with two staffers being held on charges of “extremism,” the United Nations Human Rights Council specifically addresses the rights of intersex people for the first time, Wisconsin's Democratic Governor Tony Evers refuses to deny trans student the right to compete in high school sports based on their gender identity, Florida Republican state Representative Fabiбn Basabe sues Miami Pride for disinviting him due to his hypocritical record and need for massive police protection, and more international LGBTQ news reported this week by Ava Davis and Michael Taylor Gray (produced by Brian DeShazor).  All this on the April 8, 2024 edition of This Way Out! Join our family of listener-donors today at http://thiswayout.org/donate/

This episode was recorded at The Hill St Theatre at the Edinburgh Festival Fringe on 7th August 2023. The panellists were Angus Coutts, Charles Dundas and Aleksandr Popov. The host was Richard Pulsford. On This Day topics covered included: The first performance of Macbeth (07/08/1606) The Turkish Straits Crisis (07/08/1946) Lynne Cox swims The Bering Strait (07/08/1987) Petit's high-wire act between NY's Twin Towers (07/08/1974) Oliver Hardy (died, 07/08/1957) (Charles didn't get the memo about not shaving for this one!)

CLR Show 1909. Air Date February 9, 2024. Oliver Hardy's persistent admonition to Stan Laurel would be better directed to today's hapless republican party. Every new revelation about their incapacity and/or outright refusal to legislate or function in any rational way is the direct product of their refusal to jettison Donald from their ranks on the countless occasions when that would have been possible. And now the country must pay the price for their incompetence. No political maneuver is too base or divisive, and no constitutional prohibition is a functional deterrent. Donald won't have it any other way. With Friday Co-Host, David Bach.

In der neuesten Folge eures Lieblingspodcasts zelebrieren die beiden Nach-Groschen-Bücker Basti und Hannes den Geburtstag von Oliver Hardy, dem adipösen Part des ikonischen Duos „Dick und Doof“. Knossi hat sich sogleich dessen legendären „Kamera-Blick“ zu eigen gemacht, bei dem regelmäßig die vierte Wand durchbrochen wird. Während Hannes sich über das Stummfilm-Bildseitenverhältnis auslässt, das in modernen Filmen wie „Der Leuchtturm“ und „The Whale“ eine Renaissance erlebt, echauffiert er sich gleichzeitig über die vertikale Filmwelt von Social Media. Bastis aktuelle Frau hat indes ihr markantes rollendes „R“ verloren, was Hannes dann völlig verwirrt.Die Diskussion um das FUNK-Format „Strg_F“ wird von den beiden als Beispiel genommen, um über den Zustand des öffentlich-rechtlichen Rundfunks zu sinnieren, der dringend einer Sanierung bedarf, aber dennoch essentiell ist. Es geht nicht um Quote oder Klicks, betonen sie. Hannes blamiert sich dann auch direkt bis aufs Mark, indem er Ben Becker mit Ben Zucker verwechselt und sie beide mit Tom Waits vergleicht – er hat eben ein ausgeprägtes Musikverständnis…Sollte dieser Podcast jemals einen Preis gewinnen, wird das Preisgeld natürlich an Basti gehen, während Hannes den Award erhält – eine faire Aufteilung, wie sie finden…Social MediaBasti findest du als @Geekpunkt auf Twitch, YouTube & Instagram. Hannes findest du als @LambertsTacheles auf Twitch, YouTube & Facebook.Titletrack "Jammern auf niedrigem Niveau"performed by Hannes Lambert & Bastian Hagermusic by Jules Gaialyrics by Bastian Hagermixed by Jules Gaia & Bastian Hagercopyright by Epidemic SoundDein Support hilftDamit wir dir auch weiterhin beste Jammer-Unterhaltung bieten können, brauchen wir deine Unterstützung! Wenn du uns finanziell supporten willst, so werde jetzt Steady-Unterstützer auf https://steadyhq.com/jammernaufniedrigemniveau/Empfehle uns gerne in deinem Freundeskreis oder bewerte den Podcast positiv. Wir freuen uns auch über dein Feedback, am liebsten per Whatsapp unter 0151-24088906 oder https://whatsapp.jammernaufniedrigemniveau.de/Unser Dank geht an unsere Jammerlappen auf Steady:Andreas, Anja, Christiane, Christoph, Elke, Julia, Jonas, Kathrin, Konni, Lars, Nicole, Marco, Markus, Matthias, Melanie, Michael, Miriam, Sam, Sandra, Sissy, Stefan und Tobias

„Die Wüstensöhne“ gehört zu den erfolgreichsten Filmkomödien von Stan Laurel und Oliver Hardy. In bewährter Tollpatschigkeit bringen sie ihr Publikum zum Lachen. Vor 90 Jahren wurde der Film erstmals gezeigt. Goege, Hartmutwww.deutschlandfunk.de, Kalenderblatt

Morei durante minha infância na zona rural de Indaiatuba-SP. Em minha casa havia um fogão que permanecia aceso durante todos os dias o dia todo. Para isso irá necessário catar lenha que conseguíamos de árvores caídas encontradas próximas da casa. Mudei para São Paulo onde os fogões eram diferentes. Feitos de chapas metálicas diferentes daqueles da zona rural construídos com tijolos ou material semelhante. Os de São Paulo usavam carvão que o carvoeiro vendia circulando com sua carroça pelas ruas. Ele era esperto, pois já naquela época, muitos anos atrás, utiliza de recursos de marketing Os que compravam o seu carvão recebiam um tíquete que dava direito a assistir filmes no galpão da carvoaria. As projeções aconteciam todas às quartas-feiras. Muitos chegavam pisando no chão do galpão coberto de pó negro resultado do ensacamento de carvão que ali era realizado. Dos filmes que assisti recordo mais das comédias do Gordo e o Magro com Oliver Hardy e Stan Laurel. Além dessa oportunidade eu meus amigos da redondeza íamos ao Cine Imperial inaugurado recentemente na Rua da Moóca. Nossa preferência era pelas matines que aconteciam nas tardes de domingo e não pelas manhãs como o nome dá a entender. Além do filme principal havia apresentação de filme seriado de aventuras que atraia a presença semanal, procurávamos não perder os capítulos.  Tínhamos que conseguir o dinheiro que nem sempre os pais ofereciam. Recolhíamos nos terrenos baldios material reciclável de metal e outros. A coleta era vendida no estabelecimento que tinha por denominação “ferro velho --- Send in a voice message: https://podcasters.spotify.com/pod/show/leonardo-kurcis/message

Welcome to this week's "Saturday Matinee" on Vintage Classic Radio, where we celebrate Thanksgiving radio shows. Thanksgiving is just around the corner, folks! First up is "The Jack Benny Show" in the hilarious episode "Jack Cooked the Turkey," originally broadcast on November 28, 1937. In this Thanksgiving special, Jack Benny, played by Jack Benny himself, decides to cook the turkey for his friends, leading to a series of comedic mishaps and laughter. The episode features Mary Livingstone as herself, adding her witty banter; Eddie 'Rochester' Anderson as Rochester Van Jones, who skeptically observes Jack's cooking antics; Don Wilson as the announcer, adding his booming voice to the mix; and Phil Harris as himself, bringing his musical charm. The episode is a delightful mix of humor, friendship, and Thanksgiving spirit. Next, we bring you the laughter and antics of the "Laurel and Hardy" radio show in their episode "Circus Music." In this episode, the iconic duo, played by Stan Laurel and Oliver Hardy, find themselves accidentally enlisted in a circus band. Their lack of musical talent leads to a series of uproarious events, turning the circus upside down. This episode is a testament to Laurel and Hardy's timeless comedy, filled with slapstick humor and their famous comedic timing. Finally, we dive into the dramatic world of the "Screen Guild Theater" with the radio play adaptation of "The Best Years of Our Lives." This poignant drama, originally a successful film, is brought to life on the radio with a stellar cast, including Myrna Loy, Fredric March, Dana Andrews, and Teresa Wright. It tells the story of three World War II veterans adjusting to civilian life and the challenges they face, offering a touching and insightful portrayal of post-war America. Join us on Vintage Classic Radio this weekend for a journey back in time with these three exceptional shows. Relive the golden age of radio with "The Jack Benny Show", "Laurel and Hardy" and "The Best Years of Our Lives" as we celebrate the season of gratitude and joy with classic entertainment. Tune in, relax, and enjoy the nostalgia of some of radio's finest hours.

Welcome to this week's edition of "Saturday Matinee" on Vintage Classic Radio! Prepare to be regaled with laughter, drama, and a dash of nostalgia as we line up three timeless radio shows from the golden age of radio. First up, we'll be joining the iconic duo Laurel and Hardy in "Mr. Slater's Poultry Market". In this hilarious escapade, Stan and Ollie find themselves embroiled in a series of comic misadventures when they take up jobs at Mr. Slater's bustling poultry market. The simple task of preparing and delivering chickens becomes a fiasco only this pair could conjure up. The episode stars Stan Laurel as Stan, Oliver Hardy as Ollie, with James Finlayson lending his talents as the perpetually flustered Mr. Slater. A host of other characters adds to the mayhem, bringing laughter aplenty. Following the laughter, we'll simmer down with "Coffee and Cake" by Colgate's Theater of Romance, which originally graced the airwaves on April 16th, 1955. This heartwarming tale invites listeners into the life of a small-town baker whose world is turned upside down when love unexpectedly walks through the door. This stirring romantic drama stars Jeffrey Lynn and Barbara Fuller in the lead roles, supported by a talented cast including Lester Maine as the town's doctor, Sylvia Field as the caring aunt, and John McIntire as the wise best friend. Finally, we wrap up with the delightful "Our Miss Brooks" radio show, in the episode "Where To Go For Thanksgiving", which first entertained audiences on November 27th, 1949. Connie Brooks, played by the incomparable Eve Arden, finds herself in a bind when her Thanksgiving plans are upended, leading to a comical quest for a place to celebrate the holiday. The show features Gale Gordon as the irascible Principal Osgood Conklin, Richard Crenna as the well-meaning student Walter Denton, and Jane Morgan as the lovable landlady Mrs. Davis. So tune in to Vintage Classic Radio this Saturday for a journey back in time with these three cherished shows. From the slapstick genius of Laurel and Hardy to the tender charm of Colgate's Theater of Romance, and the whimsical wit of "Our Miss Brooks", there's something for everyone in our "Saturday Matinee".

This week, Rick and Cathy welcome Joy Wallace Dickinson to talk about Florida's film history. From the silent film era, to the definitive film on aging gracefully (Cocoon), to more modern films, this episode's a walk down Florida's celluloid history. Find Joy's old Florida mystery, Secrets of the Flamingo Cafe, on Amazon.Links We MentionedDave Barry's Big TroubleWhy you can't watch Cocoon anywhere.Jacksonville's Norman Studios Bouncing Baby, a 1916 silent comedy, that was filmed in Jacksonville and stars a young Oliver Hardy. A Florida Enchantment, 1914 silent comedy filmed partly in St. Augustine. Florida filmmaker Victor MunezGal Young Un on Prime Elvis Presley's Follow That DreamRuby in Paradise on Prime starring Ashley JuddTrailer for Ulee's GoldTheatrical trailer of Sunshine State by John Sayles1981 trailer for Body Heat with Kathleen Turner and William Hurt1948's Key Largo (mostly not filmed in Florida)Trailer for Parenthood (1989) – much of which was filmed in OrlandoSupport the showWant more Florida? Subscribe to The Florida Spectacular newsletter, and keep up with Cathy's travels at greatfloridaroadtrip.com. Find her on social media: Facebook.com/SalustriCathyTwitter and Instagram: @CathySalustri Have a Florida question or comment? Love the show? Hate it? Let us know – email us at cathy@floridaspectacular.com. Get Rick's books at rickkilby.com/, and make sure to bookmark Old Florida with Rick Kilby (http://studiohourglass.blogspot.com/) and read through the archives. Connect with Rick on social media: Facebook.com/floridasfountainofyouth, Twitter (@oldfla), and Instagram (@ricklebee).

Why are Mr. and Mrs. Brede telling so many lies? They seem like such nice people. Henry Cuyler Bunner, today on The Classic Tales Podcast.  Welcome to The Classic Tales Podcast. Thank you for listening. We are proudly supported by our listeners. We couldn't do this without you. Your monthly donation helps in so many ways, and it also gives you access to more classic titles.  Go to http://classictalesaudiobooks.com and become a financial supporter today. A $5 dollar monthly donation gets you an $8 monthly coupon code for any audiobook order. Give more, and you get more! Thank you so much.  Henry Cuyler Bunner (1855-1896) Was an American journalist, novelist, and poet. His works were largely anthologized in the early 1900s, but he's mostly forgotten now. His short story about the comedic adventures of a circus elephant, Zenobia's Infidelity, was made into a film in 1939 starring Oliver Hardy.  This piece stuck out to me because there are some really nice moments of description, and the way characters can be described so concisely. It's also an interesting study of how humor has evolved over the years.  And now, The Nice People, by Henry Cuyler Bunner. Follow this link to become a monthly supporter:   Follow this link to subscribe to our YouTube Channel:    Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:   Follow this link to follow us on TikTok:    

¿Qué es la aceptación y cómo funciona exactamente? Lo descubrimos junto a Anna Lladós. Recordamos a Oliver Hardy, uno de los entrañables protagonistas de ‘El gordo y el flaco' cuando se cumplen 66 años de su muerte. Además, la actriz Encarni Corrales indaga sobre el verdadero significado de la expresión “No es moco de pavo”.

Welcome to Eyes and Teeth Kevin DeanKevin and I became acquainted within the GOWR, the Grand Order of Water Rats, which is a Showbusiness charity over 130 years old which included members including Danny Kaye, Charles Chaplin, Stan Laurel and Oliver Hardy, Tommy Cooper, Charlie Chester, Les Dawson, Keith Harris, and those still with us today such as Rick Wakeman, Alfie Boe, The Hairy Bikers, Steve Hewlett, WHO? Well it is a who's who in the order, we look out for our fellow entertainers who have fallen on hard times and are involved in the Royal Variety Charity as well as countless nominated charities including childrens charities.Its an entertainers way of giving back which is always great for us.I digress, Kevin Dean and I have performed on many of these benefit shows, we are planning our own for the Rats in the near future but we got even closer during the lockdown years.We recorded songs, and jingles, sketches and so much more and you can hear Kevin's magic during this podcast as he is the producer of our very own Eyes and Teeth jingles and the theme tune itself, all from the head of KD productions.So now it's time for you to get to know the man behind the music and Two Metre Peter, welcome to Eyes & Teeth Kevin Dean

CRAGG Live From April 1st, 20235-Hour Laurel & Hardy Tribute ShowJoin us this week for a hybrid show between our "retro media shows" and our original show format from Live 365 where we did in depth audio documentaries of various subjects. To celebrate April Fool's Day 2023 with the kings of comedy (and our favorite fools!) we bring you our FIVE HOUR tribute to Laurel & Hardy. This comprehensive audio documentary of Stan Laurel & Oliver Hardy's career and films was originally aired on Cult Radio back in 2005 (going into the 2006 new year) and has not been heard or made available on demand in 18 years! Features include: Music from Laurel & Hardy films sung by the boys themselvesInstrumental themes from L&H films & cartoonsL&H movie trailers and TV spotsThe 2 original L&H old time radio shows that they didInterview with L&H themselvesInformation about the filming of their shorts and featuresMusic from Marvin Hatley who scored the Hal Roach filmsMusic from Hal Roach's Little RascalsAudio from the episode of This is Your Life featuring L&HThe rare interview with Stan in his apartment after Ollie's deathAudio from the flexi-disc that accompanied a super 8 L&H filmRare out of print dialogue record albumsMuch more!   Listen to the show HERE.What is CRAGG Live Anyways?!  The flagship radio show of Cult Radio A-Go-Go!'s, CRAGG Live is a lively 2 hour talk radio show hosted by Terry and Tiffany DuFoe LIVE from an old abandoned Drive-In Movie theater with Wicked Kitty, Fritz, Imhotep and Hermey the studio cats and CRAGG The Gargoyle. We play retro pop culture, Drive-In movie, classic TV and old radio audio along with LIVE on the air celebrity interviews from the world of movies, TV, music, print, internet and a few odd balls thrown in for good measure. We air Saturdays at 6:00 pacific.We air on www.cultradioagogo.com which is a 24/7 free internet radio network of old time radio, music, movie trailers, old nostalgic commercials, snack bar audio, AND much more!  This show is copyright 2023 DuFoe Entertainment and the live interviews contained in this show may not be reproduced, transcribed or posted to a blog, social network or website without written permission from DuFoe Entertainment.NOTE* There is a brief leader before & after the show which was recorded "LIVE" off the air.

Welcome to the Instant Trivia podcast episode 750, where we ask the best trivia on the Internet. Round 1. Category: Pour Me A Stiff One 1: Nonpotent potable in common to a fuzzy navel and a screwdriver. orange juice. 2: Stolichanya, or stoli to its friends, is a brand of this. vodka. 3: Invented in Cuba, a mojito is made with lime juice, club soda, sugar, ice, mint leaves and this kind of alcohol. rum. 4: This brand of liqueur made its debut in Dublin on November 26, 1974. Bailey's (Irish Cream). 5: Mon dieu! This French liqueur was originally made at the Abbey of Fecamp by the monks for which it is named. Benedictine. Round 2. Category: Lost 1: TV show whose theme says, "The Minnow will be lost". Gilligan's Island. 2: Lost in the forest, this pair happens upon a house made of bread, cake and sugar. Hansel and Gretel. 3: Presumably she was lost at sea after vanishing in the central Pacific in July 1937. Amelia Earhart. 4: It's said that this gem was cut from a stone called the French Blue, which was lost after a crown jewel heist in 1792. Hope Diamond. 5: Performed annually in North Carolina, "The Lost Colony" is an outdoor drama about this lost colony. Roanoke Island. Round 3. Category: Classic Comic Catchphrases 1: "Well, excuuuuuse me!". Steve Martin. 2: "You look mahvelous!". Billy Crystal. 3: "Woo woo woo woo woo woo!". Curly. 4: "Here's another nice mess you've gotten us into". Oliver Hardy. 5: To Rochester: "Now cut that out!". Jack Benny. Round 4. Category: When You're Having Fun 1: When you're having fun playing the strategy game "Richtofen's War", you'll be using planes from this war. World War I. 2: When you're having fun playing this party game, you could call it "Attach the terminal vertebrae to the jackass". "Pin the tail on the donkey". 3: When you're having fun playing this board game invented in 1948, you'll draw up to 7 letter tiles. Scrabble. 4: You might play 301, 501 or 1001 when you're playing when you're having fun playing this barroom favorite. darts. 5: When you're having fun in Japan playing this sport, you'll learn it's known there as besuboru. baseball. Round 5. Category: '60s Muscle Cars 1: Ronny and the Daytonas wanted to "turn it on, wind it up" and "blow it out". GTO. 2: This Plymouth named for a sharp-toothed fish really had some bite. Barracuda. 3: This Chevy was still going strong into the '90s with a Z-28 model. Camaro. 4: This Pontiac muscle car moves much faster than the Stravinsky ballet. Firebird. 5: Later maker of the Pacer, this automaker's Javelin hit the mark. American Motors (AMC). Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Welcome to the Instant Trivia podcast episode 738, where we ask the best trivia on the Internet. Round 1. Category: Cable Tv 1: A shout of approval to an actor, or the cable network of "Inside the Actors Studio". Bravo. 2: This acronym for American Christian Television System is a book of the Bible, too. ACTS. 3: This MTV show launched in 1991 has turned strangers into enemies in NYC, London and Hawaii. The Real World. 4: Actress who started the "Faerie Tale Theatre". Shelley Duvall. 5: This "channel" went on in 1985 and the "networks" of that name now include Animal Planet and The Learning Channel. The Discovery Channel. Round 2. Category: 3Rd Rock From The Sun 1: This outer part of the Earth shares its name with the outer part of a pie. crust. 2: From the Latin for "track", it's the path of the Earth around the Sun. orbit. 3: This satellite of the Earth is a whopping 2,160 miles in diameter--a lot bigger than it looks. the Moon. 4: The highest temperature ever recorded on earth was 136° F. at Al-Aziziyah on this continent. Africa. 5: Some theorize that the Earth once had just one of these, called Panthalassa. ocean. Round 3. Category: Aye Aye, Captain 1: A national park on this country's South Island is named for Captain Abel Tasman. New Zealand. 2: In 1837 Captain Matthew Perry took command of the U.S. Navy's first ship powered by this. steam. 3: This New World settlement was founded May 14, 1607 by a group led by Captain Christopher Newport. Jamestown. 4: After his fleet took New Orleans in April 1862, this captain was promoted to rear admiral. David Farragut. 5: This British explorer of the Pacific Northwest has his own herb as well as an island. George Vancouver. Round 4. Category: On The Cover Of Sgt. Pepper 1: He's an African explorer, "I presume". Dr. Livingstone. 2: Bob Dylan appears as does this poet from whom he may have taken his stage name. Dylan Thomas. 3: This actor is in costume from his film "The Wild One". Marlon Brando. 4: The Beatles' bass player before Paul took over. Stu Sutcliffe. 5: This "Das Kapital" author stands between comedian Oliver Hardy and H.G. Wells. Karl Marx. Round 5. Category: Coffee, Tea Or Mead? 1: In 1904 Thomas Sullivan began the practice of putting tea in small ones of these; his were made of silk. bags. 2: It's the "Irish" ingredient in Irish coffee. Irish whiskey. 3: It's French for "coffee with milk". cafe au lait. 4: Mead is known as sima in this country that borders Norway and Sweden. Finland. 5: This mead ingredient is made by animals. honey. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Es ist Cocktail-Time! Wir feiern das Ende des Jahres mit einem großen Schluck Filmgeschichte: dem Slapstick-Duo Stan Laurel und Oliver Hardy oder wie sie hierzulande genannt werden, Dick und Doof.  Zu Ehren der beiden Komiker betreibt Wolfgang Günther das Laurel & Hardy Museum in Solingen. Eine Sammlung voll mit Filmplakaten, Merchandise und persönlichen Gegenständen der beiden. Darüber hinaus hat er den ersten Fanclub dazu in Deutschland gegründet.  In dieser Folge ergründen wir, wie das Museum entstanden ist, wie Dick und Doof zueinander gefunden haben, was ihren Reiz ausmacht und wir gehen der Frage nach: Warum lachen wir eigentlich? Dazu erhalten wir Einblicke in die Humorforschung von Professor Willibald Ruch von der Universität Zürich.  Achja und was Cocktails mit Dick und Doof zu tun haben, erfahrt ihr auch noch.

Er hat Stan Laurel, Oliver Hardy und Harold Lloyd groß gemacht, aber auch viele andere: Hal Roach war der Mann im Hintergrund, der stets nach neuen Talenten suchte. Am 2. November 1992 starb der legendäre Film-Produzent in Los Angeles. Von Hartmut Goegewww.deutschlandfunk.de, KalenderblattDirekter Link zur Audiodatei

En este especial recordamos a algunos de los grandes cómicos que han llenado de risas la historia del cine, cada uno de ellos con su particular estilo: Bob Hope, Jerry Lewis, Harpo Marx, Charles Chaplin, Peter Sellers, Danny Kaye, Alberto Sordi, los Monty Python o Stan Laurel y Oliver Hardy, los inolvidables el Gordo y el Flaco.  

We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Up, Up, and Away" by the 5th Dimension. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe

A discussion about and look into the stories, the history and personalities that came together to make the silent short, "Sailors, Beware!" in 1927. Directed by Fred Guiol and starring Stan Laurel, Oliver Hardy and Anita Garvin. Twitter - @goldensilents1 Instagram - goldensilentscast

Career Conversations with John C. Reilly. Moderated by Stacey Wilson Hunt. Academy Award-nominated John C. Reilly is one of the most diverse actors working today, with an impressive range of roles in dramas, comedies, musicals, and foreign films. He has been acknowledged by the Academy Awards, the Golden Globe Awards, the Tony Awards, the Independent Spirit Awards as well as the Grammys, among others. Mr. Reilly produces and stars in Jacques Audiard's THE SISTERS BROTHERS. Also coming out this year are Holmes & Watson, with Will Ferrell; Ralph Breaks the Internet: Wreck-It Ralph 2; and Stan and Ollie, as Oliver Hardy opposite Steve Coogan's Stan Laurel. He recently received strong reviews for his role in Kong: Skull Island, starring opposite Brie Larson; as well as the independent film The Little Hours, which premiered at the 2017 Sundance Film Festival. Other recent films include The Lobster, directed by Yorgos Lanthimos; the award-winning French film Les Cowboys, directed by Thomas Bidegain; and the Italian film The Tale of Tales for director Matteo Garrone, all of which premiered at the 2015 Cannes Film Festival. Mr. Reilly has worked with top directors such as Martin Scorsese in both Gangs of New York and The Aviator; Brian De Palma in Casualties of War; Robert Altman in A Prairie Home Companion; Terrence Malick in The Thin Red Line; Rob Marshall in Chicago; Roman Polanski in Carnage; Wolfgang Petersen in The Perfect Storm; Lynne Ramsay in We Need to Talk About Kevin; and Paul Thomas Anderson in Hard Eight, Boogie Nights, and Magnolia. He has starred in the hit comedies Talladega Nights: The Ballad of Ricky Bobby, Walk Hard: The Dewey Cox Story, Step Brothers, Cyrus, and Guardians of the Galaxy. He voiced the title character in the Academy Award-nominated animated feature Wreck-It Ralph and was the voice of Eddie in Sing. Mr. Reilly's work in the world of independent films includes The Good Girl, Cedar Rapids, The Promotion, Terri, Year of the Dog, Criminal, and The Anniversary Party. On television, he is a frequent collaborator with comedians Tim Heidecker and Eric Wareheim for the shows Tim and Eric's Awesome Show, Great Job! and Check It Out! with Dr. Steve Brule, among others. Mr. Reilly's many theater credits include True West, for which he received a Tony Award nomination, and A Streetcar Named Desire on Broadway, as well as Steppenwolf productions of The Grapes of Wrath and A Streetcar Named Desire.

Florida film historian Lisa Bradberry joins me to talk about the rich history of Florida filmmaking, the years early in Oliver Hardy's career when he lived and worked in Jacksonville, and her favorite Florida movies! There's a link to an episode of Florida Crossroads on our website where Lisa appears in a segment beginning at about 12:45, also!

In Episode Twenty, Patrick welcomes back to the Blogcast Laurel & Hardy expert and author of Laurel & Hardy: The Magic Behind the Movies and The Laurel & Hardy Movie Scripts, Randy Skretvedt. Throughout the course of the show Randy and Patrick talk about a film that neither of them are overly fond of, Early to Bed, and find that they share a personal reason for taking a dislike to it. In addition to discussing the film in focus, Randy talks about a recent auction win that landed him a rare pile of vintage Laurel & Hardy items belonging to Oliver Hardy and Charlie Hall and the Hal Roach Studios. This is part one of a two part look at Early to Bed. Don't miss part two of this deep-dive into Early to Bed, coming in Episode 21, in which Patrick talks to Richard W. Bann about why he likes the film so much! To read the blog on Early to Bed click here https://laurel-and-hardy-blog.com/2022/02/03/24-early-to-bed-1928/ To watch the Blogcast video where Randy shows off his auction win, visit The Laurel & Hardy Blog's YouTube Channel here: https://www.youtube.com/channel/UCDOoBwTfgycGRspLWd11wTw Join in the discussion and become an official Blog-Head by joining the Blog-Heads Facebook Group here: https://www.facebook.com/groups/2920310948018755 To purchase CDs of the Beau Hunks Orchestra's music contained in these podcasts, click here: https://amzn.to/2CgeCbK For more information about The Laurel & Hardy Blog, click here: http://www.blog-heads.com/ To purchase Laurel & Hardy Blog merchandise, visit our Redbubble storefront here: https://www.redbubble.com/people/BlogHeads/shop To find the best Laurel and Hardy books and DVDs visit The Laurel & Hardy Blog's Amazon storefront, click here: https://www.amazon.co.uk/shop/laurelandhardyblog *Please note that I am an Amazon affiliate and as such any purchases made using the above links will help to support this podcast, whilst not costing you a penny more.

Welcome to 5678: A Movie Musical Podcast! In our 5th episode, we tackle the truly boggling 1934 Laurel and Hardy film: Babes in Toyland AKA March of the Wooden Soldiers. Starring: Stan Laurel, Oliver Hardy, and Santa Claus? Prepare for creepy men of an indeterminant age, a monkey in a mouse suit, ghosts(?), and a deeply flawed Trojan horse plot. It's a spoiler proof film, so sharpen your Pee-Wee skills, find your sheep, and follow us for more #mortgageadvice. Follow us on Facebook, Instagram, and Twitter for more movie musical content and episode updates.Follow us on Facebook, Instagram, and Twitter for more movie musical content and episode updates.

In this episode, we talk about the lives, partnership, and films of the great comedy duo Stan Laurel and Oliver Hardy. Thanks for listening!

In Episode Eleven, Patrick welcomes back to the Blogcast, returning guest and Laurel & Hardy expert and author of ‘The Laurel & Hardy Encyclopedia', Glenn Mitchell. Moving another step along the Laurel & Hardy film chronology, Patrick and Glenn have great fun discussing Stan and Babe's 1927 silent short, Putting Pants on Philip, as well as taking a detailed look at one of the boys' regular co-stars from their silent period, Dorothy Coburn. · To purchase CDs of the Beau Hunks Orchestra's music contained in these podcasts, click here: https://amzn.to/2CgeCbK · To purchase a copy of Glenn's book, ‘The Laurel & Hardy Encyclopedia', click here: https://amzn.to/33G8LWS · To purchase a copy of John McCabe's book, ‘Babe: The Life of Oliver Hardy', click here: https://amzn.to/3lkWxeT · To purchase a copy of William K. Everson's book, ‘The Complete Films of Laurel and Hardy', click here: https://amzn.to/3lijZtb To read the blog on Putting Pants on Philip, click here: https://laurel-and-hardy-blog.com/2018/10/17/16-putting-pants-on-philip-1927/ For more information about The Laurel & Hardy Blog, click here: https://laurel-and-hardy-blog.com/ To visit The Laurel & Hardy Blog's Amazon Store, click here: https://www.amazon.co.uk/shop/laurelandhardyblog

On this second bonus episode of the Laurel & Hardy Blogcast, Patrick chats to Laurel & Hardy solo films expert and author, Rob Stone. Returning to the Blogcast for the first time since his appearance on Episode One, Rob chats with Patrick about the brand new US Blu-ray release of restored Stan Laurel and Oliver Hardy solo films. Patrick also takes the opportunity to ask his guest the infamous Atoll question! To join the ‘Blog-Heads' Facebook Group, click here: https://www.facebook.com/groups/2920310948018755 For more information about The Laurel & Hardy Blog, click here: https://laurel-and-hardy-blog.com/ To purchase a copy of the new Laurel OR Hardy Blu-ray, visit The Laurel & Hardy Blog's shop page here: https://www.amazon.co.uk/shop/laurelandhardyblog To purchase CDs of the Beau Hunks Orchestra's music contained in these podcasts, click here: https://amzn.to/2CgeCbK

We will look at the shutdown....The DACA for border all funding compromise.........Another caravan going north......US and the Cuba embargo......Oliver Hardy 1892-1957....Super Bowl X Steelers vs Cowboys..........and other stories..... Please check our blog  or follow me on Twitter....

Happy birthday, Oliver Hardy! David Leopold and Katherine Eastman are here for all, yes ALL, your Laurel and Hardy needs. --------------------------------------------------------- Chewbacca Star Trek The Cher Show New Drawings, courtesy of Jay Polk Hirschfeld Auctions ALL LAUREL AND HARDY IMAGES 1929 Yearbook Hallelujah! Laurel and Hardy in bed Louisiana Purchase Another Fine Mess MGM Yearbook Pardon Us Pack Up Your Troubles Devil's Brothers Busy Bodies Sons of the Desert Hail Hal Roach Babes in Toyland Hollywood Party Oliver Hardy Mask Stan Laurel Mask Bonnie Scotland Bohemian Girl Our Relations Swiss Miss Air Raid Wardens Nothing But Trouble The Movies Mural Wallpaper 1969 Drawing Laurel and Hardy in an Oval "Hollywood" 1991 Stamps Here's Looking At You Comedians ------------------------- Visit our website Like us on Facebook Follow us on Twitter Follow us on Instagram

British film composer Rolfe Kent, who has scored more than 50 films, including: Up in the Air, Sideways, About Schmidt, Election, Mean Girls, Legally Blonde and Legally Blonde II, Wedding Crashers, and Thank You for Smoking. Kent also composed the Emmy-nominated main title theme for the Showtime hit, Dexter. In 2012, he received the Richard Kirk award for career achievement.One of Kent's most recent projects is the original score for the feature film STAN & OLLIE. The film follows the story of the famous comedic dynamic duo, Laurel and Hardy; their success and the harsh struggles they faced in their careers.The 2018 biographical comedy-drama is directed by Jon S. Baird from a screenplay by Jeff Pope. The film stars Steve Coogan and John C. Reilly as Stan Laurel and Oliver Hardy. It premiered in October 2018 at the BFI London Film Festival and is scheduled to be released in the United States on December 28, 2018 and on January 11, 2019 in the United Kingdom. In this episode, Rolfe Kent reveals how he worked with director Jon Baird on finding the balance in the score between evoking the sound of the silent-movie-era but also a contemporary elements as well. Kent also talks about how he juxtaposed specific, orchestral instruments to vividly contrast the characters of Stanley Laurel and Oliver Hardy in his music.ANNOTATED TRACKS AND SEGMENTS02:34 - "Main Titles"03:45 - "Studio Safari"06:52 - "Desk Bell"08:10 - "The Split"10:24 - "The Hard Slog Around the UK"11:50 - "Train to London"13:05 - "From the Savoy to Miffin"14:27 - "Dejected Abbott and Costello"16:27 - "The Last Show/ Final DanceSOUNDTRACKNo soundtrack release information is currently available.MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Rolfe kent at his official site https://www.rolfekent.com/ ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed

In the seventh episode of season 5 of the 5 Minute Biographies podcast, we take a look at the life of one half of one of the best-loved comedy duo's of all time - Oliver Hardy.

Rolfe Kent has composed films for Alexander Payne ("Downsizing" & "Sideways") and Jason Reitman ("Thank You For Smoking" & "Up In The Air"). His latest work might be his best yet as he transports us to the the time of Stan Laurel and Oliver Hardy with "Stan & Ollie." Rolfe was kind enough to sit down with us and talk about his whimsical work on Jon S. Baird's wonderfully delightful film. Check out more on NextBestPicture.com Please subscribe on... SoundCloud - @nextbestpicturepodcast iTunes Podcasts - itunes.apple.com/us/podcast/negs-…d1087678387?mt=2 Spotify - open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at www.patreon.com/NextBestPicture

Best known for his series of crime novels starring private detective Charlie Parker, John Connolly's new novel, He, is a fictional reimagining of the life of one of the greatest screen comedians the world has ever known, Stan Laurel, and his enduring partnership with Oliver Hardy, the man he knew as Babe.Actor Ed Skrein has stepped own from the role of Major Ben Daimo in the film Hellboy because he is British and the character Japanese American. Samira Ahmed probes the significance of this, the first time an actor has made such a move, with Rebecca Ford, an Asian American journalist who has been covering the story in Los Angeles for The Hollywood Reporter. Tanika Gupta talks to Samira about her new play Lions and Tigers, which opens tonight at Shakespeare's Globe. The play is based on Tanika Gupta's great-uncle Dinesh Gupta, and his violent resistance against British Rule in 1930s Calcutta. The playwright explains how family recollections of Dinesh and his letters from prison helped inspire the drama.Based on David Harrower's Oliver-Award winning play Blackbird, the film Una is the cinematic debut of acclaimed theatre director Benedict Andrews, starring Rooney Mara as a woman who confronts the older neighbour who sexually abused her when she thirteen. Kate Maltby reviews. Presenter: Samira Ahmed Producer: Julian May.